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By E. SAN JUAN, Jr.
Despite having won numerous international awards, Kidlat Tahimik (Eric de Guia) remains virtually unknown except for a few film aficionados. Recently his name appeared in Manila newspapers when his 4-story "Sunflower" house in Itogon, Benguet, burned down. His sons escaped, but his precious collection of art was destroyed. Built by his father from recycled wood in 1972, the house is symbolic for Kidlat: "Only a charred sculpture of an Igorot man playing the flute remains of the house. It stands by the gate. I lost all my memories in that house" (The Manila Times, Feb. 16, 2004).
It can be said that Kidlat's films all deal with memories of creation and destruction. They embody historical recollections of the national past acccompanied by a critical inventory of what is important and meaningful to be saved for the future. This essay intends to explore the method in which the colonial past of Filipino society, its current crisis, and problematic future has been translated into visual tropes and symbolic figures in Kidlat's two films, Mababangong Bangungot (Perfumed Nightmare, 1977, 91 minutes, winner of the International Critics Award at the Berlin Film Festival Award), and Turumba (1981-83, 94 minutes, winner of the Top Cash Award, Mannheim Film Festival). My comments are meant to provoke questions and arouse interest in the topic of what constitutes a properly Filipino cinema.
Since 1983, Kidlat has been experimenting with a film entitled "Memories of Overdevelopment" about Pigafetta, the Malayan slave who lived after Magellan's death and circumnavigated the world. Meanwhile, he has just completed a semi-autobiographical film, Bakit Yellow ang Gitna ng Bahaghari (Why is the heart of the rainbow yellow? 1980-1994, 175 minutes). Aside from personal reminiscence, the film also tries to capture the texture of political life in the Philippines from the dark days of the Marcos dictatorship, the "People Power" revolution that overthrew the brutal regime, the turbulent period of Corazon Aquino's rule and the atrocities committed by vigilantes, up to the withdrawal of U.S. military bases, the earthquake that devastated Baguio City, the Mt. Pinatubo eruption, the energy crisis of the nineties, and the revival of indigenous movements by the end of the century. It is a panoramic photograph of a historical sequence in the vicissitudes of a neocolonized people/nation in the process of self-emancipation.
The Perfumed Nightmare
For those who have not seen the two earlier films which I analyze below, allow me to describe them in broad strokes. Perfumed Nightmare involves Kidlat's awakening from the "cocoon of American dreams," a span of 33 typhoon seasons since his birth in 1942 during the Japanese Occupation. The "perfumed nightmare" refers to his existence in the lotus-land of American cultural colonialism. By using the jeepney, a recrafted vehicle left by World War II GIs, as a symbol of the historical passage from the past to the present, the Kidlat persona in the film crosses "the bridge of life" into the village where normal routine is defamiliarized for him by his listening to the Voice of America broadcasts. This obsession becomes catastrophic but also educational.
Fascinated by America's space program, Kidlat becomes the head of a Werner von Braun fan club. His enthusiasm for progress leads to his managing for an American businessman a chewing-gum ball machine concession in Paris and Germany. After a parodic enactment of a summit meeting in Paris, the film leads to Kidlat's disillusionment with progress; he finally realizes that machines and efficient technology destroy certain values necessary for human freedom and happiness. He returns to his village, resigning from the Werner von Braun club, and affirms that he will find his own way to liberation, even though the idealized past of precolonial Philippines cannot be restored.
Hallucinatory, naively accomplished, humorous and surreal, Kidlat's fable supposedly demonstrates the native's magical prowess of producing a substantial art-work for only $10,000 (the cost of the outdated film stock), with the help of Werner Herzog and Francis Ford Coppola's studio Zoetrope which distributed the film.
Turumba is actually Kidlat's first film. It focuses on one family's traditional occupation of making papier-mache animals for the Turumba religious festival in a Filipino village. Everything changes when a German agent buys all their stock and orders more for the Oktoberfest celebration in Germany; soon the family's seasonal occupation becomes a year-round routine of alienated labor. Eventually the whole village is converted into a jungle assembly line to produce papier-mache mascots for the Munich Olympics. With the intrusion of electric fans, TV sets, Beatle records, and the compulsion of work schedule, the traditional rhythm of family and village life is irretrievably broken.
