text:
Splendid Lies
In the century and half since Turner's death in 1851, evolving taste has reversed the debate over his merits.
Reviewed:
an exhibition at the National Gallery of Art, Washington, D.C., October 1, 2007–January 6, 2008; the Dallas Museum of Art, February 10–May 18, 2008; and the Metropolitan Museum of Art, New York, June 24–September 21, 2008
Catalog of the exhibition edited by Ian Warrell, with an essay by Franklin Kelly. National Gallery of Art/London: Tate Publishing, 272 pp., $55.00; $35.00 (paper)
The Turner at the Met is a bear of a show—165 items, mostly oils and watercolors, with a few prints—and the other patrons on the day of my perambulation staggered from the final chamber into the gift shop's welcoming arms as if after a tussle in a cave. Turner cannot be dismissed, but he cannot quite be embraced, either. Ian Warrell says in his catalog essay "J.M.W. Turner and the Pursuit of Fame":
Few other British artists before, or since, have generated such wildly diverse responses to their work during their lifetimes or have continued to provoke such fervent debate.
His contemporaries did agree that he was personally unprepossessing; one associate admitted that "at first sight Turner gave one the notion of a mean-looking little man," while another remarked that "this man must be loved for his works; for his person is not striking." John Constable said after encountering the man, a year older than he and much quicker to achieve success, "I always expected to find him what I did—he is uncouth but has a wonderfull range of mind." Turner failed to look like a great painter, but no one, certainly no other British landscape artist, aspired to greatness more nakedly, with so uninterrupted a productivity and uninhibited an adventurousness.
In the century and half since Turner's death in 1851, evolving taste has reversed the debate over his merits: it is the later, nearly abstract paintings that win our hearts, though contemporary criticism waxed sardonic in their dispraise, and the earlier works that won him wealth and fame—mythologically tinged landscapes and scenic renderings of ships, castles, Alps, and English country homes—repel us with their brownish pomp. They seem so melodramatic, so fusty, so hard-working, so grande galerie, while some of the canvases (Europa and the Bull; Norham Castle, Sunrise, both circa 1845), to which his brush condescended with a few cryptic dabbles and golden smears, impress us as thrillingly minimal and airy. When these unsold, never-exhibited portions of the immense Turner Bequest left to the Tate were first put on public view in 1906, one critic exclaimed, "We have never seen Turner before!" Another wrote analytically, "Turner in his latest development, more than any artist who had gone before him, painted not so much the objects he saw as the light which played around them."
Yet the predilections that make Turner special, and even peculiar, were there from the start. He was the artistically precocious son of a Covent Garden barber and a mother who, after leading her husband "a sad life," was committed to Bethlehem Hospital for the insane, popularly called "Bedlam," in 1800, when she was sixty-one and her only son, known in the household as William, was twenty-five.1 Since the age of twelve he had been turning out architectural drawings and hand-coloring prints for a nearby engraver; some of his early drawings were sold in his father's shop, "ticketed at prices varying from one shilling to three." At the age of fourteen, he was admitted to the Royal Academy Schools, which offered free training for artists and was housed five minutes' walk from his home. Although John Ruskin, Turner's great champion, thought that "Turner, having suffered under the instruction of the Royal Academy, had to pass nearly thirty years of his life in recovering from the consequences," the boy's education fixed his attention upon the Royal Academy as the key to respectability as an English artist; he submitted his work to its annual exhibits, and from 1790, when he was fifteen, his watercolors were accepted for display.
His first oil to be exhibited there—in 1796, when he was just twenty-one—was titled Fishermen at Sea; it hangs in the show at the Met, and is something of a miracle. A full moon hangs in a gap of fragmenting dark clouds; its light is reflected on the water below, where a masted fishing boat, with its crew, tilts on a wave. White edges of moonlit foam, delicate as lace, define an oval of momentarily concave water rendered with an avid fidelity to its mixture of shadow and translucence; this liquid bowl of moonlight and the heave of wave creating it portend Turner's lifelong obsession, to the point of enraptured obscurity, with light in its ephemeral impressions. Off to the left, dim rocks, and, on the right, a second, shadowy but solidly anatomized boat and, sunk still more deeply in darkness, a white bird on a bobbing barrel testify to the painter's early fascination with the imperfectly seen.
His boyhood interest was in architecture, and several large watercolors in the exhibition's first room impeccably delineate the ruins of Tintern Abbey and the interior of Salisbury Cathedral. His architectural precision, like a fossil tidily preserved in a tumbled geology, persists even into Turner's most boldly dissolved impressions—for instance, the masts and yards and tipped-up dories of the two Whalers oils (exhibited in 1845 and 1846 at the Royal Academy)2 ; the little village in the lower left-hand corner of the otherwise hazy watercolor Lake Lucerne (1842); the cathedral architecture deftly sketched into the washes of Eu: The Church of Notre-Dame and St Laurent, with the Château of Louis-Philippe beyond (1845); and, with less haste, the water-carved gneiss in The Pass of St Gotthard, near Faido (1843), commissioned by John Ruskin and polished to perfection for this connoisseur of geology.
The paintings, as the decades and the exhibition rooms unfold, fluctuate; moods of elemental daring alternate with oppressively academic productions. Turner's uncouth ambition included eclectically outdoing other painters at their game. Not only did Fishermen at Sea emulate, according to the catalog, the eighteenth-century styles of Vernet, Joseph Wright of Derby, and Philippe Jacques de Loutherbourg, but it led, in five years, to "an ambitious response to Willem Van de Velde the Younger's Dutch Shipping Offshore in a Rising Gale (c. 1672)" called Dutch Boats in Gale (1801), which was described by Benjamin West, then president of the Royal Academy, as "what Rembrandt thought of but could not do."
The canvas given what must be the longest title on record—The Decline of the Carthaginian Empire—Rome being determined on the Overthrow of Her Hated Rival, demanded from her such Terms as might either force her into War, or ruin her by Compliance: the Enervated Carthaginians, in their Anxiety for Peace, consented to give up even their Arms and their Children (exh. RA 1817)—reflects, according to the catalog, "the unmistakable style of Claude Lorrain," especially "Claude's masterpiece, Embarkation of the Queen of Sheba" (1648). Turner's determination to consolidate a distinctive British style left few Continental predecessors unassimilated. Unmarried, reclusive, he traveled widely (standard working procedure for painters of the time), and every new territory brought with it the ghosts of rivals to subdue.
Venice evoked, the catalog states, "well-known paintings by Titian, Tintoretto and especially Canaletto"; Turner's Venice: The Dogana and San Giorgio Maggiore (exh. RA 1834) "was explicitly couched in the style of Canaletto (even introducing an incidental portrait of the artist at work)." It and its companion, Venice, from the Porch of Madonna della Salute (exh. RA 1835), display a lighter, sunnier, blue-and-white palette rare for Turner, along with an instinctive clarity in delineating the Grand Canal's palatial shores.
By the time of the two Venetian watercolors from 1840 also on view at the Met, his mature touch fudges all but the broadest outlines, and a sunset yellow tinges the smoky atmosphere. Even an early, Poussinesque exercise in the highly valued mode of the historical sublime, The Tenth Plague of Egypt (exh. RA 1802), has idiosyncratic atmospherics: the unEgyptian city in the middle distance is oddly shadowless and two-dimensional, while nearer to hand an inky cloud swallows the un-Egyptian hillside and seizes all the drama from the God-stricken small figures in the foreground.
The human population in Turner's large canvases is rarely more than a footnote, a spatter of colored jelly beans at the base of a mountain or a metropolis. He stood aside from the distinguished British tradition of portrait-painting, once he had executed the fine youthful self-portrait of 1798–1800 (see illustration on page 16). A certain caricatural verve can be noticed in the visual anecdotes of The Northampton Election, 6 December 1830 (circa 1830–1831), of Dartmouth Cove, with Sailor's Wedding (circa 1825), and of View of London from Greenwich (circa 1825), but the boneless and vapid central figures of The Bay of Baiae, with Apollo and the Sibyl (exh. RA 1823) contribute no focus or weight to the sundry elements of this idealization of an Italian bathing spot. SPLENDIDE MENDAX—a "splendid lie"—a friend wrote on the frame, and Turner allowed the verdict to stay. The figures in early picturesque works like Fall of the Rhine, Schaffhausen (exh. RA 1806) and Fishmarket on the Sands—possibly at Hastings (circa 1810) were seriously worked at, but if one takes the opportunity, which the museum has provided, to compare Géricault's sensational The Raft of the Medusa (1819) with Turner's boiling, sketchy raftful of victims in Disaster at Sea (circa 1833–1835), one appreciates the vastly more intelligible human drama that Géricault staged. In Turner's tableau the only actor is the furious ocean.
Not only do his human figures in general lack psychological presence, they lack physical mass, such as another celebrant of impersonal force, Winslow Homer, was able to integrate with ocean and atmosphere—for example, the half-drowned belles of Undertow (1886) and the slickered, silhouetted fishermen of The Herring Net (1885). The heroes of some large Turner canvases are curiously difficult to locate; the blinded Cyclops in Ulysses Deriding Polyphemus—Homer's Odyssey (exh. RA 1829) merges with cliffs and clouds; the dying Nelson in The Battle of Trafalgar, as Seen from the Mizen Starboard Shrouds of the Victory (1808) is reduced to an easily overlooked dwarf wearing a comical grimace; and I couldn't find Nelson at all in Turner's largest painting ever, The Battle of Trafalgar, 21 October 1805 (1823– 1824), wherein near-naked navvies desperately compete for lifeboat space under a titanic outlay of billowing sails. Turner didn't see human beings as worth much in the balance of things; of his terrifying The Shipwreck (1805), the catalog comments, "The almost absurd futility of the figures' efforts to save themselves in the face of these forces is thus a crucial aspect of the painting's sublimity." The viewer encountering Fall of the Rhine, Schaffhausen on its wall at the Met cringes under the torrent of onrushing white water, which seems certain to engulf the colorful little human caravan beneath it.
Slathering on white pigment with a palette knife, working sections of wet canvas with his fingers, Turner early was criticized for (apropos of Fall of the Rhine) "negligence and coarseness" and (in relation to 1827's mellow Mortlake Terrace, the Seat of William Moffatt, Esq.; Summer's Evening) the "yellow fever" of his coloring, which a critic likened to the cuisine of a cook with a mania for curry powder. This painting contains, as an added ingredient, the pasted-on silhouette of a black dog; it had begun to peel off by Varnishing Day and had to be re-affixed. On this day, or days, the artists represented in the annual Royal Academy show were given the privilege of adding final touches to paintings already hung on the walls; Turner was notorious for creating a work from near scratch, that is, from one of the unfinished paintings that crammed his studio. His headlong virtuoso performances on these last-minute varnishing days became a semipublic spectacle. One witness recalled him "standing all day" wearing
an old, tall beaver hat, worn rather off his forehead, which added much to his look of a North Sea pilot…. His colours were mostly in powder, and he mixed them with turpentine, sometimes with size, and water, and perhaps even with stale beer.
Another witness, as early as 1803, saw him "spit all over his picture, and, then taking out a box of brown powder [presumably snuff], rubbed it all over the picture."
When a paint supplier, unhappy at the fugitive colors Turner was buying, sought to advise him otherwise, he was told, "Your business, Winsor, is to make colours for Artists. Mine is to use them." The results of his use, like those of his American admirer Alfred Ryder, were canvases whose unstable, cracked, and sunken surfaces Ruskin himself, Turner's champion, deplored:
No picture of Turner's is seen in perfection a month after it is painted…. The fact of his using means so imperfect, together with that of his utter neglect of the pictures in his own gallery, are a phenomenon in human mind which appears to me utterly inexplicable.
The improvisatory extent of his methods on varnishing days, expanding and deepening paintings with no model or sketches before him, helps explain the apparent wide gap between some of his masterworks and any recognizable visual phenomenon. Snow Storm: Hannibal and his Army Crossing the Alps (exh. RA 1812) shows no snow and only the murkiest signs of an army; a tiny silhouette of an elephant pays faint homage to Livy's historical account, while a sort of gray waterspout swallows most indications of the Alps. In The Field of Waterloo (exh. RA 1818), a spectral white flare in the sky illuminates what appears to be a colorful harem sleeping intertwined; the sight is clarified by lines of Byron that Turner inserted in his catalog:
The earth is covered thick with other clay
Which her own clay shall cover, heaped and pent,
Rider and horse—friend, foe, in one red burial blent!
But no poetry helps us out with Snow-Storm, Avalanche and Inundation—a Scene in the Upper Part of the Val d'Aouste, Piedmont (exh. RA 1837). A giant curve of indeterminate color enclosing some dabbled white diagonals and more luminous smears can be an avalanche or storm—take your pick—as it crowds some hapless figures into the lower-right corner of the picture. (A reviewer for the London Athenaeum warned, "To speak of these works as pictures, would be an abuse of language.") Ruskin's Modern Painters called it one of Turner's "mightiest works."
The wall commentary at the Metropolitan puts it that Turner went from the picturesque to the sublime—the sublime, here as in the next century's Abstract Expressionism, involved large canvases, abstraction, and a visionary subjectivity. Though he employed his sketchbook tirelessly, and pioneered plein air painting on a series of wooden panels of Thames scenery, he was a studio painter, concocting visions out of remembered weather. The semicircular arcs and arbitrary bursts of tint in Turner's last paintings feel spun almost entirely out of himself. An ultimate of this fearless approach is Snow Storm—Steam Boat off a Harbour's Mouth Making Signals in Shallow Water, and Going by the Lead. The Author Was in this Storm on the Night the Ariel Left Harwich (exh. RA 1842). By his own verbal account the painter had himself lashed to the mast for four hours. He said:
I did not paint it to be understood, but I wished to show what such a scene was like…. I did not expect to escape, but I felt bound to record it if I did. But no one had any business to like the picture.
Other startlingly fresh fruits of such defiant willfulness were Rain, Steam and Speed—the Great Western Railway (exh. RA 1844), which is not in the show, and Staffa, Fingal's Cave (exh. RA 1832) and Peace—Burial at Sea (exh. RA 1842), which are. When the sails on the ship central in the latter were criticized as being unrealistically black, he replied, "I only wish I had any colour to make them blacker." Not that his mood always gravitated to darkness. His series of Deluge paintings in the 1840s featured incandescent skies; in Light and Colour (Goethe's Theory)—the Morning after the Deluge—Moses Writing the Book of Genesis (exh. RA 1843), the sun's glare has become a heavenly circle studded with barely brushed multitudes. Goethe's theory, set out in a new English translation of Zur Farbenlehre in 1840, interested Turner with its idea, as Bailey's biography puts it, "of a circle of colours in which reds, yellows and greens had to do with warmth and happiness, and blues, blue-greens and purples prompted 'restless, susceptible, anxious impressions.'" Immaterial arcs and tinted veils haunt his late impressions.
As the painter aged, and his productions became more eccentric, there was speculation in the press about both his sanity and his eyesight—one critic pronounced his work to be "the fruits of a diseased eye and a reckless hand." A Lady Eastlake reported, "Every object he saw, as he himself told us, was outlined to his vision in prismatic colour." Domes of light dominate his Claudean harbors: the moon casts a glow one commentator called "neither night nor day" in Keelmen Heaving in Coals by Moonlight (exh. RA 1835). Regulus (see illustration on page 14), exhibited in Rome in 1828 and reworked for a London exhibit in 1837, was based by Turner upon the haunting legend of a Roman general whom his Carthaginian captors tortured by cutting off his eyelids and exposing him to the sun; the painting burns into the viewer's eyes with an empyrean of solid gold and its reflection in rippled water. Turner in fact did not go blind; it was the sardonic critics, instead, who were blind, blind to the obstinately questing quality in Turner that showed other artists a way to the future, where what were scoffingly called "pictures of nothing" were pictures of the truth.
Hugh Eakin
The Devastation of Iraq's Past
Janet Malcolm
Zadie Smith
E.M. Forster, Middle Manager
More by John Updike
A Wee Irish Suite
'The Clarity of Things'
John Updike (1932–2009) was born in Shillington, Pennsylvania. In 1954 he began to publish in The New Yorker, where he continued to contribute short stories, poems, and criticism until his death. His major work was the set of four novels chronicling the life of Harry "Rabbit" Angstrom, two of which, Rabbit is Rich and Rabbit at Rest, won the Pulitzer Prize for Fiction. His last books were the novel The Widows of Eastwick and Due Considerations, a collection of his essays and criticism.
A number of details, here and elsewhere, are taken from Anthony Bailey, Standing in the Sun: A Life of J.M.W. Turner (HarperCollins, 1998). ↩
Here and elsewhere I follow the catalog in dating canvases by the year when they were exhibited at the Royal Academy. ↩
Murray Kempton
Richard Holmes
The Romantic Pugilist
Francine Prose
The Collages of Mark Strand
The Uses of Adversity
March 25, 1993 issue
Thanks, Shchukin & Morozov
September 25, 1986 issue
The Sad Degas
Maurice Grosser
Holbein's Faces
July 21, 1983 issue
Charles Hope
E.H. Gombrich (1909–2001)


