text:
CURATOR INDEX
ACTIVE BACKLIST
MoMA PS1: A History
Edited by Klaus Biesenbach, Bettina Funcke. Text by Phil Aarons, Marina Abramovic, Sarah Arison, agnès b, Linda Blumberg, Janet Cardiff, Chris Dercon, Peter Eleey, Fred Fisher, Tony Guerrero, Larissa Harris, Alanna Heiss, Jonathan Lill, Glenn D. Lowry, Warren Niesluchowski, Carolee Schneemann, Oliver Shultz, James Turrell, Rebecca H. Quaytman, Jeff Weinstein, Martha Wilson, Andrea Zittel. Historical texts by Vito Acconci, Carl Andre, Rudy Burckhardt, Douglas Davis, Simone Forti, Tina Girouard, Philip Glass, Marcia Hafif, Jene Highstein, Nancy Holt, Patrick Ireland, Les Levine, Sol LeWitt, Richard Nonas, Lucio Pozzi, Charlemagne Palestine & Carol Parker, Hannah Wilke.
Hbk, 9 x 10.5 in. / 304 pgs / 300 color. | 10/22/2019 | In stock
Text by Negar Azimi, Tess Edmonson, Peter Eleey, Bruce Hainley, Luca Lo Pinto, Andrew Norman Wilson, Dena Yago.
Clth, 7.5 x 8.75 in. / 148 pgs / 140 color. | 2/27/2018 | In stock
Greater New York: Curatorial Roundtable
Text by Douglas Crimp, Peter Eleey, Thomas J. Lax, Mia Locks.
Pbk, 5.75 x 8.75 in. / 36 pgs. | 9/26/2017 | In stock
Sturtevant: Double Trouble
Text by Peter Eleey. Interview by Bruce Hainley and Michael Lobel.
Hbk, 9.5 x 12 in. / 200 pgs / 130 color. | 11/30/2014 | In stock
James Lee Byars: 1/2 an Autobiography, Sourcebook
Edited by Magali Arriola, Peter Eleey. Interview by David Sewell.
Flexi, 6.75 x 9.5 in. / 304 pgs / 213 color / 87 bw. | 6/30/2014 | In stock
Edited by Peter Eleey. Introduction by Peter Eleey. Foreword by Klaus Biesenbach. Text by W.H. Auden, Alexander Dumbadze, Peter Eleey, Robert Hullot-Kentor, Alexander Kluge, W.J.T. Mitchell.
Pbk, 10 x 13 in. / 248 pgs / 86 color. | 9/30/2011 | In stock
Text by Heidi Zuckerman Jacobson, Peter Eleey, George Stranahan, Jeremy Sigler, Paul Valéry.
Hbk, 8 x 10 in. / 104 pgs / 74 color. | 2/1/2009 | In stock
Haluk Akakçe: Sky is the Limit
Edited by Peter Eleey. Introduction by Anne Pasternak. Text by Alex Farquharson. Interview by Jane &Louise Wilson.
Paperback, 7 x 10 in. / 56 pgs / 42 color. | 5/1/2007 | In stock
Doug Aitken: Sleepwalkers
Foreword by Glenn D. Lowry and Anne Pasternak. Text by Klaus Biesenbach, Peter Eleey, Doug Aitken.
Paperback, 8.75 x 10.75 in. / 176 pgs / 275 color / 5 bw. | 1/1/2007 | In stock
OUT OF PRINT LISTING
Walead Beshty: Selected Correspondences 2001-2010
Text by Peter Eleey, Jason Smith, Eric Schwab.
Pbk, 8.25 x 11.75 in. / 128 pgs / 80 color. | 9/30/2010 | Not available
Mike Nelson: A Psychic Vacuum
Text by Peter Eleey, Nato Thompson.
Clth, 6.5 x 9 in. / 196 pgs / 200 color. | 11/30/2010 | Not available
Published by The Museum of Modern Art.
The first-ever history of New York's pioneering art space, with film stills, ephemera and photography in a scrapbook style
Since its inception in the early 1970s, MoMA PS1 in Long Island City, Queens, has been a crucible for radical experimentation. Committed to New York City as well as to maintaining an international scope, PS1 has always put the artist at the center, engaging practitioners at work in every discipline from performance, music, dance, poetry and new media to painting, sculpture, photography and architecture. This groundbreaking publication captures the vibrancy of a long and venerable tradition that began with the legendary series of performances and events organized by founder Alanna Heiss under the Brooklyn Bridge in 1971.
Organized into four main sections that delve into the former school's rich history as an art center during the 1970s, 1980s and 1990s up to the present, the book features in-depth conversations between Heiss and Klaus Biesenbach, the director of MoMA PS1 from 2010 to 2018, and more than 40 recollections by artists, curators and critics closely associated with the institution—including Marina Abramovic, James Turrell, agnès b, Rebecca Quaytman, Carolee Schneemann and Andrea Zittel.
Presenting extensive photographic documentation of historic exhibitions and performances and related ephemera from the archives, plus an illustrated chronology and comprehensive exhibition history, this indispensable volume offers a vivid chronicle of the extraordinary history of MoMA PS1.
Klaus Biesenbach is Director of The Museum of Contemporary Art, Los Angeles, and former director of MoMA PS1 and Chief Curator at Large at The Museum of Modern Art in New York City.
Bettina Funcke is an art historian based in New York. She has taught and published widely, and is currently editing a book on the history of MoMA PS1.
Phil Aarons is President of the board of Printed Matter.
Marina Abramovic is Serbian performance artist, writer, and art filmmaker.
Sarah Arison is a film producer and President of the Miami-based Arison Arts Foundation.
Agnès b is a French fashion designer.
Linda Blumberg is former Director of the Art Dealers Association of America.
Janet Cardiff is Canadian artist who works chiefly with sound and sound installations.
Chris Dercon is Belgian art historian and curator. He is former Director of Haus der Kunst in Munich and Tate Modern in London.
Peter Eleey is Chief Curator of the MoMA PS1, New York.
Fred Fisher is former American Lawyer.
Tony Guerrero is former Director of Operations and Exhibitions at MoMA PS1.
Larissa Harris is Curator at the Queens Museum of Art.
Alanna Heiss is Founder and Director of Clocktower Productions, a non profit arts organization.
Jonathan Lill is Leader of the MoMA Exhibition Files Project at The Museum of Modern Art, New York.
Glenn D. Lowry is American art historian and Director of the Museum of Modern Art in New York City.
Warren Niesluchowski was American artist, writer, editor, translator and Vietnam War deserter.
Carolee Schneemann was an American visual experimental artist, known for her multi-media works on the body, narrative, sexuality and gender.
Oliver Shultz is Curator and historian of modern and contemporary art.
James Turrell is American artist primarily concerned with Light and Space.
Rebecca H. Quaytman is American contemporary artist.
Jeff Weinstein is former editor of arts coverage at New York's Soho Weekly News (1977-79); of visual arts and architecture criticism at the Village Voice (1981-95); of the fine arts at the Philadelphia Inquirer (1997-2006); of arts and culture at Bloomberg News (2006-07).
Martha Wilson is American feminist performance artist and the founding director of Franklin Furnace Archive art organization.
Andrea Zittel is American artist based in Joshua Tree, California.
Hardcover, 9 x 10.5 in. / 304 pgs / 300 color.
Pub Date 10/22/2019
Catalog: SPRING 2019 p. 62
Published by Koenig Books.
Full of linguistic games and puns, and expressed in texts, photos and installations, the work of New York conceptualist Darren Bader (born 1978) launches a playful form of institutional critique while embracing the conventions through which art circulates (in these respects, his work has been seen as partially a dialogue with certain concerns of Marcel Duchamp). Whether sculptural (using found elements) or linguistic, Bader's pieces tend to incorporate all components of the art system: the work, the artist, the gallery owner, the collector, the exhibition visitor and readers of his texts. This book documents his first solo exhibition in Italy, for which he plays with the traditional format of a solo show and turns it into an analytical tool of models by which works of art are mediated within an institutional space. It also includes an invitation to exhibit addressed to a series of other artists, whose works are presented together with Bader's.
Koenig Books
Clth, 7.5 x 8.75 in. / 148 pgs / 140 color.
ISBN 9783960982531 FLAT40
Published by MoMA PS1.
MoMA PS1 presents the fourth iteration of Greater New York. Recurring every five years, the exhibition has traditionally showcased the work of emerging artists living and working in the New York metropolitan area. Considering the "greater" aspect of its title in terms of both geography and time, Greater New York. begins roughly with the moment when MoMA PS1 was founded in 1976 as an alternative venue that took advantage of disused real estate, reaching back to artists who engaged the margins of the city.
