Thor: Ragnarok Director in Talks to Helm Akira Film

akira movie jordan peele

Move over, Marvel! Deadline reports Thor: Ragnarok director Taika Waititi is in talks to helm Warner Bros.' film adaptation of Katsuhiro Otomo’s Akira.

According to the report's description of the film, "the story takes place in the rebuilt New Manhattan where a leader of a biker gang saves his friend from a medical experiment." Warner Bros.' plan for the project is to split the manga into two films, with each film adapting three books in the series.

RELATED: Akira Creator Initially Thought Anime Adaptation Was a ‘Failure’

Waititi's past credits include the vampire mockumentary What We Do In the Shadows and his award-winning film Hunt for the Wilderpeople.

At one time, Warner Bros. courted Get Out director Jordan Peele to direct. However, he ultimately passed on the project in favor of his original creations. Life helmer Daniel Espinosa and Lights Out's David Sandberg, who is now directing Shazam, were also reportedly in the running recently.

Debuting in Young Magazine in 1988, Katsuhiro Otomo’s seminal cyberpunk manga became the first to be translated for English-speaking audiences, and was adapted by the author as a now-classic anime not long after. The story follows a teenage biker gang member and Neo Tokyo denizen, Tetsuo Shima, who becomes embroiled in a mystery involving his leader, Shotaro Kaneda, and a series of government experiments designed to harness the human potential for psychic proficiency. The experiment, of course, goes awry, which leaves Katsuhiro to discover the secrets of the enigmatic Akira.

Warner Bros. bought the rights to the influential manga in 2002. The closest the film came to reality was a few years ago with Garrett Hedlund and Kristen Stewart attached to star, only for the project to be shelved at the last minute.

Star Wars: The Last Jedi
Star Wars' Mark Hamill Shares His Intimate Luke Skywalker Headcanon

More in Movies


Some Elmont Facts
Elmont is a hamlet located in Nassau County, New York, in the Town of Hempstead. As of the 2000 census, the town had a total population of 32,657.

It is famous as the home of Belmont Park Race Track, the world's largest thoroughbred racecourse and the site of the Belmont Stakes.

Elmont is located at 40°42'6" North, 73°42'9" West (40.701641, -73.702458)1.

As of the census of 2000, there are 32,657 people, 9,902 households, and 7,842 families residing in the town. The population density is 3,697.6/km² (9,589.9/mi²). There are 10,151 housing units at an average density of 1,149.4/km² (2,980.9/mi²). The racial makeup of the town is 45.56% White, 34.69% African American, 0.43% Native American, 9.09% Asian, 0.08% Pacific Islander, 5.69% from other races, and 4.45% from two or more races. 14.31% of the population are Hispanic or Latino of any race.

There are 9,902 households out of which 39.2% have children under the age of 18 living with them, 56.9% are married couples living together, 17.2% have a female householder with no husband present, and 20.8% are non-families. 17.4% of all households are made up of individuals and 8.5% have someone living alone who is 65 years of age or older. The average household size is 3.29 and the average family size is 3.68.

The median income for a household in the town is $62,511, and the median income for a family is $68,646. Males have a median income of $40,182 versus $35,203 for females. The per capita income for the town is $22,111. 7.5% of the population and 5.4% of families are below the poverty line. Out of the total people living in poverty, 9.3% are under the age of 18 and 6.5% are 65 or older.


There has been or will be a deal of hard work to come, but there will be rewards to show for it. Keep going, keep at it as you have the tenacity to make this situation work. If you are wondering if it's worth the hassle, the answer is yes it is. Financial rewards are also very likely by your own efforts.


The Clinton-Sanders New Majority Coalition

This post previously appeared in The Hill.

After Sen. Bernie Sanders's (I-Vt.) narrow victory in Michigan Tuesday, preceded by vigorous debates and competition, it might appear that Sanders and Hillary Clinton are about to begin a more divisive campaign for the presidency in the coming months.

I beg to differ.

I expect, instead, a campaign, while intense and competitive, that will result in a historic political realignment in America, with a united Democratic Party in a position to create a new majority coalition for years to come.

These two Democratic candidates have more in common than meets the eye. I submit that Clinton and Sanders agree on the following five core principles that collectively represent a new ideological hybrid, one that polling data prove constitute a majority of today's voters in both parties.

Government as a solution, but not the only one, to America's problems: This includes reducing today's severe income disparities with tax cuts for the middle class and tax increases for the wealthy; increasing the minimum wage; guaranteed universal healthcare; environmental and clean energy measures to reverse global warming before it is too late; insistence on fair trade if there is to be free trade with foreign nations; comprehensive immigration reform guaranteeing a pathway to citizenship over time for eligible undocumented workers; and massive government investment in the decaying infrastructure.

A strong private sector as the engine of economic growth and job creation: This includes encouraging private-sector growth, especially small business, but accompanied by reasonable regulations; ensuring that no bank or corporation is too big to fail with executives who are too powerful to go to jail; and a constitutional amendment overturning the Supreme Court decision in Citizens United, explicitly preventing powerful corporate interests and the super-wealthy from corrupting our political process with secret, unaccountable campaign donations.

Protection of individual liberties and privacy rights from excessive invasion by government: This includes protection of religious individual liberty; the right of a woman to choose concerning termination of a pregnancy; protection from unreasonable government intrusion on privacy rights, while still allowing the courts to supervise and permit protective measures against terrorism; and protecting the constitutional right of private gun ownership while allowing for common-sense regulations and background checks.

Restraint in U.S. foreign military interventions: This includes opposing the U.S. unilaterally acting as the world's policeman and "nation builder" for democracies, thus avoiding any unilateral U.S. military intervention except as a last resort to protect risks to American security -- and only after consultation and, if possible, approval by Congress.

Civility and bipartisan solutions in Washington: This includes a commitment to civility in Washington, to disagree agreeably and to seek common ground and bipartisan, fact-based solutions between the two parties. This may be the most important demand of most voters across the political spectrum; the contrast in the Donald Trump/Ted Cruz/Marco Rubio food fight and repulsive nastiness is another reason for this.

Reviewing these five principles together -- belief in government, belief in the private sector, belief in protecting individual liberty and privacy rights, restraint in U.S. intervention and military engagements abroad, and bipartisanship and civility in government -- I believe Clinton and Sanders agree on virtually all of them. (Full disclosure: I believe Clinton's experience and qualifications and ability to get things done in Washington would make her the far superior nominee for the Democratic Party.)

In 1932, Franklin Delano Roosevelt created the New Deal, based on a philosophy that a strong federal government was needed to get America out of the Great Depression. From 1992 to 2001, the New Democrat philosophy of Bill Clinton combined FDR's belief in government with policies that spurred the private sector to help create 23 million new jobs. From 2008 to 2016, Barack Obama continued former President Clinton's economic success of record numbers of new jobs created on the heels of a severe economic crisis, and, finally, in partnership with a Democratic Congress, created a healthcare program that can lead to universal healthcare protection for all Americans.

Now, in 2016, if the Democratic Party candidate runs on a platform endorsing most or all of these five principles that combine elements that span the political spectrum, as I believe will be the case, I have little to no doubt that on Jan. 20, 2017, the new Democratic Party president will lead a new governing majority coalition for years to come.

# # # # # # # #


Monemvasia - Lakonia (Greece)

Monemvasia (Monemvassia). A special place every visitor to the Peloponnese should visit is undoubtedly Monemvasia. This town is located in the southeast of the Peloponnese on the Aegean coast and is called "Gibraltar of the East" because of the similarities with the real Gibraltar; Monemvasia is located on a high rocky peninsula island connected by a narrow strip and a bridge to the mainland of the Department of Lakonia.

Only entrance
I visited Monemvasia from Kalamata, Messinia. It's a fun daytrip to make and is absolutely worth it and also to combine well with a trip to Sparta and Mystras. The name Monemvasia is derived from the words 'Moni' what 'some' or 'a few' means and  'Emvasis' what means 'only'. That explains a lot, because you can only reach this peninsula this way. The Greek poet Giannis Ritsos who came from here and is buried here, called his city "the stone boat."

The rock
If you are going today to this area and wish to visit the "rock", then you can drive over the 150 meter long narrow bridge right to the 'island' to the main entrance. Right and left of the road you can park the car, You can also leave the car at the side of the new city on the beach where various cafes, tavernas and hotels are and walk from there to the fortress. The peninsula is one and a half kilometres long and about six hundred meters wide. When you walk into the main gate, you imagine yourself in medieval times. Nowadays there are many small souvenir shops, quaint cafes, beautiful churches and behind it the beautiful blue Aegean Sea. Although it is a dry 'island', you will see beautiful flowers everywhere and bougainvillea’s. The old town is divided into the lower and the upper city, both areas are surrounded by walls of high cliffs, real strongholds. The town below is on the south side of the rock. Most of the buildings are on the slopes of the rock and through narrow alleys and stairs, you can stroll through the quaint little town.

Photo Gallery Monemvasia - Photos of Monemvasia Monemvasia (Monemvassia) | Lakonia Peloponnese | Greece  61 - Foto van Monemvasia (Monemvassia) | Lakonia Peloponnese | Greece  20 - Foto van Monemvasia (Monemvassia) | Lakonia Peloponnese | Greece  47 - Foto van Monemvasia (Monemvassia) | Lakonia Peloponnese | Greece  93 - Foto van Monemvasia (Monemvassia) | Lakonia Peloponnese | Greece  92 - Foto van Monemvasia (Monemvassia) | Lakonia Peloponnese | Greece  12 - Foto van Monemvasia (Monemvassia) | Lakonia Peloponnese | Greece  27 - Foto van Monemvasia (Monemvassia) | Lakonia Peloponnese | Greece  82 - Foto van Monemvasia (Monemvassia) | Lakonia Peloponnese | Greece  8 - Foto van Monemvasia (Monemvassia) | Lakonia Peloponnese | Greece  91 - Foto van

more photos of Monemvasia»

People who have difficulty walking, can take a chance to get through the stone stairs all the way to hike to the top, from above, you have a fascinating view of the lower town and the new town and of course the beautiful sea. It's like a mountain plateau which is 200 meters high. Above formerly attended the rich people, the 'ordinary' people lived downstairs. Around the plateau are only steep slopes.