Today's question: Recently we did a Shock Collar question about the most-liked Hollywood celebrities according to a survey of regular people. The same survey also asked Americans about their least liked celebrities, and some of the names that made the Top 5 included Kim Kardashian, Rush Limbaugh and Kylie Jenner. Brooke needs to name the other two in the Top 5 to avoid getting shocked!


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DVDs & BROADBAND VIDEO DOWNLOADS OF THESE DESIGNERS
"Nationalism... has never been a source of good art"
Ken Woolley is the only remaining partner of the Sydney architectural firm of Archer, Mortlock and Woolley, which he joined in 1964. He has been recognized as a person who is flexible in his approach to any architectural problem. One of his most notable achievements was the design of thousands of project houses in the 60s and 70s, thereby making excellent architecturally designed homes available to all and not just a privileged few. Other important works include Town Hall House in Sydney, 1970 the Queenscliff Surf Pavilion, N.S.W. 1982, and more recently, the competition winning design for the National Archives building in Canberra, and the Australian Pavilion at the World Expo 1988 in Brisbane.
We asked Mr. Woolley to talk to us about Australian Style in architecture today. Does Australia have a distinct style of its own which contributes to international architecture or are we, in fact, representative of many styles from other parts of the world and periods in time?
"There is a fundamental reason behind my reservations about recognizing an Australian style and it is this: the purpose of this search for a style is to use it as a sort of "prescription", we are looking for a style in order to tell people how to do it, and I am totally opposed to prescriptions for art. Our recent surge of nationalism has encouraged this quest of a style - it isn't the whole story by any means, but there is a lot of nationalism, and nationalism as such has never been a source of good art.
My approach is to defend one of the fundamental requirements of art: freedom from prescription. I come back all the time to the artistic value of what is being produced, and even rude Australian architects may be producing something of great artistic value. There is absolutely no reason why we cannot be provocative, vulgar, patronising or anything else - we can be anything as long as what we do has the quality that is expected. You cannot measure art by innovation."
Woolley sees Australia's contribution to world architecture as being inevitable because we are part of global architecture. "There is no question that we are a part of Western culture with certain elements that we have developed because of our environment. So you can't just cut your culture off and decide to be an Australian. An Australian means a European in Australia. There is an Australian variation in our European languages through our mode of expression of our accents. In the period around Federation, a leading architect would go on an overseas tour for eighteen months and come back with some kind of inspiration which he found in Europe. Nowadays magazines, television and books keep us in touch with what's happening in the world. We are just as affected as somebody in, say, Philadelphia for example. There is an attitude in our outlook on life which is a subtle variation of the European, and the same applies to our architecture and art; they are influenced by the environment, climate and available materials. You work with what you've got. So the combination of these physical things and the history, current political and social reality and the conventions of how the society tends to use buildings all produce something which is quite recognisable in comparison to what is being done in other parts of the world. There are local characteristics, and I think that is the Australian style. You get Australian architecture if you practice Architecture in Australia."
But what of our cities? They are an important part our life - how does Woolley see Australian cities changing with the growth in our population and our changing expectations for our own lifestyles.
"When I build in Australian cities I change them in some way because I add something to them. That is what cities are; physical creations through the efforts of many people, and that is how they should be. I am strongly opposed to the imposition of concepts to any city. The only individual concepts that I would endorse are ones which suggest a system for cities that would enable them to adapt to changing circumstances, as opposed to restrictive concepts of what they should look like. Cities grow. They represent the efforts of our society over hundreds of years and they have a life of their own. Our responsibility is to contribute in acknowledgeable way when we have the choice; the ease in the direction we think it should go. That's what keeps the city alive and vital, this expression of the people who live and have lived in it. Rome is perfect example of what I mean. It is layer upon layer of buildings and monuments, yet it is not a mess. It has vitality. Every clash, or what may be regarded as a clash between cultures and eras and enterprises and ambitions of that city is an enrichment to it.
"The suburb is a great institution in Australia and I think it should be recognized as such. It is an expression of the freedoms, social conditions, the economy and opportunities for us all that have existed here in Australia. The suburb is a part of our culture.
"I think that people expect too much from architecture and don't understand how much it represents our culture. By criticising a new piece of architecture, you are very often criticising your own culture and then you may be criticising yourself because you represent them mechanism form which that sort of building came about. However, architects who are doing good work are exposed to an optimistic view which is that there are a great many clients who are patrons of good design and quality."
Woolley's three favourite landmarks in Australia are the Sydney Opera House, the New Parliament House in Canberra, and his own recently built weekend home. "Clearly, one of the fine buildings of Australia is the Opera House, and while from the performers point of view it is a failure in functional terms, it is a great poetic statement about opera house and concert hall, about site and symbolic architecture.
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text:
Where science and culture mix
Rachel Ehrenberg
Computing,
Unbiased computer confirms media bias
Quote selection alone reveals political leanings
Media outlets with similar political persuasions and audiences select similar excerpts from politician's speeches, no matter the surrounding context, a new algorithm reveals.
EdStock/iStockphoto
Hillary Clinton's announcement last weekend that she is officially running for president set pundits spinning on both sides of the aisle. Released via a video on Clinton's campaign website, the announcement featured only 92 words from the candidate, which were variously quoted by media outlets of all stripes. Consider this excerpt from The National Review, an outlet that self-identifies as conservative:
"I'm hitting the road to earn your vote because it's your time, and I hope you'll join me on this journey."
Or this slice, featured by The Nation, which self-identifies as liberal:
"Everyday Americans need a champion, and I want to be that champion."
From the quotes alone, you might not be able to tell whether the news outlet is liberal or conservative. But a computer probably can. Scientists developed an algorithm that, after churning through more than 200,000 quotes from 275 news outlets, discovered bias in their quote choice. Creating a graph that grouped media outlets by their selected quotes reveals pockets that pretty accurately reflect the political leanings of the outlets. The research suggests that information about an outlet's political stripes is embedded in quote choice, surrounding context aside.
"Readers might experience very different personalities of the same politician, depending on what the news outlets they follow choose to quote from that politician's public speeches," says Cornell computer scientist Cristian Danescu-Niculescu-Mizil, a coauthor of the study, which in May will be presented at the World Wide Web Conference in Florence, Italy. Even though readers are exposed to the politician's own words, "the part of the speech the reader has access to changes," he says.
That might seem like a "no duh" conclusion. But the scholarship on media bias is fraught with its own biases, and for an objective algorithm to latch on to political leanings is a neat feat. Typically studies of bias start out by designating particular outlets as either left- or right-leaning and then examine, whether with a computer or human beings, how those biases play out. Danescu-Niculescu-Mizil and his colleagues took a different approach. They didn't assign political slant, but just looked for patterns that emerge from the news outlet's quoting behavior. They did this using the 2,274 speeches made by President Obama from 2009 to 2014 and 275 media outlets that quoted him.
The program then mapped quotes to the outlets in which they appeared, revealing a hidden media bias landscape. The researchers also created an algorithm, similar to those used by Netflix or Amazon to recommend new movies or books, that could predict with a fair level of certainty which quotes would end up in which outlets.
Many of the study's take-home messages probably seem obvious. But when it comes to bias, we tend to underestimate our own and overestimate the enemy's. Well, guess what: Almost all of us are wrong and right. Here are some of the fine grains:
1. Media bias exists. To quote their paper: "There is systematic bias in the quoting patterns of different types of news sources. We find that the bias goes beyond simple newsworthiness and space limitation effects, and we objectively quantify this."
2. In the mapped media bias landscape (imagine a square peppered with triangles representing media outlets) mainstream outlets are in a similar neighborhood, compared with their allegiance-declaring counterparts.
3. Within the two neighborhoods of mainstream and allegiance-declared outlets, conservative, liberal and international publications clump together (international outlets are closer to liberal outlets than to conservative ones). But despite this similar-stripe clumping, Fox News and The New York Times are relatively close to each other,suggesting that, as far as quoting patterns go, these two mainstream outlets aren't all that different.
The speech corpus, which anyone can probe in nifty visuals, also uncovered some intriguing linguistic clues that you can keep an eye out for in coverage of speeches to come: Excerpts that used the word not or the contraction n't are more likely to be quoted by mainstream conservative outlets. Danescu-Niculescu-Mizil and his colleagues speculate that because these negations are instances where the president contradicts or refutes a point, they might serve to highlight controversial aspects of the president's remarks (the same might be true of liberal media with a conservative in the White House). There were also content-related cues: Quotes about the troops and war veterans were more common in conservative outlets, while financial and health care–related quotes were found more in liberal outlets.
Of course, quotes from speeches alone don't tell you anything about the words surrounding those quotes, context that might reveal far more bias than the quotes themselves. But highlighting how quote choice fits into political coverage might help all of us become savvier media consumers. Now let's see who quotes what from this post.