In conjunction with the exhibition, MoMA PS1 is publishing a series of readers that will be released throughout the run of the exhibition. These short volumes revisit older histories of New York while also inviting speculation about its future, highlighting certain works in the exhibition and engaging a range of subjects including disco, performance anxiety, real estate and newly unearthed historical documents. The series features contributions from Fia Backström, Mark Beasley, Gregg Bordowitz, Susan Cianciolo, Douglas Crimp, Catherine Damman, David Grubbs, Angie Keefer, Aidan Koch, Glenn Ligon, Gordon Matta-Clark, Claudia Rankine, Collier Schorr, and Sukhdev Sandhu, concluding with a round-table conversation with exhibition curators Peter Eleey, Douglas Crimp, Thomas J. Lax and Mia Locks. The series is edited by Jocelyn Miller, Curatorial Associate, MoMA PS1.
Paperback, 5.75 x 8.75 in. / 36 pgs.
List Price: $10.00 CDN $14.95 GBP £8.50
Matt Connors: A Bell Is a Cup
Published by Rainoff.
Text by Peter Eleey, Michel Leiris, Jack Spicer, Gertrude Stein.
This is an expanded edition of the first comprehensive review of American abstract painter Matt Connors (born 1973), first published for his 2012 exhibition Impressionism at MoMA PS1. Connors takes rubbings from his studio floor, pouring layers of paint into the fabric like dye, or using wet paintings as stamps.
Paperback, 7.5 x 9.5 in. / 176 pgs / 93 color.
Out of stock indefinitely
List Price: $40.00 CDN $54.00 GBP £35.00
STATUS: Out of stock indefinitely.
Published by Walther König, Köln/MoMA PS1/Museo Jumex.
"I see my autobiography as an arbitrary segment of so many pages of time, of things that I have paid attention to at this point in my life," wrote James Lee Byars (1932–1997) in 1969. He was then 37, about half the average male lifespan at the time, and accordingly thought it appropriate to write his "1/2 autobiography." Byars' art ranged from highly refined objects to extremely minimal performance and events, and books, ephemera and correspondence that he distributed widely among friends and colleagues. Today, more than 15 years after his death, assessments of his art must negotiate Byars' performance of his charismatic self in his life and art. For his first major posthumous survey in the US, exhibition curators Magalí Arriola and Peter Eleey decided to produce a catalogue in two "halves," playing on his "1/2 autobiography": a catalogue of the exhibition itself, including new scholarship, and a sourcebook of primary documents. 1/2 an Autobiography, Sourcebook constitutes the latter volume--a reference guide filled with photographs and documents drawn from a variety of archival sources, including The Getty Research Institute, the Berkeley Art Museum and Pacific Film Archives, MoMA and Byars' own papers. This volume also includes a series of previously unseen interviews that artist and art historian David Sewell conducted with Byars in the late 1970s in preparation for a book that was never published. These discussions cover a number of Byars' major projects, among them The World Question Center, The Holy Ghost and the artist's time at CERN.
Walther König, Köln/MoMA PS1/Museo Jumex
Flexi, 6.75 x 9.5 in. / 304 pgs / 213 color / 87 bw.
Published by The Museum of Modern Art, New York.
Sturtevant has been repeating the works of her contemporaries since 1964, using some of the most iconic artworks of her generation as a source and catalyst to explore originality and authorship. Beginning with her versions of works by Jasper Johns and Andy Warhol, Sturtevant initially turned the visual logic of Pop art back on itself, probing uncomfortably at the workings of art history in real time. Yet her chameleonlike embrace of other artists' work is also what has allowed her to be largely overlooked in the history of postwar American art. As a woman making versions of the work of better-known male artists, she has passed almost unnoticed through the hierarchies of mid-century modernism and postmodernism, at once absent from these histories while nevertheless articulating their structures. Published to accompany the first retrospective of her work organized by a US museum, this publication presents Sturtevant as an artist who adopts style as her medium to expose aspects of art making, circulation and canonization. Featuring works drawn from all periods of her career and previously unpublished sketches from her archive, it links Sturtevant's earliest repetitions to the video works she has produced since 1998, providing a comprehensive overview of her practice while situating it firmly within postwar American culture.
Sturtevant was born in Lakewood, Ohio, in 1924. She had her first solo show in 1965 at the Bianchini Gallery in New York. Solo exhibitions of her work have since been held at Deichtorhallen, Hamburg (1992), Museum für Moderne Kunst, Frankfurt (2004), Musée d'Art Moderne, Paris (2010) and Moderna Museet, Stockholm (2012). In 2011, Sturtevant received the Golden Lion for lifetime achievement at the 54th Venice Biennale.
Peter Eleey is Curator and Associate Director of Exhibitions and Programs at MoMA PS1.
Bruce Hainley is a Los Angeles-based writer and MFA professor of criticism and theory in the graduate program at the Art Center College of Design in Pasadena, California, and the Roski School of Fine Arts, University of Southern California. He is a contributing editor at Artforum and Frieze.
Michael Lobel is Professor of Art History at Hunter College.
Hardcover, 9.5 x 12 in. / 200 pgs / 130 color.
Text by Laura Hoptman, Naima Keith. Interview by Peter Eleey.
Los Angeles-based artist Henry Taylor (born 1958) applies his brush both to canvas and to unconventional materials--suitcases, crates, cereal boxes, cigarette packs--using everyone and everything around him as source material. While Taylor drew and painted in his youth, he studied art formally only later in life, attending the California Institute of the Arts after working for ten years as a psychiatric nurse at a state hospital. This experience sharpened his interest in, and appreciation for, individuals from all economic and social backgrounds, and encouraged a passion to create an intensely empathetic style of portraiture. Published on the occasion of Taylor's 2012 exhibition at MoMA PS1, where the artist established his New York studio for the duration of the show, the publication explores Taylor's ambitious and deeply humanistic project to present a worldview defined by the people--extraordinary and ordinary--with whom we live.
Clth, 7.75 x 10.25 in. / 112 pgs / illustrated throughout.
Ten Fundamental Questions of Curating
Published by Mousse Publishing.
Edited by Jens Hoffmann. Foreword by Milovan Farronato. Text by Peter Eleey, Elena Filipovic, Juan A. Gaitán, Sofía Hernández Chong Cuy, Maria Lind, Chus Martínez, Jessica Morgan, Adriano Pedrosa, João Ribas, Dieter Roelstraete.
It has become almost obligatory to introduce a book on curating by noting the plethora of recent publications on the subject. How, in just a few short years, did we reach this point of saturation? What questions, exactly, do all these books address? Many attempt to offer an overview of the curatorial field as it exists today, or attempt to map its historical trajectory. Others propose a series of case studies under a common curatorial theme. All are hoping to contribute to this relatively new discipline and its accompanying canon. Edited by Jens Hoffmann, Ten Fundamental Questions of Curating offers a real critique of existing publications and modes of thinking by explicitly asking the questions that others have missed, ignored or deemed already answered: What is a curator? What is the public? What is art? What about collecting? What is an exhibition? Why mediate art? What to do with the contemporary? What about responsibility? What is the process? How about pleasure? Here, Peter Eleey, Elena Filipovic, Juan A. Gaitán, Sofía Hernández Chong Cuy, Maria Lind, Chus Martínez, Jessica Morgan, Adriano Pedrosa, João Ribas and Dieter Roelstraete each propose and then address one question. Ten Fundamental Questions of Curating takes a back-to-basics approach--a return to a kind of zero-degree state--at a time when a recalibration of what a curator is and does seems both necessary and urgent.
Paperback, 6 x 9.5 in. / 144 pgs.
The attacks of September 11, 2001 were among the most pictured disasters in history, yet they remain, a decade later, underrepresented in cultural discourse--particularly within the realm of contemporary art. Responding to these conditions, MoMA PS1 curator Peter Eleey brings together more than 70 works by 41 artists--many made prior to 9/11--to explore the attacks' enduring resonance. Eschewing both images of the event itself and art made directly in response, the exhibition and its accompanying catalogue provide a subjective framework within which to reflect upon the attacks and their aftermath, and explore the ways that they have altered how we see and experience the world in their wake. Opening on the tenth anniversary of the attacks, September 11 includes works by Diane Arbus, John Chamberlain, Bruce Conner, Christo, Ellsworth Kelly, Mary Lucier, Stephen Vitiello and others.
Paperback, 10 x 13 in. / 248 pgs / 86 color.
Mark Manders: Parallel Occurrences, Documented Assignments
Published by Aspen Art Museum and The Hammer Museum.
Text by Douglas Fogle, Peter Eleey, Heidi Zuckerman Jacobson, Yasmil Raymond.
Since 1986, Dutch artist Mark Manders (born 1968) has been developing an ongoing project titled Self-Portrait as a Building. Taking the form of sculptures, installations, drawings and projections, these works map Manders' artistic persona through the conceptual model of a built edifice, in the fashion of the Renaissance memory theater. Inspired by writings on this subject and by other literature, Manders' earliest works in this project were primarily written, but over time, Manders found ways to deploy everyday three-dimensional objects--epoxy figures, animals, teabags, pencils, household furniture--to build a portrait of his own mind as an architectural space. As the artist explains, "this imaginary building, being composed of discrete objects, can shrink or expand at any moment. In this building, all words created by mankind are on hand." This publication accompanies the first North American touring exhibition of Manders' work.