Monemvasia has been inhabited since ancient times, because it's in a strategic place was it was always sought after by various conquerors and pirates. During the Minoan period and the Cycladic time it was a sort of trading post between the Greek islands, Crete and the Greek mainland, when it still was called Akra Minoa. In the year 375, after a heavy earthquake rattled part of the peninsula in the sea, and from that moment Akra Minoa is not a peninsula, but an island, after all, was now completely surrounded by sea. In the sixth century settled here people from Laconia to protect themselves from attacks by Arabs and Visigoths. A bridge will be built connecting the mainland with the island and from the island is called Monemvasia.
Monemvasia from that moment a great fortress and is an important strategic, economic and religious role to play in the Byzantine Empire. It is the administrative seat of the imperial possessions in the Peloponnese and acts as a maritime attack base against the Avars (a Turkic people from Asia). In the first period all residents living uptown, downtown just being built in the tenth century. By Geographic location Monemvasia remained the object of desire for many conquerors, but especially the major powers who came to power in the course of centuries in the area. Franks, Byzantines, Venetians, the Pope, Turks, one by one they wanted to again conquer Monemvasia every time, yet the inhabitants preserved their autonomy and identity.

Around the year 1200 the Franks after forty years of trying to occupy Monemvasia used the knights to separate the island and no food was permitted. One arrives at a kind of consensus in which the residents were forced to surrender while preserving their freedom and exemption from excise duty. However, the men had to serve in the army of the Franks. However, this occupation was not long because Monemvasia was recaptured by the Byzantines and since then it had a tremendous economic prosperity, because of maritime relations, the free trade zone where they could operate the tax-free trade, which it concluded with the Byzantium. The thirteenth and fourteenth century go down in history as the golden age of Monemvasia. In this period there were forty eight thousand homes and churches built, many Byzantine Emperors come here even to live.

Malvazia WINE
The area was a popular type of wine, also Malvazia (derived from Monemvasia) This wine was very popular with emperors, kings and wealthy people at that time. The wine had such fame that it was even mentioned by Shakespeare in his historical work "The Tragedy of Richard the Third." It is a sweet wine that originates from white and red grapes. From the year 1463 Monemvasia fell into the hands of Venetians and Turks alternately until the year 1821 when the Greeks revolted against the Turks and then it regained it’s freedom.

When you visit Monemvasia today you see many traditional buildings, beautiful Byzantine churches and important historical monuments. On the main square, in the lower city is the Cathedral of Christos Elkomenos which was built in the twelfth century. Other important churches are Panagia Mirtidiotissa (Panagia Kritikia) Chrisafitissa Panagia, Agios Nikolaos and Agios Stefanos. Next to the cathedral of Christos Elkomenos is a museum, where architectural sculptures and ceramics are on display, which were used in everyday life.
In the upper town is the church of Ayia Sofia which is at the edge of a steep slope.

What I really liked were the many terraces with lovely views, surrounded by traditional buildings and streets with flowers and beautiful gardens. The inhabitants have obviously a lot of respect for their village, because everything looks nice and neat. At a higher bar, on a small terrace, I enjoyed a delicious ice cold frappe, under an olive tree, overlooking the churches and beautiful buildings, the sea and the coast of the Peloponnese. It's a wonderful place to sit and look around, I realised how important this place has been over the centuries.

Average temperature Monemvasia

Monemvasia in other languages

Lakonia: Where on the map is Monemvasia located?

Map of Monemvasia
The map of Lakonia (©

Holidays in Greece

Aegean Airlines

© 2004-2019


Los Angeles Looting Lawyers

Looting is a somewhat unusual crime because it is legally defined as an act of theft or burglary that specifically occurs during a state of emergency. To deter people from stealing during natural disasters or times of civil unrest, the state of California has strict penalties for those who are convicted of looting.

How Is Looting Legally Defined in Los Angeles?
Looting in the city of Los Angeles falls under general California laws against looting. California Penal Code 463 defines looting as committing an act of petty theft, grand theft, or burglary during a local or statewide state of emergency. A state of emergency is declared either by the governor for a statewide event or a city’s governing body for a citywide event. It can be any type of emergency that overwhelms and incapacitates the personnel, facilities, or services of an area. Typical reasons for a state of emergency include floods, fires, riots, earthquakes, or storms. Theft is legally defined as taking an item from another person without their consent, and depending on the value of the stolen item, a person can be charged with either petty or grand theft. Burglary is similar to theft, but it occurs when a person enters an uninhabited property with the intent of theft. Therefore, a person may be charged with looting for entering a store with the plan to take items without paying for them, even if the person does not actually succeed in stealing anything.

What Are the Penalties for Looting in Los Angeles?
The penalty for looting will depend on the precise nature of the crime. Being convicted of looting with petty theft, which is a theft of goods under the value of $950, results in a misdemeanor that has a maximum punishment of six months in jail, $1,000 in fines, and 80 hours of community service. The minimum punishment for looting with petty theft is misdemeanor probation and 90 days in jail, but a judge can choose not to assign even the minimum punishment. A person can be convicted of looting with grand theft if they stole items over the value of $950, a firearm, or a car. Looting with grand theft or burglary have the same penalties. A person can be charged with either a misdemeanor or a felony, depending on the circumstances. A misdemeanor charge has a maximum penalty of $1,000 in fines and 364 days in jail. A felony looting charge has a maximum penalty of $10,000 in fines, 16 months, two years, or three years in jail, felony probation, and 240 hours of community service. The minimum sentence is 180 days in jail for both misdemeanors and felonies.

What Are Good Legal Defenses Against Looting Charges?
Since looting happens during a state of unrest, it can be somewhat hard for a person to be convicted of looting. Sound evidence is often not available, and police often violate search and seizure laws. Therefore, a talented attorney can help you to avoid a conviction for looting. Commonly successful defenses include claiming that a person did not intend to burglarize a structure, showing that police did not follow due process, or proving that you were mistakenly identified as a looter. During an emergency, everything is very chaotic, so it can be somewhat easier to defend against looting charges.

The harsh penalties and mandatory minimum sentences can make it worrying to be charged with looting. However, our law firm can help you to get the ideal outcome for your case by avoiding felony charges or mounting a successful defense. Contact us today for assistance if you or someone you know has been charged with looting.


VICTURA d.o.o. provides all the necessary technological and organizational solutions for the complete safety of your purchase. The transfer of sensitive personal and transaction data on the website is running in Safe Mode using SSL (Secure Sockets Layer). The data is encoded with up to 256 bit key, before leaving your browser and our server is transmitted in protected form. The system also prevents someone intercepting your personal and transaction data that you send to us. We guarantee a secure purchase, taking into account all applicable legal obligations and recommendations of the Slovenian and international consumer associations. The transfer of sensitive personal and transaction data between your computer and internet center and, goes through a secure encrypted connection, or SSL (Secure Sockets Layer). Security Protocol provides a firm VeriSign.

Privacy & personal data protection:

Any personal information obtained through the website will be used solely for the purposes of the implementation and delivery of the contract, unless the costumer specifically agrees the usage of the data for other marketing purpose. All personal information submitted will unconditionally comply with applicable laws on data protection.

The data collected are used for the following purposes:
a. subscribe to the service;
b. contracts for buying and implementing the service;
c. perform the steps necessary to implement the contractual relationship set up;
e. made, including through telephone contact, market research, economic analysis and statistics in order to verify the proper functioning of services and acceptance ;
f. develop customized information about consumer habits and guidance of those concerned;
g. communicate data to other companies for purposes of direct marketing.

The conferment of data is necessary for the conclusion of purcasng contract, optional in other cases. Failure to provide the data will result in the impossibility of being able to execute the order placed. VICTURA d.o.o, collects your information in the case of online purchase, newsletter and other e-publications. Personal data shall be used solely for the purposes of the implementation and delivery of the contract, unless the costumer specifically agrees in some other form of transmitted information, that can be used for different purposes.

Rights of the subscribers:

The subscribers can without prejudice exercise at any time the following rights: the right to access their personal information, request correction, updating and cancellation if incomplete, incorrect or collected in violation of existing legislation and to oppose their treatment for legitimate reasons, addressing a written request to the Directorate and Regulatory Compliance Institutional Victura d.o.o.

Data processing:

The controller of data processing is Victura d.o.o., Industrijska cesta 5, 5000 Nova Gorica, Slovenija.

Are you a retailer and would like to receive a quote?

Discover your special prices.
Made in Web Industry


Leveraging Impact and Change

For nearly 30 years, I’ve been exploring the source of impact in working with others, seeking answers to questions like:

  • What are the differences that make a real and lasting difference?
  • What works most of the time as opposed to occasionally?
  • How do you follow Hippocrates dictum to “first, do no harm”?

The question I’ve probably spent the most time exploring is this:

How do we maximize impact while minimizing the time and effort it takes to consistently achieve it?Click To Tweet

In the 3rd century BC, the Greek philosopher-scientist Archimedes introduced the principle of leverage with a phrase I had learned in school as “Give me a long enough lever and a place to stand, and I shall move the world.”

For years, I focused my search on finding better levers to move the world – that is, techniques taken from therapeutic disciplines ranging from NLP to Psychosynthesis and change management methodologies  ranging from Affirmative Inquiry to Force Field Analysis.

Around the same time that I was personally impacted by the principles behind the inside-out understanding, I came across a different translation of Archimedes dictum that changed the direction of my search for impact:

For some reason, this simple shift in syntax led to a complete change in the direction I was looking to find leverage. Instead of continuing in my quest for “cutting-edge” levers, I began looking for solid ground – a better place to stand.

While I could teach courses on what I’ve seen (and indeed have and continue to), in today’s blog I wanted to share a couple of the game-changing insights I’ve had over the past decade or so that have completely transformed the way I think about impact and the work I do with others…

1. The Subtle Knife of Truth

In the trilogy of fantasy novels collectively known as His Dark Materials, author Phillip Pullman introduces the idea of a “subtle knife” that can literally cut through the inter-dimensional fabric of the universe and allow us to pass between worlds. While this knife is fantastical by design, metaphorically it speaks to the possibility of something that allows us to move effortlessly from one reality to another.

