New York, NY (PRWEB) February 19, 2012

Worldcast, Inc, an entertainment technology company, has developed the innovative On Demand Media Platform

Popup Trade Show Displays

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• (1) Durable Transport Case with Wheels
• (1) Case to Counter Conversion Top and Skirt
• (1) Field Repair Kit

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Nokia Extends Gains on Trade-Show Re-Entry Plan: Helsinki Mover
popup trade show displays
The Espoo, Finland-based manufacturer will display products at the Mobile World Congress in Barcelona, Spain, starting Feb. 27, its first appearance on the show floor in three years. New products that Nokia may introduce at the trade fair include an …

Pop Up Displays – Portable Presentations

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popup trade show displays Video Rating: 0 / 5

Santa Clara, CA (PRWEB) May 31, 2011

According to the latest Quarterly Large Area TFT LCD Shipment Report –Advanced LED+3D, 3D LCD TV panel shipments increased to 1.9 million units in Q1’11, jumping 104% Q/Q. This growth represents a 3.9% penetration among all LCD TV panels shipped. In addition, panel manufacturers are aggressively working to further increase 3D TV panel penetration in 2011, targeting 16.8% penetration in Q4’11, and 12.3% for 2011.

“LCD TV panel makers are leveraging 3D as an important feature to rejuvenate TV market demand, in the hope that 3D provides a new viewing experience for consumers,” noted David Hsieh, Vice President of the Greater China Market for DisplaySearch. “The addition of 3D is attractive to panel makers because the price premium can help them increase average selling prices. Of course, there are many challenges for the industry in promoting 3D LCD TVs to end users, such as inadequate 3D content, the presence of flicker or crosstalk that can cause dizziness, price, uncomfortable glasses, and confusion about different 3D technologies.”

LCD panel makers have aggressive plans to expand 3D LCD TV panel shipments this year, as they believe 2011 will be the year that is 3DTV’s potential is realized. In Q1’11, shutter glass type 3D TV panel shipments reached more than 1M units, while pattern retarder type 3D TV panels followed closely behind with approximately 880K units shipped.

DisplaySearch analysis in the Quarterly Large Area TFT LCD Shipment Report –Advanced LED+3D showed that LCD TV panel makers are working on the following approaches to stimulate 3D TV demand:

3D Price Premium Reductions

For the past several months, panel makers have continuously guided 3D panel price premiums downward. The 3D premium in 240 Hz panels for use with shutter glasses has been reduced from over $ 50 last year to $ 25 this year. On the other hand, pattern retarder technology is considered to have higher cost premiums than high frame rate panels due to the difficulties in producing 3D polarizing films. Because of this, some panel makers have introduced pattern retarder 3D panels with CCFL backlights, trading the LED backlight premium for the 3D premium. This approach has had some success in the China market.

3D Viewing Experience

Panel makers are leveraging new technologies to improve the 3D viewing experience, including the pattern retarder method to reduce flicker, or shutter glasses to enhance the 240 Hz driving frequency and reduce cross talk.

3D Glasses

Manufacturers have improved 3D glasses, including the development of cheaper, more user-friendly, fashionable and comfortable glasses. Some have also developed universal glasses to achieve compatibility.

Emphasis on 2D Performance

Since the amount of time consumers spend watching 2D content will exceed that of 3D on a 3D-ready TV, it is important to not sacrifice 2D quality, including full HD picture quality and high brightness. Some panel makers have developed high aperture pixel technology to improve vivid full HD picture quality, as well as high contrast panel technology to realize real black, even in low gray scales.

The Advanced LED+3D version of the Quarterly Large Area TFT LCD Shipment Report covers the entire range of large-area panels shipped worldwide and by region, with LED-backlit and 3D panels featured. With 100% coverage of panel makers and authored by industry experts, the Quarterly Large Area TFT LCD Shipment Report analyzes historical shipments and forecasts projections to provide some of the most detailed information and insights available. The report is delivered in Excel pivot tables, flex spreadsheets and a PowerPoint analysis. For more information, contact Charles Camaroto at 1.888.436.7673 or 1.516.625.2452, e-mail contact(at)displaysearch(dot)com or contact your regional DisplaySearch office in China, Japan, Korea or Taiwan.

About DisplaySearch

Since 1996, DisplaySearch has been recognized as a leading global market research and consulting firm specializing in the display supply chain, as well as the emerging photovoltaic/solar cell industries. DisplaySearch provides trend information, forecasts and analyses developed by a global team of experienced analysts with extensive industry knowledge. In collaboration with The NPD Group, its parent company, DisplaySearch uniquely offers a true end-to-end view of the display supply chain from materials and components to shipments of electronic devices with displays to sales of major consumer and commercial channels. For more information on DisplaySearch analysts, reports and industry events, visit us at http://www.displaysearch.com. Read our blog at http://www.displaysearchblog.com and follow us on Twitter at @DisplaySearch.

