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Electronic Book Review - G http://www.electronicbookreview.com/tags/g en The Domestic as Virtual Reality: Reflections on NetArt and Postfeminism http://www.electronicbookreview.com/thread/writingpostfeminism/amplified

by

Jess Loseby

2004-01-27

My introduction to net.art began in 2001, past its “heroic era.” Indeed, by the time I felt confident enough to upload my tentative photomontaged sound-bytes, New Media writers had already begun to say that the network avant-garde was limping, if not mortally wounded. At that time I was working off a laptop based on my kitchen table from which I could operate a limited artistic practice whilst chasing my youngest child around the house. Thus, the kitchen table became my portal to digitality, not only the hub of my digital practice (as it is the hub of my domesticity), but the centre of my desire to develop my thematics of the cyber-chick - sitting somewhere between the microwave and the modem in the isolation of the domestic/digital world, questioning what the avant-garde might be and what my role might be in it, just as I was throwing myself into what at that time appeared to be its last days.

I found myself sitting, not merely at the kitchen table, but surrounded by the accoutrements of the domestic world. In the perennially hierarchically structured social system, the domestic is perceived as insignificant in comparison not only to the world of work (for no work is really done at home, is it?), but also to the world of “male” tools. Screwdrivers are tools, and drills really are, but aren’t the implements of the kitchen tools, too? These wooden spoons, knives, and peelers? In fact, many of them are technological: the coffee maker that grinds its own beans and makes its own coffee, hours after programmed to do so; the digital food processor that must be set up “just so” to prevent loss of fingers; the microwave, the dishwasher… What has happened, I asked myself, to make a hammer bear a masculine and therefore superior connotation where a wooden spoon, equally essential, has a distinctively feminine aspect (except within the hands of a male chef, of course)? Yet even in the kitchen a male hierarchical system prevails, one that places the microwave over the spoon, the processor over the knife. The degree of development through technological innovation determines the ranking of an object within the domestic sphere. A bachelor kitchen may be thoughtfully littered with smart, chrome gadgets - but ask if he owns a wooden spoon.

The irony of the domestic and of technology and women is three-fold: first off, the more that technology has entered the domestic world, the more domestic work that women have found foisted upon them. Studies have estimated that with the advent of washing machines and vacuum cleaners, etc., time spent on female domestic work has stayed the same or actually increased so that domestic technology has in reality made a woman’s day longer and more difficult. Michale Bittman, James Mahmud Rice, and Judy Wajcman, in “Appliance and their impact: The ownership of domestic technology and time spent on household work,” say that “owning domestic technology rarely reduces household work. In some cases owning appliances increased the time spent of the relevant task” (The British Journal of Sociology 55.3 (2004): 401-23). Secondly, while even technology-driven domestic tools are not considered technological, women actually use computers more than men. In fact, women constitute 57 percent of all computer users so that even though computers have a high-tech and male connotation, most users are female Bruce A. Weinberg, in “Computer use and the demand for female workers,” argues that “not only are women substantially more likely than men to use computers, but the adoption of computers has likely been associated with changes in the nature and conditions of work that favor women.” Industrial and Labor Relations Review 53.2 (January 2000); Business Source Premier. Also, interestingly, as Cornford and Habib suggest, “Home computers are often considered as `domestic technology’ or part of the `domestic media ensemble’ as if those were simple and straightforward concepts.” Merely placing a computer within the domestic sphere strips it of its technological social advantage, but often ignores the complexity of that very internal private space, for that is what we are talking about here, isn’t it? The higher the social standing of the male and the technological, the lower one of the female and the domestic?

The domestic world is complicated by the human application of value onto its tools. Items become rife with significance regardless of their technological standing. Objects themselves are infused with unique meaning by their users. An old chipped cup might be the last of a treasured wedding set or a remnant of childhood. A brand new juicer might be the gift of a lover. Patterns of significance developed within this environment are individual to the home, to the domestic context.

Significance also imbues the domestic tool by means of the social and the material. Branding becomes an issue (Is that a Viking stove? A Subzero refrigerator?) and a marker of social standing. Machines that separate the body from direct contact with the food carry higher social place as well, so that a grater is not as esteemed as an automated slicer/chopper/shredder.

In addition to this collaboration between body and domestic, technology engenders a secret rhythm and interchange: the endless cycle of consumption and elimination, the formation of bacteria and its ritual extermination. Repetition, routine, multiplication, and control are the thematics of this relational space. “[E]verday life,” says Van Loon, “consists of a multiplicity of rhythms. Everyday life thus entails a range of flows, each with their own `proper time’ (e.g., duration, pace, frequency). Likewise, we could argue that everyday life consists of a multiplicity of spatializations, including forms of embodiment.” Manovich, L (2002) quoted in A. Galloway, “Intimations of everyday life,” Cultural Studies 18.2-3 (2004): 384-408; EPSCOHost. Edwards and Grinter identify difficulties with determining and taking advantage of these inherent iterations of the domestic: “routines are subtle, complex, and ill-articulated, if they are articulated at all” (“At Home with Ubiquitous Computing: Seven Challenges” 256-272 in G.D. Abowd, B. Brumitt, S. A. N. Shafer (Eds.) Proceedings of Ubicomp 2001. LNCS 2201. Springer-Verlag Berlin Heidelberg 2001). The repetition of daily domestic experience serves two purposes: one is to place the body in space, to orient the self but on a domestic rather than an urban level (a la de Certeau, for instance); the other is to accrete value over time. By doing the same thing time and time again (wiping the counter, washing the dishes, folding the laundry), the value of the devoted to that task becomes an essential component in the confirmation of the value of life - the order of the private world.

The kitchen quietly and without panoply models a seamless new medium, one that provides an intersection between the body and technology, one that facilitates the co-immersion of the female with the high tech. The kitchen, therefore, has already created and established the type of embodied environment that New Media theorists such as Lev Manovich have predicted but failed to identify. In The Poetics of Augmented Space, Manovich dismisses the domestic as nothing more than a “physical space filled with electronic and visual information.” http://www.manovich.net

The domestic spaces in New Media could be said to be the developing “rooms” of Augmented Reality (AR) and Augmented Virtuality (AV). Although definitions still remain fluid, it may be generally understood that in AR, the space and its objects, are constructs of the imagination and fantasy of another (most usually a [male] programmer) in a similar manner to Virtual Reality (VR). In an Augmented Reality environment, a domestic object would not have its “expected” properties but would be superimposed with new, virtual properties. For example: in AR, a table might be used as a transportation device, it might transform into a doorway opening to some other level or it might have animistic or human properties. These imposed properties only exist within the Augmented Reality.

Augmented Virtuality (AV) is also a construct, not of fantasy or imagination, but of a simulation or a matrix-like imitation of the “real world.” AV uses “real world” objects to enhance the digital reality and the augmented objects it creates to aid the immersive experience. “The ultimate goal,” says Vallino, “is to create a system such that the user can not tell the difference between the real world and the virtual augmentation.” Vallino, J, “Introduction to Augmented Reality, ” 2002. From: “Augmented Reality Page” Internet: http://www.se.rit.edu/~jrv/research/ar/introduction.html

Unlike the objects in the domestic kitchen space, in both the utopias of AR and AV the relational spaces between objects are made and signified by the same digital materials: any relational space is between two equals, if it exists at all. The perceived differences of organic and non-organic, animate and inanimate are illusional, differentiated only by a length or arrangement of code. When translating these arrangements, the processor sees no hierarchy between the coded cluster that will represent the microwave and that which will represent the wooden spoon. Although these digital representations can mimic cycles and flows within the domestic space, there is no differentiation between high and low technology as all objects are constructs of high technology. In the language of rhizome, hierarchical structures are neutralised because all structures are fabricated. This observation of “digital equality” can be extended in that, although it might be argued that there is an organic (human) positioning within AR or AV (via the avatar or user), what might be called secondary organic material (which might cover blood, sweat or tears) can also only exist as a digital fabrication. Extending this exploration further introduces the complications of placing emotions/feelings or even ideas of self within an AR or AV. Within a cyber-domestic aesthetic (or the kitchen model) these ingredients are treated as tangible objects, the presence or absence of which may also conceivably induce a relational space in which the cyber-domestic can operate. The presences or absences of these conditions or objects also can impose significance or neutrality onto other relational objects even without reference to their form or function (which may also affect their hierarchical positioning within the space). AR or AV is as yet unable (within the constraints of current technology) to take these objects of self, emotion, or their associations to enhance immersive environments beyond a digital catharsis or symbolically representational level. Mark Weiser (sometimes called “the father of ubiquitous computing” “Ubiquitous Computing,” (no date) From: Xerox Palo Alto Research Center - Sandbox Server Internet: http://www.ubiq.com/hypertext/weiser/UbiHome.html ) put it in a more comprehensible way when he asserted, “virtual reality is only a map, not a territory.” Galloway, A., “Intimations of everyday life,” Cultural Studies 18. 2-3 (2004): 384-408. Internet: http://ejournals.ebsco.com/direct.asp?ArticleID=80APWUT7VNY4WAJ4QDA0

However, if technology can and has been assimilated into the domestic, where or what is the domesticity of cyberspace? Within the recent trend for a formalisation of net.art, it is immediately apparent that domesticity plays no part within the texts and institutionally directed net “agenda.” Dietz’s “datamined ten categories” of net.art include “net.art, storytelling, socio-cultural, biographical, tools, performance, analog-hybrid, interactive art, interfaces + artificers.” Dietz, S. “Why have there been no Great Net Artists,” 1999. Internet: http://portal.unesco.org/culture/en/ev.php This leaves little room for domesticity to manoeuvre - unless one redefines the vocabulary.