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Rockefeller Brother Fund: We're Buying Off Evangelicals, Mayors, Governors… For The Earth
July 11, 2014 July 10, 2014 by Yvonne Nachtigal
Jurriaan Maessen–ExplosiveReports.Com
In its 2010 review of grants extended from 2005 to 2010, the Rockefeller Brothers Fund admits to buying off (quite literally) so-called "non-green voices"- meaning people outside the environmental community- to sell man-made climate change doctrine to their respective communities.
"(…) foundation dollars extended to support these non-green voices have grown dramatically (…). The RBF has supported "allied voices for climate action" that include businesses, investors, evangelicals, farmers, sportsmen, labor, military leaders, national security hawks, veterans, youth, and governors and mayors."
This is an actual admission by the Rockefeller Brothers Fund of sustained funding for specific segments to promote the "green" cause. In the document we read that both religious leaders and state/local politicians have been subsidized into selling the myth of man made global warming The report goes on to say that:
"Foundations, including the RBF, have played a significant role in building the capacity of these groups to organize their base members, communicate publicly about their interest in climate solutions, and advocate for policies that will address climate change domestically and internationally. In addition to its direct financial support of these individual groups, the Fund has also provided technical assistance for strategic development, communications planning, and advocacy training."
Specifically mentioning the National Board of Governors as beneficiaries, we read:
"Governors and mayors have proven to be very effective advocates for climate change solutions domestically and internationally. Across America, states and localities are developing innovative climate programs and serving as laboratories for pioneering approaches. Many have launched climate initiatives in their cities and states and have seen the economic benefits of doing so."
The review also describes in some detail how the Fund from 1984 onward has poured bucket loads of cash into climate change propaganda-efforts, including strengthening the implementation of Agenda 21 up to and exceeding the 1992 Earth Summit:
"Two strategies underpinned this phase of grantmaking: 1) distilling consensus on climate science and, 2) moving the discussion of climate change from the scientific community into the policy arena. (…) The RBF organized and funded some of the earliest meetings of advocates addressing climate change. It was also during this period that the U.N. Intergovernmental Panel on Climate Change (IPCC) was created in 1988 and formal international negotiations on a climate treaty began in 1991; these culminated in Rio de Janeiro in June 1992 with a U.N. Framework Convention on Climate Change (UNFCCC) that the first President Bush and the U.S. Congress ratified. A review of correspondence between then-RBF president Bill Dietel and program staff clearly indicates that the Rio negotiation and treaty, and the creation of the Intergovernmental Panel on Climate Change, were specific aspirations of the RBF program at the time."
Although from the late 1980s onward, it was smooth sailing for the Fund, by 2009 the Rockefellers hit a snag. Acknowledging that the selling of the IPPC rapport has become increasingly difficult since the Climategate scandal erupted, the Fund is now stepping up its efforts to refuel the heavily diminished effectiveness of the effort:
"While public awareness of the urgency for addressing climate change spiked in 2007, a deep erosion of public trust in climate science was sparked by an unauthorized public release of e-mail messages from the computer system at the University of East Anglia in Britain in late 2009. These e-mails appeared to suggest that scientists were using tricks to hide temperature declines and attempting to discredit scientists who were skeptical of human caused climate change."
Despite the described "erosion of public trust" the Rockefeller's at the same time marvel at the results of their grant-making schemes from 2005 to 2010:
"As philanthropic giving has grown over the past several years, with it have grown new organizations, new alliances, and new campaigns. Just a few short years ago, climate change was addressed by a small subset of the environmental movement. It is fair to say that the issue now has a growing movement of its own. Powerful voices from business, faith, national security, youth, labor, and agricultural groups have joined the fight for robust climate change policy."
To illustrate that this buying off on a mass scale of so-called "non-green voices" by the Rockefellers is far from an incidental funding-program, we know that the Rockefeller Foundation also actively engaged celebrity-journalists. As far back as the mid seventies the Foundation has been busy buying off reporters and funding media-empires into existence. Even then "climate change" was actively being promoted as a tragic result of human meddling in the affairs of mother earth. Genetically engineered food was already being pushed as the cure to remedy all ills. The 1974 Rockefeller Foundation journal reports:
"Several science editors were asked to participate in Foundation meetings on climate change, food production and interstate conflict, genetic resistance in plants to pests, and aquaculture. Stories appeared subsequently on the front page of The New York Times, and the Associated Press carried substantial stories which were widely used. In each instance, the writers were introduced to our program officers and encouraged to use them as resource people. (Officers are now, in fact, being called on by journalists, particularly in areas of current high news interest such as food production, population problems, environmental issues, and the arts.)."
On several occasions, and in different publications spread throughout its long and sordid past, the Rockefeller Foundation openly brags using media- figureheads for their own purposes. In none of these instances does the RF mention any problem encountered with any of the media moguls they contacted. In the 1974 yearly report, Bill Moyers is mentioned as one of the beneficiaries of information disseminated by the Foundation.
"In preparing its remarkable 25-part series on the world food situation, the New York Times reporters have become acquainted and have established fruitful ongoing relationships with a good many of our officers. Our staff have provided substantial information and further contacts for Bill Moyers in his television series dealing with the problems of global interdependence. These are only a few of the many productive new relationships we have established with representatives of the mass media."
Another arm of the octopus, the United Nations Population Fund (UNFPA) put out a document in 2009 describing specific tricks used by the Fund to reach congregations unwilling to go along with the UN's population control programs:
"UNFPA has found that leaders of faith ‐ and interfaith ‐ based organizations are open to discussing reproductive health, if issues are addressed with care and sensitivity."
These "agents of change" should also be recruited to protect and promote the overall agenda "through countering misinformation campaigns and building social support within the governments for the ICPD (International Conference on Population and Development)."
The ultimate goal of these engagement efforts is clearly described:
"Create a conducive socio‐cultural environment (impacting on behaviour, attitudes and practices) to ultimately promote and mobilize key communities towards achieving the goals of the ICPD PoA (International Conference on Population and Development Programme of Action) and the MDGs (Millennium Development Goals)."
"The National Religious Partnership on the Environment is an alliance of the US Catholic Conference, Coalition on Environment and Jewish Life, National Council of Churches, and the Evangelical Environmental Network that serves more than 100 million Americans."
Another UN front, called the Interfaith Partnership for the Environment was admittedly founded in the mid 1980s to, as the UNEP website teaches, "… inform North American congregations about the serious environmental problems facing life on earth."
The UNFPA, as the enforcement arm of the overall infrastructure, joined with their brother- and sister-agencies in the UN to encircle the world's religions reminiscent of a pack of hungry wolves:
"Since 2002, UNFPA has emphasized the integration of culturally sensitive approaches into programming efforts. Toward this end, it has worked closely within communities and with local agents of change, including religious leaders."
The pattern leaves little for the imagination. The old boys are at it again, using their resources to step up the propaganda another notch. After all, after the discrediting of the global warming contrivance, the globalists will have to increase their flow of ammunition in the infowar if they want to have a chance.
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Still laughing at "THE DISABLED" →
Laughing at "THE DISABLED" – power, perception and prejudice.
A recent controversy at the Queensland University of Technology has has resulted in severe punitive action being taken against two academics, Gary MacLennan and John Hookham who, in the name of speaking up for "the disabled", publically criticised a Phd. Student, Michael Noonan and his Phd thesis "Laughing at the disabled (later renamed "laughing with the disabled") for demeaning "the disabled". The student is exploring the notions of "laughing at" and "laughing with" the disabled and is making a comedic film featuring two men with intellectual disabilities.
As a result of their public criticism of QUT and Noonan's work the two academics were suspended for six months without pay. The legal wranglings of this matter continue but what began as a significant contribution to the discussion of disability issues has now become an issue of academic integrity and free speech, in particular the role of the university and academics in the wider community and perhaps most significantly it has become an issue of employee rights and the excessive punitive measures meted out to MacLennan and Hookham for their public criticism of the university.
My own position is that I strongly disagree with the sentiments and attitudes about "disability" expressed by MacLennan, Hookham and their supporters. From what I have heard of Noonan's work it seems to be fascinating and a significant step in challenging dominant prejudices and stereotypes of "the disabled". However I am deeply disturbed about the punitive action taken by QUT against the academics for speaking out, not just because of industrial justice or the importance of free speech but because they are repressing the discussion, the dynamic friction, of disability issues in the public domain as well as in the institutions that train those who will work with people with disabilities. By repressing the discussion of contrary opinion, QUT has played a major role in concretising status quo attitudes and policies which will make them invulnerable to innovation of any sort including that envisioned by Noonan's work. By repressing those who would criticise and challenge, of any perspective, is an arrogant dismissal of a major and necessary public debate that is all too often swept under the carpet because of embarrassment, political correctness or the entrenched institutional norms of the disability industry.
Despite my disagreement with MacLennan and Hookham on which I am about to pontificate, these two men have initiated a public debate which seriously needs to occur and it is most unfortunate for the development of an apparently progressive disability project that QUT has turned this into a highly politicised free speech issue.
I can't comment too much on Noonan's work as it is being kept secret because of the controversy and will apparently not be made public until the film is released.
Gary MacLennan and John Hookham have seen some of Noonans preliminary work and were deeply disturbed by what they saw of the project and wrote a widely publicised article entitled "Philistines of relativism no longer at the gates"
where they criticised what they saw as offensive material and its acceptance by the academic trends of post-structuralism or post modernism. The following is a reflection on Gary Maclennan and John Hookham's article (henceforth known as "the article") and the movement that has arisen in support of these men.
The myth of the disabled
The article speaks of "the tradition of mocking the disabled". I will get to the mocking business later but for now deal with "the disabled" as a notion embraced by the academics and their supporters including a supporter's statement that "the disabled community protesting the suspension of Hookham and MacLennan", an assertion also made in the youtube video "The Disability Community speaks out against QUT".
It is inaccurate to speak of "the disabled" as a class or a community, as if disability provided a cultural and historical unity with some evolved mass sensibility. A person with a disability is going to be defined or socialised by their family, peers, work, institutions and television – just like anyone else. The public perception of a disabled community is generated by workers in the disability industry and is an illusion that describes their work issues and environment more than the real lives of people with disabilities.
