Art is an integral part of the Dogwood Arts Festival. This year the festival adds video and performance art to its April offerings.
Most Friday and Saturday nights in April will see video art played against the brick background of the south side of the William F. Conley Building on Gay Street. Local artist Tarrer Pace will create the work called "Illumine" using words and graphic design and colors high up on the building wall. Dogwood Executive Director Lisa Duncan describes "Illumine" as the festival's "first light sculpture."
The video art will be projected from two projectors set across the Krutch Park Extension from the Holston Building. "Illumine" will show 8:30-10 p.m. April 6, April 13-14, April 20-21 and April 27.
Other performance art has been added to this year's festival. And this work is hot — literally.
Sculptor Allen Peterson will lead an iron casting demonstration and "Iron Pour" performance event April 14 at the University of Tennessee Gardens off Neyland Drive. Peterson is the juror for the festival's 2012 Art in Public Places exhibit.
Peterson, who is an instructor at Savannah College of Art and Design-Atlanta, will work with members of the UT Sculpture Club on the presentation. The event includes an opportunity for the public to create their own cast iron tiles, followed by an iron pouring performance by Peterson called "Colony."
The iron tile casting is 2-6 p.m. April 14; cost is $10 per tile, said UT Professor of Art Jason Brown. The performance aspect of the iron pour will begin after dusk. Then, Peterson will pour hot iron into molds of large bees. Those bees will then be held up by iron rods into the air, creating an iron-bee style of dance. There is no charge to watch the iron pouring and "Colony" creation and performance.
Hot glass will be the medium April 20 and 21 as glass artist and 2003 Bearden High School graduate Cody Nicely demonstrates glass blowing. Nicely's demonstrations will be 10 a.m.-5 p.m. both days at Liz-Beth & Co, 9211 Park West Blvd.
2012年3月31日星期六
2012年3月30日星期五
Software 'cloud' helps molders monitor production
Cloud computing is not just a buzzword for a molder’s tech services department. It is also for molders that want to get the most out of their presses in day-to-day production.
“[The cloud] removes the barriers that were there because of computer hardware [limitations] and makes it so that you can study more things,” said Bob Williams, product marketing manager for software company Autodesk Inc. (Booth 49009). “There were all of these things that could have been done in simulation before, but nobody had the time or the computer space.”
Autodesk’s Moldflow analysis has been a go-to resource for companies designing molds and new products. By creating simulations, those firms can make sure the geometry and material flow will work in production. But Williams said Moldflow’s potential has been much greater than that. The capabilities exist for adding details about press size, melt temperatures and cycle time — right alongside its more familiar use for testing complexity in part and mold development.
The problem, traditionally, is that all that information took up a lot of space on a computer’s hard drive, and companies had to prioritize and ration their use of Moldflow. The cloud changes that, Williams said.
Cloud computing has been around for a while, but recently it has received greater attention and emphasis. Apple Inc., through consumer advertising, has brought wider recognition to the cloud and cloud-based services for storing and accessing music, photos, videos and apps — such as its iCloud.
The cloud itself, however, is not simply an Apple creation, nor as ephemeral as the white fluffy things floating in the sky. Cloud computing is a phrase to describe off-site data storage locations — or server farms – which holds massive amounts of files for everything from email to highly detailed renderings of complex parts, Williams said. Users then access that information from anywhere with a wired or wireless connection, using anything from a smart phone to a desktop computer.
What this means for Moldflow users is that they no longer need to have all of the schematics and geometry and software loaded onto their own hard drives. Instead, using a secure log-on, a mold designer could set up a program with all the data needed, but the intensive calculations are done at a remote server, keeping their own systems free to run other programs.
Autodesk began offering the cloud for its Inventor level of Moldflow 18 months ago, and expanded it to its more complex full Moldflow simulations in late 2011.
“What we’ve seen is people are uploading gigantic models that their local computers couldn’t handle,” Williams said. “They may have 10 to 20 different variations that they’re looking at, and running it all at the same time, where before they would have had to do one after another on their computer.”
Users also are discovering the availability a cloud-based Moldflow analysis has on picking the right press size to use, the correct pressure and cycle time. They can run simulations that will check what tweaking one gating alternative would make in manufacturing the part, then use that information to see which presses are the best for that parts – or even if they have the right presses on the floor to bid for a part in the first place.
