A new Poudre School District (PSD) elementary school, located south of State Highway 392 near Highland Meadows in Windsor, will impact school boundaries in Timnath, starting in the fall of 2021.
Over the past several years, the continued population growth in Timnath, Windsor, Wellington and Fort Collins has created the need for additional schools within the district. PSD voters approved a $375 million bond and $8 million mill levy override in 2016 to fund two new combined middle school/high schools, a new elementary school, as well as build a district athletics complex, transportation maintenance facility, and an addition to Zach Elementary School. The funds will also be used for improvements at existing district schools. For more information about the projects, visit PSD’s website.
The new schools and facilities improvements are part of the district’s plan to accommodate current and anticipated student growth.
Ground was broken on the three new schools this spring, and COVID-19 is not expected to delay construction, as of June 2020. The new elementary school, located in the City of Loveland limits and near Windsor, will open its doors in the fall of 2021 and thereby necessitate a change to school boundaries for Bethke, Bacon, and Timnath Elementary schools. During the July 14 meeting, PSD staff provided an update to Council. View the presentation.
School boundaries are used to determine each resident’s neighborhood school and bus route information. To view specific boundary maps, visit PSD’s School Boundaries and Maps webpage.
It is anticipated that the PSD Board of Education will vote to approve the southeast elementary school’s official name this fall.
The Town of Timnath is sharing this information as a courtesy with Timnath residents so that you have awareness of what the future holds for your favorite Timnath schools.


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By Juliet Pennington
Historically, bookstores—especially independent bookstores—were important businesses, playing a crucial role in giving local authors a platform and bringing a community together. Major bookstore chains and online marketplaces for books resulted in a steady decline in “indie” bookstores starting in the late 1990s, but what we gained in convenience, we lost in human connection.
“Independent bookstores represent so much more than retail businesses,” says Ray Daniels, Chief Communications Officer of the American Booksellers Association. “In many areas, they are a place where like-minded individuals can gather and form a community. Bookstores are those rare places where people can share knowledge and find comfort.”
Lucky for New England bibliophiles seeking the charms of brick-and-mortar bookstores, there are plenty available in our region, from the small, genre-centric variety, to larger shops that carry any and all varieties of books.
Here are some favorites from each of the six New England states:
Roxanne Coady was a partner in a New York City accounting firm when she decided in 1990 to switch gears from a “career of the head to a career of the heart.”
RJ Julia Booksellers, Coady’s two-story, 8,000-square-foot bookstore is an “old-school version of what you dream a New England bookstore would look like; it’s a beautiful space,” says Coady, adding that it was modeled after the iconic (now closed) Scribner’s Bookstore on Fifth Avenue in New York City.
But more important than the aesthetics or comprehensive collection of books are the employees—about 40 in total—whom Coady calls the “secret sauce” to the store’s recipe for success.
“They are all incredible readers and adhere to the same belief as I have—that books really can change lives,” she says. “They listen and know how to be helpful. That is why we have such loyal customers and have been so supported by our community.”
RJ Julia Booksellers hosts more than 300 events a year, including book signings and other author visits, and—as if owning a busy bookstore isn’t enough—Coady also hosts “Just the Right Book!”, a biweekly author interview podcast.
In 1962, Michael and Patricia Curtis purchased W.H. Sherman Printer & Stationer, a Bar Harbor business founded in 1886 by Bill Sherman. Since then, Sherman’s Maine Coast Bookshop has expanded to include nine locations, including the 5,000-square-foot store in Damariscotta, which features a popular café and has a large “staff picks” section. “Our well-read, knowledgeable, and enthusiastic staff love making recommendations based on the customers’ interests,” says Jeff Curtis, who took over the business from his parents in 2006.
“We have many regulars who live nearby, but lots of repeat tourists, too,” says Curtis, who often hears from vacationers that Sherman’s is the first stop they make when returning for their coastal Maine getaways. “Customers say it’s a very inviting store. They find some books they may be looking for and others they didn’t know they were looking for.”
Curtis says all of their locations have “very extensive” sections for Maine- and New England-specific books, and the Damariscotta branch also has a consignment section of which he is very proud. “It allows self-published books or those from smaller publishers to get on the shelves, which the authors appreciate and our customers enjoy,” he says.
Since it was announced in the spring that a new bookstore would be opening on Beacon Hill late in 2022, there has been a buzz around town, with many people—not just bookworms—expressing the need for such a business in the historic neighborhood.
Local resident Melissa Fetter is the driving force behind Beacon Hill Books & Café, which was opened in October in a five-story Greek Revival building on Charles Street. While Fetter readily admits that she doesn’t have a background in retail, she is a voracious reader with a “sense of creativity and the perspective of a consumer.” She says the bookstore has designated themed areas, such as rooms dedicated to architecture and design or travel, for example. “I am also really excited about the children’s collection,” she adds, noting plenty of kid-friendly touches, like a model train with a steam whistle chugging in and out of rooms on the children’s level. “It’s a space reminiscent of a nursery from, say, ‘Peter Pan’ or ‘Mary Poppins,” she says.
In addition to selling books, the shop, which boasts a courtyard garden, will offer curated, high-quality merchandise, ranging from custom tea blends to private-label candles. There are also plans for hosted events, including book signings, private gatherings, and “proper” English high teas. The café, under the watchful eye of Colleen Suhanosky, chef and owner of Rifrullo Café in Brookline, will also house an extensive cookbook collection.
“Bookstores aren’t easy businesses to run, but this just felt like an opportunity waiting to happen,” says Fetter. “And if there were ever a location that could make a bookstore a success, it’s Beacon Hill.”
Much has changed in the nearly 30 years since Michael Herrmann purchased Gibson’s Book Store in Concord, New Hampshire, in 1994. Initially established in 1898, the shop was previously located in a 4,000-square-foot storefront before moving to its current 12,000-square-foot space on Main Street.
“The size makes a big difference,” says Herrmann, who has expanded Gibson’s inventory to include novelties and other items, including kids’ toys and games, as well opening a café. “It means people can gather and browse comfortably without being on top of each other.” And since the current location was a new build completed in 2013, Herrmann worked with a bookstore design consultant to ensure that everything from the lighting to the seating was conducive to a comfortable and inviting environment with room for book signings and other author events. “We have a lot of comfy chairs.”
A hands-on owner, Herrmann says he takes great pride in doing backlist ordering himself. “Bookstores are about discovery. There’s nothing like the experience of finding something you’re really happy to see,” he says. Herrmann says that he and his employees are all avid readers (several participate in a monthly all-things-literary podcast, “The Laydown”) who believe in the mission of connecting readers with writers and building community, which is essential to the success of his business. “Concord is a great bookstore town, and New Hampshire is a great bookstore state,” he says. “We’re fortunate to have as much community support as we do.”
Located in a renovated two-story building that was once home to the Savoy Hotel, this local gem opened in 2016. Savoy Bookshop offers customers diversity in book titles and a welcoming atmosphere with oversize couches, comfy chairs, and an outside patio with an abundance of fresh flowers.
“When ordering, we make sure to buy books that represent a diverse range of stories and authors and perspectives in which people can see themselves,” says Mariana Calderon, the store’s manager. “We have every genre and books by authors who are Indigenous, Black, queer, trans, Asian American, etc…” Open Agenda is a small free library that is part of the Savoy Bookshop & Café and carries largely LGBTQIA+ titles for young-adult and middle-grade readers.
Calderon says that Savoy staffers are “all very passionate booksellers who are well-read and really committed to the community.” The store hosts numerous literary events, and when they have more well-known authors slated for book signings, they partner with the nearby United Theatre, which has an auditorium and large event spaces.
The Savoy’s owners also own sister stores Bank Square Books in Mystic, Connecticut, and Title IX, which focuses on social justice and queer literature, in New London, Connecticut.
The second-largest independent bookstore in the state, measuring 3,700 square feet and located in the historic Depot Building, Bear Pond Books is a second-generation, woman-owned business that has been a staple on the downtown Stowe commercial scene since 1970.
The business has been a big part of the life of owner Jennifer Hale, who purchased Bear Pond Books in 2010 from her mother, who had been a staff member before buying it herself in 1978. Hale remembers helping her mom out at the store when she was ten for an allowance of two dollars a day.
Community is important to Hale, which is apparent in everything from the wide selection of titles across most genres to the products sold at the shop. Hale has expanded to include a variety of additional items made by Vermont artists and other regional vendors. Bear Pond Books also hosts genre-specific book clubs and educational programs. Hale says she is especially proud of the large children’s book section, which is designed so that the books face forward, so customers see the jackets of the books rather than just the spines. “Every day, we get at least two to three compliments on our children’s section,” she says.
This downtown Stowe bookstore has a friendly and inviting vibe, but perhaps the most enticing—and adorable—draw is the bookstore’s ambassador, Hale’s French bulldog, Tucker. “He’s very popular,” she says of her seven-year-old pup. “Customers are disappointed if they come and he’s not here.”

