The recently deceased don’t always ingratiate themselves with their survivors when it comes time to read the will.
“People want to control things from the grave, not just throw a bunch of money in a beneficiary’s lap,” says family wealth guru John Pankauski, author of the new book, “Pankauski’s Trustee’s Guide: 10 Steps to Family Trustee Excellence.”
It’s their money so that’s their right.
But family members aren’t always crazy about how the deceased divided up the money or, if the inheritance was put into a trust, the restrictions that are placed on how the money is spent.
And often ill feelings among family members can bubble to the surface when money is at stake.
Often, an inheritance isn’t doled out immediately. Instead, it’s placed in a trust with a trustee to oversee it, making decisions on when and how to distribute the money based on the terms of the trust.
In many situations, that works out fine. But in seriously dysfunctional families, that can make a bad situation borderline intolerable.
Pankauski says any number of factors can lead to family feuds or general disgruntlement over an inheritance. Here are just a few:
• Sense of entitlement. Many beneficiaries have a misplaced sense of entitlement to an inheritance. They just expect that mom or dad will leave them money or property. In their minds, it’s what they have coming to them. “The truth is, you can dispose of your property any way you want,” Pankauski says. “There is no right to an inheritance and just about anyone can be disinherited.”
So if people want to leave their money in a trust for a family pet, or bequeath everything to a neighbor, a mistress or a charity, they have every right to do so, assuming they are competent and know what they are doing. “It’s their money,” Pankauski says. “They can do with it as they wish.” Other than dealing with a spouse, there are almost no restrictions.
• The audacity of the trust. Family members often become frustrated and angry when they realize they inherited money, but it’s in a trust and there are strings attached. “The beneficiaries view trusts as handcuffs on their money,” Pankauski says. “A trust takes all those family members’ personal feelings and emotions, all that baggage, and adds money to create a financial stew into which the beneficiaries are thrown.”
Often, because beneficiaries don’t like it that a trustee gets to make decisions on when and how they get a portion of their inheritance, family members will seek counsel and try to “bust the trust.”
• An implied accusation of financial irresponsibility. At some point it may begin to dawn on beneficiaries that one reason the inheritance was placed in a trust is that the deceased didn’t view them as responsible with money. “That may seem insulting, but it doesn’t have to be,” Pankauski says. “Many would argue that most people are irresponsible with money, particularly a large sum of inherited money that appears out of the blue, much like winning a lottery.”
Sometimes at least a portion of the family animosity might be avoided by better planning when the will is being written and the trust created.
“When beneficiaries don’t get along,” Pankauski says, “it may make more sense to cut their financial ties by either creating multiple separate shares within the trust or creating separate trusts altogether.”
After perusing the many niches of reality TV — well-to-do housewives in multiple major cities, the rugged Alaska lifestyle, and working the dirtiest jobs known to man — employment strategist Richard B. Alman wonders why we haven’t seen a show about a popular and compelling subject: long-term unemployment and drop-outs. (Spoiler alert- Life imitates art, this has in fact become reality…read on)
It’s a numbers game
While unemployment rates ebb and flow, according to various Government agencies such as the Bureau of Labor Statistics in the United States or Statistics Canada here at home, there is no reliable data for the long-term unemployed – those who’ve been jobless for 27 weeks or more – and for the underemployed.
“Recent college grads, who are typically saddled with student debt, still struggle to find terra firma in the professional world, and there’s a large blind spot for older unemployed workers, who may have gone back to school or taken a lesser job for which they’re overqualified, or they’re still searching,” says Alman, principal of Recruiter Media, owner of www.RecruiterNetworks.com, the world’s largest owner/operator of career websites.
The 1990 arcade game Smash TV- set in 1999 and with a vague story arc. Officially, the plot of Smash TV revolves around a futuristic game show in which players compete for various prizes, as well as their lives. Urban legend has included references to ‘out of work teens and college drop-outs’ being some of the principle characters.
“Drama, struggle, learning moments and, yes, hope – that’s what you’d get with an un- and underemployment-themed reality TV show.”
Life imitating art imitating life? The Running Man takes place in the year 2017- and pits ‘society discards against one another in a reality based TV show set in a dystopic future’.
Alman reviews how the first season might play out.
• Week 1: Job-seekers are happy to have a gig. Since reality show participants are paid, all are happy for this opportunity. Newly graduated college students are grateful to have a place to crash for several weeks with Wi-Fi and other free amenities, and love interests begin to develop. Older professionals, however, will have mortgages and families; for them, the show is a business trip. Underemployed job-seekers tell their stories of working long hours in unfulfilling positions.
• Week 2: Putting the reality into “reality TV.” “Un- and underemployment touches nearly everyone; we all know someone without enough work,” Alman says. While reality includes fortuitous wealth and fame for a few, it also includes tough times for many. The second week would feature job-seekers sticking to old methods of searching that have not worked in the past and continue to fail them.
• Week 3: The reveal – participants find out it’s a competition. While the cameras have sparked renewed vigor in their individual searches – a few participants may have even tried some wildly unconventional tactics – the group has had relatively little success. Producers reveal that it’s not just a reality show about job-seekers, it’s a competition. The group is separated into two teams. Participants from the winning team get legitimate interviews with Fortune 500 companies.
• Week 4: Job-seekers gain important tips. No matter how much experience, talent, youth or beauty they have, job-seekers still make mistakes with their strategies. While a well-written cover letter, an impressive education and a great resume certainly help – they’re not everything. Professionals give participants tips for staying relevant in today’s market, including the importance of doing volunteer work, preferably in roles that match their talents and training.
“I really cannot overemphasize this tip enough. Volunteering is probably the best way for the long-term unemployed to demonstrate their abilities, initiative and effectiveness in a marketplace that hasn’t given you enough of a chance,” Alman says. “It builds new skills, introduces you to a new network of potential employers, and adds recent experience to your resume.”
• Final week: All are on their way to gainful employment. After several weeks, most of the participants have made significant progress in landing career positions. While the winning team gains a great opportunity with a guaranteed, high-quality interview, there are no losers on this show. And, those who’ve made an excellent impression on the program are sure to gain additional opportunities.
For the Silo, Richard B. Alman
Supplemental-Following the theme of this story, you might like to consider the US game show “Paid Off”. Accordingly the contestants are graduates competing to have their student loans paid off.
“Underground” is a word, which is an essential part in the title of the “Keep it simple, make it fast” conference. Not only in punk, also in techno this is a term very frequently used, referred to and rejected at the same time.
Many claim, this terms doesn’t make much sense anymore nowadays.
Is this really true, or is there just a lack of a fitting theory to explain, why this term seems still to be central for discourses in and about music scenes? So called ‘scenesters’ say they prefer things “more underground”.
Matrix Dance Club
One of my interviewees, a label owner, put it succinctly, “Berlin isn’t Lady Gaga or Paul van Dyk; this is the capital city of the underground.” What does this term mean here, and how is it sociologically rooted in the cultural field of electronic dance music (Bourdieu, 1996)?
Current post-subcultural theories, such as from Andy Bennett, David Muggleton or Ronald Hitzler (2010; 2008; 2003), offer little means to understand these claims and differences; and how to explain why they don’t disappear, but re-shape and accommodate with newer developments.
Although I broadly agree with the insights of post-subcultural theories, a crucial feature of the music scene has been lost along the way: a systematical sociological exploration of the roles that distinctions play and how they are rooted in the music scene’s cultural economy (Kühn, 2011, 2013).
So far, the economy of scenes has been mostly understood as being part of the cultural industries (or creative industries by now), or not even economic at all (Gebesmair, 2008; Wicke, 1997).
Music industry research sees them as fully integrated actors of global and national music markets, classified into so-called independents and majors (Handke, 2009) and differentiated along lines of size, musical specialties and originality. Creative industries research tries to subsume them as major drivers for the attractiveness of cities and national economies by their engagement into supposedly very innovative products (Caves, 2002; Florida, 2003; Hartley, 2004).
What both perspectives have in common is that they do not approach economic structures from the music scene’s perspective, but rather from an economic-industrial point of view. And thereby they overlook and underestimate structural peculiarities.
In order to define the economic sphere of electronic dance music scenes sociologically, I argue for the term scene economy (Kühn, 2011).
Although previous insights have been extremely illuminating, these studies have lacked a systematic perspective that analyses the aesthetic, distinctive and commercial attitudes of hobbyist and professional scene participants within the conditions of their specific cultural norms and scene-based reproduction.
My assumption is that the scene economy of ‘underground’ electronic dance music scenes represent their own differentiated economic fields with specific structures that have developed their own organizational logic. The consequences and the basis of this logic are particular conditions for action and relations of production within the scenes’ own infrastructure and value-creation chain that result from the specific cultures and market relations of electronic dance music.
To understand the specific structure, the following features need to be considered: Scene-based cultural production instead of industry-based cultural production, the emphatic role of the music culture, the internal subcultural hierarchy and the role of distinctions in maintaining and re-shaping the scene economy, music culture and attractiveness.
The following remarks and claims are firstly based on my research, using focused ethnography, on producers of electronic dance music, twelve expert interviews with individuals active in various areas of the scene economy. And secondly on my own long-standing participation in the scene as a DJ, booker and media producer as forms of sociological ethnography. I use ideal-type descriptions. That is, I work with exaggerated representations of differences that in reality occur in a substantially more mixed and indistinct way. And yet, their exaggeration is precisely what allows the core of their specificities to be represented most clearly.
Tresor
Towards neo-subcultural theory
In his theory on cultural fields, Pierre Bourdieu noticed a general trend towards two poles with opposing cultural logics. The ‘autonomous pole’ defines itself by its cultural orientation; in which the furthering of art itself takes highest priority over any political, moral, or economic interest. The other pole has a commercial orientation; treating art as just another form of commerce like any other, in which art is produced based on its marketability. Each pole has its way of making value and profiting from it, but they are also in tension with each other.
