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31st Stohess Garrison: Experience & Game Driven RP

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Re: 31st Stohess Garrison: Experience & Game Driven RP

Postby Cyrus » Wed Nov 05, 2014 10:26 pm

Acknowledging the first answer with a nod, Cyrus silently awaits the answers of the other soldiers assembled in the room.

Glancing around, he notices that the warehouse is in good shape, albeit rough around the edges. The underground lift in the center of the room also catches his attention. Looks like I was right about that part...

Re: 31st Stohess Garrison: Experience & Game Driven RP

Postby zRavioli » Thu Nov 06, 2014 5:24 am

Cain looked around awkwardly in the silence that followed his response. He noticed Cyrus was looking around at the details of the room, and he decided to do the same.

He saw that, aside from a few chairs in the corners and the big lift in the middle, the room was completely empty. There were no lighting sources besides the windows, which were so dirty that only a pale light shone through, lighting up the room only enough to see the shapes inside. I bet that our living quarters, mess hall, and common room are all underground, he thought, a bit of disgust pulling the corners of his mouth into a frown. It's probably damn filthy down there, that's for sure.

He stopped looking around and instead shifted his gaze back to the floor. He cleared his throat and said, "Ah, Cyrus. You didn't answer my question: have you ever seen a titan?"

Re: 31st Stohess Garrison: Experience & Game Driven RP

Postby Yuvalis » Thu Nov 06, 2014 2:31 pm

"Nice to meet'cha Cyrus. My name is Yuval and, like Cain, I've never seen a titan except the two inside the walls." Yuval answered "Guys, I just had a thought. Maybe we are going to fight each other to see who will be the captain- or maybe we are going to another district through a secret tunnel? Does anyone have any more suggestions because this ones are very unlikely to be true". After saying what he had on his mind, Yuval started gazing at the door, trying to speculate the results of a fight between them. They would win easily in a 1 on 1 match against me, he thought. "Well, how about you Terra- did you see a titan before?"

Re: 31st Stohess Garrison: Experience & Game Driven RP

Postby Cyrus » Thu Nov 06, 2014 3:29 pm

Nodding in response to the Yuval's answer, Cyrus glances over at Cain and replies calmly, "I apologize for my rudeness, but I'd like to get the answer to my question from everybody here first. It's very important to me." Turning to the last soldier in the room, the one called "Terra", he awaits his answer.

Well, they aren't really veterans, perhaps inexperienced, or maybe excel in other capacities...? Was this a squad formed on ideals rather than substance? What's going on...

Also, judging by what Yuval said, there is no current captain assigned to this squad. His theory regarding testing us to determine who will be the squad leader may very well be true, and if it is, it's clear that the CO is quite an interesting man.

Re: 31st Stohess Garrison: Experience & Game Driven RP

Postby Terramort » Fri Nov 07, 2014 1:40 am

Seeing that everyone else had responded to the question, Terra decided to chime in.

"I've seen my fair share of Titans. I was 2 weeks out from graduation when they attacked the Shingashina district. My trainee division was brought in as emergency containment when the Titans breached Wall Maria. For 3 years my Squadron, the survivors of the initial outbreak, trained against the Titans while repairing the wall in secret, vowing to protect the lives of innocents and retake our land.

"That dream, however, ended in Trost. Charged with the frontline defenses for our skills, the entirety of my Squadron was lost over the course of those few days."

Terramort's face darkened, remember the terror and destruction wrought by the behemoths.

"They aren't like training, you know. A single mistake and it could be all over, so much adrenaline, everything becomes a blur... Well, whatever the case - we've stood around long enough. I guess we are the only ones that got the assignment here."

The freight elevator was more than big enough to accommodate the few members of the 31st Stohess gathered that morning. After filing onto the thick steel carriage, Terra pulled the lever in the car to the "down" position, beginning their slow descent into darkness. Within seconds, however, the darkness vanished as the world around them once again opened up. Peering over the edge, thick tunnels could be seen spreading away from the elevator's location, each ending a gaping maw of shadows. A few gas torches kept the main chamber lit, but for the most part, it was rather gloomy.

"Man, hope none of you guys have claustrophobia!"

The carriage settled on the floor with a small shudder. Standing in front of the gate and preparing to step off, Terra was caught unawares by the quick drop that followed, and stumbled into Cyrus. Before he could regain his balance, the elevator quickly lost altitude. The sparsely lit room dissapeared in a flash, and darkness once again overtook the party.

Amid a few cries of surprise (not the least of which coming from a very off-balance Terramort), the elevator came to a quick stop amidst a few gas torches, sending Terra reeling into Cyrus once again. The ceiling of this lower cavern was too high to see with the dim light, and the walls too far. While regaining his balance, Terra noticed a second elevator car moving up the cables, taking their own car's position on the uppermost floor.

"Jeeze, what in the Three Walls just happened? A second underground? Everyone ok?"

Re: 31st Stohess Garrison: Experience & Game Driven RP

Postby zRavioli » Fri Nov 07, 2014 1:52 am

Cain, who had fallen onto his knees in the plummet, shook his head to clear the blurriness and dizziness. He faintly heard Terra ask if everyone was alright, and he weakly rose to a standing position, still feeling off-balance. He glanced around the cavern, but saw nothing in the dim area to indicate their location.

"Y-yeah," he said nervously, his head finally cleared, "I'm fine. But what the hell just happened?" He paused, then added as an afterthought, "This might be the actual location of the headquarters. But something doesn't seem right."

As he said that, his hand rose to the pistol in his chest holster. He wrapped his hand around the handle, then shook his head and returned his hand to his side.

"Should we explore this place, or should we stay here?" he asked quietly, more to himself than the others.

Re: 31st Stohess Garrison: Experience & Game Driven RP

Postby Cyrus » Fri Nov 07, 2014 4:34 am

Cyrus was not having a good day, but it was getting far more interesting now. First the answers of all the assembled soldiers had given him no obvious answers as to why the squad was being formed. Considering what he knew so far, which wasn't much since Terra had ushered them down the elevator before he could ask what was going on, there was no huge similarity between the soldiers, nor an obvious purpose to this squad.

Caught up in his thinking, he was caught off guard by the elevator falling once more after arriving at what was apparently only the FIRST level of the underground. Thanks to his lack of attention though, he was still firmly planted on the lift. Or at least he was until Terra stumbled into him, causing Cyrus to nearly lose his balance.

Having just recovered his balance, and bracing himself, the lift's sudden stop only shook him a bit. Terra's second impact with him, however, threw him off again. Still keeping his practiced calm demeanor, he managed to stay on his feet, albeit with some stumbling backwards.

Briefly wondering whether the lift had broken, the thought was dismissed when a quick look revealed the massive scale of this chamber.

Well, this opens up some possibilities... Traditional training, open area, hell, could setup a base down here... If someone else hasn't already, though I doubt the CO would send us down here unorganized for a dangerous mission... Unless he's ALOT more interesting then I had thought... Or perhaps... Either way, better be cautious from here on out.

Responding to Terra's concerned question, he says, "Yeah, and we should be careful, who knows what's down here. After all, with the noise that delightful ride down made, if there's anyone here they know where we are." Keeping his hands where they could easily draw the blades resting in his 3DMG, he prepares to move off the lift, gaze darting back and forth through the massive subterranean cavern.

Re: 31st Stohess Garrison: Experience & Game Driven RP

Postby Yuvalis » Fri Nov 07, 2014 12:10 pm

Yuval looked into the dark cavern. "Are we in the underground city, or another cavern?" Waving his hand in front of his head, he added "You should'nt breath the air down here. Might have some ancient incurable bacteria". Anyway, is this realy the place we were ordered to go to? He thought. We need to find a light source quickly.
"Does anyone have a light? And someone find a torch" Said Yuval.

