Takamine announces Glenn Frey Signature Model
From:
http://www.guitarsite.com/news/acoustic_guitar/takamine_announces_glenn_frey_signature_model/
Country rock pioneer and classic rock icon, Glenn Frey has influenced generations of aspiring musicians with his stirring lyrics, unforgettable melodies and legendary guitar riffs in a career that has spanned nearly 40 years. As a Singer/songwriter, guitarist and founding member of one of the most enduring bands in popular music – The Eagles, Glenn relies on Takamine as the voice to deliver his music. Today, players around the world have the chance to own a replica of the guitar that helped Glenn write classic rock history.
Takamine’s EF360GF is a direct reproduction of Glenn’s #1 Takamine – the guitar heard around the world by millions of fans on countless concert tours. Made from the finest tonewoods and featuring state of the art electronics, the EG360GF is equipped to inspire great performances from singers and songwriters alike. Built to Glenn’s exact specifications, the EF360GF features a dreadnought body with solid spruce top and solid rosewood back. Other noteworthy specs include a concentric ring rosette, slim profile neck, black pickguard, rosewood pin bridge, bone saddle, GF inlay on rosewood peghead face, CT4B preamp and Gloss Natural finish. Retail: $1999.00 including hardshell case.
For more information, please visit www.takamine.com
This is a Press Release
Showing posts with label Industrial Design. Show all posts
Showing posts with label Industrial Design. Show all posts
Thursday, March 26, 2009
Martin Guitar announces the return of the 1 Series
From: http://www.guitarsite.com/news/acoustic_guitar/martin_guitar_announces_the_return_of_the_1_series/
Martin Guitars have announced the return of the highly popular "1 Series" acoustic guitars. Initially introduced in 1993, the "1 Series" is an affordable traditional solid wood guitar in the spirit of the Style 15 and Style 17 models that Martin introduced during The Great Depression. Addressing the concerns of consumers across the U.S. and abroad, Martin is making every concerted effort to provide players with an affordable, solid wood bodied guitar, backed by a heritage of over 175 years in skilled building excellence and a Limited Lifetime Warranty.
Constructed from solid tonewoods including a Sitka spruce top, bookmatched Sapele back and sides, as well as an East Indian Rosewood fingerboard and bridge, the "1 Series" creates the legendary rich and commanding Martin sound that has defined the acoustic guitar for generations. All four models being introduced feature Martin's modified hybrid scalloped top bracing. Two are purely acoustic guitars: a Dreadnought size D-1 and an Orchestra Model OM-1, and two add to the current selection of acoustic-electric models. The Dreadnought DC-1E and the Orchestra Model OMC-1E are each equipped with a state-of-the-art Fishman(R) sound reinforcement system featuring full volume and tone control and an onboard digital chromatic tuner. Whether you are choosing a purely acoustic or stage-ready acoustic-electric guitar, the new Martin "1 Series" models are designed and built to provide the best tone at the lowest price.
The Dreadnought, originally developed and manufactured by Martin Guitar in the early-1900s was first produced in 1931 bearing the Martin name, during hard economic times. The first two legendary models were named the D-1 and D-2 that soon became the now legendary D-18 and D-28. During the depression, Martin would continue to innovate and introduce several new style models, including the all mahogany Style 15 and Style 17 models, which provided an extraordinary value during that period. Those guitars became favorites of blues players in the post-depression era. More than any other acoustic guitar brand, Martin instruments have typically held or dramatically increased in value, and continue to be prized by collectors, players and guitar aficionados around the world.
All "1 Series" models purchased from dealers in the U.S and Canada are covered by a Limited Lifetime Warranty. Every "1 Series" guitar comes equipped with Martin SP strings for great long-lasting tone and sustain, as well as a hard-shell case to provide protection and security.
For more information, please visit www.martinguitar.com
This is a Press Release
From: http://www.guitarsite.com/news/acoustic_guitar/martin_guitar_announces_the_return_of_the_1_series/
Martin Guitars have announced the return of the highly popular "1 Series" acoustic guitars. Initially introduced in 1993, the "1 Series" is an affordable traditional solid wood guitar in the spirit of the Style 15 and Style 17 models that Martin introduced during The Great Depression. Addressing the concerns of consumers across the U.S. and abroad, Martin is making every concerted effort to provide players with an affordable, solid wood bodied guitar, backed by a heritage of over 175 years in skilled building excellence and a Limited Lifetime Warranty.
Constructed from solid tonewoods including a Sitka spruce top, bookmatched Sapele back and sides, as well as an East Indian Rosewood fingerboard and bridge, the "1 Series" creates the legendary rich and commanding Martin sound that has defined the acoustic guitar for generations. All four models being introduced feature Martin's modified hybrid scalloped top bracing. Two are purely acoustic guitars: a Dreadnought size D-1 and an Orchestra Model OM-1, and two add to the current selection of acoustic-electric models. The Dreadnought DC-1E and the Orchestra Model OMC-1E are each equipped with a state-of-the-art Fishman(R) sound reinforcement system featuring full volume and tone control and an onboard digital chromatic tuner. Whether you are choosing a purely acoustic or stage-ready acoustic-electric guitar, the new Martin "1 Series" models are designed and built to provide the best tone at the lowest price.
The Dreadnought, originally developed and manufactured by Martin Guitar in the early-1900s was first produced in 1931 bearing the Martin name, during hard economic times. The first two legendary models were named the D-1 and D-2 that soon became the now legendary D-18 and D-28. During the depression, Martin would continue to innovate and introduce several new style models, including the all mahogany Style 15 and Style 17 models, which provided an extraordinary value during that period. Those guitars became favorites of blues players in the post-depression era. More than any other acoustic guitar brand, Martin instruments have typically held or dramatically increased in value, and continue to be prized by collectors, players and guitar aficionados around the world.
All "1 Series" models purchased from dealers in the U.S and Canada are covered by a Limited Lifetime Warranty. Every "1 Series" guitar comes equipped with Martin SP strings for great long-lasting tone and sustain, as well as a hard-shell case to provide protection and security.
For more information, please visit www.martinguitar.com
This is a Press Release
Glass Show In Venice
By ELISABETTA POVOLEDO
Published: Sunday, September 8, 1996
From:http://www.nytimes.com/1996/09/08/travel/glass-show-in-venice.html?sec=travel
(This event has already happened)
Venice will play host to ''Open Glass,'' the city's first international exhibition of contemporary glass art, from Sept. 12 to Nov. 10. The exhibition will feature the work of more than 100 contemporary glass artists from around the world, including Dale Chihuly from the United States, Stanislav Libensky from the Czech Republic, Bert Frijns from the Netherlands and Antoine Leperlier from France.
Venice has been known for centuries for its tradition of glass blowing, and it is to celebrate this art, passed on from generation to generation of master glass artists, that the municipal government conceived of the event to highlight the work of contemporary artists. The exhibition will become a biannual event alternating with the Biennale of Contemporary Art. An international jury will choose the best four pieces.