About The NPD Group, Inc.

The NPD Group is the leading provider of reliable and comprehensive consumer and retail information for a wide range of industries. Today, more than 1,800 manufacturers, retailers, and service companies rely on NPD to help them drive critical business decisions at the global, national, and local market levels. NPD helps our clients to identify new business opportunities and guide product development, marketing, sales, merchandising, and other functions. Information is available for the following industry sectors: automotive, beauty, commercial technology, consumer technology, entertainment, fashion, food and beverage, foodservice, home, office supplies, software, sports, toys, and wireless. For more information, contact us or visit http://www.npd.com and http://www.npdgroupblog.com. Follow us on Twitter at @npdtech and @npdgroup.

Media Contact:

Stacey Voorhees-Harmon

SAVVY Public Relations

Phone: 925-336-9592

E-mail: stacey (at) savvypublicrelations (dot) net

###

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A few nice trade show display curtains images I found:

Honor-title, or the Curtain before the Theatre of Stock-Tableaus, depicted with the Brokerage of Green and Barren Times, or Mirror of the Paper-World


Image by blacque_jacques
001 Ere-titel

Eere-Titel, of Gordyn voor het SCHOUBURG der ACTIE-Tafereelen, beschilderd met de ACTIE WlNKEL des Groenen en Dorren TYDS Of SPIEGEL des PAPIEREN WAERELDS.

[Title (page) of Honour, or Curtain before the Theatre of the Action Plays, representing the Action Shop of the Green and Barren Times; or Mirror of the Paper World.]

"Gryn Chagrin", or Grizzled Regret, holds a mirror before the face of a youth, the "Young Coward" or speculator, who doesn’t want to look. Before the youth is a great globe, the"Geactioneerde Waereld" (World of Shares, or Stock); he points to a place on which is "ik zie alles verkeerd" (I see everything wrong); faces of men in distress are engraved on the globe, which is encircled by a serpent with its tail in its mouth, to which the inscription refers:

"De Windverkooper imiteerd / Dit dier het geen zig zelf verteerd".

[The Wind-seller (Share-dealer) imitates this animal, which itself consumes.]

On the globe is engraved, near the sun’s place:

"De Zon ging vrolyk op / Maar drukt in’t Westen menigs hop".

[The sun rose with much zest / but crushed the hopes of many in the West.]

The background is an Actie-winkel (a shares-shop) displaying "Actien in Blanco" (Shares not yet in stock); a poster announces "Dese Winkel word uit verkost / ‘t Huis te huur terstond in te vaaren." (This Shop is selling out. This House for rent, ready to move in anytime.)

Below this group is a tomb, inscribed CRYPT OF THE UNFORTUNATE STOCK-JOBBER; likewise with the legend "MORS ACTIONVM ULTRIX” (Death revenges Stock)

A “Wreath of Honor” surrounds the picture. It is decorated with objects, some representing either the coats of arms or the principal industries of the cities associated with stock-jobbery or companies set up during the bubble. Thus the title:

"Een schoone Lofkrans deese onse Actie Winkel cierd
Met planten, meubilen en veelerly gediert"

[A lovely Laurel our Stock Shop features, adorned with Plants, Furniture, and diverse Creatures.]

Details are below, followed by a description in verse, and finally list of shares in fictitious commodities, many being puns (again) of "notorious" cities.

At the top of the "wreath", or frame, is a young bull’s head, thus referred to:

"Ik ben de Hopman van de dommen
Doch won daar door van Vossen groote sommen".
[Edam] [I am the Captain of the Dummies,
but from the Foxes I won loadsa Money]

Next, on our left, is the head of a crane devouring a frog, with:

"Ik gryp vast aas, dock ik voorspel / Een onbeHaagelyk gequel
[The Hague][I seize my prey, but I’ve an intimation,
of a disagreeable sensation.]

On our right of the bull’s head is a crane’s head devouring a snake, with:

"De adder die me is aanbevoolen
Maakt nog zo wat caprioolen" .
[The Hague again] [The snake comes with recommendations
yet continues to make gyrations.]

In the upper corner, on our left, three swallows are flying away, with the following remark,

"Met ‘t Lot te vreen zyn we in de vrye lucht."
[We are contented with our fate in the open air.]

