April 14th to order certification of compliance with the open meeting law. The agenda was posted on April 9th at 4.30pm and Chairman Wagner asked that I state all who's present at the administration building. It's Chairman Wagner, Vice Chair Cotch, Administrator Payne, Finance Director Wendy Sherman and we have Corporation Council Crystal Fever in here and Crystal Winske, Director of IT, myself, John Olson, Cheryl Saban from my office we have Ron Miller manning the camera and we have Emmett Felner from the review. Thank you John. We're going to do a roll call next and then you're going to have to unmute your phone and then mute it again after you say aye. So we'll start with the roll call. Supervisor Conradie, Supervisor Gruber. Aye. Supervisor Broula, Supervisor Otten. Aye. Supervisor Baumgart. Here, present. Supervisor Nelson, Supervisor Procek. Here. Supervisor Coch. Here. Supervisor Glavin. Supervisor Brower. Supervisor Jorgensen. Supervisor Siegelbauer. Here. Supervisor Nenning. Supervisor Jerry, I don't know if you've got me. You know, thank you. Supervisor Nenning. Aye. Supervisor Obler. Here. Supervisor Epping. Supervisor Damp. Supervisor Wetner. Aye. Supervisor Bauer. Supervisor OJ. Supervisor Hoffman. Here. Supervisor Hilbeling. Here. Supervisor Bosman. Here. Supervisor Feldman. Supervisor Gehring. Aye. Supervisor Distruty. Here. Just one more check for Supervisor Glavin. Supervisor Bauer. And Supervisor OJ. I did hear Supervisor Glavin on the phone earlier. Thank you, John. It appears we have 23 Supervisors present. Thank you. No, it's two for both. Okay. Now did you get Supervisor Glavin? Yes, sir. Yes, we did. Thank you, everybody. The order of the day is patience. We're all going to try and be patient here. I very much appreciate it. A couple of things. When we have a motion or something, I'm going to ask somebody to make that motion. So instead of having six or seven people do it, I will ask a particular person and another person to second it. Then after that, I'll ask if there's any discussion or questions like we normally do. And then at the end, we'll just take a vote of ayes. And I'll ask for nays. And if there are no nays, we'll accept that as unanimous and move on. If there are any nays, then we'll have to go to a roll call vote. So, next, we need to approve the journal. And I would ask Supervisor Glavin and Supervisor Zigglebauer if they would please Supervisor Glavin make the motion. Supervisor Zigglebauer second it. Thank you. Supervisor Zigglebauer. I will second that motion. Thank you, Supervisor Zigglebauer. Is there any discussion on the journal or questions? Seeing none, all those in favor say aye. Aye. Opposed? None. That's as unanimously. Next, John, if you read the appointment by the chairperson and the county administrator, we're going to combine them if it's okay. Sure. Citizen Participation Plan Committee, Jackie Belbin. And Citizen Participation Plan Committee, Jim Reisenberg, Charles Conrarity, Todd Richter, Lisa Hurley, Alan Rudnick, and Lou and Michelle Gentine. Okay. If I could ask Supervisor Procek to make the motion and a second by Supervisor Obler. Procek makes the motion. Supervisor Obler second the motion. Thank you. Is there any questions or discussion? Seeing none, all those in favor say aye. Aye. Aye. Opposed? Passes unanimously. John, are there any presentations? No presentations. Are there any public addresses? There are no public addresses. Letters, communications, and announcements. We have no letters, communications, or announcements. Thank you. Next, I'll turn it over to the county administrator for his report. Adam? Thank you, Mr. Chairman. And good evening, everyone. If you could please hit your mute button if you haven't already done so. I'm going to cover some ground that's action item this evening, as well as some updates in public health. First and foremost, congratulations. This is the first county board, all teleconference, that I think we've ever held in our history in Sheboygan County. As the county clerk shared earlier, we're in room 302, and we have a sparse gathering here. It's obviously very different for all of us, but I want to compliment you on calling in and how you're handling this. I'm Chairman Wagner. This is just a new ground for all of us. So, again, congratulations. This evening, it was important that we meet, and the predominant reason we're meeting is the approval of authorizing the bonding. And just to set the stage for that very quickly, Wendy deserves tremendous credit working with Baird on getting our bonding resolution prepared. I appreciate the work that's gone into it. We had a finance committee meeting just before this to update on the approach. And as you know, we were looking originally at taking action on this bonding resolution in March. The recommendation was to hold off, and we were told today that that was a very prudent recommendation. There was tremendous market volatility. We may have not been able to get an interest rate better than three or three and a half percent. So it was a very prudent move that the board held off. Things have now subsequently settled down a little bit. And today, we were able to get an interest rate of 1.9 percent, which is outstanding. So the action this evening would be to authorize Moving Forward Bonding at 4.75 million. We have a double A2 rating, which is the consistent rating we've received in the past, which is very, very good. And because things have settled down, we've had an interest rate that was more expected in this environment. So again, credit to Wendy and Bayer Corporation Council, the finance committee, we're in good shape. To put in perspective where we're at with this decision, you've already acted on this twice to a certain extent because we have the annual budget process and we have the five-year capital planning process, both of which the county board already acted on and supported, which is why this bonding is needed. This bonding is going to support projects like the Marsh Bypass at the Chavoy County Marsh, courthouse boiler replacements, roof replacements, HVAC upgrades, the Health and Human Services parking lot, the ADRC remodeling, the renovating the indoor range at the law enforcement center, on-site childcare at Rocky Knoll, and as you know, the customs facility that we're in the midst of building at the airport. So that's what this resolution is for and why it's so important and I'm pleased that we're able to lock in a good interest rate. The other topic I wanted to briefly discuss is the Chavoy County Industrial Development and Revolving Loan Agency. That's the second action item that you're going to have before you this evening. As you may recall, we used to have a revolving loan fund. We bought out state funds. We were able to double the dollars we would have available $1.6 million or thereabouts is going to Rocky Knoll to help with facility improvements there. And then we at present have about $250,000 on hand to create our own revolving loan program or agency once again. The executive committee has a strong role with this new industrial loan agency, as will other people be appointed in the future. We have that in front of us, and it allows businesses to once again set it up in a manner where we have control, we establish the criteria for how the loans are provided and it allows us to help entrepreneurs and small businesses and people in the community. So that's what's before you there. The third thing I wanted to touch on, which has been on all of our minds the last month and that is the coronavirus and the response, the plans, the preparations. It was little as a month ago on March 17th when I reported to you that the Wisconsin Confirmed Case Count was 72. And at that time, Sheboygan County had four confirmed cases associated with the coronavirus. Today, the Wisconsin Confirmed Case Count is 3,555 and Sheboygan County has 37 confirmed cases. Remarkable how quickly these numbers have escalated, though I can't tell you how proud I am of our team and our local response and the collaboration that is being exhibited in Sheboygan County. Public health deserves tremendous credit for the coordination and response to this. The focus on those numbers or break them down just a little bit more of the total confirmed cases, the 37 that Sheboygan County has, currently 11 are active. Four of those individuals are hospitalized. 24 individuals have recovered and sadly we've had two deaths. There was a tremendous response at Sunny Ridge and about 19 of those 37 confirmed cases, not about exactly 19 of those confirmed cases were associated with Sunny Ridge as were the two deaths. And for me it was remarkable to participate in the teleconferences with the state and with our local hospitals and community leaders and certainly our emergency management director and public health professionals on how everyone pulled together to respond to Sunny Ridge. We have nine nursing homes in Sheboygan County. We felt it was probably inevitable at some point that the coronavirus was going to get into one of those facilities. It could have happened to any of them. It's happened quite a bit as you know in Washington and Ozaki County already. But public health coordinated the response. We reached out to the hospitals and both St. Nick's and Aurora very quickly stepped up to provide staff support. The National Guard, as you know, came to Sheboygan County and did all the testing of all the residents and all the staff. And that was incredibly valuable because we were looking at a reduction in 50% of the employees there whether they thought they had it or self-quarantine or candidly were just scared. And because of the testing and the results they had a better handle on how to manage the situation. And thankfully, Sunny Ridge is in a very different situation today than they were a week ago. Their staffing has been able to get sorted out and settled down. They're providing quality care to the residents and they're holding their own people at recovery. So that's good news. One of the early areas of concern was personal protective equipment. I've learned so much over the last four weeks and I've certainly learned and I have a tremendous appreciation for our emergency management director and our purchasing agent. We very quickly started ordering additional supplies and 95 masks, gowns, gloves, personal protective equipment that we knew our nursing homes and hospitals and healthcare providers would need. It was rather remarkable how many of our nursing homes in particular including Rocky Mill that did not have that personal protective equipment on hand. Again, this is just new to everyone. So Steve Steiner and Bernie Romer did an excellent job building up our local supplies to the extent they could. They continue to work on that and we continue to provide resources as needed. The state has also provided personal protective equipment as they can, where they can and that continues to be an area of need. I'm very pleased that we have a pandemic administrative committee. They meet every Monday morning at 7.30 and we get reports from