18 June 2013

farewell my friend ~ William James Pelletier ~ 24 January 1954 - 13 June 2013

It's never easy to say goodbye. The following is an assortment of photos and images that was shown at the funeral today. The captions are written as if Bill were actually narrating this display, and in some instances, it is what he said of each item


Powers in the Universe - This was a painting done by Will. The image is my face, sort of. We had been taking about auras around the time he did the painting.


Bill in Bristol 1985. Can't recall the cat's name; I got Will into being a read cat person too.


Freedom isn't Free. A decal that was in the window of an old historic house.


Inside Devil's Hopyard State Park


Spirit Mask


Miemioux - A cat that lived with Will and I (1990)


My exercise bike - I was getting pretty good, several minutes each day - without getting winded.


New plants at 300 East Main


North on I-91 - On the way from Will's house to mine.


Big Boy goes demon


Delia and me


Me as a brooding rock star


My new dream car - a baby blue Beemer ragtop


Christ on Black velvet


Eagle Lake, Maine - from a trip we took in September 2009


Manta Rays swim with sharks unmolested. Will told me I said that if there is reincarnation
I wouldn't mind coming back as a manta ray, but I don't remember if I said that for sure.


My Tiger, who Will kept calling Red,
but sometimes he'd answer to Little Guy and other times he would not answer at all


Luminaria ~ flying above the city by a group of people who did this to pay homage to people who have died.
Walnut Hill Park, New Britain CT, We saw them floating in the sky
and were able to find out where they were being lifted from.


Dawn from the window at 300 East Main Street, New Britain CT


Will manages to get a picture, even though I am usually shy about being in a photo.


Checking out the seahorses at Mystic Aquarium.
It is Will's favorite from that visit.


Visiting at cousin Connie's in Fort Kent, Maine


Meriden Mountain from Route 9, Middletown CT


Another view from the window at 300 East Main Street, New Britain C


Cashier/Blood Drawing ~ if they can't get you one way they'll get you another


TV shot of Wold Wrestling Entertainment ~ sometimes they actually had real matches on the show


UFOs are out there


Will took this shot. Final resting place of my physical being. Next to Rita and Rudy

11 June 2013

Moodus Sportsmen's Club Annual Shad Bake - Sunday, June 23, 2013

Quite possible the longest continuously operated Bake in Connecticut, the Moodus Sportsmen's Club Annual Shad Bake will be held
~ rain or shine ~ on
Sunday, June 23rd, 2013.

Festivities begin at noon . . . although the tickets say "serving until 2 p.m." we'll be there until the food is gone.

Don't worry, if you don't think you like shad, there will be plenty of other great things to eat including chowder, venison chili and more. Food allergies? Let us know before we serve you.


Stay and play horseshoes, meet up with old friends, or just enjoy the atmosphere and the view

Advance sales: ADULTS $18 - Kids under 12 $5 - Over 65 $15
Price at the gate: ADULTS $20 - Kids under 12 $6 - Over 65 $17 ~ a bargain at the price!

Come early because parking can get hectic. Please follow instructions from the parking lot team > Trucks park down by the target range and fish pond. Handicapped parking available by the Pavilion.

For tickets, see any MSC member, stop by the Moodus Package Store, or email the MSC site maintainer for more details.

painter / printmaker - Neil Welliver

Neil Welliver: In the 1980s, while working at a Sonesta Hotel in Hartford, CT, I was exposed to more than a dozen 6 foot square wilderness paintings - two in each suite. I was captivated!

The paintings were all the works of Neil Gavin Welliver (July 22, 1929 - April 5, 2005) an American-born artist, best known for his large-scale landscape paintings inspired by the deep woods near his home in Maine.

Later, I came across a book with the following quote. Apparently chided by an interviewer for engaging in a supposedly non-macho career as a painter, he responded:

"Painting outside in winter is not a macho thing to do. It's more difficult than that. To paint outside in the winter is painful. It hurts your hands, it hurts your feet, it hurts your ears. Painting is difficult. The paint is rigid, it's stiff, it doesn't move easily. But sometimes there are things you want and that's the only way you get them"
He graduated from the Philadelphia College of Art (now part of the University of the Arts) and then received an MFA from Yale University. At Yale, he studied with the abstract artist Josef Albers, whose theories on color were influential. But his own style while at Yale evolved from abstract color field painting to the realistic transcription of small-town scenes in watercolor.

In the early 1960s he went to Maine, and began painting large oil paintings of his sons canoeing or female nudes bathing. In 1970 he moved permanently to Lincolnville, and by the mid 1970s the figure as subject had given way to the exclusive study of landscape.

He often painted out of doors in winter, and enjoyed the crystal quality of the air and luminosity created by light reflecting off snow, but acknowledged that the process was not easy.

His plein-air studies, usually taking about 9 hours, and painted in 3 hour increments, after which time the light would change too much to continue. Welliver insisted that he was uninterested in trying to copy the exact colors of objects, desiring instead to find "a color that makes it look like it is, again, surrounded by air."

His equipment-laden backpack weighed seventy pounds, and included eight colors of oil paint: white, ivory black, cadmium red scarlet, manganese blue, ultramarine blue, lemon yellow, cadmium yellow, and talens green light.