Most of the works, ranging from vases and small sculptures to large installations, will be displayed at the Ducal Palace, the Correr Museum and the Vetrario Museum on the island of Murano. Viewers will also be able to admire a number of installations by taking a boat up the Grand Canal.
Among the exhibits will be ''Chihuly Over Venice,'' Dale Chihuly's installation of a series of 15-foot high ''chandeliers'' that will be hung within palaces, courtyards and gardens visible from the Grand Canal. The Seattle-based Chihuly has spent over $1 million on the Venice project, involving over 300 people, including teams of glass blowers from three countries.
The Ducal Palace, Correr Museum and Vetrario Museum are open daily from 9 A.M. to 7 P.M. Tickets cost $9.30 and can be bought until one hour before closing. One ticket will allow admission to all three venues. Most of Mr. Chihuly's works will be visible only from outside the palaces where they will be installed, but some, like the one in the garden of the Guggenheim museum, can be viewed up close from inside. Information: (041) 2707717. ELISABETTA POVOLEDO
Photo: Dale Chihuly and one of the chandeliers of ''Chihuly Over Venice.'' (Russell Johnson)
By ELISABETTA POVOLEDO
Published: Sunday, September 8, 1996
From:http://www.nytimes.com/1996/09/08/travel/glass-show-in-venice.html?sec=travel
(This event has already happened)
Venice will play host to ''Open Glass,'' the city's first international exhibition of contemporary glass art, from Sept. 12 to Nov. 10. The exhibition will feature the work of more than 100 contemporary glass artists from around the world, including Dale Chihuly from the United States, Stanislav Libensky from the Czech Republic, Bert Frijns from the Netherlands and Antoine Leperlier from France.
Venice has been known for centuries for its tradition of glass blowing, and it is to celebrate this art, passed on from generation to generation of master glass artists, that the municipal government conceived of the event to highlight the work of contemporary artists. The exhibition will become a biannual event alternating with the Biennale of Contemporary Art. An international jury will choose the best four pieces.
Most of the works, ranging from vases and small sculptures to large installations, will be displayed at the Ducal Palace, the Correr Museum and the Vetrario Museum on the island of Murano. Viewers will also be able to admire a number of installations by taking a boat up the Grand Canal.
Among the exhibits will be ''Chihuly Over Venice,'' Dale Chihuly's installation of a series of 15-foot high ''chandeliers'' that will be hung within palaces, courtyards and gardens visible from the Grand Canal. The Seattle-based Chihuly has spent over $1 million on the Venice project, involving over 300 people, including teams of glass blowers from three countries.
The Ducal Palace, Correr Museum and Vetrario Museum are open daily from 9 A.M. to 7 P.M. Tickets cost $9.30 and can be bought until one hour before closing. One ticket will allow admission to all three venues. Most of Mr. Chihuly's works will be visible only from outside the palaces where they will be installed, but some, like the one in the garden of the Guggenheim museum, can be viewed up close from inside. Information: (041) 2707717. ELISABETTA POVOLEDO
Photo: Dale Chihuly and one of the chandeliers of ''Chihuly Over Venice.'' (Russell Johnson)
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Helen's aim is high with fashionable leather work
10:00am Monday 24th November 2008
By Mike Pryce »
from: http://www.worcesternews.co.uk/features/countrynews/lateststory/3871873.Helen_s_aim_is_high_with_fashionable_leather_work/
FASHION isn’t usually the first thing associated with shooting, but for Helen Leedham, the shooting industry is the catwalk for her business.
Because the 27-year-old from Cookley, near Kidderminster, has turned her training as a saddler into making bespoke leather items for high society or the Highlands.
Whether it’s for a day on the grouse moors or Pimms in a polo marquee on Smith’s Lawn, Helen’s work is catching the eye.
So much so, the Worcestershire entrepreneur has been chosen as one of the Countryside Alliance’s Shooting Stars, a national campaign that focuses on young people who have bucked the trend of youth exodus from the countryside because of their passion for the rural life and in particular the employment opportunities offered by the shooting industry.
Clare Rowson, Midlands regional director of the Countryside Alliance (CA), said: “The latest government figures show that 400,000 fewer young people live in the countryside now compared with 20 years ago.
“This worrying trend of rural emigration threatens the future diversity and sustainability of rural communities across England and Wales. But not every young person is leaving for life in the city, because some industries still play an important part in retaining young people in rural areas and shooting is a major one. It contributes £1.6 billion to the UK economy and supports around 70,000 jobs.”
Helen grew up with horses and country sports and decided on a career in saddlery. After completing a fine art degree at Bristol University, she set her sights on creating superior quality products for the saddlery and shooting industries.
She said: “I’ve used saddles and gun equipment all my life but I always thought designs could be improved, which is why I wanted to learn to make my own.”
Helen completed a course in bridle, saddle and harnessmaking at Walsall College, West Midlands. She is now a registered saddler and on her way to becoming a master saddler.
Her introduction to the shooting industry came through a teacher at the college, who was a patternmaker for the famous gun company Purdey.
Helen said: “The company needed hand-stitching completed for cartridge bags and I was one of the students given the chance to demonstrate my skills.”
This experience was the platform from which Helen launched her career. She now works part-time for the prestigious Westley Richards gun company in Birmingham and has also started her own business, Helen Leedham Bespoke Saddlery Products.
She produces a range of standard leather shooting accessories such as gunslips and game bags, but from timeto- time gets unusual requests such as a recent one for a gunslip made from alligator skin. While this is not your average order, clients are still willing to pay up to £5,000 for a custom-made accessory and then there are her stylish handbags, purses and wallets.
Based in a workshop at the back of her father’s house in Cookley, Helen’s typical week involves working on her orders and saddlery repairs in addition to commuting to Birmingham for her work at Westley Richards.
She said: “My working life is quite hectic but I get a huge amount of job satisfaction.
There’s nothing like seeing a customer’s face light-up when they see their new bespoke product.”
Helen’s reputation for quality is spreading, but she admits marketing her business relies on word of mouth because she doesn’t have the resources available to let larger firms know about her work.
She said: “I’ve made good contacts with local shoots, but the best advertising comes from the shooters themselves, who often travel about the country and are asked where they bought their latest purchases.”
Helen is backing the Countryside Alliance in its campaign for more affordable rural housing because she believes cottage industries like her own are often more viable in rural areas.
“House prices are out of reach at the moment but I’m hoping my business success gives me the income to be able to buy one day,” she added.
However, with the shooting season well underway Helen is looking forward to creating more masterpieces for an industry that allows her to live and work where her heart is – in rural Worcestershire.
Helen's aim is high with fashionable leather work
10:00am Monday 24th November 2008
By Mike Pryce »
from: http://www.worcesternews.co.uk/features/countrynews/lateststory/3871873.Helen_s_aim_is_high_with_fashionable_leather_work/
FASHION isn’t usually the first thing associated with shooting, but for Helen Leedham, the shooting industry is the catwalk for her business.
Because the 27-year-old from Cookley, near Kidderminster, has turned her training as a saddler into making bespoke leather items for high society or the Highlands.
