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Planning Guide for Statue of Liberty, Liberty State Park …

Posted on October 3, 2015 by Danzig

Visiting the Statue of Liberty National Monument and limited access of Ellis Island featuring the Wall of Honor is a memorable experience for people from all over the world. Here are some tips to make your trip easy and more enjoyable.

All possible combinations with recommended time alotment and latest arrival time that allow for completion.

Its easy to use public transportation to visit the Statue of Liberty National Monument or limited access of Ellis Island featuring the Wall of Honor.

The ticket office is located inside historic Castle Clinton at Battery Park. We recommend using public transportation to get to Battery Park as parking is very limited in lower Manhattan. Visit http://www.mta.info for more information about public transportation in Manhattan. Battery Park is also accessible by taxi.

Take any of the following lines:

M1, M6 or M15 to South Ferry (last stop).

From the East Side take the FDR Drive South to Exit 1, South Ferry Battery Park. From the West Side take the Westside Highway South (Route 9A) to Battery Park.

The ticketing and departure areas at Liberty State Park are located by the historic Central Railroad of New Jersey Terminal near the water. There is plenty of parking here for a modest fee. This is an ideal departure location for you if you are traveling by car, motorhome or private bus. Liberty State Park is also accessible by taxi, ferry and public transportation. More details are available at the Liberty State Park website.

New Jersey turnpike, exit 14-B follow signs to Liberty State Park.

Take the Hudson-Bergen Light Rail (HBLR) to the Liberty State Park Station, then walk or bike 1 mile on Audrey Zapp Drive to the ticket office area located by the CRRNJ Terminal. From the ticket office/security tent areas, walk 1/3 of a mile to the ferry gangway for departures.

At the entrance of Liberty State Park, the Hudson-Bergen Light Rail is accessible by PATH at the Hoboken Station or Newport (Jersey City) Station. More information about NJ Transit's Hudson-Bergen Light Rail (HBLR)-Liberty State Park station.

Take the Liberty Landing Ferry Service from the World Financial Terminal in New York to Liberty Landing Marina within Liberty State Park, NJ.Visitors with ferry tickets to the Statue of Liberty National Monument and Ellis Island will receive a $2 discount on the fare to Liberty Landing Marina when purchasing tickets aboard the Liberty Landing Ferry.

For more trip planning information visit - Liberty Landing Ferry Service.

Dress for the season when you visit the Statue of Liberty National Monument and the Ellis Island Immigration Museum. During the summer months temperatures can rise to the high 90's with high humidity. In the winter temperatures are chilly. Be sure to dress in layers in case conditions change suddenly.

Be sure to wear comfortable shoes as you will be walking a great deal during your visit.

There are concession stands on all the boats which sell healthy snacks and beverages, as well as merchandise. There are also concession stands and gift stores on both Liberty and Ellis Island.

Before accessing the Pedestal and Crown areas of the Statue, all visitors with backpacks, food and drinks must place these items in key-secured visitor lockers. Lockers are located and can be rented in the security tent area for a nominal fee.

The Statue of Liberty National Monument and Ellis Island often have ongoing special exhibits, as well as special programs and tours, that may be offered on the day you visit. Please be sure to check with rangers on Liberty and Ellis Islands for the programs that are available on the day of your visit. For park program information online, please visit http://www.nps.gov/stli.

There are several nearby National and State parks in the area you should consider visiting after your experience at the Statue of Liberty National Monument and Ellis Island.

For more information please visit the National Parks of New York Harbor or National Parks of New York Harbor Conservancy.

For sights and events in New Jersey visit the Hudson County Tourism website.

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Planning Guide for Statue of Liberty, Liberty State Park ...

New York City Beaches and Topless Beaches

Posted on October 2, 2015 by Danzig

Amidst all the skyscrapers, it can be easy to forget that Manhattan is an island and New York City is surrounded by water, which means there are a number of options for beach-going. This list includes beaches that are located within New York City, as well as nearby.

Access to all New York City beaches is free. Swimming is only permitted when a lifeguard is on duty, from Memorial Day Weekend through Labor Day from 10 a.m. - 6 p.m.

Home to the famous Mermaid Parade (every June) this beach is a "must-see." The Original Nathan's hotdog stand is located just off the boardwalk. There are also freak shows and carnival rides nearby when you get tired of relaxing in the sand.

Beach Address: Surf Ave at Atlantic Shore, Brooklyn NY (718)946-1350 Lifeguard hours: Mon-Sun 10am-6pm from Memorial Day - Labor Day Nearest Subway: B, D, F, N, R at Stillwell Ave-Coney Island; D, F at W 8th St More

Rockaway Beach is one of the best beaches located within New York City limits. It is also New York City's only surfing beach, with two separate stretches for surfing, as well as a boardwalk.

Beach Address: Atlantic Ocean, from Beach 1st St., Far Rockaway, to Beach 149th St., Neponsit Beach Phone: 718-318-4000 Subway to Beach: A train to Broad Channel Ferry to Beach: New York Beach Ferry More

This beach is among the cleaner NYC area beaches and has a topless / clothing-optional area. Facilities are somewhat limited, though there are attended bathrooms and some vending available.

Pictures of Gateway National Recreation Area More

The Franklin D. Roosevelt Boardwalk and Beach spans 2.5 miles in the South Beach and Midland Beach neighborhoods of Staten Island. More

Brighton Beach offers visitors a spacious beach with a boardwalk, just a short distance from the more hectic Coney Island Beach & Boardwalk.

Brightwater Ave. Brooklyn NY 718-946-1350 Lifeguard hours: Mon-Sun 10am-6pm from Memorial Day - Labor Day Nearest Subway: B or Q to Brighton Beach

More: Brighton Beach Rules More

Great Kills Park in Staten Island is home to four beaches: New Dorp Beach; Cedar Grove Beach; Oakwood Beach; and Fox Beach.

Beach Address: Ebbitts Street and Cedar Grove Avenue, Staten Island NY 718-351-6970 Lifeguard hours: Mon-Sun 10am-6pm from Memorial Day - Labor Day Bus Directions: S76, S86 to Oakwood Beach to Ebbitts Street and Cedar Grove Avenue More

Beach Address: On Atlantic Ocean, Oriental Blvd., from Ocean Avenue to Mackenzie Street, Brooklyn NY 718-946-1373 Bus Directions: B1 from Brighton Subway Directions: Q to Sheepshead Bay Road. B49 to Cheapside to Oriental and Hastings Street More

Beach Address: Located in Pelham Bay Park in the Bronx, Orchard Beach and Long Island Sound, Bronx, NY Beach Phone: 718-885-3273 Bus Directions: Bx12 & Bx5 go to Orchard Beach in the summer. In the Winter, take the Bx29 to the City Island Circle and walk to the beach. Subway Directions: Take the 6 line to its last stop, Pelham Bay Park and take the bus More

Breezy Point Beach is a private beach in Queens, but you can access it from Fort Tilden Beach in the Rockaways.

Beach Address: Rockaway Point Blvd Breezy Point, NY 11697 More

Located in Wolfe's Pond Park, visitors to this Staten Island Beach will enjoy the option to explore the nearby wildlife preserve and open space of the park as well as the beach.

Beach Address: Raritan Bay and Prince's Bay, Holton to Cornelia Avenues in Staten Island NY Beach Phone: 718-984-8266 Lifeguard Hours: Mon-Sun 10 am-6 pm Beach Directions:

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New York City Beaches and Topless Beaches

EXPLORE FLORIDA’S BEST BEACHES Including The Nation"s #1 …

Posted on October 2, 2015 by Danzig

where warm emerald tides caress crystal white shores.

Discover seven alluring islands offering unique personalities, natural beauty and a profusion of recreational options.

The pristine shores and waterways of Anna Maria Island and Manasota Key provide exceptional sport fishing as well as birding, kayaking and guided turtle walks along the beach. Sophisticated Longboat Key is ideal for golf, tennis and pampered luxury while Lido the epicenter of shopping, is just a short stroll from the public beach to St. Armands Circle.

Ranked year after year among Americas most beautiful, is Siesta Keys Crescent Beach, where toddlers to seniors relish the feel of ultra-fine, stark white sand. Drive across Caseys one-lane, swing-bridge and glimpse the lodgings of Stephen King and Martina Navratilova. Then head to the Island of Venice where you can sift the sand and find the teeth of fossilized sharks. Theres even a Best Paw Beach Park where you can catch a few rays while paddling with your four-legged friend.

Fortunately, theres more

Sarasotathe cultural center of Floridas West Coast is only a bridge away offering theatre, ballet, opera, symphony and museums as well as Zagat Rated restaurants and nightlife.

We welcome you to take a look

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EXPLORE FLORIDA'S BEST BEACHES Including The Nation"s #1 ...

South Carolina Beaches | Beaches in SC, Best East Coast …

Posted on October 2, 2015 by Danzig

Discover why South Carolina beaches are the best family beaches on the East Coast. Whether it's the iconic Myrtle Beach Grand Strand, the white-sand shores of Hunting Island or the Lowcountry's Kiawah Island Resort, South Carolina beaches compose a landscape of unmatched beauty. Paradise is closer than you think. Frogmore Stew: The Real Story and the Real Recipe

For a taste of authentic South Carolina on your next beach vacation, stop by any of the local seafood markets along the coastline and make your very own one-pot wonder.Whether you call it Beaufort stew, Frogmore stew or Lowcountry boil, you'll see why it's considered a South Carolina classic.

This 3-day Myrtle Beach itinerary includes stops at the Grand Strand's famous pancake houses, miniature golf courses, water parks and, of course, the beach!

Experience Charleston like you never have before as you hit the waves on Folly Beach, SC. Bring your own surfboard or get some lessons for a wet and wild South Carolina adventure.

Edisto Island's Botany Bay gives visitors a glimpse into the past. Explore the preserve's4,600 acres of undevelopedshores to discover what South Carolina would have looked like to the very first settlers here.

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South Carolina Beaches | Beaches in SC, Best East Coast ...

North Carolina Beaches – VisitNC.com

Posted on October 2, 2015 by Danzig

Four lighthouses, a herd of wild horses and hundreds of miles of beach and shoreline to explore await on the Outer Banks and Crystal Coast.

For exciting activities in, on or above the water, our shores offer pristine beaches, expansive marshes, depths to dive and skies to fly.

There's never a wrong time to plan summer fun on the North Carolina coast. Dreams of sunshine, sand, seafood and adventure will brighten any day.

These hotels, bed-and-breakfasts, cabins and vacation rentals across North Carolina go above and beyond to make your dogs feel welcome.

Take a sunrise walk on our beaches and, especially if its near low tide or after a storm, you can stumble upon a treasure trove of seashells.

North Carolina is packed with adventures, so start exploring early. Youll find perfect sunrise views at these spots, from beaches to mountaintops.

A plethora of piers along North Carolinas coastline offer fishing and so much more.

Though long ago lighthouses protected adventurers from our treacherous coastline, today they offer some of the most incredible views youll see.

Follow the footsteps of the Safe Haven movie cast and crew and explore the sites where the movie was filmed in Southport and Wilmington.

Pitch a lone tent on a pristine beach or pull up to a fully stocked RV park. Whatever adventure you choose, natural beauty and recreation await.

Hundreds of sea turtles come ashore here to lay their eggs each summer. You can learn about their journey at our aquariums and rescue centers.

Get a close-up view of the wild horses that have roamed our beaches for 400 years on guided tours on the Outer Banks and Crystal Coast.

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North Carolina Beaches - VisitNC.com

The Top 10 Beaches In and Around NYC – May 30, 2013 …

Posted on October 2, 2015 by Danzig

New York City may be one of the most densely populated corners of the world, but its also surrounded by water lots of it. This geography translates into an extensive coastline with miles of beaches, from the pounding surf of the Rockaways to unspoiled crescents on Staten Island.For many local beaches, the only thing youll need is a towel and subway card. Heres our roundup of the best sandy spots for some fun in the sun.

Sandy Hook, NJ (Photo: Pinaynewyorker/Flickr CC)

Sandy Hook, New JerseySo Close to Manhattan, So Far Away in Spirit is how the New York Times described this pristine beach on a slender peninsula at the northern tip of the Jersey shore. After being badly battered by Hurricane Sandy in 2012, Sandy Hook reopened in 2013 and is once again welcoming sun-seekers with its seven miles of beaches and dunes, plus hiking and biking trails. Its not just about soaking up the sun. The area is also rich in history, with the National Historic Landmark of Fort Hancock and the Sandy Hook Lighthouse, one of the oldest in the country. Northern tip of the Jersey Shore, sandyhookfoundationnj.org

Getting there: Hop on the Seastreak ferry (seastreak.com), which operates daily from Memorial Day to Labor Day, departing from East 35th St. and Pier 11 at Wall St. A variety of bus and train services also serve Sandy Hook, from New York City and elsewhere in New Jersey.