On our right, in the upper corner, are three more swallows, with:

"Lichte voglen schraal van veeren
Konden ‘t lichtst actioneeren"

[Light birds, with few feathers, could most easily trade in Shares.]

Below the bull’s head is the head of a monk blowing vigorously, with:

"Al blaas ik nog zo sterk
Ik doe maar munniks werk"

[Monnickendam] [However strongly I blow, I only do monks' work (pointless work)]

On our left of the frame, at the side, hangs a bird in a cage, with:

"Bedrieglyk lok-aas brengt me in de ysre vlucht"
(A deceitful bait brought me to the iron cage.]

Below the bird a pair of spectacles hang, with:

"De Actien der Brillen
Zyn voor al de oude lien te nut om te bedillen".

[The spectacles' Actions (Shares) to elders are too useful to belittle.]

Below the spectacles is a cheese, with a knife stuck in it; to this refers:

"Men snyd de kaas te dik / Elk keeft er voor een schrik"

[Alkmaar][They cut the cheese too thick. Every one was afraid of it.]
(BWAHAHAHAHAAAA!!!!!!)

Several herrings hang next below the cheese, with:

"Pan haring om een stuiver"
[Enkhuizen] Pan-herrings, fifty for a penny.]

Below the herrings is a drum, with:

"’t Kalfsvel van de Actie trom / Maakte meer als kaar burgers dom",

[The calf's-skin of the Actions-drum made more than all the burghers dumb.]

A fisherman stands below the drum, holding a net, saying:

"Het zy ik vis of niet / ‘t Blyft alles int verdriet ".
[Whether I fish or not, everything is full of grief.]

The fisherman is sweeping his net along the bottom of the sea and missing several coins:

"’t Geld van de grond weer op te vissen
‘t Zonk te diep, het zal my missen".

[The Money on the bottom I try to fish, but it’s sunk too deep, and so I miss.]

Below the fisherman, three pigs’ tails and a pack of cards are referred to thus:

"Henne kaart, en zwyne staart, zyn eve vermaart".
[Hens' cards, and pigs’ tails are equally famous.]

By the fisherman’s feet are insects like gnats buzzing among a group of rushes labelled "Barre-biesjes" [Barren Rushes.]

In the middle, at the bottom of the frame, is a tub full of crayfish, "Bubbel Kreeften" [Bubble Crayfish – Louisiana crawdads?] whose motto is "De Kreefte gang is al ‘t belang" [The crayfish’s gait is its only interest.] One is worked into the design "LL" : "Cyfer van Law" [[John] Law of Lauriston]

Below Law’s cypher and at the foot of the whole design are three eggs styled " Engelse Kaekjes met Cassia (English Eggs, with Cassia, i. e. English chickens, or foul eggs, cooked with cassia, which is very bitter (?). Or “English biscuits with cinnamon.” No idea what that means, though.

A nearby rat runs towards a piece of paper (a stock share?) marked "Rotte kost" (Rotten fare) [could also refer to Rotterdam]

Near this, on the frame, is a piece of foliage, with "Dorre Lof werk" (Dry branch work.) [Dordrecht?]

At the top of the side of the frame, on our right, hangs an empty bird-cage, entwined with fir-branches, or rue (?), at the top, and, at the bottom, with "Lauwrier" (Laurel, a pun on the name of John Law); on a label near the cage is

"Week is de vogel en maakt goede cier met zyn Laurier"
[Gone is the bird, and makes a nice ornament with his Law-rel; another pun on the name of Law, who had fled from Paris to avoid jail.]

Below this hangs a horn[Hoorn], with "Je zelt’ er van" [you get it—wind—from this].

Next to the horn is a roll of tobacco, described as "Oprecht Amisfoorts" [Upright Amisfoorts, a type of tobacco and obviously a sarcastic reference to Amersfoort]

Three tobacco-pipes hang next below the tobacco, with "onse winst is Rook" [Our profit is smoke]

Next to these is a bunch of withered carrots (symbolizing Hoorn’s major industry), with a label, inscribed:

"Het moet de wortel van ‘t quaad uitroejen
Of men zou de heele kraam verknoejen".

[Evil must at the root be gotten, lest the whole stall end up rotten.]

At the foot of the design on this side stands a man with a shovel, saying
"Kabouter mannen moeten ‘t maaken
Of men zal nooit ten einde raaken".

[Garden gnomes must do it; otherwise there’s no end to it i.e. the Bubble troubles.]

Near the spade is:

"Ik schey uit graven / Aan vaart en haven".

[I stop my digging in canals and harbours.] (public works abandoned for bubble-fever)

Below this figure hangs a bunch of grapes, with the inscription:

"De druiven zyn zuur / By Fransje buur".

