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Tinney Contemporary is proud to present a diverse exploration of human contact from birth to death
Photographs by David Teplica
November 7th-28th
Opening reception with the artist November 7th 6 to 9 pm
David Teplica has fused the two worlds of art and medicine. Whether manipulating human form in two dimensions photographically or changing anatomy in three dimensions surgically, he enjoys altering the way society sees the body.
In the surgical realm, Teplica taps into the toolbox of the creative world to help individuals transform physically and psychologically. Spending hours analyzing form, proportion, surface contours, and symmetry, and by using perceptual tricks, a plan for surgery can be designed to permanently alter body shape without creating a stretched or surgically manipulated appearance.
Reflected light then plays off a surface favorably, and a postoperative patient sees himself in new ways. It is interesting that society may or may not see the changes, but reacts differently to an individual who carries himself more confidently through life's routine.
Conversely, in the two-dimensional medium of photography, Teplica uses the tools of science and medicine to help interpret some of life's most potent encounters. His medical career provides access to subjects and situations often kept from public view. Once distilled, these visual moments become generic but rich, and allow each of us to recall our pasts or to imagine new intimacies with less fear.
Artist's Background
David Teplica is a photographer and plastic surgeon who lives and works in Chicago, Illinois. He maintains two active professional careers that often commingle. After completing medical school at Dartmouth, Teplica trained in Plastic Surgery at the University of Chicago. During the same seven-year Residency period, he received the Trustee's Scholarship for the full course of study at the School of the Art Institute of Chicago, and earned a Master of Fine Arts.
Today Teplica maintains a focused private practice in Chicago with patients from around the globe. He exhibits his creative work throughout the United States and Europe and lectures widely. As a member of the faculty, Teplica bases his teaching and research activities at the University of Chicago.
Perhaps best known for his detailed studies of identical twin relationships (the most extreme form of human intimacy), Teplica has also meticulously recorded his family experiences, personal relationships, and social forays over the same period. For the first time, the exhibition Intimate Decade and this accompanying catalog present a selection of images that explore the breadth of human contact at Teplica's personal interface between art and medicine.


