Podcasts about monets

I denne episoden reiser vi til Paris og besøker Marmottan-museet der. En perle, hvor vi blant annet ser Monets ikoniske "Inntrykk Soloppgang." AKKURAT NÅ:  Forhåndsbestill signert utgave av min bok Julens fortelling i kunsten HER kan du bestille signert utgave av min bok Kunsthistorie for alle. Her kan du lese mer om mine nettkurs: https://www.kristinetghardeberg.no/no/kurs-i-kunsthistorie/   Og HER kan du lære mer om kunst sammen med meg: KUNSTHISTORIER.NO   Her kan du lese mer om mine nettkurs: https://www.kristinetghardeberg.no/no/kurs-i-kunsthistorie/   Har du noe du ønsker jeg snakker om i podcasten? Har du et spørsmål du ønsker jeg svarer på? Send meg en email på info@kristinetghardeberg.no

Biesinger, Gabi www.deutschlandfunkkultur.de, Studio 9

In den Masuren finden Taucher einen Toten, Würgemale am Hals, nackt, keine Identität. Doch eine Narbe an seiner Hüfte verrät ein künstliches Hüftgelenk mit registrierter Nummer und führt die polnische Polizei direkt nach Berlin, wo Ariane Kruse und Christian Wonder den Fall auf den Tisch bekommen. In Berlin hat Arndt von Schellendorf, alter preußischer Adel, mit seiner Frau, einer Koryphäe auf dem Gebiet der Kinderzahnheilkunde, zuletzt gelebt. Ein Leben, das bestimmt war von Empfängen auf Schloss Kressburg, Reisen durch die Welt und einem standesgemäßen Luxus. Schellendorf war Kunsthändler, charmant, distinguiert und diskret. Nie gab es Beschwerden oder Beanstandungen, was seine Kundschaft betraf. Gut, die beiden Monets in seinem Bankfach stellten sich als Fälschungen heraus, aber die waren nur für seine eigene Altersversorgung gedacht. Viel Zeit bleibt Ariane Kruse und Christian Wonder nicht für den Fall, denn eigentlich ist Wonder auf dem Weg in den Iran, um endlich das Rätsel um seine verschollenen Eltern zu lösen. | Mit: Felix Kramer, Margarita Breitkreiz, Aenne Schwarz, Manuel Harder, Bibiana Beglau, Michael Mendl, Alexander Hörbe u. a. | Musik: Tarwater | Regie: Kai Grehn | Produktion: rbb 2024

Monets finanzielle Krise scheint überwunden, da stürzt Europa in den Krieg. Jetzt muss sich der Maler entscheiden: Noch einmal für Frankreich kämpfen oder ins Exil gehen? Einer seiner engsten Freunde stirbt auf dem Schlachtfeld und in der Zeitung muss Monet seine eigene Todesanzeige lesen.

Í ár eru 50 ár frá því að Picasso féll frá, en hann lést í apríl 1973, þá 92 ára gamall. Stóru söfnin úti í heimi keppast við að finna áhugaverðar nálganir á höfundaverk manns sem ekki aðeins er kallaður myndlistar risi 20 aldarinnar heldur einnig af mörgum talin vera snillingur. En það eru ekki allir samamála um það. Við kynnum okkur nokkrar ólíkar nálganir á höfundarverk hans í þætti dagsins. Það er brú í smíðum frá Quebec í Kanada yfir til Svíþjóðar með viðkomu á Íslandi, þetta er einhverskonar loftbrú eða ljóðbrú. Í fyrirlestrarsal Þjóðminjasafnsins í gær var haldinn viðburður Women of the North, Konur norðursins þar sem ljóð kvenna voru í forgrunni. Nancy R Lange ljóðskáld, útgefandi og þýðandi er sú sem stendur í stafni þessa verkefnis og hún kemur til okkar og segir frá dvöl sinni hér á landi og því sem tengir þessi ólíku svæði. Og svo laumum við inn einum gullmola úr safni rúv, broti úr viðtali sem við rákumst á á ferðalagi okkar um safnið hér í efstaleiti. Um er að ræða viðtal frá 1962, við Helga Haraldsson bónda á Hrafnkelsstöðum í Hrunamannahreppi, en hann var fæddur 12. júní 1891. Auk þess að vera heiðursfélagi í Búnaðarfélagi Íslands er Helgi kynntur til leiks í þessu viðtali sem framúrskarandi sauðfjárbóndi, maður með ást á sögunni og andúð á leirburði. Og í dag lýkur ferðalagi okkar með Guju Dögg Hauksdóttur arkitekt. Í þessum síðasta pistli heldur hún áfram að ferðast á forsendum tunglsins um norðurhluta Frakklands, og endar í kastala, klaustri og blómagarði Monets

Í ár eru 50 ár frá því að Picasso féll frá, en hann lést í apríl 1973, þá 92 ára gamall. Stóru söfnin úti í heimi keppast við að finna áhugaverðar nálganir á höfundaverk manns sem ekki aðeins er kallaður myndlistar risi 20 aldarinnar heldur einnig af mörgum talin vera snillingur. En það eru ekki allir samamála um það. Við kynnum okkur nokkrar ólíkar nálganir á höfundarverk hans í þætti dagsins. Það er brú í smíðum frá Quebec í Kanada yfir til Svíþjóðar með viðkomu á Íslandi, þetta er einhverskonar loftbrú eða ljóðbrú. Í fyrirlestrarsal Þjóðminjasafnsins í gær var haldinn viðburður Women of the North, Konur norðursins þar sem ljóð kvenna voru í forgrunni. Nancy R Lange ljóðskáld, útgefandi og þýðandi er sú sem stendur í stafni þessa verkefnis og hún kemur til okkar og segir frá dvöl sinni hér á landi og því sem tengir þessi ólíku svæði. Og svo laumum við inn einum gullmola úr safni rúv, broti úr viðtali sem við rákumst á á ferðalagi okkar um safnið hér í efstaleiti. Um er að ræða viðtal frá 1962, við Helga Haraldsson bónda á Hrafnkelsstöðum í Hrunamannahreppi, en hann var fæddur 12. júní 1891. Auk þess að vera heiðursfélagi í Búnaðarfélagi Íslands er Helgi kynntur til leiks í þessu viðtali sem framúrskarandi sauðfjárbóndi, maður með ást á sögunni og andúð á leirburði. Og í dag lýkur ferðalagi okkar með Guju Dögg Hauksdóttur arkitekt. Í þessum síðasta pistli heldur hún áfram að ferðast á forsendum tunglsins um norðurhluta Frakklands, og endar í kastala, klaustri og blómagarði Monets

Bis zum 10. April war die Ausstellung Monets Garten in Hamburg und die Salon5-Reporter Nele und Matti haben sich die interaktive Kunstausstellung angeschaut. Ob die Ausstellung wirklich so interaktiv war und ob sich ein Besuch lohnt ist, hört ihr in diesem Podcast. Die nächste Station für die Ausstellung Monets Garten in Deutschland ist ab dem 27.10.2023 in München.

Behind some great men, there is a big brother. Leon Monet, Claude Monet's older brother, is central to a new public art show, or exhibition, in Paris. The exhibition explores the part Leon Monet played in the famous impressionist painter's life and art. Leon was a color chemist who was four years older than Claude. Historians now understand that Leon helped Claude succeed. He helped in the development of the famous color palette that Claude used to create artworks like the “Water Lilies” series.一些伟人的背后，都有一个大哥。克劳德·莫奈 (Claude Monet) 的哥哥莱昂·莫奈 (Leon Monet) 是巴黎一场新的公共艺术展或展览的中心人物。展览探讨了莱昂·莫奈在这位著名印象派画家的生活和艺术中所扮演的角色。莱昂是一位比克劳德大四岁的色彩化学家。历史学家现在明白，里昂帮助克劳德成功了。他帮助开发了克劳德用来创作“睡莲”系列等艺术作品的著名调色板。Geraldine Lefebvre is in charge of the exhibition at the Musee du Luxembourg. “It's never been known before, but without Leon there would not have been a Monet — the artist the world knows today,” Lefebvre said. She explained, “His rich big brother supported him in the first period of his life when he had no money or clients and was starving.” Lefebvre said that the colors Claude was famous for “came from the synthetic textile dye colors Leon created” in the town of Rouen. Rouen was the subject of some of Claude's best-known paintings.Geraldine Lefebvre 负责卢森堡博物馆的展览。 “以前从未为人所知，但如果没有莱昂，就不会有莫奈——当今世界都知道的艺术家，”勒斐伏尔说。她解释说，“他有钱的哥哥在他生命的最初阶段支持他，当时他没有钱，没有客户，还在挨饿。” Lefebvre 说，Claude 著名的颜色“来自 Leon 在鲁昂镇创造的合成纺织染料颜色”。鲁昂是克劳德一些最著名的画作的主题。The exhibition represents years of investigation by Lefebvre. She visited Monet's great-grandchildren, studied family records and brought to light a painting of Leon by Claude. Leon hid the painting in a private collection. The 1874 artwork has never before been seen by the public. It shows Leon with a black suit, serious expression and red face. The exhibit shows that the long-held belief that the Monet brothers did not communicate is incorrect. “Historians always thought the two brothers had nothing to do with each other," she said.该展览代表了 Lefebvre 多年的调查。她拜访了莫奈的曾孙，研究了家庭记录，并发现了克劳德 (Claude) 的一幅莱昂 (Leon) 画作。莱昂将这幅画藏在私人收藏中。这件 1874 年的艺术品以前从未被公众看到过。照片中的莱昂身穿黑色西装，表情严肃，脸色通红。该展览表明，长期以来认为莫奈兄弟没有交流的观点是不正确的。 “历史学家一直认为这两兄弟彼此无关，”她说。“In reality, they were incredibly close throughout their life,” Lefebvre said. The brothers had an argument in the early 1900s and that may explain why no direct signs of the relationship exist. What is now known is that Leon helped his younger brother. He introduced Claude to other artists, gave Claude money, and purchased Claude's art — buying it at high prices to improve the painter's public image. “This exhibit is important as it throws light on Leon Monet, who up until now has been an invisible figure,” said Frances Fowle of the National Galleries of Scotland.“实际上，他们一生都非常亲密，”勒斐伏尔说。兄弟俩在 1900 年代初期发生争执，这或许可以解释为什么没有直接的关系迹象存在。现在知道的是，莱昂帮助了他的弟弟。他把克劳德介绍给其他艺术家，给克劳德钱，买下克劳德的画——高价买下，以提升这位画家的公众形象。苏格兰国家美术馆的弗朗西斯福尔说：“这次展览很重要，因为它揭示了莱昂莫奈，直到现在他一直是一个隐形人物。”Leon's influence went beyond his brother: He financially supported other artists such as Camille Pissarro, Auguste Renoir and Alfred Sisley.Claude Monet also worked for his older brother as a color assistant. Leon would dissolve carbon to create a chemical called aniline, which created synthetic colors that natural colors could not compete with. One of the earlier examples of Leon's colorful influence on Claude's art is in the exhibition. It is an 1860s picture Monet drew of his future wife Camille. She appears in a dress of a green color that had never been seen before. “The French press coined the term ‘Monet green,'” Lefebvre said, adding that reporters made fun of it at first. “At the time, they said he would make a good dye artist.” However, both Monets had the last laugh.莱昂的影响力超越了他的兄弟：他在经济上支持卡米尔·毕沙罗、奥古斯特·雷诺阿和阿尔弗雷德·西斯莱等其他艺术家。克劳德·莫奈还为他的哥哥担任色彩助理。莱昂会溶解碳来制造一种叫做苯胺的化学物质，这种化学物质可以制造出天然色素无法与之抗衡的合成色素。展览中展示了莱昂对克劳德艺术影响的早期例子之一。这是一张 1860 年代莫奈为他未来的妻子卡米尔画的画。她穿着一件以前从未见过的绿色连衣裙出现。 “法国媒体创造了‘莫奈绿'这个词，”Lefebvre 说，并补充说一开始记者们取笑它。 “当时，他们说他会成为一名优秀的染料艺术家。”然而，两位莫奈都笑到了最后。Claude Monet founded impressionism — a term that comes from his 1872 painting “Impression, Sunrise” — to become one of the most famous painters of the last two hundred years. And by the height of the artistic movement at the end of the 19th century, “80 percent of all impressionists' work” used the synthetic colors borrowed from Leon, Lefebvre says Leon Monet. Brother of the Artist and Collector runs at the Musee du Luxembourg in Paris from March 15 until July 16.克劳德·莫奈 (Claude Monet) 创立了印象派——这个词来自他 1872 年的画作《印象，日出》——成为过去 200 年来最著名的画家之一。列斐伏尔 (Lefebvre) 说，到了 19 世纪末艺术运动的鼎盛时期，“80% 的印象派作品”都使用了从莱昂那里借来的合成色。艺术家和收藏家的兄弟将于 3 月 15 日至 7 月 16 日在巴黎的卢森堡博物馆展出。

