text:
Spree::Order.class_eval do
  attr_accessor :store_credit_amount, :remove_store_credits

  # the check for user? below is to ensure we don't break the
  # admin app when creating a new order from the admin console
  # In that case, we create an order before assigning a user
  before_save :process_store_credit, if: "self.user.present? && @store_credit_amount"
  after_save :ensure_sufficient_credit, if: "self.user.present? && !self.completed?"

  validates_with StoreCreditMinimumValidator

  def process_payments_with_credits!
    if total > 0 && pending_payments.empty?
      false
    else
      process_payments_without_credits!
    end
  end
  alias_method_chain :process_payments!, :credits

  def store_credit_amount
    @store_credit_amount || adjustments.store_credits.sum(:amount).abs.to_f
  end

  # in case of paypal payment, item_total cannot be 0
  def store_credit_maximum_amount
    item_total - 0.01
  end

  # returns the maximum usable amount of store credits
  def store_credit_maximum_usable_amount
    if user.store_credits_total > 0
      user.store_credits_total > store_credit_maximum_amount ? store_credit_maximum_amount : user.store_credits_total
    else
      0
    end
  end

  def ensure_line_items_are_in_stock
    if insufficient_stock_lines.present?
      errors.add(:base, "Insufficient: #{Spree.t(:insufficient_stock_lines_present)}") and return false
    end
  end

  private

  def ensure_line_items_present
    unless line_items.present?
      errors.add(:base, "No items: #{Spree.t(:there_are_no_items_for_this_order)}") and return false
    end
  end

  def ensure_available_shipping_rates
    if shipments.empty? || shipments.any? { |shipment| shipment.shipping_rates.blank? }
      # After this point, order redirects back to 'address' state and asks user to pick a proper address
      # Therefore, shipments are not necessary at this point.
      shipments.delete_all
      errors.add(:base, "Cannot be shipped: #{Spree.t(:items_cannot_be_shipped)}") and return false
    end
  end

  # credit or update store credit adjustment to correct value if amount specified
  def process_store_credit
    @store_credit_amount = BigDecimal.new(@store_credit_amount.to_s).round(2)

    # store credit can't be greater than order total (not including existing credit), or the user's available credit
    @store_credit_amount = [@store_credit_amount, user.store_credits_total, (total + store_credit_amount.abs)].min

    if @store_credit_amount <= 0 || @remove_store_credits
      adjustments.store_credits.destroy_all
    else
      sca = adjustments.store_credits.first
      if sca
        sca.update_attributes({:amount => -(@store_credit_amount)})
      else
        # create adjustment off association to prevent reload
        sca = adjustments.store_credits.create(:label => Spree.t(:store_credit) , :amount => -(@store_credit_amount), source_type: 'Spree::StoreCredit', adjustable: self)
      end
    end

    # recalculate totals and ensure payment is set to new amount
    updater.update unless new_record?
    if unprocessed_payments.first
      unprocessed_payments.first.amount = total
      return unprocessed_payments.first.amount
    end
  end

  def consume_users_credit
    return unless completed? and user.present?
    credit_used = self.store_credit_amount

    user.store_credits.each do |store_credit|
      break if credit_used == 0
      if store_credit.remaining_amount > 0
        if store_credit.remaining_amount > credit_used
          store_credit.remaining_amount -= credit_used
          store_credit.save
          credit_used = 0
        else
          credit_used -= store_credit.remaining_amount
          store_credit.update_attribute(:remaining_amount, 0)
        end
      end
    end
  end
  # consume users store credit once the order has completed.
  state_machine.after_transition to: :complete, do: :consume_users_credit

  # ensure that user has sufficient credits to cover adjustments
  #
  def ensure_sufficient_credit
    if user.store_credits_total < store_credit_amount
      # user's credit does not cover all adjustments.
      adjustments.store_credits.destroy_all
      update!
      updater.update_payment_state
      update!
    end
  end