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Adam Ehrlich Sachs, Pocket Interview No. 1
Adam Ehrlich Sachs lives in Pittsburgh, Pennsylvania. His debut collection, Inherited Disorders: Stories, Parables, and Problems, has been described by The Rumpus as "endlessly sharp and engaging" and Publisher's Weekly has described him as a "perceptive observer of human nature and a distinctly promising talent." Recently, he talked with us over the phone about, among other things, fathers, shadows, contraptions, and the poignancy of precision. (listen to the interview)
"I had divided up that week between being a historian, being a baseball player, and being the President. And I knew the days that I would do each and so that was my first ambition, I guess."
STORYOLOGICAL: How were stories a part of life when you were a kid?
ADAM EHRLICH SACHS: We have a lot of joke tellers. Sort of like the Jewish joke tradition, which was alive in my family until me. Our generation kind of killed it. Although I realized at some point, this book is just kind of Jewish jokes. It's a collection of Jewish jokes when I thought I was writing literature or something like that. My grandfather on one side had this big collection of Jewish jokes he had memorized. And my father inherited that from him. And, so, I feel like in one dimension that was the main mode of storytelling in the family.
I was not one of those people that knew I wanted to be a writer from the time I was three, and I didn't really start reading seriously till college and after. So, aside from the jokes, it was history and science and a lot of non-fiction stuff which I think has affected the book, too, in that I sort of ended up attracted to Borges and people playing with fact. People that have embarrassment about making things up which I think I have.
I'm still trying to work out why I do this and if it really is embarrassment. But there's something about working with something given. I'm constantly looking for constraints of various sorts and I think the constraint of reality and playing with it offers some kind of resistance that I like and lets me evade that embarrassment of sitting down and coming up with a guy named Stan. And like moving him around the house which is how I started for years and I couldn't figure out why I couldn't write in that mode but I couldn't.
STORYO: You said that you didn't start with the idea that you would be a writer. What were you imagining your future self to be?
AES: There's a family lore that I told my parents what I was going to be. I had divided up that week between being a historian, being a baseball player, and being the President. And I knew the days that I would do each and so that was my first ambition, I guess. My dad is a social scientist, but he's always kind of been one of those social scientists with science envy. He's an economist and economists have always had physics envy for 150 years.
STORYO: Right.
AES: So, I think my first mode of rebellion, failed rebellion, was toward the sciences.
STORYO: The hard sciences?
AES: The harder sciences, yeah. I ended up majoring in Atmospheric Science. Sort of doing atmospheric dynamics and hurricanes, studying hurricanes. I wrote my thesis on hurricane dynamics and things like that.
STORYO: How did you end up going from Atmospheric Science to writing for The Harvard Lampoon?
AES: Well I applied the first semester I got there. So in my own self-narrativizing it's actually—well—I have this story that I was just a science guy and it took years for me to understand that I wanted to write. But clearly that's not correct because already by the time I got to Harvard I wanted to be on the Lampoon.
A nice thing about the Lampoon, the Lampoon is kind of a feeder. Half The Simpsons writing staff are mathematicians and a number of them have PhD's in math and science.1 So, it is a kind of an escape hatch for nerdy scientific Harvard undergrads who actually want to be writing comedy. And it's also screwed up a number of lives. You hear the success stories. It's unclear, you know, which one I'll be in 10 years.
STORYO: Did you have comedy heroes, or favorite standup comedians, that got you interested in writing comedy?
AES: I was a kind of a Simpsons obsessive. That was probably the main thing.
I've never really been into stand-up comedy aside from Louis C.K. He's one of a few comedy heroes, but I don't have that many. And I had read Vonnegut and Nabokov and other funny writers in high school and before. Another reason that my story is not quite right, I was already obsessed with Pale Fire in high school. Yeah this is—I'm breaking apart my own sense of self.
STORYO: Well, I mean, that's always a danger when you do an interview. I get worried about it when I talk to people.
Anyway carry on with your—
AES: —my story coming apart—yeah. I feel like some combination of The Simpsons and Kurt Vonnegut and Nabokov made me think there's something to comedy. I think I'd sort of been able to make people laugh kind of in writing even though I've always been shy. I don't quite know why I thought I could do it.
I had some instinct that maybe I couldn't do other kinds of writing—poetry and other things felt very foreign to me—but that this, this was something I could possibly do.
"I actually think the book started working in part when I gave up the novel form—or I shouldn't say it like that—but when I discovered the aphoristic form. When I realized that these two separate struggles were sort of the same theme. That my father's shadow and Bernhard's shadow had similar absurdities involved—similar dynamics—and I could think about them in the same book."
STORYO: Could you describe Inherited Disorders for our readers?
AES: Sure. It's called Inherited Disorders: Stories, Parables, and Problems.
It's 117 stories about fathers and sons in all sorts of different permutations and it's about rejecting your inheritance; it's about rebelling; it's about not rebelling. It's about legacies; it's about the anxiety of influence. Pretty much about anything you could think about in that area.
STORYO: Reading the book, I did think a lot about The Anxiety of Influence and I also thought about Jonathan Lethem's essay called "The Ecstasy of Influence."2 They both felt present in the book: sons trying to run from their father's influence or inhabiting their father's influence—in one story literally stepping into the body of the father.
Was that something you knew you wanted to write about before you started writing or something where one day you thought, 'Oh, I've been writing about that the whole time.'
AES: It was actually more of the second, or, I think the realization came right before I was able to start writing the book.
I knew I wanted to write about fathers and sons but for a couple of years while I was failing to progress on it, I was interpreting that in a constricting way to really be about, for example, my relationship with my father, about actual physical and biological father-son relationships. I felt at the same time what I was actually struggling with day-to-day was a completely different struggle—which was Bloom's Anxiety of Influence—trying to figure out what the hell I sounded like if I sounded like anything at all in my writing.
So in the content I was sort of thinking about my father, but in the day-to-day struggle of it I was thinking about Kafka and Thomas Bernhard and Nabokov and how I could do what they did—which I loved—without simply being them or copying them or imitating them. Which I don't feel like I solved. And that will be a lifelong problem.
Or if I do manage to solve it then I'll just become my own father and worry about sounding like myself. As Bernhard did.
So, I actually think the book started working in part when I gave up the novel form—or I shouldn't say it like that—but when I discovered the aphoristic form. Also, when I realized that these two separate struggles were sort of the same theme. That my father's shadow and Bernhard's shadow had similar absurdities involved—similar dynamics—and I could think about them in the same book.
STORYO: You mentioned, in one of the interviews I read, how you ultimately shifted from writing a novel to writing fragments in part because writing in shorter fragments protected the stories from yourself. What part of yourself were you protecting the stories from?
AES: As you could probably tell from reading the book I'm a very neurotic writer. So, this comes out in various ways. One palpable way it comes out is just my own sort of—it's a little bit better now—but while writing this I would just get disgusted basically with whatever I was doing. And it's a little bit hard. It's you know—well you know as a writer yourself—when you feel that way it's hard to tell, or impossible to tell, when it has to do with the material and when it's just your own psychology gnawing at yourself.
I would just kind of lose faith in whatever I was working on. It was usually a new beginning to a father-son story, a father-son novel, and I would iterate it a little bit, change it a little bit, see a new way of doing it better and start again.
So, yeah, just being able to write a story and put three dots after it, or put a number, and then on to the next one, there's something psychologically freeing about that. I could just move on. I could tell myself it's done and I'm not going to edit it. I will either keep it, or I won't. I threw out tons. I probably wrote 200 stories.
STORYO: A lot of your stories seem to be attempting to figure themselves out as they go. Sometimes it felt like the book was figuring itself out as a whole. Like it was becoming self-aware in my head as I read it. In a very pleasing way.
Did you have a sense while you were writing that you were figuring out what it was as you were going?
AES: Yeah, definitely. And that's something that all my—I guess that's kind of a tic of modernism but it's also a feature of all my favorite books at some point. And it can become really annoying, too, and I'm sure it does in my case. You know it becomes self-referential to the exclusion of everything else.
But it's hard for me to do anything without at the same time reflecting on it. So to not have that part of it feels more inauthentic than to acknowledge what I'm doing and try to understand it at the same time. And that's always in tension with other, for me at least, with other things that fiction should do. It's in tension with having a plot; it's in tension with moving forward at all.
"dealing with the cat was a serious problem."
STORYO: The first story in the book is called "The Nature Poet." And it's about this poet whose father was a Nazi. All of his poems are about ferns and creeks, but all the critics say, 'Oh you're writing about your father.' And then by the end of the story he decides fine, I'll write about my father, but in writing about my father it will somehow create the outline of a fern. And the critics finally see it.
I wondered what other concerns—what fern like thing is inside the book that people aren't seeing?
AES: Yeah, it's funny. I realized at the end, after a couple of those questions about fathers and sons, that I gained no knowledge about fathers and sons from this, or not really. And that actually wasn't really what the book was about. Or really that the antagonist of the book is not a father. That all the antagonists are sort of the son. It's the son projecting things about his father and letting those projections afflict him.
So I think it has more to do with—well I don't want to say what my book is about—
STORYO: It's okay. It's what the interview is for.
AES: Well, partly because I don't know. I don't want to reduce it.
STORYO: Right.
AES: I think it felt like it was about examining my own obsessiveness and compulsiveness and neuroticism and skepticism and finding all those things foolish which I already knew at the beginning. But still letting them play out.
STORYO: Making it entertaining, at least.
AES: Yeah, to try to make it entertaining. I mean hopefully if it's not just pure indulgence—which probably it is, too—it's that someone else who's also an obsessive compulsive person or, you know, someone skeptical to the point of not being able to move will laugh at some of these things, too. Yeah that would be a good outcome. That's kind of the outcome I was hoping for.
"...in the spectrum of my pretentiousness that was on one side and Monty Python and the fish are always present on the other."
STORYO: One of the things that Emma said in our podcast discussion of "The Philosophers" was that reading your stories felt sometimes like reading skits. Like Monty Python, but different. And the thing that was different to me was that there was more, you know, human emotion. Earnest drama stuff that isn't really in a Monty Python skit where they're hitting each other with a big fish.
How do you find that balance where a story's like a skit or a sketch and so funny, but then also still be a story?
AES: Well, I kind of had faith that if basically the motivating problem or problems got to the heart of something I was concerned with then that seriousness, or—I don't know about seriousness—but that feeling of not just doing pure absurdity would somehow infiltrate the stories. The fact that this is an actual close-to-home concern of mine would be there without my having to point to it every time. I'm not articulating this well—sorry this will sound very pretentious, but—
STORYO: —that's okay. Probably means it's true.
AES: Well, it's impossible even to say his name without sounding like an asshole. But I like Wittgenstein3 a lot.
I read him as a kind of poet even though I'm never quite sure what he's saying and I don't think anyone is. But one thing I really like about him is this kind of tension. You feel, often, like he's in a complete panic. Or, I feel that way. In this book On Certainty, he's dealing with skepticism of, you know, whether the world outside him exists. It's a kind of absurd fear, but I think on occasion I worry about it as well. And so, it's very—I mean it's in this kind of aphoristic way these single or a few sentences, and they're all kind of placid and reasonable, but you feel like under their surface is a guy almost in free-fall or just like you know completely panicking.
You feel this kind of life or death concern somehow in the shadow of everything, behind everything.
So I think, you know, in the spectrum of my pretentiousness that was on one side and Monty Python and the fish are always present on the other.
STORYO: You mentioned the word seriousness. I remember reading you talking about this kind of idea that the great writers are the comedians but then the not-so-good writers suck all the comedy out of the really great writers and become serious and then that serious writer gets all the fame and the funnier writer gets forgotten.
AES: Yeah.
STORYO: Why do you think—
AES: —do you agree?
STORYO: Yeah, I agree. I think the last film comedy that won the Academy Award was Annie Hall back in the 70s when it was cool to be funny and neurotic. It was a great decade I'm sure. But, yeah, I don't know why our culture seems to prize seriousness over comedy or why comedy means not serious. Because I assume you took the book seriously, even though you're being funny you're—
AES: Yeah, very seriously. I mean it's my daily obsession. But yeah. I don't know. So maybe the most cynical of my theories about this is that most people are reading for the wrong reasons. I mean I kind of think literary culture is one of the worst cultures we have.
And if you read, you know, authors through the centuries, the good ones are always complaining about this. This is nothing new, or nothing about our particular culture as shallow as it is. I think culture's always mostly 99% shallow assholes.
And then there's me. Right. This can't help. This is going to sound worse than my name checking Wittgenstein.
But, yeah, I mean I do think a lot of book chatter—especially you know prize chatter and review chatter and all that bullshit—has to do with advertising one's taste and connecting yourself to what is seen to be intelligent and prestigious and comedy just doesn't have that aura around it.
STORYO: Like Louis C.K., who, I mean, he didn't become world famous and renowned as a young comedian. It took a long time.
AES: Yeah. And then even longer to become, not just a famous comedian, but, you know, someone on The New Yorker website referenced Gogol4—which was right I think—but it takes time. I mean within comedy people get famous or not quickly however quickly they do, but then to sort of crossover and be seen as, you know, the philosopher comedian that he's taken to be now, I think that takes longer than a young serious novelist writing about wandering around a city and thinking about the holocaust. That's a much quicker route.
STORYO: There's so much wandering around cities.