What you'll learn in this episode: What to look for when selecting a vintage piece, and why the most important factor is how much you like it Why Schreiner jewelry has increased in value, and how to tell if something is a genuine, high-quality piece of Schreiner Why online auctions are a great way for new collectors to grow their collection of vintage jewelry How Carole started her 40,000-piece collection, and how she allows clients to explore it Which emerging and under-appreciated vintage designers you should keep your eye on About Carole Tanenbaum Carole Tanenbaum has been collecting costume jewelry for over twenty-five years resulting in an unparalleled collection of over 30,000 pieces dating from the Victorian period to today's collectibles. Carole Tanenbaum Vintage Collection is one of North America's premiere collection of vintage costume jewelry. Every piece in the collection has been hand-selected with an eye for design, creativity and exceptional workmanship. The collection integrates vintage costume jewelry as wearable works of art into the fashion world. As a world-renowned collector, Carole has given a number of lectures on vintage costume jewelry at museums, universities, and social clubs. The collection continues to be featured in a multitude of fashion publications, and film and television productions. Additional Resources: Website Facebook Instagram Photos available on TheJewelryJourney.com Transcript: When it comes to vintage costume jewelry, few people can match Carole Tanenbaum's passion. Her 40,000-piece collection covers the history of costume jewelry from the Victorian era to the 90s, along with some emerging contemporary designers thrown in for good measure. She joined the Jewelry Journey Podcast to talk about her interest in Schreiner jewelry; how she wrote her two books on costume jewelry; and what she looks for when adding to her collection. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com. Today, my guest is Carole Tanenbaum speaking to us from Toronto. She and her husband have been collectors of everything, including vintage costume jewelry, for years. She herself has written two books on the subject of vintage costume jewelry. “Fabulous Fakes: A Passion for Vintage Costume Jewelry” is the first one, and the newest one is a book on Schreiner jewelry, “Schreiner: Masters of Twentieth-Century Costume Jewelry.” Each week, she holds an auction of vintage costume jewelry, and she'll tell us all about that. Welcome back. That's really interesting. It sounds like you've looked at a million and one pieces. I was under the impression that your auctions were weekly. When I say get rid of it—if you have 40,000 pieces— Carole: No, but what I do occasionally is deaccession my earlier pieces through a couple of the national and international auctions I trust. I do that because if they're sitting in my drawers and not doing anything, it's not that I lost respect for them, it's that I want other people to enjoy them. So, I would say twice a year, I have an auction at Ripley's Auction, I have an auction here at Waddington's Auction. When we were selling our toys, because we're at an age now where you have to start thinking about where these things are going, I did it at Miller and Miller in Canada, a wonderful auction house. Those are the types of auctions and that's the reason why I do them, but they're only occasional. I always post them on my different sites so the public is aware of them. Sharon: Where do you find the pieces you do buy? Just looking around and going to these places on the outskirts? Carole: First of all, we are very fortunate because people know my name. They know about me, so they have offered pieces on many occasions. I'm even buying back pieces from people who don't wear them anymore and want them passed back to me, but I would say that's just by happenstance. We love antiquing, so it doesn't matter whether we find or we don't find. It's getting much harder, as I told you, because there are fewer outlets. A lot of the small antique dealers went under and don't have places where they can show their pieces other than the net. I do think the net now is the best place to look outside of shopping for them, but if you're shopping for them, don't have high hopes, because the very high end is being bought out by savvy collectors. Sharon: I guess that's something that crossed my mind. Sometimes, like you say, the pieces can go for thousands of dollars. Have you ever overpaid, do you think? Do you just love something so much that you paid more than you thought you could at some point? Carole: I wouldn't use the word “overpaid.” I would use the word “I paid more than I expected to,” because if I want a piece, I get it. I haven't been wrong so far, but if I'm wrong, so be it. I feel it's the right way to think about it. If you can afford it and you purchased it at a higher price and you got it, that's fine, because who knows what it's going to be in the future? That was also a good lesson for me. A couple of pieces I really overdid in my purchase are worth four times the amount today than when I originally bought them. Sharon: Tell us the story about the books, then. Carole: What really started my business career was at the very beginning of the 80s, I was showing my pieces in trunk shows in hotels and for charities. I wasn't really a business, but in about 1990, I pitched my collection to Holt Renfrew in Toronto, the equivalent of Neiman Marcus. There was a wonderful director there at the time who I pitched to. He was quiet and he was thinking about it. I wanted to do a trunk show because I wanted to expose people to costume jewelry, and this gentleman said, “Carole, I'm sorry. I won't do a trunk show, but I'm going to give you a department.” They gave me a department at Holt Renfrew, and they branded me Carole Tanenbaum Vintage Collection. In 2006, when I really had a large following, I figured they deserved to see what I feel is the best of my collection. That's how I started “Fabulous Fakes” through Madison Press, which is no longer around. In four months' time, the book was sold out. In a year's time, the book was sold out internationally. People were starving for visuals, and it was kind of a tabletop book. It was my selection from my personal collection. I loved doing that, but I wasn't interested in doing it again. Then, I saw that I really have to educate the audience about Schreiner because nothing has ever been written about Schreiner other than a paragraph or two. Him being my favorite designer, I wanted to do a book on him, but I couldn't find anybody to do the research because he was kind of illusive. He was a very small manufacturer. But a person who was working for me as part of our outfit said to me one day, “Why don't you do a book on Schreiner?” and I said, “I've been thinking about it for years, but I don't want to do another picture book. I want to do a book where people can learn, because I want to show them what to look for with many examples.” At this point, I had about 400 pieces of Schreiner. She said, “I'll do the research. I love to do research,” and I gave her the commission. She went off to New York. She went to the public library there, and she saw a Schreiner address in the outskirts of New York. She knocked on the door of this person, and it turned out to be the grandson of Henry Schreiner and they invited her in. She's a charming woman, Eve Townsend. She's the one who did all the research for the book. She's a terrific gal. They loved her. She had repeated visits to them, the only person who was really permitted to spend time with them. She's the one that gave all the knowledge to the book “Schreiner.” Now we're completely sold out, but I just reprinted. The reprints are coming out in February. I was selling it for $125 because I was selling my personal stash, but the Chinese community, who are very active in the vintage world, were purchasing the book in China for $400. Now people will be able to buy it again for $65. I'm very proud of that because it was a small quantity that I did last time and it's another small quantity this time. Sharon: There was a large gap between the two books. Did you have it with the picture books and say, “That's it. I'm not doing another book”? Carole: I wasn't interested in doing the picture book, but I felt it was my duty to my clients whom I was educating along the way to show them what great pieces are. I had a wonderful publisher. They were terrific to work with, and they laid it out in a way that people could understand the design and comparison to others. I was very happy I did it, but I had no desire to do another one until Eve came around and said, “Carole, we're going to do the book.” That's how the Schreiner came into being. Sharon: How do you define vintage costume jewelry? Carole: The actual definition for vintage is 40 to 100 years old. Antique is from 100 to 300 years old, but in my operation, we sell from the Victorian era to the 80s and 90s. That's our cutoff. Now we're starting to show contemporary designers who I think are valid for future collecting, but that's Carole Tanenbaum Vintage's decision, to focus on that area of time. Sharon: What do you say if somebody says it's not real? I have people say to me, “It's not real. It's fake.” Carole: It's a great question. I say to them, “Yes, it is real. It's real vintage. If you handed me a $10,000 piece of gemstone and showed me a wonderful piece of vintage for $10,000, I would probably purchase the vintage because the vintage pieces have historical value to me as well.” I have always been asked that question, Sharon. It's always been sort of a bone of contention because I really had to educate people that vintage costume jewelry is one category, like apples and oranges. Gemstone is another. They both happen to be jewelry, but they're both valid in their categories. Sharon: Are there people who collect the Schreiner and another who collect the Monet? Carole: Yeah. Sharon: So, you know who. Carole: Yeah. I don't know who, but they come to me and say, “Do you have any Monets?” I love Monet. Actually, he's one of the best kept secrets on the market now because his prices haven't risen in the same way that others have. I would say, “I'll show you a tray of them,” and then my staff would photograph a tray and they would go, “Oh.” At least it introduces them to more than one. That's how we operate our business. People do come to us with very specific requests. Most of the time, we can show them examples of that. Other times, I'm not interested in the designer, and I have very few of them. We refer them to somebody else I know in the field who might have them. Sharon: I'm learning a lot here. Schreiner is a person and a company. Monet is not a person; it's a company. It's interesting that they were originally people. Carole: They were people, exactly. People with very good eyes. Sharon: That's very interesting. How did you come to be in business? Like you said, you didn't have to go into business. How did you start a business? Carole: Through Holt, that's how I started my business. I had no idea they would add me as a counter, as real estate, or that they would have me for three weeks because I said I wanted to expose people. I thought they would have me for three weeks and then be gone, but he said to me—and it's a very important thing I pride myself on—he said, “The way you are different from other people who have approached me is that you have a singular eye, and your collection is curated by that eye. I like your eye and I know your family were collectors. That's why I am taking you on.” That's a good point, because I happen to have the benefit of coming from a family of great collectors, people who have a specific eye and all the pieces they collect are from that eye, and the pieces they collect happen to be very good pieces. That's a real attribute to their inventory and their collection. Other people buy a lot of 50 pieces and go through it to see which ones are sellable. Every piece in my collection I pick personally. I have a wonderful staff and they know the collection, but I feel that my collection is known for my eye. I feel a responsibility in that sense. Sharon: That's interesting because different definitions of a good eye come to mind. I have a friend who's not a dealer, but dealers have told her she has a dealer's eye. She can spot the thing in the back of a cabinet. My father-in-law was a great collector of art. I didn't like any of it until I saw it framed, and then it was like, “Oh my God, that's wonderful!” I don't think I have an eye. That's the thing. Carole: You don't know. Are you a collector? Sharon: I'm one of those who has a lot. I wouldn't say I collect anything. Yes, I don't collect anything. Carole: You have an eye for everything you collect. If you put it together, somebody in a field that understands it would say, “There's a certain rhythm there. There's a certain continuity with what you collect.” Your clothing is of a certain area. You're either conservative or out there, and then you choose things that go with your aesthetic, whatever it is. You might not think you have an eye, but you have a very specific eye. We don't know what it is, but you might look at it that way and find out what it is. Sharon: Somebody who does collect said to me exactly what you said. If they put it all together, they can see what I liked or what I collected. You collect the Schreiner, let's say, but I don't. I don't have something like that. What happens when somebody comes to you and says, “I have a fabulous outfit. I have a great dress, but it needs something. I've looked at all the contemporary stuff and there's nothing that pleases me. What do you have?” Carole: Actually, that's a good part of my business. We do bridal. We do the bride's parents. We do women who are having an event in their family. We do movies. We do television. We're set up in our operation to meet the needs of almost anybody who asks for it. If a stylist comes in here and they're working for a 20s movie, we know exactly what to bring out to her. We do a prep for it. She comes in and goes through areas we know we have. Don't forget we have about 40,000 pieces, but we organize it in such a way that it's very easy for them to see. It's very easy for us to accommodate almost every request of ours. We love dealing personally, by the way, because it brings out the child in many people who are a little constricted. You get a sense of their personality, and you pick accordingly. It's very easy for us. We love to do that. Sharon: Do people come to you and say, “I have a fabulous “real” pin, but it's not enough. It doesn't have the wow factor”? Do you bring them something else? Carole: We show them what we feel they could like. Don't forget, Sharon, if somebody comes to us, they'll see about 20 pieces. There's always a piece they love. Nobody has ever left us without buying something because we're trained in that. My staff is trained to understand the person when they're telling them what they need. Sharon: How do people find out about your operation? I stumbled on it. I didn't realize it was so large. Carole: We've been in business for about 40 years now, but my name is out there because I've been in the field. I'm very generous to other dealers; they're very generous to me. The public knows me through the various clubs I belong to. I belong to the Sherman Club, who's a Canadian designer. I belong to the Schreiner Club and various clubs. You show pictures of what you have, so they see what I have and love it. I don't let a lot of people into the house because I don't feel safe with everything I have here, but we do a lot of business on the iPad. My staff will get a tray together, put together a professional photograph and show the person who's looking, and they'll always be able to pick something from it. Also, don't forget I've been in a lot of magazines and newspaper articles. Those public stands are very important for me. A lot of the stylists use my pieces and my story to inspire. Sharon: I think the big leap that a lot of dealers or people who sold jewelry had to make—I've heard people say, “I have to hold it. I have to see it. I have to feel the piece of jewelry to know it, to see if I want it.” Have you had that? Have you faced that? Carole: Locally people have asked if they could come down after we showed them the pieces. Generally, if we know where they're coming from, we permit them to come up and have fun, but internationally, no. I have a very large Asian clientele and they buy strictly from photos. I have a very large Russian population in Paris and Italy. I think they're savvier than the average collector, so they know exactly what they want. It's very easy to satisfy them. With the Asian community, which actually have been voracious collectors over the last five years, they're very specific with what they want. There's only a handful of designers they love, but when we get new pieces in, we know who they are. Sharon: There's a handful of pieces from designers that Asians or Russians know they want. You mentioned you also have some emerging designers. Who do you think the emerging designers are? Are they costume or are they real? Carole: Never real. I'm really not in the gemstone business. But there are emerging designers or contemporary designers that people don't know about, such as Rafael of Montreal, Vidal of Montreal, Thomas Mann, who has a charming eye and does really playful but sophisticated jewelry. Colette Harmon is another emerging artist. There are other old-timers that still have not made the money mark yet, such as Avon and Art and Fluenza and Napier, whom there's a wonderful telephone book-size book on, yet people haven't really discovered him yet. The prices are very reasonable. He was a wonderful designer of the 50s, and he's somebody who isn't really there yet. He's dead, but he deserves to be recognized. Then there are areas of collecting, like copper. Some of the great studio pieces in copper, whenever I see them, I grab them. I grab wood pieces that were designed at the same time as Bakelite. The wood pieces are really like folk art; they're wonderful. Rarely are they more than $125. I bought them for like $40. Each one of them I wouldn't trade for my three $1,000 pieces because they're really charming. So, there are areas you can start buying without worrying about. Sharon: Carole, thank you so much for being with us today. We've learned so much. I know I have learned a lot. I'm ready to go, “Oh my God, they're overlooked so much.” Carole: Thank you so much for having me. I really appreciate it, Sharon. Sharon: We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

