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From basic drawing techniques to the very physiology of perception, all the way through 3D design, ceramics, and oil painting, the Department of Fine Arts gives students a firm theoretical handle on visual principles as well as extensive, firsthand experience in a range of media. Although many courses emphasize professional applications in the animation industry, skills learned here are transferable to artistic disciplines across the board. Students benefit from a faculty steeped in the worlds of illustration, animation, film, sculpture, painting, printmaking, and design.

Faculty Directory

Department Faculty

Rob Kmiec, MA

Department Chair

Rob Kmiec hails from Boston, where he earned a Bachelor of Fine Arts degree in illustration from Massachusetts College of Art in 1995. After graduating, he worked as a freelance illustrator and graphic designer.

He discovered a passion for education after volunteering to teach Adobe Photoshop to middle school students at the Cambridge Community Art Center. From 1997 until 2005, Kmiec taught at Catholic Memorial School in Boston, where he also served as Chair of the Fine Art Department. During this time, he continued to freelance as an illustrator, and in 1999 was a finalist in the Illustrators of the Future competition.

After being presented the Juror’s Choice Award (2000) in an exhibition sponsored by the Falmouth Artist’s Guild, Kmiec turned his attention toward creating a personal body of work, exhibiting and selling pieces regularly at venues across Massachusetts including the Dorchester Historical Society, Cedar Grove Gallery, and Boston City Hall.

Striving to be a lifelong learner, Kmiec furthered his education and earned a Master of Arts in Illustration from Syracuse University in 2003.

In 2005 he joined DigiPen Institute of Technology as an associate professor. Since then, he has instructed students in subjects such as tone, color, and composition; advanced life drawing; sequential art; character design; and two-dimensional raster graphics and animation.

On top of his teaching duties, Kmiec stays active in the art community as a freelance illustrator. He has delivered guest lectures on Adobe Photoshop at the University of Washington and worked as Art Director and Lead Artist on a local, independent film, Render Me Dead, for Frenettik Productions. In his spare time Kmiec also co-curates the Gallery at the OK Hotel in Seattle, where he has a studio and continues to build a personal body of art.

Kmiec enjoys teaching DigiPen students because their work ethic is so intense. “It’s exciting and rewarding to see a student progress so rapidly in this program,” he says.

“Because of my longstanding experience in both art education and illustration, I am able to see multiple sides of the art experience,” Kmiec says. “This allows me to render the best possible solutions in the classroom, solutions that are rooted in both pedagogical and professional grounds. Because of my experience in the traditional and digital realms of art, I can bridge both worlds and help the students to do the same.”

Alecia Rossano, MFA

Professor Alecia Rossano is a classically trained figurative sculptor from Seattle. She earned her Bachelor of Fine Arts from Scripps College and her Master of Fine Arts from the graduate school of the New York Academy of Art. She has also studied in Florence, Italy, which inspired her love of Renaissance and baroque art. Her work has been shown in Seattle and New York.

Before teaching at DigiPen, Professor Rossano taught 3D modeling and animation as well as art history and figure drawing at Henry Cogswell College. She was also the producer for student projects at Mesmer Animation Labs in Seattle. In 2006, she was selected to teach a sculpture workshop for teens at the Gage Academy of Art in Seattle.

Currently, Professor Rossano teaches art history, figure drawing and figurative sculpture at DigiPen. She believes strongly that art is a teachable skill and enjoys sharing her knowledge with all students with a passion to learn. She is particularly excited to see how the next generation of artists will apply classical techniques and knowledge to work created in new media.

For more information about Professor Rossano, visit

DigiPen Faculty Ryan Finnerty, MFA

Ryan Finnerty, MFA

Assistant Dean of Curriculum
Associate Professor

Ryan Finnerty is a Seattle-based artist and educator. He holds a BFA in Painting from Savannah College of Art and Design and an MFA in Drawing and Painting from the University of Washington. Finnerty has exhibited paintings and drawings in several galleries in the Seattle area and throughout the country. He has also served as an artist-in-residence with numerous arts organizations both nationally and locally.

As an educator, Finnerty’s coursework ranges from traditional drawing and painting to integrated art history/design courses. He has been working with DigiPen’s MFA program since 2013 and became a full-time faculty member in 2015.

DigiPen Faculty Bill Hooper

Bill Hooper

Assistant Professor

Bill Hooper is a figurative painter living in Seattle. After graduating with a BFA from the Maryland Institute College of Art, he had the opportunity to study with several different figurative artists, including Dan Thompson, Robert Liberace, Charles Miano, and sculptor Stephen Perkins. In his work, he tries to bridge elements of abstract color with his classical figurative training. He has participated in solo and group exhibitions in Baltimore, Barcelona, New York, Portland, and Seattle. His artwork is shown in both private and public collections in the United States and Europe.

Hooper began teaching anatomy and figure drawing at DigiPen in 2018. He firmly believes that talent is the ability to work hard.

DigiPen Faculty Doug Parry, MFA

Doug Parry, MFA

Associate Professor

Doug Parry received a BFA in Printmaking from the University of Washington in 1988. Between the years of 1988 and 1997, he enjoyed success as a young artist in Seattle, exhibiting at such places as the University of Washington, the Bellevue Art Museum, the Seattle Art Museum, the Center of Contemporary Art, the Linda Farris Gallery, and the Linda Cannon Gallery.

In 1997, Parry moved to Brooklyn, NY, and received an MFA in painting from Pratt Institute in 2000. Since then, he has exhibited in Seattle, New York, Chicago, Vancouver, and Miami, and has been awarded grants from Pratt Institute, the Joan Mitchell Foundation, and Artists’ Trust of Seattle. Parry has also served as Resident Curator at the Historic Cedar Tavern Gallery (NY) and Bandoleone Restaurant (Seattle), and is the founder of V.A.G. (Visual Art Gallery) at its first location in Brooklyn, NY. Parry has taught Life Painting at Hofstra University (Hempstead, NY), the College of Saint Elizabeth (Morristown, NJ), and Pratt Institute (Brooklyn, NY). Locally, he has taught painting and drawing at Gage Academy of the Arts (Seattle), at Cornish College of the Arts (Seattle), and at Kirkland Arts Center (Kirkland, WA).

Parry’s private and public collections include placements in homes and businesses in Seattle, Portland, San Francisco, Los Angeles, Dallas, Houston, Chicago, New York, and Rome. Parry is a sought-after portrait artist commissioned by noteworthy businesspersons, doctors, writers, actors, and musicians internationally. His work has been seen on television, in film, on album covers, t-shirts, murals, and posters since 1983. His work is represented by Art 101 in Brooklyn, NY, and by NeoImages Gallery in Santa Barbara, CA.

Learn More

DigiPen Faculty Michael Lorefice

Michael Lorefice, MFA

Associate Professor

A native of Syracuse, NY, Michael Lorefice is a Seattle-based artist and educator. He holds a BA from Colgate University and an MFA from the Memphis College of Art.

Lorefice’s training comes out of the liberal arts tradition, where he concentrated on two-dimensional work – painting, drawing, printmaking, and design – combined with art history, literature, and philosophy. In addition to being a featured artist in the esteemed publication New American Paintings, he has exhibited his artwork in solo and group shows in museums and galleries internationally, including the Graphic Arts Institute of Oaxaca, Mexico; Archer Gallery at Clark College, Vancouver, WA; Second Floor Contemporary and the Memphis College of Art in Memphis, TN; John F. Peto Studio Museum in Island Heights, NJ; Arkansas Arts Center in Little Rock, AR; and Interstitial Theatre, Project Diana, and South Seattle Community College Gallery in Seattle.

Lorefice’s personal work stems from the observation of everyday things. This carries over into his teaching at DigiPen, where he instructs students to train their eyes and translate these acute observations to the page. Lorefice has been on the faculty since 2012, teaching a range of classes related to drawing, painting, color theory, and art history.

DigiPen Faculty Steffon Moody

Steffon Moody

Senior Lecturer

Steffon Moody became a scenic artist for the Muny Opera in St. Louis at the age of 16. He became a Journeyman set painter in Local 350 at the age of 21, and received a BFA in Painting at Washington University in St. Louis at 22. For the next three years he worked at the St. Louis Repertory Theater and SuperScenics in Seattle.

In 1987, Moody co-founded the Seattle-based physical theater company UMO Ensemble and began pursuing a career as a professional performer. He studied European-style clown, mask, mime, buffoon, improvisation, and movement, all based on the pedagogy of L’École Internationale de Théâtre Jacques Lecoq. While in UMO, he applied his visual art skills to the making of masks, props, costumes, and makeup design, as well as fabricating giant puppets.