This tension also exists in electronic dance music: on the ‘autonomous’ side of things you find house and techno music, along with the club/open-air party culture of Berlin. On the other side, you find mass-produced and profit-driven so-called EDM ‘dance pop’, which readily absorbs anything that promises to increase sales and reach. Both poles have very different definitions of success, as well as sharply divergent aesthetics and modes of production.
Aesthetic subcultures
(and not class-based anymore) with their own identity and infrastructures struggling to maintain aesthetic and seductive cores against unwanted external influences and political, moral or economic instrumentalization. To understand the dynamics of post-modern popular cultures, it is necessary to overcome the opposition of subcultural and post-subcultural readings of music scenes. The reality is, in the case of electronic dance music such as house and techno, neither strictly the one or the other. As small scale underground music culture and their big scale counterparts suggests, also in other fields of music, both are closely intertwined and distinct from each other at the same time.
Click to view on I-tunes
Pierre Bourdieu’s field theory helps to extend the concept of the music scene and re-shape the concept of subculture to understand the cultural dynamics between “underground” and “mainstream” as different forms of meaningful culture-economic infrastructure and social identity.
By combining Bourdieu’s theory of the cultural field (2001) with updating scene and subcultural theory, the presented approach is linking both subcultural identities and cultural-economic structures and is heading towards overcoming the current dichotomy of subcultural and post-subcultural theory.
DJ SiSeN and Berlin Goth culture
Scene-based cultural production
Involvement in house and techno music typically starts with a random visit to a techno club, or by first listening to the music through recorded DJ sets. Some become very passionate about music and clubbing and start to visit clubs very frequently. In the beginning, participation remains passive, but quickly may evolve I : People start to look for certain sub-genres, follow certain DJs, gain certain scene-specific sets of knowledge about clubs, do’s and don’ts, artists, and so on. Then, to participate more deeply and earn money, some start to DJ, throw parties, launch music labels, found scene specific agencies or just start to work in clubs or for labels and agencies.
They start to combine their passion for a certain aesthetic with commercial and distinctive attitudes: For some, it will always just remain a hobby, but others quickly become professional and turn their scene participation into a business. However, for the passionate, this business orientation remains strongly limited by the cultural institutions of the music scene. They don’t start making other music just because it is more profitable. They relinquish economic opportunities, because the feelings of enjoyment and freedom experienced through the music are more important to them. They see economic activity as being able to get by instead of pure profit-maximization.
This means that they associate the generation of sufficient income and social protection with their main desire for economic self-determination, artistic freedom and passion in life. For them, money exists to make their lives possible, in which they will be able to ideally pursue their personal goals in artistic freedom—but not in order to secure as much wealth as possible, following a logic of accumulation.The small-business structure of many lone entrepreneurs promotes this logic, since it imposes fewer practical constraints on the individual than a large organization with numerous employees. This connection through a commonly shared passion also results in individuals working together in clubs or labels, often referring to their friends and colleagues as a “family”.
To summarize: Their private desires and business activities become closely coupled and integrated, resulting in a deeply culturalized economic orientation. One recruits “bottom-up” out of the fascination for a certain music and prioritizes cultural orientations over economic possibilities. This makes small-scale actors who mainly do it for the fun and a feasible outcome. An atomistic structure of many sole entrepreneurs dominates the markets. Instead of pure sale orientation, subjective aesthetics and political interests dominate the cultural products and business co-operations among the scene economy participants.
The emphatic role of the music culture
As participants of a certain music culture, their activity is oriented on the cultural institutions of Detroit Techno and Chicago House and thereby framed by its opportunities and restrictions. These cultural institutions enable and demand certain cultural practices to be fulfilled and followed in order to reproduce and accommodate the seductive core of the music scene. The norms are typical music tracks to be seamlessly mixed by DJs in front of a dancing crowd on a loud sound system. What are these institutions? Although very roughly and surely not exhaustively, house can be understood as established musical practices condensed as tracks with repetitive and loop based beats, with a focus on groove, making crowds dance in clubs, mixing in DJ sets and played on events at high volume.
Genre-typical patterns for house and techno music are the four to the floor beats, between 100 and 150 beats per minute speed, elements like basslines, kickdrums, snare drums, hi-hats and track themes. Techno sounds rather dark and heavy, house sound rather soft, funky and easy-going. Tracks are typically composed with intros, breakdowns, a main section, climaxes and outros. Tracks are supposed to make people dance at events and to be mixed in continuous sets by DJs (Kühn, 2009; Mathei, 2012; Volkwein, 2003).
The central role of distinctions in the music scenes economy
As a result of their scene-based involvement and fandom of house and techno, many scene participants towards the autonomous pole exert distinctions in order to conserve and develop their preferred set of aesthetics and scene-based cultural production (Strachan, 2007; Mäe & Allaste, 2011; Moore, 2007). In the post-modern world, aesthetics can flow everywhere and thereby can be used and adopted anywhere. Even in contexts, that many scene participants find not very much desirable.
The current boom of electronic dance music in the US, with associated artists like David Guetta, Swedish House Mafia, Skrillex and so on, is a good example of this. With the increasing success of so-called “mainstream” EDM, many scene participants insists of debunking that culture as “fake” and “inappropriate” – and try to keep these aesthetics, actors and corresponding organizations out of their scene contexts. Sociologically speaking, they draw boundaries around their aesthetics and modes of production.
It is a form of resistance not primarily rooted in class, but in the preservation and defense of aesthetically-based life-worlds. Typically, these distinctions are about a perceived corruption of cultural logics by the economic logics of apparently too commercialized music and events, or about external actors like companies, political shareholders or councils who are not intrinsically interested in the music culture, rather using them for their own allegedly purely commercial or political aims. Aims that eventually might endanger the productivity and survival of the music scenes by for example causing gentrification or mainstream identity.
These distinctions have become a background knowledge of the subcultural field and are also expected by the participants in order to enable economic cooperation. From these distinctions the possibility and necessity of an internal subcultural hierarchy within the field of electronic dance music evolves.
*See (Kühn, 2013) for an example, how event producers use distinctions to avoid unwanted music, DJs, insfluences and crowds on their partys.
Various forms of distinctions as a form of “aesthetic resistance” become the primary means to keep out unwanted aesthetics and modes of production in order to preserve the aesthetic core of the music scene. For the Silo, Jan Michael Kühn.
Funding:
This work was supported with a 3 years scholarship from the Hans Böckler Stiftung within the doctoral study group (Promotionskolleg) “Die Produktivität von Kultur – Die Kultur- und Kreativwirtschaft unter den Bedingungen globalisierter Mediennetzwerke”.
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Building a business is one of the hardest things to do, especially when one is trying to build a business bigger than Victoria’s Secret, who owns 50 percent of the lingerie industry.
But, Catalina Girald, founder of Naja Lingerie is setting out to do just that.
Going for Soul Not Sex – changing the lingerie industry one pair at a time : Inside Naja Lingerie by Catalina Girald
Headquartered in Medellin, Colombia, with offices in San Francisco and New York, Catalina found a niche in the already dominated lingerie industry. Having worn Victoria’s Secret for most of her life it was when she became a professional that she started to see that the highly popular brand overly sexualized women. As a business woman, Catalina no longer felt comfortable wearing such lingerie and decided to design her own. “My aim is beyond making high-quality bras and panties. I want to create a lifestyle brand. I see it as the Athleta of what happens in your bedroom and bath.”
Her mission to create an alternative lingerie brand for women has a long journey ahead, but Catalina remains focused.
Seeing beyond the needs of women and staying in tune with the digital force of today’s society, Ms. Girald’s small yet powerful brand, Naja Lingerie is changing the game in more ways than one. With quotes printed inside each of the panties, designed to empower women and the brand going completely e commerce, Naja lingerie is for women who want to be radically different. Never forgetting the core of her mission, the company’s Underwear for Hope program donates a percentage of purchases to the Golondrinas Foundation in Medellin, where Girald was born. The foundation teaches impoverished women, skills such as sewing which allows them to support their families. They sew the wash-bags that come with each Naja purchase.
Each collection is inspired by the founder’s travels around the world.
From living with nomads in Mongolia to learning about the weaving process in Indonesia and living among the Hmong people in Vietnam, Catalina’s 18 month spiritual journey throughout Asia brought ideas and life to Naja lingerie. It wasn’t always that way for Catalina who was once at the top of her career as an attorney over at Skadden Arps, one of the most prestigious law firms in the country. Looking to create something greater, Catalina Girald started attending the acclaimed New York’s Fashion Institute of Technology–literally sneaking off to classes in between meetings at Skadden. Ultimately, she left Skadden to pursue her MBA at Stanford University where the Colombian born entrepreneur founded one of the first venture-funded fashion sites (MOXSIE) for independent designers which was later acquired.
Introducing Naja, the inventive online lingerie brand that speaks volumes
Naja, a digitally driven, forward-thinking innovator in the lingerie industry, has officially launched to rave reviews. Naja, billed as the “radically different, thoughtful lingerie brand for smart, courageous and sexy women”, was pioneered by Colombian-born CEO, Catalina Girald. No stranger to the fashion and technology industries, Catalina founded MOXSIE, one of the first venture-funded fashion sites for independent designers which was later sold to Fab.com. Naja is a breath of fresh air in an industry that hasn’t changed appreciably in decades. When asked about the direction of the new firm, Founder Catalina Girald answered, “We celebrate strong women. We’ve done away with fans blowing fake wind into our models’ hair, and old, dated lingerie designs. Our fresh designs, pricing and mission to empower women are challenging the industry, and we’re building the first billion-dollar online lingerie brand for the next generation woman.”
Today, women looking for fashionable bras under $80USD [$103CAD] have limited choices, including Victoria’s Secret.
However, a growing number of shoppers have expressed dissatisfaction with the mass retailer, citing a lack of innovative designs, low construction quality, and environmental impact amongst their concerns. Naja changes all of that. The company offers exclusive designs paired with the highest quality of fabrics, placing significant focus on structural changes and better product design. Features reserved almost exclusively for luxury lingerie, such as breathable memory foam cups and ultrasonic sealed straps, are now being brought to consumers at fair prices.