Whether it’s for a day on the grouse moors or Pimms in a polo marquee on Smith’s Lawn, Helen’s work is catching the eye.
So much so, the Worcestershire entrepreneur has been chosen as one of the Countryside Alliance’s Shooting Stars, a national campaign that focuses on young people who have bucked the trend of youth exodus from the countryside because of their passion for the rural life and in particular the employment opportunities offered by the shooting industry.
Clare Rowson, Midlands regional director of the Countryside Alliance (CA), said: “The latest government figures show that 400,000 fewer young people live in the countryside now compared with 20 years ago.
“This worrying trend of rural emigration threatens the future diversity and sustainability of rural communities across England and Wales. But not every young person is leaving for life in the city, because some industries still play an important part in retaining young people in rural areas and shooting is a major one. It contributes £1.6 billion to the UK economy and supports around 70,000 jobs.”
Helen grew up with horses and country sports and decided on a career in saddlery. After completing a fine art degree at Bristol University, she set her sights on creating superior quality products for the saddlery and shooting industries.
She said: “I’ve used saddles and gun equipment all my life but I always thought designs could be improved, which is why I wanted to learn to make my own.”
Helen completed a course in bridle, saddle and harnessmaking at Walsall College, West Midlands. She is now a registered saddler and on her way to becoming a master saddler.
Her introduction to the shooting industry came through a teacher at the college, who was a patternmaker for the famous gun company Purdey.
Helen said: “The company needed hand-stitching completed for cartridge bags and I was one of the students given the chance to demonstrate my skills.”
This experience was the platform from which Helen launched her career. She now works part-time for the prestigious Westley Richards gun company in Birmingham and has also started her own business, Helen Leedham Bespoke Saddlery Products.
She produces a range of standard leather shooting accessories such as gunslips and game bags, but from timeto- time gets unusual requests such as a recent one for a gunslip made from alligator skin. While this is not your average order, clients are still willing to pay up to £5,000 for a custom-made accessory and then there are her stylish handbags, purses and wallets.
Based in a workshop at the back of her father’s house in Cookley, Helen’s typical week involves working on her orders and saddlery repairs in addition to commuting to Birmingham for her work at Westley Richards.
She said: “My working life is quite hectic but I get a huge amount of job satisfaction.
There’s nothing like seeing a customer’s face light-up when they see their new bespoke product.”
Helen’s reputation for quality is spreading, but she admits marketing her business relies on word of mouth because she doesn’t have the resources available to let larger firms know about her work.
She said: “I’ve made good contacts with local shoots, but the best advertising comes from the shooters themselves, who often travel about the country and are asked where they bought their latest purchases.”
Helen is backing the Countryside Alliance in its campaign for more affordable rural housing because she believes cottage industries like her own are often more viable in rural areas.
“House prices are out of reach at the moment but I’m hoping my business success gives me the income to be able to buy one day,” she added.
However, with the shooting season well underway Helen is looking forward to creating more masterpieces for an industry that allows her to live and work where her heart is – in rural Worcestershire.
Model railway's global uber-view
Rail enthusiasts can now enjoy views of Scandinavian fjords, the Swiss Alps, and even Mount Rushmore - in Germany.
Twin brothers Frederick and Gerrit Braun have built the world's longest model railway in the city of Hamburg.
It has six miles of track, cost £8m to build and its 1,150 square metres (12,380 square feet) take in the US, Scandinavia and the Swiss Alps.
By the time the layout is completed in 2014 it will be twice as long and will take in France, Italy and the UK.
The Braun brothers, 41, began work on the Miniatur Wunderland project in 2000.
Their model railway now comprises 700 trains with 10,000 carriages, 900 signals, 2,800 buildings and 160,000 individually designed figures.
It even includes scale models of the Rocky Mountains, Mount Rushmore, the Swiss Matterhorn, and a Scandinavian fjord complete with 4ft cruise ship.
The scenery took 500,000 hours, 700kg of fake grass and 4,000kg of steel to build.
So large is the layout that 160 staff are employed to show visitors around the railway.
"Our idea was to build a world that men, women, and children can be equally astonished and amazed in," said Gerrit Braun, according to the Daily Telegraph newspaper.
"With this attitude we managed to create technology which amazes our visitors."
Rail enthusiasts can now enjoy views of Scandinavian fjords, the Swiss Alps, and even Mount Rushmore - in Germany.
Twin brothers Frederick and Gerrit Braun have built the world's longest model railway in the city of Hamburg.
It has six miles of track, cost £8m to build and its 1,150 square metres (12,380 square feet) take in the US, Scandinavia and the Swiss Alps.
By the time the layout is completed in 2014 it will be twice as long and will take in France, Italy and the UK.
The Braun brothers, 41, began work on the Miniatur Wunderland project in 2000.
Their model railway now comprises 700 trains with 10,000 carriages, 900 signals, 2,800 buildings and 160,000 individually designed figures.
It even includes scale models of the Rocky Mountains, Mount Rushmore, the Swiss Matterhorn, and a Scandinavian fjord complete with 4ft cruise ship.
The scenery took 500,000 hours, 700kg of fake grass and 4,000kg of steel to build.
So large is the layout that 160 staff are employed to show visitors around the railway.
"Our idea was to build a world that men, women, and children can be equally astonished and amazed in," said Gerrit Braun, according to the Daily Telegraph newspaper.
"With this attitude we managed to create technology which amazes our visitors."
City of Angles
IN CHICAGO, WHERE A NEWFOUND VITALITY IS FUELING A BOOMLET IN STYLE AND DESIGN, THE FUTURE IS NOW. BY GIOIA DILIBERTO
Photographs by Raymond Meier
From: http://www.nytimes.com/indexes/2009/03/22/style/t/index.html#pagewanted=0&pageName=22chiw&
Since 1871, when it rose spectacularly after the Great Fire, Chicago has been famous for pioneering architecture — from the steel-frame skyscraper to the flat geometry of the Prairie School to Mies van der Rohe’s clean Minimalism. When it comes to cutting-edge fashion, though, the city rarely registered. Lost between the glamorous coasts, it’s been a no-style zone. Until now.
Chicago has always been a shopping town, with all the blue-chip flagships — Chanel, Louis Vuitton, Burberry — on the luxury thoroughfare known as the Magnificent Mile, along with world-class department stores like Marshall Field’s (now Macy’s), where, in the pre-jet age, women could buy line-for-line copies of French couture. But it took Michelle Obama, a woman who knows how to mix some serious-looking Azzedine Alaïa accessories with her J. Crew staples, to bolster the city’s fashion confidence. If New York is a sleek sophisticate in black and Los Angeles a tanned blonde in a tank top and jewels, then Chicago is the stylish but sensible girl next door. Before the election, Obama was spotted shopping at Lori’s Shoes, a popular discount store on the city’s North Side. ‘‘Michelle doesn’t want to be seen as a diva,’’ says Maria Pinto, the designer who dressed the first lady in her classically feminine sheaths for several key campaign appearances and recently opened a minimalist boutique in the SoHo-like West Loop neighborhood.
