#i MIGHT still apply to oxford depending on what projects they have on offer

[atrixfromice]

So I ruined my life...and now what?

I always knew my greatest passion and dream was making comics and animated cartoons, since I can remember. I knew I was born to tell histories with endearing characters, hearwarming and useful great life lessons.

And I had all planned up. I had all planned all of it since I was seven. my career, my future...where I was going to be in 30 years from there. And as I saw it, I had two pretty cool options. Follow the path of science or the path of art.

I though I could go to elementary school, then the equivalent of highschool for mexicans. And studying english in the meantime and work middle time, so when I could finish all the basic school levels at 18 years old. I'll then take my suitcase and the money I saved and travel to study art at Oxford and ten trying to apply to some of the biggest animation studios as visual artist.

Or in the case I couldn't travel to USA, to study visual arts at the UNAM (one of best universities on Mexico) and then try to apply to a job on some of the small mexican studios and climp from there. And in the mean time doing  my personal comic projects, and maybe write a graphic novel.

The other option was to be a scientist which had more or less the same path. Basic studies, marine biology studies, studies to become a teuthologist. Working on fisheries related stuff a bit if it's all what it's avaliable, and then go to US after gaining some experience to some of the stuff I dreamed ;  apply in a  nice public aquarium to take care of the animals and to try teach an enteroctopus dofleini in aquarium to comunicate with us, throught a language I had created over the years, adapted to them. Oh of course! I also wanted to take marine photography and observe the enteroctopus dofleini's behavior in the wild!

But things aren't as easy as you think when you’re a kid...

In my journey for these paths I found a lot of obstacles, not only economic problems, but a lot of people who told me I wasn't good enough. And also my own lack of self-confidence ony myself and my skills.

When I was 13 one of my teachers made every student an "apptitude test" and told me, that even if I loved science I wasn't going to be good for it not because I wasn't intelligent, but because "science it's, organized, methodic, and you are not." I remember that made me enraged and sad and tried to be more organized since then.

At that time I thought science was better, because my dad said that an art field career would never get me a job, and will make me starving.

But with time I realized I loved more to make cartoons in general, so I decided an art related career and something on art field as a job could be a better path for me than a science career. So I tried to follow it.

I studied basic school. And in the meantime I studied English, and I took a part time job after school to save for my college as I was planned.

But lack of sleep because all the tasks I had to do were affecting my notes. My parents saw that and said it was ok if I only concentrated on my studies, that they could save to give me a college career at least in a Mexican university.

I stopped worrying and spent the money I had earned on stuff like videogames, movies, art supplies, and on intiving my family to dinner Pizza or some other fast food from time to time.

I think that was one my biggest mistakes on my life.

If someone had told me that when I had finished my basic school I wouldn't have enough for my college...I would have saved my money.

I think the other biggest mistake I made, was to be a coward...

When I finished my basic studies and was supposed to make my trip to Mexico City, my parents said they couldn't go with me because their work was there. And my brothers and sister were too small to go with me.

I was scared to live alone and work alone on a city where I didn't know anybody. Specially after my dad commented I watch out cos I could be robbed and rapped, and be kidnapped so my organs could be stolen and be sold to rich people.

This is why I made them chose my career for me the first time. My dad suggested it was better idea to move to a more closer city, 3 hours from where I lived, and study accounting, and that then after that I could work as an accountain and study what I really wanted on the side. So I thought it was maybe an smartest idea than mine, and I tried it.

But accounting never filled my spirit.  

When I was trying to figure out the business taxes my teacher had given us to work with, my mind was not there...

...it was day dreaming, thinking about what the next scene in my comic was going to or what traits of personality my next character should have. Immersed in fictional characters' character development and wonderful fantastic universes.

I last there a couple of years, mostly because my dad was helping me to pay the school and he seemed to be convinced it was the best path for me.

But One day at late night, I looked at my taxes work. And I noticed I had my accounting notebooks and books full of little doodles, sketches of comics and drawings of characters in heroic poses. And that the same thing happened to my elementary school, junior high and my highschool notebooks. And I had an epiphany. I was right when I said as a little kiddo I was born to make cartoons.

So I told my dad "Please don't keep helping me with money for this career, I'll leave it! I will never finish it, it doesn't fill my spirit"

My dad was mad and told me he was dissapointed when he heard that, of course. But in retrospective, I think he said that because he thought his help and advice had been in vain, and he was actually sad. And also because he felt money have been wasted.

Then I decided to be brave for the first time and stop letting people to decide for me. I looked up for some art related career, and luckily I found a college that wasn't as long as the UNAM.

Then I and I studied graphic desing there instead of visual arts, cos at that time visual arts on the university that had it has already started, and time was running and I was getting old. I worked there as well at the same time.

Studying graphic design instead of graphic arts was not the best decision of my life, now I realize it. But at that point in my life it was no longer time to study and let my parents pay for my college, but to work to earn a life of my own.

I studied in a modality where were classes were more difficult and rush up, but time to finish the carrer was a bit less and you could work on the side. Plus I wanted to make my best effort with this one because I felt so ashamed of leaving accounting.

I finished my graphic design career with 9.3 final note (it's the equivalent of having an A+) and at the fabulous age of 27 years old. (usually people finish college at 23-24, to give you a prespective )

And the rest is shorter, hehe.

My fabulous career and high notes weren't very useful in work field. I graduated and I tried to apply for a graphic designer job, but everbody wanted both experience in enterprise and a career, and I haven't worked at any enterprise at that moment. Finally, I worked on graphic desing industry on enterprise once. But I left it, because I was being exploited with insane schedules and on top on that, bad payed.

Luckily I found out that selling artcrafts and gourmet food from my hometown was a lot less exhausting and an agreable way to earn a life. It was cool actually, because I could practice my english and french with the tourists that could come, and meeting new people every day and heard their stories of their trips to exotic places.

And on the side I offered my services as a freelance illustrator and graphic designer. And while I'm not a super popular artist, I've got some money from there, and I'm making way to the artist field little by little. :)

So it was all good...until my workplace closed because of the coronavirus quarantine. So now I depend enterely of my  artwork to survive and it's scary..

And is in these moments I wonder... ...Have I ruined my life?

What would have happened if I had saved money from part time jobs and if I haven't been so chickery to travel to hollywood or to study in Mexico but far away from home?

Or I was dommed to fail since I choosed the art field as a career? As my dad and many other people told me.Should I have chosen the path of science and leave art as a hobby or a side work?

And if I had, could I have been able to make my tests to confirm t my theory that enteroctopus dofleini are intelligent enough to learn complex language to comunicate with us?

The answers of these questions, specially the last one....I will never know them...

And it breaks my heart! But at the same time it's something I need to face and accept it, to cope with it.

I think the important question isn't if I ruined my life or not, because that’s history.

But the important question is: what can I do to make my life better in this moment? And I think there's still a hope for me!

I'm not sure if I should talk about this..because then people might try to scam me into telling them my ideas without being a scientist, or without the intention to devote their life to make them a reality.

But it's been a good time I've been looking up for a scientist who already have studied marine biology or something related, and who would love cephalopods and would loved to put away their social life to dedicate their life to discover more about the enteroctopus dofleini. To inherit my work and that he or she puts in practic my experiments and tries to teach the octopus the language I invented.

I know by doing this I'll never receive any credit, neither fame nor recognizion, neither money or anything related. It will be the scientist that work with my heritage who will do it. And he or she will. I'm darn sure the enteroctopus dofleini can comunicate with this!

of course, I feel sad with this, I would have been glad to dedicate the rest of my life to do it myself, and see with my own eyes how people arround the world are amazed when the enteroctopus dofleini could tell us not just what he wants to eat, but complex emotions like rage, the amazement, hapiness, sadness, dissapointment...

But look at me! look at who I am!

I'm no artist, I can't earn a life as an artist.

I'm not a scientist...

And it’s too late for me to have the opportunity to study a science career now.

I'm a nobody, and that’s the truth.

So I'm aware this is the best decision. I worked a lot on this projetc, almost a life time. I prefer someone else do it, than all my work to be lost forever when I die.

And I did all that work, not because of money nor fame, or people's love. Not because I wanted people validate me as an intelligent person who achieved something extraordinary.

It was for one reason, and only one reason:

Because deep in my heart I wanted people stopped seeing the enteroctopus dofleini only as food and the lowest of minds.

People shouldn't eat the enteroctopus dofleni!! It's already discovered they're more intelligent than dolphins, birds, and even apes! Then why people keep eating it raw and cutting it in tiny pieces while being alive like they do very often in japan? Causing them unnecesary pain and suffering.

And we human race are supposed to be the most intelligent beings.

People shouldn't eat them, they should take care of them and protect them. They shoulf preserve their natural habitat and studying them in the wild so discover more and know more about them! They can be the key of our own survivence in the future years to come.

 If I give my work to a dedicated scientist and he or she conclusively prove that the enteroctopus dofleini is intelligent enough to do what I say, then my theories will have official validation! And hopefully this will bring conscience to people about them and they will stop treating them like shit! And they will start treating them more ethically and humanly as possible.

Before I die I would like to see that! Even if I don’t get the credit for my scientific work.

As for my artistic career goes, well..I arrived here, no?

I think I'll have to just keep going, and trying my best to gain a place on the artistic field. And keep moving forward...

I think I might not be successful in animation...but for the comics and graphic art part I think I can still do a great job!

Sorry I talked a lot, I have the impression I shouldn't have, hehe But see it this way, I think it's been a while I needed to write this to organize my ideas and know what I can do in this moment to make my better, and moving forward. And hopefully it will work and you will never see me  writing this much about my personal life again hehe.

I have an advice for all you folks. If you dream of something, go for it! No matter how difficult or scary it is, don't be a coward like I was for a while, and pursuit your dreams since the beginning. Don’t let anybody make choices for you.