end


text:
Louise Lawler's Bird Calls
Where Does the Caged Bird Sing?
On Louise Lawler's Bird Calls and its Critical Afterlives
Core 2010 Yearbook
The Glassell School of Art, The Museum of Fine Arts Houston
Bird Calls (1972, recorded in 1981) by Louise Lawler is a six-minute roll call in which the artist squawks, chirps, and warbles the names of twenty-eight of the leading artists of the time—not coincidentally, all men.1 Each name is subject to distortion and derision as it is transformed into an individual call. This powerful (and powerfully funny) piece, the artist's only audio work, may seem anomalous in relation to the subtly acerbic photographs and ephemeral multiples for which she is now known. Yet the work, in its explicit irony and eschewal of the visual, represents not only a turning point in 1970s feminist art production, but a critical model that resonates with contemporary production and curatorial practice that don't adhere to the notion of a fixed site.
Bird Calls formed the point of departure for a radio broadcast I was invited to curate as part of the artist collective BROADSIDE's (Alex Fleming and Emily Bellingham's) twelve-hour marathon of programming on East Village Radio. Created for the biennial PERFORMA09, BROADSIDE's program envisioned a queer-feminist occupation of public radio space and included material such as recorded music, experimental sound performances, poetry, discussions, and readings that bridged historical and disciplinary divides. We aimed to turn the radio platform into a metaleptic discursive space, defined by Juli Carson in her essay "On Discourse as Monument: Institutional Spaces and Feminist Problematics." For Carson,a metaleptic discursive space goes beyond a reading of context as a codified set of conditions; instead, it produces a discourse. She uses Jonathan Culler's definition: "Context is not given but produced; what belongs to a context is determined by interpretive strategies; contexts are just as much in need of elucidation as events; and the meaning of context is determined by events."2 The events of BROADSIDE's program, disembodied and hybrid, produced a radio context that acted not as a monumental site but as a satellite to PERFORMA. This notion of a fluid inhabitation, a temporary occupation of an existing (yet ephemeral) space by a curatorial sensibility, was reflected in the non-visual works chosen for presentation.
For my contribution to BROADSIDE's program, I paired Lawler's Bird Calls with two contemporary aural bodies of work (Ulrike Müller's Herstory Inventory, 2009, and various live tracks by the Glasgow-based group Muscles of Joy).These works, like our program, do not rely on modernist notions of site-specificity. Rather, initiated through an agitation or prompt, they manifest themselves through alternative channels of inhabitation. This type of transient production is defined by Irit Rogoff as "smuggling," the touchstone of what she calls the "embodied criticality" of curatorial knowledge production, a flexible operation that disregards boundaries in favor of the cross-disciplinary and imagined.
"Within this movement the identity of the objects themselves are obscured [sic][…] They function very much like concepts and ideas that inhabit space in a quasi-legitimate way. Ideas that are not really at home within a given structure of knowledge and thrive in the movement between things and do not settle into a legitimating frame or environment."3
Problematizing the visual and deploying unexpected humor,these audio works by Lawler, Müller, and the Muscles of Joy exemplify an adaptable, collaborative legacy in feminist production that challenges the constraints of traditional exhibition-making. By situating these three works as part of a larger curated program encompassing multiple formats—itself a discursive collaboration between artists and curators—they enter into the current debate about the state and site of contemporary artistic and curatorial practice. For BROADSIDE, the format of the radio, unhinged from a bodily encounter with the works, brought to the foreground not only the question of "why," but also "where" the caged bird sings. This question brings feminist production into the expanded curatorial field, opening up new readings of these works for discussion and display.
The operations of Lawler's work that critique the institutions and canons of art are inherent in Bird Calls, yet this work goes one step further than the production of her (mostly male) peers of the 1970s in distancing itself from traditional signs of authorship. Like many Conceptual and Minimalist artists, Lawler adopts a variety of what artist Andrea Fraser calls "secondary roles" in her practice, such as writing and curating. Yet, Fraser emphasizes, Lawler's approach in relation to these activities differentiates itself from that of artists such as Joseph Kosuth and Donald Judd who ascribed the production of autonomous aesthetic objects and formal experimentation as their primary occupation. These artists wrote in order to articulate a legitimate theoretical construct and to condition the reception of their work, Lawler rejects the idea of the artist as primarily an aesthetic object-producer.Instead, she consistently positions herself as a mediator or outsider, examining the discursive framing conditions of art's reception in order to "disrupt the institutional boundaries which determine and separate the discrete identities of artist and art work from an apparatus which supposedly merely supplements them."4
This resistance to authorship and structures of institutional legitimization is reflected throughout Lawler's practice, particularly in relation to her attitudes toward feminist collaboration. From 1981 until 1982, Lawler collaborated with fellow artist Sherrie Levine under the name A Picture is No Substitute for Anything to create events and multiples independent of a commercial gallery. The various lectures,souvenirs, and events (such as Invitation to Swan Lake, 1981,where they invited art world personae to attend a scheduled performance of the ballet at Lincoln Center) critiqued the manner in which art institutions colonize and co-opt radical gestures, including trends such as Pop and appropriation, to cultivate their own profile or brand. In an interview, Lawler described their project: "Declaring our own gallery was also a way of showing that a gallery isn't just a showcase; it's also what's on display."5 A Picture Is No Substitute for Anything recognized that art, whatever form it may take, is always already framed by its inescapable conditions of reception. Fraser added the following rejoinder in her 2005 analysis of the legacy of institutional critique: "It's not a question of being against the institution: we are the institution."6 The underlying question for Lawler and Levine was to how to create a sense of what Rogoff calls "embodied criticality" in their activities: how could they embed themselves in an institutional structure that gave voice to their concerns? Lawler and Levine's gestures, therefore, created an alternative context that responded to and critiqued the systems of distribution and framing, a distinct difference to creating "new" work to fit existing aesthetic paradigms.
It is telling, then, that Bird Calls originated not as a hermetic artistic gesture, but rather as a site-specific antagonistic response. In 1972, Lawler and fellow artist Martha Kite installed an exhibition at New York's Hudson Pier in which all the artists, as well as the show's curator, Willoughby Sharp, were male. To ward off unwelcome attention on their walks home at night, Lawler and Kite began vocalizing the names of male artists in the form of loud bird calls, starting with Sharp's. When artists Jenny Holzer and Stefan Eins asked Lawler to contribute an edition to their Fashion Moda booth at the international contemporary art exhibition Documenta VII in 1982, Lawler decided to record and distribute Bird Calls as an LP.7
The tone of satirical portraiture that characterizes Bird Calls(in which, let us remember, Lawler adopts the ultimate voice of mimicry—a parrot's—instead of her own) extended to the packaging. Bird Calls' record sleeve was designed as a type of veiled self-portrait of Lawler herself. She is "depicted" as a parrot looking over its shoulder against a vibrant red background—the quintessential color of punk-inspired rage—(punk being a contemporary vehicle for feminist production in the early 1980s). Stacey Allan writes in a recent article about the work:
"Maybe it is useful to think of Birdcalls as a type of vocal bondage assumed by Lawler, posing as the proverbial caged bird and vocalizing her own oppression. Her position is really not so unlike that of the self-aware punk in collar and chains, a rowdy and playful use of self-parody to position herself against patriarchal systems that require women to shackle themselves to male artists, to repeat their names, their styles, their careers."8
Though the Bird Calls record was never pressed (the cover exists as a separate photographic work entitled, appropriately, Portrait), the work can be related to anti-visual modes of feminist production that have a critical afterlife in contemporary practice: vocal works that signal an absence of visual representation, and the ironic performance strategies of female punk musicians.
Bird Calls, moreover, in its radical removal of the visual in favor of a satirical use of vocal mimicry, signifies a shift in the discourse surrounding feminist art production. This debate has been variously framed in terms of binaries opposing essentialism to constructivism, or "cultural feminism" to"psychoanalytic feminism."9 The constructivist approach, understood to have critically supplanted "essentialist" feminism, was rooted in a larger intellectual trend informed by postructuralism and postcolonial theory. This constructivist discourse did not offer an easy, positivistic solution to the problem of political representation (i.e. anti-sexist images of women will directly impact and benefit women's societal position) but instead signaled a paradigm shift related to the question of aesthetic re-presentation.10 This paradigm shift, which sought to frame, analyze, and deconstruct the underlying conditions of patriarchal oppression, ignited a firestorm of confusion about how to produce a feminist discourse around imagery coded and consumed through the laws of patriarchy and its institutions, including art history.
Artists of Lawler's generation responded to this issue by adopting anti-visual strategies such as text-based practices,appropriation, and sound-based work. However, in Lawler's practice and that of her feminist inheritors, the negation of the visual was not an endgame strategy. Rather, it opened up possibilities for thinking about the contingencies of visuality and representation, including the ways in which work can be presented and circulated in self-generated channels such as cheaply-produced multiples, models of participatory exchange,the occupation of public space, and the creation of alternative spaces or networks.
Bird Calls signals a lack of representation (and re-presentation)of women artists through their double omission on Lawler's artistic "roster" and her disguising of her own voice Ulrike Müller's Herstory Inventory (2009) echoes the spirit of BirdCalls. In this work, five female voices recite what at first sounds like as a language poem.11 In fact, it is a list of descriptions,compiled by an archivist, of the iconography of T-shirts found in the Lesbian Herstory Archive in Brooklyn. This archive,which still exists, was established in 1974 for the preservation and promotion of lesbian culture and its imagery.
Herstory Inventory poignantly addresses the marginalization of early "essentialist" feminist (and pointedly lesbian) imagery in contemporary visual culture, particularly in the artworld once psychoanalytic feminism became the dominant mode of theoretical inquiry. With the ensuing theoretical vogues of identity politics and gender performativity, this imagery is ripe for re-investigation. Removing the visual, the voices inMüller's work create a space within the viewer's mind for a mnemonic creation of the visual imagery, for which the original may or may not be familiar. (Lawler used a similar strategy in her 1979 work, A Movie Will Be Shown Without the Picture,where she rented the Aero Theatre in Santa Monica to screen only the sound reel to the film The Misfits, an emotionally loaded film starring Marilyn Monroe, Clark Gable,and Montgomery Clift made shortly before their deaths.12)Yet what drives Müller's project is not nostalgia for an essentialist era or the desire to codify lesbian imagery into a single,unified aesthetic. Rather, Herstory Inventory is meant to reflect the openness and diversity of lesbian and queer imagery, a polymorphous perversity that encompasses everything from demure "coffee-shop lesbian shirts" to ACT-UP slogans to S&M imagery.13 Like Bird Calls, which imports artists' names (that stand themselves as modernist monoliths) into a self-consciously humorous form in order to lampoon them, Herstory Inventory allows descriptions of various clichéd imagery to butt up against one another in a form that acts equally as homage and satire. Some examples of the T-shirt descriptions that run the gamut from the organic to the explicitly sexual are:
Abstract design with clitoris in the center.
Profiles of two faces with tongues touching.
Five dykes driving a car.
A Woman on a field with a seed sack around her shoulders dropping seeds on the ground.
Coyote head in a circle, coyote howling.
A pomegranate cut open and a loaf of bread.14
Indeed, a resistance to and queering of binaries, both aesthetic and sexual, defines Müller's and her peers' work. As an editor of LTTR, a feminist and gender-queer artistic collective that produces journals and organizes exhibitions and participatory events, Müller's practice is informed by a rich feminist history. But LTTR's modus operandi differs from that of separatist groups of the 1970s, which sought to establish autopia apart from patriarchal influence exclusively by and for lesbians.15 Rather, LTTR is defined by what scholar Julia Bryan-Wilson calls a "more permeable, unbounded sense of possible identification"16 reflected in the shifting acronym, which has stood for everything from "Lesbians To The Rescue"to "Lacan Teaches To Repeat." That is to say, LTTR is not beholden to an entrenched set of identity politics—through gender (feminist) or sexual orientation (lesbian)—but instead takes up the mantle of constantly reinvented queer performativity theorized by feminist writers such as Eve Kosofsky Sedgwick and Judith Butler. Queer theory takes poststructural linguistics to political ends, asserting the power of linguistics lippage (purposefully playful or otherwise) to create constantly shifting and fluid meaning, resulting in new subjectivities.17 This shifting site of meaning relates to the smuggling inherent in the idea of cross-disciplinary curatorial practice, one that subverts existing institutional structures to produce new contextual readings. Rooted in a sense of "purposeful critical promiscuity,"18 LTTR's playful attitude encompasses a variety of wink-wink-nudge-nudge sexual innuendos indicative of a queer(ed) approach to language, as well as the flexibility to inhabit a variety of performance and exhibition contexts.19