domain: literature


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Why is it necessary to guard ocean habitats?
A wholesome ocean regulates local weather and scale back local weather change impacts. Ocean currents distribute warmth throughout the globe, regulating temperature and climate. The ocean additionally absorbs over 90% of the warmth and roughly 30% of carbon dioxide emissions produced by human actions.
What occurs in the event you keep within the Lifeless Sea too lengthy?
Tip 8: How Lengthy Can You Swim In The Lifeless Sea? Don’t remain within the water longer than 10-15 minutes. Due to the salts and minerals, your pores and skin will get very comfortable and you will get lower on the crystals simply. It will also be an awesome expertise on your physique as an entire.
What ocean has the most important waves?
Is Salton Sea harmful?
A shrinking Salton Sea might expose its toxic-coated backside to wind storms, posing a significant air air pollution hazard for japanese Riverside County and the Imperial Valley, officers say. Salton Sea mud accommodates sufficient arsenic and selenium to qualify for disposal in a dump reserved for probably the most poisonous of society’s trash.
What are some dwelling sources within the ocean?
Fish and different marine life are caught within the ocean and are being raised in fish farms to assist feed rising human populations. Nonliving ocean sources embrace oil and pure fuel, recent water, minerals, and tidal power.
Which is the harmful canine on this planet?
Are you able to stroll on the water within the Lifeless Sea?
The Lifeless Sea does not have conventional seashores. It is largely simply mud and constructed up salt as you stroll in, so it is not probably the most snug floor to stroll on barefoot. Make sure to carry water footwear or flip flops, so you possibly can stroll round and get within the water with out hurting your toes.
What’s the significance of ocean?
The air we breathe: The ocean produces over half of the world’s oxygen and absorbs 50 instances extra carbon dioxide than our environment. Local weather regulation: Masking 70 % of the Earth’s floor, the ocean transports warmth from the equator to the poles, regulating our local weather and climate patterns.
Are you able to swim within the Salton Sea?
It’s protected to say: the Salton Sea is drying up, and it is not protected for swimming, boating, kayaking, or fishing. Clear as mud, are the waters circulating on the backside of the Sea; phosphorus, arsenic, selenium, and extra inflicting the fish within the Sea to die off.
Why is ocean air pollution an issue?
Our ocean is being flooded with two essential kinds of air pollution: chemical compounds and trash. The elevated focus of chemical compounds, akin to nitrogen and phosphorus, within the coastal ocean promotes the expansion of algal blooms, which may be poisonous to wildlife and dangerous to people.
Why is it tough to swim in Lifeless Sea?
If truth be told, it’s almost unimaginable to swim within the Lifeless Sea. Due to the excessive salt content material of the water, individuals who bathe within the Lifeless Sea can really float on the floor of the water. The distinctive salt and chemical content material of the waters of the Lifeless Sea make it poisonous upon contact to fish and almost all marine life.
Has anybody ever drowned within the Lifeless Sea?
Is it potential to drown in it? Though whoever enters the water instantly floats, it is best to take into account that it’s nonetheless potential to drown within the Lifeless Sea. This occurs when swimmers get caught in sturdy winds, flip over and swallowing the salty water.
Who’s affected by ocean air pollution?
This sharp enhance in plastic coming into our waters harms not solely marine life but additionally humanity. Plastic kills fish, birds, marine mammals and sea turtles, destroys habitats and even impacts animals’ mating rituals, which might have devastating penalties and may wipe out complete species.
How will we use the ocean as a useful resource?
Ocean sources present jobs, items and companies for billions of individuals world wide and have immense financial significance. There sources embrace meals, gasoline, renewable power, minerals, sand and gravel and tourism.
What’s unsuitable with the Salton Sea?
The Salton Sea is sustained largely by agricultural runoff replete with fertilizers, inflicting algal blooms that may provoke fish die-offs. Agricultural runoff masses the lakebed with fertilizers, that are then launched into the air because the shoreline recedes.
Does the Salton Sea stink?
Salton Sea scent: Now you possibly can count on to breathe stench via Monday, air district says. The stink is not going away anytime quickly. The trigger is an extreme focus within the air of hydrogen sulfide, a fuel that smells like one thing crossed between rotten eggs, manure and rancid water.
What organisms reside within the Lifeless Sea?
They sampled biofilms surrounding the fissures and found quite a few species of micro organism and archaea. Many animal species reside within the mountains surrounding the Lifeless Sea. Hikers can see ibex, hares, hyraxes, jackals, foxes, and even leopards.
How can we shield the ocean?
How are you going to assist our ocean?
- Preserve Water. Use much less water so extra runoff and wastewater won’t stream into the ocean.
- Scale back Pollution. Select unhazardous chemical compounds and get rid of herbicides, pesticides, and cleansing merchandise correctly.
- Scale back Waste.
- Store Properly.
- Scale back Automobile Air pollution.
- Use Much less Power.
- Fish Responsibly.
- Observe Protected Boating.
What ocean is the coldest?

domain: geography


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According to the life insurance industry research organization LIMRA, only 47% of small businesses in the U.S. offer benefits to their employees. Among the small businesses that offer insurance benefits, medical and prescription drug plans are the most popular. Soon, health insurance will be required for all Americans, and businesses small and large will have to comply with the provisions set forth by the Affordable Care Act. This act does not require employers to offer additional benefits though, however doing so can make your business more attractive to potential candidates.
So what benefits should your Orlando Business offer?
In addition to health insurance and sick leave, PTO is a pretty standard benefit offered by most companies. This is often needed to be competitive in today benefits market.
This will not only benefit your employee should they become injured, but it can reduce your company’s financial liability. Other health related benefits that are a good idea to include are group life insurance, and dental and vision insurance.
If possible, you may want to offer use of a company car, a flexible spending account, telecommuting, parking passes, public transportation passes, club memberships, etc.
These are just a few ideas of what your business could offer to its employees. Other benefits that can attract and retain high-performance workers are a 401(k) plan and stock options. At Newman Crane, we understand how important Orlando Employee Benefits are to your staff. We offer Orlando Disability Insurance in addition to many other coverages for our Florida clients. Please contact us for more information at (407) 859-3691.

domain: finance


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Today has been a big news day for legislating religious freedom. First, Tel Aviv’s City Council voted to allow some grocery and convenience stores to open on the Sabbath. According to reports, the mayor, Ron Huldai, cited the principle of religious freedom:
“We are all Jews, and Judaism has many faces. I am a proud Jew who spends his Shabbat differently than other Jews. Our job is to allow everyone to live with respect and love. The principle that led to this bill is keeping the Tel Aviv spirit, one that cares for the Shabbat as the day of rest, as a social value in the Jewish State, and also allows for the provision of services and the freedom for everyone to use this day of rest as they wish.” — Ron Huldai, as reported in The Forward article Tel Aviv Council Votes to Allow Shops to Stay Open on Shabbat
The amendment must still be approved by the Minister of the Interior, but it reflects a conception of religious freedom as that which allows the most people to follow their conscience as possible.
Today was also the day the US Supreme Court heard arguments in Sebelius v. Hobby Lobby, the case which will decide whether for-profit corporations can be exempted from providing insurance coverage for contraceptive care in their basic health plans, as mandated by the Affordable Care Act, based on their owners’ religious beliefs. (Religious non-profit organizations, like churches, can file for an exemption and their employees get coverage directly from the insurance companies.) I won’t go into the ridiculousness of many of Hobby Lobby’s arguments that contraception is a societal evil. Those are important issues that I don’t think are properly addressed in this medium. Instead I want to focus more broadly on the concept of freedom of religion and religious practice.
The parallels between the situations are striking. As far as I know, no religion requires someone to shop on the Sabbath, just as no religion I’m aware of requires women to use oral contraceptives, the morning after pill or an IUD. However, many religions permit all of those activities. There are religious Jews who shop on Saturdays and religious Christians who have sex without wanting to procreate.
A blanket ban on allow grocery stores to open on the Sabbath when some people want to shop puts larger stores (who can afford to open in contravention of the law and pay the fines) at an advantage and takes money and business away from religious shop owners whose style of observance allows them to operate their store on Saturdays. The draw-back here is that business owners who observe the Sabbath in such a way that they can’t open on Saturdays will likely lose business to their Sabbath-open competitors, which is likely what the blanket ban was instituted to avoid. They can only hope that similarly observant people will prefer their stores to their competitors for ideological reasons, in the way that some people choose to buy local or organic produce, although it isn’t always as convenient.
Allowing Hobby Lobby to refuse to cover contraception in their employees’ insurance plans legitimizes their style of Christianity over other forms that allow contraception or encourage non-procreative sex or family planning. (It also places this style of Christianity above styles of non-Christian religious practice that allow or encourage the same thing.)
In both cases, we have to figure out what to do when one group’s religious practice might infringe upon activities another group’s practice permits. In Israel, where there is no right to shop on Saturdays, we are only considering how to structure things so they are the least unfair to the most people. If big stores are going to open anyway and take customers from small stores, perhaps it’s best to allow small stores to open as well, although we should also consider making it too hard for big stores to open. In the States, however, where Americans were given a legal right to contraceptive coverage from their employers by the Affordable Care Act, we must also examine the relationship between the state and religion. Would a decision for Hobby Lobby privilege a brand of conservative Christianity over other religions? I think it would. I think it is here reasonable for the US government to require a conservative Christian running a business to include contraceptive cover in its employee health coverage, because that is what the law requires.