“[The cloud] removes the barriers that were there because of computer hardware [limitations] and makes it so that you can study more things,” said Bob Williams, product marketing manager for software company Autodesk Inc. (Booth 49009). “There were all of these things that could have been done in simulation before, but nobody had the time or the computer space.”
Autodesk’s Moldflow analysis has been a go-to resource for companies designing molds and new products. By creating simulations, those firms can make sure the geometry and material flow will work in production. But Williams said Moldflow’s potential has been much greater than that. The capabilities exist for adding details about press size, melt temperatures and cycle time — right alongside its more familiar use for testing complexity in part and mold development.
The problem, traditionally, is that all that information took up a lot of space on a computer’s hard drive, and companies had to prioritize and ration their use of Moldflow. The cloud changes that, Williams said.
Cloud computing has been around for a while, but recently it has received greater attention and emphasis. Apple Inc., through consumer advertising, has brought wider recognition to the cloud and cloud-based services for storing and accessing music, photos, videos and apps — such as its iCloud.
The cloud itself, however, is not simply an Apple creation, nor as ephemeral as the white fluffy things floating in the sky. Cloud computing is a phrase to describe off-site data storage locations — or server farms – which holds massive amounts of files for everything from email to highly detailed renderings of complex parts, Williams said. Users then access that information from anywhere with a wired or wireless connection, using anything from a smart phone to a desktop computer.
What this means for Moldflow users is that they no longer need to have all of the schematics and geometry and software loaded onto their own hard drives. Instead, using a secure log-on, a mold designer could set up a program with all the data needed, but the intensive calculations are done at a remote server, keeping their own systems free to run other programs.
Autodesk began offering the cloud for its Inventor level of Moldflow 18 months ago, and expanded it to its more complex full Moldflow simulations in late 2011.
“What we’ve seen is people are uploading gigantic models that their local computers couldn’t handle,” Williams said. “They may have 10 to 20 different variations that they’re looking at, and running it all at the same time, where before they would have had to do one after another on their computer.”
Users also are discovering the availability a cloud-based Moldflow analysis has on picking the right press size to use, the correct pressure and cycle time. They can run simulations that will check what tweaking one gating alternative would make in manufacturing the part, then use that information to see which presses are the best for that parts – or even if they have the right presses on the floor to bid for a part in the first place.
2012年3月29日星期四
Air sampling shows elevated level of mold in auditorium at Southview High building
Air monitoring has shown a high level of mold in the water-damaged auditorium of Southview High School.
The testing conducted by Emerald Environmental Inc., detected 57,000 traces per cubic meter of penicillium/aspergillus mold near the auditorium’s seating. The average for a “clean commercial” building is 600 fungal structures per cubic meter of air sampled, the report states.
The stage of the auditorium registered 20,000 structures per cubic meter of the same type of mold.
People who are sensitive to molds may experience stuffiness, eye irritation, wheezing and skin irritation when exposed to it, according to the Centers for Disease Control. Exposure to large amounts of mold could cause fever, shortness of breath and fungal infections in the lungs in some instances.
Chief Operations Officer Daniel J. DeNicola stated in a memo to Interim Superintendent Ed Branham that the level of mold was “comparable to outdoor environments during high pollen/hair fever season.”
Beginning next school year, the building is expected to become the temporary high school, while the new high school is being built.
Students will not be permitted in the building until the mold issue has been dealt with, said Tim Williams, school board president.
“Until the building is at what is by code acceptable, there won’t be any occupancy,” he said. “There will be no compromise on health or safety. That is our expectation of all of our buildings.”
The mold growth came about due to a leaky roof over the auditorium and a power failure, the report states.
School officials placed caution tape at the auditorium doors to keep people out while the testing was done. Officials have repeatedly described the auditorium and neighboring “music wing” as the most troubled part of the building.
The testing conducted by Emerald Environmental Inc., detected 57,000 traces per cubic meter of penicillium/aspergillus mold near the auditorium’s seating. The average for a “clean commercial” building is 600 fungal structures per cubic meter of air sampled, the report states.
The stage of the auditorium registered 20,000 structures per cubic meter of the same type of mold.
People who are sensitive to molds may experience stuffiness, eye irritation, wheezing and skin irritation when exposed to it, according to the Centers for Disease Control. Exposure to large amounts of mold could cause fever, shortness of breath and fungal infections in the lungs in some instances.
Chief Operations Officer Daniel J. DeNicola stated in a memo to Interim Superintendent Ed Branham that the level of mold was “comparable to outdoor environments during high pollen/hair fever season.”
