text:
Amsterdam | Berlin | Brussels | London | Paris | São Paulo | Toronto | China | India | Worldwide
20131007063620-johnbrown_image_1 20131007063739-laylah-ali-ariel-master 20131007063955-laylah-ali-jesse-master-v1_brighter 20131007063837-laylah-ali-chris-master 20131007064038-laylah-ali-laylah-master Awfc_laylah_ali_la_087 20131007190721-lakiss 20130928144218-2 20130928144117-1
'rak'rüm (noun);
the back room of an art gallery
where artists and art lovers hang
Screenshot of Laylah Ali\'s "John Brown Song!" , Laylah AliLaylah Ali,
Screenshot of Laylah Ali's "John Brown Song!" ,
© Laylah Ali, courtesy Dia Art Foundation
Still image from Laylah Ali\'s "John Brown Song!", Laylah AliLaylah Ali,
Still image from Laylah Ali's "John Brown Song!",
© Laylah Ali; courtesy Dia Art Foundation
 Still image from Laylah Ali\'s "John Brown Song!" , Laylah AliLaylah Ali,
Still image from Laylah Ali's "John Brown Song!" ,
© Laylah Ali; courtesy Dia Art Foundation
Still image from Laylah Ali\'s "John Brown Song!", Laylah AliLaylah Ali,
Still image from Laylah Ali's "John Brown Song!",
© Laylah Ali; courtesy Dia Art Foundation
Still image from Laylah Ali\'s "John Brown Song!" , Laylah AliLaylah Ali,
Still image from Laylah Ali's "John Brown Song!" ,
© Laylah Ali; courtesy Dia Art Foundation
Untitled, Laylah AliLaylah Ali, Untitled,
2002, Ink and watercolor pencil on paper, 11.75 x 8.25 inches
© courtesy of the artist
Untitled from the “Typology” series, Laylah AliLaylah Ali, Untitled from the “Typology” series,
2007, Ink and pencil on paper
© Courtesy of the artist & Dia Art Foundation
 Untitled , Laylah AliLaylah Ali, Untitled ,
2000, Gouache and pencil on paper
© Collection of Susan Greenberg Minster/ Photo courtesy of the artist
Untitled , Laylah AliLaylah Ali, Untitled ,
2004, Gouache and pencil on paper
© Collection of The Studio Museum in Harlem, NY / Photo courtesy of the artist
Untitled , Laylah AliLaylah Ali, Untitled ,
1999, Gouache and pencil on paper
© Collection of Museum of Contemporary Art, Chicago, restricted gift of Robert and Sylvie Fitzpatrick in memory of William B. Cook / Photo courtesy of the artist
 Still image from "figures on a field"      Performance collaboration with Dean Moss  , Laylah AliLaylah Ali,
Still image from "figures on a field" Performance collaboration with Dean Moss ,
© The Kitchen, New York, NY
Untitled from Greenheads series , Laylah AliLaylah Ali, Untitled from Greenheads series ,
2003, Gouache and pencil on paper
© Courtesy of the artist & Dia Art Foundation
Untitled (Acephalous series), Laylah AliLaylah Ali, Untitled (Acephalous series),
2015, gouache, acrylic, watercolor, and pencil on paper, 29 1/2 x 23 in.
© Courtesy of Paul Kasmin Gallery - 10th Ave
Laylah Ali is currently a Professor of Art at Williams College where she received her B.A. in 1991. She also holds an M.F.A. from Washington University in St. Louis and trained at the Whitney Museum Independent Study Program and the Skowhegan School of Painting and Sculpture. In 2006 she was named one of the first United States Artist Fellows. She has also been featured in the PBS series Art21 and...[more]

John Brown Song! : an Interview with Laylah Ali

New York, Sep. 2013: Laylah Ali isn’t a media guru by any means. Traditionally a painter, Ali is more at home poring over paint samples than messing with pixels. But after being asked by the Dia Art Foundation to create an online piece, she decided to venture outside her familiar mediums of paint and paper to explore the life and legend of militant abolitionist John Brown.

In John Brown Song! Ali assembled some nineteen videos of her friends, relatives, fellow artists, co-workers, and acquaintances singing various iterations (with various musical abilities) of "John Brown’s Body." The number nineteen is a seemingly significant nod to the number of men John Brown led in the raid on the armory at Harpers Ferry some 150 years ago. It was in this raid to liberate Southern black slaves that ultimately led to Brown’s execution by hanging, and, many argue, contributed to bringing about the Civil War and the ultimate abolishment of slavery.

Originally sung by Union Troops, the melody is both catchy and familiar—its most contemporary incarnation being “Battle Hymn of the Republic.” Yet not all the videos are pleasing to the ear nor are any of them particularly refined from a video standpoint; most singers are reading the lyrics on the computer screen, some have to give it a couple tries, and one or two don’t really seem to be singing at all. Nevertheless the videos have an eerie, unsettling ability to stick with the viewer long after the browser is closed. Days after I first encountered Ali’s project, I found myself cleaning the kitchen humming, “John Brown’s body lies a’mouldering in the grave,” and later in the car, “and frightened ‘Ole Virginny’ till she trembled through and through,” and once again in the shower, “He’s gone to be a soldier in the army of the Lord.”

While “John Brown’s Body” is familiar in its melody, it feels completely new with its brutal, original lyrics recalling Christ’s sacrifice and marching souls. Indeed, the story of John Brown and his folk song have all but disappeared from popular memory, something that Ali’s project tries to rectify in bringing together not just homemade videos but also a mass of digitized historical documents and photographs. In doing so her piece creates a broader illustration of John Brown the man as well as John Brown the legend.

Like her paintings, which blur the boundaries between illustration and fine art, it’s this mix of media that makes John Brown Song! difficult to pin down. Part digitized historical archive, part user-generated YouTube-like videos, her project feels more like various stages in a research project than a finished art piece. And yet, it’s with this very form that Ali is able to evoke both the brutal optimism and terrible fate of John Brown while preserving his story in a new iteration of a folk tradition—this time from user-to-user rather than soldier-to-soldier or parent-to-child.

Laylah Ali, "John Brown Song!",  2013, video still; Courtesy Dia Art Foundation.

Max Nesterak: You’re a painter by trade, but recently you’ve stepped into a very new-media, interactive medium. It’s a website as part of the Dia Artists' Web Projects, which asks artists to explore the aesthetic and conceptual potential of web-based mediums. Can you tell me a bit about doing this new media project?

Laylah Ali:  I thought it might be an opportunity to see if I could expand on my interest in abolitionist John Brown, to turn it into something larger and that was relevant somehow to our own time—but more of a series of questions rather than a statement. Initially for the Dia web project, I had envisioned one person singing “John Brown’s Body” as an entry into the project… “John Brown’s body lies a-mouldering in the grave”…  I have memories of my grandmother singing that song as a kind of marching song as we walked to go swimming. The person who I wanted to sing it suddenly became unavailable so I started thinking that I might ask others to see what could happen. I started thinking about some people I knew who had what I considered nascent or, in other cases, unrealized performative instincts—people who might actually enjoy such an invitation to sing if they could control it to some extent. That aspect has its own life in the piece as well. That’s how it began and I waited nervously for the first two videos to come in—there was a great deal of waiting for people to actually do it and send it. When I heard the first two, I thought: I need to hear more, there’s something here, I don’t know what yet, but I want more people to do this.

So the invitation to sing the song was a question about the song, and a question about our relation to that time, to slavery, to abolition, our distance from it. Does it have relevance to these people? How would they handle it? Abolition, formerly a charged and dangerous political stance, is such a antique word now. Could I find meaning in this strange old song through asking people who might know nothing about John Brown to sing it?

MN: It’s interesting that you chose John Brown. He’s certainly a figure of emancipation, and he’s a hero…

LA: For some. He still is controversial. What I found interesting was Jefferson Davis, former president of the Confederacy and General Robert E. Lee were both given full pardons for their crimes against the Union and had their citizenship rights restored, though both of them committed acts of treason against the Union and both were responsible for many deaths. They weren’t hanged like John Brown, who has never had his crimes forgiven for trying to free slaves, which seems a justifiable position from our historical vantage point.