the hospitals, the nursing homes, all the healthcare providers and at this point in time everyone has adequate personal protective equipment on hand. Though if there is a significant surge without question that's going to be an area of tremendous need. Again, thankfully the county has some available as well. The other thing that was so heartwarming with the response to Sunny Ridge was the collaboration and response from the community. Walmart was providing bins for storage. Kohler Company was providing supplies to residents at Sunny Ridge. The Holiday Inn provided space for healthcare workers to recover if they didn't want to recover at home. Quick Trip was providing refreshments and Kohler, LTC and Rockline in particular have been tremendous partners with replenishing and building up our personal protective equipment. Those three companies have really been helpful in addition as I said to the hospitals earlier and what they did to provide critical staff needed. So in summary, we know we have a long road ahead of us. We're hoping it's going to be sooner rather than later. We're all learning, but as many of you have heard me say before you learn a lot about your coworkers and people around you in a crisis. You learn a lot about yourself. I can't say enough about our public health professionals, our healthcare providers, our emergency management director, our purchasing agent, our emergency responders, our health and human services staff that are providing mental health resources and assistance to people that need it. Employees that have been redeployed such as staff from UW Extension and other areas. Our human resources department that has been working with Corporation Council on updating and refining policies and procedures. So staff have certainty and know what options they have. We now have upwards of 175 employees working from home, which has helped promote social distancing. We've made adjustments with our committee meetings. As you know, almost all of you now have had teleconferences with your respective committees. This is a first for the county board. It may be a little clunky. It may not be what we're comfortable with, but it's far safer and a compliment to everyone involved. The last thing I wanted to share before turning it back to the chairman is, you know, it's kind of sad in a way that we aren't all together because of course historically this is a meeting where we celebrate a little bit and we recognize one another for our public service and we have seven county board supervisors that have chose to retire or were defeated in a competitive race. But I want Don Bruhla and Steve Bauer and Tom Epping and Jim Baumgart and Jim Glavin and Charles Conrarty and Roger Otten to create your public service. The combination of the seven of you that's 114 years of collective public service on the county board. That's remarkable. And Charlie and Roger in particular 26 years Charlie 32 years Roger Otten that is just remarkable. So we're sorry that we're not able to say that to you face to face tonight and hand you a plaque and give you a few minutes to share words to the board as a whole but we certainly hope in the near future we're going to be able to have a gathering of former board members and new board members and celebrate our collective achievements and what you've been a part of and what you've done to help make Sheboygan County even a better place. So thank you. Thank you Chairman Wagner and members of the executive committee for your leadership and with that I'll turn it back to the chair. Thank you Adam. This is Chairman Wagner again. I'm just going to make two quick comments on that. We will definitely be bringing everybody back those seven people in particular at a board meeting in the future after this all settles down and we want to honor all seven of you and I would just add my thank you to what Adam said. In addition to that I just want to make one comment Public Health is just knocking it dead. There's a lot of people working real hard here but I really want to single out Public Health. I happen to be texting back and forth with Senator Devin Lemieux today and he said to me on the text we go back and forth on this quite a bit. Sheboygan County has the best information reporting on COVID-19 than any other county I have checked. So that was from Senator Lemieux who shared it with you and like a lot of us he's got a lot of time to check those things out so that's a compliment to our Public Health who's doing a super job. So thank you everybody. Next we're going to have consideration of committee reports. Executive committee resolution number 22. Authorizing the issuance and sale of $4,750,000 general obligation promissory note recommendation to adopt. I'm going to ask Supervisor Gehring to make the motion and if Supervisor Tristruti would second that. Thank you Mr. Chairman. Supervisor Gehring moves to adopt resolution number 22. Thank you Mr. Chair. I'll second the motion. Thank you. No vote. Next I'm going to ask Supervisor Obler if he would amend that resolution and if Supervisor Jorgensen would second that. Supervisor Obler here. Do amend it. I'll second that motion. Thank you both. Are there any discussion or questions on resolution number 22 before we're going to take two different votes? The first is on the amendment. And if I may just clarify the amendment. Sure. The county board should have received and this is Crystal Fever the county board should have received this afternoon an email with an updated resolution which is how the bonding traditionally works. We have a draft resolution that comes in initially to the board and then once we have the final figures bond council which is Coral's and Brady makes that update so the county board would have received this afternoon via email the final resolution which is what we are looking at is the amendment so when we're referencing the amendment we're talking now about incorporating the final terms that you received this afternoon. Okay. Thank you. Excellent.  Passes unanimously. Then there's a vote on the resolution as amended. All those in favor say aye. Opposed? Passes unanimously. Thank you very much. Resolution number 11. Creating chapter 8 establishing Sheboyan County industrial development and revolving loan agency recommendation to enact. I'm going to ask if Supervisor Procek would make the motion and Supervisor Obbler second that. Are you there, Ed? Okay. Supervisor Procek makes a motion to enact ordinance number 11. Thank you, Supervisor Procek. Supervisor Obbler for the motion. Thank you very much, Supervisor Obbler. Is there any discussion or questions? Hearing none, all those in favor say aye. Aye. Opposed? Passes unanimously. Before we adjourn, I just want to tell you the executive committee met last night and went through a schedule going forward on April 21st and you'll get this in writing too. On April 24th, we're going to meet at UW Green Bay, Sheboygan. We're going to spread out. We're going to have temperature checks. We're going to have mass. Unfortunately, the sheriff already canceled the honor guard, which is the prudent thing to do. We had to cancel the minister that I lined up, et cetera, because we're going to keep this as sparse as possible. And then we'll follow the normal agenda that we normally do on that day, which means we will take the oath of office and Mr. Doulson will be providing that oath for us. We'll sign a signature and then following that, Crystal will be given the opportunity to run the election of the chair, vice chair and executive committee. Adam will also have a list on the agenda and our new leadership will be elected at that meeting next Tuesday. Following that, the executive committee will meet probably on April 23rd to confirm the chair's appointments. And then following that, the next meeting will be on the 28th and that'll be a teleconference too, where we confirm the chair's appointments and we move on. I believe that's it. If you've got any questions, feel free to give me a buzz. Thank you very much. And if Supervisor Tostruti could... Mr. Chairman. Yes. Mr. Chairman. Yes. This is Roger Ross. Yes. I'm wondering if I could make a few remarks. You may. 32 years on the county board, almost bittersweet. I'm sorry it has to end without us being together tonight. I began my political career in 1970, films almost ancient. I was elected as an alderman to the Chicago City Council and I've served there for eight years.  It's interesting that some 40 years later, the city is implementing an implementing a more efficient way with buckets lifted to the truck. Some things take longer. In the meantime, I was out of office for 10 years. My wife, who was always interested in politics with Mike, with Mike Coaxing, ran for alderman and won. She very capably served for 12 years. In 1988, I ran for county board supervisor and am ending tonight after 32 years. My wife and I as lifelong members love our community. We think it's the greatest. Today, together, we have served our Sheboygan community for 52 years. We just celebrated our 66th wedding anniversary. We have five children, three boys and two girls, four living in Sheboygan County and one in Brookfield. What blessing that is at our age will both be 90 this year to have our children around us. We have 20 grandchildren and are expecting our 38th great grandchild in August. They are spread all over the United States. Audrey and I are still very active and we're very grateful for good health. As we reflect on these many years, we think of all the people our lives have touched. We so much enjoy meeting people. So many wonderful people come to mind. I have gotten to know so many county board supervisors, so many county department heads and employees, as well as constituents. I especially want to thank Adam Payne for his leadership in our county. To those of you who will be continuing to serve on the county board, be persons of integrity. It's all about service to our community. Thank you for serving and I wish you God's blessing. Thank you, Mr. Chair. Thank you very much, Roger, and I certainly don't want to shortchange anybody. If anybody else who's leaving wishes to it, keep in mind you will have an opportunity to speak also when we bring you back and honor you. Okay, hearing that, I also wanted to point out that when we do our organizational meeting after that, which will be by phone, the committees will get together and finance committee, executive committee, all those, and they will meet by phone too and elect their leadership and set their meeting time and date. So we should be good with that. So like I said, if you've got any other questions, I appreciate everybody's patience. I think we did it the safest way possible, and we'll be seeing all of you next Tuesday, hopefully, at UW Green Bay Sheboygan with more information to come. And if Supervisor Distruty could make a motion to adjourn, I would appreciate it. I vote to adjourn. Thank you. Is there a second? I can already second. Thank you, Charlie. All those in favor say aye. Aye. Aye. Opposed? We stand adjourned. Thank you, everybody.