I have long written about these kinds of transformative experiences, where nothing changes on the outside but everything is different experientially. What I’ve come to see more recently is that these transformations are always instigated by a deeper seeing – that is, seeing something more true about life than what we previously thought and believed.

The Scottish mystic Syd Banks wrote that:

When you hear the Truth it is what is called a realization.

And with this realization the breath of life goes into you.

It actually becomes alive! It becomes another reality!

And it takes itself and it sweeps negativity out of your life.”

In this sense, the “subtle knife” that opens us up to whole new worlds of possibility is a deeper seeing of fundamental, universal truths.

Some of the many examples of this I’ve seen in my own work include:

  • A cancer patient seeing that their fears for the future were made of the same stuff as their hopes and dreams and that one had no more reality to it than the other. As a result, they relaxed their grip on their thinking and found themselves living in a deep appreciation of the present moment. While over time they became free of the cancer, the impact on their well-being was immediate and palpable.
  • A successful entrepreneur who was practically housebound by anxiety saw that they had no control over what thoughts came into their head and consequently had no actual control over what they thought, felt, or did. Paradoxically, seeing this lack of control freed them from the anxiety of trying to control themselves and the universe, and within weeks of this insight they were able to not only leave home but drive on the freeway and take their children on a long-awaited holiday.
  • A life-long movie executive who felt victimized by the studio where they worked realized that the stress-related illnesses they were suffering from were caused not by their situation but by a misunderstanding of how the mind works. As a result, they were able to not only take time off to recharge and renew themselves, but also to start fresh at a new studio with a sense of hopefulness and possibility they hadn’t felt since early on in their career.

In this sense, the more we see things that are “capital T” Truth, not subject to the vagaries of our ever-changing beliefs and moods, the more solid the ground on which we walk and the more leverage we have, regardless of which levers we choose to use.

2. Transformative Presence

Some years ago, in the early days of Supercoach Academy, I brought the author and management consultant Nancy Kline in to spend a couple of days with our students. Within moments of her stepping up to the front of the room, the entire group was gripped in a way that was difficult to quantify. In trying to explain it to my wife afterwards, I said that it was the first time where I’d ever been in a room where we wanted to give the speaker a standing ovation before they’d spoken a single word.

In my work, I’ve coined the term “transformative presence” to describe that ineffable quality of being that allows some people to have a tangible impact on others regardless of what they say or do. We could call it “the x-factor”, but that is by design too vague a term to be useful if we want to use it for ourselves; we could equally call it “charisma”, but that often has a connotation of brash charlatanism and is at odds with the quiet power that seems to emanate from true agents of impact and change.

While standing in however much of the Truth of life they’ve seen may well be a huge factor in transformative presence, another principle I’ve seen to be at work is what I recently heard described as “overflow vs. effort”.  In other words, many people try to impact others with a kind of cultivated detachment that has come to be seen as professionalism. This approach to change is inherently effortful – it is dependent on the efforts of the practitioner, the client/patient, or both.

“Overflow”, by way of contrast, is both natural and effortless. Imagine a multi-tiered fountain, or a tree-shaped tower of champagne glasses from a classic movie. As the one level or glass at the top is filled to overflowing, all the levels and glasses underneath are filled up without the level or glass at the top ever emptying.

The same is true for each of us. When we fill up with well-being, that well-being inevitably spills over onto and into everyone around us. The same with love, the same with peace, the same with quiet.

This is the very essence of “guru-yoga”. The student initially fills up with the overflow of love from the guru, or is struck gloriously dumb by the sheer quiet of their teacher. Then, over time, they discover that the same source of love and quiet is in them, and they are no longer dependent on the guru or indeed any teacher. Whey they have filled to overflowing, they too begin to impact the world, regardless of what they do or don’t do for a living.

While it may be redundant to add a “point” to these insights, I’ll finish by pointing to a couple of the obvious implications I’ve experienced in my own work with clients, group participants, and students of the art of change.

The first is this:

If I want to be more impactful with others, I must first seek the truth within myself. The more solid my own grounding, the more any lever it occurs to me to use will move the world.Click To Tweet

Here’s the second:

If I want to increase my “transformative presence”, I do it by filling myself up first. Instead of seeking to help others get quiet, feel good, and live with more ease and grace, I find so much quiet, good feeling, ease, and grace inside myself that it overflows into the world without any effort or even intention on my part.

With all my love,


Tax-Effective IP Management: IP and Corporate Charges

01 February 2011
By Dr. Alexander Voegele and Philip de Homont, et al.

This article is the second in a series of ten articles produced by International Tax Review on tax-effective intellectual property management. The article presents a NERA case involving a European-headquartered telecom company that provided IP, best practices, knowhow, and other services and technical systems to local companies that had previously been acquired in the Americas and Asia-Pacific region. While these services enhanced the abilities of the local companies and thereby allowed them to generate higher profits, it also placed a cost burden on the principal. Due to the specific circumstances and tax losses carried forward, a low tax rate applied to the European profits, while high taxes were due in the American and Asian countries. Additionally, the local telecom companies had minority shareholders participating in their profits. In this article, the authors describe how NERA systematically analyzed the situation, assessed the value of the IP and nonroutine services, and determined a fair and efficient price for these services and IP.


How To Become a Videographer

A Videographer is the person behind the camera, shooting all types of productions and events. In this article, we will be discussing the key skills of a Videographer and how you can become one.

What is a Videographer?

A Videographer is the person behind the camera, shooting all types of productions and events such as; corporate videos, B-roll footage for film and TV productions, weddings, business meetings, music videos, and even Bar Mitzvahs. Usually, the Videographer will both shoot and edit the film, taking the project through to completion themselves. Further, Videographers usually work on a freelance basis.

Let’s talk equipment

High-end production equipment is no longer a necessity for Videographers because viral content doesn’t always need to be highly polished, and even entry-level kit can output professional HD quality footage. The only thing that matters is what you’re shooting and how you frame it.

Thankfully due to the ever-increasing digital environment and cheaper editing software becoming a Videographer is now more accessible to the masses. People are consuming more video than ever before, so there is a growing demand for content and an expanding industry for visual storytellers.

You needn’t have the most expensive equipment possible. A decent starter kit would comprise a decent DSLR camera, a tripod, a microphone, and a subscription to editing software such as Adobe Premiere Pro.

Key skills

Given the basic equipment required, your success in the industry is down to how you use it, and the skills you have. You need to be passionate about whatever you’re shooting because word-of-mouth will develop your career and open up further opportunities. This means that you need to be a good salesperson and be ready to promote your brand at every opportunity.

You need to be great at communicating with people and making them feel at ease. You can hardly expect the best results if you are unable to make the person in front of the camera comfortable.

To excel as a Videographer you need to be an enthusiastic learner. In this fast-paced tech landscape, you need to constantly stay up-to-date with the latest developments and be willing to continuously learn new things to improve your offering.

Create a portfolio

Initially, creating a varied portfolio of work is one of the most important things you need to do, having various production examples will benefit you in the long run! You want to translate your work to clients and show that no job is too small or tedious for you and that you bring your A-game to every project.

Social media is a great way to start off, by getting your videos out there and building traffic to your website or video channels. You could begin by making short documentaries, or even just shooting your friends having a good time – as long as you’re creating engaging content then you’re good to go.

Salary and working hours

The working hours of a Videographer will vary, depending on the number of projects ongoing at one point in time. According to PayScale, the average Videographer salary in the UK is £23,000, ranging from £16,000-£33,0000 depending on location and experience.

How to become a Videographer

Everyone needs to start somewhere, and Videographers would usually take their first steps in professional production as a Camera Assistant, Runner or Production Assistant. Taking these kinds of entry-level positions will help to build your experience, and will also benefit you in the long run, by allowing you to build up a network of contacts who’ll keep you in mind when you eventually become established enough to book big gigs that require a few helping hands!

You could also look to volunteer your time at local community productions. Working at a local TV station will enable you to build basic skills and knowledge which will be essential for this role. Further, you could look to undertake an internship.

You could also look to gain a formal qualification to improve your career prospects. For instance, Central Film School offers an undergraduate qualification in Practical Filmmaking. You can find out more about the course here.

Become a Videographer today
If you are ready for the next step in your career, why not take a look at the latest Videographer vacancies on our jobs board? You can view our latest vacancies here.


Is Momentum Waning From Republic Services, Inc. (RSG), AECOM (ACM)?

Republic Services, Inc. (RSG) sank -0.78% this week, a trend that has led to both investors and traders taking note of the stock. Over the past one year, the equity price has embarked on a rally that has seen it rise 25.19% and is now up by 7.6% since start of this year. A look at its monthly performance shows that the stock has recorded a 3.91% gain over the past 30 days. Its equity price climbed by 4.78% over the past three months which led to its overall six-month increase to stand at 6.46%.

Experts from research firms are bullish about the near-term performance of Republic Services, Inc. with most of them predicting a $77.38 price target on a short-term (12 months) basis. The average price target by the analysts will see a -0.24% rise in the stock and would lead to RSG’s market cap to surge to $25.46B. The stock has been rated an average 2.4, which roughly stands towards the bearish end of the spectrum. Reuters looked into the 11 analysts that track Republic Services, Inc. (NYSE:RSG) and find out that 6 of them rated it as a Hold. 4 of the 5 analysts rated it as a Buy or a Strong Buy while 1 advised investors to desist from buying the stock or sell it if they already possess it.

A look at RSG technical analysis shows that its 14-day Relative Strength Index (RSI) is in a neutral zone after reaching 60.26 point. Its trading volume has lost -528037 shares compared to readings over the past three months as it recently exchanged 1101963 shares. This means there is reduced activity from short-term traders as per session, its average trading volume is 1630000 shares, and this is 0.68 times the normal volume.

The price of AECOM (NYSE:ACM) currently stands at $29.88 after it went up by $0.81 or 2.79% and has found a strong support at $29.43 a share. If the ACM price drops below that critical support, then it would lead to a bearish trend. In the short-term, a dip below the $28.97 mark would also be bad for the stock as it means that the stock would plunge by 3.05% from its current position. However, if the stock price is able to trade above the resistance point around $30.18, then it could likely surge higher to try and break the upward resistance which stands at $30.47 a share. Its average daily volatility over the past one month stands at 2.64%. The stock has plunged by 2.04% from its 52-weeks high of $29.27 which it reached on Mar. 21, 2018. In general, it is 16.9% above its 52-weeks lowest point which stands at $24.83 and this setback was observed on Dec. 26, 2018.

