We would like to extend a big thank you to Cathy Mc Cormack &amop; Rory O'Donnell for providing training to Sign Language Interpreters Munster (SLIM) in Limerick at the weekend. We had a great turnout of interpreters and we are sure this information will be of benefit to them in their interpreting work.
Cathy is Deaf and a trained Occupational Therapist. She also lectures in OT in Trinity College. She outlined the work &amop; role of OT's and multidisciplinary teams (MDT's) and what would be expected of interpreters if they worked with OT's & MDT's? She also listed the attributes she would require if an interpreter were to work with a Deaf OT like herself.
Rory gave a talk on Physical Therapy and the benefits of this for sign language interpreters. He also demonstrated a range of pre-work stretches, and talked about repetitive strain injury, posture, injury prevention and general stretches and exercises.
Our thanks to all the interpreters who travelled near and far for the training. Our sincere thanks also to the Deaf Community Centre for allowing us to use their rooms on the day.
We've received a high number of queries about sign language access to hospitals funded by the HSE. If you require access, you should ask your GP to write to the hospital in advance of your appointment and request access under The Equal Status Acts &The Disability Act. You can also contact our service and we will contact the hospital on your behalf.
If you are not happy with the response, each hospital has a Complaints Officer, appointed under the Health Act 2004. The Complaints Officer will examine your complaint and give you a written response within a stated period and advise you of your right to an independent review by a Review Officer.
If you are not happy with the outcome of this, you can write to the Office of the Ombudsman Office. Issues can include: communication difficulties, failing to get your informed consent to a procedure, having staff who are rude or unhelpful or who discriminate against you, refuse to give you information to which you are entitled to or failing to deal properly with your complaint. For more information, a leaflet is available at www.ombudsman.gov.ie/en/Publications/Information-leaflets/Public-Hospitals.pdf.
On the 8th of Dec, a Christmas Fair will be held in the Ballyphehane Community Centre from 2-6pm with all proceeds going to the Ethiopian Deaf Project. This follows on from a very successful fair held last year. A mass in sign language will also be said at 12oc in the Lough Hall.
We are also looking for people to bake & donate cakes, buns, apple tarts etc. If you are happy to bake & donate, please let us know ASAP. If you are based in Tralee or Killarney, Willie White will be able to collect them on the morning of the 8th before he travels to Cork. If you are in the Cork area, you can make contact with Susan O'Callaghan in the Cork Deaf Association.
As part of the EU INTERREG IVA Programme, a new app on basic Irish Sign Language (ISL) & British Sign Language (BSL) has been developed. The app is part of the Deaf Communications Infrastructure Development.
The app is called SignBasic and can be downloaded via your phone App provider. For more information, you can also go to www.teachsign.eu.
We would like to extend our sincere and best wishes to Cyril Axelrod, a Deaf and blind Roman Catholic priest who has been awarded an OBE by Queen Elizabeth. Cyril travels internationally, often on his own as part of his work with the Deaf and blind community. It is for that work, developing training services and supporting blind and deaf people all over the world, that Axelrod will receive the OBE.
Cyril lives in London but travels extensively for his work among the deaf-blind: to China at least twice a year and with regular trips to Malta, Slovakia, Singapore, Japan, Korea, Australia, Canada and South Africa. He speaks or understands at least 15 languages, including Cantonese. To read more about this remarkable man, go to www.iol.co.za/mercury/obe-honours-a-prince-among-men-1.1610652#.Uo52s8Rmidk.
Our Book & Gift Club is back. All items can be purchased and can be viewed in our office this week.
The event will start at 11am and should finish between 12.30 and 1pm. If you are interesting in attending, please let us know as soon as possible.
Our thanks to the Health and Leisure Dept of the ITT for continuing to include Deaf and hard of hearing in the activities.
Last week we had the great pleasure of working with Dr. Una MacConville as part of her research on the experiences of Deaf people and interpreters in medical settings and palliative care.
Una would be very interested in hearing from Deaf people and interpreters on their experiences of meeting their GP's, attending hospital appointments or palliative care.
You can contact Una by email at una@unamacconville.com or by text at 086 8175530.
Our annual Christmas party will take place on Sunday 8th of December in Stokers Lodge in Tralee (near Tralee Train Station). The party will be held from 2 to 6pm. It will cost €20 per adult and €10 per child. Santa will come for a short visit during the party and we will also have spot prizes.
If you would like to attend, please send us your details and payment by the 3rd of December.
It's that time of year again when we are looking for nominations for our Deaf and hearing Supporter of the Year Awards. Do you know of a person, organisation or a service that has been supportive of Deaf issues in the past year? Has someone contributed to improving the lives of Deaf people in Kerry? Has access improved in a particular service? If so, send us their names and we will consider them for an award. The successful people will be announced at our Christmas party and will be presented with a framed certificate, a box of chocolates and a bottle of wine. Get your nominations in now.
We are selling 2014 calendars with all proceeds going to the ongoing costs of the Ethiopian Deaf Project in Ambo, Ethiopia. The calendars cost €3 each. We can also post them for a small fee to cover postage.
Many of you will know that as a result of ongoing fundraising, the Ambo Lazarist Deaf School opened on the 30th of December 2012. In addition, land was secured nearby with 5 buildings. These buildings will be developed into a Vocational Skills Training Centre and a Deaf Centre. Obviously this is dependant on donations and fundraising activities.
The team really appreciate all the support we have received to date. For more information, go to www.facebook.com/ethiopiadeafprojectambo.
As part of our ongoing support of the Ethiopian Deaf Project and the Ambo Lazarist Deaf School, a small group of Irish & American CODA's are hoping to travel to Ethiopia from the 27th of July to the 7th of August 2014.
For those who do know, in the Deaf community, children of Deaf adults are known as CODA's. The team will be made up of Willie White, Veronica White and their cousin Steven White along with 3 American CODA's siblings- the Canne sisters.
The trip is in early planning stage at the moment. However, fundraising activities have already commenced. If you would like to make a donation to Steven, Kayla, Ashley & Megan, you can go to www.gofundme.com/4oiwg4.
We would like to wish the group well in their fundraising. For more information, you can contact Willie White via our service.
The Programme for Government states on page 54 that 'We will examine different mechanisms to promote the recognition of Irish Sign Language'.
You can email your suggestions to kdrc@eircom.net or you can text us on 087 6334687 or send a message to us on our facebook page at www.facebook.com/kerrydeaf.
There are a number of get-togethers planned for the Kerry & Cork Deaf Folks group. On the 3rd of Dec, the group will meet at 11.30am in the Macroom Castle Hotel for a chat & cup of tea, which will be followed by Christmas lunch. It will cost €32 per person and includes tea/biscuits/3 course lunch.
On the 17th of December, Fr.Gerard Tyrell will say Christmas Mass in the Cork Deaf Association (daytime - time to be confirmed). This will be followed by bingo. Fr. Gerard will also say mass for members of CDC at 7.30pm approx. If you would like to attend any of the events, please let us know, as numbers will need to be confirmed.
Seanad Eireann supports ISL recognition campaign.
Set 1- Doctor/ hospital appointment. Set 2- Mealtime. Set 3- Social skills. Set 4 Feelings. For more information, go to www.simplysigning.ie or text 086805 3987.
The sign language interpreted performance of 'Wicked' on the 10th December is almost sold out. The event will be held in the Bord Gais Energy Theatre in Grand Canal, Dublin. Wicked was a smash hit in both the West End and Broadway.
As a result of our last update, which focussed on sign language interpreting access to Government Depts and Public Bodies, we had a number of requests on how to access the Dept of Social Protection (DSP).
DSP have assured us that interpreters can be booked for clients if they require access to Social Welfare Offices, Community Welfare & the newly established Intreo services.
Staff in any of these offices can log onto the DSP intranet and go to the 'Information & Customer Section'. In this section, they will find a policy 'Procedures for Translation & Interpreting'. This policy lists a number of contact people in the Department who can sanction a request for an interpreter.
For more information on the DSP's access policy, you can email translations@welfare.ie.
Over the coming weeks, we hope to launch a limited Fire Alarm scheme for Deaf and hard of hearing in Co. Kerry. If you want to apply, consideration will be given to those who do not have a fire alarm in their home or have an alarm that is not accessible to them. You will need to submit your name, address, PPS number & outline why you require an alarm.
In a recent update, we mentioned that RTE was beginning to feature programmes with sign language interpreters imposed on the screen. Our own Catherine White was the interpreter for the initial programmes.
The company with responsibility for creating these interpreted programmes are delighted to announce opportunities for Deaf and hearing freelance onscreen presenters to work with their award-winning and highly skilled team based in Gateshead, Newcastle-upon-Tyne.
If you are fluent in Irish Sign Language (ISL), British Sign Language (BSL), American Sign Language (ASL) or International Signs (IS) and are passionate about access for Deaf people, then this could be the job for you.
If you are enthusiastic, have a commitment to delivering high quality sign language translations and want to work with a professional bi-lingual team, please send your CV to Joseph Sheridan, Deaf Team Manager or contact for an informal chat. Email: Joseph.Sheridan@itv.com SMS: 07825 960503.
Hands On is back on your screens for its 18th series! Programme 1 takes a look at this year's Deaflympics, how Ireland fared and what the future holds for Deaf sports.
Caroline McGrotty visits the Football and Badminton teams who represented Ireland in Bulgaria; following them in their preparations before the Deaflympics and catching up with them on their return. Featuring interviews with Football Coach Jamie Wilson, Assistant Manager Geoffrey Foy, Captain Darren Dunne, midfielder Seán Young, Badminton Director Ivan Gryzlov and badminton players Shane Keogh, Johnny Corcoran and Aidan Connor.
While the teams did Ireland proud, Hands On wonders why this is the first year since 1981 that Team Ireland came home from the Deaflympics without a medal? Paul Ryder of Deaf Sports Ireland explains the challenges facing Irish Deaf sport. Hands On ask Nora Duggan and Deaflympic veteran Dee Byrne-Dunne if they feel the glory days of Irish Deaf swimming are over for good and if enough is being done to develop female Deaf athletes.
Be sure to tune in at 12.30pm, Saturday November 16th on RTE One, or you can catch the repeat at 10.30am, Sunday November 17th on RTE One. The programme will also be made available on the RTE Player and at www.youtube.com/user/HandsOn3.
Since its establishment, Simply Signing's mission is to promote the education of Irish Sign Language to all children, to provide a colourful access through our publications, devoted to early intervention and educational work with children, educators and their caregivers.
Simply Signing has been working very closely on a fantastic project with the Dublin Branch of Down Syndrome Ireland. As many of you know signing has been identified and is advocated as a vital form of communication support for any child with delayed speech and/or temporary or fluctuating hearing loss. As consultants on this project, Simply Signing filmed 250 ISL signs and developed a wonderful animated signing character for children.
This will be an enjoyable and wonderful tool for all children, and children with hearing loss and special needs. Simply Signing would like to take this opportunity to congratulate all the team in DSI Dublin and all involved in this project. To view the clip, go to www.facebook.com/l.php?u=http%3A%2F%2Fwww.handsthattalk.ie%2F&h=3AQH9SGca&s=1 www.handsthattalk.ie/.