AES: Yeah. The flaneurs. Those assholes.
STORYO: Though, I really like the word flaneur.
AES: It's a better word than it is a thing to write about.
STORYO: Yeah. Well, I mean that's life. Just a better word than a thing.
AES: Yeah.
"...for thousands of years that's fucked people up trying to bring that same level of precision to ethical thinking and, you know, you spend a whole life and there's still how many thousands of ethicists out there, and they're often among our smartest people, but they also seem among our most absurd people."
STORYO: A lot of the stories in the collection are about insistence. An artist insisting on what their work means or critics insisting on what the work is supposed to mean.
Was that something you were conscious of while you were writing the book?
AES: Yeah I think that was a concern.
I'd started a Ph.D. in history of science and left it after a couple of years and ended up actually taking a bunch of literature classes in it. And, also, I spent that time also reading a lot of fiction outside.
So, there was—I think I did feel, or was interested by, that tension between these writers trying to create things that are supposed to elude so easily pindownable meanings and that sort of thing on the one side, and on the other side, just being—both in literature classes and also in the history classes—it's just a series of different theories to explain the world basically. That's what history is.
You have Marx and you have Foucault5 and you have the formalists in literature and it's just lots of different ways to take all these things that are supposed to be singular and subjective and pin them down in a system of meaning.
And I kind of like both of those. It wasn't like I was celebrating the meaning creators over the others. I actually feel personally closer in a way to the analysis side.
I like Kafka a lot—but he always feels more mystical than I am capable of being. He's great because he has both. I feel like a constant tension in him, too. You feel this mystical urge, but you also feel him parodying it. He creates "Before the Law," that great parable in The Trial, but then he has pages and pages of absurd commentary about what it could mean.
STORYO: I love nonsense and I love precision and I wondered how in you those two things get married?
In one of your stories, "Precision," a son goes to his father's tombstone and the father's tombstone has a mathematical constant on it and the son has figured out the latest decimal decimal point and putting it on the tombstone cracks the tombstone.
It was, well it was funny but it also was so sad. This feeling that in searching for precision, or understanding, you just end up ruining everything anyway.
AES: Yeah. That's a nice way of putting it.
You know I feel like a lot of—for example, ethical philosophy, I like reading it. It all seems completely absurd to me. Do you know Derek Parfit? He died recently6 but wrote, you know, how many thousands of pages in On What Matters. Trying to prove that Kantianism and utilitarianism and one other are all the same.
STORYO: Like the string theory of philosophy.
AES: Yeah, exactly.
My dad also likes thinking—he thinks there are ethical truths to be discovered, and so this impulse to think with incredible rigor and precision about something like ethics is all something that Wittgenstein thinks and talks a lot about: trying to bring a kind of precision that is not to be found there.
There's something really poignant about it, because I respect and I have the same urge. You want to be able to say you know something is good or not. Or certain politics are right or not. And because we have that kind of precision in science and in math, do you think you should be able to also when you're talking about right and wrong? And just for thousands of years that's fucked people up trying to bring that same level of precision to ethical thinking and, you know, you spend a whole life and there's still how many thousands of ethicists out there, and they're often among our smartest people, but they also seem among our most absurd people. Coming up with their cases and deducing consequences and clearly it's all on a foundation of nothing.
STORYO: A lot of your stories reminded me of the time when I was a math person—I mean I still love math—and of this idea that if you started with a false premise you could prove anything was true and that the great anxiety of being a mathematician is that you'll prove something is true and then realize that you started in the wrong place. And it feels like a lot of your characters, they start in the wrong place in their attempt to prove something true.
AES: Yeah. I mean and that's Kafka's great trick, too, and sketch comedy. And you just kind of grant one absurd thing, whether or not you recognize it as absurd, and then from then on you have this tight logical chain. And, yeah, it makes you feel like a lot of theologians and ethicists do that. Make one leap of faith. Although, the theologians have more of an idea that they're doing it than the ethicists, and then you know you spend 40 years tightly, logically reasoning about this completely absurd set of circumstances that you've leapt into without realizing it.
STORYO: For some reason it also reminded me of screwball comedies—like the 40s/50s comedies. I have my own pet theory7 that a screwball comedy isn't really that much different than a horror movie. It's just that no one dies in the end, but it's like you do one thing wrong—there's some misunderstanding—and it just grows and grows and grows. One of your stories, "Concerto for a Corpse." It has this kind of gruesome logic to it that reminded me of Edward Gorey and Edgar Allan Poe. The son is chopping off parts of his body in the hopes that he won't have to play his father's concertos anymore. And his father composes a nine finger, then an eight finger, then a seven finger concerto. It's not clear if this is a misunderstanding between them or just deep, deep cruelty.
AES: I like that description. And, you know, by the way those two are two of my favorites, also. Edward Gorey and Edgar Allen Poe. And I've had a similar thought I think about horror and comedy. Slightly different valences but basically the same kind of dynamic to both of them.
I think it might have something to do with this use of logic. In a lot of realist novels the appearance of logic in the plot, for example, that would ruin the work or make it seem unserious or deterministic or not like life. Cause like we all know life is random and you know precipitous and whatever. So a novel in the you know James Wood realist mode should have that kind of chanciness to it.
STORYO: Right.
AES: There's both something I think low-brow to the use of logic in your plotting, but, also, I think in the best absurdist works, which I love, that that's there, too. And it's ideally a kind of logic that the author, in the best case, has sort of forged himself. You know you feel like Kafka-logic is its own kind, or Beckett logic. They've sort of formulated their own kind of logical laws. And then all of their works obey it in a way that—or Bernhard, or Gertrude Stein—becomes boring and predictable, but great.
You know all my favorite writers I feel like are completely boring and completely repetitive. And this book is not great but it's repetitive. Like I got the repetitive part. I don't think there's anything to fear about being repetitive.
"But, those are good enough, right? Some laughs and some delusions of meaning."
STORYO: When you finished writing the book, did you have any sense of hope or accomplishment? One of the things that I remember talking about in the podcast was about how all of these people were going to such absurd lengths to accomplish what was impossible that I kind of got excited by it and hopeful. I wondered if that was your experience writing it, or if you would go back and forth between despair and hope?
AES: Yeah that's my normal vacillation. But, no, I think it had been so long—years of failed projects—so, 20 pages into this—realizing that this was a form that I could maybe possibly finish something in, and that felt like it was not drying out and stultifying as I was writing it, as it usually felt, but started like deepening and changing—I remember that. Like two months in. That was probably the best feeling of the book. Like this is happening. This is working.
And a lot of it was actually pretty pleasurable to do. In the end the last few months were actually probably the worst again because the downside of this form is there's no ending to write towards really.
STORYO: I wondered how you shaped it.
AES: Yeah.
STORYO: Did you just like throw the stories in the air? Or let your cat walk on them?
AES: That was—the dealing with the cat was a serious problem. We were in an apartment where my office—she could open the door. So I printed all the stories out and was putting them on the floor—it took me a long time to try to order them—and she would want to come in and like sail, you know, just like skid across the papers. So we bought all these ropes and had to like tie up my door to a lamp to keep it closed. And then she would bang on it all night trying to open it. This is mixed up with the ending of this book not being so pleasurable, I guess.
STORYO: I felt like there were more moments at the end of a kind of grace and mystery. Was that something you aimed for? Like the story "The Flying Contraption," where the son has been told not to fly the flying contraption because it doesn't work. And then the son does and you end on a moment where maybe the flying contraption didn't fall immediately and the son rethought everything he knew.
AES: So, concretely, I notice there's a bunch of, well there's deathbed scenes everywhere.
I like me a good deathbed. But there's probably a higher concentration of deathbed scenes at the end.
That's a superficial observation. Yours is a much better one.
Well, I think I wanted good stories mostly at the beginning and at the end. And a bit of a slog in the middle. And I think actually the stories that I felt were more—the better ones—were usually the ones where I felt like I didn't know exactly what I was saying. Or where I had that open-endedness even for myself. Whereas there are some that are just straight comedy basically and I feel like I know what they're saying and I don't like those as much. But if they made me laugh sometimes I decided to keep it anyway. You'll find those in the middle I think.
STORYO: You mentioned somewhere about the way a joke told often enough, or a joke extended long enough, reaches a moment of tediousness that if you can push past it, it becomes funny again.
Was that something you felt in your own repetitions in the book?
That in fiction, as tedious as this might feel, if I can get enough stuff here maybe it will push past it to something—you know maybe not profound, though I thought, you know, there's some good profound stuff here—but at least more than the sum of its parts?
AES: I think I had to have that faith. If this were to be a book because the book has to be a certain length to sell it. And I'm writing in this form so it better be sustaining interest.
It is true of Proust. His dinner parties that go on for hundreds of pages. At a certain point they're tedious and then you push through and it becomes absurd. And that's Beckett and that's Gertrude Stein, often. And Bernhard and children's stories. That's what I meant about children having a higher tolerance for, you know, a dog going up to you and asking you if you like his hat. That can go on and on for a kid and become completely ludicrous in a lovely way. And, yeah I like that. I don't think I've ever outgrown that or at least I want not to have outgrown it.8
STORYO: Do you think there's something on the other side of that absurdity? Like, you know, tediousness if you stay with it long enough in the hands of someone that's skilled can become this kind of glorious absurdity. Is there something that happens after absurdity?
AES: Yeah, so it probably goes tedious, absurd, tedious, tedious, absurd, tedious. And then you die, right? I mean it just goes back and forth and it obviously cycles back to tedious but then if you can push with it, it goes back to a good place.
STORYO: There's no grace in this?
AES: Oh, no. There's no grace. There's no salvation.
AES: I mean I'm a Jew so...
STORYO: Occasional delusions?
AES: Yes, delusions.
STORYO: Delusions of meaning at some point, right?
AES: Definitely. Yeah. But those are good enough, right? Some laughs and some delusions of meaning.
"I kind of feel like I can investigate enough to know OK there's nothing here for anyone. And you're all deluded. But I can't say that to a theoretical physicist as much as I would like to."
STORYO: I don't know if you ever happened to watch this thing called Inside the Actor's Studio—that was hosted by this guy James Lipton—but he had a questionnaire he would always do at the end of his interviews that was taken from Bernard Pivot. It was this French talk show host who had taken the questionnaire from Proust.
So this is my place to drop a bunch of fancy sounding names.
It's 10 questions and just answer off the top of your head. Attempt not to think about it too much, I guess.
AES: Alright. Are these one word...well, all right go ahead.
STORYO: Yeah they can be, they can be. We're already thinking too much about this. I'm even giving you too much introduction to the process.
AES: Yeah. Bernard Pivot. What would Pivot want to hear?
STORYO: What is your favorite word?
AES: Oh, geez.
This is actually might be my worst nightmare by the way.
I have a bunch of words that I think are innately comedic. And sandwich would be one. That's a comedy word. So, I'll go with that.
STORYO: What is your least favorite word?
AES: Well, because we talked about it, let's say flaneur. The word itself is good, what it represents is bad.
STORYO: What is your favorite smell?
AES: Maybe my cat. My cat's fur. That weird?
STORYO: I don't know. It's sweet, which somehow feels appropriate for the book—which is weird and sweet.
AES: We just brought the cat to the vet yesterday, and she's kind of recuperating.
STORYO: My sister had a fun absurd moment with our cat. The cat was sick and so she took the cat to the vet and when she got to the vet the cat was already not alive anymore.
AES: Oh, no.
STORYO: But, she didn't know at first and so she's like come on let's go see the vet and we'll get you fixed up. The vet's like no, that...the cat's dead.
AES: That is the least funny Monty Python sketch that's ever been. Oh, that's so sad.
STORYO: What is your least favorite smell?
AES: I think gas station. I get really paranoid about like fumes and what they do to my brain. So a good gasoline fume. I mean you kind of like it, but it scares me.
STORYO: What do you wish that you knew more about?
AES: Theoretical physics. You know the basic stuff of the world that'd be nice to know. If it can be known.
STORYO: Right. Back to: is there a truth? Maybe in theoretical physics.
AES: Yeah, I don't think so. But it's one world that I've no idea. I feel like there's something there and I don't know what it is. There's no way I can ever really investigate that on my own. Like a lot of things you can investigate on your own and make sure that there's nothing there. Like ethics. I kind of feel like I can investigate enough to know OK there's nothing here for anyone. And you're all deluded. But I can't say that to a theoretical physicist as much as I would like to.
STORYO: What do you wish you knew less about?
AES: Maybe our current political scene.
STORYO: If we pretended that your life had a soundtrack. Name three songs just off the top of your head.
AES: Maybe a Leonard Cohen song. "Bird On a Wire."
Some Dylan. Maybe: "Don't Think Twice."
Let's say some repetitive Bach. "The Goldberg Variations." I listened to that a lot while writing the book to convince me that repetition is a high virtue.
STORYO: What is your favorite kind of story?
AES: Something that starts in a recognizable world and builds to a point of pure blissful insanity and inanity and pointlessness.
STORYO: What would you say is your least favorite kind of story?
AES: A man strolling through either New York, or Paris, or Berlin. Thinking about the burden of the Second World War and how it still infiltrates every aspect of our lives.
STORYO: William Faulkner said this thing. He said that the only thing worth writing about was the human heart in conflict with itself. If Faulkner came back from the dead to write the story of your life what would that story be about?
AES: Well, for me, I feel like it's the human head in conflict with itself. So it'd be about some privileged sort of upper middle class dude sitting in a room and thinking to the point of confusion and not getting any comeuppance for it. At least not yet.