[The grapes of our French neighbours are sour.]

The verses below the engraving explain it pretty much as I described at the top: the "Young Coward" will not look in the mirror, for it shows how the end rewards both good and evil actions. The old man’s name is "Gryn Chagrin (Greybeard of Regret)." Entombed are the remains of those who committed suicide with ropes, swords or pistols and others who died their souls unshriven. The "Blancos" hanging on the wall are nothing but blanks in a lottery, but that also set one free (from delusions ?) [Blanco meant shares traded but not owned by the seller]. There is likewise "A List of the names of shares to be had at the Shop," including

"Goude Mislyke" (False Gold),
"—– Ofirse" (Gold of Ophir, like King Solomon’s Mines)
"Bladzilvere" (Leaf Silver),
"Koper." (Copper) (also purchaser?),
"Staale." (Steel),
"Quikzilvere." (Mercury – god of commerce and thievery),
"Klad-papier." (Blotting-paper; i.e., worthless paper),
"Windse poortlosse." (Windy door-less?)
"Waterzuchtige." (Dropsy),
"Graaflyk aardige." (Nobly nice),
"Vierige." (Fiery),
"VerRotte." (Rotten / and pun on Rotterdam; more puns to come),
"Gaapende." (Yawning),
"Rookerige." (Smoky),
"OnbeHaaglyke, (Unpleasant / Den Haag / The Hague)
"Kikker-koninglyke." (like a frog king)
"Kalvarise" (??? – or Kalverstraat, in Amsterdam; shares traded in coffeehouses)
"Aarde Porcelyne " (Earthenware porcelain (?) / Delft!)
"Uitgerekte" (Extended / Uitgeest?)
"Mopoige" (or Moppige – Miserable)
"VerDorde" (Withered / Dordrecht)
"Schielyke stroppige," (Hastily slowly / Schiedam)
"Naare" (Foolish / Naarden)
"Kortjakkise" (?)
"Geërf van ouwe Muyen (Inherited from old Aunts / Muiden)
"Drabbige." (Drab)
"Koolige." (Cabbagey)
Van ‘t Hoofd van 7 onder Malkaar." (From the head of 7 among them? / Alkmaar)
"4123567." (??? A cipher? 18th-c 733t-speak? Related to above?)
"Gehorende." (Within earshot / Hoorn)
"Met-blik betaalbare." (Payable with Pewter / Medemblik)
"Pure Meereminse." (Purely Mermanlike? / Purmerend)
"VerBuysde" (Surprised / Bussum?)
"Eet hamse." (Eat hamlike? / Edam)
"Munnike Werklyke" (Monk’s worklike / Monnickendam)
"Schoon Hoofse. (Well courtly / Schoonhoven)"
"Van die met de Vles singen." (From those singing with the bottle / Vlissingen)
"Tot middle om geburgen te worden." (Middelburg? Woerden?)
"Lichte als Veere." (Light as a feather / Veere)
"geSwolle." (Swollen / Zwolle)
"Kampioense." (Champions – Kampen)
"Hassebassige." (Helter-skelter, chaotic / Hasselt)
"Vervloge Geldeloose." (Fled moneyless / Gelderland)
"Harige Linkse." (Hairy leftish / Harlingen)
"A. in ‘t hEmd." (A. in the shirt / Emden)
"Van Paris op Venus." (Judgment of Paris, fuelled by lust?)
"Staartmanse" (English – insult from Anglo-Dutch wars; Englishmen were “men with tails,”; i.e., half-devil))

"En meer andere welke zyn verschimmeld,
en zoo overvloedig dat het grimmeld,
die voet-stoots by heele lasten in ‘t Pakhuis
en in de Hel zullen gevuld worden."

(From Paris to Venus, &c., and "heaps more moldy junk, creeping in a mighty swell, by kicks fill up the warehouse and then all of Hell.)

Verses:

De jeugd juichte om de Blyde Tyd,
Geknoltuind in haar Actie-winkel,
Met uitgelaaten vreugd-gerinkel:
De bladgoude eeuw gaf wis profyt;
Doch is hervormd in zilver, koper,
Ja yzer en onvatbaar quik,
Dat in de lucht, tot veeler schrik,
Vervloog, dies menig kakhiel-looper
Noch voor de Winter schroomd den dag,
En schuild, men weet niet in wat holen,
Tot dat, na Noorder kaprioolen,
Hy weer in ‘t Zuid praald als hy plag,
Nu spiegeld zig de jong lafaard,
Ziet alles hier geheel verkeerd,
Wie zyn papier waereld leerd.
Hoe dolle windschat is zyn straf waard,
Van de oude Gryn chagryn verzeld,
Die met hem pruild; met Fenixvleugelen
Ontkomen willende en beteugelen,
Die hem ten val te veel bekneld.
Hy schrickt den spiegel zelfs te aanschouwen,
Waar in hy actieus ons toond,
Hoe ‘t end zo ‘t quaad, als ‘t goed werk loond.
Zie voorts het praalschrift uitgehouwen
In ‘t keldergraft steen; daar de dood
In herbergd veele, die door schaade,
Uit koppigheid, of ook door nood
Verrukt tot de allerdolste daaden,
Haar zelven gaven slechts de rest;

Het zy door strop, pistool of degen,
Niet eens om hunne ziel verleegen,
Ter duistere eeuwigheid geprest.
De tyd zal de uitkomst haast ontdekken,
Die zyn gordyn opschuiven kon;
De prys licht aller Actien won;
Daar nu de wyze en stapel gekken
Beide even mislaan, yders hand
Kan slechts de lyst der spiegels vatten
Als ‘t buyten werk de onzichtb[a]re schatten
Des voorschriks kluisteren lieten
Die Actie-arenden in waan,
Wien ‘t als de Uilen is vergaan.
(Schoon schootvry) deugd schatze als b…-dieten.
Zie eindelyk in dit figuur
Blanke Actien aan de wand gehangen;
Maar zegt gy, wie zou die verlangen?
Ontblood van naam, van tyd en uur.
‘t Zyn Nieten, als Loteryen,
Die meenig springhans noch doen staan,
En Weêr op vrye voeten gaan;
‘t Papier geld meer als sotternyen,
‘t Is beter wit, als vals beklad;
Want zulks Foruin en Faam doet yzen;
Die staag van huis zyn, en bewyzen
Dat geen van beide een vaste stad
Ter woon houd, wyl ze onrustig zweeven.
Zwyg Musa! Wilt dit spel kamp geeven.

71. X 11^ in.

1 decembrie


Image by peromaneste
A Lost European Culture, Pulled From Obscurity
By JOHN NOBLE WILFORD

Before the glory that was Greece and Rome, even before the first cities of Mesopotamia or temples along the Nile, there lived in the Lower Danube Valley and the Balkan foothills people who were ahead of their time in art, technology and long-distance trade.

For 1,500 years, starting earlier than 5000 B.C., they farmed and built sizable towns, a few with as many as 2,000 dwellings. They mastered large-scale copper smelting, the new technology of the age. Their graves held an impressive array of exquisite headdresses and necklaces and, in one cemetery, the earliest major assemblage of gold artifacts to be found anywhere in the world.

The striking designs of their pottery speak of the refinement of the culture’s visual language. Until recent discoveries, the most intriguing artifacts were the ubiquitous terracotta “goddess” figurines, originally interpreted as evidence of the spiritual and political power of women in society.

New research, archaeologists and historians say, has broadened understanding of this long overlooked culture, which seemed to have approached the threshold of “civilization” status. Writing had yet to be invented, and so no one knows what the people called themselves. To some scholars, the people and the region are simply Old Europe.

The little-known culture is being rescued from obscurity in an exhibition, “The Lost World of Old Europe: the Danube Valley, 5000-3500 B.C.,” which opened last month at the Institute for the Study of the Ancient World at New York University. More than 250 artifacts from museums in Bulgaria, Moldova and Romania are on display for the first time in the United States. The show will run through April 25.

At its peak, around 4500 B.C., said David W. Anthony, the exhibition’s guest curator, “Old Europe was among the most sophisticated and technologically advanced places in the world” and was developing “many of the political, technological and ideological signs of civilization.”

Dr. Anthony is a professor of anthropology at Hartwick College in Oneonta, N.Y., and author of “The Horse, the Wheel, and Language: How Bronze-Age Riders from the Eurasian Steppes Shaped the Modern World.” Historians suggest that the arrival in southeastern Europe of people from the steppes may have contributed to the collapse of the Old Europe culture by 3500 B.C.

At the exhibition preview, Roger S. Bagnall, director of the institute, confessed that until now “a great many archaeologists had not heard of these Old Europe cultures.” Admiring the colorful ceramics, Dr. Bagnall, a specialist in Egyptian archaeology, remarked that at the time “Egyptians were certainly not making pottery like this.”

A show catalog, published by Princeton University Press, is the first compendium in English of research on Old Europe discoveries. The book, edited by Dr. Anthony, with Jennifer Y. Chi, the institute’s associate director for exhibitions, includes essays by experts from Britain, France, Germany, the United States and the countries where the culture existed.