It’s there, and in arty Wicker Park and the hip Southport Corridor, that you’ll find a trendy brew of established and new designers showcased in independent boutiques. There are innovators like Kelly Whitesell and Elizabeth Del Castillo of Eskell, which makes youthful clothes using hand-printed fabrics, and Yoko Uozumi and her husband, the techno D.J. Jeff Mills, who own the ‘‘concept’’ shop Gamma Player. ‘‘This spring we’re inspired by Niterói, the seaside town in Brazil,’’ says Uozumi, who builds her collections around town in Brazil,’’ says Uozumi, who builds her collections around different themes, ‘‘so we’re carrying dresses in geometric prints that invoke the sea.’’
Old World elegance reigns supreme at Blake, where Balenciaga hangs with Dries Van Noten in a converted post office. Then there is Ikram Goldman, Obama’s style consigliere, who has famously introduced heartland shoppers to fantasy-inspired pieces by Proenza Schouler, Viktor & Rolf and Rodarte at her avant-garde emporium. Only the city’s harsh weather is a hindrance to fashion savvy. ‘‘We’ll be promoting big handbags forever,’’ says Tricia Tunstall, co-founder of the boutique p.45. ‘‘You’ve got to have a way to carry your high heels, so you can check your snow boots at the door.’’
IN CHICAGO, WHERE A NEWFOUND VITALITY IS FUELING A BOOMLET IN STYLE AND DESIGN, THE FUTURE IS NOW. BY GIOIA DILIBERTO
Photographs by Raymond Meier
From: http://www.nytimes.com/indexes/2009/03/22/style/t/index.html#pagewanted=0&pageName=22chiw&
Since 1871, when it rose spectacularly after the Great Fire, Chicago has been famous for pioneering architecture — from the steel-frame skyscraper to the flat geometry of the Prairie School to Mies van der Rohe’s clean Minimalism. When it comes to cutting-edge fashion, though, the city rarely registered. Lost between the glamorous coasts, it’s been a no-style zone. Until now.
Chicago has always been a shopping town, with all the blue-chip flagships — Chanel, Louis Vuitton, Burberry — on the luxury thoroughfare known as the Magnificent Mile, along with world-class department stores like Marshall Field’s (now Macy’s), where, in the pre-jet age, women could buy line-for-line copies of French couture. But it took Michelle Obama, a woman who knows how to mix some serious-looking Azzedine Alaïa accessories with her J. Crew staples, to bolster the city’s fashion confidence. If New York is a sleek sophisticate in black and Los Angeles a tanned blonde in a tank top and jewels, then Chicago is the stylish but sensible girl next door. Before the election, Obama was spotted shopping at Lori’s Shoes, a popular discount store on the city’s North Side. ‘‘Michelle doesn’t want to be seen as a diva,’’ says Maria Pinto, the designer who dressed the first lady in her classically feminine sheaths for several key campaign appearances and recently opened a minimalist boutique in the SoHo-like West Loop neighborhood.
It’s there, and in arty Wicker Park and the hip Southport Corridor, that you’ll find a trendy brew of established and new designers showcased in independent boutiques. There are innovators like Kelly Whitesell and Elizabeth Del Castillo of Eskell, which makes youthful clothes using hand-printed fabrics, and Yoko Uozumi and her husband, the techno D.J. Jeff Mills, who own the ‘‘concept’’ shop Gamma Player. ‘‘This spring we’re inspired by Niterói, the seaside town in Brazil,’’ says Uozumi, who builds her collections around town in Brazil,’’ says Uozumi, who builds her collections around different themes, ‘‘so we’re carrying dresses in geometric prints that invoke the sea.’’
Old World elegance reigns supreme at Blake, where Balenciaga hangs with Dries Van Noten in a converted post office. Then there is Ikram Goldman, Obama’s style consigliere, who has famously introduced heartland shoppers to fantasy-inspired pieces by Proenza Schouler, Viktor & Rolf and Rodarte at her avant-garde emporium. Only the city’s harsh weather is a hindrance to fashion savvy. ‘‘We’ll be promoting big handbags forever,’’ says Tricia Tunstall, co-founder of the boutique p.45. ‘‘You’ve got to have a way to carry your high heels, so you can check your snow boots at the door.’’
Friday, March 20, 2009
Food, wine and the fine art of sketching
By CATHERINE LANGSTON, Special to the GazetteFebruary 28, 2009
From: http://www.montrealgazette.com/Entertainment/Food+wine+fine+sketching/1338411/story.html
Squinting into the dimly lit foyer, I pressed the door buzzer beside the peel-off label reading Galerie Synesthésie. Seconds later, I was buzzed off the short, edgy stretch of Ste. Catherine St. E. near St. Laurent Blvd., and into the gallery's drawing workshop. It was like flipping the channel from a black-and-white indie documentary on street kids to a reality show in hyper-colour about an artist's loft.
But reality TV had nothing on the gallery's live model workshop when I walked in that Saturday afternoon to try my hand at sketching. A dozen-plus artists were grouped at work stations throughout the airy studio loft, preparing their materials and chatting. The model was stretching before her job under the bright lights. Soft music drifted around the long run of high-ceilinged space. Bowls of juicy grapes, ripe berries, salted nuts and chocolate biscuits surrounded a fresh baguette and cheeses. Red and white wine was on tap.
This was a drawing workshop?
"With sensory stimulus, people draw links between different sources of inspiration," explained owner Anthony Walsh, who's been running Galerie Synesthésie, which holds live model drawing sessions, art classes, and art exhibitions, since 2007.
Stimuli such as music, food or alcohol light up the brain's pleasure zones, he said, making the world, or in this case the drawing workshop, a more magical place.
Except that no one was draining the wine cartons dry. In fact, the artists seemed rooted by the challenge of rapidly sketching their impressions of the model before each 60-second pose dissolved then reformed into another. The short poses "get people into a creative state of flow" where they stop being self-critical, said Walsh, a master's student in Université de Montréal's psychology program.
So forget that Grade 2 teacher's warning not to colour outside the lines. Unlike our artistically suppressed
7-year-old selves, the sketchers at this gallery simply turn the page on their errors. And it works: halfway into the three-hour session, the Nefertiti-like necks and football shoulders of my earlier sketches had shrunk to more realistic shapes and proportions.
Art therapist Thomas Shortliffe agrees that over-rationalizing blocks the creative process, but said self-critiquing can aid growth.
"Through art, we understand about our creative process ... at the end of the process, we feel more secure in the development of our abilities," said Shortliffe, who holds a graduate degree in art therapy from Concordia University.
CÉGEP teacher and workshop regular Jane Petring said her sense of accomplishment is "related to how satisfied I am with what I produce. If I'm not working at developing (my abilities), I don't want to go there."
Walsh agreed, adding that by learning to use artists' tools for measuring angles and distances, for example, participants can start to put what they see on paper.
