Pupils from Snettisham Primary School are celebrating victory in one of the region's biggest fun runs.
They carried off first prize in the Bespak Mini Grand East Anglia Run, scooping £800 to be spent on an F1 track for the early years playground, a reading chair and mushroom stools.
Docking Primary picked up the second prize of £500, with third-placed St Martha's School winning £200.
The 1.2 mile fun run is a popular feature of the Asda Foundation Grand East Anglia Run, organised by Jane Tomlinson's Run For All. Results are based on the proportion of a school's roll taking part in the event.
It also provided a boost for the event's official partner charity - the Magpie Centre, a dedicated Riding for the Disabled stable just outside Downham Market, which each week gives over 130 people riding or carriage driving lessons.


Chilly winter evenings are quickly approaching, and so is the time that you'll rely on your heater. Heating costs are a big part of your monthly home budget, and there are plenty of easy ways to save money on heating. From putting on a jumper to doubling up on insulation, we've gathered our best tips to save on your heating bill.
A typical home loses 20% of its heat through poor ventilation and draughts. You can prevent this with a foam or sealant available at most DIY shops. It's an easy way to save money on your heating bill this winter.
Insulation is one of the best ways to save money on heating. While it does present an extra cost up front, it's a very affordable option in the long run, as you could be losing up to 15% of your heating costs through poor insulation. Insulate your loft, your walls, and even your floors to be thorough.
The way you pay your heating bill could be costing you money if you're paying by cash or cheque. Most heating companies offer big discounts (this varies from company to company, but expect a 5%-20% discount) to customers who pay online, and even larger discounts to customers that pay monthly by direct debit.
5. Read your meter at regular intervals.
Many suppliers try to push estimated bills to customers, which means that the energy supplier guesses how much energy you'll use in a year based on their data and averages it out. It could leave you paying far more than you need to on your heating. Read your meter regularly and supply the company with an accurate reading to make sure you don't overpay.
Double-glazed windows are great for keeping heat in, but can be expensive. Beat the cool weather this winter by putting a double-glazing film on your windows. You can buy film from a DIY shop or you can order it online.
7. Use an energy-efficient shower head.
If your shower takes water directly from the boiler, you could be losing money. A water-efficient shower head will reduce the amount of hot water you use, bringing down your heating bill because less energy is required to heat the water. Energy-efficient shower heads are very affordable (some cost as little as £6) and are a great way to save money on heating this winter.
8. Arrange your furniture efficiently.
If there's a radiator on one side of a room, arranging a sofa or chair in front of it will block the heat, making the room feel colder. Keep the radiator clear to help the air circulate so you won't need to turn your heating up.
9. Close the doors to the rooms you want to be heated.
This is a simple way to save money on your heating bill. Radiators, electric panel heaters, and convection heaters all work by circulating air within a room. Closing the doors to a space traps the air, keeping it warmer for longer periods of time.
Programmable thermostats are great for keeping your home at a near-average temperature. You'll program in two temperatures, one that will trigger the thermostat to turn on (usually between 16 C-18 C) and one that will trigger the thermostat to turn off (usually 21 C – 23 C). These save money on heating by making sure your home never gets too cold, and the heater won't have to work so hard to heat your home. Because it's programmable, you don't need to be in to make sure that the temperature stays constant.
For more winter tips or if you are having problems with your heating, contact our boiler engineers at Tap Into Plumbers .
Contact our professional boiler engineers to see how we can help you save you money on your heating bills.


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Yankees farm system gets high praise in MLB Pipeline's midseason update
By Chad Raines - July 29, 2016
With a farm system on the rise, the New York Yankees are beginning to focus on the development of their baby bombers. As evidenced by Brian Cashman's recent trades to acquire MLB-ready, young talent, and stockpile the talented youth in the minor leagues, it is pretty clear the Yankees are playing for the many years beyond 2016. After many seasons of gutting the farm system and being the consummate trade deadline buyer, we are witnessing a new strategy from the Yankees front office, and it is beginning to pay off.
Gleyber Torres Picture Credit: Tim Holle | Brevard County Manatees
26) Gleyber Torres (SS)
With the recent trade of Aroldis Chapman to the Cubs to acquire their top prospect, shortstop Gleyber Torres, The Yankees have a new guy atop their top prospect list. Torres has maintained his status as a top prospect, even with a new organization and he has boosted the Yankees farm system immensely. On MLB.com's top 100 prospect list, Torres comes in at the number 26 prospect in all of baseball, which is ninth among a plethora of top shortstop prospects. Torres has continued his progression towards becoming an All-Star potential player as he jumped two spots from his preseason rank of 28. This year in 97 games in the minors, Torres is hitting to a .274/.356/.425 line with nine homers, 48 RBIs, 23 doubles, three triples, and 19 stolen bases. For more on Torres (after you read this of course), click here.
MLB.com quote: "If he has to change positions, he'd profile well offensively and defensively at either second or third base."
Scouting Grades - Hit: 55 | Power: 50 | Run: 55 | Arm: 60 | Field: 55 | Overall: 55
Jorge Mateo Photo Credit: Mark LoMoglio | Tampa Yankees
27) Jorge Mateo (SS/2B)
Directly behind Torres at the number 27 prospect in all of baseball is Jorge Mateo. Mateo got off to an incredible start in Class-A advanced with the Tampa Yankees but has since slowed his rate of production. Mateo was the preseason number 30 prospect, so he has continued moving up, and he is the 10th ranked shortstop prospect in all of baseball. Interestingly, he is now listed as a shortstop and a second baseman, as he may begin projecting as a second baseman with his smaller frame, and competition from his teammate with the Tampa Yankees in Torres – although MLB.com says that he has the ability to stay at short. In 84 games in the minor leagues this year, Mateo has hit to a .255/.310/.387 slash line with six home runs, 39 RBIs, 11 doubles, eight triples, and 28 stolen bases.
MLB.com Quote: "He started drawing comparisons to Jose Reyes and teams immediately started asking for him in trade talks."
Aaron Judge Photo Credit: Jeff Irizarry | The Syracuse Chiefs
32) Aaron Judge (OF)
Coming in at the number 32 prospect in all of baseball is the Yankees 6'7," 275-pound outfielder Aaron Judge. Somewhat surpringly, but most likely due to injury, Judge fell one spot from 31 to 32. Despite that, he is much improved in 2016 at the Triple-A level compared to his incredible struggles he endured in 2015 in AAA. Judge has been sidelined since July 9 with a mild PCL sprain and bone bruise on his right knee. In 83 games prior to his injury, Judge was hitting .261/.357/.469, much improved from his abysmal .224/.308/.373 slash line in 61 games in Triple-A last year. Judge also has 16 home runs, 54 RBIs, and 16 doubles to go along with five stolen bases. He was selected to play on the Triple-A All-Star team but was sidelined due to injury. Judge is currently blocked by Carlos Belran in right field, but if Beltran is traded, Judgement Day may come soon after Judge returns from injury. If Beltran is not traded, we may be waiting until September to see the Judge.
Quote from MLB.com: "Built along the lines of Giancarlo Stanton, Judge has similar strength, leverage and raw power."
Gary Sanchez Photo Credit: The Associated Press
39) Gary Sanchez (C)
Ranked the second best catching prospect in all of baseball, Gary Sanchez has made a big jump from his preseason rank of 59 to where he currently stands at 39. Sanchez has bounced around in MLB.com's top 100 rankings over the past few years, but he has been a mainstay in the top 100. Sanchez has looked like a man amongst boys with his hitting ability and arm behind the plate in Triple-A Scranton/Wilkes-Barre. In 68 games, he has cranked 10 home runs, driven home 48 runs, hit 21 doubles and he claims a slash line of .286/.333/.478. He's on the cusp of becoming a mainstay in the Bronx, although he is currently blocked by Brian McCann as the team's starting catcher.
MLB.com quote: If Sanchez stays behind the plate and realizes his power potential, he can be an All-Star."
Blake Rutherford Photo Credit: Jarah Wright | Pulaski Yankees
64) Blake Rutherford (OF)
At 19-years-old, and just recently drafted with the 18th overall pick in the 2016 MLB draft, Yankees outfielder Blake Rutherford is already on MLB.com's top 100 prospect list. With top five potential, Rutherford fell into the Yankees lap at 18 due to an uncertainty as to how sign-able he was. It took the Yankees a club record for a position player $3,282,000 to take him away from UCLA, but the Yankees should be happy they did not let him get away. The 6'3," 195-pound outfielder was the "most productive hitter on the U.S. national team that won gold at the 18-and-under World Cup in Japan last semester," and he was a potential top pick in this year's draft before being surpassed by Mickey Moniak, who went first overall to the Phillies. Rutherford is already hitting .370/.430/.617 with two homers, nine RBIs, six doubles, and four triples in 22 minor league games. With his current production, he may be a season or two away from being not only the top prospect in the Yankees organization, but one of the top prospects in all of baseball as the team hopes he is on a fast-track to the big leagues.
MLB.com quote: "Rutherford has everything he needs to hit for significant average and power."
Scouting Grades - Hit: 55 | Power: 55 | Arm: 50 | Field: 50 | Overall: 55
According to MLB.com's prospect points system, which gives 100 points to the team with the number one prospect, 99 to the number two, and so on, the Yankees rank fourth in the MLB with 317 points. They are just behind the Nationals with 332, the Red Sox with 346 and the Pirates with 383. As far as representation in the top 100 goes, the Astros led all teams with seven prospects in the top 100, followed by the Pirates with six, and the Yankees were among nine clubs with five in the top 100. The Yankees farm system is certainly on the rise as they are definitely in the top half of all minor league systems in baseball. Soon, they may be a consensus top 10 farm system. Here's the Yankees top 30 prospects in their organization.
Gleyber Torres SS
Jorge Mateo SS/2B
Aaron Judge OF
Gary Sanchez C
Blake Rutherford OF
Miguel Andujar 3B
Domingo Acevedo RHP
James Kaprielian RHP
Wilkerman Garcia SS
Dustin Fowler OF
Chance Adams RHP
Tyler Wade SS/2B
Billy McKinney OF
Vicente Campos RHP
Luis Torrens C
Ian Clarkin LHP
Drew Finley RHP
Jordan Montgomery LHP
Jacob Lindgren LHP
Chad Green RHP
Hoy Jun Park SS/2B
Mason Williams OF
Ben Gamel OF
Jake Cave OF
Dietrich Enns LHP
Kyle Holder SS/2B
Donny Sands C
Trey Amburgey OF
Leonardo Molina OF
Freicer Perez RHP
To find MLB Pipeline's full list of the top 100 prospects in the MLB with breakdowns, click here.
To find MLB Pipeline's list of the Yankees top 30 prospects with breakdowns, click here.
To find MLB Pipeline's breakdown of their top 100 update, click here.
Article by: Chad Raines
Follow me on twitter @Chad_Rain
Follow the BBB @BronxBomberBlog
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redpajama_set_name: RedPajamaCommonCrawl