2gether is better and we're glad you are here! This episode we discuss some questions of the week, forgiveness, how you speak to your partner, is your S/O compatible with your purpose! Thank you for your support!  This podcast is hosted by 3 black women (+ HIM) with different personalities and walks of life who come 2gether for conversations, laughter, advice, or just an escape from the reality of adult living. Staying true to who they are no matter how different their personalities, backgrounds and beliefs are as they grow through womanhood. Join in the conversations as they go through life's endeavors from relationships to current world events, interviewing special guests and answering your dilemmas/questions.   2GETHER Socials:   Instagram.com/2gether.atm Instagram.com/2getherwith_him Tiktok : 2getherpod   Monets:instagram.com/MonetLavette Lex:instagram.com/jusslex31 Tati:instagram.com/xoxotaatz   Greg:instagram.com/nxmentixns

2gether is better and we're glad you are here! This episode we play Truth or Drink with the questions you supporters sent out with a few other questions as well! Thank you for your support!    This podcast is hosted by 3 black women (+ HIM) with different personalities and walks of life who come 2gether for conversations, laughter, advice, or just an escape from the reality of adult living. Staying true to who they are no matter how different their personalities, backgrounds and beliefs are as they grow through womanhood. Join in the conversations as they go through life's endeavors from relationships to current world events, interviewing special guests and answering your dilemmas/questions.   2GETHER Socials:   Instagram.com/2gether.atm Instagram.com/2getherwith_him Tiktok : 2getherpod   Monets:instagram.com/MonetLavette Lex:instagram.com/jusslex31 Tati:instagram.com/xoxotaatz   Greg:instagram.com/nxmentixns

2gether is better and we're glad you are here! This episode we discuss some questions of the week, birthday recap just a tad, and how we feel about what we're watching! Thank you for your support!  This podcast is hosted by 3 black women (+ HIM) with different personalities and walks of life who come 2gether for conversations, laughter, advice, or just an escape from the reality of adult living. Staying true to who they are no matter how different their personalities, backgrounds and beliefs are as they grow through womanhood. Join in the conversations as they go through life's endeavors from relationships to current world events, interviewing special guests and answering your dilemmas/questions.   2GETHER Socials:   Instagram.com/2gether.atm Instagram.com/2getherwith_him Tiktok : 2getherpod   Monets:instagram.com/MonetLavette Lex:instagram.com/jusslex31 Tati:instagram.com/xoxotaatz   Greg:instagram.com/nxmentixns

2gether is better and we're glad you are here! This podcast is hosted by 3 black women with different personalities and walks of life who come 2gether for conversations, laughter, advice, or just an escape from the reality of adult living. Staying true to who they are no matter how different their personalities, backgrounds, and beliefs are as they grow through womanhood. Join in the conversations as they go through life's endeavors from relationships to current world events, interviewing special guests, and answering your dilemmas/questions.   2GETHER Socials:   instagram.com/2gether.atm instagram.com/2getherwith_him tiktok : 2getherpod   Monets:instagram.com/MonetLavette Lex:instagram.com/jusslex31 Tati:instagram.com/xoxotaatz   Greg:instagram.com/gabos_75

2gether is better and we're glad you are here! This podcast is hosted by 3 black women with different personalities and walks of life who come 2gether for conversations, laughter, advice, or just an escape from the reality of adult living. Staying true to who they are no matter how different their personalities, backgrounds, and beliefs are as they grow through womanhood. Join in the conversations as they go through life's endeavors from relationships to current world events, interviewing special guests, and answering your dilemmas/questions.   2GETHER Socials:   instagram.com/2gether.atm instagram.com/2getherwith_him tiktok : 2getherpod   Monets:instagram.com/MonetLavette Lex:instagram.com/jusslex31 Tati:instagram.com/xoxotaatz   Greg:instagram.com/gabos_75

2gether is better and we're glad you are here! This podcast is hosted by 3 black women with different personalities and walks of life who come 2gether for conversations, laughter, advice, or just an escape from the reality of adult living. Staying true to who they are no matter how different their personalities, backgrounds and beliefs are as they grow through womanhood. Join in the conversations as they go through life's endeavors from relationships to current world events, interviewing special guests and answering your dilemmas/questions.   2GETHER Socials:   instagram.com/2gether.atm instagram.com/2getherwith_him tiktok : 2getherpod   Monets:instagram.com/MonetLavette Lex:instagram.com/jusslex31 Tati:instagram.com/xoxotaatz   Greg:instagram.com/gabos_75

2gether is better and we're glad you are here! This podcast is hosted by 3 black women with different personalities and walks of life who come 2gether for conversations, laughter, advice, or just an escape from the reality of adult living. Staying true to who they are no matter how different their personalities, backgrounds and beliefs are as they grow through womanhood. Join in the conversations as they go through life's endeavors from relationships to current world events, interviewing special guests and answering your dilemmas/questions.   2GETHER Socials:   instagram.com/2gether.atm instagram.com/2getherwith_him tiktok : 2getherpod   Monets:instagram.com/MonetLavette Lex:instagram.com/jusslex31 Tati:instagram.com/xoxotaatz   Greg:instagram.com/gabos_75

2gether is better and we're glad you are here! This podcast is hosted by 3 black women with different personalities and walks of life who come 2gether for conversations, laughter, advice, or just an escape from the reality of adult living. Staying true to who they are no matter how different their personalities, backgrounds and beliefs are as they grow through womanhood. Join in the conversations as they go through life's endeavors from relationships to current world events, interviewing special guests and answering your dilemmas/questions.   2GETHER Socials:   instagram.com/2gether.atm instagram.com/2getherwith_him tiktok : 2getherpod   Monets:instagram.com/MonetLavette Lex:instagram.com/jusslex31 Tati:instagram.com/xoxotaatz   Greg:instagram.com/gabos_75

2gether is better and we're glad you are here! This podcast is hosted by 3 black women with different personalities and walks of life who come 2gether for conversations, laughter, advice, or just an escape from the reality of adult living. Staying true to who they are no matter how different their personalities, backgrounds and beliefs are as they grow through womanhood. Join in the conversations as they go through life's endeavors from relationships to current world events, interviewing special guests and answering your dilemmas/questions.   2GETHER Socials: instagram.com/2gether.atminstagram.com/2getherwith_himtiktok : 2getherpod   Monets: instagram.com/MonetLavette Lex: instagram.com/jusslex31 Tati: instagram.com/xoxotaatz   Greg:instagram.com/gabos_75

2gether is better and we're glad you are here! This podcast is hosted by 3 black women with different personalities and walks of life who come 2gether for conversations, laughter , advice , or just an escape from the reality of adult living. Staying true to who they are no matter how different their personalities, backgrounds and beliefs are as they grow through womanhood. Join in the conversations as they go through life's endeavors from relationships to current world events, interviewing special guests and answering your dilemmas/questions.   2GETHER Socials: instagram.com/2gether.atm instagram.com/2getherwith_him tiktok : 2getherpod   Monets: instagram.com/MonetLavette   Lex: instagram.com/jusslex31   Tati: instagram.com/xoxotaatz   Greg: instagram.com/gabos_75

2gether is better and we're glad you are here! This podcast is hosted by 3 black women with different personalities and walks of life who come 2gether for conversations, laughter , advice , or just an escape from the reality of adult living. Staying true to who they are no matter how different their personalities, backgrounds and beliefs are as they grow through womanhood. Join in the conversations as they go through life's endeavors from relationships to current world events, interviewing special guests and answering your dilemmas/questions.   2GETHER Socials:   instagram.com/2gether.atm    instagram.com/2getherwith_him tiktok : 2getherpod   Monets: instagram.com/MonetLavette   Lex: instagram.com/jusslex31   Tati: instagram.com/xoxotaatz   Greg: instagram.com/gabos_75

2gether is better and we're glad you are here! This podcast is hosted by 3 black women with different personalities and walks of life who come 2gether for conversations, laughter , advice , or just an escape from the reality of adult living. Staying true to who they are no matter how different their personalities, backgrounds and beliefs are as they grow through womanhood. Join in the conversations as they go through life's endeavors from relationships to current world events, interviewing special guests and answering your dilemmas/questions.   2GETHER Socials: instagram.com/2gether.atm instagram.com/2getherwith_him tiktok : 2getherpod   Monets: instagram.com/MonetLavette   Lex: instagram.com/jusslex31   Tati: instagram.com/xoxotaatz   Greg: instagram.com/gabos_75

2gether is better and we're glad you are here! This podcast is hosted by 3 black women with different personalities and walks of life who come 2gether for conversations, laughter, advice, or just an escape from the reality of adult living. Staying true to who they are no matter how different their personalities, backgrounds and beliefs are as they grow through womanhood. Join in the conversations as they go through life's endeavors from relationships to current world events, interviewing special guests and answering your dilemmas/questions.   2GETHER Socials: instagram.com/2gether.atm instagram.com/2getherwith_him tiktok : 2getherpod   Monets: instagram.com/MonetLavette Lex: instagram.com/jusslex31 Tati: instagram.com/xoxotaatz   Greg: instagram.com/gabos_75

Sind immersive Ausstellungen die Zukunft, die bald Ausstellungen mit echten Kunstwerken ablösen? Laura Dresch hat "Monets Garten" in Mülheim an der Ruhr besucht und ist durch digitale Gärten spaziert. Von Laura Dresch.

May is Mental Health Awareness Month as well as Lupus Awareness. This week we are joined by Katherine Franco, LCSW as she discusses mental health stigmas and ways we can all help ourselves and those around us. Below are her socials:  IG : instagram.com/Creative.Coping_   2gether is better and we're glad you are here! This podcast is hosted by 3 black women with different personalities and walks of life who come 2gether for conversations, laughter, advice, or just an escape from the reality of adult living. Staying true to who they are no matter how different their personalities, backgrounds and beliefs are as they grow through womanhood. Join in the conversations as they go through life's endeavors from relationships to current world events, interviewing special guests and answering your dilemmas/questions.   2GETHER Socials: instagram.com/2gether.atm instagram.com/2getherwith_him tiktok : 2getherpod   Monets: instagram.com/MonetLavette Lex: instagram.com/jusslex31 Tati: instagram.com/xoxotaatz   Greg: instagram.com/gabos_75

2gether is better and we're glad you are here! This podcast is hosted by 3 black women with different personalities and walks of life who come 2gether for conversations, laughter, advice, or just an escape from the reality of adult living. Staying true to who they are no matter how different their personalities, backgrounds and beliefs are as they grow through womanhood. Join in the conversations as they go through life's endeavors from relationships to current world events, interviewing special guests and answering your dilemmas/questions.   2GETHER Socials: instagram.com/2gether.atm instagram.com/2getherwith_him tiktok : 2getherpod   Monets: instagram.com/MonetLavette Lex: instagram.com/jusslex31 Tati: instagram.com/xoxotaatz   Greg: instagram.com/gabos_75