Artists and writers may see this uniformity as the foundation and promise of digitality. In “Database as a Symbolic,” Manovich argues that “many new media objects do not tell stories; they don’t have beginning or end; in fact, they don’t have any development, thematically, formally or otherwise which would organize their elements into a sequence. Instead, they are collections of individual items, where every item has the same significance as any other.” Manovich, Lev. “Database as a Symbolic,” 1998. Internet: http://www.manovich.net/DOCS/database.rtf Many female digital artists have embraced this augmented equality of digital matter as the utopian “level playing field” outside of social, patriarchal, or geographic limitations.

Yet, as the medium becomes message (and difference becomes materially inseparable) the quotes of digital visionaries such as McLuhan’s “extensions of man” McLuhan, M. Understanding Media: The Extensions of Man, NY: The MIT Press, 1964 (358). may appear to take on increasingly literal connotations and, in turn, may contribute to a world lacking in import. A lack of narrative and a collection of static items are indeed alien to the domestic space. In the absence of domestic hierarchies and objects or spaces infused with significance and meaning, the narrative of the kitchen will be lost in favour of Baudrillard’s hyperreal, where there is no space for dirt, noise, children, and domesticity. This will not be a postfeminist space. Still bound by a narcissistic fascination with its own novelty and technological innovation, is net.art being driven to become as equally beautiful and ineffectual as a kitchen full of “smart” processors, blenders and coffee-grinders - and no spoons?

The cyber-domestic aesthetic (CDA) not only seeks to undo and subvert these constraints by using the tools of both the cyber and the domestic, but it seeks to become the “beautiful seams” Galloway, A. “Intimations of everyday life,” Cultural Studies 18. 2-3 (2004): 384-408. Internet: http://ejournals.ebsco.com/direct.asp?ArticleID=80APWUT7VNY4WAJ4QDA0 that divide the two. Rather than repressing hierarchical distinctions, the CDA seeks them out and uses them to explore the nuance of repetition in life (much like minimalist music), to discern their value based on social concerns, and to reveal the freight of meaning attached to them through associations, both past and present. Methodologies for CDA net.art are therefore drawn directly from the kitchen and include: repetition, interaction [interactivity], routine, text [subtext], and domestic iconography. Secondary tools, representing the complication of the human presence, include a deliberate use of narrative, personality (as apposed to anonymity), gender (over androgyny), aesthetics, and a questioning of interface/surface relations. The cyber-domestic space is not Augmented but Amplified space. It is reality with the volume turned up.

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Jess Loseby, loseby, cyber, domestic, aesthetic, feminis, post-feminism, postfeminis, new nedia, art, practice, net.art, patriarch, manovich, mcluhan, catharsis, VR, Ar, virtual, augmented, reality, repetition, Cornford, Habib, Galloway, Dietz, Edwards, G

 Tue, 31 Jan 2012 16:25:05 +0000 EBR Administrator 1082 at http://www.electronicbookreview.com http://www.electronicbookreview.com/thread/writingpostfeminism/amplified#comments Bataille’s Project: Atheology, Non-Knowledge http://www.electronicbookreview.com/thread/endconstruction/prayerful

by

Marc LaFountain

2003-11-12

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Michelle Kendall and Stuart Kendall have produced an extremely important volume that belongs in the libraries of all who are interested in Georges Bataille. The Kendalls’ collection of Bataille’s essays, notes, poems, letters, lectures, paratextual comments, and aphorisms presents many works not before assembled. These works are fragments of a volume that Bataille envisioned, and repeatedly rethought and rearranged, from the early 1950s onward, but the volume remained unfinished at the time of his death in 1962.

The Unfinished System of Nonknowledge contains some previously translated essays and writings, but it also contains new translations, commentary, and working materials that Bataille did not ready or intend for publication. The title of the Kendalls’ text parallels Le Systeme inacheve du non-savoir, Bataille’s projected title for the fifth volume of La Somme atheologique. The first three volumes of La Somme atheologique (Inner Experience, Guilty, and On Nietzsche) were published, whereas the fourth, Le Pur Bonheur, was completed but hasn’t been widely circulated, and the fifth was never completed. Both the fourth and fifth volumes were even omitted from one of Bataille’s projections of La Somme just prior to his death. The Unfinished System of Nonknowledge contains Method of Meditation and “Post-Scriptum 1953,” which Bataille added to the second edition of Inner Experience (the Kendalls note these were missing from Boldt’s well-received 1988 translation of Inner Experience). It also contains the projected fourth volume, Le Pur Bonheur (“Pure Happiness”), as well as Bataille’s notebook for “Pure Happiness.”

The Kendalls’ introduction is interesting and informative. It contains chronological and background information that is often discussed in other works on Bataille and his writings. It focuses in particular though on the time of the late 1940s until his death. They direct this focus, however, not at his war and post-war politics, but rather at his interest in what amounts to a “codification” or “handbook” of sorts, by Bataille himself, of what is meant by and necessary for “sovereign operations.” One senses here the aging Bataille’s interest in clarifying his work on effusion and “the extreme of the possible” as a “method of meditation” (94). Unlike Breton’s papal relation to the Surrealist canon, however, Bataille sought only to emphasize the methodical practices and various principles or postulates derived from his explorations. The Kendalls highlight the many plans Bataille had for various books and writing projects, most of which he refigured incessantly and eventually abandoned. In particular, the Kendalls give significant attention to the many imagined versions of La Somme Bataille generated. The introduction provides clear definitions of Bataille’s “atheology,” especially within the context of the works this unique volume assembles. While admittedly their introduction is a series of fragments covering many aspects of Bataille’s thought, the Kendalls celebrate Bataille’s unfinished La Somme by focusing in particular on “the demise of discursive thought” (xxxviii), as found, for instance, in Bataille’s “Aphorisms for the `System`” and “Notebook for Pure Happiness.” Particularly interesting and important are the endnotes that accompany Bataille’s writings. For instance, in “Post-Scriptum 1953,” which accompanied the 1954 edition of Inner Experience, Bataille notes, “In my eyes, Method of Meditation was situated as an extension of Inner Experience” (291).

The first of Bataille’s writings that the Kendalls present is his proposal for a “College of Socratic Studies.” This essay highlights “slipping,” one of Bataille’s favorite and, I think, too frequently overlooked notions. This piece also emphasizes a number of familiar and important terms Bataille worked with over time: inner experience, expenditure, slippage, contestation, impossible, chance, the sacred, a beyond, irony, nonknowledge, isolation, communication, anguish, and method. Perhaps the Kendalls begin here because of their emphasis, developed in their introduction, that Bataille cannot be fully understood without acknowledging the degree to which he was a systematic thinker. Bataille engages and enters “the system,” but unlike Rael in Peter Gabriel’s The Lamb Lies Down on Broadway, who finds that “you gotta in to get out,” there is no “out.” Indeed one must go in, and that necessitates method. Only method opens the possibility of the impossible. But there is no getting out. Thus, unlike Surrealism or religion or philosophical systems with an “end” (e.g., structuralism, or phenomenology writ large by Hegel or small by Husserl and the French existential phenomenologists, who formed the intellectual matrix Bataille swam in), there is nothing to return to. There is an end, temporary, to isolation, which is where communication happens, but there is no out. A beyond, but no out. A beyond that is immense and proximate, and impossible. Hence contestation, and surprisingly, prayer.

In this piece Bataille defends, for a moment, the value of scholasticism. His focus is not on Scholasticism as set of particular ideas per se, but scholasticism as outline and method - a practice of proceeding methodically to develop language, thought, and discursive principles only to expend them as they reach a limit they cannot express. It is in this methodical practice is where the slippage toward real communication happens. Bataille chooses Socrates not to defend his scholasticism (“Aren’t those who fight for the dead already dead themselves?”), but because of the irony that proceeds from Socrates’ twin principles: “know yourself” and “I know but one thing, that I know nothing.” Like Socrates, or Buddha, or the Christian, Bataille developed a method that was demandingly principled and systematic, but it lead nowhere. Only in this nowhere would humans for once truly end their isolation. This nowhere, experience itself, has value beyond language. Bataille is careful to differentiate his method and its “end” from that of the Buddhist, who denies the world and pain, and the Christian, who finds God as an exterior authority in which the “incessant interrogation of existence by itself” indeed ends. For Bataille though “the end” is impossible, and that is the happy anguish that awaits those who participate in his “Socratic College.”