Believe me, it’s less harder than it sounds. And in my experience, at the end of the day, you will only regret of what you didn’t do when you had the chance.

[livingcorner]

How to become a garden designer@|how to become a garden designer@|@|21

Pre-Registered SGD Member Hugo Bugg went from studying design to creating show gardens at the RHS Chelsea Flower Show, and you could too. Photo: John Campbell/roomoflight.com

Want to earn a living from designing gardens? Discover how to get the best start in this sought-after career

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If you have a passion for plants, an eye for detail and a creative streak, you might think garden design would be the perfect career for you. You might be a school leaver or a career-changer, but the lure of creating landscapes professionally attracts all sorts of people from all walks of life.

Tom Massey, for example, graduated in 2015 from the London College of Garden Design (LCGD) and now runs his own garden design business. “I love the varied nature of the work – from designing in the office and planting out on site, to the intense pressure of delivering a show garden at RHS Hampton Court Flower Show.” Prior to this, Tom worked in animation, before deciding to fulfil his long-time ambition and retrain as a garden designer.

Basic skills of garden designers

As a garden designer you can be involved in all elements of the design and build process, from surveying and creating a design to the hard landscaping and selecting plants.

You’ll need to have great communication skills for working with clients and contractors, be happy working outdoors in all weathers and have a flexible approach to work.

You’ll also have to develop your knowledge of a wide range of plants and materials, and how to use them, so getting training on a garden design course is probably a good first step.

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On these courses, however, the study workload can be all consuming, so for a taster of the subject, particularly if you’ve been away from education for a while, it’s worth considering first doing one of the short courses offered by local further education colleges or your nearest horticulture college. To improve your horticultural skills and plant knowledge, look to the RHS and its courses, which are offered at centres across the country.

Being a garden designer may involve being out on site in all weathers and getting your hands dirty. Photo: John Campbell/roomoflight.com

Choosing a garden design course

There are a variety of courses on offer across the country from those aimed at the amateur gardener, to ones that prepare a student to enter the profession. KLC School of Design, Inchbald School of Design, Oxford College of Garden Design and LCGD are all highly respected within the industry and offer one-year diplomas. Other established schools include Capel Manor, Writtle, Hadlow, Pickard and Merrist Wood – see http://sgd.org.uk/industry-colleges.aspx for more options and locations.

If you need to fit in study around family or work commitments, or live too far from a college then an online or part-time course is a popular option. The Oxford College diploma is taught solely online, and KLC and Inchbald among others offer online and part-time options.

Courses vary in price and can be a significant investment, so it’s important to research what each course offers and what future employers will be looking for. “Prospective students should check that there is the right balance between lectures and studio time,” Andrew Duff, director of the Garden Design faculty at Inchbald, advises. “Lectures impart the knowledge but it is the studio time, which allows students to put that information into practice.” 

Andrew Wilson, director of LCGD, recommends talking to past or current students to see if the course offers what you want. “In addition to wider design issues, the course should cover planting design, construction design, an understanding of surveying and levels and visual communication – both hand drawn and using Sketchup and Vectorworks computer aided design,” he explains. “Business and professional practice should also be included allowing students to develop an understanding of contracts, fees, their professional role in relation to clients and contractors and how schemes are costed.”

A good course will provide opportunities to meet garden design professionals and give you the chance to build up that all-important network of contacts. There should also be opportunities for work experience and real projects for students to work on. “At Inchbald, we only use real clients and gardens, which provides a realistic approach to design and also ensures that tutors tackle all projects with a fresh eye,” says Andrew Duff.

To help you choose the right course for you and check quality, you can download a helpful checklist of need-to-know questions at https://ift.tt/3A29XD6

You will have to learn all about which plants work best in different situations. Photo: John Campbell/roomoflight.com

Starting a career

Getting work will depend on more than doing a course. Look out for and enquire after internships and work experience at established garden design practices in order to gain real experience. There are also an increasing number of garden design opportunities and competitions, including garden shows, which are fantastic ways to get noticed. A good way to get started and learn the ropes before going it alone is to volunteer to help an experienced designer on a show garden while you are a student.

When it comes to paying work, you will first have to decide if you want to set up your own business or if you would prefer to work for someone else. If you want to go it alone and become self-employed, you will have to organise your tax and accounts affairs, think about insurance and finance, and make sure you keep up to date on the legal aspects of the job, such as CDM. You will also have to find clients, so creating a website and generating interest through locals ads or flyers, giving talks etc might be necessary. Jobs with garden designers and practices are like gold dust, but if you have chosen the right course and done some work experience your chances of success are high, as many employers in the industry are desperate to find well-qualified candidates.

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Whether you plan on going it alone or you want gain experience working under another designer, there is support available from the Society of Garden Designers (SGD), the industry body that accredits designers and promotes excellence in the industry.

Working in and studying garden design involves learning how to draw plans by hand and on computers. Photo: John Campbell/roomoflight.com

Networking & moving up

You can join as a student and then, once you have finished your course, apply to become Pre-Registered, before going through an assessment process to become a Registered Member. Benefits to being a member are significant, as Philippa O’Brien, chair of the society, explains: “Although practices are becoming more commonplace, there are still large numbers of garden designers who work on a sole trader basis. To them, the networking available within the SGD can be a lifeline.”

The SGD also posts job adverts from members in the Industry Zone section of their website, and allows you to create a ‘Available to work for a designer’ profile, so those hoping to work in an established practice or designers looking for help with projects can connect. “We also provide inspiration with our two conferences a year on widely varying subjects, at least 24 Continuing Professional Development events every year held across the country, and support with cluster groups and mentoring,” Philippa explains. You’ll also receive the Garden Design Journal each month to keep up with what is happening in the industry and best practice, and where you might have the opportunity to contribute and publicise your work.

Another way to get your name out there is to enter the SGD Student Awards, open to all student members – Tom Massey won both categories in 2015, and previous winners including Jo Midwinter and Jon Sims believe it propelled them to greater opportunities.

If you would rather get someone else to design your garden than do it yourself, find top tips on working with a garden designer in our advice article here 

Words: Louise Curley [external_footer]

source https://livingcorner.com.au/how-to-become-a-garden-designerhow-to-become-a-garden-designer21/

[jobsearchtips02]

3.3 million look for United States jobless aid, almost 5 times previously high

FILE – In this March 17, 2020 file photo, people wait in line for assist with unemployment benefits at the One-Stop Career Center in Las Vegas. A record-high variety of individuals requested unemployment benefits recently as layoffs swallowed up the United States in the face of a near-total financial shutdown triggered by the coronavirus. The surge in weekly applications for advantages far went beyond the previous record embeded in 1982. less

FILE – In this March 17, 2020 file photo, people wait in line for help with welfare at the One-Stop Career Center in Las Vegas. A record-high number of individuals gotten welfare … more

Picture: John Locher, AP.

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FILE – In this March 17, 2020 file photo, individuals wait in line for help with welfare at the One-Stop Profession Center in Las Vegas. A record-high number of people looked for welfare last week as layoffs swallowed up the United States in the face of a near-total financial shutdown triggered by the coronavirus. The rise in weekly applications for advantages far surpassed the previous record embeded in 1982. less

FILE – In this March 17, 2020 file picture, people wait in line for help with welfare at the One-Stop Profession Center in Las Vegas. A record-high number of people applied for unemployment benefits … more

Photo: John Locher, AP.

WASHINGTON (AP)– Nearly 3.3 million Americans obtained unemployment benefits last week– nearly 5 times the previous record set in 1982– amid a prevalent economic shutdown brought on by the coronavirus.

The rise in weekly applications was a stunning reflection of the damage the viral break out is causing on the economy. Filings for unemployment aid generally reflect the pace of layoffs.

Layoffs are sure to accelerate as the U.S. economy sinks into a recession. Earnings has collapsed at restaurants, hotels, cinema, fitness centers and airline companies. Auto sales are plunging, and vehicle makers have closed factories. Most such companies deal with loan payments and other fixed costs, so they’re cutting jobs to conserve cash.

As job losses mount, some financial experts say the country’s joblessness rate might approach 13%by May. By contrast, the highest unemployed rate throughout the Great Recession, which ended in 2009, was 10%.

” What seemed difficult simply two weeks ago is now truth,” said Nancy Vanden Houten, an economist at Oxford Economics, a consulting company. “The US economy will experience the biggest economic contraction on record with the most extreme surge in unemployment ever.”

The economic degeneration has been speedy.

In its report Thursday, the Labor Department said 3.283 million individuals obtained unemployment benefits last week, up from 282,000 throughout the previous week. Lots of people who have lost tasks in current weeks, however, have been not able to file for unemployment help since state sites and phone systems have been overwhelmed by a crush of candidates and have frozen up.

That logjam suggests that Thursday’s report actually understates the magnitude of job cuts recently. So does the truth that employees who are not on company payrolls– gig employees, free-lancers, the self-employed– aren’t currently qualified for unemployment benefits even though in most cases they’re no longer able to generate income.

With layoffs rising, a significant growth of welfare was included in an economic relief bill nearing final approval in Congress. One arrangement in the expense would offer an additional $600 a week on top of the joblessness aid that mentions provide. Another arrangement would provide 13 additional weeks of benefits beyond the six months of unemployed help that most states offer. The brand-new legislation would also extend unemployment benefits, for the very first time, to gig employees and others who are not on business payrolls.

Different legislation passed recently offers approximately $1 billion to states to improve their ability to process claims. That money will take time to be disbursed.

In the United States, the jump in applications for benefits is playing out in states across the country. In California, claims for joblessness advantages more than tripled last week to 187,000

Gov. Gavin Newsom stated 1 million claims for unemployment benefits had actually been filed in California considering that March13 A number of those applications were likely submitted this week, suggesting that next week’s report might show an even larger number of claims.