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Tag: Juliet Winters Carpenter
The Easy Life in Kamusari
January 30, 2022 KathrynLeave a comment
Japanese Title: 神去なあなあ日常 (Kamusari naa naa nichijō)
Author: Shion Miura (三浦 しをん)
Translator: Juliet Winters Carpenter
Publication Year: 2012 (Japan); 2021 (United States)
Press: Amazon Crossing
Eighteen-year-old Yuki Hirano has just graduated from high school, but he has no ambitions in life or plans for college. Not wanting him to become a hikikomori, his mother enrolls him in a special year-long forestry training program in rural Mie Prefecture. Unlike Yuki's home in Yokohama, the tiny mountain village of Kamusari has no convenience stores or cell phone reception, just trees as far as the eye can see.
Yuki receives a warm welcome into the home of his supervisor, Yoki Iida, but he wants nothing to do with Kamusari. Forestry work is difficult and dangerous, and Yuki doesn't have any particular knack for the job. Other employees of Nakamura Lumber judge him for his mistakes and make him feel like an outsider. The only other person his age, a schoolteacher named Nao, isn't remotely interested in becoming friends with him. There's nothing in Kamusari except work, and Yuki is so exhausted by the physical labor that he falls asleep right after dinner.
As he continues working, however, Yuki gradually learns to appreciate the warm hearts of the villagers and the wild beauty of the mountain forest. He becomes accustomed to the slower pace of life in Kamusari, and he's eventually inducted into the village's religious traditions. The Easy Life in Kamusari is divided into four chapters, one for each season, and Yuki is keenly observant of how the natural world changes around him. He has to be, as his life and livelihood now depend on his connection to the forest.
Like Shion Miura's 2011 novel The Great Passage about an earnest young dictionary editor, the protagonist's gender is central to the fantasy of accidentally stumbling into a meaningful and fulfilling career. And The Easy Life in Kamusari is, without a doubt, a fantasy.
All of the conservative and "traditional" aspects of society in Kamusari are quaint and charming. There's no poverty or bigotry or bullying. Yuki isn't gay, so he doesn't have to deal with the locals equating homosexuality to sexual deviance. Since Yuki isn't female, he doesn't have to do a second shift of cooking and cleaning and childcare, which means he can fall asleep after dinner without ever having to worry about the fact that the nearest grocery store is a forty-minute drive away.
If you're thinking, "Wow, that must be nice," then rest assured that it is. It's very nice! That's the fantasy.
The Easy Life in Kamusari is a light read, and nothing unpleasant happens. An older worker isn't happy with Yuki being included in village activities, but he's shut down quickly by Yuki's supervisor and coworkers, who support and protect him. There's a bit of darkness in Nao's character, but the reader never hears her story, as Yuki decides that it's not his problem. Everyone in the village seems to expect that Nao will allow Yuki to have sex with her despite her lack of interest in a relationship, but he doesn't force the issue, thankfully.
The Easy Life in Kamusari is a coming-of-age story about a boy becoming a man through manual labor and religious ritual, and the narrative perspective is staunchly masculine. Unlike its boisterous cinematic adaptation, the novel refrains from sex puns about wood, but it nevertheless expresses a strong gender dichotomy. Yuki's sense of belonging is tied to his gradual incorporation into male spaces that exclude women, and female perspectives are not introduced into the story. If you're sensitive to how "tradition" can trap people in gender roles and unwanted relationships, especially in isolated rural areas with no tolerance for more progressive worldviews, The Easy Life in Kamusari may not be for you.
Still, if you can accept the limitations of the narrative perspective, it can be nice to indulge in the fantasy of "traditional" masculinity as recounted in the light and gentle storytelling of a female author. No one gets hurt, either by toxic masculinity or in a gruesome forestry accident.
Speaking of which, the other fantasy presented by The Easy Life in Kamusari is the fantasy of living in harmony with nature. Forestry work is fairly dangerous in reality, as are wild animals, diseases carried by insects, and extreme weather conditions. While I admire the research Miura did for this novel, I can't help but wish that she had been willing to explore a more nuanced and realistic portrayal of rural life and agricultural labor. Japanese cedar plantations have been harshly criticized by domestic and international environmental groups, and it would have been interesting to see these issues acknowledged and discussed from the perspective of people withing the industry. In addition, I would have liked to see a hint of the ongoing discussion about Japan's aging rural population, perhaps in terms of what it means to have so many older people doing such dangerous work so far away from any healthcare resources.
But again, The Easy Life in Kamusari is a fantasy. It's a charming and pleasant novel, and I thoroughly enjoyed it. I read a few pages at a time, and I'd always come away refreshed by the beauty of Miura's writing and Juliet Winter Carpenter's translation. Although I wish the story were more engaged with the realities of its setting, I would happily recommend The Easy Life in Kamusari as a light read to anyone interested in nature writing, Japanese religion, or a heartwarming story of growing up and finding one's place in the world.
The Great Passage
May 6, 2018 May 6, 2018 Kathryn2 Comments
Title: The Great Passage
Japanese Title: Fune o amu (船を編む)
Publication Year: 2017 (America); 2011 (Japan)
Publisher: AmazonCrossing
The Great Passage is one of the kindest and most gentle books I've read during the past year. Despite the fact that it tells the story of a seemingly tedious enterprise, namely, the compellation of a dictionary, I found myself blazing through the novel because I had to find out whether or not the editors would manage to get their dictionary published. I then went back and read the book again so that I could take my time enjoying the quality of the writing and the translation.
The novel's story is centered around Mitsuya Majime, a man who loves words but has trouble communicating with other people. Majime is initially placed into the Sales Department of Gembu Books, a large publisher based in Tokyo, but he flounders there like a fish out of water. His ineptitude comes to the attention of Masashi Nishioka, an extroverted and smooth-talking young man who, through a strange twist of fate, has been assigned to the Dictionary Editorial Department. Nishioka brings Majime to the attention of Kohei Araki, the editorial section chief, who immediately heads over to the Sales Department, notices Majime as soon as he steps into the room, and hires him on the spot.
By the end of the first chapter of The Great Passage, a dream team has been assembled. Majime is a philologist who is more than happy to check and double-check words and definitions, Nishioka recruits experts to write definitions for specialist words and placates the egos of grumpy professors, and Araki oversees the minutiae of editorial operations while running interference with the corporate bosses. Also on the team are Professor Matsumoto, an elderly academic who has devoted his life to the creation of a new dictionary, and Mrs. Sasaki, who is nominally an administrative assistant but pulls her weight around the office by picking up the slack of her male colleagues.
As Majime and his new coworkers deal with the mundane work and bureaucratic challenges involved in the compilation of a dictionary, a love story unfolds between Majime and a young chef named Kaguya, who lives in the same communal boarding house where Majime has rented a small room since college. Both Majime and Kaguya are shy and serious people, but they're able to bond with each other through the auspices of Také, their chatty landlady, and Tora, the large tomcat that roams through the building at night. The couple is well-suited to one another, and their romance progresses quietly and without incident – with one major exception.