The exception is the deaf community who resist the notion that they have a disability, just a different language, culture and community.
This disability worker generated illusion of a "disabled community"is that which informs government and community group policy and programs for this class of people "the disabled".
By objectifying the heterogeneous lives and perspectives of real people who have disabilities into a single box labeled "disabled" we create the mechanism by which society imposes its own notions of what a disability is and what a person with a disability is in accordance with this preconception of "the disabled".
This box containing "the disabled" is governed by a range of social norms which do not apply to "ordinary people" thus creating a distinct and separate class of people who, for their own protection, are proscribed from particular kinds of social activity taken for granted by "the normals", the example in the case of the article, the comedic tradition of self mocking is considered inappropriate. Other taboos imposed on "the disabled" are sexuality and alcohol consumption, also displayed in the article with the disapproving reference to a pub scene in Noonan's film "This produced a scene wherein a drunk Aboriginal woman amorously mauled William". "The disabled" is a notion of disempowerment and dehumanisation.
"The disabled" in the entertainment and media industries.
If entertainers with disabilities like, Steady Eddy or Dave Allen with his amputated finger or Ian Dury's self reflection "Spasticus Autisticus" want to make fun of themselves, any aspect of themselves including their disability they are engaging in a mainstream comic tradition that is not considered to be offensive in any other context than "the disabled". Danny Devito's height has not been used by Hollywood as a cruel attack on short people and Devito is not exploited.
The first two of ""twelve secrets of comedy"".
from Sandi C. Shore's "Stand Up Comedy Workshop Workbook" are
"Secret 1 ………Comedy is based on truth. Are you stupid? Go with it! Are you a liar? So what! Are you fat? Good. Are you perfect? Oh, please."
"Secret 2……We are perfect as we are. The idea is not to change a thing about yourself, faults and all. The reason you should accept yourself is that you can't fool your audience. They can see right through you."
Yet the article seems to think that this mainstream principle of comedy which appears to be part of Noonan's Film is not appropriate for "the disabled". Disability, it seems, is something that should be hidden. The article suggests that these two young men were being used by the film maker, including being presented with scripts and set up situations, but is this not the normal film industrial relationship for all on-screen talent? Yet this industrial norm is described by the article as exploitation when applied to "the disabled".
There are indeed the power relationships inherent in film making and the manipulation and presentation of on screen subjects. However, I believe, a film maker should not change their style if they are working with people with intellectual disabilities if (and only if) the person has a functioning and sensitive support and advocacy structure to negotiate with the film maker in conjunction with (not on behalf of) the particular actor. The existence of such a structure is one of the few publically available facts of the nature of Noonan's work.
Vulnerability and Adulthood
One of the issues raised by the article was that of the vulnerability of people with intellectual disabilities, which is indeed a different issue than the situation of the artists such as Steady Eddy, Dave Allen and Ian Dury. The article speaks of the actors in Noonan's film in the following terms….
"It's worth noting that William's condition may make it difficult for him to understand the subtexts of social interaction."
"But we don't think it's funny to mock and ridicule two intellectually disabled boys. We think we, and the university, have a duty of care to those who are less fortunate than us."
Speakers at the rallies supporting the persecuted academics have also spoken of the actor as "boys"which is a bit of a faux-par within disability protocols when discussing adults, including young adults. The two men in Noonan's film are 20 and 40 years old. It is the perception of adults with intellectual disabilities as child-like that is, in my opinion, the single largest cause of oppression of people with such disabilities. The major obstacle to personal maturity is not any intellectual capacity but a rather a world who will not allow these people to grow up and participate as equal citizens.
It is especially important to reinforce adulthood in young people with intellectual disabilities, just is it is for any young person. Perhaps the most important skill of adulthood is to be able to make responsible and mature decisions about our own lives, irrespective of peer group pressure or the expectations of anyone else – including the principles and protocols of the disability industry. A young adult, with disabilities or not, does not need the imposition of an act of parliament, an industrial standard or the counsel of a social worker to find out who they are and what value system they will apply to the decisions in their own life.
Recent enlightened disability legislation has as a principle of the "presumption of capacity". That is similar to the "presumption of innocence" in that a person is considered to be legally fully capable of making their own decisions until a proper assessment of their capacity indicates a limited capacity. However, beyond the similarity with the presumption of innocence, if a person is deemed to have a limited capacity, whatever capacity they do have is to be fostered and facilitated and incorporated into the making of decisions about that person by a guardian, advocate or support person.
Another principle of disability legislation is that the role of guardians, advocates and support people is to assist people with disabilities to participate fully in the community as if they did not have a disability – the world is modified so that the disability is no longer relevant, not modified so that it is reduced to the level of the disability. The role of the assistant is to complement their client's capacity, to fill in the gaps caused by the physical or intellectual disability so that the client can be a full and independent citizen. The guardians, advocates and support workers are correctly bound by the principles of the current legislation in exercising their responsibilities, but nowhere in any disability legislation anywhere are there any instructions or even principles about what decisions, whether supported or individually that a person with disabilities may or may not make about their life.
In the eyes of the an enlightened law, if not the general community, a person with an intellectual disability is not bound in any way by the expectations of the disability box as their support staff are. Support structures and people are designed to empower a person to full capacity, not protect them from real and equal involvement in the world because of any incapacity.
Notions of "the disabled" are illusions that objectify and dehumanise human beings, that define a person by the obstacles in their life or those things that make them "less fortunate than ourselves" rather than their capacities, interests and aspirations.
I would like to suggest a close parralell between community attitudes and policy regarding disability and Aboriginality. Too often Aboriginality has been perceived by policy makers as a disability that needs to be overcome rather than a cultural framework on which to build. But this article is not about that.
There are four historical policies/attitudes of 1/extermination, 2/protection, 3/assimilation and 4/self determination that have been applied, though differently, to Aboriginal people and people with disabilities. Just as poisonings and the native police exterminated aboriginal people, disabled people were often killed in hospitatal at birth "for their own good". Then they were protected in institutions as Aboriginal people were herded into missions and reserves. Then the disability field focused on getting people out into the community and Aboriginal people were released from the missions into mainstream society. Self determination has stalled in both cases. While being well articulated by indigenous people and actually manifested in government policy with the development of the Aboriginal and Torres Strait Islander Commission, indigenous policy has turned around and is now marching back through the assimilation era and returning to the protection era with John Howard's Aboriginal emergency or Peter Beattie's Aboriginal grog laws.
Similarly, self determination has stalled as a policy in the disability field because its implications necessarily mean professional disability workers must let go of the power over the lives of people with disability, meaning residents of nursing homes should run the management committee of their home which conflicts directly with the status quo interests of, for example, a private nursing home and its investors. Institutional power is not determined by the needs of individual clients, they just plug in to the system however it is. But until there is a reform of power in the institutions that deliver services so that the user groups themselves design and manage them, even if only in an executive fashion, then self determination is just a shallow platitude for people with disabilities.
The four policies represent an evolution that has largely been driven by the activism of indigenous people and people living with disabilities demanding recognition of their basic human rights. In both cases policy has stalled at assimilation but the next step of self determination has been clearly mapped out already, all that remains is the political will to move forward. But the political will will not manifest if the social attitudes that underpin paternalistic policies such as protection and assimilation are widespread in the community, as is our contemporary status quo.
I was once at a lecture in Mayne Hall at the University of Queensland by famous disability theorist and theologian Jean Vanier, the founder of the "Communities of the Ark" in France. After his lecture he was asked a question from the floor along the lines "in your work with the disabled have you ever witnessed a miracle healing?" Vanier replied quite brilliantly. "Yes! I have witnessed many people change their attitudes towards people with disabilities."
Background on the QUT controversy – youtube of ABC's "Stateline" June 15 2007
See also paradigm oz – "Still laughing at the disabled"
update – I just found this interview on a U.S. blog "The Warren Report" "Hobbling Hollywood" http://www.thewarrenreport.com/blog/default.asp?blogID=15
an excerpt – "I'm disabled and I laugh at it, so it must be OK, right? There's nothing worse than a disabled person who takes it all too seriously. That's a one-way ticket to serious long-term misery."
Filed under disability
9 responses to "Laughing at "THE DISABLED" – power, perception and prejudice."
Captain Oats
I just wanted to say that this is a fabulous contribution to debate over Hookham & MacLennan's "intervention".
I think it's important that your argument gets wider exposure. Have you considered submitting it to Online Opinion? It's just the kind of thing that they would ordinarily publish.
(I'm not affiliated with OLO in any way, btw.)
Oz to Captain Oats
I sent an email to OLO and just got one back saying thanks but it is old news.
That's a real shame.
Still, I'm not convinced that this one will go away, so maybe it will be new news again soon.
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Riggergirl
Oz – congratulations on a brilliant article. You have so clearly articulated a number of feelings that I had in response to McLennan and Hookham's rather patronising attitude towards people with a disability. I could not have expressed myself so well.
Everyone's lives are enriched by inclusiveness in their community. The ability to express a sense of humour, including self-deprecating humour, is a normal and natural part of this, and shouldn't be held to be the exclusive reserve of so-called "normal people".
Found your site in google, and it has a lot of usefull information. Thanx.
Howdy! Would you mind if I share your blog with my facebook group?
There's a lot of people that I think would really enjoy your content. Please let me know. Cheers
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A Valentine for you dear blog readers, won't you be mine?
Please feel free to print and use for personal valentines! You cut them out and add a mini brad at the bottom so the card opens to reveal the box of chocolates inside, and then you can write you message of love on the back. I had mine printed on cardstock at Staples.
Getting into the Valentine's spirit around here! I'm digging out old Valentines so we can decorate. I don't have very many Valentine's decorations, but a few that will help brighten things up!