Aspen Art Museum and The Hammer Museum
Hardcover, 8.5 x 11.5 in. / 200 pgs / 75 color.
Published by Damiani.
Walead Beshty (born 1976) has long used photography as a tool to explore social conditions. In 2001, the artist began documenting the abandoned embassy of the defunct Iraqi Diplomatic Mission in the former East Berlin. This publication focuses on three related bodies of work that continue Beshty's engagement with the invisible territories of globalization.
Paperback, 8.25 x 11.75 in. / 128 pgs / 80 color.
Published by Creative Time Books.
In 2007, artist Mike Nelson transformed the disused interior of the Essex Street Market on New York's Lower East Side, taking audiences on a journey through his installation "A Psychic Vacuum," a series of reconstructed rooms and passageways filled with enigmatic props, clues and assemblies. Over the next two years, the artist meticulously recreated that journey in this superbly designed and fully illustrated artist's book.
Creative Time Books
Clth, 6.5 x 9 in. / 196 pgs / 200 color.
Published by Walker Art Center.
Text by Peter Eleey, Olaf Blanke, Ina Blom, Peter Osborne, Margaret and Christine Wertheim.
Artists have always used their imaginations to see beyond visible matter--to posit other physics, other energies, new ways of conceiving the visible and new models for art--but the past century has seen an explosion of such investigations. In the fashion of a Wunderkammer, The Quick and the Dead takes stock of the 1960s and 70s legacy of experimental, or "research" art by pioneers like George Brecht, who posited objects as motionless events and asked us to consider "an art verging on the non-existent, dissolving into other dimensions," and Lygia Clark, whose foldable sculptures sought to dissolve the boundary between inside and outside, each "a static moment within the cosmological dynamics from which we came and to which we are going." In a series of encounters with art made strange by its expansions, contractions, inversions and implosions in time and space, The Quick and the Dead surveys more than 80 works by a global, multigenerational group of 50 artists, scientists and musicians--among them James Lee Byars, Joseph Beuys, Marcel Duchamp, Harold Edgerton, Ceal Floyer, Felix Gonzalez-Torres, Pierre Huyghe, The Institute for Figuring, Paul Ramirez Jonas, Stephen Kaltenbach, On Kawara, Christine Kozlov, David Lamelas, Louise Lawler, Paul Etienne Lincoln, Mark Manders, Kris Martin, Steve McQueen, Helen Mirra, Catherine Murphy, Bruce Nauman, Rivane Neuenschwander, Claes Oldenburg, Roman Ondák, Adrian Piper, Roman Signer and Shomei Tomatsu, among many others. Includes reprints of texts by diverse luminaries such as John McPhee, Jalal Toufic, Oliver Sacks, Allan Kaprow and Robert Smithson.
Clth, 6.75 x 9 in. / 352 pgs / 135 color / 20 bw.
Published by Aspen Art Press.
Drawing on unconventional means of transformation, such as alchemy and magic, as a way to examine the metaphysical changes that occur when materials are used to conceptualize complex ideas, Now You See It--which includes work by Walead Beshty, Alexandra Bircken, Ceal Floyer, Tom Friedman, Felix Gonzalez-Torres, Wade Guyton, Wolfgang Laib, Robert Morris, William O'Brien, Mitzi Pederson, Dieter Roth, Robert Ryman, Fred Sandback, Anna Sew Hoy, Gedi Sibony, Rudolf Stingel, Lawrence Weiner, Jennifer West and Erwin Wurm--proffers the notion that visual recognition alone is insufficient to determine an object's materiality. In this volume, published concurrently with an exhibition at the Aspen Art Museum, the question of materiality is recontextualized--through insightful essays by Aspen Art Museum Director Heidi Zuckerman Jacobson and Peter Eeley, Visual Arts Curator of the Walker Art Museum--as more than a mere struggle between content and form. Other contributions are by Paul Valéry and Jeremy Sigler.
Aspen Art Press
Hardcover, 8 x 10 in. / 104 pgs / 74 color.
Trisha Brown: So That the Audience Does Not Know Whether I Have Stopped Dancing
Text by Peter Eleey, Philip Bither.
Best known for her innovative choreography, which revolutionized Modern dance, Trisha Brown has for many years made drawings and other works beyond the stage that integrate the performing and visual arts. Drawing has long featured prominently in her practice, shifting from a tool for schematic composition into a fully realized component of her broader investigation into the limits of her own body. Whether she is working within the frame of a sheet of paper, on the wall or on the stage, Brown delights in the play between structure and improvisation, between repetition and invention and between choice and chance. This volume, published to accompany an exhibition at the Walker Art Center, presents a broad survey of Brown's visual arts practice going back more than three decades. Featuring over 40 drawings, it includes essays by exhibition curator Peter Eleey and performing arts curator Philip Bither, as well as a specially-commissioned survey of Brown's drawing vocabulary contributed by the artist.
Hardback, 6.5 x 10 in. / 96 pgs / 95 bw.
Catalog: FALL 2008 p. 87
In 2006, with the assistance of the New York public art agency Creative Time, the Turkish-born, London-based video artist Haluk Akakçe launched his monumental Las Vegas installation, Sky is the Limit, above four blocks of open-air casinos, kiosk vendors and vintage neon icons on the infamous strip, Fremont Street. Utilizing the latest technology to create a "realer than real" experience, Haluk Akakçe's work stages a confrontation between artificial and organic life, suggesting both the liberating and alienating power of technology, and evoking an alternate fluid sense of space and time. According to art critic Alex Farquharson, Akakçe opens a view into "a world of seemingly endless possibility…where it seems one may become anything simply by believing in its possibility."
Paperback, 7 x 10 in. / 56 pgs / 42 color.
In January and February of 2007, the Los Angeles-based video artist Doug Aitken projected a new work, commissioned by The Museum of Modern Art and the New York arts institution Creative Time, onto seven facades on and around MoMA's fabled West Fifty-third Street building. Sleepwalkers was both inspired by, and offered in opposition to, the densely built midtown environment; it integrated itself onto the surfaces on which it was projected, and it challenged viewers' perceptions of architecture and public space. The piece, which follows the trajectories of five characters as they make their way through nocturnal New York, explores Aitken's key recurring themes: broken and recombined narratives, the rhythm and flow of information and images, and the relationship of individuals to their environment. The viewer, as a pedestrian, a participant and a vital component of New York's energetic system, becomes part of the work, and of the interactive personal landscape that Aitken creates in and among the hard-edged concrete and glass language of Manhattan's architecture. In addition to documentation of Sleepwalkers, this publication contains an overview of the artist's work to date, with special emphasis on works since 2001. It also contains conversations between Aitken and a variety of artists, architects, writers and performers about different elements of city life, from the lit signage of Times Square to a taxi driver's eye view of the streets.
Paperback, 8.75 x 10.75 in. / 176 pgs / 275 color / 5 bw.
Cai Guo-Qiang: Light Cycle
Explosion Project for Central Park
Published by Asia Society/Creative Time.
Essays by Peter Eleey. Foreword by Vishakha Desai and Anne Pasternak. Introduction by Gary Garrels.
Commissioned to celebrate the 150th anniversary of Central Park, Cai's Light Cycle fireworks display lit the New York sky with a circle of explosions on a September night in 2003. This 24-page accordion book documents it all from planning to performance, executed by the famous Grucci fireworks family. Separating the book's hardbound cloth covers reveals a continuous folded sheet with reproductions of Cai's gunpowder drawings (made by burning scant gunpowder on paper) on one side and photographs of the event and text on the other. In an interview, the artist compares his drawings to "love-making" and explains some technical aspects of his displays, such as a computer chip in each explosive shell.
Asia Society/Creative Time
Clothbound, 12.25 x 9.25 in. / 24 pgs / 16 color.


Therapists and ATPs Michelle Lange and Jean Minkel published a clinical resource guide on seating and mobility in November through SLACK Books, part of the Healio Network, that spans a whopping 440 pages.
Lange and Minkel are familiar names to those practicing seating and mobility. Denver-based Lange helps NRRTS select topics and speakers for its more than 30 webinars each year, as well as edits the clinical articles that appear in the group's Directions magazine. She also consults and does education work for Stealth Products and Seating Dynamics, two manufacturers in the market.
While Lange and Minkel authored three of the book's 25 chapters—which address everything from the assessment process to postural support to clinical decision-making—most were authored by other clinicians "who are also passionate about what they do," some from as far away as Iceland, Lange said.
"Jean and I started the guide by sitting down at a conference and coming up with a table of contents, and the toughest part was identifying an author for each topic," she said.
But it's that variety of authors and their specialties in different populations—whether it's pediatrics, bariatrics or geriatrics—that are the guide's best selling points, Lange said.