Analysts have predicted a price target for AECOM (ACM) for 1 year and it stands at an average $35/share. This means that it would likely increase by 17.14% from its current position. The current price of the stock has been moving between $29.27 and $30.02. Some brokerage firms have a lower target for the stock than the average, with one of them setting a price target as low as $30. On the other hand, one analyst is super bullish about the price, setting a target as high as $40.

The ACM stock Stochastic Oscillator (%D) is at 20.37%, which means that it is currently oversold and its prices could jump very soon. The shares P/S ratio stands at 0.23 which compares to the 4.5 recorded by the industry or the 2.19 by the wider sector. The stock currently has an estimated price-earnings (P/E) multiple of 9.46, which is lower than the 71.65 multiple of 12-month price-earnings (P/E). The company’s earnings have gone down, with a quarterly decrease rate of -25.3% over the past five years.

Analysts view AECOM (NYSE:ACM) as a Hold, with 2.3 consensus rating. Reuters surveyed 11 analysts that follow ACM and found that 4 of those analysts rated the stock as a Hold. The remaining 7 were divided, with 6 analyst rating it as a Buy or a Strong Buy while 1 analysts advised investors to desist from buying AECOM (ACM) shares or sell it if they already own it.


Built with Indexhibit

”Qu’avons-nous fait ? Nous nous étions dit non, pas de textes convenus, préfaces, articles des professionnels du catalogue1”;
from the ‘exhibition text’ to the ‘curatorial text’.
an annotated bibliography

an annotated bibliography, hosted of arg : https://aaaaarg.fail/collection/5c340ba29ff37c5b24622bca

Esche, Charles and Maria Hlavajova. "Once is Nothing: Thoughts on an Exhibition on an Exhibition.” In Once is Nothing. Individual Systems, edited by Charles Esche and Maria Hlavjova, 57-66. Brussel: Brussels Biennial, 2008.
Once is Nothing : Individual Systems is, as the title of the text states, an Exhibition on an Exhibition. The origin exhibition was Individual Systems, "an exhibition on the problematic of modernity in contemporary life, curated by Igor Zabel as part of the 50th Venice Biennale in 2003.1" The context for Once is Nothing was an invitation made by the first Brussels Biennial (2008) to BAK (basis poor actual kunst) and Van Abbemuseum (impersonated by Maria Hlavajova and Charles Esche). Once is Nothing is composed of two distinct elements: an 'exhibition' space and a new project, a museological catalogue.

an 'exhibition' space and a new project.

For the exhibition Once is Nothing, we decided to focus on one aspect that formed the base structure onto which the artists and the public built their understanding of Individual Systems: the architecture of the original show, designed by Austrian artist Josef Dabernig for the colluded space of the Arsenale. [...] We have invited him to interpret his proposal again for the new given space of the former postal-sorting center. The works of art that were originally exhibited in this architecture in Venice, however, are necessarily absent. [...] We also want to suggest the possibility that this architecture is a space that might produce a new artistic impulse. Thus we have asked Belgian artist Patrick Corillon to make use of the physical void.2

a museological catalogue.

We have also produced this museological reference book documenting the artworks from the original exhibition in as precise and objective-as modernist-a way as possible.3

The museological catalogue also hosts the exhibition text from Individual Systems written by Zabel, as well as the text in question here, Once is Nothing: Thoughts on an Exhibition on an Exhibition, from Charles Esche and Maria Hlavjova. This text is the exhibition text, and provides a thorough look into the conceptual elaboration of Once is Nothing and the narrative that permits the exhibition itself, since the discourse is what discloses the reference networks at play in an 'empty' space. It is through the narrative that the architecture as a reinterpretation comes to be (with the help of floor plans) and offers the documentation of the original exhibitions with the additions of descriptions of the works and the artists from the first show.
 The catalogue holds a central role, enabling the manifestation of the ghost of Zabel and his Individual Systems, and the manifestation of the theoretical research on 'an exhibition on an exhibition'. Although the format of the text would be considered as quite classic within the field of exhibition texts, it acts, it is active. It creates the possibility of a multi-temporal dialogue between two contexts, two exhibitions. It 'makes' the exhibition, rather than a more conventional explanation, or justification through discourse; the catalogue is the exhibition.

Donner, Alexander and El Lissitzky. “kabinett des abstrakten - original and facsimile.” In Displayer 03, edited by Doreen Mende, 1-32. Karlsruhe: Karlsruhe University of Arts and Design, 2009.
This catalogue was conceived for the exhibition Kabinett der Abstrakten—Original and Facsimile at Halle fuel Kunst Lueneburg (24 January to 8 March, 2009). It was published by the Museum of American Art (MoAA), Berlin, within the publication of the programme Exhibition Design and Curatorial Practice at Hochschule for Gestaltung Karlsruhe, Displayer 03 (2009). "To create a complex space of memory, the exhibition worked with various kinds of reference material and display techniques including paintings, books, catalogs, film footage, and sound. 'The artifacts at this exhibition are not works of art. These are rather souvenirs, selected specimens of our collective memory. (Walter Benjamin)"4

The catalogue hosts three essays : Provinzal-Museum by Water Benjamin (October 2008), Letter by Alfred H. Barr, Jr (195?). and A Box in the Basement. On the works of Kasimir Malevich loaned to the Provincial Museum of Hannover by Ines Katenhusen (probably 2008). This last text depicts the complex genealogy of a box of works from Kasimir Malevich and its intersecting story with different museums, directors, inheritors, heirs, etc, starting in 1927 and finally ending in April of 2008. Barr's Letter recalls the sad faith of the Kabinett der Abstraken designed by El Lissitzky and commissioned by Alexander Dorner. The first text from Walter Benjamin examines the parallelism between the different conceptions of history and the museum from Alfred H. Barr Jr and Alexander Dorner. Benjamin concludes his text with a genealogy of the museum and its fundaments, only to open up on a reflection on what would be a Meta-Museum, "and, what would be the narrative that will connect all the exhibits in the Meta-Museum? Meta-History?"5.

The catalogue is also hosting some reproduced works that were part of the exhibition at the Halle fuel Kunst Lueneburg (the date of the artworks varies from 1902 to 2062, and are all acrylic on canvas done by different and anonymous artists). Opening up the catalogue feels weirdly as common (within 'our collective memory') as strange by the impossible dates of the artworks and the new text by Walter Benjamin; this project a atmosphere of doubt, suspending belief. This feeling bleeds to the text by Barr as well as Katenhusen, extracting the catalogue and its exhibition from the conventional art history, hovering above the fundaments that hold the concept of 'Art' in the centre of its (epistemological) system. The catalogue is not the exhibition text, but weaves a discursive fictionalized from which the exhibition draws its strength.

Wade, Gavin. “Gavin Wade interviews El Lissitzky.” In Upcycle this book, edited by Gavin Wade and James Langdon, 77-105. London: Book Works, 2017.
Gavin Wade interviews El Lissitzky is an interview between Gavin Wade and El Lissitzky. El Lissitzky's voice(s), here, is performed by different actors. As Wade details the process in a post-scriptum explanation :

This interview was produced in 2009 as part of the development of 'Abstract Cabinet Show' at Eastside Projects. I had taken on the persona of a number of artists, curators and designers in my own artworks and had seen other artists do this. I wondered if the participants of this group show of groups and collectives that I was curating would all take on the persona of El Lissitzky, whose 1920's Abstract Cabinet was being referred to in the title. The result reveals surprising connections, and makes a coherent (in places) conversation. I'd like to interview El Lissitzky again sometime. Perhaps I'll do it 100 years after he mad his famous artists-curator works!6

The result is a multi-voices interview, where every artist and collective within the original exhibition, Abstract Cabinet Show at Eastside Projects (2009), responds alternately to quite general questions about their respective artistic practices. Sometimes it builds up on previous answers and creates a sense of continuity; sometimes it fractures the interview in a fragmented and superficial overview of each practices. Some took on the persona of Lissitzky as a fictional character and played with the possibilities of a meta-historical conversation (Clarke & McDevitt); some broke the suspension of disbelief and answered quite directly divulging their identity with the usage of their proper name (Grizedale Arts); some contextualized their responses into Lissitzky's historical period (Freee); some used the languages either by means of a back and forth mechanized translation, English-Russian-English, (The Hut Project) or by responding in Esperanto affirming firstly their own identity (D Salomon); some reflected on their phantomatic being (Dj Simpson); some blurred the line of identification (James Langdon).

The conceptual premise of this exhibition text renders an exhibition where every proposition repurposes directly or indirectly a common origin, producing a text that curatorially acts, making collide different voices, histories, positions, into a single interview. It creates an exhibition text that is assembled in a parallel fashion to the exhibition itself, expanding the curatorial process to the structure of the discursive space.

Lyotard, Jean-François and Thierry Chaput. “La raison des épreuves.” In Epreuves d’écriture, edited by Chantal Noël, 6-7. Paris: Éditions du Centre Georges Pompidou, 1985.
epreuves d'écriture Une trentaine d'«écrivains» commentent, chacun sur son ordinateur, une série de mots thématiques imposés. Ils s'expédient leurs textes par voie télématique. Après deux mois, l'expérience est interrompue. Le résultat est passé tel quel sur papier. Qu'arrive-t-il à l'écriture? Confusion des auteurs et des lecteurs, du privé au public? Hégémonie du contexte et du pré-texte sur le texte? Télescopage des phases de l'écriture artisanale? À coup sûr, traumatisme de l'écrivain.7

La raison des épreuves is the introductory text for Epreuves d'écriture, the second half of the exhibition catalogue (the other half : Album et Inventaire) produce for Les Immatériaux, curated by Jean-François Lyotard and Thierry Chaput in 1985 at Centre Georges-Pompidou. This introduction specifies the process behind the writing experiment, unfolding the hypothesis as well of 'les règles du jeu' that permitted the experiment. This collective writing experiment was the establishment of a network (of mircro-computers) connecting 26 authors (philosophers, scientists, writers, poets, sociologists, lawyers, etc.) together, giving them the possibility to write their contributions and uploading it in a network-accessible main memory; the authors were able to not only upload, but consult their own texts as well as the other authors' texts and could also respond to their peers' contributions. There was no possibility of erasing, compiling the contribution in the order of arrival to the main memory. The writing experiment lasted two months (it was supposed to be four, but due to the complexity of creating the software and hardware component of this network, the experiment was shortened), and was structured in such a way that the 26 authors received a list of 50 words to react to, those 50 words were chosen by Lyotard, Chaput and their team to compose the concepts field within which Les Immatériaux was embedded (and was trying to compose).