These were my favorite passages from a book about gratitude. I really enjoyed this book. “Gratitude has a lot to do with holding on to a moment as strongly as possible,” Scott told me. “It's closely related to mindfulness and savoring. Gratitude can shift our perception of time and slow it down. It can make our life's petty annoyances dissolve away, at least for a moment.” "The point is, it's hard to be grateful if we're speeding through life, focusing on what's next, as I tend to do. We need to be aware of what's in front of us. We need to stop and smell the roses, along with the graham crackers and soil and leather. So today, while sipping coffee with Ed, I tried to practice what psychologists call savoring meditation. I let the coffee sit on my tongue for twenty seconds, which may not sound like a long time, but I don't want to keep Ed waiting. (And twenty seconds can be powerful if you really make each second count. Quality over quantity, right?) I focused on the viscosity of the liquid, the acidity, the bitterness . . . Was that apricot? I still couldn't taste the distinct flavors, but I could see a way to unraveling the threads." "In our society, we fetishize the lead singers. And not just in music. The front people in every field—art, engineering, sports, food—get way too much attention. The cult of celebrity has spread into every corner. We overemphasize individual achievement when, in fact, almost everything good in the world is the result of teamwork. Consider the polio vaccine, which qualifies as a very good thing. According to the book Give and Take, by psychologist Adam Grant, Jonas Salk took all the glory for inventing the polio vaccine. He was on the cover of Time; he became the household name. But the truth of the vaccine's invention is more nuanced. Salk was part of a team at the University of Pittsburgh." "But its long-term consequences might be even worse. By elevating individual achievement over cooperation, we're creating a glut of wannabe superstars who don't have time for collaboration." "Yes, I missed the train today, but what about all the times I got to the subway platform just as the doors were opening, allowing me to slip into the car while suppressing a smug smile? The reality is, I'm not unlucky with subways—it just seems that way because the enraging experiences are the ones that stick in my memory. It's the same distorted way that I process feedback. If I get one hundred compliments and one insult, what do I remember? The insult." "I recently read an article about the poet Robert Bly, who said that when he was a kid and skinned his knee, his mother would say, “Just be thankful that you didn't break your leg.” He found it annoying at the time, which is understandable. But he now sees its perverse wisdom." "In short, I learn that, as with almost everything I take for granted, humans have put an astounding amount of thought and care into creating this unassuming piece of plastic." “It's been a wild ride,” Colleen says. She tells me about the time she was watching TV and saw a car commercial and, to her surprise, the driver was using a Java Jacket. It was their first national exposure. “You know that feeling you get when you have a crush on someone, that little giddy feeling? That's what I felt.” A few years later, the Java Jacket got an even bigger honor. It was featured in a Museum of Modern Art exhibit called “Humble Masterpieces,” where it was displayed alongside an aspirin tablet and LEGO bricks. Colleen calls the experience surreal. “I remember going to New York and it was kind of overwhelming,” says Colleen. “I went to MoMA—the actual MoMA!—and there was our Java Jacket in a glass case. I remember I didn't stay in the room long, because I wanted to see the Picassos and Monets.” Before I hang up, I ask Colleen to be honest. “Are you grateful I called, or was it more of a pain in your neck?” “No, I'm happy you called. It reminded me how lucky I am. I really feel I won the lottery. I mean, I wouldn't want everyone who uses the Java Jacket to call, since I might not get any work done. But I'm happy you called.” "When I ponder the number of gratitude recipients involved, I start to get dizzy. There are the folks at the paper factory where the cardboard is made. The lumberjacks who cut down the trees for the wood pulp to make the cardboard. The metalworkers who manufacture the chainsaws the lumberjacks use. The miners who dig up the iron that is turned into the steel for the chainsaws." "Over dinner with Julie and the kids, I tell them I'm feeling snowed under. “I seriously think I might have to thank every single human on earth,” I say. Julie looks skeptical. She points to the People magazine lying nearby on the radiator. “What about her? How did Beyoncé help make your coffee?” I pause for a minute, and then I come up with an answer. With enough research, I explain, I could probably get to Beyoncé. Maybe one of the engineers who made the plastic lining for my coffee cup listened to Beyoncé songs to motivate her while studying for her chemistry final. Maybe the guy who drove the warehouse truck blasted Beyoncé to stay alert. “That's kind of a stretch, don't you think?” Julie says. “Yes and no,” I say. We are all so interconnected; it's hard to know where to draw the line." "On the bad side, • Coffee can wreak havoc on the environment. A group called ClimatePath estimates that one pound of coffee—growing, packaging, shipping, etc.—creates five pounds of carbon dioxide. And that's not to mention the billions of discarded plastic coffee lids floating in the Pacific. Or how coffee plantations are wiping out forests in Central America. • Coffee is the stimulant of choice by employers who want to overwork their laborers for an unhealthy number of hours. • Coffee farming has led to vast wealth imbalances, with a lucky handful making fortunes as millions remain mired in poverty. Again, to quote Uncommon Grounds, coffee has “led to the oppression and land dispossession of indigenous peoples, the abandoning of subsistence agriculture in favor of exports [and] overreliance on foreign markets.” "So where to import the water from? The Catskills seemed the perfect solution: The region had lots of rain, the altitude was high enough that gravity could help with delivery, and the residents didn't have the political power to oppose such a project. And just as important, the water was “soft,” meaning it was low in calcium, the troublesome mineral that clogs up pipes. Its low calcium is also why New York water tastes clean, not metallic. “It's one of the reasons why New York bagels and New York pizza taste so good,” says Adam." "This is a huge theme I need to remember as part of Project Gratitude: My comfort often comes at the expense of others. I benefit daily from the disruption to this community. I need to be more grateful for these sacrifices." “I love New York water,” Kirsten says. “I went to Philadelphia, and I couldn't drink the water there. It tasted like cucumber to me.”  "But one strategy I've found useful is the memento mori, the reminder of death." "My thoughts on this crystallized a few days ago when my friend sent me an essay called “I, Pencil,” which was written in 1957 by a libertarian scholar named Leonard E. Read. When I started to read the essay, I was alarmed by how similar it was to my coffee project—minus the gratitude and caffeine. Written in the first person from the point of view of the pencil, the essay details the work of the many people and raw materials that go into making a pencil. The cedar trees for the wood. The rubber for the eraser. “Think of all the thousands and thousands of skills . . . the mining of ore, the making of steel and its refinement into saws, axes, motors; the logging camps with their beds and mess halls.” "The threat of carbon monoxide is always on their minds. “Every morning,” Pat says, “you have to pay attention to where the wind is blowing, so you know where to go if there's a leak.” I notice that the two PR people in the room have smiles that are looking increasingly strained. Almost like they've gotten a whiff of sulfur themselves. Later, the PR folks will stress to me that they take every precaution that they can. It's a fair point. Steel is much less dangerous than it used to be decades ago, when mangled body parts and fatal injuries were common (Larry's grandfather died from getting caught in some steel machinery). Injuries at the plant have declined 94 percent in the last thirty years. Better training and omnipresent signs have probably helped. Everywhere you look you see warnings: HIGH VOLTAGE. TIPOVER HAZARD. STOP, LOOK AND LISTEN. TAKE 2, THINK IT THROUGH. There's even a crumpled red van left by the railroad tracks as a cautionary reminder; the van was totaled by an oncoming train. I ask Shannon, Joe, and Pat what they like best about their job. “I'm not sorry I stayed here,” says Joe, who had considered leaving to work in the aircraft industry. “It paid for two kids to go through college, and a house and a car and everything else.” "Next, Ed and I board a cozy, knees-to-the-chin propeller plane and land in a small city called Neiva. We climb into a van for a four-hour ride to an even smaller town called Pitalito. It's a town, Ed tells me, that is known for two stimulant crops. Coffee is the legal one. After which we get in the back of a pickup truck for a ninety-minute drive up a mountain to the coffee farm. We're joined by a woman named Lorena, who lives in Colombia and works for the import company. It's a beautiful ride . . . and highly uncomfortable. We jounce along the rock-strewn road, occasionally letting out involuntary “oofs.” We grab the side of the truck as it hugs tight curves overlooking cliffs. I spot the driver doing something with his right hand that I really wish I hadn't seen: the sign of the cross." "Let me pause here for a moment to state the obvious: I am lucky. That was the thought going through my mind as I took the bucket's strap off my shoulders. I'd just picked coffee beans for ten minutes as research for a book. I didn't pick coffee beans because I had no other job options and needed to earn money to feed my family, which is the situation of thousands of migrant workers. I picked coffee by choice, not necessity. And how did I arrive at the luxury of having this choice? Well, mostly luck." "The real world is no doubt a combination of luck and skill, but I lean strongly toward Ecclesiastes. If I had to put numbers to it, 20 percent of my fate has been determined by hard work and persistence, and 80 percent has been cosmic Powerball." "Luck determined that I was born in the developed world. Luck determined that I was the son of parents who could afford to send me to an expensive college. Luck determined my genetic makeup. And my career? It's been filled with random breaks. At age twenty-three, I was getting ready to give up on writing and apply to psychology grad school when I sent off a Hail Mary letter addressed only to “Agent at ICM.” It somehow got out of the slush pile and landed on the desk of an Elvis-loving literary agent. He thought my idea for an Elvis-themed book might work. If he'd been a Springsteen fan instead, I might be teaching psychology at a small college." "I'm not dismissing the need for effort and persistence. Those who worked their way up from the bottom, who didn't have the advantages I had, need effort and persistence even more than I did. I also acknowledge that, to a certain extent, you make your own luck and create your own opportunities. But only to a certain extent. You also need pure luck. As Barack Obama said in a postpresidential interview with David Letterman, “I worked hard and I've got some talent, but there are a lot of hardworking, talented people out there. There was an element of chance to it, this element of serendipity.” I agree with our former president. There are millions of hardworking, persistent people around the world living below the poverty line. I believe there are thousands of could-have-been Meryl Streeps working as waitresses because they didn't get the lucky breaks. There are thousands of alternative-universe Steve Jobs working on assembly lines in factories. Here's why I'm a fan of thanking our lucky stars every day: it helps with forgiving yourself your failures; it cuts down on celebrity worship and boosts humility; and, perhaps most important, it makes us more compassionate." "By thanking Chung's parents, I've broken a thousand thanks . . . more or less. Could be 987, could be 1,015, but I'm counting it as the thousandth, since it seems tidy. Chung texts back a series of emojis and exclamation points. “Please tell Zane thank you. And thank you to you both for making me think more about all that I should be grateful for in my life.” She says she's thankful for the sacrifices her parents made as immigrants. She says that after our talk, she's realized gratitude is a discipline that needs to be practiced. It doesn't always come naturally, even to glass-half-full types like her."        

May is the biggest auction season of the year. It opens with a huge set of sales at Christie's. In this podcast, we'll speak with Christie's Chairman, Marc Porter, about the brother and sister collectors Thomas and Doris Ammann. Johanna Flaum, head of the Contemporary department, tells us about Warhol's Marilyn, the rare large Flowers painting, and a work by Francesco Clemente. Max Carter, Head of Christie's Impressionist and Modern department, talks about an early cubist Picasso bronze being deaccessioned by the Metropolitan Museum before going into detail on the extraordinary collection of Anne Bass. Vancessa Fusco tells us about a $45 million Van Gogh landscape and two more Monets coming to market. Emily Kaplan details the Jackson Pollock drip painting Christie's has on offer. Then she tells us about the many women artists whose work is included in the evening sale, especially a major work by Howardena Pindell who has seen million-dollar sales on the private market but little in the way of large prices in public auctions. Finally, Ana Maria Celis walks us through an important Basquiat triptych, the return of a major Richter abstract that could reset that market and a work by sought-after artist Maria Berrio. Christie's sales begin on May 9th at 7pm in New York. Sales continue on May 10th, 12th, 13th and 14th.

2gether is better and we're glad you are here! This podcast is hosted by 3 black women with different personalities and walks of life who come 2gether for conversations, laughter , advice , or just an escape from the reality of adult living. Staying true to who they are no matter how different their personalities, backgrounds and beliefs are as they grow through womanhood. Join in the conversations as they go through life's endeavors from relationships to current world events, interviewing special guests and answering your dilemmas/questions.   2GETHER Socials: instagram.com/2gether.atm instagram.com/2getherwith_him tiktok : 2getherpod   Monets: instagram.com/MonetLavette Lex: instagram.com/jusslex31 Tati: instagram.com/xoxotaatz   Greg: instagram.com/gabos_75

2gether is better and we're glad you are here! This podcast is hosted by 3 black women with different personalities and walks of life who come 2gether for conversations, laughter , advice , or just an escape from the reality of adult living. Staying true to who they are no matter how different their personalities, backgrounds and beliefs are as they grow through womanhood. Join in the conversations as they go through life's endeavors from relationships to current world events, interviewing special guests and answering your dilemmas/questions.   2GETHER Socials: instagram.com/2gether.atm instagram.com/2getherwith_him tiktok : 2getherpod   Monets: instagram.com/MonetLavette Lex: instagram.com/jusslex31 Tati: instagram.com/xoxotaatz   Greg: instagram.com/gabos_75

2gether is better and we're glad you are here! This podcast is hosted by 3 black women with different personalities and walks of life who come 2gether for conversations, laughter , advice , or just an escape from the reality of adult living. Staying true to who they are no matter how different their personalities, backgrounds and beliefs are as they grow through womanhood. Join in the conversations as they go through life's endeavors from relationships to current world events, interviewing special guests and answering your dilemmas/questions.   2GETHER Socials: instagram.com/2gether.atm instagram.com/2getherwith_him tiktok : 2getherpod   Monets: instagram.com/MonetLavette Lex: instagram.com/jusslex31 Tati: instagram.com/xoxotaatz   Greg: instagram.com/gabos_75

2gether is better and we're glad you are here! This podcast is hosted by 3 black women with different personalities and walks of life who come 2gether for conversations, laughter , advice , or just an escape from the reality of adult living. Staying true to who they are no matter how different their personalities, backgrounds and beliefs are as they grow through womanhood. Join in the conversations as they go through life's endeavors from relationships to current world events, interviewing special guests and answering your dilemmas/questions.   2GETHER Socials: instagram.com/2gether.atm instagram.com/2getherwith_him tiktok : 2getherpod   Monets: instagram.com/MonetLavette Lex: instagram.com/jusslex31 Tati: instagram.com/xoxotaatz   Greg: instagram.com/