To that end, Herstory Inventory has been presented in a variety of formats, including its broadcast on East VillageRadio. It was débuted in May 2009 as a live performance at Issue Project Room, an experimental music venue, where the five women read the T-shirt descriptions aloud from note cards. Within the small room, however, the women were positioned among the audience, minimizing the physical and perceptual difference between performer and audience.20 In its next incarnation, at an event called "Tuesdays on the Terrace" curated by Barbara Schröder of the Dia Art Foundation, the five women's voices were pre-recorded and played over five different loudspeakers installed in the courtyard ofNew York's Hispanic Society. The Hispanic Society, which functions as a temporary exhibition space for the currently"homeless" foundation, features Neoclassical architecture and memorial statues of historical figures on horseback,against which Herstory Inventory formed an oppositional sonic intervention. The sculptures performed clichéd images of masculinity, while Herstory Inventory chimed in with myriad humorous examples of feminist essentialist imagery, offering an alternative reading of the space in line with queer-feminist practice. In addition, Müller distributed ten solid-color T-shirts in the colors of the rainbow, hand-lettered with the T-shirt descriptions projected via loudspeaker. Worn by friends and supporters in the audience, they embodied a visual analogue to the piece, providing and performing a "hint" to what was being broadcast over the loudspeaker. BROADSIDE's presentation of Herstory Inventory, a purely disembodied audio broadcast prefaced by my interview with Barbara Schröder, presented yet another opportunity to situate the work in an expanded conversation about feminist practice in which the visual was problematized.
A step toward a reconceptualization of the visual, however, is echoed in this audio work and its afterlife: Müller is currently giving out assignments to redraw historical feminist imagery from the T-shirt inventory list. She calls this a project of translation; just as textual translation is interpretive and subjective,yet reflects a particular translator's contemporary mode of discourse, the move from the abstract language of T-shirt descriptions to new visual imagery reflects the prevailing aesthetic trends of contemporary queer and feminist art, authored by and filtered through a number of highly personal approaches.21 As Lawler's sly parrot Portrait can be said to translate Bird Calls into the contemporaneous visual iconography of punk record cover art, so will Herstory Inventory's drawn "translations" reflect and inform a contemporary feminist context. The cross-disciplinary radio broadcast on BROADSIDE provided a venue to put visually contingent practices in dialogue with music, poetry, and sound performance. Lawler's Bird Calls also employed strategies of mimicry, irony,and playful composition used by punk and new wave artists in the 1970s. These performance techniques were analyzed notably by artist Dan Graham (who appears on the Bird Callsroster). Graham states in his article "New Wave Rock and the Feminine" that post-punk female performers critically differentiated their production from rock n' roll as an expression of adolescent teenage male aggression and sexuality.22 Instead,through modes such as feminine self-parody (by Debbie Harry of Blondie), ironically sporting bondage gear (like Lydia Lunch), and relying on polyvocal harmonies and switching instruments (like the bands Ut, the Raincoats and the Slits), they resist easy identification with male audiences as markers of fetishized sexual difference.
This moment of punk musical experimentation has a sphere of influence that extends to contemporary feminist art production. In the 1990s, deskilled and aggressive playing strategies and ironic visual presentation were reignited during the heyday of second-wave feminism and queer theory. Punk and riot grrrl groups such as Bikini Kill, Team Dresch, and Bratmobile took these modes of production into female hands, creating independent record labels and underground commercial networks for the trade of products such as records and 'zines. Mainstream media attention by the fall of 1992, however, threatened to turn riot grrrl into a simple fashion trend, forcing the most radical members to impose a "media blackout" in order to restrict production and dissemination to underground forms and channels.
Today, artists like the Muscles of Joy take up many of these punk techniques and present them in a variety of contemporary art contexts, inhabiting this "historical" form with critical acumen. Expanding the notion of the female voice as a subversive creative tool, the Muscles of Joy are an eight-woman collective of visual artists (Anne-Marie Copestake, Ariki Portoeus, Charlotte Prodger, Jenny O'Boyle, Katy Dove,Leigh Ferguson, Sophie Macpherson, and Victoria Morton)that have been using DIY strategies to build musical compositions since October 2008. Utilizing simple or pre-vocal utterances, basic harmony, found text, and improvised handmade instruments as musical building blocks, the Muscles of Joy artists are admittedly amateur musicians.23 Instead of relying on virtuosic instrumental skills characteristic of rock music performance, the members ground their compositions in vocal improvisation honed through participation in amateur women's choirs.
Like 1970s performers, the Muscles of Joy challenge the notion of hierarchical performance structures in musical groups. Switching instruments after every song and seating themselves in semi-circular arrangements facing one another, their lack of regard for traditional audience identification disrupts expectations of musical performance.24 This precarious balance between an internal, communal dynamic in performance and a carefully considered critical reception aligns the Muscles of Joy's practice with Lawler's and Müller's—those that cultivate a counter-public that has absorbed and subverted the lessons of critical practice. Also relying on humor, through juxtaposition of raucous vocal exclamations or atonal amplified instrumental sequences with coolly harmonized a cappella melodies based on the exaggerated "grain"25 of each member's voice, Muscles of Joy mines the various registers of deskilled punk improvisation—from the aggressive to the twee.
Like Lawler and Müller, Muscles of Joy also express a contingent relationship to the visual and flexibility in presentation. In a manner synonymous with that of LTTR's queer modality, they inhabit spaces and create context-based responses,generating new material and meaning for these contexts while doing so. For a gig in 2008, group member Katy Dove created a series of animations to pre-composed songs.26
Another performance opportunity included an invitation to accompany a silent film.27 In this way, the shape-shifting work can inhabit the space of a soundtrack or reverse soundtrack, resisting a clear hierarchy between the visual and the aural. Their adaptability extends to projects of "translation": Keith McIvor, a fellow Glasgow-based artist and musician, invited the Muscles of Joy to interpret a traditional Brazilian protest song for an upcoming compilation CD. They responded by creating both an a cappella and an instrumental version. Muscles of Joy's production lends itself as easily to radio broadcast as gallery-based performances, challenging the strategies of visual representation of artists' work in defined institutional spaces. Their presentation, however, on BROADSIDE's program on East Village Radio, was the first time their work had been sonically juxtaposed with practices likeLawler's and Müller's. This format fostered and reinforced correspondences between diverse practices, from the musical to those that moved toward the visual, responding to a curatorial prompt.
These three practices (Lawler's, Müller's, and Muscles of Joy's) approach the question of feminist practice from different historical and geographic perspectives (first-generation vs. second-generation, European vs. American.) Yet what ties them together is the recognition of a shift from the politics of essentialism to the politics of representation, a politics that bears out in the discourse of "smuggling" and inhabitation that categorizes both contemporary feminist practice and contemporary sites of curatorial knowledge production. This project is rooted in the politics of anti-visuality that grounded Bird Calls within a specific theoretical discourse about psychoanalytic feminism and institutional critique. But these works also reflect a mode of criticality, untethered from the physical site of the institution, that reflects not only the feminist call for a paradigm shift but for a reconsideration of visibility as such. BROADSIDE's presentation, which used the radio format as a space with an "invisible" audience and a long format, imagines new readings of these works in a format that more closely mirrors the ephemeral, shape-shifting way that information is commonly (virtually) received today. This flexibility, emphasizing ideas over objects, reflects the ways that non-visuality can be parlayed into a statement about contemporary feminist practice.
1 The full list of twenty-eight artists who appear in Lawler's Bird Calls are Vito Acconci, Carl Andre, Richard Artschwager, John Baldessari, Robert Barry,Joseph Beuys, Daniel Buren, Sandro Chia, Francesco Clemente, Enzo Cucchi,Gilbert and George, Dan Graham, Hans Haacke, Neil Jenney, Donald Judd, Anselm Kiefer, Joseph Kosuth, Sol Lewitt, Richard Long, Gordon Matta-Clark, Mario Merz, Sigmar Polke, Gerhard Richter, Ed Ruscha, Julian Schnabel, Cy Twombly, Andy Warhol, and Lawrence Weiner.
2 Jonathan Culler, Framing the Sign: Criticism and its Institutions (Norman: University of Oklahoma Press, 1988). Juli Carson quotes Culler in her discussion of how the New Museum acted as a metaleptic discursive site in the 1980s, hosting two feminist exhibitions practically back-to-back that exemplified contrasting feminist positions: "essentialism" (the exhibition by the lesbian collective "En Foco/Heresies," June 1983) and "psychoanalytic" feminism ("Difference: On Representation and Sexuality," curated by Kate Linker and Jane Weinstock, December 1984). This turned the institution into a site for discussion and debate. Carson, "On Discourse as Monument: Institutional Spaces and Feminist Problematics," in Museums after modernism: Strategies of Engagement, ed. Griselda Pollock and Joyce Zemans (Blackwell: Malden, Mass.; Oxford; Victoria, 2007), 192–195.
3 Irit Rogoff, "Smuggling – An Embodied Criticality," accessed at http://www.eipcp.net/transversal/0806/rogoff1/en.
4 Andrea Fraser, "In and Out of Place," in Thinking about Exhibitions, ed. Reesa Greenberg, Bruce W. Ferguson, and Sandy Nairne (London and New York: Routledge, 1996), 438.
5 Louise Lawler, in conversation with Douglas Crimp, "Prominence Given, Authority Taken," Grey Room 4 (Summer 2001): 79.
6 Andrea Fraser, "From a Critique of Institutions to an Institution of Critique," Artforum (September 2005): 283.
7 Lawler, quoted in Crimp, 80. Documenta VII, curated by Rudi Fuchs, was taken to task by critics such as Benjamin Buchloh for its curatorial modus operandi to reinscribe the myth of autonomous art production by promoting trends such as Neo-Expressionist painting, while downplaying the then current critical models such as conceptual art, institutional critique, and appropriation. For an extended discussion of this exhibition and Lawler's stationary work that was eventually included in the Fashion Moda booth in place of Bird Calls, see Benjamin Buchloh, "Documenta 7: A Dictionary of Received Ideas," October 22 (Autumn 1982): 104–126.
8 Stacey Allan, "Role Refusal: On Louise Lawler's Birdcalls," Afterall 20 (Spring 2009): 111.
9 Cultural feminism vs. textual, psychoanalytic, or semiotic feminism are the preferred terms used in Juli Carson's essay "On Discourse as Monument: Institutional Spaces and Feminist Problematics", 195.
10 Griselda Pollock defines this paradigm shift historically and theoretically in her chapter "Feminist interventions in the histories of art," in Vision and Difference (London, New York: Routledge, 1988), 1–17.
11 The speakers are artists Ulrike Müller, Emma Hedditch, Nancy Brooks Brody, Zoe Leonard, and Megan Palaima who all have what Müller calls an existing relationship toward the material in the Lesbian Herstory Archive. Brody and Leonard are two original members of the queer collective Fierce Pussy, who have been artists in residence at the Herstory Archive and produced an exhibition about its material entitled "Mining the Archive" in March 2009.
12 Lawler, in conversation with Crimp, 80.
13 From the author's conversation with the artist, November 5, 2009.
14 From "Herstory Inventory Sample" PDF, available online at http://um.encore.at/sites/default/files/Herstory_Inventory_Sample.pdf.
15 Helen Molesworth touches on this very idea, contrasting the split between separatists, who were seen as creating an oppositional form of feminism to mainstream 1970s essentialism, with groups like LTTR. She says of the contemporary collective's tactics: "Better to create a counter-public sphere, one interwoven with the existing world … but nonetheless a self-generated framework." Helen Molesworth, "Worlds apart: Helen Molesworth on generations of feminism," Artforum (May 2007): 102.
16 Julia Bryan-Wilson, "Repetition and Difference: Julia Bryan-Wilson on LTTR," Artforum (Summer 2006): 110.
17 See Eve Kosofsky Sedgwick, "Queer and Now," in Tendencies (Durham: Duke University Press, 1993): 1–23 and Judith Butler, "Critically Queer," in Bodies That Matter: On the Discursive Limits of 'Sex' (New York: Routledge, 1993), 223–242.
18 Bryan-Wilson, "Repetition and Difference," 109.
19 LTTR has been invited to participate in many exhibition and performance contexts, such as "Explosion LTTR" at Art in General (July 17–August 5, 2004), "Exile of the Imaginary: Radical Read-In at the Generali Foundation" (January 19, 2007) and "LTTR at WACK!, a one-day event at PS1." For a full list, see http://www.lttr.org.
20 From the author's conversation with editor and art historian Barbara Schröder, November 6, 2009.
21 In conversation with the author, November 5, 2009.
22 Dan Graham, "New Wave Rock and the Feminine," in Rock My Religion (Cambridge: MIT Press, 1993), 116–137.
23 "There had been a few occasions when some of us had been the in the same place and dabbling in playing instruments. All but one of us was in 'The Parsonage' choir, so that had brought us together too. Vikki, Leigh, and Anne-Marie all had been in bands before, and had played in one together called The 5-piece Horse Family . I think the rest of us have a little training in something from when we were much younger—Arike played in a brass band, Sophie was in a school jazz band, Jenny comes from a family of folk musicians—and wanted to do more, and also perhaps to explore a different process other than our visual art practices, and spend time in good company doing something creative." Sophie MacPherson and Charlotte Prodger, an email to the author, November 5, 2009.
24 Dan Graham states of female punk groups in the 1970s: "During the performance, female group members may appear to refer only to themselves… or they may achieve what is read as "male" proficiency and power in their playing […] In either of these cases, male audience members may find it difficult to project identification onto the performers," "New Wave Rock and the Feminine," 116.
25 Roland Barthes theorizes the "grain" of the voice in relationship to what Julia Kristeva calls the "geno-song," an individual utterance issuing from the materiality of language. Barthes defines it as "the materiality of the body speaking its mother tongue; perhaps the letter, almost certainly signifiance." Roland Barthes, "The Grain of the Voice," in Image Music Text, trans. Stephen Heath (New York: Hill and Wang, 1977), 182.
26 The title of the film was called Welcome and was composed based on footage filmed at the caravans at Balfron, where Dove was in residence. At the Center for Contemporary Arts Glasgow, November 28, 2008.
27 The Muscles of Joy composed a live soundtrack with Helhesten to the silent film The Seashell and The Clergyman (1927) by Germaine Dulac (16mm film selected from Cinenova, woman's film archive) at Transmission Gallery, Glasgow, November 30, 2008.
← Bryan Zanisnik: Every Inch A Man catalogue, 2012.
Parsons MFA Fine Art Thesis Exhibition 2013 →