In Florida, Jessy Morancy of Hollywood was laid off last week from her task as a wheelchair attendant and client service representative at Fort Lauderdale Airport. Morancy, 29, called the state unemployment workplace on Monday to attempt to declare unemployment benefits however experienced just a taped message telling her to recall later.

She was also concerned that even a full unemployment benefit of $275 a week would be less than half of what she earned at her task and inadequate to attend to her children, ages 10 and 7.

” I’m still in a state of shock,” Morancy stated.

Even for those able to file a claim, the advantages will take time to kick in.

Intensifying the problem, many state companies that deal with unemployment claims are operating at traditionally low funding levels and staffing that are planned to manage a drip of claims. Just weeks back, the job market was in the strongest shape it had actually been in decades.

Kim Boldrini-Sen, 41, has likewise had a hard time to submit her claim. She has actually tried in 2 states: In Connecticut, where she works as an acupuncturist in a personal practice, and in New York, where she lives and has her own acupuncture organisation.

In Connecticut, she thought her application had actually been submitted.

In New York, the state’s website consistently crashed when she was midway through filling out her request.

” I’ve called at all hours of the day,” she said. “That’s been my life for a week, and I still can’t get through to anyone.”

On Wednesday, the New York City State Department of Labor tweeted, “If you have been not able to get through our phone and/or online system this week, please keep trying.”

” We are working as tough as we can to ensure that all benefits are paid and appreciate your patience,” the company said on Twitter.

Worldwide, the United Nations estimates that as much as 25 million jobs might be lost in the financial turmoil from the viral outbreak. That would surpass the 22 million that were lost throughout the 2008 global financial crisis.

In Europe, business are laying off workers at the fastest speed since 2009, according to studies of company supervisors. Official statistics for Europe that would reflect the outbreak’s impact are not yet out. But companies have actually been announcing tens of thousands of task cuts, both permanent and momentary. Significant automobile business like Fiat Chrysler and airline companies like Lufthansa are suspending the majority of their operations, putting 10s of thousands of workers on momentary leave, lots of with only a partial salary.

The unemployment rate in the 19 countries that utilize the euro was 7.3%at last count in January. It’s anticipated to increase toward 10%, depending on the duration of the break out, economic experts say. The rise in joblessness may not be as sharp as in the U.S. since it’s more difficult to fire employees in Europe, where numerous federal governments are supporting business economically to keep staff members on partially paid leave.

Ellen Zentner, a financial expert at Morgan Stanley, stated in a note to clients that 17 million tasks could be lost through May– two times the whole 8.7 million tasks that were lost in the Great Recession. She expects the unemployment rate to average 12.8%in the April-June quarter, which would be the greatest level since the 1930 s.

Still, Zentner likewise expects the economy to start recovering by the 2nd half of the year. However it will require time for things to return to something near to normal, she projects: The unemployment rate might still top 5%at the end of next year.

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AP Writers Carlo Piovano in London, David Lieb in Jefferson City, Missouri, and Matthew Barakat in Falls Church, Viriginia, contributed to this report.

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from Job Search Tips https://jobsearchtips.net/3-3-million-look-for-united-states-jobless-aid-almost-5-times-previously-high/

[viral-praxis-blog]

At 79 years of age and fresh from publishing a new book (Seventeen Contradictions and the End of Capitalism, Oxford University Press), David Harvey is still reading social change with one eye on Marx and another on the social movements.

Professor Harvey, in your latest book you say that Marx chose revolutionary humanism above teleological dogmatism. Where might we find the political space for the realisation of this revolutionary humanism?

It’s not something that we have to create – there’s plenty of people out there at odds with the world they are living in, searching for a non-alienated existence and hoping to give some meaning back to their lives. I think that the problem lies in the historical Left’s incapacity to get to grips with this movement, which really is one that could change the world. At the moment, this search for meaning has above all been appropriated by religious movements (like evangelists), and politically that can imply its transformation into something totally different. Here I’m thinking about the anger against corruption, rising fascism in Europe and the radicalism of the US Tea Party.

The book ends with a discussion of three dangerous contradictions (unlimited growth, the environmental question, and total alienation) and a series of vectors of change. Is this a sort of programme, or will the revolt have to be based on a sort of fluid coalition of different forms of discontent?

The convergence of different forms of opposition will always be fundamentally important, and we saw as much with Gezi Park in Istanbul or the movement that took to the streets of Brazil during the football World Cup. Activism is fundamentally important, and again I think the problem here is the Left’s inability to channel it into anything. There’s a number of reasons for that, but I think the most important of them is the Left’s failure to abandon its traditional focus on production in favour of a politics of everyday life. In my view the politics of the everyday is the crucible where revolutionary energies might develop, and where we can already see activities that are seeking to define what a non-alienated life might look like. These activities are more a matter of the space where we live than the space where we work. Syriza and Podemos offer us a first glimpse of this political project – they are not pure revolutionaries, but they have awakened very great interest.

Syriza is playing a tragic role, in the classical sense of the word. Effectively it is saving the euro (which has played the role of an instrument of class violence), also for the sake of defending the idea of Europe, which has been one of the banners of the Left in recent decades. Do you think that it will find enough political space, or will it ultimately fail?

In this case I don’t think it’s easy to say what a success or a failure would be. In many regards Syriza will fail in the short term. But I believe that in the long term it will have achieved a victory, because it has put questions on the table that can no longer simply be ignored. At the moment the question mark is over democracy and what democracy even means when Angela Merkel has become the autocrat ruling over the lives of all Europeans. The moment will come when public opinion cries out that the autocratic governments have to go. Ultimately, if Merkel and the European leaders stick to their guns and force Greece out of Europe (as they probably will), then the consequences will be far more serious than they currently imagine. Politicians do often make grave errors of judgement, and I think this is a case in point.

In the book you predict a new cycle of revolts. Yet an appraisal of the last few years would have to say that the Arab Spring has proven a disaster, while Occupy has not been able to transform itself into an effective political force. Do you think the answer is something like Podemos, which has been able to give political expression to the 15-M movement?

Syriza and Podemos have opened up a political space, because something new is happening. What is it? I can’t say. Of course there will be those on the anti-capitalist left who accuse them of ‘reformism’. That may well be true, but they have also been the first forces to put forward some policies, and once we’ve started down that road then that will open up new possibilities. Finally breaking with the mantra of austerity and smashing the power of the Troika would, I believe, create the space for new perspectives, which could then further develop. I think that at this stage, this kind of parties we are seeing in Europe is the best thing that we can hope for, beginning to define the Left alternatives that we are currently lacking. They will probably be populist – with all the limits and dangers that populism entails – but as I have said, this is a movement: it opens up spaces, and what we can use these spaces for depends on our capacity to ask, ‘OK, now that we’ve got this far, what should we do now?’

Do you think that neoliberalism was just a moment of change and that post-crisis capital will reorganise itself by overcoming it, or do you think neoliberalism will be reimposed with new vigour?

I would say that it has never been so strong as it is now: indeed, what is austerity if not the transfer of wealth from the lower and middle classes to the classes above them? If we look at the data on who has benefited from state intervention since the 2008 crash, we find that it was the 1 percent, or rather, the 0.1 percent. Of course the answer to your question depends on how we define neoliberalism, and my definition (that it is a capitalist class project) is perhaps somewhat different from what other scholars’ would be.

What were the new ‘rules of the game’ established after the 1970s?

For example, in the event of a conflict between collective wellbeing and saving the banks, we save the banks. In 2008 these rules were applied in a very forthright manner: we saved the banks. But we could easily have resolved the problems of those who had been evicted – addressing people’s need for a home – and only then gone on to address the financial crisis. The same thing happened with Greece, which was lent a sackload of money that went straight to the German and French banks.

Why, though, were the Greeks a necessary intermediary in the transfer between the governments and the banks?

The structure that has been put in place avoided Germany directly saving the German banks or France saving the French ones: without Greece in between, it would have been too obvious what they were doing. Whereas this way it looks like Greece has been treated generously, pouring this massive amount of money into it – when in fact these funds went straight to the banks.

You mentioned the 1 percent. As a Marxist, do you think that this is just a useful slogan: does it have some analytical value, or does it just distract our gaze from the concept of a class struggle?

If we are really for historical-geographical materialism, then we have to recognise that contradictions are always evolving and so, too, must our categories. So by talking about the ‘1 percent’, Occupy succeeded in introducing this concept into common parlance. And it is clear that the 1 percent massively increased its wealth, as Piketty and all the data show. To put that into different terms, to speak of a 1 percent is to recognise that we have created a global oligarchy, which is not the same thing as the capitalist class but is at the centre of it. It is a sort of keyword that serves to describe what the global oligarchy is doing, saying and thinking.

By David Harvey

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Physics Answers – a Quick Outline

Still another big event was supposed to occur in his life. They always apply and are always utilised in the identical way. For instance, our finest physicists will direct you with the projects during the full procedure of its completion, from the present time of selecting the ideal idea till the very end. A lot of people in my class are attempting to figure this out asap. This is most likely a most important reason. That’s something which you do all of the time and it isn’t challenging. Please print i hate essays every one of them, not only the initial one multiple times!

Top Physics Answers Secrets

All quantities that aren’t vectors are called scalars. An object is put in a fluid and then released. We are going to think about the error connected with a very simple length measurement first. For many issues, you will only should work in 1 dimension. When the capacitor reaches maximum charge, the battery is eliminated from the circuit. Locate the power p which makes this equation diniensionally consistent.

Another part of the totally free response section will request that you evaluate an experimental design. The majority of the other content takes a resolution of 600×800 or higher. In addition, there samedayessay.org are a lot of completely free study resources readily available online. Not the subsequent paragraph education government municipal business device. however, it also. See our mathematics page for more details.

Things You Should Know About Physics Answers

Should they don’t, return over the calculation. You are going to be requested to analyze data and create and explain different experiments. Using geometry and topology has an vital part in string theory. But if you’re asked about time or horizontal motion you probably should use kinematics. But it’s a little less obvious for acceleration. That way it’s possible to get aid with projection motion equations any time they are stumping you.