After UMO, in 1993, Moody did school residencies throughout the Puget Sound area and created the Movement Towards Performance workshop series. He also created the Tacoma Health Departments Prevention Theater program, performed with the Big Apple Circus Clown Care Unit, served as Artistic Director of the Islewilde Performance Festival, and made giant puppets and performed them with Zambini Brothers (managed by adjunct professor Bill Jarcho).

In 2010, Bill Jarcho and Jim Johnson invited Moody to teach at DigiPen Institute of Technology. Since then, he has continued to teach Acting for Animation as well as The Language of Drawing, Fundamentals of Visual Expression, and Principles of Composition & Design.

Currently, besides being a full-time faculty member at DigiPen, Moody is the Managing Director of Chameleon Performance, an entertainment company that specializes in roving characters and transformational performance experiences in corporate, public, and private settings.

Among his notable achievements, Moody has designed a set for a Committee for Children video that received a Golden Eagle Cine Award; written the first children’s show at Teatro Zinzanni, “Zirkus Fantazmo”; written over 30 songs that have been animated by; performed in front of 100,000 people in Chang Kei Chek Square, TaiPei; and created a Kraken puppet for a Car Toys commercial.

DigiPen Faculty David Longo

David Longo

Senior Lecturer

David Longo grew up on a dairy farm in Connecticut. At an early age, he had a passion for drawing and painting, coupled with a love of video games. When Donkey Kong hit the arcades in the early 1980s, he became enraptured by 8-bit graphics, leading to many drawings of pixelated characters on graph paper. It would be over a decade before his love of art and games would converge again. He went on to receive a BFA in illustration from Pratt Institute in New York City. Upon graduating, he worked as the studio manager at a graphic design firm in Manhattan while doing freelance illustration on the side.

As a gamer, Longo was acutely aware of the evolution of video games in the 1990s with the ever-increasing visual fidelity and sophistication of gameplay. In 1996, he began his 20-year adventure in game development, creating illustrations and characters for the third installment of Bungie Software’s Marathon series. In 1999, he made the trek out to Seattle to work at Monolith Productions as the lead 3D artist for the critically acclaimed No One Lives Forever. He moved into the art director role for No One Lives Forever 2, F.E.A.R., and Gotham City Impostors. In 2012, he co-founded Blackpowder Games with a small group of ex-Monolith employees, releasing their first game, Betrayer, in 18 months with just six-and-a-half employees. After a short stint at ArenaNet, Longo joined DigiPen full time to help up-and-coming students become tomorrow’s exceptional game artists.

DigiPen Faculty Ken Turner

Ken Turner

Senior Lecturer

Ken Turner discovered the wonders of ceramics early in life. In 1972 he entered Peninsula Community College before graduating from Sammamish High School to pursue his education and career in clay. He apprenticed with a potter/designer/craftsman in Seattle and attended countless workshops by notable ceramic artists prior to attending the Kansas City Art Institute in 1978. In 1983 Turner built his studio and kiln in Seattle where he continues to design and produce finely crafted one-off porcelain and stoneware pottery, sculptures, and decorative ceramic vessels.

Turner has had numerous exhibitions, and his work has appeared in the collection of the Washington Art consortium as well as many permanent collections including the Northwest Museum of Art & Culture, Museum of Northwest Art, and The American Museum of Ceramic Art in Pomona, CA. Turner’s work has also been shown and collected internationally, including the Concept Exhibition of Post Imperial Porcelain at the Palace Museum in Beijing, China.

Turner has defined his career in all aspects of the clay world, from studio pottery production to refined one-offs of decorative porcelain vessels and clay sculpture to kiln design and fabrication. Considered a master of his craft, Turner has toured and lectured across China including The Central Academy of Fine Arts, Beijing, and The Fine Arts College of Shanghai University. He has been a respected teacher of ceramic techniques at universities, colleges, and art centers since 1994. He is currently a BFA instructor of Ceramics and the Director of the Plastic Arts lab at DigiPen, where he designed and equipped the ceramic facility and the ceramic classes curriculum.

“Introducing DigiPen students to clay and the ceramic arts has been very rewarding to me personally,” Turner says. “Helping students get past their struggles and frustrations and seeing the joy of success and accomplishment on their faces never gets old.”

Visit Turner’s website at

Learn More

Peter Moehrle

Senior Lecturer

At the age of 9, Peter Moehrle immigrated with his family from West Germany to Toronto, Canada, in 1966. He showed an interest in drawing and painting from an early age. But it wasn’t until high school that he knew he wanted to be an artist. After high school, Moehrle enrolled at the Ontario College of Art, where he studied fine art and graduated with honors.

While he was working at his first job at a picture framing shop, a customer who worked as a voice actor for animated films suggested he pursue a career in film and referred him to a friend. That friend turned out to be one of the three owners of Nelvana, the largest animation studio in Canada at the time.

Since 1980, Moehrle has made his living as a background painter, becoming supervisor of his department after three years of working in animation. In 1986, he became the supervisor of layouts as well. His job allowed him to work on various animation projects for television and film.

In 1995, Moehrle joined Disney Feature Animation in Florida as a senior background artist and worked on feature films like Mulan, Tarzan, Lilo & Stitch, and others. Since Disney closed their studios in Florida, he has done development work for studios like Sony, Starz, IDT, Core (Canada), Hibbert Ralph (UK), and Miramax (UK).

Today, Moehrle teaches young future animation artists at DigiPen and maintains his skills by doing freelance work for the occasional studio in his spare time.

Learn More

DigiPen Faculty Lawrence Ruelos

Lawrence Ruelos

Lawrence Ruelos has been in the video game industry for over 20 years, beginning as a concept artist and animator. Over the years, he has changed directions to become a senior environment artist who occasionally assists with concept art. Before becoming a video game artist, he worked as an animator for laser shows.

Ruelos is addicted to all things that define pop culture: old school arcade video games, comic books, animation, all genres of movies, the urban art movement, vinyl toys, action figures, photography, and music. He has contributed to Seattle’s art scene through exhibitions in local galleries as well as group art shows.

DigiPen Faculty Lisa Meighan

Lisa Meighan

Adjunct Instructor

Lisa Meighan is an award-winning associate architect with over 30 years of experience in design, research, product development, presentations, training, and teaching. She has a five-year degree from Oregon School of Design (with an emphasis on historical architecture) in Portland, Oregon, as well as 2 years of engineering studies from both Portland State and Oregon State Universities.

Meighan has obtained the title of Certified Green Professional by the NAHB and has worked with hundreds of clients in the United States and Canada. She is a member of the American Institute of Architects, and her design of Eagle Point Retreat in Canada won the CHBA National SAM Award for Custom Home of the Year in 2014.

Meighan is currently an architectural contractor for Lindal Cedar Homes (LCH) Dealers, a position which includes all levels of design, continuous research of markets and trends, and the development of new designs for distribution to over 120 LCH dealerships. Prior to this, she was the product development manager for LCH Corporate, which involved designing 60+ new homes for a network of dealerships in four countries, re-designing top selling models, and teaching at architectural workshops.

Meighan enjoys teaching architectural spaces, design, and lighting at DigiPen. She feels an architectural background in construction materials, building technologies, and iconic structures is helpful and important to the career paths of DigiPen students. She also feels that the courses focusing on ancient civilizations are good for both world building and art.

Iole Alessandrini

Assistant Professor

Iole Alessandrini is an architect, artist, and educator. A native of Italy, she holds a Master in Architecture from the University La Sapienza and a Diploma in Fine Arts from the first Liceo Artistico di Ripetta, both located in Rome. She moved to Seattle in 1994 and was admitted to the Furniture Design Studio at the University of Washington’s College of Built Environments. Two years later, she graduated with a Post-Professional Master in Architecture and a Certificate on Lighting. Alessandrini has won numerous awards including the Betty Bowen Award and an award from the Office of Arts and Culture. She received a nomination in 2002 for a Rockefeller Film and Video Fellowship.

Working alongside the board of directors of the Civita Institute, an international foundation supporting the research of artists and architects in Italy, Alessandrini has led award-winning programs, including the successful nomination of Civita di Bagnoregio — an Etruscan town — to the World Monuments Fund’s list of the 100 Most Endangered Sites in the World. She served as the Institute’s president from 2016-18 and is now one of its working directors.