Naja uses Peruvian sourced Pima cotton for the softest feel and intelligent fabrics with odor and sweat wicking properties for real women with performance needs, all while remaining health and eco-conscious by using no phthalate materials and water based dyes.
The capsule collection, inspired by Tattoos and Japanese Shunga, consists of a basic line and three groups including “The Secret Lives of Sparrows”, “One Night in Cashmere”, and “Miyoko Loves a Dragon”. The collection is characterized by innovative and surprising prints on the interior of all the bra cups, so that every woman can carry her own little secret. All of the fabrics are exclusively designed for Naja by a local San Francisco Tattoo artist and are individually hand printed making each piece slightly unique. In keeping with Catalina’s vision of making great design accessible, the collection is fairly priced with bras ranging from $45USD to $70USD [$56CAD to $90CAD] and panties ranging from $12USD to $22USD [$15CAD to $28CAD].
Perhaps the most interesting thing about Naja is the company’s dedication to changing women’s lives.
Through Naja’s Underwear for Hope program, the company donates a percentage of profits to training women in the poorest and most violent areas of the world to sew. Naja then employs them so that they can help themselves and their children. With each purchase of Naja, consumers can feel good knowing that they are contributing to changing a woman’s life. To learn more about the company’s lingerie, social mission or what sets Naja apart from others in the industry, visit http://www.Naja.co .
Paris, 9 June 2022 – UNESCO is launching a scheme to support Ukrainian women artists who have had to flee their country because of the war, in partnership with the NGO Perpetuum Mobile. It will enable them and their children to be hosted and cared for by a cultural institution in the country where they have found refuge.
“The war has driven millions of Ukrainians into exile, the vast majority of whom are women and children. Among these people, women artists who have been forced to suspend their creative activities often lack material and financial resources to resume their work in their host country,” says Audrey Azoulay, UNESCO’s Director-General.
For this reason, UNESCO decided to launch a programme dedicated to Ukrainian women artists in exile, born of a partnership with the NGO Perpetuum Mobile, initiator of the Artists at Risk platform, which brings together cultural institutions in over 15 countries.
Audrey Azoulay
The artists concerned will be supported for a minimum of three months by a cultural institution in their host country.
They will be taken care of with their children in artistic residencies, and will benefit from support in terms of networking, visibility and the conception of new cultural projects.
(Left) Ukraine electro-pop duo Bloom Twins: “It has really affected us,” said singer Anna Kuprienko. “We’re talking to our family, we have a lot of friends and our second manager living there. We go back to the Ukraine quite a lot. We were only there two months ago. We were hopeful that this situation with Russia wouldn’t go where it has and that it would resolve.” (Right) Ukraine singer Khrystyna Soloviy : “We are a generation that has never seen the Soviet Union and was born in a free Ukraine. Ukrainians are not Russians, as said by the Russian government. We have a difficult, depressed history of Russian colonisation.”
The scheme will aim to provide them with the means to become autonomous by the end of their hosting period, whether they then choose to return to live in Ukraine or to settle permanently in their host country. UNESCO has already set aside $140,000 usd (about $177,000 cad at time of this publication) to finance the scheme, which should initially benefit some 30 artists and their children.
A new link in UNESCO’s emergency response
The programme complements the range of emergency measures already deployed by UNESCO since the beginning of the war to safeguard tangible and intangible cultural heritage, secure museum collections and combat illicit trafficking in cultural property.
UNESCO partner Freemuse
Moreover, since the beginning of the war in Ukraine, UNESCO has been monitoring the situation of artists in close consultation with artists’ networks and cultural actors in the country. This work is also carried out in coordination with international organizations involved in supporting artists at risk: PEN America’s Artists at Risk Connection, Perpetuum Mobile/Artists at Risk, ICORN, Freemuse, Prince Claus Fund and the PAUSE programme. For the Silo, Lucía Iglesias Kuntz, UNESCO Press Service.
Featured image: Face of War (Putin in bullets) co-created by Daria Marchenko, 35 now exiled Ukraine woman artist.
Invest a little over an hour watching this documentary about tea and you might find yourself contemplating a new connection between rural farming communities and the tea farmers of China. That’s because All in this Tea deals with all aspects of Chinese tea production, but takes a special interest in how a new demand for high quality, organic Chinese tea is creating new opportunities for Chinese rural farmers.
The story begins by focusing on David Lee Hoffman’s elusive quest for rare and perfect teas.
David is a renowned tea importer and to say that he loves tea is an understatement. Based on the passion and knowledge shown in this doc, he seems to live for the stuff. Hoffman sees himself as a cultural zealot, promoting the rich history of simple Chinese farming practices and educating the western world on the merits of drinking pure, organic tea produced in the “Chinese way”.
He makes the act of producing tea seem like the ultimate expression of agricultural art.
His journey takes him to remote, obscure farms where he begins the process of encouraging the Chinese tea board to end mass farming practices and belligerent pesticide uses. His goal is to create a new tea farming economy, one where quality takes precedence over quantity. If you like tea or if you want to learn more about Chinese tea farming practices, If you’re a tea drinker or know someone who is (don’t we all?) then All in this Tea is the right documentary for you. For the Silo, Jarrod Barker.
An interesting new trend is on the rise—colouring in a Bible.
What was once frowned upon, is now encouraged. This new trend is called Bible journaling. Bible journaling is the act of doodling in one’s Bible, as a way to creatively express one’s faith. However, some people choose to illustrate outside their Bible; as for some, doodling on the Bible itself is still prohibited.
Over the past few years, the movement has grown significantly with many online groups, forums, Facebook communities, blogs, and church groups creating groups where people share their Bible journal artwork, offer techniques, and provide a supportive boost.
People even discuss where to get Bibles with the largest margins so that there is room for their designs, creating an interesting demand on publishers and retailers.
Complete Guide to Bible Journaling: Creative Techniques to Express Your Faith (Fox Chapel Publishing), by designer, inspirational speaker, and author of the best-selling Zenspirations® book series Joanne Fink, was created in response to this amazing trend.
The book features the works of top Bible journalers, offers drawing tips, the best tools to use, and even offers traceable vellum sheets to use on your own Bible. For the Silo, Elizabeth Martins.
Despite a fluctuating legal status since 1892 when the first Criminal Code of Canadawas established, Canadians have remained firmly welded to the idea of a bet. Whether it is a matter of sports betting or the more calculative games provided by casinos, and more recently over the internet, Canadians, it seems, love to gamble.
What it is in the Canadian national psyche that drives this appetite is far from clear.
Those reports that have dealt with the question have tended to look at the administrative and legislative conditions that have enabled the industry to establish itself, rather than asking the more fundamental question of where the appetite for this form of recreation stems from.
There is no doubt that the way the gambling industry in Canada is managed at a state level has meant that local pockets of gambling activity have been allowed to flourish. Smith points to the way that two Criminal Code of Canada amendments (1969 and 1985) were ‘pivotal’ in enabling the expansion of the industry. The first was because it decriminalized lotteries and casinos and the second because it allowed electronic gambling devices whilst also allowing provinces to operate and regulate the industry within their territories. In essence, because there was no one-size-fits-all brake on the industry it was allowed to extend into all those areas where it was not explicitly barred.
Against that historical backdrop the emergence of the internet and the de-territorialised markets it has allowed to develop have seen the Canadian appetite for gambling further supplied.
Such is the extent of the market that European based providers, such as Bet365, the UK’s leading online provider, are going out of their way to woo Canadian punters. Specialist sports books focusing on Canadian sports as well as a long list of games and pursuits that are already well-established across North America – not least poker and blackjack – mean that what these providers are offering is a perfect fit for the Canadian market.
There is a sense that with the US gambling industry seemingly at a tipping point in terms of the full deregulation of online gambling, these global providers are doing everything they can to achieve a presence and a profile on the continent. The basic thinking is that something akin to a gold rush is set to take place once the US marketplace truly opens up, and that rolling out into the US market will be easier from Canada than from Europe.
If this makes it sound as though the Canadian gambling market is somehow merely a stepping stone that is far from the case. Canada’s gambling market is itself measured in the billions of dollars and it is an entirely viable proposition on its own merits.
Of course, what it is that makes Canadians so happy to gamble remains an open question.
. Amidst such a diverse and heterogeneous population is it possible that enjoying a gamble in one form or another is one of the things that unites us as a nation? For the Silo, Jarrod Barker.
Eiko Otake performing at Bartram’s Garden on the Schuylkill River.
“The purpose of art is washing the dust of daily life off our souls.” – Pablo Picasso
Art is an imperative. Without it we can never truly examine our own circumstances or those of the people with whom we inhabit our small planet. Left unviewed, art languishes. Left without art to view, so does humankind. There are many who recognize the gift to the world that every artist has to offer. There are many who endeavor to do whatever they can to ensure those gifts are received by a grateful public. To stifle the artist’s voice is to silently say I care little about the fate of the minds of the masses. Art is essential. It is what fills the space between the rest of the din, making sense of a chaotic universe.
Bill Arnold splits his time between New York and Western Massachusetts. Since 1974 he has had a studio in Western MA and an apartment in NY. Arnold prefers to keep a foot in both worlds. Florence, MA is a small town near Northampton where there is plenty of space and the space is affordable. New York on the other hand is extremely restrictive in that a very small amount of space is prohibitively expensive. Artists require space not only to work, Arnold says, but space for their imaginations, “space to conjure.”
And so he maintains his Western MA studio.
The work he has done in that studio over the years has been varied and prolific. Arnold has endeavored, and often succeeded in getting his work into public venues including museums. He finds it thrilling to see his work in commercial venues. The first time he experienced this was in the 1970’s when he put roughly 1,000 photographs in 25 Boston city buses. There was no indication on the outside of each bus whether there were photographs on board so passengers didn’t know which buses were galleries inside. Because of the nature of the venue, more people saw that project than visited the Met, according to Arnold. In order to fund the project, he approached multiple museums getting them to agree to fund the cost of materials for the show provided he put on exhibitions in each city where the museums were located.