Success for the family coincides with the emergence of a local proletariat whose innocence is ironically shrouded by the turbulent storm, emblematic of the revolt of nature, that overtakes the whole village. Is this the judgment of a subliminal conscience, or the ironic comment of a sagacious historian? J. Hoberman remarks that the film is "not only amusedly Marxist but mock German in its low-key nostalgia as the old-time volkische gemeinschaft succumbs inexorably to the bad, new gesellschaft of industrial civilization." Just as the first film rejects modern progress and its dehumanizing effects, Turumba laments the passing of the old sacramental unity of man and nature, opting for a middle way of compromise: the bricolage of the film-maker, reusing the past to renew the present and thus initiate a more imaginative, organic, integral future.
Both Perfumed Nightmare and Turumba use realist scenarios to project an allegorical rendering of the Filipino experience under U.S. colonial domination and its disastrous neocolonial sequel. What engages my interest here is the vision of the future inscribed in the films, and how their cinematic methods may hopefully allow popular energies to intervene in blasting the burden of the nightmarish status-quo--the legacy of colonialism and corporate globalization--which Kidlat addresses more directly in his more politically astute concoction, Bakit Yellow ang Gitna ng Bahaghari. On the latter film, we can postpone our commentary for another occasion.
Revisiting the Primal Scene
Pigafetta mentions the slave about five or six times.... Possibly the first man to circumnavigate the world was a slave...a Filipino. -- Kidlat Tahimik
The controversy over the bells of Balangiga in 1998, the year of the Centenary of the First Philippine Republic, may yield more than a journalistic and diplomatic fruit. It offers an unsolicited pretext to explore the implication of certain appraisals of Kidlat Tahimik's film art, in particular, The Perfumed Nightmare, and its postmodern resonance. This somewhat gratuitous timeliness may in turn open the closure of ludic Eurocentric postality to its victims. At least, this will counter the postmodern amnesia regarding U.S. imperialism.
Shortly after General Emilio Aguinaldo's revolutionary forces inaugurated the Republic in 1898, the Filipino-American War broke out, resulting in the death of about a million Filipinos, the destruction of the nationalist government, and the U.S. colonial domination of the Philippines for over half a century.
One of the few incidents in which the Filipino revolutionary army inflicted a devastating defeat on the United States expeditionary forces was the attack at Balangiga, a town in Samar province, on September 28, 1901. Of the 74 soldiers in the 9th Infantry Regiment of the U.S. army stationed at the town, 45 were killed and 22 wounded—almost the entire regiment. In retaliation, Gen. Jacob Smith who commanded the Marine battalion sent to reinforce the U.S. occupation troops ordered a mass slaughter—"The interior of Samar must be made a howling wilderness" (Vizmanos 1989: 14). This unofficial U.S. policy of indiscriminate pacification made the War an unpremeditated rehearsal of Vietnam and a template for the colonial and neocolonial subjugation of Filipinos for the next century. We have not yet fully recovered from the effects of that "howling wilderness" which becomes, in Kidlat's film, the roar of rocketships and destructive machines.
When the American veterans of the Indian Wars and the Philippine pacification campaign returned, they brought with them three bells confiscated from the Catholic church in Balangiga two of which are kept at Francis Warren Air Force Base in Cheyenne, Wyoming. On the occasion of the Centenary, the Philippine government requested Washington to return one of the bells and a copy of the other; the military has so far refused. A retired general who is civilian adviser to the base justifies the refusal: "We don't have to rewrite history and give back the bells because, yeah, our men were involved in atrocities too…Those bells were used to make the attack against our troops" (Brooke 1997: A6).
Genealogy of Fantasy
For whom the bells toll is a question that has been answered by John Donne, Hemingway, and others. It is a question Kidlat Tahimik revived in 1975-77 when he was composing Mababangong Bangungot (my literal translation is "Fragrant Asphyxiations"). The background is significant. It was the period of the Marcos dictatorship characterized by the wanton violation of human rights and the plunder of the economy by foreign corporations aided by comprador oligarchs and semifeudal landlords. It was a regime of violence sanctioned by the U.S. government which subsidized Marcos and his Pentagon-advised generals with an average of $100 million foreign aid from 1972 to 1986. The assassination of Benigno Aquino, and the return of the old ruling elite has reinforced the neocolonial stranglehold of the United States, making The Perfumed Nightmare less a retro, nostalgic film than a reminder of what has been missed or forgotten.