Majime, unsure of how to confess his feelings to Kaguya, decides to write her a love letter. As might be expected of the sort of person whose life's passion is dictionary editing, his love letter is a garbled mess of rare words and convoluted literary allusions. Majime allows his extroverted colleague Nishioka to read the letter; and, although he tells Majime that the letter is perfect as it is, it causes Nishioka no small amount of amusement. It's partially because of this ridiculous letter that Nishioka begins to feel a protective affection for Majime and resolves to do everything in his power to aid the budding dictionary editor in his goals. Later on in the story, when Nishioka is transferred to another department, he leaves a copy of the letter hidden in the dictionary editorial office so that his successor, a stylish young woman named Kishibe, will be better able to understand and appreciate Majime's quirky but earnest personality. At the end of The Great Passage, after the main story concludes, there is a nine-page abbreviated excerpt of this letter with humorous annotations from Nishioka and Kishibe that are overflowing with silly jokes and heartfelt goodwill.
The dictionary itself, titled Daitōkai (translated as "The Great Passage"), eventually emerges as its own unique character in the story. The editorial staff regularly meets to discuss what sort of material belongs in an effective dictionary, as well as how an ideal definition should be structured. Unlike the numerous Japanese dictionaries that will have proceeded Daitōkai, Majime and his colleagues want their work to accurately reflect the concerns and interests of the people who live in contemporary Japan. To give an example…
"Dictionaries do tend to be written from the male perspective," Professor Matsumoto said mildly. "They're mostly put together by men, so they often lack words having to do with fashion and housework, for example. But that approach won't work anymore. The ideal dictionary is one that everyone can join in using together, men and women of all ages, interested in all matters of life." (34)
There is also some light discussion regarding the constructed nature of gender and sexuality implicit in certain words, and the staff ultimately takes a progressive view on many issues. They conclude, for example, that "love" need not be defined as the romantic attraction between a "man" and a "woman." Kishibe, who initially worked in the editorial department of a women's lifestyle magazine, is surprised to have been transferred to the staff of a dictionary, but she quickly realizes that what she considered to be common knowledge for a young professional woman serves as a valuable area of expertise to a staff largely comprised of middle-aged men. As she begins to devote herself to the project, Kishibe gains a mounting sense of appreciation for the endeavor…
Words were necessary for creation. Kishibe imagined the primordial ocean that covered the surface of the earth long ago – a soupy, swirling liquid in a state of chaos. Inside every person there was a similar ocean. Only when that ocean was struck by the lightning of words could all come into being. Love, the human heart… Words gave things form so that they could rise out of the dark sea. (164)
Special mention must also be made of the fine work of the translator, Juliet Winters Carpenter. The conversations surrounding Japanese words, their synonyms, and their cultural contexts never feel awkward or forced, and even a reader with no familiarity of Japanese language and culture will be able to enjoy the linguistic play and fine distinctions of meaning. Moreover, the oddities of Japanese corporate culture are glossed over masterfully so that the reader is able to understand the relationships and tensions between professionals without getting bogged down in a mire of titles and hierarchies and formal modes of address.
Although The Great Passage may seem like a novel that will only be of interest to a niche audience, its appeal is far more expansive. This is a book for people who love words. It's a book for people who love reading. It's a book for people who love translation. And, in the end, The Great Passage is a celebration of people who love books.
Oh, and also! The novel was adapted into an anime, which is available in the United States through Amazon's streaming service.
December 10, 2008 February 29, 2016 KathrynLeave a comment
Title: Masks
Japanese Title: 女面 (Onnamen)
Author: Enchi Fumiko (円地 文子)
Juliet Winters Carpenter, the translator of Enchi Fumiko's novel Masks, is one of the most eloquent translators of Japanese literature alive today. Carpenter has translated everything from Tawara Machi's groundbreaking collection of tanka poetry, Salad Anniversary (Sarada kinenbi, 1987) to Asa Nonami's hard-boiled police thriller The Hunter (Kohoeru kiba, 1996). My advice to all lovers of Japanese literature would be: if Juliet Winters Carpenter has translated it, you need to read it!
Enchi Fumiko is one of the most highly regarded writers of literary fiction in Japan. Her father was a scholar of classical Japanese literature, and Enchi grew up devouring the books in his library, from the medieval Tales of Moonlight and Rain to the stories of Edgar Allen Poe. Her pen name, Fumiko, means "child of letters" or "child of literature." When she grew up, she undertook the translation of the monumental eleventh-century novel The Tale of Genji. She is famous for incorporating allusions to classical literature into her own fiction, which was highly praised by writers like Tanizaki Jun'ichirō and Mishima Yukio.
Enchi's work is known for its tightly woven plots, subtle writing, strong visual imagery, and masterful use of symbolism. An Enchi novel is like a structuralist literary critic's dream come true. There is an incredible amount of information packed within each paragraph, and her novels and stories have inspired a wealth of interpretations. Enchi is an intellectual of the highest magnitude yet also possesses the ability to imbue her fiction with great emotional weight.
Although Enchi is primarily known in Japan for her novel The Waiting Years (Onnazaka, 1939), for which she won the prestigious Noma Literary Prize, Masks has its own spooky charms. Although the work's title refers to the masks of Noh drama, particularly the "madwoman" masks that lend their names to the chapter titles, the novel draws many of its themes and allusions from the Tale of Genji. The parallels Enchi draws between The Tale of Genji and the cultural climate of postwar Japan are fascinating. Not only does the author create distinct connections between her characters and the characters of the Heian romance, but she also makes use of themes such as spirit possession and romantic substitution to subvert the gendered expectations of the patriarchal and misogynistic societies that hold sway in both The Tale of Genji and postwar Japan.
Although Masks is primarily narrated from the point of view of a male college professor named Ibuki, who is cast in the role of Genji, its true hero is an older woman named Mieko, a powerful Rokujō-like figure with a painful past and veiled intentions. As Mieko's daughter-in-law and protégée, Yasuko, explains to Ibuki,
Believe me, she is a woman of far greater complexity than you – or anyone – realize. The secrets inside her mind are like flowers in a garden at nighttime, filling the darkness with perfume. Oh, she has extraordinary charm. Next to that secret charm of hers, her talent as a poet is really only a sort of costume.
Masks centers around Mieko's attempt to use this "secret charm" of hers in order to set into motion a deep and complex scheme of revenge, creation, and rebirth. What Mieko is able to accomplish by the end of the novel is both terrible and beautiful. If nothing else, the events that occur during the final dramatic quickening of the work are thought-provoking and will force the reader to consider multiple ethical questions.
Masks is perhaps one of the best introductions to Japanese literature, and more specifically Japanese women's literature, ever published in translation. No matter where your literary interests lie, this is a novel you need to experience.