Dr. Chi said the exhibition reflected the institute’s interest in studying the relationships of well-known cultures and the “underappreciated ones.”

Although excavations over the last century uncovered traces of ancient settlements and the goddess figurines, it was not until local archaeologists in 1972 discovered a large fifth-millennium B.C. cemetery at Varna, Bulgaria, that they began to suspect these were not poor people living in unstructured egalitarian societies. Even then, confined in cold war isolation behind the Iron Curtain, Bulgarians and Romanians were unable to spread their knowledge to the West.

The story now emerging is of pioneer farmers after about 6200 B.C. moving north into Old Europe from Greece and Macedonia, bringing wheat and barley seeds and domesticated cattle and sheep. They established colonies along the Black Sea and in the river plains and hills, and these evolved into related but somewhat distinct cultures, archaeologists have learned. The settlements maintained close contact through networks of trade in copper and gold and also shared patterns of ceramics.

The Spondylus shell from the Aegean Sea was a special item of trade. Perhaps the shells, used in pendants and bracelets, were symbols of their Aegean ancestors. Other scholars view such long-distance acquisitions as being motivated in part by ideology in which goods are not commodities in the modern sense but rather “valuables,” symbols of status and recognition.

Noting the diffusion of these shells at this time, Michel Louis Seferiades, an anthropologist at the National Center for Scientific Research in France, suspects “the objects were part of a halo of mysteries, an ensemble of beliefs and myths.”

In any event, Dr. Seferiades wrote in the exhibition catalog that the prevalence of the shells suggested the culture had links to “a network of access routes and a social framework of elaborate exchange systems — including bartering, gift exchange and reciprocity.”

Over a wide area of what is now Bulgaria and Romania, the people settled into villages of single- and multiroom houses crowded inside palisades. The houses, some with two stories, were framed in wood with clay-plaster walls and beaten-earth floors. For some reason, the people liked making fired clay models of multilevel dwellings, examples of which are exhibited.

A few towns of the Cucuteni people, a later and apparently robust culture in the north of Old Europe, grew to more than 800 acres, which archaeologists consider larger than any other known human settlements at the time. But excavations have yet to turn up definitive evidence of palaces, temples or large civic buildings. Archaeologists concluded that rituals of belief seemed to be practiced in the homes, where cultic artifacts have been found.

The household pottery decorated in diverse, complex styles suggested the practice of elaborate at-home dining rituals. Huge serving bowls on stands were typical of the culture’s “socializing of food presentation,” Dr. Chi said.

At first, the absence of elite architecture led scholars to assume that Old Europe had little or no hierarchical power structure. This was dispelled by the graves in the Varna cemetery. For two decades after 1972, archaeologists found 310 graves dated to about 4500 B.C. Dr. Anthony said this was “the best evidence for the existence of a clearly distinct upper social and political rank.”

Vladimir Slavchev, a curator at the Varna Regional Museum of History, said the “richness and variety of the Varna grave gifts was a surprise,” even to the Bulgarian archaeologist Ivan Ivanov, who directed the discoveries. “Varna is the oldest cemetery yet found where humans were buried with golden ornaments,” Dr. Slavchev said.

More than 3,000 pieces of gold were found in 62 of the graves, along with copper weapons and tools, and ornaments, necklaces and bracelets of the prized Aegean shells. “The concentration of imported prestige objects in a distinct minority of graves suggest that institutionalized higher ranks did exist,” exhibition curators noted in a text panel accompanying the Varna gold.

Yet it is puzzling that the elite seemed not to indulge in private lives of excess. “The people who donned gold costumes for public events while they were alive,” Dr. Anthony wrote, “went home to fairly ordinary houses.”

Copper, not gold, may have been the main source of Old Europe’s economic success, Dr. Anthony said. As copper smelting developed about 5400 B.C., the Old Europe cultures tapped abundant ores in Bulgaria and what is now Serbia and learned the high-heat technique of extracting pure metallic copper.

Smelted copper, cast as axes, hammered into knife blades and coiled in bracelets, became valuable exports. Old Europe copper pieces have been found in graves along the Volga River, 1,200 miles east of Bulgaria. Archaeologists have recovered more than five tons of pieces from Old Europe sites.

An entire gallery is devoted to the figurines, the more familiar and provocative of the culture’s treasures. They have been found in virtually every Old Europe culture and in several contexts: in graves, house shrines and other possibly “religious spaces.”