Tired of long-term commitment plans? Then Appalachian Wireless has the new plans for you! No credit checks, no contracts, and most of the features of PostPaid is ForwardPaid, the simpler way to do wireless on the region's premier cellular provider. And it starts as low as $19.99 a month with unlimited talk and text. We are you. We are Appalachian Wireless. Wayland Mayor Jerry Fultz was presented with the East Kentucky Humanitarian Award Saturday, April 29th, at the first ever SOAR EKY Gala Awards Banquet. Mayor Fultz has helped the town of Wayland recover from last summer's historic flooding and has revamped the Wayland Gym, which is now home to the Mountain Sports Hall of Fame and Museum. First and foremost, it was a very humbling experience. You know, I get up each day and we work and we try to make our little community and our part of the county a little bit better place to live, whether that be a cleaner place, a healthier place, safer place. And we think many times that we're working hard, and I guess all in all we do, but one of the things that I learned and was able to experience Saturday evening there at the Mountain Art Center was that there's a lot of folks in East Kentucky that are working hard, and I truly was humbled to be there and be a part of that evening. But for me it was heartwarming to see other people and hear what they were doing in their communities, very similar to what we do. Fultz hopes to encourage other small communities across Eastern Kentucky to continue working to improve the region. I think one of the things that we had to embrace first and foremost was we can't go back.  It wasn't always rosy growing up in Whalen. That's home for me. But I do remember Fondertimes. I remember a time when there were more people there. There were jobs there and so on. So I had that to draw on. We can't go back, but how do we create a better place today? How do we make it safer, cleaner, healthier? I think we start off with visual things, which I just described. Sidewalks. We've started remodeling and bringing up the old gym to code. We've done some things that visually you can see progress. There's a lot of other things that we do that you don't see, such as meetings in the City Commission. We have a wonderful group to work within the City Commission, but we're going to do all that we can do as a small city. We're going to try harder. Reporting for Mountain Top News, I'm Brianna Robinson.


for the introduction and thanks to the organizers of the symposium. It's a real pleasure to be here to celebrate the publication of the wonderful catalogue that Yvalin and the person I know is Kate, but now apparently is called Karen Butler. Claudine and the conservators have put together a superb piece of scholarship, really exemplary and filled with revelations from the first page to the last. Revelations about technique, about historical context, about the development of Matisse's work and so forth. It's also a real pleasure to have had the double treat yesterday, second, but not perhaps second in rank, of listening to Yvalin speak about Matisse, which is always a great pleasure, but also to have had a chance as the participants in the symposium did to look at Le Bonheur de Veve. It's a painting that however often one has seen it can still yield new insights, can still surprise you sometimes if this isn't too much of a contradiction in expected ways. Yvalin has written that one tends to remember it as being larger than it in fact is due to the expansive rhythm of the Matisse system. I think that's right and I have my own recurrent surprise or double surprise whenever I see the painting, namely that however much I brace myself, I'm still shocked as on all previous viewings, both by how forcefully the image strikes the eye of the beholder and, relatedly I will be arguing, by how it's diverse elements overwhelm one's ability to make sense of what we see as we stand before it. I want today to think about what causes this experience, what it is that leads to this sense of ungraspability and intensity, both in Le Bonheur de Veve and in other Matisse's of roughly the same period. On one level of course the answer to the question of where the sense of overwhelming intensity comes from is relatively straightforward. Matisse's works of 1905, 1906 and beyond are bright. The colors are generally richly saturated. The pigments radiant. Indeed as the catalog has very usefully shown, in the case of Le Bonheur de Veve the painting was originally even brighter. The cadmium yellows that were in the central section of the painting and also in the top left corner have degraded which means that the painting is much faded compared to its original state. I would suggest however that the effect of Matisse's work is down to something more than literal brightness. Certainly the initial audience thought so. They frequently described his paintings not just as luminously bright but as something more like an assault on the eye, something incomprehensible, an act of violence even that might threaten the viewer with blindness. We'll come back to Le Bonheur de Veve towards the end of my paper. I want to begin exploring the nature of this optical disturbance by looking at phobism for it is there that we find for the first time the kind of intensity that troubled the critics. As we shall see the root cause certainly for phobism is what Matisse does with or to the legacy of symbolism and more generally with or to the legacy of post-impressionism. Consider for example La Japanese au bord de l'eau, Japanese women by the water which shows the artist's wife perched on a rock by the sea and dressed in the Japanese robe that gives the work its title. With its small dimensions apparently rapid execution and incompletely covered ground the painting might seem to lend itself to an account that views phobism as a continuation of the impressionist or neo-impressionist sketch as a kind of unmediated and direct response to the facts of vision. However when it was exhibited at the 1905 Salon d'Autombe in the room christened by Louis Vosel as the Sal de Fove, the Room of the Wild Beasts, the critics worried that they saw here not naturalism but a refusal of painting's ability to refer in any stable way to the external world. Their concerns centered on the images remarkable diversity of facture. From the staccato strokes in the upper left corner to the meandering lines that mark out the pattern of the robe and from the roughly scumbled section at the lower left to the thicker and more fluidly applied areas of paint in the center. Nothing here sits still. Chromatically the surface of the work is equally contradictory with complementary contrasts the red and green in the center of the canvas for example appearing alongside more random juxtapositions of color. Any lingering sense of technical cohesion is further undermined by the insistent presence of the white ground and by the visible remnants of a pencil underdrawing and crucially as the critics sensed this unstable pictorial vocabulary begins to undo representation. Consider for example the relationship between Madame Matisse's back and the water behind her. In the juxtaposition of woman and ocean a series of what might be termed false identifications operating at the level both of color and of facture can found two objects that ought to remain distinct. Blue and turquoise evoking pattern and shadow in the robe slide imperceptibly towards green as they move from figure to watery ground. The short brushstrokes on the figure's back abbreviated remnants of the fabric's arabesque design reappear in the surface of the water as the crests of waves or perhaps shadows even here there is ambiguity. If representation thus falters here if we are momentarily unsure as to what we are looking at as to what particular bits of paint might refer to it is in large part due to the painting's dismantling of the mimetic logic of near impressionism. Witness the way in which la japonese stands effectively in inverse relationship to young women with umbrella. A more obedient point list effort Matisse painted earlier in the year. In young women each of the picture's elements coastline, horizon, figure and umbrella is firmly delineated by the precise ink underdrawing before being filled in with color. In la japonese in contrast the figure disperses into its surroundings as the underdrawing multiplies into a massive repeated but non-coincident lines around for example the figure's feet. Note how the left foot confusingly is turquoise like the robe. In young women the gridded surface orders the image around the horizon and around the vertical line that follows the front of the figure's dress allowing even unpainted areas of the canvas to read as coherent spatial elements. In la japonese again in contrast spatial relations are less clear. Considered in isolation Madame Matisse appears to be viewed straight on yet the sharply rising surface of the sea behind the figure, the lack of horizon line and the rock in the upper right corner each stress the downward angle of our view. And most importantly where young women make systematic use of complementary contrasts to reproduce the chromatic effects of nature. Green dots in the surface of the sea shifting to blue next to the yellow of the figure's dress for example. La japonese as we have seen allows color to blur distinctions between figure and ground between one object and the next. What we see in la japonese is not the wholesale rejection of neo-impressionism nor of representation. We still identify with relative ease what we see here. It is rather a rendering unstable of the pointillist system. Replacing the consistent factor of young women with free floated and disconnected fragments la japonese leaves the signifying codes of neo-impressionism in disarray. Severing the logical connections between one mark and the next. A similar disruption of representation of the ability of painting to refer in stable and coherent fashion to the appearance of the external world is to be found in standing figure. Painted a year or so after la japonese and now here in the Barnes collection. The paint, as was increasing in Matisse's practice, is applied in somewhat broader areas. The image moves somewhat in the direction of La Bonneau-Devive but there are similar uncertainties at the level of representation. The spatial relationship between figure and ground is indeterminate as are the contours and orientation of the lower part of the robe. Such ambiguities mean that for all that the image, as Karen Butler has rightly noted, allows us to imagine that the figure stands in a sunlit glade. This I think is absolutely correct. The roughly applied areas of yellow, orange, blue and green sitting flatly on the surface present themselves equally as a refusal of the ability of paint to record the eye's engagement with the world. Now one way to make sense of what we see here would be to label it as abstraction and the critics as we will hear use this term at times. Matisse we might suggest was becoming more interested in paint than in sight but we should not push the argument too far in this direction. It would be more accurate to say that these works sit halfway between two kinds of vision. On one hand the naturalist eye, all eager regard, scanning the shifting and sunlit surfaces of the world. On the other the eye of modernist visuality, absorbed in the formal qualities of the painting's own surface. The works bear witness that is to say to the dismantling but not the banishment of the tools of representation which begin to be reduced to a disconnected residue near shards of a broader mimetic syntax. This quality I think, this dismantling of near-impressionism has much to do with the critic's sense of optical disturbance so the kind of assault on the eyes they looked at this kind of painting. I want to park that question just for a moment and look at another dismantling, another kind of dismantling that takes place in phobism. If Les Japonais put near-impressionism to the sword and being its logic rendering its representational devices incoherent much the same can be said of what Matisse's faux portraits did to another variant of post-impressionist painting namely symbolism. Here the best example is woman in a hat perhaps the most famous or infamous of the paintings exhibited in the Sal de Vauve. It was quickly singled out as one of the more deranged entries in the exhibition with the critics resorting repeatedly to a vocabulary of the insane, the aggravating and the violent presumably at least in part because of the paintings roughly an inconsistently worked surface and its rather brutal indication of form. The figure's left hand for example is crudely rendered by a few sparse strokes of a too dry brush whilst Madame Matisse's fan the sitter is again the artist's wife is composed of thickly glutinous dabs of paint whose sticky viscosity contradicts the treatment of the hand that holds it and makes difficult now on impossible in fact to picture what the fan might actually have looked like. Over to the right the scabrous paint layer stammers into incompletion allowing the schematically penciled indications of a preliminary design to show through. The hat in turn are not as thickly painted as the fan seems equally ill equipped to convey information about the nature of Madame Matisse's accessories.  