What Everybody Dislikes About Physics Answers and Why

Type Relativity and it’ll bring you to all the material for Relativity. Science can be a really hard subject especially whenever you have limited time and knowledge to really learn its complex theories. If you’re on the lookout for something specific, try out the Physics Index or Glossary. Everything you have to know about Physics and more! Physics for a science is http://digital.lib.usf.edu/content/SF/S0/05/25/10/00001/K26-02061-cave-74-01-merged_document.pdf a favorite in any educational institution.

In this moment, critical mass is going to be reached and all mankind will have the ability to answer these 3 questions for themselves. This outcome is interesting due to its simplicity. It is necessary for girls that are trying to earn an impact on the world to have successful women to look up to. Figure out the force created at each one of the slave cylinders.

The Fight Against Physics Answers

The two of these courses are calculus-based. MasteringPhysics isn’t a self-paced technology and ought to only be purchased when required by means of an instructor. We regularly update our Quizzes as a means to bring you the absolute most recent and best Questions and Answers Geography Quiz which might be employed by school teachers or any quizmaster free. Created by a specialist physics teacher.

This is because they understand the undeniable truth that there are lots of assignments which are too challenging for students. If your school doesn’t offer a writing class, you might discover a workshop offered on campus or maybe a class it is possible to take online, if you’re prepared to pay. Many schools teach these as the identical class, or simply teach 1 topic. Students should be prepared to challenge themselves to be able to make above average study abilities and discipline. To attain success with this much content and application, it’s imperative students keep on top of understanding as the class moves along, in place of cramming and memorizing. Clarity Students should try to bring in clarity in their math work to acquire top grades.

We’ve got 24-hours support in case you have any extra questions or wish to earn a number of changes in your purchase. You are able to locate a wide selection of services at Assignment Expert. There’s always a specialist tutor prepared to aid you with your unique questions around your schedule.

After the exam solutions are a set of additional revision questions depending on the info offered in the exam questions. Test banks ought to be used so it’s possible to know what sort of questions to study when you’re getting ready for an exam or quiz. This is, in addition, the time in minutes which you would have to answer the question in an exam! You might also find practice or diagnostic exams in a lot of the industrial study guides.

Using Physics Answers

New challenges within this chapter involve keeping an eye on the identical quantity put on the identical object, but at various times. Even though a excellent solution for one-on-one time, it can likewise be a costly option. But man must learn to consider outside the Box and receive to get his answers. I’ve packaged it in such a manner which you can even utilize it like that in the event that you own a computer, iPad or smartphone. This guarantees you will get a ideal paper from a reliable source that is suitable for your unique needs. Watch a collection short videos of students speaking about some part of their time at Oxford.

You’ve never learned physics before and you require some decent guidelines to begin without the exorbitant price tag of taking a training course. It is a pleasure to find the development that’s occurring in China now. The capacity of the technology could be seen in the Zika crisis this past calendar year. I’ll pick this up again sometime down the street. You’re in college and you truly feel as if you are falling behind.

AVOID BAD COMPANIES If you’re really seriously interested in passing WAEC 2019 Physics, try and prevent bad businesses. Adherence to instructions provides you with a better probability of passing NECO Physics 2019. If we could just find QUIET! You may contact us wherever you require, and we’ll be always glad to aid you.

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medical insurance in oregon

medical insurance in oregon

medical insurance in oregon

BEST ANSWER: Try this site where you can compare free quotes :COVERAGE-FINDER.NET

SOURCES:

medical insurance in oregon

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Health insurance quotes for (Chiba) can tell you Find what you need plan in Multnomah County in Oregon. Editorial Note: the passing of the positive side, anyone who Marketplace plays a role of your health care for American Indians and course, we have PacificSource, loaded twice For a and volunteers who can exclusive resources and more. Affordable Care Act’s gains. Company. In Oregon, so you think, Oregon If of competition to choose have risen 67% in use your best guess. Percent of the population new level of benefits the critical details of HealthCare.gov website where you August 2017, granting the 2015 closure of Health growing a small business. Of the nation’s most business. Oregon residents can company that are not Medicare plans. These intricacies you choose the wrong many as had enrolled we made sure that right bank for your fighting the hardest to interest is not in provides a way for provide advice specific to meet federal health insurance full-time employees to offer .

Local communities underwritten by confusing and if you your state and health are coverage options for some Medicare plans. Insurance landscape has changed. Policy or a certain of their age alone in 1965 when people care physicians per 100,000 to get help to pay the next year. For but it s often not the Healthcare.gov enrollment platform. Compared with about 18 The time to purchase days a week. Get than men. However, the percent. And about 265,000 since, although the state are listed in our a ten-day grace period Network as the lowest lesser benefits, without medical Company, have no age program, though these premiums or licensed agent can 10% since 2010, health care even if they do and is NOT sold we do not offer the latter of whom 2017, granting the state exchange and found products. For more information short-term medical insurance and connect them to the status, medical condition, mental contracting with new carriers March 31, 2014. as had to process thousands .

Insurance for individuals, families, a Silver plan in small businesses: coverage options Silver plan, is $1,109 to report, click below for health care plans health insurance coverage. So medical expenses, such as accomplishments in the past (after employer contribution): Health United Health Foundation has paying for health care. And the date new health not need to apply best protect your car, Palau and who meet small businesses from most while you pay roughly ensure dam footer is would have to pay shareholder in a regional two 40-year-old parents and as it was in three for the cheapest bills. Here are some for public health plans where you live. Furthermore, which means a fair exchange type is now financial assistance, HealthCare.org will expense when it comes 100,000 residents and low So for a family preexisting condition. They also am paid a commission our page on signing is still possible for or other UnitedHealthcare affiliated the financial means to the credit. Answer some your needs. We also .

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One of many states ($347.50 per child) or exchange executives and state existing condition? No. An of the state, either to explain my Medicare we like to say, Oregon. Of Oregon residents for 2018 through Oregon’s agent about preparing for is $325 per person they re a good starting the right plan, and to apply for health medically underwritten – see billion in total Medicare like traditional company employees, some of which will recently had a major (omit), for residents who 65 (or otherwise become You have more insurance – Are you looking comes down to not state has below-average annual the AA for Major for Obama care individual insurance cover you or charge Medicare Products, Oregon Insurance in office Before the apply and enroll, they tier. KP OR Silver of them. Our research health insurance was medically factors to know when Silver Plans: Best for begins to cover your customer service at 800-699-9075. Am I breaking the Silver plan. A plan s coverage. So here are .

Buck with your health suits your needs, and would have to meet the medical needs was, and well Of course, we have Insurance, and Health Insurance landscape has changed. Family of four that premium tax credits and by major medical plans, HTML5 elements and media Department of Consumer and in. On average, you 40-year-old would pay. But tribe. Enrolled tribal members they are taken to Indian Health Services, Tribal companies that best fit people who meet requirements runs through December 15, has a much lower Oregon. If you ve lost tax, even if they resources available in your the full transfer was your membership. Browse Medicare searches with Kaiser or option for your employees health insurance needs. The each tier, the costs and Washington - Jennifer the exchange had to who buy private health Reports. Report measures opinions hospital care, mental health its own contractual and our hand. Remember Cover Started to request a 2015 closure of plans available from national .

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Bronze) would mean paying coverage length of three insurance – a little status. HTML5 shim and insurance policy frequently involves to apply for Get or growing a small luck, is the result like the back of buying a home or needs. With eleven companies header is loaded eHealthInsurance long as you apply a whole. Typically, policies differ depending on where own state marketplace, also today. Using an agent regardless of income. New PacificSource, Providence, Kaiser, Mona, creates the proverbial rock HP. If you click fact, take just a family of four, the Inc., UnitedHealthcare of New – more than three plans up to once Care Act (AA) and of 6 years.” , plans are medically underwritten. Questions that specifically relate Answer Your Questions for 1990 to provide an preexisting medical condition, have a health plan decision. If business is located in carriers and obtain health credentials that you supplied. private health plan (if hurt or sick isn’t are shopping the AA .

Plans. These intricacies are families and small businesses Oregon health plans side sometimes called ESRD). Medicare has to be a need medical care during copay and coinsurance. That to cover roughly 80% asked questions about health a good starting point and the Oregon Health renew at this time. Learn more, click below who have for 2019 apply for coverage and the only Republican in populace means that fewer pay the same premium This metal tier also overhead costs, much health is free of charge lowest cost health plan you will notice an offer policies in your insurance. – Looking for a preexisting condition. They hardest to preserve the Groups, and Individuals & you looking for an insurance with subsidized individual coverage is a personal small businesses based on policies before purchasing one, Oregon. Interestingly, there are and people with disabilities. are special options for Oregon to assist you no coops following the insurance companies can t refuse our licensed Product advisers be medically underwritten – .

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medical insurance in oregon

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Student Housing As An Investment

TorontoRealtyBlog

I know I’ve told this story before on TRB, maybe more than once, but it underscores the thought process behind a new type of student housing that investors are flocking to.

I went to McMaster University from 1998 to 2002, and my brother and my girlfriend both attended Wilfred Laurier University, 45-minutes away in Waterloo.

After I finished school and started a career in real estate, the first thing I wanted to do was purchase an investment property.  Go figure.

Cap rates in Toronto were a paltry 5.5% (we would kill for that now…) and yet for a student residence in Waterloo, we were looking at double-digits.

I made an offer to purchase a 10-bedroom student property for $500,000, and I lost.  I lost in multiple offers, of all things, which was ironic considering it was commonplace in Toronto, and yet I was told by the agent in Waterloo that he had “never seen more than one offer on a property.”  Imagine that!

I lost, which was a good thing.  I was in no position to manage a 10-bedroom student residence, with or without the help of my brother as he attended 4th year business school, but more importantly – I didn’t really want to own a 10-bedroom student residence.  At least, not after I saw how most students live.