With 1500 U.S. troops in attendance to prevent any attempt at rescue or interference with the execution,  John Brown was hanged on December 2, 1859. From Frank Leslie’s Illustrated Newspaper, December 17, 1859. (Artist unknown.)

MN: It was striking to me. He’s a white man who helped bring about the end of slavery. Your work usually deals with explicit themes of oppression and emancipation with styles that can recall West African traditions or African American traditions so it seemed interesting that you were having multiple voices recall a single, white male experience of slavery and the fight to end slavery. I’m curious to know how you landed on John Brown.

LA: I can’t remember what first drew me to John Brown—I don’t remember learning anything memorable about John Brown in school so I was really an adult encountering him for the first time. I am thinking it might have been Russell Banks' novel Cloudsplitter, which mostly made me want to read non-fiction about John Brown. Clearly, a white man during the pre-Civil War era who was so serious about ending slavery that he took up arms to stop it was of interest. By all accounts, he treated black people in ways that were completely out of step with his peers, with far more respect and decency than was usual. So I wanted to learn more about him and the people he worked with and died with.

What I found intriguing was his willingness to fight on behalf of something that didn’t obviously affect his own trajectory. Recognizing that his death, his own white body was a potentially very important tool in fighting slavery. His real body, John Brown’s real body had a lot of political capital because that body represented the willingness of white men to die on behalf of black people. And that was terrifying to the South at that time. It threw them into complete terror. To look at white men and not know where their loyalties were… To me, that became a very interesting idea.

Many men who fought on the Union side didn’t necessarily care about black people or their emancipation, but their bodies had an actual effect. Their deaths have in some way affected my ability to be a free person. It’s so long ago that people don’t make that connection. And it’s not like black people didn’t fight for their own rights because they did, and they were instrumental in making some of these things happen, but the reality of the situation is that slavery would not have ended unless white men died. I’m interested in the idea that even unwilling participants have an effect on historical outcomes.

I come from an interracial family, one with deep US roots through the different parts of the family: slaves and later tenant farmers on my father’s side, white “aristocracy” through my half-brothers, early white New England settler ancestry through my mother. I think that this kind of interwoven, interracial history—some of it voluntary, some of it violent—is actually quite common in our country, though it becomes hidden through our reliance on using simplistic visual characteristics to identify people.

MN: What’s the best way to watch it or interact with it? I can tell you, I did not watch it linearly. I watched the first two, then I went to all thumbnails and I clicked around there, then I went back to the original one and clicked through, then I went to the last page. So I was all over the place. You obviously put in a lot of time thinking about how you placed that, and then I just disrupted it.

LA:  I suspected that people would go into it in wildly different ways, though I suppose I do have my preferences for viewing it. I think it is also okay to mess with my usual ability to control things—as I would with paintings—because a premise of the series is that they’re asking artists to work in an unfamiliar medium. I mean, I didn’t even know how big a pixel was. I didn’t know what the refresh button was at the top. I worked with a technician who did the programming that made it all work. I designed what you are looking at on each page, all of the details, and how you move through the site. I chose the videos and the archival material and did some minor editing. The videos were made by the participants so you are seeing each person’s individual choices once you start playing the songs. Like YouTube, I wanted a button to get out, a button to pause, simple ways to give you maximum control. I wanted to give you choices because if you’re trapped with someone singing for that long and you’re not happy with it, you won’t want to stay. I went with what I like about looking at things on the Internet, and I have to be able to stop things. I don’t like being trapped, and I don’t like things that have a long load time.

One of the questions, given its simplicity: is the user experience going to be enough to hold someone who’s younger? My aesthetic is really pared down. If you look at my paintings, that carries over. Having it on a white background was a big decision. The guy I was working with was suggesting I could have things moving or changing or blinking and I came out of that conversation asking, “But could I have it on a white background?”

Laylah Ali, "John Brown Song!", 2013, screenshots; Courtesy Dia Art Foundation.

MN: To me it seems more like an act of curation than creation, like a drawing or painting the way you normally do. It’s reminiscent of a Tumblr or YouTube page that allows users to arrange and organize pictures and video and other media according to whatever categories they choose. Then they allow the users to come in and mess it up. Was that your intention in trying to bring John Brown into a contemporary context?

LA: That was one idea that definitely fed the project. I think making John Brown a question mark who you pursue through the songs became part of the project. The intention was not to make a didactic website about John Brown—those exist already. The performances that the people do are central to the project and you don’t really have to know anything about anything to listen and have some sort of response or reaction to what they do. Perhaps they lead you to the Endnotes on the site or off of the site to do research—or perhaps you are just  left mindlessly humming that song, that relic of the Civil War. I think my goal was to allow different levels of participation with the site—so you could go deeper if you wanted and have options to expand your experience, or to keep it at a certain first-date level, where you might be a bit puzzled or put off or intrigued or not sure what is really going on. I don’t even know if people are going to have the patience to stay with it. I do know that contemporary life on the web includes constantly clicking on videos, too often silly, occasionally important or intense, and I wanted that ubiquitous action to be a part of my project.

MN: On the last page you have Whitney Houston and you embedded a book from This project just feels like the Internet. You mentioned how we engage with a bunch of just silly videos, but you seem to approach this medium with a kind of optimism.

LA: I’m still paranoid about the Internet—I didn’t grow up with it so it is somewhat welcome but I can still remember not having it at all—but I love finding information. The real pleasure of this project for me, both online and off-line, was the research and gathering of the parts. The Chapin Library at Williams College is a rare books library, and some of the slide show images in this project came from original material. Literally, the librarian scanned the 1859 Harper’s weekly. I love old school, hard-copy research as well as clicking all over the Internet in search of worthwhile information. I tried to include images that I found particularly compelling. For instance, I really wanted to show the newspaper drawing of the two African-Americans (Shields Green and John Anthony Copeland Jr. who participated with John Brown in the effort to free the slaves) on the cart going to their execution. They were executed separately from the white men in John Brown’s “army” who were condemned to death.

The Dia project was a really great opportunity to pursue something I was interested in, and that didn’t really fit in with my painting practice, and figure out how to present it in a way that might pique someone else’s interest. The Civil War still has a palpable presence, if you are paying attention. The project is partially meant to speak obliquely to the progress that has come since then, and also at the same time, the exact opposite—that the Civil War, in some parts of our population, is still being fought in this country, and you can see that with recent Supreme Court decisions and state restrictions concerning voting rights, the entrenched resistance and refusal to accept Obama’s presidency, the incredibly high incarceration rate of black men in the US, etc. There has been a great deal of revisionist effort expended on making the Civil War one where each side had a kind of integrity and did what they thought was right.

Max Nesterak

ArtSlant would like to thank Laylah Ali for her assistance in making this interview possible.

Copyright © 2006-2013 by ArtSlant, Inc. All images and content remain the © of their rightful owners.


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6-9 OCTOBER 2016

About Art SV/SF

Art Silicon Valley/San Francisco (Art SV/SF) is Art Miami’s International Contemporary and Modern Art Fair on the West Coast, centrally located between Silicon Valley and San Francisco. The third edition will run October 6-9, 2016 at the San Mateo Event Center and will showcase important artworks of the 20th and 21st centuries in collaboration with some of the world’s most respected galleries and art institutions.

In keeping with Art Miami’s high standards of quality, the Fair will offer a sophisticated, curated setting that showcases blue-chip Post-War and Modern works as well art by top Contemporary, Emerging and New Media artists.