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Home » Professor Offers $100 Reward for Finding Privacy-Compliant Camera
Professor Offers $100 Reward for Finding Privacy-Compliant Camera
KEYWORDS Canadian security / international security news / privacy laws / video analytics / video surveillance news
A University of Toronto professor is offering $100 to anyone who can show him a business-operated surveillance camera that complies with Canada's privacy laws, but it's harder to earn that $100 than you might think, Metro Toronto reports.
Professor Andrew Clement, coordinator of the Information Policy Research Program and the University of Toronto organized the program to call more attention to the privacy laws, which can differ between provinces and between the public and private sector. According to the Metro Toronto article, Canada's privacy commission has summed up the requirements businesses have when recording people's images in a public area – including a sign informing people that they are being recorded.
Clement also says that the signs should say what the purpose of the surveillance is and who to contact about it.
He has offered the $100 reward to his students for educational purposes for two years, but now he is opening up the competition to the entire country. Participants can submit photos and descriptions of cameras to surveillancerights.ca and through an Android app, the article says.
The website states that the project has yet to find a single private sector video surveillance installation that is compliant with Canadian law.
In some cases, it is difficult to tell who is responsible for a camera, which is itself a problem, Clement says: "We have a right to know who's collecting our information, that's fundamental to our privacy legislation," he says in the article. "If you don't see a sign, it's clearly not complaint with privacy laws around informed consent." This law, however, does not apply to privately owned cameras, such as in home security systems.
According to Metro, Clement says that video surveillance is also an issue for people who don't want their intimate moments recorded, and marginalized people, when under surveillance, will likely be treated with suspicion. He also mentions that analytics such as facial recognition will develop even more privacy concerns.
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PALMEIRAS, CHAMPIONS OF THE BRAZILIAN CUP, REMAIN A RUNNER-UP TO FLAMENGO
Despite Palmeira's victory at the Copa do Brasil finals, Facebook, Twitter, and Instagram are all down, following Flamengo's amazing victory at the Brazilian Championship the week before. The total number of interactions decreased by 38%, resulting in 27.8 million interactions. Instagram was hit the hardest, with a 40% drop overall, whilst Facebook and Twitter both fell by 33%.
Digital Title Celebration – Direct Comparison
With two national titles secured in two weeks, a comparison of the clubs' digital power of the clubs is unavoidable. Flamengo has achieved an impressive number of 40 million interactions, with a loss of leadership in all social media analysed. Flamengo had 11.77 million interactions, while Palmeiras had just 10 million. Despite becoming Brazilian Cup champions on Sunday, Palmeiras is still a few steps behind, and will not overtake Flamengo this week. However, there is light at the end of the tunnel for Palmeiras as they defeated Flamengo on Facebook this week. Palmeiras gained 1.76 million interactions compared to Flamengo who received 924,000 this week.
Despite winning the Brazilian Cup on Sunday, Palmeiras is still a few steps behind Flamengo and will not be able to catch up this week. Palmeiras, on the other hand, saw some light at the end of the tunnel this week, as they beat Flamengo on Facebook, receiving 1.76 million likes to Flamengo's 924,000.
End of the Brasileirão x Start of the State Championships
Everything, including the Brasileirão, must come to an end, with some teams being impacted more than others. Thirteen of the teams saw a decrease in results from the previous week. With the start of the State Championship and a large rise of 62% in interactions for Palmeiras in the Copa do Brasil final, things are looking up. However, the runner-up, Grêmio was not so fortunate, as their performance fell by 30% from the previous week.
Santos has taken the term "consistency is key" very seriously, receiving 2.6 million, 2.57 million, 2.63 million, and 2.65 million in the last four weeks with very little difference. The club finished the last round in 5th, 2nd, 7th, and 5th place, respectively, thanks to their recent results. Santos isn't the only team that has remained consistent; Corinthians, despite a small decrease previously, has maintained a 3.5 million average since the end of January until now. The Corinthians saw a small rise in performance this week, rising to 3.78 million from 2.97 million the week before.
This week, Vasco and Botafogo were both relegated to Serie B, but that isn't the only thing they have in common; their performances this week were very close. Vasco received 990,000 interactions, with Botafogo coming in second with 883,000. Botafogo had a victory this week in the State of Carioca's inaugural round, whilst Vasco was defeated. Vasco, on the other hand, has over 110 thousand Instagram interactions. On Facebook, Botafogo received 128,000 interactions compared to Vasco's 118,000. Vasco and Botafogo battled it out on Twitter, with Vasco coming out on top with 136,000 to Botafogo's 129,000 interactions.
Starting next week, Series B will be evaluated and its teams will compete for a place in the Weekly Interaction Ranking. Cruzeiro will play another year in Serie B, and this week on Instagram, they will be in 10th place, beating Vasco with 697,000 interactions. Vitória would beat Athletico-PR, while CSA and Cuiabá would conquer Goiás, Bragantino, Coritiba and Atlético-GO.
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Villa Kerylos
By: Corinne Van Houten | LOCATION: Beaulieu-sur-Mer, France
Photo Source: Nice Matin
Many who visit the Riviera are aware of the Villa Ephrussi, which was built by Beatrice de Rothschild, but there is an equally fascinating villa, Villa Kerylos, that was built by Theodore Reinach, a relative by marriage to Beatrice's husband, Maurice Ephrussi. It was when Beatrice visited Villa Kerylos in 1902 that she decided to buy the land to build her villa at the tip of Cap Ferrat.
An intellectually gifted scholar, Reinach was a lawyer, archeologist, numismatist, mathematician, historian and sociologist as well as a member of the French Parliament from 1906-1914. One of the most knowledgeable scholars in the twentieth century of the Hellenistic period, Reinach was fascinated by the literature, politics, philosophy, art and architecture of ancient Greece. Drawing on his profound knowledge and love of ancient Greece, Reinach collaborated with the architect, Emmanuel Pontremoli, to create a home modeled on the houses of wealthy families built on the Island of Delos in the second century B.C.
Photo Source: Adam Charlap Hyman
Photo Source: Mary Gaudin
Photo Source: Kotomi Creations
Located on a rocky cliff on the Baie de Fourmis in Beaulieu-sur-Mer, the villa offers a stunning view of the Mediterranean which can be glimpsed from almost every window facing the water. With the sea surrounding three sides of the house, the villa lives up to its name (Kerylos means "sea swallow" in Greek) with swallows and other birds soaring above the sea.
The house was built around a peristyle surrounding an inner courtyard lined by twelve columns. It is beautifully decorated throughout with mosaics and frescoes reflecting the sumptuous interiors of Greek villas discovered at Pompeii and Herculaneum. The dining, kitchen and sitting areas are located on the ground floor with bedrooms and bathrooms on the upper level. The design was scrupulously based on literary descriptions, the remains of frescoes, and archeological evidence, the result of which is a fantastic re-invention of the home of a wealthy Greek family. Stools, tables, baths, bedrooms were all furnished as Reinach presumed they would have been in the second century B.C. and even everyday objects such as cooking utensils were carefully crafted to reflect an ancient Greek aesthetic. Although Reinach was focused on reproducing as accurate an imitation of a Greek villa as possible, he was also interested in incorporating the most up to date conveniences of the early twentieth century including plumbing, electricity, and a piano (cleverly hidden in a wooden chest).
Photo Source: Amy Meier Design
Reinach died in 1928 and left the villa to the Institut de France. His son, Leon, and his family continued to live in the villa until the Nazis confiscated the villa and sent the family to Auschwitz where they died.
After WWII other descendents of the family lived in the villa until 1967. It is now open to the public. Make sure to include a visit to this magical, Greek-inspired villa when you are next on the Côte d'Azur.
Photo Source: Ivan Terestchenko
Tags: French Riviera, French Riviera Guide, Villa Kerylos