The difficulty of identifying all the details of what we see here led the critics to talk not only of violence but also as I mentioned a moment ago of the abstract. The anonymous critic for the Daily Le Matin for example worried that Matisse's paintings were a bit too abstract. The tone is seductive but the subject remains confused and the eye remains disquieted. That link I think is important for this critic at least the abstract the difficulty of making sense of what we see here went hand in hand with the feeling that the painting caused problems for the eye. He or she was turning out quick reviews for a daily paper and had neither of the time nor in all likelihood the inclination to expand upon this observation. It was left to other more significant writers to try to tease out the link between the abstract and the violent. Writers such as the painter and art theorist Maurice Denis. In a long article published a month or so after the 1905 Salon d'Autombe, Denis noted that while Matisse's paintings were all violently colored one feels oneself fully in the domain of abstraction. He then fleshed out this insight in a passage that's worth quoting at some length. Without doubt this is Denis. Without doubt as with the most ardent ravings of van Gogh something remains of the initial emotion of nature but what one finds above all is the artificial. Not the literary artificial as would be the case with an idealist search for expression nor the decorative artificial such as Turkish and Persian carpet makers have imagined it. No, it is something still more abstract. It is painting outside all contingency, painting in itself the pure act of painting. Denis' invocation of the pure act of painting makes it sound for a moment as though he wishes to propose a strictly formalist account of Matisse's work. But that's not quite what he was driving at. The introduction of the term expression and the name of van Gogh alongside mention of the artificial and the abstract signals that something else was at stake. Van Gogh was valorized by Denis though not without some reservations precisely as a powerfully expressive painter. One who was engaged with his fellow symbolists in what Denis referred to here as the idealist search for expression. And it is against this that Denis positions Matisse's abstraction. Something of the kind of expression that one saw in van Gogh remains this is not pure abstraction, it's not a colored carpet but the emotion is attenuated. Unpacking exactly what Denis was driving at is not easy in part because in the rest of his article he co-opts this observation about Matisse for an argument that is very much about Denis' own obsessions the importance of sensibility and of grounding oneself in the national tradition. But what he gestured towards with his initial insight linking but also differentiating Matisse and van Gogh was, I would venture, that Matisse's paintings recalled certain aspects of the Dutch master's work and more broadly of symbolism. Apparently expressive brushwork, apparently expressive color but that it operated according to a very different set of rules. In a van Gogh, non-naturalistic color and agitated brushwork would have had stable meaning. To take a rather obvious example in this self-portrait the swirling brushwork and blue color range rined with the mournful facial expression to convey the idea of the suffering artist. In Matisse in contrast the link between signifiers and signified is at least partly broken. The restless brushwork, the hastily applied patches of color, the pencil lines scratched into the surface. All of this suggests and certainly would have for an early 20th century audience of famous symbolism that this ought to be an impassioned image and yet despite these cues there is a notable lack of emotional engagement. The sitter's gaze is somewhat averted and her blank mask-like countenance reveals little of her interior state. Even the title of the work maintains a stubborn neutrality. It is, I would suggest, this mismatch between the works apparently symbolist devices and a certain blankness or abstraction that bothered Denis and the other critics. Which the same we might note in passing might be sort of another portrait of Matisse's wife. This one painted just after the 1905 Salon d'Automne. This is the green line on the left which co-opts some of van Gogh's trademark devices, most notably the jarring complementaries and the subdued violence of the brushwork, but twins them again with a marked lack of engagement. An emotional distance that is once more underlined by the figure's averted gaze. Symbolist devices, this is to say, are thus emptied at least to some degree of their expressive cargo. The result, however, as Denis sensed, is not pure abstraction. Just as Le Japonais reduced neo-impressionism to a stammered residue but left its representational tools in play, here we see not the exclusion of expression, but rather it's unmooring from the person of the artist. Where in van Gogh color and form could be understood to make visible the psychic state of the individual. In Matisse, Symbolism's expressive tools appear disconnected from the artist's effective world. Fragments of expression floating free within a painting that no longer follows the rules. Such painting in which representational and expressive elements remain in play but fail to produce coherent sense might best be characterized following the literary critic Svetan Todorov as a kind of schizophrenic malfunctioning. I should say immediately this is not a diagnosis of Matisse. There are plenty of critics at the time thought that phobism could only have emerged from madness. Rather, what I'm arguing, what I want to talk about is how the images produce or do not produce coherent meaning. Todorov sets up a distinction between modernist writing that can be thought of as schizophrenic and that which is paranoid. Symbolist literature was, in Todorov's terms, paranoid in that it replaced the world of external reality that which was typically represented in naturalist literature with an imaginary substitute or that could be read as a coherent parallel universe linked to our own by series of legible stable correspondences. Literature produced after the symbolist period, he argues, exhibited a tendency towards what he calls the schizophrenic. Rather than creating a consistent picture of an imagined world, the text becomes internally contradictory, preventing the reader from organizing the elements into a coherent narrative. Everything is thus experienced as fragments, as in schizophrenia, a condition in which the subject loses his or her ability to synthesize sensation and thought. Bangov's portraiture, it seems fair to say, answers to Todorov's account of the paranoid text. Not again as a diagnosis of the artist himself, but as a description of the operation of his work. A series of symbolist correspondents promote expressive legibility. What he shows does not look quite like the world, but it expresses clearly the artist's emotional universe. Fovism, in contrast, is rather more like the schizophrenic text. The tools of representation and of expression are present, but fail to add up to coherent communication. Here you might note that Henri Gide, like Denis, a perceptive observer of contemporary painting, wrote, when faced with woman in a hat, how far from the lyrical excesses of a van Gogh, before adding, art cannot do without syntax. It's the failure of the pictorial science to work together, the lack of syntax as Gide had it, that renders Fovism incoherent. To say this is to think in terms of how the paintings communicate, of how we might characterize them as signifying systems. But we can also ask, and certainly this was the pressing question for the initial audience, what it is like to look at such paintings. The critics talked constantly of stupefaction, of the feeling that they couldn't make sense of Fovism's disarticulated signs. They also talked, as we have heard, of violence and of the disquieted eye. The two things go together. The experience of looking at Fovism, I would suggest, is akin to what Frederick Jameson, following Lacan, has described as the schizophrenic experience. An experience of isolated signifiers, without sense or temporality, that pushes the materiality of the signifier more insistently, more intensely into view. For the schizophrenic this can be highly distressing, but it can also be accompanied, Jameson suggests, by a feeling of euphoric elation. Rather than being processed, rather than being folded into a coherent image of the world, sense data are experienced as it were raw, experienced in all their irreducibly forceful and concentrated presence. Something similar I am suggesting happens with Fovism. Pictorial signifiers that might have suggested expressive or representational content are dispersed across canvases that no longer cohere. A short circuiting of meaning that collapses our attention onto the surface, that allows us, that forces us, to experience the formal properties of the image, and in particular its color, in undiluted intensity. We are not, of course, any more than Matisse was as he painted, mad when we look at Fovism, but our senses, the better our ability to make sense, to understand what our eye beholds, is deranged, derailed, diluted. And it's the lingering presence of meaning, meaning destabilized, but still operating fitfully. Fragments of expression that the eye cannot grasp alongside the consequently unredeemed presence of pigment that made the critics talk of an assault on the eye. What then of Le Bonheur de Vive? Like Fovism, it dismantles its sources, undoes their syntax, as Jid would have put it, though the sources are both different and more diverse. There may be occasional echoes of the kind of agitated brushwork seen in Famel-Chapeau, but the painting, as has often been noted, for the most part speaks a different set of languages. One of these is the classical. The figure furthest to the left, for example, recalls Ang's famous La Source, whilst the image's theme has been linked to the pastoral tradition. Note that Matisse titled this 1905 painting, which predicts a number of Le Bonheur de Vive's elements, pastoral. Alongside the classical, the painting also, as Margaret Worth, who's about to follow