The Kendalls follow the essay on the Socratic College with Bataille’s discussion of Nietzsche’s laughter. Laughter is not just about dissipation, it is also about inner experience as the leap into the abyss. It is about Bataille’s concerns with divinity and God, who haunts his thought as did Hegel, and his efforts toward an understanding of sin and “hyper-Christianity.” Following this essay is the important “Discussion on Sin.” As Bataille continued to envision his atheological system, he reiterated his struggles with philosophy and God. Over and over and over again he reiterated that “method,” “practice,” “postulate,” and “principle” are spaces of slippage, eternally returning moments when “I pull the rug out from under myself. And so what: I’m free, powerless, and I will perish: I ignore the limits of obligation in every way ” (108, emphasis Bataille). We see that ignoring the limits requires methodical and careful engagement with those very limits.

Bataille’s “Discussion on Sin” considers inner experience and sovereign moments in relation to Nietzsche’s notions of the “summit” and “decline” moralities and his efforts to articulate his critique of Christianity and defend his ideas against various critics. The “Discussion on Sin” is significant for Bataille’s development of his ideas on communication and his rejection of individualism. Too frequently Bataille’s work is confused with a form of subjectivism; this piece shows his thinking on that matter. The significance of this piece also lies in its being representative of a number of group discussions that Bataille, much like the Surrealists, pursued on a regular basis. Participating in the discussion on sin were the usual suspects associated with Bataille - Klossowski, Blanchot, Leiris, Paulhan. Also there were Sartre, Camus, de Beauvior, Merleau-Ponty and Hippolyte. A third group was comprised of priests such as Father Danielou and Father More, who hosted many such meetings at his home, and Gabriel Marcel. The “Discussion” not only presents “propositions” from Bataille’s lecture, but also a response from Father Danielou, as well as the discussion, with lengthy exchanges between Bataille and Sartre, Hippolyte, and Marcel.

Bataille sought a revolution in consciousness (hence, among others, his ongoing affinity to Surrealism despite his differences with its canon). Sovereign experience is not subjective experience. In fact, it is grounded in a “communication” that ends the isolation of subjective beings, even though that communication is impossible. Perhaps this rejection of subjectivism necessitated Bataille’s obsession with producing propositions and a method of meditation. These were absolutely necessary for the contestation of the self and of existence by itself. Without this contestation and the end of the possible, sovereign moments would be entangled in decline moralities that themselves were tangled in projects. Here Rimbaud is perhaps more illuminating than Jesus or Buddha or various yogis and mystics. Unlike Breton and the Surrealists, however, Bataille did not ride the Hegelian dialectic. Or if dialectics are to be thought, they must be transvalued as an “advanced dialectic,” which Bataille recommended in Death and Sensuality. Such a dialectic doubles as transgression, and it leads to “continuity.” Transcendence and nothing occur at the end of a ruptured (dialectical) movement that eternally returns. Klossowski and Blanchot’s versions of the eternal return are closer to what Bataille might have accepted as a “dialectic.” The beyond at the end of this “dialectic” is more akin to the differance that drew Derrida and the alterity that inspired Levinas. Nor is contestation random or to be left to objective chance. Rejecting objective chance, Bataille is closer to Dali than to Breton in his insistence on the active intervention of subjectivity in producing the delirium and effusion that would instigate its own undoing. Contestation is eternal and leads nowhere. To arrive at this nowhere is the projectless project of Bataille.

The above discussion of the significance of propositions and method should not lead the reader to assume that The Unfinished System of Nonknowledge strays from Bataille’s interest in expenditure of self and discourse. For instance, in “Outside The Tears of Eros,” the very last piece included in The Unfinished System of Nonknowledge, which was also Bataille’s working notes from 1959-61 for a new book he was preparing while he was completing The Tears of Eros, one finds Bataille describing himself as “the hurtling train, the catastrophe…flash of lightning in the night…groping in obscurity…” (259-60). To the very end of his physical existence he struggled with the end, the impossible, with God, with Hegel’s system, and with language. In Method of Meditation, Bataille had noted that poetry is “the closest effusion to meditation” (95). The very last words of “Outside The Tears of Eros,” which are the very last words of the volume itself, are “ready to pray” (273).

The Kendalls note in their introduction that this readiness to pray accompanies Bataille’s acceptance of the failure of atheology. What a (bitter)sweet failure. At the limit of the possible, the effusion of poetry inevitably necessitates method and practice, this time as prayer. Prayer? Bataille? Not what one might have imagined. Then again, prayer is language and discourse, a space which must be contested. Prayer is another method by which to seek what his friend Blanchot sought: disaster and affliction, and fascination and radiant immensity. Prayer is a practice by which to experience the immobilizing and passionate encounter that Blanchot describes in The Space of Literature as distant, yet absolutely near. This distant proximity disturbs and animates life. Prayer then for Bataille is a practice of the kind of “acrobatics” and “ridiculousness” he called for in Madame Edwarda and Inner Experience, which assert the “fundamental right of man to signify nothing.” Then again, maybe Bataille, at the abyss very near the end of his life, unlike Nietzsche, was ready for expiation or supplication, or a project? To think this would be counter to the project framed by what we know or want to know about Bataille. But just what do we know?

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marc lafountain, bataille, nietzsche, Unfinished System of Nonknowledge, blanchot, dali, derrida, hegel, breton, rimbaud, surreal, levinas, Klossowski, leiris, Paulhan, sartre, camus, de Beauvior, Merleau-Ponty, Hippolyte, Father Danielou, Father More, G

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Sea Gull Lighting
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Tell us about the hairstyles for Amy Adams' character, Rose.
Well, she's a single mother so there were a couple different looks—mostly things that her character would be able to do herself, like a ponytail or bun. Her character needed to have her hair out of her face so that she'd be able to attend to the gruesome act of cleaning up crime scenes. It literally only took about five minutes to put Amy's hair up; because we were on the move, a lot of times we were picking up shots as we went along. So her hair would go up and down, from a low ponytail to a high ponytail, etc.

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How did the hair for Emily Blunt's character, Norah, differ from Rose's?
Emily's character is edgier and kind of an outsider—she has a hip style. She wore more makeup and we dyed her hair darker since her character is a bit rebellious. We also went ahead and put electric blue and dark lavender semi-permanent hair extensions in for color, just feathering them in. But we had to take them out at one point, because Emily was a presenter at the Academy Awards!

You were on location in New Mexico—did the climate play a factor in the hairstyling?
If you're in that kind of climate, it's easy to get a lot of static after you blow-dry. The weather really dries the hair out, so you need to put moisture in so that it doesn't become electric. I mixed a volumizing mousse with Redken Color Extend Sun Sparkling Shield Leave-In Smoother in the palm of my hand and applied it to the girls' damp hair before blow-drying—this way I protected their color from fading in the sun and also gave their strands a bit of lift.

Any tips and tricks for making hairstyles last on set?
The less product, the better; a little goes a long way. I try to keep the hair as clean as possible.

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Crystal Renn poses from left to right for Zac Posen, Jimmy Choo & Dsquared2

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Almost all of the spring campaigns are out — there may be a few more surprises when March magazines hit newstands — and they're awash with familiar faces. There's Lara Stone in white at Calvin Klein and Freja dons lace for Valentino. Daria Werbowy`s wearing a skateboard for Céline and we've already checked out Gisele for Balenciaga. But Crystal Renn's name can finally be added to the list. She's posed for big names before — Jean-Paul Gaultier, Chanel — but this is the first season she's landed three major campaigns at once.

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First, there was Zac Posen's lookbook, then Jimmy Choo's colorful spring ads and now Dsquared2′s classic black and white spread. It would, of course, be great if her presence was an indication of what's to come on fall's runways next month, but given the attention paid to just one plus sized model (and one who may or may not still qualify for that descriptive title), it's hard to believe it really means anything. Regardless, Renn's deserving of the attention. So, which campaign is your favorite?

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I am a good wife. My husband told me this the other day, in the half-joking manner we use to compliment each other sincerely. It was nice to have my talents recognized, but he and I both know—I have limitations. I don't put away groceries. I don't fold laundry. I'm close friends with men, whom my husband jokingly calls my "other husbands." It is impossible to help me, meaning that I may occasionally require help but will never accept it.

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My most notable shortcoming, however, is this: I am a resentful nurse with an antagonistic bedside manner. When my husband is sick or hurt, it actually makes me kind of angry. Early in our relationship, he noticed that whenever he caught a cold, I became emotionally distant. I went through the caretaking motions, but I was chilly about it. This dysfunction remained unchallenged, explained away as a bad mood (that just happened to coincide with his moments of physical weakness), until a more serious caretaking failure brought the issue to a head. One January, when my husband, also a writer, was teaching in Vermont, we decided to climb an ice-covered mountain in city footwear, and he slipped and dislocated his shoulder. In the accident's immediate aftermath, I was his tireless advocate—I battled his work liaison, a woman who announced that she "didn't use Western doctors" and clearly didn't want us to either, and took him to an ER, where I procured excellent Western painkillers for him. But once his arm was in a sling and his prescription filled, I punched out. I was done and thought he should be done too.