Beginning next school year, the building is expected to become the temporary high school, while the new high school is being built.
Students will not be permitted in the building until the mold issue has been dealt with, said Tim Williams, school board president.
“Until the building is at what is by code acceptable, there won’t be any occupancy,” he said. “There will be no compromise on health or safety. That is our expectation of all of our buildings.”
The mold growth came about due to a leaky roof over the auditorium and a power failure, the report states.
School officials placed caution tape at the auditorium doors to keep people out while the testing was done. Officials have repeatedly described the auditorium and neighboring “music wing” as the most troubled part of the building.
2012年3月28日星期三
A loft with room for inspiration
Leafing through a 1960s shelter magazine recently, Linnea Gits landed on a piece about shibumi, a Japanese aesthetic. She tacked a list of its seven qualities to the chunky cork mood board inside the River West loft she shares with partner Peter Dunham, as a distillation of the values they have always lived and designed by: simplicity, implicitness, modesty, silence, naturalness, everydayness and imperfection.
Those principles influence every object — custom furniture, tabletop accessories, limited-edition prints — that the couple create for their almost 2-year-old design company Uusi. That sensibility also permeates the 2,500-square-foot live/work space that they gutted and rebuilt starting in 1996, in an industrial building once occupied by a furniture company.
A woodworker and furniture-maker, Dunham executed most of the rehab, with artful unconventionality. There is no living room, formal or otherwise. "One of these days we will get a sofa," Gits said with a laugh. The master bedroom occupies a sliver of the 2,500 square feet of second-floor space they lease, which affords a sprawling art studio and corner office. Dunham's wood shop stretches across 5,000 square feet in the basement.
Nonetheless, the interior feels warm and inviting in its cross between commercial and personal, spare and collected.
"Spaces are so emotional," said Gits, who focuses on graphic art, design and illustration. "They are sanctuaries, but they need enough tension to be inspirational."
"They also need to be functional," Dunham said, seated at the dark wood dining/conference table he built and topped with white laminate, both for appealing contrast and a neutral background for product photography.
Uusi — pronounced OO-see — means "new" in Finnish. But much of the freshness here comes from the couple's vintage objects. An edited selection of Springerle cookie molds dating to the 1800s (which they have baked with) and Japanese Kokeshi dolls adorn floor-to-ceiling bookshelves. Another holds Danish craftsman Kay Bojesen's bulbous wood animals, some of which Gits' mother gave to her as a child. They informed a series of decorative wood animal figures Uusi produced for Design Within Reach stores.
"As a child, I never wanted to play with the (Bojesen figurines), but I liked looking at them and imagining what world they were from," Gits said. "It's those things that are so crazy-weird that feed you and stick with you longer."
"They start something," Dunham said.
Painted Benjamin Moore Atrium white, original plaster walls adjoin new drywall where rooms were reconfigured. The floors are plywood transformed with custom finishes. Dunham stained the kitchen ones white, suggesting marble when sunshine floods through two skylights.
Above the kitchen sink is a wooden, wall-mounted knife block, an Uusi best-seller (and one purchased by Alinea chef Grant Achatz). "It's an example of something that looks so simple to make," Dunham said, but isn't.
Dunham and Gits remodeled the kitchen three years ago, replacing cabinetry above the counter with a long shelf for easy access to dinnerware and Dunham's vintage Belgian beer glasses. They kept the Tappan stove, inherited from Dunham's grandmother.
The shelf, and the lower cabinetry, bears a thick veneer of cypress, from staves Dunham salvaged from water towers across Chicago. The rings of the wood repeat along the shelf and lower cabinetry like the eddies of a pond across which a stone has skipped.
"This wood is anywhere from 300 to a thousand years old," Dunham said. "It's like some kind of fossil gem. You cut into these pieces, and you never know what you're going to see."
He has re-purposed cypress and redwood staves for commercial and personal purposes. Most recently, he shaped a paper-thin flitch into a lampshade that bathes his desk in warm, coppery light if he is working in the wee hours, as the couple are wont and able to do.
They do sleep, Gits assured. A full-size bed covered in a Missoni spread accommodates Gits (who is 5 feet 10 inches tall), Dunham and occasionally their two cats.
"Four years ago we were replacing our mattress, and I was so freaked by how big they had gotten, with 5 miles of pillow top. We just wanted a firm mattress. The store had purposely put this one on a Soviet-era bed," Gits said, smiling. "We're going to sound really Spartan! We're not unsensual people."