Arnold was both an exhibiting artist and a curator for this project. The project was well received, with weary commuters sometimes voicing their appreciation. From there, Arnold went on to do other bus shows. The format went viral long before viral was a thing. For another show, Arnold gave images to members of the audience who then organically began sharing the images with each other. Throughout his career, Arnold has turned traditional notions of exhibition on their heads. With the advent of digital advertising, the cost of printing has plummeted. Arnold uses this to his advantage. In 2018 he printed 10,000 newspaper inserts for the Daily Hampshire Gazette. As a student photographer, Arnold was encouraged to have a camera with him at all times. To this day he follows this practice. Arnold has photographed the same spot on his travels from NYC to MA for many years.
He intends to exhibit many photographs of the same place at the Bergen Street Station. Photography is accessible to everyone, Arnold says. Because anyone can make a photograph, anyone can also view a photograph and take something away. A series of photographs depicting old cars elicited stories from viewers of all kinds about cars they remembered and loved. To hear more about Bill Arnold’s thoughts on work and life, listen to the whole interview here.
Harry Philbrick left his position as director of the museum at the Pennsylvania Academy of the Fine Arts about two years ago. He then launched his own project called Philadelphia Contemporary. The nonprofit does pop-up exhibitions and performances throughout the city. The goal is to ultimately build a permanent space where the nonprofit can become a non-collecting, collaborative space. Prior to his position at Pennslyvania Academy of the fine Arts, Philbrick was director of the Aldrich. It was there that the idea for Philadelphia Contemporary began to percolate. He began exploring the notion of partnerships. Specifically long-term, sustainable partnerships that would allow the museum a broader reach. Upon relocating to Philadelphia, Philbrick realized there was a gap in the cultural ecosystem in that there was no large scale independent contemporary art museum. Philadelphia also seemed primed for Philbrick’s model in that the cultural environment is “unusually collegial.”
The first project was a partnership with Headlong Dance.
The project was titled The Quiet Circus in which the dancers took part in a year long residency on a pier. Each week dance pieces encouraged members of the public to join in. From there Philbrick and his small team created River Charrettes, a series of four pieces also set among the changing landscape of river banks. River Charrettes was an appropriate opening for Philadelphia Contemporary. The project embodied the idea of many people from different places coming together. Since then there have been readings and other events. At the moment there are many large scale projects in the works. An expanded staff has allowed for grander visions. The process of growth has been very deliberate, carefully adhering to the founding vision of the project.
Funding for Philadelphia Contemporary comes from many places. In order to run the organization, pay staff, and plan for the future, Philbrick has had to map out a plan from all he has learned over his years in the art world. Seed capital came from individual funders who believed strongly in the mission. More recently, Philadelphia-based foundations have come on board. For Philbrick, the key to his project is pushing forward the model for a nonprofit contemporary art space. Moving forward the same model applies, starting with individual funders and moving from there to foundational support. To hear more about Philadelphia Contemporary and arts organization funding, listen to the whole interview here.
A Few Words to Keep in your Pocket: Speak your art loudly. Do not settle for its slow demise. Bring it into the light, find allies, give your gifts to the world. For the Silo, Brainard Carey. Featured image- Francis Bacon’s London studio- in its relocated home in Dublin, Ireland.
Hip-Hop is a culture, it’s a lifestyle, it’s an artistic expression and yes, it’s jewelry.
Since its inception Hip-Hop has always been edgy, outside the box, and ready to make a statement at all times; not just musically, but also in a fashion sense.
Rose gold, also known as red gold or pink gold made a big comeback in the world of Hip-Hop a few years ago but did you know Rose gold was popular at the beginning of the nineteenth century in Russia, formerly giving it the name “Russian gold”? This term is no longer used. This type of gold is also often used in making musical instruments.
Christian Jennings is one of the top flute players in the world- she chooses to play a customized flute made out of Rose Gold.
Companies such as King Ice are selling Hip-Hop inspired Rose gold jewelry, stating that it is reappearing due to artists such as Rick Ross and Kanye West being seen wearing items made from this gold and copper alloy.
Drake can even be seen with an extremely expensive Rose gold watch on the cover of his Grammy award winning sophomore album Take Care .
Whether you’re a “Hip-Hop head”, an occasional listener, or never venture into that world at all, Rose gold is becoming a statement piece and doesn’t seem to be disappearing anytime in the near future. For the Silo, Brent Flicks.
One of the most common lines that people love to use: “I wish I had more time.” Maybe it’s more time to spend with family or friends; more time to exercise and eat healthy; or more time to go back to school. Whatever it is, how do you make more time for those truly important things in your life?
Dr. Alok Trivedi, author of Chasing Success, says the reality is we all have the same 24 hours. The difference is some people know how to better manage it than others. When it comes to making time for the important things, Dr. Trivedi recommends:
1. Minimize, minimize and minimize some more. There was a reason Marie Kondo’s novel about tidying up your space to become happy was so successful. There is truth in her message of eliminating the unnecessary and finding what you love in the process. Get rid of what does not bring you joy. This can be old items or even toxic relationships that no longer serve you. Less is really more.
2. Being busy does not bring you value. In North American culture, it can be all too easy to be running around completing task after task. Many people view this form of productivity as determining their worth in society. It’s wise to assess what in your life is bringing you value and maximize that rather than trying to do things that just don’t feel right and make you feel unworthy on the inside. Business is an excuse and distraction to overlook the things in which you may be afraid to focus your energy on.
3. Differentiate between efficiency and effectiveness. Your time is precious and needs to be allocated to the most important things. Utilize your time to be both effective and efficient. Being only effective can be a time-consuming action. While complementary, being only efficient can lead to sloppy results. When you are doing any task, approach it within a concept of both maximum efficiency and total effectiveness to reap the best results. In your personal life, this is achieved through being present and genuine in your interactions.
4. Single task and hold your focus. Many people find themselves casually checking a single email, and before long they snap into full-fledged work mode. Develop a schedule and follow it religiously. It may be hard to find your groove initially, but if you stick to it, little by little it will become a habit.
gif by- cami5x5 deviantart.com
5. Know what you hold important. It is a challenge to know how to dedicate your free time if you haven’t discovered what you love. Find the activities where your creativity flows and your heart sings. Only in these states are you going to find yourself in the states of joy that make you feel life is worth living.
6. Address problems at the root. When you have the time to dedicate to the important things, you don’t want work problems to keep popping up. If there is a problem at work, address it from the start. Don’t keep putting it off, because it will fester at inopportune times. This goes both ways. If you have a personal dilemma with a family member, don’t run from it by adopting workaholic ways. Confront your problems head on to solve them with best results. Shying away will only allow the problem to become worse in the shadows.
7. Getting and staying organized. When it is time to be with friends and family the last thing you want to do is housework. Dedicate an initial cleaning and mass organization of your space. After this initial step, take a little time each day to clear your space and organize everything into its given area. The clarity of your physical space lends to clarity of mind. Then, there is mental space to focus on what matters, and not be distracted by the mess around you.
8. Block out time just for you. You must become your top priority. Declare certain times of the day and week that are just for you. This time can be for you to indulge in your favorite pastimes, meditate, or even to do nothing. This time is yours to center yourself and think about what you are presently encountering in life.
Live in every moment, and focus on the present. For the Silo, Alex Smith.
In a time when the sharing economy is generalizing eco-friendly solutions for a sustainable development, a European startup has brought up to date one of the oldest tourism ideas in the world to lower the carbon footprint on your next vacation. It’s called swapping or more precisely, NightSwapping.
A simple idea that is enjoyed for its human dimension, authenticity and the absence of money between members.
It is therefore with the utmost respect for traditional cultures, local territory and people that NightSwapping represents a new model for a sustainable tourism.
Has it not become common for travelers to stay at a local’s rather than hotels or resorts?
These new behaviors seem motivated by the desire to draw closer to local cultures and pass down certain values to our young ones…
Within this changing industry, a European concept has found a way to challenge the giants from the Silicon Valley. NightSwapping is the Sharing Economy at its core: no money exchanged, just sharing and authentic experiences.
A promising idea that continues to convince travelers around the world. For the Silo, Quentin Mittelett.
Have you tried this? Would you try this? Let us know in the comments below.
Almost one decade ago: Andy Warhol’s “Endangered Species and Ads” prints bring a combined $677,000 USD alone at this notable Modern and Contemporary Art event.
Two complete portfolios by Andy Warhol, Endangered Species, 1983 and Ads, 1985, sold for $338,500 USD each to far exceed their estimates among a field of fresh-to-market iconic works during Heritage Auctions’ $2.9 million USD Modern and Contemporary Art Signature® Auction, May 22 in Dallas.
The auction sold 90% by value and 78% by lot.