redpajama_set_name: RedPajamaCommonCrawl


After taking almost three full years away from the epic, sixty-city tours that came to define his independent career, Blueprint returns to announce forty brand new tour dates. In conjunction with the upcoming release of his brand new album, the Two-Headed Monster tour will begin May 25th and run through August, visiting both smaller and larger markets in the United States and Canada.
Blueprint's new album Two-Headed Monster is out May 22nd and features guest appearances from Slug, Aceyalone, Wordsworth, Mr Lif, Supastition, and Has-Lo. Preorder your signed copy HERE.


MARQUETTE — Registration is open for a summer Family Camp Expedition on Isle Royale, Lake Superior's largest island, presented by Northern Michigan University's Seaborg Center.
The program runs Sunday, June 25-Friday, June 30. Participants will camp at Fork Wilkins State Park before traveling to Isle Royale for hiking, kayaking and exploration. Evening programs will feature island history, ecology and creative activities.
The trip is open to children ages 10 and older. At least one parent, aunt, uncle, guardian or grandparent must accompany each child. Travelers will kayak to nearby small islands and watch for wildlife along the shore. They will also search for wildflowers and signs of the families who once lived there.
Karen Bacula, Marquette Area Public Schools teacher and Isle Royale camping veteran, will guide the expedition for the third time.
The cost is $400 for children ages 10-13 and $475 for 14 and older. Most camping equipment and all meals are provided. There is free time included each day. A pre-trip meeting will take place in early June on a date to be determined.
The Isle Royale Institute and the Ford Center are also sponsoring the expedition. Register by Monday, May 1, at www.regonline.com/isleroyale2017. For more details or questions, contact the Seaborg Center at (906) 227-2002.