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Biografia
Nacque a Parigi, da madre francese e padre spagnolo cancelliere all'ambasciata cubana di Parigi. Ebbe un'infanzia agiata, nonostante fosse emotivamente turbato. Studiò all'École nationale supérieure des beaux-arts. All'inizio della sua carriera, dal 1908 al 1913 fu fortemente influenzato prima dalla Scuola di Barbizon e da Alfred Sisley e Camille Pissarro, poi dall'impressionismo, cubismo (specialmente della Section d'Or) e infine astrattismo. Intorno al 1911 entrò a far parte del Gruppo Puteaux che incontrò nello studio di Jacques Villon nel paesino di Puteaux. Divenne quindi amico dell'artista Marcel Duchamp. Alcuni membri del gruppo erano Apollinaire, Albert Gleizes, Roger de La Fresnaye, Fernand Léger e Jean Metzinger.

Dal 1913 al 1915 Picabia fu spesso a New York e prese parte attiva nei movimenti avanguardisti, introducendo l'arte moderna (intesa come modernità e modernismo) negli Stati Uniti. Questi anni possono essere identificati come il periodo proto-dada, che consta maggiormente dei cosiddetti ritratti meccanici (portraits méchaniques): queste opere proponevano ironicamente temi meccanicistici di casuali grovigli di parti metalliche, dipinti e disegni di macchine. Tutti questi meccanismi da una parte irridevano il culto della macchina, dall'altra alludevano a rapporti sessuali. In seguito, nel 1916, pubblicò a Barcellona la prima copia del periodico dadaista 391, nel quale pubblicò i suoi primi disegni meccanici. Continuò la pubblicazione con l'aiuto dell'amico Duchamp negli Stati Uniti.

Picabia proseguì il proprio coinvolgimento nel movimento dadaista durante il 1919 a Zurigo e a Parigi prima di rompere il legame con i dada e sviluppare un interesse per il surrealismo nel 1921. Nel 1924 firma la sceneggiatura, composta solo di due pagine, del film Entr'acte, di René Clair. Nel 1925 cambiò di nuovo stile per ritornare all'arte figurativa. Durante gli anni trenta divenne molto amico di Gertrude Stein. Nei primi anni quaranta si trasferì nel sud della Francia dove il suo processo artistico prese una svolta inaspettata: produsse una serie di dipinti basati sul nudo e sul glamour delle riviste femminili francesi, con uno stile sfarzoso che sembrava sovvertire i classici nudi femminili. Prima della fine della Seconda guerra mondiale fece ritorno a Parigi dove riprese l'astrattismo e la poesia.

Morì a Parigi, nella stessa casa in cui era nato, il 30 novembre 1953. Il suo corpo è sepolto nel cimitero di Montparnasse.

Opere
Segue la lista delle più importanti opere di Picabia, sia in ambito pittorico che letterario. Tutte sono riportate col titolo originale.

Dipinti
Paysage (1898. Olio su tela. 34 × 23 cm. Collezione privata.)
Espagnole (1902. Olio su tela. 65 × 54 cm. Collezione privata.)
F. Picabia by F. Picabia (1903. Matita su carta. 25 × 20 cm. Collezione privata.)
Rivière (1905. Olio su tela. 27 × 19 cm. Collezione privata.)
Bords de l'eau à Poissy (circa 1906-07. Olio su tela. 73 × 92 cm. Collezione privata.)
Jeune fille (1912. Olio su tela. 100 × 81 cm. Collezione privata.)
Dances à la source (1912. Olio su tela. 252 × 249 cm. New York. Museum of Modern Art)
Danseuse étoile sur un transatlantique (1913. Acquerello su carta. 75 × 55 cm. Collezione privata.)
La ville de New York aperçue à travers le corps. (1913. Guazzo, acquerello, matita ed inchiostro cinese su carta. 55 × 74.5 cm. Collezione privata.)
Parade Amoureuse (1917. Olio su cartone. 95 × 72 cm. Collezione privata.)
Abstrait Lausanne (circa 1918. Olio su cartone. 75 × 49 cm. Galerie Piltzer.)
Balance (circa 1919 Olio su cartone. 60 × 44 cm. Collezione privata.)
Guillaume Apollinaire in 1913 (circa 1920-30. Matita su carta. 30 × 20 cm. Collezione privata.
Broderie (1922. Tempera su cartone. 68 × 58 cm. Collezione privata.)
Junelle (circa 1921-22. Acquerello su carta. 74 × 60 cm. Collezione privata.)
L'aile (circa 1922. Inchiostro, matita e acquerello su carta. 62.5 × 47.5 cm. Collezione privata.)
Autoritratto (circa 1923. Inchiostro su carta. 25 × 21 cm. Collezione privata.)
Lever de soleil (1924. Inchiostro cinese su carta. 31 × 24 cm. Galerie Piltzer.)
Idylle (1924-27. Guazzo su carta. 75 × 105 cm. Collezione privata.)
Cyclope (circa 1924-26. Olio su cartone. 103 × 74 cm. Collezione privata.)
Le femme au chien (1924-26. Olio su cartone. 68.5 × 94 cm. Galerie Piltzer.)
Les seins (circa 1924-27. Olio su cartone. 99 × 75.5 cm. Collezione privata.)
Carnaval (circa 1924-27. Ripolin su tela. 105 × 74 cm. Collezione privata.)
Les acrobates (Gymnastique banale) (1925. Olio su pannello. 104 × 75 cm. Collezione privata.)
La femme de l'amour (circa 1927-28. Acquarello, matita e carboncino su carta. 105 × 75 cm. Galerie Piltzer.)
Corrida Transparence (circa 1927-30. Guazzo su carta. 50 × 65 cm. Collezione privata.)
Barcelone (circa 1927-28. Guazzo su carta. 87 × 75.5 cm. Collezione privata.)
Senza titolo (circa 1928-29. Acquarello su carta. 39 × 28 cm. Collezione privata.)
Villica-caja (1929. Olio su tela. 151 × 180 cm. Collezione privata.)
Hera (circa 1929. Olio su cartone. 105 × 75 cm. Collezione privata.)
Ridens (circa 1929. Guazzo e acquarello su cartone. 104 × 74 cm. Collezione privata.)
Lodola (1930-1931. Olio su tela. 196 × 130 cm. Collezione privata.)
Adam et Ève circa (1931. Olio su tela. 200 × 110 cm. Collezione privata.)
Mélibée (circa 1931. Olio su tela. 215 × 130 cm. Collezione privata.)
Ève (1934. Olio su tela. 41 × 33 cm. Collezione privata.)
Vierge à l'enfant (circa 1933-35. Olio su tela. 160 × 130 cm. Collezione privata.)
Les lavandières (circa 1935. Olio su tela. 92 × 73 cm. Collezione privata.)
Portrait of Woman (circa 1935. Olio su tela. 73 × 60.5 cm. Collezione privata.)
Visage de femme (1936. Olio su cartone. 61 × 37 cm. Collezione privata.
Cocolo (circa 1936-38. Olio su tela. 92 × 73 cm. Collezione privata.)
Paysage provençal (circa 1937-38. Olio su pannello. 51 × 40 cm. Collezione privata.)
Natura Morta (1937-38. Olio su cartone. 106.5 × 76 cm. Collezione privata.)
Composition abstraite (1937. Olio e guazzo su carta. 29 × 39 cm. Collezione privata.)
Viareggio (1938. Olio su cartone. 97.5 × 73.5 cm. Collezione privata.)
Autoritratto (circa 1940. Olio su cartone. 58 × 48 cm. Collezione privata.)
Nu de dos. Fond mer. (1940. Olio su legno. 75 × 53 cm. Collezione privata.)
Montparnasse (1940-41. Olio su cartone. 105.5 × 76.5 cm. Collezione privata.)
Deux Nus circa (1941. Olio su cartone. 106 × 75.5 cm. Collezione privata.)
Jeune fille aux fleurs (circa 1941-1942. Olio su cartone. 100 × 76 cm. Collezione privata.)
Les calanques (1942-44. Olio su legno. 105 × 75 cm. Collezione privata.)
Nu de dos (1942-44. Olio su legno. 105 × 75 cm. Collezione privata.)
Nude (1942. Olio su cartone. 105 × 76 cm. Collezione privata.)
La danseuse de french-cancan (circa 1942-43. Olio su legno. 105.4 × 76.5 cm. Collezione privata.)
Deux femmes aux pavots (1942-44. Olio su cartone. 105 × 75 cm. Collezione privata.)
L'élègante (circa 1942-43. Olio su cartone. 106 × 77 cm. Collezione privata.)
En faveur de la critique (1945. Olio su tela. 103 × 75 cm. Collezione privata.)
Suzanne (circa 1945. Olio su cartone. 92 × 73 cm. Collezione privata.)
Composition abstraite (1945-59. Olio su tela. 55 × 46 cm. Collezione privata.)
Autoritratto (1946. Matita su carta. 21 × 16.5 cm. Collezione privata.)
Bonheur de l'aveuglement (1947. Olio su legno. 151.5 × 96 cm. Collezione privata.)
Le brave (1947. Olio su cartone. 100 × 81 cm. Collezione privata.)
Coloque (1949. Olio su cartone. 96 × 129.5 cm. Collezione privata.)
L'encerclement (1950. Olio su pannello. 25.5 × 34.5 cm. Collezione privata.)
Petit soleil (1950. Olio su tela su cartone. 65 × 54 cm. Collezione privata.)
Mardi (1951. Olio su tela. 38 × 46 cm. Collezione privata.)
Jeudi (1951. Olio su tela. 46 × 38 cm. Collezione privata.)
Tableau vivant 1951. Olio su cartone. 105 × 74 cm. Collezione privata.)