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Mariola may refer to:
 Mariola (district), a district in Lleida, Catalonia, Spain
 Mariola (manufacturer), a bass amplifier and loudspeaker manufacturer
 Mariola (plant), a common name for Parthenium incanum, a plant species in the family Asteraceae
 Mariola (wasp), a wasp genus in the subfamily Encyrtinae

redpajama_set_name: RedPajamaWikipedia


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While fashion and lifestyle brand Maaji is most commonly known for its iconic swimwear, active and yoga wear designs, the Columbian-born fashion powerhouse also offers fashion-loving runners a stunning range of running gear. In characteristic Maaji style, the range of sportswear designed specifically for running and jogging combine a fun and unexpected use of colour and prints with an unwavering attention to detail and emphasis on comfort.
It's therefore hardly surprising that the online health and wellness platform Nutreat.co.za recently published an article comparing the 12 best running shorts for women for summer 2016.
In this comprehensive guide to this season's most stylish and functional running shorts, the author examined the best of the season using the following main criteria: sizing, comfort, pockets, noticeable features and what use the shorts were best for. The roundup included 2 Maaji designs that are available for purchase online on the Colourbox shop.
Super comfortable, and the thicker material and wider waistband made them the most comfortable short shorts out of the lot.
Hailed as ideal shorts for track sessions, short runs and yoga or Pilates classes, the Gleaming Canvas Shorts come in typically bold Maaji colours and prints and are available in a range of sizes to fit any runner wanting to exercise in supreme style and comfort.
The second pair of shorts featured in the list is the Reversible Ink Shorts, which are both striking in their look and feel and the most notable feature of being completely reversible. This provides the wearer with the utmost flexibility in choosing how she wishes to don the gear.
You'll find yourself reaching for them for walks and everyday wear.
So if you're looking for running shorts that not only feel great as you work out, but look fabulous too, check out the range of Maaji designs available to purchase online on the Colourbox store.
It's true, kite-surfing is not just for the guys; 'mermaids' can do it too!
When I first came across Maaji Swimwear, it was love at first sight. And with that, I didn't dare take my beloved swimwear out on the water with me. I thought they would be too fragile to rough it up with me in the surf. I also didn't think they would be comfortable enough to kite-surf in, as most other bikinis and even one-pieces are not.
However, I was starting to get tired of my uncomfortable board shorts and rash vest in dull colours. So finally, I tried out wearing my Maaji bikini. And once again, love at first sight! Or in this case, love at first session! I knew these bikinis where the most comfortable I had ever worn out of the water, but now I realised they were comfortable in the water as well. As an added bonus, I could also go from the water to the beach without an outfit change.
The second I took my beloved Maaji out on the water with me, there was no turning back! Maaji Swimwear truly epitomises the spirit of a woman – uniquely beautiful and captivating on the outside, tough and resilient on the inside. The good news is that Maaji also makes particularly comfortable one piece swimsuits, rash guards and active wear which are great for those who want more cover and protection from the sun.
Just as you should never underestimate a woman, you should never underestimate a Maaji either! So get out there in your Maaji. Take it into the sea with you, run and jump in it. Take it hiking, climbing or just lazing in the sun. Get sweaty in it, or just look pretty in it. Whatever you do, have fun the way a Real Mermaid should!
As the final winter chill starts to retreat, the glorious African summer sun begins to grace us with her comforting presence.
With her bright, yet rather humble arrival, most of us are likely to be lost in wonderful reverie, yearning to break free from the confinement of our thick winter layers. A release from the wintry weather means a return to loose-fitting outfits, fun days in the sun and long summer nights spent living life to its fullest.
With the 2016 summer season just around the corner, Colourbox is pleased to present the official launch— in-store and online on the Colourbox website— of stylishly refined Australia-based fashion brand oneseason.
Born in the winter of 2006, oneseason is the brainchild of Shani Anderson, who at the time of its inception, held a bold and free-spirited vision for the upcoming summer. Having been in the fashion industry for some 3 decades, Anderson aimed to design a range of clothing that would usher in a new era of style and fashion for the women who loved and lived along the Australian coastline.
The oneseason brand followed from this vision and comprised an elegant collection of flowing dresses, stunning shifts and striking throw-over garments that quickly became rather popular and, over the last ten years, well known for their thoughtful nature, imbued with a summery sophistication.
From the very first oneseason range back in 2006 until the current collections of today, the brand's pieces have been created with only the best quality Indian cotton and viscose. In addition to the luxurious feel of every oneseason garment that these materials create, every print has been hand-designed and crafted, finished off with a unique wash, specifically for the brand.
Keen to get into summer in a truly unique oneseason garment? Visit Colourbox online or at our physical store in Parkhurst, Johannesburg to see more of their sun-inspired range.