Fire Island, Long IslandThis barrier island off the south shore of Long Island has something for everyone, from the cocktail-fueled gay nightlife at the Pines to massive stretches of windswept beach to the mist-soaked Sunken Forest, one of the few remaining maritime forests on the Eastern Seaboard. Fire Island National Seashore encompasses much of the island, with top beaches like Watch Hill, in the middle of Fire Island, across the Great South Bay from Patchogue. The inviting sandy beach has lifeguards in the summer, and amenities in the surrounding area include campsites, a visitor center, hiking trails and more. And anyone who has ever been stuck in Midtown traffic will appreciate the fact that Fire Island has no paved roads or cars the only way to get around is by foot, bike or golf cart.

Getting there: Long Island Railroad (LIRR) travels to three ferry terminals on Long Island Patchogue, Sayville and Bay Shore where you can catch a 20-minute ferry to the island.

South Beach, SI (Photo: Ceonyc/Flickr CC)

South Beach, Staten IslandThe Verrazano-Narrows Bridge draped over the water in the distance brings an elegant cachet to this well-maintained beach on the eastern shore of Staten Island. South Beach (unlike its hedonistic cousin of the same name in Florida) is invitingly quiet, offering a good balance between nature and amenities, which include the 1.7-mile Franklin D. Roosevelt boardwalk, a fishing pier and annual events like fireworks and concerts. Staten Island was slammed by Hurricane Sandy, and while most beaches have reopened, access may be limited in some coastal areas. Eastern shore of Staten Island, nycgovparks.org

Getting there: Take the Staten Island Ferry (siferry.com) from Manhattan, then bus S51. Or bring your bike for a beautiful ride from the ferry station.

Long Branch, New JerseyNo Snooki sightings here. This well-kept beach is proof that the Jersey shore isnt all spray tans and pinky rings. The Long Branch beaches are wide and sandy, giving way to the cool waters of the Atlantic. For gourmet ice-cream, waterfront dining and upscale boutiques, head to nearby Pier Village (piervillage.com). Northern Jersey Shore, visitlongbranch.com

Getting there: New Jersey Transit trains travel regularly between New York Penn Station and Long Branch. The walk to the beach from the station is under a mile.

Rockaway Beach, Queens (Photo: Spencer Platt/Getty Images)

Rockaway Beach, QueensThe nickname for this peninsula Rockapulco may be a bit of a stretch, but this sunwarmed spit of land that juts into the ocean does have some of NYCs best beaches. Rockaway Beach offers a summertime cocktail of good sands, strong surf and plenty of snack shacks, outdoor sports and other amenities. Several surf camps and schools have opened over the last few years to accommodate the weekend boarder. If youre feeling some trepidation about hitting the waves, try the friendly Skudin Surf school (skudinsurf.com), whose motto is If you can stand, you can surf. Rockaway Peninsula, nycgovparks.org/parks/rockawaybeach

Getting there: Take the A train to Broad Channel, then transfer to the S train to Rockaway Park-Beach 116th St.

Long Beach, Long IslandEstablished in 1880, Long Beach is one of the oldest residential communities on Long Island, which lends it a hometown flavor thats bolstered by great local restaurants and shops. An oceanfront island on the south shore of Long Island, Long Beach is, as the name implies, a very long beach, with over 3.5 miles of warm sands. Though the iconic boardwalk was ruined by the 2012 hurricane, the town reopened a new fortified boardwalk in 2013. South shore of Long Island, longbeachny.gov

Getting there: Take Long Island Railroad (LIRR) from Penn Station to Long Beach Station and walk from there.

Jacob Riis Park Beach, Queens (Photo: Skelastic/Flickr CC)

Jacob Riis Park Beach, QueensForming part of the Gateway National Recreation Area, which is managed by the National Park Systems, Jacob Riis Park is often described as one of the closest beaches to the city that doesnt feel like its in the city. The beach has generally fewer crowds than Rockaway Beach, plus soft sands licked by the Atlantic and lots of activities, including kite flying, volleyball courts and the Brooklyn Golf Center (brooklyngolfcenter.com). Further west is the wild beach at Fort Tilden Park, but its closed this summer due to the hurricane and set to reopen next year. Western Rockaway Peninsula, nyharborparks.org/visit/jari.html

Getting there: Take the 2 train to Flatbush Ave., and then the Q35 bus to Riis Beach. On summer weekends, the New York Beach Ferry (newyorkbeachferry.com) travels from Pier 11 at Wall Street in Manhattan to Jacob Riis Park Beach.

Great Kills Park, Staten IslandDespite the name, this waterfront park on a peninsula off Staten Islands south shore is alive with nature, with verdant parkland and a sandy swimming beach patrolled by lifeguards. Its off the beaten path, but if youre looking for plenty of beach space to unfurl your towel and sweeping harbor views, this is your place. Great Kills, which is part of the Gateway National Recreation Area, is also the only osprey nesting site on Staten Island, and the area affords plenty of birding opportunities. Southern shore of Staten Island, nyharborparks.org/visit/grki.html

Getting here: Take the Staten Island Ferry (siferry.com) from Manhattan, then bus S51.

Coney Island (Photo: Paul_lowry/Flickr CC)

Coney Island, BrooklynConey Island is practically obligatory for at least one summer weekend. Theres the beach dotted with colorful towels and umbrellas, the boardwalk, the Nathans hot dogs and the Luna Park amusement park thrill rides but most of all, theres the nostalgia. In the early 20th century, Coney Island was one of the most famous beach resorts in the world. Much like its Cyclone rollercoaster, Coney Island has gone through dips and peaks, but in recent years its popularity has rebounded, and the area is once again drawing vast numbers of city dwellers to its nearly three miles of sandy beaches, lively boardwalk and popular festivals and parades, including the Mermaid Parade in June. Southern shore of Brooklyn,get tickets to Luna Park

Getting there: Hop on theD, F, N or Q trains to Stillwell Ave. station. A variety of buses also travel to Coney Island from Manhattan and the other boroughs.

Coopers Beach, SouthamptonThe Hamptons are all about beautiful people toasting each other with champagne, and the beaches fit the bill, with immaculate sands, clean waters and sleek amenities, from sparkling showers to gourmet snack shacks. Top of the list is Coopers Beach in South Hampton, which has all the hallmarks of a Hamptons beach fine sand, undulating dunes, blue waters backed by stately mansions. Its also family friendly, with outdoor showers and lifeguard supervision. Southeastern Long Island, southamptonvillage.org

Getting there: Long Island Railroad (LIRR) offers regular trains to the Hamptons, with many stopping at Southampton. The popular Hampton Jitney (hamptonjitney.com) also services the Hamptons, with direct service to and from Manhattan.

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The Top 10 Beaches In and Around NYC - May 30, 2013 ...

Beaches | Second Life

Posted on October 2, 2015 by Danzig

Escape to one of the many beaches and tropical resorts in the virtual world Second Life. Join the hot fun in the sun!

Surf, chill, eat some ice cream at Rasta Sand. Take a C-3 surf board on Tahiti waves, explore the coast, jungle or tiki house. There's even a dance spot, ride-able butterflies and more.

Heaven of Love, eine Insel zum Trumen. Geniesse die Ruhr und entspanne am Meer, oder spring einfach in den Pool. Lasse dich auf dem Wasser treiben und geniesse einfach die schne Aussicht von Delfinen und Sonnenuntergnge, oder sitze mit Freunden an die Bar.

The Infinite Islands has it all: a place to surf, places to take your sweetheart, even a bar for chilling with friends. You can even ride bicycles on the land. For an added bonus, try taking a few pictures with different region windlight settings.

Come enjoy the beach and nature in this tropical setting, which features occasional beach dance parties,campfires under the stars, romantic spots, amazing dance areas and more.

Dunes Beach Resort is an always-changing, always interesting fun place to meet and get to know each other, a place where your treated like family and friends. They are open to everyone, so come party with them and have a blast!

Come experience this club/beach that caters to everyone including newbies and older users alike. Stay and explore the shops, music and even a strip club!

Please note that many venues listed on this page are not owned, managed or supervised by, or otherwise affiliated with Linden Lab, and Linden Lab does not endorse any of these venues. We provide this information solely as an informational service to the Second Life community.

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Beaches | Second Life

California Beach List – Beaches List with Photos of …

Posted on October 2, 2015 by Danzig

The five types of littoral cells along the California coast are each characterized by a different littoral process determined by the geographic features unique to the cell type.Guests who haven't visited the 450 California beaches often ask what the water looks like and how is the sand. Is it anything like the clear blue water at the Bahamas where East Coast residents enjoy smooth sand beaches, lawn chairs and cocktails served? California beaches are not usually like that and we've yet to find one to fit that description. The beaches range in sand quality from coarse to fine sand, rocks to pebbles. The coastal waters near the beach in the Pacific Ocean seldom tops 75 degrees on the warmest summer day in Southern California. The color is not usually clear though in some locations you can see a few feet in depth. The color of the water ranges from aquamarine to a deep green and occasionally brownish-red during red tide. Most beaches do not allow alcoholic beverages; the beaches are mostly public and usually require guests to bring their own beach chairs and gear. In case you wonder why the beaches are so popular, they offer rugged, natural scenic beauty. With well over 15 million people living near the state's beaches, the climate is a major factor in attracting so may people to this location. The Pacific Ocean's affect keeps the air temperatures enjoyable throughout the year. Many people do not own air conditioning in their homes along the coast. Also, the ocean waves can provide a great surfing experience, something that's contributed to California's multi-billion dollar surfing industry. Heal the Bay's Beach Summer Report Card was released with some real winners in water quality improvements and a few losers.

One type of cell is defined by a long stretch of coastline that begins at a headland and terminates in a submarine canyon, such as at Mugu Canyon in Ventura County and La Jolla Canyon in San Diego County; another cell type consists of a large river delta bounded on either side by rocky headlands, such as at Humboldt Bay; a third type of littoral cell is defined by a crescent-shaped by downcoast of a promontory, like Half Moon Bay in San Mateo County; and a fourth type of cell consists of a rocky headland downcoast of a beach where waves break in a line parallel to the shore, as at Ten Mile Beach in Mendocino County. Finally, lagoons and closed bays with restricted tidal flow create a fifth type of littoral cell, such as Bolinas Bay in Marin.

Characteristic differences between Northern and Southern California beaches depend upon the directions of prevailing wind and upon local coastal geology. Along California's north coast, cove or pocket beaches are common where the granitic and basaltic rock that composes the sea cliffs has been sculpted by prevailing northwesterly winds and battered by high energy waves over millions of years. In Southern California, beaches often consist of long ribbons of sand interrupted by widely separated rocky points. The bluffs of easily eroded shales and sandstones that edge the coast here continuously crumble away, creating on even coastline over time.

Some beach types are found along both Northern and Southern California coasts. Narrow cove beaches like those at Laguna Beach in Orange County form where the coast is composed of conglomerate rock and hard sandstone; even when exposed to direct wave attack this rock type is highly resistant to erosion. The narrow beaches formed within there coves often lose all their sand during winter storms, exposing the underlying cobbles, as at Boomer Beach, south of Point La Jolla in San Diego County. Barrier beaches and sand spits are also present along the coast at river mouths, bays, and lagoons; examples are Silver Strand Beach in San Diego, Zuma Beach in Malibu, and beaches at the Smith, Salinas, Pajaro, and Santa Maria River mouths.