Welliver later expanded some of the outdoor studies into large paintings in the studio, painting 4 to 7 hours a day, meticulously starting the canvases in the upper left-hand corner and finishing in the lower right. If the finished paintings were vibrantly painted, containing "an emotional intensity that goes beyond the ordinary limits of realism", they also tended to be emotionally sombre

Art critic Jeremy Sigler spoke of his technique of converting field studies to canvas:

Welliver made small, roughly two-foot-square studies that he would later blow up into large-scale oil paintings in his barn studio.
      There, Welliver employed a modified Renaissance technique that involves making a large color-by-numbers style drawing of the study on a sheet of thin brown paper, painstakingly pricking each line of the drawing with thousands of tiny holes, and then pouncing the drawing’s surface with a soft bag of charcoal so as to leave its impression upon a primed canvas.
     Once the lines were there, he would lay down the oil paint—all mixed to one precise “Welliver” consistency—and methodically fill in the empty graphic sprawl of the canvas, inch by inch, wet on wet, from the top left corner to the bottom right, almost as if he were a human laser printer
.
Welliver died in 2005, but shortly before his passing writer Stephen Jermanok said:
There’s only one way to truly immerse yourself in Welliver’s woods: Leave the art behind and frolic in the same trees, marshes, bogs, and river that so enrapture him.
      Welliver recently donated 695 acres of his farm to Maine’s Coastal Mountains Land Trust, allowing public to traverse his woods.
      Many of the trees seen in paintings like The Birches (1977) at the Metropolitan Museum of Art have been lost due to ice storms, but a thick forest and dense underbrush remain, timber crackling underfoot.
     Light splinters through the branches of fallen firs onto their newborn cousins, dwarf pines – a cycle of nature, death, and rebirth that mirrors the ebb and flow of Welliver’s life
.
The handful of works selected for show here, cannot begin to convey the grandeur of his efforts. For that matter, the scale of the webpage depictions poorly conveys the power of one of his paintings or prints that one gets while it is directly in front of the viewer. Which brings this subject back, for me, to where this reminisce started ~ standing alone, staring and in awe, at the powerful paintings in the Hotel Sonesta's suites.


IMAGE CREDITS: Welliver screen shot from a 1992 Maine Public Broadcasting program

sculptor - Louise Nevelson


Louise Nevelson: I don't remember when I was first attracted to Louise Nevelson's sculptures, but I recall they reminded me of printers' job cases.
Louise Nevelson was the daughter of a woodcutter / junkyard owner in the Ukraine. They moved to the USA before World War I.

Wikipedia notes that "Nevelson's first experience of art was at the age of nine at the Rockland [Maine] Public Library, where she saw a plaster cast of Joan of Arc. She then decided to study art, taking drawing in high school. She painted watercolor interiors, in which furniture appeared molecular in structure, rather like her later professional work. Female figures made frequent appearances.

She graduated from high school in 1918 and began working at a local law office. There she met Bernard and Charles Nevelson, co-owners of a shipping business. Charles and Louise Nevelson were wed in June 1920 in Boston.

Having satisfied her parent's hope that she would marry into a wealthy family, she and her new husband moved to New York City, where, despite the disapproval of her parents-in-law, she began to study painting, drawing, singing, acting and dancing.

She commented: "My husband's family was terribly refined. Within that circle you could know Beethoven, but God forbid if you were Beethoven."

She later left her family to pursue her art, heading to Germany to become a student of Hans Hofmann. She also worked as an assistant to [and had an affair with] to Diego Rivera.

In the 1940’s, Nevelson began collecting wood objects of all types and putting them together in unusual and innovative ways. In 1957, a box of liquor she received for Christmas, with all its interior partitions gave her the idea to put her assemblages into boxes. Her sculptures were usually painted, black or sometimes white.

Her works were once described by art historian Robert Rosenblum as being "junkyards of secular carpentry (transformed) into almost sacred altarpieces where light and shadow reign"

When Nevelson was developing her style she decided to go exploring for inspiration and found it in wooden pieces ~ cast-off scraps, pieces found in the streets of New York.. Nevelson's most notable sculptures are her walls; wooden, wall-like collage driven reliefs consisting of multiple boxes and compartments that hold abstract shapes and found objects from chair legs to balusters. Nevelson took found objects and by spray painting them she disguised them of their actual use or meaning. Nevelson called herself "the original recycler", and credited Pablo Picasso for "giving us the cube" that served as the groundwork for her cubist-style sculpture. She found strong influence in cubist ideals, calling the Cubist movement as "one of the greatest awarenesses of the human mind."

She also found influence in Native American and Mayan art, dreams, the cosmos and archetypes.

Although her first New York show was in 1941, the exhibition that established Nevelson’s reputation as an important artist was in 1958, when she was nearly sixty. Moon Gardens + One, in which she exhibited a black wood environment prompted the chief curator at the Museum of Modern Art to include Nevelson in the 1959, Sixteen Americans show at MoMA, for which Nevelson created her famous work, Dawn’s Wedding Feast.

In 1973 the Walker Art Center curated a major exhibition of her work. During the last half of her life, Nevelson solidified her fame and her persona, cultivating a personal style for her "petite yet flamboyant" self that contributed to her legacy: dramatic dresses, scarves and large false eyelashes made from mink fur. Nevelson died on April 17, 1988.