The fair also offers innovative cultural programming including on-site installation projects, interactive art, artist talks and fair tours for all audiences and taste levels.

art svsf featured in SF chronicle

San Mateo County Event Center
Expo Hall
1346 Saratoga Drive
San Mateo, CA 94403

Platinum VIP Preview | Thursday, October 6 | 6pm - 7:30pm
Access for Art SV/SF Platinum VIP Cardholders

VIP Preview | Thursday, October 6 | 7:30pm - 10pm
Access for Art SV/SF VIP Cardholders and Accredited Press

Friday October 7 |  11am - 7pm

Saturday October 8 |  11am - 7pm

Sunday October 9 |  11am - 6pm

One day fair pass $25
Multi-day fair pass $40
Students 12-18 years and Seniors $15
Children under 12 years w adult Free
Groups 10 or more $15

Four Seasons Silicon Valley
four seasons

Art SV/SF is pleased to once again partner with the Four Seasons Hotel Silicon Valley as the official hotel. It’s only fitting that the capital of high tech offers the highest standards of luxury and personalized hospitality. The Four Seasons is offering special rates for Fair attendees. Contact Art SV/SF’s Official Travel Partner, Turon Travel at 800-952-7646 or for special rates.

We're thrilled to have partnered with Uber to provide new Uber users a free ride (up to $20) to or from Art Silicon Valley/San Francisco.

Follow these simple steps to get $20 off your ride:
1) Download the free Uber iPhone/Android/Windows app (or sign up at
2) Enter your information in the Uber app and promo code ARTSVwhen you sign up.
3) Request a ride 5 - 15 minutes before you need one. $20 will be applied towards your first ride (not valid on uberTAXI. Offer expires 11/1/2015

Questions? Email

Art SV/SF is easily accessible via mass transit or car.

Take Bart to Millbrae Station. Exit the Millbrae Bart station across the parking lot to Millbrae Caltrain Station. At Millbrae station connect to Southbound Caltrain going towards San Jose. Exit at the Hillsdale Station to El Camino Real Blvd. At Hillsdale you can either walk, take a bus, or taxi.

You can take the Caltrain to either Hillsdale or Hayward Park station.

COURTESY SHUTTLE: Art SV/SF will offer complimentary shuttle service between Caltrain in San Mateo (Hillsdale Station) and the fair.
From Hillsdale Caltrain Station:
Head northwest on S El Camino Real toward 31st Ave, turn right onto E 25th Ave, turn left onto S Delaware St. Turn right, turn right, and turn left. Approx. 1 mile.

From Hayward Park Caltrain Station:
 Head south on Pacific Blvd toward 19th Ave, turn right onto S Delaware St., turn left, and turn left. Approx .6 miles.

Plan your trip on samTrans Trip Planner. Two SamTrans routes provide service to the Event Center from throughout the county and San Francsico. Routes 390 and 391 offer service along El Camino Real with a stop at 25th Avenue, two blocks west of the Event Center campus.

From the San Francisco International Airport Take US 101 South to the Hillsdale Blvd Exit. Turn right on Franklin Pkwy West. Turn right on Saratoga Drive

From the South Bay From 101: Take 101 North to Highway 92 West. Exit Delaware Street. Bear right on Concar Dr. Right on Delaware to 2495 S. Delaware Street, 4 blocks (located on the left side of street).
From 280: Take 280 North to highway 92 East. Exit Delaware Street. Right on Delaware to 2495 S. Delaware Street, 4 blocks (located on the left side of street).

From the North Bay From 101: Take 101 South to Highway 92 West. Exit Delaware Street. Bear right on Concar Dr. Right on Delaware to 2495 S. Delaware Street, 4 blocks (located on the left side of street)
From 280: Take 280 South to Highway 92 East. Exit Delaware Street. Right on Delaware to 2495 S. Delaware Street, 4 blocks (located on the left side of street)

From East Bay Take the San Mateo Bridge (Highway 92) West. Exit Delaware Street. Bear right on Concar Dr. Right on Delaware 2495 S. Delaware street, 4 blocks (located on the left side of the street)

From El Camino From El Camino South: Go North on El Camino Avenue. Turn right on 25th Avenue. Left on Delaware (Expo Center is on the right side)
From El Camino North: Go South on El Camino Avenue. Turn left on 25th Avenue. Left on Delaware (Expo Center is on right side).

Ample, on-site parking is $10. Valet service is available for the VIP Preview on October 8th only.

2015 Exhibitors

Nick Korniloff

+1 561 613 9695

2015 Events Schedule

Thursday, October 8 | 6pm - 7:30pm
Platinum VIP Preview
Sponsored by Ruinart Champagne and benefiting ScholarMatch
Access for Art SV/SF Platinum VIP Cardholders

Thursday, October 8 | 7:30pm - 10pm
VIP Preview
Access for Art SV/SF VIP Cardholders and Accredited Press

prelude to spectra

London-based Walter & Zoniel will display the site-specific installation, Prelude To Spectra, at Art SV/SF. This large-scale practice performance piece welcomes the public to participate and engage with the facade of the San Mateo Event Center by catapulting colorful paints onto the entrance of Art SV/SF. Once the installation is fully complete, the project will be performed in its entirety in 2016 in the U.K. whereby the facade of a historical building will be covered with biodegradable paint by the audience.

Platinum VIP Preview Thursday: 6-7pm
Vip Preview Thursday: 8-9pm
Friday & Saturday: 2:30 - 3:30pm | 5:00-6:30pm
Sunday: 12:00pm-1:00pm

CODE AND NOISE, curated by Christine Duval, is an exhibition that presents eleven artists from Chicago, New York, the Bay Area, China and Japan who use, create or leverage software to produce works that are engaging, stimulating and allow us to ponder on many current issues such as the environment, memory, art history, data collection and surveillance.  JD Beltran & Scott Minneman, Mel Day & Frank Ham, Laurie Frick, James Lanahan, Ligorano/Reese, Clive McCarthy, Simon Pyle, teamLab and Yang Yongliang.

The Battery Art Program focuses on showing work by emerging and established contemporary artists, generally living in, or with strong ties to, the Bay Area and West Coast of California. The exhibitions in the club rotate four times a year and are paired with a continuing series of lectures, curator tours, gallery walks, and events at museums and galleries around the Bay Area.

The work they are presenting at Art SV/SF is representative of their ongoing exhibition programming, as all of the artists have either participated in a previous show at The Battery, or are slated to show in future exhibitions.

UC Davis Art Studio presents The Conversation: A special Exhibition for Art SV/SF. The conversation engages current research by 17 artists, scientists, and composers at UC Davis and research institutions around the world. The Conversation is galvanized by objects and images, models and reflections. The work for the new show combines solo works with interdisciplinary projects produced from discussions, studio visits, and correspondence between researchers over weeks, months and years.

Art SV/SF is also pleased to welcome special exhibitions by notable bay area cultural institutions. These curatorial efforts offer opportunities to encounter new art and ideas as an added dimension to the weekend’s events: SFADA; Stanford Art Spaces; TMORO projects; UC Davis Art Studio; Shipyard Trust For The Arts (STAR); Yerba Buena Center for the Arts; and San Jose Museum of Art.

FRIDAY & SATURDAY, 11am - 6pm  |   SUNDAY, 11am - 5pm
Art SV/SF Kids Center
The Art SV/SF Kids Center will provide a safe playroom on-site for children ages 3 - 13, who are introduced to art while their parents visit Art SV/SF. Children enrolled will have exclusive access to participate in activities including art explorations,  games, puzzles and storytelling.

1AN Art Symposium
The 1AN Symposium brings together leading art industry experts to speak on a range of topics. Whether you are a first time buyer, an established collector, are in the industry, or simply have a passion for art, the program is both diverse and engaging. The 1AN Symposium is free for visitors of Art SV/SF.