With modern-day technology, steel horse barns don't have to be made with aged wood or an old-fashioned design anymore. Instead, modern-day prefab horse barns are made with metal materials that last a lot longer than traditional materials. At Carport Factory Direct, we use top-quality modern materials, such as 12 gauge and 14 gauge galvanized steel that allows our carport barns to be resilient and durable throughout the year, regardless of any external factors like inclement weather. While traditional barns were used as houses for farm animals and as storage units for farm gear, our modern rent to own barns can be used for any purpose. Sure, you can use your prefab horse barn as a shelter for your farm animals, or you can use it as a functional space for an array of other things. For example, a metal carport horse barn is a great office space or workout room. You could even use your metal barn as a guesthouse. Whatever you want to use your it for, be sure to voice that to one of our representatives.
One of the best aspects of our steel barns for sale is their customizability. Instead of purchasing a standard ready-to-buy barn, you can team up with one of our specially trained design representatives to create a completely personalized building. Aside from choosing the size of gauge for steel, you can also choose the roof style and color. We offer regular, a-frame, and vertical roof styles. While regular and a-frame roofs have traditional V-shaped tops, regular roofs have curved edges and a-frame roofs have straight edges. As for vertical roofs, they have an overall square shape. Once you choose the size and shape of your barn, you can pick the color you want. Who said barns have to be red? We offer an array of colors for a reason. Instead of sticking to a traditional red shade, you have the option of choosing a more modern and personalized color that truly matches your personal design aesthetic. In addition to choosing the color of your barn, you can even opt to add any additional design elements to your barn, such as windows.
Whether you want a modern building that still honors the traditional aspects of a barn, or one that serves as a modern-day functional space, Carport Factory Direct will make your dreams come true. Our employees are committed to working with you every step of the way to ensure your barn is personalized and meets your ideal aesthetic.
We offer metal barns in multiple states across the Southeastern U.S. Customers have found us online using a variety of searches such as: metal barns WV, metal barns NC, rent to own horse barns, barns for sale in NC, metal barns Georgia, barn style metal carports, Carolina barns and buildings, and more. No matter your purpose, budget, or location, we can help you find and customize the prefab metal carport barn of your dreams!