Lange envisions a myriad of uses for "Seating and Wheeled Mobility: A Clinical Resource Guide"—for therapists who are just beginning to specialize in seating and mobility, for those who are working with a new population of people with disabilities, and for those looking for better ways to document and support the need for equipment to payers.
"I think this will be one of those books that people keep on their shelves and keep turning back to," she said.


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Yes, Colleen that is the answer and I tried. After a few nights on the couch I gave up and went back to bed. He is fine.... Must have been a "just for me" cold.
That advice all sounds good to me - especially checking for sugar / carbs in over the counter meds. I've heard there is a significant amount of carbs in Nyquil (over 20 grams, I've been told, though I haven't verified and have never used Nyquil). But in any case, yes, prepping a plan in advance is great and something I should revisit.


text:
December 12, 2022 | NTD Films
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Texas Scientist and Mother of Two Killed During Her Regular Morning Run
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redpajama_set_name: RedPajamaCommonCrawl


It's complex stuff but boiling it down, researchers are closing in on a DVD size storage medium that could hold 50 Terabytes of data. The technology is based on Organic proteins. I won't attempted to explain it myself. Just know this, it's wicked cool.
What's the Perfect Size Phone?


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Bringing machining in-house
Client: Gary Blenkinsopp
VinZero Partner: Cadline
Industry: Manufacturing & Data Management
Autodesk Solutions: Autodesk Fusion 360, Autodesk Moldflow, Autodesk Powershape, Autodesk PowerMill
Husqvarna is a Swedish manufacturer of outdoor power products including chainsaws, trimmers, brush cutters, cultivators, garden tractors, and robotic lawnmowers. Its UK headquarters are in Newton Aycliffe, County Durham. At any given time, Husqvarna has multiple high-value and technically complex projects running all over the world. It is critical, therefore, that it delivers these projects in a timely fashion. If it is late on one project, then there can be a domino effect, with the other projects behind impacted too.
Husqvarna uses Autodesk® PowerShape® CAD modelling software for manufacture which it also uses for viewing and interrogating the designs. In addition, Husqvarna has in place the full Autodesk® Moldflow® filling analysis for plastic injection moulding. It has also just upgraded and implemented Autodesk® Fusion 360 with PowerMill® CNC machining software for manufacturing electrodes, turning modifications for manufacturing and engineering jigs and fixtures.
DESIGNING AND MACHINING TOOLS IN PLACE:
Gary Blenkinsopp, Technical & Tooling Manager at Husqvarna, said: "PowerMill is new for us. It is step on from the old-fashioned way of doing things where you work primarily with 2D drawings. Everything is now in 3D. We have one person who has recently joined the company who is experienced in Powermill and we have trained another two people up. We are keen to give them enough time on the software to become conversant with it."
Husqvarna chose to work with Autodesk Platinum Partner, Cadline, to support it in using the Autodesk software and to provide training on the software. The challenge for Husqvarna was that historically it outsourced much of its tooling work to third parties, but it was running into delays with timelines not being met and the cost of outsourcing electrodes, including associated transport charges. All this meant Husqvarna was incurring significant expenses on an ongoing basis and the approach was also causing issues with project timelines. To address these concerns, it decided to invest in a Hurco VMX Series- 3 Axis Performance CNC Machine and to bring its tooling capabilities in-house.
GAUGING THE BENEFITS:
The use of Autodesk PowerMill itself brings a range of benefits to Husqvarna. The surface finish controls on the software are superb. Also, macros can be written and then batch processed for the components and the different variants of component, and then automated.
But beyond this, what are the benefits of Husqvarna doing a lot of the CNC work itself? According to Blenkinsopp, it comes down to time and cost. "We are limited in size in terms of what we can put on our machine," he said. "Previously, if we had to send items out to the Midlands or to Yorkshire, for example, to be worked on, there would be a transport cost involved with it and sometimes a delay in getting the transport. This new approach, however, gives us the flexibility to pick and choose what we want to do."
"If it is a quick turnaround, we can definitely opt to do it ourselves," added Blenkinsopp. "We can have total control in-house of that workflow from inquiry right through to production. If there is a more complex, longer-term project, we can still subcontract it but that frees up our machine to do other work."
Husqvarna - Manufacturing & Data Mgmt
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Like old friends, many of us can mark our years by the couches on which we have spent time.
Remember the sofa that your parents had, and how it felt so warm and safe to snuggle on it while you watched Saturday morning cartoons? How about the hand-me-down one that you tried to work with by adding a slipcover and some throw pillows when you first got married? Or the couch that you purchased on impulse in that lovely buttery yellow color that swallowed up the entire living room once you got it home? Yes, those "friends" provide us with memories, whether they be fond or painful ones.
My most recent couch-tastrophe was having our decadently comfortable sofa reupholstered in a perky, durable denim fabric only to find out that the piece of furniture would not make the turn into our bonus room. Yikes! That couch has now taken up residence in the basement. I have a feeling that I am not alone in my blunders, and what is it about couches that many of us have made costly mistakes with them? It is about time to unravel this mystery and become "forever friends" with the sofa.
Also, sketching out a simple floor plan of the room and knowing what existing pieces will be used enables a salesperson to point you in the right direction. Experts suggest taking along a simple drawing of the layout of your room, photographs of anything you want to keep in the room and any fabric samples when you go shopping. Feazell elaborates: "It is worthwhile to do a floor plan. Draw your room, and place the sofa in the plan… just sketch and play around." He also suggests having a starting point in your room for inspiration, say the floor or the wall color.
Matthew Clements of Sofas Unlimited suggests taking furniture store fabric samples home to look at them. "Take the fabric home and view the colors in your own light. Fluorescents are different than natural light, and colors will look different at home versus in the store." Clements relayed a story about how a blue couch in the showroom turned green in the homeowner's natural light.
Once you have assessed what your needs are, it is time to go shopping! With prices ranging from a few hundred up into the thousands, knowing what you are getting for your money is of the utmost importance. Most experts agree that you get what you pay for when it comes to purchasing a sofa.
"One of the biggest things that we stress with our clients is to know what you are buying. You can have two couches that look exactly the same on the outside, yet they are very different on the inside. You need to feel comfortable that your salesperson has enough knowledge to let you know what you are getting, such as the springs, frames, cushions and construction. If the salesperson does not know that, you should probably go somewhere else," says Walton Beeker of Henderson Furniture, whose showroom has cutaway chairs on display so the inner construction can be viewed.
When purchasing a couch, the unseen is as important as what is seen. The weight of a sofa comes into play and is often a good indicator of quality. A quality piece will be made of hardwoods with a tightly-assembled frame and a good spring system, which will result in a heftier piece of furniture.
Feazell suggests, "Price is a consideration, so have a budget in mind. Do you want it to last years, or do you redecorate often? There are so many choices for the consumer at different price points, although there is a huge middle range of quality furniture that is well made." Shoppers also seem to be more knowledgeable about the products that they are purchasing nowadays, making the process easier on both the consumer and the salesperson.
When choosing his own couch, Feazell said, "There were things I wanted to find in my own sofa no matter what. I wanted a sofa that would last 15–20 years, be eight-way hand-tied, have down cushions and be bench made, not manufactured on an assembly line." Bench made pieces are only touched by one or two craftsmen, unlike pieces that are made on an assembly line.
With upholstered pieces, the cost lies in the construction, and experts advise consumers to purchase the best quality that they can afford. Purchasing a couch with a style that will stand the test of time will allow for the piece to be recovered without looking dated, which is wise in an investment piece.
Fabric and style choices are where personal tastes can shine through. Beeker says that the neutral colors are most popular. With a neutral sofa all it takes is a few quick changes of throw pillows and drapes, and your home can have a whole new look. Other issues to consider are comfort, construction, and value of your sofa. Beeker says, "[Your couch] should be comfortable, and you should enjoy sitting in it. Know how it is built, and be sure that the store has a good level of service. We stress the value of the piece. Do you want to make a $2100 sofa mistake? You can buy three or four junky ones or just buy one and keep it. Many people do not want to make the investment in a high-end sofa." Beeker described this as the "investment mentality vs. the throwaway mentality", and buying a higher-end couch is worthwhile over time.
Feazell adds, "You can keep the price down by buying a sofa as is, but some customers want more options. Custom fabrics [make] the price go up." Fabrics are available at different price points, and purchasing additional pillows and adding trims to the sofa increase the price. Also consider the room the couch will be placed in and the amount of wear and tear to which it will be subjected.
There are also decisions to be made as to whether a couch is more contemporary and clean-lined or more casual and comfortable looking. Arm style and whether a sofa has exposed legs or a skirt is left up to individual taste and design aesthetic. When it comes to choices such as these, sometimes a store will offer the services of an interior designer to enable customers to make the best choices.
Just as a companion can make or break a party, your couch can have a positive or negative influence on a room. Tom Feazell put it perfectly when he said, "A couch sets the mood. If you have a gorgeous couch, all of a sudden the room is beautiful, but if you have an ugly sofa, people will not notice anything else. It makes or breaks the room." Sounds like that old friend analogy again, doesn't it?