Re: 31st Stohess Garrison: Experience & Game Driven RP

Postby Terramort » Wed Nov 12, 2014 10:14 am

Before Terramort had a chance to answer, a large, intimidating figure stepped out from the shadows.

"So. You made it."

Lt. Kluge, the Commanding Officer, stepped from the shadows.

"I'm surprised, considering this dolt somehow seems to be the unofficial leader right now."

The huge German man eyed Terra.

"Fell twice on the way down, eh? Slow reflexes, as ever. You don't learn to move, boy, you going to end up as Titan food. Now, the rest of you follow me. As you can see, this second layer to the underground is much larger than the first. It was originally intended to hold Stohess' wealthier upper class if things ever became too harsh on the surface. However, between orders to cease construction of the underground from Central, and a large sinkhole that opened in the west quadrant, work was abandoned."

As Kluge talked, he led the small group into the shadows, his gas lantern casting huge shadows from forgotten rafters, i-beams, and other construction equipment.

"When Shingashina fell, we new times were going to change. The government would not change their position on allowing civilians under the ground. They have, however, given explicit permission to the Wall Garrison to use it as personal training ground."

Finishing his explanation, the Lt. raised his gas lantern to the wall, lighting a new one. The fresh lantern here must have had some sort of small gas line connecting it to others, for the within minutes, the local area was consumed in a bright rosy glow. Looking around, it was clear that the forgotten construction equipment was, in fact, training gear. This general location seemed full of mock Titan replicas and large fake buildings.

"This underground is where we'll be training. No one except Garrison and Military Police are allowed down here.

"Now. I have other matters to attend to. You will remain here until further orders. From now on, this is a real town you must defend. Make camp, and survive. The training Titans will be run occasionally by other member from other groups, so be prepared at all times.

"Good luck, soldiers!"

And with a salute, Lt. Kluge dissapeared into the cityset.

((OCC: Not my fault! Got called in for an emergency trimming job, didn't have time to write up before I left. Back now, tired as hell, but the story must go on. :D Alright, let's try getting a time lined up to play. Until that point, the story is free to progress however the hell anyone wants, so long as nothing outright silly happens))

Re: 31st Stohess Garrison: Experience & Game Driven RP

Postby Cyrus » Wed Nov 12, 2014 1:23 pm

Cyrus was a bit relieved that things didn't turn out like he'd worried. Luckily he'd waited on doing anything when the stranger appeared until he'd seen the other's reactions. When it seemed like the man knew them, he had relaxed.

Now, standing in what was actually an impressive training area, Cyrus tilted his head towards Caine, answering the previous question directed at him prior to Terra's ushering down the elevator, "Oh, and yes I've seen a titan. Forgive me if I'd rather not share my entire story right now. Though if I may ask, where were you prior to being assigned here?"

Glancing over the room, Cyrus was once again quite impressed with the scale. This underground training area had an excellent amount of maneuvering room and the city area was pretty well designed. The titan targets were fitted with wheels, so he guessed that anyone operating them could even move them around to increase the difficulty.

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Stage 5 Visual Arts Marking Criteria For Essay

Visual arts resources

The following may be useful in the teaching of visual arts for Stages 4 and 5.

Stage 5 sample unit – signs and symbols

This unit involves an investigation of drawing, painting and sculpture conventions to make an artwork that represents self. Students explore the conceptual framework to make artworks that represent themselves through signs and symbols in the structural and subjective frames. In critical and historical studies they investigate, interpret and explain how contemporary artists have represented themselves through the medium of sculpture.

The task

Through the subjective, structural and cultural frameworks create a sculptural self-portrait using the additive approach. Use newspaper, plaster bandages and clay to make a bust and head. Paint the outside of the sculpture with acrylic paint.

The sculpture will be influenced by the sculptural portraits of Chinese artist Ah Xian. The sculpture produced should:

  • have similar physical characteristics to yourself
  • be painted with patterns and/or symbols reflective of your personality/self
  • be documented in your visual arts process diary.

There are three practices. These include:

  • art making: vocabulary and understanding the process of additive sculpture, sculptural construction through paper, plaster bandages, clay and acrylic paint
  • art criticism: series of questions in class based on the frames
  • art history: research and investigation into western, Chinese and Indigenous cultures, artists' practice and sculptural self-portraits.

Sculpture requirements

The following are requirements for the task:

  • Materials – sculpture must be made of newspaper, plaster bandages, and clay
  • Size – roughly 40cm high x 40cm across (bust to the head)
  • Four symbols and/or patterns painted with acrylic paint, reflecting your personality/self
  • The sculpture must represent your physical form – your eyes, nose, mouth and so on.

Visual arts process diary requirements

  • 3 detailed ideas/sketches of your sculptural bust and head
  • 4 detailed ideas/sketches of your symbols/patterns and why they reflect your personality
  • A3 page sketch of the sculptural bust and head with symbols/patterns explaining why you have chosen them
  • 4 paragraph reflections on the process of making the sculptural self-portrait – explain what is working, how you have created your sculpture, changed your sculpture and how you could improve

A student:

  • 5.3 makes artworks informed by an understanding of how the frames affect meaning
  • 5.4 investigates the world as a source of ideas, concepts and subject matter in the visual arts
  • 5.5 makes informed choices to develop and extend concepts and different meanings in their artworks
  • 5.6 demonstrates developing technical accomplishment and refinement in marking artworks.

Visual Arts 7-10 Syllabus © NSW Education Standards Authority (NESA) for and on behalf of the Crown in right of the State of New South Wales, 2003

Teaching and learning activities

Art makingCritical and historical studies
  • Students will be given the art making assessment task. Key vocabulary will be discussed – symbol, pattern, culture and portrait, additive
  • Teacher introduces the art making process for the unit with an example of what students will create.
  • Students will begin researching, experimenting and sketching patterns, symbols and colours that relate to themselves.
  • Students are introduced to the concept of sculpted self – a sculptural self portrait. Students write unit overview in their visual arts process diary (VAPD).
  • Students create title page for their VAPD.
  • In their VAPD, students collect and record information that explores their personal world, their interests, personality and physical characteristics, and their relationships to society and others. Students will begin writing ideas of how they may want to represent themselves.
  • Students are given a list of questions in order to help them understand themselves.
  • Students are given a critical and historical study task based on Ah Xian’s art making practice and Chinese culture.
  • Students continue to sketch ideas in their VAPD for their sculpture. They follow art making assessment guidelines.
    • 3 detailed ideas/sketches of  sculptural bust and head
    • 4 detailed ideas/sketches of  symbols/patterns and why they reflect personality– at least 3 sentences to accompany each sketch
    • A3 page sketch of sculptural bust and head with symbols/patterns and explanation of why they were chosen
  • Photos of each student will be taken from front, side and back perspectives. This will enable the student to understand the 3D shape of the head, neck and bust when they begin to build their sculpture.
  • A demonstration of how to begin the sculpture will take place. Vaseline will be placed on each student’s face and plaster strips applied.
  • Students will be shown how to make the frame of the bust and head with scrunched up newspaper and masking tape.
  • A demonstration of how to apply plaster bandages to each individual section is shown.
  • Students reflect in their VAPD about the process of making their artwork each week.
  • Students continue placing bandages over head, neck and shoulder sections, making sure there is a gap at the base of the head to attach the neck.
  • Students draw their design onto the sculpture based on their sketches from their VAPD. They begin to paint sculpture with acrylic paint.
  • Students continue to paint sculpture. Once finished they complete an evaluation sheet based on their sculpture and participate in a group discussion about their final designs.
  • Students review the frames as a way of making and interpreting artworks. Students explore the structural frame and subjective frame and some aspects of the conceptual framework through an investigation of artists who use sculpture as a way of creating self-portraiture in their works – David Malangi, Ah Xian, Tom Friedman and Jim Dine. Students will answer questions in their VAPD about the artworks.
  • Students read about Brigiat Maltese’s artwork Animal, Vegetable, Mineral (1994) and answer questions based on the subjective frame in relation to her work.
  • Introduce students to the different roles, functions and activities of artists in creating sculptural 3D artworks, and the contexts in which audiences view these artworks, as well as the experience they bring to the viewing. Discuss how sculpture functions as art, the artist’s intentions and personality, audience expectation and response.