IMAGE CREDITS: Nevelson Basil Langton's "Louise Nevelson smoking", Sky Cathedral, Case with Five Balusters

28 May 2013

Ferns


   

   

02 April 2013

Short Haul

Short Haul Gibbon. That was his name. He worked June to October hiring out to local farmers who needed workers and flatbeds to bring newly cut silage from the fields to their barns for winter storage. Seasonal people from the city would employ him to move things from Millard’s Auction House in Arcade – furnishings by the house load to fill up their summer places right quick.

His birth name had been Eustace Gibbon – a name he hated growing up. His Pa said he gave him that name because and on account of his belief that a boy with an odd name had to quickly learn to stand up for himself on the school grounds. Which worked well for him and by the time he’d got to second grade, he could manage himself quite fine. At the same time, he was no rabble rouser either.

By third grade, even the tough kids from the Hollow called him “Eustace” in a certain tone that signified an air of muted respect. Older folks were deferential as well, only their approach to him led to asking him to do chores, and they paid him handsomely. Some said that with a name such as his it must mean the family had some civility that other families lacked.

When he was 17, he already knew what he wanted to do. He didn’t plan on returning to high school the following year. He’d saved up $500 (a tidy sum for a lad in those days) and went and bought old Putt Smith’s beat-up 10 gear standard shift Brockway Semi-trailer. He got himself his own phone number - the only person under 30 to have his own personal phone number in the entire county.

That summer, after doing these two things, he spent his spare time fixing the Brockway up. Come autumn he wangled some deal with the Ag-Tech school to give the cab a new crisp paint job; then had one of the Thompson Brothers carefully detail lettering on both side doors that read “Short Haul Gibbon” with that phone number below it, and he was in business! Just – like – that.

T’was the summer people who began to call him Short Haul directly; first because they didn’t really know his name. And he found this so much to his liking that by age 20, he filed papers in Probate to make the change legit and for the record.

When folks asked his Pa iffen this warn’t some sign of disrespect he told them that his boy made his own living, and that he was old enough to do as he pleased, that Pa was fine with this and whyn’t they just go and mind their own danged business.

Shortly after this, he began getting tattooed. Never said why, and we didn’t know from where since there were no places what did that kind of artwork around these parts. He was private about it, sort of. Except for a five pointed star right center on his neck, in that hollow between the Adam’s Apple and the collar bones, all his body pictures could be discreetly hid beneath his clothes .. except in the summertime, which is when I first saw then and took notice.

I first made his acquaintance the summer I had just turned 17. He was 28. I‘d been working on one of the Mennonite family’s farms helping thrash the hay. Short Haul took their custom made furniture that they made and drove it all up to Oberlin for them where they sold it to some fancy-dance appliance and household goods store. One day I working on their farmstead and doing heavy lifting, I was big for my age, muscular and full of spunk and vinegar and all sweated up, but it was clean, working sweat.

With an appraising eye Short Haul said I was just the sort that he needed working in his business – what with all the many tasks he was getting hired on to do. After all, he was getting older and he could no longer do all the work by himself.

My folks thought working for Short Haul would do me good. It was a step up and away from weekends drinking up on Cream Ridge Road with the Ag-Tech boys. You know – one of those secrets that nobody says much of by everybody knows. So I said yes right away. Besides, I was enthralled with those tattoos.

Truth be known, they was a whole lot more that the ink what got me curious ~ though I wan’t ‘zactly sure how to express myself about that then – not having learnt of greater mysteries beyond the Baby Jesus being born from a Virgin, and the odd noise that could be heard in the caves on Covenant Mountain.

Now, Short Haul was a right personable man. He could also be a real charmer. The ladies would just swoon over him, but he just kep his space from them, remaining real polite and keeping things to business. Given he was always hiring himself out for work I figured this to be pretty smart.

But I was working for him for just over a year when one day I asked him if he ever planned to take a wife. At first he looked at me plain flustered. Then, “Well, what brings that personalness up?” He asked in such a tone that I believe my first reaction was to blush.

And I thought about it. My sister, Emily, had goaded me into asking. Turns out she is friends with this shy deaf-and-dumb girl, Wisteria; her people lives just shy a mile down the road from us. They are our closest neighbors on the way to town. Anyway, Wisteria was sweet on Long Haul, it was no secret. It was almost painful to watch her when he came in proximity to her at the Agway.

And while my question was on that occasion, awkward, it also brought open a whole passel of subjects that we, neither he nor I – ever talked about until then. The question altered everything – not right away, mind you – but from that point on. The question was a beginning.

On that occasion, there was a long and uncomfortable silence as we drove a truck full of merchandise to Oberlin. Until we were just on the outskirts of town, when he took my inquiry one step further, and asked of me the same thing back. And it was the second time that day I blushed.


IMAGE CREDIT: Found on the Internet - it was from this picture that the idea of the story drew forth ~ and yes, that is the interior of a Brockway Truck.