In 2017, Hurricane Maria brought destruction and more than 3,000 deaths to Puerto Rico. In 2018 Hurricanes Lane, Florence, and Michael, killed more than 100 people and made thousands of others homeless.
We can't change the weather. But there are better ways to respond to these types of disasters. And the easiest fix is getting rid of the Jones Act.
The Jones Act is a shipping regulation included in the Merchant Marine Act of 1927. The law requires that ships delivering supplies from the U.S. mainland to our islands, territories, and states be assembled and maintained in the United States. At least 75 percent of the crew must be American citizens, and each ship must be registered in the United States and owned by U.S. companies.
Congress passed the law almost a hundred years ago with good intentions. Its purpose was to protect the American shipbuilding industry, its union workers, and our shipping lanes. But the world has changed a good deal in the last century.
Banning foreign ships from delivering supplies from the American mainland to other American territories obstructs our disaster relief operations because an old and depleted fleet of Jones Act-eligible ships has to perform the entire lift. This causes delays and price increases during natural disaster recovery. During disasters, Congress and the president frequently waive the Jones Act in order to deliver aid. (During Hurricane Maria, President Trump waived the law to speed up support for Puerto Rico.) But these short-term waivers expire long before the relief and rebuilding processes are complete.
And it's not just disaster relief that's hampered by the Jones Act. It costs 3 to 5 times more to ship oil from the Gulf Coast to New England than it does to ship the same oil to Europe. Because of the Jones Act. This year the state of Massachusetts asserted that "no Jones-Act qualified carriers" were available to ship gas to the Northeast. Governors from all six New England states—three Republicans and three Democrats—came together to request a Jones Act waiver.
And it's not like the Jones Act is still protecting America's shipbuilding industry. Since World War II, we've lost about two-thirds of our eligible shipyards and almost 95 percent of qualified ships. Jones Act-compliant ships are eight times more expensive than their foreign competitors. When the numbers are that big, no government is going to be able to make up the difference. In the end, the market simply moves elsewhere.
In March, Mike Lee introduced the"Open America's Water Act of 2019," which would repeal the Jones Act. It would allow all qualified vessels, both foreign and domestic, to trade between U.S. ports, so long as they cooperate with the security measures already in place.
There's no reason this shouldn't be a bipartisan issue. Republicans can focus on the projections that eliminating the Jones Act could create an annual economic gain of between $5 billion and $15 billion.
We don't get many win-win situations these days in politics. We should take them where we can.


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MusicSpotlight Events
Comeback Kid comes back to Erie
Melodic hardcore veterans from Winnipeg return to Erie alongside stacked lineup
by Tommy Shannon
Drop what you're doing, because your plans have just changed. On Jan. 26 Canadian hardcore band Comeback Kid is coming back to the Erie area for the first time since 2010, headlining at Basement Transmissions after ending their supporting tour with Four Year Strong.
Comeback Kid released their fifth studio album Die Knowing in March 2014, which peaked at No. 7 on the US heat charts and featured guest vocals by the band's former frontman, Scott Wade, on the song "Full Swing."
Comeback Kid has been one of my favorite bands since 2006, because their aggressive rhythms, epically melodic yet simple lead guitar, and catchy, positive lyrics never fail to send chills down my spine – no matter how many times I listen. Wake the Dead was my first hardcore record and they were the first show I attended, which featured my first moshing experience and introduced me to a whole new realm of music possibilities, so it's a little hard to conceal my excitement for this show. But Comeback Kid isn't the only reason to be excited.
Expire, who is also a supporting act on the Four Year Strong tour, is the second headliner for the night. With their raw, unrelenting riffs and no B.S. lyrics, Expire is quickly becoming one of the biggest names in the hardcore scene.
The last time Erie's Straight Edge kings, xRepresentx, played at BT, I was knocked out during their set – literally. I took two back-to-back hits to the head, and the next thing I remembered, I was being dragged to the side of the room (Warning: excessive moshing can be dangerous. Tell your kids to mosh responsibly). This time however, I'll be safe from the pit, as I will be on stage filling in on bass guitar.
Finally, after breaking up last nearly a year ago, Edinboro pop-punk quintet Mallory Run is getting back together with a new drummer and an entirely new sound, described by the band as sounding similar to the likes of Balance and Composure. I'm excited to hear their new songs, but I'm hoping they still play the ever Wonder Years-esque song "You Told Me You Didn't Have a Mountain Bike," for old time's sake.
Completing the night's bill are Motives from Cleveland and Crazies from Fredonia, N.Y. All local and supporting bands have presale tickets available. – Tommy Shannon
Doors at 5:30 p.m., Monday, Jan. 26 // Basement Transmissions, 145 W. 11th St. // Pre-sale Tickets $14, $16 Day-of-show // ballpointproductions.bigcartel.com/product/comeback-kid
comeback kidexpirexrepresentxhardcoreerie hardcoremallory runbasement transmissions


The one wallet you will love to carry till its dog eared days, our genuine Leather Double ID Hipster Wallet includes one exterior ID window and one interior ID window. It's 8 turned-edge credit card pockets holds your credit card, license and photos securely and gives you a clear view of each card without having to take them out by one. It's striped moir� lined compartment is a chic and secure home for your currency bills, while its two side pockets gives you enough room for those important numbers, notes and reminders. A Rich gift for father in law, best buddy or a groomsmen. Measurements: 4 x 4 1/4. Color: Black and Coco.


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April 4, 2011: UPDATED/Intriguing: How Does the "Thumbs Down" List Amazon Rankings Compare to the "Watch Dogs"?
In A.C. Crispin, Amazon Sales Rankings, Ann Crispin, Authors, David L. Kuzminski, James D. MacDonald, P.N. Elrod, Victoria Strauss on March 1, 2011 at 8:03 pm
Intriguing best describes this recent result. This question was raised on another website. Good question. We thought that we would check it out for ourselves. This appears to be a complete list of "watch dog" titles and includes many of their known aliases.
How Does the "Thumbs Down" List Amazon Rankings Compare to the "Watch Dogs"? Granted, these statistics are updated hourly, it may be worth updating frequently and revisiting. Click here for a PDF copy. Since so many questions are raised regrading these "Vanity Publishers," and what they don't do for authors, doesn't this report make you question what the "Watch Dogs" and "Traditional Publishers" are doing to market their books? Intriguing, very intriguing indeed. Perhaps if you are fortunate enough to land a good advance with a "Traditional Publisher" you can sit on your laurels. We found this very surprising and didn't anticipate such low Amazon rankings for the "watch dogs."
How to translate Amazon Sales Rankings:
Rank Copies Sold/day
10,000 2.2 (11 copies every 5 days)
100,000 0.2 (1 copy every 5 days)
1,000,000 0.006 (3 copies every 500 days)
2,000,000 0.0001 (1 copy every 1000 days)
March 08, 2011 Update: Vanity Press Authors Still Lead the "Watch Dogs" in Amazon Sales Rankings
April 04, 2011 Update: Vanity Press Authors Still Lead the "Watch Dogs" in Amazon Sales Rankings
"Amazon Sales Rank Tracking." Rampant Information Technology Books. Web. 15 Mar. 2011. <http://www.rampant-books.com/mgt_amazon_sales_rank.htm>.
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© The Write Agenda, 2011. Unauthorized use and/or duplication of this material without express and written permission from The Write Agenda is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to The Write Agenda with appropriate and specific direction to the original content. You must attribute the work in the manner specified by The Write Agenda (but not in any way that suggests that they endorse you or your use of the work). Please contact The Write Agenda for sample attributions.
« Before Commentary: A.C. "Ann" Crispin's Mitzvah February 28, 2011
AfterQuery: Positive Experiences with Harbor House? March 1, 2011 »