Beaches vary in color according to the mineral content of the sand, which is also a clue to the origin to the eroded sediments that make up the sand supply. Eroded shale cliffs create the charcoal gray beach sand at Shelter Cove in Humboldt County. North of Humboldt Bay, the coarse sands of Agate Beach are multicolored agates that have been ground and polished by the surf. Ground quartz and feldspar mineral make up the white beaches of Carmel, while a few miles to the north in Sand City, amber colored sand indicates the presence of iron mineral. Close inspection reveals that white sand beaches are mosaic of pale quartz grains, pink, green or white feldspar and flecks of black mica.Beaches are inhabited by a variety of invertebrates and insects. More

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California Beach List - Beaches List with Photos of ...

dbh-Beaches – Los Angeles County, California

Posted on October 2, 2015 by Danzig

Activities and Programs... Beach Bike Path Beach Clean-up Bike Lockers Birdwatching Boat Launch Ramp Day in the Marina Free Par Course in Burke Park Walking Club at Chace Park Yoga Classes at DYC More Options

Things To Do... Boat Anchorages Boat Rental Chace Park Picnic Shelters, BBQs Chace Park Wedding Locations Chace Park Wheelchair and Stroller Walk Dog Obedience Classes Fishing/Sportfishing Harbor Dinner Cruise Marina del Rey Recreation Marina del Rey Self-Guided Walks More Options

Boating... Anchorage 47 Payments Anchorage 47 Slips Anchorages Contact List Boat Fuel Dock Boat Launch Ramp Boat Slip Vacancies Dry Boat Storage Fishing Bait Dock Guest Boat Docks Liveaboard Policy More Options

Exploring Marina del Rey... Anchorages Contact List Apartments Contact List Bike Lockers Boat Fuel Dock Boat Storage: Dry Vessel Boat Storage: Mast-up Convention and Visitors Bureau Dining Fishing Bait Dock Guest Boat Docks More Options

Visiting the Beaches... Beach Accessway Map Beach Guide Beach Map Beach Use Permits Beach Wheelchairs Dockweiler Beach Fire Rings Dockweiler Beach RV Park Dockweiler Youth Center Hall Rental Malibu Surfrider Beach Parking at the Beaches More Options

Doing Business with Us... Beach & Harbor Use License Business Licenses Chace Park Use License Commission Meetings Archive Commission Meetings Schedule Dockweiler Youth Center Use License Film Permits Lessee Roster and Contact List Marina del Rey Lease Archives Marina del Rey Parcel Map More Options

Municipal Services... Consumer Affairs Fire Department Marina Sheriff Station Public Library Public Works Regional Planning Voter Information More Options

Related Organizations... CA Coastal Commission CA Dept of Boating & Waterways CA Dept of Fish & Game CA State Coastal Conservancy CA State Parks, Grants Section Heal The Bay L.A. Regional Water Quality Control Board National Park Service Santa Monica Baykeeper Southern CA Coastal Water Research Project Authority More Options

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dbh-Beaches - Los Angeles County, California

Fort Lauderdale Beaches | Beaches in the Fort Lauderdale Area

Posted on October 2, 2015 by Danzig

deals

live beach cam

beach hotels

beach pix

beach quiz

sea turtles

turtle programs

waterways

watersports

scenic highway

Susan Orleans The Orchid Thief

John Grogan Marley and Me

John MacDonald Travis McGee series The Deep Blue Goodbye

Elmore Leonard Gold Coast

Carl Hiaasen Strip Tease Tourist Season Skinny Dip Hoot Downhill Lie

Paul Levine Flesh and Bones

Tim Dorsey Nuclear Jellyfish

Larry Shames Welcome to Paradise

Barbara Parker The Dark of Day

Stuart Woods Orchid Beach

James Hall Mean High Tide

Charles Willeford The Way We Die Now

The Beatles Here Comes the Sun

Sheryl Crow Soak Up the Sun

Coldplay Paradise

Train Mermaid

The Eagles Tequila Sunrise

Katrina & The Waves Walking on Sunshine

The Kinks Sunny Afternoon

Smashmouth Walking on the Sun

Beach Boys Keepin' the Summer Alive

Celine Dion Sunshine in the Heart

David Lee Roth Just Like Paradise

George Michael Ray of Sunshine

Don Henley Boys of Summer

Frank Sinatra Let's Get Away From It All

Stevie Wonder You are the Sunshine of My life

ZZ Top Cheap Sunglasses

The moment you take your socks off, you're free. Warm your toes in Greater Fort Lauderdale's 23 miles of sunkissedbeaches - an easy walk from many hotels, restaurants and activities. Experience a sunny state of mind.

Enjoy clean, safe, user-friendly Florida beaches. Hollywood, Dania Beach, Deerfield Beach, Pompano Beach, Lauderdale-by-the-Sea, and Fort Lauderdale, are proud to have been continuously certified as Blue Wave Beaches by the Clean Beaches Council of Washington DC since 1999.

Enjoy the sunrise on beautiful Deerfield Beach, Greater Fort Lauderdales northern most award-winning, cove-like beaches and the destinations family playground. For the more adventurous family, a day can be spent at Ski Rixen, one of America's first cable water ski parks. This innovative water skiing system pulls you silently over glassy smooth water without a boat! Or, take a trip to the beach for sandcastle building, volleyball, dining at open-air eateries or fishing off the Deerfield Pier. Click for Deerfield beach hotels.

Need to unwind with a tranquil, relaxing day? Hillsboro Beach is Greater Fort Lauderdale's Quiet Escape. Enjoy views of the Hillsboro Lighthouse and remember to watch your step, as the beach is popular with nature lovers who come to see the turtle nesting. Right next to the Lighthouse, the Hillsboro Inlet, where yachts enter, is home to the stone statue dedicated to the Barefoot Mailman. From 1885 until 1892 a mail carrier would make a seven-day journey, walking 68 miles from Palm Beach, through what is now Broward County to Miami. The weeklong trip was spent mostly barefoot walking on the hard-packed sand along the ocean - hence the name. Click for Hillsboro Beach hotels.

For those that think life is always a game, Pompano Beach offers sports of all sorts. Named for the saltwater fish found exclusively in area waters and home to the annual Pompano Seafood festival and Fishing Rodeo, the water on this stretch of coastline is some of the warmest and clearest in South Florida due to a bend in the Gulf Stream. Want to get off the beach? You can tee-it-up for a round of championship golf or place your bets and enjoy harness horseracing.Click for Pompano Beach hotels. Watch video here:http://www.youtube.com/watch?v=5yxFwFIFUmU

With a reputation as a low-key getaway, Lauderdale-By-The-Sea, is a 1/2 mile wide hamlet which has that old fashioned, charming "beach village" vibe. This town is one of the only locations in Florida where the three-tier natural coral reef system is close enough for visitors to swim out for snorkeling or diving. Friday nights the one street that runs through this sleepy town is blocked off, a stage is erected and live music is enjoyed. Your new favorite spot will be the Ice Cream Shop (yup, that's the name), where they tend to know everyone on a first-name basis. Click for Lauderdale-By-The-Sea beach hotels.

With itsmakeover from a college student Mecca to a tonier clientele complete, Fort Lauderdale has been transformed into a beach chic destination. From Lauderdale luxe properties dotting the beachfront skyline to Las Olas Boulevard for casually chic shopping and dining scene, Fort Lauderdale Beach has some of the best people-watching in South Florida. And don't forget to stroll, jog, or blade along the palm tree-fringed, brick-lined beachfront promenade. Click for Fort Lauderdale beach hotels.

As the hidden gem of the area, Dania Beach is home to some of the prettiest and least crowded stretches of ocean in Greater Fort Lauderdale. Dania Beach Ocean Park has an impressive fishing pier where you can dine and enjoy panoramic views and scrumptious seafood caught just out of the ocean. Close by, John U. Lloyd Beach State Park is also a favorite destination for kayaking, swimming, picnicking or just cloud watching. Watch a Good Morning America feature on John U. Lloyd State Park.

Retro cool Hollywood is home to the Broadwalk which runs 2 miles along sun-kissed beach. Bike or stroll and find an outdoor caf to wile away the hours. Play with "man's best friend" in the area's dog beach. (Where part of the movie Marley & Me was filmed.) Hop aboard the trolley and head to Arts Park in Young Circle, the epicenter of Hollywood culture and cuisine. Take an art class during the day, stay for dinner and drinks, and then party the night away at Seminole Hard Rock Casino. Live Hollywood Beach cam. Watch a Florida Travel & Life video about Hollywood. Click for Hollywood beach hotels.

At the southern end of Greater Fort Lauderdale, Hallandale Beach is the perfect place for a guy's getaway with a wide array of outdoor sports from golf and swimming to boating and salt-water fishing. Visitors can enjoy beautiful stretches of beach and exciting nightlife. Two of South Florida's premier "racinos" are located in Hallandale Beach - Gulfstream Park Racing and Casino, home of the sport of kings, thoroughbred horseracing and the Florida Derby, and the Mardi Gras Racetrack and Gaming Center. Click for Hallandale Beach hotels.

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Fort Lauderdale Beaches | Beaches in the Fort Lauderdale Area

Nanoengineering Schools and Degrees | EducatingEngineers.com

Posted on October 1, 2015 by Danzig

Discover the World of Nanoengineering

Nanoengineering encompasses the practice of the profession on a nanoscale, which stems from the nanometer unit of measure, equivalent to one billionth of a meter. Within the industry, nanoengineering is synonymous with practices of nanotechnology, whereby it focuses on the engineering component of a given technology rather than the scientific side. Nanotechnology professionals have become prized professionals in the current marketplace for their skills and training dealing with microscopic applications.

From the automobile and energy industry to healthcare and technology firms, companies around the world eagerly seek to attract and develop these professionals. Within these realms, scanning tunneling microscopy (STM) and atomic force microscopy (AFM) are the dominant techniques of the field used to solve problems and originate new technologies. Both techniques pivot on generating microscopic probes to manipulate and track the movement of atoms with the idea of capturing something significant to translate into real world applications such as revolutionary manufacturing materials or new pharmaceutical products.

To learn more about becoming a nanoengineer, contact the schools below to request more information. We recommend contacting multiple schools to compare programs.

Professionals in this field often perform a medley of duties depending on the industry they work in and/or their educational backgrounds. In biosciences, nanoengineers dedicate their time to developing new medical device products and ways to enhance existing ones. From a construction viewpoint, these experts investigate and evaluate the development of new materials to develop more sustainable and durable building products and materials. Automotive companies employ these engineers to develop more efficient processes within an engine system and materials to build and pad vehicle systems and interiors. Regardless of the field, these engineers choose to employ their skills and talents, the field requires immense patience and attention to detail. Refining the effective use of STMs and AFMs, critical to the development of new technologies and breakthroughs, often proves to be challenging for most practitioners in the field. Powerful microscopes with exceptionally fine silicon tips are employed to monitor the nano activity harnessed to develop new applications. Establishing a suitable tip, though, can sometimes take seven days alone. Nevertheless, global firms like Abbott Laboratories, Tesla, Exxon-Mobil, and Sony are a few of the global firms capitalizing on the potential of nanotechnology.

Employers require these professionals to have completed at least a Bachelors Degree in nanoengineering or chemical engineering to assume a job in the industry. Undergraduate students explore coursework that prepares them for making contributions in the fields of medicine, energy and environmental applications, among others. Students take classes that integrate a medley of math, science and engineering courses that prepare them for the versatile field. Acquiring a Masters Degree or Ph.D. in the field may be required to qualify for some executive positions with a given company. Advanced education also enables these professionals to undertake teaching roles at universities. For those seeking business-based positions, a candidate should focus on developing leadership and management skills, as they will be asked to spearhead a team of engineers. In addition, they will be asked to communicate and negotiate with suppliers. In this setting, superb oral and written communication skills will prove essential.

The American Society of Mechanical Engineers has organized conferences to expand the discourse and awareness around the field of nanoengineering. In addition, they provide a digital library of resources, including publications, news, and best practices in the field that are vital to practitioners in the industry.

Though the U.S. Bureau of Labor Statistics (BLS) does not provide exact data on job prospects for nano engineers, chemical engineers, a comparable field, expect to see job growth prospects of 6 percent through 2020. The states of California, Texas, New York, Illinois and Michigan feature the most bountiful opportunities for professionals. While exact statistics on the median salary of these professionals is unavailable, O*Net reports that chemical engineers of the same background command a yearly salary of $95, 730.

Nanoengineers not only impact the way people live and think on Earth, but also may provide the key to further space exploration. As both the European Space Agency and NASA strive to execute manned missions to other planets like Mars as well as develop more advanced spacesuits and micro-shuttles, nanotechnology will serve an essential role in pushing these endeavors into reality. Nanoengineers will be called upon to reduce the weight and sheer volume of components needed to explore other worlds, thereby reducing the costs associated with such expeditions. This may well enable countries with smaller economies to venture into space. For example, nano engineers at NASA have created sensors rooted in nanotechnology for use on the International Space Station (ISS). The sensor is the size of a postage stamp, yet has the capacity to detect impurities in an astronauts air supply, and may well be utilized on potential roving explorations on Mars to gather samples from the red planet. Furthermore, technology companies like Apple have used nanotechnology and professionals to develop their tablet hardware products and musical devices like the iPad mini and iPod nano. The iPod nano, for instance, features a compact, design that clips onto a persons lapel making it easy for customers to listen to music while being unencumbered by a weighty product. The sleek, minimalist design associated with Apple products illuminates how the field of study bridges the gap between cutting-edge technology and providing useful and lucrative consumer products. As nanotechnology grows with the expertise of its practitioners, its impact will be seen throughout all spheres of human life.