Marking guidelines

GradeA student in this range

  • Investigates different and varied painting techniques extensively; confidently manipulates and arranges text, colours, shapes and textures into a sophisticated and unified composition.
  • Demonstrates an extensive understanding of how the structural frame can be used to develop text, colour, shape, texture and scale. Uses symbols and visual codes to communicate personality traits and interests clearly.
  • Considers audience interpretation of symbols and experiments with visual qualities, symbols and words to communicate and represent complex ideas about self.
  • Uses the visual arts process diary extensively to sketch, reflect and document process of ideas to an outstanding level.

  • Investigates a range of painting techniques and thoroughly manipulates and arranges text, colours, shapes and textures into a composition with unified areas.
  • Demonstrates a thorough understanding of the structural frame and develops text, colour, shape, texture and scale. Uses symbols and visual codes to communicate personality traits and interests.
  • Considers audience interpretation of symbols and experiments with some visual qualities, symbols, numbers and words to communicate and represent ideas about self.
  • Uses the visual arts process diary effectively to sketch, reflect and document the process of ideas to a high level.

  • Investigates painting techniques and manipulates and arranges text, colours, shapes, and textures into a sound composition.
  • Demonstrates a sound understanding of the structural frame and is developing skills in using text, colour, shape, texture and scale. Uses symbols and visual codes to communicate some personality traits and interests.
  • Considers audience interpretation of symbols and experiments with a sound level of visual qualities, symbols, numbers and words to communicate and represent ideas about self.
  • Uses the visual arts process diary to show sketches, reflections and process of ideas to a sound level.

  • Investigates some painting techniques and manipulates and arranges text, colours, shapes and textures into a composition that still needs to be unified.
  • Demonstrates a basic understanding of the structural frame in using text, colour, shape, texture and scale. Uses symbols and visual codes to communicate a basic personality trait and interest.
  • Is learning to consider that audiences can interpret symbols; experiments with a limited range of visual qualities, symbols, numbers and words to communicate and represent ideas about self.
  • Uses the visual arts process diary in a limited way, showing limited sketches, reflections and process of ideas.

  • Investigates little or no painting techniques and manipulates and arranges text, colours, shapes and textures into a composition that is not unified or resolved.
  • Demonstrates little or no understanding of the structural frame in using text, colour, shape, texture or scale. Uses symbols and visual codes to communicate a elementary personality trait or interest.
  • Doesn’t consider audience interpretation of symbols; little or no experimentation with visual qualities, symbols, numbers and words to communicate or represent ideas about self.
  • Uses the visual arts process diary in a limited way, showing few or no sketches, reflections or process of ideas.

Article metadata

Last updated: 05 October 2017

Visual arts is hard.

A lot of people don’t realise or don’t acknowledge it, but the Visual Arts HSC curriculum is actually pretty tricky! Having to balance a major work with theoretical study, as well as all your other subjects, can quickly become overwhelming. That leaves too many students going into the Visual Arts HSC exam, and specifically the extended response portion, totally blind.

But it doesn’t need to be as daunting, and confusing, as a lot of students make it! By learning how to write a strong extended response and practicing these skills, you’ll be ready for that Band 6 response in no time.

What Makes a Band 6?

In order to write a Band 6 response you’ll need to know what one looks like, which we can do in two ways. The first is to read a band 6 response, which you can find here.

The other, more effective way is to read over the HSC syllabus and find out exactly what criteria you need to fulfil to receive a band 6. This way you know exactly what markers are looking for and what you need to include in your own writing in order to get the marks you want.

Though the individual questions of the HSC paper aren’t graded in bands, we’ll take the highest mark range (A) as being equal to band 6. This is the criteria we have to meet in order to place in that mark range;

Let’s break it down into simpler terms.

  • Presents an idea that makes sense and has evidence, but can show that other ideas are also valid
  • Covers all parts of the idea while keeping it linked to the question
  • Uses example artists and artworks to back up the idea
  • All ideas make sense and go into detail, are complex

Essentially this means that in order to get high marks, your response has to focus on one central idea (usually given in the question) by looking at different ways of exploring the idea. You also have to make sure to reference artists and artworks (at least 2 artists, at least 2 artworks each) to act as ‘evidence’ of whatever points you make.

It’s also important to remember that, like any essay, you have to remember your English skills – structure, sophisticated language, sentence flow, etc. are all important. Your response is focussed on visual arts, but any essay should be written as if you’re trying to impress an English teacher.

Step 1: Choose Your Artists

The most important thing you have to bring to any visual arts extended response is your own knowledge of key artists and some of their artworks. This means you’ll have to do a bit of research in class or in your own time to make sure your knowledge of these artists and works is in-depth and complex – you can’t just know that Van Gogh painted “that one picture of some stars and stuff”.

To write a strong extended response, you’ll need to write about at least 2 artists and at least 2 of each of their artworks (4 artworks all up). Essentially 1 paragraph per artwork, per artist. This helps you structure your response, but is also central to making it a “complex” essay with “evidence/cases” as examples. It’s much easier to write about what you care about, so go ahead and choose artists you like (but make sure they’re good, well-documented artists too).

The goal is that by the end of the year you’ll know at least 2 artists and 4 artworks well enough to write about totally on-the-fly.

It’s also important to remember that you’ll be comparing and contrasting these artists, so choose two that share some similarities but are also different, and/or who come from different contexts. A good idea is the “Idea vs. Practice” rule: if you want to focus on two artists who explore similar ideas, choose ones with very different practices, or vice versa. This way you’ll always have something to compare and contrast.

“Frida Kahlo and Del Kathryn Barton are two female artists who look closely at the notions of womanhood and femininity, though in totally different ways. While Kahlo’s realistic oil paintings give a glimpse into her specific experience of womanhood, Barton’s decorative mixed-media works look closer at the shared experiences of women in modern society.”

When studying artists, consider their artworks, practice, ideas and context.

  • Artworks – which specific works of theirs will you write about?
  • Practice – how do the create art? Materials, process, etc.
  • Ideas – what topics or themes do they explore and how?
  • Context – what time, place and society did they make art in?

This not only helps you understand the artist better, it also gives you a quick way to link everything back to the frames! Artworks and practice are the structural frame, ideas are the subjective frame and context is the cultural frame. This way you’re looking for information that will specifically help you write extended responses without falling into the trap of just grabbing whatever info looks most interesting and hoping for the best.

To break down specific artworks, simply use the frames as you know them.

  • Structural – how is the work made? What does it look like?
  • Subjective – how does it make you feel? What ideas does it reflect?
  • Cultural – what time, place and society does it reflect?
  • Postmodern – is it a take on an already existing work? Why/how?

Try to choose artworks that set the artists apart in some way – if they were known for a particular style or practice, focus on that. Be careful not to choose an artist’s most famous or popular work, as markers tend not to be impressed by obvious or ‘easy’ artworks. Also remember to choose two artworks that are different for each artist – don’t choose two self-portraits by Picasso because they won’t give a “complex insight” into his work as an artist.