17 March 2013

forced treatment

03 March 2013

subtle signs of spring


when the pallets under the wood piles get uncovered, Spring is not far behind

02 March 2013

four online journals


Hyperallergic: "Sensitive to the Arts and its Discontents"

Hyperallergic is a forum for serious, playful and radical thinking about art in the world today.
      Created by husband-and-husband team, Veken Gueyikian and Hrag Vartanian, Hyperallergic officially launched on October 14, 2009. It combines the best of art blog and magazine culture by focusing on publishing quality and engaging writing and images from informed and provocative perspectives.
      Hyperallergic also publishes a Weekend edition edited by leading writers and journalists. It offers a closer look at issues in art, books, films, theatre, dance and music.
     The Hyperallergic Newsletter is sent out weekly and includes a letter from the editor with a recap of the most popular and important stories from the week. (Subscribe here) Newsletter subscribers also get first dibs on Hyperallergic events, that include discussions, parties, screenings and performances.
      Hyperallergic is published by Going Off Script in Williamsburg, Brooklyn.


The Scuttlefish: About Life in and on the Seas

[ in their own words ] The Scuttlefish is a project by Brian Lam and friends, celebrating the lovely, terrifying, powerful, mysterious, soothing, angry, calm, merciless, and awe inspiring sea. It has nothing much to do about technology. Except when it is a submarine.

      The Scuttlefish is designed to evoke the kind of vibe you’d feel after a nice long day at the beach. Or a difficult night at sea. It’s not about animals, or sports or eco, or science, or travel or food or culture, but all of those things and perhaps a bit of lore. Because besides our own human drama, there’s no deeper well of stories, and no more mysterious and rich a frontier than the ocean.
     The Scuttlefish is a partner site of The Atlantic and originally reported stories appear on TheAtlantic.com at times.


DETAIL daily: an art and design blog

Architecture through the ages.
      Aesthetics and construction: the interplay between design and technology demonstrated by outstanding examples of architecture
      DETAIL daily has been reporting on high-quality architecture from around the world, questioning designs and getting below the surface for the past 50 years.
     DETAIL daily does not simply parade ambitious architecture in the form of glossy photos, but instead examines backgrounds under the recurring themes of “aesthetics and construction”, and reveals constructional contexts and relationships between structures, their origins, and spaces created.


The American Poetry Review

American Poetry Review is dedicated to reaching a worldwide audience with a diverse array of the best contemporary poetry and literary prose. APR also aims to expand the audience interested in poetry and literature, and to provide authors, especially poets, with a far-reaching forum in which to present their work.
     American Poetry Review was founded by Stephen Berg in 1972 in Philadelphia. By developing efficient, inexpensive production methods and a distribution network that combined newsstands, bookstores, and subscriptions, it became the most widely circulated poetry magazine in the U.S. within the first five years of publication.
     In the 1970’s, APR established a reputation for publishing a broad range of material: interviews, literary essays and essays on social issues, translations, fiction, reviews, and poetry by the most distinguished authors, by writers working in new forms of contemporary literature, by younger poets now at the center of American poetry, and by writers from other cultures.
      APR has continued uninterrupted publication of American Poetry Review since 1972, and has included the work of over 1,500 writers, among whom there are nine Nobel Prize laureates and thirty-three Pulitzer Prize winners.

01 March 2013

mental health issues

There's lots of things going on here:
  •  politicians pandering to fear
  •  Forced Treatment - from coercion in the hospital setting to plans (by some) to force psychiatric drugs on people living in their own homes and apartments
  •  Discrimination in employment, housing, social acceptance
  •  Massive cuts in important services [access to legal rights; case coordination; the continuance of Medicaid "spend downs"; reduction in SNAP funds for the truly poor] via line item budget cuts
  •  The list goes on...
The objectives of the protest in Hartford is to establish a show of concern from clients, family, friends and supportive direct service providers. Let Governor Malloy and the state legislature know that the already disenfranchised can't afford to be further marginalized.

     If you can't show up on Saturday, make sure your local politician knows your concerns about these matters. If you don't know who your politicians are, or how to present your issues: read the following:

Tips on Contacting Politicians

Voting is only part of the legislative process. You need to be in touch with your legislators,
to let them know your opinions on subjects important to you, and know
how to get your point across clearly and calmly.


If you do not know your state representatives you can find who they are
at the Find Your Connecticut Legislator.

NEVER ASSUME that if a politician is from a different political party or has spoken out in public that favors one side of an issue or another, that they will not listen to hear another point of view. That is their responsibility - to hear varied opinions - and you can hold them to hearing you out. But you need to plan strategically.

WRITE, FAX OR E-MAIL YOUR LEGISLATORS

1) Use plain or personal stationery.
2) Use proper form of address.
3) Write legibly.
4) Keep it short and to the point. Let them know what you expect.
5) Address on issue per communication.
6) Outline essential information: bill number, title and description. If you don't know these items, you can look for them at the Connecticut Legislative Website.
7) Use your own words. Avoid form letters. Describe personal experiences and local impact.
8) Be sure to include your name, address, phone number, or e-mail.