At the center of the film is the image of the bridge—passageway of animals, people, and machines—connecting past and future, reality and dream, countryside and city, tradition and modernity. It also symbolizes for Kidlat, the narrator-protagonist, the ever-present possibility of self-fulfillment: "I chose my vehicle and I can cross all bridges." Werner von Braun and space travel (from the Philippines to France and Germany) form part of the cluster of themes expressing the drive to modernity, or in general the impulse to transcendence. Space-time compression, the assertion of the national right to self-determination, and the affirmation of community intersect in Kidlat's dream of journeying to the United States, the site of Cape Canaveral and the Statue of Liberty.
The dream of space travel aborts into an escapade in Europe as petty bourgeois middleman. Kidlat becomes a willing captive of the American businessman whose chewing-gum machines evoke the myth of entrepreneurial individualism associated with the figure of Werner von Braun. But soon the bridge metamorphoses into enclosed spaces of escalators, fortress interiors, and narrow urban streets, impelling Kidlat to fantasize: his jeepney becomes a winged horse traversing boundaries and flying above the ruins of modernized Europe.
The trope of the bridge easily links the local and the global, individual and society. It is a marker of continuity amidst change. Associated with it are the image and voice of Kidlat's father, veteran of the revolution against Spanish colonial tyranny, whose absence marks the substitution of authority figures in the film. Kaya, the hutbuilder, evokes his independence and creativity. His father's revelry at managing a horse-drawn vehicle anticipates Kidlat's gusto as jeepney driver around whom secular and sacred activities gravitate.
Tragedy evolves into a bizarre metamorphosis of images. After the father is killed on the San Juan bridge in August, 1898, the incident which sparked the Filipino-American War, the mother gives to Kidlat the figure of a wooden horse carved from the butt of his father's rifle. This symbol of revolt then appears perched on the front of his jeepney, occupying center-stage at the last sequence when Kidlat returns to the supermarket after "blowing away" leaders of the industrialized West at the farewell party of his American patron; it appears in the last shot when the mother closes the window of the nipa hut and foregrounds the wooden horse atop the toy jeepney Kidlat gave to his sister. His father's presence, mediated by Kaya and the mother, signifies the desire for autonomy and freedom, the weapon of his breath likened to the winds blowing from Amok mountain, an immanent force of nature.
The film-maker intervenes. We hear the refrain: "When the typhoon blows off its cocoon, the butterfly embraces the sun." Messenger from the domain of the rural "third world," Kidlat blows through the chimney of the supermarket, transforming the fragment into a rocketlike apparatus that dismantles the alienating technology of the modern world and guarantees the superiority of human will-power against machinery and business. After this, he declares his independence and resigns from the Werner von Braun Club which he originally founded. The credits at the end register the impact of Western technology around the world in the postcards celebrating Werner von Braun and space exploration. Has Kidlat really escaped the seduction of Western technical mobility and differentiation?
Analogues of Uneven Development
Can we hazard formulating a thesis for the film? The Perfumed Nightmare is, in historical context, an allegory of the Filipino artist's quest for self-determination and claim to recognition. It tries to recuperate the suppressed energies of the revolutionary tradition through parody and adhoc quotations: for example, witness the boy scout jamboree where the American delegate was rebuffed. But this collective project is sublimated in various ways: in folk religion, in the image of Kaya and the hutbuilders, in the circumcision and flagellation rituals, and most memorably in the long sequence on the Sarao jeepney factory.
In the most famous commentary on this film, the leading American Marxist critic Fredric Jameson focuses on the "naif" quality of Kidlat's cinematic technique—the use of 8mm color movie camera, nonsynchronized sound, characters from real life, etc.---and the postmodernist bricolage that evokes "the wonderment of sheer reproduction and recognition." This follows clues suggested by the German philosopher Friedrich Schiller who once distinguished between naïve poets who create instinctually and depict reality as is, and sentimental poets who try to embody an idealized nature in form.