Close up of one of the ten screenprints up for auction by ANDY WARHOL (American, 1928-1987) Ads, 1985 Portfolio of ten screenprints on Lenox Museum Board 38 x 38 inches (96.5 x 96.5 cm) Ed. 50/190 Each signed and numbered in pencil Printed by Rupert Jasen Smith, New York Published by Ronald Feldman Fine Arts, Inc., New York PROVENANCE: Private collection, Texas LITERATURE: Feldman & Schellmann, II.350-359 Warhol, Andy:. American painter, photographer, filmaker and publisher, 1928-1987
ANDY WARHOL (American, 1928-1987)
Ads, 1985
Portfolio of ten screenprints on Lenox Museum Board
38 x 38 inches (96.5 x 96.5 cm)
Ed. 50/190
Each signed and numbered in pencil
Printed by Rupert Jasen Smith, New York
Published by Ronald Feldman Fine Arts, Inc., New York
PROVENANCE:
Private collection, Texas
LITERATURE:
Feldman & Schellmann, II.350-359
Warhol, Andy: American painter, photographer, filmaker and publisher, 1928-1987
Condition Report*:
With original Ronald Feldman Fine Arts, Inc. cardboard portfolio box and index print. All screenprints unframed and in good condition with specifics listed below. Mobil: Minor rubbing 3/8″ in due to former frame. A few incidental surface scratches and rubs. One 5/8″ abrasion, resulting in very minor loss. Paramount: Minor rubbing 3/8′ to 1/2″ due to former frame. Very minor bumping to bottom right corner. Chanel: 1/2″ to 1″ light rubbing due to former frame. Slate purple backgrund has hazy toning, beginning about 1/4″ in. Apple: Very minor incidental rubbing to edge. Rebel Without A Cause (James Dean); Van Heusen (Ronald Reagan); Blackglama (Judy Garland): All have only very minor edgewear. Volkswagen; Life Savers: Very minor surface rubbing and edgewear. Donald Duck: Very minor edgewear. Top corners have minor wear. Light handling creases. Some wrinkling and an indentation at end of signature. Left side center shows some moderate wrinkling and creases with some minor loss, beginning at 11″ from the bottom up to 24″, and affecting 3″ into the work. The face and body of Donald Duck is affected somewhat, as well as the background near edge. Light wear in top left corner and a small abrasion on middle right side. Unframed
Two works by Ed Ruscha responded well among buyers as his gunpowder on paper titled Rustic Pines, 1967, realized $290,500 USD and a color screenprint, Double Standard, 1969, sold for $182,500 USD , setting a record for the work. Mel Ramos’ Georgia Peach, 1964, fresh from a Texas collection, sold for $158,500 USD.
“The market for good contemporary art doesn’t seem to have hit any ceiling,” said Frank Hettig, Director of Modern and Contemporary Art at Heritage. “Our focus is presenting fantastic, fresh-to-market discoveries and bidders certainly responded in kind. It gives us high expectations for our November 2 Modern and Contemporary auction in Dallas.”
Among the modern masterpieces in the auction, the magnificent, 7-foot Cobalt Chandelier, 2003, by Dale Chihuly reached $158,500 USD. It is the largest Chihuly chandelier to appear on the secondary market and was offered through a federal court-appointed receivership overseeing the sale of assets previously owned by R. Allen Stanford of Stanford Financial Group.
Forms in Space by Lichtenstein earned $53,125.
Roy Lichtenstein’s Forms in Space, 1985, a screenprint published by the artist for the Institute of Contemporary Art’s Rally round the Flag benefit, achieved $53,125 USD and Georges Rouault’s Chemineau, 1937, realized $40,625 USD.
Here’s a look at what some Lichtenstein’s other pieces sold for.
Sculptural art performed well as Étienne Hajdu’s La Mer, 1964, sold for $35,000 USD and Pablo Picasso’s Vase deux anses hautes, 1953, sold for $30,000 USD while Robert Graham’s Frieze Figure I-G, 1989/1990, brought $21,250 USD.
So what is that Volkswagen Warhol worth today in 2021? It’s hard to pen the value but in Spring 2019 one single print ad brought 30,000 UK Pounds ( 52,000 $ CAD) in a Christie’s auction.
ROY LICHTENSTEIN (American, 1923-1997)
Forms in Space, 1985
Screenprint in colors on Rives BFK paper
31 x 47-1/2 inches (78.7 x 120.7 cm)
Ed. 35/125
Signed, dated and numbered in pencil
LITERATURE:
Corlett, 217
NOTE:
Published by the artist for the Institute of Contemporary Art, University of Pennsylvania, Philadelphia.
Forms in Space has been created especially in honor of ICA’s benefit, Rally round the Flag (label on frame verso) .
Lichtenstein, Roy:. American painter, printmaker; born 1923 in New York City, died 1997 in New York City
Condition Report*:
Sheet: 35.75 x 51.5 A crease in upper center at extreme sheet edge; small pressure mark at lower right corner; lower right corner lightly bumped; paper lightly undulates; framed. Framed Dimensions 36.25 X 52.5 Inches
Within the last generation, archaeology has undergone a major transformation, developing from an independent small-scale activity, based upon museums and a few university departments, into a large-scale state organization based upon national legislation.
Dreamer by Thomas Dodd Photography
This has entailed an increase in resources on an unprecedented scale, and has drastically changed the profile of archaeology, which is now firmly fixed within the political and national domains. Moreover, decision making within the discipline has shifted from museums and university departments towards various new national agencies for the conservation and protection of the cultural heritage.
Montauk, New York was celebrating its biggest estate sale ever after the closing on the 5.7-acre beachfront estate at $50 million USD that pop artist Andy Warhol bought in 1972 for $225,000 USD.
The most recent owner of the compound was CEO of J. Crew, Mickey Drexler, who bought it in 2007 for $27 million USD. He listed it in 2015 for $85 millionUSD that included a 24-acre horse farm and equine center, which the buyer, Adam Lindemann, opted out of the purchase. Lindemann is the founder of the Venus Over Manhattan Gallery and a major collector of Warhol’s works making the property’s history especially significant for him.
Warhol’s first gig out of art school was as a fashion illustrator for several of the top women’s magazines. With the money acquired from his illustrations, he purchased a large loft on New York’s West Side and opened the Factory, where he turned toward creating industrial art. It wasn’t long before the Factory and Andy were attracting like-minded modernists from hippies to wannabe journalists and actors to drag queens and drug addicts. It was the start of New York’s avant-garde scene where Warhol held court. In addition to his painting, he branched out into music, film and journalism where he met Paul Morrissey who became the director of some of Warhol’s early films.
In 1972 when Warhol’s popularity and success were peaking, he and Morrissey decided to invest in property in the Hamptons and purchased the family fishing camp of the Church family of Arm & Hammer Baking Soda fame. The estate includes a 3,800-square-foot main house and five cottages completely hidden from public view with wide beaches and ocean views. Totaling almost 15,000 square feet with nine bedrooms and twelve baths, Drexler had it all meticulously restored by architect Thierry Despont.
Warhol’s stream of celebrity guests and renters put Montauk on the international map. Frequent guests included Liza Minnelli, Liz Taylor, John Lennon, Mick Jagger, Jackie Kennedy and Lee Radziwill. The parties were legendary and stories of happy days idled away on the Hamptons’ beach are recounted in many celebrity biographies.
Even though the Warhol home sale set a record at $50 million USD, his most famous paintings such as “Eight Elvises” and “Silver Car Crash” have sold for $100 million USD and higher. The listing agent was Paul Brennan of Douglas Elliman Real Estate in Montauk, New York. Visit here for more information.
Supplemental– David Bowie as Andy Warhol in Basquiat
A friend of mine from Europe sent me this news story a couple of weeks ago about how the cultural landscape is facing its biggest threat in a generation.
It says the UK government was too slow to provide support for the arts industry, and that without more help, many parts of Britain could become “cultural wastelands”:
https://youtu.be/pPw8na16nuk
This should be a crude wake-up call for artists.
Realistically, governments around the world will NOT make it a priority to save art businesses. Why? Because governments care most about issues that will get them votes.
And, sadly, most of the public simply does not care about the arts the way artists do.
Want proof?
Check out the comments on that BBC video:
Then if you go down the rabbit hole and dig deep into the replies to these comments, you find a lot of artists desperately trying to show these people that the arts, and theatres, and galleries are very much “essential” to artists who rely on them to provide for their families:
The take-home lesson here?
Artists are on our own.
It’s unrealistic – unwise, even – to wait for the government to swoop in and rescue the arts industry.
In times like these individual initiative is more important than ever.
Artists must redouble their efforts to connect with curators, build a list of collectors, find patrons for their studio, maybe even transition to showing (and selling) some work online.
It is difficult, but it is not impossible. For the Silo, Brainard Carey.
The tradition of archaeology in the Americas (both North and South America) is defined by cross-cultural comparative research that draws heavily on an innovative tradition of regional-scale fieldwork.
Many early archaeo-pioneers worked in multiple culture areas of the Americas, seeking direct connections between the archaeological record and living or historical indigenous peoples, and fostering close ties with the related field of anthropology as a result.
WPA trowel men at work,Thompson Village Site,Tennessee. Image courtesy of the Frank H. McClung Museum, University of Tennessee (62HY5[B]This brief overview covers seminal developments in stratigraphic excavation (the idea that time deposits artifacts in successive layers- the lower the layer, the older the artifact), regional survey, and other field methods within their historical and geographic context.
Such pioneering archaeological efforts across the globe are often lauded for their early attention to stratigraphy and the association of geological or cultural strata with change in human societies over time. In the Americas, as in other parts of the globe, such attention was often the result of non-systematic excavations into mounds of anthropomorphic origin. In other words- ‘grave robbers’. Continue reading by clicking here.For the Silo, David M. Carballo /academia.edu / Department of Archaeology, Boston University/ Jarrod Barker.
Featured image- Archaeological Pioneers Of The Americas Gordon Willey Tula Mexico
Cahokia – Kunnemann Group submitted by durhamnature. Excavation of Kunnemann Mound, one of 6-11, from “Cahokia Mounds” via Archive.org
LOS ANGELES: JULY , 2020 – Wood Entertainment is proud to announce the August 18 digital/VOD release of the highly anticipated documentary feature PRETENDING I’M A SUPERMAN – THE TONY HAWK VIDEO GAME STORY. Wood Entertainment acquired Worldwide rights to the film in May at the Mammoth Film Festival in a deal negotiated between CEO Tara Wood and Producer Ralph D’Amato (“Tony Hawk Pro Skater” series, “Gun”) on behalf of D’Amato Productions.
Arriving just ahead of the eagerly-awaited reboot of the $1.4 USD billion Tony Hawk Pro Skater video game series coming this September, this definitive documentary from Director Ludvig Gür tells the story of skater turned video game mogul Tony Hawk, and the near extinction of skateboarding culture before exploding back into the mainstream in the early 2000s.
“PRETENDING I’M A SUPERMAN is a robust, real-life story of our successful videogame series as told by those who created it, and many who were inspired by it” said multi-record-breaking skateboarder and documentary subject Tony Hawk.