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Laptops News
China Launches $24 Billion 'Integrated Circuits' Project
By Press Trust of India | Updated: 30 March 2016 18:44 IST
China has set up a $24 billion (roughly Rs. 1,58,966 crores) Integrated Circuits project in Central Hubei province aimed at boosting the country's production of memory products.
The construction for the Integrated Circuits (IC) project started on Monday in the East Lake High-tech Zone in Wuhan City, capital of Hubei, state-run Xinhua news agency reported Wednesday.
The project focuses on research and development of memory products. Monthly production capacity is expected to reach 300,000 chips in 2020 and one million in 2030.
Hubei has set up a special investment fund of CNY 50 billion ($7.7 billion or roughly Rs. 50,995 crores) to support the IC industry. An investment of $24 billion (roughly Rs. 1,58,970 crores) was expected in the next five years, the report said.
The IC industry is a strategic emerging sector for China, with huge investment to be poured into it.
In 2014, China's cabinet issued a guideline on the development of the industry to stimulate IC companies and accelerate the pace in order to catch up with international leaders in the industry.
China, which relies heavily on imports of IC, has established a national Integrated Circuit investment fund of CNY 138 billion ($21.3 billion).
In 2014, the country's IC imports hit $218 billion (roughly Rs. 14,43,804 crores), of which memory products accounted for about 25 percent.
With this project, China's capacity in memory products will keep up with or surpass that of countries like the Republic of Korea in five to 15 years, said Zou Xuecheng, a professor of semiconductor engineering at Wuhan's Huazhong University of Science and Technology.
An IC also referred to as a chip or a microchip is a set of electronic circuits on one small plate of semiconductor material, normally silicon.
They are used in virtually all electronic equipment today and have revolutionised the world of electronics.
Further reading: China, IC, Integrated Circuits, Laptops, Mobiles, PC
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Academies Enterprise Trust
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Key Stages 3 & 4
Art Showcase
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Parents Forum
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Year 11 Revision Tips for Parents
Message from Principal - Gemma Simon
Welcome to Hillsview Academy where our vision is of a school in which staff and students have a determination to succeed, a love of learning, pride in the academy and a strength of character. We are committed to ensuring that all students are equipped with the academic and emotional skills which will allow them to lead successful and fulfilling lives.
All students follow a vision programme which aims to develop nine key character traits (curiosity, courage, empathy, enthusiasm, gratitude, integrity, resilience, self-belief and self-control). These character traits have been shown to boost academic performance and increase the chances of future success. Tutors and pupils work closely to develop these characteristics, tracking pupil progress throughout the year and intervening where necessary.
At Hillsview Academy we aim to develop well rounded, successful students who are able to make the most of all the opportunities that are afforded to them in the twenty first century. By developing a determination to succeed, a love of learning, pride in the academy and a strength of character, we believe that this will be a reality for our students.


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States Title is becoming Doma
Instant Underwriting
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Title Agents
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Ask the Expert Webinars
Ask the Expert (in a crisis): How to Drive Real Estate Transactions in Today's Market
Max Simkoff: Welcome to Ask the Expert, where we ask industry leaders about their unique perspective on how to navigate the most difficult challenges faced by the broader real estate and financial services ecosystem during the current global health crisis. We're also giving you a chance to ask the experts some of the most pressing questions on your mind. My name is Max Simkoff, CEO of States Title, and today I'm excited to welcome Compass' San Francisco founding partner, Monica Pauli, and residential real estate sales leader, Kate Tomassi, to talk about the topic, "How to drive real estate transactions in today's market." It's a particularly interesting topic given the unique set of challenges that need to be navigated in California, in the Bay Area, and also across the country, to help get real estate deals done.
Just by way of quick background, Monica – who I've known now for quite some time – is one of the top producing agents in the United States. She did over $150 million in sales just in the San Francisco Bay Area last year. I can personally attest that she is highly sought-after by clients and greatly respected by her fellow agent community. Kate was named Rookie of the Year by her brokerage in her first year in the business. Over her first five years, she closed over $100 million in transactions. So, they are really just a powerhouse team and we're super excited to have them. Welcome, Monica and Kate. Thank you for making the time for this today.
I wanted to just start by mentioning, Monica, you and I met back in 2010 or 2011, and our experience was when you helped me find my first home, which was in fact the experience that led me to start the company States Title. When I went through that closing process and saw that there was clearly an opportunity to make closings more efficient and use technology, you could say that you helped inspire the start of the business. Certainly, you and Kate have helped a lot of homebuyers, home sellers, and first-time homebuyers in figuring out the process and easing some of the different pains across the process, and now at Compass. I'd like to start there, because you're at Compass. They brand themselves as the technology brokerage, and certainly, in the current time we're in, technology is playing more and more of an important role in helping get deals done. I'd love to maybe start by hearing about some of the technology that you both have seen that has helped find and helped customers close during the crazy time that we're in.
Monica Pauli: Well, thank you, Max. One of the reasons we started Compass four years ago in 2016 was their technology platform. When we left our brokerages – I left Coldwell Banker after being there 16 years and there were 15 of us that started Compass in 2016 – we knew what Robert Refkin's plan was, but we had no idea it was going to be this. I will say – and Kate can also add – that during this pandemic, if we were not with Compass, I just don't know what we would have done, because of everything Compass has built for us, for all of the agents and the staff. Every worker at Compass can work from our laptops anywhere in the world.
The tools that Compass has been able to provide us during these last six months have just been so beneficial for us as agents. We have actually made more money during this pandemic. We are working smarter. We are not wasting the time that we used to waste.
That is, producing a comparative market analysis live for our clients, doing live video tours with our client in the property. The tools that Compass has been able to provide us during these last six months have just been so beneficial for us as agents. We have actually made more money during this pandemic. We are working smarter. We are not wasting the time that we used to waste. Now, all of our staff employees and team members are able to do this – which we never knew of – Zoom. The new world is now, I think, going to be moving us to the future oh how we're going to work better and smarter.
Max Simkoff: That's awesome. Kate, anything to add on what you've seen?
Kate Tomassi: Yeah, both Monica and I have, during the pandemic, been able to get contracts done sight unseen because of the incredible virtual tours that we're using now, even at the lower price points. I didn't use to do virtual tours for properties that were low $1-million condos, but we have to have it out there now. When we do showings, it's not open houses. It's people who really already know the properties. It's very targeted. We may have fewer showings, but each showing is so much more likely to result in an offer. In a weird way, that's really benefited us.
Max Simkoff: Yeah. And I'm curious. Have you closed on deals without people actually having seen the property in person? Like, are you seeing people tour these locations virtually, and then make offers and actually close without ever having been inside of the property?
Kate Tomassi: Yes!
Max Sikoff: That blows my mind. I was on Redfin or Zillow the other day looking at a property, and I was surprised at how easily there's a piece of technology and used called Matterport. I was surprised at how easily that had been integrated into the viewing process. It was the first time I'd seen that, and this is actually for a property outside of San Francisco. It was an up in Napa. I was used to a world where you'd click on pictures, and now there is like a really easy thing to click on. You get a 3D walk through the entirety of the property, from any vantage point, and just seeing stuff like that, it feels like that would probably be more useful and more valuable in the current time.
Monica Pauli: Now we're using my Matterport for every listing. Before clients even come to see the property, they view the Matterport for the virtual tour, the floor plans, before we have them come see the property, if they do see it in person. We also see every buyer who's pre-approved ahead of time. We know this is a real showing, and because of COVID and how strict everyone is, this will be the new norm.
Max Simkoff: Wow. Well, kind of in a similar vein, I know that the two of you are team members. You've worked together closely on opportunities in the past. A couple years ago, that might have meant you find ways to meet in person. You can tag-team opportunities by meeting with buyers and sellers, showing homes. How have you found new ways to be successful in this remote-first world now, where a lot of the things you can't do? I'm interested in what tools or strategies have you found that have helped you as a team working in an industry that has historically been so heavily based on in-person interaction?
Monica Pauli: Well, today, I have two other Zoom calls with a seller who I've never met who was just referred to me, and a new buyer who was just referred to me. This has really been an amazing opportunity. I feel that buyers and sellers are completely transparent. They're telling you everything. A lot of the time, you really don't know the full truth on things, but people are really honest and we are developing a relationship 10 times faster. The trust, advice and direction that we give our clients … For example, today I'm talking to someone that's going to need Compass Concierge, the staging program, and they will need $30,000 to paint, stage, and maybe redo a bathroom, but we'll be able to do that all together on the conference call today. I also have my stager on a Zoom call. Then we will go to the property and see it. It's vacant. The client won't have to do anything except trust and see what our plan is. Everything is done by video conferencing calls right now. Then our team will go and do the presale inspections. We'll do all of that work for the client. Again, Compass has all these amazing tools. Kate, you can also chime in on the other things that our team has been doing during this.