Scritti
Dove è possibile sono inseriti l'editore, data e il luogo di pubblicazione.

Cinquante deux miroirs (1914-1917. Barcellona, ottobre 1917.)
Poème et dessins de la fille née sans mère (Losanna 1918.)
L'Ilot de beau-Séjour dans le canton de Nudité (Losanna, 23 giugno 1918.)
L'athlète des pompes funèbres (Bégnins, 24 novembre 1918.)
Râtelier Platoniques (Los santos)

Poésie Ron-ron (Losanna, 24 febbraio 1919.)
Pensées sans langage (Parigi: Eugène Figuière, 1919.)
Unique Eunuque (Parigi: Au sans pareil, 1920.)
Jésus-Christ Rastaquouère (Parigi: Au sans pareil, 1920.)
La loi d'accommodation chez les borgnes (Editions Th. Briant, 15 maggio 1928.)
Thalassa dans le désert (Parigi: Fontaine, collection l'âge d'or, 1945.)
Exploration (Parigi: Vrille 1947.)
Choix de poèmes de Francis Picabia (Parigi: G.L.M., 1947.)
Caravansérail 1924 (Parigi: Pierre Belfond, 1974.)
Dits (Parigi: Eric Losfeld, edition le Terrain Vague.)
Vive Satie (Liegi: Edition Dynamo, novembre 1957.)
3 petits poèmes  (Alès: PAB, 1949.)
Un Poème de Picabia  (Alès: PAB, 1949.)
Poème sans titre (Alès: PAB, 1949.)
La raison (Alès: PAB, 1949.)
Médicalement (Alès: PAB, 1949.)
Innocence (Alès: PAB, 1949.)
Le lit (Alès: PAB, 1949.)
Chi-Lo-Sa (Alès: PAB, 1949.)
Je n'ai jamais cru (Alès: PAB, 1950.)
Pour et contre (Alès: PAB, 1950.)
Le Moindre effort (Alès: PAB, 1950.)
Le Dimanche (Alès: PAB, 1951.)
Ce que je désir m'est indifférent (Alès: PAB, 1951.)
Le Saint Masqué (Alès : PAB, 1951.)
591 (Alès: PAB, 1952.)
Réveil Matin (Alès: PAB.)
Ne pensez pas plus mal de moi (Alès: PAB, 1952.)
Fleur montée (Alès: PAB, 1952.)
Oui Non (Alès: PAB, 1953.)
Parlons d'autre chose (Alès: PAB, 1953.)
Les heures (Alès: PAB, 1953.)
Ne sommes-nous pas trahis par l'importance (Alès: PAB, 1953.)
Demain Dimanche (Alès: PAB, 1954.)
Poèmes de Dingalari (Alès: PAB, 1955.)
Maintenant (Alès: PAB, 1955.)
Mon crayon se voile (Alès: PAB, 1957.)
L'équilibre 1917 (Alès: PAB, 1958.)
691 (Alès: PAB, estate 1959.)
Ou bien on ne rêve pas (Alès: PAB, 1960.)
Laissez déborder le hasard (Alès: PAB, 1962.)

Altri progetti

Collegamenti esterni

Dadaisti

redpajama_set_name: RedPajamaWikipedia


"I want to continue to give back to Southington by serving on the town council and continuing to support the prosperity of the town."
Throughout the years, Paul has made numerous civic contributions to the town and is currently on the board of directors for the Southington Bread for Life. He has been instrumental to saving taxpayers money by increasing efficiencies reducing redundancies among departments.


text:
VITAL 2030 A VISION FOR AUB FOR THE NEXT DECADE AND BEYOND
Home > President > VITAL 2030
Given the daunting challenges facing Lebanon and the MENA region and our increasingly connected world, AUB cannot rely purely on its legacy of excellence and impact, impressive though it is. Like any successful, sustainable institution, the university must keep moving forward to ensure it renews its purpose and relevance in a rapidly unfolding future. At the dawn of AUB's second 150 years, with new senior leadership and a new direction, the time was right to begin enacting substantive, systemic changes that would position the university for even greater leaps forward in the future.
VITAL 2030 was proposed as AUB's strategic vision. The result of three years of intensive engagement with stakeholders across the institution, the new strategic vision seeks to ensure AUB's future success, relevance, and sustainability over the next decade and beyond. VITAL is a mnemonic for five themes, which allow the university to focus energy and resources, strengthen operations strategically, bring all stakeholders together towards common goals, establish agreement around intended outcomes, and course-correct when necessary.
VITAL 2030 and the campus master plan for 2030 were developed in tandem with multi-stakeholder engagement, with each framework able to inform the other, while also taking into account the objectives of the five-year $650 million BOLDLY AUB capital campaign launched in 2017, whose priorities are to enrich education and research, foster interdisciplinary innovation and entrepreneurship, enhance healthcare, solidify community relevance, and ensure sustainability.
President's Perspective
VITAL 2030Currently selected
Title IX, Non-Discrimination, and Anti-Harassment
President's Service Excellence Awards
Institutional Integrity
Speeches, Messages, Interviews
Board Designated Professorships Program
Heroes Funds
University Medals
AUB'S STRATEGIC THEMES