“I’m really excited to partner with Wood Entertainment” said director Gür. “It’s been a long journey making the documentary and I’m stoked it will finally be released for skateboarding and Tony Hawk’s Pro Skater fans worldwide. The art form and video game had an enormous impact on Generation Y / Z and the story behind it is even more fascinating.” In 1999, the video game Tony Hawk’s Pro Skater shook the world when it sold 9 million copies upon release and changed the skateboarding scene forever. Pretending I’m a Superman is the story of the skaters and developers who came together to create the best-selling game as well as a look into how skateboarding became a part of the mainstream. Featuring never-before-seen footage and interviews with the legendary skater Tony Hawk as well as industry stars interviews with Steve Caballero, Rodney Mullen, Chad Muska, and Jamie Thomas, Gür takes audiences through an intimate yet extraordinary journey, chronicling the meteoric rise of skate boarding’s most famous name.
“Tony Hawk has one of the most inspiring stories ever told, from groundbreaking skater to gaming mogul” said Wood. “We are thrilled to present it to its worldwide audience.” For the Silo, Scott Motisko.
It’s easy to take words for granted; most of us use them as effortlessly as we breathe. But words hold power that we often overlook at our own peril, says media expert Steve Kayser.
“Language is the code that translates ideas so they can be shared. They give us an advantage in the natural world, which has enabled us to evolve as human beings,” says Kayser, author of “The Greatest Words You’ve Never Heard,” (hyperlink below).
“But in our personal and public lives, we are inundated with empty words; words that are used incorrectly; words that are drained of all meaning; and so fail to accurately convey the intended message; and words that carry unwarranted connotations and stigma.”
Words can change lives, destroy relationships and alter the course of entire civilizations, Kayser notes.
[A must read about the power of word usage via Toltec wisdom: thefouragreements CP]
He shares examples of what to avoid, what to embrace and what to reconsider when trying to make your language more effective.
• Avoid John Kerry’s “crystal clear” nugget. Back in 2016 amid the ongoing foreign policy crises in the Middle East, secretary of state John Kerry, who has a linguistic reputation for long-winded political jargon, seemed to contradict himself in a single breath.
“I want to make this crystal clear,” he said. “The president is desirous of trying to see how we can make our best efforts in order to find a way to facilitate.”
It’s this kind of language that makes people cynical about our elected officials – when a politician’s mouth is moving and producing sounds, but he’s not saying anything. Or, if they are saying something, they use words that are overused and unnecessary. Businesses, too, can be notorious for this using corporate gobbledygook to obfuscate all meaning, Kayser says.
“What people want is authenticity in language, to say what you mean and mean what you say.”
• Emulate Mark Twain, the “straight shooter,” who employed wit, charm and incisive commentary in communications. No, most people cannot pick up where Twain, arguably America’s greatest writer, left off. But language and the way in which it’s used can be highly contagious. If you want to inspire authenticity and engage employees and friends alike with genuine communication, consider styling your speech more along the lines of Twain, rather than a dry business manual:
“Twenty years from now you will be more disappointed by the things that you didn’t do than by the ones you did do,” Twain wrote. “So throw off the bowlines. Sail away from the safe harbor. Catch the trade winds in your sails. Explore. Dream. Discover.”
• If you’re in business, there are advantages to embracing the jargon. “Can we blue sky this synergy later?” “Cascade this to your people and see what the pushback is.” … Business lingo could fill a dictionary, and in many cases, requires one! Unlike political babble, business jargon has its purpose, according to a new study from the University of Southern California’s Marshall School of Business. Business speak is code for “upper management material,” showing that the speaker is in a company’s inner circle and is a “big picture” person, the study reveals.
“Some of the language you come across in the business world can seem absurd to outsiders; some of these phrases, however, may actually reveal ambition in an employee,” Kayser says.
“The beauty of language is that it’s a common tool for everyone to use, yet it can be tailored to an individual. My primary suggestion is to do that in a way that authentically reveals your meaning.”
About Steve Kayser
Steve Kayser is an award-winning writer, editor, publisher, former radio host and founder of Kayser Media. He has had the great fortune to interview and collaborate with some of the best minds in the business world, and his eclectic approach to public relations and marketing has been widely documented. He recently published “The Greatest Words You’ve Never Heard,” (www.stevekayser.com).
No video game genre is as venerable, or as durable, as that of the simple adventure game. “Adventure” actually covers a number of styles, but there are a few distinguishing characteristics common to them all. They eschew action and combat in favor of exploration and puzzle-solving, and instead of developing their own in-game personas, players generally step into the shoes of an established, or at the very least fixed, character following a tightly-crafted narrative. Yet from the text-based odysseys of the 70’s and 80’s to the surprisingly sophisticated point-and-click journeys of today, the adventure in all its many variations has proven itself one tough old bird.
The origins of the genre can be found in the 1976 game entitled Colossal Cave Adventure. Created by Will Crowther, it was based on his real-life caving experiences embellished with a smattering of fantasy elements that were later expanded upon by Stanford University graduate student Don Woods. Among its most ardent fans were Ken and Roberta Williams, who were so inspired by the game that they actually launched their own software house, Online Entertainment, later famous as Sierra Online, one of the foremost game publishers of the 80s and 90s and an early pioneer of the graphical adventure.
While Sierra was innovating with graphics, another company known as Infocom was pushing boundaries of a different sort. Infocom games like Zork, Planetfall and The Hitchhiker’s Guide to the Galaxy were all about the text parser, yet they were also engaging, complex and, for awhile, commercially successful. But unlike Sierra, Infocom was late catching the graphical wave; its sales declined throughout the second half of the 1980s until Activision, which acquired Infocom in 1986, shut it down for good in 1989.
The next big thing in adventures was LucasArts. These days the company is best known for churning out half-baked Star Wars titles but there was a time when the name evoked images of rough-hewn bikers, invading alien tentacles, Freelance Police and some of the most unlikely pirates you’re ever likely to meet. In 1993, Cyan changed everything with Myst, an incredibly popular and influential release that discarded many of the conventional rules of the genre and made exploration and the discovery of everything, including the basic rules of play, an integral part of the experience.
Today, adventures no longer set the pace for the industry they way they once did (perhaps things are changing- L.A. Noir aims to refresh the adventure genre in high style- content producer) but they have enjoyed a resurgence in recent years in the hands of small, independent developers who continue to innovate and refine. One of the most remarkable examples of the current state of the adventure art is Gemini Rue, which actually roots itself in the past with blocky, VGA-style graphics that manage to look both dated and yet surprisingly beautiful. But underneath those retro visuals lies a thoroughly modern game, with a haunting soundtrack, top-flight voice acting and a story that will keep you guessing until the very end – and leave you wanting more.
The humble adventure has long since been surpassed in popularity by the shooter, the RPG and other genres, but the emergence of gaming as a mainstream creative medium, coupled with the near-limitless potential of widely accessible digital distribution, could very well herald a renaissance. This in turn opens the style to a wider audience than ever, and while not every gamer will like every adventure – personally, I can’t stand King’s Quest games – I can just about guarantee that ever gamer will find one or two that suit their tastes. Try one sometime. You might be surprised. For the Silo, Andy Chalk.
Featured image- The Jewels of Darkness Trilogy (all 3 Colossal Cave Adventure games/sequels) MS-DOS 1986
For over 25 years archaeological efforts have been ongoing to delineate where potential prehistoric trails exist across the landscape of southern Ontario. Trails were created and used by the earliest inhabitants of the region after glaciers disappeared some 15,000 years ago. One of the roles for a trail system was to help keep people alive.
The challenge to identify the existence of these trails is that they existed approximately 10,000 years ago. The primary region for this research has been Haldimand-Norfolk County. In the past seven years the search for prehistoric trail systems in these two counties has become increasingly intensive as part of the Haldimand-Norfolk Archaeological Regional Project (HNARP) http://www.hnarp.ca/ .
The premise of the regional project is to better understand how early people lived and managed their lives on a landscape once rich with animal, plant, and raw resources such as rock for making stone tools.
A critical activity that has assisted this regional project is permission to walk over farm lands from supportive agricultural land owners to help find these trails. Access to farm lands assists archaeologists to identify where people lived in the region. The land mass of the two counties combined covers approximately 2,000 square kilometers.
Historically, it was always possible to read information written down and recorded about trails in the region. This would include place names and popularly used trails. Even oral history in Haldimand County by senior land owners some 30 years ago mentioned trails used by people to walk across the landscape to neighbouring farms, villages, and the shores of Lake Erie.
To date, archaeologists have identified artifacts left behind by people still exist after 10,000 years of changes to the landscape. One piece of evidence has been the type of stone used for making tools. Throughout the world people searched out different types of rock for making stone tools.
In Haldimand County, chert formations created over tens of millions of years ago can be found. These chert formations have different identifying markers such as colours and fossils that make chert distinct from others. It is these identifying markers that help chert to be identified from its original source and help to develop new evidence to show where and when people lived and crossed the landscape.
It is hoped that finding and identifying the different colour cherts and fossils in the rock will help archaeologists piece together Haldimand-Norfolk County’s long forgotten past. For the Silo, Lorenz Bruechert.
The International alliance for the protection of heritage in conflict areas (ALIPH) said on Tuesday it has allocated another USD 10 million to support 20 projects that safeguard cultural heritage in 12 countries struggling to recover from conflict, particularly in the Middle East and Africa.
Cultural heritage has been targeted in recent years by armed conflicts; its rehabilitation is now essential for social and cultural reconstruction efforts in affected countries.
ALIPH is the only global fund dedicated to the protection of cultural heritage in conflict areas. To this end, the foundation finances preventive measures, emergency interventions and concrete post-conflict rehabilitation projects all around the world.
Created in response to the massive destruction of cultural heritage in the Middle East and the Sahel region, its offices opened in Geneva in September 2018. These 20 new projects will bring this young organization’s total number of supported projects to 43, for a financing envelope of more than USD 17 million to date.