In his version of this story, I "made" him drive his stick-shift Toyota home on slick back roads with the use of only his left hand. (I probably did do this.) Two weeks later, packing for a trip to Paris, when he moped about the fashion inconvenience of wearing a sling, I snapped. Get over it. That spring, when we were hiking the Adirondacks, he balked at climbing a nontechnical rock face, because his shoulder, though mostly healed, still dangerously compromised his sense of balance. We took an easier trail. I fumed all the way to the summit, where he finally confronted me: You're mad because I hurt myself, and I don't want to risk hurting myself further?

In a word: Yes.

If pressed to explain why, when the person I loved most in the world needed me, I was not gamely there for him, I might say that I hail from a stoic New England family where sickness, pain, and distress were viewed as optional impediments to enjoying one's day. I've been bred to show contempt for any form of human weakness, because all ailments can and should be conquered through sheer mental fortitude.

But another explanation might be this: It is only when my husband is sick that I am forced to occupy a "typical" spousal gender role. I must cook the food and wash the clothing and take care of the children while my husband lies in bed. But usually he doesn't lie in bed, unless he's barely alive, because he doesn't want to deal with the fallout of me. He forces himself to be "fine" when he's not to spare me the pain of being, for a day or two, his wife.

It might surprise some who know me as a friend—or those people who know me as the stranger who helped them reassemble the contents of their purses when they've scattered throughout the train—to learn that I am a reluctant, sulky caretaker. That I do not naturally possess, toward my family, an atomic-strength maternal instinct. (As my daughter says when I fail to respond to her skinned knee with the appropriate gravitas, "Way to care, Mom.") Because when I'm out in the world, I practically stalk people in order to help them. Even if I'm wearing a party dress and heels, I'll help a woman lug her sooty-wheeled triplet stroller up five flights of stairs. When my daughter was only a month old, I picked up an old man pushing his dead motorbike along the roadside and shoved his bike into the back of my car even though its handlebars poked within millimeters of my daughter's screaming face.

In other words, I am far more willing to unresentfully caretake for the people outside my home than I am for the people in it. My first book editor was similarly wired. When her writers came to New York, she'd take their boots to be resoled, help them pick out clothing, and treat them to lunch and a daring new haircut. When she died, her memorial service was attended by hundreds of people she'd helped over the years, person after person trekking to the podium to sing her custodial praises. And yet, as we filed out of the auditorium at the conclusion of her service, I heard a man whisper to his friend, "I feel sorry for her children."

I wrote him off as a crackpot. But a second incident made me wonder if this overheard snippet of sotto voce bitchiness spoke to a universally shared disdain.

My brother and I, both home for a summer visit, drove to pick up my grandmother at the airport. As usual, she'd made a lifelong pal on her flight, a stranger who hugged us in the waiting area and said, "Your grandmother is the most amazing person." The woman was traveling to meet a man she'd fallen in love with online but had never physically met. My grandmother had spent the flight coaching this new friend through her worry, spinning out for her the possible scenarios she'd encounter and how to deal with each of them. (She was eventually invited to the wedding.)

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Witnessing this stranger's gratitude, I was proud, but later that evening, my brother remarked, "It must have been very hard to grow up with a mother like that." This shocked me. Our mother worshipped our grandmother. She was, by all accounts, the most fun, vivacious, kindhearted person in all of Door County, Wisconsin, the Gandhi of the Great Lakes Peninsulas. She'd been a homemaker but was beloved by many more people than just her family. Regardless, I did not press my brother to explain at the time. I've never pressed him. I think I now know what he might have meant.

Women like my grandmother, like my editor—like me—prefer to exercise our maternal instincts in the world at large. It's less dangerous, less threatening, to be a caretaker in areas where such behavior is not psychologically mandated. This predilection sounds harmless enough. Apparently it's not. A caretaking investment in one's own family that trumps all others is still a gender expectation we've yet to overturn. The woman who refuses to be single-mindedly committed, from an emotional standpoint, to her husband or children remains an unsettling figure.

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My first husband and I fought over this exact terrain, though I wouldn't have predicted this when we first met and talked about his tomato garden. A charismatic bluster of a man with a shotgun under his bed, he also liked to wrap his hair in a kerchief and nightly mop our floors. He cooked and picked out drapes and bought me skirts at sample sales. He was refreshingly impossible to categorize, falling somewhere between lumberjack and charwoman. But I was away from home a lot (I worked as a waitress), and this started to bother him. During a disagreement about whether I should go to an artists' colony for six weeks, he said, "I just hope that someday, when we have kids, you'll be able to put our family first."

I did not find this comment retrograde or chauvinistic; at the time, I merely found it bewildering. Thirteen years later, I'm less bewildered. Beneath his complaint lurked a valid emotional unease, a red flag raised to signal our key incompatibility: He was not a husband for whom a wife with a willingness to leave home for long stretches of time was tolerable. When we fought, "the marriage" was often cited, as though it were a third party, almost like a boss, to whom we were beholden. Problematically, we interpreted our obligations to it differently. He saw my temporary leave-takings as abandonments, as my shirking the expected physical closeness and intensity of the marriage. I saw them as natural extensions of the marriage. These tend not to be resolvable differences of perception. We eventually divorced.

More than a decade later, I still feel guilt over our failure to align realities, because when realities don't align—especially when they fiercely don't align—you self-protectively conclude, One of us is crazy. Often enough I worry that the crazy one was and remains me. I've internalized my first husband's worries about my abilities to adequately care for my family. I have asked myself: Do my loved ones suffer from my outgoingness? Do I dedicate more caretaking energy to friends and strangers than I do to my own family? And if the answer is yes, why on earth would I do that?
I have some answers. I've always admired women like my editor and my grandmother. Their identities didn't begin and end with their families, regardless of whether they had careers (save a brief premarital turn as a journalist, my grandmother never did). Not that there's anything wrong with identifying oneself in that manner—now a wife and mother myself, I better understand the bravery that entails—but when I was younger, I sought other role models.

And so I want to provide that variety of role model for my children: You are not my entire reason for existing. This is what my life facts say. But it's not just about life facts. I have a close friend who would seem to be the preeminent gender warrior (she's the majority breadwinner, and her husband does most of the child care and housework), but she's elevated caretaking to an extreme-sports level—and looks it. She is literally physically wasted by her familial exertions. When her daughter has a tantrum, she comforts her for 45 minutes. Every minor spousal upset is grounds for a daylong psychological summit. She's attentive and empathic to the point of self-erasure.

Of course there are reasons why she does this. It's all a balancing act, as we're repeatedly told—usually after we've fallen off the beam. My point, though, is that I justify my failure to focus exclusively on my family the following way: I am embodying a way to be in the world. I am my own person. You too need to be your own person.

However, the kind of role model I am has its limits. There are dangers. Also—as I realized this spring when my husband became scarily, possibly life-threateningly sick—it's a bit of a lie, this stance of mine, a neat ideological cover-up. I'm scared to be alone and so inoculate myself by always being a little bit alone.

In other words, my abundant, far-flung kindness is a force field. It buffers me from the future tragedies hidden within my own family—from a husband who will probably die before me, if genetics are any predictor, and children who will outgrow their need of me, no matter how much vicarious pain I experience over their skinned knees. It prevents me from being hurt by them when they die or decide, as they ultimately will, that I'm not their entire reason for existing.

This is not just me refusing a gender category. This is me refusing heartbreak. I do not caretake because I am taking care. I am taking care of myself. I am being cautious, tentative, and selfish. And this is ultimately not a way of being in the world that I wish my children to emulate.

But maybe now there's no danger. This past April, when my husband and I embarked on a daunting medical odyssey that involved diagnoses of everything from heart failure to MS but was worrisomely underscored by the fact that some kinds of pain cannot be evaded, not even by megadoses of the most potent nuclear opiates in the hospital arsenal, I realized there is, similarly, no protecting yourself from this variety of suffering.

That first day in the ER (it was not our last), I turned all the caretaking I'd previously channeled into friends and strangers on my family. I did it all, and unresentfully—the dishes, the laundry, the child care, the husband care. I worked the phones, I talked to specialists, I did research, I fetched better coffee so that we didn't have to drink that hospital sewage that counts as caffeine to the worried. I convincingly lied to the kids, and no one lost any sleep except my husband, who remained, for five weeks, in excruciatingly unkillable pain caused by a rare neurological disorder called Parsonage Turner syndrome, an affliction he might have invented in a story he'd written but hadn't.

He and I both marveled, stunned, in the wake of his diagnosis, at my stellar nurse performance. While I was pleased to discover talents I'd hitherto believed anathema to me, I was also slightly sad to see that more detached person recede. Or not just sad. Terrified. There was no hiding from it now. I was my husband's wife. I needed him. Without him, I was not me. When bad futures are on the table, you realize how pointless your well-tended emotional facades really are. As a mother, too, I am just as "defined" by my children as my monomaniacally maternal friend. Someday my kids will ditch me, and they will see me heartbroken, a woman totally undone by the fact that she is, and has always been, even when she pretended otherwise, their most devoted caretaker.