Kate Tomassi: I recently closed on a listing where my clients were sellers who recently relocated to Maryland. We signed a listing agreement in January, pre-COVID. It had some delays because there was a lot of work to do through the Concierge program to get it fixed up, but lost the month of April. But overall, it was amazing. You know, they couldn't get back, so they never saw the house before it sold. I would walk them through as work was done. They were thrilled with the results. You know, I haven't seen them since last year in person, and now they are closed.
Max Simkoff: Wow. That is kind of a great transition to another interesting theme that I'd love to hear both of your perspectives on. You mentioned this client who moved to Maryland and sold a home in California. Certainly, that's a long-distance move. I think we've clearly seen that the current market has got a lot of people questioning their home location choices, particularly in the microcosm that is San Francisco, or even the Bay Area. For people with kids in the city of San Francisco, clearly space is at a premium. A lot of people are considering moving to the suburbs, and even this concept of escape homes is more acceptable if you are working remotely. I'm just curious, how have you seen this play out? Are you seeing more of this, or of housing market trends that you think are indicative of current conditions, where people are able to work more flexibly from a variety of locations and they're starting to reassess the value of space, and, how they're working from home? What are some of the trends that you've all seen there?
Monica Pauli: I'm finding first-time buyers are out and about. One of my clients put in an offer. There were 28 disclosure packages out on a little house in Twin Peaks. My client was a renter, where he was paying $5,000 a month in rent. I'm finding that myself and my team are all working with first-time buyers right now who are moving from renting to buying a little single-family house. If that's in the Sunset, you know that the market under $2 million is very robust. Everyone wants a garden. They don't want to hear their neighbors. They want to have a flex room. They want to be by the beach.
People are making life changes right now that they were probably deciding in the next two years, but now they're deciding, 'Let's do it now,' given the environment we're in.
I think people are saying, OK, I'm going to take my 20-percent, 25-percent down, and I'm going to put it in the market. I'm going to be here the next five to 10 years. And you know what, if I'm not going to work from home, if I'm not going to have to go into the office, maybe I'm going to move to Marin, maybe I'm gonna go to Stinson Beach. People are making life changes right now that they were probably deciding in the next two years, but now they're deciding, 'Let's do it now,' given the environment we're in.
Kate Tomassi: A lot of my clients tell me they feel that the safest place for their money right now is real estate. They've already liquidated any stocks after the crashes in the spring. Now the money is sitting there. I'm also finding that my first-time homebuyers who had initially started thinking they would buy a condo are stretching their budget and saying, 'You know what, we're gonna go higher,' or, 'We're going to make this happen, we're gonna go for this single-family home.'
Max Simkoff: Which is certainly unfortunate timing for a lot of us. I think in this sense, probably San Francisco is akin to Manhattan in many ways, and that you saw this boom of high-rise condo construction over the last couple of years to try and alleviate some of the housing challenges we had. Then all of a sudden, you've got a lot of these high-rise condos coming online right at the time that's likely the less attractive option for them given the current markets. I guess I'm curious, have you seen that, too? Like when you think about the difference between even the types of condos that are for sale in San Francisco, have you found that living right downtown in a high-rise building has become meaningfully less attractive than at least having a little bit of space to spread out and not feeling like you're kind of trapped in a building with an elevator?
Monica Pauli: Right now, those sellers – the owners that are downtown – are going to have to wait it out until they decide to sell. Right now, the prices are way low, significantly low. We're seeing less than maybe 2015. Wait for two years. It's going to bounce back. It'll probably be 18 months to two years, but nobody wants to be in a high-rise right now. The listings that I'm selling, those buyers are coming from downtown. The big buildings with the doorman, they're moving to single-family homes. The families that are in a nice condo in Pacific Heights, they're moving to single-family. I just think the condo market owners should hold if they can. But you know, it's definitely cyclical. We saw this in 2008. San Francisco will bounce back, and it's going to come back very strong. We'll have a lot of new buyers. It's a waiting game right now.
Max Simkoff: I want to shift a little bit now. You've both talked about the parts of the technology landscape and the process landscape that has somewhat amazingly gotten more efficient in the current environment. I want to talk a little bit about some of the quirks that remain. The first one is particular to the market that the Bay Area is in, which clearly is more of a high-net worth market. Earlier, Monica, you said the market for properties under $2 million remains competitive. I think for people who don't live in the Bay Area, they may just about fall out of their chair when they hear that that's the threshold for a competitive market. It helps to remind folks that the price per square foot in San Francisco and in the Bay Area is in many cases like four or five times what it is in the rest of the country. Finding a single-family home for less than $1.5 million, for example, is very, very difficult to do in the city of San Francisco. Clearly, they become more affordable as you get out into some of the suburban areas. But given that this is more of a high-net worth market, I'm curious, what have you seen in the current environment? What will be some of the remaining challenges associated with selling to and for these folks? Given that a lot of our audience here is focused on the mortgage process, they are particularly interested in what qualities you're looking for in lenders that your clients are working with. What are some of the challenges there, and what does that mean in terms of how you guide your clients and work with particular kinds of lenders to help them get through this process easily?
Monica Pauli: Well, I can say I'm closing something tomorrow. Yesterday, we were scrambling because my client, the seller, all-cash, doesn't have a loan and he has to get a notary to come to his home in Orinda to sign, and all the notaries are booked. This is a man that is just extremely successful and owns properties all over the United States. He's like, 'Why can't I just do this online? Why do I have to sign my closing papers?' I was like, 'That's a really great question.' We were very frustrated.
Yesterday, we were scrambling because my client, the seller, all-cash, doesn't have a loan and he has to get a notary to come to his home in Orinda to sign, and all the notaries are booked. This is a man that is just extremely successful and owns properties all over the United States. He's like, 'Why can't I just do this online? Why do I have to sign my closing papers?' I was like, 'That's a really great question.' We were very frustrated.
I think the lending part has been great with all the lenders. Everyone works really hard together and is very transparent. We really love the lenders we all work with. But the bottom line is the biggest negative to our whole transaction is the most important piece of closing, and that is getting the documents signed. We cannot do that online. That is having to have a notary person come to your home during COVID, just in general. I don't want somebody in my house and neither does my client. So they're outside on the picnic bench, in their masks, signing. But I don't understand why we can't have in California remote signing online. What's the deal?
I don't want somebody in my house and neither does my client. So they're outside on the picnic bench, in their masks, signing. But I don't understand why we can't have in California remote signing online. What's the deal?
Max Simkoff: Yes. Actually, there's a question that came in about that, and I'll ask that in a second. But maybe before that, Kate, anything to add on challenges that you've seen in serving this kind of unique client base, and particular feedback for lenders in the mortgage process, things that you've seen there?
Kate Tomassi: We're really trusting the lenders who we know, and who we hand-pick for the right client. You know, it depends on different clients or might work better for different lenders. But the candor that we need from our lenders right now in terms of reality with underwriting delays, difficulty getting appraisers out, having drive-by appraisals in San Francisco, which was happening in the spring, is very difficult for us because a lot of the houses here have unwarranted space that's actually worth quite a bit of money. But if the appraiser doesn't see it and is only seeing me outside of the house and only looking at tax records, that can be very, very challenging. So understanding which company they're using for the appraisal, being able to know for sure that my client's using a lender who's going to send an appraiser out who will actually get into the property. I found that's been really key.
Max Simkoff: Well, so I'm going to shift now to some of the questions I've received because I want to make sure we leave a few minutes left for that. I have, as expected, gotten a couple around this topic of remote digital closing. I actually had one on one of our webinar participants remind me here that the state of California is working on digital notary becoming available similar to other states, but lenders have their hands tied on this a bit.
But this gets to one of the other questions that came through, and that is that California is generally known as a progressive state and is the largest real estate market, but is literally now the only state who hasn't approved Remote Online Notarization (RON) or even what's called Remote Ink Signed Notarization (RIN), which I believe, just as an aside, is where you have basically a Zoom session and the client still signs in person by having a promissory note and the closing documents FedExed to them, but they still don't have to do so in the presence of a notary. But the question again says that, these have been approved on a temporary basis during the pandemic – and Monica, I know you touched on this a bit, but maybe both of you could touch on it a little bit more – How have you and your customers felt the impact of this? And more importantly, are your customers expecting or requesting a remote signing option? Did they do this even before the pandemic, under normal circumstances?
Monica Pauli: They always like to sign remotely. They're all very busy. Everyone's very busy. The fact that they have to go into the title company or they have to have a notary to sign them is a big inconvenience. I just had somebody that, again, was all cash, both sides, the house had no loan, nothing. The sellers were in New Zealand. This delayed our close by 10 days. That was last month. They had to go to the United States consulate in New Zealand. So this, for example, is the new norm. I really hope that California will change this and it becomes all automated, because it isn't easy and it's a very important purchase. I know that it can be regulated.