Those principles influence every object — custom furniture, tabletop accessories, limited-edition prints — that the couple create for their almost 2-year-old design company Uusi. That sensibility also permeates the 2,500-square-foot live/work space that they gutted and rebuilt starting in 1996, in an industrial building once occupied by a furniture company.
A woodworker and furniture-maker, Dunham executed most of the rehab, with artful unconventionality. There is no living room, formal or otherwise. "One of these days we will get a sofa," Gits said with a laugh. The master bedroom occupies a sliver of the 2,500 square feet of second-floor space they lease, which affords a sprawling art studio and corner office. Dunham's wood shop stretches across 5,000 square feet in the basement.
Nonetheless, the interior feels warm and inviting in its cross between commercial and personal, spare and collected.
"Spaces are so emotional," said Gits, who focuses on graphic art, design and illustration. "They are sanctuaries, but they need enough tension to be inspirational."
"They also need to be functional," Dunham said, seated at the dark wood dining/conference table he built and topped with white laminate, both for appealing contrast and a neutral background for product photography.
Uusi — pronounced OO-see — means "new" in Finnish. But much of the freshness here comes from the couple's vintage objects. An edited selection of Springerle cookie molds dating to the 1800s (which they have baked with) and Japanese Kokeshi dolls adorn floor-to-ceiling bookshelves. Another holds Danish craftsman Kay Bojesen's bulbous wood animals, some of which Gits' mother gave to her as a child. They informed a series of decorative wood animal figures Uusi produced for Design Within Reach stores.
"As a child, I never wanted to play with the (Bojesen figurines), but I liked looking at them and imagining what world they were from," Gits said. "It's those things that are so crazy-weird that feed you and stick with you longer."
"They start something," Dunham said.
Painted Benjamin Moore Atrium white, original plaster walls adjoin new drywall where rooms were reconfigured. The floors are plywood transformed with custom finishes. Dunham stained the kitchen ones white, suggesting marble when sunshine floods through two skylights.
Above the kitchen sink is a wooden, wall-mounted knife block, an Uusi best-seller (and one purchased by Alinea chef Grant Achatz). "It's an example of something that looks so simple to make," Dunham said, but isn't.
Dunham and Gits remodeled the kitchen three years ago, replacing cabinetry above the counter with a long shelf for easy access to dinnerware and Dunham's vintage Belgian beer glasses. They kept the Tappan stove, inherited from Dunham's grandmother.
The shelf, and the lower cabinetry, bears a thick veneer of cypress, from staves Dunham salvaged from water towers across Chicago. The rings of the wood repeat along the shelf and lower cabinetry like the eddies of a pond across which a stone has skipped.
"This wood is anywhere from 300 to a thousand years old," Dunham said. "It's like some kind of fossil gem. You cut into these pieces, and you never know what you're going to see."
He has re-purposed cypress and redwood staves for commercial and personal purposes. Most recently, he shaped a paper-thin flitch into a lampshade that bathes his desk in warm, coppery light if he is working in the wee hours, as the couple are wont and able to do.
They do sleep, Gits assured. A full-size bed covered in a Missoni spread accommodates Gits (who is 5 feet 10 inches tall), Dunham and occasionally their two cats.
"Four years ago we were replacing our mattress, and I was so freaked by how big they had gotten, with 5 miles of pillow top. We just wanted a firm mattress. The store had purposely put this one on a Soviet-era bed," Gits said, smiling. "We're going to sound really Spartan! We're not unsensual people."
2012年3月27日星期二
N.J. sign maker returns to repair Dentzel sign he crafted
Matt BeneduceMcGrath runs his fingertips across the green Smalts glass that acts as the background to the Dentzel Carousel sign he designed and built 11 years ago.
“This is my best piece of work that I’ve ever done,” said the 55-year-old Logansport native who has been in town since late last week to touch up the sign. “This is my favorite.”
BeneduceMcGrath, who has made a living as a sign maker in New Jersey for about three decades, designed and helped build the 12-foot-by-5-foot, 600-pound sign with wooden trim and letters made of urethane.
He remembered the nine months it took him, a mechanical engineer, licensed electricians and a civil engineer to put it all together. The Cass County Dentzel Carousel board hired BeneduceMcGrath to come back and touch it up.
“Weather takes its toll,” he said, as the sign sat inside on wooden horses. “They don’t make paints like they used to.”