Dont wait to find out how you can create a path towards a career in nanoengineering. Contact the schools below to request more information today.

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beach monitoring program – Iowa Department of Natural Resources

Posted on October 1, 2015 by Danzig

Routine water quality monitoring is conducted at all of the State Park beaches and many locally managed beaches in Iowa. In order to help protect the health of those wishing to recreate at the beaches, the Iowa Department of Natural Resources works with various public health and management agencies throughout the state to inform the public of the most current water quality conditions. Outdoor recreation at beaches in Iowa is typically limited to the time period between Memorial Day and Labor Day. Therefore, most beach monitoring is conducted and standard swimming advisories are issued during this time frame. Results for specific beaches are published as soon as they become available.

For up to date information, call the DNR Beach Monitoring Hotline at (515) 725-3434. If you have any questions or concerns, contact us by email.

o Beaches that have had two or fewer one-time standard (samples over 235 cfu/100 ml) exceedances of the state standard during a running five years will be monitored less frequently. These beaches will be monitored on a weekly basis from the week before Memorial Day through Labor Day. All other state-owned beaches will be monitored from April 15th through October 31st.

Posting of Signs/Advisories

Why monitor beaches?

Swimming in lakes or any other natural body of water involves risks. By far, the greatest risk is drowning caused in part by cloudy water, fast currents, submerged objects, or the lack of lifeguards. Water at Iowas state-owned swimming beaches is monitored to assess the public health risk from waterborne diseases that may result from immersion in the water.

What is the DNR monitoring?

Water samples from the beaches are analyzed for microorganisms, known as bacteria.These indicator bacteria are one-celled organisms visible only under a microscope.High levels of these bacteria indicate that the water has come into contact with fecal material. Indicator bacteria (Bacteria that normally are not pathogenic [disease causing] but serve as indicators of certain types of pollution such as sewage or gasoline spills) are commonly used by state environmental agencies and by the U.S. EPA to determine the suitability of beaches for swimming-type uses.

Can these bacteria make me sick?

The indicator bacteria for which we monitor do not themselves make you sick. These bacteria are easy to collect and analyze and are relatively safe to handle. They are very common in the environment, including lakes and rivers.High levels of these bacteria indicate that the water has come into contact with fecal material and that pathogens or disease-causing microorganisms may be present.

Why doesn't the DNR monitor pathogens?

Disease-causing organisms, known as pathogens, exist as bacteria, viruses or parasites.Monitoring for these pathogens is expensive and difficult. Large volumes of water are needed to monitor for pathogens because they are present in such small numbers. Many different types of pathogens exist and testing for a single pathogen may not accurately assess the health risk present due to other pathogens. Because indicator bacteria occur in greater numbers than pathogens and are easier to isolate in a laboratory, monitoring for them is more cost-effective.

What are the sources of these bacteria and pathogens?

Fecal bacteria, and sometimes pathogens, are present in the intestines of warm-blooded animals, including humans. They are carried into the water with fecal material. Fecal contamination occurs due to improperly constructed and operated septic systems and sewage treatment plants, manure spills, storm water runoff from lands with wildlife and pet droppings, or direct contamination from waterfowl, livestock, or small children in the water.

Samples are collected weekly at 37 state owned beaches from April 15 through October 31.This period corresponds to the recreational season when the Iowa Water Quality Standards, designed to protect swimming-type uses, is in effect. Water samples are taken at three locations along the beach and at three water depths (ankle-, knee- and waist-deep).The water from these locations is mixed to form one sample, which is placed in a sterilized bottle and taken to a laboratory for analysis.

What levels of indicator bacteria are considered safe?

The United States Environmental Protection Agency (EPA) has guidelines for the amount of bacteria acceptable in water bodies designated for primary body contact recreation, including swimming and water skiing. In Iowa, these waters are called "Class A waters". The bacteria level in the water is acceptable if the geometric mean is not greater than 126 colonies per 100 milliliters of water for E. coli bacteria.According to U.S. EPA guidelines, the geometric mean is calculated using at least five consecutive samples collected during a 30-day period. Additionally, Iowa also has a "one-time" standart for E. coli bacteria of 235 colony forming units per 100 milliliters of water.

What factors cause high levels of bacteria?

Fecal contamination of beach water occurs due to improperly constructed and operated septic systems and sewage treatment plants, manure spills, storm water runoff from lands with wildlife and pet droppings, or direct contamination from waterfowl, livestock, or small children in the water. In Iowa, rain appears to be one of the most important factors in generating high levels of bacteria.Surface runoff after a heavy rainfall may transport high levels of fecal bacteria to the water at the beach. The rain also increases the sediment in the water causing it to be murky. Since bacteria are destroyed by sunlight, murky water aids in their survival.

What are the potential illnesses associated with swimming? Thousands of people swim at Iowa's beaches every year and most of them do not get sick. However, children, the elderly and people with weakened immune systems have an increased risk of becoming ill when in contact with contaminated water.A variety of diarrheal diseases, and other infections such as skin, ear and respiratory infections, are associated with swimming in contaminated water. Diarrhea is one of the most common illnesses associated with swimming. Diarrhea is spread when disease- causing microorganisms from human or animal feces get into the water. You can get diarrhea by accidentally swallowing small amounts of water that contains these microorganisms. To date, the DNR has received no verified reports of illnesses caused by swimming or water skiing in Iowas waters. However, these illnesses could be under-reported because the symptoms are so common and people can be infected by these pathogenic microbes through other means, such as from contaminated meat, not washing their hands after using the bathroom or changing diapers.

How can I avoid getting sick?

Avoid swimming after a heavy rainfall when indicator bacteria levels are generally higher and the water is murky. Avoid swallowing the water. Young children swimming at the beach can leak fecal bacteria and associated pathogens from their diapers, so change your childs diapers often and visit bathrooms frequently. If you or your child has diarrhea, please stay out of the water because you may contaminate the water with fecal material. Although swimmers with diarrhea do not mean to contaminate the water, this is often how disease is spread.

Can I eat fish from waters with high levels of fecal contamination?

Yes, high levels of indicator bacteria or pathogens have no influence on the quality of fish for human consumption. While alive, the fish is protected from water-borne contaminants by the skin, scales and mucus covering its body. Proper fish cleaning, rinsing, refrigeration and cooking should always be used.

Additional information can be found atHawkeye Area WQ Initiative

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beach monitoring program - Iowa Department of Natural Resources

New Jersey Medical School – Wikipedia, the free encyclopedia

Posted on September 29, 2015 by Danzig

New Jersey Medical School (NJMS) is a graduate medical school of Rutgers University that is part of the division of Biomedical and Health Sciences. NJMS is the oldest school of medicine in New Jersey. The school of medicine was founded in 1954 as the Seton Hall College of Medicine and Dentistry, established under the auspices of the Roman Catholic Archdiocese of Newark, in Jersey City, New Jersey. On August 6, 1954, the College was incorporated as a legal entity separate from Seton Hall University, but with an interlocking Board of Trustees. The first class of 80 students was admitted to the four-year MD program in September 1956, becoming only the sixth medical school in the New York City metropolitan area. In 1965, the institution was acquired by the State of New Jersey, renamed the New Jersey College of Medicine and Dentistry (NJCMD), and relocated to Newark, New Jersey. With the passing of the Medical and Dental Education Act of 1970, signed into law by Governor William T. Cahill on June 16, the College of Medicine and Dentistry of New Jersey (CMDNJ) was created, merging NJCMD with the two-year medical school established at Rutgers University in 1961, under a single board of trustees.

With the creation of the CMDNJ, the medical school adopted its title the New Jersey Medical School. In 1981, legislation signed on December 10 by Governor Byrne established CMDNJ as the University of Medicine and Dentistry of New Jersey (UMDNJ). NJMS served as one of five regional campuses that constitute the UMDNJ health science institution. On June 28th, 2012 the New Jersey state legislature passed a bill that dissolved the University of Medicine and Dentistry of New Jersey and merged most of its schools including New Jersey Medical School with Rutgers University forming a new Rutgers Division of Biomedical and Health Sciences effective July 1st, 2013. With a cohesive student body, each class consisting of approximately 170 students, NJMS is experiencing impressive growth on a number of fronts. Robert L. Johnson is the current Dean.

In 2004, the school received $104 million in extramural grants supporting basic, clinical and translational research. New Jersey Medical School is also home to the Global Tuberculosis Institute, The Institute for Ophthalmology and Visual Science, and the Center for Emerging and Reemerging Pathogens. New Jersey Medical School is a charter member of the New Jersey Stem Cell Research and Education Foundation. The Summer Student Research Program provides students with stipends to conduct research in the laboratories of NJMS faculty. Each year, more than 100 first- and second-year students, as well as prospective students considering medical school, participate in the program, which has a strong emphasis on cancer research and heart, lung and blood research. NJMS faculty have contributed significantly to medical science breakthroughs including the development of the worldwide standard in knee replacement, the New Jersey Knee; a patented method for the early detection of Lyme disease; the identification of pediatric AIDS and the development of drug-therapy to reduce the likelihood of pre-natal transmission; and proof of the connection between smoking and cancer resulting in the warning message printed on cigarette packages.

New Jersey Medical Schools core teaching hospital, The University Hospital, is located on campus. It is home to a Level I Trauma Center, the busiest in the state, and one of the nations most active liver transplant programs. The 504-bed facility is also highly regarded for its Comprehensive Stroke Center, the New Jersey Cardiovascular Institute (NJCI), the cochlear Implant Program, a neurosurgical intensive care unit and a special Brain Tumor Program, the Neurological Institute of New Jersey, a federally designated spinal cord injury program and The University Center for Bloodless Surgery and Medicine. University Hospital is also the states single largest provider of charity care. Approximately 500 residents are pursuing advanced clinical training at University Hospital in 18 accredited programs.

Other major affiliated teaching sites include Hackensack University Medical Center, Morristown Medical Center, and the East Orange Veterans Affairs Hospital.

Admission to NJMS is highly selective and competitive. NJMS selects its students on the basis of academic excellence, leadership qualities, demonstrated compassion for others and broad extracurricular experiences. One hundred and seventy students enrolled in the class of 2012, selected from over 5,000 applicants. All applicants must be either permanent residents or citizens of the United States, meet specific course requirements, and take the Medical College Admissions Test (MCAT).

Deans of NJMS:

Charles L. Brown, MD (1955-59)

James E. McCormack, MD (1960-66)

Arthur J. Lewis, MD (1966)

Desmond Bonnycastle, MD, PhD (acting 1967)

Rulon Rawson, MD (1967-72)

Harold Kaminetsky, MD (acting dean and dean, 1972-74)

Stanley S. Bergen, Jr., MD (acting 1974)

Vincent Lanzoni, MD, PhD (1975-87)

Stuart D. Cook, MD (acting 1987-89)

Ruy V. Loureno, MD (December 1989-June 2000)

Joel A. DeLisa, MD, MS (interim July 2000-December 2000)

Russell T. Joffe, MD (January 2001-September 2005)

Robert L. Johnson, MD (October 2005 to present)

Coordinates: 404421N 741124W / 40.73924N 74.190111W / 40.73924; -74.190111

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New Jersey Medical School - Wikipedia, the free encyclopedia

European Journal of Human Genetics

Posted on September 29, 2015 by Danzig

NPG will be exhibiting at the American Society of Human Genetics (ASHG) conference in Baltimore, USA from 6-10 October 2015. Visit the NPG stand for free copies, giveaways and more!

Volume 23, No 10 October 2015 ISSN: 1018-4813 EISSN: 1476-5438

2014 Impact Factor 4.349* 70/289 Biochemistry & Molecular Biology 36/167 Genetics & Heredity

Editor-in-Chief: G-J B van Ommen

Thank you to everyone who attended our 'How to get published' session at ESHG. For those who didn't make it, please see our presentation and booklet which we hope will help with the whole process of publishing.

European Journal of Human Genetics offers authors the option to publish their articles with immediate open access upon publication. Open access articles will also be deposited on PubMed Central at the time of publication and will be freely available immediately. Find out more from the press release or our FAQs page.

The Practical Genetics series delivers a one-stop-shop information resource for genetics clinicians.

Clinical Utility Gene Cards, commissioned by EuroGentest, bring together information on specific diseases and provide clinicians with guidance on disease characteristics and genetic testing.