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TOD'S launches new 'Happy Moments' campaign
"Happiness is contagious" is the motto of the newest collection from TODs.
by Emma Hodgson
Can a pair of shoes make you happy? We would say, most definitely. TODs, it seems agrees, and is on a mission this season to make you happy no matter where you are headed to - whether it's your first job interview, your wedding day or a birthday party.
4 David Bowie Style Staples Influencing 2021 Fashion
"New to Tod's family, Alber Elbaz has created a capsule collection calling it 'Tod's Happy Moments by Alber Elbaz'. Alber's starting point was the iconic and beloved Tod's driving shoe, capturing and transforming its true spirit for the next generation. Tod's Happy Moments illustrates the happiness Tod's brings at different times of the day or different moments of life. Alber Elbaz gave his own spin to Tod's DNA, imagining new contexts for the driving shoes, making them aerodynamic, bright, unstructured or mounted on sneaker soles, swarming in logos or not. Happy accidents do happen as Alber Elbaz found ways, by accident, to use neoprene for a dash of tech or using metallic finish for a sprinkle of shine. His idea of happiness is all-encompassing, touching everything from the logo to the packaging, from shoes to bags and t-shirts," said a spokesperson for the label.
First unveiled this July in Paris, TODs is planning a series of pop-ups at international cities across the world with the new series. Watch this space!
Galeries Lafayette: The Most Exciting New Beauty Must-Haves
Sharjah Film Platform Calls for Filmmakers
Louis Vuitton x Grace Coddington
Collaborating with artists is a big thing in the fashion world. This time, Louis Vuitton joins forces with legendary artist, fashion journalist and Anna Wintour's eternal wingwoman, Grace Coddington
09.11.2018 by Suze van As (Netherlands)
Coach x Selena Gomez -The Sequel!
Coach launches Coach x Selena Gomez, the second creative collaboration with the actress, singer and face of the brand
10.16.2018 by Kay Sue
Mary Katrantzou – happily making fashion history repeat itself
Ever kick yourself for not investing in one of Mary Katrantzou's most iconic designs? Chastise yourself no longer. The multi-award-winning British fashion designer has just reissued a capsule collection of her most famous pieces exclusively on Matchesfashion.com. Ready, steady….shop!
10.08.2018 by Lucy Wildman
The 15 Best Celebrity Podcasts to Listen to in 2021
For when you want to open your eyes to the world, get grounded in social activism, or just kick back with some behind-the-scenes celebrity scoop.
01.18.2021 by Alexa Dark (Usa)
'What Killed Maradona?'
An Exclusive Investigation Reveals What Fueled and Destroyed One of the World's Greatest Players
01.17.2021 by L'Officiel Arabia
Alexander McQueen Celebrates SS2021 Womenswear and AW2021 Menswear Pre-collection in Dubai
The collections were released through a screening of First Light, a short film by renowned English director Jonathan Glazer
01.17.2021 by Tanja Beljanski
Ithaafushi – The Private Island Launches for the Most Discerning Travelers
Award-winning Waldorf Astoria Maldives Ithaafushi unveils largest Maldivian private island
Who is Anna May Wong? Hollywood's First Chinese-American Trailblazer
On the late star's birthday, L'OFFICIEL looks back on the life and legacy of Chinese-American actress Anna May Wong, who paved the way for Asian representation in film and TV.
01.17.2021 by Caroline Kloster (Usa)
Ring with 12,638 Diamonds Breaks Guinness World Record
The jeweler insists that the 38.08 carat piece is actually "very comfortable."
01.17.2021 by Redação (Brazil)
Exploring Finland
There are many reasons to fall in love with Finland; the people, arctic adventures and secrets.
The All New 2021 Cadillac Escalade is Now on Sale in the UAE
Cadillac Middle East and Al Ghandi Auto have announced the arrival of the much anticipated 2021 Cadillac Escalade across the UAE.
L'Officiel Announces the Sharing Fund
FASHION WEEKS - MEN
DIGITAL CO-LAB
L'Officiel Models


Survivors faced with decisions about disposing of a deceased loved one's belongings needn't face the pain alone.
Inside the Colonial-style, two-story brick home in west Little Rock, it looks as though the owner is merely preparing for a move.
The elegance of the green-and-burgundy-decorated living room is broken by the intrusion of two oblong portable tables bearing pieces of cut glass, ceramic pottery, dishes and figurines.
In the comfortable den, things are not as neat. Several women sort through boxes, piles of clothing and other belongings. As they go through the items, they price them.
Actually, it is a moving day – of sorts. The belongings in the recently sold home are being prepared for an estate sale. The woman who lived in the house died in February, only three months after her husband's death. The family, currently struggling with the added hardship of losing another loved one, has commissioned Nancy Franzke of Little Rock to conduct the sale.
Franzke, who has been in the business 14 years, knows what will sell best. The cut glass will be popular, she says.
"Another item that's very collectible is military clothing," she adds, pointing out a brown leather bomber jacket. Other popular items: old musical instruments, old toys.
Items such as these must be dealt with by the relatives of those who have died.
Deciding what to do with the belongings left behind by a deceased loved one – whether it's a much-worn blouse, a silver tea set, a French Empire table, a shag rug or an automobile – can be an added challenge in a time already weighed down by grief and stress.
"That is the most difficult thing – having to go back home and be faced with (the deceased's) belongings and their clothing," says Christy Best, a nationally recognized organizer based in California.
It's a situation that Bonnie Jacobsen, a professional organizer in Little Rock, has seen many a baby boomer face.
"One of the heartbreaking things is, it really gets people stuck because there's so much grief involved with it," says Jacobson, owner of Let's Get Organized. "If the family has not started passing on some of the treasures before the parents are gone, it's very very painful to let go of the things after theyr'e gone.
But while some struggle with clutter – or leave their loved one's home intact, paying extra utility bills and worrying about the vacant home being robbed – other survivors make the mistake of trying to get rid of things too quickly.
"The temptation to get rid of everything stems, many believe, from that illusion that if you can deal with and dispose of the possessions, you will make quick business of disposing of the pain and hurt of grief," writes Eva Shaw in her 1994 book What to Do When a Loved One Dies: A Practical and Compassionate Guide to Dealing with Death on Life's Terms (Dickens Press, $18.95).
Are you the survivor of a deceased relative who left no instructions or provisions on how to dispose of his belongings?
Don't try to dispose of the items hastily.
Best's website, www.clutterbug.net, gives numerous tips and advice on how to deal with too much stuff.
"The bottom line… is that you don't have to do it alone." says Dana Estill, a mental health therapist in Asheville, N.C. But the help doesn't have to come from a therapist. Bonnie Jacobson, a professional organizer in Little Rockm works with bereaved clients to establish what type of value a possession may have for them – monetery, sentimental, historic – to help them pare down the belongings.
Don't sort through the things alone.
Ask for help from no more than one or two close friends.
Sort the items into three piles of things, labeling them Pile A, Pile B, and Pile C.
Place into Pile A the things you definitely want to keep. Pile B should contain the things you feel you can stand to donate or dispose of. Pile C should be the "I don't know" pile. And that might be all you do," Estill says. "You don't have to do anything else with those piles." After the sorting is over, reward yourself in some way.
Resist the temptation to throw out items you think are junk.
Old newspapers, documents, letters and notes may provide genealogical information and insights about the deceased's life.
Smaller keepsake items can be organized into a shadowbox or collage, or be photographed before disposal. Fabric items can be remade into a quilt.
Don't keep things out of a sense of obligation.
If the deceased was an avid reader with a book collection you do not wish to keep, consider donating the books to your local library. Donate old military photographs or other historic memorabilia to a museum.
Donate to a charitable organization that was important to the diseased.
Give clothing or other possessions to that organization, or sell them and donate the proceeds.
Share with the friends of the deceased.
Use your loved one's possessions to honor them or your relationship with them.
Estill tells of taking the bars from her father's police uniform and giving one of them to a friend who had exhibited bravery.


Solid Waste Services manages the City's exclusive franchise services agreement with Waste Management, Inc. We provide customer service, and contractual oversight for roughly 28,000 residential and commercial customers in our service area, and work closely with the Solid Waste Authority of Palm Beach County assisting them with regional solid waste items.
Waste Management, Inc. (WMI) is the exclusive provider of solid waste,yard waste,and recycling collection services in the City of Palm Beach Gardens.
Solid Waste Collection occurs twice per week.
Yard Waste Collection occurs once per week.
Recycling Collection occurs once per week.
Solid Waste Collection occurs once per week, minimum.
There are no collection services in the City of Palm Beach Gardens on Thanksgiving Day or Christmas Day. Regularly scheduled services will resume on your next scheduled day.


The grapes are cultivated following strict organic procedures, on hilly calcareous clay. Outstanding with game or red meat.
Appearance: brilliant ruby red colouring. Releases floral fragrances on the palate, veined with spicy tobacco, leather and earthy mineral sensations. Full-bodied in the mouth, warming, tannic, intense, with a poised and persistent finale.


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Ташкентская кольцевая автодорога () — это окружная автомобильная дорога Ташкента, проходящая приблизительно по административной границе города.
Протяжённость трассы составляет 67 километров. Ташкентская кольцевая дорога является дорогой общегосударственного значения. Кольцо состоит из больших и маленьких дорог. Проектирование и строительство Большой кольцевой дороги проводилось в 1959—1968 годах в несколько этапов. 67 км дороги имеют твердое покрытие (48 км цементобетона, 19 км асфальтобетона). Транзит служит для обхода города Ташкента, повышения безопасности движения в городе и улучшения окружающей среды. Эта дорога соединена с тремя международными (M34; M39; A373), 7 национальными, 10 местными дорогами и многими городскими дорогами международного значения. На дороге имеется 22 моста и путепровода общей протяжённостью 3372 м. Это сложное инженерное сооружение с 6125 м из 160 труб и других архитектурных сооружений. Среднесуточный траффик за 2004 год составил 38 500 автомобилей в день.

Строительство Малой кольцевой дороги было инициировано президентом Республики Узбекистан И. А. Каримовым с целью расширения территории Ташкента, увеличения количества транспортных средств и рациональной организации и координации движения на улицах города.

Улицы Ташкента
Кольцевые автомобильные дороги
Дороги Узбекистана