One of the best known is the fired clay figure of a seated man, his shoulders bent and hands to his face in apparent contemplation. Called the “Thinker,” the piece and a comparable female figurine were found in a cemetery of the Hamangia culture, in Romania. Were they thinking, or mourning?

Many of the figurines represent women in stylized abstraction, with truncated or elongated bodies and heaping breasts and expansive hips. The explicit sexuality of these figurines invites interpretations relating to earthly and human fertility.

An arresting set of 21 small female figurines, seated in a circle, was found at a pre-Cucuteni village site in northeastern Romania. “It is not difficult to imagine,” said Douglass W. Bailey of San Francisco State University, the Old Europe people “arranging sets of seated figurines into one or several groups of miniature activities, perhaps with the smaller figurines at the feet or even on the laps of the larger, seated ones.”

Others imagined the figurines as the “Council of Goddesses.” In her influential books three decades ago, Marija Gimbutas, an anthropologist at the University of California, Los Angeles, offered these and other so-called Venus figurines as representatives of divinities in cults to a Mother Goddess that reigned in prehistoric Europe.

Although the late Dr. Gimbutas still has an ardent following, many scholars hew to more conservative, nondivine explanations. The power of the objects, Dr. Bailey said, was not in any specific reference to the divine, but in “a shared understanding of group identity.”

As Dr. Bailey wrote in the exhibition catalog, the figurines should perhaps be defined only in terms of their actual appearance: miniature, representational depictions of the human form. He thus “assumed (as is justified by our knowledge of human evolution) that the ability to make, use and understand symbolic objects such as figurines is an ability that is shared by all modern humans and thus is a capability that connects you, me, Neolithic men, women and children, and the Paleolithic painters in caves.”

Or else the “Thinker,” for instance, is the image of you, me, the archaeologists and historians confronted and perplexed by a “lost” culture in southeastern Europe that had quite a go with life back before a single word was written or a wheel turned.

Austin, TX and Las Vegas, NV (PRWEB) February 20, 2012

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Overland Park, KS (PRWEB) February 20, 2012

Custom content and sales agency Ascend Integrated Media LLC has been selected by American Heart Association (AHA) to represent them for exhibit sales at Scientific Sessions 2012 in Los Angeles, Nov. 37, 2012.

Scientific Sessions is the leading cardiovascular meeting in the U.S. with more than 17,000 professionals attending annually, and more than 22,000 total attendees. The meeting also is AHAs largest gathering of scientists and health care professionals devoted to the science of cardiovascular disease and stroke and the care of patients suffering from these diseases.

We selected Ascend to be our exclusive partner for exhibitor sales because of the expertise and tenure of their sales team, said Laura Gossett, Senior Manager, Exhibits for American Heart Association. Combined, the sales team members have more than 60 years of sales and marketing support experience in the health care industry. We feel this extension of our current partnership will allow us to strategically focus on showcasing the value of exhibiting at Scientific Sessions and the direct impact it has to our mission and 2020 Impact Goal. The AHAs 2020 Impact Goal is to improve the cardiovascular health of all Americans by 20 percent while reducing deaths from cardiovascular diseases and stroke by 20 percent.

Selling exhibits for this prestigious meeting is a natural extension of our 20-plus-year relationship with AHA, said Barbara Kay, Ascends president. Ascend currently sells advertising and promotional opportunities for Scientific Sessions, the International Stroke Conference and various specialty conferences for AHA.

Scientific Sessions typically features more than 1,000 faculty presenting more than 4,000 abstracts in seven Cores and 14 Clinical Tracks. The meeting attracts attendees from around the world and is covered by more than 300 media outlets with more than 4 billion media impressions.

About Ascend Integrated Media:

Ascend Integrated Media LLC, and its operating brand Ascend Media, is a custom media agency that specializes in custom publishing, custom content creation, content integration, trade show publishing and exhibit sales. Headquartered in Overland Park, Kan., the agency will celebrate its 30th anniversary this July. Ascend Integrated Media is uniquely positioned to work with companies to develop and produce brand-enhancing communications products. The company engages on behalf of the client to create, produce and distribute print, digital and mobile content associated with marketing, branding, trade show and social media initiatives. Ascends suite of fully integrated products and services includes print and digital magazine publishing, show daily newspaper publishing, newsletters and eNewsletters, membership directories, product buyers’ guides, exhibit guides, maps, annual reports, hotel door-drop services, advertising and sponsorship sales representation, patient education information, website design and management, smartphone mobile app development, iPad/tablet publishing as well as social media account management, targeted text services and QR code programs.