CALLING YOUR LEGISLATORS

Note: If you cannot speak directly to your legislator or official, do not refuse to speak with a staff person. You may gain useful information and a helpful source for future reference.
1) Be prepared
     • Be brief and to the point
     • Have the key information written down: essential points of your position, bill number, title and description. If you don't know these items, you can look for them at the Connecticut Legislative Website.
     • Try to place call at crucial time for issue, e.g., before a key vote.
     • Use correct form of address, e.g., Senator Smith, not Joe.
2) Present your position briefly
     • Identify yourself and where you live.
     • One issue per call.
     • Be factual and honest.
     • Use your own words.
     • Mention how issue will affect your district or community or organization.
3) Ask for their views
     • Try to find out their position and how they will vote.
     • Keep tone friendly, even if their position does not agree with your own.
4) End the conversation politely
     • Thank the officials.
     • Offer to send information on your issue.

INFORMATION SOURCES: [1] The Connecticut League of Women Voters publishes a number of handy pamphlets on legislative advocacy. The material above came from The Art of Advocacy pamphlet. [2] You can find out handy tips on how to best prepare to testify (in person or in writing) before the Legislature using the Guide for Reaching State Legislators and Testifying at Hearings. [3] For the online savvy, check out the Using the Internet to Make Democracy Work pamphlet. [4] Finally, the Connecticut Legislative Website can provide you names and contact phone numbers to state legislators.

three artists


Remy Jungerman: was born in Moengo, Suriname and has lived in Amsterdam since 1990. His work is intrinsically related to his Surinamese origins and is centered on global citizenship in today’s society. Jungerman uses collages, sculptures and installations to show cultural critique(s) of the local and the global, the internal and the external. Traditional materials and objects are placed in different contexts that challenge the established notions of their representation within Western society.
     Jungerman gets his inspiration from Afro-religious elements of the traditional Maroon culture in Suriname and the Diaspora. At the same time he is also inspired by Western trends in art and modern communication technology.
     He first studied art at the Academy for Higher Arts and Cultural Studies, Paramaribo (Suriname). After moving to Amsterdam in 1990 he studied at the Gerrit Rietveld Academy. Since his first group exhibition in the Stedelijk Museum, Amsterdam, Jungerman has participated in several solo and group exhibitions worldwide.
James McNabb What James McNabb has to say about himself:


I’m an intense person.
     The work I make is the result of my desire to be the best at what I do. I observe the world around me, immerse myself in culture, and adapt to the challenges life presents to me.
     Lately, I have been inspired by cityscapes and what the city represents to me. I am exploring my own way of representing the urban landscape using the skills and techniques I have developed during my training as a woodworker and furniture maker.
     To me, the city represents the land of endless possibilities, a place where people go to make something out of nothing in search of fortune and fame. I aim to reflect those feelings when I ...make these objects.
[Creating these works is] ...meditative and therapeutic, a way to express my intensity through the act of making. The result is a composition of abstract architectural forms, no two alike, all from discarded scrap wood. It’s the epitome of making something out of nothing. They are my wooden cityscapes and my land of endless possibilities.

Michael [Surrealist] Woods:
[favorite quote] "In the begining there is no begining,
In the future there is no future.
"
      Michael Surrealist Woods is a photographer and collagist. He maintains an internet presence with a Facebook Page. He does not have a web site of his own. He should have, for his work is wonderful and amazing. He has been written about and his works have been on show.
     Woods is a photographer and artist, who lives and works in North Kensington, London. His photographs and Surrealist assemblages have been widely published and exhibited.
     In 1991, together with George Melly, Woods co-authored a beautifully composed book of images and text that evinces a golden age of surrealist artists, Paris and the Surrealists (pub - Thames & Hudson).
     Woods was a member of the Colony Room Club, Soho, and "...drank with Dan Farsons, Francis Bacon, Molly Parkin."
     His work has been exhibited internationally.
     He indicates that "...although I adhere to Surrealist principles, more recently I have been working on a neuroscience project with Prof John Taylor, "Imaging the Self in Art and Consciousness", We're writing a book about it.'
     He is also preparing a book of photographs, "The Terminal Surrealist - Last Photographs of George Melly"

IMAGE CREDITS: [1] Remy Jungerman; [2] James McNabb; [3] Portrait of Michael Woods by Alex Schneideman.

21 January 2013

petitions to the prez : re - frivolous lawsuits

I write this as a response to Orly Taitz's latest lawsuit [there have been about 24 so far] against the White House, most disputing President Obama's place of birth, and of his citizenship status. She has lost virtually all of them, and lost so resoundingly that one judge asked why she so wastes her time.

This time, instead of questioning Barack Obama's birth credentials, her lawsuit argues that there are two Obamas: one who was born in Hawaii; the second, an Indonesian spy. You can guess which one ~ according to her ~ is actually in the White House.

In case you do not yet know Ms. Taitz, she is the Queen of Hearts of the Birther Movement and without a doubt every bit as rage-filled and psychotic as Lewis Carroll's equal queen of note.

Yet Mr. Carroll's queen is a fantasy and her rage remained contained within the confines of a storybook.

Ms. Taitz, in contrast, moves about in the real world, wreaking havoc whenever reality gets in her way. A Russian-born naturalized citizen, Ms. Taitz is a dentist and an attorney, but her legal practice seems to be focused mostly on President Obama and anyone else who does not comply with her demands. In one odd twist of legalistic mumbo-jumbo she even subpoenaed Arizona Sheriff Joe Arapaio insisting he testify on behalf of a birther case she filed in Indiana. He was a no-show.