Today's workforce and workplace is made up of four distinct generations with conflicting attitudes, skills, and expectations. Generally referred to as Veterans, Baby Boomers, Generation X and Generation Y, these four generations—when well managed under a flexible strategic umbrella—have the potential to make the workspace more productive and comprehensive than it has ever been. Here are some solutions to help employers at a time when many businesses are under increasing pressure to change and increase workplace productivity by offering work-life balance as a necessary perquisite to compete within the 24-hour global economy. In order to establish a flexible strategic umbrella to bring about better fitting work-place and work-life arrangements, it is important to understand the individualistic motivations and expectations of the people currently in your employ–which might include all four generations–as well as the constantly evolving needs of an emerging intrinsically different generation of employees.
Bear in mind that while the largest workforce today–made up of 85 million baby boomers born between 1946 and 1964—have hit the tail end of their customary working-lifecycle. Although this group will continue to have an enormous impact on the consumer marketplace, labor forces, and government finances, many Americans now in their mid-50s or easing into their 60s might be forced to delay retirement longer than their parents or grandparents due to financial constraints. The oldest of the baby boomers will turn 62 next year, the age at which they become eligible for Social Security benefits, which in all likelihood will be inadequate for many to sustain a financially secure old age. A recent government survey shows that while many workers by necessity have to stay on the job because fewer companies offer health insurance to retirees and an alarming number of private pension funds fail, most U.S. workers nearing retirement age prefer to scale back by rather working flexible hours as opposed to abruptly stopping work altogether. This arrangement in itself should be viewed as a positive alternative by employers because new human resources benefit from the all-important knowledge transfer and also averts potential skills shortages. An effective exercise is to give new staff member's hands-on orientation experiences by having them spend at least a week working alongside experienced operators within their first month on board. You could even request that they write a one-page summary of what they learned from the experience. Employers are urged to make adjustments within the workplace to allow older people to continue working, such as introducing more flexible hours and re-designing pension plans. Simultaneously, the first wave of new young recruits, who are now in their mid-20s and younger, are starting to take their place in an increasingly multigenerational workplace. Statistics show that there are over 82 million young people, highly diverse in terms of attitudes, preferences and ethnicity, who are stepping up to join the corporate workplace.
Baby Boomers comprise nearly half of the current American workforce; they represent the largest generation in history and have had a tremendous impact on our economy. They place a great emphasis on individuality, value creativity and risk taking, challenge opinions, and resist exploitation. While they are generally optimistic team players and highly competitive "workaholics", adjusting to new technologies have been a challenge to some; even so, their contribution has humanized the workforce by focusing on the endeavors of individuals to initiate innovative solutions. Baby Boomers are committed to working long hours and as a result have difficulty juggling the demands of their work and domestic lives.
Generation X is significantly different than its predecessors. Born between 1966 and 1977, they currently make up about one third of today's workforce (50 million). Their distrust of institutions due to political scandals such as Watergate, Iran Contra, and the Clinton impeachment has resulted in a tendency to disregard politics. They gravitate toward independent self-sufficiency, and view organizations only as vehicles for personal growth and career development. Generation Xers value flexibility, work-life balance, and independence on the job. They have high expectations for personal growth; their aim being to build a transferable career and develop a variety of skills with which to make significant acceptable contributions. While they generally respond well to rewards for their accomplishments, they are averse to "paying their dues" since they do not regard long-term employment as a primary goal. Yet, they are avid learners who respond well to multiple stimuli, thrive in environments where new skills and problem solving techniques are practiced; and in particular, embrace technology that can be used to free up time so that they may explore personal interests. Companies should take into account this desire to resist inflexible control to follow a "business as usual" policy and hold on to some Baby Boomers who are generally committed to working long hours as opposed to Gen Xers who have a more casual attitude toward time and authority.
The corporate workplace will need to undergo a revolutionary make-over within the next 10 to 15 years in order to meet the expectations of Generation Y because it is they who will dominate the workforce for at least the next seven decades. Even though Generation Y, also referred to as Echo-Boomers or Millennials (born between 1978 and 1995), constitute the smallest part of today's workforce, it is a powerful force of as many as 76 million. The first members of Generation Y have not yet hit 30 and are steadily embarking on their careers. This generation if vastly different from any that have come before and companies worldwide are just now beginning to encounter the utter confusion that the newest generation of workers is causing in offices and businesses around the globe. Workplace analysts describe this group as craving a more collaborative work environment (which is okay because we've proven that the power of effective teamwork is highly commendable) but who simultaneously abhor hard work; they too like Gen Xers instinctively presuppose a work-life balance that often conflicts with the values of the corporate world. Generation Y is moving into the labour force at a time when the USA is steadily retiring its aging workforce. The demographics in the work place have been turned on its head; sixty-year-olds are working side by side with 20-something colleagues or newly-graduated recruits are overseeing employees old enough to be their parents. Creating further imbalance within the workforce and a breakdown in productivity is rapid staff turnover, given that new Generation Y job entrants change careers to follow an occupational adventure.
Being the most technologically savvy generation they are always looking for a quicker way to do something and demand state-of-the-art technology in the workplace to help them do so. This generation has a global perspective due to the transparency of the Internet and cable television, which contributes directly to their distrust of corporate America. They value flexibility and opportunity over compensation, have a high desire to expand their knowledge and respond well to informal training opportunities; they are confident in their abilities, ambitious and motivated; expect diversity in the workplace, and are dedicated to achieve individual freedom and equality. They want the workplace to be informal and comfortable to support the way in which they implement and view the influence of their efforts within the work environment. Like their Gen X counterparts, they do not believe in "paying their dues" with long-term service; they assert that human capital is exhausted after 2 to 5 years with a particular company and move on to bigger and better challenges.
In most companies, all four generations form part of the same workforce, which means corporate work-life strategies must fulfill a wide range of expectations without necessarily enforcing explicit segregation. An effective solution can only be set up when the relevant generational spaces meet the needs of varying age groups and work styles. For example, an unbiased work environment might consist of combined spaces including some assigned workstations, mobile stations, and alternative spaces for atypical interactions. Veterans (60 – 77 years) prefer a hierarchical and structured environment with minimal distractions, dedicated work areas, and traditional auditorium-style training facilities. In terms of technology, they favor desktop computer systems and telephones.
Baby boomers (40 – 59 years) share some similarities with Veterans in that they too desire individual dedicated workspaces for optimal concentration, but with adjacent areas for collaboration. They're slightly more relaxed when it comes to alternative work areas and favor project rooms or task-related collaborative areas for creative thought. Work flexibility options include working at home or while traveling. Learning spaces include hands-on training for new technologies, and using laptops and blackberries to stay connected. Amenities that will keep Baby Boomers less stressed about juggling work and domestic responsibilities include access to carry-out food services, laundry services, exercise facilities, and elder care.
The optimal work environment for Generation X (28 – 39 years) is a casual environment with sensory stimuli where members of the work team can chill out and hold informal meetings. Flexibility is the operative word when creating working spaces for this group; they want a mobile environment that can support spontaneous change and virtual work opportunities; and working from home is high on their list. Learning spaces include task-specific on-the-job training, self-learning at their own pace or attending education centres where they can hook up like-minded individuals. Amenities that are important to this group include childcare facilities, carry-out food services and recreational/exercise facilities.
Generation Y (10 – 27 years) favors a unique environment with comfortable lounge furniture for casual dialogue. Ideally a typical cyber café recreational area integrated into the workplace would stimulate virtual work strategies. They generally seek out opportunities that allow them to work where and when they choose. The same flexibility applies to learning areas; this group learns best from mentors via mobile state-of-the-art technology. However, many are finding their niche in entrepreneurial endeavors, a work area that provides high pay, purposeful work, minimal on-the-job stress, flexibility of hours and proximity of work and home. This generation embraces the commitment to take care of themselves rather than some corporation.
Bear in mind the yawning generation gap that already exists between American Baby Boomers and Gen Xers—particularly in their ideas of work-life balance. For Baby Boomers—some approaching retirement–the aim has always been to devote equal time to both work and family, while for Gen Xers the secret of work-life balance is to move in and out of the workforce to accommodate kids and outside interests. Now along come the new 20-something brigade of Generation Y workers who dismiss the correlation between work and home altogether, opting rather to spend their time in more meaningful and useful ways, no matter where they are. These workers have high expectations for personal growth; having grown up on the Internet they are extremely savvy about how to run lucrative online businesses parallel to launching real time jobs where they integrate new technologies into their work processes with little down time. An employment model that embraces their need for total flexibility is for companies to outsource their call center operations or tender volunteer work, the Gen Y worker is capable of performing at the highest level, working with customers to learn processes, answer questions and resolve problems. Volunteer work is a way for these workers to take the skills they've learned in the corporate area and give back to the community without leaving the company; these ad-hoc employees could be college students working from home, many of whom are highly successful online entrepreneurs.
Companies will need to be exceptionally creative in their work set-up to avoid clashes between generations and be particularly heedful not to cater to specific generations while ignoring others. By comparison, Veterans working side by side with Gen Y might find what supports work for Gen Y too casual and distracting, while Gen Y workers would find the structured environments often preferred by Veterans oppressive and dreary. Baby Boomers need unobtrusive areas to concentrate and might be overwhelmed in environments with too many stimuli. Then again, Gen X and Gen Y workers can concentrate and collaborate wherever they are and do not rely on particular mood-elements within the work environment. Creating an all-round harmonious workplace that takes into consideration the likes and dislikes of everyone is not as daunting as it may seem. Gen Y workers work well with Veterans or Baby Boomers who are eager to mentor them, which makes combining casual lounge and workstation settings a positive move toward further facilitating dynamic interaction. Placing Gen X workers in situations where they can help bring older workers up to speed by teaching teach new technologies builds mutual trust, which justifies creating casual learning zones to smooth the progress.
Creating a well-balanced efficient workplace environment that supports different attitudes and ways of working, will ultimately empower employees to create an internal dialogue. In addition, flexibility in the workplace might attract essential skills of workers who are physically disabled who have financial obligations or who simply want to augment the balance between their home and working lives.
The central political challenge of our time is to improve society's sense of well-being, and creating equilibrium in our attitude toward work and living well is the first step. We need to accept that there is more to life than money; our well-being can't be measured in terms of money or traded in the marketplace. It's about appreciating the beauty of our surroundings, the quality of our culture, reassessing our hurried lifestyles, taking better care of the planet, and above all making the effort to strengthen relationships. Yet, society functions on input and output of supply and demand; therefore, companies need to deploy their human capital as productively as possible, and celebrate the diversity of ideas to help the business add value and grow. Companies need to revolutionize their reward, remuneration strategies, and training options comparable to the individual and what motivates him or her.
Finding work-life balance in today's frenetically-paced world calls for a calculated plan of action. Whether the problem is too much focus on work or too little, when the balance of your work-life and personal-life is excessive, your health is threatened. To take control, evaluate the boundaries between work and home and how these affect your situation.
• Global economy. The tendency today for companies to outsource jobs to reduce labor costs compels employees to work longer hours and up production to protect their jobs. Ongoing training to keep abreast of developing technologies exacerbates anxiety among the older generations who feel the need to compete with the techno-savvy generations.
• International business. Workers employed by international organizations might be on call 24/7, for continuous productivity, troubleshooting and consulting.
• Advanced communication technology. Competing within the global economy necessitates that people work anywhere — from their home, from their car and even on vacation. And some managers expect that.
• Longer hours. The competitive job market compels workers to continually exceed employers' expectations, which normally means working well beyond normal scheduled hours per day. Even if overtime is mandatory, many employees work more than 40 hours a week out of necessity to keep up with the workload or help earn that promotion or bonus. On the other hand, if you're an hourly employee it's tempting to work overtime; while some need to supplement their income to keep the wolf from the door or save for unplanned expenses, others like to earn extra cash to fund a personal project like a summer vacation.
• Changes in family roles. The sheer economics of having to finance today's costly lifestyles obliges married couples to work outside the home, which puts a strain on family commitments, friends and community.
Managing a multi-generational workforce under one flexible strategic umbrella has the potential to heighten corporate America's competitive edge within an rapidly evolving global economy. By utilizing and integrating appropriate characteristics particular to each generation companies will incite widespread diversity, technological originality, and collective mentorship on a revolutionary scale.
Consumers today are leaping out of one segment into another as they seek to fulfill customized innovation. Consumers are becoming increasingly brand-savvy and play a powerful role in inspiring new solutions as they build relationships with brands. Changing patterns in consumerism undoubtedly affects what products people buy and what brands they prefer. Marketers are aware of this and often design their strategies based on customer life cycle trends, known as Trip Wire Marketing, to identify and differentiate evolving customer segments. The theory behind "trip wire" marketing is to identify customers that demonstrate different behavioral patterns than the norm and to take advantage of the opportunity to increase customer value through ongoing CRM or Life Cycle-based marketing. While change in consumer behavior is measured over time it is important to identify whether the value of a customer is rising or falling. Knowing and understanding the Customer Life Cycle is the most powerful marketing tool you can have. Marketers continually need to reassess changes in consumer behavior from a customer-oriented perspective. In all activities, customer satisfaction is the key to continuing to earn profit which enables us to grow wealth. It is not enough to sell to a customer one time; we need repeat business and word-of-mouth endorsements. Unhappy or disgruntled customers will go to our competitors who do satisfy their expectations or find alternative products or services that fulfill their needs. It is therefore true that the customer is central to our efforts and it is clear that in order to be competitive in today's marketplace, one needs to understand the customers' expectations and be capable of providing products and services on target the first time, every time. Trip Wire marketing is a cycle of constant replication of action and reaction between customer and marketer, providing there is mutual value in the relationship. For in-depth information about how to detect when an average customer is ready to become a best customer, read what Jim Novo has to say on the topic at http://www.jimnovo.com/Behavioral-Marketing.htm and reading a sample version of his book "Drilling Down" is well worth the time.
Exceeding the expectations of cutting-edge consumers is becoming increasingly challenging because product life cycles that included two to four years from concept to production are now in many cases one to two years from concept to obsolescence. Albeit, it is the ability to thrive under conditions of constant and unpredictable change that achieves rapid response to customer needs. And because technology is accelerating in some areas and flattening in others, success will go to those who are positioned to capitalize on these changes and capable of reacting quickly to accommodate the changing forces in the marketplace as well as the ability to react quickly to technical or environmental surprises. The entire customer experience is linked to tangible and intangible aspects of the customers' experience with our product or service including reputation, image, or ease of purchase. Companies are national, but business is global. National and political borders are transparent to nearly all aspects of business, even those not directly involved in the world marketplace. Customers in the global marketplace expect more value from us due to the availability of high-quality products and services and the swift responsiveness of our competitors. It is therefore vital that we understand all of these elements of the customers' expectations if we are to remain ahead of the competition.
The future belongs to those businesses that clearly define their customers, understand their expectations, and cost-effectively produce quality products and services that satisfy those expectations the first time, every time. However, you need to acquire important internal benchmarking knowledge by evaluating on a regular basis what your competitors are doing; by identifying not only which of your competitors are recognized as the best in class but also the processes and practices that make them so; and by assessing how your product or service and its associated processes compare to the best in class. Recognizing when an average customer is ready to become a best customer involves a fair amount of detailed data mining to help you forecast probabilities and trends to identify emerging consumer behavior patterns and establish relationships. This process, called predictive modeling, helps direct marketers and data analyst's better target customers, discover new market opportunities, manage risk and profile the customer according to gender, age, and purchase history.