Sure enough, three hours and countless poses later, my first short, light, careful pencil strokes on newsprint had gradually been worked into firmer, darker, more fluid lines that captured some of the model's form and energy. And when the model stirred from her last long pose, I picked up my wine glass to toast myself for pushing past an ordinary glass door into an exceptional place.
Galerie Synesthésie is at 94 Ste. Catherine St. E., Suite 7. The three-hour sketching sessions with live models are open to everyone. Cost is $15. Sessions are on Saturdays from 4 to 7 p.m. and Sundays from 2:30 to 5:30 pm. For more information, visit www.galeriesynesthesie.com or call 514-998-7625
By CATHERINE LANGSTON, Special to the GazetteFebruary 28, 2009
From: http://www.montrealgazette.com/Entertainment/Food+wine+fine+sketching/1338411/story.html
Squinting into the dimly lit foyer, I pressed the door buzzer beside the peel-off label reading Galerie Synesthésie. Seconds later, I was buzzed off the short, edgy stretch of Ste. Catherine St. E. near St. Laurent Blvd., and into the gallery's drawing workshop. It was like flipping the channel from a black-and-white indie documentary on street kids to a reality show in hyper-colour about an artist's loft.
But reality TV had nothing on the gallery's live model workshop when I walked in that Saturday afternoon to try my hand at sketching. A dozen-plus artists were grouped at work stations throughout the airy studio loft, preparing their materials and chatting. The model was stretching before her job under the bright lights. Soft music drifted around the long run of high-ceilinged space. Bowls of juicy grapes, ripe berries, salted nuts and chocolate biscuits surrounded a fresh baguette and cheeses. Red and white wine was on tap.
This was a drawing workshop?
"With sensory stimulus, people draw links between different sources of inspiration," explained owner Anthony Walsh, who's been running Galerie Synesthésie, which holds live model drawing sessions, art classes, and art exhibitions, since 2007.
Stimuli such as music, food or alcohol light up the brain's pleasure zones, he said, making the world, or in this case the drawing workshop, a more magical place.
Except that no one was draining the wine cartons dry. In fact, the artists seemed rooted by the challenge of rapidly sketching their impressions of the model before each 60-second pose dissolved then reformed into another. The short poses "get people into a creative state of flow" where they stop being self-critical, said Walsh, a master's student in Université de Montréal's psychology program.
So forget that Grade 2 teacher's warning not to colour outside the lines. Unlike our artistically suppressed
7-year-old selves, the sketchers at this gallery simply turn the page on their errors. And it works: halfway into the three-hour session, the Nefertiti-like necks and football shoulders of my earlier sketches had shrunk to more realistic shapes and proportions.
Art therapist Thomas Shortliffe agrees that over-rationalizing blocks the creative process, but said self-critiquing can aid growth.
"Through art, we understand about our creative process ... at the end of the process, we feel more secure in the development of our abilities," said Shortliffe, who holds a graduate degree in art therapy from Concordia University.
CÉGEP teacher and workshop regular Jane Petring said her sense of accomplishment is "related to how satisfied I am with what I produce. If I'm not working at developing (my abilities), I don't want to go there."
Walsh agreed, adding that by learning to use artists' tools for measuring angles and distances, for example, participants can start to put what they see on paper.
Sure enough, three hours and countless poses later, my first short, light, careful pencil strokes on newsprint had gradually been worked into firmer, darker, more fluid lines that captured some of the model's form and energy. And when the model stirred from her last long pose, I picked up my wine glass to toast myself for pushing past an ordinary glass door into an exceptional place.
Galerie Synesthésie is at 94 Ste. Catherine St. E., Suite 7. The three-hour sketching sessions with live models are open to everyone. Cost is $15. Sessions are on Saturdays from 4 to 7 p.m. and Sundays from 2:30 to 5:30 pm. For more information, visit www.galeriesynesthesie.com or call 514-998-7625
Adventures in woodworking
Fearless in the face of a challenge, if Ralph Reichenbach doesn't know how to do something, he teaches himself
By Jennifer Fong, The Edmonton JournalJanuary 3, 2009
From: http://www.edmontonjournal.com/Life/Adventures+woodworking/1137629/story.html
Ralph Reichenbach is not one to shy away from a challenge.
Whether it's climbing the highest peak in the Canadian Rockies or building an electric guitar from scratch, the 47-year-old woodworker will take a shot at just about anything.
"I never do anything twice. ... I like the adventure of doing something new," says Reichenbach. "I'm always looking for new designs, new things, new challenges."
The thirst to test himself was what lured Reichenbach into woodworking in the first place.
When he was 12, his father took him to see a friend who specialized in marquetry. In the man's garage, Reichenbach watched as he formed detailed images with veneers from various species of wood, inlaid into a single surface.
"I thought this was such a great concept and so I went home and taught myself how to do it," he says.
While Reichenbach already knew the basics of woodworking -- his father is also a carpenter -- marquetry was completely new. "It's basically like putting together a jigsaw puzzle, but you are making your own pieces," he explains.
"I made a lot of mistakes and worked through the process and kind of developed a little bit of my own system."
A beech, sycamore, and walnut writing desk he crafted for the Tu Gallery is accented by inlays cut to look like paper, an envelope, a fountain pen, and a stamp, complete with tiny perforated edges. Another piece, a beech and poplar panel bearing the image of a woman's face, is even more detailed.
"I did a lot of shading on that face," he says. "When I look back on it, I go, 'Huh, that's pretty crazy.' "
But when Reichenbach is working, he doesn't think about how difficult his ideas might be to realize. He just goes for it.
"I taught design at NAIT and one of the things I tried to instil within my students was don't compromise your design or concept unless you absolutely have to. If you have a vision or idea, develop it and don't right away worry 'how am I going to do this?' or 'how am I going to build this?'
"If you want to pull off a good piece, you have to be committed to integrity. And
I think that's a principle that applies in all areas of life. You can't cheat; you can't cut corners."
Reichenbach is just about finished an electric guitar made from zebra wood and maple, with rich ebony details. He's never made an instrument before, but spent several years teaching himself how by talking to experts.
He estimates he has another 15 hours of work before the guitar will be ready to go to his 18-year-old son. Then, he'll move on to another adventure.
"It's going to be one-of-a-kind. Never to be replicated."
If you or someone you know is a standout local artisan with a unique craft, e-mail details to jfong@thejournal.canwest.com
Fearless in the face of a challenge, if Ralph Reichenbach doesn't know how to do something, he teaches himself
By Jennifer Fong, The Edmonton JournalJanuary 3, 2009
From: http://www.edmontonjournal.com/Life/Adventures+woodworking/1137629/story.html
Ralph Reichenbach is not one to shy away from a challenge.
Whether it's climbing the highest peak in the Canadian Rockies or building an electric guitar from scratch, the 47-year-old woodworker will take a shot at just about anything.
"I never do anything twice. ... I like the adventure of doing something new," says Reichenbach. "I'm always looking for new designs, new things, new challenges."
The thirst to test himself was what lured Reichenbach into woodworking in the first place.