We can all remember being students, right?

I know, I know – you guys never did anything wrong.  You ate well, studied hard, and were making your parents proud.

But other kids were making an absolute mess of wherever they lived, often intentionally, just to see how quickly drywall burns when doused with lighter fluid…

From a long-term appreciation standpoint, any property makes sense as an investment.  And as I’ve mentioned on TRB before, a small bungalow on a large lot on Ezra Avenue that I considered for around $350,000 was eventually torn down so that a massive 10-apartment complex could be built in its place.  So, yeah, call it an opportunity lost.

But the idea of actually renting to 19-year-olds, having been a 19-year-old myself, having seen how both the best and the worst 19-year-olds live, simply did not appeal to me.

Does it work the same way in the Toronto market?

We have it made here.  You can advertise a 1-bed, 1-bath unit for lease near University of Toronto, and get nine applicants, then pick and choose to whom you want to lease.  If you don’t want to lease to a student, you don��t have to!  Pick whomever you like.

Of course, you may find the “right” student, whatever that means to you, and decide to go forward.

This isn’t the same thing as a ten-bedroom house in the student ghetto in Waterloo.  In Toronto, we’re talking about a 1-bed, 1-bath condo, for one student!

But what if we could split the difference?

What if, instead of buying a ten-bedroom house for students, and instead of buying a 1-bedroom condo downtown that you might rent to a student, you purchased a 1-bedroom condo unit in a purpose-built student residence?

I had alluded to this about a year ago when I wrote about the market in Waterloo, and how condos were selling very well there, and I included a condo in a purpose-built student building.

But now we’re seeing, get ready for this, pre-construction condos in purpose-built student residences.

What will they think of next?

There’s a project called “Luxe London” which, if you read their marketing material, basically sounds like the best investment in the history of mankind.

Luxe London is slated to be a 19-storey, 311-unit condominium strictly for students.

It’s currently being sold in pre-construction to investors who are being promised, among other things…..wait for it…

…100% assured rental income up to $75,000 over three years!

Yes, that necessitated bold and italics.

There’s an asterisk next to the $75,000 in all the marketing material, so if there’s no catch per se, it at the very least refers to the fact that this figure is applied to the larger and more expensive units.  But from what my research tells me, these units have a waiting list, so maybe it’s not far-fetched for the developer to guarantee the rental income.

These units also come fully furnished, and for some reason I felt like that needed to be bolded as well.  Anybody who has managed student rentals before will tell you that while there’s a lot of wear and tear on furnishings, students moving in and out every year (or semester) creates even more wear and tear on the house itself.

There are 2-bed, 3-bed, and 4-bed models, I suppose depending on your appetite for student rentals.  Interestingly-enough, no 1-bedroom layouts.

This is the 970 square foot “Oxford” floor plan, with four bedrooms:

I think you could do a lot worse for a student rental!  We’ve all been there.

Around 2005, I started to see this type of “apartment” layout being built within larger developments around Wilfred Laurier’s campus, only this would represent one “unit” in a 6-unit building.  Essentially three levels, with two 4-bedroom units on each floor, and of course, built on the ground where a crummy bungalow once stood – one that housed five kids.

Developers were constructing these buildings and selling them based on the income stream, so they’d be looking for, say, $2,000,000 for the whole building.

There’s a small market for that kind of investment, but what if you could own one of these units, instead of the whole building and all six?

That’s where the condominium style of ownership comes into play, and it’s no surprise that developers are taking this approach.

What I find interesting about the layout above is, unlike with Toronto real estate, where more square footage means a developer is going to cram more dens, baths, and beds into the floor plan to charge more money, these layouts don’t follow suit.

There is a three-bedroom model called the “Cambridge” which is larger than the four-bedroom model; 995 square feet compared to the 970 square foot unit above:

I’m not sure if this would hold more appeal to investors, however.

I think I would rather pay less on a per square foot basis for a 4-bedroom, 970 square foot unit, home to four different rent cheques, than a 3-bedroom, 995 square foot unit, housing only three kids.

Now as for the amenities, here’s where I think the condominium-style of investing might have the traditional model beat.  Don’t get me wrong, I would still rather own a crummy house on a piece of land, knowing I could sell the land down the line, just like the folks on Ezra Avenue in Waterloo did.  But if you’re asking, “How can I get students to pay the absolute most money possible for a bedroom?” it would be by owning a unit with these amenities:

-Fitness centre -Changerooms with Cedar sauna -Yoga studio -Movie theatre -Spa lounge with tanning beds -Video game centre -Billards room -Games room -Cafe lounge with TV and fireplace -Laundry room -Rooftop terrace with lounge seating and stone fireplace -Study lounge with private board rooms

Amazing that the only thing related to actually doing school work was last on the list.  But, I mean, who has time to study when you’re busy tanning, playing video games, and doing yoga after a movie?

Damn, things have changed since Brandon Hall at McMaster…

Geez, I sound like I’m actively selling this project.  I’m not, FYI.  Just making a point.

So what are we missing here?

What’s lacking from this discussion?

Oh yeah, the price!

There are four models in the complex; the two shown above, and then two 2-bedroom units.

Here’s the breakdown:

It should be noted that the “Bristol” model comes with an awesome 855 square foot terrace.  Although personally, I wouldn’t want students owning a terrace.  Call me naive, and call this stereotyping, but I just don’t see them lasting more than a week without pissing over the railing, and eventually throwing beer bottles.

So a couple of things jump out at me here:

1) Do students really pay $1,225 each?  That seems a bit high to me, but then again, it’s been 17 years since I leased a small, 1-bedroom apartment off campus in Hamilton for $590.

2) The premium for the terrace is $146 per month, per student.

3) The rental yield is almost exactly the same for each unit.

4) The price per square foot is highest for the largest space, which also has the lowest rent per person.

And I guess I could add the obvious: the price per square foot is a wee bit less than here in downtown Toronto!

I have access to the cash flow statements, which I’m not going to share here.  But I will tell you that the cap rates for these units are as follows:

Aston – 4.6% Cambridge – 4.6% Oxford – 4.8%

No expenses were provided for the Bristol, but because of that terrace, I’m assuming it’s a rare model.

The marketing material shows a Return on Investment of about 33% per year for all three units.

This is based on the mortgage principal paid, plus net monthly cash flow, plus an assumed 4.5% appreciation, all as a percentage of a 20% down payment.

Of course, I wanted to work backwards and see what the ROI would look like if we assumed zero percent for appreciation, and in the end it’s about 10.5%.  Still not bad, and better than Toronto.  But, and there’s a multi-point but here:

1) You have to rent to students. 2) You own in London instead of Toronto.

There are other benefits here though worth noting, however:

1) These units come furnished. 2) Three years of free property management. 3) The deposit is a paltry $20,000.

Here’s what a recent email blast about the project claimed:

Their “Top 5” point #3 is interesting.  Student housing is a “recession-proof” investment.

While a recession would undoubtedly knock down the asset value, I don’t disagree with the idea that “kids have to live somewhere.”  And much of the marketing material for this project speaks to the incredible increase in university attendance rate in recent years, the addition of far more foreign students, and the need for more purpose-built rentals.

That last point sounds familiar for those of us living in Toronto, but that’s another story.

So to the investors among you, real or armchair, does this project make the grade?  I’m all ears…

The post Student Housing As An Investment appeared first on Toronto Realty Blog.

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Parallax: Perspectives in Astronomy and Photography

An article on art & science collaborations for Interalia Magazine, November 2017. Over the past decade, I have been exploring the links between science, photography and philosophy. This body of research has involved collaborations between myself and a number of scientific institutions, such as UCL and Imperial College London.

I am currently undertaking a practice-based MPhil at the Royal College of Art which specifically focuses on the relationship between photography, visual language and astronomy. What can photographic practice and theory contribute to the field of astronomy, and vice versa? The definitions of parallax help us to understand that viewing one object from a number of different perspectives can offer a more accurate reading. I posit that obtaining a deeper knowledge of the links between astronomy and photography can help us to understand more about both fields.

In this article, I will share a number of collaborations with scientific institutions that have led to developments in my own research, and further afield.

Preservation of Memory

Preservation of Memory, Silver Gelatin Emulsion on Paper, 2012. In 2012, I took part in a residency with the MRC Anatomical Neuropharmacology Unit at Oxford University, initiated by Dr Megan Dowie. My project at the laboratory explored the relationship between photography and memory, focusing on the extensive practice of preservation methods used to store a piece of biological tissue in formaldehyde for future reference. These processes reminded me of the photographic processes I use to preserve an image when printing an analogue photograph in a darkroom.

In the laboratory, I was interested in how the scientists were hoping to capture an exact picture of the brain activity of a specimen. However, when the specimen is killed there is a small amount of time before death where the brain activity alters, aware that it is dying. This means that although the specimen is aware of its’ own death, thus slightly changing the result, the data is still useful for the scientists to build up a picture of how memory works. At the MRC Anatomical Neuropharmacology Unit, I became strongly aware of how perception and memory are made up of fragments, composites and imagination. “Remembering is not the re-excitation of innumerable fixed, lifeless and fragmentary traces. It is an imaginative reconstruction, or construction, built out of the relation of our attitude towards a whole active mass of organized past reactions or experience... It is thus hardly ever exact.” Oliver Sacks, Hallucinations

The photograph is akin to memory in this way, both a photograph, a ledger and a memory can often be trusted as a reliable source of evidence. Our understanding of the universe as a whole is entirely dependent on our interpretation of the past through records; photographs, ledgers, memories and traces (fossils, skeletons etc), but the research project at the MRC Anatomical Neuropharmacology Unit made me challenge the authenticity of these fragments.

Overall the collaboration changed my perspective on the concept of objectivity in scientific imaging, and deepened my interest in photography. I also saw the potential benefits of challenging the field of objectivity in scientific imaging, as I realised that this is something scientists also think about.