Was genau ist eigentlich der Impressionismus und warum gilt Claude Monet als dessen wichtigster Vertreter? Ist seine Kunst eigentlich harmlos oder radikal? Oder wie gelang es ihm, gleich zwei Revolutionen in die Malerei einzuführen? Das sind die Fragen im neuesten Podcast "Augen zu". Es gibt Maler, die sind so berühmt, dass am Ende niemand mehr genau weiß, warum. Claude Monet ist ein solcher Fall, 1840 geboren und erst 1926 im biblischen Alter von 86 Jahren gestorben. Man verbindet ihn mit Mohnblumenfeldern, mit flackerndem Malstil, mit riesigen Seerosenbildern – überall finden sich inzwischen seine Motive, auf Postern, auf Taschen und auf Kühlschrankmagneten. Monet ist zum Inbegriff des Impressionismus geworden – aber warum? Davon erzählen Florian Illies und Giovanni di Lorenzo in der neuesten Folge von "Augen zu", dem Podcast von ZEIT und ZEIT ONLINE. Schon als Schüler machte Monet durch seine hinreißenden Karikaturen auf sich aufmerksam, dann nahm ihn Eugène Boudin unter seine Fittiche, der große Maler des Meeres der Normandie, und bei ihm lernte er den Blick in den Himmel, er malte die Luft und er malte die Wolken. Dann ging Monet nach Paris, wo jener Mann, dessen Name manchmal mit seinem verwechselt wird, gerade für Furore sorgte: Manet. Und während Eduard Manet mit seinen Figurenbildern, dem "Frühstück im Freien" und seinem riesigen provozierenden Akt der "Olympia" für Aufruhr sorgte, wollte Monet das Gleiche mit seinen Landschaften erreichen, er setzte sich mit allen Sinnen dem Licht und der Natur aus. Manet wie Monet wurden vom offiziellen Salon ausgeschlossen und so zeigten sie 1874 in der ersten Impressionistenausstellung ihre malerischen Revolutionen. In der Ausstellung hing Monets hingeblinzelte Ansicht des Hafens von Le Havre im morgendlichen Dämmerlicht, die er "Le Havre, Impression, Sonnenaufgang" nannte. Und so gab sein Bildtitel einer ganzen Kunstbewegung den Namen. Worum ging es den "Impressionisten"? Sie glaubten nicht mehr daran, dass es eine Abbildung der Wirklichkeit gibt, die gültig ist, sondern hatten in der Natur erkannt, dass das Licht jeden Gegenstand verändert, dass er zu verschiedenen Tageszeiten ganz unterschiedliche Farben und Ausdrucksformen annehmen konnte. Es gibt keine Wahrheit mehr, es gibt nur noch Versionen – das ist Monets erste bahnbrechende Neuerung, darum malt er einen Heuschober zu den verschiedenen Tageszeiten und dann die Kathedrale von Rouen, er suchte, zeitgleich mit Marcel Proust, nach einer künstlerischen Form, die verstreichende Zeit zu malen. Diese Serienbilder Monets sind die wahren Vorboten von Andy Warhols legendäre Pop-Art-Serien von Marilyn Monroe. Der junge Monet raste rastlos dem Licht und dem Zufall hinterher, der Monet der mittleren Jahre versuchte, den flüchtigen Erscheinungen der Natur in seiner Malerei Dauer zu verleihen. Der späte Monet aber lässt die Natur und die Kunst zu einem vegetativen Kontinuum verschmelzen. In den aus Japan importierten Seerosen, für die er große Teiche anlegte, entdeckte Monet dann, als um ihn herum längst der Expressionismus und die Moderne tobte, sein wichtigstes Motiv, das er obsessiv in Malerei umsetzte, in riesigen Formaten. Die auf dem Wasser schwimmenden Seerosen verewigte er in lilagrünen Farbwelten, die in ihrer All-over-Struktur nichts weniger vorwegnehmen als die Großformate der amerikanischen Abstraktion nach 1945. Auf den meterlangen Farbseen Monets haben dann Jackson Pollock, Mark Rothko und Joan Mitchell ihre Boote in die Zukunft gesetzt. Monets Ruhm also beruht darauf, dass wir ihm mit seinen Serien und mit seinen Seerosenbildern, in denen sich das Auge verliert, zwei zentrale Revolutionen des Sehens im 19. und 20. Jahrhunderts verdanken. Sie erreichen den Podcast mit Anregungen und Fragen über die E-Mail-Adresse augenzu@zeit.de.

In this London 2022 Winter auction preview, we speak to Helen Newman at Sotheby's, who will tell us about their $60 million Magritte, half a dozen Monets, a Picasso and a Van Gogh. Katharine Arnold at Christie's will discuss their late Francis Bacon triptych, a portrait by Lucian Freud, as well as a Bridget Riley work held by the same family for 57 years. Giovanna Bertazzoni tells us about Christie's restituted Franz Marc painting and their surrealist Picasso. Finally, Cheyenne Westphal goes through the long list of breakout artists—like Lauren Quin, Doron Langberg, Jadé Fadojutimi, and Emily Mae Smith—at Phillips and others whose markets continue to roll on. But she also takes a moment to discuss a rare, unseen work of Sigmar Polke coming from the well-known collection of Emily and Jerry Spiegel.

Der Erweiterungsbau des Zürcher Kunsthaus wird eröffnet. Im Zentrum: Die Sammlung Bührle – mit dabei sind auch Gemälde von Monet oder Cezanne. Emil G. Bührle war ein Schweizer Waffenproduzent, der an die Nazis lieferte. Wie transparent geht das Kunsthaus mit der Geschichte um? Die Bührle-Sammlung ist zweifelsfrei die bedeutendste und gleichzeitig auch die umstrittenste Sammlung impressionistischer Kunst in der Schweiz. Denn der ehemalige Waffenfabrikant und Mäzen Emil Georg Bührle konnte die Van Goghs, Monets und Cezannes nur mithilfe seiner immensen Waffengeschäfte mit Nazi-Deutschland beschaffen. Und: Einige der Kunstwerke aus der Sammlung gehörten ursprünglich jüdischen Sammlerinnen und Sammler und landeten über Umwegen als Raubkunst oder Fluchtgut bei Bührle. Nun werden rund 170 dieser Werke im neuen Erweiterungsbau des Kunsthauses Zürich gezeigt – ein grosser Coup, der Zürich nach Paris zur bedeutendsten Adresse impressionistischer Kunst machen soll. Wie geht man mit so einer belasteten Sammlung um? Das Kunsthaus verspricht eine saubere historische Aufarbeitung, unter anderem mit einem separaten Dokumentationsraum. Doch reicht das? «Kulturplatz» spricht mit den wichtigsten Akteuren – Corinne Mauch, Jakob Tanner, Erich Keller, Christoph Becker – der aktuellen Kontroverse rund um die Bührle-Sammlung. Die zweite grosse Ausstellung, die in den Erweiterungsbau des Kunsthauses einziehen wird, ist die Sammlung von Werner Merzbacher. Merzbacher stellt in vielerlei Hinsicht den Gegenpol zu Emil G. Bührle dar. Der ehemalige Pelzhändler flüchtete mit seinen Eltern vor den Nazis. Als Financier und ehemaliger Pelzhändler baute er in den letzten 50 Jahren eine Kunstsammlung auf, die er nun ebenfalls in Dauerleihgabe dem Kunsthaus überlasst. Ein Porträt über ein schicksalhaftes Leben.

Vi får en ny skamgäst med alias "Monet"! Temat blir Monets stora kunskapsluckor om allt från balsam till cancer, men vi hinner också avhandla saker som vatten med grädde, när vi var i Danmark sist, universitet och drömmar. Podden innehåller dessutom ett orimligt skrattanfall och jag blir nästan rörd till tårar.

Very special guests Em and Jackson from Abnormal Mapping join Austin and Cado to discuss the hot new game that everyone's playing: The New York Times Crossword. Thanks to Chris Remo's new video series, everyone on the pod has been learning the nuances and tricks the NYT like to employ, from esoteric clues that appear again and again to the specific clue construction logic that allow just enough space for multiple interpretations that might still fit in the puzzle. After the break, Cado and Jackson have been checking out Splitgate, the “Halo meets Portal” multiplayer game that has recently blown up, despite it having released a few years ago. Em's been checking out Final Fantasy XIV, and is having a better time with the new A Realm Reborn changes than either Austin or Cado did with the original content. We also dip into the question bucket to figure out “what kind of Pokemon are you?”Discussed: The New York Times Crossword 5:33, Halo 4 29:29, Splitgate 40:22, Apex Legends 58:05, Final Fantasy XIV 1:16:57, Back 4 Blood 1:34:00, Question Bucket 1:45:15, Final Fantasy Pixel Remaster 1:48:27 See acast.com/privacy for privacy and opt-out information.

We discuss the NFT explosion, with artists getting more than what Picassos or Monets sell for. Vegas is great, but Miami is LIT! Lucas, Marcos, and Laz recorded their vocals for the new BWSS theme song, we discuss how it went. Lucas’ Weather and Laz’s CoP   PLEASE, SHARE, FOLLOW, and SUBSCRIBE!! It really helps… Available Everywhere! All links @ www.BWSSPodcast.com

Biz NewsA non-fungible token by the artist Beeple sold at auction for over $60 million making it the most expensive NFT ever sold. NFTs are digital assets with ownership recorded on a blockchain. They have become a $400 million market. Right now NFT prices are the new collectible and compete with the prices paid for Picassos and Monets. Jack Dorsey has jumped on board. He turned his first tweet from 2006 into an NFT and it currently has a bid of $2.5 million. Other NFTs include NBA highlight videos, music videos, and music. Our story comes from CNBC.Listener QuestionsWe cover important business news from last week that you need to know. What are the biggest expenses when starting a business? Is it better to get a loan or bootstrap?I am a freelancer in web development/design and I have noticed people are more hesitant to hire me because of my age. Is this normal and what can I do?Why are some marketers stuck in the old ways of marketing?What are the cons of taking on an investor? What should I know? What are easily overlooked issues?ResourcesTo read more about how small business loans work on the First Union Lending blog click here.Follow UsLinkedin https://www.linkedin.com/company/firstunionlending/Facebook https://www.facebook.com/firstunionPinterest https://www.pinterest.com/firstunionlend/Instagram @firstunionlending Twitter @firstunionlending Email your questions or small business stories to podcast@firstunionlending.com

In this edition of IPL on Pod, we discuss Mumbai Indians' comprehensive win in IPL 2020 final as they clinched their fifth title, MI's unmatched IPL legacy, Delhi Capitals' historic campaign, memorable moments from the 13th season, the impact of the successful hosting of the tournament amid the pandemic and more.

Episode watched: #042 "Crusin' In Drag" In this episode, in order to sneak onto a boat full of priceless artwork, Lupin has to disguise himself as a woman, and the old creep who owns it naturally falls in love with him. It blows. This week we talk about pre-gaming, league of leg end, Avatar, our sponsor grlboxx, Hank Hell, variations upon a Fujiko, these guns were made for walkin', hot babe alert, Lupin's first HRT shot, horny for this one, weirdly prepared, Picassos and Monets first, Lupin gets clocked, searching for scraps, boner juice, slut surgery, loops back around to progressive, betrayed Jigen, free cake, Jess the sugar momma, and it hits different.

In this episode: my cousin Tony, Monets is a hipster coffee shop, Yik Yak, what would a future civilization think of 13RW? FOLLOW US! Instagram: @whynotthepod Twitter: @whynotthepod Email us: whynotthepod@gmail.com Thanks to FUN SUCKR for the theme music! Spotify: https://open.spotify.com/artist/7v6UGn4q0J5IdcAYu1DOJY Instagram: @funsuckr Thanks to Max Varady for the album art! Instagram: @open.max

A film with a vocabulary all its own. The fashion! The music! The amazing cast! What's not to love about Clueless? We dissect the Bettys, Barneys, and the Monets.Listen to the soundtrack on Spotify:  https://open.spotify.com/album/3OrviLrUARxsTuGdWdQTMh?si=M7lW5GSYT767t9DG02JfCw —-Hosts: Lauren @lauren_melanie & Jai @jai_stylefactoryIntro & Outro music by Den-Mate @imdenmate Follow Fashion Grunge on Instagram @fashiongrunge and fashiongrunge.comemail us : info@fashiongrunge.com

In this episode, Cindy comes to the realization that exposing students to works of art is not for the end goal of "appreciation." It is much, much bigger than that.  Where is the passion, the delight, the wonder, the heart-pounding experience with art? Where is the feeling in your heart, that drop in your gut, that makes you a CHANGED PERSON? Let's keep talking about THAT.

Primos y Primas, What does it take to be considered a genius? Is a genius a remarkable musician who moves our spirits, an artist who creates beautiful paintings, a student who scores off the charts on an IQ test or the employee working the Genius Bar at your local Apple store? OK, maybe the last example is pushing it, but consider the other varieties of geniuses -- those with amazing musical, artistic, athletic and intellectual talents. Were the Mozarts and Monets of the world born with their genius? Or did their environment shape who they became? But what if I told you we are all have those genes. Grab that cafecito y vamos hablar!