subset: commoncrawl


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Success Story NCoS-NSPRI
Cooling Boxes
The use of the plastic cooling box is meant to prevent deterioration and keep fish fresh.
Harvested fish is presently carried in open basins with water either for transportation or in the market before sales. In some cases, the fish are kept in cane basket laid with fresh leaves containing Ice blocks with the top covered with old used cloth. This method usually leads to fast spoilage of the fish and a source of contamination to the fish.
Uniqueness of the WAAPP cooling boxes:
Aluminium cooling box showing drain hole
BENEFICIARIES: Processors, Farmers, would be farmers, retirees and about to retire, Unemployed youths, women and small/medium scale entrepreneurs
Fifty units each of plastic and aluminium fish cooling boxes have been successfully constructed.


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Content writers are greedy. We devour information. This is why.
The best and most valuable content distills your expertise, approach, and experience into copy that connects with readers. All the research, reading, talking and thinking goes into the distillation, so for the best results, give us lots to go on. To stretch the analogy probably one step too far, giving us a rich and varied diet leads to copy akin to the best malt whiskey – interesting, with depth, layers, heritage and a kick. With nothing to go on, the best we can manage is weak tea.
So to get the best from us you need to feed us a lot. Here's what we like to eat.
1. Your current website. Why are you reworking the site? What don't you like about it? Which elements are successful? Talk it through with us before you take it down.
2. Any marketing material you've produced in the past. We know it's out of date, but it helps us get a feel for your business.
3. Blogs, articles in journals, anything you've already written around your subject. It will help orientate us in your area of expertise, and will also spark ideas and questions for future blogs. Content writers are always looking for connections – to clients, organisations, groups that we can make links with through the new website. The more we've got to go on, the better the results will be.
4. Sales letters, recruitment ads. Both useful for helping see how you define your proposition.
5. Back of an envelope stuff. You know that lunch you had, where you had that really brilliant idea about where the business was going, so you wrote it down and you were going to send that memo but something else happened and you didn't get round to it…….well, dig it out and give it to us. Turning ideas and thoughts into concrete copy is what you're paying us to do, so share your ideas, and we'll be able to do it for you.
6. Minutes from meetings. Meetings where you discussed branding, marketing, or finding new customers are useful background. Don't be shy, let us read them.
7. Conversations with your clients. Really important, this one. We always start content writing from the point of view of your client. How do you help them? How does your business solve their problems? Talking to your clients and customers is the best way of getting to the heart of this, so put us in touch and let us talk.
What if you don't have any of the above? What if it's a new business? Then just talk to us. Creating web content is a collaborative process so carve out some space in your diary. We'll come to you, ask you lots of questions, record our conversation and get the information that way.
At Valuable Content we've put together a questionnaire to kick start web projects – lots of structured questions that help us shape your content and define your message. Call me if you'd like to know more.


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Online Reviews – Beware of NonDisparagement Clauses
One more thing to watch out for and be aware of when shopping online – Non-disparagement clauses in user agreements and terms of use. These clauses may include fines for bad reviews you post online. An example is a couple...
Read more »
Read more »


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Locust Grove Farm
Middletown, Delaware
This haunted farm house in Middletown is about 150 years old and holds the legend of a young boy who passed away while living in the house in the early 1900s.
2 Comments Read more »
Do you believe in the supernatural?
This is the best resource for haunted houses, spooky stories, ghostly tales and all things paranormal.
We have mountains of stories about ghosts, ghouls, and specters.
Home •
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The Dumb Network LLC
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The National Park Foundation, the official charity of America's national parks, is happy to announce the 2011 "Egg-cellent Egg-venture" – a virtual Easter Egg hunt through our national parks. Each day through Friday, April 8, 2011, a photo of one of the official White House Easter Eggs hidden in a national park will be posted to the Foundation's Facebook page.
Participants who successfully identify which park is featured in that day's photo will be entered into a daily drawing to win a four pack of the souvenir eggs. Individuals can also view and purchase the souvenir egg online at: easter.nationalparks.org. The National Park Foundation produces and sells the official White House Easter Egg to help support the annual White House Easter Egg Roll. The beloved event takes place on the South Lawn of the White House each year on the Monday after Easter. The White House is part of Presidents Park, one of the 394 sites protected within the National Park System.
This year's White House Easter Egg comes in four pastel colors – purple, pink, green, yellow – and includes the stamped signatures of the President and First Lady. In a continued effort to make the Easter Egg Roll more environmentally friendly, all eggs have again been crafted in the United States from Forest Stewardship Council-certified hardwood. The packaging has also been designed to minimize waste and environmental impact, helping to create a 'greener' Easter egg and Easter egg packaging.
The 2011 Easter Egg Roll will take place on Monday, April 25th. The White House Easter Egg Roll is focused on promoting health and wellness with the theme, "Get Up and Go!" For more information about the event, visit http://www.whitehouse.gov/eastereggroll
ABOUT THE NATIONAL PARK FOUNDATION The National Park Foundation is the official charity of America's national parks. Chartered by Congress, we work hand in hand with the National Park Service to strengthen and connect all Americans to our parks, so they are protected for present and future generations. It is a legacy that began more than a century ago, when private citizens took action to first establish, then protect and endow our national parks. Today, the National Park Foundation carries on that tradition as the only national charitable partner for America's national parks. To learn more visit www.nationalparks.org.
Join us – This is Your Land. www.nationalparks.org
FACEBOOK http://www.facebook.com/nationalpark
TWITTER http://twitter.com/goparks
Contact Information
Marjorie Taft Hall, Communications Director
202-354-6480, [email protected]


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Thu, 27 September 2012
PMC 93: Legends of Voice Acting with Rob Paulsen, Maurice LaMarche, Tara Strong, Cree Summer and Phil LaMarr (Live at the RIOT LA Comedy Fest)
Legendary Voice Actors Rob Paulsen (Animaniacs), Maurice LaMarche (Futurama), Tara Strong (Powerpuff Girls), Cree Summer (Tiny Toon Adventures) and Phil LaMarr (Samurai Jack) join Cole and Vanessa for a LIVE show at the RIOT LA Comedy Festival! They chat about Oh Sit!, The Emmys, first voice acting gigs, finding character voices, and more, with vocal appearances by Pinky, The Brain, Foxxy Love, Bubbles Powerpuff, William Shatner, Kif Kroker, Carl Wheezer, Elmyra Duff, Columbo, Timmy Turner, Hermes Conrad, "Alan Rickman," and many many more!
Direct download: PMC93_Legends_Of_Voice_Acting.mp3
Category:Podcast -- posted at: 11:51pm PDT


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Why sustainable business?
Internal reasons
Sustainable business has the potential to increase revenues, reduce costs, promote long-term profitability, improve risk management, facilitate a sustained competitive advantage, strengthen stakeholder relations, increase brand equity, improve innovation and company resilience, and is the responsible way to do business successfully. These aspects of sustainable businesses make them attractive customers, investors, employees and other stakeholders.
External reasons
We all want to live in a world that thrives and has a bright future. Sustainable business helps us achieve this by looking after long-term profits and the wellbeing of people and the planet.
What happens if I'm not sustainable?
Internal reasons
The opposite of a sustainable business is, by definition, a business that is unsustainable and does not survive in the long term. The cost of unsustainable business is also high in the short term: with increased risk, missed opportunities and revenues, increased costs, reduced company resilience and poor stakeholder engagement, to name but a few.
External reasons
In the past it may have seemed that it was OK for businesses to get away with being unsustainable and benefiting from not paying for externalities, but this has changed. Customers, investors, regulators and other stakeholders now demand sustainable business practices. The market is tired of bad business and the havoc it creates in societies and natural environments.
What about all the different information sources out there?
There's a lot of noise out there. Information on sustainable business ranges from fake "greenwashing" consultants to unprofitable and unrealistic frameworks. Both of these extremes can be fatal to business and neither are real sustainable business paradigms.
As a result, it can be difficult to know which information sources are sound. Eunoic's toolkits aim at curating international best-practice information and tools that focus on increasing profits, and promoting societal and environmental wellbeing. In other words, the toolkits remove the noise and focus on what really matters in sustainable businesses.
How do the toolkits benefit me?
Eunoic's toolkits are a curation of the best international thinking and resources on sustainable business management. They have been carefully and intentionally crafted to be practical, easy-to-use and relevant in increasing long-term profits, promoting social justice and protecting the environment. They are applicable to all businesses and can be contextualised to any sustainable business operation.
How have the toolkits been designed to help me succeed?
The toolkits were created to give you the best chance at success. Generally, there are 10 reasons for sustainable business initiatives to fail. Each of these have been completely or partly mitigated by the toolkit's design:
Failure #1: A lack of understanding
Eunoic mitigation: Define concepts, rationale, approaches and payoffs as clearly and concisely as possible.
Failure #2: Information overload
Eunoic mitigation: Curated best-in-class information, tools and resources that are packaged in an easy-to-use way that will empower you to do sustainable business profitably. No more need for specialists or consultants.
Failure #3: Having no support
Eunoic mitigation: The toolkits provide you with the correct tools and processes to do sustainable business well. If you have any problems, you can contact us whenever you need to. We also provide links to strong international sustainable business networks.
Failure #4: Unclear priorities
Eunoic mitigation: Templates and processes to facilitate setting clear, important and material priorities and SMART goals that will help you achieve success.
Failure #5: Incorrect assumptions
Eunoic mitigation: Take you through processes step-by-step to test your assumptions.
Failure #6: Misaligned incentives
Eunoic mitigation: Tips, templates and balanced scorecards that help you align incentives with the company's sustainability goals.
Failure #7: Fatigue
Eunoic mitigation: Best-practice tools and tips to help prevent burnout and improve sustainable productivity. Manageable and measurable milestones that can (and should) be celebrated to help fuel a sense of achievement and energise teams to consistently work at the company goals.
Failure #8: Lack of resources
Eunoic mitigation: All the essential tools, resources and templates you need to do sustainable business profitably and confidently are in the Eunoic toolkits. The toolkits also give reasons, payoffs and options for mobilising internal resources to align with business sustainability goals.
Failure #9: Measurement problems
Eunoic mitigation: Checklists, tools and templates to help you know what is necessary to measure (what, why, how and when) and what is not to measure (unnecessary or meaningless metrics).
Failure #10: Poor leadership
Eunoic mitigation: The toolkits are aimed at upskilling employers and employees to become sustainable business leaders in their organisations and to give them the tools and confidence to do so.
How detailed are Eunoic's toolkits?
Each company is unique, with its own context, opportunities and challenges. This toolkit is aimed at giving decision-makers the confidence and resources necessary to design, run and measure their sustainable operations. The tools are designed to be applicable in a variety of circumstances whilst maintaining relevance in specific settings. It follows an MBA-style approach in which the business is examined as a whole with various functions aligned to a common strategy.
Therefore it is not an in-depth exposition of specific components of sustainable business, but provides the user with the relevant tools and ways of thinking that can be applied at more specific problem sets. Furthermore, the toolkits are international in nature and country-specific laws are not included. The toolkit is designed so that decision-makers will have the confidence of using international best-in-class and best-practice principles to create, run and monitor their business. This is therefore a highly practical toolkit: filled with customisable toolkits and informed guidance on business sustainability issues.