FRIDAY, OCTOBER 9  |  2:00 – 2:30pm
Artist Spotlight: The Science of Art - The 3D Printing Revolution
Join internationally-celebrated architect, artist and designer Tobias Klein for a lively discussion on the rise of 3D printing in the worlds of art and design. Klein's own work will be on exhibit and form the focal point of how new technologies are changing the way artists and designers work. A book-signing and "meet and greet" with the artist will immediately follow in Industry Gallery's Booth SV6. Hosted by: Industry Gallery

FRIDAY, OCTOBER 9  |  3:00 – 3:45pm
Panel: Caring for Your Art Collection
Experts discuss best practices and why caring for your artwork matters. Hosted by: Appraisers Association of America (AAA)

FRIDAY, OCTOBER 9  |  4:00 – 4:45pm
Panel: Architecture, Art & Interior Design -  Roles & Responsibilities in Building a Living Collection
Global art advisor John Wolf discusses the interplay of interior design and architecture with an art collection. He is joined by Mauricio Oberfeld, CEO of Dugally Oberfeld, and interior design legend James Magni, with moderation by Degen Pener.

SATURDAY, OCTOBER 10 |  1:00 – 1:30pm
Where Art Meets Design - An Intimate Look inside Hunt Slonem’s Legendary Residences
The marriage of art and design is the theme of painter Hunt Slonem's fantastically decorated and meticulously  restored homes. He pairs vintage furniture and found objects with contemporary art, including works by Alex Katz and Andy Warhol, creating spectacular spaces that artist and critic Bruce Helander will explore.

SATURDAY, OCTOBER 10 |  2:00 – 2:30pm
Artist Spotlight: Robert Freimark - The Legacy of a Trust West Coast Abstract Expressionist
Hohmann Fine Art is proud to represent the estate of Robert Freimark, who resided in Silicon Valley most of his life. With his exclusive works on exhibit during Art SV/SF, discover more as the life and work of this legend in art are discussed. Hosted by: Hohmann Fine Art

SATURDAY, OCTOBER 10 |  3:00 – 3:30pm

Protecting the Value of a Collection
In this session, a fine art insurance expert will cover key steps to take to protect the value of your collection, including managing fine art transport, storage, and lending risks. Hosted by: Chubb Personal Insurance

SATURDAY, OCTOBER 10  |  4:00 – 4:45pm

Panel: Rising Tides - The California Art Market Today
Experts explore the growth of the art market throughout the state, as well as the renewed interest in Californian artists. Hosted by: Artnet

SUNDAY, OCTOBER 11  |  2:00 – 2:30pm
Artist Spotlight: An In-depth Look at Two Bay Area Artists - Elizabeth Barlow and Kim Frohsin
This session offers a unique look at two bodies of work: Elizabeth Barlow's 'Portaits in Absentia' and Kim Frohsin's 'Cautionary Tales' 2015. Learn about the artists' voices, unique visions, importance, and relevance within the contemporary art environment. Hosted by: Gallerie Citi

SUNDAY, OCTOBER 11  |  3:00 – 3:30pm

Art Legacy Planning:  Life is Long. Art is Longer.
Protecting and planning your art legacy, presented by Xiliary Twil, Accredited Senior Appraiser with the American Society of Appraisers. Host: Art Asset Management Group

SUNDAY, OCTOBER 11  |  4:00 – 4:45pm
Panel:  Art and Philanthropy: Building a Healthy Arts Ecosystem
Join the San Francisco Art Dealers Association (SFADA) for an inspiring panel discussion on the impact of giving back in the arts. The panelists will touch on the impact of arts philanthropy and the diverse ways to support a healthy arts ecosystem, from buying art or donating to nonprofits to investing in ventures that bolster the local arts economy.  In addition to sharing their experiences in arts giving, the panelists will answer questions on how to get started in arts philanthropy, what questions to ask, and where to find relevant information.

The panel will include philanthropy specialist Christine Sherry, Principal of Sherry Consulting, and philanthropist Deborah Rappaport, Co-founder of Minnesota Street Project, and be moderated by Emiko Ono, Performing Arts Program Officer at the William and Flora Hewlett Foundation.

2015 Sponsors+Partners

Art Silicon Valley / San Francisco (Art SV/SF) offers a wide range of branding opportunities and special events to enhance corporate identities. Art SV/SF's tailor made sponsorship opportunities are designed to address each of our partners marketing goals and brand exposure. Sponsors' guests are given VIP status and enjoy special events. Art SV/SF will work with you to develop a package that meets your company's exact needs and marketing objectives.

For information regarding sponsorship opportunities or hosting a special event at Art Silicon Valley/San Francisco, please contact:
Pamela Cohen

+1 561 322 5611

Register to be eligible for VIP status.

Art SV/SF VIP status provides access to the official Preview Event on October 8th and is the first opportunity for VIP collectors to acquire some of the finest pieces of modern and contemporary art from the 20th and 21st centuries.

Fulltime Employment Opportunities: If you are interested in working for an art fair organization in one of the world's most thriving sectors in the industry, we are always looking for motivated and enthusiastic talent for our customer service, marketing and finance/accounting teams to be part of our dynamic company. Please send your cover letter with salary requirements and resume to careers@art

Interns: If you are interested in an internship position at Art Silicon Valley/San Francisco please send your resume to intern@art

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Sharing with assurance

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Hong Kong Tianwei International ElecCO.,LTD

flash disk, flash drive, usb disk, usb drive, usb flash disk, Manufacturer and Supplier - China

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This company is a Free member of AsianProducts.
If you end up wanting to buy anything from this supplier, we strongly suggest you to use our Escrow service EZ Order. This will ensure a 100% safe transaction.

Information for Buyer

  • Hong Kong Tianwei International ElecCO.,LTD
  • OEM Service: No
  • Register Time: 2008-02-20

  • (shenzhen, China) Map
  • Phone: +86 /755-26047297
  • Contact Person: Lily Lee

Products Detail

USB Flash Disk (TW-CFD02)

  • Business Information:
  • Made In : China(CN)

Product Feature:

Hong Kong Tianwei International Electronic CO.,LTD produce all kinds of electronic products and computer accessory and plastic pats and silicone items located in china,,we are mainly OEM and ODM manufacturer,.

We are professional manufacturer of various usb flash drives,such as metal usb stick ,silicon usb,flash memory,rubber usb flash drive,PVC usb driver,plastic flash drive,leather flash disk,pen usb,laser usb flash,mini storage,jewelry drive,ect.We also customized all kinds of silicone and plastic moulds and products.

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Our silicon and plastic mold include this parts,such as:silicon o ring,rubber seal,keypad,case,housing,shell,mobile phone case,seal,oil seal, auto oil seal,rubber parts,rubber accessory,silicone goods,plastic parts, ect

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Our company from designing,drawing,opening molds,producing and assembly.We are glad to receive drawings or samples from customers.If you are interested in our products please visit our website and send email to us,We will reply you ASAP.,We are usb flash disk supplier, silicone keypads manufacturer, o ring embroidered manufacturer, mobile phone accessory manufacturer, and optical drive exporter with a factory in Shenzhen,China.

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By C.J. Mittica

Bess Cohn Humanitarian Award Nomine:
Linda McCabe, Incentive Gallery

Linda McCabe was under no obligation to come back. The former social worker had put in her time at Sojourner Truth House, a shelter in Milwaukee for victims of domestic abuse. But now she was starting her own business, Incentive Gallery (asi/230734). Had she chosen, social work could have been a thing of the past, where the stories of abuse were so heartbreaking that “it just changes you as a person,” she says. “You get to the point that nothing shocks you anymore. And certainly hearing those stories was very shocking.”

McCabe never abandoned her charitable aims. She embraced them even further. “She has stayed so true and steady to Sojourner Truth House for so many years,” says Angela Mancuso, executive director of the shelter. “Her commitment for 15-20 years to this agency is remarkable, and it really speaks to her character and her compassion for our mission and our clients.”

The 47-year-old can be called more than a mere volunteer. McCabe runs the auctions (and much, much more) for two of Sojourner’s biggest fundraisers. She and her company have also worked with non-profit organizations like the AIDS Resource Center of Wisconsin, the Milwaukee Women’s Center and a variety of others. All told, her assistance has helped these groups raise more than $2 million.