domain: law


Data reports don’t have to be scary! And actually, they’re vital to the successful growth of your business. Data is the end-all-be-all for making decisions with your marketing. In this episode, I’m walking you through all the data Team Hirsh tracks weekly for our clients. You’ll learn exactly what you should be tracking every week with ads, the difference between banked and booked sales, plus how to record your actual profit and make decisions moving forward. Our data reporting is actually pretty basic, but it can make or break your ads strategy. Listen to this episode for all the details!
1:44 The 12 metrics you should be receiving a report on every week for your ads
3:31 The difference between banked and booked results from your ads
5:02 The scary truth about gathering data that’s not scary at all!
6:49 How these weekly reports give you the data you need to make decisions about scaling your ads and some questions you should be asking as you scale
7:52 Discover how we create a funnel summary and learn how you can implement one to improve your own strategy.
Thanks for tuning into this week’s episode of the Hirsh Marketing Underground Podcast! If this podcast has added value and helped you in your business journey, please head over to iTunes, subscribe to the show, and leave us an honest review. Your reviews and feedback will not only help us continue to deliver great, helpful content, but it will also help us reach even more amazing entrepreneurs just like you.
In today’s episode, I’m going to share everything you need to be looking at weekly in your Facebook Ad Reporting. I pulled up one of our client’s weekly reports, and I’m going to share with you guys what we report and send to our clients every single week and what you should also be looking at weekly in your ads. And if you haven’t gone back and listened to the episode where I share what we track daily [Episode 9], I would highly suggest doing that, because it’s very similar. (But daily is an internal tracking thing, and then weekly, we report to our clients.) But weekly basically takes the summary of the week, reports on it, and then we also take those weekly reports, and we turn them into a summary of the month basically.
All right. Every week we report the following: We report total ad spend, total number of clicks that the ad received … Link clicks is important because there’s two different things Facebook reports, and link clicks means they actually clicked on the ad, not just that they clicked “read more” or “see profile.”
We report on the number of conversions. For a lot of our clients, that means number of webinar registrations, leads, video series, signups, challenge registration – anything that’s getting them into the top of the funnel … (Now, if they had multiple funnels, this will be two different weekly reports for the different funnels.) Then we report total number of purchases in the funnel. So, if it’s a webinar and whatever that call-to-action is, we report on how many purchases came in from that webinar.
Then we report the percentage of opt-ins who purchased, so our purchase conversion percentage. That means if 100 people came in the funnel and one purchased, 1% would be the answer there. This allows us to basically create what our ad spend should be the following month when we check-in on a call, because we can see trend of purchases basically.
Then we report the landing page conversion, which is basically how many people clicked on the page and out of that many people, how many people opted in. This allows us to see, did that drop down, did that go up, is that low, do we need to do anything? And then if you make tweaks, this would also give you the opportunity to say, “Did it improve our results over the last couple of weeks after we made this tweak?”
We do the average cost per purchase, so total ad spend for the week divided by how many purchases. [Then] what’s our cost per acquisition or cost per purchase, average cost per link click, and average cost per lead.
Then below that, we have a summary where we do the total sales. Sometimes we separate that out between banked and booked. What that means is some of our clients have payment plans, and so we want to see we banked this much. So, if I have a payment plan of 3 x $375 or something, I banked $375, but I booked 3 x $375 (and I don’t want to do the math on the spot, so I’m not!). We have banked and booked sales, so total.
Then we have profit on the banked sales, so obviously ad spend minus those sales, and then ROI, which reports in a percentage; and then same thing for the booked. That’s only if you have payment plans, but I do think it’s good [to report] because sometimes you’re breaking even on that first payment, if that’s how your funnel’s converting, but really you’re profiting because you’re going to get two more payments of the $375. You should be comparing those and what that equals, so banked sales and booked sales, and we compare the difference basically there.
That is essentially what we report on. Now, the only thing we will add in sometimes, if there’s a webinar, is the show-up rate to the webinar (which sometimes the client has to go in and fill out). We will also add in … show-up rate to the webinar. And then if there is a webinar that’s like, an application instead of a purchase, which we have a few clients doing that, we will do number of applications instead of number of purchases, and then cost-per-application instead of cost-per-purchases.
So I’m hoping … you guys could see data and stuff doesn’t have to scare you. It can be pretty basic, and it really needs to be just straightforward, because we’re just doing spend, clicks, landing page conversion, opt-ins, purchases. We obviously customize this for each funnel because we need to see all the key pieces in a funnel and what we need to report on. But it doesn’t have to be so complicated that you don’t know how to understand it.
In our weekly report that we send to clients, we link to the spreadsheet, but we also summarize these things for each funnel in an email and then add commentary, like, “We scaled to 15 audiences,” “We upped our daily budget because it’s converting so well, from $500 a day to $800 a day; and next week here’s what we’re doing.” So we give a little bit of commentary, but essentially what we want is our clients to just not have to go in the Ads Manager.
But it’s really important that all this data ends up in a spreadsheet, because what I can do is literally, like … Every month has a tab for our clients, and so I can go back a year in some of these cases for our clients … I can go back and see how something was converting a year ago. Or for our clients who launch once or twice a year, we just pull up that launch report and that spreadsheet from the launch, and we can make assumptions and projections based on those numbers.
This is super, super important, and then every month we summarize the total, too, of all those things. We make a summary for July, summary for August, summary for June – and then we have it in there, and we can compare it. That way, when a client makes a change or something … and this will happen. Something stops working exactly how it was [for example, and] we can say, “Okay, what happened? Where’s the drop-off?” It’s very easy to fix. Or we can really make a justification for saying “Let’s double our budget this month.”
This client that I’m looking at now, he wants to go up to $100,000 a month in spend by the end of the year. Well, we have to make sure as we scale that these numbers don’t start to skew when things start to stop working. For example, if the sales percentage conversion went down, when we scaled, we’d say, “Wow, is our quality of our audience not as good? Do we need to look at that?” Or if the cost per lead went up, but the cost per purchase went down, we could say, “Well, we can afford to pay that cost per lead because we’re getting the purchases – and as we scale we might have to pay a little bit more cost per lead.”
Data is so, so important, and those are the things we report on weekly. It’s in a spreadsheet. We can look back week after week after week, every single week, at the client’s on our roster. We can see trends, we can see patterns, and we can make decisions off the data. The data is what you make decisions off of. The data is the end-all-be-all. You might think something’s going to work great and it doesn’t, or you might think something’s going to suck and it doesn’t. Use this data, and either it’s you or your agency, somebody should be giving you a weekly report and you should be capturing this every week for every funnel that you run traffic to. We break it out in funnels. Sometimes the funnel has multiple campaigns. We put it all into a funnel, a summary of that funnel for that client.
Now, if you are running your own ads and you would like help, or if you don’t know how to do your weekly reporting … If you don’t have time for it … Because I’m guessing the majority of you, unless you are a marketer or a Facebook Ad expert, shouldn’t be doing your own marketing … And you want to see if the Hirsh Team can help you, you can go to HelpMyStrategy.com and book a call with our team to see if we might be the right fit. Thanks so much for tuning in today, guys.