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Lawsuit alleges tribal development corporation breached contract in cannabis operation
By Paul Kruze, Contributing Editor
May 16, 2018 (Santa Ysabel) – The Iipay Nation of Santa Ysabel has had a troubled history achieving its goal of gaining financial stability and independence for its 300-member tribe near Julian, some 40 miles east of Escondido. Now, the Santa Ysabel Tribal Development Corporation is in hot water.
The tribe owned and operated the 37,000 square feet Santa Ysabel Resort and Casino, which included the Orchard Restaurant and Seven Oaks Bar and Grill for seven years. The venture went out of business in 2014, having lost millions after being denied chapter 11 bankruptcy. The tribe's online interactive gaming site, privatetable.com, is offline and the domain is up for sale or auction.
After the closure of the casino, the tribe turned to marijuana farming in 2015 when it teamed up with El Cajon's Outliers Collective to transform the former casino space into a marijuana farm. But after a disagreement between the two partners, The Santa Ysabel Tribal Development Corporation is now being accused by Outliers of breaching a contract in a lawsuit filed in early May in Southern California U.S. District Court which could spell the end of their marijuana farming operation. The Santa Ysabel Indian Tribe, itself, is not named as a defendant.
Outliers Collective (Outco) claims that the development corporation and another defendant, identified as David Chelette and GardenPharma LLC, unilaterally terminated a land use deal which Outco had agreed to in July 2015. The agreement allowed Outco to use the location to cultivate and grow marijuana on a wholesale basis. Outco claims that the defendants took over control of the already growing medical cannabis, along with its equipment and greenhouses.
After growing a successful test crop in early 2016, Outco was able to transport a first harvest off the reservation without any complications with local law enforcement agencies. As the operation continued, Ysabel would send Outco monthly billing statements for the amounts due under the Land Use Agreement, which Outco says it paid as billed.
Missing from the invoices was any billing to address the tax payments that were supposed to be due by Outco to Santa Ysabel, in spite of an oral agreement by Chelette that a reasonable timing structure for the tax payments would be followed.
Trouble began, the complaint alleges, when on April 18, 2017 GardenPharma LCC sought permission from the Santa Ysabel Tribal Cannabis Regulatory Agency (TRCA) to enter the premises to take possession of the greenhouses and the onsite equipment by making false statements to the TRCA claiming s that Outco was in breach of its obligations owed to GardenPharma. The complaint claims that GardenPharma had the right to take possession of the greenhouses and equipment. Outco refuted GardenPharma's claims to the TRCA, and contends that Garden Pharma had no right to take possession of the greenhouses and equipment.
The TRCA then issued a directive to GardenPharma and Outco, temporarily suspending access to both. On appeal several days later, Outco was allowed to return to the property and transfer plants from the outdoor greenhouses to the indoor facility. Later, Outco was given notice to take its property off the premises.
In the complaint, Outco alleges that there was a conspiracy among the defendants to induce Outco to sign the land use agreement, buy and build the greenhouses in the center of the dispute.
Outco is seeking $25 million in compensatory damages in addition to punitive damages in an amount to be determined at trial. It is seeking the return of all its personal property, equipment, supplies, greenhouses and profits "resulting from Defendant's wrongful exercise of control and dominion over the same," restitution and disgorgement ("the act of giving up something such as profits illegally obtained on demand or by legal compulsion"), reasonable attorney's fees against the Defendants, and other costs of suit.
ECM contacted both Outliers and the Santa Ysabel Tribal Development Corporation for comments for this article, but neither responded to phone and e-mail messages, likely due to the litigation that is in its preliminary phases.
Follow Paul Kruze on Twitter and Facebook: @PaulKruzeNews


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I am going to Orlando twice this year! Woot! I am going by train at the end of April (it's pretty cheap to take the train!) to do wedding stuff with my sister who is getting married in August. Yea! And then going back again, driving this time, in August for the wedding/vacation time. I can't wait!
On to some pics!
|My 2nd finish for the 2012 chalelnge
|My current progress on my RR.


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We all have a pair of Emilio Cavallini's in our hosiery drawers, don't we?
Emilio Cavallini's box show was a sensual display of sexy leg and body wear presented with a screening of a short film, "Risqué Business at the Florence Excelsior Hotel". Both presentations of the show had the models donning intricate and dramatic hosiery with little or no added clothing. In exquistely crafted black lace, fishnet, stripes and animal prints, the line is a salute to the 1950s pin-ups, giving women a dramatic new way to show off their gams.
Risky business, indeed.


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Classrooms Unleashed
Blended in-classroom and field trip experience
Select your state to see the programming specifically designed for each grade level.
California Classroms Unleashed
Nevada Classrooms Unleashed
Want a fantastic way to leverage the powerful impact of outdoor science education into student achievement at your school? Look no further.
Sierra Nevada Journeys' Classrooms Unleashed program is designed by credentialed teachers to be inquiry-driven, hands-on, student centered, and highly engaging. Our programs are aligned to Next Generation Science Standards (NGSS) and Common Core. Program fees are based on a sliding scale to meet the needs of all schools.
Classrooms Unleashed programs include three in-class lessons taught by Sierra Nevada Journeys instructors, a science exploration field trip outdoors or indoors based on the program led by Sierra Nevada Journeys instructors, and extension lessons for teachers for before and after our program. We also administer pre- and post-assessments for your students. We work with you to meet your classroom's individual needs, and provide the resources you need to plan our time together.
External evaluation by the University of Nevada's Center for Program Evaluation showed that in 2016, five percent more students at schools that participate in Sierra Nevada Journeys' programming score at the proficient level on the State Science assessment than students at comparison schools.
Learn more about CLASSROOMS UNLEASHED
Have questions about our program? Want to learn more?
View photos, check out our Frequently Asked Questions page, or contact us below.
Classrooms Unleashed programs are available in the following school districts:
Carson City School District
Douglas County School District
Lyon County School District
Storey County School District
Washoe County School District
Center Joint Unified School District
Elk Grove Unified School District
Folsom Cordova Unified School District
Sacramento City Unified School District
Natomas Unified School District
Rocklin Unified School District
Roseville City School District
San Juan Unified School District
Twin Rivers Unified School District
Washington Unified School District
Woodland Joint Unified School District


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Contemporary Economics
"Contemporary Economics" is an academic quarterly edited by the University of Finance and Management in Warsaw and by Vizja Press & IT. The quarterly is addressed to academicians, economic policymakers as well as to students of finance, accounting, management and economics. In particular, the quarterly contains academic manuscripts on problems of contemporary economics, finance, banking, accounting and management examined from various research perspectives.
High quality of submitted manuscripts is required. We welcome manuscripts in English. Manuscripts in Polish, only of high quality, will be translated to English at editor´s expense and admitted to the reviewing procedure.


