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https://www.designweek.co.uk/issues/11-19-july-2016/bombardier-reveals-aircraft-wide-seats-accommodate-larger-flyers/  
Bombardier reveals aircraft with wide seats to accommodate larger flyers  

An aircraft with seats designed to accommodate the expanding waistlines of passengers will make a demonstration at this year's Farnborough airshow on Sunday.

Canadian company Bombardier's CS100 plane features 47cm wide window and aisle seats, as well as middle seats that are 48cm wide.

This is compared to smaller seat widths for competitor planes such as the Airbus A319 (46cm) or the Boeing 737 (44cm).

However, earlier this year Airbus filed a patent for a seat that adjusts to fit the size of the passenger.

Accommodate increasing passenger size

The larger seats are understood to have been designed to help airlines accommodate the increased size of passengers over the past few decades.

Speaking to The Guardian, Ross Mitchell, Bombardier's vice-president of commercial operations says: “We went to airlines and asked them what the appropriate sizes were. They said 18 to 19 inches because it gives people more room in the seat. Airlines were looking to have an option with more comfort.”

The CS100 is part of the C-Series family of 100 to 150 seater, single aisle aeroplanes that place emphasis on cabin design.

Bigger windows, wide aisles and large overhead luggage bins

They also feature the biggest windows in the single aisle market, large overhead luggage bins other that can accommodate a carry-on bag for each passenger and wide aisles.

The first CS100 airplane is set to enter service with airline SWISS on 15 July, when its first commercial flight will travel from Zurich, Switzerland to Paris-Charles de Gaulle.

SWISS will then go on to gradually replace its Avro RJ100 fleet and some other existing planes with the C Series.

In 2013, Seymourpowell unveiled a concept for a seat, which can morph to accommodate different sized passengers.

The post Bombardier reveals aircraft with wide seats to accommodate larger flyers appeared first on Design Week.

 
design  

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https://www.theguardian.com/artanddesign/2016/jul/13/four-seasons-goodbye-new-york-modernist-cathedral  
A man for Four Seasons: my goodbye to New York's modernist cathedral  

Mies van der Rohe designed the chairs, Rothko created the artwork (then thought better of it) and New York's power brokers did their deals over the salad and swordfish but now the exquisite restaurant's era has passed

There are elegant restaurants and erotic restaurants, restaurants for business and restaurants for pleasure and one that was all of these things, more beautiful than any other. But after six decades, the Four Seasons, as stately as ever in its glass box off Park Avenue, will complete its last service on Saturday. Then the restaurant the place Jackie Kennedy called “the cathedral”, an acme of modernist design outshining any other space in New York will be despoiled. The tables, the furnishings, and even the pots and pans will be flogged off at auction later this month. The season is summer. But for architectural preservationists, students of modern design, and lovers of New York, this is a winter of discontent.

The Four Seasons opened in 1959 at the base of the Seagram Building, Ludwig Mies van der Rohe's city-reshaping black skyscraper on Park Avenue a building that the late critic Herbert Muschamp, with slight but understandable hyperbole, once called the greatest work of architecture of the past thousand years. The architect Philip Johnson was tasked with designing the space, which he paneled in rich burled walnut; delicate window coverings made of aluminum beads made the light appear to dance. Diners sat in nimble, cantilevered chairs of Mies's design; Eero Saarinen kitted out the women's powder room with his well-known tulip chairs; and Ada Louise Huxtable, not yet the doyenne of New York architecture critics, had a hand in everything from the champagne flutes to the bread baskets.

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https://www.designweek.co.uk/issues/11-19-july-2016/government-pledges-30-million-driverless-car-competition/  
Government pledges £30 million to driverless car competition  

The Government is to plough £30 million into research and development around driverless cars on UK roads.

The money will come from the Government's Intelligent Mobility fund and the competition, which launches next month, is being set up to distribute the cash to independent teams so they can research and develop “innovative, connected autonomous vehicle technologies”.

Back in February £20 million of Government money was awarded to driverless car projects and an additional £19 million has been granted to driverless car projects in Greenwich, Bristol, Milton Keynes and Coventry.

Transport secretary Patrick McLoughlin says that: “Driverless car technology will revolutionise the way we travel and deliver better journeys.

“Our roads are already some of the safest in the world and increasing advanced driver assist and driverless technologies has the potential to help cut the number of accidents further.”

In addition to the latest financial pledge the Government is also announcing a consultation on how automated cars should be used on British roads.

New measures are already being put in place so that automated vehicles can be insured for use on the roads and the Highway Code is being altered so that it considers advanced driver systems that allow cars to change lanes on motorways by themselves and vehicles that can be parked by remote control.

Motorway assist and remote control parking could be on the roads in two to four years, while driverless cars are expected from the mid-2020's onwards.

The post Government pledges £30 million to driverless car competition appeared first on Design Week.

 
design  

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https://www.theguardian.com/society/2016/jul/13/aylesbury-estate-south-london-social-housing  
The fall and rise of the council estate  

For decades, the Aylesbury estate in south London has been seen as a symbol of the failure of British social housing. But now just as it is being demolished many people are starting to think again

Aysen Dennis loves her flat. Two bedrooms, a neat kitchen-diner, a cosy living room, lots of light, a separate toilet and bathroom, and a much broader hallway than in the poky million-pound Victorian houses that surround her in south London all for £110 a week, plus £30 heating and service charge. Her flat is warm, and no one can see into it. “I feel free in my home,” she told me recently. “I can take off my clothes without worrying about curtains.” She still has the original 1960s kitchen cupboards, miracles of space-saving and clever joinery. South London hipsters would love them.