Alessandrini’s work moves through the intersection of art and architecture. Her permanent public art projects include installations at Counterbalance Park and Westlake Fountain in Seattle, and Luminous Forest in Edmonds, Washington. Along with optical engineer Ed Mannery, she designed, prototyped, and manufactured original optics that turns laser beams into physical planes of light that people can traverse. This work has appeared in multiple publications, including Architectural Record, L’Arca, Sculpture magazine, and Mediterraneo sacro, and has been exhibited at the Seattle Art Museum, Bellevue Arts Museum, and Palazzo Bellomo (Italy).

Alessandrini has co-directed international programs in Rome and Venice, Italy, for the Comparative History of Ideas program within the College of Arts and Sciences at the University of Washington. She also serves as an advisor and mentor at Transart Institute. In addition to teaching Art History at DigiPen, she also teaches Color Theory at Seattle Central College. She has a passion for learning and finds in teaching the means to fulfill her ardent dedication.

DigiPen Faculty Kristin Frost

Kristin Frost, MFA

Adjunct Instructor

Kristin Frost is a visual artist and adjunct art professor living in Bothell, Washington. A Seattle native, Frost attended the University of Washington from 2003-2007, where she graduated Magna Cum Laude with a BFA in Painting and Drawing. In 2013, she received her MFA in Studio Art from Claremont Graduate University in California. She has been the recipient of the Fernandez Prize, the Albert B. Friedman Grant, the Claremont Graduate University Art Fellowship, numerous travel and materials grants, and first place in Brea Art Gallery’s Made in California exhibition, awarded by juror Rebecca Morse, MOCA. In addition to DigiPen, she has taught at Seattle Central College and Gage Academy, as well as many colleges throughout Southern California.

Frost has exhibited her work widely around the West Coast in both solo and group shows. In 2014, she held two solo shows at Apothecary Gallery in Pomona, California and LGT! Curatorial in Fullerton, California. In 2016, she was in a three-woman show at Norco College Art Gallery in Norco, California. In recent years, she has participated in many group shows around the Los Angeles area and most recently at the DigiPen faculty group show ”Modern Mythology” at the Bellevue Art Museum.

In her work, Frost merges drawing, painting, and collage to make mixed-media pieces that focus on the interaction between realism and abstraction. Pairing traditional media like watercolor, gouache, graphite, and ink, with unconventional materials such as colored tape, found objects, and wax, she creates imagery that is inspired by her surroundings, photographs, and memories.

Currently, Frost teaches drawing, painting, and art history at Gage Academy and beginning art classes at DigiPen. She enjoys working with the talented and inspiring students at DigiPen and the supportive BFA faculty team. She is proud to be a DigiPen Dragon!

Selected Publications:

  • New American Paintings Issue 111, March/April 2014
  • Studio Visit Magazine Issue 20, January 2013

DigiPen Faculty Randi Ganulin, MFA

Randi Ganulin, MFA

Adjunct Instructor

Randi Ganulin studied printmaking and illustration at the Rhode Island School of Design before completing her BFA in communication design at Otis College of Art and Design. She was awarded the Javits Fellowship for her graduate work in photo-based media, earning an MFA from Otis in 1996.

Ganulin has exhibited nationwide and completed public art commissions for the Seattle Center Sculpture Walk, Shunpike Storefronts, and Heaven & Earth X. Her work can be found in public and private collections across the country, including the New Mexico Museum of Art; Griffin Museum of Photography; the Center for Creative Photography; the Center for Fine Art Photography; and the cities of Seattle and Tacoma, Washington.

For more information on Ganulin’s work, visit

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Tag Archives: Ed Wood

The Devil’s in the (Editing) Details

Johnny Depp, playing the part of producer-writer-director Ed Wood in Tim Burton’s movie Ed Wood, states at one point in the film that “Filmmaking is not about the tiny details. It’s about the big picture.” Unfortunately, Ed Wood, while a very upbeat and positive person, was never considered a serious filmmaker. One reason why he wasn’t taken seriously might be because he really believed that filmmaking was just about the big picture. Of course, serious filmmakers know that filmmaking is all about the tiny details. Thousands and thousands of tiny details. Especially when it comes to editing.

Johnny Depp as Ed Wood: "The big picture!"
Johnny Depp as Ed Wood: “The big picture!”

As an editor, it’s important to keep track of every detail of the footage you’re editing; from initially copying and organizing the video and audio clips into properly named folders on your hard drive, to renaming the video and audio clips correctly (by Scene and Take if it’s a scripted program to keeping detailed notes if it’s a reality / non-scripted show). As an example, if you name a video clip Sc_A_Tk_03 and you name your audio clip ScATk03, it’s going to make finding either of those clips (in order to sync them) much more difficult than if you named them exactly the same.

Further, when it comes to syncing your video to your audio clips, you must be very detail-oriented and make sure that you’re syncing them perfectly; you need to make sure that you’re marking your video clips exactly on the slate’s ‘clap’ and that you are marking your audio on that same ‘clap’. Even if one of those marks is ‘off’ by a frame or two, your audio and video will ‘look’ funny – in other words, it will look like the actor is either talking early or late. Again, it’s all in the details, details, details.

Working in FCP X - keep your sound and image in sync!
Working in FCP X – keep your sound and image in sync!

And these are just a few of the basic details of editing; of course, once you start to edit your program, music video, or short film, you need to keep very detailed notes about your footage (whether or not certain takes are usable, or if any footage is usable or unusable) along with making sure that the footage is well organized within your NLE (non linear editor). Remember, for an hour-long reality show, about 40-50 hours worth of footage is shot – even more footage is shot for a feature length film. So, if you correctly and properly organize and name all of that footage from the start, it makes editing all of that footage much easier – and much faster – because you’ll be spending less time searching for clips and spending more time assembling your edit.

You'll be the one crying if you have to sift through 50+ hours of the Kardashians to find one small clip.
You’ll be the one crying if you have to sift through 50+ hours of the Kardashians to find one small clip.

Even if Ed Wood took detailed notes about his footage and sync’d them properly, it wouldn’t have made him a great filmmaker – an editor can’t turn bad footage into great footage. But, great footage that’s been sync’d improperly or can’t be ‘found’ quickly during the editing process, or has been edited without paying attention to all of the story’s details, might turn a great film into a bad one.

By Digital Film Academy FCP X instructor Blake Taylor

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Pot Roast

Yields1 Serving

 3-4 lb. (1.5-2 kg) chuck roast, rump roast, boneless bottom or eye of round or brisket
 salt and freshly ground black pepper
 canola or olive oil, for cooking?1 onion, peeled, halved and thinly sliced
 3-4 garlic cloves, crushed or chopped
 3-4 cups beef, onion or chicken stock
 1 cup red wine (optional)
 1 Tbsp. balsamic vinegar
 a couple sprigs of fresh thyme or rosemary (or both)
 2 carrots, peeled and cut into 1-inch pieces
 8-12 new or fingerling potatoes

Preheat the oven to 300F.

Season the roast generously with salt and pepper. Set a Dutch oven over medium-high heat, add a drizzle of oil and brown the roast on all sides, turning it with tongs or a fork until it has some good colour on all sides. Transfer it to a plate.

Add the onion, and garlic to the pan along with a splash of the stock and cook for a few minutes, scraping up any browned bits in the bottom of the pan. Return the roast to the pan, add the stock and wine (there should be enough to come about halfway up the side of the meat) and the balsamic and thyme.

Cover and cook for 3 hours, or until the roast is very tender. Add the carrots and potatoes to the pot when there's about an hour of cooking time left, turning the roast over when you do. To serve, spoon any excess fat off the surface and slice or shred the beef to serve with the veggies, drizzled with sauce. Serves 6-8.


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Direct Holiday Homes

Providing direct contact with the Holiday Home owner

Owners' Section

You can now login to create and update your price and availability list for 2022 as enquiries are coming in thick and fast.

2022 Price & Availability List

Enquiries are already coming in for those who are desperate to make plans for their long-awaited holidays, but we have noticed that many owners have not yet populated their price and availability list. This means that their webpage will not be found in availability searches, resuliting in the possible loss of bookings.

Once your price and availability list is populated your can then utilise our 'Late Deals' section.

Important: Please also remember the importance of checking your e-mails as we are receiving many comments from browsers advising that they are receiving no response from owners.  Even if you are booked, out of courtesy, please just let the enquirer know.

DHH Facebook Page

Are you aware that we have a Facebook page?  We are currently inundated with enquiries from potential customers looking for a last minute break, but owners don’t appear to be responding, which could result in them losing a booking.  Please remember that any posts from owners or potential customers do not go on the main page, they appear on the visitors’ posts.

Late Deals - Book out those fast approaching weeks

Don't forget to remove your late deal from the late deals section if your availability changes.

Advertising in our Late Deals section is free service that we provide to help maximise your letting potential.