Latest research highlights and reviews from the NPG family of journals

Author Benefits of publishing in European Journal of Human Genetics

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European Journal of Human Genetics

Redhead Henna Hair Coloring | Henna Hair Just for Redheads …

Posted on September 29, 2015 by Danzig

"Today I watched the JFR Henna video again and decided today was the day to do my hair. My hair is very short so I used five heaping tablespoons of henna, one heaping teaspoon olive oil. I used my whisk to stir in the boiling water. It was so easy! I used the applicator to brush it on. After twenty minutes I shampooed as directed and voila' my hair is a beautiful strawberry blonde jut what I had hoped for. Boy, I wish I had done this years ago. I will never, never, never use anything else. Thank you Paula. Can't wait to show it to all my friends." Sincerely, Margaret Deemer Lewes, De

"As I stood at my kitchen counter preparing my henna, I was overcome with thankfulness for JFR. Thank you for making a phenomenal product that is easy to use and wonderfully healthy for my hair. I get compliments on my hair daily. Without JFR henna I would be barely recognizable as a redhead as I am prematurely grey. With JRF henna I am the redhead I have always been and will ALWAYS continue to be! Thank you JFR for making that happen for me and other titian haired beauties all over the world!" -- Rachel Reed, OR

"Thank you! JFR Henna has been the solution to all my redhead problems. My gorgeous dark red/auburn hair has been fading over time, and of course grays are coming in, more each year. I'm nearly half gray in some areas. I want to thank Paula for personally talking with me on the phone a few months back about my henna technique and getting things figured out. It's working: grays are covered, no ugly orange tones from leaving henna on too long, and I have hair that my own 74-year-old mother thinks is natural. That is the ultimate test: if your mom thinks you look like you always have, then you're doing something right. Thank you, JFR! I tell all my redheaded friends and acquaintances about you!" -- Susan Lindsey, Seattle, WA

"I have used your Auburn henna for years. My stylist tells me to "keep it up" because she can't give me the natural highlights I get from JFR Henna. I've tried store brands...no comparison!! Thank you for a wonderful product and fantastic service!" -- Emily Connor, LA

"My new hairstylist is in awe of my "natural" strawberry blonde hair. I told her I use JFR Strawberry Blonde henna and she was shocked! A stranger commented today, 'My hair used to be that color but it faded as I got older.' I told her, 'So did mine, until I found JFR Henna!!!'" -- Rebecca Comier, NE

"I've been using your henna for 9 years. Almost every day, someone admires my hair color. This is the first henna product that has given me back my original color. I use Champagne mixed with a little Strawberry. It is a great product! Thank you for making it available to redheads everywhere!" -- Linda Cahan, NY

"I can honestly say JFR is the best product I have ever used that matches perfectly with my auburn hair. I have since switched makeup to JFR and it's like I'm a new woman. Thanks for making a great product for us auburn girls. I love being a redhead and I love using a product that enhances my natural color and skin tone." -- Frances Spear, IL

"I am so glad a girlfriend talked me into trying JFR Henna. My hair has such a wonderful, healthy glow!" -- Mary Ernst, TX

"Even though my hairdresser didn't like me trying JFR Henna, I did and the results are simply amazing. My hair looks and feels like it did when I was young, and I get so many wonderful compliments." -- Cindi Mayfield, CT

Redhead Henna Hair Coloring | Henna Hair Just for Redheads ...

Astronomy Store | Telescopes, Solar & Stargazing Scopes

Posted on September 29, 2015 by Danzig

The OpticsPlanet Astronomy Store is where you'll find great deals on astronomical products allowing the avid star-gazer to observe the galaxies above! Featuring a huge inventory of telescopes, astronomy binoculars and spotting scopes from world renowned brands like Celestron, Meade, Vixen Optics, Bushnell, TeleVue and many other top manufacturers. OpticsPlanet also has solarscopes for those who want to safely view the brilliant rays of the sun! Various astronomy accessories, including telescope eyepieces, filters, astronomical software, tripods and tripod accessories are also readily available to enhance your star-gazing experience!

Some of the superb astronomy products for sale online at Optics Planet include Meade telescopes, Oberwerk binoculars, Celestron binoculars, Celestron Telescopes and Galileo binoculars. If you have any questions regarding any of our astronomy telescopes, astronomy tools, or any particular astronomy product, please do not hesitate to contact us! If you have any questions and need some great astronomy information, please feel free to contact our product specialists! They will be able to guide you in the proper direction and help you figure out what particular astronomy products will be the most beneficial for your particular situation. Our product experts have decades of experience with astronomy equipment and with the varying astronomy technology that may have changed since the last time you picked up a telescope.

Our astronomy store is here to assist you in finding the best quality astronomy equipment online, at the best price! From telescope accessories, mounts and eyepieces, we have the best and broadest selection of astronomy products on the net! Optics Planet offers free ground shipping on most products in our astronomy store!

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Astronomy Store | Telescopes, Solar & Stargazing Scopes

Strong Agnosticism vs. Weak Agnosticism: Different …

Posted on September 29, 2015 by ev1

Agnosticism may simply be the state of not knowing whether any gods exist or not, but people can take this position for different reasons and apply it in different ways. These differences then create variations in the ways in which one can be an agnostic. It is thus possible to separate agnostics in two groups, labeled strong agnosticism and weak agnosticism as analogs to strong atheism and weak atheism.

If someone is a weak agnostic, they state only that they do not know if any gods exist or not. The possibility of some theoretical god or some specific god existing is not excluded. The possibility of someone else knowing for sure if some god exists or not is also not excluded. This is a very simple and general position and it is what people often think of when they think of agnosticism.

Strong agnosticism goes just a bit further. If someone is a strong agnostic, they dont merely claim that they dont know if any gods exist; instead, they also claim that no one can or does know if any gods exist. Whereas weak agnosticism is a position that only describes the state of knowledge of one person, strong agnosticism makes a statement about knowledge and reality themselves.

For reasons that are probably obvious, weak agnosticism is the easier of the two to defend. In the first place, if you claim that you dont know if any gods exist, others should accept that as true unless they have very good reasons to doubt you but that is rather trivial.

More important is the agnostic premise that one shouldnt make knowledge claims in the absence of clear and convincing evidence but that, too, can be relatively straightforward so long as the distinction between knowledge and belief is maintained.

Because the claim of strong agnosticism goes beyond the individual speaker, it is a bit more difficult to support. Strong agnostics may often point out that there simply isnt any good evidence or arguments which can allow for a person to assert that they know that a god exists and, in fact, the evidence for any one god is no better or worse than the evidence for any other god. Therefore, it is argued, the only responsible thing to do is to suspend judgment altogether.

While this is a reasonable position, it doesnt quite justify the claim that knowledge of gods is impossible. Thus, the next step that a strong agnostic needs to take is to define just what is meant by gods; if it can be argued that it is logically or physically impossible for humans to have knowledge of any being with the assigned attributes, then strong agnosticism may be justified.

Unfortunately, this process effectively narrows the field of what does and does not qualify as a god to something much smaller than what humans have actually believed in. This, then, can result in Straw Man fallacy because not everyone believes in god as the strong agnostics define the concept (a problem shared with strong atheists, actually).

One interesting criticism of this strong agnosticism is that for a person to adopt the position that knowledge of gods is impossible, they essentially concede that they know something about gods not to mention the nature of reality itself. This, then, would suggest that strong agnosticism is self-refuting and untenable.

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Atheism, Agnosticism, and the New Atheists – Reasons for God

Posted on September 29, 2015 by ev1

Richard Dawkins has famously quipped, We are all atheists about most of the gods that societies have ever believed in. Some of us just go one god further.

But what happens when we go one god further?

This series of posts examines the profound philosophical and practical challenges that atheism faces.

Throughout, my strong desire is to communicate a high level of respect for atheists and agnostics. The conversation between people of different perspectives should always be done with as much kindness and appreciation for one another as possible.

At the same time, I attempt an honest and searching examination at the ideas and arguments behind atheism (the worldview). To get us started, Ive provided a careful definition of atheism.

Most of these writings contrast a naturalistic picture of the world, where everything is composed of matter, energy, and space-time, with a theistic perspective, which includes everything in the naturalistic picture, but adds in the idea of a loving God who created the universe and graced it with beauty, order, and love.

I hope you enjoy them. To continue the conversation, please join the Reasons for God Facebook Page or use our Contact Form. For a more in-depth look at these topics, we have a number of book recommendations as well.

One of the most notable and repeated ways that atheist leaders such as Richard Dawkins and Christopher Hitchens have attacked religion is by attacking religious people. Quotes abound, but here are a few particularly juicy ones. No matter what you think of the content, you have to admire the punchy, clever style of their

There is a tension within atheism (Please notice how I define atheism): 1. On a personal level, many if not most atheists are generally hopeful people. 2. On a philosophical level, atheism as a worldview cannot sustain hope. Together, these two ideas lead to the conclusion that: 3. Atheists who choose to be hopeful are making a

One of the important qualities that religious dialogue often lacks is respect. We need to be deliberate in considering the strengths of the positions with which we disagree. I have noticed that looking for the good points of different worldviews is often correlated with the ability to respect the people who believe differently than

Many atheists, dedicated to doing what is good, are offended by arguments that the atheistic worldview has problems with morality. It is frustrating for an atheist who genuinely loves doing kind actions to be told that, philosophically speaking, their lifestyle doesnt fit with their worldview. After all, for that person, it does fit

It seems the atheistic universe has no room for purpose. (Please notice how I define atheism). Its important to remember that I cheerfully acknowledge that many atheists take themselves to be living purposeful lives. (Not that the consistent atheist, who finds no purpose to their life, is likely to object! What would be the

In a desire to foster a great respect and appreciation between atheists and Christians, and for other religious people, I want to celebrate the high esteem that we often share for science: for the scientific method, for scientific experiments, for scientists, for scientific results, and so on. To begin, many atheists have made

Let's look at the relationship between atheism and selfishness. Lets be clear: I am not discussing atheists and accusing them of selfishness. Many of my secular friends are generous, kind, hospitable, friendly folks. I dont think, in general, that they view the world strictly through the prism of evolutionary logic. But what I do

Many (but not all) atheists argue for and accept that free will in an illusion. Why? Because this conclusion follows logically from the basic principles of atheism. I want to clarify why all atheists should deny the existence of free will or, by contrast, why all who believe that they have free will should reject atheism. (See also

As I have argued earlier, atheism leads to determinism. (Please notice how I define atheism). The most important reason that atheism leads to determinism is that atheism requires that everything be subject to naturalistic, scientific explanation. From an atheistic perspective, there can be no thing, event, or action which cannot be given

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Four Scenarios for 2030 | World Future Society

Posted on September 28, 2015 by Danzig

Global Trends 2030: Alternative Worlds

Author(s): National Intelligence Council

Publisher: CreateSpace Independent Publishing Platform (2012)

Binding: Paperback, 166 pages

List Price: $10.99

Read Global Trends 2030 online at http://www.dni.gov/nic/globaltrends.

How will individual empowerment, diffusion of power, aging populations, mass urbanization, food and water scarcity, and accelerating change shape the world of 2030?

The National Intelligence Councils new report, Global Trends 2030: Alternative Worlds, explores these megatrends and shapes them into four very different scenarios for the world 17 years from today.

This succinct report is an analysis of core trends and potential game changers, including:

Most World Future Society members and practicing futurists have been studying and speaking on these trends for years, but breathless media coverage of this report suggests that these trends are still entering the intellectual bloodstream. And, if the delusional political discourse surrounding Americas recent elections is any indication, Americas political class may find this report jarring. Reality intrudes.

Policy makers and corporate leaders should closely study the four scenarios outlined in the NICs report. Each scenario creates valuable memories of the future that help leaders as they grapple with the long-term implications of todays decisions.

1. The Stalled Engines scenario is a worst-case scenario in which the Pacific Rim is engulfed in nationalistic brinkmanship and conflict, global growth slows, the EU disintegrates, the United States turns inward, and globalization unravels.

2. In the best-case Fusion scenario, an interconnected East and West work together to address the globes major challenges, innovation blossoms, and most players prosper.

3. In the Gini out of the Bottle scenario, gaping extremes define the global stage and within countries, as the best positioned reap all the benefits of the new world order.

4. And finally, there is the Non-State scenario, in which cities, NGOs, global elites, terror groups, and multinationals drive global change and chaos.

These four scenarios should provide decision makers plenty of food for thought. Although not hewing to the classic double uncertainty matrix as developed by the Global Business Network, these four scenarios are sure to be studied by practicing futurists and students of strategic foresight.

Yet, below the surface of the report lay significant tensions and large, open questions with very different outcomes dependent on their resolution. Four critical tensions emerge that deserve much wider discussion: (1) organizational; (2) East and West, North and South; (3) scarcity and abundance; and (4) technology and jobs.