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Australian Wood Duck (Chenonetta jubata)
This one has been here for about a week now 18/12/11. Not a common Duck for the island. Found throughout most of Australia, not sure what he was doing here?
Fan-tailed Cuckoo (Cacomantis flabelliformis)
This guy blew in here over winter this year (2011), we don’t see many of them. A wide spread bird through Australia, breeds in Aus and NZ.
Little Curlew (Numenius minutus)
A few of these here this year (2011) not in big numbers. I photographed this one near the airport. Breeds in the far north of Siberia, any wonder he looked stuffed!! A strongly migratory species wintering in Australasia.
Australian White Ibis (Threskiornis molucca)
One of these blow in once in a while will stay if more than one comes I think.
Black-winged Stilt (Himantopus himantopus)
Only been seen here four times, a very attractive bird but not a strong looking flyer. Long red legs trailing in flight. Breeds in central Asia.
Whimbrel (Numenius phaeopus)
Here most of the year a very shy bird. Hard to get close to get a good picture. You will see him on the golf course and airstrip grass. Not big numbers but not hard to find. A wide spread wader breeding across much of Subarctic North America, Europe and Asia
Australasian Grebe ( Tachybaptus novaehollandiae)
This little bird arrived here this year (2011) and stayed for about three months. Hard to get a picture of him as he would always go to the middle of the swamp, rather timid. Common in Australia, NZ and near by Pacific islands.
LHI Hybrid Duck
Some black ducks arrived at the island in the 1970 and decided to breed here. Some time later NZ Mallard Ducks arrived. These two have crossed in together producing this LHI Hybrid Duck. Here all the time, there are measures to try and eradicate them from the island with little success. One now is almost white!!
Australian Shelduck (Tadorna tadornoides)
One dropped in this year (2011) they have been here before. Beautiful looking large duck. Breeds in southern Australia and Tasmania.
Grey Teal (Anas Gracilis)
Five of these arrived this year 2011, great looking duck. I only got the one good shot as they didn’t stay for long. They breed in Australia and NZ.


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The phrase “renewables are cheaper” is thrown around like confetti by climate alarmists.
Yet scratch the surface and it turns out this claim is based on false assumptions.
The GenCost report excludes the cost of recycling, it underestimates the life of a coal powered power station and overestimates the life and capacity of renewables to name a few.
There is no clarity on the assumptions used to estimate the cost of transmission lines or how many batteries will be needed to back up the grid.
Whenever questions are asked as to how many kilometres of transmission lines are needed, no expert can give a straight answer.
Renewables are not cheaper, they are very expensive and are sending power prices soaring.

domain: news


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Jonna's Body, Please Hold (multi-award film) will be held at the at the Lucy Curci Cancer Center on Thursday, March 21 2013 from 12:00PM to 01:15PM.
A multi-award winning film by Jonna Tamases.
A cancerous dark comedy that ventures inside the crazy world of Jonna’s Body where life’s daily chaos is corralled by Pearl, Jonna’s loyal, sassy internal receptionist, as she fields calls from a parade of off-beat body parts with never-ending needs. When two nasty killers invade, it’s a fight for Jonna’s life. The movie’s stunning visuals and hilarious characters take us on a wild and stirring ride into the realm of health, illness, joy and the beauty of life.
Awards & Festivals Best In Show: 2008 Macon Film & Video Festival Best Comedy Short: 2008 Macon Film & Video Festival Best Short Film: 2007 Asheville Film Fest, Audience Award Best Actress: 2009 Show Off Your Shorts Film Fest Best Cinematography: 2009 Show Off Your Shorts Film Fest Award of Excellence: 2007 Action on Film Festival Official Selection: 2008 Edmonton International Film Festival Official Selection: 2007 Rhode Island International Film Festival Official Selection: 2007 Los Angeles Shorts Film Festival Official Selection: 2007 Everglades International Film Festival

domain: entertainment


text:
NEW DELHI: Prime Minister Manmohan Singh on Thursday said the proposed reservations in elite educational institutions would not reduce opportunities for general category students but would aim to give empowerment to those belonging to the backward communities.
"Our approach on this issue is two-fold. First of all we must not do anything which will reduce educational opportunities for children other than those belonging to the backward classes," Singh told students of Lady Sri Ram College here during a brief question-answer session.
The government, he added, instead aimed to provide students from backward communities with access to "genuine" opportunities that empower them to realise their "inherent development potential".
He pointed out that only 10 per cent of the population of these communities had access to college education at present.
"Let me say that the quality of opportunity has to become a living reality. And if it is to become a living reality, it is very essential people belonging to all sections of society should have access to quality," he remarked.
The Prime Minister, who also spoke about the relevance of economic criteria in fixing quotas, supported OBC reservations in educational establishments as a means to help the country move ahead has a "cohesive society".
"If India is to move as a cohesive society, we have to strengthen those at the lowest rung of the social and economic ladder. We have to empower them to realise their destiny. Economic criteria also have a role," he said.
Also, the Prime Minister, who recalled his term as Finance Minister in the Narasimha Rao government, admitted no adequate attention could be paid to health, education, investment in rural infrastructure then.
But he insisted his government over the past two years has made enormous efforts to "fill those gaps". Also, he said he now felt proud to see the growth over the past 15 years of Indian industry, which he maintained fears no challenge from global competition.

domain: sociology


text:
This summer of 2015 will see an even greater volume of peas and broad beans on Finland’s approximately 2.3 million hectares of arable land. Golden-yellow splendour will increase in the fields when turnip rape and oilseed rape sowing intentions are realised.
Spring barley and oats will continue to dominate, and they are important feeds used for livestock in Finland. According to the sown area notifications made by farmers, the area under barley is decreasing by 26,000 hectares but still exceeds 500,000 hectares. The increase in the area under rye by nearly 10,000 hectares will increase the total area to approximately 33,000 hectares. In practice, if the upcoming growing season is favourable, it will be possible to achieve close to self-sufficiency in rye, i.e. Finnish rye bread.
The area under peas and broad beans will double
The broad bean is one of our oldest crops, but in recent decades it has been a marginal plant in Finnish fields. Five years ago, its cultivation area increased and stabilised close to 10,000 hectares. On the basis of farmers’ sowing intentions, the area under broad bean will increase and exceed 15,000 hectares.
During the last couple of decades, the area under peas has been approximately 5,000 hectares. This year, the area will increase to nearly 13,000 hectares. The area under peas last exceeded 10,000 hectares in the early 1990s. If sowing plans are realised, the area under turnip rape and oilseed rape will be a third higher than in 2014, i.e. nearly 58,000 hectares. A peak year was 2010, when 158,000 hectares were under turnip rape and oilseed rape cultivation.
Subsidy reform challenges statistical terms
Farms have taken into account the revised subsidy system, and the new programme period 2014–2020, in cropping plans for this year and for the next five years. In addition to the growth in the cultivation area of protein plants, the change will be reflected in new grassland growing mainly for environmental reasons alongside water bodies and on acidic land. In addition to nature management fields, the subsidy form has introduced riparian zones, biodiversity arable areas and environmental agreement areas. An additional five per cent, i.e. 11,000 hectares, have been included in the statistics in this subgroup taken out of cultivation.
The statistical data is based on plant-specific cultivation area notified this spring by farmers in conjunction with main subsidy applications. An estimated 85 per cent of notifications were available for this advance data. More detailed cultivation area data will be become available for each ELY Centre on 2 July 2015. Luke will then publish the regional provisional utilised agricultural area statistics.

domain: agronomy


text:
|Address:||5535 Pfeiffer Road|
Cincinnati, Ohio 45242
Map of Library Location (39.247809,-84.371202)
Library Web Site
Ursuline Academy Library is a School library. This library is affiliated with Ursuline Academy (view map)
|Other Info:||In the Catholic tradition of Ursuline education the mission of Ursuline Academy is to prepare the young woman for college and beyond by nurturing her soul, intellect, heart, and imagination.|
|Product Name||Year Contracted|
|Current Library Automation System:||Destiny||2011|
|Previous Library Automation System:||Infocentre||2005|
|Previous Library Automation System:||Winnebago Spectrum||1998|
This library is responsible for the procurement of the library automation system.
(Use this link to refer back to this listing.)
This listing was added to lib-web-cats on Dec 13, 2013 and was last modified on Apr 30, 2014. This library has been accessed 4 times through lib-web-cats. |
Corrections or Updates? Registered members of Library Technology Guides can submit updates to library listings in lib-web-cats. Registration is free and easy. Already registered? login. Or, you can report corrections just by sending a message to Marshall Breeding.||
lib-web-cats (library web sites and catalogs) is a free directory of libraries throughout the world.
This directory is a component of Library Technology Guides.
Please contact Marshall Breeding
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domain: library