Nora provides reliable and well-organized accounting support to Confluence. Her background includes over 10 years of nonprofit management, seven of which were at grantmaking foundations. Her broad experience base includes financial management and bookkeeping, project coordination, and office management and administration. At Confluence, Nora provides invaluable support with Federal Acquisition Regulation (FAR) compliance, budgeting, and contracts administration, among many other operational tasks.


The Toyota Manual Rear-Entry combines the power and comfort of the Sienna with the space and affordability of a rear-entry. Its 32" wide ramp accommodates larger wheelchairs, and the lowered-floor interior has space for up to two wheelchair passengers. With 25" of space in the middle seating position, the Toyota Manual Rear-Entry offers the option for wheelchair passengers to ride in the second rows.
The Toyota Power Rear-Entry has a 32" wide ramp to accommodate larger wheelchairs, and a lowered-floor interior has space for up to two wheelchair passengers. With 25" of space in the middle seating position, the Toyota Power Rear-Entry offers the option for wheelchair passengers to ride in the second rows (when aftermarket seating is installed).
The Toyota Manual XT ramp wheelchair van offers accessibility and convenience all in a streamlined, sporty package. A lightweight aluminum side-entry ramp can be conveniently folded out for easy wheelchair access. Third row roll-and-tumble seats fold forward to offer additional cargo space when needed.
With a full 56" clearance through the doorway and up to 60″ inside the van, this spacious option is the right choice for taller wheelchair and scooter users.
The BraunAbility Toyota XL has improved space for just-right maneuverability, a new suite of best-in-class features, all without compromising ride, handling or durability.
This heavy-duty 1,000 lb ramp has a durable, nonskid, powder-coated finish ensuring superior traction. The slotted surface helps to prevent your chair from tracking debris into your wheelchair van.
You can enter and exit with confidence with this wide doorway and ramp system.
The interior space has an additional six inches of cabin length and has a wide open area to comfortably maneuver the biggest wheelchairs.
The full-length, hideaway footrest offers comfort and stows away seamlessly into the rear bench.
Toyota XL Power Infloor offers six additional inches of cabin length for just-right maneuverability, without sacrificing ride quality or vehicle handling.


text:
Augusta Mary Anne Holmès (født 18. december 1847, død 28. januar 1903) var en fransk komponist af irsk afstamning. Hun anvendte pseudonymet Hermann Zenta i begyndelsen af sin karriere. I 1871 blev Holmes fransk statsborger og lagde en accent til sit efternavn.

Holmès skrev selv teksterne til næsten alle sine sange, oratorier, koralsymfonier og operaen La Montagne Noire (fransk for "Det sorte bjerg").

Holmès måtte ikke studere ved Conservatoire de Paris, trods sit talent for piano, så hun studerede musik udenfor alle institutioner. Hun udviklede sit pianospil under den lokale pianist Mademoiselle Peyronnet, organisten i Versailleskatedralen Henri Lambert og Hyacinthe Klosé, der viste Holmès' kompositioner for Franz Liszt. Omkring 1876 begyndte hun at studere hos César Franck.

Camille Saint-Saëns skrev et indlæg om Holmès i tidsskriftet Harmonie et Mélodie og friede til hende flere gange. Holmès giftede sig aldrig, men hun boede sammen med poeten Catulle Mendès, som hun fik fem børn med.

I 1889 fik Holmès opgaven at skrive en ode til Verdensudstillingen i Paris 1900. Ode Triomphale blev et værk, der krævede ca. 1200 musikere. Hun blev kendt som komponist af politisk programmusik, som for eksempel hendes symfoniske digte Irlande og Pologne.

Eksterne henvisninger

Personer fra Paris
Komponister fra Frankrig
Komponister fra Irland
Franskmænd i 1800-tallet
Franskmænd i 1900-tallet
Kvindelige komponister

redpajama_set_name: RedPajamaWikipedia


The lever frame at Malmö is one of those illustrated on the Power Frames page. Since that page was published, John Batts sent some evocative views he took of Malmö when he visited Sweden in 1956. The pictures simply ooze with 1950s peace and tranquillity; they need no description.
Another view of the interior of the box, taken in 1925 when it first opened, will be found on the page covering power frames.
Many thanks to John Batts for providing these photographs.


Central Recruitment is the specialist recruitment agency for jobs in Blackburn and throughout East Lancashire. Available 24 / 7 to serve your job search and recruitment needs.
Give us a call to find out just how we can help you find a job for you or the right candidate for your vacancy.
To upload your timesheet or view and download previous payslips, please use our employee area.


text:
package com.squalala.tariki;

import android.app.Application;
import android.test.ApplicationTestCase;

/**
 * Testing Fundamentals
 */
public class ApplicationTest extends ApplicationTestCase<Application> {
    public ApplicationTest() {
        super(Application.class);
    }
}

redpajama_set_name: RedPajamaGithub


Stay clean and fresh with fresh scented linens, clothes, and brighten up the room with the aromatic fragrance. Made with the essential oils of green tea, lavender, pomelo, lemon, and bamboo.
A great bonding activity for you and your child to be one with nature and appreciate the simple homegrown beauty in the environment. This set includes its own little garden. It has two pots. One for you and one for your toddler. It has four bags of gold-flaked-magic soil.
Take a bite out of your fruit and be confident that it is free from soil, wax, pesticides, and other harmful chemicals with this Vegetable Wash. Made to remove any unwanted toxic chemical from your food.


If you're located in the Bay Area, don't miss your chance to celebrate Detroit's key role in 1960's American Counterculture when Haight Street Art Center presents Grande Ballroom From Detroit With Love on April 19, 2019 from 6:00pm – 8:30pm.
Admission to this free special event includes one drink ticket for a glass of wine or beer, and a chance to win a special limited edition screen print of Gary Grimshaw's SEAGULL design.
If you can't make this event but are interested in the new Limited Edition screen print of Gary's iconic SEAGULL, copies will be on sale onsite and online starting at 6:00PM on April 19.
Enjoy a glass of wine or beer viewing FROM DETROIT WITH LOVE, the definitive comprehensive poster, handbill and postcard collection from Russ Gibb's legendary Grande Ballroom. This stellar exhibit is a must see for all poster fans.
The Gary Grimshaw Legacy Foundation will release its new Limited Edition screen print of Gary's iconic SEAGULL, the poster that launched the Grande Ballroom poster series. All attendees will be entered in a raffle to win a free copy of this meticulously enhanced print. Copies will be on sale onsite and online starting at 6:00PM on April 19.
7:00pm, Guest Panel Discussion—Join GGLF's Laura Grimshaw as she moderates the discussion. On the panel are activist and photographer Leni Sinclair, Detroit artists Carl Lundgren and Dennis Loren, poster expert Eric King and others. They will discuss the Grande, Detroit's 60's art scene, and its part in the City's countercultural movement.


