The Theoretical and Computational Biophysics Group is pleased to announce VMD version 1.9.1. VMD incorporates many new improvements for high quality rendering and export of molecular scenes, new analysis features, support for new molecular data file formats, and many performance improvements. Many new and updated structure building and analysis tools have been added in this release, easing the process of preparing, running, and analyzing biomolecular simulations. This release also contains many performance and efficiency improvements that are particiularly beneficial for modeling, visualizing, and analyzing very large structures with over 100 million atoms. VMD makes extensive use of multi-core processors and GPU acceleration to speed up computationally demanding analysis and visualization tasks including key structure and trajectory analysis features, interactive molecular dynamics, and high-quality ray tracing of molecular scenes.
As reported in several publications, VMD uses GPUs to accelerate many of the most computationally demanding visualization and analysis features of interest to biomedical researchers. VMD 1.9.1 advances these capabilities further, adding a GPU-accelerated implementation of the new QuickSurf molecular surface representation, enabling smooth interactive animation of moderate sized biomolecular complexes consisting of a few hundred thousand to one million atoms, and interactive display of molecular surfaces for multi-million atom complexes, e.g. large virus capsids. The GPU-accelerated QuickSurf representation in VMD achieves performance orders of magnitude faster than the conventional Surf and MSMS representations, and makes VMD the first molecular visualization tool capable of achieving smooth animations of surface representations for systems of up to one million atoms. The range of acceleration provided by GPUs depends on the capabilities of the specific GPU device(s) installed, and the details of the calculation. Typical acceleration factors for the algorithms in VMD on a single high-end GPU are: molecular surface display 10x to 45x, electrostatics 22x to 44x, implicit ligand sampling 20x to 30x, calculation of radial distribution functions 30x to 90x, molecular orbital calculation 100x to 120x. Details on making best use of the GPU acceleration capabilities in VMD are provided here.
VMD 1.9.1 contains many features for generating high quality renderings of molecular graphics and for creation of movies of both static structures and molecular dynamics simulation trajectories. The updated ViewChangeRender plugin provides an easy-to-use graphical interface for managing multiple VMD camera viewpoints and making movies that fly the camera between multiple viewpoints. The VMD Wavefront OBJ export feature has been extensively tested with the most recent versions of Autodesk's Maya, and 3ds-Max professional rendering tools. VMD also supports export to the RenderMan .rib file format used by Pixar's RenderMan, the open source renderer Aqsis, and many other animation and rendering tools.
The newly added NetworkView plugin provides a graphical interface for the study of allostery and signalling using network models, allowing networks to be mapped onto molecular structures loaded in VMD. The new Force Field Toolkit (FFTK) plugin provides tools that aid users in the development of CHARMM-compatible forcefield parameters, including charges, bonds, angles, and dihedrals. These tools are accessed through the provided GUI, which greatly simplifies the setup and analysis of the underlying calculations. Notable features include assisted generation of Gaussian input files and parsing of the resulting log files to obtain QM target data, access to downhill and simulated annealing optimization routines, and interactive fitting of dihedral parameters via embedded data plotting tools.
The updated Timeline plugin provides an interface for viewing temporally changing per-residue attributes of a molecular structure. It can also display temporally changing attributes of a set of VMD selections, for example a set of all the salt-bridge pairs observed in a trajectory. The controls allow selection of the molecule, or part of the molecule, used for the calculation. The graphical display of residues and timesteps can be scrolled and zoomed as necessary to see results for large structures and long trajectories. The latest version significantly improves the display of large structures and long timescale trajectories.
The newly added PropKa interface for graphical analysis of pH-dependent properties of proteins using the PROPKA package. The new NMWiz plugin provides a graphical interface for normal mode analysis. The RMSD Trajectory Tool has been updated with many new features including swapping of equivalent atoms, and calculation of average, std. deviation, and other useful statistics. The new RMSD Visualizer plugin allowed RMSD and RMSF values to be computed for specified atom selections and plotted using the new HeatMapper 3-D heat map generation tool and the Multiplot plugin.
A new remote control feature of VMD 1.9.1 provides the ability to control a VMD session from mobile phones and wireless tablet devices. The remote control app allows mobile devices to manipulate the VMD molecular display, moving, rotating, and scaling the displayed molecular structure. Several user-defined remote control buttons can be used to trigger VMD scripts, drive presentations using an updated version of the ViewMaster plugin.
This release of VMD includes the newly revised MultiSeq plugin. MultiSeq includes updated support for MAFFT for multiple sequence alignments. The latest version improves support for ClustalW and MAFFT alignments for sequences containing non-standard or unrecognized residues. Non-redundant set calculations can now be performed for a set of user-selected sequences. Major efforts have been directed toward improving the ability of MultiSeq to handle large data sets, and the new MultiSeq is capable of loading and analyzing 100,000 sequences on a typical desktop machine.
Contact Us // Material on this page is copyrighted; contact Webmaster for more information. // Document last modified on 30 May 2012 // 116972 accesses since 15 Mar 2011 .


Composite parts are what keeps bringing our customers back year after year, project after project – Cynergy Composites' ability to create structurally sound products with an A-1 paintable surface. Cynergy Composites' parts always look as good on the inside as they do on the outside. We have worked closely with resin and fiber manufacturers to test cutting edge materials. This allows us to continue to improve toughness, paint surface, pre-release, shrinkage and overall product improvement.


Getting hopped up on caffeine can really get your creative juices flowing. That's the thought process behind Red Bull's Art of Can, which tasks artists with creating pieces derived exclusively from the ubiquitous energy drink's cans. A jury has selected 30 works that will be displayed in Chicago, but visitor's will be invited to choose their favorite.


Want to be notified of new releases in BinaryMuse/planetary.js?
Planetary.js is based on D3.js and TopoJSON. It has built-in support for zoom, rotation, mouse interaction, and displaying animated "pings" at any coordinate. Via plugins, Planetary.js can be extended to do whatever you want!
Examples, documentation, and more can be found at planetaryjs.com.
Download Planetary.js from the Planetary.js web site.
You'll need to run this page from a web server of some kind so that Planetary.js can load the TopoJSON data via Ajax.
Congratulations! You've rendered your first globe.
In-depth documentation can be found at planetaryjs.com.
Planetary.js is licensed under the MIT license. See the LICENSE file for more information.


text:
Deadspin's Tommy Craggs, with a great takedown of the odious Skip Bayless:
You know what Skip Bayless is? Skip Bayless is a hockey goon. He can't skate or pass or defend or score. His sole job is to go out and start a fight with someone. Not because he has a grievance or cares, but because he is a fight-starter, and fans cheer whenever he starts a fight. And now ESPN is skating him on the first line.
It's hard to have any respect for someone who's such a professional troll.
This entry was posted in Uncategorized on December 29, 2011 by Stephen Silver.
Noah's Hanukkah
My son blogs about his new favorite holiday here.
2011: The Movies
Ranking all of the 2011 films I saw in 2011:
1. The Artist
2. Certified Copy
3. Drive
4. Melancholia
5. The Muppets
6. Hugo
7. Shame
8. The Tree of Life
10. Midnight in Paris
11. The Descendants
12. Margin Call
13. Warrior
14. The Girl With the Dragon Tattoo
15. Mission:Impossible- Ghost Protocol
16. Bridesmaids
17. Source Code
18. Tabloid
19. Page One: A Year Inside the New York Times
20. Pearl Jam Twenty
21. 50/50
22. Crazy, Stupid, Love
24. X-Men: First Class
25. Beginners
28. Fast Five
29. Another Earth
30. War Horse
31. Harry Potter and the Deathly Hallows Part 2
32. The Adventures of Tintin
33. Super 8
34. Hot Coffee
35. Senna
36. Horrible Bosses
37. Friends With Benefits
38. Rango
39. Carnage
40. Conan O'Brien Can't Stop
41. The Ides of March
42. 30 Minutes or Less
43. Young Adult
44. The Help
45. Hanna
46. Meek's Cutoff
47. The Lincoln Lawyer
48. Unknown
50. Killer Elite
51. The Rum Diary
52. Happythankyoumoreplease
53. The Cave of Forgotten Dreams
54. The Adjustment Bureau
55. Captain America: The First Avenger
56. Rubber
57. Drive Angry 3D
58. Like Crazy
59. Limitless
60. Pirates of the Caribbean: On Stranger Tides
61. The Debt
62. Sanctum
63. Hall Pass
64. No Strings Attached
65. The Mechanic
66. The Big Year
67. Thor
68. The Mighty Macs
70. Something Borrowed
71. The Change Up
72. The Green Lantern
73. The Smurfs
74. Red State
75. Tower Heist
76. The Dilemma
77. Larry Crowne
78. The Greatest Movie Ever Sold
79. The Hangover Part 2
80. Paul
81. Bad Teacher
82. The Conspirator
83. Arthur
84. Red Riding Hood
85. Cowboys and Aliens
86. Cars 2
87. J. Edgar
88. The Green Hornet
89. Our Idiot Brother
91. The Sitter
92. Sucker Punch
93. Just Go With It
Didn't see (reputedly good): Martha Marsha May Marlene, A Separation, Take Shelter, We Need to Talk About Kevin
Didn't see: (reputedly bad): Jack and Jill, Transformers: Dark of the Moon, The Human Centipede: Full Sequence, The Twilight Saga: Breaking Dawn, Your Highness, Zookeeper, The Beaver, Bucky Larson: Born to Be a Star, Atlas Shrugged, Abduction, Battle: Los Angeles or Alvin and the Chipmunks: Chipwrecked
See reviews on Rotten Tomatoes here.
A Great Hanukkah Baby Story
From Eagles writer Jordan Ranaan, who writes about his daughter's first Hanukkah.
Who's to Blame For the Eagles' Bad Year
There's plenty of blame to go around- 800 percent worth, apparently.
Quintuple Feature
I review five movies for the holidays– "The Adventures of Tintin," "War Horse," "Carnage," "The Girl With the Dragon Tattoo" and "The Artist"- at Patch.
Polanski and Sandusky
This piece asks a question I've been asking for awhile- why does Roman Polanski get a pass that Jerry Sandusky does not? Why aren't people like Polanski and R. Kelly permanent pariahs the way Sandusky is? The answer, I think, is obvious- molesting girls is somehow treated as just a bit more forgivable than molesting boys.