me on to stage, has demonstrated, mobilizes, but also refuses, a pictorial vocabulary drawn from the anarchist utopia of his one-time friend and colleague, Paul Sceniac. This is Sceniac's, The Golden Age is not in the past, it is in the future. Or perhaps this is not the future at all, but the distant past. The goats to the right of Matisse's image resemble the prehistoric cave paintings that have been coming to light since the later 19th century in France and Spain. This particular example was unearthed in 1904, so some of these photographs, or black and white photographs, have been appearing in the press. It's not to suggest that this is a specific source for Matisse, but these things are in the air. Though the painting's components are somewhat different from those seen in erfogism, and though the range of those components is wider, the net result is not dissimilar. The diverse stylistic and thematic references collide with and interrupt each other. As Matisse himself, though he generally insisted on the unity of his work, came close to acknowledging. Le Bono de Ville, if he admitted, was a painting made from juxtapositions of things conceived independently. Those juxtapositions mean that the pictorial languages that Matisse mobilizes do not add up to coherent meaning. The picture's sense remains elusive, as the wide range of interpretations in the art historical literature testifies. And again, as with the folk portraits and landscapes that we've considered, with the picture's visual signifiers, thus floating free as fragments of which the viewer is unable to make sense, those signifiers, the patches of color, the arabesque contours and so forth, are left insistently in view. Their material qualities experience as a forcefully inescapable presence in the eye of the beholder. It is this, I would suggest, that lends the picture its sense of overwhelming intensity, at least in part. But the painting also differs from the works of the preceding year in ways that push the intensity to an even higher pitch. The first of these is the way in which this quality is allied with a theme that, for all its indeterminacy, itself speaks of euphoria, or at the very least of idyllic pleasure. The pastoral and the idea of anarchist utopia both suggest something of this. Perhaps the echoes of a prehistoric past also bespeak an archaic arcadia. And so too does a further source for the painting. When the picture was shown at the 1906 Salon des Andes-Pendaux, the critics were quick to name Gauguin as a component in the picture's complex genealogy. And I think they were probably right. Where do we come from? What hobby where are we going, as the Gauguin on the right, is one likely precedent. It's pale gold upper corners and its array of ambiguous human and animal figures set against an expanse of water. It's always seemed to me one of the possible inspirations for Matisse's picture. Mahana no Atua is another. Gauguin's paintings tend of course to be rather clearer, rather more univocal in their meaning. Mahana no Atua, for example, uses sensuous color and arabesque contours as rather straightforward, symbolist correspondance for the idea of tahiti as tropical idyll. But it is that idea of the idyll that Matisse picks up and reconfigures in Le Bonheur de Vieve. Thus, whereas in the faux portraits, the critics sense that disjunction between the image's expressive intensity and the blankness of the sitter. Now the experience of hallucinatory intensity generated by the painting's shards of meaning and expression is brought into sync with the overall theme of the painting. With the idea that, for all its ambiguities, sits at the heart of the image. Namely, sensuous pleasure. The second big difference between Le Bonheur de Vieve and faux visum is the fact that for all its fractured meanings, for all its diverse sources, the painting is in the final, in the final count, as Ivalin has compellingly argued, tightly suited. Possessed of a unity not seen before in Matisse's work. This, as Ivalin again has argued, imposes on the beholder a further form of blindness. An absent-minded peripheral gaze scattered to the edges of the picture. An eye that loses its way unable to focus. If then, as I have been arguing, we are in part asked to look with a schizophrenic eye. With Le Bonheur de Vieve another kind of vision joins the fray. This look revolves around desire. Around the feeling of a sensual immersion in the expansive circulation in the taut rhythms of the painting's surface. And it is this, finally, that lends the painting its overwhelming and concentrated visual force. The idyllic theme, the intensity that follows, as I have been arguing, from the painting's dismantling of the symbolist legacy. Each of these is brought together in an image that absorbs a viewer in an encounter from which we cannot step back. Which the mind therefore cannot grasp. Hence, I think, my recurrent difficulty in recording the work's power. And it can only really be experienced in the flesh, standing before, immersed within, the painting's possessive pictorial logic. Thank you.


And for those of you that are watching this little short segment on Sensor 2, this is a current events livestream that we are doing on November 22nd, 2021, and the sensors, the technocrats, the fascists, the oligarchs, those that you cannot, cannot criticize, do not want you to hear this discussion. So we will not be loading this on Sensor 2 because we are being shadow banned, but you can catch this full livestream on BitChute Rumble on Odyssey. Join us on those free speech platforms. If you are still, if you are only consuming content on Sensor 2, you are going to be just as misinformed, as confused, as stupid, as those who only watch CNN and corporate propaganda. Okay, really, really, the amount of censorship and video information being deleted from Sensor 2 is unbelievable. It's a purge. Get on to free speech platforms and really understand what it means to be human. Okay, aside from that gang, thank you for the support. Thank you for being here. Let's talk about current events and what's going on in our world and what our part is in it. Let me take these guys down. Oh yeah, for those of you on Sensor 2, the links to the full livestream will be in the description of this video. Let me take these guys down. Boink, boink, boink, boink, boink.


Hello! Over at the Diary of the InternetStormCenter, my latest Diary entry is about a malicious document that contains an embedded VBS script and this VBS script is a downloader, so it will just download an executable and write it to disk and execute it. But the particular thing about this VBS script is that it will sleep for 5 minutes and not only will it sleep during those 5 minutes, but every minute it will also check the time online to make sure that it is not in a sandbox that does time acceleration. So let's do the analysis of this document here. So with HolyDump, the document, it's a DocX document and as you can see, it contains 4 OLE files with an OLE 1.0 native stream for each. So you can see this here with the name, but also with the indicator O, that's something new that I added to this version of HolyDump. And what you will also remark is that the size of all those streams are actually the same. So maybe they could be the same stream, have the same content. And that is something that we can check with option C, calculate. This will calculate the MD5 hash of the content of each stream. And as you can see here in the different OLE files, the hashes are the same. So those are actually the same embedded files. So we just need to look at the first one. So let's select A2 and get the information for this OLE 1.0 embedded stream. And so here you have the names of the embedded stream. You can see here document number dot dot x and then a lot of spaces and dot then dot VBS. So it's actually a dot VBS file. 1,442 bytes and it starts with djjk sub d1q. So we can dump this. So let's dump this to the screen. And here you have the VBS script. And this here is actually an encoded string. So hexadecimal and here the key to decode it. It's actually an XOR encoded. So we can use our plugin. So let's pipe this again to OLE dump. And we are going to use the HTTP heuristics plugin. But first we are going to tell OLE dump that we are providing it with the source code of VBA. So raw data, option R and then option P with the name of the plugin like this. And here you can see that it is able to extract the three URLs. These are the two URLs with the payload. And this here is the URL that is used to check the time.


Welcome to the Sheboygan County Local History Expo. Today is May 7th, 2012. My name is Bob Harker. I work at the Sheboygan County Historical Museum as a director there. But today you're going to meet a lot of people from a lot of organizations. Now, Sheboygan County Local History Expo, but we have people from Ozaki County, County McCounty, Manitowoc County joining us for the day. And you're going to hear all about their projects. You're going to hear about the things that they've completed and the projects for the future as well. So again, welcome to the Sheboygan County Local History Expo, 2012. Welcome to the Sheboygan County Historical Society and Museum's presence here at the Local History Expo this year. I'm proud to represent us here at the museum. My name is Tamara Lang, and I serve as the Collection Coordinator and Registrar at the museum. And I'm super excited to be able to talk about the very variety of things that we do here. One of our things that we're super proud of are our full-day student education programs. We have students in grades primarily two, three, and four. They come to the museum from nine in the morning until 2.15, 2.30 in the afternoon. And they have a full-day experience focused on Native American culture, pioneers of Sheboygan County, and historic trades and occupations. We serve over 2,000 students every year from Sheboygan County and beyond, helping them to learn more about the history of the communities in which they live and play today. We also have a great program series that runs from January through October. It's our third Saturday programs. They, of course, happen on the third Saturday of every month between 10 and 3. Our next one coming up in May is going to be on one and two-room country schools. We're going to focus on the experience of the students and the teachers that were in these small schools through the 1800s and well up into the 1900s. Coming up after that, we will have programs in June on shipwrecks on Sheboygan County shores. In July, I think we're doing the Big Band Era in Sheboygan County Dance Halls. August will bring a program on the beverage industry and September will bring a program about the Sheboygan Armory and the many events that went on there. Finally, we'll wrap up this year's third Saturday season with a program in October featuring various collections and their collectors from here in Sheboygan County. Part of our other items that go on is that we have exhibits. We have four historic buildings and an additional modern building that has numerous exhibits in it, including a seasonal exhibit that changes every year. That's also where we have our Holiday Memories exhibit of Prangies Animation. At this time of the year, though, we feature always our seasonal exhibit. This year, from the beginning of April through about the 20th, 24th of October, we're featuring Sheboygan County through the 20th century. And what you see behind me is actually a panoramic mural of the actual exhibit this year. It features the highlights and the many things that happened in the 20th century that were major changes, both on an international and a national level, and those things that happened locally that impacted the residents of Sheboygan County. You'll be able to come and