But after years of denying myself this "female" identity, I do not think it's retrograde to discover that, beneath all my toughness, I have it. I can even view this discovery as a victory—to be emotionally defined by my husband and children is not about being a woman or a not-woman, it's about being a fully feeling person. Certainly it's no better, and can even be counterproductive, to be defined by reacting, rejecting, and protecting. Also, it's not as though I've experienced a total conversion. My husband's health scare has passed, and some habits die hard. When he threw out his neck recently, he asked me, "Are you mad?" I promised him I wasn't. But it comforted us both to know—I was lying.

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I've been seeing someone for a few months. We text daily. When we hang out there's always a sober sleepover involved. We've met (and like) each other's friends. We know each other's middle names. We haven't decided whether or not we should be exclusive with one another, but there's a level of intimacy and romance there that's hard to find in the New York dating scene. We've entered a phase I like to call "Relationship Lite."

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It's that nebulous stage when you're spending so much time together that other prospects start to fade away, deeper feelings start to develop, and you may have a toothbrush at his place. However, you're probably both still having sex with other people.

In February, Helen Fisher, PhD, biological anthropologist and author of Why We Love: The Nature and Chemistry of Romantic Love, conducted an annual study called "Singles in America" in partnership with Based on a representative sample of the American public, 45 percent of people said that a casual, friends-with-benefits scenario had developed into a long-term partnership.

Related: 10 May-December Relationships

But when does that shift occur? Are people still having "the talk?"

My guy and I did—partially because I felt like I was supposed to, and partially because a newlywed friend thought I would get hurt if I didn't. Nothing really came out of it. For us, all the talking in the world wouldn't change the inopportune timing. He's still emotionally unavailable; I'm still flip-flopping between not wanting a boyfriend and wanting more. Let's just say we're still straight-up Relationship Lite.

I used to think people's fear of commitment stemmed from too many options—that pesky idea that someone more attractive, smarter, richer, or better in bed was just around the corner. Most single people I know date and sleep with multiple people at once, and I suppose they do it mostly because they can. In a city like New York, you can have your regular thing in Greenpoint and side fling in TriBeCa—those two probably won't cross paths.

Sexual exclusivity is often used as a metaphor for a relationship without having to discuss actual feelings. But by blindly agreeing to it, you might really be entering into a slightly more serious subset of Relationship Lite. It's a strategic movethat still allows for small print: I won't shag anyone else, but you're not invited home for Thanksgiving. "We became exclusive because we didn't want to use condoms anymore," one friend told me, her rationale echoing that of so many others I spoke to. "But it was two more months before he called me his girlfriend."

Related: Addicted to the Thrill of Sleeping with Married Women

The breaking point is different for everyone. Perhaps it's the realization that he's still sleeping with someone else, you didn't get invited on a group vacation, or he still introduces you as his "friend"—even though you've been seeing each other for months. And just because you talked a few weeks ago and were cool being exclusive-but-casual or consistent-but-non-exclusive, or whatever, doesn't mean you should bite your tongue when suddenly that is no longer enough for you.

Personally, I'm coasting in Relationship Lite because I don't know what role I want this guy to play in my life, and that's something I need to consider before making even the most basic level of commitment. All the honesty and analyzing in the world isn't the antidote to uncertainty. Relationship Lite allows you to explore—or just simply enjoy—someone when you aren't exactly sure where they fit in.

So I'm going to embrace it until, perhaps as soon as next week, I'm ready for Relationship Heavy.

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Painting by Donald Robertson

Donald Robertson, known to his close friends and 12k-and-counting Instagram followers as Donald "Draw"bertson, has an amazing ability to make magic out of the mundane. Always armed with a sharpie, tape, paint, and an iPhone, Robertson turns anything he can get his hands on into art. He shapes old shoe boxes into cardboard Tom Ford stores, paints Karl Lagerfeld's face on walnuts, and builds Birkins out of paper bags. By day, the the father of five (he and his wife just had twins!) is a creative director at Bobbi Brown (where he has a reputation for playfully doodling co-worker's portraits during meetings). We caught up with Instagram-obsessed artist, on the heels of the Lisa Perry Fall 2014 fashion show where he transformed a basic white runway into an abstract masterpiece with just a few roll of black gaffer tape.

@lisaperrystyle busted! #gaffertape don't stand still around me. #iwilltapeoveryou

A photo posted by Donald Robertson (@drawbertson) on You have this ability to make art out of anything, even trash! How long have you been doing this?

Donald "Drawbertson" Roberston: I love the idea of turning things we would normally throw away into prestige luxury goods! I have Zappos boxes that I've painted Vuitton prints on that are priceless now. I've always done it, I've just been posting it now on Instagram for exactly one year.

ED: Do you doodle all day?

DR: I am constantly painting and drawing, and thinking about what I could paint or draw next.

ED: You are constantly posting, do you just have infinite ideas? Where are you getting all of this inspiration?

DR: I get up every morning at around four and do my art exercises. I'll fly through Instagram and sort of get a feel for what's happening in the world! Then I'll just pick a medium like paint or sharpies or garbage bags or walnuts or whatever catches my eye! Then you can't stop me. It's like flood gates opening. See for yourself. Visit my feed! I can't imagine doing one thing and then just sitting back. We are constantly being bombarded my imagery and ideas. It's like my performance art. I'm always reacting to stimulus coming at me all day.

Well someone scored a one way ticket to #hollywood! @lilysaltz I need the address! #wholefoodsbags

A photo posted by Donald Robertson (@drawbertson) on

ED: How does your artwork crossover into your work day at Bobbi Brown?

DR: As a creative director, I have always drawn out my ideas. For example, the head of store design Carol Bocchieri recently sat down and drew out a new Bobbi Brown concept store for Hong Kong. It was like drawing tennis. I'd go then she would go. We came up with the best new store! That's my day.

ED: People are discovering your work via Instagram… does this surprise you?

DR: The fantastic thing about Instagram is that it has taken illustration back to its glory days. People love seeing something drawn or painted by hand! The reaction to my lip paintings is a perfect example. I'm painting lips for Bobbi Brown and the next thing I know they are on a dress by Giles Deacon being modeled by Georgia May Jaggar at London Fashion Week! It's all connected. Fashion, beauty, art... Instagram.

ED: Have you met any interesting people through Instagram?

DR: I have met so many great people via my phone. I spent the day painting and emailing Dita Von Teese. We just kind of bumped into each other on a feed. It's like that. Picture, people, connecting.

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ED: Do you sell your artwork through Instagram? How can people buy your work or have their portrait done? Or a replica of their home built out of boxes?

DR: I was stumped as to how to sell my stuff on Instagram! People were asking and asking. My right hand at Bobbi Brown, Lily Saltzberg, introduced me to her friend Jon Alagem's new fashion app Trendabl to sell make up. A light bulb went on over my head! Sell fashion prints to people looking to buy clothes! Jon had Lily and I set up and running in an hour. I'm selling like crazy now exclusively on Trendabl. It's so easy to use. It's a fortune for the original pieces but we have also just introduced more affordable signed and numbered prints that we're releasing every Tuesday. Lily is looking for more fashion people to bring on. It's like Instagram meets NET-A-PORTER! It's great.

Royal Tenenbaums painting by Donald Robertson

ED: What piece garnered the most attention?

DR: My fave favorite piece of late is a portrait of some of the cast from the movie Royal Tenenbaums. I love the visuals in that movie so much! I didn't realize that Lily had posted it on Trendabl seconds after I posted it. That one sold in half an hour. I'm a little sad it's gone. As far as popularity that one might have been my all time most liked! That and the picture I took of my new identical twin baby boys...That was a hit too!

Giles, Spring/Summer 2014

ED: Tell us about the runway you designed for Lisa Perry's Fall 2014 show?

DR: After Giles Deacon, Lisa Perry was one of the first people to notice my work on Instagram. I had just started posting my paintings made from gaffertape and she was like, "Who are you? Call me! We need to meet! Come to my store we can have a drink at the Mark!" It was that abrupt. Then she asked me to gaffer tape her store for her fall collection presentation. Walls, floors, benches, ceiling. "Go for it," she said, "Crazier the better!" She has since bought my biggest gaffer tape painting to date and has become a great friend.

Lisa Perry, Spring 2014

ED: Any other collaborations in the works?

DR: I just finished a series of paintings of all the Oscar nominees for Cassandra Huysentruyt Grey! She is launching her new beauty commerce site called Violet Grey and asked me to do portraits of them for an Oscar nominees party she is hosting in her new spa.

#makeupbag #nextbigthing

A photo posted by Donald Robertson (@drawbertson) on

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Whether you're engaged in a major overhaul or a minor tune-up, we've sought out the best new products to help you update two of the most important rooms in your house. For the kitchen, we've found four sleek new cabinet systems, including one from Design Within Reach, ready to give your room a modern makeover. Fixtures get a face-lift when classic silhouettes get bold black and white finishes, while metallic filigree details like Lily, shown on Kaldewei's bathtub, make a glamorous splash. It's easy being green when recycled materials look as good as the new tile and flooring options we discovered, and appliances are moving into the future with major improvements on the tried-and-true classics.

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1. Toothbrushes
The bristles become frayed and worn over time, so they won't clean your teeth as well. Get a new one every three months.

2. Walking Shoes
Your favorite tennies won't last forever. They lose structure and support as you wear them, so if you walk often, replace them every six months.