Dennis is not a hipster. She is 57, single, and has been unemployed for four years. She used to work in a women's refuge. Before that, three decades ago, she came to London from Turkey: a leftwing activist fleeing the aftermath of a military coup, during which she had been shot at and imprisoned, and some of her friends had been killed. After a few uneasy years in squats and shared properties “the husband of my last housemate was a racist” she moved into her flat in the spring of 1993.

Related: Housing estates: if they aren't broken…

Related: Revealed: how developers exploit flawed planning system to minimise affordable housing

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https://www.designweek.co.uk/issues/11-19-july-2016/nike-redesigns-football-boot-make-intuitive/  
Nike redesigns football boot to make it more intuitive  
Nike has redesigned its football boot, with the aim of making people's feet act more intuitively when playing the game.

The Magista 2 boot has been created by Nike in-house designer Phil Woodman, who says his design is based on the idea of “how the foot might have adapted had its primary purpose been football”.

Designed around high areas of touch

It is a rework of Nike's Magista boot, focusing more this time on sensation. “We were focused on sensory amplification through feel,” says Woodman. “By delivering a better feel for the ball, players are able to confidently create on the pitch without distraction.”

The boot was recreated in partnership with Nike Sports Research Lab to discover which parts of the foot are most sensitive to touch. These were then compared against which areas on the foot experience high touch when playing football, by looking at slow motion films.

This data was then converted into a heat map on a model of a foot, revealing areas of overlap between high sensation and ball engagement.

“An organic extension of the foot”

The upper part of the shoe was then 3D-printed with peaks and troughs in certain areas, creating a textured effect. The highest peaks have been installed in high contact areas, with the hope of the making the shoe work “as an organic extension of the foot”, says Woodman.

“The texture is podular and cushioned, designed to communicate with a player's sense of touch when the ball comes in contact with it,” he says.

The colours of the heat map were also used in the exterior design of the boot, as Woodman says: “It creates an iconic aesthetic that's unlike anything else on the pitch.”

Studs rearranged into a “complete system”

More padding has been added in place of a tongue and around the collar to provide more protection in “high contact areas”.

The studs underneath the boot have also been rearranged, based on traction patterns that players take, looking at the studs' arrangement as a “complete system”. Studs of different shapes have been incorporated for various purposes, such as half-conical studs for acceleration.

The Magista 2 boot will be available to buy from 24 July via the Nike Football app. Nike is yet to release a price.

The post Nike redesigns football boot to make it more intuitive appeared first on Design Week.

 
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https://www.designweek.co.uk/issues/11-19-july-2016/bbc-looking-consultancy-redesign-annual-reports/  
BBC launches £400,000 annual report redesign tender  

BBC has put out a tender to find a team to design its Annual Report and Accounts (ARA), full financial statements and six related documents.

The ARA and supporting financial documents “are key to demonstrating the BBC's accountability to licence fee payers” and play an important part in showing openness and transparency, according to the BBC.

The chosen consultancy will work with the BBC on its annual report design production, the main purpose of which is to “report publicly on the BBC's performance during the preceding financial year,” the broadcaster says.

Commencing in December, the two-year contract has the potential be extended by an additional two years at the discretion of the broadcasting company.

The contract value is £400,000, which is based on the maximum term of four years. It will run from 12 December 2016 up to 11 December 2020. Applications must be completed by 8 August 2016.

For more information, head here.

Photo: iStock

The post BBC launches £400,000 annual report redesign tender appeared first on Design Week.

 
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http://99u.com/articles/54098/why-every-artist-should-be-a-great-storyteller/  
Why Every Artist Should Be a Great Storyteller  

So you're a visual artist and you rely on the visual element of your work to sell it and captivate viewers in a single glance. But while art does indeed speak for itself, it only tells part of your story. The other, often-overlooked part is “Who is the person behind the signature scribbled on this amazing piece?”

While it's impossible to pinpoint a tangible career-elevating payoff to telling your story, there are clear benefits. In today's competitive marketplace a good story can say things about your character that your art can't, which can help give you an edge over similar artists being considered for a project. It also allows you to make connections with new audiences who might not understand art the way critics do, but who appreciate your work based on how you make it.  

Storytelling might seem like an additional “to-do” that you don't have time or resources for, however, it simply requires using your words and talking about yourself (and likely something you love). As Simon Sinek says, “People don't buy what you do; they buy why you do it.” And it should provide some kind of return on your time investment, as the best kind of storytelling serves as marketing that doesn't feel like traditional marketing at all.

When you communicate your inspiration and efforts behind your pieces, you allow viewers to see your art through your eyes. This gives the viewer something tangible to share with others in conversation something that a two-dimensional piece rarely can do on its own terms. Like any craft, there is a certain rhythm and structure that leads to a successful story. Follow these four guidelines to artfully tell your narrative and ultimately expand your audience reach.

1. Learn the Storytelling Basics

You likely have an “About” profile on your website, but if it's missing an arc it's time to inject it with some life. Stories have a three-part structure with a beginning, middle, and end. The first part opens with an intriguing introduction, the middle develops that detail into the crux of the piece (the main driver of the narrative) and the end leads to how the main character accomplished their objective. Along the way, elements of surprise and eclectic characters keep things interesting. Think about your artistic journey and how you can divide it into three parts.

Start by catching the reader's attention with a strong hook a few lines that focus on what is the most unique thing about you and your artistic evolution. Maybe as a child your grandmother took you to her painting class and that time fostered a love of painting? Maybe there is a moment when someone challenged your dream to become a sculptor and you used that as fuel for your career? Or maybe you have lived all over the world and the different cultures have greatly impacted your design style? The introductory anecdote should be compelling and full of details, so you can build the rest of your story around it by answering how that moment led you to what you create today. Finish the bio by highlighting your biggest career accomplishments. Need an example to get you started? Here is one from French-American artist Gwenn Seemel that we like as a muse.