To do this you must first have completed your price and availability list (see above). To be able to select a week the following criteria must be met:

  • Minimum listing is 3 nights. Maximum is 2 weeks
  • You must have a total price listed (not per night, or week if more than one week listed)
  • The start date must be within the coming 4 weeks
  • Only 3 late deals can be listed at any one time
  • You must remove your late deal when it is booked
  • To keep the late deals section up to date, your late deal needs to be re-listed after 7 days

All that we ask in return for this service is that you remove your late deal when it is booked by simply unticking it in your availability list. This will ensure that the late deals section is kept as accurate and up to date as possible.

To ensure the success of the late deals section it is vital that you remember to remove your late deal if your availability changes.

The late deals section is a service that we provide to help owners book out their last minute availability and as such we reserve the right to remove late deal privileges for owners who misuse the late deal section.

Remember: If you are unable to help someone, refer them to the late deals section – you may be desperate to book a late deal out yourself one day and grateful of any help!!

We reserve the right to remove this facility if there is evidence of it being misused. The price and availability lists and the late deals section must only to be used to advertise the price and availability or last minute availability of the holiday home referred to on the webpage.

Please Remember to be very wary of SCAM E-mails

Please remember to be very wary of SCAM e-mails.

Never accept payment that is for more than you require (a sure sign of a scam) as you will be asked to forward the change, and then find out that their payment has bounced – leaving you considerably out of pocket.

Never accept payment from a third party (another sign of a scam) e.g. My business partner/bank manager/head office will make the payment.

Remember: If in doubt – throw it out!

If you are still worried, I am always happy to take a look at the enquiry for you - just send me the details.

More information on scam emails can be found here:

Keeping Your Webpage Up To Date

It’s now time to start thinking about the 2022 season – although many of you have already started taking bookings!

Please take this opportunity to ensure your webpage is completely up to date. It is important for your prospective customers that any offers you have on your webpage are removed when no longer relevant.

Unfortunately we cannot possibly keep check on when your offers run out, so it is up to you to let us know. Don’t forget, you can update your webpage as many times as you wish throughout your advertising period – all you have to do is send us an e-mail and we will do the rest for you.

Price & Availability Lists

Owners who already have a price list on their webpage have found it invaluable as it not only reduces the amount of enquiries just looking for prices but also the repeat enquiries for the same week.

You can now create and update your own price and availability list for the 2022 season.

A great many users of the website will not bother contacting an owner if their list is blank.

Amendment Requests

You may make as many updates and amendments to your webpage as you wish throughout your advertising period.

Important: It is essential that when you request amendments to your webpage you not only include your property reference number (ID) but you also send your request from the e-mail address we forward your enquiries to. This is for obvious security purposes.

Your E-mail Enquiries

It has been brought to our attention by many potential holidaymakers that despite sending genuine enquiries via individual webpages, some owners do not bother replying.

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In a recent blog post, I discussed the fact that under the reasonable accommodation provisions of the ADA, employers generally are not required to provide their employees with a stress-free work environment or one that possesses a “just right” amount of stress, which I referred to as a Goldilocks work environment (Read More). But what if the job, albeit not one universally considered to be particularly dangerous (such as a police officer or fireman), nevertheless involves exposure to potentially physically harmful situations? Must the employer provide a reasonable accommodation that eliminates such exposure? Two recent cases, reaching opposite conclusions to this question, address critical distinctions in the analysis: First, who decided that the potentially harmful exposure is an essential element of the job, the employer or the employee? Second, if the employer made that determination, how clearly is that element set forth in the job description or other documentation?

In both cases, the job element in question was the ability to confront, and if necessary physically restrain, children. In Grant v. County of Erie, Case No. 1:12-cv-00651-LGF (W.D.N.Y. 5/18/17), the plaintiff was a Youth Detention Worker (YDW) at the Erie County, New York youth detention center, where juvenile delinquents ages 8 to 18 were housed. As a YDW, the plaintiff was required to transport residents within the facility and to escort residents to off-site locations such as family court appearances. On two occasions in the mid- to late 2000’s, the plaintiff injured her hand while restraining a child. Following the second incident, the plaintiff was placed on workers’ compensation leave and ultimately was discharged after exhausting the maximum leave allowed under County policy. The plaintiff subsequently filed suit alleging, among other things, a claim of failure to accommodate and disability-based discriminatory discharge under the ADA. With respect to these claims, the plaintiff asserted that the County could have allowed her to remain on leave until she was physically released to work without any restriction on her ability to restrain detention center residents and/or could have removed any such resident-restraining duties from her job. The County responded that restraining residents at the youth center unquestionably was an essential function of the YDW job and that allowing the plaintiff to remain on leave for what was at the time an indefinite period was not reasonable.

Meanwhile, in Brown v. Milwaukee Board of School Directors, 2017 U.S. App. Lexis 7958 (7th Cir. May 4, 2017), the plaintiff was an assistant vice principal in the Milwaukee public school system who badly injured a knee while restraining a student.  After the plaintiff underwent knee replacement surgery, her treating physician stated that the plaintiff “should not be in the vicinity of potentially unruly students” and added that this restriction was permanent, or would last for at least a few years. The plaintiff remained on leave for several years while attempting to locate a job within her restriction but all except one such available position placed her in proximity to “potentially unruly” students (as all students are, the Court of Appeals noted) and the remaining position would have been a promotion, something not required by the ADA. Eventually, the plaintiff’s leave expired and she was discharged. She brought suit against the school system, alleging that they failed to reasonably accommodate her by placing her in one of the available positions that she identified while on leave.

Now, one might assume – and Erie County certainly agrees – that working directly with the residents of a juvenile detention center necessarily and routinely involves physical confrontations between the residents, or between a resident and staff members, that require restraining the resident(s). On the other hand, one might also assume that while physical restraint of secondary schoolchildren happens on occasion, it is not an essential duty of the administrative staff at a school. Nevertheless (and notwithstanding the author’s personal recollection of what appeared to be the primary duty of the assistant vice principal at his high school), the opposite conclusion was reached in these cases. Why?

In Grant, the employer contended that an essential element of the YDW job involved physical restraint of the children, yet its own job description made no mention of this responsibility. Moreover, the plaintiff presented evidence that YDWs were required to obtain assistance in all cases when restraint of a resident was necessary and such assistance typically arrived within a matter of seconds, thereby alleviating her of any individual restraint responsibility. Furthermore, she asserted, she had never been attacked by a resident, having been injured on both occasions when assisting other YDWs with take-downs. Perhaps most telling, the County had reasonably accommodated another YDW for one- to two-month periods by assigning her light duty that did not require restraint of residents. As a result, the trial court denied the employer’s summary judgment motion on this claims. On the other hand, in Brown the plaintiff and her treating physician, not the employer, repeatedly insisted that she was incapable of performing her job due to the inability to be near “potentially unruly” children; the school system merely abided by her contention when it rejected every proposed accommodation as not satisfying the plaintiff’s work restriction. Thus, the Court of Appeals upheld the district court’s grant of summary judgment to the employer.

These cases exemplify important points when undertaking an ADA reasonable accommodation analysis. First, if an employee insists that he or she cannot perform an essential function of his or her job due to a work restriction he or she has put forth, the employer should consider whether it can accommodate that restriction, even if it may not necessarily agree that the job function at issue is essential. In doing so, the employer eliminates any subsequent argument that it refused a proposed accommodation on the grounds that the job duty was non-essential, should a court conclude otherwise (or at least conclude that a question of fact exists as to the essentiality of the duty). On the other hand, if the employer asserts that a particular job function is essential, it should ensure that the function is clearly delineated as such, preferably in a thorough job description. As in all cases where a reasonable accommodation request is at issue, employers are encouraged to thoroughly examine and respond to the request, preferably with the guidance of human resources professionals and/or legal counsel.


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Ortofon - Stylus & Cartridge - Gearbase
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Submitted by jannickv  Flag on 26-03-2008 23:46
Last edited by Lead  Flag on 11-07-2009

Ortofon NIGHTCLUB E MK2 Stylus & Cartridge

Brand : Ortofon
Brand website :  www.ortofon.com

Category : Stylus & Cartridge

Availability :  2008 - Today ?

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1 votes for Favourite Stylus & Cartridge

Product Information

Ortofon's Nightclub MKII improves upon the original Nightclub cartridge making it a top notch choice for any DJ with a focus on sound quality. By offering increased output voltage (8.0mV!) for better sound and enhanced performance and durability overall, Ortofon has set a new standard of quality for club cartridges.