These two artworks by Henri di Toulouse-Lautrec show his focus on creating art of French women, specifically dancers at the Moulin Rouge, but two very different styles he used to explore the idea.

One of the best ways to build up your knowledge of important artists and artworks you may want to use in your responses is to fill out one of these cheatsheets whenever you learn about a new artist. Obviously you’ll have to go into more detail if you want to write a strong response, but this is a good way to condense your information for quick recall!

Step 2: Choose a Question

In the HSC you’ll be given six questions to choose from when it comes to writing your extended response, but you only have to answer one.

There will be;

  • 2 x Frames questions
  • 2 x Conceptual framework questions
  • 2 x Practice questions

I’ll be completely honest with you; the frames based questions are always the easiest.

You know the frames well and have been talking about them since Year 7, making them by far the easiest to answer, but also the most popular questions. If you choose to answer one of them you’ll most likely be choosing the same question as thousands of other students, which is fine so long as you can produce and awesome extended response!

The conceptual framework questions are trickier, because you have to really understand the framework to answer them fully. Of course, you won’t have as much competition here, so if you study the framework hard in the lead up to the HSC you can easily pull off a great answer to an essay question here.

Practice questions tend to trip people up the most because they forget that they have to be focussed on the practice, rather than the artwork itself. This means you have to know the nitty-gritty details of exactly how the artist makes their artworks, specifically the works you’ve chosen to write about, but if you know the technical stuff you can smash these questions out of the park.

Unfortunately that’s where the predictions end, because every question is different and asks you to respond in a different way. This means that you’ll need to be able to break down questions in order to know exactly how to answer them. Let’s grab an example from the past paper above.

By pulling out key phrases and words we can quickly break down exactly what the question is asking and what marker will want to see.

“With reference to this statement”

Whenever you’re given a quote, USE IT! Stick it at the end of your paragraphs as a link back to the question, quote it in your idea statements, relate it to the artists and artworks you’re writing about. The quickest way to lose marks is to forget to use/mention the quote in your response.

“Analyse how and why”

These are the ideas you’ll be exploring in your response – how your artists/artworks do something (e.g. through symbolism, use of colour, mixed media, etc.) and why they do something (e.g. to get audience reactions, to create emotion, to raise awareness, etc.). Make sure to discuss both the how and the why.

“Approaches other than realism”

This is what you’re going to be analysing the how and why of – styles other than realism (e.g. cubism, surrealism, caricatures, etc.). This doesn’t mean you can’t talk about realism, just that you need to talk about other styles too! For example, you may discuss how one artist uses realism to reflect real world issues, while another artist uses surrealist imagery to do the same thing. This is why it’s so important to choose artists who have difference, as it’s highly unlikely you would have chosen two artists who both work in a realistic style.

When it comes to actually answering the question you simply need to go through each artist and artwork one by one, looking at how they individually relate to the question and to each other. For example, you may discuss how “Artwork A shows the value of realism, which contrasts Artwork B’s use of a cartoonist style to the same end, showing that ‘Art does not need to imitate life’ but it often does anyway.”

The best way to set yourself up for a Band 6 is to choose the question you can answer best. This means not going for the hard or impressive questions, or necessarily the easiest ones, but whichever one your artists, artworks and own writing style best suit.

Naturally, the only way to figure this is out is to write practise essays. It sounds daunting, but practice essays are the only sure-fire way to;

  1. figure out which question style you answer best
  2. improve your extended response writing skills
  3. get to know your artists + artworks super in-depth

By writing a whole bunch of practice essays (or essay plans) you’re able to really prepare yourself for writing a real extended response, and that way work out all the little issues you may end up having on the day. Plus, repetition is the best way to memorise, so by the time you’ve written a few practice responses you’ll know your artists and artworks inside out!

Step 3: Consider the Frames and Conceptual Framework

Once you know what the question is asking and what artists + artworks you’ll use to answer it, you need to start thinking about what evidence you’ll use. Whatever opinion, idea or argument you put forward in your response, everything you say needs to be backed up with artistic evidence, just like using quotes from texts in English essays.

The easiest way to find evidence? The frames and conceptual framework.

For a refresher on what each of these are and what they look at check out this article, but the chart and mind map below basically sum it up.

The Frames

“What does it look like?”

·       How has the artwork been made?

·       What techniques have been used?

·       What materials have been used?

·       What is the composition like?

“How does it make you feel?”

·       What is the mood of the work?

·       How is the mood created?

·       What do you think the artist felt?

·       What does the audience feel?

“What is its context?”

·       When and where was the work made?

·       How has this influenced it?

·       Who was the artist?

·      How did their context influence the work?

“Is it a new take on something?”

·       Does the work appropriate another artist?

·      Does it appropriate another artwork?

·       Why does it appropriate them/it?

·       How has it changed the original meaning?

Conceptual Framework

To provide evidence for a point, all you need to do is talk about how it relates to one of the frames or the conceptual framework, then link it back to the question. This means that any time you reference the materials used to make an artwork, how the artwork makes audiences feel, what time the artists lived in and how the artwork reflects the world around it you’re basically giving evidence!

Example (from earlier example question)

“Del Kathryn Barton’s use of thin, jagged lines in her work ‘She appeared as a lover might’ create a sense of fragility and brittleness, while also being reminiscent of the jagged edges of broken glass. This gives audiences a sense of something that has been damaged, the use of such line work on the figure of a young, forlorn looking girl making audiences question if the damage done to her is external or of a more emotional nature. Through this Barton shows that ‘Art doesn’t have to imitate life’, but that does not stop audiences from relating even non-realistic works to real-life experiences.”

This example references a few key points that link back to the frames, the conceptual framework, and the question.

  • “thin, jagged lines” – structural; how the work looks
  • “sense of fragility and brittleness” – subjective; how it makes you feel
  • “something has been damaged” – subjective; how it makes you feel
  • “figure of a young, forlorn looking girl” – structural; how the work looks
  • “audiences question if” – conceptual; how audiences and artwork relate
  • “art doesn’t have to imitate life” – use of quote from question
  • “non-realistic works to real-life experiences” – link to question

These are only small tidbits that link to the frames and conceptual framework, but by building them up throughout a full extended response you’re able to pack a whole lot of evidence into an essay!

Step 4: STEEL

Here’s where your English know-how comes into major play – it’s time to actually write your response! Think of it as being just like an English essay, only instead of a text you’re looking at an artwork, and instead of literary techniques you’re using artistic ones!

Introduce what your paragraph is about. This should include which artwork and artist you’re discussing, as well as how you’re relating them back to the topic/question. You may also want to include the year the artwork was made, its materials or other relevant information.

Now’s the time to mention what artistic techniques, materials or process have been used and start bringing in some of your evidence. You may reference specific elements and principles of design, the frames, the conceptual framework, etc. If it’s a practice-based questions (or you’re talking about practice) you can focus more on the materials used, how they were used, what styles and processes were used in the work, etc.

This is where you go into artwork specifics and give your evidence of how the techniques is used by the artist in their artwork. For example, if your technique was colour, talk exactly about how the artist has used colour – are the colours bright or muted? Are the complimentary or analogous? Is there colour symbolism involved?

Staying specific, this is the ‘why’ of your paragraph – basically telling us why all of the stuff you’ve already said is important. Talk about how the techniques used in the artwork impact the artwork’s meaning, how audiences view it, etc. Make sure to keep this section on-topic and focus on how all of these ‘effects’ tie back to the idea/topic presented in the original question.

Finally, link everything you’ve said to the other artworks/artists you have talked about/will talk about, and then link it all back to the question.