1. Invite People into Your Process

Now that you've firmed up your bio which you can use anywhere from your website to your pitch deck to your gallery exhibitions consider other ways to share your story, like through your creative process.  

Artists have a rep for being territorial about people entering their sacred studios. When their supporters only see the final masterpieces, though, they can't fathom the marathon hours, painstaking process, and level of detail that goes into the artwork. So pull back the curtain and invite the public in by using video clips, photo, and text together. It's easier than it sounds there is probably already a photographer or videographer in your tribe, so commission them to capture various shots of your studio and key stages of creation.

To do this, write out an “objective sheet” detailing the overarching story you want to tell, and the shots that will bring this to life. This could include a shot of your workspace, any production machinery or workspace décor, or action shots, which capture you at the beginning, middle, and end of your process. If you're more comfortable on camera, you could produce a video short.  

Just look at what street artist Don Rimx has done with his process shots. He regularly invites the public into his process and recently his video “Friction” caught the attention of corporate audiences who now commission his work. In the time-lapse video, Rimx shows all of the movements it takes him to paint a mural, as well as incorporates outside voices who comment on the work-in-progress.  Rimx's act of artistic vulnerability widens the reach of those who can experience his work, and it's paying off.  

1. Share Your Creative Routine  

Do you always find that people are asking you if you have any creative rituals? As mundane as this question might seem to you, an entire book has been written about the daily rituals of artists, and translated into multiple languages! Rituals are fascinating because they're not limited to specific fields or artistic disciplines, so people are inspired to apply what works for artists to their own work. And, frankly, people love hearing the war stories about people making something that makes you real and relatable and it's human nature to respect someone who works hard.  

For this, examine how you create. What do you do that's different? Maybe you balance your artistic side with a full-time career elsewhere, so you can only work late at night? Or maybe you go off into the desert to create in a space that is completely free of distraction? Like your bio, be specific on the details. Your objective here is to give your fans something to grasp onto. People likely can't get behind someone who says “I only paint when I feel inspired.” But they can applaud someone who says they go into the studio every morning at 7 a.m. and often has to work for several hours before they find the groove of a project.

UK-based multi-media artist Kirsty Elson crafts miniature homes, boats, and lighthouses out of driftwood, and draws inspiration from her seaside surroundings. When she collects driftwood at the beach, she either knows immediately what she'll create or the wood sits in her shed for years until she does. ­­ In this video, Elson discusses the full cycle of creating her art including how she gets it in the hands of customers around the world.

1. Tell your story in different ways on multiple mediums

 The idea of a “story” has been with us since the beginning of time, but today what that looks like can range from the traditional body of text to a one-sentence Instagram post. That gives you many channels to explore. If you have a weekly newsletter or blog, those are natural places to begin sharing your processes and routines. If you're still building out your reader list, you can test out the various social media channels to see what drums up interest and feels most natural. You might find that it's easier to share your process shots on a medium like Instagram due to its visual nature, while you can better articulate the finer points of your creative routine through blogging.

If writing is not your forte or you're pressed for time, another way to tell your story is to include brief captions below artwork on your website describing the inspiration/idea behind each piece. A few years ago, my firm was charged with publicizing Strong Families “Mama's Day Our Way” campaign—a national initiative led by Forward Together where more than 20 artists were commissioned to create e-cards for mothers who are often overlooked in the mainstream celebration of Mother's Day. Strong Families wanted to reach both sites that focus on parenting and LGBTQ issues and the mainstream press. To make the campaign about more than the image on the cards, we asked the artists to share why they wanted to be involved in the campaign and what was their inspiration behind their card image.

By having our artists discuss their works from different perspectives, we were able to capture the attention of a range of publications, including Salon.com, the New York Daily News, Buzzfeed Advocate.com, Jezebel, and PolicyMic, who ran pieces on the campaign and included the artists' quotes in them. During the pitch process, the approach to capture the artists' voices and stories allowed my small, scrappy firm to edge out larger agencies to lead this campaign and resulted in us getting work on future national campaigns. 

***

At its core, storytelling is about making an authentic, human connection. When people feel like they're part of your artistic process, and you're willing to share a glimpse into your journey, they'll root for you and support your work. Seemel said it best, “Trying to be an artist helps you to appreciate the tenacity it takes to market yourself successfully as an artist. This might lead you to support the efforts of artists in your life by promoting their art or buying it.”

Storytelling, when done right, will increase your influence and have existing and new audiences talking about your work in a digestible fashion that feels natural, and produce a ripple effect of supporters who want to invest in your art and you.