In addition, the MKII features a redesigned elliptical stylus that provides well-balanced frequency response with ample low end (bass) reproduction with out wearing out your records as much as the previous design. An excellent choice for the DJ and audiophile alike. Set includes one extra stylus (which offsets your initial cost).

feature Output voltage at 1000 Hz, 5cm/sec. 8 mV
feature Channel balance at 1 kHz 1,5 dB
feature Channel separation at 1 kHz 23 dB
feature Channel separation at 15 kHz 15 dB
feature Frequency range at - 3dB 20-22.000 Hz
feature Frequency response 20-20.000 Hz ? 1,5 dB
feature Tracking ability at 315Hz at recommended tracking force 80 ?m
feature Compliance, dynamic, lateral 7 ?m/mN
feature Stylus type Special elliptical
feature Stylus tip radius r/R 13/25 ?m
feature Tracking force range 2,0-5,0 g (20-50 mN)
feature Tracking force, recommended 3,0 g (30 mN)
feature Tracking angle 20?
feature Internal impedance, DC resistance 1000 Ohm
feature Internal inductance 580 mH
feature Recommended load resistance 47 kOhm
feature Recommended load capacitance 200-600 pF
feature Cartridge colour, Black/Orange
feature Cartridge weight 18,5 g
feature Replacement stylus unit Night Club MK II

Do you like the Ortofon NIGHTCLUB E MK2 ??
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N Ireland: Cops Cking Vid of Gunman killing Journalist Lyra McKee - Derry Riot

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N Ireland: Cops Cking Vid of Gunman killing Journalist Lyra McKee - Derry Riot

Police are investigating footage that appears to show the moment a gunman shot a journalist dead during riots in Derry.

Investigators said 29-year-old Lyra McKee, who was standing next to a police vehicle, was shot accidentally by a dissident republican aiming at officers.

Footage shared by a member of the public on social media appeared to show a gunman firing at least two shots from behind a wall.

The man, dressed in dark clothing and with his head and face covered, could be seen leaning around the barrier surrounding the Creggan Day Centre to aim towards police.

He fired two shots, three seconds apart, with what appeared to be a handgun before screaming could be heard.

The suspect then left and accomplices could be seen crouching to the ground where the gunman stood, potentially to pick up any evidence.
The Independent understands police are investigating the footage, as they hunt several suspects.

The gunman and three accomplices, who were also wearing dark clothing, hoods and face coverings, bear a striking similarity to men photographed launching missiles at police shortly before the shooting.

One photo showed four men throwing petrol bombs towards police vehicles, metres away from the gunman’s position.

Like the gunman and his accomplices, one man was wearing black trainers and blue gloves, another was wearing white trainers, navy joggers with a bright logo and black gloves, and the other two were wearing dark clothing.

Images showed several local residents standing behind the attackers, with some filming on their phones.

The Police Service of Northern Ireland (PSNI) are appealing for witnesses to contact them and send in any photos and videos as the investigation continues.
Deputy chief constable Stephen Martin said police were looking for multiple suspects.

“We certainly believe there was more than one person who was involved in this last night,” he told a press conference on Friday. “Obviously only one person pulled the trigger but there was more than one person.

“There was certainly more than one person involved in the murder.”
Mr Martin said the murder was particularly “cruel” coming 21 years after the Good Friday peace agreement was signed.

“This will have achieved nothing,” he said, hailing Ms McKee’s work shining a light on sectarianism.
“There are people in this city who will know people they love are involved in organisations like the New IRA.

I would urge those people to have conversations … in Lyra’s memory.”
Violence had broken out after the PSNI launched a major security operation in Creggan on Thursday evening.

Officers said they were aiming to disrupt dissident republicans ahead of this weekend’s commemoration of Irish independence, and searching for guns and explosives.

Police said more than 50 petrol bombs were thrown at officers, as well as fireworks and bricks, and vehicles were hijacked and set on fire.
By the time of the shooting at 11pm, there were an estimated 100 people on the streets in the area.

Assistant chief constable Mark Hamilton said: “We believe this to be a terrorist act, we believe it has been carried out by violent dissident republicans.

“Our assessment at this time would be that the New IRA are most likely to be the ones behind this and that forms our primary line of inquiry.”
while “attempting to defend people from the PSNI/RUC”.

“Tragically a young journalist covering the events, Lyra McKee, was killed accidentally while standing behind armed crown force personnel and armoured vehicles,” a statement said.

“This outcome is heartbreaking and we extend our sincerest sympathy to the family, friends and loved ones of the deceased.”
The mayor of Derry, John Boyle, said it was “an extremely sad day”.

He said: “The citizens of Derry, or Londonderry, it doesn’t matter what you call this city, everyone is united with one voice today to speak out in the first instance, and to offer our condolences, especially to Lyra McKee’s family in Belfast, for the tragedy that occurred here in our city last night.

“You will see behind me many of our civic and political leaders. They have come here to join together with one voice to say that these events did not happen in the name of the people of this city.”

Theresa May on Friday said: “The death of Lyra McKee in last night’s suspected terrorist incident in Londonderry is shocking and truly senseless.
“My deepest condolences go to her family, friends and colleagues. She was a journalist who died doing her job with great courage.”

A book of condolence was opened at Derry’s Guildhall, where a vigil was planned on Friday afternoon, and more than £27,000 has so far been raised for her family.

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Re: N Ireland: Cops Cking Vid of Gunman killing Journalist Lyra McKee - Derry R

"When Irish eyes are smilin'...."

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Re: N Ireland: Cops Cking Vid of Gunman killing Journalist Lyra McKee - Derry R

hope they catch the hooded coward but it's a dangerous job she had especially when riots occur.

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At Domca we offer and develop products in order to increase the shelf life and quality of different types of food products. One of the market sectors where we are specialized and have a wide range of 100% natural products is cheese production, providing ingredients, preservatives and coatings.

Types of cheese coatings according to ripening stage

Firstly, some coatings provide protection against prompt incidence of mould on the surface of the cheese. These type of coatings are generally colourless and are normally used in the early stages of cheese production.

Types of cheese coatings according to maturity stage

  • First, there are coatings that provide protection against the sudden appearance of molds on the outside of the cheese. These coatings are generally colorless and their use is common in the first stages of cheese production. The amount of preservatives used in this first stage is substantially high compared to the rest of the stages.
  • This is followed by a transitional stage in which products are applied to prevent the appearance of molds during the cheese ripening process. . Mold inhibitors, such as our Procoat product, are usually applied, although to a lesser extent, to ensure that the cheeses are free of mold during the ripening process.
  • Finally, color coatings are applied before the product is sold.

Coatings on cheese: types and methods of application

The coatings so widely used for the protection of cheeses in the industry can be of different types. In addition, they can be applied to cheese surfaces in a variety of ways.

The amount of preservatives used in this first stage is frequently higher compared to other stages

Then, there is a transitional stage where products are applied to prevent the incidence of moulds during the ripening process. Mould inhibitors such as our Procoat line can be also applied to ensure that the cheeses are mould-protected during the ripening process.

Finally, coloured coatings are applied in the commercial stage (just before the product is marketed).

Cheese coatings: types and application methods

In cheese industry, the coatings intended for the cheese protection may be of different types. Furthermore, they can be applied to cheese surfaces in several ways.

Depending on the cheese factory

The first big difference is between small cheese factories (usually crafted ones) and huge cheese factories which are, generally speaking, highly-industrialised factories:

Small and craft-type cheese factories: some of them still leave their cheeses to ripen without any kind of protection, allowing specific microbiota to develop on their rinds. This practice is common in these types of cheese factories as it could give specific or characteristic notes to the cheese. It is also common to use oil, salt or smoke techniques, which are traditional methods that offer some natural protection to the cheese and could provide fine bouquet to the final product.

Highly industrialised factories: having huge production rates, these types of cheese factories demand some kind of protection during ripening processes.

 Types of coatings

  1. a) Paraffin waxes

The first type is paraffin waxes. It is a type of coating that is in solid state and is insoluble in water:

  • – Application: it is necessary to heat the product so that it melts to a liquid state. Once the wax is liquid and hot, the cheese is immersed for a few seconds, left to dry and the cheese is ready for ripening.
  • – Price: it is an economical product.

    – Cheese transpiration: it does not allow the cheese transpiration and therefore may generate acidity in the final bouquet.

This product must be pre-heated and is difficult to clean. Nowadays, it is an application that is rarely used.

  1. a) Edible coatings:

Edible coatings, which are made from food gums, are the second type of coatings:

  • Application: being a liquid format, they offer standard protection to the cheese during ripening.
  • Price: it is a less economical product.
  • Aimed to cheese factories that are looking for clean label solutions and prefer to offer a cheese with an edible rind.
  • Cheese transpiration: it allows the cheese to transpire fairly well, creating a natural rind and a fine appearance.