Neither naïve nor sentimental, or both at once, Kidlat Tahimik typifies the artist from an unevenly developed, neocolonized formation where capital operates in a way different from that in the metropolitan societies. For example, the demise of handicraft exemplified by the Zwiebelturm in Germany, or the phasing out of streetvendors in Paris, is vestigial compared to the destruction of homes and whole forests to make room for a highway in Balian, Laguna. Tahimik's art registers the symptoms of a cultural production overdetermined by capitalist private property (the ice factory), communal modes of work (hutbuilding, bayanihan), archaic ideology (flagellation, patriarchal standard of manhood), petty commodity business (jeepney transport), and feudal-bureaucratic arrangements (police, martial law). The film bears in its montage, cuts, shots, lighting, and other stylistic devices the signs of all these combined modes of production and reproduction.
Interrogating Orthodoxies
We need to go beyond the formulae of rhetorical analysis and deconstruction of tropes. Instead of engaging in the customary hermeneutic gloss on the film (which simply replicates New Critical formalism in this area), I would like to comment on why the film text lends itself to a wide variety of interpretations. Can this film be considered a specimen of "third world" postmodernism? What kind of audience-position does it offer and what kind of reception does it enable? Can we make use of this film as a pedagogical agency for social enlightenment and transformation? In short, can Kidlat Tahimik be simply judged on the basis of his class affiliation, or can his films be deployed for emancipatory purposes? What follows is a preliminary review of possible answers.
It seems that what has provoked the animus of Filipino intellectuals is the kind of colonizing patronage instanced by Jameson's treatment of The Perfumed Nightmare. Obviously, Jameson is searching for art-forms and cultural practices that resist late-capitalist commodification and reification, hence his theoretical constructs of "national allegory," "art naif, " Soviet sci-fi films, and American conspiracy film genre. His framework is the totalizing (but not absolutizing) mode of cognitive, geopolitical mapping by means of which he and other citizens in the West can find a position to understand the global relations of forces and grasp possibilities of social transformation in a time when all spaces (nature, the unconscious, and even the "third world") seem to have been preempted by the enemy.
Roland Tolentino has competently surveyed the objections to Jameson's approach and also expressed reservations about certain of Jameson's observations, for example, the conversion of the jeepney from parody to pastiche, Kidlat as clown, the utilization of body imagery, and so on. Tolentino is correct in taking Jameson to task for a literalist instead of the properly historicizing view:
When Jameson mentions that Perfumed Nightmare is not a direct intervention to Marcos' dictatorial regime because of its lack of connecting images to the regime, he is limited by his lack of a "native informant" position. In the film, the town's patron saint is St. Mark, known locally as San Marcos. The cultural regime of rituals can therefore be paralleled to the political culture of the Marcos dictatorship (1996: 123),
In addition, the American boy scout who rides Kidlat's jeepney (eventually pushed out to the carabao sled at the back), the figure of the policeman, the reference to "discipline and uniformity" echoing a well-known slogan of the martial law regime, the Marlboro Country billboard in the barren landscape, and others, all index the atmosphere of regulation under the U.S.-Marcos dictatorship.
Such traces or indicators escape the understanding of the hegemonic intellectual unfamiliar with the historical specificity of the only U.S. colony in Asia. The obsession with a totally administered and commodified society has obsessed Jameson and Frankfurt Critical theory to the degree that only a negative dialectics (Adorno) or a messianic utopian break (Benjamin) can remedy this fatality.
Despite his stress on utopian space, Jameson shares this flaw with the platitudes of Western Marxism. This time, instead of Kidlat Tahimik's film being read as a national allegory where the private dilemma resonates with public meaning, it is selectively construed to reinforce a "first world/third world" binary, as already noted by the aforementioned critics. I am surprised that nothing much is made of the white carabao (beautiful outside but ugly inside), the speaking role of the Virgin Mary, and above all the wooden Pegasus-like horse that becomes an icon at the prow of the jeepney. The motif of resistance against U.S. imperial domination and liberal market ideology becomes secondary or completely obscured when the focus on bodies and Foucauldian genealogy of exoticized details (circumcision) preoccupy the critic.