“Through these interventions, we reaffirm our commitment to help preserve mankind’s collective history and to assist those living in countries affected by conflict in building a renewed sense of hope, community and dignity”, said Dr. Thomas S. Kaplan, Chair of ALIPH Foundation Board.
This new funding announcement deepens ALIPH’s engagement in three areas of intervention: protecting monuments and sites, safeguarding museums and their collections, and documenting and interconnecting heritage.
The Alliance will also fund, for the first time, an intangible heritage project in Afghanistan to safeguard decorative tile making, carpet weaving and Tambor making. “ALIPH’s support will allow our team to protect, safeguard, and document our priceless heritage which has been gravely weakened by decades of conflict across Afghanistan,” said Hamid Hemat, Cultural Heritage Senior Specialist and Project Manager, at the NGO Turquoise Mountain.
Hamid Hemat
This funding cycle will expand ALIPH’s presence from 7 to 12 countries: Afghanistan, Eritrea, Georgia, Iraq, Lebanon, Libya, Palestine, Peru, Somalia, Sudan, Yemen and a project in Denmark to digitize documents on the heritage of Palmyra, Syria. The depth and scope of these projects is possible only because of the strong support of its Member States and private donors.
ALIPH’s ongoing projects have already achieved several milestones, in particular the long-term initiative “Mosul Mosaic” (Iraq) that aims to rehabilitate sites representative of the cultural and religious diversity of the Old City. For instance, the Mosul Museum has now been stabilized, part of its collections safely stored, and its overall rehabilitation action plan finalized. The next step has just been approved by ALIPH, which aims to restore the collections, build capacities and pave the way for the building’s reconstruction.
Two emergency grants in Africa have also concluded: in Mali, staff were trained at the Al-Aqib Library in Timbuktu to restore 3,000 manuscripts, and in Abidjan, the protection of the collection of the Musée des Civilisation de Côte d’Ivoire has been reinforced. “This excellent project is the first of its kind in West Africa. Indeed, thanks to ALIPH’s generous support, the collections of the Museum are now well protected,” said Museum Director, Dr. Silvie Memel-Kassi.
The International alliance for the protection of heritage in conflict areas (ALIPH) provides concrete support for the protection and reconstruction of cultural heritage in conflict zones and post-conflict situations. The Alliance was founded in March 2017 in response to the massive destruction of outstanding, often ancient, cultural heritage in recent years. Operating under Swiss law, this Geneva-based foundation, also has the status of an international organization.
ALIPH financially supports associations, foundations, academic, cultural and heritage institutions, and international organizations working to preserve cultural heritage in the face of imminent conflict or to intervene for its rehabilitation. Its three areas of intervention are: preventive protection to limit the risks of destruction, emergency measures to ensure the security of heritage, and post-conflict actions to enable local populations to once again enjoy their cultural heritage.
ALIPH selects projects through regular calls—the next call will be open from 15 January-16 March. Emergency relief funding can also be applied for on a rolling basis. More information available at: www.aliph-foundation.org. For the Silo, Sandra Bialystok Aliph Communication and Partnerships Officer.
The number of international travelers from Japan to France is set to grow from 1.1 million in 2019 to 1.3 million in 2023, increasing at a compound annual growth rate (CAGR) of 4.6%, says GlobalData, a leading data and analytics company.
GlobalData’s latest report: ‘Tourism Source Market Insight: Japan’ reveals that the Japanese are specifically drawn to Paris due to their perception that it is a romantic city.
Ralph Hollister, Travel and Tourism Analyst at GlobalData, comments: “This substantial growth forecast illustrates that the Japanese source market is willing to sacrifice affordability and sometimes accessibility due to the cultural draw of a destination. The city is a popular tourist destination due to Japan’s fascination with all things French; cities such as Tokyo are filled with French patisseries and luxury French fashion outlets such as Chanel and Louis Vuitton.”
According to GlobalData, France overtook Guam in 2018 to become the fifth largest outbound market for Japanese travelers. Guam is a destination which is much closer to Japan (average flight time of 3 hours 45 minutes, compared to 12 hours 50 minutes to France), thus making it more accessible and affordable also. However, Japanese travelers are willing to sacrifice these vital aspects of a holiday in order to experience the French tourism product, due to the nation being heavily romanticized by the Japanese media.
Hollister continues, “Air France and New Caledonia-based Aircalin have renewed their codeshare agreement for five years in October 2019. The airlines offer a daily service between Paris and Noumea, with additional frequencies during peak periods and optimized connections at Tokyo Narita and Osaka Kansai airports. This renewal will no doubt contribute to this accelerated growth rate.”
It is clear to see that the majority of Japanese travelers are flocking to Paris, contributing to the growing issue of over-tourism in the capital. Atout France – the national tourism development agency, should focus on promoting less touristic cities to the Japanese source market such as Bordeaux. This city is popular for its gastronomy and many chateaux’s (castles), which are the type of famed stereotypes that attract Japanese travelers.
About GlobalData
4,000 of the world’s largest companies, including over 70% of FTSE 100 and 60% of Fortune 100 companies, make more timely and better business decisions thanks to GlobalData’s unique data, expert analysis and innovative solutions, all in one platform. GlobalData’s mission is to help our clients decode the future to be more successful and innovative across a range of industries, including the healthcare, consumer, retail, financial, technology and professional services sectors.
My book, Money: Whence It Came, Where It Went, tells us that “The study of money, above all other fields in economics, is one in which complexity is used to disguise truth or to evade truth, not to reveal it.
The process by which banks create money is so simple the mind is repelled.”
Graham Towers, the first Governor of the Bank of Canada, explained the process by which banks create money: “The manufacturing process consists of making a pen-and-ink or typewriter entry on a card in a book. That is all. Each and every time a bank makes a loan, new bank credit is created – new deposits – brand new money.
John Kenneth Galbraith- mystic or curmudgeon? image: poorwilliam.net
Broadly speaking, all new money comes out of a bank in the form of loans. As loans are debts, then under the present system all money is debt.”
Money created by banks and other financial institutions is interest-bearing debt. They create the principal and expect their money to be returned with interest. We can’t create interest the way they create the principal, so we must obtain it from some other money that was also created as interest-bearing debt. There is never enough of this money in existence at any time to pay off all of our collective debt. More interest-bearing money must continually be borrowed into existence.
In 2013, not so long ago, the ratio of household debt in Canada, including mortgages and consumer debt, was more than 160% of disposable income after mandatory deductions and income taxes and this statistic will keep growing with each year. The federal debt in Canada then was more than $600 billion, and interest payments on the debt in 2011-2012 cost $31 billion dollars or 11 cents of every tax dollar. Now in 2019, the federal debt has grown to $768 billion.
The five largest banks in Canada reported more than $27 billion in combined net income for the 2012 fiscal year.
Canada’s central bank, the Bank of Canada, claims to “regulate credit and currency in the best interests of the economic life of the nation”, and to mitigate “fluctuations in the general level of production, trade, prices and employment”, yet the purchasing power of the Canadian dollar has dropped steadily since the Bank of Canada was founded in 1934. As a store of value the dollar has not performed very well. It should also be noted that Canadian banknotes ceased to be redeemable for gold in 1929.
Bank of Canada notes are fiat money that the federal government declares to be legal tender, and the Bank has a monopoly on the issuance of bank notes. These notes are supplied to financial institutions to satisfy public demand. Chartered banks in Canada are no longer required to maintain statutory cash reserves for the loans they make. According to some estimates, Bank of Canada notes add up to less than 2% of the total amount of loans made by the banks and other financial institutions.
Money created as interest-bearing debt is scarce from the moment it is created, which curtails its effectiveness as a medium of exchange. Every dollar comes into existence as interest-bearing debt, and the overall cost of interest is reflected in the price of everything we buy. This is not to suggest that interest should be banned or that interest rates need to be controlled by a central bank. Anyone should be free to lend his or her savings at a mutually agreeable rate. Equity financing, with shared risks and rewards, is another option.
What is being suggested here is that we ask some fundamental questions about the monetary system and the function of money.
Are you able to use your goods, services, labour, knowledge, skills and abilities to obtain enough money to purchase other goods and services?
Are you able to obtain credit when you need it and are also willing and able to pay it back? Are you able to negotiate an agreeable price for credit and loans? Are you on a treadmill of debt, no matter how hard you work, how many expenses you cut, or how hard you try to save?
Are your savings secure and retaining their value?
Money is basically credit, like an IOU. Our ability to exchange our goods and services should not be hampered by the price of credit or an inadequate supply of money. Anything physically possible is financially possible. We can extend credit to anyone who wants to purchase anything from us and who is willing and able to provide us with a mutually agreeable amount of his or her goods and services. In essence, goods and services pay for other goods and services.
A mutual credit clearing system is an alternative method that can be used to facilitate reciprocal exchange.
Members of a credit clearing association have a trading account where an ongoing record is kept of their sales and purchases, their credits and debits. Every transaction includes a credit entry for one member and a debit entry for another, but interest does not have to be paid when an account temporarily has more debits than credits. Credit is extended to members from the rest of the traders in the group, and the major benefit of this system is that members can obtain interest-free credit. In the long term every member is expected to provide as much as they obtain. It all balances out within the community of traders. It’s all a simple matter of bookkeeping.
Direct credit clearing systems can be operated on a fee-for-service basis to cover expenses and to compensate those who provide this service. Nobody is ever forced to join any trading group and members are also free to leave when their debts are clear. Anyone can start their own credit clearing service, which allows competition between associations based on quality and price of service. Associations can also cooperate with each other to increase the number of potential trading partners and broaden the range of goods and services that are available.
Credit does not have to be scarce or expensive. We can control our own credit and allocate it as we choose. Are your best interests being served by the money you use? For The Silo, John Kenneth Galbraith.
It’s the kind of headline that makes dog behaviorist and author Melissa Berryman’s blood boil: “Dog on Trial after Attacking Child.”