Gustave Verbeek (born Gustave Verbeck (1867 – 1937) was an illustrator and cartoonist, best known for his newspaper cartoons in the early 1900s featuring an inventive use of word play and visual storytelling tricks 1).
Verbeek was of Dutch ancestry, but was born in Nagasaki, Japan, the son of Reformed Church in America missionary Guido Verbeck. He grew up in Japan, but went to Paris to study art, and worked for several European newspapers, creating illustrations and cartoons. In 1900 he moved to the United States, where he did illustrations for magazines such as Harper's, and produced a series of weekly comic strips for newspapers. In the 1910s he abandoned cartooning and became a fine artist. He was noted for his expressionist monotypes, which were the subject of an article in The Century Magazine in June 1916. He died in 1937 in New York City, New York 2).
Verbeek's first strip was Easy Papa, a fairly conventional strip about two mischievous kids and their father, similar to the highly popular contemporary strip The Katzenjammer Kids, which ran in a competing newspaper. Easy Papa appeared in The New York Herald from May 25, 1902 through February 1, 1903 3).
Verbeek is most noted for The Upside Downs of Little Lady Lovekins and Old Man Muffaroo, a weekly 6-panel comic strip in which the first half of the story was illustrated and captioned right-side-up, then the reader would turn the page up-side-down, and the inverted illustrations with additional captions describing the scenes told the second half of the story, for a total of 12 panels. His signature usually appeared at the top of the first/last panel, upside down. The two main characters were designed such that each would be perceived as the other character when inverted. For example, in one often-reproduced panel, Muffaroo appears in a canoe next to a tree-covered island, and is being attacked by a large fish. When inverted, the image shows a later scene of Lovekins in the beak of a giant roc: Muffaroo's canoe has become the bird's beak, the fish has turned into the bird's head, the island has become its body and the trees its legs, and Muffaroo has turned into Lovekins. Verbeek created a total of 64 of these strips for The New York Herald, from October 11, 1903 to January 15, 1905 4).
Verbeek's longest-running strip was The Terrors of the Tiny Tads, published by the Herald from May 28, 1905 to October 28, 1914. This strip features a group of four unnamed and interchangeable boys, who encounter a variety of strange creatures based on inventive word combinations. For example, they find a "hippopautomobile" (a hippopotamus with a steering wheel and seating in its back as in an automobile), a "pelicanoe" (a pelican in which a rider could sit and paddle like a canoe), and a "samovarmint" (a samovar for serving tea with the head and claws of a wild animal). As with The Upside Downs, the strip's text consisted of captions below the illustrations; there were no speech balloons. Dan Nadel describes the strip as "quiet, subdued, and somnambulant" in character, partly because Verbeek eschewed "speed lines, stars of pain", and other such cartoon conventions 5).
He created a short-lived strip in 1910 called The Loony Lyrics of Lulu. These strips are about a girl who encounters imaginary creatures and writes (inoffensive) limericks about them 6).


Two Active Little Blond Kid Boys Enjoying Climbing On Tree. Toddler Children Learning To Climb, Having Fun In Domestic Garden On Warm Sunny Day, Outdoors. Royalty Free Fotografie A Reklamní Fotografie. Image 42806642.
Reklamní fotografie - Two active little blond kid boys enjoying climbing on tree. Toddler children learning to climb, having fun in domestic garden on warm sunny day, outdoors.
Two active little blond kid boys enjoying climbing on tree. Toddler children learning to climb, having fun in domestic garden on warm sunny day, outdoors.


text:
Home	HealthHearing	Audiologist's License Revoked for Lewd and Lascivious Acts with a Child
HearingNews Releases
Audiologist's License Revoked for Lewd and Lascivious Acts with a Child
by DCA News Release November 1, 2019
written by DCA News Release November 1, 2019
Southern California audiologist convicted of exposing himself at Universal Studios
SACRAMENTO – The Speech-Language Pathology and Audiology and Hearing Aid Dispensers Board (Board) has revoked the license of Tarzana Audiologist Hershel Louis Korngut based on his November 7, 2018 conviction for PC288(A) Lewd or Lascivious Acts with a Child Under the Age of 14 years.
Korngut was arrested in January of 2018 for exposing and rubbing his genitals on two female customers at cash registers inside merchandise stores at the Universal Studios theme park in Los Angeles County.
In April of 2018, Korngut's license was suspended because the Board had reason to believe he was a danger to the public. The Board filed an accusation in July of 2019 based on his conviction. The accusation stated Korngut was convicted of a crime that is substantially related to the qualifications, functions or duties of a hearing aid dispenser and audiologist and for violating the California Business and Professions Code sections 490(a); 2533(a); 2533(e); and 2533(g) and the California Code of Regulations 1399.156(a); and 1399.1569(d).
Korngut did not contest the accusation and on October 23, 2019, the Board revoked his license. He was sentenced to three years in state prison and is currently incarcerated at the California Rehabilitation Center in Norco, California.
Read the news release here.
audiologistCalifornia Department of Consumer AffairsSpeech-Language Pathology and Audiology and Hearing Aid Dispensers BoardTarzana
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Buying Face Cream from a Questionable Source Could Lead to Catastrophic Results
New Year Means New Requirements For Paper Prescription Forms
All About Audiologists
More Defrauded Corinthian College Students Eligible for State Fund Reimbursement
Bureau Of Automotive Repair Adopts Regulations To Increase Assistance To Consumers Impacted By Covid-19
COSTUME CONTACT LENSES CAN BE A NIGHTMARE FOR EYES
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Revelling in the 'unseen' exchanges, blindside flankers Scott Fardy and Jerome Kaino will be inconspicuous but integral performers for Australia and New Zealand during Saturday's Rugby World Cup decider.
Exactly two months ago, Justin Tipuric derailed Ireland in Dublin, making a compelling case to be deployed in tandem with Wales skipper Sam Warburton. Across the globe, a double-team of David Pocock and Michael Hooper had just handed New Zealand a comprehensive defeat in Sydney.
On the eve of the World Cup, it seemed the tournament would hinge on how many traditional openside flankers a coach can shoehorn into a starting team.
To some extent, this hunch has transpired. Back-row dynamism and breakdown nous have proved pivotal. England paid dearly for their relative inferiority in these areas. But some stand-out performers have also reinforced the value of an old-fashioned, unfussy blindside to fuse everything together and facilitate more eye-catching performances.
Dan Lydiate delivered a couple of brilliant defensive displays. Schalk Burger was the heartbeat of South Africa's resurgence. In the final, two crucial protagonists – Scott Fardy and Jerome Kaino – will be wearing six.
The term 'unseen work' is almost redundant these days due to the advent of video analysis and all-access broadcasting. That said, it is certainly worth taking a look at the more inconspicuous interventions of Fardy and Kaino ahead of Saturday's decider.
We will begin with the bearded Wallaby, and some aspects of his efforts at the restart – an element that has long been as important as a third set piece.
Australia are an exceptionally slick breakdown side and Fardy is a key cog.
The normal course of action for Australia in this situation would be to employ a 'soft drift' and shepherd Argentina towards the touchline. However, Fardy goes entirely against convention.
Pocock – in the driving seat for World Player of the Year – has won 14 turnovers during this tournament, five ahead of Fiji lock Leone Nakarawa in second place. Fardy only has five turnovers attributed to him.
This effectively galvanises Pocock with 110 kilograms of weight, making him harder to shift and therefore buying time to haul the ball back towards the Australia side.
The role of facilitator, the man that knuckles down to allow colleagues to shine, is often spoken about in intangible terms. Fardy's actions here offer evidence of how intelligent industry can help others to be showered with praise.
Fardy's work-rate is mammoth and he often provides an outlet in attack on the shoulder of a carrier. Returning to another restart situation – in fact, to the opening kick-off of the clash against Argentina – we can highlight an important part of his game.
…and from there Foley can use his right boot to blast downfield.
Finally, while Saturday sees just a 30th cap for Fardy, he is an authoritative figure who speaks to officials a great deal.
He resembles a fast bowler, bent at the knees, arms aloft and imploring Joubert to give the decision. Although these scenes are rather unsavoury, they also epitomise two of Fardy's innate attributes as a player – persistence and competitiveness.
And now for his opposite number.
Robust and imposing, Kaino is a different specimen to the lanky, lithe Fardy. He functions in a more abrasive style, but remains a master of unheralded graft. As with Fardy though, a restart highlights his ability to unsettle.
It was clearly a pre-ordained strategy for New Zealand to make it difficult for South Africa to get out of their own half.
Now to examine the contact area. Alongside Brodie Retallick, Kaino is New Zealand's chief enforcer.
This amounts to another turnover assist – prime currency for blindside flankers.
Though Kaino suffered a brain explosion late in the first period and was sent to the sin bin, he made a telling contribution on his return.
New Zealand did not relinquish possession until Beauden Barrett had scored to make it 17-12.
Finally, a glance at what Kaino brings in attack.
Kaino was superb during the 62-13 quarter-final thrashing of France, scoring in an ubiquitous display. To underline his under-the-radar excellence though, watch the beginning of Julian Savea's phenomenal second try.
However, he is isolated from support and surrounded by French defenders looking to tackle him and swarm the ball.
Playing to the whistle – as every youngster is taught within their first few sessions – he carries into contact. New Zealand scored from the next phase, capitalising on the penalty advantage to take seven points rather than three.
The final may well be decided by such moments. Fardy and Kaino will be fighting tooth and nail for the most marginal gains.