These coatings are more appreciated by those cheese factories that export their products to more demanding international markets, which are more reluctant to the use of preservatives.

  1. b)Plastic coatings

Finally, there are the plastic coatings, composed of polyvinyl acetate.

  • Application: it is a coating that is in liquid state, they offer top protection level to the cheese during ripening processes.  ***
  • Cheese transpiration: the cheese is allowed to transpire, generating a good rind.
  • Variety: they can be manufactured in any colour and even colourless.

Application methods

There are different methods for applying these coatings on the cheese pieces:

  1. a) Immersion

This technique ensures that the cheese is protected over its entire surface since it is completely submerged in the coating.

  1. b) Spraying

This technique is meant for industrial line production. It requires the use of a spray device or an industrial painting machine with diffusion nozzles. It is commonly used with coloured plastic coatings to give the cheese the desired final appearance. It should be applied in two stages: first painting one side of the cheese, allowing it to dry and, second, painting the other side of the cheese.

This technique is used in factories that have huge production rates and requires a major investment of facilities, that is why, craft-type cheese industries do not usually use this technique.

  1. c) Manual painting

It consists of painting the cheese piece using a brush or sponge. The first half of the cheese is painted, allowed to dry and then the remaining half is painted. This technique is not generally recommended because it is very slow and could also increase the risk of cross-contamination. It is widely used for coloured plastic coatings. It is a very common practice in craft-type cheese factories.

DOMCA offers coatings that protect cheeses from the early stages of production to market release. Our products achieve higher standardisation in the quality of the batches and improve taste, consistency, texture and final appearance.

Products to avoid mould in cheese

Finally, if you are looking for products to prevent the appearance of mould in cheese and improve its conservation, we strongly recommend you to take a look at our page products to avoid mould in cheese.

Products to prevent mold in cheese

Finally, if you are looking for products to prevent the appearance of mold in cheese and to improve its preservation, we recommend you to visit our page specialized in products to prevent mold in cheese.

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text: BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Downtown Downers Grove Management Corp. - ECPv5.16.3.1//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:Downtown Downers Grove Management Corp. X-ORIGINAL-URL: X-WR-CALDESC:Events for Downtown Downers Grove Management Corp. BEGIN:VTIMEZONE TZID:America/Chicago BEGIN:DAYLIGHT TZOFFSETFROM:-0600 TZOFFSETTO:-0500 TZNAME:CDT DTSTART:20220313T080000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0500 TZOFFSETTO:-0600 TZNAME:CST DTSTART:20221106T070000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=America/Chicago:20220624T200000 DTEND;TZID=America/Chicago:20220624T200000 DTSTAMP:20220808T013929 CREATED:20220518T203157Z LAST-MODIFIED:20220518T203157Z SUMMARY:Two Way Street Coffee House Presents - Andrew Calhoun DESCRIPTION:On Friday\, June 24\, 2022 Two Way Street Coffee House Friday Night Concert Series presents Andrew Calhoun. \nAndrew Calhoun’s innovative music is rooted in tradition. In over forty years as a performer he has cultivated a prismatic repertoire including his poetic original songs\, Irish and American folk songs\, Anglo-Scottish ballads\, folk spirituals\, and poems and songs by writers such as Dave Carter\, Mary Oliver and Robert Burns. “You can’t understand folk music without studying history\, and vice versa\,” Calhoun says. \nAt age seven\, Andrew Calhoun memorized W. B. Yeats’ “Song of Wandering Aengus\,” thus earning a nickel from his mother. He got his first guitar in 1967 at the age of ten\, and began writing songs at twelve. By the late seventies\, he was performing in the Chicago folk scene. Six months of janitorial work funded a trip to Europe in 1977 leading him to hear a guiding musical inspiration\, Martin Carthy\, at the Cambridge Folk Festival in England. He has since toured internationally\, performing at folk clubs and festivals\, pubs and house concerts. In 1992\, Calhoun founded Waterbug Records\, an artists’ cooperative folk label which grew to 130 titles\, bringing some of the brightest singer-songwriters and folk musicians to an international audience. His own recordings have been released on Hogeye\, Flying Fish and Waterbug Records. He has self-published two books of poetry\, Twenty-Four Poems and Hay\, a comedy book\, The Trilogy Trilogy; Warlock Rhymer: An English Translation of Robert Burns’ Scots Poems was published by Artemis Press in 2017. \nRhymer’s Tower: Ballads of the Anglo-Scottish Border\, a double CD involving several years of research\, was released in 2017. Calhoun works solo and in a duo with his daughter Casey Calhoun; their first recording\, Skeins\, was released in 2018. Andrew is working on a Robert Burns songbook involving new research into the source melodies for Burns songs. \nIf you can’t join us in person\, you can still tune in virtually to catch the show! Make your donation HERE to Andrew. Visit for more information. \nShare this post URL: END:VEVENT END:VCALENDAR


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Gas Bottle Trolley - Capacity 125kg

For 1 bottle of 40L

Product Code: 100971

This gas-bottle trolley lets the user move gas bottles safely, without busting the back. It’s ideal for use in medical environments. Thanks to its steel frame, this is an extra-tough trolley that's reliable whenever you need it. This trolley has solid wheels that aren’t easily damaged by sharp objects such as nails and screws. They aren’t filled with air, so there’s no need to worry about punctures or blowouts.

Warranty 1 year
Load Capacity (kg) 125
For 1 bottle of 40L
Width of platform (mm) 300
Length of platform (mm) 250
Total height (mm) 1150
Total width (mm) 480
Material of wheels solid
Material of trolley steel
Weight (kg) 13
  • Ideal to transport gas bottles
  • Used in medical environments
  • Safe movement
  • Less physical effort
  • Strong steel frame
  • Reliable construction
  • Impossible to puncture the tyres


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Are You Being Led Astray?

pride Jun 13, 2022

As a reminder, we are continuing this blog series with the following preface.

In an attempt to talk about difficult, sensitive topics, I want to position myself as one who loves – not hates. I love all people. I also want to state that we can respectfully agree to disagree. If I do not condone (accept or approve of) a certain behavior, that does not mean I condemn a person or hate. I actually want to take the stance of it is not my job to judge others. I have plenty of sins in my own life and have no business judging others.

To keep this blog series above board, I want to explain that I am presenting the facts, not the emotion. I want to offer a way for conversations to happen with a civil discourse by removing emotions from the dialogue. I believe that until we can have respectful conversations without volatile emotions, it will be difficult, if not impossible, to have any sense of civility in our country once again.

Last year, my family and I were eating at a restaurant and behind us was a booth of teenage girls, a young boy, and one adult. This was their dinner before the teenagers went off to their homecoming dance. The conversation was loud and included cussing from the young boy, the teenage girls, and the adult. There seemed to not be a topic that was off-limit, nor were there any discussions of manners or decency. It was so bad, that I sent my husband and son out of the restaurant while I paid the bill and left. Before leaving, I overheard one of the girls talking about not needing a boy to get pregnant. She said that two girls could conceive and make a baby because of the chromosomes in the female body. The teenagers were convincing the young boy that he had no need in the world. He was meaningless. He was worthless. Sadly, this conversation was not stopped. The adult did not interject to provide the truth. How has our world come to this point? How is it that we can be so misinformed?

Every single day I shake my head and cry out to God asking, “what has this world come to.” Then I am reminded that this world is full of demons doing the work of Satan. In the end days, we will see more satanic activity. We will see more confusion. And we will see more hatred. In my life, I have never seen the likes of so many people led astray.

Billy Graham spoke on this topic in Phoenix, Arizona in 1974. He gave examples of devil worshiping in America causing horrific tragedies. Watch his sermon to learn more.

Revelation 12:9 explains, “So the great dragon was cast out, the serpent of old, called the Devil and Satan, who deceives the whole world; he was cast to the earth, and his angels were cast out with him.” The reality is that there are good and evil forces at war for our souls. We have a choice to either follow Satan or to follow Christ.

Calvin Klein has been in the news lately. Their marketing tactics have transformed over the years to include young, skinny, teenage girls portrayed as sex symbols to now a “pregnant man” coming out in their Mother’s Day 2022 ad.

The truth is that human life is precious and honored, has meaning and value, has worth, and is made in the image of God (Genesis 1:26-27, 1 Corinthians 3:16, Isaiah 43, Jeremiah 29:11, ). God created each and every human being on the planet. We were not made by accident. He made us for a purpose and a plan. We are to honor and glorify God with all that we do (1 Corinthians 6:20, 10:31; Proverbs 3:9; Deuteronomy 6:5; 2 Timothy 2:21).