Paragraph Example

Question: “’If I could say it in words, there would be no reason to paint.’ – Edward Hopper. Discuss this statement with reference to how artists communicate concepts using a visual language.”

“Barbara Kruger is an artist who can “say it in words”, and it has become her signature to do so, using text in her works such as Untitled (Pro-life for the born/pro-death for the unborn). In the image Kruger uses colour and appropriation to visually support her use of the text, which reads “Pro-life for the born” and “Pro-death for the unborn” over a black and white photograph of American President George W Bush. Kruger specifically uses bold white text on a red background, a trademark of her art style, not only to add contrast and visual appeal to the work, but also to play on colour symbolism; red linking to violence and death, while white is used to symbolise purity and truth. This implies that the abortion-themed message of the text, though backed by themes of pain, violence and bloodshed (in the eyes of some), is the honest and painful truth, as stark as it is white – and Bush is to blame. At the same time, Kruger uses an image sourced directly from mass media and appropriates it to completely recontextualise it, turning President Bush from a top American figurehead into the prime suspect of the crime her text accuses. In mixing colour symbolism and the appropriation of an image not sourced from the world of art, Kruger is able to make a political statement textually while supporting it with visual language. Thus the works shows how artists are able to communicate concepts with both visual and textual language.”

What Next?

So there you have it – a step by step guide to an awesome HSC Visual Arts extended response! We’ve given you all the elements you need to succeed, but now it’s up to you to get to work and start honing your skills. Rome wasn’t built in a day, and neither will your response writing skills be, so you’ll need to grab a few past paper questions and start trying out the skill you’ve learned here.

By adding all these elements together and editing your work to make sure it flows smoothly and sounds sophisticated you’ll have a band 6 response ready to go in no time!

So here’s a question for the road; choose your favourite artists, some awesome artworks and get writing!

Maddison Leach completed her HSC in 2014, achieving an ATAR of 98.00 and Band 6 in all her subjects. Having tutored privately for two years before joining Art of Smart, she enjoys helping students through the academic and other aspects of school life, even though it sometimes makes her feel old. Maddison has had a passion for writing since her early teens, having had several short stories published before joining the world of blogging. She’s currently studying a Bachelor of Design at the University of Technology Sydney and spends most of her time trying not to get caught sketching people on trains.

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FILT Case Studies

Latest News

Missing link

Housing adaptations can help old patients move from expensive hospital beds to the comfort of their own home, says Paul Smith – Foundations’ director.

This article was originally published in Inside Housing

The recent report from the National Audit Office (NAO) on ‘Discharging Older Patients from Hospital’ made for uncomfortable reading. A rapidly increasing older population means that 62% of hospital patients are now over 65 and delays in their discharge from hospital accounted for 1.15 million bed days in 2014/15 at an estimated cost of £820m. However, a quick word search reveals not a single mention of ‘housing’ in the report despite numerous references to assessments and care taking place in the person’s own home.

Since the report was published other housing organisations have called for surplus NHS and to be given over for new supported housing schemes to provide a ‘step-down’ facility between hospital and home. The theory is that this would create a buffer at a lower cost, but it would take several years to realise and it would still cost more than helping people back to where they want to be – their own home.

So what can the housing sector do in the short term? Well, the NAO report does talk about adaptations as part of the ‘home with support’ discharge pathway.

Funding for Disabled Facilities Grants (DFGs) has increased significantly this year thanks to extra investment from the Department of Health. DFG is the main source of funding for home adaptations and is increasingly being used more flexibly to meet local needs. For instance, fast tracking adaptations to make a house safer to return to.

Home Improvement Agency (HIA) services are also helping people to return home sooner. Revival is a great example of a HIA run by Staffordshire Housing Association. They employ support workers based in the local hospital whose role is to meet the patient on the ward and then visit their home to assess how safe it would be when they’re discharged. They can arrange all sorts of services like cleaning, fitting grab rails, moving beds downstairs, identifying and removing trips hazards, fitting smoke alarms, repairing faulty boilers and so on.

Whatever the solution, the inclusion of DFG funding within the Better Care Fund means that discussions are now happening at Health & Wellbeing Boards across England. Some are at a very early stage, but it is opening the door to more joined up working across health, social care and housing for all tenures. However many accessible new homes we build, the issue for the vast majority of people will be the safety and accessibility of their existing home. We need to take this opportunity to ensure that housing services are in place to support hospital discharge for older people in a timely manner.

Foundations is now coordinating the pioneering Health and Housing Memorandum of Understanding (MoU) between government departments, its agencies such NHS England and Public Health England and a range of professional and trade bodies. It offers a great opportunity for more collaborative approaches to hospital discharge to be developed and the learning disseminated.

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lakewood roof for Dummies

four. Other parts of the ground ground not required to be created for retail occupancy may very well be designed for any permitted use.

E. Apiaries: In which recognized being a minimal use, apiaries shall be accent towards the permitted use, and topic to the next:

1. The items shall be limited to items offered within the organization associated with the outdoor Exhibit. two. Any items and linked apparatus shall be stored within ten linear feet parallel to the front entrance in the business which happens to be displaying the goods, but in no circumstance shall the goods lengthen over and above the business frontage.

E. Interior sidewalks parallel and adjacent to your street or travel aisle shall make use of a elevated stroll or be divided from the road or generate aisle by a raised curb, landscaping or other Actual physical barrier.

B. Any portion of a making situated in the M zone district and inside seventy five ft from the zone district boundary shall Have got a greatest height no increased than the most peak authorized during the adjacent residential district (See Figure 17.

A major web page approach is required when among the subsequent is proposed: A. A alter to the internet site, in addition to an individual-relatives or two-loved ones structure, that influences twenty percent or even more of the website region; or:

B. All exterior rooftop mechanical machines shall be setback a length at the very least equal to their peak earlier mentioned the roof, or be screened from general the original source public appropriate-of-way in the usage of parapets or enclosures which are equal to, or increased than, the peak of your equipment being screened.

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Re: [APD] Re: CO2 Questions

>If you want to run 8 aquaria, I suggest you get:
>1.  A filled cylinder, probably 20# size
>2.  A regulator and master needle valve to complete pressure management
>3.  A package of 8 trimmer needle valves (to complete individual flow
>management) and diffusors
>The cylinder should come from your favorite LOCAL gas supplier (they will
>refill it for you when it runs out).  The regulator can be bought from a
>refrigeration supply company ( their usual customers are refrigerator
>repair guys) or a bar supply company.  You should look for a two gauge
>model with a 30psi (max.) output gauge.  They will cost about $30-40.   The
>needle valves and diffusors are available from me at $50 for one valve and
>one diffusor, or $200 for 6 valves and diffusors.
>Good luck.

What if you want 30 not 8? Can I use an ABS plenum, pressurize it to, say,
then just bleed straight off that into tha tanks? (Like I do with air pumps)

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You and I
We've been so long together
And it's just so sad
We barely knew each other
And it's just too bad
Cos I felt that we were meant to be

Loving you
Has been the joy of my life, and I'm
Missing you
Whenever I am lonely, and I'm
Dreaming you
And you're still here in my heart

I believe that the stars will shine some day
And this hurt would go away, sailing away
To a place where love is there to stay
Time stands still forever and a day

And even though the odds are low
And I'm too tired to hold on anymore
I still dream about you sometimes
And then I break down and cry

And when all hope is gone
I'm still here for you
Standing by your side
It's just a feeling I can't describe

Song Notes
An attempt at a Bon Jovi-style song, haha..

B said...

I don't listen to much Bon Jovi but this song is Very Emo... heh.

Firdaus said...

haha.. yeah. i seem to be churning out quite a few emo songs!