When he was 12, his father took him to see a friend who specialized in marquetry. In the man's garage, Reichenbach watched as he formed detailed images with veneers from various species of wood, inlaid into a single surface.
"I thought this was such a great concept and so I went home and taught myself how to do it," he says.
While Reichenbach already knew the basics of woodworking -- his father is also a carpenter -- marquetry was completely new. "It's basically like putting together a jigsaw puzzle, but you are making your own pieces," he explains.
"I made a lot of mistakes and worked through the process and kind of developed a little bit of my own system."
A beech, sycamore, and walnut writing desk he crafted for the Tu Gallery is accented by inlays cut to look like paper, an envelope, a fountain pen, and a stamp, complete with tiny perforated edges. Another piece, a beech and poplar panel bearing the image of a woman's face, is even more detailed.
"I did a lot of shading on that face," he says. "When I look back on it, I go, 'Huh, that's pretty crazy.' "
But when Reichenbach is working, he doesn't think about how difficult his ideas might be to realize. He just goes for it.
"I taught design at NAIT and one of the things I tried to instil within my students was don't compromise your design or concept unless you absolutely have to. If you have a vision or idea, develop it and don't right away worry 'how am I going to do this?' or 'how am I going to build this?'
"If you want to pull off a good piece, you have to be committed to integrity. And
I think that's a principle that applies in all areas of life. You can't cheat; you can't cut corners."
Reichenbach is just about finished an electric guitar made from zebra wood and maple, with rich ebony details. He's never made an instrument before, but spent several years teaching himself how by talking to experts.
He estimates he has another 15 hours of work before the guitar will be ready to go to his 18-year-old son. Then, he'll move on to another adventure.
"It's going to be one-of-a-kind. Never to be replicated."
If you or someone you know is a standout local artisan with a unique craft, e-mail details to jfong@thejournal.canwest.com
WWOOFing it in England's Lake District
By Reb Stevenson, Ottawa Citizen; Canwest News ServiceFebruary 14, 2009
From: http://www.edmontonjournal.com/Technology/WWOOFing+England+Lake+District/1289143/story.html
Now this is green living.
Yeah, yeah, it's organic and all -- but that's not what I'm talking about.
It's the moss. The glorious emerald eco-carpet that sneaks its way onto every stone surface and infuses this landscape with a soft hint of neglect.
It's everywhere, anywhere. And it's enchanting.
As my cab navigates through Kendal and into the tiny village of Burneside, Cumbria, the taxi driver silently indulges my blathering.
It is my third week on the WWOOF (World Wide Opportunities on Organic Farms) program, a global network of farms that allows you to exchange labour for accommodation and food.
You can WWOOF all over the world, but I'm doing it through WWOOF U.K. Sprint Mill Farm jumps out of the handbook because it lists "fun, variety, fulfilment and new experiences" as the work themes. Also, it is located in The Lake District, one of the U.K.'s prime tourist destinations.
A defunct mill, the farmhouse is damp, stony and clings to the bank of a gushing river. The whole place heaves with fertility.
Edward Acland runs Sprint Mill Farm with his doctor wife, Romola Stringer. Accommodation is in Acland's daughter's old bedroom in the main house. In the summer months, WWOOFers can sleep in the adjacent outbuilding.
Acland quickly ushers me into a kitchen that would make any Ikea enthusiast lash out with contempt.
It is furnished with a long wood table, a haphazard collection of glass jars stocked with mysterious contents, and a wood-burning stove most often seen in sepia photographs. This kitchen is truly the heart of the homestead.
And Acland, I soon decide, truly embodies the heart of what WWOOFing is all about.
Sprint Mill Farm is his 15-acre experiment in complete sustainability. He dabbles in coppicing (a traditional method of woodland management), animal-rearing, vegetable and fruit farming and woodcrafts.
None of it is for profit.
"It's about living off the interest and income of Mother Earth, but not using her capital," Acland explains. "We try to avoid using anything that we can't replace.
"It's jolly hard work, but very fulfilling," he says passionately.
As it turns out, WWOOFing at Sprint Mill barely even qualifies as work. After brief morning stints pitching in on the farm, I have the afternoons off.
"You can go for a walk, cycle, write, sleep ... whatever," says Acland. "It's not about exploiting a WWOOFer as a slave or labourer. It's about giving them the opportunity to experience a way of life."
And so Acland dons the mantle of mentor, not shift supervisor. He teaches me how to cut comfrey with a rusty old piece of machinery and how to forage for acorns, and eagerly shares his knowledge of green woodworking. We also have a go at weeding, apple picking and nettle-cutting.
As we trudge through the sopping landscape, Acland explains the cyclical processes that govern Sprint Mill.
For example, willow branches are fed to the goats, who gnaw off the leaves and bark. The stripped wood is used for fuel, and the goats produce milk, cheese and meat.
On the first day, bolstered by the altruistic urge to delve right into this Earth-appeasing lifestyle, I eat the goat cheese, pour goat milk into my tea and lavish my toast with goat butter. But, to borrow from Acland's earlier statement: it's jolly hard work.
By the second day, I'm wincing as I sip the tea, and gagging on the butter. To put it delicately, the flavour is evocative of an unlaundered athletic sock (to be fair, the meat isn't bad). But at least it's not a rodent: once a Moroccan WWOOFer insisted upon making good use of a squirrel that Acland caught.
"But it's a resource! It is organic!" he argued when Acland suggested a basic burial. So the WWOOFer whipped up a casserole and they had it for supper.
"I wouldn't rush at eating squirrel again," Acland laughs. "But there were messages there and I was thankful for that."
After a few days of digesting goat, I figure it's time to milk the situation. Literally.
One morning, Acland's wife leads me out to the shed for my virgin milking. A bit squeamish, I reach into the nether-area and grasp a fleshy protrusion.
"So I just yank?" I ask. "They tend to be fidgety with strangers," says Stringer. "You've just got to be firm."
I squeeze. The goat kicks a bit. But the teat squirts. Actually, it's kind of enjoyable.
Sprint Mill isn't in town, but Acland and Stringer provide wheels for their WWOOFers (bikes of course). I take full advantage of a Brompton; a London-made, folding bike.
I ride into Kendal, a favourite launching-point for hiking the nearby fells, the hills of the Lake District.
A visit to 13th-century Kendal Castle is rewarding -- for a full hour I have the ruins all to myself. Sweet!
Even sweeter: The Famous 1657 Chocolate House, where I self-medicate my goat-stricken palate with a sickening dose of chocolate. The menu consists of 20 chocolate beverages (embellished with spices, violet and the like) and 14 gateaux.
Another day, I venture out to Hill Top, Beatrix Potter's charming little home near Sawrey. The Brompton folds up on the train, bus and ferry and I ride it the rest of the way, passing through adorable towns where it seems feasible to consume clotted cream and scones hourly.
Sprint Mill Farm values symbiotic relationships between man and nature. It also achieves that between host and WWOOFer: I relish my experiences both on the farm and off it.
"I have this ridiculous belief that humankind could actually one day be a benefit to the planet rather than ravaging, pillaging, raping, despoiling," Acland muses.