Sadly, Ms. Taitz's litigious effluvia is not - and has not - been they only source of such frivolous demands. Now, all of these lawsuits, repeatedly thrown out for lack of evidence, still end up costing the US Taxpayer one hellacious amount of money. This shouldn't be.

So it is with some relief to learn that a petition has been filed seeking that people who engage in costly frivolous lawsuits, should bear the brunt of the cost of their actions ~ and that the taxpaying public be spared from the continued wasteful expenditure of our tax dollars, spent on repeatedly responding to vacuous demands and court time.

In these economic times, such recompense would only be fair. The petitioners' seeking fiscal redress are asking that the United States Attorney General's office be mandated to seek sanctions, costs, and attorneys' fees to recover taxpayer funds used to defend birther lawsuits.


image credits: "We the People" > White House Petitions ; Orly Taitz photo > Rancho Santa Margarita Patch ; The Queen of Hearts/Red Queen from Tim Burton's > Alice in Wonderland

29 October 2012

News Scoop! ~ Obama Administration to Blame for Sandy's Destruction

Obama Administration's Role Exposed in the Brazen Failure
At Preventing Hurricane Sandy’s Destructive Course

Wire service report
Global warming debunker and Tea Party Science strategist Benjamin Franklin Buchanan was the first expert to go on record today faulting un-named “…Democrat Presidential appointees in the National Weather Service…” for the destructive and disastrous path of Hurricane Sandy along the Eastern seacoast of the United States.

Speaking before news analysts from Fox 61 and Christopher Ruddy’s NewsMax Media services, Mr. Buchanan made clear his case that if Obama had spent less time obsessing about killing off Osama Bin Laden, or planning for health care for sick poor people, then science researchers would have known, and could have warned coastal citizens months ago, of a late season storm that might wreak havoc and destroy things.

Mr. Buchanan had been scheduled to host a late election season Romney / Ryan fundraiser at his newly finished $27.6 million dollar compound on San Simeon Island off the coasts of Georgia and South Carolina. Mr. Buchanan poured a fortune into creating a replica of the main house of the John Sargent Cram Estate. Close to one million dollars alone was spent moving the sand dunes, with their unsightly scrub grasses, so he could enjoy an unimpeded view of the ocean. The fundraiser was to be his first gala event at the compound.

Instead, the seafront estate and private beach were among the first casualties of this supposedly unprecedented storm. As a result, the fete had to be cancelled.

Mr. Buchanan said that invited guests could send wire transfers to the Safe-Vote PAC fund account in care of the Medellín Consortium International Bank, (Netherlands Antilles) in lieu of the cash-stuffed suitcases that would have been used had the event place at the Estate.

In the midst of this tragedy, Mr. Buchanan noted that the National Climatic Data Center (NCDC) and the Socialistic Environmental Defense Fund (EDF) have tried to capitalize on the public's concerns by attempting to gain headlines by trying to tie the tragic losses from Hurricane Sandy to “...so-called global warming.” Mr. Buchanan decried this as "...shameless fear-mongering."

Buchanan said he remained mystified why almost all of his private compound was decimated (including his private airstrip) although the servants' shanties – a mile from the shoreline in the woods – remained unscathed.

In fairness, and placing things in perspective, he also said that the real estate agent who sold him the 22 acre ocean front estate three years ago, should have warned him that hurricanes sometimes inexplicably attack luxury properties.

While profoundly saddened by the loss of his personal collection of cast iron Pickaninny statuettes that once dotted the estate (“ Most of those, I know, are irreplaceable.”), he said he takes comfort in knowing that Federal flood insurance will be able to pay for the reconstruction of most, if not all, of the ruined compound.


IMAGE SOURCES: NOAA - Hurricane Sandy; Gary Lawrance's blog - Mansions of the Gilded Era

26 September 2012

poem ~ two woodsmen

squirrels

from Time Passage's Nostalgic Glass
New Britain forager
from NNI's blog

08 May 2012

29 April 2012

Salmon River Archeological Sites

ENTRY FROM MY JOURNAL [1990s]: The text on the page reads:
     "Two young fishermen came up to me and asked if you had to smart to work at the nuke plant. To which I replied 'I certainly hope so!'
    "At the plant's entrance, double gates for a lock, like canal locks; they open one at a time, to let vehicles in or out.
"

    It has now been five years [2007] since the Connecticut Yankee Nuclear Power plant was literally taken apart and literally hauled away.
    With the exception of the spent nuclear waste cylinders that no one would accept, the entire plant was "decommissioned".