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RSVP 7/2: EMILY's List to Announce Largest-Ever State Legislative Effort For Crucial Cycles
For Planning Purposes
RSVP 7/2: EMILY's List to Announce Largest-Ever State Legislative Effort For Crucial 2019 and 2020 Cycles
To get call-in information please rsvp here
WASHINGTON, D.C. – On Tuesday, July 2nd at 3:00 p.m. ET, EMILY's List, the nation's largest resource for women in politics, will announce an unprecedented investment in state legislative work focused on holding and flipping state legislative chambers in key states during the 2019 and 2020 cycles. During the press call, EMILY's List President Stephanie Schriock will be joined by EMILY's List Vice President for State and Local Campaigns Geri Prado and Virginia Delegate Hala Ayala to discuss the impact of EMILY's List on the ground, how new funding and resources will be allocated for this historic investment, and priority state legislative chambers for the 2019 and 2020 elections.
State legislatures are on the front line of issues that directly affect working families every day such as access to health and reproductive care, quality education, good-paying jobs and more. EMILY's List's unprecedented investment comes as Republican-controlled state legislatures have advanced harmful, anti-choice policies through their gerrymandered majorities in statehouses across the country, and after the Supreme Court's dangerous decision to allow partisan gerrymandering to continue. In 2019 alone, more than 350 bills attacking women's reproductive health were introduced and nine states passed laws limiting women's access to safe and legal abortion care.
WHAT: Press call to announce EMILY's List's historic upcoming investment in state legislative races
WHO: Stephanie Schriock, EMILY's List president
Geri Prado, EMILY's List vice president for state and local campaigns
Hala Ayala, Virginia Delegate
WHERE: RSVP here for more info
WHEN: Tuesday, July 2 at 3:00 pm ET
For additional details please contact Ianthe Metzger
EMILY's List, the nation's largest resource for women in politics, has raised over $600 million to elect pro-choice Democratic women candidates. With a grassroots community of over five million members, EMILY's List helps Democratic women win competitive campaigns – across the country and up and down the ballot – by recruiting and training candidates, supporting strong campaigns, researching the issues that impact women and families, and turning out women voters to the polls. Since our founding in 1985, we have helped elect 150 women to the House, 26 to the Senate, 16 governors, and nearly 1,100 women to state and local office. Nearly 40 percent of the candidates EMILY's List has helped elect to Congress have been women of color. During the historic 2017-2018 cycle, EMILY's List raised a record-breaking $110 million and launched a record independent expenditure campaign. We helped elect 34 new women to the House, including 24 red-to-blue victories; enough seats to have delivered the U.S. House majority alone. Since the 2016 election, more than 46,000 women have reached out to EMILY's List about running for office laying the groundwork for the next decade of candidates for local, state and national offices.