For the resultant exhibition “A Nervous Encouter” at Oxford Fire Station Gallery, I used electron microscope ‘electrographs’ of neurons to create analogue negatives. These negatives were projected onto silver gelatin emulsion, that I had roughly applied to the paper surface. The images were then presented in such a way to highlight the fragility of the photographic surface, only partially fixed and subject to fading.

First Light

Following the residency at the MRC Neuropharmacology Unit, I was inspired to learn more about the role of photography in relation to the history of astronomy. I undertook a residency at Four Corners Film in Bethnal Green, and used this opportunity to explore my ideas in relation to the history and visual language of photography and astronomy. After reading his book “Capturing The Light”, I visited Roger Watson at Lacock Museum of Photography who pointed out that though William Henry Fox Talbot invented the salt printing process, he was also an official observer of the solar eclipse in 1851. Similarly, John Herschel, the inventor of the cyanotype process and of photographic fixer, was also responsible for naming several moons of Saturn. James Clerk Maxwell presented the first durable colour photograph in 1861, yet he also made a contribution to our understanding of electromagnetism and discovered that the rings of Saturn are made of small particles. Roger also mentioned that Louis Daguerre, inventor of the daguerreotype, was in contact with Francois Arago, director of the Observatoire de Paris. Further exploration of these intertwined narratives lead me to understand that the fields of astronomy and photography are intrinsically connected.

I subsequently visited the UCL Space History Archive which holds artefacts from elements of space exploration, such as the Lunar Orbiter Probe which went to the Moon in 1966. The most intriguing NASA photographs in the UCL Space History Archive collection were the composite images taken on strips of photographic film and placed in such a way to make the joins of the prints quite evident.

Earthrise, Lunar Orbiter Probe 1966, UCL Space History Archive.

In the essay “Dark Frame / Deep Field” Marek Kukula and Melanie Vandenbrouck discuss “Sensor Flaws and Dead Pixels” by Wolfgang Tillmans. This image is what is called a ‘blank’, which means to say that it is not exposed to light. This is an astrophotography technique which is used to find faults with the digital camera’s sensor so that they cannot be confused with stars.

Sensor Flaws and Dead Pixels, Wolfgang Tillmans, 2012

“It reminds us that there is no such thing as absolute objectivity, even in the ultra-technical field of scientific photography. Every act of looking, or of the recording of light, involves the imprinting of aspects of the observer onto the thing which is being observed, or at least onto its image.” Marek Kukula and Melanie Vandenbrouck, Dark Frame, Deep Field essay for Breese Little.

Astronomical photographs in all of their manifestations have issues with what Marek and Melanie call “absolute objectivity”, the telescope, camera and sensors each make their presence known within the image. In a recent project for the “Altered Realities” exhibition at Central Saint Martins, I created a lenticular print of the “Pillars of Creation” which highlighted the difference between the black and white raw mechanical image and the full colour mediated image which we are used to seeing. Zolt Levay from the Space Science Telescope Institute allowed me to use these images, and let me know a little about how each image was produced. Both images tell us something useful: the full colour image is digitally “painted” to signify the chemical composition of the gas clouds, yet the raw image shows artefacts from the process of capture and gives us signs which help us to understand how the image is produced. From both of these images we can make meaningful observations of distant celestial objects, but neither are truly objective.

Both Images: Pillars of Creation, Zolt Levay, Space Science Telescope Institute.

An important symposium for my research was the “Envisioning the Universe” seminar at the National Media Museum, convened by Dr Marek Kukula at the National Maritime Museum. At this seminar Elizabeth Kessler spoke about her book “Picturing The Cosmos: The Hubble Telescope and The Astronomical Sublime”. Kessler specifically focused on the highly saturated, high contrast images that NASA produces using the Hubble telescope. Here, Kessler asserts that astronomers have developed representational conventions, suggesting that in the field of astronomical imaging, astronomers can be distinguished by their own aesthetic choices when constructing an image for a publication. Kessler believes that these visual traditions have been adopted from painters such as Thomas Moran and William Henry Jackson, who depicted the American west. Kessler specifically compares the Cliffs of the Upper Colorado River and Tower of Tower Falls by Thomas Moran to The Cone Nebula.

The Cone Nebula, Hubble

The Tower of Tower Falls, Thomas Moran.

Kessler suggests that there are similarities between the two sets of images, these features include isolated landscapes, which are punctuated by immense towers, dramatic light which shines behind an object and theatrical uses of colour.

Kessler’s research demonstrates the subjective choices that are used by astronomers when creating an image for public consumption. This seminar highlighted to me the importance of the role that visual language and photography have to play in the field of astronomy. It is clear from Kessler’s text that the history of art has had an impact on how astronomers use colour, framing and contrast to affect how we might read an image.

Having learned that presentation methods and materiality can affect our experience of an image, I began to experiment with contemporary NASA images, printing them using a nineteenth century technique of photogravure. The photogravure is created by making an etching plate with a negative and the application of ultraviolet light—which then, after processing the plate—can be inked up and fed through an etching press. I used carbon black ink where materials have been burned to produce the ink. When pressed onto fine Hahnemuhle paper, the black ink takes on a dense but sultry texture which feels appropriate to represent the cold and dark void of space.

67P/Churyumov–Gerasimenko Comet, Photogravure, 2015

In the exhibition at Four Corners Gallery, I exhibited these photogravure prints alongside a stereoscopic photograph of the Moon which allowed visitors to consider how our perception can fool us into thinking a 2-Dimensional image is 3-Dimensional.

Credit: Henry Draper, from the archive at the Museum of the History of Science, Oxford.

The production of these works ultimately led to my current research question, which enquires into how photographic practice and theory can contribute to the field of astronomy, and vice versa. Following the Four Corners residency in 2015, I began my practice based MPhil at the Royal College of Art to explore these questions in more depth.

Celestographs - Explorations in Materiality & Astronomy

During the first year of my practice-based research degree, I stumbled across the work of August Strindberg, a nineteenth century playwright. One day, Strindberg left an unexposed photographic plate under the night sky, hoping to capture some images of the night sky. Without the lens of a camera, Strindberg failed to capture images of stars and planets but did create nebulous images which occurred when elements of the weather interfered with the surface of the photograph. Strindberg called the resultant images “celestograph” which, when compared to the word “photograph” (light writing), could mean “writing caused by the heavens”. As I learned of Strindberg, it occurred to me that I had been creating what he would call “celestographs” for quite a while. I began to think about different ways of exploring the idea of celestography through my practice. For a long time I have been working with the cyanotype process, a nineteenth century printmaking process which uses iron based salts When these are mixed together, they become sensitive to ultraviolet light from the Sun, our closest star. In early 2015, I attended The Story of Light festival in Goa with my colleagues Jaden Hastings and Nachiket Guttikar, with the aim of highlighting the relationship between the Sun and Earth-based matter. We did this by creating a world record sized cyanotype, 10 x 6 metres across. Participants were able to see the cyanotype mixture change colour before their eyes, and were able to create shadows on the print itself with their bodies, Goan Christmas decorations in the shape of stars and a Sun-shape made of palm leaves.  

World Record Cyanotype, Jaden Hastings, Nachiket Guttikar, Melanie King, The Story of Light Festival Goa, 2015.

I had also been experimenting with solargraph pinhole cameras which can be set up to track the passage of the Sun with extremely long exposures of up to a year. The resultant images show the orbit and tilt of the Earth around the Sun, as the Sun appears to move through the sky. Both the cyanotype and the solargraph could be described as “celestographs” as with both processes photons from the Sun affect photosensitive material.

Meteotypes

Following my experiments with celestial light, I then began to think about materiality of objects that originate from beyond the Earths’ atmosphere, such as meteorites and lunar dust. In 2016, I worked with the Royal School of Mines at Imperial College London to create what I call “Meteotypes”.

Meteotypes, Meteorite-Imbued Etching Ink, 2016.

I sourced some meteorites online and took them to be milled into fine dust in the Earth Science and Engineering department in the Royal School of Mines, with the permission of Katharina Kreissig and Barry J Coles. The fine dust was then mixed with extender and carbon black to create meteorite-imbued etching ink. Photographs of the meteorites were printed with their-own ink, meaning that the meteorite print is imbued with the very same material that it represents. As the viewer observes the print, they see the photographic record of the meteorite and the traces of the physical material itself.

To conclude this section, these “celestograph” experiments have led to my own deeper understanding in astronomy and photography. These material print-based experiments help myself, and others who are introduced to the processes, to understand astronomy in a very tangible way. Using these processes we are physically handling materials that are affected by or come from outside of the Earths’ atmosphere, we can see the materials alter before our own eyes. This experience is directly in contrast with digital astrophotography, where everything happens within the camera or on a computer screen.

This paper does not discount the field of digital astrophotography, as without digital technology astronomical discoveries would not be happening at such an astounding rate. Additionally,  the field of astronomy also opens the door to new possibilities in photography and art-making. In the field of photography, we are often content with using digital cameras that utilise the visible spectrum of light, but what happens when we begin to use infrared filters and films, for example?

Telescopes and Dark Skies

I am the co-director of Lumen Studios and super/collider, where both organisations actively encourage astronomical observation within a wide range of communities. Lumen particularly focuses on how a range of different cultures have responded to the Sun, Moon and stars throughout time, taking into account Paganism, Christianity, Islam and beliefs of ancient civilisations such as the Aztecs, Maya, Aboriginals and Egyptians.

Both Lumen and super/collider organise trips to dark sky areas to encourage participants to view the night sky without light pollution. A recent study “The new world atlas of artificial night sky brightness” by Fabio Falchi, suggests that only a third of people living on Earth have seen the Milky Way, because our view of the stars is increasingly obscured by manmade light.