Föstudagsgestur Mannlega þáttarins í þetta sinn var Þórunn Sigurðardóttir. Hún hefur unnið sem leikari, leikstjóri, handritshöfundur, stjórnandi Listahátíðar og margt fleira. Við kynntumst henni betur, hvaðan hún kemur, hvar hún gekk menntaveginn, en hún lauk til dæmis háskólaprófi í kennslufræði sjötug að aldri. Sögur - verðlaunahátíð barnanna verður í beinni útsendingu á RÚV frá Eldborgarsal Hörpu næsta sunnudag. Hátíðin hófst í haust þegar KrakkaRÚV óskaði eftir innsendum sögum frá krökkum á aldrinum 6-12 ára. Sigyn Blöndal kom í þáttinn og sagði okkur meira frá þessari verðlaunahátíð. Sigurlaug Margrét Jónasdóttir, besti vinur bragðlaukanna, var með sitt matarspjall í þættinum í dag. Í þetta sinn talaði hún um Claude Monet, málverkin hans, en ekki síst um mataruppskriftir tengdar honum sem hafa verið gefnar út í fjölda bóka, enda var hann annálaður sælkeri og fagurkeri. Umsjón í dag, Guðrún Gunnarsdóttir og Gunnar Hansson

Guest speaker: Terence McKenna PROGRAM NOTES: [NOTE: All quotations are by Terence McKenna.] “[It is] a race between education and disaster. "We're going to either burst out into a millennium of freedom and caring and decency, or we're going to toxify the whole thing and turn it into an ash heap. And the responsibility falls largely on us.” “Outlandish things are going on inside the psychedelic experience. It seems to imply the thing we had hardly dared hope, which is that the world is whatever you say it is if you know how to say it right.” “Until I went into therapy I thought I had the most ordinary family in the world, and then once you're in therapy you discover that it was the most insane scene you'd ever heard of, and you just didn't notice.” “Science fiction I really consider a proto-psychedelic drug, because what science fiction does is it gives permission to imagine.” “We can't preach to the have-nots the virtue of voluntary simplicity when we're riding around in BMWs and collecting Monets. That doesn't make a lot of sense.” Download MP3 PCs – Right click, select option Macs – Ctrl-Click, select option

In critical spawning and overwintering habitat for salmonids Hwan studies the effects of temporal stream fragmentation across three organizational levels of ecology: population, community, and ecosystem levels.TranscriptSpeaker 1: Spectrum's next Speaker 2: [inaudible].Speaker 1: [00:01:00] Welcome to spectrum the science and technology show on k a l x Berkeley, a biweekly 30 minute program bringing you interviews featuring bay area scientists and technologists as well as a calendar of local events and news. Speaker 3: Hi, my name is Brad Swift. I'm the host of today's show. Our interview is with Jason won a third year phd student in the Carlson lab, which is [00:01:30] part of the environmental science policy and Management Department of the College of natural resources. Professor Stephanie Carlson directs the lab and she is a fish ecologist. Jason is researching the effects of summertimes stream drying on fish ecology in the John West fork, a creek in Marin county. The John West fork is the spawning grounds for two varieties of salmon the summer of 2011 Woolmark the third year of his research on this stream. [00:02:00] His research will continue for two and possibly three more years. This interview is prerecorded and edited. Speaker 4: Jason, welcome to spectrum. Thanks for coming in. Thank you. Wanted to ask if you could, uh, give us a brief overview of your research and add in there how it's being funded. My research is looking at the effects of low summer flow on juvenile steelhead, on the insect communities out in the stream and [00:02:30] on certain ecosystem processes such as Algal production and leaf decomposition. And it's currently being funded by, mostly by my, by my guiding professor, Stephanie Carlson. And I also have some funding from our department and the division within our department. All right. We get out a sperm wildlife grant, which helps fund the research. And also I'm currently on an NSF graduate research fellowship. Described the, the general [00:03:00] area of the site that you chose. Sort of put it in context of where it is. So my study say, uh, the John West work is in point Reyes national seashore, which is about an hour north of Berkeley in a national park in and surrounded by some state parks. Speaker 4: Also. Can you explain the watershed and the area that you're working, how it all interrelates to the watershed? So I'm, I'm working in the Lagunitas watershed. I'm working [00:03:30] in a creek that is a tributary of a tributary of a creek to the lock Anitas to log in neatest creek and log Anitas creek flows into Tomas Bay in point rays. The creek that I'm working in is a little different in that there are only two species of fish up there. Both our salt Monets, there are still head and coho salmon. This is because it's not that the creek went dry, completely dry one year and there's, there [00:04:00] was a culvert that was put in place and other fish species weren't able to recolonize the creek, but someone had adults can jump over the barrier. And so they were able to recolonize the creek and they're actually jumping through the culvert. Speaker 4: Yeah. And through this culvert and swimming up swimming into the two John West work. And what's the drop on the culvert like from, from the the bottom lip to the dead of the bid. Lower part [00:04:30] of the creek. It's about four feet. Four feet drop-off. Yeah. So that's quite a leap for the salmon. Yeah. And so with this study, what is it that you're trying to learn? That is not already known. So I'm basically trying to look at the effects of low flow and my study is really looking at what the affects are at a really fine scale. So I'm tracking, uh, juvenile steel head growth, movement and survival and I'm tracking them on a weekly basis. So [00:05:00] it's pretty fine scale monitoring, which is something that hasn't really been been carried out before. And the low-flow period is when, uh, the low, the low flow start after the last records. Speaker 4: And as the, as a temperature gets warmer, the stream starts to dry and it pretty much lasts throughout the summer until the first rains of the following year. Are you collaborating with other people on your project? Not directly with my lab mates on [00:05:30] my project. Sometimes they might come out and help me, but for the most part I've been working alone with the help of some undergraduates. There are certain side projects that we collaborate on. Um, there's also a person who is working with me from, uh, from a different department. He's not really working on my project, but, uh, something that's related to my project out on my field site. It mean it helps both of you? Yeah, definitely. And is that going to have some bearing is his, his [00:06:00] work or her work and I have some impact on your results. It definitely is connected. It is connected to, I'm more at the temperature and looking at how stratification and pull temperature stratification in pools might affect fish behavior. Speaker 4: So where, where they kind of hang out in the pool. So that's something that could definitely help us fold into your report. Yeah, exactly. So in doing your research [00:06:30] and working in the field as opposed to, uh, if you're working in the field and the lab, how much time do you spend in the field and in the lab? Um, when I'm out during the summer, uh, during my field season, it's a pretty big chunk of it. About 80 to 85% is probably spent in the field and the remainder is spent in the lab. Um, but once the summer is over and on, the field season is over. Most of the time is spent in the lab, um, [00:07:00] crunching data, processing samples and stuff like that. Speaker 5: [inaudible]Speaker 2: you're listening to spectrum on KALX Berkeley. Today we're talking with Jason Juan about his research into summertime streaming drying its effect on Fish CollagenSpeaker 5: [00:07:30] [inaudible]. Speaker 4: And so was there fish breeding going on in this part of the Stream? I would assume that that's the reason they're up there. Yeah. So one of the adults jump up into the stream. They breed typically during the winter when the rains, they come back with the rains [00:08:00] and they breed and the eggs hatch and spring. And then I kind of track the juveniles once they get to a large enough size to be able to monitor to them. So as you start to go up in the early spring, you're seeing lots of of small fish. Yeah. And it's so the fish that have spawned, have they left then or are do some stay? Yeah, but most of them have left. They're too large to stay in some of these pools. So most of them leave and with the Coho that or [00:08:30] they die right after they breed because they just breed once and they die. Speaker 4: But with the, with the steelhead, they're able to breed multiple times. And Are you tracking it all that mortality of the coho that are coming up and breeding? No, but the park service is definitely keeping track of adults, adult spawners they go up every winter and quantify the amount of a salmon reds, which are the nests that someone is build. And they also try to [00:09:00] keep track of how many fish, adult fish that they see. Talk about the insects in the fish in the same context of the frequency. So with, with the insects, um, it's, it's a pretty disturbing method to go and collect them. So we try not to collect them too frequently. We recollect them once at the beginning of the summer and again at the end of the summer. So we don't want to disturb the habitat too much that we have to kind of dig in [00:09:30] to the stream and it just disrupts, disrupts things a lot. Speaker 4: So we try to keep the frequency down and with the fish, um, we go out again, it's similar to to the insects that's we have to go and shock them and which as you can imagine, um, is quite stressful to the fish. So we shock them once in the beginning, beginning of the summer and we place pit tags into them, um, which allows us to monitor them across [00:10:00] the summer without having to actually handle them. Also, while we, um, capture them during the first event, we weigh them and measure them. And then during the late season capture event, we weigh them and measure them again and we're able to identify which the fish that were tagged, we were able to determine their growth rates and their survival. In addition, we can monitor them using the pet tags. We have a, a [00:10:30] handheld antenna that we take out and we just place it over the stream and we're able to find out where they're located or, and also if they're other still alive. Speaker 4: So that happens pretty much once a week. So the pet tag is like a radio. Gotcha. Yeah, it's an audio id, tariff id similar to what is found in a for pets, the microchips that they use for pets. And then you can also measure the mortality with that as well I guess if, yeah, so we go [00:11:00] out and we try to track their movement and also if we find a pit tag, we just kind of disturb the area around, uh, around the tag lightly. And if, if the tag isn't moving, then we kind of can surmise that there has been a mortality event that that occurred. Do you remove the fish or the die or now it's pretty hard to find them because we don't track them every day. So, so things happen [00:11:30] within the week and sometimes we kind of look around for the tag but it's pretty hard to find the tag. Speaker 4: But if we do come across any fish we do, we do take you back to the lab. Any dead Fisher and they are often tagged or have they not? Some of them are just untagged. We try to tag as many fish that we can capture at that are a certain size. They to be a certain size and size for them. So we do try to capture and tag every fish that is of [00:12:00] a certain size, but whether we do within that period of time that you can do the, that you're doing the tagging because you try to limit that. Yeah. How long is that period? What do you do? I've tried to do it all in a week. Three to four days. The tagging, the taking takes about three to four days. The caption and taking. And what's that like in terms of a process? Is it, is it you and a bunch of people doing it together? Speaker 4: Yeah. Take a little group out. Yeah, we actually took a group out, um, and we actually stayed out there for the three, three or four days. We wanted to get an early start [00:12:30] in the day and it takes about an hour to