redpajama_set_name: RedPajamaCommonCrawl


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ViewSonic PLED-W800
The ViewSonic PLED-W800 has a good range of connection choices and loud audio for an LED-based mini projector, though it suffers from poor video quality.
-- As reviewed by PC Mag
Last revision on November 12, 2017
Mobile High-Definition Link (MHL)-enabled HDMI port
Poor video quality
Sony VPL-VW600ES
BenQ W6000
BenQ W600
By Trusted Reviews on August 30, 2015 70
ViewSonic PLED-W800: Sound Quality If you're able to filter out the fan noise, the W800 sounds much better than you would expect from an audio spec of just 2 x 2W. The sound is clear, projects a decent distance from the projector's body (slightly...
By PCAdvisor on January 06, 2015 80
Aimed primarily at the business travel and education markets, this highly portable, cool-running piece of kit doubles as a convincing home entertainment projector. ViewSonic claims the LED illumination has an expected life of 30,000 hours, so with no expensive lamps to replace the official ViewSonic price of £499 makes this an enticing option.
By techadvisor.co.uk on January 06, 2015 80
California-based ViewSonic has specialised in display equipment since the late 1980s. Three years ago it was one of the pioneers of a new line of miniature projectors using LED illumination, but its remarkable PLED-W500 disappeared from the market within...
By TechRadar on December 22, 2014 80
A great value DLP LED projector for portable presentations, but Wi-Fi is by dongle only.
The lamp-free future is here, and this DLP-powered LED beamer is a highly portable, PC-less option for slick presentations. With great file support, easy navigation, a portable design and just enough brightness and resolution to compete, the PLED-W800...
By PC Mag on December 19, 2014 70
By GadgetSpeak on December 09, 2014 80
The other catch is that most of the projectors on the home market use a single DLP chip - the electronic device that turns electrical signals into pictures. Commercial grade cinema projectors have three of these chips, one for each of the primary...
By ProjectorCentral on November 20, 2014 90
ViewSonic has expanded their line of LED-based projectors with the 800-lumen PLED-W800 and its companion product, the PLED-W600 at 600 lumens with an MSRP of $599.99. The PLED-W800 is not as light, small, or inexpensive as some of its 600- and 700-lumen...
By futurefive.co.nz on February 10, 2015
If you present on the move, the ViewSonic PLED-W800 is a solid choice. Small enough to throw into a laptop bag, It offers a plenty of connectivity options, and solid image quality. That the PLED-W800 uses LEDs is a bonus. This means that the user won't...
By Techworld on January 12, 2015
Aimed primarily at the business travel and education markets, this highly portable, cool-running piece of kit doubles as a convincing home entertainment projector. ViewSonic claims the LED illumination has an expected life of 30,000 hours, so with no...
By Projectors at Projector Reviews on December 12, 2014
The PLED-W800 is an LED projector from Viewsonic. Claiming 800 lumens, this larger pocket projector is one of the brightest projectors in this class. The PLED-W800 is WXGA resolution has a street price under $710 in the US.There are, of course, much...
By channelpronetwork.com on November 21, 2014
The PLED-W600 and PLED-W800 offer superior brightness, color, and sound in the palm of your hand. With an exclusive color wheel design and dynamic lamp control capabilities, SuperColor™ Technology projects images with reliable and true-to-life color...
By TestMagazine on December 20, 2014
Kompakter LED-Beamer: Im Test der neue Viewsonic PLED-W800Kompakter HD-Projektor mit LED-TechnikIm Test haben wir mit dem ViewSonic PLED-W800 einen ultraleichten und portablen LED-Projektor mit einer Helligkeit von 800 Lumen. Der kleine Bildwerfer...


Pretty awesome news and something fun for you guys: Cut Out + Keep named me their latest DIY Fashionista (yay!) and asked me to share a fashion-based tutorial (this has actually been in the making for a while, hence my shorter hair in the photos).
I immediately knew what I wanted to write about: a recent personal project where I DIYed a Peter Pan collar onto a thrifted mens shirt! I'm a crafter at heart and am always looking for inventive ways to personalize my wardrobe. A while ago, I saw a very cute (but rather expensive) shirt and realized I could make a similar version myself.
And it was actually pretty easy!
The inspiration? A gorgeous menswear-inspired button-down shirt with a pointed collar by ADDA (I think it retailed for around $100). So I bought a couple of men's button-down shirts from Goodwill and a fabric remnant from JoAnn's and got to work. Here's a peek, followed by the rest of my outfit photos.
and learn how to DIY a Peter Pan collar onto a mens shirt here!


Companies awarded grants from the Texas Enterprise Fund may not be upholding their end of the bargain, leaving taxpayers unprotected, researchers from the University of Texas at Austin found through an open records request.
Established in 2003, the Texas Enterprise Fund (TEF) began as a near $300 million investment in Texas economic growth. The program provides grants to companies who are choosing between Texas and other out-of-state locations for their new projects, in exchange for job creation and capital investment.
"A scathing audit of the Texas Enterprise Fund in 2014 uncovered numerous flaws in the program, including companies being awarded cash incentives without filling out formal applications, some companies having no job creation criteria for the awards, as well as poor oversight and monitoring," says UT Austin government professor Nate Jensen.
To research the efficacy of the program, Jensen and government doctoral candidate Calvin Thrall submitted public records requests for 165 TEF recipient companies — 45 of which challenged the request. While those companies were partially successful in thwarting the investigation, researchers were still able to obtain agreement records for 63 of the companies.
The study revealed two things: First, many companies had privately amended their TEF contracts, oftentimes reducing hiring requirements; second, companies with amended contracts were up to 24 percent more likely to challenge a records request. However, firms who've faced public penalties — or clawbacks — for not upholding their end of the contract were 15 percent less likely to challenge records requests.
Researchers found that many companies had amended the initial agreement to less ambitious terms, resulting in a reduction in their overall TEF award. In many cases, these renegotiation efforts appeared as an attempt to avoid upcoming clawback provisions. In one case, an agreement was amended to extend the job creation deadline on the day of the original deadline, researchers explain.
Researchers note that the public records request is ongoing. Findings from their current study are available as a white paper in the Washington Center for Equitable Growth.


The vicar of St Mary's Church in Hitchin has visited the House of Lords after being invited to address the traumatic legacy of the Indian partition – the largest mass movement of humanity in history, which took place 70 years ago.
During a sabbatical in 2009, Canon Michael Roden – who was then chair of North Herts Interfaith Forum – decided he wanted to know more about stories of loss in the Sikh community in Hitchin, because even though one million people were killed in 1947 after British India was divided into two separate countries, India and Pakistan, the history of the partition is not taught in British schools.
He was deeply shocked at the history of suffering on all sides from an event he knew little about.
Millions of Hindu, Muslim, Christian and Sikh families – who had previously defined themselves as Indian, living in peace for many generations – had to choose on which side of the border to live.
With the trauma of deaths and displacement, each community developed its own version of events, which continues to define discussions on the issue – still contributing to interfaith tensions.
Since then Canon Roden has worked tirelessly with historians to find a method to teach such a difficult subject to children.
He set up the Partition History Project and established partnerships with experts, members of faith communities, TV producers, a government minister and the Runnymede Trust – the UK's leading race equality think-tank.
With his project receiving support from all sides, a play and novel were chosen as the best platforms to further inform.
The first performance of the play Child of the Divide by Sudha Bhuchar, took place at St Mary's before Christmas in front of Hitchin schoolchildren to widespread community acclaim with the Runnymede Trust believing it's a blue print which could be used widely. They then pulled together a 'Partition Panel' to discuss the matter in the House of Lords – chaired by the BBC's Reeta Chakrabati, including Lord Desai and Canon Roden.
Canon Roden said: "It's been an exciting and interesting ride from starting off as a St Mary's inter-faith initiative in 2009 to it being discussed at the House of Lords.
"Partition is relevant today as the whole world is affected by forms of partition.
The BBC are to commission programmes on Partition – as well as pursuing a dramatisation on the novel Train to Pakistan by Kuswat Singh.
Canon Michael's hard work in Hitchin appears to be paying off by providing a narrative for this contentious subject – encouraging informed debate, awareness and television programmes on this important subject.


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Q: inexact line-search I have to read up in convex optimization - and at the moment I stuck at inexact line search. The method of exact linesearch (like golde section, etc.) is pretty obvious and I have an "graphical idea".
But with inexact line search, I have a problem with this "graphical idea":
Could anyone explain this graphic for a "nonmathematicians" :)
The idea in exact line search is the following  rihgt: I start at the current point (for example: direction is $-\nabla f(p)$: in this picture the green curve right?) then i would go in the green direction until the function value is decreasing.
edit: are the green and the blue lines directional derivative?