Epreuves d'écriture as a whole compose what is the broader discursive field of the exhibition, the network apparatus is formatting the discursive existence of the exhibition. This authorial network creates a field of meaning overarching the museum installation. This half of the catalogue is curatorially active by the collective writing experiment, and its collection of texts, creating a fragmented, yes, but a vast space of knowledge, inter-active, feed backing into an informa(tiona)l web (it is worth mentioning that the editorial team for this volume, Jean-François Lyotard, Thierry Chaput, Elisabeth Gad and Nicole Toutchef, supplement the volume with the Post-Scriptum text reflecting on the results of the writing experiment). This whole half of the catalogue is the exhibition text, adopting the unconventional format powered by 'télématic' network of texts and authors.

The experiment's aim was surely to construct the concepts field with a collective 'en direct' writing structure, but it was mainly to expose the discourse to the new technological apparatus, the novelty of the network and its possible repercussions on 'l'écriture'; irradiating 'l'écriture' of and by the new technologies, seeking an atomic alteration.

Concerning the unconventionality of this exhibition text, the opening sentences address their specific intention : "Qu'avons-nous fait ? Nous nous étions dit non, pas de textes convenus, préfaces, articles des professionnels du catalogue."8

Condorelli, Céline and Gavin Wade. “Support Structure : Phase One. In Support of Art. I Am a Curator", Chisenhale Gallery (2003).” In Support Structures, edited by Céline Condorelli, 115-128. Berlin: Sternberg Press, 2009.
A detailed look at the involvement of Céline Condorelli and Gavin Wade in the making of the exhibition I Am a Curator, Chisenhale Gallery, London, (2003), an artist project and 'curated' from Per Hüttner. Their intervention was entitled : Phase 1 Support Structure. "The structure would provide storage for the artworks in the exhibition; categories the works; accommodate documentation of artists and works; store electronic equipments and tools; and would be supplemented with a set of plinths, tables and chairs.”9 "The six units of different heights, widths and surfaces were designed to embody an awareness of curatorial choice and even responsibility in regard to the nature of the environment in which artworks would be developed or placed.”10 "Hüttner invited the public to make proposals to curate a series of one-day art exhibitions in what was disingenuously described as 'an experiment in democratising the curatorial process’."11 The text details the material structure itself as well as the intention behind the making of a 'support structure' for an exhibition that would 'democratize' the curatorial process, outsourcing the curator's role to the 'public'. The structure was conceived as the host of all of what the 'public' would need to 'curate' an exhibition : works, tools, equipment, as well as 'jokers' provided by Condorelli & Wade and aimed at assisting with decision-making.

The text itself is quite straight forward, detailing the structure, making a list of the works contained in the structure, and the intentions of Condorelli and Wade. Within the conceptual framework of this exhibition, the Support Structure becomes the exhibition, the exhibition in potential. The one-day curated-by-the-public exhibitions are far from being the focus point of this one-liner of a curatorial concept. The exhibition exists as a potentiality, permitted by the Support Structure. In this sense, the text from Condorelli and Wade acts as the exhibition text, permitting a detailed view of the potentiality of an exhibition that would only be, a 'curatorial process' away. Viewing the text in this fashion, points at how a detailed overview could be a strategy to construct an exhibition in potential.

Lippard, Lucy. "In the Cards." In 4,492,040, edited by Jeff Khonsary. Los Angeles and Vancouver: New Documents, 2012..
*Lucy Lippard: 4,492,040

Sold Out

15.25 × 10.15 cm 358 Pages in Wrapper ISBN: 978-1-927354-00-1 First Edition (2012)*12

Instead of a conventional exhibition catalogue, the exhibition sequence of the Numbers Shows had loose index cards, as unconventional as Lippard's projects. "It was a form that put both my words and the exhibitions themselves in motion. The cards could be randomly shuffled, rearranged by preference, or discarded in bits and pieces. [...] The card catalogues were sort of a collaborative collage with artists -- not glued down, but flexible, changing, open-ended, unpredictable."13

This experimental form unveils precisely how the conventional bounded books and exhibition texts are rigid, how they act as officialisation devices, institutionalizing the exhibition but also the discursive space that a catalogue can provide. This officialisation happens as an authoritative process, authorizing the discourse of the curator in regards to, certainly, the exhibition, but most importantly, over the artworks and artists within the exhibition. The form adopted by Lippard in the index cards breaks the power of the nowadays figure of the curator, by implementing a catalogue and an exhibition framework that are not relying on the authorial fundaments of the contemporary curator. Many factors are notably counteracting the formation of a curatorial author within the index cards format, such as the loose cards format, the possibility of re-ordering by preferences, but also the inclusions of the artist's contributions as 'blank canvas' (a lot of different experimentations took place by the only possibility of the index cards), the flexible authorship of the artists works within the potentiality of the works to be either constructed or performed by anyone, etc. The index cards format also allows for a cheap production cost and an high postal mobility. The counteracting of the authorial role of the curator did not stop Lippard to produce an accompanying documents enriching the exhibition, with the formalization, while keeping the dynamism, of the informational fields that so much of the works existed in.

It is also fertile to look at how those unconventional catalogues are now aging. In Québec's University Library, there was one copy of the original catalogue for the 557,087 exhibition, though, upon entering the institutional environment of the University Library, the catalogue was glue-bounded, the library froze in a conventional linear sequence the previously too-frivolous loose cards.

Kosuth, Joseph. “The ‘Play’ Detailed.” In The Play of the Unmentionable: an installation by Joseph Kosuth at the Brooklyn Museum, by Kosuth, Joseph and David Freedberg, 69-144. New York: The New Press, New York: The Brooklyn Museum, 1992.
The Play of the Unmentionable is a canonic example in the genealogy of the figure of the Artists-as-Curator; example of a tradition of institutional critique that aimed at "exhibitions by artists working within museum collections [...] as a means of contesting museological histories.”14

The catalogue of the exhibition is quite conventional in form and content : Acknowledgments, Preface (from the director of the Brooklyn Museum, Robert T. Buck), Introduction (from the curator of contemporary art, Charlotta Kotik), Photographs from the installation, An Interview with Joseph Kosuth (with Randall Short), Joseph Kosuth and The Play of the Unmentionable (an theoretical essay from David Freedberg). There is one more section, the one of interest : The 'Play' Detailed (and the list of sources).

The 'Play' Detailed would be an exhaustive cataloguing of what was implicated in the exhibition. The 'detailing' is rather an compilation of all the material used and exhibited by Kosuth with the list of sources concerning the textual quotes, rather than a leap into the content of those presences. With The 'Play' Detailed, the catalogue offers a version of the installation through documentation and layout. In an exhibition where "an artist's activity consists of making meaning, not simply fashioning objects"15, the physical layout of this material becomes the key strategy of meaning making. And this is what is offered in the iteration of the installation that is The 'Play' Detailed. This section of the catalogue reproduces the constellation of works, objects, photos, quotes, etc. within the format given by the physical object of the book, just as the installation is wielding the format of the museum display and its codification. The 'Play' Detailed is an adaptation of the physical installation; an adaptation hinging less on the museum display languages, codes, histories and conventions, but rather on the informational level created by those constellations of material. An adaptation, nonetheless, since the semiotic structures of those cultural objects and their insertion into the museological apparatus still indicates an 'originel', but an adaptation that reveals and condenses the meaning-making acts to its informational levels.

Stankievech, Charles. “Apparatus Criticus” In Loveland, by Charles Stankievech, 19-48. Berlin: K. Verlag, 2011.
Texts from the ancient world reach us by a long complicated process of transmissions from copy to copy. 16

In this way, the publication is not so much the documentation of the installation but is an archive from which the installation is born out of despite that is published after the fact. In a wormhole time warp, the book functions as an apparatus criticus to the overall project.17

The curatorial text as a apparatus criticus. The exhibition as the original text. The artist as the author and the editor. Another exhibition as the apparatus criticus. The curatorial text as another exhibition.

The apparatus criticus is a device, produced by the editor, that ensure the reader of a critical edition with the surviving evidence of the transmission process and the editor’s interpretation of it. As Cynthia Damon, Professor of Classical Literature, University of Pennsylvania, pointedly express : “Texts from the ancient world reach us by a long complicated process of transmissions from copy to copy.” And it is the responsibility of the editor to make visible and intelligible the critical edition origins. In this text, that is not a text, Stankievech makes use of the form of the apparatus criticus in order to replace the conventional form of the exhibition text. Instead of a lineage of the different copies of a common original, the apparatus criticus is presented a collection of images, works by others artists, archival materials and various references, that all collides shaping what would be another exhibiton, an exhibition functioning as the apparatus criticus to the Loveland exhibition. Stankievech enacts the author of the original manuscript, as well as the editor of its apparatus criticus. There seems to be a certain reversal of the function of the apparatus criticus at play here by the monstration of the material involved, which he is editing rather than authoring. Stankievech uses this responsibility device of the editor and aims it back at his own work. Hence, creating, with the writing device, a certain authoritative effect to his own creation, that would be Loveland. Instead of rendering the editor responsible in front of the reader, Stankievech subversively authorate Loveland in a brand new narrative and lineage. But this divergent act is only counter-intelligence.