Organizational tensions. Its Non-State scenario clearly demonstrates the NICs challenge with the unit of analysis in this study. Is the unit of analysis the traditional nationstate, invented in Europe and responsible for so much progress and pain in the nineteenth and twentieth centuries? Is the unit of analysis the global hub cities housing most of what Richard Florida calls the creative class and responsible for most innovation and a large amount of the worlds economic output? Is the unit of measure human networks like NGOs, movements, and multinationals? Or is the unit of measure, as suggested by Russian contributors to this study, civilizations? Which one of these will be the driving force in the twenty-first century and the correct unit of analysis for this study today?

The answer appears less than clear. The authors of the NIC report clearly struggled with this issue. The easiest, most intellectually comfortable unit of analysis is the nationstate, but I am skeptical. We now have a global elite living in an interconnected, global network of hub cities for which the nationstate is an anachronism. And, with technology empowering the individual, the battle for the twenty-first century could just be the battle of the self-organizing swarm against the command and control pyramidthe cover story for a piece I recently wrote for the MENSA Bulletin. Think Wikipedia, Wikileaks, Anonymous, and Christian house churches in China. So, which is it? Which one of these is the primary right unit of analysis, the engine of change? This is the first tension.

East and West, North and South tensions. Assuming present trends continue, economic power will continue to shift eastward and southward. The NIC report features several graphs plotting the relative decline of U.S. and European economic power as the BRICs (Brazil, Russia, India, and China) and the Next Eleven (South Korea, Vietnam, Indonesia, Turkey, Bangladesh, Pakistan, Egypt, Iran, Mexico, the Philippines, and Nigeria) catch up and urbanize. But how will the West and the United States adjust to this tectonic change? How will our global institutions, built at the end of World War II by the victorious Americans, adapt to this new, multipolar world? The NICs report generally looks at this issue with an American orientation to the world. Will America return to its traditional, domestic, and North American focus, or will it retain a global focus, acting as a kind of first among equals?

Scarcity and abundance tensions. A significant focus of the NICs report is on future scarcity of water, food, and energy. Extrapolating future needs in these areas with significant technological progress presents a dark, dystopian future. But, if anything, technological progress appears to be accelerating. Will technological progress in genetically modified seeds, water filtration and conservation, hydraulic fracturing, and solar energy meet or exceed these needs? I am a technological optimist and believe they will. Malthus was proved wrong. Our species is impressively inventive and adaptive. We have a habit of innovating ourselves out of the box we find ourselves in. And yet only a fool would downplay the extreme needs of the future, especially water.

Technology and jobs tensions. So-called technological unemployment as anticipated in books like Race Against the Machine (by Eric Brynjolfsson and Andrew McAfee, Digital Frontier Press, 2011) is only hinted at in the NICs report. The facts are that (1) algorithms will automate away many process-heavy white-collar jobs (potentially including many medical professionals involved in diagnosis) and (2) robotics will automate away most manufacturing jobs.

The creative class, highly skilled technology workers, and the intellectually agile will still thrive in this world, but what are the prospects for the others? If technological progress and change are accelerating, technological unemployment may knock many workers off the treadmill at the exact time that they should be picking up the pace. Could technological unemployment and the accelerating rate of change slow the rise of the global middle class and lead to a highly polarized global society based on intellect and creativity? Or will the creative destruction from software and robots be followed quickly by wholly new industries? The key question is if and how the displaced can retrain in an accelerating environment requiring higher levels of cognition and creativity. New categories of employment will be created, but will the displaced have the skills to step in? My sense is that technological unemployment will set off a revolution in learning, skill training and certification, and cognition enhancementnot an arms race, but a brains race.

How these four tensions will resolve themselves is difficult to say, but the answers will certainly define 2030.

Robert Moran is a partner in the Brunswick Group and leads the firms insights practice in the Americas. He frequently writes on trends in commerce, communications, and market research.

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Four Scenarios for 2030 | World Future Society

History of Art: Art of the 20th Century – Futurism,Jack of …

Posted on September 28, 2015 by Danzig

Futurism

In contrast with other early 20th-century avant-garde movements, the distinctive feature of Futurism was its intention to become involved in all aspects of modem life. Its aim was to effect a systematic change in society and, true to the movement's name, lead it towards new departures into the "future". Futurism was a direction rather than a style. Its encouragement of eccentric behaviour often prompted impetuous and sometimes violent attempts to stage imaginative situations in the hope of provoking reactions. The movement tried to liberate its adherents from the shackles of 19th-century' bourgeois conventionality and urged them to cross the boundaries of traditional artistic genres in order to claim a far more complete freedom of expression. Through a barrage of manifestos that dealt not only with various aspects of art, such as painting, sculpture, music, architecture, and design, but with society in general, the Futurists proclaimed the cult of modernity and the advent of a new form of artistic expression, and put an end to the art of the past. The entire classical tradition, especially that of Italy, was a prime target for attack, while the worlds of technology, mechanization, and speed were embraced as expressions of beauty and subjects worthy of the artist's interest.

Futurism, which started out as a literary movement, had its first manifesto (signed by Filippo Tommaso Marinetti) published in Le Figaro in 1909. It soon attracted a group of young Italian artists - Umberto Boccioni, Giacomo Balla (1871-1958), Carlo Carra (1881-1966), Luigi Russolo (1885-1947), and Gino Severini (1883-1966) - who collaborated in writing the "Technical Manifesto of Futurist Painting" and the "Manifesto of the Futurist Painters", both of which were published in 1910.

Despite being the sole Italian avant-garde movement. Futurism first came to light in Paris where the cosmopolitan atmosphere was ready to receive and promote it. Its development coincided with that of Cubism, and the similarities and differences in the philosophies of the two movements have often been discussed. Without doubt they shared a common cause in making a definitive break with the traditional, objective methods of representation. However, the static quality of Cubism is evident when compared with the dynamism of the Futurists, as are the monochrome or subdued colours of the former in contrast to the vibrant use of colour by the latter. The Cubists' rational form of experimentation, and intellectual approach to the artistic process, also contrasts with the Futurists' vociferous and emotive exhortations for the mutual involvement of art and life, with expressions of total art and provocative demonstrations in public. Cubists held an interest in the objective value of form, while Futurists relied on images and the strength of perception and memory in their particularly dynamic paintings. The Futurists believed that physical objects had a kind of personality and vitality of their own. revealed by "force-lines" - Boccioni referred to this as "physical transcendentalism". These characteristic lines helped to inform the psychology and emotions of the observer and influenced surrounding objects "not by reflections of light, but by a real concurrence of lines and real conflicts of planes" (catalogue for the Bernheim-Jeune exhibition, 1911). In this way, the painting could interact with the observer who, for the first time, would be looking "at the centre of the picture" rather than simply viewing the picture from the front. This method of looking at objects that was based on their inherent movement - and thereby capturing the vital moment of a phenomenon within its process of continual change - was partly influenced by a fascination with new technology and mechanization. Of equal importance, however, was the visual potential of the new-found but flourishing art of cinematography. Futurists felt strongly that pictorial sensations should be shouted, not murmured. This belief was reflected in their use of very flamboyant, dynamic colours, based on the model of Neo-Impressionist theories of the fragmentation of light. A favourite subject among Futurist artists was the feverish life of the metropolis: the crowds of people, the vibrant nocturnal life of the stations and dockyards, and the violent scenes of mass movement and emotion that tended to erupt suddenly. Some Futurists, such as Balla, chose themes with social connotations, following the anarchic Symbolist tradition of northern Italy and the humanitarian populism of Giovanni Cena.

The first period of Futurism was an analytical phase, involving the analysis of dynamics, the fragmentation of objects into complementary shades of colour, and the juxtaposition of winding, serpentine lines and perpendicular straight lines. Milan was the centre of Futurist activity, which was led by Boccioni and supported by Carra and Russolo. These three artists visited Paris together in 1911 as guests of Severini, who had settled there in 1906. During their stay, they formulated a new artistic-language, which culminated in works dealing with the "expansion of objects in space" and "states of mind" paintings. A second period, when the Futurists adopted a Cubistic idiom, was known as the synthetic phase, and lasted from 1913 to 1916.

At this time, Boccioni took up sculpture, developing his idea of "sculpture of the environment" which heralded the "spatial" sculpture of Moore, Archipenko, and the Constructivists. In Rome, Balla and Fortunato Depero (1892-1960) created "plastic complexes", constructions of dynamic, basic silhouettes in harsh, solid colours. The outbreak of World War I prompted many Futurist artists to enlist as volunteers. This willingness to serve was influenced by the movement's doctrine, which maintained that war was the world's most effective form of cleansing. Both Boccioni and the architect Antonio Sant'Elia, who had designed an imaginary Futurist city, were killed in the war and the movement was brought to a sudden end.

During the 1920s, some Futurists attempted to revive the movement and align it with other European avant-garde movements, under the label of "Mechanical Art". Its manifesto, published in 1922. showed much in common with Purism and Constructivism. Futurism also became associated with "aeropainting" a technique developed in 1929 by Balla, Benedetta, Dottori, Fillia, and other artists. This painting style served as an expression of a desire for the freedom of the imagination and of fantasy.

Futurism

(Encyclopaedia Britannica)

Italian Futurismo, Russian Futurizm, early 20th-century artistic movement that centred in Italy and emphasized the dynamism, speed, energy, and power of the machine and the vitality, change, and restlessness of modern life in general. The most significant results of the movement were in the visual arts and poetry.

Futurism was first announced on Feb.20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti (q.v.). The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Marinetti's manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended toinspire public anger and amazement, to arouse controversy, and to attract widespread attention. Painting and sculpture

With the support of Marinetti, the painters Umberto Boccioni, Carlo Carr, Luigi Russolo, Giacomo Balla, and Gino Severini published several manifestos on painting in 1910. Like Marinetti, they glorified originality for its own sake and despised inherited traditions of art. Although they were not as yet working in what was to become the Futurist style, theybegan to emphasize an emotional involvement in the dynamics of modern life, and toward this end they called for rendering the perception of movement and communicating to the viewer the sensations of speed and change. To achieve this, the Futurist painters adopted the Cubist technique of depicting several sides and views of an object simultaneously by means of fragmented and interpenetrating plane surfaces and outlines. But the Futurists additionally sought to portray the object's movement in space, and they tried to achieve this goal by rhythmic spatial repetitions of the object's outlines during its transit, producing an effect akin to that obtained by making multiple and sequential photographic exposures of a moving object. The Futurist paintings differed from Cubist ones in other important ways. While the Cubists favoured still life and portraiture, the Futurists preferred such subjects as speeding automobiles and trains, racing cyclists, dancers, animals, and urban crowds in movement. The resulting paintings had brighter and more vibrant colours than Cubist works and revealed dynamic, agitated compositions in which rhythmically swirling forms reached crescendos of violent movement.

Boccioni also became interested in sculpture, publishing a manifesto on the subject in the spring of 1912. Soon afterward, he began working in this medium, creating the highly original Development of a Bottle in Space (1912) and Unique Forms of Continuity in Space (1913). Antonio Sant'Elia formulated a Futurist manifesto on architecture in 1914. His visionary drawings of highly mechanized cities and boldly modern skyscrapers of the future prefigure some of the most imaginative 20th-century architectural planning. Sant'Elia was killed in action in 1916 during World War I.

Boccioni, who had been the most talented artist in the group, also died during military service in 1916. This event, combined with dilution of the group's daring as a result of expansion of its personnel and the coming of war, brought an end to the Futurist movement as an important historical force in the visual arts.

Literature

After his initial broad manifesto of 1909, Marinetti wrote or had a hand in creating a whole series of manifestos dealing with poetry, the theatre, architecture, and other arts. He founded the journal Poesia at Paris in 1905, and he later founded a press with the same name to publish Futurist works. On proselytizing visits to England, France, Germany, and Russia, Marinetti influenced the work of the English founder of Vorticism, Wyndham Lewis, and the French poet Guillaume Apollinaire.

In Russia the Marinetti visit took root in a kind of Russian Futurism that went beyond its Italian model in a revolutionary social and political outlook. Marinetti influenced the two Russian writers considered the founders of Russian Futurism, Velimir Khlebnikov (q.v.), who remained a poet and a mystic, and the younger Vladimir Mayakovsky (q.v.), who became the poet of the Revolution and the popular spokesman of his generation. The Russians published their own manifesto in December 1912, entitled Poshchochina obshchestvennomu vkusu (A Slap in the Face of Public Taste), which echoed the Italian manifesto of the previous May. The Russian Futurists repudiated Aleksandr Pushkin, Fyodor Dostoyevsky, and Leo Tolstoy and the then-current Russian symbolist verse and called for the creation of new techniques of writing poetry. Both the Russian and the Italian Futurist poets discarded logical sentence construction and traditional grammar and syntax; they frequently presented an incoherent string of words stripped of their meaning and used for their sound alone. As the first group of artists to identify wholeheartedly with the Bolshevik Revolution of 1917, the Russian Futurists sought to dominate post-Revolutionary culture and create a new art that would be integrated into all aspects of daily life of a revolutionary culture. They were favoured by Anatoly Lunacharsky, the first Soviet commissar of education, and given important cultural posts. But the Russian Futurists' challenging literary techniques and their theoretical premises of revolt and innovation proved too unstable a foundation upon which to build a broader literary movement. The Futurists' influence was negligible by the time of Mayakovsky's death in 1930.