A: I think your idea of exact line-search is not correct. Let's have an example in $R^2 \rightarrow R$: Your function $f(x,y)$ looks like a "mountain / "flying carpet". Let's assume that we use steepest descent for finding the direction at point $(x0,y0)$. The gradient of a function points not "uphill" or "downhill", he points at the plain in the direction of greatest increase.
We now know, in which direction (downhill) we want to go; but not if "1cm or 100km".Therefore we use "line search-methods". Let's assume we want to go maximum 10(meter) and minimum 1(meter). A realy simple method (uniform search) would be to divide this intervall into steps (let's assume 10 steps).
Picture: Mountain (= function) and a plane with arrows (=gradients). We are at a special point $(x0,y0)$ on the mointain - and on this point is an "arrow", which points parallel to the x,y plane. In our case, that arrow is 10 (meter) long (because this is our assumend intervall).
Now we want to calculate $f(x,y)$ at all "10 steps". Example: $(x0,y0) = (1,1); direction =(3,2), stepsize = 1: (x1,y1)=  (x0,y0) + stepsize*direction= (1,1) + 1*(3,2) = (4,3)$ Now you can evaluate the function $f(x1,x2)...f(x10,y10)$ and take the point, where the function has its minimum value as a new starting point.

redpajama_set_name: RedPajamaStackExchange


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String Composition 128 1964 by Sue Fuller
The Printed Collage
Unravelling Op
Sue Fuller
String Composition 128 1964
Plastic threads, wood, fabric and metal
Tate T00757
© reserved
String Composition 128 (fig.1) weaves together multiple synthetic threads to create an intricate abstract pattern of intersecting diagonals. The threads radiate outward towards the edges of the frame, suspended like a flawless spider's web against a white rayon background. The design achieves a mesmerising sense of depth, especially in the centre of the composition where the density of the intersecting filaments produces a kaleidoscopic effect, despite the shallow depth of its custom box frame. The gentle curves that seem to arc across each of the four corners of the work are an optical illusion produced by the densely overlapping straight lines of the threads that form parabolic sections. Fuller also embraced the chromatic illusions of her technique. As she explained in 1951, 'where the different strings cross you get "free of charge" extra colors not really there except in the eye of the viewer'.1 As its vaporous trajectories of blue, green and orange overlap and blend, a jewel-like intensity of colour is achieved that belies the slight materiality of the work.
When Tate acquired String Composition 128 in 1965, another work by Fuller was then on display in The Responsive Eye exhibition at the Museum of Modern Art, a landmark show that propelled the category of 'op art' into popular consciousness. However, as Frances Follin's contribution to this study contends, Fuller's work can be seen to lack the trademark impression of motion that characterised op art. Although Fuller's association with the movement undoubtedly played a significant role in Tate's acquisition of this work, it is now better understood in relation to her connections with a variety of key émigré painters and printmakers in post-war America, as well as a career-long commitment to the tenets of modernism and constructivism. Fuller's use of thread can also be understood in relation to her study of craft and applied arts traditions.
Fuller was born in 1914 in Pittsburgh where she enrolled, in 1936, at the Carnegie Institute of Technology. While she was a student Fuller was awarded a prize for a watercolour painting depicting the workshop of an umbrella manufacturer, a subject that provides a suggestive precursor for the combination of systematised geometries and woven materiality in her later work.2 Fuller later recalled the early influence of modern artists whose work she saw at Pittsburgh's Carnegie International in the 1930s.3 After a trip to Europe in 1937 she moved to New York to undertake a Masters degree at the Columbia University Teachers' College. Over the next decade Fuller came into contact with many of the major teachers of American modernism. Before she enrolled at Carnegie, Fuller had already encountered Hans Hofmann while studying at the Thurn School of Art in Gloucester, Massachusetts; 'the first giant I had contact with', Fuller later recalled.4 In New York, she began attending the workshop of British-born printmaker Stanley William Hayter at the New School for Social Research in 1943, and soon after, enrolled in Josef Albers's course 'dealing with color and engineering problems'.5
Tides of the City 1945
Soft-ground etching and colour stencil print
© Courtesy the Estate of Sue Fuller and the Susan Teller Gallery, New York
Stanley William Hayter
Myth of Creation 1940
Engraving, aquatint and etching on copper
Tate P07027
© ADAGP, Paris and DACS, London 2018
Of the latter educators, it was Hayter's influence that was most decisive, marking a period in Fuller's development that provides the focus of the contribution to this project by Christina Weyl. Fuller had originally gone to Hayter's Atelier 17 in order to learn jewellery engraving, but it was there that she began to produce the prints that secured her first art world successes.6 In lieu of paying tuition, Fuller served as Hayter's studio assistant, which provided her with extensive direct experience of printmaking techniques and technologies.7 Her own early prints such as Tides of the City 1945 (fig.2) closely follow the example of Hayter's works like Myth of Creation 1940 (fig.3), one of many abstractions whose biomorphic traceries suggest the body in motion. Fuller's early prints were characterised by an enthusiasm for technical and material innovation and a 1947 exhibition lists prints on carved plaster among its works.8 According to another Atelier 17 printmaker, Fuller's technical experiments extended to materials from the supermarket, experimenting with Karo brand corn syrup as a medium for 'lift ground' etching, a technique that she reportedly taught to the French surrealist André Masson.9
Amazon 1945–6
Engraving, soft-ground etching and scorper on plaster
Source: https://www.gerrishfineart.com/hayter,-stanley-william-(1901-1988),-'amazon',-engraving,-soft-ground-etching-and-scorper,-1945.~2229
André Masson
Little Genius of Wheat 1942
Petit génie du blé
Museum of Modern Art, New York
© 2018 Artists Rights Society (ARS), New York / ADAGP, Paris
Textiles of various sorts played a significant role in the printmaking techniques used at Hayter's studio. Hayter himself used lace and thread for prints such as Amazon 1945–6 (fig.4), while Masson used burlap to provide the textured ground for Little Genius of Wheat 1942 (fig.5). Like Fuller, Anne Ryan and Louise Nevelson would both use lace in prints that they made at Hayter's workshop.10 Nevelson's use of lace and thread is especially pronounced in a print such as Majesty 1952–4 and art historian David Acton has noted the similarity of Nevelson's technique to Fuller's work.11 Across such prints, from the single thread and the grid, to the more complex decorative patterns of lace, fabric serves as a kind of readymade drawing, making it possible for linear forms to be simply arranged and combined to provide intricate and often multilayered pictorial effects.
Hen 1945
Soft-ground etching and engraving
© Estate of Sue Fuller
In 1944 Fuller was included in the Museum of Modern Art exhibition Hayter and Studio: New Directions in Gravure, an exhibition through which curator James Johnson Sweeney characterised the work of Fuller and her peers as 'research toward expanding the frontiers of expression'.12 Such scientific tropes, as will be shown, became central to Fuller's artistic positioning. In 1947 she received the Louis Comfort Tiffany Fellowship and in 1949 a Guggenheim Fellowship. Fuller's prints were first exhibited at the Museum of Modern Art in 1949 as part of a survey of 250 American prints from the museum's collection, and her widely exhibited print Hen 1945 (fig.6) was included in the print selection for Modern Art in the United States, shown at the Tate Gallery in 1956.13 As Weyl has shown, Fuller was among the key women printmakers who made Atelier 17 an international hub for printmakers, its expansive networks of exhibitions and associations buoyed by the mobility of the print medium itself.14
Installation shot of Naum Gabo and Antoine Pevsner exhibition at the Museum of Modern Art New York, February–April 1948
Source: https://www.moma.org/calendar/exhibitions/3228?#installation-images
Fuller's incorporation of textiles into her prints eventually led to stand-alone experiments with thread. 'Their immobility became exasperating; so I pulled or stretched them, reassembled them; then finally reduced their structure down to one thread', she later explained to critic Rosalind Browne.15 In the late 1940s such string compositions, produced initially for her prints, began to fill her studio, first taped to pieces of paper, later nailed to boards. Eventually Fuller came to understand these compositions as finished works in their own right. 'They were so transparent!' she remembered. 'I'd just seen Gabo and Pevsner in the Museum of Modern Art and the sight of all that string overwhelmed me.'16 Here Fuller confirms the crucial influence of the 1948 joint retrospective of émigré artists Naum Gabo and Antoine Pevsner at the Museum of Modern Art on the development of her own string abstractions (fig.7).
Sue Fuller profiled in Life magazine, 31 October 1949, p.77
Source: https://books.google.co.uk/books?id=KFIEAAAAMBAJ&pg=PA77&dq=sue+fuller&hl=en&sa=X&ved=0ahUKEwifrJHrxJrVAhWsJMAKHYnpClsQ6AEIKDAA#v=onepage&q&f=false
In October 1949 a full-page portrait of the artist and her work in Life magazine further boosted the prominence of her technique (fig.8). Here she was photographed in the shadows of a dramatically lit space with a large string composition – a swooping design strung on a pegged wooden frame. The short text on her work emphasised that Fuller 'exhibits in art galleries' and that the artist 'works hard over her composition and often dismantles a nearly finished job and starts all over'.17 The image furthered the suggestion of changeability by assembling balls of twine (or perhaps yarn) in a row, an ordinary material made extraordinary through the vision of the silhouette of the seated artist, posed in contemplation. As was the case for many American artists, the Life feature provided a powerful boon for Fuller's profile. By 1951 an early string composition by Fuller was featured among the 'pure geometric' works in the Museum of Modern Art's exhibition Abstract Painting and Sculpture in America, and the following year, her String Composition 51 1953 was acquired by the Whitney Museum of American Art.18
Life magazine had identified the decorative possibilities of Fuller's works, noting that they could be 'hung on the wall or stood on the floor for partitions'.19 Throughout the 1950s Fuller's string compositions came to be repeatedly positioned on the border between art and decoration. They were, as one journalist reported of a 1951 exhibition, 'ultra-modern in a refreshing and delightful style' and 'an imaginative alternative to the ubiquitous mobile as a decoration for modern rooms'.20 The New York Times magazine illustrated Fuller's work in a spread on modern interior décor in 1953.21 Exhibition contexts also emphasised such decorative possibilities: a 1950 show at the Bertha Schaeffer Gallery in New York saw her string compositions displayed alongside ceramics by British potter Bernard Leach, while a 1956 display at the Currier Museum of Art in Manchester, New Hampshire, saw her work shown alongside tapestries by Anni Albers.22 As Fuller absorbed the lessons of techniques ranging from lacemaking and glassmaking to calligraphy, the so-called decorative arts provided valuable sources for her practice, aesthetic and material references assimilated within her resolutely avant-garde commitments.
As Christina Weyl's essay in this study explores in greater detail, accounts of Fuller's work have routinely understood it through the prism of her gender, drawing on the feminine associations of the textile medium. Critic Stuart Preston, writing in 1950, thought that Fuller's string constructions demonstrated that 'even a purely feminine and ingenious talent can catch a hold in the solemnities of constructivism'.23 Even apart from the light and lively character of works by Gabo and Pevsner, Fuller's classification as the 'lighter moment' of geometrical abstraction relied on the suggestive links to the 'women's work' of weaving, connections that the closely related forms of artists such as Richard Lippold and Kenneth Snelson avoided as much by their gender as by their use of wire rather than string.24 In their 1981 essay 'Crafty Women and the Hierarchy of the Arts', art historians Rozsika Parker and Griselda Pollock explain how an 'association with the traditions and practices of needlework and domestic art can be dangerous for an artist, especially when that artist is a woman'.25 As feminist artists and critics of the 1970s and 1980s began to unpick the ideological assumptions of such hierarchies, Fuller's achievements as a woman artist began to attract new attention. Fuller was, however, sceptical about her revival within this milieu, claiming that she was 'the "token" artist in all the museums they picket', continuing:
it took work to even be a 'token' and they shouldn't kick about it. I was born liberated before there was Women's lib … I was way ahead of my time! They can call me token if they like, but there weren't many others around doing what I did then.26