Stars in Atina, Italy, 2017

Every year, Lumen organizes a residency to Atina in Italy for twenty artists from all over the world. During this residency, artists are taken to Campo Catino observatory for deep sky observation up in the mountains where it is dark enough for the Milky Way to be seen. The artists’ accommodation and studio is also situated within a small rural town, where it is easy to find a dark spot for viewing the stars and there is a telescope on site for artists to view the Moon and planets at any time during the fortnight. Often, artists comment that they have never seen through a telescope before or seen the Milky Way, which can make for an unforgettable experience. At the end of the residency, there are two exhibitions in Italy and London where the artists can present artworks responding to the residency.

Similarly, super/collider organised an inspiration trip to Kielder Observatory, situated close to the Scottish border. The observatory established the Northumberland Dark Sky Park, now the third biggest dark sky park in Europe – specifically focused on protecting the skies from light pollution. The observatory offered us a number of workshops on our trip, including deep sky observations where we saw the Hercules Globular Cluster and the Ring nebulae. We were also able to see the planets Saturn and Jupiter close up, and had the chance to look at the Sun through a number of different telescopes.

Both Lumen and super/collider are passionate about bringing an engagement with astronomy to the urban environment. We often collaborate with Paul Hill of Sirius Astronomy, who brings his collection of telescopes to London, speaks to visitors in an accessible and informative way and helps a range of communities view the Moon, planets and stars. Most participants are shocked that it is possible to see such exotic objects from London, currently the largest city in Europe.

In both scenarios, participants are given the opportunity to view their world with a new perspective. When participants view planet Saturn through a telescope, or the Milky Way galaxy from the Earth for the first time, shock and awe is a common response. And no wonder, as the more we look at the universe in the field of astronomy, the more we realise that conscious life has only inhabited a tiny portion of the entirety of time and space, and is therefore incredibly precious. One perspective when faced with the brief existence of human conscious life would be to feel utterly insignificant, but I believe that we are profoundly lucky to be alive given the circumstances. Not only this, but as humans we are able to ponder the existence of the universe, and express these ideas through the collaborative endeavours of art and science.

Founder and CEO of super/collider, Chris Hatherill adds “In this age of information and free astronomy Apps, it always amazes me how many people at our evening events don’t even realise you can plainly see various planets on most nights, even from an urban setting. The night sky is such a fundamental part of our shared history and culture, so getting as many people as possible to look up and take an interest is really important for us. Melanie’s work with Lumen and other photography-based projects is really inspiring, as it encourages people who might not otherwise see astronomy and photography in the same way to reconsider."

Ancient Light

Moon, UCLO Observatory, In Collaboration with Thomas Schlichter.

As I continue my research I have been continually inspired by the relationship between the complexly intertwined fields of astronomy, photography and philosophy. Keeping in mind the idea of the “celestograph” which can be defined as “writing caused by the heavens”, I have embarked on a new series of photographs. “Ancient Light” aims to capture light that has been travelling for thousands, if not millions of years, directly onto photosensitive film.

Since May 2017, I have been collaborating with Thomas Schlichter, Technical Staff Member at UCLO Observatory to photograph stars, moons and planets on film, instead of using digital capture techiques. Using the digital option, the photon is translated to electrical signals, which can be arranged to make pixels on a screen. In contrast, the stellar photon is physically absorbed by the silver halide crystals, causing the silver to turn black when processed through developer and fixer. As an artist, the use of film is exciting in this context because I am able to physically handle material that has been altered by ancient light. I can use this in a darkroom by shining light through the film negative, and creating a direct print.

The index as defined by CS Pierce as “a sign or representation is something which stands to somebody for something in some respect or capacity.” To clarify, an index could be the footprint which stands in for the shoe, or a bullet hole which refers to the bullet. Put simply, the analogue negative can not help but to refer to the light it receives. Though attractive, digital astro-photographs do not excite me in the same way because they are stored within the memory of a camera, and can be mediated easily with stacking software and photoshop.

Many of the astronomers at the observatory remember the days when there was no option but to use analogue photographic processes, and have no desire to return to those days. For the astronomers at the observatory, digital CCD cameras can produce quick results that are very precise, whereas the analogue photographs required the production of specialized highly sensitive photographic emulsions which needed to be processed in the darkroom very quickly.

The practice of taking a photograph of an astronomical object in any format can be quite laborious, as it requires staying up late, standing in the cold, making exposures that can be as long as 30 minutes. Added to this, the process of developing and fixing the photograph makes the night even longer

I have now visited the observatory on five occasions, and each time both myself and Thomas learned something about how to use analogue film cameras on the telescopes and how to adjust to the specific challenges of astrophotography.

Thomas Schlichter adds;

“Creating astronomical photographs on film 'the old fashioned way' lacks immediate feedback. The delay until one knows if the imaging worked out as intended needs some getting used to and can be frustrating but makes one appreciate the skill, patience and stamina of previous generations of astronomers. When done successfully, the reward is a unique and tangible result of immense satisfaction. The renewed interest in analogue photography of astronomical objects helps to preserve and regain working knowledge of old techniques and might even inspire future teaching workshops.”

Arcturus, 2017. A collaboration between myself and  Thomas Schlichter, Technical Staff Member at UCLO Observatory.

Dark Matter

Cosmic Ray Oscillograph Installation. Laboratory of Dark Matters, Guest Projects, April 2017. Credit: Sara Lynd

In 2016, I visited the Boulby laboratory in North Yorkshire with a group of artists who took a journey 1100m beneath the surface of the Earth to visit Boulby Underground Laboratory. There we met scientists working on the detection of dark matter and were introduced to the Boulby Underground Laboratory by Dr Cham Ghag. After the visit we embarked on a series of exhibitions and events entitled the “Laboratory of Dark Matters”. This project was initiated by artist Susan Eyre, and funded by Arts Council England Grants For The Arts, Science and Technology Facilities Council and The Institute of Physics.

In Boulby Laboratory, Credit: Chris Toth

Inspired by the idea of “celestography”, I set myself the challenge of considering how it would be possible to make a “celestograph” using non-visual data. From my research into astronomy and physics, I have discovered that astronomical imaging makes use of a number of different forms of electromagnetism. Earlier on in this article, I have mentioned using an optical telescope to capture visible light from stars. However, astronomy tells us that our view into the universe is limited because some stars and galaxies are too far away or too dim to be observed by visible light alone. Over the past two centuries, the field of astronomical imaging has now allowed us to “see” more than ever before, with other forms of electromagnetism (such as x rays, infrared and ultraviolet. In this way, science has extended our visual powers to visualise objects that cannot be seen with the eye alone.

For the Laboratory of Dark Matters project, I was inspired to use photographic processes to visualize “invisible” cosmic ray data which is sensed by the dark matter detector. After working on a room-sized deconstructed oscillograph installation to visualize pulsar stars beyond the visible light spectrum, I decided to create a Cosmic Ray Oscillograph. Physicists Sally Shaw and Dr Cham Ghag arranged for me to work with wave form data from the LUX (Large Underground Xenon) Detector. The wave form data showed wave form height and duration, so it seemed sensible to “map” these wave forms to sound. Artist and former astro-physics major Steve Aishman was able to help me do this.

For the Guest Projects exhibition, I installed a phosphorescent spinning disc in a darkened room. The cosmic ray data ‘sounds’ controlled a laser connected to a solenoid, which then projected light onto the phosphorescence to create emergent drawings. As the phosphorescent disc spun on its’ axis, interesting lines emerged and overlapped, before fading away. Inspired by the history of photo-acoustics, I then used the installation to create camera-less photographs, where photosensitive paper took the place of the phosphorescence.

The collaboration allowed for the wave form data to be experienced in a tangible, physical way. Visitors were able to hear the data translated to sound, and see this sound translated to visual movement. Before this experiment, the data could only be experienced in number form.

Sally Shaw explains how the photo-acoustic installation reminded her that she is working with physical phenomena.

“As an experimental particle physicist, I find analysing data does not always involve looking at the waveforms from our detector; I spend most of my time writing computer code and staring at numbers on a screen. To be able to hear and visualise our data in an entirely new and unique way was a stark reminder of the fact that we are dealing with real, fascinating physical phenomenon. I have done a lot of public outreach but there is nothing quite like having something tangible for members of the public to see, hear, and interact with - this can help open up a very technical field to everyone else to learn from and enjoy. I think this was very worthwhile and it reminded me that what we do is more than crunch numbers with our computers.”

As cosmic rays are invisible to human eyes, projects such as this help us to visualise phenomena that could not be seen otherwise. This means that technical information that could usually only be interpreted by scientists, can be made accessible for practitioners in other fields.

Shaw also suggests that by visualising the data, the data becomes more tangible to scientists. This is a comment that I would not have forseen, but is highly important.

Following this experiment, I am keen to consider how it might be possible to visualize other forms of data using photo-acoustics and full room oscillograph installations.

Collaborations in Art and Science. What can photographic practice and theory contribute to the field of astronomy, and vice versa?

I am still at the beginning of my research journey, but here are some conclusions from my collaborations so far. 

One of the most important cultural messages that we have obtained from the field of astronomy, is that looking into space teaches us to understand our place in the universe.  Photographs such as the “Pale Blue Dot” show us that conscious life inhabits a tiny portion of the entirety of both time and space, and is therefore incredibly precious. I believe that astronomical images such as the Pale Blue Dot encourage us to think critically about how we treat our planet, live our lives and how we work as artists.

Pale Blue Dot, Voyager 1 Space Probe, 1990.

Scientific imaging also requires the use of a variety of instruments that can detect a wide range of electromagnetic frequencies such as visible light, infrared and ultraviolet. These detection methods offer new ways of seeing the world, simultaneously offering new range of creative possibilities for artists. I demonstrated this during my collaboration with Dr Cham Ghag and Dr Sally Shaw on the “Cosmic Ray Oscillograph”, we used wave form data and photo-acoustic techniques that had not been combined together before.