“People can realize that one person can make a difference,” she says about her contributions. “And if you have a chance to be charitable – especially in our industry where there’s so much merchandise, and you can buy things at cost or donate perfect samples – there’s definitely a way to give back and do it fairly easily.”
Her efforts certainly do not go unrecognized. Incentive Gallery recently won the CG Schmidt Ovation Award for Corporate Support, a Wisconsin-based award that honors small- to medium-size businesses that give back; the award comes with a $5,000 donation that went to Sojourner. “It goes beyond volunteerism,” Mancuso says about McCabe. “She’s been an advocate to people in violent relationships. She helps raise awareness not only for the agency but also the issue.”

The ring leader of Incentive Gallery (the title, which is official, is a humorous touch) has been vigilant about volunteering since she started at age 13, when her parents impressed on her the importance of improving the community. McCabe is active in bringing in friends and new volunteers, and makes a point of letting her compassion permeate her company and employees. “If they want to go do volunteer work that’s important to them,” says McCabe, who started Incentive Gallery 12 years ago, “I’m happy to afford them the time and the flexibility so that they can do that.”

In particular, sales coordinator/ “juggler” LeeAnn Knippel (who’s been with Incentive Gallery for a decade) has assisted McCabe at events, volunteered her free time at her church and children’s school, as well as made personal donations.

McCabe’s been at it so long that she’s reconnected with former Sojourner residents who have turned their lives around and now volunteer. “I’ve seen former residents who I potty-trained their children, whose kids are now in college,” she says. For the woman who never quits raising money for charity, she can’t put a price on that. – CJM

Election Loss Just a Blip For Civic Leader

The role may seem insignificant – Supervisor of Elections of Hernando County, FL – but Gus Guadagnino believes it strikes right at the heart of the problems plaguing America. “I want to instill passion and pride back into the electoral process,” said the founder of Joni Industries (asi/237290) before the election. “There’s a lot of people out there who believe their votes don’t count and don’t make a difference. There’s a bunch of people out there that don’t qualify issues or candidates the right way, as you and I would have to go through if we applied for a job. I think the better the voter, the better the politician.”

After all the votes were cast on an historic election day, Guadagnino didn’t win. He had run before in 2000 (and garnered the endorsement of the St. Petersburg Times on his first try) and was running without party affiliation, a necessary move he says because the role is “like an umpire in a baseball game. It’s gotta be neutral.”

And clearly one failure isn’t going to dog a civic zealot who has his hands in 24 different organizations, ranging from president of the Chamber of Commerce to president of the local chapter of St Jude’s Children’s Research hospital to even serving on the transition team of the Girl Scouts board.

“If I pull out my drawer I’ll find a whole list of other things,” says the Springhill, FL, resident about the organizations he’s involved with. “But these are all things that I’m very passionate about. I just have one simple philosophy that I was brought up with, and that’s just make it a little better than you found it in.”

The 54-year-old moved to Florida nearly two decades ago with a pencil imprinting business he had in New York. But when Chinese competition undercut the market with prices 60% lower, Guadagnino started Joni and began silk-screening. Now he’s the ex-CEO of the company, having handed the reins to daughter Nicole, 25, and son Joseph, 21, but still remaining at the company as the senior voice of leadership and wisdom.

That leaves plenty of free time for civic involvement. “To me, it’s my way of life. I love every minute of it,” he says.

Guadagnino tries hard to live up to the moral lessons his parents taught him – be sparse with self-praise, don’t bad-mouth others – but sometimes it was hard during the criticizing and mud-slinging of an election race. “Every so often I have to look up at the heavens to my mother and apologize for doing what I have to do,” he says. It’s a rare occurrence; most of the time he can raise his head with pride in making a difference. – CJM

Non-Profit Changes Lives And Supports Industry

A New York non-profit is proving the Big Apple has a big heart. And its workers hope to take an even bigger role in the ad specialty industry. “We help individuals with barriers to employment get the evaluation, training and opportunities they need,” says Susan Fonfa, executive director of Fedcap. “We feel good because we can help our workers help themselves.”

There’s no doubt that Fedcap is a “feel good” story. It was founded in 1935 and consistently places 2,000 workers every year. Some are outsourced into community or government jobs, while others are supervised under Fedcap’s own roof. But what makes Fedcap stand out is how it hires and welcomes those who are so often passed over for work. “Being able to give people a chance. That’s what we do,” Fonfa says.

What Fedcap does best is champion causes for the disabled. Besides its support staff, all of Fedcap’s workers have disabilities. Some are blind or deaf. Others suffer from mental illnesses. All of them become successful when they are empowered to overcome their everyday challenges. John Hopkins, 66, is an example of Fedcap’s triumphs. He has endured mental illness his entire life, but Fedcap gave him a chance to work 14 years ago. He now works five days a week, creatively repackaging items for customers. “It makes me feel good to go to work everyday,” says Hopkins. “I feel proud of myself and the work that I do.”

People like Hopkins work through Fedcap to serve many of the organization’s clients – companies like suppliers and distributors of promotional products. Companies send items to Fedcap and its workers do the rest. They wrap, box, tag, ship and do just about anything else a company needs. It’s a full-service fulfillment operation, from packaging to mailing. Sunglasses, caps, glasses, Frisbees. You name it. Fedcap accepts the project and finishes it on deadline.

“We stress our truly top-quality work and the pricing is tremendously reasonable,” says Fedcap Work Center manager Karl Leeds. “We can do it cheaper than you can have it done in China.”

Fedcap’s Work Center is where the most severely disabled are employed. But it’s also the heart of the non-profit’s identity. “Workers do earn money, but they gain self-esteem, which is just as important,” says Fonfa.

Some distributors have already been working with Fedcap for years. Manhattan-based Encore Sales Corp. (asi/188280) has frequently used Fedcap’s services, and its staff raves about the work. “I can’t say enough good things about Fedcap,” says Ian Murtaugh of Encore. “We’ve trusted them for years and you feel good about what they do and the people that they’re helping.”

Fedcap is hopeful more companies will enlist the non-profit’s services in the future. “There’s a tremendous opportunity there for Fedcap and the promotional products industry to work together,” says Leeds. – DV

Appointments & Promotions

A Plus Wine Designs (asi/30223) has added sales manager Christine Li to its sales team.

Fame Fabrics (asi/51204) announced the addition of Dean Jones as regional sales manager for the southeast, covering AL, FL, GA, NC, SC and TN.

Hartwell Classic Apparel (asi/60135) has hired Charlotte-based Doggett Advertising. Doggett will help Hartwell with marketing initiatives and brand development.

Hub Pen Company (asi/61966) announced the hiring of Flanagan and Associates as its representatives in the southeast. Tom Flanagan, CAS, will cover FL and Puerto Rico, Rich Conroy will cover NC and TN and Matt Carter will cover GA.

InnoPack USA (asi/62656) has hired Adam Whitworth, master of customer service.

iPROMOTEu (asi/232119) announced that 103 promotional products distributors affiliated with the company during the first three quarters of 2008, representing an annual sales volume in excess of $22 million.

JP Promotional Products (asi/232668) has hired Chris Fuentes as a sales and marketing associate.

JR Resources (asi/232638) has hired Wendy Williams as vice president of sales.

Marla Kaye and You Name It Promotions (asi/365124) were honored by the San Francisco Business Times with its Top 100 Women-Owned Businesses Award.

Mercury Promotions & Fulfillment (asi/26770) announced that Paul Kiewiet, the former chairman of the Promotional Products Association International and president of BrandKiwi, LLC has affiliated with the company. BrandKiwi Vice President Caroline Walsh has also joined.

Proforma (asi/300094) announced the company placed three finalists in the 5th Annual Stevie Awards for Women in Business.
Suzette Albrecht, president of Proforma Albrecht & Co. (asi/116308), Holly Ambrose, owner of Proforma Global Printing & Design, and Lillian DeAngelo, owner of Proforma Custom Business Services were all recognized in their respective categories.