    Now a new chapter of the area's history has begun.
    Mind you, the area adjacent to where the plant once stood already had a rich history to share.
    Thanks in part to the efforts of the Office of State Archaeology (OSA), a new Archeological Survey of the Salmon River Cove has been completed [click here for a pdf file] to show what is already known of the area.
    The peninsula that housed the nuclear power plant, also was home for many Native American settlements, [here's a second link] and, in the late 1700s, was also where the homestead of Venture Smith, an African captured as a child, brought to the American colonies and sold as a slave. As an adult, he purchased his freedom and that of his family. He settled in Haddam Neck, and alongside Salmon River Cove.
    I bring all this up now in order to highlight a small, but dedicated, core group of people, the Connecticut Yankee Conservation Project [CYCP] are working at holding Connecticut Yankee's corporate stakeholders accountable for past promises to preserve the CY lands as open space. The US Fish and Wildlife Service is trying to save some of the 500 plus acres of land as a part of the Silvio O. Conte Fish & Wildlife Refuge.
    According to a January 2012 Hartford Courant article written by Erik Hessleberg, Jim McHuchinson, a Haddam Neck resident and CY Conservation Project member, said the remoteness of the Connecticut Yankee property, a rocky wooded peninsula, and the encumbrance of fuel storage make preservation the best option. "Our group was formed for one purpose and that is to see the property preserved," McHuchinson said. "Once that happens, we're out of business."
    Until CYCP goes "out of business" I intend to keep track of their efforts to save this historically important piece of land.
IMAGE CREDITS: [1] Nuclear Power Plant ~ Will Brady's Journal; [2] Excerpt from the Salmon River Cove Archaeological District Survey booklet, co-produced by the Connecticut Department of Economic and Community Development, State Historic Preservation Office and the Connecticut State Museum of Natural History, Connecticut Archaeology Center.

26 April 2012

accessing your medical records

The following was written for posting on a group site where contributors post concerns and comments about psychiatry, psychiatric treatment and the mental health/illness industry [call it as you see it]. Since the subject matter may have a more universal interest, I have co-posted it here as well.

I work as a human rights abuse investigator. Asking for copies of records is part of what I advise clients on as a component of the job. I do not personally have the resources to assist individual case requests between people and specific institutions, but I may be able to help walk you through the process you'll go through to get your records.

Each state has different rules related to seeking records but both state and federal [USA] laws allow for you to get copies of your records. Always ask for them in writing, so to have documentation as to when you made the inquiry.

Agencies and individual treaters may be legally allowed to charge you a per-page copying fee. If you are indigent or in a facility ask a public defender or a legal advocate for assistance in getting the fee waived. I'll talk about legal advocates later in this posting.

If you are writing to an institution, then write directly to Medical Records department. If you are writing to an individual treater, the request goes directly to the treater. Most medical records offices are permitted 30 to 45 days to get the records copied and to you.

You might be required to sign a waiver that states, since you are personally getting copies of the record, that the institution or treater releasing the record is no longer responsible for protecting the confidentiality of the material you obtain from them.

If you want to keep your records as confidential, ask an attorney, a clergy person, or another licensed clinician to obtain them on your behalf. People working in each of those occupations are generally obliged by law to keep confidential any records they obtain about a client or former client.

Every state in the USA has an office of Protection & Advocacy. if you have trouble getting records, you can contact them to help you. To find out where your state's P&A Office is check the links at the NAPAS website [ http://www.napas.org/ ]. NAPAS is the National Disability Rights Network for Protection & Advocacy.

In many states, the only legal limit placed on obtaining your records would be if the treating physician is willing to document ~ in writing ~ that the requesting party is going to become "...an imminent danger to oneself or others or would rapidly deteriorate in their clinical stability...". This is actually a rather tough standard to prove, so it is likely that you would be able to obtain your record.

If you are still in an inpatient setting, you may ask to see your records, but someone will be likely required to sit with you while you look at the chart. This can be handy if you want to seek specific information [clinical assessments and consultation reports, for example] without actually paying to get the record. It may be prudent to ask to see the record, so that you won't be paying for copies of pages that are irrelevant, unreadable or blank.

If you are asking for records related to a lawsuit, an agency or a physician is legally obliged to provide them. again, they still may be permitted to charge a fee for copying and getting them to you.

23 April 2012

more firewood art


22 April 2012

four artists


Mark Powell. I came across an assortment of sketches done on the backs of old envelopes, at the Humanitari weblog and was impressed. Regrettably, there was little else there [not even a link ] that could then sate my whetted appetite for information. So I googled the man.
   First I found this: Mark Powell, artist. His comments are succinct: "From Leeds now in London. I draw with a Biro pen, i paint with anything. I often run into the sea. // Archive / Art Prints For Sale / Original artwork for sale / facebook / e-mail."
   Apparently working with conventional pens, his work is striking in its detail. I wish I knew more about what inspires him.
   In the search, I also found a different artist with the name of Mark Powell, whose site said: "I have been working primarily on creating miniature environments where imaginary beings evolve, devolve, consume, excrete, multiply and decay.". So as not to confuse the two, I shall have to review his work on another occasion.
Lily Mae Martin. Lily's work is predominantly figurative and she often likes to explore the division between high and low art, taking her influences from renaissance painters through to contemporary graphic artists. She works mostly in the mediums of oils, ink and pencil.
   Influences include Jenny Saville and Lucian Freud.
   From her website: The "...intention is not to unsettle the viewer, [but to] portray people in an honest, raw and emotional way that often has been described as "confronting" and "brutally beautiful".
   Ms. Martin's first solo exhibition in three years, Brutally Beautiful featuring paintings created in Berlin over the past year, as well as drawings from her blog project Berlin Domestic, opens May 5th at the Neonchocolate Gallery, Lychener Str. 23, Berlin, Germany.
   You can read Ms. Martin's thoughts on her blog.
Anna Schuleit. After graduating from art school in 1998 she worked on two site-specific installations: Habeas Corpus at the abandoned Northampton State Hospital (2000), and Bloom for the closing of the Massachusetts Mental Health Center (2003).
   Her oeuvre includes ephemeral installation pieces as well as huge paintings that may appear as abstractions until seen from another angle [as seen in the "Just A Rumor" piece at left, installed at UMASS Amherst Fine Arts Center in 2010 ].
   She often collaborates with musicians, and has a keen sensitivity for producing works - with empathy - that evoke the pain, angst and psychic isolation that someone forced to live in a mental institution at times has had to endure. An angst, I note, not borne from any symptoms of "mental illness" but from the lived institutional experience itself.
   I liken her works about mental institutions, as applying an artist's eye, and ear, to describe what Erving Goffman more dispassionately described in his landmark book Asylums.
Daniel Lovely. From his website: "I've found the human element to be my greatest inspiration. I strive to remain sensitive to my experiences. To remember the world through the eyes of a child, and explore the depths of myself without judgement."
   Working in soft pastels [a medium that I admire but don't work in myself ], sculpture, digital photography and... hairstyling and design. Lovely's work is both bold and sensuous. Many of his images are erotic, though not necessarily explicit. Also among his repertoire are a range of abstract/non-representational work as well.
   Lovely has been published in The National Erotic Signature Publication. His paintings can be found on permanent public exhibition at The Kinsey Institute of Art, and in private collections around the world.
   You can read Daniel Lovely's thoughts on his blog.
All images above are © of each individual artist. Permission should be sought from the artists themselves if interested in purchase or commercial use.