He doesn't clobber you over the head with his philosophies, but his message grows on you. Like moss.
- - -
IF YOU GO
Cost: A one-year WWOOF U.K. membership costs $40 Cdn and grants access to a list of participant farms in England, Scotland, Ireland and Wales.
WWOOF U.K.: www.wwoof.org.uk
WWOOF Canada: www.wwoof.ca
Visiting Kendal: www.lakelandgateway.inf
Hill Top: www.nationaltrust.org.uk/hilltop
Online: WWOOFing in Action:
Find videos of Reb Stevenson's experiences in England at ottawacitizen.com
By Reb Stevenson, Ottawa Citizen; Canwest News ServiceFebruary 14, 2009
From: http://www.edmontonjournal.com/Technology/WWOOFing+England+Lake+District/1289143/story.html
Now this is green living.
Yeah, yeah, it's organic and all -- but that's not what I'm talking about.
It's the moss. The glorious emerald eco-carpet that sneaks its way onto every stone surface and infuses this landscape with a soft hint of neglect.
It's everywhere, anywhere. And it's enchanting.
As my cab navigates through Kendal and into the tiny village of Burneside, Cumbria, the taxi driver silently indulges my blathering.
It is my third week on the WWOOF (World Wide Opportunities on Organic Farms) program, a global network of farms that allows you to exchange labour for accommodation and food.
You can WWOOF all over the world, but I'm doing it through WWOOF U.K. Sprint Mill Farm jumps out of the handbook because it lists "fun, variety, fulfilment and new experiences" as the work themes. Also, it is located in The Lake District, one of the U.K.'s prime tourist destinations.
A defunct mill, the farmhouse is damp, stony and clings to the bank of a gushing river. The whole place heaves with fertility.
Edward Acland runs Sprint Mill Farm with his doctor wife, Romola Stringer. Accommodation is in Acland's daughter's old bedroom in the main house. In the summer months, WWOOFers can sleep in the adjacent outbuilding.
Acland quickly ushers me into a kitchen that would make any Ikea enthusiast lash out with contempt.
It is furnished with a long wood table, a haphazard collection of glass jars stocked with mysterious contents, and a wood-burning stove most often seen in sepia photographs. This kitchen is truly the heart of the homestead.
And Acland, I soon decide, truly embodies the heart of what WWOOFing is all about.
Sprint Mill Farm is his 15-acre experiment in complete sustainability. He dabbles in coppicing (a traditional method of woodland management), animal-rearing, vegetable and fruit farming and woodcrafts.
None of it is for profit.
"It's about living off the interest and income of Mother Earth, but not using her capital," Acland explains. "We try to avoid using anything that we can't replace.
"It's jolly hard work, but very fulfilling," he says passionately.
As it turns out, WWOOFing at Sprint Mill barely even qualifies as work. After brief morning stints pitching in on the farm, I have the afternoons off.
"You can go for a walk, cycle, write, sleep ... whatever," says Acland. "It's not about exploiting a WWOOFer as a slave or labourer. It's about giving them the opportunity to experience a way of life."
And so Acland dons the mantle of mentor, not shift supervisor. He teaches me how to cut comfrey with a rusty old piece of machinery and how to forage for acorns, and eagerly shares his knowledge of green woodworking. We also have a go at weeding, apple picking and nettle-cutting.
As we trudge through the sopping landscape, Acland explains the cyclical processes that govern Sprint Mill.
For example, willow branches are fed to the goats, who gnaw off the leaves and bark. The stripped wood is used for fuel, and the goats produce milk, cheese and meat.
On the first day, bolstered by the altruistic urge to delve right into this Earth-appeasing lifestyle, I eat the goat cheese, pour goat milk into my tea and lavish my toast with goat butter. But, to borrow from Acland's earlier statement: it's jolly hard work.
By the second day, I'm wincing as I sip the tea, and gagging on the butter. To put it delicately, the flavour is evocative of an unlaundered athletic sock (to be fair, the meat isn't bad). But at least it's not a rodent: once a Moroccan WWOOFer insisted upon making good use of a squirrel that Acland caught.
"But it's a resource! It is organic!" he argued when Acland suggested a basic burial. So the WWOOFer whipped up a casserole and they had it for supper.
"I wouldn't rush at eating squirrel again," Acland laughs. "But there were messages there and I was thankful for that."
After a few days of digesting goat, I figure it's time to milk the situation. Literally.
One morning, Acland's wife leads me out to the shed for my virgin milking. A bit squeamish, I reach into the nether-area and grasp a fleshy protrusion.
"So I just yank?" I ask. "They tend to be fidgety with strangers," says Stringer. "You've just got to be firm."
I squeeze. The goat kicks a bit. But the teat squirts. Actually, it's kind of enjoyable.
Sprint Mill isn't in town, but Acland and Stringer provide wheels for their WWOOFers (bikes of course). I take full advantage of a Brompton; a London-made, folding bike.
I ride into Kendal, a favourite launching-point for hiking the nearby fells, the hills of the Lake District.
A visit to 13th-century Kendal Castle is rewarding -- for a full hour I have the ruins all to myself. Sweet!
Even sweeter: The Famous 1657 Chocolate House, where I self-medicate my goat-stricken palate with a sickening dose of chocolate. The menu consists of 20 chocolate beverages (embellished with spices, violet and the like) and 14 gateaux.
Another day, I venture out to Hill Top, Beatrix Potter's charming little home near Sawrey. The Brompton folds up on the train, bus and ferry and I ride it the rest of the way, passing through adorable towns where it seems feasible to consume clotted cream and scones hourly.
Sprint Mill Farm values symbiotic relationships between man and nature. It also achieves that between host and WWOOFer: I relish my experiences both on the farm and off it.
"I have this ridiculous belief that humankind could actually one day be a benefit to the planet rather than ravaging, pillaging, raping, despoiling," Acland muses.
He doesn't clobber you over the head with his philosophies, but his message grows on you. Like moss.
- - -
IF YOU GO
Cost: A one-year WWOOF U.K. membership costs $40 Cdn and grants access to a list of participant farms in England, Scotland, Ireland and Wales.
WWOOF U.K.: www.wwoof.org.uk
WWOOF Canada: www.wwoof.ca
Visiting Kendal: www.lakelandgateway.inf
Hill Top: www.nationaltrust.org.uk/hilltop
Online: WWOOFing in Action:
Find videos of Reb Stevenson's experiences in England at ottawacitizen.com
British-built robotic fish to detect pollution
From: http://www.montrealgazette.com/technology/personal-tech/British+built+robotic+fish+detect+pollution/1405840/story.html
LONDON - A shoal of robotic fish which can detect pollution in the water are set to released into the sea off Spain, British scientists said Thursday.
The fish, which are some 1.5 metres long and resemble carp, will be fitted with detectors which can identify the sources of pollution, such as ship fuel or chemicals in the water.
Five of the robots, worth some 20,000 pounds ($29,000 US) each, are being released into the Bay of Biscay at Gijon in northern Spain as part of a three-year joint project between engineering consultancy BMT Group and researchers at Essex University in southeast England.