Guest posting. What is it, and why do it? What are the pros and cons? What qualities do great guests and hosts have? What are the rules? Who makes them up?
These are some of the questions you may have about guest posting and hosting and, whatever your experience with it – as guest, host, both, or neither – you will have answers to these questions by the time you finish this post. Guaranteed.
Guests don't always follow proper guest posting etiquette, and hosts don't always provide clear guidelines for guests to follow. As a result, more time is often spent emailing each other back and forth instead of on the post itself, trying to figure out what's going on, what's expected of them, and resolving problems.
How can this situation be rectified?
The solution is actually quite simple: Know what is required of you – whether you're a guest OR a host.
The fact is that there are often many problems that arise simply because many bloggers have not developed their own set of guidelines for their guests to follow and many guests don't know the best practices of offering someone a guest post.
Guest posting is defined as writing a blog post and having that post published on someone else's website.
Guest hosting is when you allow someone to write something for you and publish that post on your website.
Guest posting is a practice that has been around for several years, yet people are still talking about it, writing about it, blogging about it, and doing it. Some people are even writing books about this! (I'm not kidding – I know one guy who is working on one right now, and is expected to have it ready sometime in the late winter or early spring of 2014, because his first super-short ebook on this topic just wasn't enough, although he wrote a guest post that totally rocked, called How to Make Guest Blogging Your Most Effective Traffic Strategy). Then there's Jon Morrow, an inspiring person who teaches a course on this topic.
This just goes to show you how much can be said about guest blogging!
Given that so many articles have been written about this topic, you may be wondering why I'm bothering to write another. Well, there are a few reasons, actually.
First of all, Dear Blogger is all about helping YOU and Greg doesn't have a post about guest posting (he just has his own guidelines) so I thought I'd help him out.
Secondly, some of you may not have heard of this concept, may have only dabbled in it, or may want to know more about all it entails.
Thirdly, there is more to guest posting and guest hosting than you may think, and I want you to be informed so that when you decide to be a guest or a host, you will do so following the best practices possible.
Finally, I want to bring some awareness to bloggers about these "best practices" so that the whole overall experience of both guests and hosts is one of mutual satisfaction and serves the audience well.
What I'd really like to do, though, is create a set of rules for all bloggers to follow. 😉 (I'm winking, but I'm actually serious. I'm just wondering if I have to be elected into office or be considered a blogging goddess for this to happen. If any of you know, please tell me ASAP!) Instead, I have compiled a set of "best practices" to use.
Why guest post? Why guest host?
There are many positive reasons for each.
reach a different audience – the host's. By doing so, the host's readers may become interested in the guest and the guest may gain readers of his/her own.
create backlinks to your site. Most hosts will inform their readers that the post was written by you, for them, and include a short bio at the end of the post with a link to your site.
establish your credibility online and help you expand your network. First, however, you need to build trust. Ramsay Taplin, more famously known as the Blog Tyrant, made a video that exemplifies this point.
give your readers a treat and mix things up a bit. Your guest's voice and writing style is generally different from your own.
When you are a guest on someone's website or blog, you should mind your manners and remember that you are a guest. Act like a guest. Be gracious, nice, friendly, respectable, courteous and helpful. You may be invited back if you and your post perform well!
Guest posting and guest hosting involve many factors, but they can both elicit a wonderful experience if executed properly, following the best practices.
If you've ever guest posted or hosted a guest, I'd love to hear any stories you may have (even if they're horrible!) and if you haven't, I'd like to know if you are now considering doing one or the other – or both. Share in the comment section (where it says to ask a question) and I'll be sure to reply to you soon!
Lorraine Reguly is an English teacher-turned-blogger who offers both writing and editing services to anyone in need. She has been a guest blogger on various websites, is also an author, and is currently giving away a free blogging ebook. She can also help you turn your ebook into a print book! Visit Wording Well for more details.
39 Responses to "Guest-Posting and Guest-Hosting: Best Practices"
I'm a beginner in this field and want to know about blogging , which platform should i start like blogger or WordPress. I think blogger does not rank better then WordPress plz guide me. I am a software engineer and i want to start my career in this field for sharing knowledge or technical skills.
Even though this article is a few years old, I think most of what you wrote is still relevant today. I struggle with finding the time to guest post in addition to doing my own posting for my site. And it is hard to give away enough control to guest host although I did it for one whole article and it did work out well. Thank you for this informative article. I really think that guest posting is an effective way to take traffic to the next level on one's blog.
it would help immensely if you have a plan at hand. Sure, guesting is good and can bring you all those pros you listed and may occasionally have those cons you listed, too. But if you have a clear plan and schedule what to do, when to do it, how to do it, etc. – then guest posts will have more of the pros and less of the cons.
I have been reading your blog for more than couple of months and now i have learned a lot. It's a tough job to keep a blog going and I truly appreciate it.
Definitely need some time to do this. I get very less time even for my blog.
I've never heard of Guest Hosting but the idea is definitely fantastic! Thanks for the great information!
I was wondering what your thoughts were on if there is a time that is too early to ask someone to guest post. My blog is only a couple weeks old and only getting like 50 pageviews a day. I feel like asking now would be extremely self serving, but I do want to do it eventually. Any thought on when would be a good time to "pull the trigger"?
i think that the guest post is the most ethical way to get more exposure and get audience for the blog. it has 2 benifit,first is building online reputapion as a wrtter,promotion and traffic for blog and second is backlink as well. so i think we should go on writting guest post.thanks for sharing your views.
Rishab, you're right. Guest posting is great for those reasons.
I'm glad you enjoyed this post. Have you ever guest posted anywhere?
I'm assuming you are speaking to Greg. I hope he replies!
My name is Neha Vasandhani and i`d like to write a guest post for you.
I have a team of skilled writers and we are ready to make a research and provide a quality article that will go down well with your readers and give them some useful information.
It would be great if you could allow me to place a hyperlink in any part of the article (one link in article).
You want to guest for me or for Greg? I'm unclear on who you are directing your comment at, Neha.
One of the mistakes I made in the past is being lenient about my guidelines (well, I had strict guidelines..but often times, I let somethings pass by just to get an article in front of the audience).
I truly regret that mistake, but it's okay (that mistake is the reason why I now believe in writing for my audience and writing as I like. Sure, consistency is important, but don't get obsessed by it).
As for the other rules, I do agree with them..following the best practices makes guest posting an enjoyable and effective opportunity for both the host and the guest.
Anyways, thank you for sharing this, Lorraine 🙂 Appreciate it!
Jeevan, I appreciate you stopping by and sharing your thoughts.
I've broken a few of the "rules," too; I think we all have at some point, but these experiences make us learn what to do and what NOT to do in the future.
I think originality of the guest posts is implied – when guesting, write specifically for that blog. I hate it when bloggers approach other bloggers with readily written articles, often in bulk – without any proper research of the bloggers style, audience or scope of topics.
If i may add something – for both guests and hosts – it would help immensely if you have a plan at hand. Sure, guesting is good and can bring you all those pros you listed and may occasionally have those cons you listed, too. But if you have a clear plan and schedule what to do, when to do it, how to do it, etc. – then guest posts will have more of the pros and less of the cons.
Thanks, Diana, for your wonderful insight, comment, and consideration! 🙂 You have made my day! It's nice to be considered a good choice (I'm sure Greg will be pleased to hear that, too) and to be at the top of a list!
Planning is definitely key. Thanks for pointing that out.
I've as of recently seen guest posting, not as a traffic technique, but as a way to display your work on a more established blog or website.
Guest posting isn't easy and it shouldn't be since it as to be some of your best work!
Samuel, I completely agree with you! Very perceptive observation!
Excellent job Lorraine. Having guidelines well established goes a long way in preventing misunderstandings or extra work for both sides. For me I find that I rarely except a guest post request. Partly due to the fact that they haven't yet read my rules. Once they do, it makes it much easier all around and the process goes much more smoothly. When it comes to images. Many times they are of poor quality or haven't been vetted with no attribution. When that happens I may reject the post. If the post is well written and high quality, I will inform the blogger that I will provide, create or find images that can be used in the guest post.
I agree with you, Susan, and while I have your attention, I'm going to use this opportunity to point out one of my personal weaknesses, which I'm currently improving upon: low quality pictures/images. When I started blogging, I used pics from my camera-phone, which is kinda old, and definitely not great.
In fact, I think that one of the reasons my brownies post was not published or accepted by you is due to the poor image quality of the pictures I provided, as I do believe that I followed all other guidelines! If I'm mistaken, I'd like for you to set me straight.
It is true that we should not sacrifice our integrity for anyone.
I am with you one hundred percent on this.
If you have any other thoughts, I'd love to hear them!
It an ever evolving process to know what kind of guidelines one needs, don't you think?
As far as your Brownie post is concerned; as stated in the guidelines, I always test a recipe prior to posting and I usually photograph the results. I'm usually at least six months out on posts because of the labor intensive nature of my process. Because of this, readers have come to trust my recipes. That is the reasons that my food posts are so popular. I had planned to test your recipe in the new year and then find an appropriate place for it to launch. As a side note; I have six others along with my own features that are also in process at the moment.
In my opinion, production quality is definitely something that needs to be cooked just right.
Awesome that you're known for long-term prep.
I've done posts with zero images and posts with lots; seems like relevance is most important, then quality.
I read the guidelines and your emails very carefully! I understand that food posts take a lot of time. As it has only been about five months, I didn't mean to rush you. Sorry.
You know, that would be really helpful, Susan, especially since you ask in each post for people to contact you anytime with a guest post idea. Giving people a heads-up will make them realize that things don't happen instantaneously!
Kudos to both you and Greg—for practicing what you preach. Great guest post. Perfect for Greg's blog. I belong to a closed FB group called "Boomer Travel Bloggers". I will share your post with them.
I had/have a great guest blogging experience with Donna Hull of My Itchy Travel Feet. She reached out to me to ask if I would be interested in doing a guest post after I left a comment on her blog. I've done 3 guest posts for her and I think it has been a positive experience for both of us. I'm sure she checked out the writing on my blog before she asked if I wanted to guest post. I haven't seen that she has had to do any editing of my guest posts, So, IMHO, she gets quality content from me and in return, she has been a very helpful mentor to me. Her blog is a PR 4 and my page rank went up to 3 quite quickly when I started my blog—probably at least partly because of the back-links from Donna's blog.
My experience as a guest blog host has not been as spectacular. I've had to do heavy editing–or even total re-writes of guest posts, so I am now very picky. I receive emails offering to provide me with "free" (or even paid) content in exchange for a link back. If I'm comfortable with the product or service, I might enter into a commercial relationship, but I do the writing (or expect to heavily edit) myself.
Personally neither accept guest posts neither write guest posts. But if I change my mind I will take your advice into account, Lorraine.
Thanks for adding to this discussion, Catarina.
Haha… Host-i-quettes and Guest-i-quettes – what a creative style of writing! I am also following you on twitter. You've an excellent attitude to motivate other fellows like me. I have bookmarked this post for the time I'll be guest-posting.
I'm glad you found this to be helpful!
Why do you need motivation?
First Lorraine, thank you for mentioning my blog post for finding the perfect match.
One thing to add, maybe in etiquette (could be something else like, standing out from the crowd) include a couple of links to samples of your blog writing on other blogs WHEN you ask a host to consider your writing. It should show how your tailor the work to a particular audience and the quality of the style of your writing.
Excellent point, Patricia. (Which is why I'm so happy that people like you decide to leave comments!) Adding to or enhancing the post's content is what commenting is all about.
Another thing I forgot to mention is that, when emailing, the email should be free of errors, too, as should all other correspondence, since when you are writing to someone, you should be demonstrating your skills at all times — not just in a guest post but in all other areas as well.
Awesome job Lorraine. Great has got the right person helping out with his blog for sure.
You are turning out to be more of a pro blogger than you realised!