redpajama_set_name: RedPajamaCommonCrawl


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"I don't believe in purchasing offsets because I think that is bull!"," says Enci as she prepares to produce her first environmentally responsible film. "Everybody who has money can pretend to be green by paying other people off and that, to me, is bribery. It doesn't do the community or the planet any good."
Despite the title of her short film, At What Price? Enci's story is not about environmental recklessness it is the tale of child abandonment set in her native Hungary circa 1978. Inspired by an event in her childhood that forever changed her life Enci, an actress, decided to write and direct the film herself.
"The idea to do At What Price? sustainably or at least try to make it with as little environmental impact as possible was a natural choice. Then the brainstorming started," says Enci who with her husband, producer Stephen Box, started listing all the benefits that the community and the production crew would get from a sustainable film project. "When I'm on set as an actor, I'm always aware of the waste and the 'bad' elements that a production brings, including making enemies with neighbors and communities. I do believe in partnering with the community and with the neighborhood."
The local community - in this case East Hollywood - was important to Enci's internal green dialogue. Catering for the film production will be serviced by local restaurants and produce vendors. The crew will be asked to bring in their own coffee mugs while washable utensils and plates will be provided with meals. The location of the shoot in East Hollywood is readily accessible by public transit and the crew is encouraged to avail themselves of L.A.'s public transit system to help minimize parking issues with local citizens and thereby shrink the production's environmental footprint further. Enci is also partnering with a local organization to plant trees in the neighborhood as a testament to her willingness to ensure a green film with a lasting benefit to the community.
Enci's pre-production checklist includes facilitating most decisions online where possible. Casting calls were via electronic submissions and all paperwork relating to the film is done online as At What Price? is a SAG production. This simple procedure mitigates paper waste. Production meetings are held in locations that are convenient to and accessible by all modes of public transport. "Up to this point," says Enci "the 'green' journey has been somewhat conceptual with a bit of drama thrown in as we grapple with shade-grown versus free-trade coffee choices for our production meetings."
With shooting of At What Price? set to commence in July, Enci has looked into sustainable lighting, set design and film options. If necessary, her outfit, Rebel Without a Car Productions, has even looked into the availability of a solar-powered generator.
"My husband and I are getting a team together that is quite a mix," she says with regards to the crew that will see her film dream come to life. "Some are already 'green', carfree, vegetarian, and some are not even close to being green. We don't just want to preach to the choir, we want to inspire those who are not thinking about their carbon footprint or the future of the planet.
"All these people are very excited about helping and being part of this production. I also hope to inspire the 'non-green' people in our production to be more sustainable, to drive less, to bring their own mugs and to order their drinks in glass or china when they sit down in a coffee shop. I would also like to encourage them to buy locally grown fruits and vegetables or grow some produce themselves."
"Living sustainably has been always close to my heart," states Enci as she explains that her environmental concerns predate this film project. "I came to the U.S. almost 13 years ago and I love it here in America but I always found it shocking how much is wasted. Food, disposables, idling cars, a/c running with doors and windows open, etcetera. Through all my years of living here I have tried to recycle - even when it was difficult because recycling bins were not always readily available. I've always used canvas bags when I shop and I started riding a bike when my husband, not only encouraged me, but also rode along with me everywhere, until I felt comfortable enough to ride on my own," she says before adding proudly, "Now we're both car-free!"
Returning to the subject at hand, while groups and organizations exist to promote environmental films very little has been done to date with regards to producing these films in an environmentally friendly manner. Sustainable, energy-efficient filmmaking is such a novel approach that a code of standards for the film industry was only released this year.
Best Practices is New Territory for Hollywood
The Code of Best Practices in Sustainable Filmmaking also has a list of web resources to help filmmakers adapt best practices in a sustainable fashion. This resource runs the gamut from carbon calculators to companies and organizations that provide gold standard carbon offsets. Opposed to offsets as the folly of the rich Enci's production will employ someone to calculate the film's carbon footprint. "I take note of every meeting and every footprint that we leave behind."
"A lot of people tell me how difficult it is going to be," Enci states with regards to her dual challenges of being not only a first-time director which is a challenge unto itself but to also make that production a sustainable film as well. "To tell you the truth, I think it is a bad excuse to be negligent and say, 'Well, it's my first time, I don't have time to waste on such silly things as 'waste management.'"
Will and Determination
Enci is adamant that she will prove her detractors wrong. "I think it's going to be easier for me than anybody else because I don't have a set way of doing things. I would like to believe that because I'm starting it out right I will have it better and easier."
"I do hope that this endeavor - however successful I will be with it - will set some of the ground rules for future productions. I can't stand plastic cups and bags and forks and styrofoam plates and such," she says alluding to the rampant environmental waste produced on other film sets. "It will really ruin my focus if I'm not free of that on the set. If this film brings publicity to sustainable filmmaking then all the better because people will take notice and hopefully be inspired to be more sustainable in their own lives."
The production of At What Price? is also being followed by a documentary film crew. The subject of that film is Enci's own foray in producing her own sustainable film. Enci muses that, "We'll get two films out of one shoot. Now that is sustainable!"
Posted by Mark Butkus at 11:22 AM
Labels: At What Price?, Enci, sustainable film production
abigail said...
Film sets are notorious for disposable food and packaging.
Checkout keepcup.com for the morning and afternoon latte runs
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Visual Art Feb 14, 2008 at 4:00 am
Gray Area
Why Does Some Work by Lead Pencil Studio Look So Much Like Work by Other Artists?
Jen Graves
Details from The Internal Slipping Out into the World at Large by Mariele Neudecker and Arrival at 2AM by Lead Pencil Studio (top left, top right); Lequita Faye Melvin by Roy McMakin and Without Room by Lead Pencil Studio (bottom left, bottom right).
It began with an e-mail and a JPEG. The e-mail was sent on August 3, 2007, by Eric Fredericksen, director of Western Bridge, the exhibition space for the art collection of Bill and Ruth True. The Trues had recently purchased a work by Lead Pencil Studio, two of Seattle's leading emerging artists. The recipient of the e-mail was their dealer, Scott Lawrimore. It read:
Hi Scott. We came across this image of Mariele Neudecker's 2000 work 'The Internal Slipping Out into the World at Large' at Barbara Thumm gallery, and am [sic] troubled by the resemblance between it and the LPS work Bill and Ruth are acquiring. What do you think?
Translation: Did your artists copy to make this work of art that my boss just bought?
Lead Pencil Studio (LPS) is the name used by Annie Han and Daniel Mihalyo—the defendants, as it were. They won a Stranger Genius Award in 2006, the same year they created a massive outdoor installation on the border of Washington and Oregon using a prestigious Creative Capital grant. Not long after that, they won the Rome Prize for architecture.
Mariele Neudecker was relatively unknown in Seattle until this, but a lot of people saw Lead Pencil Studio's solo show at Lawrimore Project last spring. It wasn't until after the show closed—and the Trues had purchased Arrival at 2AM from it—that an assistant curator at Seattle Art Museum came across images of Neudecker's The Internal Slipping Out into the World at Large while doing research for an unrelated exhibition.
This was the image attached to Fredericksen's e-mail. It depicted fluorescent fishing line streaming down from two Gothic windows like beams of light materialized.
In Arrival at 2AM, thousands of strands of light-blue nylon thread streamed down from two windows, like moonlight materialized.
The uncomfortable question stood: "What do you think?"
Lawrimore forwarded the e-mail to Han and Mihalyo, who said they'd never heard of Neudecker or seen her piece. After some back and forth, this came to seem like an unpleasant coincidence to all parties. Nobody had reason to think the artists were stealing from another artist, especially since the artists didn't know each other and there were significant differences in the ideas behind the two pieces. Plus, one was an enterable installation while the other was a smaller freestanding sculpture. Chapter closed.