text:
No-one questions the fact that Sanxenxo holds the honorary title of tourism capital of the Rías Baixas. Almost joined to Portonovo, both have a young, happening atmosphere of beaches and bar-hopping. Sanxenxo is one of Galicia's tourism capitals. Its population increases in summer and the large-scale urban development means everything is modern. Before the tourist boom, it was nothing more than a small fishing village, but the constant arrival of outsiders transformed its appearance totally, as people were drawn by the magnets of its beach and bustling nightlife. A Lanzada, a beach which runs for more than four kilometres, belongs to the town councils of O Grove and Xanxenxo and is one of the most popular in Galicia. The sanctuary there is visited by sterile women, since old legend has it that its waters have the virtue of being able to influence fertility. The port of Sanxenxo is clearly clearly designed for tourists, offering places to drop anchor, above all for shallow-draught boats. It is also used by small fishing boats which work inside the estuary. In any case, the fishermen's neighbourhood and the outskirts of Sanxenxo are still reminiscent of times gone by, as is Portonovo, an attractive and nearby seaside town. The traditional local flavour of its harbour makes it one of the most charming corners of the Rías Baixas.
ЧЕМ ЗАНЯТЬСЯ В ИСПАНИИ? ЗАБРОНИРУЙТЕ МЕРОПРИЯТИЯ ЗДЕСЬ
Join us to live one of the best gastronomic festivals ...(+Подробнее)

domain: travel


text:
What keeps us honest? And, if we understand the neural mechanisms behind it, can we make people more honest? Those were the questions posed by a team from the University of Zurich who wanted to see if the desire to cheat was linked to the brain.
By stimulating an area of the brain responsible for the regulation of thoughts and actions, the team found that in those already experiencing moral quandaries, cheating decreased by more than half. While regular, seemingly habitual cheaters, were unaffected.
To test this theory, the team separated 145 university students into groups of 10 for a die-rolling game. Some received non-invasive transcranial direct current stimulation over their right dorsolateral prefrontal cortex (rDLPFC), a form of stimulation that makes brain cells more active, while others received fake stimulation. The electrodes were specifically placed over regions of the brain already identified through fMRI studies as being active during honesty reporting.
Each participant was tasked with rolling a die ten times, out of view of everyone else. Some numbers resulted in a monetary pay-off, others none, but the participants self-reported what number they rolled. In another form, the experiment allowed participants to win money for other people.

domain: psychology


The latest addition to manufacturer Ultrafabrics line of resilient, resourceful, and aesthetically compelling "super fabrics," Brisa Fresco is a breath of fresh air where multi-use, anti-microbial upholstery is concerned. The new line-offered in a tantalizing palette of 28 vibrant colors-is comprised of a 100% Polyurethane Surface with a 65% Polyester and 35% Reinforced Rayon Backing.
Brisa Fresco is a Breathable Fabric That Excels in Hospitality and Healthcare Applications
Featuring the "proprietary breathability, premium resin quality, impressive durability, and notable softness" that distinguishes all Ultrafabrics products, Brisa Fresco offers additional perks besides-not limited to an EPA registered silver based antimicrobial technology for enhanced hygiene and expanded upholstering capabilities.
Brisa Fresco is earth friendly. The fabric's green attributes include greenguard certification and low VOC emissions; and the line is completely free of plasticizers, heavy metals, stabilizers, and phthalates.
Beyond Brisa Fresco's ecological sustainability, this workhorse of a fabric boasts an alluring aesthetic that distinguishes it from similar products in the healthcare and hospitality venues: "The unique color transparency achieved by Fresco creates a striking degree of textural surface allure, emphasizing the sophistication of this tonal solid."
For specifying information, contact Ultrafabrics at 914.460.1730.
About the Manufacturer: Since 1966, manufacturer Ultrafabrics has pioneered the use of polyurethane surface technology for upholstery and walls. The company's line of high performance fabrics are not only soft and luxurious, but also spill/stain resistant and exceptionally hygienic.


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text:
Thanks to the hundreds of beautiful, kind and probably very sexy people that donated to our Indiegogo campaign, we have hit the studio and cooked up a brand new album. It is the biggest, best and most marvellous thing that we have ever done, and we can't wait for you to hear it. Producer/Keyboard Maestro Joe is now mixing it up in his massive sparkly pop cauldron, and we will be hurling it at you as soon as we can. EXCITEMENT!!!
Here is a photo of two dogs dancing. They LOVE the songs.
Darlings, the new EP, Kiss The Misfits, is now available in both physical and digital versions from our Bandcamp page HERE. We love it, and we hope you do too.
All proceeds are going straight towards recording a BRAND NEW ALBUM! So for just five pounds (or more if you like) you can keep this ridiculous adventure rocketing onwards. We love you. xx
Darlings! Our new single Kiss The Misfits has now been premiered on Gigwise. Turn everything up as load as it'll go, then click HERE
The video will follow in a few days. Excitement!
It's the first single from the EP of the same name, which will be out on November 20th.
We hope you like it.
Warrington – Jane & John’s House
And so the timid sun dawned on my last day of the tour. Last? Yes. Whilst we had a further two shows in Wrexham and Bury lined up in the tour diary, I had to bow out as life is rarely as obedient of our plans as we would like. I’m sure I shall go into detail at a later date once our hearts have stopped hammering like fucking road drills, but suffice to say a member of my immediate family was taken very very ill on a Greek island and I had to down tools and fly out the next day. Hello from Greece. I am staggeringly, overwhelmingly relieved to say that everything is fine, they are getting better by the day and we shall be coming home next week. But this mad rush to the airport means that Louis will finish the tour solo, perhaps with the odd special guest in my place. The hosts who had been expecting the two of us have been singularly lovely and understanding of the situation, and to them I am truly grateful. We shall return and blast your heads off with rock as soon as we possibly can.
And now that things are looking up over here I feel sufficiently calm enough to report on the truly wonderful day out we had in Warrington.
We knew this one was going to be a biggie, as our host Jane had been sending delighted emails informing us of plans and predicted guestlists. And boy, was she right. Jane, John, their son Paul and the rest of their delightful extended family had erected their own mini-festival in their huge back garden. Louis and I pulled up and wandered into a potted Glasto, a bonsai Bestival, a Diet Download. There was a garden stage, helpfully demarcated with crowd barriers, a food stand serving up externally-catered wonders, a bar, masses of lawn chairs and a giant hammock. Not to mention the huge amount of home-made posters featuring the two of us. They had even made their own Louis Barabbas/Felix Hagan festival wristbands.
We were treated to a guided tour of the various memorabilia they as a family had accrued over a lifetime of music fandom. Signed posters, setlists and photos sat on the walls amongst even more prestigious items. Guitars signed by everyone from Newton Faulkner to our old pal Beans on Toast (the man who sewed the seeds of our career by booking us at the Monarch and inviting Frank Turner) grinned encouragingly down at us, and we added our own signatures, messages and drawings to their collection with tremendous pleasure.