R.S. Owens (asi/75530) announced that president Scott Siegel presented a seminar on “Employee Recognition Programs That Motivate and Inspire” at the 2008 September Motivation Show in Chicago.

The Book Company (asi/41010) has added Tony Hoblit to its art department and Jasmine Panchal to its sales department.

The Penn Emblem Company (asi/62485) has added Phil Pogue, Michelle Burgess, Norma Whitford and Linda Knauss. They will work as part of the company’s newly created Direct Sales Service Team.

The Sunshine Group (asi/339525) has announced the addition of Barbie Hawkins as account manager.

The Vernon Company (asi/351700) has hired Stephanie Critchfield as western region manager. Critchfield will be responsible for all recruiting, hiring and sales activities in the western United States.

USA Connect (asi/92429) has announced the hiring of Tom Streich for the position of national sales manager.

WoodCo (asi/98138) has hired several marketing representatives. Keith Schroepfer will be representing WoodCo in the upper midwest region. Cory Schroepfer will handle all key accounts. John Bugele will handle IL, WI and eastern MO. Richard Schmidt will handle MN, IA, IA, KS and western MO. Mark Jenkins will handle OH, MI and IN. Mike Valentini will be representing WoodCo in PA, DE, MD and the DC area. Jean Carboni will travel in MA, CT, RI and NY. John Ragozzine will travel in ME, VT, MA, CT, NH, NJ and NY. Both John and Jean will combine their efforts in calling on accounts in the states of MA, CT and the NY area. Brad Schroepfer will represent WoodCo in the southwest region. Brad will cover TX, OK, CO, LA, AR and NM. Jennifer Wood will work the states of CA, AZ, NV, UT and OR.

Sponsored By:


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Diran K Garabedian

 (1882 - 1963)
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Louise A Stone

 (born 1906)
Louise A. Stone was active/lived in California, Michigan.  Louise Stone is known for Sculpture.

Biography   Louise A. Stone

Born in California in 1906.  Stone was a resident of Pasadena in 1930.  By 1938 she was in Ann Arbor, MI.  Exh:  GGIE, 1939.

Source: Edan Hughes, author of the book "Artists in California, 1786-1940"
 Pasadena Star News, 5-20-1938.

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      Bees: 5 Things You Didn't Know

      Page 2 of 2

      3- Bees kill more people than alligators and sharks combined

      Another thing you didn't know about bees is that Jaws has nothing on them.

      Africanized honeybees kill as many as three people a year (combined, sharks and alligators can't muster the bloodlust to kill even one person per year, on average), and they do it with an admirable amount of determination. They're willing to pursue you for more than a quarter mile (on the History Channel show MonsterQuest they were shown to be good for double that distance) and they're too smart for commonsense strategies like hiding in water, since they're happy to wait for you to come up for air.

      Unfortunately, to the naked, terrified eye, it's impossible to tell the difference between regular honeybees and Africanized honeybees.

      4- Bee flight was long believed to be aerodynamically impossible

      Calling them "some of the most exotic flight mechanisms that are available to insects," in 2005 researchers at Cal Tech finally solved the mystery of bee flight. For decades it was a problem scientists could not solve. In 1934, esteemed French entomologist August Magnan wrote in Le vol des insectes that, with the help of his lab assistant, he had deduced that bee flight contradicted the principles of aerodynamics and should, therefore, be impossible.

      Using high-speed photography, Cal Tech researchers determined that bees beat their wings over a very small arc, but they do it at a phenomenal clip for insects as big as they are: about 230 beats per second. This might help explain why honey bees have been clocked at speeds of up to 15 miles per hour.

      5- Bees practice a form of sexual cannibalism

      The last thing you didn't know about bees will make you glad you aren't one of them.

      When male bees, called drones, mate with a queen bee, the exchange for the male is the worst erotically based rip off you can imagine, because not only is the encounter brief, but it's also a literal rip off: the drone's endophallus (sex organ) is literally ripped off of him and left inside her. The poor drone has had sex for the first and last time in his life. His sacrifice has an evolutionary point; the idea is to inseminate the queen and, by leaving his junk behind, prevent any other guys from doing the same. Unfortunately, it doesn't work, as several more drones will follow, each merely removing the business of the one before him.

      The act of ditching your genitals in the female to obstruct competition is a form of sexual cannibalism that is also common among species of spiders.


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ASTM E573 - 01(2013)

    Standard Practices for Internal Reflection Spectroscopy

    Active Standard ASTM E573 | Developed by Subcommittee: E13.03

    Book of Standards Volume: 03.06

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    Significance and Use

    4.1 These practices provide general guidelines for the good practice of internal reflection infrared spectroscopy.

    1. Scope

    1.1 These practices provide general recommendations covering the various techniques commonly used in obtaining internal reflection spectra.2,3 Discussion is limited to the infrared region of the electromagnetic spectrum and includes a summary of fundamental theory, a description of parameters that determine the results obtained, instrumentation most widely used, practical guidelines for sampling and obtaining useful spectra, and interpretation features specific for internal reflection.

    1.2 The values stated in SI units are to be regarded as standard. No other units of measurement are included in this standard.

    2. Referenced Documents (purchase separately) The documents listed below are referenced within the subject standard but are not provided as part of the standard.

    ASTM Standards

    E131 Terminology Relating to Molecular Spectroscopy

    E168 Practices for General Techniques of Infrared Quantitative Analysis

    E284 Terminology of Appearance

    ICS Code

    ICS Number Code 71.040.50 (Physicochemical methods of analysis)

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    UNSPSC Code

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    DOI: 10.1520/E0573-01R13

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    ASTM E573-01(2013), Standard Practices for Internal Reflection Spectroscopy, ASTM International, West Conshohocken, PA, 2013, www.astm.org

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Category:Passions : Criminal Victim : Lawsuit sued

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text:
Deflection and Delay of Light

Everybody knows that light travels in straight lines, but while that is its natural tendency light can be deflected by lenses, mirrors, and by gravitational fields. Newtonian mechanics predicts that a particle traveling at the speed of light which just grazes the edge of the Sun will be deflected by 0.875 seconds of arc. That means that the image we see of a star will be displaced away from the Sun by this angle. The figure below shows this with the black showing the situation when the Sun is not close to the star. When the Sun is nearly blocking the star its image is deflected outward giving the red image. This Newtonian model also predicts that the gravitational attraction of the Sun will make light travel faster close to the Sun, so according to Newton the deflected light arrives before the undeflected light. The figure shows the red light pulse arriving before the black light pulse. Of course the travel time for starlight is very hard to measure, and the deflection of starlight can only be measured during a total eclipse of the Sun. The deflection angle is actually very small, and in the figure it has been increased by a factor of nearly 10,000 for clarity.

Before Einstein developed the full theory of General Relativity he also predicted a deflection of 0.875 arcseconds in 1913, and asked astronomers to look for it. But World War I intervened, and during the war Einstein changed his prediction to 1.75 arcseconds, which is twice the Newtonian deflection. The final Einstein prediction is shown in green in the figure above. An expedition to a solar eclipse in 1919 measured this larger value for the deflection. Currently the deflection of "light" is best measured using radio astronomy, since radio waves can be measured during the day without waiting for an eclipse of the Sun. Lebach et al. (1995, PRL, 75, 1439) find a deflection of 0.9998 +/- 0.0008 times Einstein's prediction. This agrees with Einstein within 0.3 standard deviations, but differs from the Newtonian deflection by 600 standard deviations.

Einstein predicts that light will be delayed instead of accelerated when passing close to the Sun. Notice in the figure above that the green light pulse arrives after the black light pulse. This effect is closely related to the deflection of starlight. Since times can be measured to much greater accuracy than arcsecond angles, the greatest accuracy on this effect is now given by measuring the time delay instead of the angle. In order to measure the time delay one needs a a spacecraft behind the Sun instead of a star. This was first done by Irwin Shapiro (Shapiro et al. 1977, JGR, 82, 4329), and most recently done by Bertotti, Iess & Tortora (2003, Nature, 425, 374-376). The current result is 1.00001 +/- 0.000012 times the general relativity prediction, or -2.000021 +/- 0.000023 times the Newtonian prediction. So the delay observations agree with Einstein within 0.9 standard deviations, but are 130,000 standard deviations away from the Newtonian prediction.