A week later, Han and Mihalyo left for Rome. To the Rome Prize committee, they'd proposed to spend their expenses-free year in the city making three-dimensional portraits of Roman spaces using a laser 3-D scanning technology used by surveyors, called lidar. They've spent their career so far revealing the ways spaces are defined, and their two most well-received projects in the Northwest are Linear Plenum (2004), a field of strings that filled Suyama Space, and Maryhill Double (2006), a full-sized skeletal copy of a remotely located museum on the border of Oregon and Washington.
But five months later, the accusation of copycatting came back.
On January 30, Seattle Post-Intelligencer art critic Regina Hackett posted on her blog the old JPEGs that had passed between the artists and their collectors. But this time she added a new accusation.
Hackett wrote that Lead Pencil Studio's latest work, Without Room, an installation currently in a North Carolina museum, looked just like an installation by Seattle artist Roy McMakin, Lequita Faye Melvin, that showed at the Henry Art Gallery in 2004. Both pieces involve gray furniture and both pieces, Hackett believes, are referencing the modernist monochrome reliefs of Louise Nevelson. "But Lead Pencil's use of Nevelson is precisely the same as Roy McMakin's. It's McMakin's move, his field and his plow," she wrote.
Hackett continued: "Maybe Lead Pencil's Annie Han and Daniel Mihalyo hadn't seen the Neudecker. I know that they've seen Roy's work. He and they all live in Seattle, which is not that big a town. As I'm typing this, for instance, e-mails are circulating in Seattle art circles that make the same comparisons and draw the same conclusions. Just as I was thinking about it, I realized I had plenty of company."
This unnamed company included important people. At the top of the list: Seattle Art Museum's modern and contemporary curator Michael Darling. "There's a lot of things that look like other things in their work," Darling said of Lead Pencil Studio in a phone interview last week.
Darling may have some cause to take offense at the resemblance to McMakin's work, because he has had a long and close relationship with it and respect for it. Five years ago, when he was at the Museum of Contemporary Art in Los Angeles, he curated an exhibition of McMakin's work. That retrospective's centerpiece was Lequita Faye Melvin, a gathering of gray furniture named after McMakin's grandmother, representing the artist's memory of her belongings.
It isn't only the McMakin and the Neudecker overlaps that have left Darling cold on Lead Pencil Studio, he said. They also use the same type of webby metal as British sculptor Antony Gormley.
"It starts to smack of coattail-ism," Darling said. "To use that other person's aura in a self-beneficial way—that's when it starts to seem derivative. Those examples make me suspicious. What's in it for an artist to do something that somebody's already done?"
At this second revelation, the Trues faced an especially complicated situation. They don't have a personal connection to Lead Pencil Studio, but they do own Lead Pencil's Arrival at 2AM. On the other hand, if the Trues are identified with any single artist, it's McMakin. McMakin designed Western Bridge, as well as the Trues' home in Madison Park and much of their furniture. In fact, they've hesitated to buy pieces by other artists who work with furniture, because they know those might be mistaken in their environs for McMakins.
The other day at Western Bridge, I asked Bill True how he felt about the similarities between Lead Pencil Studio's works and McMakin and Neudecker's works.
He hesitated. He didn't feel good.
"Just looking at the JPEGs—that first glance—it's too close," he said. "In my mind, all of the pieces are tainted."
He added, solemnly, as if this were the worst part, "I don't think anyone did anything wrong."
What's wrong and what's right in terms of originality and art is a matter of serious debate. If no one did anything wrong, then how can a work of art be tainted? Which is worse, theft or ignorance?
"We're surrounded by signs; our imperative is to ignore none of them," Jonathan Lethem wrote in a Harper's essay last year called "The Ecstasy of Influence: A Plagiarism," an essay comprising sentences lifted from other places. In one of the few sentences in that essay that wasn't sourced, Lethem proclaimed: "Art is sourced."
The point is that there is no such thing as a "clean" piece of writing or art. An artist's only imperative is to be informed about what came before, Lethem argued, in order to steal better. Outright, daylight theft is best, Fredericksen agreed recently. Accidental copying—the kind Lead Pencil were guilty of with the Neudecker piece—is worst, precisely because it is so uncanny, Fredericksen said: "It's a doppelgänger. That's a classic horror story."
Except what constitutes a copy? Is there a difference in art akin to the DNA difference between a fraternal and an identical twin? What about mere siblings? If artists acknowledge influences more overtly rather than less, does it protect them? Cases of artworks looking intentionally similar through acknowledged influence or overt appropriation are obvious and well documented, but cases of artworks looking accidentally similar are not all that uncommon, either—and present more complicated problems.
In the case of Originality vs. Lead Pencil Studio, what muddies matters is that the debate revolves around works of art the people involved in the debate haven't seen in person. When this happens, the narrative easily turns to issues of loyalty, of curator versus curator and critic versus critic. (After all, Hackett and I are competing critics, and I have found much to champion in Lead Pencil Studio's body of work. Also, I haven't seen McMakin's Lequita Faye Melvin.) In the absence of personal experience, you're more likely to believe an artist whose work you believe in, but professional loyalty should not be confused with nepotism: It comes from a place of having truly been convinced by an artist's work.
Beth Sellars, curator of Suyama Space, has a similar relationship to Lead Pencil Studio as Darling has to McMakin. She says Lead Pencil Studio's critics "need to back off," and to consider their whole body of work instead of isolated pieces.
"Did Michael Darling go to Maryhill?" she asked. "Has he actually talked to Lead Pencil about their North Carolina piece, or seen it? Has anyone actually seen the Neudecker?"
The answers to those questions are no, no, and no. The general half-knowledge of these works seems to argue for a certain amount of circumspection when it comes to making sweeping judgments. Asked about Maryhill Double, Darling readily conceded that he has only seen one show of Lead Pencil Studio's work: "I'm not a bona fide expert on it," he said.
But that doesn't make the resemblances any less striking. JPEGs of McMakin's Lequita Faye Melvin show close-ups of gray-painted furniture—dressers, lamps, chairs. JPEGs of Lead Pencil Studio's Without Room show gray-painted furniture and clutter set on a platform in the middle of a gallery.
So what happened?
Reached by phone in Rome, Han and Mihalyo said they didn't go to McMakin's show when it was in Seattle, although Mihalyo went to McMakin's lecture. They were in disbelief at the charges.
"Artists would never redo work that's already been done," Han said. "It's just not in our interest. Also, for an artist to take something from another artist who lives in the same city as us, who we like, and who is collected by the same collector? We'd have to be pretty stupid to do this."
To them, the comparisons are surface level, based on close-up JPEGs that make the pieces look similar when they're really not. As with the Neudecker case, Lequita Faye Melvin and Without Room have significant conceptual differences.
Lequita Faye Melvin is a reconstruction by hand of the furniture McMakin remembers from his grandmother's home. Some of the furniture is out of proportion, as if seen from the perspective of a child. When Lequita Faye Melvin was shown at the Henry in 2004, the objects were displayed in a jumble, the way furniture is pushed together when it's in storage. If a private collector buys Lequita Faye Melvin, McMakin intends the objects to be scattered throughout the collector's own personal belongings. (It's for sale at McMakin's New York gallery, Matthew Marks; James Harris Gallery represents McMakin in Seattle.)
Without Room, at the Weatherspoon Art Museum of the University of North Carolina at Greensboro, is an exact replica of the crowded living room of an anonymous woman who lives in Greensboro. The woman was selected from a pool of volunteers who responded to an ad by Lead Pencil Studio calling for someone who lives in a small space. Museum staffers went into her home and documented every object, then the artists scoured second-hand stores for precise approximations of all of her belongings (a Michael Jackson doll was substituted for a Pee Wee Herman doll). They coated the objects gray and reconstituted the crowded room—without walls—on a platform. A gray rectangle painted on the ceiling demarcated the room. The only critic to review the show, Travis Diehl, writing for the campus newspaper, described it as "a living room rendered lifeless."
The difference: Lead Pencil Studio's Without Room was a precise, jam-packed space designed by real use. McMakin's Lequita Faye Melvin was a jumbled, evocatively imprecise memory closet.