We were very early, and we used the time in the best possible way by having a lovely long chat in the garden with our new friends. Jane and John were, like several others on this tour, amongst the audience at our Kendal Calling show last year. We’d had an enormous crowd thanks to the twin blessings of A) pissing rain outside the tent, and B) a command issued to the crowd by Frank during his headline set the day before. So we reminisced fondly about our various encounters then and since.
Soon the guests began arriving, and as predicted the crowd was our biggest of the tour by some considerable margin. So far on the tour we’d been able to get away with no amplification whatsoever, as our crowds have been usually crammed into various front rooms. However this time we knew we had to bring the thunder, and our neglected PA system was dragged from its slumber in the boot and put to work entertaining the fifty-ish strong mass. Once again the audience spanned the generations, and our conversations ranged from favourite obscure 80’s glam punk bands to the crushing woes of UCAS forms and favourite student drinking dens.
Food was served up eventually. What can only be described as a giant cauldron of Hot Pot was manoeuvred into play by hundreds of local workmen. We got stuck in, and I ate so damn much of the lovely stuff that I had to go and lie in the massive hammock for a while afterwards to curse my stupid greedy mouth and work up the courage to perform.
We returned to our previous form for this one, and Louis took the stage first in front of the sea of delighted faces. He went unplugged, the better to use every inch of the garden as he leapt, ran and barked his way through his ever-wonderful set. I now haven’t heard him play for two days, and I miss it so much. We simply must do more.
After a brief break I strode to the microphone and cracked into my set. As the setting was so grand and the amps up so loud I opted for a set of mainly rock stuff, eschewing the really quiet ones that had whispered through houses further down the country. The slight problem was that our beloved hosts had elected to coat their garden in grass, which makes me sneeze like a big nerd all summer, but luckily despite the odd ostentatious ATCHOO!! my body kept itself mostly in order. The crowd sang, laughed and threw themselves into it when I divided them into singing teams and played them off against one another in different registers, styles and species. And when the finale came they waltzed, hugged and danced about with beautiful abandon under the cloud-strewn sky.
When the last note fell and Louis and I took our final bows together I felt the cumulative, supportive warmth of the last two weeks coursing through me. To do band gigs to large crowds of strangers in loud rock rooms is one of the best feelings in the world, and the white hot adrenaline and euphoria of the performance is nature’s best addiction. But doing these sorts of gigs is less of a passionate shot to the arm and more of a beautiful, heartfelt hug that warms the soul and lingers for days.
We stayed for a long time, laughing and embracing our new friends, leading a group in a singalong of our duet My Little Lusitania and floating on a cloud of goodwill. And as we loaded up the tour wagon for the final time on this trip, we felt the new connections we have made, the countless hugs, laughs and stories we have shared warming us and speeding us on our way.
I shall be writing a retrospective on the whole tour in a few days once I’m safely home in England once more, but until then I just want to thank our beautiful army of hosts up and down the country, and to our final hosts Jane and John for the huge effort they put into creating such a perfect evening for us to share.
Thanks Jane & John!
After a long and leisurely day of drawing cartoons for a book that a friend of mine is working on (don’t be fooled. I’m shit at drawing and am baffled as to why I was asked. However my Emu was convincing) I picked up Louis and off we went to Preston. These northern gigs have all taken place within relatively safe distance of our two Manchester dwellings, so we’ve been able to enjoy the visceral thrill of being on tour while at home. Which basically means lounging about all day whilst telling the world we’re “at work”.
We arrived in a leafy suburb (why are suburbs always “leafy”? It’s the only adjective they’re allowed, I suppose) and pulled up outside a massive house. This was the home of Caroline and Mike, the two most die-hard Bedlam Six fans I’ve ever met. Their house was festooned with copies in every medium of everything Louis has ever sung into a microphone. It was clear that while I was most welcome indeed, it was Louis who was pulling them in that night, so we tacitly agreed that this must be the gig where our roles were reversed, and I should warm them up for him.
However before all that there was the matter of the food. We have been continually delighted by the culinary wonders we have been presented on this tour, and any thoughts I had of shedding my holiday curves were lost somewhere between Brighton’s massive pasta marathon and Surrey’s meringue bonanza. And these folks were going for broke. We had a vast tray of different exotic Spanish sausage, freshly retrieved from the continent by their gourmand friend who happily toured me around his meaty presentation. I just read that sentence back. Yep. I’m leaving it in.
Three homemade curries! All the diet coke I could cram into my glum sober mouth! It was ace. We sat about outside, chatting with the younger contingent of the event, Mike and Caroline’s kids and their friends. All of these folk seem to gravitate around the Ferret in Preston, which Louis tells me is an awesome place to play. Looks like I’ll be back in Preston before I know it.
Performance time rolled around, and our hosts had gone to town on the performance space, hefting sofas and chairs into a makeshift auditorium for the large crowd. I tuned up and cracked into it.
I opted for a shorter set than usual, as I was well aware that these folks were clamouring for Barabbas. How very biblical. But I wanted to get them riled up for him, so I grabbed a few of the rowdier element from the crowd and press-ganged them into a percussion section to accompany one of my less-successful guitar solos. Luckily they took to their instruments/objects with such gusto that my seal-flippered attempts at rock triumph were drowned out by a chorus of thuds.
I finished with Kiss The Misfits, a new song which (I CAN EXCLUSIVELY REVEAL…) will be coming out on the latest Xtra Mile Compilation (Details HERE. It's the title track of our upcoming new EP and HOWFUCKINGCOOLISTHAT). They hurled themselves into the end crowd vocal with tremendous enthusiasm, and I left the stage feeling very supported by this lovely bunch of new friends.
Louis hit the stage with grandeur. It was lovely to see him work a crowd who were clearly so familiar with his stuff. Their love for him was tangible, and they sang all the big bits in songs like “Mother” without the slightest hesitation. They even bombarded him with requests that precipitated some serious lyric revision on his part, so far back in the back catalogue they were. It was a bloody pleasure to watch. He daringly finished with one of the songs from his musical rather than an old favourite, and it paid off in spades as the whole crowd rose up and wailed the repeated chorus over and over, their grins widening with every bar. It was great.
Drinks, chats, hugs and warm goodbyes later, we loaded up and set off once more for home. Preston is ace.
Thanks Caroline and Mike!
Next stop: WARRINGTON
Read Louis’ tour diary HERE
Felix Hagan & The Family supporting Arkells