The 2017 Annual Conference of the Midwest Art History Society was hosted by the Cleveland Museum of Art (CMA) and Case Western Reserve University from April 6–8. Panels were held during the first two days at the museum. The final day of the conference took place at Oberlin College in the Allen Memorial Art Museum. Throughout the annual conference, CMA curators and Case Western professors delivered short "flash talks" in the CMA galleries on highlights from the permanent collection. For this year's Keynote Event on April 6, a distinguished keynote panel spoke on Raphael's School of Athens Cartoon currently undergoing restoration in Milan. The panel included Don Alberto Rocca, Director of the Pinacoteca Ambrosiana, Milan; and Dr. Maurizio Michelozzi, Paper Conservator, Florence, who is undertaking the restoration.
The Cleveland Museum of Art is known nationally and internationally for the quality and scope of its collection, which comprises some 45,000 objects and covers 6,000 years of art history. Founded in 1913, the CMA is today one of the world's most distinguished comprehensive art museums and one of the top five in the country.
In 2013, the museum completed a $320 million renovation and expansion project designed by the architect Rafael Viñoly. The project, which was funded by a successful capital campaign, included the complete restoration of the original 1916 building and 1971 Marcel Breuer addition, as well as the addition of two symmetrical wings on the east and west sides. Central to the design is the large, light-filled Ames Family Atrium, enclosed by an elegantly soaring roof. The CMA is now considered one of the most beautiful and impressive civic spaces in Northeast Ohio and its galleries are among the finest of any museum.
Click here for the Call for Papers (deadline to submit abstracts is December 16, 2016) and more details on the conference, including hotel information. Online registration information will be available in December.
The 2017 Annual Conference featured a wide array of scholarly sessions in addition to a distinguished keynote panel on Raphael's School of Athens Cartoon, plus special gallery talks and receptions.
The 2017 Annual Conference of the Midwest Art History Society was hosted by the Cleveland Museum of Art (CMA) and Case Western Reserve University from April 6–8. Panels held during the first two days took place at the museum. The final day of the conference took place at Oberlin College in the Allen Memorial Art Museum. Throughout the annual conference, CMA curators and Case Western professors delivered short "flash talks" in the CMA galleries on highlights from the permanent collection. For this year's Keynote Event on April 6, a distinguished keynote panel spoke on Raphael's School of Athens Cartoon (above right) currently undergoing restoration in Milan. The panel included Don Alberto Rocca, Director of the Pinacoteca Ambrosiana, Milan; and Dr. Maurizio Michelozzi, Paper Conservator, Florence, who is undertaking the restoration.
The Museum of Contemporary Art (MOCA) Cleveland plays an urgent and exciting role in the city's cultural landscape. As a non-collecting institution and the region's only contemporary art museum, MOCA is ever-changing, introducing new exhibitions three times a year and creating fresh experiences for visitors each season. Since its founding in 1968, MOCA has presented the works of more than 2,000 artists to our region, often through artists' first solo shows. MOCA introduced the region to vanguard artists like Andy Warhol, Jasper Johns, Laurie Anderson, Roy Lichtenstein, and Christo, among others. The museum continues to connect audiences with relevant and critical regional, national, and international artists, both emerging and established. MOCA acts as both conduit and catalyst for exchange and free expression. It is dedicated to building a global mindset in this region by connecting the community to artists and thought-leaders who are advancing culture today—the global to local and back again.
MOCA's exhibitons during the conference included: Adam Pendleton: Becoming Imperceptible; Lisa Oppenheim: Spine; Jeremy Deller: Video Works; and Zarouhie Abdalian and Joseph Rosenzweig: Transport Empty. More information can be found on MOCA's website.
See photos of the 2017 MAHS Annual Conference in Cleveland and Oberlin.
View or download a PDF of the 2017 Conference at a Glance.
View or download a PDF of the 2017 Conference Program.