Pictures of a younger BeneduceMcGrath sit behind the counter at the community staple. On Monday, a grayer goatee circled his smile as he described the touchups he had to make. It was the first time he has had to touch it up since it was built.
“It’s a lot of fun to come back and remember the turning points of the job,” he said. “It’s fun all over again... You remember the challenges you had.”
BeneduceMcGrath said he recalls the molds to build the arch across the top of the sign were among the most challenging. Details were added, and some were removed, the artist recalled, as he expressed the importance of the three seconds the average mind gives a sign.
“The sign is the voice of the building,” he said. “It sets the mood in any situation.”
The 1975 graduate of Logansport High School credits a lot of his beginning to Mike McManus, a local artist whose work he called “crisp and clean. His work was simply perfect.”
Though BeneduceMcGrath usually makes trips back to Logansport either annually or every other year, it had been three years since he returned this time.
“What makes a town is the people,” he said. “You always come back to the ones you love.”
He said traveling through town, when he was not working on the sign, and seeing businesses open in otherwise abandoned buildings brought a smile to his face.
“It’s good,” he said of the efforts being made at The People’s Winery and The State Theatre. “Any time you see some positive step forward, it’s exciting. I got to see that this time, and it’s a big thrill.”
BeneduceMcGrath said he was welcomed with the assistance of Logansport firefighters, who helped bring the sign down from the exterior wall. He said he loves how the community appreciates the carousel.
“We have something here that is a piece of history for every kid that has ever lived here,” he said. “We have an absolute masterpiece.”
BeneduceMcGrath said he was honored to be chosen to make the needed painting and Smalts glass improvements to the sign. He hope his hands have the opportunity to care for this favorite work of art in another decade.
“This is my best piece of work that I’ve ever done,” said the 55-year-old Logansport native who has been in town since late last week to touch up the sign. “This is my favorite.”
BeneduceMcGrath, who has made a living as a sign maker in New Jersey for about three decades, designed and helped build the 12-foot-by-5-foot, 600-pound sign with wooden trim and letters made of urethane.
He remembered the nine months it took him, a mechanical engineer, licensed electricians and a civil engineer to put it all together. The Cass County Dentzel Carousel board hired BeneduceMcGrath to come back and touch it up.
“Weather takes its toll,” he said, as the sign sat inside on wooden horses. “They don’t make paints like they used to.”
Pictures of a younger BeneduceMcGrath sit behind the counter at the community staple. On Monday, a grayer goatee circled his smile as he described the touchups he had to make. It was the first time he has had to touch it up since it was built.
“It’s a lot of fun to come back and remember the turning points of the job,” he said. “It’s fun all over again... You remember the challenges you had.”
BeneduceMcGrath said he recalls the molds to build the arch across the top of the sign were among the most challenging. Details were added, and some were removed, the artist recalled, as he expressed the importance of the three seconds the average mind gives a sign.
“The sign is the voice of the building,” he said. “It sets the mood in any situation.”
The 1975 graduate of Logansport High School credits a lot of his beginning to Mike McManus, a local artist whose work he called “crisp and clean. His work was simply perfect.”
Though BeneduceMcGrath usually makes trips back to Logansport either annually or every other year, it had been three years since he returned this time.
“What makes a town is the people,” he said. “You always come back to the ones you love.”
He said traveling through town, when he was not working on the sign, and seeing businesses open in otherwise abandoned buildings brought a smile to his face.
“It’s good,” he said of the efforts being made at The People’s Winery and The State Theatre. “Any time you see some positive step forward, it’s exciting. I got to see that this time, and it’s a big thrill.”
BeneduceMcGrath said he was welcomed with the assistance of Logansport firefighters, who helped bring the sign down from the exterior wall. He said he loves how the community appreciates the carousel.
“We have something here that is a piece of history for every kid that has ever lived here,” he said. “We have an absolute masterpiece.”
BeneduceMcGrath said he was honored to be chosen to make the needed painting and Smalts glass improvements to the sign. He hope his hands have the opportunity to care for this favorite work of art in another decade.
2012年3月26日星期一
Software Offers Data Repair, Modeling for Manufacture
Delcam’s PowerShape CAD software features Solid Doctor, which uses automatic data repair tools and surface creation and editing options to address problems that can be encountered when translating low-precision and incomplete data. These problems are said to include gaps and overlaps between surfaces as well as duplicated and missing surfaces. The software is designed to carry out simple repairs quickly and easily, while more complex problems can be overcome by deleting and replacing the existing surfaces within the model, the company says.