In a very real sense, the delay experienced by light passing a massive object is responsible for the deflection of the light. The figure below shows a bundle of rays passing the Sun at various distances. The rays are always perpendicular to the wavefronts which mark the set of points with constant travel time from the star. In order to bend the light toward the star one needs to delay the wavefront near the star.

Another way to delay the wavefronts of light is to send the light through glass, as in a lens or a prism. The deflection and delay of light caused by massive objects is called gravitational lensing.

Tutorial: Part 1 | Part 2 | Part 3 | Part 4
FAQ | Age | Distances | Bibliography | Relativity

© 2004 Edward L. Wright. Last modified 29 Dec 2004


text:
WIYN Open Cluster Study: Radial Velocity Membership of the Evolved Population of Open Cluster NGC 6791

Type Conference Paper
Names Benjamin M. Tofflemire, N. M. Gosnell, R. D. Mathieu
Proceedings Title Bulletin of the American Astronomical Society
Conference Name AAS Meeting #222, #214.04
Date June 1, 2013
Short Title WIYN Open Cluster Study
URL http://adsabs.org/2013AAS.22221404T
Library Catalog labs.adsabs.harvard.edu
Abstract The open cluster NGC 6791 has been the focus of much recent study due to its intriguing combination of old age and high metallicity 8 Gyr, [Fe/H]=+0.30), and its location within the Kepler field. As part of the WIYN Open Cluster Study (WOCS), we present precise 0.5 km/s) radial velocities for proper-motion candidate members of NGC 6791 from Platais et al. 2011. The WIYN 3.5m telescope and Hydra Multi-Object Spectrograph offer the ideal facility for making definitive cluster membership measurements via radial velocities. Our survey, extending down to 16.5, probes the evolved cluster population, including blue straggler and horizontal branch (HB) candidates. Of the 156 proper-motion selected stars above our magnitude limit, all have at least one radial-velocity measurement and 82% have three measurements, sufficient for secure radial-velocity-determined membership of non-velocity-variables. The Platais et al. 2011 proper-motion catalog includes twelve HB candidates, of which we find only four to be cluster members. Three fall slightly blueward of the red clump and the fourth confirms membership of a blue-HB star from Green and Liebert 1996. This star is also consistent with being a blue straggler. We will include an analysis of the evolved cluster membership and identify radial-velocity-variable objects. Support for this program is provided by NSF grant AST-0908082.
UW-Madison Astronomy Home


text:
FLASH -- Current Events at University Park

Comet Hale-Bopp

In the coming months of 1997, comet Hale-Bopp will be a beautiful object visible in the sky. In February and early March, the best time to see it is near dawn, around 5:30 AM. By late March, it will be visible in the North West in early evening.

Penn State's Astronomy Department will be giving two nights of short lectures on the comet. If the weather permits, a comet viewing will follow. Please stay tuned to this page for further details.

Public lectures:

For more information on where, when, and how best to see this spectacular comet, explore the following links:

Check it out!

Interested in past FLASH events? Click here to read about Penn State Astronomy & Astrophysics Department's previous events.

Last updated: Mar 17, 1997, Outreach Committee


text:
View Full Version : When guns go boom and are bigger than you

23-01-2010, 04:18 PM
...What rule set do you use?
Ok I've got some Napoleonic Models (Victrix and Perry, with some Chiltern Miniatures) and looking for a good rules set. I'm leaning towards this: Black powder (http://shop.warlordgames.co.uk/black-powder-2028-p.asp) because it has rules from Circia 1700 to 1900, and because it was written by Rick Priestley and Jervis Johnson both of GW fame I think? Being in Colour is of course a big bonus.
Does anyone have it or some thing else for the napoleonic period, (Around 1775-1825) if so what are they like, to general, to complex, hard to read, lacking an inclsive index?

Also if anyone know about feudal Japanese rules I'd like to know about them too. (In english please! :silly:)

23-01-2010, 06:44 PM
Black Powder is the one that springs to mind, though I've not read it so can't really atest to its ease of use. I was talking to the guys from Warlord at the last Games Day, they seemed like they knew their onions if that helps lol.

24-01-2010, 11:51 AM
Thanks, onions were part of the staple food diet of the period of course so no worries there! XD

19-03-2010, 04:02 AM
I found black powder to be a good ruleset for that period, that said i never did learn the full rules, as the people i was playing with homebrewed some rules to allow us to play in a non-historicvally accurate setting...

kharn the betrayer
19-03-2010, 08:08 AM
It all depends on how detailed you want it.

Black powder is good for a kick about but lacks the indepth command and fog of war that true nappys rules give you. However true nappy rules sometimes bog you down in small details and stop you killing stuff.

Heres some that I have tried:
Free one.

Also reviews of some others are here:

I use DBM for my Jacobyte battles, however they are on a smaller scale than most of the Napoleonic battles. Ah yes brings back memories....


text:
Wednesday, March 19, 2014

CSN Houston: A Timeline

Let's try to put what the heck has happened with CSN Houston in a space-time continuum.

November 2010: Details emerge on the new Astros/Rockets RSN partnership.

May 2011: Baseball sources confirm that Jim Crane will buy the Astros from Drayton McLane for $680m, with sources reporting that McLane will receive $93m for his share of the new regional sports network to launch in late 2012.

October 1, 2012: CSN Houston launches. Kevin Eschensfelder hosts the first SportsTalk Live, with Jeff Luhnow, Jeremy Lin, and Matt Schaub.

January 15, 2013: Houston Press runs a story saying that there was a last-minute deal on the table with CSN Houston and DirecTV, but the Astros blocked it.

March 14: DirecTV reiterates that they want to make CSN Houston available on a sports tier package, allowing fans to choose whether they want to pay for the network. CSN Houston replies saying "We do not understand why they are pushing for CSN Houston to be the first and only RSN in the nation to be carried on a premium tier."

March 28: On the eve of Opening Day, Jim Crane promises not to blink on caving in negotiations.

March 31: Opening Night is the Rangers @ Astros. Only 92,000 households in Houston watch the game on ESPN.

April 1: Crane says there was a "little movement" with talks, but no deal was imminent.

April 2: First Astros game to be carried by CSN Houston (Yu Darvish's near-perfect game). Crane says talks are at a standstill. Crane advises fans to call and complain, or switch their cable provider.

April 3: DirecTV still wants to put CSN Houston on a tiered package.

April 5: Houston mayor Annise Parker asks officials from DirecTV, U-Verse, and Suddenlink to meet with her and officials from CSN Houston. All parties are willing to meet, but reiterate that the asking price is too high, and the network belongs on a tiered package.

April 16: The Astros offer two free tickets to an April 22 game against the Mariners in exchange for signing the IWantCSNHouston petition.

April 25: CSN Houston offers a "Freeview," allowing DirecTV, Suddenlink, and UVerse to pick up the network at no cost. All decline.

May 1: CSN Houston accuses Suddenlink of showing bias to Dallas (Fox Sports Southwest is on regular-tier programming).

May 17: The Astros are projected to receive almost $78m in revenue in 2013.

May 20: Awful Announcing reports that the Astros are asking more for CSN Houston than the Yankees get for the YES Network.

July 15: The Wall Street Journal reports that UVerse studied sports-viewing habits and used advanced data in their decision not to pick up CSN Houston.

July 22: Media and communications research firm SNL Kagan says that CSN Houston is the battleground between teams and cable providers, and the future is a "bust" for RSNs.

That same day, Rockets blog The Dream Shake reports from a source that CSN Houston's future is in jeopardy.