Everyone's very busy. The fact that they have to go into the title company or they have to have a notary to sign them is a big inconvenience.
Just like everything else we do, everything's gonna be automated. Once again, this is why we joined Compass. It's going to be one click. Am I going to buy a house? Sure. We're going to do everything virtually. Yes. I'm going to need a real estate agent to negotiate for me. But it's going to be taking everything out.
Max Simkoff: Last question here before we wrap up. Are there any market trends that signal what the "new normal" for the real estate market may look like? And maybe if I could put my own tweak on this question, which is if both of you were to fast-forward, let's say 12 months from today, hopefully, we can expect a vaccine, and we have things somewhat getting back to normal in terms of not having some of the restrictions. What do you think that new normal would ideally look like? And again, I'll put another twist on the question, are there any things you're afraid of people going back to that will take us back into a place that's even less efficient than it has needed to be in the current environment?
Monica Pauli: Open houses. You know, I don't want 100 people going through my client's home, using the bathroom. It's just a waste of everybody's time. You think of all the handshaking and everything we were doing, and just the body contact, and you think,'I think we're doing this better now.'
I don't want 100 people going through my client's home, using the bathroom. It's just a waste of everybody's time. You think of all the handshaking and everything we were doing, and just the body contact, and you think,'I think we're doing this better now.' We're dealing with real buyers, pre-approved. They're ready to go. The market will speak on how we list the house, the buyer's reaction.
We're dealing with real buyers, pre-approved. They're ready to go. The market will speak on how we list the house, the buyer's reaction. Our business has been, if you go back to when it started with the book and you know how everything was, everything has changed. We are the last industry to really change, to do this big change. You know, when you look at Compass and States Title, I hope it's the new norm.
Kate Tomassi: I do, too. We were talking about, at least for us, the days of A-frames are over, right. You know who comes in because they saw your sign on a street corner? I'm really enjoying being able to focus on my profession and my clients. It's a profession, it's not somebody's Saturday afternoon entertainment. You know, that's a waste of our time and our client's time. I'd like to see that stay the new normal.
I know a lot of agents are struggling with it because they pick up clients at open houses, but that's not really servicing their clients. Monica and I do most of our business off referrals. I'm thinking my A-Frames are just gonna continue to collect dust in my garage, and I'm totally fine with that.
Max Simkoff: A new normal where A-Frames are collecting dust and we have less, or maybe no, open houses, more qualified buyers, easier, faster transactions using more technology, certainly sounds good to me. Certainly, when it also enables more people to, you know, become homeowners more efficiently.
Really wonderful talking with you both. Thank you so much for making time for this. I really appreciate it. I have certainly learned a lot of valuable takeaways here. I want to thank you again, Kate and Monica. Always a pleasure.
Want to listen to this on the go? Check out our Ask the Expert podcast series on your favorite streaming platforms and on our site too!
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A candid look into getting back to the basics in front of a whiteboard and redesigning and reimagining how a mortgage should work to achieve the end goal of closing a mortgage in 7 days.
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'Nabis, Gauguin and the Italian avant-garde painting' at Palazzo Roverella
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The fascinating artistic revolution in Europe and Italy led by Gauguin and Nabis
From 17 September 2016 to 14 January 2017
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From 17th September 2016 to 14th January 2017, the exhibitions at Palazzo Roverella 2016, Rovigo, take place among colours and emotions... Gauguin, Bernard, Denis, Serusier and many other artists: stories that later became legends, anticipating fashion and trends not only in the history of art.
'Nabis, Gauguin and avant-garde Italian painting', the most recent must-see show in Rovigo in 2016, explores the extraordinary artistic situation that was created in the late nineteenth century and which profoundly influence the painting of the following century. The title of the exhibition in itself anticipates a very varied route, which will take you all the way from Britain to the Venetian lagoon, going through extraordinary paths and experiences that are spread and entwined across the whole of Europe.
On display at Palazzo Roverella, Rovigo, about one hundred masterpieces recount the adventurous birth of modern painting between the school of Pont-Aven and the Nabis movement, a momentous 'revolution' also in Italy, thanks to the interest of Italian artists towards new trends originating on the other side of the Alps.
The exhibition Nabis in Rovigo, Italy offers an innovative journey which is both visual and emotional. The rich body of graphic works and paintings, many of which are very well known, others yet to be discovered, presents the stories of artists fleeing from themselves, from cities, from too stable liaisons... Artists that, in the end, all end up going to the waterfront, be it the ocean that meets the land of Britain or the quiet lagoon of Venice.
The charismatic figure of Paul Gauguin is a fundamental part of the exhibition: Gauguin in Rovigo, Italy will present 'The women of Britain', 'Landscape from Bretagne' and two representations of Tahitian women that, albeit pertaining to a later period of his life, must almost mandatorily be exhibited in Rovigo at the Gauguin exhibition 2016. The first two works are a clear signal of the evolution of the pictorial style towards simplicity, a change occurred after meeting with Emile Bernard, an artist who most of all perhaps embodies the soul of Nabis.
Gauguin moves to Pont-Aven in February 1888, at the end of his 'partnership' with Van Gogh, who instead preferred the south of France to Britain. Here, Gauguin meets a community of young international artists who painted together whilst sharing experiences and thoughts... Many of them had the search for an essential simplicity in common - a simplicity to be found both in life and from a creative point of view, nonetheless without forfeiting a subjective view of the surrounding reality and searching for hidden symbolic meanings.
The language of this group of artists, expressive and anti-naturalistic, soon meets the primitivism and exoticism in vogue at the end of the nineteenth century and subsequently merges into various artistic movements influencing their distinctive characteristics.
Among these Nabis (Prophets in ancient Hebrew) stand out, that truly mark the beginning of modern art: free from imitation of reality, these young artists from Paris gave life to a new pictorial language in which strong colors, pronounced signs and forfeiture of details lead to a very simple and concise painting, almost stripped down to the essential. As a reaction to Impressionism, these artists began to focus on the two-dimensional decorative elements and put perspectives, proportions and shades aside. The degree of experience gained by Nabis then influenced the birth of the Fauves, up to Art Nouveau, Expressionism and Abstract Art.
The contamination does not skip Italy, and it is on this front that the second part of the exhibition in Rovigo focuses: the Gauguin exhibition in Italy 2016 investigates those artists that in Paris and in the territories beyond the Alps metà the new incentives produced by the works of Gauguin and the Pont-Aven artists.
Among these artists, Gino Rossi, the multifaceted artist full of contradictions, is the most significant exponent. Operating a quick comparison between Gauguin and Rossi, we can discern two very distant stories, but united by some common traits: the first one seduced and captured by the beauty of Tahiti, the second trapped in a tragic view of the provincial world. Both artists, however, find themselves creating similar paintings, simple and almost naive, deriving from a philosophical thought that almost appears to be too transparent and fragile.
Along with Gino Rossi, the second part of the exhibition at Palazzo Roverella Gauguin, Rovigo, 'Nabis, Gauguin and avant-garde Italian painting' proposes Arturo Martini and the group gravitating around Ca' Pesaro. These artists have shown a great interest for France and its innovations in the artistic world, most notably the abandonment of a long pictorial tradition centred on the imitation of nature.
The last part of the exhibition is dedicated to the successors of this fascinating artistic universe. Exhibitions at Palazzo Roverella 2016 is wrapped up by the section Synthetism and its leading exponents (Paul Serusier, Emile Bernard, Paul Elie Ranson, Maurice Denis, Cuno Amiet and Felix Vallotton), also present in Italy - Felice Casorati, Oscar Ghiglia, Cagnaccio of San Pietro, Mario Cavaglieri.
The exhibitions at Palazzo Roverella 2016 include a big surprise for the autumn: an innovative and fascinating section to interpret the works and artists who were able to revolutionize the language and style of paintings looking at the artistic world without inferiority complexes.
A Rovigo, the exhibition 'The Nabis, Gauguin and Italian avant-garde painting' is curated by Professor Giandomenico Romanelli, art historian and former director of the Foundation of Civic Museums of Venice.
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By Insidecom Editorial Staff
Period: From 17 September 2016 to 14 January 2017
Event location: Palazzo Roverella, Rovigo
Contacts: more info at palazzoroverella.com
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If you're in the mood for some nostalgia, they're remaking "Shaft"! And this time there's three of them.
The original John Shaft, Richard Roundtree, is back! Samuel L. Jackson is John Shaft II and newcomer Jessie T. Usher is John Shaft Jr.
In the new movie, three generations of Shaft are on the case.
The movie was co-written by "Blackish" creator Kenya Barris and will be released to theatres on June 14.
Are you excited for this remake or should Hollywood slow its roll w/ remakes & reboots?


Home > News & advice > June 2017 > Colds and coughs: what are the best treatments?
Colds and coughs: what are the best treatments?
For a first-time parent, watching your child suffer through a nasty winter cold can be confronting.
High temperatures, snotty noses and barking coughs seem to go hand in hand with the winter months, and if your child socialises with other kids, it's pretty easy for them to pick up the germs.