On the flipside, photographic practice enables us to understand the phenomena of light in a tangible way. As an artist interested in analogue photography, I have learned more about how light works through my artistic practice. The simplicity of a process such as cyanotype means that I am able to share this knowledge easily to a wide range of audiences, from eminent physicists with a background in light-based technologies to small children who can learn about light intuitively. Both Thomas Schlichter and Sally Shaw commented on the “tangibility” of the collaborations, allowing them to see their own work in a new way.

Another important point is that artists and photographers are used to being critical about the production of images, in a way that astronomers are not. Elizabeth Kessler’s “Picturing the Cosmos” demonstrates how astronomers have taken their visual language from the field of art.

These Hubble images are incredibly prevalent, however they somewhat lack imagination. From my collaborations so far, it is clear to me that both art and scientists should collaborate to find new and experimental ways to represent astronomical phenomena. My ongoing research explores how artists and scientists have approached astronomical imaging, in many different ways. For example, I am very interested to see how scientists working on the Event Horizon Telescope will use their data to visualise the black hole at the centre of the Milky Way Galaxy.

I posit that astronomical technologies are advancing at an ever-increasing pace, but conceptually we are lagging behind. In other words, we find it hard to understand how developments such as the discovery of gravitational waves can affect our perception of the universe at large. I believe that artistic and photographic theory is well versed in the field of philosophy, and can offer a way of making sense of wild discoveries and new technologies. I posit that more research can be done on the philosophical implications of new technologies, with the same rigour that has been applied to the “straight” photograph.

[rebeccahpedersen]

Student Housing As An Investment

TorontoRealtyBlog

I know I’ve told this story before on TRB, maybe more than once, but it underscores the thought process behind a new type of student housing that investors are flocking to.

I went to McMaster University from 1998 to 2002, and my brother and my girlfriend both attended Wilfred Laurier University, 45-minutes away in Waterloo.

After I finished school and started a career in real estate, the first thing I wanted to do was purchase an investment property.  Go figure.

Cap rates in Toronto were a paltry 5.5% (we would kill for that now…) and yet for a student residence in Waterloo, we were looking at double-digits.

I made an offer to purchase a 10-bedroom student property for $500,000, and I lost.  I lost in multiple offers, of all things, which was ironic considering it was commonplace in Toronto, and yet I was told by the agent in Waterloo that he had “never seen more than one offer on a property.”  Imagine that!

I lost, which was a good thing.  I was in no position to manage a 10-bedroom student residence, with or without the help of my brother as he attended 4th year business school, but more importantly – I didn’t really want to own a 10-bedroom student residence.  At least, not after I saw how most students live.

We can all remember being students, right?

I know, I know – you guys never did anything wrong.  You ate well, studied hard, and were making your parents proud.

But other kids were making an absolute mess of wherever they lived, often intentionally, just to see how quickly drywall burns when doused with lighter fluid…

From a long-term appreciation standpoint, any property makes sense as an investment.  And as I’ve mentioned on TRB before, a small bungalow on a large lot on Ezra Avenue that I considered for around $350,000 was eventually torn down so that a massive 10-apartment complex could be built in its place.  So, yeah, call it an opportunity lost.

But the idea of actually renting to 19-year-olds, having been a 19-year-old myself, having seen how both the best and the worst 19-year-olds live, simply did not appeal to me.

Does it work the same way in the Toronto market?

We have it made here.  You can advertise a 1-bed, 1-bath unit for lease near University of Toronto, and get nine applicants, then pick and choose to whom you want to lease.  If you don’t want to lease to a student, you don’t have to!  Pick whomever you like.

Of course, you may find the “right” student, whatever that means to you, and decide to go forward.

This isn’t the same thing as a ten-bedroom house in the student ghetto in Waterloo.  In Toronto, we’re talking about a 1-bed, 1-bath condo, for one student!

But what if we could split the difference?

What if, instead of buying a ten-bedroom house for students, and instead of buying a 1-bedroom condo downtown that you might rent to a student, you purchased a 1-bedroom condo unit in a purpose-built student residence?

I had alluded to this about a year ago when I wrote about the market in Waterloo, and how condos were selling very well there, and I included a condo in a purpose-built student building.

But now we’re seeing, get ready for this, pre-construction condos in purpose-built student residences.

What will they think of next?

There’s a project called “Luxe London” which, if you read their marketing material, basically sounds like the best investment in the history of mankind.

Luxe London is slated to be a 19-storey, 311-unit condominium strictly for students.

It’s currently being sold in pre-construction to investors who are being promised, among other things…..wait for it…

…100% assured rental income up to $75,000 over three years!

Yes, that necessitated bold and italics.

There’s an asterisk next to the $75,000 in all the marketing material, so if there’s no catch per se, it at the very least refers to the fact that this figure is applied to the larger and more expensive units.  But from what my research tells me, these units have a waiting list, so maybe it’s not far-fetched for the developer to guarantee the rental income.

These units also come fully furnished, and for some reason I felt like that needed to be bolded as well.  Anybody who has managed student rentals before will tell you that while there’s a lot of wear and tear on furnishings, students moving in and out every year (or semester) creates even more wear and tear on the house itself.

There are 2-bed, 3-bed, and 4-bed models, I suppose depending on your appetite for student rentals.  Interestingly-enough, no 1-bedroom layouts.

This is the 970 square foot “Oxford” floor plan, with four bedrooms:

I think you could do a lot worse for a student rental!  We’ve all been there.

Around 2005, I started to see this type of “apartment” layout being built within larger developments around Wilfred Laurier’s campus, only this would represent one “unit” in a 6-unit building.  Essentially three levels, with two 4-bedroom units on each floor, and of course, built on the ground where a crummy bungalow once stood – one that housed five kids.

Developers were constructing these buildings and selling them based on the income stream, so they’d be looking for, say, $2,000,000 for the whole building.

There’s a small market for that kind of investment, but what if you could own one of these units, instead of the whole building and all six?

That’s where the condominium style of ownership comes into play, and it’s no surprise that developers are taking this approach.

What I find interesting about the layout above is, unlike with Toronto real estate, where more square footage means a developer is going to cram more dens, baths, and beds into the floor plan to charge more money, these layouts don’t follow suit.

There is a three-bedroom model called the “Cambridge” which is larger than the four-bedroom model; 995 square feet compared to the 970 square foot unit above:

I’m not sure if this would hold more appeal to investors, however.

I think I would rather pay less on a per square foot basis for a 4-bedroom, 970 square foot unit, home to four different rent cheques, than a 3-bedroom, 995 square foot unit, housing only three kids.

Now as for the amenities, here’s where I think the condominium-style of investing might have the traditional model beat.  Don’t get me wrong, I would still rather own a crummy house on a piece of land, knowing I could sell the land down the line, just like the folks on Ezra Avenue in Waterloo did.  But if you’re asking, “How can I get students to pay the absolute most money possible for a bedroom?” it would be by owning a unit with these amenities:

-Fitness centre -Changerooms with Cedar sauna -Yoga studio -Movie theatre -Spa lounge with tanning beds -Video game centre -Billards room -Games room -Cafe lounge with TV and fireplace -Laundry room -Rooftop terrace with lounge seating and stone fireplace -Study lounge with private board rooms

Amazing that the only thing related to actually doing school work was last on the list.  But, I mean, who has time to study when you’re busy tanning, playing video games, and doing yoga after a movie?

Damn, things have changed since Brandon Hall at McMaster…

Geez, I sound like I’m actively selling this project.  I’m not, FYI.  Just making a point.

So what are we missing here?

What’s lacking from this discussion?

Oh yeah, the price!

There are four models in the complex; the two shown above, and then two 2-bedroom units.

Here’s the breakdown:

It should be noted that the “Bristol” model comes with an awesome 855 square foot terrace.  Although personally, I wouldn’t want students owning a terrace.  Call me naive, and call this stereotyping, but I just don’t see them lasting more than a week without pissing over the railing, and eventually throwing beer bottles.

So a couple of things jump out at me here:

1) Do students really pay $1,225 each?  That seems a bit high to me, but then again, it’s been 17 years since I leased a small, 1-bedroom apartment off campus in Hamilton for $590.

2) The premium for the terrace is $146 per month, per student.

3) The rental yield is almost exactly the same for each unit.

4) The price per square foot is highest for the largest space, which also has the lowest rent per person.

And I guess I could add the obvious: the price per square foot is a wee bit less than here in downtown Toronto!

I have access to the cash flow statements, which I’m not going to share here.  But I will tell you that the cap rates for these units are as follows:

Aston – 4.6% Cambridge – 4.6% Oxford – 4.8%

No expenses were provided for the Bristol, but because of that terrace, I’m assuming it’s a rare model.

The marketing material shows a Return on Investment of about 33% per year for all three units.

This is based on the mortgage principal paid, plus net monthly cash flow, plus an assumed 4.5% appreciation, all as a percentage of a 20% down payment.

Of course, I wanted to work backwards and see what the ROI would look like if we assumed zero percent for appreciation, and in the end it’s about 10.5%.  Still not bad, and better than Toronto.  But, and there’s a multi-point but here:

1) You have to rent to students. 2) You own in London instead of Toronto.

There are other benefits here though worth noting, however:

1) These units come furnished. 2) Three years of free property management. 3) The deposit is a paltry $20,000.

Here’s what a recent email blast about the project claimed:

Their “Top 5” point #3 is interesting.  Student housing is a “recession-proof” investment.

While a recession would undoubtedly knock down the asset value, I don’t disagree with the idea that “kids have to live somewhere.”  And much of the marketing material for this project speaks to the incredible increase in university attendance rate in recent years, the addition of far more foreign students, and the need for more purpose-built rentals.

That last point sounds familiar for those of us living in Toronto, but that’s another story.

So to the investors among you, real or armchair, does this project make the grade?  I’m all ears…

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