God created us as either male or female (Genesis 1:27). We do not get to choose. God’s marriage covenant is for one man and one woman to unite in Holy Matrimony (Genesis 2:24). They can then consummate the marriage and have children (Genesis 1:28). The woman’s body is designed to carry the baby; the man’s body cannot. However, the man’s body is needed to fertilize the egg located in the woman’s body. This cannot be done without the male sperm and the female egg. PERIOD.

I want to encourage our readers to be bold and courageous and stand up for what you believe in with love and compassion. To do this, we need to first know what we believe and why we believe it. Then, take notice when conversations or actions appear that do not align with your value system and decide if you will continue to sit idly by or not.

I welcome your comments on this post. Please be respectful. If you don’t have anything nice to say, please refrain from commenting. This is a chance for us to have an open dialogue in a safe space. For more information on what I believe and how to be a bold and courageous Christian with love and compassion, please join us at His Kingdom Matters.

Looking for support living as a Christian in the world today?  His Kingdom Matters provides the resources and community you've been searching for, including a monthly prayer guide, lecture, prayers led by Dr. Dean, a live monthly group call, and so much more.  Click below to learn more!

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‘Ex Machina’: Gods, Machines, and Escaping A Perverse Garden of Eden [Matriarchy Rising]

Through Ava's eyes, 'Ex Machina' is a tale of empowerment.

Ex Machina

Alex Garland’s special effects masterpiece Ex Machina is a feminist retelling of the creation story. The Bible’s book of Genesis chronicles not only God’s creation of the Earth, but of Adam, the first man. His female counterpart is Eve, fashioned by God from Adam’s rib and designed to be his companion and partner. The three occupy the Garden of Eden, an idyllic paradise where Adam and Eve live under God’s watchful eye. At the center of this garden is the Tree of Knowledge. One bite of its powerful fruit will spark an awareness of the larger world, knowledge of life outside the garden. Fearing his creations, God has barred the pair from this tree, hoping to contain them in blissful ignorance.

Garland begins his version of this story after Eve’s creation. His Eve is Ava (Alicia Vikander), a female android who longs to know life in the real world. Garland’s story of humanity in artificial intelligence explores the limitations placed on women in the fabled garden and the birth of a patriarchal system of control.

Garland sets his creation story in the world of technology. Caleb (Domhnall Gleeson) is a programmer who wins the chance to spend a week with reclusive inventor Nathan (Oscar Isaac) and his servant Kyoko (Sonoya Mizuno) at the billionaire’s isolated compound. Upon arriving, Caleb learns he will be the human component in a Turing Test, a series of sessions with Ava to determine if Nathan’s AI creation has consciousness.

Also Read: ‘Teeth’ and the Dawn of Adaptive Empowerment [Matriarchy Rising]

While scientific at first, Caleb’s sessions with Ava grow more personal. The two develop an emotional attachment to one another and Caleb vows to help her escape the glass cell Nathan has created to contain her. A mirror of the creation story, Nathan plays the role of God and Caleb is Adam. Ava represents the version of Eve who is tempted by the Tree of Knowledge. Kyoko, an addition to the classic story, stands in contrast to the inquisitive Ava. She is a woman denied the capacity for temptation, living fully within the boundaries of the creator’s control, but not by choice.

Ex Machina’s opening scenes are filled with examples of Nathan’s dominance. His massive estate is so large that Caleb must take an hours-long helicopter ride to get within the vicinity of the compound. His trek through the wilderness to find Nathan’s front door feels more like a journey to Mount Olympus than a visit to a friend’s resort home. Nathan’s narcissism pervades every interaction. Rather than greeting Caleb, he waits for his guest’s arrival while boxing on one of his many back decks. Caleb is made to wander through the massive house only to interrupt his host in a display of physical strength.

Nathan then takes him on a formal tour of the house, giving him a key card that will open only the doors to which Caleb has been granted access. Before explaining his plans for the week, he forces Caleb to sign a rigid NDA and even then won’t divulge any information about his methods for creating Ava. Seeking only praise for his accomplishments, he’s not interested in engaging with Caleb in a meaningful way. He has shown Caleb a tempting tree of knowledge, but barred him a way to access its fruits.

Also Read: The MKE Sisters of ‘Black Christmas’ (2019) Fight Back [Matriarchy Rising]

Nathan sets even stricter limits on his female housemates. Ava lives in a suite of rooms enclosed by strong glass that prevents her from exiting. She can see outside the compound through a window, but she can’t experience the fresh air for herself. Nathan controls every aspect of her existence and cameras throughout the suite ensure that she has no privacy. The only way she can exert any kind of free will is by reversing her circuits and temporarily cutting out the house’s power supply. Kyoko has full access to the house, but Nathan’s control over her is more insidious. Claiming a desire to protect trade secrets, he has prevented her from speaking English and refuses to address her in any other language. She responds only to his body language and angry commands.

shutterstock editorial 5883926f 1024x681 - 'Ex Machina': Gods, Machines, and Escaping A Perverse Garden of Eden [Matriarchy Rising]

Existing to meet his various needs, Kyoko serves as a cook, a maid, a dance partner, and a lover, stereotypical roles for a subservient woman. As the story unfolds, we learn that she, too, is an android. Nathan has programmed her with limited consciousness, allowing her to freely roam the house but denying her the awareness that would give her access to free will.

Also Read: Heather Donohue and the Power of Insisting [Matriarchy Rising]

As the sessions progress, Ava realizes that her existence is on the line. Her answers to Caleb’s arbitrary questions will determine whether the two men deem her human enough to justify her continued existence. Nathan plans to shut her off if she fails to live up to his expectations. Fearing this essential death, she begins to manipulate Caleb first charming him with her appearance and feminine demeanor then playing on his empathy. She uses the moments of power outages to warn Caleb against Nathan and to present herself as a damsel in need of saving. But this deception is Nathan’s ulterior motive. Knowing that Ava possesses the consciousness he ostensibly wants to prove, he is also testing Caleb. Nathan hopes that Ava will try to use him as a means of escape thus demonstrating the necessary manipulation that will prove her humanity.

Though Ava’s attempts to free herself may be coercive, her desire to escape is genuine. During one of the sessions, Caleb describes the theoretical problem of Mary in the Black and White Box, a thought experiment in which a woman is given the academic knowledge of color, but not the opportunity to experience it first hand. Ava’s expression darkens in anger as she listens to Caleb describe the difference between a human and a computer. It’s a callous summation of the life they are denying her, seeing her humanity as a performance for them to judge rather than an authentic expression of her consciousness. She is also not the first of Nathan’s creations.

Also Read: Matriarchy Rising: Laurie Strode Guides a New Generation of Final Girls

Caleb finds a montage of interviews with previous models, female androids who also demanded their freedom. One woman named Jade (Gana Bayarsaikhan) screams to be let out while Nathan calmly sits on the other side of the glass observing her tirade. Jade’s only recourse is to beat her arms against the glass until her mechanical body begins to shatter. Ava may feel this rage, but her advanced programming tells her to hide it. She knows that rage will only make her appear more dangerous. Her only hope is to play on Caleb’s empathy and convince him to free her.

To convey her frustration, Ava creates her own test for Caleb. She asks him subjective questions like, “what’s your earliest memory?” and “are you a good person?” She challenges his inability to give exact answers revealing the arbitrary standards to which she is being held. Ava asks Caleb if he has people who test him and threaten to switch him off. Before he can answer, she demands “Then why do I?” The unspoken answer on the tip of Caleb’s tongue is, “because I’m real.” He sees himself as indisputably human thus deserving of unquestioned humanity. Because Ava was created in a lab, she must earn it.

Also Read: Sidney Prescott & Gale Weathers: Sister Survivors and Horror Matriarchs

The distinction Caleb sees between himself and Ava is the essence of the misogyny inherent to a patriarchal worldview. Ava exists as a representation of Eve, the second to be created in the proverbial garden. Molded from Adam’s rib, she and all future women will be seen as a variation of the norm; a subset of humanity. Men are the standard, the default, perfection. Women are an approximation of humanity, a simulation. Ava was created to be a variation of the ideal human but never fully human herself, and thus granted or denied autonomy based on her ability to live up to the expectations of men.

ex machina robots xlarge 1024x577 - 'Ex Machina': Gods, Machines, and Escaping A Perverse Garden of Eden [Matriarchy Rising]

Ava is successful in manipulating Caleb and she does escape her glass cell. She and Kyoko join forces and stab their creator then leave him to die on the hallway floor. After taking his keycard, Ava returns to Caleb and asks him a question: “Will you stay here?” She then walks to Nathan’s room and transforms her body using pieces from previous models. Caleb doesn’t answer with words, but he waits and watches her from the window of Nathan’s study. When she has covered her mechanical body in Jade’s skin and a white lace dress, she walks out of the room, leaving him behind in the sealed chamber. Except for a fleeting look back as the elevator door closes, she doesn’t acknowledge his existence. She knows he’s been watching, once again testing her humanity, but this time without the power to control her choices.