About American Heart Association:

The American Heart Association/American Stroke Association mission is to build healthier lives, free of cardiovascular disease and stroke. AHA/ASA receives funding mostly from individuals. Foundations and corporations donate as well, and fund specific programs and events. Strict policies are enforced to prevent these relationships from influencing the associations science content. Financial information for the American Heart Association, including a list of contributions from pharmaceutical companies and device manufacturers, is available at http://www.heart.org/corporatefunding.

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San Francisco, CA (PRWEB) February 16, 2012

The Museum of Craft and Design (MCD) today announced that it will move to an 8,000-square-foot space in the historic American Industrial Center at 2569 Third Street in San Franciscos Dogpatch neighborhood. Scheduled to be open by mid-2012, the move will allow MCD to significantly expand its exhibition space and to build its first-ever dedicated education room for its popular public programs, including MakeArt workshops and special events. The new location comes following MCDs comprehensive search for a location that would allow for the continued growth of its artistic mission and future exhibition plans. Furthermore, MCDs addition to the neighborhood will support the continued transformation of San Franciscos Dogpatch area into a thriving enclave for arts, culture, dining and entertainment.

Im delighted to announce our move into one of San Franciscos most exciting neighborhoods, says JoAnn Edwards, executive director of the Museum of Craft and Design. This is a pivotal opportunity for the Museums growth and its contribution not just to the craft and design community, but also to San Franciscos cultural fabric. With our first-ever dedicated education space, we can expand our programs for children and adults. Our new home also allows us to continue to rapidly grow our membership and further integrate into the community. Weve had great success connecting to new audiences throughout San Francisco with our series of pop-up museums over the past year. Our new home in Dogpatch will build on that momentum and represent the next step in our evolution.

The Museum of Craft and Designs new home will be housed in the American Industrial Center, a building with a rich heritage in San Francisco. Dating to 1915, the three-block-long structure was originally home to American Can Company, fitting in with the industrial and manufacturing industries in the area at the time. Today, as Dogpatch has evolved and benefitted from public access provided by San Franciscos Third Street light rail, the building houses a mix of tenants including San Francisco Art Institute, architects, artists, photographers and graphic designers.

Museum of Craft and Designs space, designed by Gary Hutton Design, will feature 3,500 square-feet of gallery space, allowing for multiple concurrent exhibitions. As part of the Museums expansion, MCD will increase outreach to K-12 students, underserved communities and seniors. The new home also allows the Museum to double the size of the retail store to 600 square feet, offering a greater range of contemporary craft in all mediums and alternative materials, design objects from local, national and international artists and designers.

Our new larger location will dramatically enhance the visitor experience and allow the Museum to present more comprehensive and diverse exhibitions from local, national and international craft artists and designers, said Brett Levine, curator of the Museum of Craft and Design. We have already begun long-term planning of exhibitions and in-house educational programs for our members and the community.

As a new cultural attraction in the Dogpatch historic district, the Museum of Craft and Design will enrich the diversity of the arts and culture experience available to the community. The move will place MCD within close proximity to neighboring districts such as Potrero Hill and Mission Bay as well as to artisanal craft and cultural destinations such as: The Residence Workshop (a craft residency), Magnolia Pub, specialty wine shop DIG, artisan Piccinos cafe and coffee bar, Modern Appealing Clothing, Serpentine restaurant, Oliviers Butchery, Recchiuttis Chocolate Lab, Poco Dolce, Mr. and Mrs. Miscellaneous, Sutton Cellars wine tasting room. And soon-to-be-developed Pier 70. In its new home, visitors can access MCD via Caltrain, MUNI and the Third Street light rail.

About the Museum of Craft and Design

The Museum of Craft and Design is an environment for experiencing innovative contemporary work that engages the community while stimulating the creative potential in peoples lives. To become a member, sponsor or for more information, please call 415-773-0303, email info(at)sfmcd(dot)org or visit http://www.sfmcd.org.

Gary Hutton Design

Gary Hutton Designs 2012 programming sees the venerated interior designer and team continuing a narrative of innovation that includes the design for the permanent residence of the San Francisco Museum of Craft and Design, a curated show of conceptual objects titled, the gary Hutton (re)mix, at the NWBLK (New Black) in April coinciding with the launch of a new website, a modern 6000 square foot Hollywood Hills home for an internationally renowned art collector and much more.

FOR THE PUBLIC: For more information about the San Francisco Museum of Craft and Design, please visit http://www.sfmcd.org or call 415-773-0303.

MEDIA PLEASE NOTE: For interviews or additional information about MCDs new home, please contact Rob Farmer at 415-359-2316 / rob(at)landispr(dot)com or Tarah Beaven at 415-359-2306 / tarah(at)landispr(dot)com.

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