 

 
culture  

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https://www.theguardian.com/politics/video/2016/jul/13/steve-bell-on-david-camerons-resignation-video  
Steve Bell on drawing David Cameron: 'So many years, so many condoms' video  

As David Cameron moves out of 10 Downing Street, Guardian cartoonist Steve Bell looks back at his time drawing him as Tory leader. He looks at the development of his caricature, from transparent jelly fish to rubber man, and recalls Cameron's response to being drawn with a condom over his head

• WARNING: contains swearing
  

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https://www.theguardian.com/commentisfree/picture/2016/jul/13/steve-bells-if-angie-the-eagle-swoops-on-jezbi-wan-corbyn  
Steve Bell's If ... Angie the Eagle swoops on Jezbi-Wan Corbyn  
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culture  

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https://www.theguardian.com/commentisfree/picture/2016/jul/12/steve-bell-on-david-camerons-resignation-cartoon  
Steve Bell on David Cameron's resignation cartoon  

Steve Bell on drawing David Cameron: ‘So many years, so many condoms' video

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http://feedproxy.google.com/~r/nybooks/~3/4-EhN8zx2os/  
Look Up and See!  
New York is a particularly “birdy” city (to use the birder's term). Someone who makes a serious effort to find birds in the city almost every day—there are such people—can find upward of three hundred species in one year without ever leaving the city limits, using only public transportation. The cumulative bird list of Central Park alone includes over 280 species.  
culture  

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https://www.theguardian.com/artanddesign/2016/jul/13/colour-and-vision-review-natural-history-museum-animal-eyes  
Colour and Vision review a mind-expanding peepshow of nature  

Natural History Museum, London
From Madagascan moths to clever clams, this show brings the complex story of how and why animals see the world through different eyes vividly to life

Darwin's octopus gazes back at me from its jar, eyes deep and intelligent and sentient at least they would be if this mollusc were not a long-dead specimen preserved in chemicals. This is no distinct species, but the actual pet octopus Charles Darwin kept on board HMS Beagle. The eyes into which I peep once peeped into his.

In fact, there is an eerie sense of reciprocity throughout the Natural History Museum's mind-expanding Colour and Vision show. It makes you aware of your own eyes as you explore this exhibition about seeing in the natural world. There are few visual experiences quite as fascinating and challenging as looking at fossils, those stony images of ancient life, as intricate and subtle as any work of art and sometimes just as abstract. It is hard to make sense of the oldest fossils here: can the blobby shape of Dickinsonia really be life as we know it?

Some jellyfish have efficient eyes while lacking the brain power to process the optical information

All this beauty is desperate stuff: animals evolve colour and vision to gain advantage in the struggle for existence

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art  

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http://www.designboom.com/art/federico-babina-archiplan-architectural-floor-plan-illustration-07-13-2016/  
federico babina dissects famous floor plans as architectural labyrinths  

'ARCHIPLAN' interprets the planimetric language of famous figures like zaha hadid, le corbusier, frank gehry and tadao ando, modeling their schemes as a series of dynamic labyrinths.

The post federico babina dissects famous floor plans as architectural labyrinths appeared first on designboom | architecture & design magazine.

 
art  

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http://www.designboom.com/art/maud-vantourss-paper-art-3d-07-12-2016/  
maud vantours' psychedelic paper landscapes form kaleidoscopic canvasses  

sheets of colorful construction paper are carefully overlapped to form vast circular pools of pigment, descending towards an unseen depth.

The post maud vantours' psychedelic paper landscapes form kaleidoscopic canvasses appeared first on designboom | architecture & design magazine.

 
art  

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http://heptagram.co/post/147311484640  
weissesrauschen: Akihiko Miyoshi  

weissesrauschen:

Akihiko Miyoshi

 
art  

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http://www.designboom.com/art/aujik-spatial-bodies-video-architecture-07-13-2016/  
AUJIK warps urban landscapes and architectural bodies into living organisms  

domesticated and cultivated only by its own nature, this vast concrete vegetation oscillates between order and chaos.

The post AUJIK warps urban landscapes and architectural bodies into living organisms appeared first on designboom | architecture & design magazine.

 
art  

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http://www.designboom.com/art/food-emojis-agustin-nieto-anna-keville-joyce-07-12-2016/  
quirky food emojis speak to the universal language of edibles + emoticons  

stylist anna keville joyce teamed up with photographer agustín nieto to create a sequence of compositions that illustrate a hybrid of emoticons and edibles based on three different countries.

The post quirky food emojis speak to the universal language of edibles + emoticons appeared first on designboom | architecture & design magazine.

 
art  

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http://www.designboom.com/art/martin-bricelj-baraga-cyanometer-ljubljana-07-12-2016/  
martin bricelj baraga's cyanometer installation measures the blueness of the sky  

the installation captures images of the sky which are then translated into fifty-three shades of blue.

The post martin bricelj baraga's cyanometer installation measures the blueness of the sky appeared first on designboom | architecture & design magazine.

 
art  

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https://www.theguardian.com/artanddesign/jonathanjonesblog/2016/jul/12/vincent-van-gogh-truth-about-ear-exhibition-on-verge-of-insanity-amsterdam  
The whole truth about Van Gogh's ear, and why his 'mad genius' is a myth  

A new exhibition claims Vincent Van Gogh's mental illness hampered his work, rather than drove his singular vision and presents fresh medical evidence about his notorious self-mutilation

Madness terrified Vincent van Gogh, yet he also wondered if it was inseparable from artistic genius. In letters to his brother Theo that prove him one of the great writers as well as artists of the 19th century, he broods more than once on an 1872 painting by Emile Wauters called The Madness of Hugo van der Goes, which shows the 15th-century Flemish painter looking a bit like Stanley Kubrick on an intense day as a victim of mental illness.