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Greek letters line the outside of the apartment complexes across from the Engineering IV building. Where there was once dirt and train tracks, there now glistens omegas, deltas and kappas hung from the side of freshly built student housing. That's the vision.
Cal Poly has proposed building on-campus housing for all students in greek organizations. However, not all greek life members are happy with the proposal.
Included in the most recent Strategic Plan draft is a potential initiative to create a Greek Village for all greek organizations, including Panhellenic (PHA), Interfraternity Council (IFC) and the United Sorority Fraternity Council (USFC).
Although a location still has not been finalized for the village, the ideal area for it would be north of Engineering IV, near the lower sports complex fields, Vice President for Student Affairs Keith Humphrey said in an interview.
The village is meant to support a measure to create safer, healthier and more leadership-based greek organizations.
This is not the first time Cal Poly has brought up the possibility of building on-campus housing specifically for students in greek life.
The possibility for all-greek student housing was first brought up in 2013. When Cal Poly entered into the deferred recruitment compromise, which created party registration and risk management policies and expanded the greek system, students in greek life asked the administration to explore the feasibility of a creating a Greek Village, Humphrey said.
The village would create a facility where all fraternity and sorority houses could be together and share facilities, effectively moving them out of neighborhoods.
Since then, Cal Poly has looked to other universities' on-campus housing for students in greek life as an example. One model the university has especially kept an eye on is the one at Arizona State University (ASU) because of the different model configurations organizations can choose from for their house, Humphrey said.
The Greek Leadership Village at ASU opened in Fall 2018 and includes 27 chapter houses as well as a community center and retail area, according to the ASU website. The project began in 2012 after members in the IFC expressed interest in on-campus housing for students in greek life, similarly to how the idea started at Cal Poly.
After the idea came to fruition in 2013, Cal Poly also sent out surveys to students in IFC, PHA and USFC to gauge their interest in a Greek Village, as well as amenities they would like to see offered in the village and how they feel about their current housing.
The last survey was sent out a few years ago, but Humphrey said the administration has checked in with sorority and fraternity leadership every year to ensure the project is still something students would want. So far, Humphrey said the consensus has been that they do.
According to the survey, benefits of the village would be unification of all greek organizations, ease of securing housing, creating a safer place to live, a lack of sensitive neighbors and an on-campus location for meetings.
However, not all agree that having more university oversight of greek organizations will be completely beneficial.
"I think just the mix of sororities and fraternities all in one place telling them, one, not to drink, two, you can't make noise past whatever it is, 10 p.m. on weekdays, I do not know if that would be very successful," agricultural business senior and Alpha Omicron Pi [AOPi] member Jen Harlow said.
Although students would have the option to keep their greek houses and live there or in the village if they choose, Harlow said the stigma surrounding being an upperclassman living on-campus could present difficulties getting greek members to live in the village.
Cost would also be another large area of concern for James Abundis, the diversity chair for Gamma Zeta Alpha, a Latino Interest fraternity in USFC. The computer science senior said that while the village could be beneficial in promoting interaction between all greek organizations, there may be other students on campus who could better make use of the facilities.
In fact, a Cal Poly survey conducted via email in 2016 found that 270 of 2,192 students, or 12.3 percent, reported being homeless.
Within cultural fraternities, many students are first-generation, low-income, or both, making paying high fees for on-campus housing on top of dues something that typically would not be feasible for many members, Abundis said.
On average, USFC dues range from $50 to $100 per quarter, while IFC dues range from $200 to $350 per quarter and PHA from $300 to $450 per quarter.
Currently USFC does not have any official housing, so having a place to interact with other organizations could be beneficial if the pricing corresponded with income as well as dues for the organization, Abundis said.
The cost of living off campus versus on-campus could also be a factor in deterring students from living in the Greek Village, Harlow said.
The greek village is still in the conceptual phase, so logistics like cost and location still have not been determined and cannot be determined until the university Master Plan has been approved by the CSU Board of Trustees, Humphrey said.


Private cloud adoption increased to 77 percent from 63 percent of enterprises in one year, according to a RightScale survey. And the private cloud uptake drove hybrid cloud adoption to 71 percent from 58 percent year-over-year.
The company's fifth annual "State of the Cloud Report" solicited responses in January 2016 from 1,060 technology professionals at large and small enterprises across a broad cross-section of industries, then compared the results to those from January 2015. Seventeen percent of respondents used RightScale products.
Companies are each using, on average, three public clouds and three private clouds. On average, they are each running applications on 1.5 public clouds and experimenting with an additional 1.5 public clouds. They are also running applications on 1.7 private clouds and experimenting with an additional 1.3 private clouds.
Across all sizes of organizations, 44 percent of respondents use VMware vSphere environments as private clouds. OpenStack and VMware vCloud Suite tied for second at 19 percent. Bare-metal clouds are being used by 15 percent of respondents.
In comparison to last year, there were noticeable increases in adoption rates of every private cloud technology. VMware vSphere/vCenter went up 11 percent. OpenStack and vCloud both increased 6 percent.
In public clouds, Amazon Web Services (AWS) continues to lead, being used by 57 percent of respondents, which was flat from last year. But Microsoft Azure's infrastructure-as-a-service (IaaS) grew to 17 percent from 12 percent, and Azure's platform-as-a-service (PaaS) grew to 13 percent from 9 percent.


text:
Under the Arcade with Butch Husky
Ruminations on the San Francisco Giants and the game of baseball, written by someone who knows both
Who is Butch Husky?
Let's get real.
Photo © tanmanforlife
There's always a lot of talk on the Twitter thing about what it means to be a "real fan". Pissing contests erupting 140-characters at a time. Grown men whining back and forth like old married couples. Ladies behaving... well, rather un-lady-like.
It's getting fricking dangerous out there, folks, and the whole shebang has got me thinking: What exactly constitutes a "real fan"?
In the wake of the team's first title in 56 years, life-long Giants fans watched with trepidation as the park filled up night after night in 2011 with out-of-the-woodwork casual fans decked out literally from head to toe in their freshly-purchased World Champions-branded gear.
Those of us with a little historical perspective knew what to expect. We saw the same type of surges in the late 80s, following the near-miracle '93 season, and the early aughts — the pinnacle of the Bonds era — basically any time the team has been riding high in the standings.
So it wasn't too shocking to see the takeover this year. And if you look at it from a business perspective, casual fans are a great thing. They boost revenues. Additional revenue can be spent building a better roster. A better roster wins more championships. More and more fans come out to see the team at home and on the road... You get the idea?
I don't know if Larry Baer and the ownership group get the idea, and because of that, I did not think it would benefit the franchise for the 2011 team to make the playoffs. There. I said it.
We got to watch one of the worst Giants offenses in at least a century, and certainly one of the most inept in our lifetimes. This medley of mediocrity was only prevented from plunging our team into the abyss by one of the finest pitching staffs ever assembled.
Had this team played even one game of October baseball, Baer the Bean Counter and his cronies would likely have frozen the payroll, resigned Cody Ross, and called it a day this offseason. Why mess with a good thing? If it ain't Baroque, don't fix it.
But they didn't get to October, though they could have backed in by playing slightly better ball down the stretch — or even .500 in August. If there's a silver lining to this less-than-glorious season, it's the shakeup that began with the release of Aaron Rowand and Miguel Tejada and continued with the trade of Jonathan Sanchez.
The payroll isn't expanding much — Sabean can't even kick the tires on the big name free agents — but it's not getting smaller. It's clear that management recognizes the need for change. We can wait until the Spring Training roster is set before we start to pick apart the decisions they're still in the process of making.
But regardless of how poor the offense gets, management also knows they have the pitching to keep the team in the playoff hunt and keep the casual fans coming back. The park will continue to be packed. The $9 beers will continue to flow. The 2011 model could, in effect, become the new Giants Way.
The business model isn't built to serve only the diehards. We don't buy enough beer or garlic fries; we bring our own water and sandwiches. We don't buy new gear every year; we wear the same cap until it falls apart. Okay, sometimes we buy new gear, but only when the team does something nuts like win a World Series.
Most importantly, we see through every piece of advertising and target marketing they throw our way over the course of nine innings. And if you've never been to a game, trust me, it's a lot of shit.
But therein lies the conundrum. You see, without the casual fans, there'd be no Giants for the diehards to go see on a cold ass Tuesday night against the Nationals.
Personally, I don't care how you root for your team or why. I reserve the right to call you out if your takes are ignorant or reactionary, and I certainly encourage you to @ me if I'm talking out my ass. Most importantly, everyone needs to watch as many games as possible and build on their knowledge of the game, the team, the players.
But if you're obviously a new or casual fan, I'm not going to hold it against you. I just won't follow you. At least not for very long.
Everyone deserves the benefit of the doubt, after all. A single, 140-character missive should not be construed to represent the entirety of one's personality, opinion, or IQ. We define ourselves by the totality of our actions and words, not random moments of tipsy tweeting or drunk dialing.
It would behoove all who worship at the Temple of the Tweet to remember this the next time you read something on your timeline that touches a nerve. Do what they tell customer service reps: write the flame follow up, save it as a draft for half an hour, and read it again. If you still want to send it, then okay. If you realize you're about to make an ass out of yourself, then put it in the bin.
Btw, I saved this for six hours and re-read it before hitting publish.
Posted by Butch Husky at 9:01 AM
Labels: Brian Sabean, fans, Giants, Larry Baer, MLB, season tickets, trade deadline, Winter Meetings
About Butch
Butch Husky
San José, CA
No, I'm not that guy who played for the Mets. This was my porn name. Not that I was ever in porn. But a boy can dream, can't he?
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