see. We have a nice booklet here that displays many of the various items, information for each decade, lots of different labels, just to learn more. And we go right from 1900 all the way up until 1999 for this year's seasonal exhibit. We'd love to have you come and visit us at the Sheboygan County Historical Museum. There's tons of things going on. If you're interested in finding out more, feel free to call us at the Museum<PHONE_NUMBER> or look us up on the Internet. Just search Sheboygan County Museum. Thanks. Hi, I'm Mary Rasoud, the Director of Development at the Sheboygan County Historical Research Center. Our mission is to collect and preserve the written and photographic documentation of Sheboygan County. And we estimate that we have approximately a million documents and half a million photographs in our collection. It really is a pretty incredible collection of things that span people, places, events, businesses, churches, schools. Hopefully, if you name it, we've got it. And we have something for almost everybody's interest. One of the things that we also do on a yearly basis is publish new books that pertain to history in Sheboygan County. And this year, we have published our first children's book, which is The Shadow of the Phoenix. And is a children's story about a young boy who survived the tragedy of the sinking of the ship, the Phoenix, in 1847, coming from the Netherlands. We have other novels and documentation about the sinking of that ship, but it's been really interesting to engage the children in the county in a different way about their history. This past fall, we published a book about the H.C. Prangie Company that people were really crazy about. We solicited stories from former employees and customers. And we're told some amazing stories that were more than worth preserving. And people also brought us all kinds of new photographs and other information about the Prangie Company that were very fun. We're also just at the end of the drafts of our newest book that will be out this fall in the Arcadia series, and it will be a photographic history of the city of Sheboygan. So that should be available, I think, about November in time for Christmas sales. So we hope that we will plan some kind of an event to launch the publishing of that new book on the city of Sheboygan. Hi, my name is Betsy Irvin. I'm the lead interpreter and a program assistant at the Wade House Historic Site. I'm pleased to be here to talk about what we have going on in the 2012 season. Our biggest news is we're building a new visitor center and carriage museum, which are slated to be open June 2013. But while all of that building is going on, we still have a lot of exciting programs going on this year. We have the Wade House will be open on a daily basis, the Blacksmith Shop and the Sawmill, and of course the Carriage Museum, which has over 120 different horse-drawn vehicles from 1870 to about 1915. For programming this year, we've got our Baseball Sundays again this year, where we will be playing vintage baseball, playing by the rules of 1860. In 1860, baseball was played without gloves. The ball was slightly larger than a soft ball today. So playing without gloves was a pretty hairy thing. Not a lot of protection for your hands. The bats could be pretty darn long. Sometimes you feel like you're swinging a small tree to get it out into the outfield. But our Baseball Sundays are once a month and they're a great time, so it'd be great if people would come out for that. Something we introduced last year, and we're continuing this year, is breakfast in the end. Same days that we have Baseball Sunday, people can sign up to make breakfast in the Wade House using the wood-burning stove and the open-heart fireplace. So we've got my coffee pot and my coffee grinder and some jam that we've made at the Wade House as well to kind of signify our breakfast at the end program, which we'll start early in the morning, collect eggs from the chickens, make breakfast, and then your admission with that does include the Baseball game. We also have day camps again this year. We have our Civil War Day Camp and our Pioneer Day Camp where kids will get a chance to try their hand at life in the 1860s. Our Civil War Day Camp, kids will get to come and see what it was like to be a soldier during the Civil War. They'll set up tents, they'll set up a camp. They get to do a lot of marching and drilling and a lot of skirmishing. So they have a lot of fun with that. We have historic chickens at the Wade House. That's our portable chicken coop on the end for a brooding hen with her chicks. The breed that we have this year, we introduced last year, our black javas. It's an endangered species. They were a popular bird in the mid-19th century. We also knew this year, they just came today. We will be having heritage breeds of sheep. Both the Wades and the Robinsons did have sheep so we're just bringing them back to where they were over 150 years ago. So come on out and see our sheep as well. Welcome to the table of the Manitoba County Civil War Roundtable. We are here because we have enjoyed studying the American Civil War and started an organization about 22 years ago with 14 of us. And now we have almost 100 members from this part of Northeastern Wisconsin. The purpose of a roundtable is to study all the aspects of the tragic period in American history which was the American Civil War which was fought from, as you know, from 1861 to 1865. And in a roundtable we have, there's so many different subjects that can be covered and not just battles or something like that but we also want to understand why it happened, what's the best way to study it. And along with that we do some events like our roundtable is going to have a school day in 15th of May this year where we have 300 children coming, 5th graders to an event, to a field up in Manitoba County and on a school day the kids come in and get lessons for the various topics about weapons and uniforms and medicine and sewing and whatever else that went on during that period. And then so they understand a little bit more about why it happened when they do some studying back in the schools that they attend. And then after lunch we take them out on the field and teach them some Civil War drill which is the process by which they move men around on the battlefield and then they end up doing what we call a battle. And basically they reenact a particular battle that really did happen. I sometimes wonder about the value of that because the real thing that happened in a Civil War battle was death. And of course we try to be very safe with these kids and nobody dies. So it's basically designed so they become interested in history and find out that some of the real life stories of things that happened are a lot of fun and it doesn't have to be a dry history that some people think about. It's a story about men and women who were facing unusual circumstances and managed to live through it and keep our country together. Here we were only 85 years after the Declaration of Independence and the country was coming apart at the scenes and the whole world was watching to see if this experimented democracy would work. And as a result of that, out of a population of only 31 million we had over 3 million men involved in the Civil War and unfortunately because of the battlefield death and disease 620,000 of those men never came home. They died. So it was just a tragic period in our history. I got interested, I guess, because of my great-grandfather left a little farm here in Sequoia County and went off for three years. And then I discovered that studying the American Civil War is more interesting than reading fiction books. And so my name is Dale Brasser. I was born in the metropolis of Gibbsville but I now live in Manitowoc and we're quite pleased that our roundtable has been successful as it has. My name is Amy and I'm the Marketing and Program Coordinator for the Manitowoc County Historical Society. And we operate two sites. One is Pinecrest Historical Village and that's about three miles west of I-43 and it operates pretty much a historical village about the year 1900. We actually have over 30 historic buildings and we're opening a new one this summer, hopefully in July, and it's a McAllister Farmhouse. It's an 1850s farmhouse that was located on Plank Road in Manitowoc Rapids and it's been beautifully restored. We're still working on furniture and exhibit design but it should be ready to go this summer. We actually got a lot of really wonderful events out there this year too. We've had an 1870s village fair so we're really proud to welcome Nelly Olson from Little House on the Prairie. She still kind of goes with the Historical Society circuit, traveling through villages and everything like that, talking about her memories or experiences on the show. So we're really excited for her visit. We've also added a tractor show this summer in September so a lot of really great events coming up. At our Heritage Center site we have a wonderful series called Hungry for History so we add a historical or an educational program with a catered meal. So we have six of them throughout the year and our newest one coming up is in June and it's out of Wisconsin. So a wonderful look at just some quirky things about Manitowoc County and the surrounding area. We actually have a lot of really great, you know, just programs in general coming up through the village fair, the thrushery and the Hungry for History series. We actually got a new education program too for fourth grades and second grades. So just a lot of really great things happening out the village and the Heritage Center this summer. Hello, my name is Tom Keyes. I belong to the Wisconsin Society of Mayflower Descendants. I'm a descendant of John Alden and Priscilla Mulling. We are a state organization and we have over 500 members. We have a meeting in the spring and we have a meeting in the fall. Our fall meeting is in November on the day that the Mayflower Compact was signed. We do have a series of Mayflower Silver books and these books have been put together with the genealogy. It's a certified genealogy of the first five generations of each person that came on the Mayflower. This one here is William Bradford and each of the other books are also five generations certified. The Sheboygan Falls Research Center has a complete library of these books. I believe there's 13 in number and anyone that would be interested in the Mayflower Society we have a website at MayflowerWI. That's Mayflower in Wisconsin. MayflowerWI.org. On that website is a sheet that can be sent in with your genealogy lineage and then our historian follows through with the necessary paperwork that you would need to have your lineage proven. It's a very interesting society and if you are interested in your relative that may have come over on the Mayflower, we'd certainly enjoy having you as a prospective member. Hopefully your lineage would prove out and you would be a full-fledged member and we just encourage anyone that has a possibility of Mayflower lineages to take a look at our website and to join the organization. I do have another organization that I am a member of and that is the Wisconsin Sons of the American Revolution. We are a companion society to the DNR or Daughters of the American Revolution. Here again, it's a heritage society and interesting enough would be the fact that we're looking at patriotism and what the American society has brought to us all. I don't know if you have any questions, Angie. Well, thank you for your time. Hi there, I'm Carol from Wisconsin's Ethnic Settlement Trail and I'm now known as EthnicWisconsin.org, a 501C3 not-for-profit organization that is located out at the Sheboygan County Historical Research Center in the Cole District in Sheboygan Falls. Our