Rooij, Willem de. Intolerance. Düsseldorf : Feymedia Verlagsgesellschaft, 2010.
The Intolerance catalogue is a compilation of three volumes : Hawaiian Featherwork, Melchoir d’Hondecoeter and Willem de Rooij Intolerence. There are no exhibition nor curatorial text for Intolerence. Instead, there is this series of catalogues. In the exhibition space there was no didactic material nor any textual material. The catalogues holds, in three parts, the discursive space of Intolerence, almost making them part of the artistic work that Intolerence is. The exhibition was the sole colliding of two bodies of works within a museum display system, composed of a unique wall hosting both presences. As mentioned, the catalogues can be considered as another of the curatorially artistic gesture from de Rooij, in this instance, through the discursive strategy of the form of the catalogue. His impulse for the three-part catalogue was mainly to create academic volumes treating both bodies of works that until this date were lacking any academic attention. The third volume is an extensive compilation of his works and artistic practice. The curatorial logic enacted by de Rooij, the juxtaposition of the two bodies of works, is continuing through the making of the catalogues, enabling his artistic and curatorially-informed act as going as far as the compilation of academic research and the publication of this material. This opens up a completely different understanding of the curatorial and exhibition text, projecting its implication to a broader field of knowledge.

Baere, Bart de. "Modes and Moods: Antique olive 15 lower case medium." In This is the show and the show is many things, by Baere, Bart de, Pierre Giguel and Dirk Pültau, 11-20. Ghent : Museum Van Hedendaagse Kunst , 1994. + Pütlau, Dirk. "To Bart, Ronald and the Artists: Between the process and us, me." In This is the show and the show is many things, by Baere, Bart de, Pierre Giguel and Dirk Pültau, 5-10. Ghent : Museum Van Hedendaagse Kunst , 1994.
Bart de Baere includes in the catalogue of the exhibition This is the show and the show is many things many different texts and artists imput. The artists’ inclusions in the making of the catalogue itself is certainly coming from de Baere desire to make the process the most important aspect of the exhibition and consequently, the catalogue. This strategy is also reminiscent of Szeemann strategy in making the catalogue for his landmark exhibitions. The catalogue opens up with a text from Dirk Pütlau, a critic brought in the process of the making of the exhibition by de Baere, responding to a text from de Baere, sent during the collective elaboration (in other words, the conversation between the curator and the artists that leads to the show as well as the inclusion of critics in this process) of This is the show and the show is many things. Pütlau’s text is entitled : To Bart, Ronald and the Artists. Between the process and us, me. It is a critique of the uneasiness that Pütlau experienced in front of the de Baere intentions with the show.

The second text that we encounter in the catalogue is the text that Pütlau responded to. Entitled Modes and Moods Antique olive 15 lower case medium, de Baere text is a self-reflexive look at the making of a show with the addition of anecdotal materials (conversations with artists and mentions of the catalogue’s own future, such as a look at what the publication typeface should be and how it was proposed by ‘Marleen’) as well as an honest account of the curator theoretical constellation and the unknown future of the exhibition. The writing strategy that de Baere employs in this exhibition text, or should we say in-the-making-of-the-exhibition text, reflects well the energy that was fuelling his collective process of elaboration of This is the show. Done in a transparent fashion, the text aims at making visible the inner working of the curatorial endeavour that This is the show was. The ongoing self-reflexivity adds to the proccessuality, and the implication of the critic voice and participation is a logical conclusion to such intentions, making visible and public, the show in its own making.

Badovinac, Zdenka. “A Glossary of Contemporaneity.” In Glossary of the Present and Presence, by Badovinac, Zdenka, 76-77. Ljubljana : Moderna Galerija, 2011.
The Glossary of the Present and Presence was published as an accompaniment to the 2011 exhibition Present and Presence taking place as one of the two inaugural exhibitions for the new Museum of Contemporary Art Metelkova (MSUM), Ljubljana; the other half of the inauguration was an exhibition entitled, Museum of Affects. In the framework of L'Internationale *, and curated by: Bart de Baere, Bartomeu Marí with Bojana Piškur, Leen De Backer, Teresa Grandas.

The short entry A Glossary of Contemporaneity from Zdenka Badovinac presents both the Glossary as well as situates the exhibition, Present and Presence, within a historical evolution from what was the Moderna Galerija to its now younger sibling that is the Museum of Contemporary Art Metelkova.

To supplement our views the back issues of contemporaneity, we are compiling a glossary of key ideas related to contemporaneity, as I am discussing it here, from some of today’s leading Slovene and international thinkers, artists, and curators. We do not want this glossary to be confined merely to the pages of this publication, but rather to extend its existence into both the physical and virtual space of our museum. The present publication, therefore, is a declaration that what we are creating in Ljubljana’s Metelkova District is not only a collection of artworks but also a museum of ideas.18

What becomes interesting in this gesture of the glossary is, first, the implication of different authors (twenty-four in total) in order to collectively elaborate a conceptual field, one that is enabling as well as preparing the presence of this new museum and its futurity. Secondly, the exercise entailed by the glossary is not one of definition, but rather re-definition; the definitions provided by those authors are not relevant by their novelty, but rather by their implication of defining again, this time into this specific museum’s context. Thirdly, this strategy of re-contextualization becomes amplified but the exhibition itself, Present and Presence was composed from a selection of works from the Arteast 2000+ collection, “a pioneering assembly of works from the post-war avant-garde movements of Eastern Europe.” Again, re-contextualizing a collection; one that is fundamental to the origin of this new museum. Badovinac is well aware of the possibilities that those strategies of reiteration permits, it is quite telling by the trajectory that she has given to the MSUM. The exhibition Present and Presence has been subsequently repeated nine more times (stated as such : the Present and Presence | Repetition 1-9), leading to a second cycle of re-contextualization and reinterpretation of the Arteast 2000+ collection, in the suite of exhibition entitled Low Budget Utopias; this time the repetition is rebaptized: Recycling (ex. Low Budget Utopias – Second Recycling).

Gaba, Meschac. Library of the Museum Vol. 1 Museum of Contemporary African Art. Amsterdam: Artimo Foundation, 2001.
When Meschac Gaba presented the first draft of this Museum of Contemporary African Art in 1997 at the end of his period of study at the Riijksakdemie in Amsterdam, he had already decided how many rooms this nomadic and virtual museum would ultimately contain: twelve. When asked about why he chose this number, he referred to the twelve months of the year and the twelve Apostles. It’s a perfect number to him. A couple of years late, when it was suggested that he produce a publication on the museum, he proposed to document the first six rooms of the project. The book itself, which he also regards as a public space, is to be part of the library of the museum displayed at the Witte de With Centre for Contemporary Art in Rotterdam. Six plus one makes seven: another special number. Art is never without meaning in Africa, as he says in the interview included in this book.19

The Museum of Contemporary African Art is a “nomadic and virtual museum”, it is also an artist’s project, from Meschac Gaba. Here, this publication, documenting the first six rooms of the Museum, is not exactly an exhibition catalogue for the upcoming exhibition inaugurating the seventh room, the library of the museum; even though, it contains an anticipatory (“This room will not be ready until after the publication of his book”) text from Bartomeu Mari, curator of the Gaba’s exhibition at Witte de With. Nor that it is exactly a monograph of Gaba’s project (i.e. The Museum of Contemporary African Art).

This publication presents itself as a reversal, a reversal of authorities, of the power structures. As if the publication was not on the topic of Gaba’s work entitled The Museum of Contemporary African Art, but rather, as if it was published by the Museum of Contemporary African Art as a self-reflexive look at its own origin and history. As if the publication was not an assemblage of exhibitions texts produced by the curators and directors of the institutions that hosted in their walls one of the first six rooms of Gaba’s projects, but rather, as if it was actually a collection of exhibition texts from curators employed by the Museum, where all of the exhibition are looking self-reflexively at their own institution’s existence. As if Gaba was no longer the artist of a project that takes the appearance of a museum, but rather, as if he was the founder of this museum, employing curators around the world, in order to produce self-reflexive exhibition at the museum itself, where the curators do not write as hosts anymore, but as guests.

Mangion, Éric. “Visite fantôme.” In Le Dit du dé, by Gander, Ryan, i-xv. Dijon: Les Presses du réel Collection Villa Arson, 2012.
Le 18 octobre 2010, Ryan Gander et Åbäke demandent à Éric Mangion de faire une visite fantôme de l’exposition The Die is Cast de Ryan Gander qui a eu lieu un an auparavant. Ce jour là, les galeries du patio et des cyprès de la Villa Arson sont fermées au public pour le démontage de l’exposition de Roman Ondák (Shaking horizon 2 juillet - 17 octobre 2010).20

Le Dit du dé is the catalogue from Ryan Gander’s first museum-scale exhibition, The Die is Cast (2009), at Villa Arson, Nice. This book was conceived by Gander and Åbäke, a transdisciplinary design studio. Published in 2012, Le Dit du dé is a playful cannibalization of the archive and the present absence of what has been The Die is Cast. Visite fantôme is a mnemonic experience, a challenge issued by Gander and Åbäke towards the curator of the then exhibition, Éric Mangion. “Si, j’ai bien compris le projet, c’est de refaire l’exposition en me souvenant des oeuvres, selon le principe de Perec «Je me souviens» ?”21 Mangion was asked to re-construct the exhibition only through memory, no documentation was involved, and a fantomatic walkthrough in the space of the exhibition, but one year later (2010), during the dismantling of Shaking horizon, an exhibition from Roman Ondák. The curator was asked to remember the exhibition, creating then a second exhibition, one from the 18th of October 2010, the day of the Visite fantôme. This new memory-based exhibition not only shifts its time but also its author; it is no longer a Ryan Gander’s exhibition, but one produced by Éric Mangion. The visit is a three-voiced conversation, transcribed and laid out over 10 pages, as if it was a comic book where every panel is a blacked out only showing speech bubbles, as if the walkthrough happened with the lights turned off. This strategy of shaping this conversation in a lack of visual information was to mimic the absence of the works, where only discourse can summon them back into existence. Discourse recalled here by the authoritative voice of the curator. This prompt from Gander and Åbäke is asking the curator to perform his role, his discursive duty, showing the intricacies of the mnemonic existence of one exhibition as well as the spatial memory of an architecture. In this case, the curator, through his voice, carries his curatorial responsibility speaking as the curator.