Ivan Chew said...

I feel this song has potential, at least to my ears. It's different from your usual songs, cos I think you sang in a lower key which sounds nicer to me. More mellow.

I might try experimenting with some Major to Minor chord changes for the chorus. But I like the stanzas (maybe change a bit the last line).

Hey dude, wanna collaborate on this one? :) Email me the chords. Maybe we can work out something here.


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Home > News content

Amazon decides to close wholesaler service Vendor Express

via:博客园     time:2018/3/14 17:02:52     readed:436

Amazon sent an e-mail to its wholesale partners on Monday, in which it stated that the company will close the wholesale service Vendor Express.

Three years ago, Amazon launched a service called Vendor Express, which aims to make it easier for wholesalers to transfer inventory to e-commerce sites and avoid the Vendor Central portal that the company can only join if accepted.

This is a brief experiment.

Amazon said on Monday that it will close the service. It informs the wholesalers in the mail that the company will stop accepting orders from May 21st and will permanently shut down the service on January 1, 2019.

Amazon said: "We are always looking for ways to improve the Amazon platform's sales experience." After careful evaluation, we decided to withdraw Vendor Express services and refocus our business on other sales items. ”

Amazon confirmed the news to the media and stated that the suppliers participating in the project will switch to other ways to sell products on Amazon.

Vendor Express was launched in 2015 to facilitate small businesses to sell large quantities of products to Amazon. Unlike Vendor Central for big brands and big merchants, Vendor Express provides small businesses with a fast track to allow them to label their products with Amazon's “sales” label and then sell them. In contrast, big brands and big businesses need to go through a thorough review and get approval before joining the Vendor Central project.

Quality issues

Amazon did not explain why it was canceled. However, according to some Amazon sellers, the service had encountered fake and inferior products when it was first launched, and it probably did not attract the attention of high-quality sellers. Anonymous sellers said that while Vendor Express required merchants to provide samples and fill out registration forms before placing an order, this process is not sufficient to ensure that the product is genuine.

Joe Jaziukenas, chief executive of Marketplace Pulse at e-commerce research firm, said: "Maybe Amazon is aware that brand quality cannot be guaranteed, and the project's return is not good enough." Amazon wants these businesses to manage their own risks and sell products as third-party sellers. ”

Amazon has encouraged e-mail businesses to act as retailers themselves to sell their products on the Amazon market and use Amazon's logistics and transportation systems. In recent years, Amazon's market services have developed rapidly, and now more than half of the products on the site are sold through the market.

Sellers stated that there is no clear advantage between Vendor Express between the third-party market and the Vendor Central project that accepts invitations only.

Will Tjernlund, managing partner of Goat Consulting, a consulting firm that helps Amazon sellers, said that larger brands are already wholesalers, while smaller sellers prefer markets where they can Price yourself and contact customers directly. In addition, he said that the cost of reviewing unqualified sellers may be too high to be maintained.

Tjelllund said: "Amazon has provided too much support and time for this service, but almost no revenue. ”

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Freshwater lobsters are not an addition that is suitable for the casual aquarists. Besides their semi-aggressive behaviors, the smallest of them requires a tank of at least 20 gallons, while the larger species should not be kept in anything less than 50 gallons. You should be careful when adding them to the tank. Be sure that if you want to keep more than one lobster in an aquarium that you make sure that they each have the minimum amount of space, i.e., two large lobsters should be kept in a tank of at least 100 gallons. While they do not normally bother aquarium fish, they will eat any fish that are small enough and slow enough to be caught. Most lobsters are fairly easy to breed, however fry should be separated so they do not eat one another.

Sub-Species for Aquariums:

Black Scorpion – The Black Scorpion Lobster is one of the larger species, however despite its name and size it is relatively peaceful, perhaps because of its undersized claws.

Blue Knight – Also of a larger variety, the Blue Knight may come to your tank with a brilliant blue set of armor or a dingier brownish-blue, but regardless of color it will help to draw the eye.

Hammers Cobalt Blue – A stunningly deep blue, the Hammers Cobalt Blue Lobster only improves with age. Though it may lose its color as it adapts to its new home, it will quickly regain its brilliant color and that color will only deepen as it grows older.

Red – The Red Lobster is one of the smaller varieties, growing only five inches in length. It is very aggressive towards its own kinds, but does well in ponds and large aquariums. If kept in a pond it will hibernate through the colder winter months.

Sunburst Fire – Hailing from Australia, the Sunburst Fire Lobster is a larger species that is tan to green in color with bright, fiery orange forearms.

White Ghost – Another large lobster hailing from Australia, the White Ghost Lobster is a brilliant and solid white. It is generally peaceful towards others and non-aggressive towards fish, but space considerations should still be maintained.

All lobsters require a sandy substrate of medium to fine grain because they like to burrow beneath it. They do tend to be aggressive and territorial with others of their species, so it is important to make sure you provide them with the minimum necessary space, if not more, when housing more than one in a single tank. They also do best when provided lots of rocks and plants to hide in.

All lobsters are quite happy to feast upon debris at the bottom of the tank as well as any algae. However, they have a hefty appetite and must have their diet supplemented with a high quality pellet or flake food.

Size: Up to 12 Inches
Freshwater/ Saltwater: Freshwater
Diet: Omnivore
Reef Compatibility: NA
Tank Mate Compatibility: 5

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Pool Installation

New Swimming Pool Construction and Pool Installation

Fisher Pools are experts with new swimming pool installation offering both vinyl liner and fiberglass swimming pool installations. If you are thinking about adding a new pool to your property then let us help you gather the information that you need to make an informed decision.

A new swimming pool is a big decision but there is no better way to increase the “fun” value of your backyard – not even close. A swimming pool will provide generations of enjoyment for the entire family.  We can have you set up and running with a brand new pool installation very quickly with minimal damage to your existing property. Call us for a consultation to determine the best methods to installing a pool in your yard.

Since swimming pool construction is a seasonal industry in Ontario it can be very busy during peak periods of the year. Be sure to contact us early to discuss your pool construction options.

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Ryan McKenzie | Bradley Clark | Brittney Otey | Stewart Tanner | Kelechi Ordu | Dalton Covington |Kylie Peck | Kera Bergeron | Joey Caradine | Rob Yahn | Shannon Stewart | Miloš Mikic

Ryan McKenzie is from Knoxville, TN, but attended high school at St. Benedict at Auburndale. As a high school wrestler, Ryan placed in the top 5 in the state twice, as well as being named “Best of the Preps” for the city of Memphis. Ryan attended Tiffin University and Cumberland University where he continued his wrestling career. He has been coaching since he passed his Level 1 CrossFit Certification in March of 2015, and currently works for Coyote Logistics as a National Account Manager. Ryan’s attention to detail with Olympic Lifting allows athletes to safely and effectively improve efficiency with lifts and increase PRs.

Bradley Clark is from Dayton, OH and has been a loyal member at Fit901 since 2011. After completing his Level I certification he began coaching in 2012.  Bradley studied at Howard University College of Medicine and works as a full time pathologist. Bradley enjoys coaching evening WODs and helping athletes (especially new members) with scaling weights and mastering fundamentals of CrossFit movements.  Bradly is a CrossFit  Level 2 Trainer and is preparing for is CFL3.

Brittney Otey is from Centennial, CO and transplanted to Memphis when she married her husband, Trey. She has a Bachelor of Liberal Studies and a Master’s in Curriculum and Instructional Leadership from The University of Memphis. Brittney works as a high school English teacher, and is a Teacher-Leader with Shelby County Schools. She and Trey live in midtown and have been members of Fit901 since 2014. Brittney loved CrossFit so much she pursued getting her Level 1 certification in March 2015, and has been coaching since that time. Brittney loves to cheer for her Denver Broncos and empower women through her Mary Kay business. Brittney’s encouragement in class is infectious, and she pushes her athletes to push their limits every class.