The robots, which have an eight-hour battery and do not require remote control, are set to be released in around 18 months' time.
"The hope is that this will prevent potentially hazardous discharges at sea as the leak would undoubtedly get worse over time if not located," said Professor Huosheng Hu of Essex University, whose team is building the fish.
If successful, they hope the fish could be used around the world to prevent the spread of pollution.
© Copyright (c) Canwest News Service
From: http://www.montrealgazette.com/technology/personal-tech/British+built+robotic+fish+detect+pollution/1405840/story.html
LONDON - A shoal of robotic fish which can detect pollution in the water are set to released into the sea off Spain, British scientists said Thursday.
The fish, which are some 1.5 metres long and resemble carp, will be fitted with detectors which can identify the sources of pollution, such as ship fuel or chemicals in the water.
Five of the robots, worth some 20,000 pounds ($29,000 US) each, are being released into the Bay of Biscay at Gijon in northern Spain as part of a three-year joint project between engineering consultancy BMT Group and researchers at Essex University in southeast England.
The robots, which have an eight-hour battery and do not require remote control, are set to be released in around 18 months' time.
"The hope is that this will prevent potentially hazardous discharges at sea as the leak would undoubtedly get worse over time if not located," said Professor Huosheng Hu of Essex University, whose team is building the fish.
If successful, they hope the fish could be used around the world to prevent the spread of pollution.
© Copyright (c) Canwest News Service
Monday, March 2, 2009
Developing world embraces mobile phones: UN report
Last Updated: Monday, March 2, 2009 10:36 AM ET
The Associated Press
Six in 10 people around the world now have cellphone subscriptions, signalling that mobile phones are the communications technology of choice, particularly in poor countries, a UN agency reported Monday.
By the end of last year there were an estimated 4.1 billion subscriptions globally, compared with about one billion in 2002, the International Telecommunication Union said.
Fixed line subscriptions increased at a much slower pace, to 1.27 billion from about one billion over the same period.
"There has been a clear shift to mobile cellular telephony," the agency said, noting that developing countries now account for about two-thirds of cellphones in use. In 2002, less than half of mobile subscriptions globally were in the developing world, it said.
Internet use more than doubled. An estimated 23 per cent of people on the planet used the Internet last year, up from 11 per cent in 2002. Poor countries still lag far behind on Internet access, with only one in 20 people in Africa going online in 2007, the most recent year for which firm figures were available.
Fixed broadband increased to almost 20 per cent in rich countries, while globally just over one in 20 had access to fast Internet connections at home.
The Geneva-based agency recorded the sharpest rise in mobile broadband subscriptions. The technology, which allows users to access the web at high speed with mobile devices, was available to three per cent of people worldwide, increasing to 14 per cent in developed countries.
Canada drops to 19th in ranking
The 106-page report also ranked countries according to how advanced their use of information and communications technology (ICT) is. Sweden came first, followed by South Korea, which had high ratings despite lower per capita income than most of its peers.
"The (South Korean) government has pursued a very active ICT-focused policy, making the ICT sector one of its priorities," said Susan Teltscher, who leads the agency's statistics division.
Denmark came third, ahead of the Netherlands, Iceland and Norway.
Small, densely populated countries such as 7th-ranked Luxembourg and 11th-ranked Hong Kong also did well, while large developing countries like China (ranked 73rd) and India (ranked 118th) were hampered by the size of their populations.
Canada dropped from ninth place in 2002 to 19th in 2007, trailing the United States and Ireland. Canada improved in communication technology access and usage, the report said, but other countries improved at a faster rate.
Myanmar was the only country where access and use indicators dropped in absolute terms. Internet bandwidth in the Southeast Asian country dropped 90 per cent during the five-year period.
Myanmar's military government has cracked down on Internet use by dissident groups, temporarily shutting down international connections and jailing bloggers.
The so-called 'digital divide' between rich and poor countries remained unchanged between 2002 and 2007.
"Despite significant improvements in the developing world, the gap between the ICT haves and have-nots remains," the report found.
Teltscher said the global economic recession would likely affect the development of telecommunications technology around the world.
"In terms of consumer demand and uptake, there will probably be a little bit of slowdown in the growth, but we are not expecting any decline," she said. "People who have a mobile phone are unlikely to give up on it."
The Associated Press
Six in 10 people around the world now have cellphone subscriptions, signalling that mobile phones are the communications technology of choice, particularly in poor countries, a UN agency reported Monday.
By the end of last year there were an estimated 4.1 billion subscriptions globally, compared with about one billion in 2002, the International Telecommunication Union said.
Fixed line subscriptions increased at a much slower pace, to 1.27 billion from about one billion over the same period.
"There has been a clear shift to mobile cellular telephony," the agency said, noting that developing countries now account for about two-thirds of cellphones in use. In 2002, less than half of mobile subscriptions globally were in the developing world, it said.
Internet use more than doubled. An estimated 23 per cent of people on the planet used the Internet last year, up from 11 per cent in 2002. Poor countries still lag far behind on Internet access, with only one in 20 people in Africa going online in 2007, the most recent year for which firm figures were available.
Fixed broadband increased to almost 20 per cent in rich countries, while globally just over one in 20 had access to fast Internet connections at home.
The Geneva-based agency recorded the sharpest rise in mobile broadband subscriptions. The technology, which allows users to access the web at high speed with mobile devices, was available to three per cent of people worldwide, increasing to 14 per cent in developed countries.
Canada drops to 19th in ranking
The 106-page report also ranked countries according to how advanced their use of information and communications technology (ICT) is. Sweden came first, followed by South Korea, which had high ratings despite lower per capita income than most of its peers.
"The (South Korean) government has pursued a very active ICT-focused policy, making the ICT sector one of its priorities," said Susan Teltscher, who leads the agency's statistics division.
Denmark came third, ahead of the Netherlands, Iceland and Norway.
Small, densely populated countries such as 7th-ranked Luxembourg and 11th-ranked Hong Kong also did well, while large developing countries like China (ranked 73rd) and India (ranked 118th) were hampered by the size of their populations.
Canada dropped from ninth place in 2002 to 19th in 2007, trailing the United States and Ireland. Canada improved in communication technology access and usage, the report said, but other countries improved at a faster rate.
Myanmar was the only country where access and use indicators dropped in absolute terms. Internet bandwidth in the Southeast Asian country dropped 90 per cent during the five-year period.
Myanmar's military government has cracked down on Internet use by dissident groups, temporarily shutting down international connections and jailing bloggers.
The so-called 'digital divide' between rich and poor countries remained unchanged between 2002 and 2007.
"Despite significant improvements in the developing world, the gap between the ICT haves and have-nots remains," the report found.
Teltscher said the global economic recession would likely affect the development of telecommunications technology around the world.
"In terms of consumer demand and uptake, there will probably be a little bit of slowdown in the growth, but we are not expecting any decline," she said. "People who have a mobile phone are unlikely to give up on it."
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