Once the model has been repaired, the software offers a variety of direct-modeling options to optimize the design for manufacture, particularly for the development of molds and other types of tooling. One such option enables product designers to add draft-to-CAD models, which helps remove as-designed parts from tooling. Adding draft can be accomplished either by using a specific value or by modifying the model interactively. The change can be applied to a single surface or to a group of surfaces, such as the sides of a pocket. In the latter case, the software maintains the radii of any fillets linking the sides.
According to the company, small fillets can require extra machining time and increase delivery times and costs. They can restrict the flow of material in molds or dies, increasing processing times and pressures. PowerShape can use direct modeling to identify fillets within imported geometry, even when the modeling history has been lost, and replace them with new fillets that have more suitable radii, the company says.
Once the design is complete for manufacturing, it can be transferred to virtually any CAM product, including Delcam’s FeatureCAM for feature-based programming, PowerMill for high-speed and five-axis machining, PartMaker for programming turn-mill equipment and Swiss-type lathes, and Delcam for SolidWorks.
Once the model has been repaired, the software offers a variety of direct-modeling options to optimize the design for manufacture, particularly for the development of molds and other types of tooling. One such option enables product designers to add draft-to-CAD models, which helps remove as-designed parts from tooling. Adding draft can be accomplished either by using a specific value or by modifying the model interactively. The change can be applied to a single surface or to a group of surfaces, such as the sides of a pocket. In the latter case, the software maintains the radii of any fillets linking the sides.
According to the company, small fillets can require extra machining time and increase delivery times and costs. They can restrict the flow of material in molds or dies, increasing processing times and pressures. PowerShape can use direct modeling to identify fillets within imported geometry, even when the modeling history has been lost, and replace them with new fillets that have more suitable radii, the company says.
Once the design is complete for manufacturing, it can be transferred to virtually any CAM product, including Delcam’s FeatureCAM for feature-based programming, PowerMill for high-speed and five-axis machining, PartMaker for programming turn-mill equipment and Swiss-type lathes, and Delcam for SolidWorks.
2012年3月25日星期日
Santorum wins Louisiana, trails badly in delegates
Rick Santorum vowed to remain in the race after turning in an easy victory in the Louisiana primary, even though he still badly trails front-runner Mitt Romney and faces a nearly impossible task to win enough delegates to secure the Republican presidential nomination.
With all Louisiana precincts reporting, Santorum captured 49 percent of the vote to 27 percent for Romney. Newt Gingrich, was far back at 16 percent, followed by Ron Paul with 6 percent.
Although the victory gives Santorum bragging rights and 10 more delegates, it does not change the overall dynamics of the race. The former Pennsylvania senator still dramatically lags behind Romney, a former Massachusetts governor, in the battle for delegates to the party's August nominating convention in Tampa, Florida.
Santorum on Sunday told voters in Wisconsin that Romney is "uniquely disqualified" to be the Republican's presidential pick and urged his supporters to stand with him even as he faces an increasingly improbable pathway to the nomination.
The Saturday vote in Louisiana gave Romney five delegates and five will be designated as uncommitted.
With the state-by-state primary and caucus contests more than half complete, Santorum has won just 27 percent of the delegates. Romney has been accumulating delegates at a 54-percent clip. Most of the remaining states award delegates proportionally based on primary results, making it even more difficult for Santorum to close the gap.
The odds would seem to rule out nomination of Santorum. But as he savored his victory in Louisiana, the ultraconservative vowed to remain in the battle. Santorum was campaigning in Wisconsin, which holds its primary on April 3.
"Even though a lot of folks are saying this race is over, the people in Louisiana said, 'No, it's not.' They still want to see someone who they can trust, someone who's not running an Etch a Sketch campaign, but one who has their principals written on their heart, not on an erasable tablet," Santorum said Sunday on CBS television's "Face the Nation". "And I think that's what helped us deliver the win in Louisiana, and I think we're going to do very well up here in Wisconsin, too."
Santorum was referring to a comment last week by a top Romney campaign adviser implying that once nominated "everything changes" for Romney "like an Etch a Sketch," referring to a mechanical drawing toy that just needs shaking for the image to vanish. The comment implied that Romney would be able to move his positions more to the center of the political specturm in the general election campaign.