According to the report, a pointer-hound mix named Milo, a dog that had never caused any problems, was napping on the couch in his home in January when a 6-year-old neighbor arrived. The boy sat down on the couch and started petting the sleeping dog. The child was bitten in the face after being left alone with the dog. No one witnessed the incident.
“The dog was put on trial for an accident that’s preventable when people understand what our behavior means to dogs,” says Berryman, who has spent years studying dog bites and is the author of “People Training for Good Dogs:What Breeders Don’t Tell You and Trainers Don’t Teach”. She also teaches classes on safety and liability protection for dog owners, provides community safety solutions andpromotes the right way to behave around dogs through The Dog Owner Education and Community Safety Council
Author Melissa Berryman (right) is a US national dog bite consultant.
“Dog owners are set up for failure because our default is to blame the dog. Owners get fined or sued for repeated human mistakes. Dogs often pay with their lives for mistakes made by people,” Berryman says.
That’s the case for the American canine Milo. At his Feb. 27 hearing in Mansfield, Mass., selectmen voted to euthanize him. The owners have 10 days to appeal.
“Prevention has to be the priority,” Berryman says. “Sure, it’s cute to us when the baby hugs the dog. But dogs do not say ‘I love you’ with a hug. When one dog ‘hugs’ another, it’s an act of domination. It should be a given that people do not hug dogs. Yet the message for children to hug dogs is prevalent in our culture and the facial bites continue.”
What are some other common misperceptions people have about dog and human behaviors – and how you can change to prevent catastrophes?
Berryman shares 5:
1. Myth: When greeting a new dog, you should extend your hand for it to sniff.
Fact: Dogs don’t sniff each other’s paws when greeting and like us prefer to be asked before being touched by a stranger. Instead, ask the owner and then also ASK the dog by tapping your hand on your thigh simulating a wagging tail and act friendly. The dog will relax and nuzzle you, need to sniff more to get to know you or will stay away.
2. Myth: Breed dictates temperament.
Fact: Dogs, first and foremost, are predatory canines that live in groups. Breeds are generalizations that enable breeders to better market the product they sell. What dictates temperament is their pack position, the role you, the human, play in the group and the rank of group members. Dogs have superior/inferior interrelationships and command and defer accordingly. And just as siblings in a family have the same parents yet are very different, one cannot purchase behavior by buying a dog of a certain breed.
3. Myth: When a dog charges, there is nothing you can do.
Fact: When a dog charges you, it’s trying to decide if you are friend, foe or prey. Their eyesight is poor so hats, sunglasses and other objects you may push or carry can scare them. Act like a friend and pretend you are not afraid. Stand facing the dog with relaxed body language, tap your thigh with your hand and use a high-pitched voice for a friendly greeting like “good girl.” Fake it if you are afraid.
4. Myth: Posting a “Beware of Dog” sign will protect you from liability if your dog injures someone on your property.
Fact: Dogs can only read body language. These signs make people react to your dog in a fearful manner, which is more likely to cause a dog to consider visitors prey and bite them. Use No Trespassing and Dog At Play signs instead.
5. Myth: Only bad dogs owned by bad people bite.
Fact: Even responsible dog owners operate under the same false beliefs about human and canine behavior. They are also encouraged to take a passive role concerning their dog. Any dog can bite especially when it feels personally threatened, is exposed to prey behavior or thinks that someone lower in rank threatens its resources, such as food, toys, bedding and the attention of its owner.
About Melissa Berryman– author of People Training for Good Dogs:What Breeders Don’t Tell You and Trainers Don’t Teach
A Massachusetts animal control officer from 1993 to 1999, Melissa Berryman is a US national dog bite consultant who founded the Dog Owner Education and Community Safety Council (www.doecsc.org) and works with communities, rescue groups, dog owners and bite victims. She also designed and teaches a safety and liability class for dog owners, from which “People Training for Good Dogs” is derived. She has worked with more than 10,000 dogs. Berryman holds an undergraduate degree in Animal Science Pre-Veterinary Medicine, and a master’s in Public Administration. For the Silo, Ginny Grimsley.
Players Can Pilot Presidential Helicopter Around Washington, D.C.
August, 2019 (Washington, D.C.) – The White House Historical Association has just launched a new game in its WHExperience mobile app called “Fly Like Ike.” This interactive game allows users to pilot the president’s helicopter and make stops to learn about several monuments and historic sites in Washington, D.C. before testing their aviation skills by landing on the South Lawn of the White House.
Helicopters have played an important role in transporting the president since 1957 when President Dwight D. Eisenhower became the first president to use a helicopter. The helicopter used in this game is a replica of the Official 2019 White House Christmas Ornament.
“Fly Like Ike” currently features these seven destinations: U.S. Supreme Court, U.S. Capitol, National Mall, Washington Monument, Jefferson Memorial/Tidal Basin, Lincoln Memorial, and the White House.
“Fly Like Ike” is the latest feature on the White House Historical Association’s WHExperience app, which is free to download on iOS, Android devices.
The WHExperience app also provides information and a link to purchase the 2019 Official White House Ornament, which commemorates President Eisenhower’s commitment to innovation as the first president to fly in a helicopter while in office in July 1957.
“Fly Like Ike” requires Wi-Fi or a data plan, and is compatible with iPhone 7 and up and devices running Android version 7.0 and up.
The WHExperience app also includes virtual tours of the White House and a “Presidential Lookalike” selfie feature, which is powered by Amazon Rekognition technology. For the Silo, Jessica Fredericks.
About The White House Historical Association
First Lady Jacqueline Kennedy envisioned a restored White House that conveyed a sense of history through its decorative and fine arts. In 1961, the White House Historical Association was established to support her vision to preserve and share the Executive Mansion’s legacy for generations to come. Supported entirely by private resources, the Association’s mission is to assist in the preservation of the state and public rooms, fund acquisitions for the White House permanent collection, and educate the public on the history of the White House. Since its founding, the White House Historical Association has contributed more than $50 million USD in fulfillment of its mission.
Russell Avenue in Ottawa’s Sandy Hill neighbourhood is the winner of the Canada’s Best Garden Street contest.
Toronto, ON Garden Days – The month of June hosts Canada’s three-day celebration of gardens and gardening. There are loads of Garden Days official activities scheduled across the country, and almost every province has a Flagship Event for you to enjoy. It’s the perfect time to get dirty in one’s own garden, visit a nearby public garden or spend some time in a local garden center.
You’ll be in great company
If you’re planning travelling around the province or across Canada this Summer, be sure to visit a few of the many public gardens that we’re becoming world renowned for. Dr. Richard Benfield, author of ‘Garden Tourism’ estimates that annually there are 6 million garden tourists in Canada.
And the winner is . . .
On the occasion of our upcoming National Garden Day, Friday, June 13, the Canadian Garden Council is pleased to announce the winner of the Garden Days’ ‘Best Garden Street’ Contest which celebrates the contribution that public and/or private gardens have made to the quality of life on individual streets and neighbourhoods. The winner of $1000 worth of Marks’ Choice Lawn and Garden products from Home Hardware, and the bragging rights to be named ‘Canada’s Best Garden Street’ is: Mary Moreland, Russell Avenue, Ottawa.
Garden Days spokesperson, Mark Cullen, recently said, “The partnership between the hand of man and Mother Nature has produced some of the highest quality green spaces and gardens in Canada and on earth. Garden Days, a new idea that’s all about this successful collaboration, has been sown on fertile soil. I have no doubt that the ideas and principles behind the concept will sprout and grow into national significance. And the sooner the better.”
This coming weekend join in the national celebration of everything that the Garden contributes the quality of all our lives.
Garden Days are a family affair. Photo: Pierre Boucher
Organized by the Canadian Garden Council, and kicked off with National Garden Day, always the Friday before Father’s Day, Garden Days is a three-day celebration of gardens and gardening. The program’s objective is to draw attention to Canada’s garden culture, history and innovations and to underscore the importance of public and private gardens, the values of home gardening and the promotion of environmental stewardship. For the Silo, Courtney Charette.
Alfred Marshall’s (Principles of Economics, 1891) view of housing still goes right to the heart of what makes housing and built environment an important anthropological topic. No artifact is so clearly multi-functional, simultaneously a utilitarian object of absolute necessity, and an item of symbolic material culture, a text of almost unending complexity.
In every house the economic, social and symbolic dimensions of behavior come together. This may be why the analysis of housing has had such a wide appeal in disciplines as diverse as social psychology, folklore, economics and engineering. Anthropologists themselves have shown a new willingness to consider the house as a key artifact in understanding the articulation of economic and social change during economic development.
An ethnocentric home.
From the perspective of our own contemporary society, surrounded by houses of all shapes and sizes, where wealth and luxury are synonymous with housing, this seems obvious and commonplace. The 1980’s television show “Lifestyles of the Rich and Famous” and journals like “Architectural Review” are odes to the home as a shrine and symbol of wealth. But just as clearly, there are societies where all the houses look alike, even though all the people are not alike. Perhaps then, the assumption that there is something natural and obvious about spending on the house and home market as a marker of prestige is ethnocentric. Why the house instead of something else?
A number of anthropological approaches attempt to place the house in a theoretical context which answer this question by relating housing to social, economic, and psychological variation and change. For example, a utilitarian approach that views the house partially as a workspace links changes in the elaboration of houses to changes in the kinds of work done in the household (Braudel 1973:201). Or if the house is seen as a reflection of how all household activities are organized and divided, then the shape of the house will change as activities are modified, differentiated, or recombined (Kent 1983, 1984).
Utilitarian houses.
An even more utilitarian perspective relates the form of the house to climate, technology and the kinds of building materials that are available (Duly 1979). For the Silo, Richard R. Wilk.
Supplemental-Complete Text Principles of Economics (London: Macmillan and Co. 8th ed. 1920).
Author: Alfred Marshall
About This Title: This is the 8th edition of what is regarded to be the first “modern” economics textbook, leading in various editions from the 19th into the 20th century. The final 8th edition was Marshall’s most-used and most-cited.