Fuller evidently kept abreast of developments in feminist art history and her letters to her friend Florence Forst held in the collection of the Archives of American Art make reference to the writing of key feminist art historians such as Linda Nochlin and Cindy Nemser. But Fuller was careful to differentiate her own politics from this field. 'I guess I'm a drop-out from the usual art politics – hence unknown in these circles', she explained in one such letter from 1978. In her private correspondence Fuller did not hesitate to distinguish her art from her more overtly political contemporaries, especially those who did not share her commitment to abstraction. 'I felt even then that Isabel Bishop … was really not part of what I considered the major direction of 20th Cent. Art' she wrote. 'Alice Neel is another Philip Evergood whose painting I could never stand and whose politics less. Minna Citron seemed to be a chameleon running hard after whatever she considered the latest trend to be … Rather it is Agnes Martin, Perle Fine … [artists] more involved in Bauhaus fundamentals, I prefer.'27
Fuller equally rejected the philosophical ruminations that characterised the statements of many artists of the post-war decades. 'No philosophical creeds, no re-writing of the sermon-on-the-mount in his own words', she demands in one letter.28 Fuller's modernism was, instead, persistently affirmative:
I have always admired what engineers do – the space age is my meat – and not monsters and glop of science fiction – but the real inquiries which succeed – in expanding the mind of a parochial-inclined humanity. Limitations delimited – that's what I like. They always said it couldn't be done – so do it and open up world upon worlds of new knowledge from which to search out better ways and meaning to the human experience. That's why I like Arthur Clarke as a science fiction writer – He's reasonable and what he indicates is fantasy may actually one day be realized … My business is to know what I believe, do what I see, and listen to what is really important – those observations (usually scientific) which portend great things for mankind – and to be done with the dust of ages.29
The Heights 1945
Engraving and soft-ground etching on white wove paper
Such faith in science and technology stood in stark contrast to the dark atomic-age anxieties through which post-war American painting and sculpture assimilated the influence of surrealism. Fuller ridiculed what she dubbed the 'Ouija-Board artist', who entertained 'mysticism, witchcraft and god-knows-what'.30 It is worth noting, however, that Fuller's early contact with émigré surrealists at Hayter's studio did leave its mark on her work of this period, as can be seen in a print such as The Heights 1945 (fig.9).31 But as Fuller came to align her art with the values of clarity and precision, she came to dismiss a taste for the 'macabre' as a return to the 'middle ages' – an age of 'darkness and superstition'.32
Fig.10
Catch Me A Planet 1952
Soft-ground etching and aquatint on white wove paper
Source: https://www.annexgalleries.com/inventory/detail/15358/Sue-Fuller/Catch-Me-a-Planet
Two of Fuller's prints from the 1950s help make explicit the scientific resonances of her swooping, gridded geometries, so redolent of mathematic graphs and charts. With their explicit reference to the dream of space exploration, Catch Me A Planet 1952 (fig.10) and Ladle for the Moon 1952 both capture Fuller's persistent wonder at the new perspectives on the world made possible by science.33 'The path of a trajectory to the moon or in orbit around Mars is a line drawing', she later noted, describing how her own 'linear geometric progressions' equally engaged with the 'visual poetry of infinity in the space age'.34 These were values recognised by critics too. In 1951 a writer thought one of works looked like 'the architectural design for a flying saucer', while a 1960 exhibition of string compositions prompted one critic to reach for comparisons to 'rockets, skywriting or jets shooting across the sky'.35
New York, New York! 1950
Source: http://www.susantellergallery.com/cgi/STG_work.pl?artist=fuller&img=26&nam=SUE%20FULLER
Another print from the same group of works titled Fabulous City 1952 also suggests the distinctly urban perception of gridded streets and reflective glass that underlies the intersecting lines of her purely abstract compositions. In 1954 Fuller wrote that she was 'inspired by the engineering genius of our times and civilization, expressed in transparency, light and balance'.36 These enthusiasms are no less evident in her string compositions than in her prints, making the abstract rhythms of the city their subject, such as New York, New York! 1950 (fig.11). Critic David Shirey thought that they resembled 'prisms, giant crystals, snowflakes in suspension or the criss-crossing of telephone wires or cables on cantilever bridges'.37 Fuller's father was a construction engineer and one biographical reading of her work hints that the model suspension bridges he assembled might have spurred her own designs.38
The firmly social resonances that Fuller established for her abstractions were commitments that she first articulated in a January 1943 article exploring the value of the art teacher in a time of war.39 Here Fuller addresses the mounting perception of art as an unnecessary luxury, and even admits her own patriotic desire for 'an identification badge and a riveting machine'.40 But she also goes on to argue for the value of art to the war effort, suggesting that students might learn about perspective by drawing 'tanks and planes and ships', make objects from scrap and other 'non-priorities materials', study 'camouflage theory', or 'uniforms and insignia', or the 'intricacies of interlingual communication' through the bulletins from the Office of War Information.41 Alongside such practical concerns Fuller further emphasises art's more profound contribution to the identity of war-time America and its place in the world:
At a time when tensions in the world and at home are adding their burden to the characteristic emotional problems of the adolescent, is it wise to deny the child his one chance to salvation … To leave the next generation without experience in the constructive elements of art which are ever a work over and above the barriers of nationality, language and politics, is to leave them without understanding of the harmony of living … At a time when resignation, futility, and despair threaten to engulf the individual, should we deny the Freedom of Expression.42
Fuller's sensitivity to such issues was undoubtedly sharpened by her visit to the infamous Degenerate Art exhibition in Munich in 1937, where she encountered the broadest gamut of European cubism, expressionism, dada, surrealism and constructivism, presented within a propagandist framework that must have left an indelible impression on the young artist's understanding of the political stakes of modern art.43
Some decades later, Fuller was unexpectedly entangled in Cold War politics during the visit of Soviet Foreign Minister Vyacheslav Molotov to the United States. After attending meetings at the United Nations in June 1955, Molotov was taken to the Metropolitan Museum of Art for a tour of its collection. The press tailed Molotov and his delegation, attentive to matters that might speak to the cultural divide between the United States and the Soviet Union and the Cold War cultural conflicts this gulf epitomised. The tour, which lasted for one hour and ten minutes, ranged across the museum's collection from the fifteenth century onwards, ending in the museum's American galleries. Curator Robert Hale presented works by Loren McIver, Morris Graves, Edwin Dickinson, Georgia O'Keefe, Stuart Davis, Bradley Walker Tomlin and others to the Soviet diplomat, but it was a string construction by Fuller that most dramatically prompted Molotov's 'dumbfoundness at contemporary American abstractions':
The work that seemed to baffle Mr Molotov most was Sue Fuller's 'String Composition 50', a somewhat geometric work vaguely resembling the lines on a barograph. 'What does it mean?' asked Mr Molotov in a puzzled voice. 'It is the artist's abstract conception', replied Mr Rousseau. Mr Molotov pondered the answer for a moment. Then he went up for a closer look. 'How is it made?' he asked. When told it was made from strings, he looked a moment longer then moved away, lightly shaking his head.44
This was front-page news and in the following days the New York Times followed up with an illustrated comparison between Fuller's String Composition 50 and a portrait of Elizabeth Farren by the British Regency painter Thomas Lawrence, which Molotov had particularly admired.45 For the most part Fuller avoided political alignments, but one suspects she would have approved of the dramatisation between realism and abstraction that the comparison suggested, casting her art as the adversary of Soviet cultural conservatism. Perhaps it was the knowledge of this confrontational comparison that encouraged the United States Information Service to include Fuller in their 1961 exhibit Plastics USA, for which American commercial and creative innovations in plastic were toured to Kiev, Moscow and Tbilisi, attracting more than 375,000 visitors.46
Dame Barbara Hepworth
Stringed Figure (Curlew), Version II 1956, edition 1959
Brass and string on wood base
© Bowness
As her early string compositions from the mid-1940s began to warp and sag, Fuller came to favour synthetic materials for their promised permanency. An archival photograph of one early composition notes that its string had 'deteriorated', and that this work was 'the first in a succession of filaments tried before she [Fuller] settled on nylon filament'.47 The stability of her work was of prime concern. 'If your work is going to be found in a museum', she told critic Rosalind Browne, 'then the museum should have the guarantee that you've done your best to make it permanent'.48 For Fuller, such responsibilities were closely connected to the obligation of the artist to 'record your time', such that material innovation might provide a persistent record of the new. This was expertise that Fuller occasionally applied to other artworks. In the 1970s, for instance, collector Lew Wasserman enlisted her help to repair the degraded string in a Barbara Hepworth sculpture Stringed Figure (Curlew) 1956 (fig.12), a project for which she liaised with the Barbara Hepworth Museum to source the correct twine for the work.49
Fuller had first encountered synthetic thread at a hardware store where she recalled seeing a window screen made from the new material in the mid-1950s.50 Her move from hand-painted and textured fabric backings and twine to the slicker finish of aluminium frames and synthetic thread conforms with widespread artistic tastes for industrial aesthetics in the 1960s. This extended to an optimistic perspective on the possibilities of artistic patronage from industry. 'Industry has been backing artists and letting them do their own thing. It's one of the solutions for art today', she told an interviewer in 1972.51 In line with such views, Fuller repeatedly listed the brand names of her materials, such as Teflon and Lucite, favouring such proprietary designations over more generic material names. Of String Composition 128, Fuller informed Tate that it was glazed with Rohm and Haas Plexiglas, and advised that its polypropylene thread had been 'tested by [the] Mellon Institute, Pittsburgh [with] 500 hours in the fadeometer'.52
Corporate clientele constituted an important market for Fuller's string compositions from the outset. Her String Composition 1 1946 was purchased by the Celanese Corporation of America and her 1951 exhibition at the Corcoran Museum of Art included a total of five early string compositions listed in this same corporate collection.53 Not only did Celanese manufacture synthetic yarns such as the Fortisan brand, but their corporate advertising often made reference to modern art and it seems possible that Fuller's works served some promotional function for the company and the materials it manufactured. Prominent private collectors such as Larry Aldrich, Stanley Marcus and Philip Johnson all purchased works by Fuller at the Bertha Schaeffer Gallery exhibition in 1965. String Composition 336, bought by Johnson, was subsequently donated to the Museum of Modern Art.54
String Composition T-220 1965
Nylon and Teflon tubing
McNay Art Museum, San Antonio
The collector Emerson Crocker, who owned several of Fuller's works, provided the funds for Tate's acquisition of String Composition 128. Crocker also donated the dense and more complicated monochrome String Composition T-220 1965 (fig.13) to the McNay Art Institute, San Antonio, in 1965, where it was included in Fuller's major solo exhibition there the following year. Many of the works in the McNay exhibition could be viewed from both sides, including the freestanding String Composition 530 1965.55 Tate director Norman Reid had also 'admired the plastic embedments, but after taking into consideration the condition of the walls at Millbank, elected to select a non-see-through medium as his choice'.56
String Composition W-253 1984
Mahogany, brass and cord
String embedded in Lucite, mounted on two metal bases
An inventory of Fuller's work from the 1970s indicates that the numbering of her works was not simply chronological, but also served to categorise their mode of fabrication. Compositions titled 1 to 199 are 'string compositions on pegged frames with cloth tacking present' and an 'aluminum frame set in brass frame'. Series 200 works are strung on both sides with transparent Plexiglas glazing, designed to be – as Fuller explained elsewhere – 'hung from ceiling out from wall'.57 String Composition W-253 1984 (fig.14), a later and more three-dimensional example from this number range, is held in the McNay Art Institute. Series 300 works are the string compositions embedded within Lucite plastic objects. Series 400 works are string composition cubes – with 400–449 indicating works with a flat shape, while 450–499 designating more three-dimensional shapes. String Composition 534 1965 (fig.15), in the collection of the Smithsonian American Art Museum, for example, is a circular-shaped composition embedded in Lucite. Such designations continue until series 900 works, used by the artist to indicate special commissions. Fuller's means of categorising work overlaid the conventional numbering of artistic series with a more classificatory, even corporatised system – more like unique identifiers in a product catalogue than a simple chronological series.58