get, get out there each day. So we just decided to stay out there and it's actually quite fun. Um, most, most people really everybody volunteers to do to do like fish capturing. They're like, oh yeah, I want to do that. It's something that the interns really enjoyed. So is that time that you're in the creek, are you actually standing in the creek? So I, yeah, I actually get into the creek and I have a, an electrical Fisher and I move through the creek, [00:13:00] shocking the fish and there are a couple of them matters beside me on the scoop up any fish that had been shocked and we placed them into a bucket and then from there we kind of weigh them and measure them after, after all the fish have been captured for a certain pool. So you do this pool by Paul? Yeah, exactly. Speaker 5: You [00:13:30] are listening to spectrum on KLX Berkeley. We're talking with Jason y about his researching the summertime scream drying and its effect. Speaker 4: So Jason, how did you get interested in science when you were in high school, say or college? [00:14:00] I've always kind of really been interested in science as a kid. I really enjoyed reading science textbooks and it was as one of my favorite subjects and I just decided to stick with it. And I, I majored as a, as a biology student. And what about it appealed to you when you were young? It was like, it was the investigative process, [00:14:30] I guess that that appealed to me. It was just something that you can go out and observe and I really like that, that you can, you can actually just go out and see how nature works. And I was really fascinated by that. So biology was sort of the entree and then as you went through high school, College, yeah, I majored in biology and I really enjoyed my ecology class, just getting up out [00:15:00] there and I wasn't too keen on the molecular side of biology, but the ecological part aspect of it was really fun to get out there and observe things. And, and so it was it field work then that led you to streams? Yeah, I actually worked as a, as an undergraduate. I worked with a professor of mine and he would take me out into streams in southern California and it was quite a great experience for me. And what sort of work and studies research [00:15:30] was he doing? He was, he was doing, uh, population, uh, studies of endangered and threatened fish in southern California. Speaker 4: So when you're in the lab, what sort of data are you gathering? So for instance, with the leaf litter bags and the Algo production, um, when we come back from the field we have to process those samples. So we deploy tiles and we have to scrape off the LG from the tiles. And then we [00:16:00] have to run an analysis to quantify chlorophyll production. With the leaflet or bags that we set out, we bring them back and we, we way leaves in them and quantify how much leaf litter mass has been lost across time. What is it about the algae that you want to know in the river? With both the algae and the leaf litter, we want to see how the stream drying effects say Algal PR productivity or leaf litter decomposition. So we want [00:16:30] to see how much, how much Algo productivity there is in the early part of the summer when or when the stream is still pretty connected. Speaker 4: And then again, we want to track that change over time to see how productivity changes as the string gets dry and dry and with the leaf decomposition, same thing, seeing it over the, over the time, yeah. We want to see how decomposition rates change as the stream gets dryer and with that we're finding that decomposition rates slowed down quite a bit. [00:17:00] As the stream dries, there's less microbial activity, less insect funner to shut up the leaves. Are there other key data points that you're collecting out of the stream? Yes. I'm trying to measure the volume of water in the creek. Mostly the volume of water in between the pools of the fast flowing portions called riffles. I tried to measure how much water is in these portions and I go out pretty much every week and measure the dimensions [00:17:30] of the riffles and I'm able to get volume on every week and I'm able to quantify how this volume gets smaller and smaller every week. Eventually these, these pools are isolated and there's no more flow exactly. Between pools. Yeah. The, the riffles just most of them completely dry up by the end of summer. Speaker 3: And so the fish are then isolated in these, yeah, they're isolated. Speaker 4: The there aren't able to move among the different pools Speaker 3: at this point. Is it too soon in your study to, to [00:18:00] reflect on what you might conclude? Well, I'm, Speaker 4: I'm already seeing some pretty drastic inter-annual variation and precipitation in the area. So as I mentioned earlier, 2009 was a very dry and that was your first year? Yeah, 2009 was a very dry year, so I noticed that there was quite a bit of a mortality for the fishes. Uh, this past year, 2010 and during that summer was a lot wetter. There was a lot more habitat for the fish. A survival was a lot higher. So [00:18:30] Marty seen, uh, some significant results in terms of inter annual variation and how more extreme temperatures and extreme dry might influence the fish population. Speaker 3: Is there any part of water quality that you're measuring? Speaker 4: Temperature and a dissolved oxygen levels? Not In terms of pollution really, but a temperature and dissolved oxygen are are really key for [00:19:00] some almond species in particular, they require cool temperatures that are pretty well oxygenated. Speaker 3: The information that you're getting from your study will have an impact on other streams and creek management potentially. Yeah, that's, that's my hope Speaker 4: is that especially in certain areas where water withdrawals occur and there needs to be a certain amount of a water, hopefully our findings can maybe influence these areas where water withdrawals occur in the [00:19:30] stream comes even more dry than they typically should naturally. Speaker 3: Jason, thanks very much for coming in and talking about your research. Yes. Speaker 6: Oh, Speaker 7: [inaudible].Speaker 3: A regular feature of spectrum is dimension. [00:20:00] A few of the science and technology events happening locally over the next few weeks. Joining me this week to bring you the calendar is Rick Karnofsky. Speaker 8: In 1848 gold was discovered in the Sierra Nevada mountains luring people by the thousands to California. Join Ranger Tammy on Saturday, August 13th from 11 to noon to find out how this event changed the San Francisco Bay forever at the Bay model visitors center in Sausalito. This is a free event on Saturday August 13th at 4:30 PM Christopher de Carlo [00:20:30] will present how to be a really good pain in the ass. A critical thinkers guide to asking the right questions at Kelly's Irish pub, five 30 Jackson Street, San Francisco visit. Reason for reason.org for more info. That's r. E a s o n, the number four R e a. S. O. N. Dot. O. R. G. Speaker 3: The science at Kow lecture series for August will be presented by Dr Willie Michaelson and is entitled nanotechnology, Enabling Environmental Monitoring. [00:21:00] Dr Michelson is the executive director of the center of Integrated Nano Mechanical Systems known as coin's, a nanoscale science and Engineering Center headquartered at UC Berkeley dedicated to enabling and realizing novel environmental monitoring applications using nanotechnology. The date of the lecture is Saturday, August 20th at 11:00 AM in the genetics and plant biology building room. 100 Speaker 8: August 17th center night takes [00:21:30] place at the rickshaw. Stop. One 55 [inaudible] street at Van Ness in San Francisco from seven 30 to 10:00 PM at this $8 old age of show you'll hear talks about winery building, a virtual reality chocolate factory and neutrophils, one of the first immune cells to reach infection sites. Be there and be square. Visit SF dot [inaudible] Dot Com that's SF dot n e r, d an ite.com Speaker 8: nightlife takes place Thursday nights from 6:00 PM to 10:00 PM at the California [00:22:00] Academy of Sciences in San Francisco's Golden Gate Park. It is 21 and over and pictures music, cocktails and exhibits centered around a theme. In addition, the regular exhibits such as the rainforest and planetarium will be open. August 25th nightlife is on dinosaurs. Paleo lab will present a fossil shone till featuring trilobytes Coprolites, Aka fossilized dyno poop and other amazing fines that are 65 to 500 million years old. Check out additional specimens from the academy's research collections and at dyno burlesque. Show [00:22:30] the planetarium will feature cosmic collisions, a fulldome show depicting the hypersonic impacts that drive the evolution of the universe, including a recreation of the meteorite impact that hastened the end of the age of dinosaurs 65 million years ago. Clearing the way for mammals like us to thrive admission is $12 for more info and for tickets, visit www.cal academy.org that's www dot c a l a c a d e m y dot o r g Speaker 3: [00:23:00] and now several news stories. This item from the inside science news service scientists battle the dramatic declines of honeybee colonies with targeted breeding. There are a handful of pests and diseases that individually and in combination are causing unprecedented mortality in [00:23:30] honeybee colonies in Europe and North America. Serious efforts are being made to find solutions that can eradicate the pests and diseases. While the search for a solution continues. Researchers in Canada and the United States are attempting to bees that are resistant to Mites and viruses that attack bee colonies. The breeding process exposes the Queens to high levels of what is termed disease pressure. According to Rob Curie, professor of entomology [00:24:00] at the University of Manitoba. The survivors are then bred next season and so on. Seven generations have been bred so far. We are looking for bees that are resistant to mites and with a greater tolerance to viruses because they appear to be the two main factors behind colony loss. Speaker 3: QRI said and added breeding attribute pursued by the Canadian breeders is the ability to withstand the brutal North American winters. Curious said [00:24:30] that normally only 46% of the species known as European honeybees survive the Canadian winter, but the newest generations have a 75% survival rate. The total losses from managed honeybee colonies in the United States were 30% from all causes for the 2010 2011 winter according to the annual survey conducted by the US Department of Agriculture and the apiary inspectors of America. [00:25:00] This is roughly similar to the losses reported in similar surveys done in the four previous years. This story from Metta page today, lab grown trickier implanted in patient June 9th, 2011 at the Karolinska University Hospital in hunting, Stockholm, Sweden. Dr Paolo Macchiarini implanted the first ever bio artificial trachea grown on a synthetic [00:25:30] substrate using the patient's own stem cells. The patient was a 36 year old cancer patient for this procedure. Dr Macchiarini and his colleagues collected stem cells from the patient who had late stage tracheal cancer since no suitable donor windpipe was available. The researchers used a nano composite tracheal scaffold designed and built by Alexander Se Follian Phd of the University College London. [00:26:00] They seated the polymer model with auto Lucas stem cells. These are blood forming stem cells and grew them for two days in a bioreactor. Dr Mk Jadine says there's no room for rejection because of the cells are the patient's own. Thus, there is no need for him to be on immuno suppressive drugs. Speaker 2: [inaudible] [00:26:30] occurred during the show is pointless on a David Kearns album, folk and acoustic made available for creative Commons license 3.0 attribution [inaudible] mm editing assistance provided by Judith White Marceline production assistance provided by [00:27:00] Karnofsky [inaudible]. Thank you for listening to spectrum. We are happy to hear if you have comments or questions, please send them to us via email address. Is Spectrum. K A l s yahoo.com Speaker 5: [00:27:30] genius at this same time. [inaudible] Speaker 2: [inaudible]Speaker 5: [inaudible] [inaudible] [inaudible] [00:28:00] [inaudible]. See acast.com/privacy for privacy and opt-out information.