The remark fueled long-standing criticism that Romney, who has held more moderate views in the past on sensitive issues such as abortion and gay rights, molds his principles to fit political goals and lacks conservative convictions.
But the Republican establishment is increasingly coalescing around Romney's candidacy out of concern that an extended nomination fight could hurt the party's chances against President Barack Obama. The Democratic incumbent faces no serious primary challenge and his re-election campaign already is well under way.
An influential Republican senator said on Sunday that the nominating race was all but finished.
"I think the primary is over. Romney will be the nominee," South Carolina's Lindsey Graham told CNN. "The fat lady hasn't sung yet. But she's warming up."
Romney has churned through the nomination contest with a huge financial and organizational advantage, further dimming the likelihood that Santorum will pull off the nearly impossible task. His campaign staff rubbed that in after Santorum's Saturday victory.
"Rick Santorum is like a football team celebrating a field goal (a 3-point score) when they are losing by seven touchdowns (42 points) with less than a minute left in the game," said Romney spokesman Ryan Williams, who was at Santorum's sparsely attended victory party in Green Bay, Wisconsin. That state holds its primary on April 3.
Romney remains far ahead with 568 delegates to Santorum's 273, according to an Associated Press tally. Newt Gingrich follows with 135 and Ron Paul has 50.
With all Louisiana precincts reporting, Santorum captured 49 percent of the vote to 27 percent for Romney. Newt Gingrich, was far back at 16 percent, followed by Ron Paul with 6 percent.
Although the victory gives Santorum bragging rights and 10 more delegates, it does not change the overall dynamics of the race. The former Pennsylvania senator still dramatically lags behind Romney, a former Massachusetts governor, in the battle for delegates to the party's August nominating convention in Tampa, Florida.
Santorum on Sunday told voters in Wisconsin that Romney is "uniquely disqualified" to be the Republican's presidential pick and urged his supporters to stand with him even as he faces an increasingly improbable pathway to the nomination.
The Saturday vote in Louisiana gave Romney five delegates and five will be designated as uncommitted.
With the state-by-state primary and caucus contests more than half complete, Santorum has won just 27 percent of the delegates. Romney has been accumulating delegates at a 54-percent clip. Most of the remaining states award delegates proportionally based on primary results, making it even more difficult for Santorum to close the gap.
The odds would seem to rule out nomination of Santorum. But as he savored his victory in Louisiana, the ultraconservative vowed to remain in the battle. Santorum was campaigning in Wisconsin, which holds its primary on April 3.
"Even though a lot of folks are saying this race is over, the people in Louisiana said, 'No, it's not.' They still want to see someone who they can trust, someone who's not running an Etch a Sketch campaign, but one who has their principals written on their heart, not on an erasable tablet," Santorum said Sunday on CBS television's "Face the Nation". "And I think that's what helped us deliver the win in Louisiana, and I think we're going to do very well up here in Wisconsin, too."
Santorum was referring to a comment last week by a top Romney campaign adviser implying that once nominated "everything changes" for Romney "like an Etch a Sketch," referring to a mechanical drawing toy that just needs shaking for the image to vanish. The comment implied that Romney would be able to move his positions more to the center of the political specturm in the general election campaign.
The remark fueled long-standing criticism that Romney, who has held more moderate views in the past on sensitive issues such as abortion and gay rights, molds his principles to fit political goals and lacks conservative convictions.
But the Republican establishment is increasingly coalescing around Romney's candidacy out of concern that an extended nomination fight could hurt the party's chances against President Barack Obama. The Democratic incumbent faces no serious primary challenge and his re-election campaign already is well under way.
An influential Republican senator said on Sunday that the nominating race was all but finished.
"I think the primary is over. Romney will be the nominee," South Carolina's Lindsey Graham told CNN. "The fat lady hasn't sung yet. But she's warming up."
Romney has churned through the nomination contest with a huge financial and organizational advantage, further dimming the likelihood that Santorum will pull off the nearly impossible task. His campaign staff rubbed that in after Santorum's Saturday victory.
"Rick Santorum is like a football team celebrating a field goal (a 3-point score) when they are losing by seven touchdowns (42 points) with less than a minute left in the game," said Romney spokesman Ryan Williams, who was at Santorum's sparsely attended victory party in Green Bay, Wisconsin. That state holds its primary on April 3.
Romney remains far ahead with 568 delegates to Santorum's 273, according to an Associated Press tally. Newt Gingrich follows with 135 and Ron Paul has 50.
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