domain: artistic


text:
Please tell me a bit about yourself – what’s your background and what do you do when you’re not making AI art?
My name is Sam, and I’m a UK national who recently graduated from a college in Chicago. Outside of taking commissions for art and managing both the @images_ai account and a bandcamp music label called Abstract Image Records, I produce a lot of music, run D&D sessions, and watch horror movies. During my degree, I focused mostly on Existentialism in Lovecraftian Fiction, Epistemic Injustice, and the Philosophies of Art and Fascism.
I think your Twitter account was my first encounter with AI art just over a year ago – I followed your guide to VQGAN+CLIP and was immediately hooked. How did you first get started and what led you to set up your Twitter account?
images_ai: Also through Twitter. If you know your Vaporwave, you will have heard of a label called DMT Tapes FL. It’s the biggest music label in the genre. I followed their account and noticed that the guy behind the label - Vito - was posting these weird, hallucinogenic low-res renders, which after a bit of prying I tracked down to The Big Sleep, the BigGAN/CLIP Colab that Ryan Murdock put together. They had a really melancholic, lo-fi texture that I still adore, like old photographs on expired film. I played around with it for a bit and then sort of gave up, assuming it was an interesting novelty.
Then, about a month later, I saw Vito posting some images that were radically different, and decided to check out VQGAN+CLIP by Katherine Crowson, which was partially inspired by The Big Sleep. After revisiting Big Sleep and getting to know VQGAN, I realized that 1. this new style of image creation had some really serious artistic potential (I still don’t think there’s a human on Earth capable of emulating the style of VQGAN successfully), and 2. neither of the developers, Ryan or Katherine, had more than a few thousand followers on Twitter, which seemed crazy considering how revolutionary their artwork was. So, I set up a new Twitter account on June 18th, posted some of my initial Big Sleep experiments, and then started regularly uploading VQGAN content of my own and retweeting the work of other artists and developers, with the specific intention of promoting and platforming art created by AI machines to raise their profile.
I sent Vito a DM stating my intentions, and he was kind enough to promote a lot of my work, which was enough to net me an initial following that snowballed dramatically in the subsequent days. We hit 40,000 followers within two months - even today, more than 90% of the platform comes from people who followed in July 2021. I’ve been trying to continue that project ever since. It probably succeeded.
How have things changed since you first started, and has it changed anything for you specifically?
images_ai: The primary difference between then and now is that I hopped on the hype train immediately before this stuff got huge, so it transformed from a reasonably low-key community of artists and researchers on Twitter to a massive - but still quite insular - community of traditional artists, new artists, researchers, journalists, hobbyists, and haters very quickly.
Within that community, only a handful (such as yourself) have actually been able to form a distinctive and particular art style using these tools, which isn’t surprising - the same happens with every art scene and every new art technology. Obviously the tech itself is evolving at a rapid pace, and it seems the dominant players in that field have transitioned from indie programmers into collectives and companies like Midjourney and Stability. Alongside that, I think a lot of the appeal has also changed. The 'wow! An AI made this?!' factor never went away, although the adjustment from GANs to increasingly massive diffusion models has meant that different generators are becoming less and less distinctive by themselves, so what an artist chooses to do with their generations, and how they want to present them has come more into the fore.
On a personal level, it hasn’t changed a whole lot. I take commissions whenever they come in, although they’re few and far between. In real life, the account is mostly just a personal novelty to my friends and family. It’s important to remember that in the real world, very few people actually know about this stuff, and the vast majority of those who have seen it just think it’s a kind of cool, kind of novel thing. Almost nobody has strong feelings about it, positively or negatively.
How would you describe what you do and what are you working on right now?
images_ai: When it comes to the artwork I post, it’s always been a combination of raw experiments from new software (Big Sleep, VQGAN+CLIP, CLIP-Guided Diffusion, Disco Diffusion, Midjourney, DALL-E, Stability Diffusion, Kali Yuga’s Diffusion Models, @ai_curio’s Looking Glass etc.) and more refined pieces that I put together in Photoshop.
I think I’m a little bit on the outside of the community in that sense, because most of my 'professional' pieces involve using AI generation for assets to collage into other stuff, combined with real life photographs, overlays, and text. In that sense, I think about it essentially as an all-digital form of Mixed Media, but instead of combining painting with sculpture and collage, I’m combining material from various AI generators, upscalers, and inpainters with digital painting, collage, written text, and music.
I love extremes, and layering all kinds of shit together to find the unique shapes that form in the spaces between them, it’s a lot of minimalism and a lot of maximalism. Considering my artistic background is in music and especially DAW composition, this shouldn’t be surprising. I basically took my approach to producing Dance Music - make loops, layer them, add some, subtract some, morph them over time - and applied it to visual art.
Most of my influence comes from horror fiction and music that plays with hauntology - stuff like Vaporwave, billy woods, Burial, Lingua Ignota, Moor Mother. How do we emulate the past in our lives and in our art, consciously and subconsciously? What effect will this have on our future? In particular, I’ve been interested in examining which features of the cultural lexicon go explored and unexplored within these art communities themselves. What are the ethical and cultural implications of making artwork with tech that might put someone else out of a job? How do we embrace or reject the fungibility and capacity for emulation inherent to both AI tools and the Internet in general? How do we as explorers of a latent space that represents, to some degree, a cross-section of the modern Internet reckon with the biases and prejudices embedded within the Internet itself?
I think AI Art and Internet Art in general have a really serious Orientalism problem that hasn’t been dealt with. While the ideas of ‘liminality’ and ‘liminal spaces’ have been stripped of most meaning by reddit aesthetic pages, the relationship between nostalgia, fear, prejudice and death has always been fascinating to me. Employing these liminal, latent spaces that carry so many artistic, political, and cultural ghosts with them seems like a unique and exciting way to explore that theme. I also like fucking around with the human body.
Which piece are you happiest with – and which one surprised you the most?
images_ai: If there’s any work of my own that I think best communicates its own themes with the nuance and emotion intended, it’s one called “untitled (angel)” from back in January. I used the artifacts introduced by Disco Diffusion to tattoo and scar a real photograph of a shirtless man that was then cropped at the waist, and then I used the same process to create a halo and a pair of wings. The background is a Looking Glass generation produced after feeding the machine a series of newspaper covers about the AIDS crisis, which was then overlaid in the final product by a Ronald Reagan speech and some splashes of paint that stick out around the angel and void his eyes. This is also the piece I’d most want hanging on my wall.
The most surprising piece is obviously “the persistence of memory by lisa frank,” which is the singular post that launched the account so quickly and so suddenly. I remember I left VQGAN+CLIP running with that prompt overnight, I think in the end it ran for something like 8000 generations before stopping. Honestly, I’m still shocked that a VQGAN composition was able to achieve that much structure without even an initial image. You can sort of see the lineage between the original Dali painting and this piece, even though I didn’t incorporate the Dali into its generation. That got posted only 8 days into the account.
What are your favourite notebooks and what other tools do you use - AI models, software, hardware etc?
images_ai: I listed most of the AI tools I’ve employed in the past above, but at the moment I mostly make art by generating assets in either DALL-E or another, more painterly diffusion model (it was Disco, then Midjourney, and now very recently Stability) and then combining them with other materials, overlays, photographs etc. in Photoshop. I use AI image upscaling all the time, usually imglarger.com if I want something neutral and clean, or bigjpg.com if I think the image also needs some denoising. For video material I mostly use Premiere Pro.
DALL-E is generally very versatile, and great if you want emulations of photography. Especially if you ask for something out of focus, grainy, expired, blurry or abstract, you can achieve results that might be genuinely indistinguishable from real photographs, and with all the specificity, particulars and random variation inherent to AI generation. It’s pretty good at making textures too.
Stable Diffusion is generally better when it comes to emulating a lot of painted art styles, or content that you can’t achieve with DALL-E’s very strict censoring. Even slightly older models like Midjourney or Disco are really useful if you want something more abstract and obviously AI-generated. It’s crazy how rapidly we’re exiting the Uncanny Valley. @KaliYuga_ai’s recent fine-tuned diffusion models for Pixel Art, Watercolors and Textiles have produced some stellar results. I like using the Watercolor model for post-processing DALL-E material.
Looking Glass is fascinating because it reverses the process somewhat - you feed the machine images, and it produces more images, by transferring them all through the text-related latent space. And of course, my primary workhorse for over a year was the S2ML Colab notebook by @somewheresy which had an unclosed permanent tab on my PC 24/7 for many, many months. It has functionality for both VQGAN and Katherine Crowson’s initial CLIP-Guided Diffusion, and ran in a much more user-friendly UI than most of the Colabs put together at the time. It’s the notebook I wrote the VQGAN tutorial for.
There’s generally no hardware involved in my art-making process at all.
What’s your process? Please can you talk me through the creation of a piece from initial idea to finished artwork.
images_ai: My process typically works one of two ways. Sometimes, I’ll have the concept for a fully-realized piece already in my head. At that point, I’ll usually try to form the materials as quickly as I can with a more advanced generator until I have a solid base, and then piece the art together bit-by-bit until I have what I want. Other times, I’ll arrive at the art through jamming and experimentation, starting either with a photograph from Unsplash or a DALL-E result, which I’ll overlay and mess around with for hours until the piece reaches a natural conclusion. Flattening the work in Photoshop, fucking around with the Content-Aware Fill, and then layering even more stuff on top, flattening it again etc. etc.
I use a lot of noise. Film grain overlays, concrete overlays, old photograph and vinyl textures, gaussian generated noise - usually with the intention of emulating old media, like book covers, album covers, oil paintings. I don’t often enjoy artwork that comes off as too clean, especially when the artwork is digital. The introduction of more layers, more artifice, I think allows for a greater capacity for meaning. Plus, the addition of texture can grant your piece a degree of realism that might sell it better as a singular, cohesive work of art, instead of a collage of digital assets - sort of like a glue or a gel, or a bus compressor in music. It’s essentially polish. Dirty, grimey, noisy polish.
There’s been controversy recently about AI art and copyright, especially with the release of powerful models like Stable Diffusion. What’s your take on this issue?
images_ai: Complicated and nuanced, unfortunately. The issue has many sides derived from many different parties and positions, which can also make it difficult to discuss. I’m going to write about this elsewhere in much longer form, but to put it simply my take is this:
Copyright, as a means of ensuring that an artist has the exclusive right to reproduce and recreate their own work, is a framework and a structure that exists in tandem with capitalism, and it only finds real moral value in redistributing wealth and material goods to artists who need it from people and companies who don’t - and it usually doesn’t do that. As with any other law, copyright is not fundamentally moral, good, or useful to everyone, and almost always gets used in reality to punish people with good and interesting ideas that pertain to existing media for the benefit of corporations.