3. Mattresses
We know a mattress is a major purchase, but the National Sleep Foundation recommends buying a new one every eight years. Worn or sagging spots could increase back pain and stiffness, and discomfort could also disrupt your shuteye. We've said it before, but we'll say it again: Getting a good night's sleep is critical to your health and happiness.

4. Pillows
Like your mattress, your pillows deflate and lose their supportive (and comfy) cushion. Plus a 10-ounce pillow can double its weight in three years … because of collecting dust mites and dead skin (mega ick). Regular washing can help, but doctors recommend tossing them every two years.

5. Refrigerator Water Filters
Has your stream of filtered water become a trickle? Filters need to be replaced every six months to effectively minimize contaminants in your drinking water.

6. Smoke Alarms and Fire Extinguishers
Smoke detectors lose their sensitivity over time, so get new ones every 10 years. Manufacturers typically recommend replacing fire extinguishers every five to 15 years, and check the pressure gauge monthly. Rechargeable extinguishers should be serviced every six years.

7. Shower Loofahs
Growing bacteria simply love your fluffy bath sponge's damp nooks and crannies. Toss it every three to four weeks.

8. Kitchen Sponges
You can sanitize your sponge prolong its life. But as soon as it's looking messy and worn (between two to eight weeks), start using a new one.

9. Teflon Pans
Guilty of cooking with a chipped non-stick pan? Those flakes and crevices could release toxic compounds, so it's time for a change. With moderate use, experts say nonstick cookware should last three to five years.

NEXT: 10 Hard Questions to Ask When Clearing Out Your Clutter »

From: Good Housekeeping

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HOBBS, N.M.—A southeastern region of New Mexico facing a housing shortage thanks to a Permian Basin oil boom has seen several planned projects fall through.

The Hobbs News-Sun reports (http://bit.ly/14Y8qZs) that a number of affordable housing projects in recent months have fizzled in Hobbs and Lea County despite the pressing demand for housing near the Texas border.

For example, a planned 60-home, 12-acre mobile home park that sought to bring homes selling at less than $100,000 fell through last month due to a lack of financing. "I was having challenges getting the financing secured. That is what killed it," Albuquerque developer Tony Lopes said of his planned Willow Creek subdivision. "The banks out here in Albuquerque were unwilling to loan on something that was 'too speculative.'"

Meanwhile, a proposed 60-unit affordable senior living apartment complex in Jal and Eunice flopped earlier this year when the developer, Chelsea Investment Corp., didn't secure state tax credits.

A similar problem plagued Albuquerque-based YES! Housing and a planned 72-unit affordable apartment complex near City Park in Hobbs. YES! also failed to win a bid for highly-competitive state tax credits.

Oil production in New Mexico has increased by nearly 50 percent over the last three years, making it one of five western states that have helped boost national production over the last three years.

Statistics from the U.

S. Energy Information Administration show onshore oil production increased nationally by more than 2 million barrels a day—or nearly two-thirds—between February 2010 and February 2013.

The Permian Basin stretches from New Mexico to Texas.

Still, despite that boom, Lisa Hardison, president of the Economic Development Corporation of Lea County, said banks don't typically understand the area's economy. She said stories like Lopes' were all too common just a year ago, but ongoing efforts to show investors how the county has diversified its economy are paying off.

While oil and gas remains a major player in the area economy, Hardison said solar, nuclear and other energy industries have buffered the economy from oil and gas downturns.

"The thing is, we aren't even where we need to be in terms of housing even without the boom," she said.


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10th Annual Sedona Marathon Event – It’s Amazing!

January 15, 2015 by El Portal Sedona Hotel No Comment

Imagine – this is the 10th year of the Sedona Marathon Event! Why is it an event and not just a marathon? Because there are more races than just the marathon; plus it is a USA Track & Field Sanctioned Event. The races are Saturday, January 31, with the marathon starting at 9:00am. The Sedona Marathon Event takes place in ...

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El Portal Sedona Hotel Special

January 8, 2015 by El Portal Sedona Hotel No Comment

Enjoy the milder temperatures on a trip to Sedona and take advantage of this Sedona hotel special at El Portal, Sedona’s luxury boutique hotel. Stay three nights mid-week and receive a $75.00 food credit and a $150 Jeep Adventure credit! The average temperature in January for Sedona is a balmy 55 degrees F, making Sedona a ...

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Happy New Year from El Portal Sedona Hotel!

December 29, 2014 by El Portal Sedona Hotel No Comment

As you ring the new year on Wednesday evening, think about what you’d like to do in Sedona on Thursday? Sleep in? Eat a delicious, home cooked breakfast? Take the kids for a hike? Take the dog for a hike? All great ideas…and at El Portal Sedona Hotel we can make it happen! We offer ...

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New Year’s Eve in Sedona, Arizona!

December 23, 2014 by El Portal Sedona Hotel No Comment

Visiting Sedona for New Year’s? There are so many NYE celebrations – its hard to choose! Let us at El Portal Sedona Hotel help… For starters there’s the New Year’s Eve Party ‘Midnight in Barcelona’ at Sound Bites Grill, featuring the Latin dance sounds of ‘Viva Tropical’ with Susannah Martin, Eric Miller, Troy Perkins Eddie Barattini, ...

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Sedona’s Trails – Bring Your Pet!

December 18, 2014 by El Portal Sedona Hotel No Comment

The hiking trails in Sedona, Arizona are some of the best anyone could hope to find in the American Southwest.  From paths winding through the famous Red Rock formations to more moderate trailheads along water, there’s a hike for everyone.  With a wide variety of difficulty and distance, beginners and expert hikers will all find ...

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Your Trip to Sedona ~ Fun Things to do in Sedona for the Holidays!

December 9, 2014 by El Portal Sedona Hotel No Comment

There are so many fun, exciting, and interesting things to do in Sedona! In December there’s the Holiday Season, come January we have World Wisdom Days, the Sedona Bridal Fair and the Sedona Marathon. February has the Sedona Yoga Festival and the Sedona International Film Festival. For the Holiday Season, Sedona is all decked out ...

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Thanksgiving – Some History

November 26, 2014 by El Portal Sedona Hotel No Comment

Did you know Thanksgiving wasn’t observed by all states, on the same date until the end of Reconstruction? From the time of the Founding Fathers until the time of Lincoln, the date Thanksgiving was observed varied from state to state. By the beginning of the 19th century the final Thursday in November had become the customary ...

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What to do in Sedona? The Festival of Trees at Tlaquepaque Arts & Crafts Village

November 20, 2014 by El Portal Sedona Hotel No Comment

This wonderful festival begins Thursday, December 4 – Saturday, December 6, daily from 11:00am-7:00pm. The Festival of Trees is a premiere event where local and area artists will have art inspired decorated trees. The trees will have different themes and incorporate different media and materials. Some of the trees are indoor and others are outdoor. Why ...

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All Aboard with Sonora the Bald Eagle!

November 13, 2014 by El Portal Sedona Hotel No Comment

Looking for something different to do with the kids on your trip to Sedona? At El Portal Sedona Hotel we know of something really cool – something for everyone! Take a train ride with a raptor! That’s right you can ride the rails Saturday, December 6th with Sonora the bald eagle aboard! Through a partnership ...

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Independent Souls

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Far off in remote Russia the echoes of the referendum reverberate in the hearts of Scottish expats. Living so far from home, how do they see the idea of independence? How has living abroad changed their viewpoint? This documentary is a reflection on questions of patriotism, pride and everyday problems, and what national identity means in a modern interconnected world of immigration, emigration and increasingly mixed cultures.

Director's Statement              about the Independent Souls

Directed, shot and edited by Ema Čulík

sound and music by Alexey Sibikin

Joss Bartleet

James Brankin

Tom Denman

James Mathews

Chris Wedderburn

Thanks to Erik at KILTR, Neil Castell, Lesley Keen, Aspect British Kindergarten.


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We are the Original

Founded in 1668 in Darmstadt, Merck KGaA, Darmstadt, Germany, is the world's oldest pharmaceutical and chemical company. The success of the export business to the United States led in 1887 to the establishment of an office in New York, which gave rise to our subsidiary Merck & Co. four years later. Owing to World War I, Merck & Co. was expropriated in 1917. The two companies have been separate ever since.

How we appear in the US and Canada

EMD Serono
Our biopharmaceuticals subsidiary EMD Serono is pursuing activities in selected indications for highly specialized therapeutic areas mainly treated by specialists.
EMD Millipore
Our life science subsidiary EMD Millipore provides technologies, tools and solutions that enable our customers to achieve success in the areas of life science research and biotech and pharmaceutical manufacturing.
EMD Performance Materials
EMD Performance Materials offers specialty chemicals that are used in a variety of end products.

Publication of Merck KGaA, Darmstadt, Germany.
In the United States and Canada the subsidiaries of Merck KGaA, Darmstadt, Germany, operate under the umbrella brand EMD.
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Active in spite of MS: To the top of the Andes

Yuval T. is suffering from multiple sclerosis. But he sets ambitious goals for himself, and attains them: He runs marathons and climbs the world’s highest peaks.