On the phone from Rome, Lead Pencil Studio said they count McMakin as an artist they admire, but not really as an influence. For Without Room, they cited other influences, including Margaret Roberts, an Australian installation artist who uses swaths of paint to alter interior spaces, and the lidar technology they're using in Rome, which translates built environments into flat, unspecific gray surfaces. (They've been on the other side of this scenario, too. In 2004, the same year Lead Pencil Studio filled Suyama Space with green and white filaments, Predock Frane Architects filled a gallery at the Venice Biennale with green and white filaments. Lead Pencil Studio decided to chalk it up to coincidence.)
McMakin has mixed feelings.
"When I saw those pictures [of Without Room], it felt peculiar—to use an incredibly vague word deliberately," McMakin said in a phone interview. "I think art is a very fluid thing, and I don't know them as artists in a very deep way. I don't know. But what they're doing is a setup for things feeling odd to people, not a setup by intentions but by circumstances."
As for Neudecker, who is based in Britain, she responded to the comparisons by e-mail. Her windows explore romanticized imagery, she wrote. They are adapted from a nostalgic black-and-white postcard of light streaming through windows at Grand Central Station. Lead Pencil Studio's windows, when exhibited at Lawrimore Project, were hung so that the angle of the strings corresponded directly to the way light would enter Lawrimore Project if the windows were real. Lead Pencil Studio were Lawrimore Project's architects; they were commenting on their own architecture.
"Really interesting question. And sort of happens a lot, I reckon," Neudecker wrote. She said she couldn't pass any judgment without being able to compare the pieces in person.
The two cases that have been lumped together are not the same, said Liz Brown, chief curator at the Henry Art Gallery, and the lumping together leads her to think that, on some level, there's some "joyful backlash" going on against Lead Pencil Studio. She has seen nearly all of their work, with the exception of Without Room, and says that these appear to be surface-level similarities that don't diminish her opinion of their work overall.
Her take on the difference between the two cases is not what you'd expect. Given the relative obscurity of Neudecker and the relative fame (especially in Seattle) of McMakin, Brown said, Lead Pencil can be excused for not knowing about Neudecker's windows, but they can't be excused for not knowing about McMakin's gray furniture.
It boils down to this: They don't have to subject their ideas to a Google search before they make them—although that might be an easy way to avoid a controversy like this—but they do have to take into account a reasonable person's expectation of their most attentive audience's base of knowledge.
Back to Bill True's double assertion that something felt wrong, but that no one did anything wrong. The catch is in how wrong is defined. What did Lead Pencil do wrong, according to Brown?
It was not going to the McMakin show in the first place, especially since he is a leading artist-architect in Seattle, working in territory adjacent to theirs. And it wasn't exactly wrong, but certainly inadvisable, she said.
When I put the idea that artists are unaware of context at their own risk to Bill True, he put his head in his hands. "I do want to think of artists slaving away alone in their studios!" he said. "I don't want them to have to run everything through the filter of what's out there!"
It's what Sellars said: "If artists had to worry about what was out there in the world, they wouldn't do anything."
Then again, Sellars and Darling do agree on one point: When they see things that look similar to other things, they stop paying attention. Last year, the artists Hadley + Maxwell had the same reaction to their own work. They made a white flag at half mast for an installation at the Contemporary Art Gallery in Vancouver, B.C., and when they saw it repeated, coincidentally, by other artists around the world, they considered their own idea weaker for it, something less well-authored because it was more likely to pop up.
It seems fair to say that some resemblances can be avoided by knowledge, and some can't. It also stands to reason that if artists should be held responsible for what they see and don't see, so should commenters on their work.
jgraves@thestranger.com
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text:
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I don't remember much about the first Thanksgiving that I was sober, except that I was fixated on an old photo of me pouring a bottle of Prosecco on the bird, with a Facebook caption that read, "My contribution to the cooking!" Hey, it's in the actual recipe, and for the record, I was being instructed by a professional chef I worked with who had kindly come over for Thanksgiving. It made the turkey moist, he said. Friends, I did not care about the tenderness of the turkey.
That was 2013, when I decided that I really was like all of the other people I'd heard about, mostly from memoirs, who loved drinking and then it wrecked them. To be honest, I don't know how many days I had sober Thanksgiving 2015, though I know I first entered 12 Step Rooms in September, and I took a drink during a work trip in between. Well, more than a drink. I do not have just one.
I have celebrated three holidays sober. It is only on this, the fourth one, that I feel remotely festive, though my holidays, like everything else are markedly different. With about 36 hours before Thanksgiving, I can say that the holidays aren't particularly angst-ridden for me other than in ways that they are for any other human. I do feel viscerally for the person who is heading into this season during their first, sober holiday season. That is a long way of saying this: if you are that person, or still trying to figure out the first years of sobriety, this is what I've learned.
Getting sober and entering into recovery is the single hardest thing I have ever done and continue to do on a daily basis. But also without getting sober and entering into recovery I might be just like the 88,000 people who die every single year because of alcohol. (Including a staggering number of women.) Or maybe I would just continue to spiritually die, to squander all the opportunities I'd worked for and been given, and to generally be a jerk. Somehow I am still here. Life is pretty great in sobriety, which loads of voices are shining a light on these days.
But that first year was hard. And second. And third.
That first season was just prayers to stay sober, to not follow my instinct and the only way that I'd known to cope with my emotion for 20 years. To not pick up a wine glass. To go against the grain in a world that tells us alcohol is inextricably intertwined with celebration. That first year I felt lonely and isolated everywhere except for a few friends I'd met online through digital recovery networks and church basements, though I couldn't always related to what those folks were saying either. I hadn't lost everything. Yet. I kept going.
I stayed sober that first holiday but not forever. Three months later, holidays passed, guard down, I drank. And then I stopped. Something guttural, visceral cried out in me. I went back at it, used tools that have worked for other people, stayed willing, stayed open. So far I have not taken a drink. Holidays have come and gone.
There were holidays were, though sober from alcohol, I wasn't ready to be out to a Christmas dinner. Year two, a joke made here or there about my seltzer, me storming off from the table. There was the year where I sat in a conference room at work alone, while colleagues continued a boozy brunch into the day. (I'll never forget the one person who ducked his head in and said, "Hey, you OK?") I was not OK.
Being sober at the holidays is hard. And then it starts to get better. This year is the first year in four where my thawed out feelings could actually feel what I wanted to do again. And that happened to be putting up the gold tinsel tree I got on clearance.
I even broke my own rule, decorating before Thanksgiving. I actually felt festive.
I actually wanted to feel.
Underneath that, underneath festive mocktails and booze-free alternative activities, there is still you. You, you beautiful human, walking around with all of your humanity that you're trying to feel and process, maybe for the first time, while the world is on fire.
You will be there the day after Thanksgiving.
You will be there the day after your office party.
You get to wake up and choose, each day, you.
I know, that if I don't deal with myself, with the ancient wounds, the Whack-A-Mole resentments, the nagging false guilt, I will at worse, drink again. But there are a world of unkind things I can do to myself if I don't keep doing the work on me. This year I've seen so many people return to the thing that anesthetizes them, if not one drug than another. And I'll be damned if I ever go back to that place.
I like Christmas with gold tinsel trees and remembering what I did the night before. I like my new puppy at my toes and my family under blankets. I like what's returning. It has taken time, and is still unfolding.
If you are newly sober, or still in year one or two, and teetering this season: I know how hard it is. You are not alone. You are marvelous for choosing to fight for yourself. And, the truth that took me far too long to learn: there is nothing that a single drink, or 10 drinks, will make better. It a warrior way to walk this path, and I promise that sobriety gives everything alcohol promised. And we need you. Keep going.