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Community Development Fund
The Spokane Tribe of Indians established a Community Development Fund to raise funds for Community identified projects for specific purpose of infrastructure and other public purposes projects within the Reservation that benefit the health and well-being of the residents of the Reservation. The first project identified is the renovation or replacement of the Community Center located on the West-end portion of the Reservation.
This fund is established so that donations to the fund are tax deductible for the donors pursuant to Internal Revenue Code Section 7871(a)(1)(A) and Internal Revenue Code Section 170(c)(1). This will enable all donors to write-off their donation for income tax purposes.
The Tribe established this Web Page to keep the public updated on fund raising projects and to inform the public of the results of fund raising activities.
If you wish to donate online, you can Click Here
and follow the appropriate options on the web-page.
JamFest 2012
This page is dedicated to aid in the the development of the new West End Community Center. JamFest 2012 was recently held at the Two Rivers Casino. It was our first fundraiser directed towards the Community Development Fund. In attendace were numerous bands, which included several of our local musicians
Rusty Flett from "Midnite Mine" doing a solo on the Bass
Fancy Nancy and Rose being entertained
Joseph Wynecoop from "Severed" closing down the night


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Hosted by the New Political Communication Unit, Department of Politics and International Relations, Royal Holloway, University of London. http://newpolcom.rhul.ac.uk
April 17-18, 2008.
Call for papers
Has there been a shift in political use of the Internet and digital new media - a new Web 2.0 politics based on participatory values? How do broader social, cultural, and economic shifts towards Web 2.0 impact, if at all, on the contexts, the organizational structures, and the communication of politics and policy? Does Web 2.0 hinder or help democratic citizenship? This conference provides an opportunity for researchers to share and debate perspectives.
Potential themes could include (in no particular order):
- Theorizing Web 2.0.
- Changes in political journalism, news production, and consumption.
- Social networking (MySpace, Facebook) and election campaigning.
- Citizen activism from the local to the transnational.
- Blogs, wikis, and user-generated content.
- Changing social, cultural, and political identities.
- Social software and social media: design, technologies, tools, and techniques.
- Social network analysis.
- Surveillance, privacy, and security.
- Security, foreign policy and international communication.
- Hacktivism.
- Radical transparency.
- The impact of online video.
- E-government, web 2.0, and new models of public service delivery.
- New models of social and political collaboration and problem-solving.
- 'Little brother' phenomena.
- Political life in virtual worlds.
- Netroots versus the war room model of election campaigning.
- New challenges for media regulation.
- Collaborative production of political knowledge networks.
- Changing party, interest group, and social movement strategies.
- Web 2.0 and political marketing.
- Collective intelligence, smart mobs, crowdsourcing.
- Fragmenting audiences, the long tail, and the political economy of web 2.0 media.
- Civil society, civic engagement, and mobilization.
- Web 2.0, ICT4D and the changing digital divide.
- The politics of intellectual property.
- Hyperlocalism.
- The political aesthetics of Web 2.0.
Journal of Information Technology and Politics special issue
Conference presenters will be invited to submit their papers to a peer review process for publication in a special issue of the new Journal of Information Technology and Politics. http://www.jitp.net.
Submitting a paper or panel proposal
Paper proposals should be submitted via the secure online form.
Deadline for all proposals: November 2, 2007.
Further information, including details of keynote speakers and plenary sessions will be released in early autumn. Details of accommodation packages will be released early in 2008.
About the New Political Communication Unit
Led by the Department of Politics and International Relations at Royal Holloway, University of London, the New Political Communication Unit was created in the Spring of 2007. Our research agenda consists of three strands:
- Comparative and international political communication: the Internet's impact on political mobilization, campaigning and identity; the relationship between media, war, new security challenges and conflict; audience reception studies in the context of the proliferation of media; the dynamic between citizens' changing uses of media and a transforming news environment; citizen journalism; technology and mobilities.
- Communication and comparative governance: e-government, e-democracy and the changing interface between representative institutions, public bureaucracies and citizens; changing organizational practices shaped by new patterns of communication.
- Comparative and international communication policy: Internet and new media governance and regulation; privacy, surveillance and security, the political economy of new media; cultural diversity policy; digital divide and development issues.
We offer a taught Masters stream in New Political Communication and PhD supervision in our areas of expertise.
The Unit's network inside Royal Holloway incorporates academic staff from the Department of Politics and International Relations, the Department of Media Arts, the School of Management, the UNESCO Centre for ICT4D in the Department of Geography, the Department of Psychology and the Department of Computer Science.
Our external networks include scholars and practitioners in a wide variety of organisations and countries.
For more information, please visit our home page
About Royal Holloway
Royal Holloway is one of the major Colleges of the federal University of London and is among the elite group of ten university institutions whose departments all hold the top three ratings for research, with scores of 4, 5 and 5*. Our beautiful parkland campus is about 15 minutes by taxi from London Heathrow airport, and about 35 minutes from central London by train. For further information visit the College home page: http://www.rhul.ac.uk/


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I step outside for a cigarette after dinner, and look up to see what I think is a wisp of a cloud catching the last of the day's light. It has a bluish-green hue and drifts lazily overhead. I go back inside and describe it to Natasha telling her that I'm just going to pretend that I saw the Northern Lights. I've wanted to see them since I was a little kid, but never really thought I'd be lucky enough to be in just the right place at just the right time.
As we are paying for our meal the waiter casually mentions that the Northern Lights are out tonight. WHAT!!!!??? HOLY SHIT!!!! We say, almost in unison. I want to hug this fella, throw our money at him and run outside, but I hold my composure until we step out into the darkness. At first I see nothing, until two Icelandic women point them out to us. They do look like bluish-green clouds that blend in with the falling sun. If no one had told us, we could have overlooked them. The thought horrifies me. I squeeze Pete's arm tightly, holding back tears. I never even considered that we would see them on this trip, thinking it was the wrong time of year. Like so many other moments in this tiny country, I feel completely overwhelmed by the enormity of my surroundings.
We head back to our little house to put on all our warm clothes and grab the last bottle of wine. There's too much light emanating from our compound of cabins, so we drive down the road a few minutes and turn onto a dark gravel track that sits among some rocky outcroppings. We look up at what is quickly morphing into a superb display of lights.
What follows is a cacophony of hoots and hollers, both of us yelling into the night sky as the purple and greens rays dance around one another. It's a surreal, astounding sight. So strange that we wonder if someone may have slipped us a psychedelic drug. The darker it gets the brighter the lights become. It lasts for a few hours, but not long enough. Around two a.m. the sky darkens and snow begins to fall. We head back to our warm cabin, tuck ourselves in and both agree that this may just be the most awesome night of our lives.


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Full Metal Cinema Presents: Kaneto Shindo's "KURONEKO" (1968)
In this poetic and atmospheric horror fable, set in a village in war-torn medieval Japan, a malevolent spirit has been ripping out the throats of itinerant samurai. When a military hero is sent to dispatch the unseen force, he finds that he must struggle with his own personal demons as well. From Kaneto Shindo, director of the terror classic Onibaba, Kuroneko (Black Cat) is a spectacularly eerie twilight tale with a shocking feminist angle, evoked through ghostly special effects and exquisite cinematography.
Stick around after for a discussion of the film with the Full Metal Cinema crew! www.fullmetalcinema.com


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Tucked in a small valley below Diamond Heights, Glen Park is a small, family-friendly neighborhood that has the feel of a peaceful small town. Hidden away from much of the city's hustle and bustle by sprawling Glen Canyon Park, the area was built around the 1890s when the new railroad connected it with the downtown district. Today the area boasts a wide range of housing in an array of architectural styles, with most homes sharing gorgeous views and proximity to some of San Francisco's most beautiful outdoor recreation. Glen Canyon Park occupies nearly 70 acres of hiking trails, Walter Haas Park is a great spot for children and dog lovers, and Billy Goat Hill Park provides great views and even a hilltop swing.
Known as "the Village," Glen Park's commercial strip is centered at the intersection of Diamond and Chenery Streets near the Glen Park BART station. Here, residents come for the trendy restaurants, charming independent stores, laid-back bookshops, and coffee houses. For commuters, the neighborhood offers easy access to downtown and other parts of the Bay Area. Both MUNI and BART run through the station, and easy freeway access makes getting to South Bay a snap. ©2016 Maryann LoRusso


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Holy Phoque Indeed
(Props to Nathalie Petrowski's Cyberpresse column for the title.)
I don't usually find myself swept up in viral video fever, but this one is particularly Canadian and worthwhile.
While in Montreal this past weekend (more on that next episode), I was puttering around the hotel room with the Francophone breakfast show "Salut Bonjour" in the background, and noticed people talking about some film clip of a musician appearing before some sort of dismissive commission. Recognizing Stéphane Rousseau (from the film The Barbarian Invasions, but also a comedian and singer) as one of the inquisitors, I guessed it was a new feature film. Since my French sucks, that was as far as I could get.
Thanks to a link today on Twitter from Gilles Duceppe (or his people - he's leader of the Bloc Quebecois), I've found out the story, and it's pretty important for me to include here for a couple reasons.
First to go back for a second: last month, the Tory government decided to make a lot of cuts to some pretty helpful arts funding (Marc Weisblott did a fair job explaining some of this in the Scrolling Eye blog), which was preceded by a proposed bill which would effect funding for Canadian films with supposedly questionable morals (CBC has a good thumbnail here). Now we're in the middle of a federal election campaign (yes, us too), creative people who have to go through enough crap without all this are very concerned with what more could happen if the Tories win again. Many of them have organized into groups like the Department of Culture to educate and support each other and do some effective lobbying for once.
One group which is so far anonymous, but which seems to be without party affiliation and from Quebec, has made this three-minute film about the situation, "Culture en Péril (Culture in Danger)". The musician, Michel Rivard of a legendary band called Beau Dommage, appears before a government funding committee (including the fey fellow played by M. Rousseau) to propose a music festival to help promote Quebec music in France, and somehow hilarity ensues. No, it really does ensue, centred in part around the fact that the French word for "seal" (the swimming animal) is "phoque".
So here we have Quebeckers, who are way better at promoting their own stars and pop culture than in English Canada, bringing all their talents to bear to truly entertain and also illuminate some important issues - including issues important across the country regardless of language. And there are even English subtitles available (if you can't get them here, follow the YouTube link and follow the simple instructions to turn the captioning on).
I don't think it gets any more Canadian than this.