surveillance + cyber spying

CISPA — the Cyber Intelligence Sharing & Protection Act — would cut a loophole in all existing privacy laws allowing the government to suck up data on everyday Internet users. We can't let that happen.
 • The ubiquitous of security cameras is become. Few seem to notice them everywhere, though some still express concerns about their presence.
 • We are in that Orwellian world of Winston Smith's 1984, even if we fail to see it.
 • In 1984 George Orwell provided compelling reasons for the people of the 21st century to, much as we did in the 60's, question authority.
 •  Orwell's protagonist Winston holds the thoughts of questioning unbridled authority dear but because of how society has been allowed to evolve he must be careful with even his own thoughts.
 • Not far from where we are ourselves, in a society full of cameras, snoops and neighbors eager to tell on you for "something", even if all that is means you seem to be - somehow - different.


 • Privacy rights watchdog site Torrent Freak writes:
The Cyber Intelligence Sharing and Protection Act (CISPA) hasn’t received a whole lot of media attention yet, but it continues to pick up support from legislators.
   The bill is touted as being much worse than SOPA when it comes to privacy invasions.
   Just as SOPA [the so-called Stop Online Piracy Act ] claimed to put an emphasis on piracy, CISPA also appears to include the infringement of intellectual property as a security threat warranting access to user data. The definition of “theft or misappropriation of private or government information” is given four times throughout the bill H.R. 3523.
   Under CISPA, Internet providers and other companies could be expected to hand user data over to government agencies and even other companies upon request.
   According to the Electronic Frontier Foundation (EFF), it “would let companies spy on users and share private information with the federal government and other companies with near-total immunity from civil and criminal liability. It effectively creates a ‘cybersecurity’ exemption to all existing laws.”
   The EFF is concerned that, due to the vague language used in the bill, “a company like Google, Facebook, Twitter, or AT&T could intercept your emails and text messages, send copies to one another and to the government, and modify those communications or prevent them from reaching their destination if it fits into their plan to stop cyber-security threats.”
   After the huge public outcry against SOPA and ACTA, it is hard to imagine that CISPA will sit well with the greater online community.
   And is it really needed in the first place?
 • Perhaps the most banal, yet clearly controversial, surveillance camera is the traffic enforcement camera [no, that is not one shown on the right  ].
 • The automated traffic camera is, essentially, an automated ticketing machine. Newer cameras have automatic number plate recognition systems that can be used for the detection of average speeds.
 •  These raise concerns over loss of privacy and the potential for governments [...not to mention auto insurance companies and other corporate snoops ] to establish mass surveillance of vehicle movements and therefore by association ~ the movement of the vehicle's owner.
 • Is this about encouraging driving safety ...or is it more about generating income for cash-strapped municipalities?
 • Even former Congressman Bob Barr opines it's really "...all about money." and that the "...love of revenue-producing electronic devices knows no partisan bounds; local officials of Republican persuasion are just as quick -- if not quicker -- to install these intrusive but profitable devices as their Democrat counterparts. " Barr also cites studies that show that traffic surveillance camera set-ups may actually cause more accidents than prevent them. So much for citizen safety. Oh, and Barr's cite is from 2004, eight years ago.
 • What to do about this? The proverbial horse is already out of the barn on the matter, as more and more states implement surveillance camera posts everywhere. Well, it's also about unwanted [and unwarranted ] intrusions on citizen privacy.
 • CISPA — the Cyber Intelligence Sharing & Protection Act — would cut a loophole in all existing privacy laws allowing the government to suck up data on everyday Internet users. We can't let that happen. The Electronic Freedom Foundation is working to combat this intrusive bit of corporate promoted legislation. You need to help, too! Contact your Congressman to object to government and corporate cyber spying.
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