text:
UPCC eBook Collec...
UPCC eBook Collections
Project MUSE has announced that 13 more scholarly publishers will participate in the UPCC eBook Collections. To date, a total of 64 university and scholarly presses have contracted to include their e-books in the MUSE/UPCC e-book initiative.
The 13 new publishers joining the UPCC (University Press Content Consortium) collections are: The Feminist Press; The Franciscan Institute; NUS Press Ltd; Russell Sage Foundation; Texas Christian University Press; University of Georgia Press; University of Iowa Press; University of Massachusetts Press; University of North Texas Press; University of Notre Dame Press; University of Ottawa Press; University of Virginia Press; and University Press of Kentucky.
The UPCC eBook Collections, which will be searchable alongside journal content, will be available for access on 1 January 2012. They will be offered for purchase, with perpetual access rights and unlimited usage, downloading, and printing. Book content will be in PDF format, searchable and retrievable to the chapter level.
Project MUSE


The Ahmadiyya Muslim Jama'at (AMJ) is a dynamic, fast-growing international revival movement within Islam. Founded in 1889, AMJ spans over 200 countries with membership exceeding tens of millions. AMJ is the only Islamic organization to believe that the long-awaited messiah has come in the person of Mirza Ghulam Ahmad(as) (1835-1908) of Qadian.


text:
DT Mentor Hours – Mike Bindrup - October 18, 2016 @ 1:00 pm
Home » Events » DT Mentor Hours – Mike Bindrup » DT Mentor Hours – Mike Bindrup
October 18, 2016 @ 1:00 pm - 3:00 pm PDT
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DT Mentor Hours – Mike Stambaugh »
Mike Bindrup has over 20 years of Small Business Consulting and Marketing Communications experience. He is a life-long entrepreneur, starting his first business at 16. While in college, Mike founded an advertising agency that created the content and produced displays for large-format digital printing used in trade shows, new-home real estate sales office graphics, and food service signage to over 24 airports across the western region of the United States. Mike has also helped launch several start-ups in the fields of publishing, digital signage, and interactive media.
Mike manages the Nevada Small Business Development Center (SBDC) program at the University of Nevada, Las Vegas, where he also advises small business owners on management issues and delivers entrepreneurial training courses to the southern Nevada business community. The Nevada SBDC is a part of the UNLV Office of Economic Development and Technology Transfer where Mike assists with the commercialization of university funded research projects. Mike loves to teach. He is also an Adjunct Faculty member at the UNLV Lee Business School, the Art Institute of Las Vegas and Sanford Brown College where he teaches courses in entrepreneurship, business, design and marketing communications.
Mike has lived and worked in Chile, Mexico, France and Switzerland. He enjoys documentaries, learning foreign languages, and playing guitar. He speaks fluent Spanish and is always practicing his French and Italian. Mike is also the author of "Ten Evil Truths About Starting Your New Small Business".
He can mentor on just about any small business topic, including:
Communication & Presentations
**Mentor sessions are free to members and are open to the public with a Day Pass. Contact team@workinprogress.lv to schedule a 30 minute session.**


text:
Novo Horizonte is een van de 63 microregio's van de Braziliaanse deelstaat São Paulo. Zij ligt in de mesoregio São José do Rio Preto en grenst aan de microregio's São José do Rio Preto, Catanduva, Araraquara, Bauru en Lins. De microregio heeft een oppervlakte van ca. 2.439 km². In 2006 werd het inwoneraantal geschat op 76.118.