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Botanical Name: Mucuna Pruriens
English/Common Name: Velvet Bean, Cowhage, Cow-itch, Buffalo bean
Ayurvedic Name: Kaunch, Atmagupta, Kapikacchu
Family: Fabaceae
Part Used: Seeds / Fruits
Kapikachu (Mucuna Pruriens) enjoys an important place among aphrodisiac herbs in India since ancient times. Susruta mentions the use of the seeds as promoters of virility, as also Bhavamisra. It is categorized as visya – the substance that improves sexual vitality and functioning. Its use as an anthelmintic (capable of expelling or destroying parasitic worms) has also been mentioned in older books on traditional medicine. Yogaratnakara has a reference to its use in a formulation for tremors.
The literal meaning of the word kapikacchu is, one who scratches the body like a monkey. The surface of the pods of this climber is covered with bristles, which are allergic to the skin. On touching, it gives intensive itching sensation. Hence, aptly it has named as kapikacchu. It is also called as markati as the furred surface of its pods resembles to that of monkey's skin.
Mucuna Pruriens is a common twiner, extensively distributed all over India, from the Himalayan foot hills and the plains of Punjab to Sri Lanka. It is a large half – woody twiner, with long slender cylindrical branches. The leaves are 15- 20 cm long, alternate, trifoliate, with ovate leaflets 7-12 cm long. The flowers large shortly stalked, in clusters and purple in color. The fruits, turgid pods, clothed with brown or grey irritant bristles. The seeds, 4-6 per pod, are black and ovoid or bean shaped, about 1 cm in diameter.
Traditionally, Mucuna Pruriens find use in number of diseases and is commonly used as carminative, hypotensive & hypoglycemic agent. From phytochemistry point of view, the drug contains L-dopa (which is very effective in the treatment of Parkinson's disease), tryptamine alkaloids, lecithin and tannins. All these compounds are known to exist in the seeds. There were some reports that the same compounds are detected and can be extracted from its leaves and stem as well.
Mucuna Pruriens has been shown to increase testosterone levels, helps deposition of protein in the muscles and increase muscle mass and strength. The seeds, roots and the bristles on its pods have great medicinal value. It is the most commonly used ingredient in many tonics for impotency and for enhancing sexual vitality. It also works well as a restorative for conditions of debility and weakness. The extract is also known to enhance mental alertness and improve coordination.
The seed powders of kapikacchu impart very potent effect, when taken with sugar and followed by milk. It augments the seminal fluids, vitality and the vigor. The hot infusion of the seeds is an excellent panacea for premature ejaculation in men. The seeds are useful as a galactogouge in lactating mothers.
The roots of this plant are diuretic. The decoction of the roots is beneficial in renal problems and dysuria. The roots also help regulate the menstrual cycle. They are useful to enhance the sexual vigor in women. The root powder, for this purpose, mixed with sugar, ghee and honey works well. In vata diseases like facial palsy, cervical spondylosis, Parkinson's disease, paralysis etc, the decoction of kapikacchu is rewarding.
Generally, this herb is used with amalaki, ashwagandha, shatavari, gokshura, white and black musali to make pills and jelly or gelatin capsules. The bristles of the pods, filled in gelatin capsules, are used with benefit in intestinal worm infestations, especially in round worms. The seed powder, combined with honey, is commonly used as a general tonic. In bronchial asthma, the seed powder, honey and ghee are an effective combination.
Its Ayurvedic applications include: indigestion, colic, debility, edema, impotence, infertility, leukorrhea, menorrhagia, roundworm, spermatorrhea, Parkinsons, roots-fever, edema, elephantiasis (externally), and nervous disorders (including facial paralysis).
Regarding toxicity, its adverse effects were mild and were mainly gastro-intestinal in nature. No adverse effects were seen in clinical laboratory reports.
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The Tayabas-Lucban geothermal project occupies 75,006 hectares in the province of Quezon, straddling the municipalities of Liliw, Luisiana, Majayjay and Nagcarlan in Laguna as well as Lucban, Lucena, Mauban, Pagbilao, Sampaloc, Sariaya and Tayabas in Quezon.
The project area is east of the Tiaong-Dolores geothermal project, across the Mount Banahaw Volcanic complex. Like Tiaong-Dolores, the Tayabas-Lucban project is within Meralco's franchise area.
On average, it takes about three and a half hours drive from the capital to reach Lucban, which is located approximately 160 kilometers from Metro Manila via Lucena City or 133 kilometers from Metro Manila via Santa Cruz, Pagsanjan. While Lucban is a second-class municipality located at the foot of volcanic Mount Banahaw, a popular tourist spot, Tayabas, on the other hand, is a city popular for its resorts.
A number of hot springs such as Bakia, Cagsiay, Mainit, Pablo-Tiaong, and Sampaloc are located within the Tayabas-Lucban area, a good indicator of geothermal potential. This is further validated by the Magnetotelluric or MT surveys, resource assessment data, and 3D resource modelling studies completed in late 2015 by Red Core's internationally recognized geothermal consultants.
Ideal Project Location
Geologic Setting
The resource is within a geologic setting strongly suggestive of a shallow magmatic heat source capable of supporting a significant geothermal system, with geothermal fluids from the Banahaw Volcanic Complex (composed of Mount Banahaw, Mount san Cristobal, and Mount Banahaw de Lucban) controlling the potential geothermal reservoirs around the area.
Though not as popular for mysticism like its counterparts, Mount Banahaw and Mount Cristobal, Mount Banahaw de Lucban is the most heavily forested mountain in the Banahaw complex. Being least visited among in the complex, Mount Banahaw de Lucban houses a pristine mountain forest.
Affordable Prices of Land
The absence of massive residential and commercial developments in the area makes the price of land cheaper in Quezon, compared to Cavite and Laguna, which have become the center of industrial activity, bringing the search for space in industrial states to a critical mass. Cavite, the smallest among the CALABARZON provinces, for example, already has 12 industrial estates and economic zones, while Laguna has 8 concentrated mostly in Calamba, Sta. Rosa and Cabuyao.
Still largely agricultural, Quezon is the country's leading producer of coconut products, coconut oil, and copra.
The following is a feature entitled Enchanting Quezon by the Living Asia Channel posted in September 2012.
Proximity to the Luzon Grid
The network of the interconnected transmission towers and substations of the National Grid Corp. of the Philippines (NGCP) passes through the contract area. Furthermore, a major substation of NGCP's South Eastern Tagalog grid, which services Laguna and Quezon, is located in the town of Tayabas, connecting it to the NGCP's South Luzon grid, which has the three (3) districts: Bicol, South Eastern Tagalog and South Western Tagalog, to the North Luzon grid, which services seven (7) districts.
Project Background
Before Red Core owned Tayabas, then government-owned PNOC-EDC, now the Energy Development Corporation (EDC), included Tayabas in its portfolio of potential geothermal energy projects and as a result, have conducted studies on it.
The EDC is a pioneer in the geothermal energy industry with more than three decades of proven business viability. It has helped discover new ways of developing and commercializing renewable energy right at the heart of the resource – wherever the location and whatever the condition. From the exploration and production of water-based steam power to generation of electricity for commercial use, EDC has built some of the world's pioneering and most complex steam fields, backed by highly skilled manpower and homegrown technology that are fast becoming benchmarks in the industry. EDC has more than 1,400 megawatts under its green power portfolio, diversified by the acquisition of a hydropower project and wind power projects in the pipeline.
As early as 1985, the PNOC-EDC had conducted preliminary geo-scientific studies in the area, specifically on geo-chemical sampling along known hot and warm water discharge.
As part of the national government's program to conduct a thorough inventory of the country's geothermal potential in the mid 1990s, the DOE-Energy Resource Development Bureau (DOE-EDRB) identified Tayabas-Lucban, in the province of Quezon, where preliminary rock and water sampling were conducted. Other areas explored were the towns of Tiaong and Perez, Alabat Islands.
The studies, particularly the more extensive one conducted by PNOC-EDC, identified the presence of an active geothermal system and postulated an up-flow of geothermal fluids possibly at the center of Mt. Banahaw. Subsequent studies, particularly geophysical, such as CSMT and the now prevalent MT, were recommended to fully understand the source and affinities of thermal fluids found within and around the Mt Banahaw Volcanic complex.
The Department of Energy (DOE) also studied the Tayabas-Lucban area and included it in its inventory of potential geothermal energy projects. Unocal, now Chevron, drilled thermal gradient wells near Mount Banahaw as part of their expanded studies of the Makiling Banahaw geothermal fields. All these were within the Macolod Corridor.


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Your dream home come true
Home is the place your heart resides ; Home is the place that you decide ; Home is the womb that holds the soul ; Home is the place where one is whole.
I invite you to fulfill your dream of a warm and cozy home. Come and experience the warmth and beauty of a home located between strawberry fields and orange groves.
I am here for you ,to start planning the home that you always wanted.....