We are now strawless in Seattle…. the ban on plastic straws is now being enforced. The NY Post claims two Californians are suing the Halo Top Creamery ice cream company for routinely under-filling their pints. Halo Top released a statement saying; "We have never and would never 'under-fill' our pints. Product settling can occur from time to time due to everything from heat fluctuations to altitude changes during shipping and handling." Rite Aid Cracking Down On Loitering With Barry Manilow Songs: NBC claims a San Diego Rite Aid store is cracking down on loiterers by playing Barry Manilow songs. Managers say Barry's music is keeping loiterers away and dissuading others from sleeping in their cars in the parking lot. Some people now come to the store because they enjoy Barry's music.


On October 5, the European Parliament adopted a resolution on human rights in the occupied Crimea, where the detainees were recognized as political prisoners by the Kremlin.
Parliamentarians demanded the release of all political prisoners.
"[European Parliament] Condemns the sentencing of Ilmi Umerov, Crimean Tatar Leader and Deputy Chair of the Mejlis, Akhtem Chiygoz, Deputy Chair of the Mejlis, and journalist Mykola Semena; demands that these convictions be reversed and that Mr Umerov and Mr Chyigoz are immediately and unconditionally released and all charges against Mr Semena are immediately and unconditionally dropped," reads the text of resolution.
Furthermore, the document listed another 44 people who were detained by the Kremlin authorities.
The European Parliament called on Brussels to "more flexible approaches that will allow easier access of international observers in the peninsula, including parliamentarians, with the agreement of Kiev and without this being interpreted as recognition of the annexation."
Earlier, on October 3 the Head of Mejlis of the Crimean Tatar people Refat Chubarov at a meeting of the Verkhovna Rada of Ukraine called on the deputies to support political prisoners in Russia and the occupied Crimea. Refat Chubarov reminded the people's deputies about the political prisoners, sentenced by the Kremlin-controlled court of the Crimea.
The Crimean Tatar Association of Canada calls on all concerned to come to the walls of the Legislative Assembly of Ontario (Canada) on October 5 at 6:00 pm in support of Ilmi Umerov, the Deputy Chair of the Mejlis of the Crimean Tatar people and other Russian political prisoners, who were convicted by the Kremlin.


This summer, Georgia Southern University alumna and staff member Hollie Sisk ('01,'05) became one of only 1,700 individuals in the world and 14 in the state of Georgia who are Google for Education Certified Innovators.
Hollie Sisk poses for a picture at the Google for Education Certified Innovator Program.
Sisk, who joined the College of Education in June as the coordinator of the Instructional Resources Center on the Armstrong Campus in Savannah, attended the 2018 Google for Education Certified Innovator program in Venice, California on July 9-11.
The Certified Innovator program selects candidates based on their professional experience, passion for teaching and learning, innovative use of technology in school settings, potential to impact other educators, and their desire to tackle challenges in education. This year, Google will train five cohorts in countries including the United States, Netherlands, Spain, Denmark and Mexico.
Thirty-seven candidates were selected to participate in the U.S. cohort. Participants attended the Google for Education Innovation Academy for three days, where they visited the YouTube headquarters and worked in the Google's Venice, California office. During the academy, Sisk and fellow cohort members focused on collaborative and innovative problem-solving based on the design thinking process.
As a part of the application process for the program, Sisk was required to design an Innovation Project that will be carried out over the next year with the assistance of a fellow Google Innovator and mentor. Sisk's project, titled "Flame EDU: Ignite Change," seeks to build a framework specifically for school administrators to educate, encourage and empower their school's stakeholders on the use and integration of technology.
Sisk explained that when technology is under-utilized, it becomes an "expensive pencil," serving only as a tool for word processing, when it can be used for so much more. Part of her Innovation Project is to offer free training for administrators using Google for Education to build school culture for proper use of the technology. The project also assists the administrators in supporting teacher instruction and development with technology.
As a part of the College of Education staff serving both students and faculty, Sisk says that this training will also help her to better serve the Armstrong Campus population with their instructional technology needs and questions.


When we jump straight to forgiveness and ignore feelings of anger, frustration, guilt or regret, we hit the first spiritual bypass of shadow work. In essence, we are skipping the real work.
Now I understand why many people may think this spiritual bypass is a good one! At first glance remaining ignorant of our own shadow can seem like the more comfortable option. Yet, by not acknowledging our shadow, we are at risk of it coming out at inappropriate times with the potential to cause severe damage to our relationships.
While it can be scary facing the shadow, Jung states that hidden in the shadow are creative and potentially positive aspects of our personality. Through exploration and acceptance of our shadow, these positive aspects and creativity can be expressed.
How do we explore the depths of our shadow personality? This is a personal journey and will be different for every single individual. It is dependent on what needs to be acknowledged and moved through. Having been through this process myself, what I do know is that it requires a deep level of surrender, trust, willingness, and courage. While others can support us through this process, ultimately when we commit to the facing our shadow, we are committing to becoming our own healer.
This leads me straight to the second spiritual bypass of shadow work – getting stuck there! Too much darkness and the potential to stay cemented in turmoil poses a genuine risk of becoming a victim, rather than an empowered individual.
Being a victim can be an alluring proposition. Tony Robbins talks about the six basic universal needs that drive human behavior, one of them being the need for significance. Being a victim and staying stuck in the muck, fulfills this need perfectly. Even though remaining stuck in the shadow causes immense suffering, the ego's need for significance can be so overpowering, that it can override a soul's genuine desire for happiness, peace, success, and love. If you are brave enough to face your shadow consciously, you must be courageous enough to rise back out of it, with wisdom.
By diving deep into shadow work, we are passing through an alchemical process, turning our shadow into creativity and wisdom. This level of exploration comes with a warning; it is not for the faint-hearted. When I was in the throws of shadow work, I wanted to turn back many times! Yes, its confronting, but is it worth it? You bet!
p.s. Our internal feminine energy is more sensitive to our intuitive guidance than our masculine frequencies. Learning to balance the masculine and feminine energies within ourselves, helps create a clearer connection to our hearts intelligence and our higher potentials. If you would like to learn how to do this, you can download my free eBook 5 Rituals to Re-connect with your Feminine Essence here.


This budget is bad for jobs and bad for growth.
There's nothing in this budget to build confidence in the Queensland economy – just tricks and raids on long service leave payments and superannuation.
Even with Labor spending more on bureaucracies. The budget predicts lower employment growth and higher unemployment then the LNP's last budget. Labor's $1.6 billion Jobs Now, Jobs for the Future, has failed already.
The budget shows that debt will continue to rise every year despite Labor's tricks and broken promises.
Total revenue will reach $60 billion for the first time in Qld's history, while expenses continue to increase above inflation.
How do you know this budget is bad for Queensland – the budget papers say so! Labor's own budget papers show that Queensland's Net Financial Worth will worsen in 2015-16 by $513 million and remain above the level projected by the LNP in the 2014-15 MYFER.
Labor's budget papers state: "The Net Financial Worth measure is an indicator of financial strength. The net financial worth measure is broader than the alternative measure – net debt … The Net Financial Worth of the General Government sector for 2015-16 is estimated at a negative $13.357 billion – the LNP's 2014-15 MYFER had net financial worth negative $12,844 billion difference of $513 million.
Dividends paid by Government Owned Corporations will decrease as Labor strips cash out of the businesses – this will put upward pressure on prices paid by consumers.
The budget is not in surplus but instead it is in deficit to the tune of $1.1 billion.
Labor's cash grab on long service leave and superannuation will only decrease budget flexibility and may lead to future problems with the defined benefits fund.