Painting, far from a release of his inner demons, was a controlled and steady labour through which he tried to stay sane

In the film Lust for Life he is portrayed as a character tragically unable to control torrents of emotion

Related: Science peers into Van Gogh's Bedroom to shine light on colors of artist's mind

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http://thenextweb.com/apps/2016/07/13/facebook-mobile-device-labs/  
This Facebook datacenter lab makes sure it runs perfectly on every device, every time  

Facebook's quarterly earnings typically has one particularly eyebrow-raising statistic: the number of mobile users. That's why the company's new Oregon datacenter has a ‘Mobile Device Lab,' which uses real devices to monitor Facebook performance in real-time. Scaling Facebook In helping connect the world, there's a unique problem Facebook encounters. If it wants everyone to have the same experience, the app or mobile website has to act the same no matter which device you're using. The Mobile Device Lab has racks of various devices — from flagships to bargain handsets — that hold up to 60 devices. It started as a…

This story continues at The Next Web  
technology  

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http://thenextweb.com/offers/2016/07/12/a2-hosting-swift-plan-1-year-subscription-1-free-domain-88-off/  
A2 Hosting Swift Plan: 1-year subscription + 1 free domain (88% off)  

Sluggish websites are unacceptable in the ultra-fast connectivity of today's internet. For a limited time, you can sidestep the hassle of inferior services with 88 percent savings on the A2 Hosting Swift Plan: 1 Year Subscription + 1 Free Domain, offering blazing-fast speeds and high-grade hosting for unlimited websites and databases. Hosting and domain fees are no joke, however, and choosing the right plan for your needs is essential in the well-being of your website as well as your own peace of mind. It's now just $14.99 from TNW Deals. Since its launch in 2003, A2 has earned widespread recognition…

This story continues at The Next Web  
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http://redirect.viglink.com?u=http%3A%2F%2Fwww.huffingtonpost.com%2Fsarah-hodgson%2Fyour-dogs-play-date-with-_b_10963606.html%3Futm_hp_ref%3Dgreen%26ir%3DGreen&key=ddaed8f51db7bb1330a6f6de768a69b8  
Your Dog's Playdate With His New Farm Friends -- 6 Steps to Condition Your Dog To Big Animals!  

(Photo credit: Roman Adrianowycz)

July 12th was National Cow day: How did you celebrate it?

I may be a dog expert but the cow truly calls to me. Whether I'm taking a dog to visit a local herd or passing a farm along the highway I aways reflect upon the cow's peaceful nature. I envision them during my deep breathing exercises. To me, they are calm, patient, yet mindfully unyielding.

But dogs aren't always on the same page. Calm is not a word I'd use to describe most dogs facing up to a large, hooved animals.

Thankfully, when it comes to conditioning your dog to respect farm life or to play nice with a passing horse, your neighbor's pot-bellied pig or even deer in the field, look no further: cows rock.

If you need to condition your dog to big animals, cows are the ideal teaching aides. Here's why:

1) Cows -- especially those accustomed to noise, people, and other dogs - will rarely give, even a barking dog, more than a passing nod. Since prolonged stares from other animals can trigger a dog's fear or defensiveness, a passing nod is a better bet when conditioning your dog's tolerance level.
2) Cows move slowly, making them least likely to ignite a dog's chasing instinct.
3) Cows are food motivated (although they prefer grasses to liver treats) so most will keep eating even in the midst of barking and chaos.

Whatever large animal you hope to condition your dog or puppy to, go find a cow and get started.

WARNING: Always leash your dog or puppy when conditioning her to livestock, and stay at least 20 feet outside the other animal's enclosure. A cow may charge or kick a dog that enters their personal space.

Prerequisite: Teach your dog the meaning of "Find it." Watch my video to learn how to play the "Find it" game. This fun exercise will help you to positively redirect your dog's focus no matter what the distraction!

Take Alongs: When setting out, bring anything your dog loves to eat, chew or play with. Use rewards and distractions to positively engage your dog in the presence of an otherwise frustrating distraction (like a cow).

Step One
Start on an Empty Stomach
Wait to feed your dog until you see the cow. Help your dog associate cows to food treats and all his favorite things!

Step Two
Bring various treats and bones
Think about what rewards get your dog most excited and which ones barely raise her tail. Rate each from your dog's perspective and bring out the highest rewards when you're cow-side.

Step Three
Watch your dog's talking points
Calculate your dog's comfort zone. Dogs will startle to the site of farm animals unless conditioned to them from a young age. Watch your dog's talking points to determine how he feels: his eyes, ears, tail, and posture. Does your dog lean back? Translation: caution. Does he lean forward and bark? Translation: your dog is willing to use whatever means to defend himself.

Step Four
Determine your dog's comfort zone
If your dog's reacting, you're already standing too close. Stand as far away from the cow as you need to until your dog can stand comfortably. Now play the "Find it" game: Get a handful of high-value treats, say "Find it," and cast a handful of treats to the ground to distract your dog.

Step Five
Gradually move closer
Gradually lessen the distance to the cow as you increase the value of the treats. If your dog sneaks a peak, praise him! Tell him he's a good boy then take a few steps backward as you wave a treat in front of his face. Does he look to you? Super! If not you may be moving too close too quickly. Depending on your dog's reactivity you may need to repeat this adventure several times until your dog feels comfortable in the presence of this gentle giant.

Step Six
Rate your success
Success doesn't look particularly fancy. You don't want your dog prancing around carelessly or sulking behind you either. Success is a dog who can tolerate the presence of any other animal or person without getting riled up or reactive.

Wondering how you're progressing? Check back in with your dog's talking points -- eyes, ears, tail, posture -- and see what they have to tell you. "Relaxed" is good. "Bored" is even better.

And while you're at it, send us an update in the comment section below. A photo or short video, with dogs especially, is worth a thousand words.

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

 
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This story of bipartisanship will make you believe in government again  


A professor of mine at the University of Michigan Law School once said that problems become more solvable when people lower their voices and work things out.

Few in Washington have been lowering their voice in recent years. As I noted in a recent Wall Street Journal op-ed, Congress rarely produces little more than partisan rancor, which made the recent passage of a historic chemical safety law so exceptional - and inspiring.