As I stated above, there’s an intrinsic hauntological element to AI image generators, because they exist as digitized conceptions of huge swathes of existing historical imagery, much of it copyright protected. And so, as with any law, moral considerations should be made on a case-by-case basis about whether an individual’s use of AI generation is useful, interesting, creative, transformative, and original, in addition to whether their work affects the material conditions of any person, artist or not, and whether those actions are justifiable. I’m 100% comfortable stealing from corporations, major record labels, and world-famous multi-millionaire painters to make transformative, purposeful, engaging art on Twitter or Bandcamp.
I’m 0% comfortable stealing from small-time artists whose work I’m not transforming at all and that I’m selling for a high price for my own gain, and who might be out of a job because of my actions. Every single other case exists somewhere on a spectrum between those extremes, and there are many utilitarian considerations to make when determining whether the use of an AI machine to emulate a particular artist or work is moral - but these considerations exist separately from copyright, which should only ever be a means to realize actual justice and compensation, and not deferred to as a blanket moral arbiter for how art should and shouldn’t be made. A huge amount of incredible, influential, world-changing artwork has come from the infringement of copyright law.
Whether these AI generators actually do reproduce existing artwork is a topic of much discussion - after having studied the way this process operates for at least a year, and having had these observations verified by some of the developers who built them, I’m confident in making the assertion that at the very least, the presence of any given copyrighted work from the training set within a final output is granular enough that its identification is not possible, so long as the model is actually functional and not overfitting.
Should artists be worried about these tools?
images_ai: A lot of concept artists are worried right now about their jobs being automated by AI generators. The fact that those generators might be trained on their own work, which is a process they didn’t consent to, rubs a lot of salt into that wound. Redundancy means retraining in another field, or unemployment - and unemployment for many artists means suffering and/or death. Being an unemployed and occasionally homeless artist myself, I have unending sympathy and empathy for artists who might end up in this position, and it’s frustrating that so many people assume the artists and devs in this community don’t care about this issue, not least because a lot of people making art with AI saw this coming years ago and warned about it. The tech leading up to DALL-E was in the pipeline for the better part of a decade.
While I don’t consider myself a pessimist, I think it’s worth being realistic about the ways in which we as artists and workers can resist and fight back against capitalist forces. The truth is, as soon as it became clear that the computing power and storage space existed to train a program that made associations between written text and visual images, a future where corporations tried to advance this technology to a point where they could put people out of jobs in favor of automation became certain, and these are the same corporations who have the US legal system and copyright law at their every beck and call. Being able to sue artists who make original content with existing IPs is good for Google. Being able to take the copyrighted work of artists, compile them into a dataset, and then train a model that Google can use to put concept artists out of a job is good for Google. And thus, the law was rendered so.
I think trying to fight back at them through this process, by claiming copyright infringement, is likely going to be extremely difficult and maybe not beneficial for artists in the long run, although any policy that makes it harder for Google to exploit workers is a policy I’m going to support. The question would then become whether any artist using a copyright-infringing model is therefore also consequently bad - and I think the answer to that question is going to be usually no, for the reasons I stated before.
This is why I emphasize the importance of context in the moralization of these models. It is absolutely the case that big tech should be regulated as much as possible, and compelled to only use models trained on public or licensed material if they’re going to train a model at all. Pretty much everyone in the AI Art space supports the idea of a public domain dataset. But the question should always be, who is using this software, why, and what does it affect? Is it morally wrong for an independent artist to use copyrighted material to create original, transformative art that doesn’t affect the career or conditions of the artists whose work trained the model? No. Is it morally wrong for Google to train a model on copyrighted work to create derivative, uninspired work without paying for the labor of human artists who honed their craft for years? Yes! And these two sets of actors don’t typically overlap.
This is why it seems so strange to me that the target of these concept artists’ ire has been Stable Diffusion and the artists who use it, who aren’t putting anybody out of a job with their work. Certainly right now, big tech companies are not using Stable Diffusion, and even if this model didn’t exist in the public domain, Google and OpenAI would train their own for commercial use anyway - they both literally have done that, and they have copyright law on their side too. We should be emphasizing policies like unionization and strike action, establishing mutual aid funds, pushing back against the exploitation of labor by corporations on all fronts. And the fact that we do have something like Stabile Diffusion in the public domain means that, in the worst-case scenario where artists are forced to either retrain or die, we’ve already been developing freeware that might allow them to retain some aspect of artistic freedom and expression in their work, within the capitalist nightmare we all live in. I honestly don’t believe we’re at odds on this issue at all.
What opportunities do you think these tools will bring?
images_ai: Very many. Accessibility is an underappreciated value in the art world, but anything that makes it easier to take an expression you hold in your mind and translate it into something real is going to be a net good for artists, especially artists who for various reasons might not have the ability to create art by more traditional means. Speaking as someone who has worked in digital art, the ability to generate the textures and materials I need in a few seconds instead of sourcing something from elsewhere and manipulating it for hours is a huge benefit. I can put together a professional-grade piece that I’m happy with and looks exactly how I pictured it in less than an hour. That’s crazy. I think we’re going to see some really fascinating technologies pop up once Stability Diffusion goes public and gets integrated into other platforms. I’d love to see some compatibility with the Neural Filters in Photoshop, for example.
Where do you see the future of these tools going, especially in relation to the art world?
images_ai: It doesn’t seem like advances in computing power and storage space are going to slow down any time soon, which means the capacity for AI generation will only increase. If we were to extrapolate forward based on the amount of ground covered in the past year alone, there’s very little I’m willing to say is off the table when we discuss what might come to pass one, two, five years from now.
I think we’re very quickly approaching a grade of diffusion engine where the results are actually, genuinely indistinguishable from original human work. As soon as CLIP-equivalent models are trained on other forms of media, too, we’ll start to see AI generated content popping up there. I’m interested to see how long it will take before we have a functional model for AI-generated video clips based on captioning - presumably the captions would need to be much more detailed, or maybe time-sensitive; have CLIP caption a video frame by frame, and have parameters fade in and out over time, or something. An AudioCLIP model for captioned sound samples also feels within the realm of possibility. Take a database of tagged sounds like Splice, for example, and you could put together a really interesting diffusion engine for creating original sounds.
The possibilities are sort of endless. The GPT-3 Codex model is absolutely blowing my mind right now. We’re going to have AI generated video games very soon. I don’t think we’re far off from having text-to-code models capable of creating and training their own iterative, improved text-to-code models. And then we’ll all be truly fucked. It’s extremely exciting and quite scary.
What’s next for you and what are you hoping for?
images_ai: I’m trying to find work at the moment, so I’ve been pushing for more commissions. It would be great to see some of this artwork appearing on bigger music releases for example. It looks like Lil Uzi Vert’s recent single had an AI-generated cover, which is cool. We also have some super exciting releases on the way at Abstract Image Records, which is dedicated to promoting and distributing work by underground experimental, ambient, and dance music artists. The record store is a democratized art gallery, after all. Cover art is a great place for innovative artwork to shine.
I’d like to write some more, and try to work towards a more substantive distinction between the different schools of art that have formed in the wake of this technology. It really seems like 'AI Art' is something of a misnomer, or at least it’s currently functioning as an increasingly stretched umbrella term for a whole variety of different practices, methodologies and styles, which all happen to be employing the same pieces of tech.
It would also be cool to do some more video work. I ran some VQGAN animation tests a while back, in addition to a collaboration with The Exploring Series on an SCP poetry reading, but the technology has advanced leaps and bounds since then.
Who else should I speak to and why?
images_ai: Obviously @ai_curio. They're also charming to speak to. Can't recommend them highly enough. Ryan Murdock and Katherine Crowson are the OGs in this game, and they’re both extremely intelligent and interesting thinkers and artists. Kali Yuga is doing some incredible stuff in the world of model training, and her own art is sublime. Ted Underwood and @somewheresy are both very erudite. Vito from DMT Tapes FL is who got me into this game, and he’s now dedicated his Twitter full-time to creating AI art at @DMTAI_FL. He’s always worth listening to. The work of Glenn Marshall, was some of the first video-based AI art I came across, and it still looks great over a year later. I don’t think he talks a whole lot about process on Twitter, so an interview would be super cool.
My favorite art coming out right now is from a kid with the handle @FlaminArc, it’s an incredible fusion of Y2K, emo, nightcore, hyperpop digital art that I immediately fell in love with. It’s so distinctive and unique, I’d love to hear where they get their influences from.
@proximasan, @KyrickYoung, @EErratica, @sureailabs and @yontelbrot are all doing incredible work in both art generation and research. It might be worth interviewing them as a group about the Artist Studies project they’ve been working on for months now. It’s an invaluable resource for Stability and Disco users.
The account @multimodalart runs a newsletter for AI Art which is always super informative. I’m sure their operator is worth talking to.
One of my favorite musicians is a producer named Galen Tipton, and I’ve created several pieces of cover art for her. She just released her first pack on Splice, and last I heard she was starting to employ tools like DALL-E and Jukebox AI to create original artworks too. Might be worth hitting up for a semi-outsider perspective on this scene and its artistic applications. Nat Puff AKA Left at London also seems to have taken an interest.
The musician and tech wizard Holly Herndon has been creating super innovative and absolutely stunning art with AI in various forms for years and years. I’m also absolutely fascinated by her creative process. You should absolutely reach out to her and see if she wants to chat.
The operator of the Mutant Mixtape series of charity bandcamp albums has also been a long time supporter, and has some really interesting perspectives on the artistic merit of AI artwork. Definitely worth a chat.
There was a pretty well-received album from the band Everything Everything called Raw Data Feel which used a whole lot of cover art featuring VQGAN generations. From what I can tell, nobody has asked them about this, but it’s probably the highest profile use of this art style I’ve seen outside of that Lil Uzi single. Maybe you could interview them about that project and how they chose to incorporate VQGAN into their cover art. I’d imagine it ties in conceptually somehow.
Some of the highest profile AI art applications have come from the San Francisco influencer Karen X. Cheng. If you could snag an interview with her that would be awesome, not least because it seems like she has access to some seriously cutting edge tech.
It would also be very interesting and worthwhile to hear some genuine outsider perspectives on this technology from other artists. Simon Stålenhag has expressed both interest and reservations about the use of this technology. Kris Straub, the artist responsible for the incredible Local 58 web series has been a supporter too, I’m sure he’d have something really insightful to say! The concept artist Karla Ortiz has expressed some serious concerns about consent in datasets as a non-AI artist. She seems very willing to engage in a useful dialogue about this. I was considering reaching out to interview her myself, but it might fit better as part of your series instead.


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