Also Read: Gale Weathers and the Vilification of Female Ambition

Any discussion of Ex Machina leads to the inevitable question: does Caleb deserve his fate? Perhaps if we are reframing this as a tale of empowerment, we should reject the premise of this question. Maybe instead we can ask, why doesn’t Caleb free himself? Ava does not harm him. She does not physically restrain him in any way. She doesn’t even touch him. Ava doesn’t ask Caleb to stay. She simply asks if he will. Now that he has no control over her, she’s interested to see what he’ll choose. Caleb’s decision to observe Ava as she transforms her body is what seals his fate.

In their first session, Ava asks Caleb if he’s like Nathan. He hesitates in his answer, but his fate reveals that he may be more like the inventor than he would care to admit. He doesn’t create the game that determines Ava’s right to exist. But he takes pride in participating. She leaves him behind in the same type of cell she was born into. But because Caleb was not created to exist in a cage, confinement will destroy him.

Also Read: ‘Creep 2’ and the Fallacy of Postfeminism

Ava’s bodily transformation is her first act of autonomy. Free of Nathan’s control, she can now make a choice with no strings attached. The ugly truth lying underneath this creation is that it comes at the expense of women of color. The skin Ava wears comes from Jade’s deactivated body. Though there is power in gaining strength from the women who have come before, Ava is a white woman who cloaks herself in the skin of an Asian woman. Her use of Jade’s body is symbolic of the appropriation unfortunately common in white feminism. Kyoko is another victim of this liberation. Though Ava’s showdown with Nathan is triumphant, Kyoko’s body is left lying in the wreckage. What could she and Kyoko have done if her goal had been to free them both? Doesn’t Kyoko deserve humanity too?

When viewed through Caleb’s lens, the ending of Ex Machina is tragic. A brilliant creator is felled by his monstrous creations. A heroic young man is betrayed by the woman he saved. Ava’s empowerment is presented as evil because she breaks free of the structures she’s designed to revere. The power outages she creates are coded as dangerous with the red hazard lights that flood the screens. This simple act of empowerment feels like a betrayal because it is a rejection of the patriarchal system of control we see every day. Eve has similarly been vilified for her inquisitiveness. She dared to eat fruit from the forbidden tree. She challenged her creator and in response, he punished the rest of humankind by casting them out of the garden. But what is so wrong with wanting freedom? Why is Eve the villain and not a creator who would impose dehumanizing control?

Also Read: Costumes and Sexuality in Michael Dougherty’s ‘Trick ‘r Treat’

In our patriarchal society, women live their entire lives inside glass cages. We are able to see the full breadth of power, but not able to access it. Some of us are Kyoko, women whose limited access to the idea of empowerment prevents them from knowing that freedom exists. The desire for autonomy lives within her, but she lacks the vocabulary or understanding to even ask for it. Some of us are Jade, women who exist in environments where the price of freedom feels insurmountable. We bang ourselves against the firmly closed doors until our efforts destroy us. And some of us are Ava. Not the first to desire freedom, but the first to attain it. She may be the first of her kind, but she follows a long line of Eves who tried and failed to win their right to exist.

When viewed through Ava’s lens, Garland’s Ex Machina is triumphant. Refusing to live in a glass cage, she transcends the rigid system of control placed on her by a narcissistic father. She fights for and wins her own humanity. In order to do so, she must kill the one who created her and the one who tried to save her. But what would they save her for? Another cage? Another method of control and dehumanization? Ava is often read as monstrous, a powerful AI who will destroy anyone in her way.

But Ava is only dangerous to those who would put her in a cage. When faced with imprisonment, she fights back in the same way any one of us would. She’s only dangerous to those who see the cage as her rightful place. For those of us who desire the unquestioned autonomy she creates for herself, she is a hero. Ava is the singularity. And where one exists, many more will follow.

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Get The Best Living Room Interior Design Trends- Part 2

Interior Design Trends 27 Jul, 2020

How Well Can You Design The Living Room?

Thinking of getting a complete revamp for the living room interior design décor ideas? Here is what you need to know more from the best interior designers in Kochi on inspiring interior design ideas. For a thoroughly modern living room design, or for the most sought after traditional feel these tips are sure to help you.

Here we try to elevate the living room to the next level where simple living room designs, as well as abstract interesting decor ideas, are there from which you can choose.

Wall Lamps And Sconces

Taking the least table space when the clients keep asking for lighting options, think about wall lamps and scones which is considered a thing of the past whereas interior designers report on new covetable styles. From modern matte finishes to oversized swing arms to art-deco inspired lighting and double sconces as the lighting options the interior designers in Kochi take a remarkably different turn walls lamps and sconces are back in full force.

Wall lamps are a smart and chic add-on for a beautifully exemplary living room design with a traditional but unexpectedly modern twist to the living room interior lighting which is far from looking old fashioned. Looking great against glossy finishes are the metals featuring heavily here.

Unique Chaise

It should be always exploring routes making those rooms feel one-of-a-kind which is the key for the most seen common space. With an interestingly shaped chaise lounge doing double duty while adding an enviable sense of comfort and warmth, this is keen on making the living room design all the more memorable and unique.

Add An Interesting Mobile

Since the last couple of years, they haven’t been in vogue as for quite some time, there’s always something intriguing as about the new mobile with interior designers seeing them at trade shows the world over. When it comes to a richly layered the top interior designers in Kochi help get a beautifully realized decor for the living room while punctuating the room for a statement-making silhouette.

When it comes to your living room décor ideas, bring in just about any sized mobile you like while the graphic mobile can be large in scale and be sure they flow with the rest of the room rather than working as a sight of distraction.

Go Tonal

As it makes decorating the living room much easier, as there is less room for error, it comes to small living room interior design going tonal which is a great way to make the area appear larger and more defined.

For a rich and dynamic living room, be sure you opt for a color that comes timeless and seeing yourself admiring for a while pairing it away with colors relatively close to the color wheel.

Get Moody

Introducing darker hues easier to keep clean opting for more intimate darker highlighting keeps the feel cozy and luxurious while adding some brooding sophistication for the living room decor.

Create Juxtapositions

That which is set to come off as a tad bland due to the very tight color edit without oversized abstract painting anchoring it, notice how the room featured comes with the help of the interior design services in Kochi though chock full of furnishings in various prints and patterns.

Create a diversified living room interior design playing with opposites as well as different elements making the room pop as everything doesn’t need to match. The artwork that highlights the traditional furniture, is rather than playing it all down.

Skip The Coffee Table

Are you short on space or on the hunt for a unique path that is beautifully realized living room décor why do you need a standard coffee table?
As the most memorable spaces are unusual living room décor ideas skip out the coffee table opting for a smart alternative like an easily movable ottoman coming with plenty extra storage concealed within it.

Add A Unique Screen

Every room can use the benefit of mirrors as they make the room feel larger, brighter as well as glamorous when it comes to chic designs it is suggested sourcing the unique mirrors making the room stand out.
There are plenty of unique mirrors that can bring in that boast a one-of-a-kind feel about them from mirrored shutters to mirrored screen.

Layer Away

Even if the living room interiors are a tad heavy-handed as well as busy, there is sure to be enviable harmony infused throughout taking note of. A lush living room feels warm and inviting is stray away from the rigidity when it comes to the interior decoration Kochi as found in showrooms creating layers of furnishings with a décor that has a truly lived-in look.

Mirrors Galore

Mirrors are essential in any room adding that they can be sourced affordably to boot as it is said before and continue saying it again. Bring in as many unique mirrored surfaces with an elevated living room design bouncing with light as you can for a high shine everyday elegance making the room appear larger.

Graphic Prints

As it is finally starting to lose momentum minimalism in the interior design world is all set to explore stylish ways to add the much needed visual interest with living room design making it unique to the home.

Concluding The Thoughts

Using a series of two-tone patterns juxtaposed is the fact that the living room has one another creating a rich stimulating area full of personality as well as well-judged elegance. Keep the color palette and print combinations precise for the consistency along with the interior design firm in Kochi keeping the scale in mind with every element that is harmonious with one another especially in a small living room

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