I'm referring to the Lautenberg Act, the most important environmental legislation in two decades, which the House and Senate passed overwhelmingly and President Obama signed into law last month.

In the midst of the final negotiations over that bill, I found myself on the phone with Sen. James Inhofe, the conservative Oklahoma Republican best known in my circles for throwing a snowball on the Senate floor to mock global warming. But we didn't talk about any of that.

Instead we discussed our shared commitment to finding a way forward to reform an outdated law that failed to keep toxic chemicals out of homes, schools and workplaces.

That conversation helped me realize how right my teacher had been. Despite our profound and public disagreements over the years on climate change, we had found a way to work together and make progress.

It reminded us of old-fashioned legislating, where parties work toward common ground rather than jockey for partisan advantage. The subsequent victory showed that some of the oddest bedfellows in Washington can, in fact, deliver major reform.

Two developments broke the stalemate

Health and environmental advocates had spent more than two decades pushing for an overhaul of the Toxic Substances Control Act, our main chemical safety law that had remained unchanged since the era of bell-bottoms and disco. Despite the law's obvious flaws, efforts at reform stalled.

In every Congress for the past decade, Democrats introduced strong legislation, bills that my organization supported. And each time they were blocked by those worried about overregulating the chemical industry.

That's until two developments tipped the scale.

First, consumers' rising concerns over unregulated chemicals in everyday products began to register with retailers, product manufacturers and state lawmakers. Companies began reformulating products to remove certain ingredients, and retailers asked suppliers to do the same.

Spurred by activists, states stepped in to fill the void left by the broken federal system that couldn't even regulate a known danger like asbestos. This, in turn, created a patchwork of overlapping rules that manufacturers found confusing and onerous, adding more pressure on lawmakers from both parties to craft a national solution.

Second - and here's the clincher - negotiating partners sought and found common ground.

Like the old days on Capitol Hill

The late Sen. Frank Lautenberg, a New Jersey Democrat and public-health champion who got smoking banned on airplanes in the 1980s, introduced the first bipartisan reform bill with Sen. David Vitter, a Republican Louisiana legislator typically more concerned with reducing environmental regulations.

When Sen. Lautenberg died in 2013, Sen. Tom Udall, a New Mexico Democrat and long-time environmental advocate, stepped up to lead the effort to advance and improve the legislation.

Democratic Sens. Sheldon Whitehouse, Ed Markey, Jeff Merkley, Tom Carper and Cory Booker threw their support behind the bill after securing changes to strengthen the role of states, among other improvements. Sen. Barbara Boxer, after attaining concessions preserving additional authority for her home state of California and other states, eventually signed on as well.

Sen. Inhofe, who had recognized that a national regulatory program would bring greater certainty to the business community, led negotiations on the Republican side.

The House assembled its own set of unusual partners: Republicans John Shimkus and Fred Upton worked with Democrats such as Frank Pallone, Nancy Pelosi and Steny Hoyer.

Broad, bipartisan coalition demanded progress

Bipartisan negotiations ultimately produced legislation that won near unanimous support in Congress - and, critically, a strong endorsement from the White House. It worked because we built a broad coalition demanding progress on this issue, and because lawmakers worked hard to navigate outside interests and pressures.

For too many in Washington, even talking to the opposition, much less working across the aisle, is a sin. In an era of narrow majorities and divided government, that is a recipe for certain failure.

It appears some are looking at the moral calculation in the wrong way. Because if a willingness to work with people you normally oppose leads to fewer hazardous chemicals in our children's lives, we have all won.

This article originally appeared on the EDF Voices blog and is reprinted with permission.

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Don't Assume My Dog Is Friendly  


It happened again. I was walking along a park trail with Bodhi, enjoying the 6 a.m. calm. That the park is largely empty at that hour is something I really enjoy. But suddenly, a man walking 3 dogs appeared, headed toward us on the path. As there was plenty of room to move over, that's exactly what we did in hopes of avoiding them.

Upon spying us, the two cocker spaniels continued to prance along with their cockers-don't-care attitudes, while the Lab mix acted as though Bodhi was a long lost relative who owed him money. In his over-the-top enthusiasm, the dog pulled free of the man's grip. Flexi leash banging along behind him, he began to run toward us.

You wouldn't let your child run up to every stranger you pass. Why would you possibly let your dog do the same?

Now, Bodhi is not an aggressive dog, but when I adopted him from the shelter five years ago, he was very dog reactive. I worked long and hard to teach him alternatives to lunging and barking at other dogs, and he does very well now. He's still insecure around other dogs (which is what the behavior was really about), but now when he sees them he voluntarily places himself by my side and looks at me for further instructions. Great, right? Sure. Until despite our best efforts, another dog rushes up to Bodhi or otherwise invades his space. Then, depending on how worried he is, all bets are off and violence could ensue.

As the Lab headed toward us I called to the man, "Please grab your dog!"

"Oh," he replied, "Don't worry. He's friendly!"

"Mine might not be!" I called back.

The man looked surprised, and finally managed to get the dog back on leash.

Unfortunately, this is far from a rare occurrence. I wonder, if I were walking a 200-pound black mastiff with glowing yellow eyes, how many dogs would end up wafting our way on clouds of intended friendliness. I remember when Mojo, my soul dog who passed in 2008, was alive. Walking my very tall, handsome 120-pound, mostly-black, German shepherd-Rottweiler-Malamute-wolf mix down the street, people would often cross to get out of our path, even though Mojo was not at all aggressive towards people. I do not, however, remember dogs flying toward us and people telling us not to worry.