The average preschool child has at least six colds a year and young children often get them because they haven't had a chance in their young bodies to build up an immunity.
Because there are more than 200 types of virus that can cause colds and upper respiratory tract infections you can't be immunised. They are more prevalent in winter because people stay inside and more easily pass on the infection.
While the common symptoms of colds, including sneezing, a runny nose and red eyes, are pretty mild, they can also include vomiting, being pale and sleepy, having trouble breathing and fevers that don't get better with paracetamol.
AMAQ spokesman Dr Matt Young said colds were really common in kids in the winter months and often seemed worse at night because of the cold air.
He said while there was no easy cure, there were a few methods parents could try to keep their children healthy and well.
"What we have to remember is that the human body is very resilient against most germs and we have about 200,000 years of evolution on our side," Dr Young said.
"That means your body is designed to deal with them. A lot of treatment for colds and coughs in common sense. If the child is showing signs of a temperature, keep them cool with cold flannels, let them wear less clothes and give them some Panadol or Nurofen.
"Antibiotics should be considered if they are coughing up green or yellow phlegm or if they have sore ears," Dr Young said.
For first-time parents, who are unsure what to do next, Dr Young recommends taking children to a doctor if they're showing signs of ear pain, if they have nasty phlegm, or if their tonsils in their mouths are swollen or coated in a white substance.
Dr Young said the best weapon against the war on colds and flus was ensuring they had a healthy diet, plenty of water and exercise and a good night's sleep.
"Many people use supplements in their child's diet but the reality is that supplements are for people whose diets are lacking key nutrients," Dr Young said.


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Man Killed & 16-Year-Old Wounded In East Baltimore Shooting, Police SayA 30-year-old man was killed and a 16-year-old was injured in a shooting that unfolded in East Baltimore early Tuesday morning, authorities said.
Man, 23, Killed In Southwest Baltimore Shooting, Police SayA 23-year-old man was killed late Monday night in a shooting in Northwest Baltimore, authorities said.
Another Member Of Corrupt Baltimore PD Task Force Sentenced
By Mike Hellgren June 22, 2018 at 12:57 pm
Filed Under:Daniel Hersl, Gun Trace Task Force, Local TV
BALTIMORE (WJZ) — A federal judge has sentenced a former Baltimore police detective to 18 years in prison as part of one of the city's biggest corruption scandals.
Earlier this year, a jury convicted Det. Daniel Hersl in a string of armed robberies while he was part of an elite Baltimore City Police gun unit–the Gun Trace Task Force. Hersl is the sixth officer sentenced so far.
READ MORE: Man Killed & 16-Year-Old Wounded In East Baltimore Shooting, Police Say
His brother, Stephen Hersl, wept outside the courthouse, telling WJZ that the family would "fight for him." He blamed top police brass for the scandal and did not believe his brother committed any crimes.
"I'm not going to sit here and tell you he had bad actions," the brother said.
Another brother, Jerome Hersl, recounted how the detective had received the department's highest honor six years ago for saving his partner's life.
"He saved many lives," he said, and added that his brother took more guns off the street "than he could count… We haven't heard the good things about the GTTF."
Daniel Hersl never made any comments in court. Unlike some of the others convicted, he never apologized to his victims.
Hersl's defense attorney William Purpura told WJZ Investigative Reporter Mike Hellgren that his client was remorseful. He also said he would appeal the sentence.
Judge Catherine Blake denied Hersl's motion for a new trial. Hersl's defense argued one of his victims perjured himself on the stand and was caught with an illegal weapon as part of a Bureau of Alcohol, Tobacco, Firearms and Explosives investigation the same day he testified against Hersl at trial.
The judge found the revelation would not have changed the verdict and denied the motion.
"It is an abuse of the public trust," Blake said of Hersl's crimes. "There must be a clear message that officers who break their oaths…will be justly punished for that conduct."
She said the corruption has "made the job more difficult for other officers."
The government had asked for a 20-year sentence — the maximum under federal guidelines was 21 years.
READ MORE: Man, 23, Killed In Southwest Baltimore Shooting, Police Say
Assistant U.S. Attorney Leo Wise called the Gun Trace Task Force "a gang of thieves." He recounted how Hersl stole money from one victim then demanded that another officer perform a rectal cavity search on him.
"It wasn't enough he took his money, he wanted to take his dignity. It was an act of sadism," Wise told the judge.
Outside the courthouse, Hellgren spoke to a tearful Alex Hilton who claims he was harassed for years by Hersl.
"I'm just trying to put the pieces of my life back together," he said.
Hellgren also previously spoke to rapper Young Moose, who said Hersl "attacked" him.
RELATED: Cop Found Guilty In Scandal Was Called Out By Local Rapper Years Ago
The longest sentence handed down so far has been 25 years for former Sgt. Wayne Jenkins, who once headed the GTTF. The shortest has been seven years for two detectives who cooperated with federal authorities.
Three officers involved have yet to resolve their fate in the investigation that began as a probe into a heroin overdose in Harford County and lead authorities straight inside the Baltimore City Police Department.
Prosecutors say Hersl and others targeted those on the "margins of society" — victims who had criminal records and were unlikely to come forward, much less be believed.
"These were police officers," Wise said. "They weren't pirates. They weren't entitled to take what they thought was tainted drug money."
Hersl was also convicted of stealing tens of thousands of dollars in overtime, fraudulently claiming hours worked on his time and attendance record. Wise said he "bilked taxpayers" and that Hersl was "one of the reasons children sit in classrooms with no heat" — referring to infrastructure problems in the city's schools that received national attention last winter.
Hersl received the same sentence as former Det. Marcus Taylor, who also chose to have a jury decide his fate instead of taking a plea deal.
MORE NEWS: Maryland Weather: Sunshine, But Still Chilly Tuesday
Follow @WJZ on Twitter and like WJZ-TV | CBS Baltimore on Facebook
Mike Hellgren
More from Mike Hellgren
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More Than 100 Flights Canceled As Nor'Easter Sweeps Over BWI
Maryland Will Provide Another $50M To Child Care Providers For COVID-Related Expenses, Hogan Says
COVID-19 In Maryland: More Than 7K Cases Reported Sunday As Hospitalizations & Positivity Rate Continue To Decline


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Home » Clinic News » 7 Reasons to Have a Health Check.
Most people put off a visit to the doctor, even when not feeling at their best. Many more people put off going to the doctor when feeling well. So, why should you consider making an appointment with your GP if you're not sick?
Just like having a car regularly serviced, preventative medicine can detect problems early, which can help avoid more serious issues developing later. A good example of this is checking blood pressure. If your blood pressure is elevated, this can be treated before it has a chance to lead to a serious medical issue like a heart attack or stroke.
2) Building a Relationship With Your GP.
A health check is a good opportunity for you and your GP to learn a bit more about each other. Seeing you in good health, getting your family health history, as well as your own health story, goes a long way toward your GP appreciating the significance of any changes in your health that you may report. A health check is a good way to begin to establish a strong working relationship between you and your GP.
3) Review and Renew Prescriptions.
It's important for your GP to be aware of all the medications you take, both prescribed and over the counter. A health check is a good time to review which prescriptions you still need, which ones might be stopped, and to make sure you have enough medication to last until your next appointment.
Great advances in many types of cancer treatment underline the importance of getting regularly screened for cancer. While our individual risk levels vary, your GP can help make sure that the appropriate cancer screening protocols have been recommended. Examples of cancer screening include the skin check, cervical screening, bowel, screening and prostate health.
Vaccinations are not just for kids these days. There are new guidelines published that have specific recommendations for children as well as adults, and a health check is an excellent time to make sure you're up to date. Commonly provided vaccines include the flu vaccine, pneumonia vaccine, the shingles vaccine and travel vaccines.
6) Mental Health Affects Physical Health.
It's clear that there is a strong mind-body connection. If your mental health needs help, it can affect your physical health, your personal relationships, and your work. Your GP can offer advice on how you can better manage potential issues with stress, anxiety and/or depression.
A sedentary lifestyle, smoking, being overweight as well as drinking too much alcohol have all been linked to serious medical consequences. Your GP can offer support in improving your baseline health to decrease your odds of unpleasant medical problems later in life.
Setting up an appointment for a health review with your GP may be low on your to do list, but we here at Terrigal Medical Centre/Avoca Beach Medical Centre would like to encourage you to come down and see us. We're in the business of keeping our patients as healthy as possible, and a health check is a great way for us to move together down the path of a long, vibrant life.


Additional information about potential graduate student funding is available from various UC Davis campus and external resources.
The UC Davis Office of Graduate Studies maintains a searchable fellowships and grants database available to continuing graduate students.
Checking those listings regularly for updates. The Office of Graduate Studies, in partnership with the UC Davis Internship and Career Center and Aggie Job Link (AJL) also posts on-campus opportunities for postdoctoral students who wish to work with UC Davis investigators.