Fuller's titling convention also suggests her cross-media reference to music as a model for abstraction. As one critic described in 1967, 'there is music in her work … a pulsating, vibrant tempo that a viewer almost can feel in his bones'. Such qualities provide further resonance with Fuller's choice of the term 'string composition'. Fuller's compositions were, according to the same critic, 'musical in their execution – the orderliness and intricate detail are as balanced as a baroque fugue and as complete as a Mozart symphony'.59 Emphasising the 'rhythmic stress and strain' of Fuller's string compositions, Emerson Crocker praised their 'visual harmonies'.60 Fuller occasionally encouraged such metaphors for her works, once describing them as deploying 'contrapuntal' patterns or exploring 'variations on a theme'.61 The frames of her compositions were, from this viewpoint, 'the instruments', while the overlapping threads produced a 'symphony of visual harmonies'.62
John D. Schiff
Installation view of First Papers of Surrealism exhibition, showing Marcel Duchamp's His Twine 1942
Installation shot of Airways to Peace exhibition at the Museum of Modern Art New York, July–October 1943
Source: https://www.moma.org/calendar/exhibitions/3138?locale=en#installation-images
Fuller's experimentation with transparency further prompted some viewers to contemplate the capacity for her art to dissolve the borders between the art object and the viewer. 'Normally visitors in a gallery do not expect to literally bump into the art itself. A display made up entirely of Miss Fuller's transparent compositions would resemble a labyrinth of strings', imagined one critic in 1961.63 If such a description alludes to Fuller's relation to the webs of Marcel Duchamp's chaotic stringed installation for the First Papers of Surrealism exhibition in Manhattan in 1942 (fig.16) or Herbert Bayer's 'tension lines' of string that intersected the Airways to Peace exhibition at the Museum of Modern Art in 1943 (fig.17), they can equally be understood to preempt the sculptural installations of fibre artists such as Lenore Tawney, Kazuko Miyamoto and Kay Sekimachi. While the use of thread in 1960s and 1970s art tended towards natural textures and informal off-loom techniques, Fuller's more controlled approach was also exhibited alongside the process-oriented work of artists such as Robert Morris, Eva Hesse and Alan Sarat in the Sidney Janis Gallery's 1969 String and Rope exhibition.64
For all of Fuller's interest in artistic practices outside the limits of fine art, her objects also transgressed more entrenched divisions for the modern artist. Early in her career it was reported that Fuller struggled to gain admission into art shows 'because they have no classification for her work'.65 As the critic Dorothy Adlow described in 1961, Fuller's practice combined the 'features of a drawing, a textile and a construction'.66 Fuller was aware that her art occupied a liminal position, linear in orientation, but hung on a wall and almost as tactile as it is visual in its sensory effects. A string, Fuller explained, can 'draw on itself', without the need for a support, and further, 'its intersections become three dimensional'.67 Relying as they do on the three-dimensional surface of the intaglio matrix, Fuller's progression from printmaking to string composition realises the shallow relief inherent to such processes in the final form of her works. It is little wonder that the majority of research on Fuller has come from scholars of printmaking. While building on such approaches, this project uses String Composition 128 to stage the first extended investigation of Fuller's mature practice, examining the varied artistic and cultural resonances of her ambitious reliefs.
1. Sue Fuller quoted in 'Art Grows in Colored String', Pittsburgh Post-Gazette, 26 May 1951, p.9.
2. See 'Pittsburgh Artists Give 32nd exhibition', New York Times, 13 February 1942, p.26.
3. See Patricia Boyd Wilson, 'Sue Fuller's New Horizons', Christian Science Monitor, 21 September 1965, p.4.
4. Sue Fuller quoted in Rosalind Browne, 'Sue Fuller: Threading Transparency', Art International, January 1972, p.38.
5. Ibid. See also Carol Kort and Liz Sonneborn, A to Z of American Women in the Visual Arts, New York 2002, p.76.
6. See Joann Moser, Atelier 17: A 50th Anniversary Retrospective Exhibition, exhibition catalogue, Elvehjem Art Center, University of Wisconsin, Madison 1977, p.6.
7. See Joann Moser, 'The Significance of Atelier 17 in the Development of Twentieth-Century American Printmaking', PhD dissertation, University of Wisconsin, Madison 1976, p.22.
8. See 'Including New Comers', New York Times, 9 March 1947, p.X7.
9. Leo Katz cited in 26 Prints in 35 Years: Catalogue Raisonné: Lithographs, Etchings and Engravings by Leo Katz, 1932–1966, p.7, http://files.cargocollective.com/656068/Leo-Katz_26-Prints-in-35-Years_For-Web.pdf, accessed 31 January 2018.
10. See Gary Tinterow, Lisa Mintz Messinger and Nan Rosenthal, Abstract Expressionism and Other Modern Works, New York 2007, p.156, and David Acton, 'Abstract Expressionist Prints at Tamarind' in Marjorie Devon (ed.), Tamarind: 40 Years, Albuquerque 2000, pp.14–15.
11. See David Acton, 'Abstract Expressionist Prints at Tamarind' in Marjorie Devon (ed.), Tamarind: 40 Years, Albuquerque 2000, p.35, note 26.
12. James Johnson Sweeney, 'New Directions in Gravure', Museum of Modern Art Bulletin, 12 August 1944, p.5.
13. See Howard Devree, 'Chiefly Modern', New York Times, 12 June 1949, p.X6.
14. Christina Weyl has produced a fascinating network diagram of these relationships with Fuller at the centre. See Christina Weyl, 'Networks of Abstraction: Postwar Printmaking and Women Artists of Atelier 17', graduate student essay prize winner, Archives of American Art, Smithsonian Institution, Washington, D.C., http://www.aaa.si.edu/essay/christina-weyl, accessed 31 January 2018.
15. Fuller quoted in Browne 1972, p.39.
17. 'String Patterns: Artist Works with Colorful Twine', Life, 31 October 1949, p.77.
18. The work included in the Museum of Modern Art exhibition was illustrated in the catalogue under the title String Composition in Yellow and Grey. See Andrew Carnduff Ritchie, Abstract Painting and Sculpture in America, exhibition catalogue, Museum of Modern Art, New York 1951, p.84. Joe Houston has identified the work as String Composition 11 1946. See Four Optic Visionaries, exhibition catalogue, D. Wigmore Fine Art, New York 2008, p.48. String Composition 51 1953 was purchased by the Whitney Museum of American Art in 1954.
20. Douglas Naylor, '"String Compositions" Form Unique Art Show at Center', Pittsburgh Press, 27 May 1951, p.5, and Jeanette Jena, 'Pittsburgh String Artist Gives First Show Here', Pittsburgh Post-Gazette, 30 May 1951, p.40.
21. See Betty Pepis, 'Decorating the Walls', New York Times, 31 May 1953, p.SM38.
22. See Stuart Preston, 'By Groups and Singly', New York Times, 11 June 1950, p.106; 'Tapestries, Anni Albers, Sculpture, Mary Callery, String Composition and Collage, Sue Fuller', exhibition catalogue, Currier Museum of Art, Manchester 1956.
23. Stuart Preston, 'By Groups and Singly: Current Events Include Work by Newcomers', New York Times, 11 June 1950, p.106.
24. See, for instance, Howard Devree, 'Modern Surveys', New York Times, 15 May 1955, p.X9.
25. Roszika Parker and Griselda Pollock, 'Crafty Women and the Hierarchy of the Arts' in Old Mistresses: Women, Art and Ideology, London and Henley 1981, p.78.
26. Sue Fuller, letter to Florence Forst, 24 May 1978, p.1, Sue Fuller letters to Florence Forst 1950–1994, Archives of American Art, Smithsonian Institution, Washington, D.C. It is worth noting that Fuller's work was acquired by the Metropolitan Museum of Art and the Whitney Museum of American Art before works by Louise Nevelson, Louise Bourgeois or Agnes Martin entered these collections.
27. Sue Fuller, letter to Florence Forst, 24 May 1978, p.4, Sue Fuller letters to Florence Forst 1950–1994, Archives of American Art, Smithsonian Institution, Washington D.C.
28. Ibid., p.3.
29. Ibid., pp.5–6.
31. Although he retained an interest in automatist techniques, Hayter would later disavow his once active position in the surrealist group. See Stanley William Hayter, New Ways of Gravure, London 1966, p.143.
32. Sue Fuller, letter to Florence Forst, 24 May 1978, pp.5–6, Sue Fuller letters to Florence Forst 1950–1994, Archives of American Art, Smithsonian Institution, Washington D.C. Again, it should be noted that several early Fuller prints had specifically medieval subjects. In 1944, for instance, she made a woodcut titled Lancelot and Guinevere, an example of which is in the collection of the Smithsonian American Art Museum, and the following year a print of The Knight, of which several impressions are held in the collection of the Boston Museum of Fine Arts.
33. These two works were not printed until 1985.
34. Sue Fuller, 'Foreword', String Compositions, Plastic Embedments, Water Colors, Prints and Collages by Sue Fuller, exhibition catalogue, Storm King Art Center, New Windsor, New York 1966, unpaginated.
35. Douglas Naylor, '"String Compositions" Form Unique Art Show at Center, Pittsburgh Press, 27 May 1951, p.5, and Jeanette Jena, 'Sue Fuller's "String Art" Lacks Earlier Vitality', Pittsburgh Post-Gazette, 13 January 1960, p.15.
36. Sue Fuller, 'Twentieth Century Cat's Cradle', Craft Horizons, vol.14, April 1954, p.24.
37. David L. Shirey, 'Esthetic Magic of Geometry', New York Times, 23 April 1978, p.L118.
38. See Carol Kort and Liz Sonneborn, A to Z of American Women in the Visual Arts, New York 2002, p.76.
39. Sue Fuller, 'Shall We Scrap the Art Teacher in Time of War', Design, vol.44, no.5, January 1943, pp.24–5.
42. Ibid., pp.24–5.
43. See Kort and Sonneborn 2002, p.76.
44. 'Molotov Visits Museum and U.N.', New York Times, 16 June 1955, pp.1, 3.
45. 'Art that Mr Molotov Likes – And Doesn't Like', New York Times, 19 June 1955, p.E2. For Fuller String Composition 50 1952–3, see https://www.metmuseum.org/art/collection/search/488831, accessed 25 July 2018. For Thomas Lawrence's Elizabeth Farren 1790, see https://www.metmuseum.org/art/collection/search/436851, accessed 25 July 2018.
46. This exhibition included 'a large section of cutting edge abstract art that featured the use of plastic materials', works that are recorded to have attracted repeated negative criticism in the visitor books for the exhibition. See Jennie Miller, 'Soviet and Eastern European Reactions to American Exhibitions: Cultural Exchange and the Cold War, 1961–1976', Masters dissertation, University of Central Florida 2012, p.24.
47. Note on reverse of unnamed photograph stamped 'Photographed by Grechen Studio', Sue Fuller letters to Florence Forst 1950–1994, Archives of American Art, Smithsonian Institute, Washington, D.C.
49. See Brian Smith, letter to Sue Fuller, 24 June 1977, Box 5, Sue Fuller, Correspondence, Galerie Chalette records, 1916–1999, bulk, 1939–1994, Archives of American Art, Smithsonian Institution, Washington, D.C.
50. String Compositions by Sue Fuller: Transparency, Light and Balance, unidentified exhibition catalogue, unpaginated, Sue Fuller letters to Florence Forst, 1950–1994, Archives of American Art, Smithsonian Institution, Washington, D.C. Elsewhere, Fuller references experimenting with the products of company Chicopee Mills, who produced screen doors using Owens-Corning Fibreglas. See 'New Fibreglas Screening!', Life, 11 April 1955, p.135.
52. Sue Fuller, letter to Ronald Alley, 3 June 1975, p.2, Tate Catalogue File Reference number? Fuller indicated that this work was done by prominent chemist and conservator Robert Feller.
53. See Mary Maloney-Rose, Atelier 17 as Catalyst: Minna Citron and Sue Fuller, 1930–1970, PhD dissertation, Michigan State University, 1981, p.178.
54. The latter work is no longer listed in the MoMA online catalogue. It is included in the inventory in John Elderfield (ed.), Philip Johnson and the Museum of Modern Art, New York, p.154. The Art Institute of Chicago sold Fuller's String Composition 70 1956 through Christie's auction house in 2011. See Christie's Interiors, 4–5 October 2011, New York, lot 8.
55. String Composition 530 1965, http://collection.whitney.org/object/1152, accessed 5 January 2018.
56. Sue Fuller, letter to Ronald Alley, 3 June 1975, p.2, Tate Catalogue File Reference number?
57. Sue Fuller, inventory of Chalette Gallery, 5 October 1972, Box 5, Sue Fuller, Correspondence, Galerie Chalette Records, 1916–1999, bulk, 1939–1994, Archives of American Art, Smithsonian Institution, Washington, D.C.
58. Sue Fuller, inventory of Chalette Gallery, 28 November 1971, Box 5, Sue Fuller, Correspondence, Galerie Chalette Records, 1916–1999, bulk, 1939–1994, Archives of American Art, Smithsonian Institution, Washington, D.C.
59. Glenn Tucker, 'Most Exciting Exhibit in Years', San Antonio Light, 8 January 1967, p.8D.
60. Emerson Crocker, 'Introduction', Sue Fuller: Prints, Drawings, Watercolors, Collages, String Compositions, exhibition catalogue, Marion Koogler McNay Art Institute, San Antonio 1967, unpaginated.
61. String Compositions by Sue Fuller: Transparency, Light and Balance, unidentified exhibition catalogue, unpaginated, Sue Fuller letters to Florence Forst, 1950–1994, Archives of American Art, Smithsonian Institution, Washington, D.C.
63. Ann Geracimos, 'Twisting Strings is Special Art', New York World Telegraph, 19 September 1961, page unidentified.
64. For digital images of the String and Rope exhibition catalogue see http://modernism101.com/products-page/art-photo/janis-gallery-sidney-janis-gallery-string-rope-new-york-city-sidney-janis-gallery-1969/#.WA0oGTv4PzI, accessed 5 January 2018.
65. Douglas Naylor, '"String Compositions" Form Unique Art Show at Center', Pittsburgh Press, 27 May 1951, p.5.
66. Dorothy Adlow, 'String Composition: By Sue Fuller', Christian Science Monitor, 30 September 1961, page unidentified.
Alex Taylor, 'Introduction', in Alex Taylor (ed.), In Focus: String Composition 128 1964 by Sue Fuller, Tate Research Publication, 2018, https://www.tate.org.uk/research/publications/in-focus/string-composition-128/introduction, accessed 17 July 2019.