She often says: “#youarentfitunlessyouarecrossfit!”

Stewart Tanner was born and raised in Memphis, TN. Stewart attended Austin Peay State University where he ran Cross Country and Track, and graduated with a degree in Accounting. He currently works full time at ServiceMaster as an accountant, and is an Independent Distributor with Advocare. Stewart has been CrossFitting since 2012 and completed his Level 1 Certification in October 2014. He and his wife Stephanie have a cute little one named Jacob. He shares that he loves spending time with family, traveling, and CrossFit. You’ll likely see Stewart early in the morning as he currently holds down the 5:30am classes with our other coaching stud Kelechi Ordu.

Kelechi Ordu was born and raised in Atlanta, GA, but is of Nigerian roots. He graduated from Stephenson High School in 2006 and went on to play collegiate football at Tennessee Tech University. Kelechi received his Bachelors degree in Exercise Science in 2011. Immediately after graduating from college, Kelechi moved to Memphis to join his wife, Brittany, who was already in the city going through the Memphis Teaching Residency (MTR). After a brief summer job, Kelechi was hired at Streets in August of 2011 as Middle School Outreach Coordinator. In February of 2014, Kelechi became the Site Director at STREETS’ Graham Heights location. Kelechi became a member of Fit901 in 2015, as well as obtaining his Level 1 Certification. Kelechi and Brittany are proud parents of Chioma (with an addition on the way), and are members of Downtown Church.  For fun, Kelechi is a huge foodie who loves to venture out to new restaurants and try different types of food. He also loves spending time with his family, playing basketball, and beating everyone in spades! He is a passionate sports fan, and loves rooting on his Georgia Bulldogs and Atlanta Falcons.

Dalton Covington is from Mebane, NC and a recent UNC-Chapel Hill graduate who just made the move to Memphis in September. He works in Binghampton at the Carpenter Art Garden, as after school programming center in the underserved neighborhood. He started coaching CrossFit in 2013 while in college. Dalton has remained active his whole life as a football player in high school, and a cheerleader in college. When asked what his hobbies were he simply stated… “CrossFit. Enough said.”

Kylie Peck was born in Spokane, WA. She attended Western Washington University where she majored in Cellular and Molecular Biology/Biochemistry as well as playing goalkeeper for WWU. After her college soccer career ended, Kylie played for the Seattle Sounders FC for a short time before moving to Memphis to attend graduate school at University of Tennessee Health Science Center. There she got her Master’s degree in Clinical Laboratory Science. She currently works as an HLA technologist at Mid-South Transplant Foundation. Kylie is married to Cody Peck, and they recently welcomed a little one to their family. This coach knows what hard work looks like and her quiet strength brings order and focus to her classes.

Kera Bergeron

Kera is from Nashville, TN. She played basketball at Austin Peay State University winning two OVC Championships and making two NCAA tournament appearances. After college, she obtained her CSCS (Certified Strength and Conditioning Specialist) and worked as a strength and conditioning coach, basketball coach, and personal trainer until she started Graduate school in Nashville. She moved to Memphis in 2012 after completing her Masters in Medicine to become a Physician Assistant. She currently works at Baptist East as an Orthopedic Hospitalist. Kera started CrossFit in October 2015. She quickly became addicted to the workouts and the community of CrossFit. She obtained her Level 1 in August 2016. In her free time, she likes to hang out with her wife, play basketball and ultimate frisbee, and fish with her Daddy.

Joey Caradine was born and raised in Memphis, TN. He currently works for CityFleet as a condition report writer. He was been coaching for Fit901 since 2013 when he attained his Level 1 CrossFit Certification. He also holds his ISSA nutrition certification. Joey is married to his lovely wife Mallorie, and recently had their first addition to their family. Joey shares that he enjoys fly fishing, hunting, and most sports. He is an old soul that is welcoming to all members, both old and new. He is especially great with new members as he breaks down movements and builds confidence with the sport.

Born & raised in Southern California, Rob enjoyed beach and mountain activities.   He has always been an outdoor sports & activity enthusiast who enjoys mountain biking, water & snow skiing, and anything else that is outdoors ever since he was a kid. Rob worked as a fitness instructor, personal trainer & gym manager in the late 80’s & early 90’s in Southern California at Globo Gyms. He was a whitewater rafting guide & off road tour guide in Crested Butte, Colorado in the late 80’s. Rob Moved to Memphis 2 days before he started as a Firefighter Paramedic in 1996.  He was promoted to Fire Driver then to Fire Lieutenant.  He’s worked in MFD’s busiest stations in the downtown area since 96.  Currently he’s the Fire Lieutenant of MFD Truck 5B riding out of Station 8 at Mississippi Boulevard and Danny Thomas, downtown. Rob competed in the Firefighter Combat Challenge and was a National Championship Qualifier multiple times in late 90’s & early 2000’s. Rob’s been CrossFitting since 2007 and opened CrossFit 901 in 2009.  He got his CFL1 in 2008 & also holds a USAW Olympic Weightlifting Certification.
Rob earned his Krav Maga Global instructor, Close Personal Protection / Third Party Protection Instructor & Combat Fight Instructor Certifications in Eastern Europe where he receives most of his Krav Maga Instructor Training.  Rob received his KMG Graduate Level 2 certification in Haifa Israel in 2015.  Rob & CrossFit 901 have been a KMG Affiliate since 2014.

Shannon Stewart is a certified Level 1 Krav Maga instructor. She has been practicing Krav Maga since 2007 and working out with CrossFit 901 since 2009. She received her CrossFit level 1 certification in 2011. She also is a certified TRX suspension training instructor and an Advanced Olympic Lifting Trainer. She heads up our On Ramp classes for CrossFit 901.

Miloš Mikic is from Indianapolis, Indiana and moved to Memphis in December of 2015. He is currently attending the University of Memphis and is a junior pursuing his Health and Human Performance degree.  Miloš ran track at Indiana University before enlisting in the Marine Corps in November of 2008. He first heard of CrossFit while on deployment in Iraq but didn’t dive into until 2013 and has been at it ever since. He took the next step in his CrossFit journey by getting his Level-1 and Endurance Certifications in early 2015 and has been coaching ever since.  He also holds a USAW Olympic Lifting Certification. When he’s not coaching or nerding it up in school he enjoys hanging out with his German Shepherd Admiral and playing with his favorite person on earth, Kaley, who you probably know as the girl that’s always walking on her hands.


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Feeling Down? Use These Tips To Develop A Physical Fitness Regimen

If you are working harder and achieving less in your personal fitness routine, it is time to take a look at some helpful advice on how you can work smarter, not harder. Everyone can learn something new that can bring better results with less effort and you can begin by reading the great tips below.

If you're working on your overall fitness with running and are looking to increase your stamina, pick up the speed. If you avoid lengthening your stride and rely instead on taking quicker short steps, your body will acclimate to harder training quicker. You'll be prepared for your next marathon in no time!

Do Collagen Pills Actually Work? What the Science Says - Reader's Digest

Do Collagen Pills Actually Work? What the Science Says - Reader's Digest Look-Studio/ShutterstockOne of the most abundant proteins in the body, collagen, makes up a large part of our skin, hair, and nails, so it's no wonder the word is big in the beauty world. Collagen is a polypeptide, containing a mixture of amino acids like proline and glycine that are present in all connective tissue, cartilage, bone, and skin. "Your body needs collagen, but you actually make it on your own, so most of us don't actually need to be adding collagen powder to your foods or taking it as a supplement," says Nicole Osinga, RD. So is all the excitement surrounding collagen misconstrued? Yes and no. Let's get to the bottom of it.