major focus right now is to honor the heritage of the village of Franklin, which has been named by Lakeland College interns as Franklin Settlement and the reason for that is that it's the only settlement of its kind that we know of in the United States and it's people from who are used to, they came from right near Holland or Netherlands in Europe. We are part of one of the largest, or the largest settlement of Europeans in the United States that happened in the 19th century. We started, our mission is to, is preservation and promotion of our diverse ethnic heritage and we were started because the person who instigated this was working at Old World Wisconsin and he was finding buildings, marking buildings, moving buildings and reconstructing buildings at Old World Wisconsin and he did that for a while and he started to wonder, why am I doing this? Why aren't we saving these where they come from? And then he's thought to himself, well what would I save? And he decided that the village of Franklin was the place to focus on because of the, what I just said and also because the construction of the buildings is timber frame, which is very unusual in the United States. It's simpler than half timbered buildings, which are the kind that were in Germany and the settlement started in 1847 and the building that I'm working to restore right now along with other volunteers is the Franklin House, the Franklin, yeah it's now called the Franklin House and this is a picture of it in 1909. If you have, you can get that. And it's only 100 years later and things have changed mightily. It's located right next to the Cheboygan River and it is near Lakeland College. It's directly west of Howard's Grove and on the way to Elkhart Lake and is a fun little town that has lots of interesting things about it. The gentleman who started this project is, his name is Alan Pape and he's a landscape architect and he is an artist and has done a great deal of original art that is in the hall right now. We, in the economy the way it is, we decided to do a resale shop and focusing on art and antiques and things like that and things you can reuse and we have things that we're selling that is art here that is actually reused fabrics. We're working with lace. We are trying to do, you know, make use of all kinds of things plus do new things. So it's a very interesting place. We have curious people that come to see us and we love that because it's fun to talk to them. So is that enough? I'm Carol Meyer. I am representing the Plymouth Historical Society. I am on the board of directors along with the two ladies on either side of me, Peg Stahlman and Virginia Zerke, who is our treasurer and Peg's husband and Peg are the people who founded the Plymouth Historical Society and I just think it's the most wonderful thing for Plymouth and all that we have to offer for people to see and all the things that we have coming up. Perhaps you'd like to know about our current displays first. By the way, we are open Thursday, Friday, Saturday and Sunday from 10 till 2. There is no admission charge. Just we're welcome everybody to come and see. Right now we have a wonderful display on irons. We have a donation from a lady by the name of Jean Bonif who had a just unbelievable iron collection. Some of the irons were from the 1800s and it's just wonderful. We're working on and it's almost finished a display on the local railroads. We have the display on the arrowheads from around the March area that was donated by William Burjean family. We have our course always up our military display, our military dissection. What other one do we have, Peg? In our lower level, we will be opening early this summer. Our lower level which will have the plank road exhibit. We have a covered wagon here sitting on a plank road to replicate what we have done in the lower level of the museum and that we have, oh, they're all upset. We have the plank road already laid along the plank road. There is a mural of Plymouth in the 1800s, 1850s. On the other side of the plank road, we have three different stores. We will have a millinery shop, a pharmacy shop. Actually the old Pfeiffer drug store which building was just torn down this last summer and is now a parking lot. We will have some of the original things out of that Pfeiffer drug store and then we will have a general store in that lower level. We also, on the other side of the basement, we will have a larger exhibit which is the evolution of the kitchen. So it will show kitchen items from the late 1800s through about the 1940s. So there will be a lot of things there that people will say, oh, I remember that when I was a little girl or a little boy or whatever. Old cast iron stove. Have an old cast iron stove that is just in immaculate condition is very, very nice. So we would encourage you to come to Plymouth. And the other thing I could punch a little bit is on Saturday, August the 25th, we are having a Civil War band come to Plymouth. The tickets are $10 if you're a member of the Plymouth Historical Society, $12 to nine members. This band plays authentic Civil War instruments and along with the concert, we will be having a pie social. So you can come and have a cup of coffee and some homemade pie and listen to some wonderful music, Civil War era music and enjoy. I guess the band likes to interact with the folks that are and talk about their instruments. So we would encourage you to come and visit Plymouth. We're located in Belgium. Hi there, my name is Kevin Wester and I'm the Executive Director of the Luxembourg American Cultural Society and Center. We're located in Belgium, Wisconsin, just on the border of Ozaki County and Sheboygan County. And our cultural center opened in 2009. We have a museum that celebrates Luxembourg heritage and history in the United States. We have members from all over the United States as well as Europe. And we celebrate with pride our Luxembourg heritage. Many Luxemburgers came to the United States in the 19th and early 20th century, looking for a new way of life. And a lot of them settled in Ozaki County and Sheboygan County as well. Our museum is composed of a building that formerly was the Mama Hansen stone barn. It's the last Luxembourg stone barn in the state of Wisconsin. We have a research center where people come to work on research and genealogy and lots of activities as well. This year for our annual Luxembourg Fest of America in August, we're celebrating culinary Luxembourg. Leah Lindster, who is Luxembourg's top chef, is going to be with us. She's going to be cooking. She's going to be doing wine tastings and tastings of her champagne as well. So we're celebrating food this year at our annual Fest, which is held the second weekend of August. We have a parade and family, honored family exhibits, ethnic food, and we have a band coming from Luxembourg to provide music for us. So, and we do all sorts of outreach activities, not just at the cultural center, but throughout the United States. We have wine tastings. We're doing a book signing for an author that's written about Luxembourg heritage and genealogy and lots of other activities. So we're very proud of our Luxembourg heritage. We're happy to be here today with Sheboyka County. Thank you. I'm Alan Buchholz. I'm with the Ozaki County Historical Society. We, one of our major involvements is with Pioneer Village. We have 22 restored buildings near Sockville, Wisconsin, all restored, furnished. In addition to that, we are the custodians of Stony Hill School in Wabiko where Flag Day was born. We also have our archives in Cedarburg, Wisconsin, which is where all of the county history and genealogy and so forth is housed. This year, we have, I think, five major events starting in June. We have an open weekend at the village. We have a tractor show in July, a bluegrass festival in August, and Revolutionary War re-enactment on Labor Day weekend. And then a special event this year in November where, in conjunction with the Ozaki Historical Society, the Port Historic Society, the Luxembourg American Cultural Society, and Ozaki County, we're going to commemorate the 150th anniversary of the Civil War draft riots in Port Washington. And we're also going to honor all of the Civil War veterans from Ozaki County at that time. So we have lots of things going in the county and a big membership of about 500 members in our society. Hi, Usberg is a little Dutch town. It was established in 1909. And it was out on the Sock Trail Road. It was called East Usberg. And then when the railroad came through Usberg, through the place where Usberg is now, then Usberg moved up to be near the railroad. We have some publications that we have. We did a pictorial history for our centennial in 2009. And we also have another book that we did earlier that is mostly written material about Usberg. We did a, last year we did a DVD. And that is, some of it is taken from this book. So if people are interested in a DVD, they can also get something like this. It's a barrault, huh? I'll pass this on to Mary. We'd like to welcome anyone who would like to come to Usberg. It is based on a very wide history. We have a timeline in our booklet here that shows that it was Dutch people came into Sheboygan County way back in the 1800s. And as families came, they settled down in the East Usberg area. And later they did move westward due to the fact that the railroad came through town. Later on, many years later, we wanted to preserve some of this history. And a group of citizens got together and they decided they would form the Usberg Historical Society of which I am a partner and happy to help preserve history as we know it. And we have many collections of obituary binders and marriage binders and news clippings and old pictures. And we just try to keep up. And right now we're working on a, promoting our organization through Banners, which we are going to donate to our village. And hopefully they'll hang it from our light posts in town and we'll welcome all people that come to Usberg to visit to the Historical Society also, to our heritage house on 10th Street. Good afternoon. I'm Colonel Taepel from Howard's Grove and I'm here with fellow members from St. Paul's Lutheran Church in Howard's Grove. And the Lord has given us the blessing to be and celebrate 150 years of the congregation. We have a display here of confirmation albums of organizations of the church, old hymnals and pictures. And we're glad to be here and to share the blessings our congregation has had the last 150 years. I'd like to ask Mrs. Ruben Arline Hoppe to say a few words on the project that she was working with. On the project over here pertaining to the members of the generation to generation, these people have signed our incorporation of church that still have descendants at St. Paul's. That's what that is all about. And I found it very interesting to do this. I enjoyed doing it. I'd like to call on Ruben Hoppe and Ruben has a special birthday during this 2012. And let's hear from Ruben. Hello. I'm one of the oldest members still alive at St. Paul's. I'm going to be 90 years old here in November. I think there's only one or two more that have attained that age or longer that are still members of the congregation. Thank you. I'd like to now call on Mrs. Roland Ruby Schauburg. Her dear husband was our county clerk and a lifelong member at St. Paul's. Plus, he wrote some very beautiful stories for posterity. Ruby Schauburg. Hi there. I'm a part of the Historical Society at St. Paul's Church. It's very interesting. It's also very interesting today. So I'm also one of the 90-year-old people in the congregation. So, Carl. I'd like to introduce my wife Marilyn. She has been hiding lately. She's been either at our computer in the house or at the lab at St. Paul's. And she's just finished a 60-page book on the