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There will be a Meet and Greet reception at 5:30 for one on one interactions with our great field of candidates with dinner to follow at 6:30.
This event will let you meet and talk with all the candidates to inform your decision in the state primary's and help your local candidates compete, and win, in Wolfeboro, Moultonborough and throughout all of Carroll County!


Low oxygen environment or hypoxia is conducive towards vascular growth and endothelial proliferation. Therefore it is an essential element in both disease and development. Hypoxia stabilizes the hypoxia-inducible transcription factors-1α and -2α and also increases adenosine levels thereby activating the adenosine receptor signaling pathways. While these pathways have been described independently to a greater extent, increasing evidence suggests that there is significant crosstalk. Here we will summarize the contributions and interdependence of hypoxia-inducible transcription factors and the adenosine receptor pathways in vascular growth. © Springer Science+Business Media B.V. 2010.


For most people, Mljet is an island lost in the open sea, and the island is indeed hard to reach. But do not let this landscape – mentioned in the stories about Odysseus and St. Paul, as well as Benedictine monks, remain a secret for you. After boarding our motor yacht we are on Mljet in less than half an hour of an exciting ride from Korcula. Our intimate capacity only for 18 pampered guests and plenty of space to relax and unwind, will ensure that this trip to Mljet Island is far above other commercial trips to the same island. We simply call it Mljet Exclusive, find it out why!
The Island of Mljet is a place where we will hike on gravel roads surrounded by National Park's Lakes, snorkel, swim or sunbathe and watch underwater life. Delicious Dalmatian lunch is also included served by your own Captain in a tranquil nearby bay.
Snorkelling GEAR & SNORKELING EXCURSION.
JOIN KORCULA-ADVENTURES, WE WILL DEFINITELY EXCEED YOUR EXPECTATIONS!


Since 1989, Florida Sports Medicine & Orthopaedics has offered full-service orthopedic and sports medicine care to patients in Panama City, Florida and throughout Bay County. Our orthopedic surgeon, Dr. James Talkington, is board certified and fellowship trained in sports medicine. You won't find another orthopedist in Panama City more committed to providing high quality, personalized care.
When you visit Florida Sports Medicine & Orthopaedics, you will quickly discover what sets us apart from other orthopedic offices in Panama City. As a solo physician, Dr. Talkington takes a very hands-on approach to patient care. He will see you at every visit and you will never feel like a number.
Whether you have injured your shoulder, elbow, knee, or ankle, Dr. Talkington can properly diagnose your problem and provide treatments that restore your mobility and relieve your pain. For your convenience, we offer in-house imaging including digital X-ray and musculoskeletal ultrasound. We can also provide durable medical equipment (DME) such as braces, splints, and slings.
Call (850) 763-0346 for an appointment with Dr. Talkington or you can request one online. We look forward to welcoming you to our practice.


The Adidas Tournament of Champions started in 2007 and was somewhat an afterthought tournament. Several of the coaches who participated in the boys Gateway City Soccer Classic asked if there was ever a chance of having a similar event for girl's in the spring? While there wasn't such an event, one was developed rather quickly. What started out as an 8 team experiment, developed into a 12 team event in year one and featured 3 teams in the top 5 in the Nation including the #1 team in the nation.
Since that first year, the event has grown into 48 teams from 5 different states and is played on some of the best natural grass fields in the Midwest. Topdrawersoccer.com uses the T of C as a gauge for thier national rankings and many a team have made a name for themselves in the rankings based on their performance in Burlington.
A unique aspect of the T of C is that teams of all levels can compete. There are brackets for teams that are traditionally state and national powers as well as a group for teams that are in the beginning stages of developing thier programs.
Annually, numerous college coaches from Division I to NAIA attend the T of C to watch some of the best players in the Midwest.
Eric Stratman is the director of the TOC and also runs the prestigious Gateway City Soccer Classic in the fall in St. Louis as well as the fall boys and girls high school all-american games.
Matt Longo is the asst. director and assists with all events that are run by Eric and also serves as the head boys soccer coach at Quincy Sr. High School in Quincy, IL.
Copyright 2010 Tournament of Champions. All rights reserved.