In critical spawning and overwintering habitat for salmonids Hwan studies the effects of temporal stream fragmentation across three organizational levels of ecology: population, community, and ecosystem levels.TranscriptSpeaker 1: Spectrum's next Speaker 2: [inaudible].Speaker 1: [00:01:00] Welcome to spectrum the science and technology show on k a l x Berkeley, a biweekly 30 minute program bringing you interviews featuring bay area scientists and technologists as well as a calendar of local events and news. Speaker 3: Hi, my name is Brad Swift. I'm the host of today's show. Our interview is with Jason won a third year phd student in the Carlson lab, which is [00:01:30] part of the environmental science policy and Management Department of the College of natural resources. Professor Stephanie Carlson directs the lab and she is a fish ecologist. Jason is researching the effects of summertimes stream drying on fish ecology in the John West fork, a creek in Marin county. The John West fork is the spawning grounds for two varieties of salmon the summer of 2011 Woolmark the third year of his research on this stream. [00:02:00] His research will continue for two and possibly three more years. This interview is prerecorded and edited. Speaker 4: Jason, welcome to spectrum. Thanks for coming in. Thank you. Wanted to ask if you could, uh, give us a brief overview of your research and add in there how it's being funded. My research is looking at the effects of low summer flow on juvenile steelhead, on the insect communities out in the stream and [00:02:30] on certain ecosystem processes such as Algal production and leaf decomposition. And it's currently being funded by, mostly by my, by my guiding professor, Stephanie Carlson. And I also have some funding from our department and the division within our department. All right. We get out a sperm wildlife grant, which helps fund the research. And also I'm currently on an NSF graduate research fellowship. Described the, the general [00:03:00] area of the site that you chose. Sort of put it in context of where it is. So my study say, uh, the John West work is in point Reyes national seashore, which is about an hour north of Berkeley in a national park in and surrounded by some state parks. Speaker 4: Also. Can you explain the watershed and the area that you're working, how it all interrelates to the watershed? So I'm, I'm working in the Lagunitas watershed. I'm working [00:03:30] in a creek that is a tributary of a tributary of a creek to the lock Anitas to log in neatest creek and log Anitas creek flows into Tomas Bay in point rays. The creek that I'm working in is a little different in that there are only two species of fish up there. Both our salt Monets, there are still head and coho salmon. This is because it's not that the creek went dry, completely dry one year and there's, there [00:04:00] was a culvert that was put in place and other fish species weren't able to recolonize the creek, but someone had adults can jump over the barrier. And so they were able to recolonize the creek and they're actually jumping through the culvert. Speaker 4: Yeah. And through this culvert and swimming up swimming into the two John West work. And what's the drop on the culvert like from, from the the bottom lip to the dead of the bid. Lower part [00:04:30] of the creek. It's about four feet. Four feet drop-off. Yeah. So that's quite a leap for the salmon. Yeah. And so with this study, what is it that you're trying to learn? That is not already known. So I'm basically trying to look at the effects of low flow and my study is really looking at what the affects are at a really fine scale. So I'm tracking, uh, juvenile steel head growth, movement and survival and I'm tracking them on a weekly basis. So [00:05:00] it's pretty fine scale monitoring, which is something that hasn't really been been carried out before. And the low-flow period is when, uh, the low, the low flow start after the last records. Speaker 4: And as the, as a temperature gets warmer, the stream starts to dry and it pretty much lasts throughout the summer until the first rains of the following year. Are you collaborating with other people on your project? Not directly with my lab mates on [00:05:30] my project. Sometimes they might come out and help me, but for the most part I've been working alone with the help of some undergraduates. There are certain side projects that we collaborate on. Um, there's also a person who is working with me from, uh, from a different department. He's not really working on my project, but, uh, something that's related to my project out on my field site. It mean it helps both of you? Yeah, definitely. And is that going to have some bearing is his, his [00:06:00] work or her work and I have some impact on your results. It definitely is connected. It is connected to, I'm more at the temperature and looking at how stratification and pull temperature stratification in pools might affect fish behavior. Speaker 4: So where, where they kind of hang out in the pool. So that's something that could definitely help us fold into your report. Yeah, exactly. So in doing your research [00:06:30] and working in the field as opposed to, uh, if you're working in the field and the lab, how much time do you spend in the field and in the lab? Um, when I'm out during the summer, uh, during my field season, it's a pretty big chunk of it. About 80 to 85% is probably spent in the field and the remainder is spent in the lab. Um, but once the summer is over and on, the field season is over. Most of the time is spent in the lab, um, [00:07:00] crunching data, processing samples and stuff like that. Speaker 5: [inaudible]Speaker 2: you're listening to spectrum on KALX Berkeley. Today we're talking with Jason Juan about his research into summertime streaming drying its effect on Fish CollagenSpeaker 5: [00:07:30] [inaudible]. Speaker 4: And so was there fish breeding going on in this part of the Stream? I would assume that that's the reason they're up there. Yeah. So one of the adults jump up into the stream. They breed typically during the winter when the rains, they come back with the rains [00:08:00] and they breed and the eggs hatch and spring. And then I kind of track the juveniles once they get to a large enough size to be able to monitor to them. So as you start to go up in the early spring, you're seeing lots of of small fish. Yeah. And it's so the fish that have spawned, have they left then or are do some stay? Yeah, but most of them have left. They're too large to stay in some of these pools. So most of them leave and with the Coho that or [00:08:30] they die right after they breed because they just breed once and they die. Speaker 4: But with the, with the steelhead, they're able to breed multiple times. And Are you tracking it all that mortality of the coho that are coming up and breeding? No, but the park service is definitely keeping track of adults, adult spawners they go up every winter and quantify the amount of a salmon reds, which are the nests that someone is build. And they also try to [00:09:00] keep track of how many fish, adult fish that they see. Talk about the insects in the fish in the same context of the frequency. So with, with the insects, um, it's, it's a pretty disturbing method to go and collect them. So we try not to collect them too frequently. We recollect them once at the beginning of the summer and again at the end of the summer. So we don't want to disturb the habitat too much that we have to kind of dig in [00:09:30] to the stream and it just disrupts, disrupts things a lot. Speaker 4: So we try to keep the frequency down and with the fish, um, we go out again, it's similar to to the insects that's we have to go and shock them and which as you can imagine, um, is quite stressful to the fish. So we shock them once in the beginning, beginning of the summer and we place pit tags into them, um, which allows us to monitor them across [00:10:00] the summer without having to actually handle them. Also, while we, um, capture them during the first event, we weigh them and measure them. And then during the late season capture event, we weigh them and measure them again and we're able to identify which the fish that were tagged, we were able to determine their growth rates and their survival. In addition, we can monitor them using the pet tags. We have a, a [00:10:30] handheld antenna that we take out and we just place it over the stream and we're able to find out where they're located or, and also if they're other still alive. Speaker 4: So that happens pretty much once a week. So the pet tag is like a radio. Gotcha. Yeah, it's an audio id, tariff id similar to what is found in a for pets, the microchips that they use for pets. And then you can also measure the mortality with that as well I guess if, yeah, so we go [00:11:00] out and we try to track their movement and also if we find a pit tag, we just kind of disturb the area around, uh, around the tag lightly. And if, if the tag isn't moving, then we kind of can surmise that there has been a mortality event that that occurred. Do you remove the fish or the die or now it's pretty hard to find them because we don't track them every day. So, so things happen [00:11:30] within the week and sometimes we kind of look around for the tag but it's pretty hard to find the tag. Speaker 4: But if we do come across any fish we do, we do take you back to the lab. Any dead Fisher and they are often tagged or have they not? Some of them are just untagged. We try to tag as many fish that we can capture at that are a certain size. They to be a certain size and size for them. So we do try to capture and tag every fish that is of [00:12:00] a certain size, but whether we do within that period of time that you can do the, that you're doing the tagging because you try to limit that. Yeah. How long is that period? What do you do? I've tried to do it all in a week. Three to four days. The tagging, the taking takes about three to four days. The caption and taking. And what's that like in terms of a process? Is it, is it you and a bunch of people doing it together? Speaker 4: Yeah. Take a little group out. Yeah, we actually took a group out, um, and we actually stayed out there for the three, three or four days. We wanted to get an early start [00:12:30] in the day and it takes about an hour to get, get out there each day. So we just decided to stay out there and it's actually quite fun. Um, most, most people really everybody volunteers to do to do like fish capturing. They're like, oh yeah, I want to do that. It's something that the interns really enjoyed. So is that time that you're in the creek, are you actually standing in the creek? So I, yeah, I actually get into the creek and I have a, an electrical Fisher and I move through the creek, [00:13:00] shocking the fish and there are a couple of them matters beside me on the scoop up any fish that had been shocked and we placed them into a bucket and then from there we kind of weigh them and measure them after, after all the fish have been captured for a certain pool. So you do this pool by Paul? Yeah, exactly. Speaker 5: You [00:13:30] are listening to spectrum on KLX Berkeley. We're talking with Jason y about his researching the summertime scream drying and its effect. Speaker 4: So Jason, how did you get interested in science when you were in high school, say or college? [00:14:00] I've always kind of really been interested in science as a kid. I really enjoyed reading science textbooks and it was as one of my favorite subjects and I just decided to stick with it. And I, I majored as a, as a biology student. And what about it appealed to you when you were young? It was like, it was the investigative process, [00:14:30] I guess that that appealed to me. It was just something that you can go out and observe and I really like that, that you can, you can actually just go out and see how nature works. And I was really fascinated by that. So biology was sort of the entree and then as you went through high school, College, yeah, I majored in biology and I really enjoyed my ecology class, just getting up out [00:15:00] there and I wasn't too keen on the molecular side of biology, but the ecological part aspect of it was really fun to get out there and observe things. And, and so it was it field work then that led you to streams? Yeah, I actually worked as a, as an undergraduate. I worked with a professor of mine and he would take me out into streams in southern California and it was quite a great experience for me. And what sort of work and studies research [00:15:30] was he doing? He was, he was doing, uh, population, uh, studies of endangered and threatened fish in southern California. Speaker 4: So when you're in the lab, what sort of data are you gathering? So for instance, with the leaf litter bags and the Algo production, um, when we come back from the field we have to process those samples. So we deploy tiles and we have to scrape off the LG from the tiles. And then we [00:16:00] have to run an analysis to quantify chlorophyll production. With the leaflet or bags that we set out, we bring them back and we, we way leaves in them and quantify how much leaf litter mass has been lost across time. What is it about the algae that you want to know in the river? With both the algae and the leaf litter, we want to see how the stream drying effects say Algal PR productivity or leaf litter decomposition. So we want [00:16:30] to see how much, how much Algo productivity there is in the early part of the summer when or when the stream is still pretty connected. Speaker 4: And then again, we want to track that change over time to see how productivity changes as the string gets dry and dry and with the leaf decomposition, same thing, seeing it over the, over the time, yeah. We want to see how decomposition rates change as the stream gets dryer and with that we're finding that decomposition rates slowed down quite a bit. [00:17:00] As the stream dries, there's less microbial activity, less insect funner to shut up the leaves. Are there other key data points that you're collecting out of the stream? Yes. I'm trying to measure the volume of water in the creek. Mostly the volume of water in between the pools of the fast flowing portions called riffles. I tried to measure how much water is in these portions and I go out pretty much every week and measure the dimensions [00:17:30] of the riffles and I'm able to get volume on every week and I'm able to quantify how this volume gets smaller and smaller every week. Eventually these, these pools are isolated and there's no more flow exactly. Between pools. Yeah. The, the riffles just most of them completely dry up by the end of summer. Speaker 3: And so the fish are then isolated in these, yeah, they're isolated. Speaker 4: The there aren't able to move among the different pools Speaker 3: at this point. Is it too soon in your study to, to [00:18:00] reflect on what you might conclude? Well, I'm, Speaker 4: I'm already seeing some pretty drastic inter-annual variation and precipitation in the area. So as I mentioned earlier, 2009 was a very dry and that was your first year? Yeah, 2009 was a very dry year, so I noticed that there was quite a bit of a mortality for the fishes. Uh, this past year, 2010 and during that summer was a lot wetter. There was a lot more habitat for the fish. A survival was a lot higher. So [00:18:30] Marty seen, uh, some significant results in terms of inter annual variation and how more extreme temperatures and extreme dry might influence the fish population. Speaker 3: Is there any part of water quality that you're measuring? Speaker 4: Temperature and a dissolved oxygen levels? Not In terms of pollution really, but a temperature and dissolved oxygen are are really key for [00:19:00] some almond species in particular, they require cool temperatures that are pretty well oxygenated. Speaker 3: The information that you're getting from your study will have an impact on other streams and creek management potentially. Yeah, that's, that's my hope Speaker 4: is that especially in certain areas where water withdrawals occur and there needs to be a certain amount of a water, hopefully our findings can maybe influence these areas where water withdrawals occur in the [00:19:30] stream comes even more dry than they typically should naturally. Speaker 3: Jason, thanks very much for coming in and talking about your research. Yes. Speaker 6: Oh, Speaker 7: [inaudible].Speaker 3: A regular feature of spectrum is dimension. [00:20:00] A few of the science and technology events happening locally over the next few weeks. Joining me this week to bring you the calendar is Rick Karnofsky. Speaker 8: In 1848 gold was discovered in the Sierra Nevada mountains luring people by the thousands to California. Join Ranger Tammy on Saturday, August 13th from 11 to noon to find out how this event changed the San Francisco Bay forever at the Bay model visitors center in Sausalito. This is a free event on Saturday August 13th at 4:30 PM Christopher de Carlo [00:20:30] will present how to be a really good pain in the ass. A critical thinkers guide to asking the right questions at Kelly's Irish pub, five 30 Jackson Street, San Francisco visit. Reason for reason.org for more info. That's r. E a s o n, the number four R e a. S. O. N. Dot. O. R. G. Speaker 3: The science at Kow lecture series for August will be presented by Dr Willie Michaelson and is entitled nanotechnology, Enabling Environmental Monitoring. [00:21:00] Dr Michelson is the executive director of the center of Integrated Nano Mechanical Systems known as coin's, a nanoscale science and Engineering Center headquartered at UC Berkeley dedicated to enabling and realizing novel environmental monitoring applications using nanotechnology. The date of the lecture is Saturday, August 20th at 11:00 AM in the genetics and plant biology building room. 100 Speaker 8: August 17th center night takes [00:21:30] place at the rickshaw. Stop. One 55 [inaudible] street at Van Ness in San Francisco from seven 30 to 10:00 PM at this $8 old age of show you'll hear talks about winery building, a virtual reality chocolate factory and neutrophils, one of the first immune cells to reach infection sites. Be there and be square. Visit SF dot [inaudible] Dot Com that's SF dot n e r, d an ite.com Speaker 8: nightlife takes place Thursday nights from 6:00 PM to 10:00 PM at the California [00:22:00] Academy of Sciences in San Francisco's Golden Gate Park. It is 21 and over and pictures music, cocktails and exhibits centered around a theme. In addition, the regular exhibits such as the rainforest and planetarium will be open. August 25th nightlife is on dinosaurs. Paleo lab will present a fossil shone till featuring trilobytes Coprolites, Aka fossilized dyno poop and other amazing fines that are 65 to 500 million years old. Check out additional specimens from the academy's research collections and at dyno burlesque. Show [00:22:30] the planetarium will feature cosmic collisions, a fulldome show depicting the hypersonic impacts that drive the evolution of the universe, including a recreation of the meteorite impact that hastened the end of the age of dinosaurs 65 million years ago. Clearing the way for mammals like us to thrive admission is $12 for more info and for tickets, visit www.cal academy.org that's www dot c a l a c a d e m y dot o r g Speaker 3: [00:23:00] and now several news stories. This item from the inside science news service scientists battle the dramatic declines of honeybee colonies with targeted breeding. There are a handful of pests and diseases that individually and in combination are causing unprecedented mortality in [00:23:30] honeybee colonies in Europe and North America. Serious efforts are being made to find solutions that can eradicate the pests and diseases. While the search for a solution continues. Researchers in Canada and the United States are attempting to bees that are resistant to Mites and viruses that attack bee colonies. The breeding process exposes the Queens to high levels of what is termed disease pressure. According to Rob Curie, professor of entomology [00:24:00] at the University of Manitoba. The survivors are then bred next season and so on. Seven generations have been bred so far. We are looking for bees that are resistant to mites and with a greater tolerance to viruses because they appear to be the two main factors behind colony loss. Speaker 3: QRI said and added breeding attribute pursued by the Canadian breeders is the ability to withstand the brutal North American winters. Curious said [00:24:30] that normally only 46% of the species known as European honeybees survive the Canadian winter, but the newest generations have a 75% survival rate. The total losses from managed honeybee colonies in the United States were 30% from all causes for the 2010 2011 winter according to the annual survey conducted by the US Department of Agriculture and the apiary inspectors of America. [00:25:00] This is roughly similar to the losses reported in similar surveys done in the four previous years. This story from Metta page today, lab grown trickier implanted in patient June 9th, 2011 at the Karolinska University Hospital in hunting, Stockholm, Sweden. Dr Paolo Macchiarini implanted the first ever bio artificial trachea grown on a synthetic [00:25:30] substrate using the patient's own stem cells. The patient was a 36 year old cancer patient for this procedure. Dr Macchiarini and his colleagues collected stem cells from the patient who had late stage tracheal cancer since no suitable donor windpipe was available. The researchers used a nano composite tracheal scaffold designed and built by Alexander Se Follian Phd of the University College London. [00:26:00] They seated the polymer model with auto Lucas stem cells. These are blood forming stem cells and grew them for two days in a bioreactor. Dr Mk Jadine says there's no room for rejection because of the cells are the patient's own. Thus, there is no need for him to be on immuno suppressive drugs. Speaker 2: [inaudible] [00:26:30] occurred during the show is pointless on a David Kearns album, folk and acoustic made available for creative Commons license 3.0 attribution [inaudible] mm editing assistance provided by Judith White Marceline production assistance provided by [00:27:00] Karnofsky [inaudible]. Thank you for listening to spectrum. We are happy to hear if you have comments or questions, please send them to us via email address. Is Spectrum. K A l s yahoo.com Speaker 5: [00:27:30] genius at this same time. [inaudible] Speaker 2: [inaudible]Speaker 5: [inaudible] [inaudible] [inaudible] [00:28:00] [inaudible]. Hosted on Acast. See acast.com/privacy for more information.

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