September 22: CSN Houston posts a 0.0 rating in a Sunday Astros loss to the Indians (note: the Texans were playing. And losing.)

September 27: Comcast/NBC Universal file involuntary chapter 11 bankruptcy petition against CSN Houston. Astros are pissed.

September 30: Crane vows, "You will see us on TV" in 2014. Crane says "There's a possibility" the Astros and CSN Houston will part ways. CSN Houston president/general manager Matt Hutchings resigns.

October 10: Crane thinks the involuntary bankruptcy petition is actually a Comcast effort to gain control of CSN Houston.

October 22: The Rockets break with the Astros and now support Comcast's involuntary bankruptcy petition.

October 28: Judge Marvin Isgur considers allowing both the Rockets and Astros to pursue separate carriage deals.

November 21: Jim Crane sues Drayton McLane (and Comcast, NBC Universal, and the President of NBC Sports Group) for fraud, negligent misrepresentation, breach of contract, and civil conspiracy.

January 21, 2014: MLB says Astros games could be available via streaming, if they don't get CSN Houston's issues settled before Opening Day.

February 12: Comcast buys Time Warner Cable for $45.2 billion.

February 17: The Astros and Rockets claim they are each owed more than $27m in unpaid rights fees.

March 17: Comcast says they will not buy out the Astros and Rockets.

Anonymous said...

Sadly, there will likely be many more dates on this timeline until it is ultimately resolved one way or another.

btw, we don't hear much about Crane's promise to provide games by alternate means. I bet that never happens.

I maintained a little passion for one year while I couldn't see the Astros, but I can't muster it anymore. Knowing that I will likely not see the Astros this year, interest in spring training and the traditional anticipation for opening day is gone. Screw both Crane and Comcast.

Anonymous said...

I think I remember reading that MLB was on board with lifting online blackout restrictions for internet streaming, but doesn't Judge Isgur have to sign off on allowing Crane and the Astros to provide viewership of games by alternate means?

Anonymous said...

Sorry to say, but this whole situation has little to no affect on me what so ever. I live in Las Vegas and I watched no less than 120 Games on CSN Houston last year. AND yes, I have Directv. Not sure how that all works, but having to listen to fans bitch and moan about this situation drives me a bit batty. Saying you no passion for The Astros is one thing, but this is Baseball. The greatest game ever. On the whole planet. I can't imagine life without it..

Anonymous said...

How it works is that you are out of the blackout area and must have purchased the Direct TV extra innings package.

Try to maintain some passion when you are a diehard Astros fan and your options are to watch the Rangers and/or national broadcasts (often the Yankees or Red Sox) or to purchase an MLB package which excludes the Astros.

Reuben said...

There is, at least, the radio. Sparks and Ford are a pretty good pair.

Anonymous said...

I have the radio package as well. Sometimes when the 'Stros are playing a local team (DBacks, Angels, Dodgers, A's, Giants), I'll mute the TV feed and just listen to Sparks and Ford. Love 'em..

Anonymous said...

They are very good, but radio is so 1970s


text:
Team Results Management
Team Mascot

LaSalle HS

      Lightning - Union Gap, WA

Jenessa McElrath Track & Field Profile

Click the next to the incorrect mark below. Corrections are the responsibility of the team coach. Tell your coach about the error.

Season Records

400 Meters - Relay Split
2010 Outdoor1170.00
300m Hurdles - 30"
2010 Outdoor1152.05a
Javelin - 600g
2010 Outdoor1178' 8.00
Long Jump
2010 Outdoor1111' 9.00

2010 Outdoor SeasonLaSalle HS11th Grade

400 Meters - Relay Split
300m Hurdles - 30"
Javelin - 600g
Long Jump
4x400 Relay
4:38.00Mar 20Papa Wells Invitational F
Allie McGree, Siena Noe, Kat Carter, Jenessa McElrath
13 4:32.94aMar 27Don Holder Relays F
Julia Riel, Colleen Newell, Jenessa McElrath, Allie McGree
 DNSApr 10Mooberry Relays Rogers HS F
Allie McGree, Colleen Newell, Regine Standley, Jenessa McElrath
4:31.00Apr 16Rieke Invitational F
Allie McGree, Colleen Newell, Jaryl Pence, Jenessa McElrath


text:
Team Results Management
Team Mascot

Churchland HSFree

    Truckers - Portsmouth, VA

Kira Heckstall Track & Field Profile

Click the next to the incorrect mark below. Corrections are the responsibility of the team coach. Tell your coach about the error.

Season Records

100 Meters
2010 Outdoor1013.13a
400 Meters
2010 Outdoor1071.13a
500 Meters
2011 Indoor1188.43a
Long Jump
2010 Outdoor1013' 11.75

2011 Indoor SeasonChurchland HS11th Grade

2010 Outdoor SeasonChurchland HS10th Grade

100 Meters
400 Meters
Long Jump
4x400 Relay
12 4:38.48aApr 17Norfolk State HS Invitational F
Kanitra Hatton, Diamond Brown-Bradshaw, Donjah Charles, Kira Heckstall
10 4:17.28aMay 22VHSL Eastern Region Championships F
Makala Perry, Diamond Brown-Bradshaw, Shanice Dolson, Kira Heckstall


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Audible Membership
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and just $14.95/month after that. Cancel anytime.
Choose 1 book a month from 100,000+ titles.
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Quiet Desperation Audiobook

Quiet Desperation

Quiet Desperation is now in Channels.
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Regular Price:$5.57
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Publisher's Summary

Imagine for a moment you're Marcus Cooper. A slick stranger meets you in a bar. You're drunk. You talk a lot. Without realizing it he's learning about you. Your desire for money and women. By night's end he makes you a million-dollar proposition to cause a drunk-driving accident. Sounds crazy to you? Maybe, maybe not. You're out of work. Bills are piling up. You owe your bookie six grand. But mostly you're twenty years removed from being the high-school football star you once were, doubting how much longer life is worth living. Do you take the chance?

Alfred C. Martino is the author of three highly acclaimed novels, Perfected By Girls,Over The End Line, and Pinned. Mr. Martino was born and raised in Short Hills, New Jersey, and graduated from Millburn High School. He is a graduate of Duke University and The Marshall School of Business at the University of Southern California. He lives in Jersey City.

Patrick Girard Lawlor is a classically trained actor who has performed onstage throughout the world. He is a veteran of the voice-over industry, having narrated hundreds of audiobooks.

©2013 Alfred C. Martino (P)2013 Alfred C. Martino

What the Critics Say

Author Martino diverges from his outstanding young adult sports series with this adult short story.... Narrator Patrick Lawlor deftly inhabits each character in the story.... An unexpected and ironic conclusion adds to the listener's enjoyment." (AudioFile)

Quiet Desperation is an excellent very short short story, filled with misery, pride, fear, threats as well as some raunchy language and sexy scenes.... Narrator Patrick Lawlor really makes this story, and the characters, come to life; but it’s a life listeners wouldn’t want to live.” (Sound Commentary)

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Home Tube DIY Asylum

Do It Yourself (DIY) paradise for tube and SET project builders.

Re: 1J6G indeed

"I don't know where I got mu of 14 from."

I don't know for sure anymore, but 14 sounds about right to me, too. These are nice sounding, but a bit warm and fuzzy for a DHT, after looking into other DHT's out there. Very easy filament to heat, though, not a lot of current. They were designed for battery operated class B output stages drawing low power.

This post is made possible by the generous support of people like you and our sponsors:
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New Technology (NWTBIPOD1800M12) Battery for Apple iPod MP3 Accessories

0/5 (0 Reviews)

Product Description

This Newer Technology replacement battery for your 1st and 2nd generation iPod adds a whopping 46% extra run time! The original Apple battery was rated at 1320mAh, while this High Capacity version offers a fantastic 1800mAh! These replacement batteries use the same Lithium-Polymer battery technology as the original battery that Apple used. A detailed instruction manual, and installation tool is included.

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