At Specsavers, we have a range of affordable digital hearing aids which are designed to meet every level of hearing loss. Our qualified hearing professionals have years of experience to help you choose the hearing aids that are right for you, and ensure that you receive the quality hearing care you need.
Our Hearing Centres meet the highest standards required to provide free NHS services. At Specsavers, you can get the hearing care you need, when you need it. We can fit your hearing aids on the same day as your hearing assessment in most cases. And when you want new batteries, or have a question, you can just pop in to your local Hearing Centre any time without having to book.
Hearing loss usually happens later in life and occurs gradually, so if you are over 50 it is important to have your hearing tested regularly. At Specsavers, one of our qualified hearing professionals will give you a comprehensive hearing assessment free, and will discuss your options with you if you have hearing loss. There is no obligation to buy.
Wolverhampton is an area where adults aged 55 and over can get free NHS hearing aids at Specsavers.


Tur-fhrithchuimilt, a chuireann i gcoinne gluaisne cliathánach coibhneasta dhá dhromchla sholadacha i dteagmháil. Aithnítear dhá shórt tur-fhrithchuimilte, sé sin, frithchuimilte statach idir dromchlaí neamh-chorraitheacha, agus frithchuimilt chinéiteach idir dromchlaí atá ag gluaiseacht.
Fhrithchuimilt shreabhánach, a dhéanann cur síos ar fhrithchuimilt idir sraitheanna laistigh de leacht vioscósach a bhíonn ag bogadh i gcoibhneas lena chéile.
Fhrithchuimilt bhealaithe, gur chineál áirithe frithchuimilte sreabhánaí í, ina scarann an leacht ina dhá dromcla soladach.
Frithchuimilt chraicinn, gur chomhpháirt de chúltarraingt í, an fórsa a chuireann i gcoinne gluaisne réad soladach trí leacht.
Frithchuimilt inmheánach, an fórsa a chuireann i gcoinne gluaisne idir na heilimintí de chuid ábhair soladach le linn dífhoirmíochta.


text:
National inflation and unemployment remains high
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On December 7th, the BLS released its final "The Employment Situation" report of 2012, just four weeks after Superstorm Sandy struck the northeastern United States. The hurricane was anticipated to negatively impact national employment figures, potentially leading to thousands of layoffs, but, according to the BLS' latest jobs report, hiring remained robust in November.
The report revealed that 146,000 new jobs were generated last month, roughly 50,000 to 70,000 more than some economists had expected, as the national unemployment rate dropped to 7.7 percent, the lowest rate recorded since President Obama's inauguration.
Shortly after the release of the employment report, Canada and Mexico's most recent financial figures were also publicized. Did unemployment decline in Canada last month as well? Were Canadian firms' purchases higher in November than in October? Was Mexican inflation still above average? And, did the Banco de Mexico's board of governors lower the central bank rate for the first time since 2009?
Last month, Canadian economists were disappointed with the nation's latest employment data, which revealed that the national unemployment rate remained unchanged for the second straight month in October, at 7.4 percent, as 1,800 jobs were created. To compare, an average of 43,200 jobs were generated between August and September. But, according to Statistics Canada's recently released employment figures, the national unemployment rate decelerated in November, dropping to 7.2 percent, as 59,300 jobs were added to the economy. A majority of those positions were full-time, roughly 55,200 in all, as 14.3 million Canadians were considered full-time employees, while nearly 19 million citizens were members of the labor force. Since November 2011, the economy has created 24,500 new jobs per month, on average.
Meanwhile, for the first month since June, the national Ivey Purchasing Managers' Index was measured below 50, indicating that less firms reported higher purchases in November than in October. At 47.5, November's index was the lowest of 2012, despite the fact that three of the index's four sub-indices, inventories, suppliers, and prices, rose last month, climbing to 55.6, 47.9, and 62.9, respectively. Such increases indicate that firms remain optimistic, despite the current conditions of the global economy.
During its final meeting of 2012, the Banco de Mexico's board of directors decided to retain the national central bank rate at 4.50 percent for the 40th consecutive month in November. Some economists had projected the rate would be lowered, due to the nation's presently high annual inflation. Back in October, the national Consumer Price Index (CPI) was measured at 106.3, a 4.6 percent upsurge when compared to October 2011's figures. The index continued to increase in November, measuring at 107.0, a 4.2 percent rise in comparison to November 2011's data.
According to the Banco de Mexico, on a year-ago basis, total underlying inflation increased by 4.1 percent, while underlying inflation – goods and underlying inflation – services rose by 5.2 and 3.2 percent, respectively. In the meantime, annual core inflation continued to augment, rising by 0.05 percent from October to November and by 3.3 percent from November 2011 to November 2012. As long as annual inflation remains high, many economists anticipate the bank's board of governors will vote to lower the nation's central bank rate during the first quarter of 2013.
For more information, please visit blog.adeccousa.com/workplace-economy/america/.
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I've come up with 80 uses for paracord – but I need to get to 100. Check out this list and help me come up with the other 20 uses!
Last week a friend of mine saw the paracord lanyard that I keep on my keychain and asked what it was for. I explained a little history of paracord and told him and many of the different ways that it could be used.
I told him (jokingly) that there were over 100 different uses for paracord. He laughed at me and said that if I could list off 100 uses he would take me out to my favorite steak joint and buy me dinner. What he failed to say was that I couldn't have help getting the list together.
Paracord is even sturdier than rope, and is always a great piece of gear to have on-hand when you need to secure a tarp for your shelter.
There are plenty of lanyard projects for paracord, owing to the great flexibility and versatility of the material. A paracord lanyard provides easy access to your essential items while on the go.
This is an exciting project because you that you have an amazing multi-purpose tool, ready to be used anytime, anywhere you are. Truly a must-have for any prepper and survivalist.
If you feel hungry out in the wilderness, paracord can be used to trap food. A snare may seem primitive but it has been proven effective. What's even better is the fact that it can be used to trap human foes as well.
You can also catch fish with your parachute cord. If you have a fishing hook and a rod, whether ready-made or improvised, you're ready to get some food.
This is another one of the many ways to bring along lots of paracord without anybody knowing, and boots can hold long stretches of cordage. Of course you don't want to be barefoot after using some of it so you can try a new trick: double lacing.
In survival scenarios, personal hygiene might be sacrificed for more important things, but who says you can't keep your teeth? Just cut up the outer shell of the paracord and you can use the strands to remove the food and plaque between teeth.
Preppers and survivalists who love dogs will definitely enjoy working on this project. I mean, who would expect to have yards and yards of paracord from a dog leash?
SHTF can take place anywhere at anytime and that includes life and death situations. Add some paracord to your first aid kit because it might help in closing cuts or wounds.
Sometimes knife handles break from hard use. Paracord can be used as a substitute. It makes the knife easier to hold. You can also make a loop at the end of the handle for an added handling option.
Making fire with friction is primitive but effective. This is another one of the many survival uses for a paracord.
Drying clothes may become difficult when you have bugged out. Set up a clothes line using paracord and you will have warm, fresh and dry clothes. You can also have a paracord clothes line at home if you like.
We've been doing this for a long time with ropes. All you have to do is use paracord and you can rest after a long day of hunting and gathering.
A torn sail at sea can spell disaster. Leave the cursing and blaming behind and mend that sail with paracord so that you can keep going.
This is probably one of the most popular paracord projects. A belt is a great way to store and bring along a huge volume of cordage. Be prepared and look good doing it.
Outdoor cooking is made easier with paracord. You can also build a campfire crane with the help of this super useful cordage.
There are so many strong and tough threads inside a parachute cord. They can also be used to sew things together.
And you thought fishing with paracord only meant using it as a line for your hook and rod? You can also fabricate a fishing net from the strands.
These days a hammock is not only good for a cool nap. It can be used as a temporary dwelling when you bug out.
A sling makes bundling and carrying cargo easier. A paracord sling adds another benefit which is having cordage available to you anytime you need it.
A trip wire gives you a sense of security when you have camped out in a strange place. You can rest easy knowing that you will get a warning if there is an intruder.
I believe that a paracord watch strap should be on every prepper's wrist. You can make one or buy one, and you will not regret it.
It is dangerous to string your bow without any stringer. If you have been into archery for some time, you know exactly what I mean. It's always a good idea to have some paracord with you, like when you forget to bring your stringer.
It is essential to know how to improvise gear. Depending on expensive or high tech equipment will not save you all the time.
Hoses collect dirt as time goes by, not only on the outside but also inside. That mud, grease or dirt will clog up the hose in addition to making it look disgusting. Get your paracord, tie granny knots in it and pull it through that dirty hose.
With all the distractions kids are dealing with, they often tend to forget the more important things. Make a keyholder from paracord and tie it to your child's wrist or favorite bag and you can be sure they'll be safe indoors when you're not around.
It's a fact of life that things break down sooner or later, and that includes your vehicle. If you don't have a tow rope when your car is not working, your bundle of 550 cord will come in handy.
It doesn't take a genius to figure out that moving large chunks of wood demands lots of physical exertion. Factor in a hill and the problem only gets worse. A pulley line will make the work much lighter.
Stropping is a quick and easy way to keep the edges of your razors or blades sharp. You are maintaining as well as extending the life of your tools.
Give the children a fun activity. Skipping rope is a great way to exercise and maybe divert their attention from the aftermath of a disaster. You can even join in if you like!
33: Hang mesh frames for propagating plants in greenhouse.
Be creative with your homesteading garden. With a mesh made from paracord, you don't need to buy a wire trellis anymore.
Keep bears away from your food. Hang your food supplies on a tree branch up high and keep those grizzlies at bay.
35: Rudimentary swing for the kids if and when they become bored.
The children will get bored when you have camped out for some time. Parachute cord is strong enough to make a swing with. This way you'll keep the kids happy.
When you don't have a rope with you, paracord can take its place. Just make sure you have enough and you know the proper way of rappeling.
This paracord hack will keep the ladies looking nice and neat. Of course the guys with long hair will also benefit from paracord hair tie.
Carrying firewood back to camp can be a daunting task. Bundle them together with your 550 cord and it becomes a piece of cake.
Walking with heavy load can make movement impossible. Your feet will only sink deeper with every step. It is better to put your cargo on a sled and drag it along with paracord than carrying all that weight on your back.
Finding the toilet in the dark is a difficult, if not disastrous, proposition. You would rather have the light on so you can find your way to relief. And that paracord is really helpful in setting up that light.
It's so frustrating when a light is difficult to turn on because the pull string is missing. Paracord make a great replacement.
When bugging out, you might need to improvise a little when it comes to home decor. Paracord is strong enough that it will keep mirrors and other large, heavy objects suspended.
Use paracord to make a rudimentary pulley system for moving heavy weights.
If you're in need of horse tackle, don't fret. Paracord can be used to make a makeshift knotted halter.
Cleaning your weapons can be tricky without the proper equipment. Once again, it's paracord to the rescue.
As previously mentioned, it's easy for kids to get bored in a bug out situation. Have them help you make a tire swing out of paracord. The project itself and the hours of entertainment provided by the swing will keep them occupied.
I mentioned earlier that a hammock can be made of paracord. But even if you already have a hammock of your own, paracord can still come in handy when it's time to hang it.
An emergency whistle is important to have in a disaster situation or when bugging out with a group. Make sure you have a whistle on you at all times with this paracord hack.
This is just another way paracord can help you in your woodworking projects or when building a shelter.
It can be nervewracking when you're out on the water and need to repair your boat. Sailers and boaters should always have a spool of paracord handy.
Without a pull cord, that lawnmower is just a very large, expensive paperweight. Use paracord and save money on costly repairs.
If you're injured or are suffering from heavy bleeding, and you can't get to a hospital immediately, a tourniquet can be used as a last resort.
When traveling with a lot of gear, it can be easy to drop or lose track of what you're carrying. Tying it all down with paracord can keep your cargo in place and accounted for.
Keep the items in your rucksack secure with this quick and easy paracord fix.
Tie paracord between two trees to construct a tube tent.
A monkey fist can be an effective self defense tool when you don't have other weapons on hand. They are pretty awesome.
Need to make your rucksack more secure? Tie down the lid with paracord and keep your items in place.
In an emergency medical situation, this project could literally be a lifesaver.
Make sure your shelter can withstand the elements by securing it with strong 550 cord.
Improvised weapons are great for hunting in the wild when you don't have traditional weapons on-hand. Paracord is perfect when constructing a spear.
No need to worry about your flashlight slipping out of your hands when you've got a paracord grip.
Lowering cargo down a cliff can be a precarious situation, but your trusty paracord will help you get the job done.
When tied correctly, you can be sure that these makeshift handcuffs will keep your captive from escaping or turning back on you.
In a survival situation, it's important to take some time to relax and let your mind wander. Tying and untying paracord knots is a great way to unwind (no pun intended)… plus, you get to practice tying knots, so you know exactly what to do when you actually need them.
A broken zipper is one inconvenience you don't want to deal with in a survival situation. Use paracord to fix a broken zipper pull.
A ladder isn't exactly practical to carry with you in your bug out bag, but some paracord and some found sticks or boards make a perfect makeshift one.
There's nothing more frustrating as a hunter than having your kill stolen overnight by varmints. Paracord can help you hang it out of their reach.
Keep your boat safe and secure by using paracord to dock it.
Sure, this might not be a "survival" necessity… but on your next trip to the lake, you won't have to worry about broken ski ropes if you've got paracord handy.
Paracord is easy to manipulate, so it's great to learn to tie basic and more advanced knots. Once you learn the basics of tying the knots, you can start working with thicker, heavier rope.
Tie a knot and place inside a plastic bottle, hang from a rock or damp surface and the water will collect on the cord and drip into the bottle.
Wrap paracord around a tree to use as a grip and make it easier to climb.
Keep your feet warm and dry with these improvised paracord snow shoes.
76: Make a sling for killing small animals.
Hunting and trapping is made much easier when you've got plenty of paracord on-hand.
A paracord bullwhip like the one pictured above can be fun to play around with, and can also be used for self defense when needed.
When you're bugging out and hungry, you'll be glad you brought some paracord along to help you catch your next meal.
If you didn't pack a fishing net, don't worry — as long as you brought some paracord along, you can construct your own.
The great thing about paracord is that it's so versatile. If one strand isn't strong enough for your needs, weave multiple strands together to make a sturdy rope.
That's all I can come up with, so far… Can you help me enjoy a steak dinner? Leave your suggestions in the comments below!