Luigi Russolo (1885-1947)

Luigi Russolo Music

(b Portogruaro, Venice, 7 May 1885; d Cerro di Laveno, Lake Maggiore, 4 Feb 1947).

Italian painter, printmaker, writer and composer. The fourth of five children, he was trained in music by his father, who was a clockmaker and organist. In 1901 he went to Milan to join his family, who had moved there so that his two brothers, Giovanni and Antonio, could study music at the conservatory. Diverging from his fathers inclinations, Luigi was attracted towards other forms of art, especially painting. Though not actually enrolled at the Accademia di Brera, through new friends he indirectly followed the ideas taught there. In the same period he worked for the restorer Crivelli in Milan, serving his apprenticeship working on the interior decorations of the Castello Sforzesco and on Leonardos Last Supper in the refectory of S Maria delle Grazie. In December 1909 he took part in the exhibition Bianco e nero at the Famiglia Artistica in Milan, contributing a series of etchings, made during the preceding year, which show a definite leaning towards Symbolist forms and images. The undulating quality of the line in such etchings as his portrait of Nietzsche (c. 1909; Milan, Gal. A. Mod.), which seems to translate a musical rhythm into visual form through a strong, enveloping sign, remained a distinctive and individual feature of Russolos work and poetics, especially in his Futurist work.

Luigi Russolo Revolt 1911

Luigi Russolo Dinamismo di un treno 1912

Umberto Boccioni, Carlo Carr, Luigi Russolo, Giacomo Balla, Gino Severini

TO THE YOUNG ARTISTS OF ITALY!

The cry of rebellion which we utter associates our ideals with those of the Futurist poets. These ideals were not invented by some aesthetic clique. They are an expression of a violent desire which boils in the veins of every creative artist today.

We will fight with all our might the fanatical, senseless and snobbish religion of the past, a religion encouraged by the vicious existence of museums. We rebel against that spineless worshipping of old canvases, old statues and old bric-a-brac, against everything which is filthy and worm-ridden and corroded by time. We consider the habitual contempt for everything which is young, new and burning with life to be unjust and even criminal.

Comrades, we tell you now that the triumphant progress of science makes profound changes in humanity inevitable, changes which are hacking an abyss between those docile slaves of past tradition and us free moderns, who are confident in the radiant splendor of our future.

We are sickened by the foul laziness of artists, who, ever since the sixteenth century, have endlessly exploited the glories of the ancient Romans.

In the eyes of other countries, Italy is still a land of the dead, a vast Pompeii, whit with sepulchres. But Italy is being reborn. Its political resurgence will be followed by a cultural resurgence. In the land inhabited by the illiterate peasant, schools will be set up; in the land where doing nothing in the sun was the only available profession, millions of machines are already roaring; in the land where traditional aesthetics reigned supreme, new flights of artistic inspiration are emerging and dazzling the world with their brilliance.

Living art draws its life from the surrounding environment. Our forebears drew their artistic inspiration from a religious atmosphere which fed their souls; in the same way we must breathe in the tangible miracles of contemporary lifethe iron network of speedy communications which envelops the earth, the transatlantic liners, the dreadnoughts, those marvelous flights which furrow our skies, the profound courage of our submarine navigators and the spasmodic struggle to conquer the unknown. How can we remain insensible to the frenetic life of our great cities and to the exciting new psychology of night-life; the feverish figures of the bon viveur, the cocette, the apache and the absinthe drinker?

We will also play our part in this crucial revival of aesthetic expression: we will declare war on all artists and all institutions which insist on hiding behind a faade of false modernity, while they are actually ensnared by tradition, academicism and, above all, a nauseating cerebral laziness.

We condemn as insulting to youth the acclamations of a revolting rabble for the sickening reflowering of a pathetic kind of classicism in Rome; the neurasthenic cultivation of hermaphodic archaism which they rave about in Florence; the pedestrian, half-blind handiwork of 48 which they are buying in Milan; the work of pensioned-off government clerks which they think the world of in Turin; the hotchpotch of encrusted rubbish of a group of fossilized alchemists which they are worshipping in Venice. We are going to rise up against all superficiality and banalityall the slovenly and facile commercialism which makes the work of most of our highly respected artists throughout Italy worthy of our deepest contempt.

Away then with hired restorers of antiquated incrustations. Away with affected archaeologists with their chronic necrophilia! Down with the critics, those complacent pimps! Down with gouty academics and drunken, ignorant professors!

Ask these priests of a veritable religious cult, these guardians of old aesthetic laws, where we can go and see the works of Giovanni Segantini today. Ask them why the officials of the Commission have never heard of the existence of Gaetano Previati. Ask them where they can see Medardo Rossos sculpture, or who takes the slightest interest in artists who have not yet had twenty years of struggle and suffering behind them, but are still producing works destined to honor their fatherland?

These paid critics have other interests to defend. Exhibitions, competitions, superficial and never disinterested criticism, condemn Italian art to the ignominy of true prostitution.

And what about our esteemed specialists? Throw them all out. Finish them off! The Portraitists, the Genre Painters, the Lake Painters, the Mountain Painters. We have put up with enough from these impotent painters of country holidays.

Down with all marble-chippers who are cluttering up our squares and profaning our cemeteries! Down with the speculators and their reinforced-concrete buildings! Down with laborious decorators, phony ceramicists, sold-out poster painters and shoddy, idiodic illustrators!

These are our final conclusions:

With our enthusiastic adherence to Futurism, we will:

1.Destroy the cult of the past, the obsession with the ancients, pedantry and academic formalism.

2. Totally invalidate all kinds of imitation.

3. Elevate all attempts at originality, however daring, however violent.

4. Bear bravely and proudly the smear of madness with which they try to gag all innovators.

5. Regard art critics as useless and dangerous.

6. Rebel against the tyranny of words: Harmony and good taste and other loose expressions which can be used to destroy the works of Rembrandt, Goya, Rodin...

7. Sweep the whole field of art clean of all themes and subjects which have been used in the past.

8. Support and glory in our day-to-day world, a world which is going to be continually and splendidly transformed by victorious Science.

The dead shall be buried in the earths deepest bowels! The threshold of the future will be swept free of mummies! Make room for youth, for violence, for daring!

FUTURIST SCULPTURE

Umberto Boccioni published his "Technical Manifesto of Futurist Sculpture" in 1912, despite having completed only two sculptural works at the time. He had developed his new theories after coming into contact with Duchamp-Villon, Archipenko, Brancusi, and Picasso while in Paris. Boccioni's ambition was to make sculpture capable of expressing the dynamic structures of modern society. To this end, he aimed to capture the totality of reality, including psychological and emotional dimensions, and all its varied facets in their continual condition of change. The resultant work would be "sculpture of environment", in which he could "fling open the figure and let it incorporate within itself whatever may surround it".

The Cubists had already tried a fresh approach to reality, interrupting the continuity of line and breaking up the rhythm of forms according to analytical and geometric conceptions. However, they did not alter the static perception of reality. Futurists aimed to convey all the changes that an object undergoes during movement. After demonstrating the sculptural motion of an everyday object in his famous "bottles" series (Development of a Bottle in Space, 1912), Boccioni tackled the theme of movement in the human body, constructing aerodynamic, compressed compositions with a succession of concave and convex shapes. By stretching and distorting his figures, he created "syntheses" of "internal plastic infinity" and "external plastic infinity", as seen in his Unique Forms of Continuity in Space (1913). The most conclusive work of Boccioni's sculptural experimentation was his inspired composition Horse + rider + buildings (1913-14). The materials chosen for this work, including wood, tin. copper, and cardboard, represented the need to progress from traditional sculpture made in a single material to the use of a multiplicity of colours and materials. Picasso's assemblage of various materials for his sculptures in 1911 and 1912 had already started to change the course of plastic art in Europe. The Horse (1914) by Duchamp-Villon showed a remarkable affinity with Boccioni's work, which was also discernible in Lipchitz's solid three-dimensional structures, and in Constructivist works.

I. Avant-garde sculpture (190920)

(Encyclopaedia Britannica)

In the second decade of the 20th century the tradition of body rendering extending from the Renaissance to Rodin was shattered, and the Cubists, Brancusi, and the Constructivists emerged as the most influential forces. Cubism, with its compositions of imagined rather than observed forms and relationships, had a similarly marked influence.

One of the first examples of the revolutionary sculpture is Picasso's Woman's Head (1909). The sculptor no longer relied upon traditional methods of sculpture or upon his sensory experience of the body; what was given to his outward senses of sight and touch was dominated by strong conceptualizing. The changed and forceful appearance of the head derives from the use of angular planar volumes joined in a new syntax independent of anatomy. In contrast to traditional portraiture, the eyes and mouth are less expressive than the forehead, cheeks, nose, and hair. Matisse's head of Jeanette (191011) also partakes of a personal reproportioning that gives a new vitality to the lessmobile areas of the face. Likewise influenced by the Cubists' manipulation of their subject matter, Alexander Archipenko in his Woman Combing Her Hair (1915) rendered the body by means of concavities rather than convexities and replaced the solid head by its silhouette within which there is only space.

Brancusi also abandoned Rodin's rhetoric and reduced the body to its mystical inner core. His Kiss (1908), with its twoblocklike figures joined in symbolic embrace, has a concentration of expression comparable to that of primitive art but lacking its spiritualistic power. In this and subsequentworks Brancusi favoured hard materials and surfaces as wellas self-enclosed volumes that often impart an introverted character to his subjects. His bronze Bird in Space became a cause clbre in the 1920s when U.S. customs refused to admit it duty free as a work of art.

Raymond Duchamp-Villon began as a follower of Rodin, but his portrait head Baudelaire (1911) contrasts with that by his predecessor in its more radical departure from the flesh; the somewhat squared-off head is molded by clear, hard volumes. His famous Horse (1914), a coiled, vaguely mechanical form bearing little resemblance to the animal itself, suggests metaphorically the horsepower of locomotive drive shafts and, by extension, the mechanization of modern life. Duchamp-Villon may have been influenced by Umberto Boccioni, one of the major figures in the Italian Futurist movement and a sculptor who epitomized the Futurist love of force and energy deriving from the machine. In Unique Forms of Continuity in Space and Head + House + Light (1911), he carried out his theories that the sculptor should model objects as they interact with their environment, thus revealing the dynamic essence of reality.

Jacques Lipchitz came to Cubism later than Archipenko and Duchamp-Villon, but after mastering its meaning he produced superior sculpture. In 1913, after several years of conservative training, he made a number of small bronzes experimenting with the compass curve and angular planes. They reveal an understanding of the Cubist reconstitution of the bodies in an impersonal quasi-geometric armature over which the artist exercised complete autonomy. Continuing towork in this fashion, he produced Man with a Guitar, and Standing Figure (1915), in which voids are introduced, while in the early 1920s he developed freer forms more consistently based on curves.

Lehmbruck's mature style emerged in the Kneeling Woman(1911) and Standing Youth (1913), in which his gothicized, elongated bodies with their angular posturings and appearance of growing from the earth give expression to his notions of modern heroism. In contrast to this spiritualized view is his The Fallen (191516), intended as a compassionate memorial for friends lost in the war.

Constructivism and Dada

Between 1912 and 1914 there emerged anantisculptural movement, called Constructivism, that attacked the false seriousness and hollow moral ideals of academic art. The movement began with the relief fabrications of Vladimir Tatlin in 1913. The Constructivists and their sympathizers preferred industrially manufactured materials, such as plastics, glass, iron, and steel, to marble and bronze. Their sculptures were not formed by carving, modelling, and casting but by twisting, cutting, welding, or literally constructing: thus the name Constructivism.

Unlike traditional figural representation, the Constructivists' sculpture denied mass as a plastic element and volume as an expression of space; for these principles they substitutedgeometry and mechanics. In the machine, where the Futurists saw violence, the Constructivists saw beauty. Like their sculptures, it was something invented; it could be elegant, light, or complex, and it demanded the ultimate in precision and calculation.