In this particular case, the dog pulled the leash out of the man's hand. Mistakes happen. But more frequently, it's a case of someone walking a dog off leash and ignorantly assuming everything will be fine. It's irresponsible to put your dog in the way of potential harm by assuming that other dogs are friendly, even if they look as though they are.

You wouldn't let your child run up to every stranger you pass. Why would you possibly let your dog do the same? Do everyone a favor and don't assume my dog -- or any other dog you pass -- is friendly. It's the truly friendly thing to do.


Nicole Wilde is a canine behavior specialist and author. You can visit her website, follow her on Facebook and view her photography/art here.

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ExxonMobil Is Still Funding Climate Science Denier Groups  


ExxonMobil officials may hem and haw when reporters ask them if the company still funds climate science denier organizations, but the numbers don't lie.

The company says it acknowledges the reality of global warming and claims it supports a carbon tax, but its recently disclosed list of 2015 "public information and policy research" grantees shows it spent nearly $2 million last year on more than a dozen think tanks, advocacy groups and associations that dispute climate science and disparage renewable energy.

That's significant from both a legal and political perspective.

There are legal implications because ExxonMobil is currently under investigation for allegedly misleading investors and the general public about climate risks. Its scientists, who were conducting cutting-edge climate research as far back as the 1970s, cautioned top management that continuing to burn vast quantities of fossil fuels could be catastrophic. Instead of heeding those warnings, the company stressed scientific uncertainty to protect its long-term profitability and bankrolled denier groups to spread disinformation.

Likewise, it is politically significant because, by sowing doubt about climate science and the potential of carbon-free energy sources, denier groups provide cover for elected officials to stand in the way of progress.

Two Decades of Duplicity

Shortly after the adoption of the Kyoto Protocol international climate treaty, Exxon went on a spending spree to block federal efforts to address global warming. The company, which was outed by a 2007 report by the Union of Concerned Scientists (UCS), spent $18.62 million from 1998 -- a year before it merged with Mobil -- through 2005 on a network of more than 40 groups. From 2006 through last year, it spent another $14.35 million, for a total of $33 million.

That's just what can be gleaned from the company's tax filings and statements, however. Corporations are not required to disclose all of their political spending, and there is reason to suspect ExxonMobil has spent quite a bit more on its climate disinformation campaign. A former ExxonMobil executive who wishes to remain anonymous told UCS that the company secretly allocated as much as $10 million annually for what insiders called climate "black ops" from 1998 through 2005.

In any case, according to its own figures posted last week, ExxonMobil spent $1.96 million on 16 denier and obstructionist groups last year. Ten of them, including the American Enterprise Institute, American Legislative Exchange Council, Federalist Society and Hoover Institution, were among those listed in the 2007 UCS report.

So what is ExxonMobil getting for its money? Let's take a look at a handful of last year's grantees to find out.

U.S. Chamber of Commerce: Half of ExxonMobil's 2015 denier donations -- $1 million -- went to the U.S. Chamber of Commerce, the same amount it gave the Chamber in 2014.

The Chamber acknowledges that climate change is happening, but discounts the prevailing scientific consensus that it is largely due to human activity, mainly burning fossil fuels. When pressed about the Chamber's position during a March 2014 Senate hearing, Karen Harbert, head of the Chamber's Institute for 21st Century Energy, replied that there is a "robust debate" over what is causing climate change. "It is caused by a lot of things," she insisted.

Harbert's scientifically indefensible comment was not surprising. The Chamber has a long history of disputing climate science, and that has alienated some of its members. In 2009, Apple, Exelon, Nike, PNM Resources and PG&E, for example, cancelled their memberships after Chamber Vice President William Kovacs demanded that the EPA convene a "Scopes monkey trial of the 21st century" on climate science with witnesses, cross-examinations and a judge ruling on the reality of global warming. "It would be evolution versus creationism," Kovacs explained. "It will be climate change science on trial."

Those high-profile defections apparently had little impact on the Chamber's position. In May 2014, just days before the Environmental Protection Agency (EPA) announced its draft Clean Power Plan to reduce power plant carbon pollution, the Chamber released a grossly misleading report attacking the proposed rule. The report, which was also sponsored by the American Petroleum Institute, was denounced not only by the EPA, but also by PolitiFact.com and the Washington Post. Among its many faults, the report wildly inflated the cost of the rule and failed to consider the benefits of cutting carbon emissions.

Last October, the Chamber and 14 other business associations filed a lawsuit against the EPA, arguing that the Clean Power Plan exceeds the agency's authority to regulate the energy sector, and the Chamber's priorities for 2016 include opposing EPA efforts to curb carbon emissions as well as the agency's science-based finding that global warming endangers public health and the environment.

Manhattan Institute: ExxonMobil gave the Manhattan Institute $200,000 in 2015, boosting the company's total donations to the self-described free-market think tank to $1 million since 1998. In turn, the institute has been cranking out papers and articles denouncing efforts to cut carbon and maligning renewable energy technologies.

Last summer, for example, Manhattan Institute Senior Fellow Oren Cass dismissed the idea of a carbon tax -- ExxonMobil's supposed preferred policy -- as a "shell game" in an article he wrote for National Affairs. He followed up that essay in October with a white paper calling the impending U.N. climate negotiations in Paris a "farce." What did Cass propose as a better solution? He urged policymakers to "abandon fruitless negotiations and focus instead on the realistic option of promoting innovation and preparing for any future adaptation that may be necessary."