history of St. Paul's. Marilyn? I'm probably a newcomer to the group. I've only been here a little over 40 years. And it was really interesting to me to dig back into all the documents and pictures and history of the congregation to write the book. Thank you very much. We appreciate you coming here and filming the many historical groups of Sheboygan County. Hello. My name is Rick Bernstein. I'm one of two field services representatives for the Wisconsin Historical Society. I work in the southern region, which includes the southeastern part of the state, basically from Green Bay to Vernon County. And the posters that I have here today are both from Archaeology and Historic Preservation Month. This one is a photo mosaic of the Rouse Simmons. It's a shipwreck in Lake Michigan, just off the shores of Wisconsin. It's on the state coastal waters, so it's actually owned by the state of Wisconsin. And this was a photo mosaic that was taken by Tamara, one of two archaeologists that we have on staff who do our underwater archaeology program. And this was actually a series of several different photographs, a mosaic that were stitched together. And you can basically see the Rouse Simmons as it sits on the lakebed, the floor of the Lake Michigan. And you can actually, this was also called the Christmas Tree Ship. And it was sunk in December, over 100 years ago, on its way to Chicago to supply Christmas trees to that metropolitan area. And if you look closely, you can still see a lot of those logs left from when the Christmas Tree cargo. Right next to that, we have another poster. And this one of a tavern in Burlington, Wisconsin. It's one of several historic taverns that will be included in a book that the Wisconsin Historical Society Press is very soon to issue about the historic taverns of Wisconsin. This one has a Queen Anne turret. It's a historic building. But the book will feature several more, a few dozen, and have interior and exterior photos. And probably have a great story for each one of those taverns that includes in the book. The authors, Jim Drager and Mart Spelts, will be going on a lecture tour once that book has been issued. And I think that pretty much covers the two posters. This is Heritage School, which is a two-room schoolhouse built in 1876. It is located at the corner of 8th and Kentucky Avenue in Sheboygan on the south side next to the Longfellow School. In 1976, to celebrate its centennial, it was restored to its original condition and has been placed on the National Register of Historic Places. The purpose of restoring it was to create a special educational experience for fourth-grade students who study the history of Wisconsin. One of the two rooms has been made into a museum room. When classrooms come to visit, they spend time with the docent in the museum room. And then the rest of their morning, about two and a half to three hours, is spent in the classroom where they experience the school days that would have been in 1877. At the time, they used the pan and ink that would have been used in 1877. They used slates and chalk as students would have used in those days. They read stories that have been printed from 1877 readers. And of course, they dress the part which makes it even more fun for everyone. The program is open to all fourth-grade classrooms throughout Sheboygan County. We also have some classrooms visiting from Manitowoc County as well. All Sheboygan area school district fourth-grade classes visit as part of their social studies program. We have served, I believe, over 2,000 students this year. And we'll continue to do so as far into the future as we possibly can. This is the 19th year that we have been offering classes to students. We're excited that next year will be our 20th year of providing this classroom experience for fourth-grade students. I'm Darla Jean Krauss in the Random Lake Area Historical Society. I'm going to tell you a little bit what we have in our display. Random Lake is known for the young brewery. It was an operation to the 1950s or so. We have a baseball jersey. We have a picture of the team and various bottles from the brewery. The brewery is still in existence. This is a private home right now. We also have our claim to fame is ice houses. And the ice harvesting in Random Lake was done by the Orks Ice Houses in Random Lake. We have some utensils here. We also have a picture behind of the old ice houses. We had banners made when we celebrated our 100th anniversary. So welcome come to Random Lake. We have events going every month through the month of through 2012. Thank you. The Keel Area Historical Society started November 12, 1972 when a group of 10 interested citizens met at the Keel Home of Tom and Elaine Wilkins. Their concerns and goals were to preserve the history of Keel. Meetings of interested persons continued. The Society was incorporated October 30, 1973. The first public meeting was held November 7, 1973 at the Keel City Hall with 58 members present. A board of 15 directors was elected and 225 charter membership was reported. In 1984, the city of Keel was presented with a home at 3rd and Fremont streets by the Stelting Foundation of Keel. It is a home patterned after Dutch colonial architecture. The home is now under the care of the Keel Area Historical Society and the city of Keel. It has been completely decorated as close as possible as a 1900 home and is used as a museum. The historical house is listed on the state historical register as of May 14, 1997. And the house is open to visitors on the 3rd Saturday of the month 1 to 3 p.m. March through October also for special events and for prearranged tours for appointments call<PHONE_NUMBER> or<PHONE_NUMBER>. And now another lady that works in our historical society is working on Civil War veterans. I'm working on the Civil War veterans and we have lots of pictures of the Civil War veterans and I've been working on stories for them when we can find them. This is Peter Jugenheimer. He was a Civil War veteran in Keel and he was a farmer after the Civil War. Jacob Casper. He was from Rantul, farmer Gutail. We have Louis Gutail. He was in the Civil War and he had a brewery in Keel with his brother Bernard Gutail and after his brother left the business he went into a business with another brother. So they were in the beer business for a long time. And we have Ferdinand Krieger, Martin Liske, Hunts Lorenzen, Jacob Molyk, Philip Mattis. That's his family and Frederick Rumpf, Philip Shuler, Fritz Thiele, and lots more. So is someone doing this as a project? Well, yeah, me. And I just got 90 pictures of Civil War vets from the Kalima County area and they were for the J.B. Reynolds Post and there's over 90 pictures and I've got about 40 of them done. I have them all figured out and I'm just looking for the obits and more stories on them. The Aviation Heritage Center of Sheboygan County was dedicated and broke ground in 2004. It was completed in 2005 and open in June of that year. I'm Dan Miller. I'm a member of the Board of Directors for the Aviation Heritage Center. The facility is dedicated to the aviation experience on all levels. We are dedicated to the history of the local area and aviation. We also run programs that are beneficial to the aviation enthusiasts. Everything from aviation visits from aircraft to movies and programs dedicated to the aviation experience and history. Part of the building, the building is divided into about three or four segments, a library, a museum and a lab-hanger complex. The museum, which is in the center of the building, is dedicated to the local aviation heritage and history, which is highlighted in the back. A lot of it stems from the early days of aviation in the 1920s in Sheboygan and then extends out to the old Kohler Airport and eventually to the new airport in Sheboygan out on Resource Drive off of Highway 23. And the building is dedicated to all those facets of history. We run a lot of different programs for the local public. One of our most successful is Movie Nights, which we run once a month every second Friday. And it's free to the public. We raise funds with donations and sales of popcorn soda and candy and the like. A lot of our memorabilia from aviation days of pass is on display at the museum, so anyone who comes out to visit can tour the museum and see all the interesting artifacts we have and all the old aviation pictures and some of the models that portray some of those periods of history. As you can see, there's a lot of that on the table here. One of the greatest stories we have at the Aviation Heritage Center concerns a pilot named Felix Wekes, who was the fifth person to solo flight across the Atlantic Ocean after Charles Lindbergh. And he was based out of the Kohler Airport. He was associated with Anton Bratz, who ran the Kohler Airport at that time. The aircraft was modified there, flew out to New York and was tested on Long Island, flew out of Roosevelt Field, I do believe, and crossed the Atlantic Ocean. Its intent was to reach Lithuania, which was his homeland. Unfortunately, the headwinds that were forecast were a lot stronger than they anticipated and the fuel was used up before they had a chance to complete their flight and the aircraft crash landed in Ireland. And that's one of the great interesting stories that takes place all at the Aviation Heritage Center. And it's an important part of our local history. A lot of people don't realize that these types of exploits took place out of Sheboygan and Kohler, but it was interesting. Another part of the history of Kohler, of the Kohler Airport was Kohler itself. Walter Kohler, who was known as the flying governor, established the Kohler Airport, bought an aircraft that was a sister ship to the spirit of St. Louis, a Monee Ryan Broome. And he flew this aircraft on his campaign for governor of the state at that time. He bought the aircraft in 1928 and used it extensively on the campaign trail. He was known as the flying governor. There's also a lot of other interesting stories that take place, and we share those with anybody who comes out to visit us. I'm a member of the Neholstein Historical Society. This is our display. It indicates our two major areas of activity in Neholstein. We have a pioneer corner museum, which we are constantly changing the exhibits on. This year we're building a one-room schoolhouse inside the museum, and this show is a number of smaller vignettes of businesses in the city during the turn of the century. It also is a little indication of the annual fundraisers that we have. We have a number of them, including an annual appraisal day, a spring luncheon and fashion show, a brat fry at Christmas time. We take our other property, a Tim House house museum, and we decorate it for Christmas and give guided tours. The Tim House was given to the society in the mid-70s, and we went through a major restoration in the mid-2000s. It's now open for tours year-round. Just a real quick thing. This is one collection we just recently acquired. It's the leaf-ring hand-carved collection. There's well over 100 similar pieces to this, and they were made in St. Anne, a little village just a few miles from Neholstein. Well, thank you for joining us on this tour through the historical societies and historic-minded communities of Sheboygan County in the surrounding areas. I'm Angie Holland from the Sheboygan County Historical Society and Museum. Thank you so much for joining us. I hope that you visit some of our historic societies and organizations that we have visited with throughout the past hour. Stop by the Sheboygan County Historical Museum. Any of the hours that were open, Monday through Friday, from 10 till 5, 3rd Saturday of every month, there's a special topic, and of course our seasonal exhibit runs from now through the end of October. Thank you very much.