Seeking to express pure reality, with the veneer of accidental appearance stripped away, the Constructivists fabricated objects totally devoid of sentiment or literary association; Naum Gabo's work frequently resembled mathematical models, and several Constructivist sculptures,such as those by Kazimir Malevich and Georges Vantongerloo, have the appearance of architectural models. The Constructivists created, in effect, sculptural metaphors for the new world of science, industry, and production; their aesthetic principles are reflected in much of the furniture, architecture, and typography of the Bauhaus.

A second important offshoot of the Cubist collage was the fantastic object or Dadaist assemblage. The Dadaist movement, while sharing Constructivism's iconoclastic vigour, opposed its insistence upon rationality. Dadaist assemblages were, as the name suggests, assembled from materials lying about in the studio, such as wood, cardboard, nails, wire, and paper; examples are Kurt Schwitters' Rubbish Construction (1921) and Marcel Duchamp's Disturbed Balance (1918). This art generally exalted the accidental, the spontaneous, and the impulsive, giving free play to associations. Its paroxysmal and negativist tenor led its subscribers into other directions, but Dadaism formed the basis of the imaginative sculpture thatemerged in the later 1920s.

Conservative reaction (1920s)

In the 1920s modern art underwent a reaction comparable to the changes experienced by society as a whole. In the postwar search for security, permanence, and order, the earlier insurgent art seemed to many to be antithetical to these ends, and certain avant-garde artists radically changed their art and thought. Lipchitz' portraits of Gertrude Stein (1920) and Berthe Lipchitz (1922) return volume and features to the head but not an intimacy of contact with the viewer. Tatlin and Alexander Rodchenko broke with the Constructivists around 1920. Jacob Epstein developed some of his finest naturalistic portraiture in this decade. Rudolph Belling abandoned the mechanization that had characterized his Head (1925) in favour of musculature and individual identity in his statue of Max Schmeling of 1929. Matisse's reclining nudes and the Back series of 1929 show less violently worked surfaces and more massive and obvious structuring.

Aristide Maillol continued refining his relaxed and uncomplicated female forms with their untroubled, stolid surfaces. In Germany, Georg Kolbe's Standing Man and Woman of 1931 seems a prelude to the Nazi health cult, andthe serene but vacuous figures of Arno Breker, Karl Albiker, and Ernesto de Fiori were simply variations on a studio theme in praise of youth and body culture. In the United States adherents of the countermovement included William Zorach, Chaim Gross, Adolph Block, Paul Manship, and Wheeler Williams.

II. Sculpture of fantasy (192045)

One trend of Surrealist or Fantasist sculpture of the late 1920s and the 1930s consisted of compositions made up of found objects, such as Meret Oppenheim's Object, Fur Covered Cup (1936). As with Dadaist fabrications, the unfamiliar conjunction of familiar objects in these assemblies was dictated by impulse and irrationality and could be summarized by Isidore Ducasse's often-quoted statement, Beautiful . . . as the chance meeting on a dissecting table of a sewing machine with an umbrella.

Of greater artistic importance was the sculpture of a second group that included Alberto Giacometti, Jean Arp, Lipchitz, Henry Moore, Barbara Hepworth, Picasso, Julio Gonzlez, andAlexander Calder. Although these sculptors were sometimes in sympathy with Surrealist objectives, their aesthetic and intellectual concerns prohibited a more consistent attachment. Their art, derived from visions, hallucinations, reverie, and memory, might best be called the sculpture of fantasy. Giacometti's Palace at 4 A.M., for example, interprets the artist's vision not in terms of the external public world but in an enigmatic, private language. Moore's series of Forms suggest shapes in the process of forming under the influence of each other and the medium of space. The appeal of primitive and ancient ritual art to Moore, the element of surprise in children's toys for Calder, and the wellsprings of irrationality from which Arp and Giacometti drank were for these men the means by which wonder and the marvelous could be restored to sculpture. While their works are often violent transmutations of life, their objectives were peaceful, . . . to inject into the vain and bestial world and its retinue, the machines, something peaceful and vegetative. ([Jean] Hans Arp, On My Way, Documents of Modern Art, vol. 6, p. 123, George Wittenborn, Inc., New York, 1948.)

Other sculpture (192045)

The sculpture of Moore, Gaston Lachaise, and Henri Laurens during the 1920s and '30s included mature, ripe human bodies, erogenic images reminiscent of Hindu sculpture, appearing inflated with breath rather than supported by skeletal armatures. Lachaise's Montagne (193435) and Moore's reclining nudes of the '30s and '40s are identifications with earth, growth, vital rhythm, and silent power. Prior to Moore and the work of Archipenko, Boccioni, and Lipchitz, space had been a negative element in figure sculpture; in Moore's string sculptures and Lipchitz' transparencies of the 1920s, it became a prime element of design.

Lipchitz' figure style of the late 1920s and '30s is inseparable from his emerging optimistic humanism. His concern with subject matter began with the ecstatic Joy of Life (1927). Thereafter his seminal themes were of love and security and assertive passionate acts that throw off the inertia of his Cubist figures. In the Return of the Prodigal Son (1931), for example, strong, facetted curvilinear volumes weave a pattern of emotional and aesthetic accord between parent and child.

The American sculptor John B. Flannagan rendered animal forms as well as the human figure in a simple, almost naive style. His interest in what he called the profound subterranean urges of the human spirit in the whole dynamiclife process, birth, growth, decay and death (quoted in Carl Zigrosser, Catalog for the Exhibition of the Sculpture of John B. Flannagan, p. 8, The Museum of Modern Art, New York, 1942) resulted in Head of a Child (1935), New One (1935), Not Yet (1940), and The Triumph of the Egg (1941).

Somewhat more mystical are Brancusi's Beginning of the World (1924), Fish (192830), and The Seal (1936). As with Flannagan, the recurrent egg form in Brancusi's art symbolizes the mystery of life. Nature in motion is the subject of Alexander Calder's mobiles, such as Lobster Trapand Fish Tail (1939) and others suggesting the movement of leaves, trees, and snow. In the history of sculpture there is no more direct or poetic expression of nature's rhythm.

Developments after World War II

The modern artist is the counterpart in our time of the alchemist-philosopher who once toiled over furnaces, alembics and crucibles, ostensibly to make gold, but who consciously entered the most profound levels of being, philosophizing over the melting and mixing of various ingredients (Ibram Lassaw, quoted by Lawrence Campbell in Art News, p. 66, The Art Foundation Press, New York, March 1954). While work in the older mediums persisted, it was the welding, soldering, and cutting of metal that emerged after 1945 as an increasingly popular medium for sculpture. The technical and expressive potential of uncast metal sculpturewas carried far beyond the earlier work of Gonzlez and Picasso.

The appeal of metal is manifold. It is plentifully available from commercial supply houses; it is flexible and permanent; it allows the artist to work quickly; and it is relatively cheap compared to casting. Industrial metals also relate modern sculpture physically, aesthetically, and emotionally to its context in modern civilization. As the American sculptor David Smith has commented, Possibly steel is so beautiful because of all the movement associatedwith it, its strength and functions. Yet it is also brutal, the rapist, the murderer and death-dealing giants are also its offspring (quoted in Garola Giedion-Welcker, ContemporarySculpture, Documents of Modern Art, vol. 12, p. 123, George Wittenborn, Inc., New York, 1955).

The basic tool of the metal sculptor is the oxyacetylene torch, which achieves a maximum temperature of 6,500 F (3,600 C; the melting point of bronze is 2,000 F). The intensity and size of the flame can be varied by alternating torch tips. In the hands of a skilled artist the torch can cut or weld, harden or soften, colour and lighten or darken metal. Files, hammers, chisels, and jigs are also used in shaping themetal, worked either hot or cold. The sculptor may first construct a metal armature that he then proceeds to conceal or expose. He builds up his form with various metals and alloys, fusing or brazing them, and may expose parts or the whole to the chemical action of acids. This type of work requires constant control, and many sculptors work out and guard their own recipes.

Other sculptors such as Peter Agostini, George Spaventa, Peter Grippe, David Slivka, and Lipchitz, who were interested in bringing spontaneity, accident, and automatism into play, returned to the more labile media of wax and clay, with occasional cire-perdue casting, which permit a very direct projection of the artist's feelings. By the nature of the processes such work is usually on a small scale.

A number of artists brought new technique and content to theDadaist form of the assemblage. Among the most important was the American Joseph Cornell, who combined printed matter and three-dimensional objects in his intimately sealed, often enigmatic boxes.

Another modern phenomenon, seen particularly in Italy, France, and the United States, was the revival of relief sculpture and the execution of such works on a large scale, intended to stand alone rather than in conjunction with a building. Louise Nevelson, for example, typically employed boxes as container compartments in which she carefully disposed an assortment of forms and then painted them a uniform colour. In Europe the outstanding metal reliefs were those by Alberto Burri, Gio and Arnaldo Pomodoro, Csar, Zoltn Kemny, and Manuel Rivera.

Development of metal sculpture, particularly in the United States, led to fresh interpretations of the natural world. In the art of Richard Lippold and Ibram Lassaw, the search for essential structures took the form of qualitative analogies. Lippold's Full Moon (194950) and Sun (195356; commissioned by the Metropolitan Museum of Art, New York City, to hang in its room of Persian carpets) show an intuition of a basic regularity, precise order, and completeness that underlies the universe. Lassaw's comparable interest in astronomical phenomena inspired his Planets (1952) and The Clouds of Magellan (1953).

In contrast to the macrocosmic concern of these two artists were the interests of sculptors such as Raymond Jacobson, whose Structure (1955) derived from his study of honeycombs. Using three basic sizes, Jacobson constructed his sculpture of hollowed cubes emulating the modular, generally regular but slightly unpredictable formal quality ofthe honeycomb.

Isamu Noguchi's Night Land is one of the first pure landscapes in sculpture. David Smith's Hudson River Landscape (1951), Theodore J. Roszak's Recollections of the Southwest (1948), Louise Bourgeois's Night Garden (1953), and Leo Amino's Jungle (1950) are later examples.

In the 1960s a number of sculptors, particularly in the United States, began to experiment with using the natural world as a kind of medium rather than a subject. Among the more notable examples were the American Robert Smithson, who frequently employed earth-moving equipment to alter natural sites, and the Bulgarian-born Christo, whose wrappings of both natural and man-made structures in synthetic cloth generated considerable controversy. The name environmental sculpture has come to denote such works, together with other sculptures that constitute self-contained environments.

The human figure since World War II

Since figural sculpture moved away from straightforward imitation, the human form has been subjected to an enormous variety of interpretations. The thin, vertical, Etruscan idol-like figures developed by Giacometti showed his repugnance toward rounded and smooth body surfaces orstrong references to the flesh. His men and women do not exist in felicitous concert with others; each form is a secret sanctum, a maximum of being wrested from a minimum of material. Reg Butler's work (e.g., Woman Resting [1951]) and that of David Hare (Figure in a Window [1955]) treat the body in terms of skeletal outlines. Butler's figures partake of nonhuman qualities and embody fantasies of an unsentimental and aggressive character; the difficulties andtensions of existence are measured out in taut wire armatures and constricting malleable bronze surfaces. Kenneth Armitage and Lynn Chadwick, two other British sculptors, make the clothing a direct extension of the figure, part of a total gesture. In his Family Going for a Walk (1953), for example, Armitage creates a fanciful screenlike figure recalling wind-whipped clothing on a wash line. Both Chadwick and Armitage transfer the burden of expression from human limbs and faces to the broad planes of the bulk of the sculpture. Chadwick's sculptures are often illusive hybrids suggesting alternately impotent De Chirico-like figures or animated geological forms.

Luciano Minguzzi admired the amply proportioned feminine form. Minguzzi's women (e.g., Woman Jumping Rope [1954]) may exert themselves with a kind of playful abandon. Marini's women (e.g., Dancer [1949]) enjoy a stately passivity, their quiescent postures permitting a contrapuntal focus on the graceful transition from the slender extremities to the large, compact, voluminous torso, with small, rich surface textures.

The segmented torso, popular with Arp, Laurens, and Picasso earlier, continued to be reinterpreted by Alberto Viani, Bernard Heiliger, Karl Hartung, and Raoul Hague. The emphasis of these sculptors was upon more subtle, sensuous joinings that created self-enclosing surfaces. Viani's work, for example, does not glorify body culture or suggest macrocosmic affinities as does an ideally proportioned Phidian figure; his torsos are seen in a private way, as in his Nude (1951), with its large body and golf ball-sized breasts.

Among the most impressive figure sculptures made in the United States in the late 1950s were those by Seymour Lipton. Their large-scale, taut design and provocative interweaving of closed and open shapes restore qualities of mystery and the heroic to the human form.

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