Zes gemeenten behoren tot deze microregio:
 Irapuã
 Itajobi
 Marapoama
 Novo Horizonte
 Sales
 Urupês

Novo Horizonte

redpajama_set_name: RedPajamaWikipedia


Liquidity Network (LQD) current price is $0.0560.
Home > Liquidity Network (LQD) current price is $0.0560.
Liquidity Network (LQD) current price is $0.0560 with a marketcap of $2.42 M. Its price is -5.92% down in last 24 hours.


text:
Christie: Lead in Newark schools 'nowhere near crisis'
Updated: Jan. 16, 2019, 11:28 p.m. | Published: Mar. 19, 2016, 11:12 a.m.
By Claude Brodesser-Akner | NJ Advance Media for NJ.com
ELIZABETH -- Resisting comparisons to the disastrous mismanagement of Flint, Michigan's water quality, Gov. Chris Christie said Friday that the elevated lead levels found in some Newark schools' water were "nowhere near crisis or dangerous levels."
"These levels, while slightly above the EPA (recommended action) levels, are no where near crisis, dangerous levels," the governor said.
Thirty Newark schools' water supplies were found to contain levels above 15 parts per billion, according to state Department of Environmental Protection officials. That's the threshold at which the federal government requires additional testing, monitoring and remediation.
"Now, there's no 'safe' level of lead," Christie adde. "We don't want it in the water."
But the governor cautioned that it wasn't yet known how much remediation would be required to get Newark's water quality back to federally acceptable levels, and said that the ultimate costs would be born by the state, which has overseen Newark's troubled schools for 20 years.
Asked by one reporter if he should not take a role that was more visible to the parents of Newark school kids, Christie insisted that "the governor is at work" but that he was reluctant to get over-involved in the lead abatement decision-making process.
"I don't want to intervene unnecessarily," said Christie, because "the school district are the folks who are best positioned to make these decisions, along with the local advisory board and with the mayor."
It was a decidedly different tone than the governor took two weeks ago, when he threatened to "run over" Newark Mayor Ras Baraka if he stood in the way of expanding Newark's charter schools.
The governor was asked how, as a father himself, he would react as a parent to the news of his kids drinking lead contaminated water.
"I'd be just as concerned as they are," Christie said. "And my message to them is: We're working. ... Not only as a governor, but as a father, I know exactly what you're concerned about. 'Cause there's nothing more important than the safety, the health, the livelihood of your child."
He added that he'd avoided appearing in Newark to avoid creating undue worry about the lead levels.
"I don't want there to be panic," said Christie, "I go charging down there with the state troopers and the whole 'show' that happens when I show up someplace, that can lead to some panic as well, sometimes."
Claude Brodesser-Akner may be reached at cbrodesser@njadvancemedia.com. Follow him on Twitter @ClaudeBrodesser. Find NJ.com Politics on Facebook.


text:
from oslo_config import cfg

from keystone.conf import constants
from keystone.conf import utils

methods = cfg.ListOpt(
    'methods',
    default=constants._DEFAULT_AUTH_METHODS,
    help=utils.fmt("""
Allowed authentication methods. Note: You should disable the `external` auth
method if you are currently using federation. External auth and federation
both use the REMOTE_USER variable. Since both the mapped and external plugin
are being invoked to validate attributes in the request environment, it can
cause conflicts.
"""))

password = cfg.StrOpt(  # nosec : This is the name of the plugin, not
    'password',         # a password that needs to be protected.
    help=utils.fmt("""
Entry point for the password auth plugin module in the `keystone.auth.password`
namespace. You do not need to set this unless you are overriding keystone's own
password authentication plugin.
"""))

token = cfg.StrOpt(
    'token',
    help=utils.fmt("""
Entry point for the token auth plugin module in the `keystone.auth.token`
namespace. You do not need to set this unless you are overriding keystone's own
token authentication plugin.
"""))

# deals with REMOTE_USER authentication
external = cfg.StrOpt(
    'external',
    help=utils.fmt("""
Entry point for the external (`REMOTE_USER`) auth plugin module in the
`keystone.auth.external` namespace. Supplied drivers are `DefaultDomain` and
`Domain`. The default driver is `DefaultDomain`, which assumes that all users
identified by the username specified to keystone in the `REMOTE_USER` variable
exist within the context of the default domain. The `Domain` option expects an
additional environment variable be presented to keystone, `REMOTE_DOMAIN`,
containing the domain name of the `REMOTE_USER` (if `REMOTE_DOMAIN` is not set,
then the default domain will be used instead). You do not need to set this
unless you are taking advantage of "external authentication", where the
application server (such as Apache) is handling authentication instead of
keystone.
"""))

oauth1 = cfg.StrOpt(
    'oauth1',
    help=utils.fmt("""
Entry point for the OAuth 1.0a auth plugin module in the `keystone.auth.oauth1`
namespace. You do not need to set this unless you are overriding keystone's own
`oauth1` authentication plugin.
"""))

mapped = cfg.StrOpt(
    'mapped',
    help=utils.fmt("""
Entry point for the mapped auth plugin module in the `keystone.auth.mapped`
namespace. You do not need to set this unless you are overriding keystone's own
`mapped` authentication plugin.
"""))

application_credential = cfg.StrOpt(
    'application_credential',
    help=utils.fmt("""
Entry point for the application_credential auth plugin module in the
`keystone.auth.application_credential` namespace. You do not need to set this
unless you are overriding keystone's own `application_credential`
authentication plugin.
"""))

GROUP_NAME = __name__.split('.')[-1]
ALL_OPTS = [
    methods,
    password,
    token,
    external,
    oauth1,
    mapped,
    application_credential,
]

def _register_auth_plugin_opt(conf, option):
    conf.register_opt(option, group=GROUP_NAME)

def setup_authentication(conf=None):
    """Register non-default auth methods (used by extensions, etc)."""
    # register any non-default auth methods here (used by extensions, etc)
    if conf is None:
        conf = cfg.CONF
    for method_name in conf.auth.methods:
        if method_name not in constants._DEFAULT_AUTH_METHODS:
            option = cfg.StrOpt(method_name)
            _register_auth_plugin_opt(conf, option)

def register_opts(conf):
    conf.register_opts(ALL_OPTS, group=GROUP_NAME)

    setup_authentication(conf)

def list_opts():
    return {GROUP_NAME: ALL_OPTS}

redpajama_set_name: RedPajamaGithub