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Top Tillerson Aide Fired For Voicing Contradictions in White House's Account of Tillerson's Dismissal
By Brian Bell | March 13, 2018 | 3:13pm
Photo by Chris Kleponis-Pool/Getty Politics News State Department
One of Secretary of State Rex Tillerson's top aides has been fired mere hours after Tillerson himself was dismissed by President Trump. According to the Associated Press, two U.S. officials have confirmed Trump's termination of Under Secretary of State for Public Diplomacy and Public Affairs Steve Goldstein (mouthful). The move was made after Goldstein released a statement in his own name contradicting the White House's account of details pertaining to Tillerson's firing Tuesday morning.
Goldstein's statement said that Tillerson was "unaware of the reason" for his firing and that he learned of his dismissal on Tuesday morning through Trump's tweet announcing the decision and naming CIA Director Mike Pompeo as his nominee to replace Tillerson at the State Department. The president, who made the decision to remove Tillerson "by myself", said that he and Tillerson had been "talking about this for a long time." However, Goldstein's statement refuted that claim, stating that "the Secretary had every intention of staying, because of critical progress made in national security."
Tilllerson and Trump had been at odds over their opinions on the Iran nuclear deal and the handling of diplomatic relations with North Korea, with Trump saying the two "felt a little bit differently, so we were not really thinking the same." Secretary-designate Pompeo, who has been criticized in the past for statements about Islamic leadership and has no diplomatic experience, was chosen by Trump because the two have a "very, very similar thought process."
According to NBC News, Tillerson said late Monday night that the recent poisoning of an ex-Russian spy and his daughter in the U.K. appeared to have "clearly" come from Russia, though whether it was done with the knowledge of the Russian government was not yet known. Within hours of linking Russia to the attack, Tillerson was ousted by President Trump. The White House stated that Tillerson had been informed of the president's decision last Friday, but Goldstein's dispute of that claim and the close proximity to Tillerson's firing to his Russia remarks fuel speculation that his comments on Monday contributed to his termination.
State Department spokesperson Heather Nauert is expected to replace Goldstein on an interim basis. Goldstein's swift firing after refuting the Trump administration's rhetoric further reinforces the erratic nature of the White House under Trump's tenure and stands as a cause for concern moving forward.
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Home | City | Young Cabbies at an Increased Risk of Heart Attacks in Bengaluru.
Young Cabbies at an Increased Risk of Heart Attacks in Bengaluru.
City Health
October 25, 2018 Sharathkumar Nair21482 Comments on Young Cabbies at an Increased Risk of Heart Attacks in Bengaluru.
A study done by the Jayadewa Institute shows that young (18 to 40 years old) taxi drivers are prone to heart problems.
On one hand, cab aggregators like Ola and Uber are credited to create more job opportunities in the city for the youth, there is a big downside to this blessing. Any individual who has a driving license and has a car can get enlisted with any cab aggregators in the city, and start to make a decent living by driving passengers.
This has been a boon to commuters who no longer have to wait for the Bengaluru Municipal Transport Corporation buses, when they can have a car at their doorsteps with a single swipe on their smartphones. Technology has definitely made life easier for commuters, but it comes at a cost, the life of a man sitting behind the wheel.
The majority of the drivers who work for cab aggregators in the city hail from neighboring districts of Karnataka. These drivers work continuously 24 to 48-hour shifts without getting any proper sleep or have any food. To keep themselves awake for such long hours, they tend to smoke or even consume alcohol. Such intoxication methods do help them pull through their shift but takes a toll on their bodies.
These young cab drivers take loans from banks to purchase vehicles, which has to be paid back in monthly installments. Since they get paid an incentive on the number of trips they do in a day, these cabbies tend to push their body limit to earn extra money to repay their loans.
"We are seeing an increase in the number of patients suffering from heart attacks who come to Jayadewa for treatment," said Dr. Rahul Patil, a cardiologist at the Jayadewa Institute. Patil heads the project Premature Coronary Artery Disease (PCAD) launched in September 2017.
The main focus of this project is to understand why more and more young Indians are getting heart attacks, and what measures can be taken to prevent this. This study is focusing only on the patients who are in the age group of 16 to 40 years old.
"Twenty five percent of patients who have been studied and treated under the PCAD program are cab drivers," said Patil. "They are exposed to a lot of stress and they lead a very bad lifestyle, which often results in strokes. We are also studying if long exposure to pollution can trigger a stroke in the case of cab drivers".
"I work 24-hour shifts and take rest for 8 hours, and then resume my shift. I have to pay 30,000 rupees to the bank every month as part of the loan repayment for my car. To earn more money, I try to do as many as trips possible," said Kiran, a 22-year-old cabbie with Ola.
India's Motor Vehicles Workers Act of 1961 sets a limit of 8 hours a day and 48 hours a week for professional drivers, but this law does not apply to Ola and Uber drivers, as they are not employees of the companies, but independent contractors.
"Cab aggregating companies won't make a profit if they follow the rules religiously. Most of the cab drivers who work for private services are independent cab owners. India's Motor Vehicles Workers Act does not apply to contractors.
There should be new laws that can be applied to independent cab contractors working for cab aggregator firms. Driver fatigue and overwork put both the customer and the driver's life in jeopardy," said Prof. M.N. Sreehari, traffic expert and CEO of Consortia of Infrastructure Engineers.
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2 thoughts on "Young Cabbies at an Increased Risk of Heart Attacks in Bengaluru."
Interesting analysis. So apart from increased traffic congestion and pollution caused in cities, cab aggregator services are now turning into health hazard for the very people who build their brand on the road. When public transport services have stipulated working hours and safety measures, cab aggregators are shying away from their responsibility both towards their drivers and customers.
Dejohn says:
Lucky I do not have the DL till now !