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Forcing cancer to come out of hiding

Immuno-oncology focuses on harnessing a patient’s immune system to fight cancer. The body’s immune system naturally detects and destroys cancer cells.

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“Innovation Boost” — a global forum for ideas

Intelligent people have pioneering ideas. But how can the world’s collective knowledge be brought together in one place? “Innovation Boost” used social media to meet this challenge.

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Definition of Fibrates for lowering cholesterol

Fibrates for lowering cholesterol: Fibrates are cholesterol-lowering drugs that are primarily effective in lowering triglycerides and, to a lesser extent, in increasing HDL-cholesterol levels.

Gemfibrozil (brand name: LOPID), the fibrate most widely used in the United States, can be very effective for patients with high triglyceride levels. However, it is not very effective for lowering the LDL-cholesterol. As a result, it is used less often than other drugs in patients with heart disease for whom LDL-cholesterol lowering is the main goal of treatment.

Gemfibrozil therapy by itself is not recommended by the Food and Drug Administration for patients with heart disease. Fibrates are usually given in two daily doses 30 minutes before the morning and evening meals. The reductions in triglycerides generally are in the range of 20 to 50 percent with increases in HDL-cholesterol of 10 to 15 percent.

Fibrates are generally well tolerated by most patients. Gastrointestinal complaints are the most common side effect and fibrates appear to increase the likelihood of developing cholesterol gallstones. Fibrates can increase the effect of medications that thin the blood, and this should be monitored closely by your physician.

Source: MedTerms™ Medical Dictionary
Last Editorial Review: 6/14/2012

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Bollywood star claims theft in Dubai...

Hotel clarifies CCTV surveillance footage show no sign of theft

Bollywood actor Arjun Rampal, who was in Dubai for the 'PowerBrands Rising Stars 2012-13' awards, suspects few belongings were stolen from his hotel room in Dubai.

While checking out from his hotel room today (August 30) at around 11:30 am Rampal reported few missing items in a big paper bag.

The white stripe paper bag included a pair of shoe and few gift items for his children back home in India.

Rampal took to Twitter and wrote: "Leaving with a bit of a bad taste... as someone has stolen the shopping from my room... Let's hope the CCTV footage helps, find such thieves."

Emirates 24|7 spoke to the concerned department of the prominent hotel and it was clarified that no item was stolen from Rampal's room.

They are 100 per cent sure that none of their colleagues have taken anything from Mr Arjun Rampal's room.

The hotel is under CCTV surveillance and after going through the CCTV footage extensively there is no sign of theft.

The whole hotel is properly monitored and it was observed that while the room was being cleared the paper bag was dumped in the garbage chute.

The garbage where the bag has been deposited has not yet been cleared because of the complaint. If necessary they are willing to go through the garbage bin.

The hotel urged Rampal to have patience and cross-check his belongings once he reaches India.

They will try to contact Rampal again to resolve the matter if the guest is not satisfied.

Arjun Rampal was accompanied by his wife model Mehr Jesia.

The couple was in Dubai to attend an award ceremony initiative by Planman Media.

‘PowerBrands Rising Stars 2012-13’ is a celebration of achievement and success comprising of the PowerBrands Rising Stars 2012-13 book launch, brand appreciation awards, PowerBrands Leadership awards and PowerBrands Hall of Fame ceremony.

The Hall of Fame ceremony seeks to honour and celebrate the success of the living legends across industries in India and UAE.

Actor Arjun Kapoor along with many others were present during the function.

After the ceremony Arjun Rampal tweeted, "A very nice evening spent with some wonderful dignitaries and people in Dubai, great hospitality by team Planman. Thank you for everything."

Rampal flew to Dubai on August 28, he tweeted, "En route to Dubai, for the power brand awards, Emirates aircraft my fav airline, wife accompanying me, more when I reach. GM."

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EMIS ELibM Electronic Journals Advances in Geometry
Vol. 2, No. 2, pp. 123–133 (2002)

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Utopenci-“Drowned Men” a Czech pub classic

19 Jan Utopenci-“Drowned Men” a Czech pub classic

utopenci czech pickled hotdogs

Today we have a classic from Czech pubs. Utopenci is a jar of pickled hot dogs, onions and spices. It is a necessary addition to all czech pubs, usually to be found near the tap.

The name Utopenci has deep roots in the Czech soul and humor. Utopenci were invented 100 years ago by Mr.  Šamánek who owned a mill and a pub in Beroun. The pickled hot-dogs were very popular and his pub was famous throughout the country. As life has its irony, he drowned on day while fixing his mill’s wheel. Czechs love black humor and they named this classic Utopenci – Drowned men.

czech hotdogs onions and garlic ready to get pickled

I decided to post this video, because it reflects the era of socialist pub culture, which spans the late 50’s until mid 90’s of the past century. This is the period when the pub was the gathering place of ordinary Czech men, and a very important institution where the men had to fight for social positions and made their most important life decisions. At 3:30 pm the men came home after a hard day’s work, and after a well-deserved lunch they would set off to the pub. They had to rush, because the pubs were open only until 9  pm. As soon as the last round was called (usually known by the fact that the smoke in the air could be cut by a dull knife)  they had a hard “orientational” walk home where they would be shouted at and beaten by pasta-roller wielding Czech women – the wives.  This song reflects the hardship of the Czech men. In this video you could see the hard fight for social acceptance, and of course the original beer tap which was in use in all pubs in Czechoslovakia for almost 50 years. As a sign of the sour future to come, the main character helps himself to utopenci. During this presentation you will be able to see how the air thickens as a sign that time is running out and slowly they have to start the journey home.

Utopenci – Drowned Men

There are plenty of variations for utopenci. Originally, utopenci were not spciy so you can leave out the chili. The very basic recipe is the first 10 ingredients. After that you can use your imigination – some people add mustard or mustard seeds, horse radish, pickled cucumbers, Worcester sauce, olives etc. I have added tomatoes because Katy likes pickled tomatoes so why not?

  • 2.5 cups water
  • 1.5 cups 8% white vinegar
  • 10 whole pepper corns
  • 4pc allspice
  • 1 bay leaf
  • 2 pounds of thick hot-dogs
  • 1 tsp salt
  • 1/2 tsp sugar
  • 5 cloves garlic
  • 4-5 big onions
  • 2 chilies
  • 10 cherry tomatoes
  • 2 cups of sauerkraut

  • Mix the water, vinegar, salt, sugar and the spices and bring them to boil. Boil them for 2 minutes and then let the liquid cool.
  • Peel the hot-dogs, chop the onions into circles. Peel the tomatoes. The trick with tomatoes is to put them into boiling water for 20 sec. After that it is very easy to pop them out of their skin.
  • Prepare a 4.2 pint (2liter) jar. Start to layer onions, garlic, hot-dogs, sauerkraut, chilies. You can do few layers. On the top I have put the tomatoes.
  • Once the vinegary liquid is lukewarm, pour it into the jar. Shake the jar in order to get rid of bubbles. Do not leave out the spices and put them into the jar. Seal the jar and put it into a cool place or fridge for 2 weeks. If you are going crazy you can eat them in one week, but two weeks is the etiquette. In the fridge they will take longer to mature.
  • Serve with rustic bread and plenty of pilsner. Do not forget to invite me over.


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The Latest Color and Pattern Trends in Kitchen Flooring Options

Apr 13
Sara Berg
Many times we find ourselves in the kitchen chatting while snacking or making a meal. While we may not understand why we mingle in the kitchen, we can take a look at some of the latest color and pattern trends in kitchen flooring.  MORE

Filed under: ceramic, floor, kitchen, laminate, tile, vinyl

3 Quick Fixes for Filling a Nail Hole

As a homeowner, and especially as a renter, there will be many times that the knowledge of fixing a small hole in the wall from a nail will come in handy. For instance, when its time to redecorate after getting new flooring installed! Whatever the reason, there are DIY fixes utilizing products found around the home that will fill the hole in a pinch.

Filed under: blogger, DIY, empire, guest, holes, home, improvement, nail, tips

How to Teach Your Dog to Behave

Apr 7
Abby Berg
Having puppy problems? It’s time to take charge! In order for your puppy to listen to you and behave in your household, you need to establish dominance and teach obedience. Let’s take a closer look at both areas in hopes to improve your puppy’s behavior.

Filed under: Behavior, Dog, Obedience, Puppy, Tips, Training

Be the Talk of the Town with NEW Ocean Villa Exotic Hardwood Flooring

Apr 6
Frank Worth
Here we go again! We’re adding even more beautiful engineered hardwood styles to our collection. Our newest wood floor is called Ocean Villa, and it has “the look” that will make your home stand out from others. We have lots of customers that want wood floors that look “different” than traditional oak floors that you see in many homes.

Filed under: Acacia, Brazilian, Cherry, Empire, Exotic, Flooring, Hardwood, New, Ocean, Sapele, Villa

Hot Mustard BBQ Sauce

Today I am sharing something very special with you...Something very secret…Something that will help you make friends for life, having people wanting to give you money...Something most people rely on a store or restaurant to supply….but you don’t have to! Today I am sharing the recipe for our family’s famous North Carolina hot mustard BBQ sauce.