Alberro, Alexander. “Maria Eichhorn.” In Documenta 14: Daybook, edited by Quinn Latimer and Adam Szymczyk, 26 April. Munich ; London ; New York : Prestel Verlag, 2017.
Alexander Alberro is not a curator. Although this text, on Maria Eichhorn serves as an artist bio or portrait for Documenta 14: Daybook (where every artist is presented via a one-page text written by a group of authors), and often it is how curator writes about artists in their exhibition text, this text is not an exhibition text. But this text, in its style, employs some curatorial strategies, writes in a curatorial way, specifically in an institutional-critique-informed fashion. Writing in this way exposes both Eichhorn and Alberro fundamental political fundaments. Alberro’s voice in this text is a self-reflexive and conscious one, where through a narrative framework (recalling the encounter he had with Eichhorn, that led to this presentation text), he is able to situate itself, its position, and what drove him there (recalling as well how Documenta14 framed their inquiry to him, making visible the origin of the text itself). This consciousness unfolds different frames, power structures and agencies at work, in the making of the text itself. One strategy particularly effective in this text is the unveiling of the negotiation between Alberro and Eichhorn concerning the content to be included in the writing, quoting her saying : “ ‘I always try to avoid summing up my practice in general’ ”22, permitting a space for Eichhorn’s uneasiness with the discursive power or duty can take over an artist’s practice. This same space was then taken over by Eichhorn herself and recalled by Alberro’s narrative : “She points to the first lines and says : ‘You could use this paragraph. Don’t you agree ?’ “23. The paragraph is then inserted in Alberro’s text, giving space for Eichhorn self-determination, agency inside the discursive space. His voice is brought back after the inserted artist’s presentation, staging the consensual negotiation of the discursive space; “Since Maria likes this paragraph, I’m happy to go along with her idea.”24 Since discourse is a space in which the curator enacts its authority, Alberro’s type of self-reflexive and conscious voice and inclusion, render (hopefully) the curator as a politically responsible figure, exposing the power structures enabling its own authorship. The questions then to ask are about what is not there. With wishful transparency as politic, something gets inevitably obscured. Who gains from this type of text ? To what degree can this type of politic can be applied to the curator and the exhibition text ?

Obrist, Hans Ulrich. “Introduction.” In do it the compendium, by Obrist, Hans Ulrich, 15-28. New York : Independent Curators International ; Distributed Art Publishers, 2013.

Over the course of twenty years, my introduction to do it has changed, along with my understanding of the project. The ongoing question of how to create dynamic institutional exhibitiion formats — something that remains urgent today, particularly as centres of art continue to emerge and diversify — is reflected in each version of the project.

For this compendium, we have compiled extracts from all the introductions to give an overview of how do it accumulates structure as it learns to be responsive to each new circumstance. Perhaps most importantly, this collage of beginning reveals how do it generates associations and ideas. It has only just begun.

Hans Ulrich Obrist, December 2012 *25

With this introduction as well as the compilation of introductions, Hans Ulrich Obrist is reiterating the purpose of the compendium onto itself, applying its reflexive structure towards the introduction as well. The compendium of the do it series of exhibitions has taken the challenge of collecting as well as organizing the artists’ instructions at the basis of the project. Not only that this assemblage crystallizes, as a snapshot with a timestamp, the ever-growing natures of the instruction-based exhibition, this assemblage creates a new exhibition, one in potential, one that can serve as an instruction itself. This compendium double acts as being a tool to make sense this, now, twenty-five-year-old project and its modulation over time, iterations and contexts, but it also acts as being an instruction for implementing a do it exhibition, re-entering the exhibition within the same sphere of mobility and actualization as the content of the exhibition itself. The introduction cleverly does it as well. By doing so, using the structure of the compendium and applying it to the exhibition’s introductions as well, Obrist is able to distill, through this compendium format, the core of the curatorial gesture that he has been establishing with the do it project; an open-ended, always transforming projects that exists in a dematerialized and potential way, proposing a new understanding of what is or can be an exhibition. And here, with this introduction, Obrist unfolds the do it thinking machine into itself, looking back at previous introduction, in order to pluralize the reach that the do it project has or can have.

Hoet, Jan. “An Introduction”. In Documenta IX, edited by Roland Nachtigäller and Nicola von Velsen, 17-21. Stuttgart : Edition Cantz, 1992.
1 To write a text about an exhibition, after living with it through a gestation period of nearly three years, now seems to me like a contradiction in terms. At this moment the exhibition is becoming visible, tangible, real. Everything is in motion, though very little is finalized. Writing, for me, is always a definitive process: it establishes, freezes, creams off a concrete reality. The energy that propels me at the moment is one of movement, impetus, constant new involvement: an energy from without, not from within. What can I write about when so much remains to be said? Some things I would prefer to shout about; for such things, print seems altogether too quiet. I shall be expected to produce explanations, declarations of principle. But there are no true explanations or declarations, only letters and words: explanations, if you like, but not reality. Nothing but marginal notes, anecdotes, proposals. My exhibition is an offer and a challenge; it is an invitation and an argument that can be experienced through the individual encounter with art. If a text that accompanies an exhibition is to be anything beyond self-justification — defending the work for which one has assumed such total and minute responsibility — then the only statements that count are those that direct the eye straight back to the exhibition itself. So what should an introduction contain?26

‘So what should an introduction contain?’ is asking himself for the rest of this 10 points introduction text, meant to open the 1992 Documenta IX exhibition catalogue of essays. He goes on, with each point, by drafting some different possibilities of what an exhibition texts can say, what a curator can write about. Some more relevant than others, certainly his self-reflexive look at the object of the exhibition and its relationship with discourse enables a complex understanding of the curatorial endeavour; exposing the different expectations of such texts as well as setting a narrative frame to bring into the text the experience of writing. An interesting outcome of such a text would be the question of relevancy, here the text touches on many different concepts and arguments, but what is this self-reflexivity about ? Who does it concern ? Embedded within the process of composing an annotated bibliography compiling exhibitions texts exploring the possibility of writing as a curator, this text is definitively of interest. But as an exhibition text, where the intended public might be concerned more with the actual exhibition and less with a self-reflexive look at the act, impetus, responsibilities, expectations, of crafting an exhibition; what does this text perform, or achieves ? Hopefully, a conscious look at what the curator is expected to perform and write about is permitting an iconoclastic moment, where the curator as an authority figure, as the author of the exhibition, as he states so clearly, “This exhibition is my text”27; an iconoclastic moment might render a figure of the curator that is aware of its doing, of its own power, within the structures of the art. But is this text, really able to do so, and are those moments only creating a decorum for a theatre of politic ? ‘So waht sould an introduction contain?’.

1. Esche and Hlavjova, "Once is Nothing,” 58.

2. Ibid, 64.

3. Ibid, 64-65

4. “kabinett des abstrakten,” 32.

5. Ibid, 14.

6. Wade, “Gavin Wade interviews,” 105.

7. Lyotard and Chaput, “Album et Inventaire”.

8. Lyotard and Chaput, “La raison des épreuves,” 6.

9. Condorelli and Wade, “Support Structre,” 116.

10. Ibid, 16.

11. O’Neill, Paul, “I am a Curator”, Art Monthly, 2004 (275), 9.

12. https://new-documents.org/books/4492040

13. Lippard, “In the Cards,”.

14. O’Neill, Paul, “The Culture of Curating and the Curating of Culture(s),” Cambridge: Massachusetts Institute of Technology, 2012, 140n94.

15. ”Press release Grand Lobby Installation by Joseph Kosuth” New York: Brooklym Museum, 1990, 2.

16. Cynthia Damon, Professor of Classical Litterature, University of Pennsylvania. “Reading the Critical Apparatus- Video 1” https://www.youtube.com/watch v=FFHLj1D4Qs4&list=PLo8pZkfZN5h1ofSkKnyIZ59fHHwQ-MfGi

17.Stankievech and Springer, “Traversals”, 211.

18. Badonivac, “A Glossary”, 77.

19. Steevensz, “Introduction”, 7, in Gaba, Library.

20. Mangion, “visite fantôme”, i.

21. Ibid.

22. Alberro, “Maria Eichhorn”, 26 April.

23. Ibid.

24. Ibid.

25. Obrist, “Introduction”, 15.

26. Hoet, “An Introduction”, 17.

27. Ibid. 21.


Adiabatic warming of downward moving air; this produces the warm föhn wind called a "Chinook".

Chinook winds /ʃɪˈnʊk/, or simply Chinooks, are föhn winds[1] in the interior West of North America, where the Canadian Prairies and Great Plains meet various mountain ranges, although the original usage is in reference to wet, warm coastal winds in the Pacific Northwest.[2]

Chinook is claimed[by whom?] by popular folk-etymology to mean 'ice-eater', however it is the name of the people in the region where the usage was first derived.[citation needed] The reference to a wind or weather system, simply 'a Chinook', originally meant[by whom?] a warming wind from the ocean into the interior regions of the Pacific Northwest of the USA (the Chinook people lived near the ocean, along the lower Columbia River).

A strong föhn wind can make snow one foot (30 cm) deep almost vanish in one day[citation needed]. The snow partly melts and partly sublimates[3] in the dry wind. Chinook winds have been observed to raise winter temperature, often from below −20 °C (−4 °F) to as high as 10–20 °C (50–68 °F) for a few hours or days, then temperatures plummet to their base levels. The greatest recorded temperature change in 24 hours was caused by Chinook winds on 15 January 1972, in Loma, Montana; the temperature rose from −48 to 9 °C (−54 to 49 °F).[4]

In CanadaEdit

Where Chinooks occur most frequently.

Chinooks are most prevalent over southern Alberta in Canada, especially in a belt from Pincher Creek and Crowsnest Pass through Lethbridge, which get 30–35 Chinook days per year, on average. Chinooks become less frequent further south in the United States, and are not as common north of Red Deer, but they can and do occur annually as far north as High Level in northwestern Alberta and Fort St. John in northeastern British Columbia, and as far south as Las Vegas, Nevada, and occasionally to Carlsbad, in eastern New Mexico.