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Animals of Leilani Farm Sanctuary are in need of caring people like you to sponsor their monthly feed, shelter and care costs. Animals at Leilani Farm Sanctuary are available for sponsorship on a monthly or annual basis.
Annual sponsors receive a hand-made gift card and "Certificate of Adoption" with a picture of their adopted animal.
To Sponsor an Animal Click Here.
Your sustaining support helps us provide food, shelter, and veterinary care for rescued animals; and humane education to the community.
Contributions are tax-deductible and go directly toward our life-saving work at Leilani Farm Sanctuary. We are 100% volunteers.
Help us provide care for a rescued animal and receive an "adoption" certificate with a picture of your sponsored animal.
Take a tour in paradise, meet the animals, and learn their stories! Register a spot for a one hour tour on Wednesdays and Saturdays.


text: William Vollero, M.D. is a Board Certified Psychiatrist, who attended Yale as an undergraduate, earned his medical degree at Tufts University and conducted his psychiatric residency at the University of Southern California (USC) Medical Center. He is a Clinical Associate Professor of Psychiatry at USC, has served as the Chief of Staff, Medical Director of Geriatric Psychiatry, Medical Director of Psychiatric Partial Hospitalization and in multiple other leadership positions at Methodist Hospital of Southern California (MHSC), as well as on the medical staff of several other hospitals. He is a Fellow of the American Psychiatric Association, a member of multiple other professional associations in psychiatry, and has served as the President of the Section on Psychiatry of the Los Angeles County Medical Association (LACMA). He has particular expertise in Geriatric Psychiatry, in which he also has Board Certification, and treats a broad range of psychiatric conditions and populations. He has a commitment to helping the underserved and has consulted to the homeless mentally ill of Santa Barbara County, to the developmentally disabled through the Tri-Counties Regional Center, and has been a member of Physicians for Social Responsibility. He has worked in many other community service positions as well, while conducting a private practice of psychiatry for over thirty years.


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Originally published December 12, 2012 at 4:32 PM | Page modified December 13, 2012 at 11:16 AM
WSU review finds Leach 'firm, fair and most of all consistent'
Washington State athletic director Bill Moos was asked to investigate coach Mike Leach's football program after receiver Marquess Wilson made claims of abuse last month. Moos and his staff interviewed 12 players and said he is excited about the future of the program.
Seattle Times staff reporter
Washington State gave football coach Mike Leach a positive finding Wednesday in its internal review of allegations of abuse in the football program by former receiver Marquess Wilson.
Still to come is an independent investigation by the Pac-12, with an unknown timetable for release.
In his report to WSU president Elson Floyd, athletic director Bill Moos wrote of Leach, "... another central theme is that the head coach is firm, fair and most of all consistent."
On a conference call after the summary of the report was released, Moos told reporters, "It's very demanding here, and I want it that way. That's one of the reasons I hired Mike Leach. The players that are with us believe in this coaching staff and are excited about the future of Cougar football, and quite frankly, so am I."
Internal documents obtained by the Seattle Times through a public-records request revealed few of the particulars of the investigation, which Moos said included interviews with a cross-section of 12 players, plus officials who oversee various aspects of the football program.
"The consistent theme was that there are three basic standards that are set at a high level and are not to be compromised," Moos' report said, naming academics, personal behavior and maximum effort.
Moos repeated an earlier assertion made by Leach that late on the night of Nov. 10, hours after Wilson's letter of allegations was released by his stepfather, Wilson recanted his statement.
That night, records show, Wilson wrote to Moos, in part, "With that letter, I wasn't trying to accuse the coaches of hitting players or anything. I was just trying to put it in different terms, and now everything is getting misinterpreted and I didn't mean it like that at all ... I simply was trying to get my story across and get my name cleared instead of having it say I'm suspended for breaking team violations ... That could mean like I did drugs or something ... I was never trying to harm the university or the program with it."
Moos, asked if the investigative process could thus have been avoided, said, "The president and I both felt it was in all our best interests and that of the football staff and our student-athletes to go forward with the review and I'm glad we did."
Upon receiving Wilson's text, Moos messaged Floyd past midnight Nov. 10, after a WSU comeback attempt came up short against UCLA, saying, "Sent to me at 11:33 (p.m.). Unfortunate, as our guys gave a valiant effort and deserved to be the lead story."
The next morning, Floyd responded to Moos, "Well, the damage is done now. I must repair it and move on."
Moos said WSU didn't interview Wilson in its investigation, adding, "In the review itself, questions were asked in the various units (that oversee football) regarding all of the allegations made by Marquess."
Attempts to reach Wilson and his stepfather for comment Wednesday night were unsuccessful.
Wilson walked out of a rigorous conditioning workout the night of Nov. 4, a day after the Cougars had been routed by Utah and Leach ordered linemen, some of whose effort he said "bordered on cowardice," to answer media questions.
Before that flashpoint, there was concern expressed about Leach to top WSU officials. A letter, apparently sent by a parent of a player or former player — the name was redacted — cited several questionable instances and summarized in part, "I feel Coach Mike Leach and his staff are out of control. They have tried to get rid of injured players and mistreated players. There are many parents that fear their kids will be retaliated against. There are many athletes who have the same concerns."
One of the allegations in that letter was activity related to Leach's sand pit used for arduous conditioning workouts, and whether water is improperly used. The letter alleged players were required to hold 45-pound weights over their heads "while players were sprayed in the face with hoses."
While not specifically addressing that charge, Moos said he ordered use of water to be discontinued in midseason. He said its purpose was to "harden the sand," but conceded that "it was getting sprayed on the players at times. I felt that was something we didn't need to do."
Asked if Leach was verbally abusive, Moos replied, stipulating he was joking, "I played for Jim Sweeney (a WSU coach decades ago). These kids have never seen verbal abuse."
Bud Withers: 206-464-8281 or email@example.com


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On Wednesday night, Sara Thacher observed to me that we're sorely lacking in 1990s-style purity tests for the transmedia community. She was right. And now, somehow* her idea has turned into an actual thing!
Go and take the Transmedia Purity Test now! Tweet your score! Let the good times roll, the hilarities ensue, and other forms of levity progress full speed ahead!
And in case you were wondering about my score... I'm 42% transmedia pure. I've dabbled in the dark side of transmedia... but there are more and darker paths left to walk.
* By "somehow" I of course mean I wrote some questions with Sara and then she and Jon Le Plastrier did all of the hard work to make it an actual thing that exists and also works. Give them hugs the next time you see them for me, OK?


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Obamacare Website - the Tip of the IT Iceberg/
The current Obamacare website has been a wonderful source of publicity and insight into the world of IT. Having spent multiple years on countless projects (some much larger than Obamacare) it's great to see pundits, politicians and others voice an opinion on what should have been done.
In IT, there are an untold number of similar stories. IT projects with failed deployments and cost overruns - most of which never appear on CNN or in the footnotes of the latest financial reports.
Having worked with multiple CEOs and leadership teams on how to avoid IT failures before they happen or remediate during the process, it's wise to pay attention to those in the trenches.
A preemptive strike to avoid IT failure is possible. It includes looking at the following items:
- Accountability - Who is going to define, design and deploy the IT capability (or, how many cooks are going to be in the kitchen)? Are resources integrated into one team?
- Solution - Is the solution too complicated to be viable? Has anyone taken a hard look at requirements with a focus on simplification or a phased rollout? In most cases failure occurs when trying to deploy current state processes with new technology.
- Communication and change management - Ignore this topic and you will fail, hands down. The impact of change will cut across staff, process, and technology, and require training and realignment of tasks.
- Test - You can never do too much testing. If you think you have tested everything, go get another opinion. Attempt to keep your testing team engaged, and at the same time objective about the ability of the developed functionality to efficiently and effectively meet the intended requirements.
Why did the rollout of the Obamacare website fail? One explanation is that the items listed above were likely ignored. The real crisis for IT is that most companies are only focused on the tip of the iceberg, continuing to ignore the steps surrounding each initiative required to deliver quality functionality.


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Sheila Mitchell
Sheila Mitchell studied at Gray's School of Art (Robert Gordon's University)
and progressed to teach art at Secondary and College level in Aberdeen, Central Scotland and Strathclyde. Later in her career she worked as the Design Council Scotland, Education Officer.
Sheila now lives and works in Pittenweem, having had several sell outsolo exhibitions at the Pittenweem Art Festival. I also exhibit at the RGI, RSW RSA and VAS exhibitions, with private galleries. My work is also held in several private collections.
Sheila Mitchell was the winner of the Visual Arts Scotland, P.F. Award 2003 and the winner of the Visual Arts Scotland, Ann Redpath Award, 2007


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210 Central Park South, 7D - Central Park South, New York
7D at 210 Central Park South has just undergone a phenomenal gut renovation with extremely high end finishes which the owner chose for themselves before buying another apartment in the building on a different floor. With a living room and master bedroom that sit on Central Park right at tree level, this 2 bedroom 2.5 bathroom faces directly into the park and is located just above the tree lines which gives a great view of Central Park South and the whole park combined. In addition, there is a 25 foot terrace that extends from the living room all the way to the master bedroom giving you a better experience of the entire block.
This listing courtesy of Douglas Elliman
F: firstname.lastname@example.com
F: firstname.lastname@example.com


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Monday, January 23, 2012
Savage Orc Boss
Now I am left with the savage orc boar boyz riders but no boars, so I will add these into my savage orcs as manic bounding individuals. This will bulk up the unit and add some extra variety and dynamic movement. In the process of posing and adding to the first model I got carried away with the topknot and it became what will be a Boss of some level. The top knot is in fact from the top of the savage orc boar boy standard, I clipped this off quite quickly as it looks goofy on the standard but looks better, I think, on top of a savage orc attached with the binding of another old orc boyz spear.
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text: It was way overdue... in order to finish the video for "Come on Daddy", I actually bought a Mac, upgraded to FinalCut Pro, and geez! I'm getting the audio mixed and mastered by PE Strickland, whose studio is prominently featured in the video. Looking for bloggers and others interested in talking about this video. It has layers of post-feminism, domination, voyeurism, and it's a snuff film. I'm almost glad of the little delay between editing and releasing it because I know there are probably some intense conversations ahead, but good ones. Life is complicated, and so are the stories we tell.