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Hot Flashes at Night? Options to Help Keep You Cool

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Hot Flashes at Night? Options to Help Keep You Cool 1 5 1
options to cool your hot flashes at night

Summer is coming. Those of us who have hot flashes at night are dreading the change in weather. Waking up with your hair stuck to the pillow, or needing an entire change of pajamas is not conducive to a restful night’s sleep.

Hot flashes that occur during menopause are due to changing estrogen and progesterone levels. However, there are several other medical conditions that can also cause hot flashes such as breast cancer treatment or immune disorders.

Mild hot flashes may only cause a sudden feeling of heat and a red flush. However, more severe ones can cause night sweats that drench you and your bedclothes.

While there are medical options that try and balance hormone swings, these ideas below are direct attempts to combat hot flash fatigue from lack of sleep. Links to all these products are at the end of this article.

Cool Pajamas

Pam Stephan from reviewed three brands of wicking sleepwear: Cooljams, Dry Dreams (Drinights) and Wildbleu. She also tried Dreamsacks (Yala Designs), which are made out of bamboo fiber and are naturally wicking and environmentally friendly.

If you search the web, there are even more brands available, such as Haralee and NiteSweatz. Pam liked each of the brands she tried, each for different reasons, so you may need to determine your own personal preference.

Wicking sleepwear claims to work by using high performance fabric that wicks away moisture from your skin to keep you drier. Some of the brands also have men’s pajamas. Prices range from $50 to $100 dollars, though they often have PJs on sale for less.

Cool Sheets

Cool sheets are made from a specially engineered fabric that allows them to absorb heat and moisture, then release it when your body cools down. Many of the companies that sell cool pajamas also sell cool sheets.

Cool sheet pricing sell for $125 a set and up. If your budget is limited, maybe just buying cool pillowcases at about $25 at Wildbleu, or a cool mattress pad for $120 from Cooljams are an option.

Cool Pillows

Temperature regulating pillows are also sold by many of the companies selling cool sheets.

Add a Comment4 Comments

Alexander Sophia

Menopause can be an amazing time in your life. When it comes to those nasty hot flashes, there are some things you can do to fight back.

May 6, 2013 - 11:11pm
Michele Blacksberg RN HERWriter

Women can get hot flashes for several reasons and not everyone is able to take estrogen due to other medical conditions.  I mentioned that “there are medical options that try and balance hormone swings” but it was not the intent of this article to discuss that.

Thanks for reminding women to investigate their hormone levels with their doctor.

May 6, 2013 - 3:58pm
Menopause Moxie

As an RN, I'm surprised you didn't recommend to optimize hormone levels but instead you recommended fans and pajamas? Hot flashes don't occur when there are fluctuations in estrogen and progesterone levels. Women get hot flashes and night sweats because their estrogen has tanked. If you restore the hormones to optimal levels, women would get rid of the hot flashes and night sweats altogether.

May 6, 2013 - 3:13pm
Haralee Blogger

Thanks for the shout -out about my sleepwear for women having night sweats at Haralee.Com. We make cool garments for Hot women! For EmpowHer readers, 15% off with promo code: Mother

May 6, 2013 - 1:33pm
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We value and respect our HERWriters' experiences, but everyone is different. Many of our writers are speaking from personal experience, and what's worked for them may not work for you. Their articles are not a substitute for medical advice, although we hope you can gain knowledge from their insight.

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Earl Thomas Conley

Rate It! Avg: 4.0 (13 ratings)
  • Born: Portsmouth, OH
  • Years Active: 1970s, 1980s, 1990s, 2000s

Biography All Music Guide

All Music Guide:

Early in his career, Earl Thomas Conley's music picked up the label "thinking man's country." An accurate description -- Conley looks into the heart and soul of his characters, finding the motivations for their actions and beliefs. In the process, the astute listener can find fragments of himself/herself in nearly any Conley creation. Born into poverty in Portsmouth, OH, Conley struggled with the limits of his social class. He aspired to be a painter or actor, but found that his aspirations for music lingered after the other interests died down. Influenced by everyone from Hank Williams to the Eagles, Conley delved into the details of writing, trying to learn the craft by following the rules and regulations of the Music Row songwriting community. Eventually, torn by the limits of the "law," he found his own niche by breaking many of those same rules. His public self-analysis -- in both his songs and his interviews -- has proven inspirational to some, bothersome to others, but Conley has evolved stylistically, even though the "thinking man" label continues to follow him. He's admittedly chased a more commercial sound, with a certain degree of success, but the run for the dollars also put him into a financial bind. He spent part of the late '80s and early '90s overworking himself to pay off his debts. Although he has been a hitmaker for more than a decade, his contributions to country have often gone almost unnoticed.

The son a railroad man, Conley left his Portsmouth home at the age of 14, once his father lost his job. After living with his older sister in Ohio, he rejected a scholarship to art school, deciding to join the Army instead. While he was in the military, he fell in love with country music. Following his discharge, he worked a number of blue-collar jobs while he played Nashville clubs at night. Conley wasn't making any headway, so he relocated to Huntsville, AL, where he worked in a steel mill. While in Huntsville, he met Nelson Larkin, a producer who helped the fledgling singer sign to the independent label GRT in 1974. Over the next two years, he released four singles on the label -- which were all credited to "Earl Conley" -- and each one scraped the lower regions of the country charts. While his chart success was respectable for a developing artist, he was soon eclipsed by other artists who were having hits with his songs. Nelson Larkin gave his brother Billy "Leave It Up to Me," which became the first Earl Thomas Conley song to reach the Top 20. It was followed shortly afterward by Mel Street's number 13 hit "Smokey Mountain Memories" and Conway Twitty's version of "This Time I've Hurt Her More (Than She Loves Me)," which reached number one in early 1976. By that time, he had moved to Nashville, where he was writing for Nelson Larkin's publishing house.

In 1977, Conley signed with Warner Bros., and in early 1979 he had his first Top 40 hit, "Dreamin's All I Do." By the end of the year, he had begun performing and releasing records under his full name, Earl Thomas Conley. None of his Warner singles became big hits, and he left the label at the end of 1979. After spending six months reassessing his career and musical direction, he signed to Sunbird Records and began working with Nelson Larkin again. Conley's first single for Sunbird, "Silent Treatment," was an immediate Top Ten hit late in 1980, and it was quickly followed by the number one "Fire and Smoke" early in 1981. Following his breakthrough success, RCA signed Conley to a long-term deal. "Tell Me Why," his first single for the label, reached number ten in late 1981, followed shortly afterward by the number 16 "After the Love Slips Away." In the summer of 1982, "Heavenly Bodies" kicked off a string of 21 straight Top Ten hits that ran for seven years. During that time, he had a remarkable 17 number one hits, including a record-setting four number one singles from 1984's Don't Make It Easy for Me -- it was the first time any artist in any genre had four number one hits from the same album. Though he had some financial and vocal problems during the mid-'80s, the hits never stopped coming during the entire decade.

By the end of the '80s, he had stopped working with Nelson Larkin, preferring to collaborate with Randy Scruggs, which brought his music back to his country and R&B roots. His sales took a dramatic dip during 1990 due to the rise of contemporary country, but he had two new Top Ten hits, "Shadow of a Doubt" and the Keith Whitley duet "Brotherly Love." The singles set the stage for the harder-edged country of his 1991 album, Yours Truly. Despite receiving some of the best reviews of Conley's career, the record was a commercial failure, and RCA dropped him shortly after its release. For much of the '90s, he was without a record label, yet he continued to give concerts and to tour, finally landing on Intersound for 1998's Perpetual Emotion.

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"Skinning" for herbs and ore

Enough miners and herbalists have complained about having to depend on random spawns -- and compete with gold farmers -- that Blizzard has finally put in a way for these two professions to control their own destiny.

Several mobs, including rock giants in Hellfire Peninsula and nature elementals in Zangarmarsh and Coilfang Reservoir, can be "skinned" for ores and herbs, just as if they were a node. While running through the Underbog in Coilfang Reservoir Thursday night, I got a couple of Ragveils, a Terocone, some quest herbs, and a few useless gray mushrooms from skinning the elite Loatheb-like marsh elementals inside. The skinning results are kind of random, and the mobs will be farmed as easily as the herb spawn points were, but it's still an interesting new way of getting your base materials.

Have you found anything else while "skinning" for herbs and ores? If so, what and where?

This article was originally published on WoW Insider.


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Firefox 3.6 will support accelerometers, make the internet seasick (video)

If you, like us, are tired of the so-called browser wars trying to woo us with barely identifiable, context-dependent speed differences, this might be of interest. Firefox is about to get a whole lot more sentient on us -- at least those of us with accelerometers in our hardware -- courtesy of a new device API that is capable of maintaining a webpage's vertical orientation relative to the ground, no matter what sort of salto mortale the underlying machine (Mac or otherwise) might be doing. Think of it as the cherry atop your Windows 7 multitouch tablet cake. Originally intended for mobile platforms only, this software will make its way into version 3.6 of the full-fledged browser -- and you can find an early demo of what it can do just past the break.

See more video at our hub!