The institute's longtime point man on energy, Robert Bryce -- who previously worked for the ExxonMobil-funded Institute for Energy Research -- says he's "agnostic" about climate change. Over the years he has written numerous columns for the Los Angeles Times, New York Times, Wall Street Journal and other publications praising oil, natural gas and coal and disparaging wind and solar. A recent Bryce column in the National Review, for instance, denounced tax breaks and subsidies for the wind industry but ignored the fact that, since 1918, federal oil and gas industry subsidies have averaged $4.85 billion a year in today's dollars.

American Legislative Exchange Council: ALEC, a secretive lobby group that drafts sample corporate-friendly legislation for state lawmakers, has received $1.79 million from ExxonMobil since 1998, and that investment is still paying dividends. At ALEC's annual meeting last July, for example, corporate and legislator members collaborated on bills and resolutions that would inhibit state implementation of the Clean Power Plan, hamper the solar industry from selling electricity directly to homes and businesses, and undermine state renewable energy standards by restricting investment in wind and solar.

One of the keynote speakers at that meeting, Stephen Moore -- founder of the Club for Growth and a visiting fellow at the Heritage Foundation -- declared at a plenary session that the "biggest scam of the last 100 years is global warming." ALEC's official position on climate change is only slightly more nuanced, leaving open the question of the role human activity plays. "Climate change is a historical phenomenon," its website states, "and the debate will continue on the significance of natural and anthropogenic contributions."

With that scientifically challenged position, it's no wonder ALEC invites speakers for its conferences from such notorious climate science denier groups as the Committee for a Constructive Tomorrow, the Heartland Institute and, of course, the Heritage Foundation -- all former ExxonMobil grantees.

While ExxonMobil and other major carbon producers Chevron and Peabody Energy remain steadfast ALEC members, more than 100 corporations have severed ties with the organization for a variety of reasons, including its stance on climate change. Those companies include a number of heavy hitters in the energy sector, including American Electric Power, BP, ConocoPhillips and Shell.

National Black Chamber of Commerce: From 2002 through last year, the National Black Chamber of Commerce (NBCC) received $1.1 million from ExxonMobil, and the organization's president, Harry C. Alford, is unapologetic about taking fossil fuel industry money. "Of course we do and it is only natural," Alford states on the NBCC website. "The legacy of Blacks in this nation has been tied to the miraculous history of fossil fuel.... [F]ossil fuels have been our economic friend."

Last summer, NBCC published a report that falsely claimed the Clean Power Plan would pose "economic hardship" on poor and minority Americans. A UCS analysis found that the report was based on fraudulent claims from previously published studies, including the U.S. Chamber of Commerce's anti-Clean Power Plan report from 2014. In fact, unchecked climate change would likely hurt poor and minority communities most.

More recently, Alford wrote an opinion piece attacking the Clean Power Plan for The Hill, a Washington political trade publication. Like the U.S. Chamber of Commerce's bogus 2014 report, Alford's June 29 column vastly exaggerated the cost of the proposed rule and did not factor in the billions of dollars in health and economic benefits that would result from cutting carbon pollution.

ExxonMobil's Pretzel Logic

Last fall, UCS and reporters at InsideClimate News and the Los Angeles Times revealed that Exxon's own scientists had warned the company decades ago about the potential for climate catastrophe. The new revelations also showed that the company responded to that bad news by downplaying climate risks and helping establish the climate science denial network.

A number of journalists did follow-up stories, pressing ExxonMobil officials about the company's longtime support for denier groups. They didn't always get the same answer.

During an interview last September with Richard Keil, ExxonMobil's senior media relations advisor, WNYC's On the Media host Bob Garfield pushed Keil for an explanation. "Please clarify this for me: Are not funding, or did not fund them?" Garfield asked. Keil's response was unequivocal. "We are not funding," he said.

When asked the same question by the New York Times in early November, then-Vice President of Public and Government Affairs Kenneth Cohen likewise said no. "We stopped funding them in the middle part of the last decade because a handful of them were making the uncertainty of the science their focal point," he said. "Frankly, we made the call that we needed to back away from supporting the groups that were undercutting the actual risk" of global warming.

Cohen's response wasn't a surprise. He made the same disingenuous claim back in February 2007, a few weeks after UCS disclosed that ExxonMobil had been spending millions of dollars on climate science denier groups. Greenwire, a trade news organization, reported that Cohen said the company "has stopped funding them."

The surprise came on November 9, three days after the New York Times story ran, when PBS NewsHour host Judy Woodruff asked Cohen if ExxonMobil has been funding denier groups. This time he took a different tack.

"Well, the answer is yes," replied Cohen, who retired from the company in January. "And I will let those organizations respond for themselves."

But before anyone declares a victory for corporate transparency, it turns out that Cohen's moment of candor was, well, momentary.

On December 1, a Washington Post story quoted yet another ExxonMobil spokesperson who qualified Cohen's remark. Alan Jeffers, a media relations manager, said the company "rejects the premise" that it has been funding climate science denial.

"We were engaged with funding public policy groups on policy issues, not on science," Jeffers explained. "We made our position known on some climate policies that made us unpopular with environmental activists, and they tried to position that as us funding climate denial. And that's just not accurate."

Not accurate? As Jeffers, Keil and their former boss, Cohen, surely know, the think tanks, advocacy groups and associations ExxonMobil has been sponsoring all these years lie about the science to strengthen the argument against doing anything to address climate change. After all, if people believe climate science is a fraud -- or at least "far from settled" -- they will see no reason to support a carbon tax, cap-and-trade system, or any other climate policy. And that line of reasoning, which protects the status quo, seems to suit ExxonMobil just fine.

Elliott Negin is a senior writer at the Union of Concerned Scientists. UCS staff members Dave Anderson and Jayne Piepenburg provided research for this article.

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