In southwestern Alberta, Chinook winds can gust in excess of hurricane force 120 km/h (75 mph). On 19–November 1962, an especially powerful Chinook in Lethbridge gusted to 171 km/h (106 mph).[citation needed]

In Pincher Creek, the temperature rose by 41 °C (74 °F), from −19 to 22 °C (−2 to 72 °F), in one hour in 1962.[5] Trains have been known to be derailed by Chinook winds.[citation needed] During the winter, driving can be treacherous, as the wind blows snow across roadways, sometimes causing roads to vanish and snowdrifts to pile up higher than a metre. Empty semitrailer trucks driving along Highway 3 and other routes in southern Alberta have been blown over by the high gusts of wind caused by Chinooks.

Calgary, Alberta also gets many Chinooks – the Bow Valley in the Canadian Rockies west of the city acts as a natural wind tunnel, funneling the chinook winds.[citation needed]

On 27 February 1992, Claresholm, Alberta a small city just south of Calgary; recorded a temperature of 24 °C (75 °F)[6] again the next day 21 °C (70 °F) was recorded.[6] These are some of Canada's highest February temperatures.[citation needed]

Versus the Arctic air massEdit

The Chinook can seem to do battle with the Arctic air mass at times. It is not unheard of for people in Lethbridge to complain of −20 °C (−4 °F) temperatures while those in desert region, just 77 km (48 mi) down the road, enjoy 10 °C (50 °F) temperatures. This clash of temperatures can remain stationary, or move back and forth, in the latter case causing such fluctuations as a warm morning, a bitterly cold afternoon, and a warm evening. A curtain of fog often accompanies the clash between warm to the west and cold to the east.

Chinook archEdit

One of its most striking features is the Chinook arch, a föhn cloud in the form of a band of stationary stratus clouds caused by air rippling over the mountains due to orographic lifting. To those unfamiliar with it, the Chinook arch may look like a threatening storm cloud at times. However, they rarely produce rain or snow. They can also create stunning sunrises and sunsets.

The stunning colours seen in the Chinook arch are quite common. Typically, the colours will change throughout the day, starting with yellow, orange, red and pink shades in the morning as the sun comes up, grey shades at midday changing to pink / red colours, and then orange / yellow hues just before the sun sets.

Chinook arch in southern Alberta

Cause of occurrenceEdit

As moist winds from the Pacific (also called "Chinooks") are forced to rise over the mountains, the moisture in the air is condensed and falls out as precipitation, while the air cools at the moist adiabatic rate of 5 °C / 1000 m (3.5 °F / 1000 ft). The dried air then descends on the leeward side of the mountains, warming at the dry adiabatic rate of 10 °C / 1000 m (5.5 °F / 1000 ft).[7]

The turbulence of the high winds also can prevent the usual nocturnal temperature inversion from forming on the lee side of the slope, allowing night-time temperatures to remain elevated.[7]

The Manyberries ChinookEdit

Often, a Chinook is preceded by a "Manyberries Chinook" during the end of a cold spell. This southeast wind was named for the small village Manyberries, now a hamlet, in southeastern Alberta, from where the wind seems to originate. It can be fairly strong and cause bitter windchill and blowing snow. The wind will eventually swing around to the southwest and the temperature rises sharply as the real Chinook arrives.[citation needed]

In the Pacific NorthwestEdit

The term Chinook wind is also used in British Columbia, and is the original usage, being rooted in the lore of coastal tribes and brought to Alberta by the fur-traders.[2][8] Such winds are extremely wet and warm and arrive off the western coast of North America from the southwest. The winds are also known as the pineapple express, since they are of tropical origin, roughly from the area of the Pacific near Hawaii. The air associated with a west coast Chinook is stable; this minimizes wind gusts and often keeps winds light in sheltered areas. In exposed areas, fresh gales are frequent during a Chinook, but strong gale- or storm-force winds are uncommon (most of the region's stormy winds come when a fast 'westerly' jet stream lets air masses from temperate and subarctic latitudes clash).

The effects on the Interior of British Columbia when a Chinook is in effect are the reverse. In a rainy spell, most of the heavy moisture will be soaked out by the ramparts of mountains before the air mass reaches the Fraser Canyon and the Thompson River-Okanagan area. The effects are similar to those of an Alberta Chinook, though not to the same extreme, in part because the Okanagan is relatively warmer than the Prairies, and because of the additional number of precipitation-catching mountain ranges between Kelowna and Calgary. When the Chinook brings snow to the coast during a period of coastal cold, bright but chilly weather in the interior will give way to a slushy melting of snow, more due to the warm spell than because of rain.

The resulting outflow wind is more or less the opposite of British Columbia / Pacific Northwest Chinook. These are called a squamish in certain areas, rooted in the direction of such winds coming down out of Howe Sound, home to the Squamish people, and in Alaska are called a williwaw. They consist of cold airstreams from the continental air mass pouring out of the interior plateau via certain river valleys and canyons penetrating the Coast Mountains towards the coast.

Pronunciation in the Pacific NorthwestEdit

The word "Chinook" is in common usage among local fishermen and people in communities along the British Columbia Coast and coastal Washington and Oregon. The term is also used in the Puget Sound area of Washington. "Chinook" is not pronounced as it is east of the Cascades – shinook – but is in the original coastal pronunciation tshinook.[9]

In British Columbia and other parts of the Pacific Northwest, the word Chinook was once often pronounced /ɪˈnʊk/ chi-NUUK.[citation needed] Currently, the common pronunciation throughout most of the Pacific Northwest, Alberta, and the rest of Canada, is /ʃɪˈnʊk/ shi-NUUK, as in French. This difference may be because it was the Métis employees of the Hudson's Bay Company, who were familiar with the Chinook people and country, brought the name east of the Cascades and Rockies, along with their own ethnified pronunciation. Early records are clear that tshinook was the original pronunciation, before the word's transmission east of the Rockies.[9]

First nations myth from British ColumbiaEdit

Native legend of the Lil'wat subgroup of the St'at'imc tells of a girl named Chinook-Wind, who married Chinook Glacier, and moved to his country, which was in the area of today's Birkenhead River.[10][11] She pined for her warm sea-home in the southwest, and sent a message to her people. They came to her in a vision in the form of snowflakes, and told her they were coming to get her. They came in great number and quarrelled with Glacier over her, but they overwhelmed him and she went home with them in the end.

Chinook winds are said to sometimes cause a sharp increase in the number of migraine headaches suffered by the locals. At least one study conducted by the department of clinical neurosciences at the University of Calgary supports that belief.[12] They are popularly[clarification needed] believed[by whom?] to increase irritability and sleeplessness. In mid-winter over major centres such as Calgary, Chinooks can often override cold air in the city, trapping the pollutants in the cold air and causing inversion smog. At such times, it is possible for it to be cold at street level and much warmer at the tops of the skyscrapers and in higher terrain. In 1983, on the 45th floor [about 145 m (460 ft) above the street] of the Petro-Canada Center, carpenters worked shirtless in +12 °C, windy conditions (temperature reported to them by overhead crane operator), but were chagrined to find out the street temperature was still −20 °C as they left work at 3:30 that afternoon.[citation needed]

Loma, Montana, boasts having the most extreme recorded temperature change in a 24-hour period. On 15 January 1972, the temperature rose from −54 °F to 49 °F (−48 °C to 9 °C), a 103 °F (58 °C) change in temperature, a dramatic example of the regional Chinook wind in action.[citation needed]

The Black Hills of South Dakota are home to the world's fastest recorded rise in temperature. On 22 January 1943, at about 7:30 am MST, the temperature in Spearfish, South Dakota, was −4 °F (−20 °C). The Chinook kicked in, and two minutes later, the temperature was 45 °F (7 °C). The 49 °F (27 °C) rise set a world record, yet to be exceeded. By 9:00 am, the temperature had risen to 54 °F (12 °C). Suddenly, the Chinook died down and the temperature tumbled back to −4 °F (−20 °C). The 58 °F (32 °C) drop took only 27 minutes.[13][14]

On rare occasions, Chinook winds generated on the eastern slope of the Rocky Mountains have reached as far east as Wisconsin.[15]

Chinooks and föhn winds in the inland United StatesEdit

The signature Chinook arch over a Denver suburb in 2006

Chinooks are generally called föhn winds by meteorologists and climatologists, and, regardless of name, can occur in most places on the leeward side of a nearby mountain range. They are called "Chinook winds" throughout most of inland western North America, particularly the Rocky Mountain region. Montana, in particular, has a significant amount of föhn winds across much of the state during the winter months, but particularly coming off the Rocky Mountain Front in the northern and west-central areas of the state.

See alsoEdit

  2. ^ a b The Indian and the South Wind, p.156 Archived 2008-05-30 at the Wayback Machine, p.157 Archived 2008-05-30 at the Wayback Machine, p.158 Archived 2008-05-30 at the Wayback Machine in J.A. Costello's Indian History of the Northwest – Siwash Archived 2007-10-28 at the Wayback Machine, 1909
  3. ^ "Sublimation - The Water Cycle, from USGS Water-Science School".
  4. ^ Andrew H. Horvitz, et al. On 13 September 2002 citing a unanimous recommendation from the National Climate Extremes Committee, the Director of NCDC accepted the Loma, Montana 24 hour temperature change of 103°F, making it the new official national record.
  5. ^ The Atlas of Canada – Weather Archived 2010-03-23 at the Wayback Machine
  6. ^ a b "Daily Data Report for February 1992 – Claresholm Waterworks Station". Environment Canada. Environment Canada. Retrieved 28 April 2016.[permanent dead link]
  11. ^ Randy Bouchard and Dorothy Kennedy. (1977).Lillooet Stories. Victoria Sound Heritage 6.1.
  12. ^ Chinooks and Health. Retrieved 2 February 2008.
  13. ^ "South Dakota Weather History and Trivia January". National Oceanic and Atmospheric Administration's National Weather Service.
    Appendix I: "Weather Extremes" Archived 2008-05-28 at the Wayback Machine. National Oceanic and Atmospheric Administration. (Adobe Acrobat *.PDF document).
  14. ^ Parker, Watson (1981). Deadwood: The Golden Years, p.158. Lincoln, Nebraska: The University of Nebraska. – ISBN 978-0-8032-8702-0.
  15. ^ Burrows, Alvin. "The Chinook Winds". Yearbook of the Department of Agriculture. US Department of Agriculture. Retrieved 6 February 2016.