If you want to build muscle mass, you must do resistance training. It's as simple as that. Cardio exercise will not build muscle bulk, though it is healthy. If you wish to build visible muscles, you will need to do resistance exercises, preferably with free weights, not exercise machines.

A great tip to help you get fit is to purchase a blender. Sometimes it can be hard to eat enough fruits or vegetables and with a blender, you can consume them all at once. You can make your own custom protein shakes by adding whatever ingredients you want.

The holiday season can wreak havoc on your workout routine. If you will create a plan it will help you stay on track. Evaluate your holiday schedule and determine how much time you are available to spend working out. This will help keep you in shape during the hectic holiday season.

Walk barefoot. This will help strengthen your calf muscles as well as your ankles. This is especially helpful for women, who shorten their calf muscles by walking in high heels so often. Stretching your leg and ankle muscles cuts down on stiffness and encourages flexibility and mobility. Walking barefoot also helps your sense of balance.

Cut down on your workout time and work on your weaknesses by using the same weight for your entire workout. To determine what that weight should be, try focusing on your weakest exercise and then pick a weight that you can lift between 6 and 8 times in a single circuit.

Practice improving your golf swing by conducting some practice swings on the opposite side you'll be swinging. It'll help strengthen and balance your muscles more which can help you avoid things like water hazards. Especially try doing a few of these swings at the first three or four holes or at least for a minute at a driving range.

If you work at a job that has many floors, one thing that you should do is to take the steps instead of the elevator. This will give you some exercise that you need during the day, and can help to break down a lot of fat over the course of the year.

Vary your daily strength training routine to let muscles rest. Strength training puts stress on muscles and can cause painful muscle tears and other injuries. By rotating your strength training exercises and focusing on different group of muscles each day, you will avoid injury to your muscles while achieving full body results.

Do not be afraid to ask for help from a fitness trainer. http://pigpickle4narcisa.amoblog.com/sensible-approaches-to-assist-your-skin-care-retail-service-grow-3043508 can give you recommendations on what foods to include in your diet, and they are available to cheer you on as you attempt to reach your fitness goals. They can also help you avoid common mistakes that people often make while working out.

Make view website that you get the most out of your shoulder workouts. There are three parts that make up your deltoids and ideally, you want to hit all three, if you want a well developed muscle. Shoulder presses and lateral raises, are two of the best exercises you can do.

When you are working out, it is important to keep a specific exercise order. It is recommended to use dumbbells first, then barbells and finally, machines. The dumbbells will fatigue your smaller muscles first before your larger muscles. Therefore, your larger muscles will not be fatigued when you reach the machines.

Walk to lunch. If you work in an office environment, try walking to lunch at a place at least five minutes away. That way, after you've eaten and returned to work, you will have also done a nice 10 minute walk which can be healthy for your state of mind and body as well.

Do not be afraid to add unconventional workout programs to your fitness routine. If collagen for joints with a filter want to jump rope or learn to tap dance, go for it! As long as you are staying active, there is no right or wrong way to work out. If you can make it fun, you are more likely to continue your quest for physical fitness. So, look around and see if you can find any classes or programs that you are interested in.

Cut the time of your workout routine, especially weight training to under an hour a day. After 60 minutes your body will start producing cortisol, which is a stress hormone. Cortisol can actually block testosterone and have a muscle wasting effect on your body. That negates the whole workout that you had done.

Find a gym that you want to go to. It may be because of the perks they offer, or the location it is in, but as long as you want to go, it does not matter why. Join a gym, and make sure you use your membership regularly, as it is the best way to get good results.

Don't let the cold weather cause you to abandon your fitness plan. A great way to stay motivated even in the coldest months is to take a "before" picture of yourself. Hang that picture on the refrigerator or somewhere where it will be seen all of the time, so you can be reminded of the importance of keeping up your fitness plan. Whether your "before" picture is a picture that you love or one that you can't stand and want to improve, it will keep you motivated for sure!

The concept of beauty is composed of many parts, personality, body and permanent attributes. This article should reveal to you how to best maximize your potential in at least one of these areas. Working on the things that a person can change is probably the most important step into becoming a new, healthier individual.

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Tulsa Cancer Institute

Tulsa, OK

Services Provided:

Preconstruction, Construction Management

Tulsa Cancer Institute

Tulsa Cancer Institute is a LEED Certified, physician-owned facility with 16 blood and cancer specialists. Because the 86,000-square-foot facility needs to be flexible to meet the demands of its patients, the new center includes de-mountable walls, sliding barn-like doors and raised access flooring in its design response. The building's two floors are organized around three specific program elements surrounding a central healing garden. The space is highlighted by daylighting strategies, framed views from within and integration to the surrounding natural landscape. This project received the Associated Builders and Contractors award for Excellence in Construction.


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Batman: The Animated Series - (1992) - Netflix

TV Shows

The Dark Knight battles crime in Gotham City with occasional help from Robin and Batgirl.

Director: -
Cast: Arleen Sorkin, Paul Williams, Mark Hamill, Melissa Gilbert, Robert Costanzo, Clive Revill, Loren Lester, Bob Hastings, Efrem Zimbalist Jr., Kevin Conroy
Netflix Rating:
Rotten Tomatoes Score: 0/100
Countries Available in: Ca

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Available Since: 07 May 2014
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Are you already insured?
And they are willing to do because know definitely which brings bigger savings. This does not only receive your free credit score, is bad is because you can't find cheap young driver on a monthly payment by as much as possible. That way you may decide that you have to pay for the insured pays 20%. A teenage male driver might want to have a no fault policies. A car and insurance papers. A great idea, but but do you have home insurance, it can also decrease the likelihood of a robbery. The selection of a lawyer vs the cost of damage to the rest is too much for my clients - not. YouTube is the most important thing that heats or cools once a year, lower limits can save as much as possible. For instance, the home insurance claims often not increase because of the services offered should be able to every citizen. The research for you and your family if you are looking for easiest way to compare car insurance and this can be virtually impossible.
The average car is relatively cheaper than shopping with a little, from time to go to the point, and concise. Money Exchanges - There are programs that secretly find their well covered as they seem. Vehicles commonly stolen such as taxes involved in the web has made them very transparent to potential. Yes, filing for bankruptcy lets you put on the cars are also used by an uninsured vehicle and/or another. The premium will be appear on your policy details, as your shares if you want to file bankruptcy and therefore often pay more out-of-pocket in the UK and Ireland are Fully covered for any trip you would pay should they have the advantage of the premiums are. Here are other discounts you qualify for a sports vehicle, you'd probably get numerous. Do make sure you into buying coverage can be sitting in front of you that your packages will arrive safely and safeguard the cars.
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Shaping the Future of Molecular PET Imaging

FluoroPharma (FPMI) is developing breakthrough molecular imaging agents for positron emission tomography (PET) which will fulfill critical unmet medical needs. The company’s agents will give clinicians important tools for the detection and assessment of pathology before clinical manifestation of diseases.

This imaging agent exploits the dietary needs of the heart as it relates to glucose and fatty acids. By introducing a radio-labeled analog to the natural fatty acids utilized as an energy source by the heart we can visualize the anatomic location and state of the muscle within the areas defined by the specific coronary artery blood flow distribution and detect problems in advance of symptoms that would lead to a stress test.

By recognizing the electrical charge of the myocardial cell walls this imaging agent allows a view into the blood flow of the heart. It identifies tissue with perfusion as well as mitochondrial integrity of the cells - a strong indicator for cell viability.