Limits of Postmodernist Absolutism
We can adduce here the usual arguments against postality theories (Ebert 1996). Postmodernism focuses on pastiche and bricolage over against Bakhtinian multiaccentuality or Brechtian distanciation. For his part, Jameson enthusiastically celebrates the novelty of a refunctioned handicraft mode of work inscribed within an industrialized system of production which distinguishes uneven development. The film sequence detailing the Sarao factory workers performing their specific functions and roles in the assembly line stands out for Jameson as exemplary:
….unlike the 'natural' or mythic appearances of traditional agricultural society, but equally unlike the disembodied machinic forces of late capitalist high technology which seem equally innocent of any human agency or individual or collective praxis, the jeepney factory is a space of human labor which does not know the structural oppression of the assembly line or of Taylorization, which is permanently provisional, thereby liberating its subjects from the tyrannies of form and of the preprogrammed. In it aesthetics and production are again at one, and painting the product is an integral part of its manufacture. Nor finally is this space in any bourgeois sense humanist or a golden mean, since spiritual or material proprietorship is excluded, and inventiveness has taken the place of genius, collective cooperation the place of managerial or demiurgic dictatorship (1992: 210).
Jameson's observations are suggestive though somewhat tangential. As the Filipina critic Felidad C. Lim (1995) has pointed out, this is not only false to the empirical situation but also a distorted and misleading interpretation. There is a grain of validity in her objection. Instead of being cooperative and pleasure-filled, the Sarao factory is perhaps more alienating and dehumanized than firms in the notorious free-trade zones since here semifeudal patronage conceals exploitation, the violation of minimum-wage labor laws, sexism, and other excesses. What looks like bricolage is really systematic cannibalizing of "dead labor" in the interest of profit. On the surface, this refunctioning of waste materials can serve to emblematize Kidlat's theme of converting "vehicles of war" into "vehicles of life." But a long time had already elapsed since World War II when U.S. army jeeps were first refunctioned as civilian passenger transport; such jeepneys are now produced from other sources.
Aside from the ironical innuendo on the duplicity of Sarao, the film's jump-cut to the toy gift that Kidlat paints for his sister performs a shift in discursive register. It elides the process in which the machine changes from a utilitarian or commercial means to a symbolic one when it travels to Paris and Germany: its last notable service was to ferry his pregnant wife to the hospital. The jeep thus indeed becomes a "vehicle of life," enabling him to finally break off from the mystique of Werner von Braun as he leaves Germany.
Another point may be stressed here. When Kidlat in Paris declares his independence from America and the West—he resigns from the von Braun Club—the site where he "blows" away the Western leaders gazing down on him resembles the old hoary ramparts of San Juan bridge where his father confronts the U.S. aggressors and meets his death. What needs underscoring is the running commentary that his father and millions of Filipinos refused to be bought for $12 million dollars—the price the U.S. paid to Spain for ceding the Philippines at the Treaty of Paris. An alternative
history is thus proposed.
Something More Beyond Sight
We have already noted earlier the bricolage nature of Kidlat's cinematic technique. Realist classical cinema—flagellants with bleeding flesh, the block of ice sliding out of the jeep, the circumcision process, and so on—may be found aplenty here. But the whole construction of The Perfumed Nightmare may be described as modernist and avantgarde. It follows Brecht's rule of interrogating the reason of the status quo by interrupting narrative, underlining contradictions within an emerging unity by distanciation and displacement--the defamiliarization or estrangement of what is accepted as normal, natural, routine.
This is where Kidlat's films differ from conventional or commercial productions. The principle of montage and strategic cuts in the two films serves to question the illusionistic or auratic power of representation found in classic realist cinema which interpellates individuals into bourgeois subjects. According to Stephen Heath, montage aims to overcome mimesis, introspective psychology, the hero as unified consciousness, and the need for identification. What critical cinema of this kind seeks is the ushering of subjects into "permanent crisis" so that reality can be questioned and transformed. Aside from montage, the production of a "third meaning" through the friction between image and diegesis (following Barthes' semiotic analysis [1977] ) can be explored.
Kidlat Tahimik follows modernist and avant-garde methods not by choice but more by necessity. In one interview, he describes his method of composition:
The way I make my films is like collecting images; it's like making a stained glass window. You collect colored pieces of glass over the years. Today I may find a broken beer bottle, tomorrow I may find a 7-UP bottle. I'll have all these in a box and maybe two years later, I start sorting them out and I may find a pattern: if I like a landscape or profile, I pursue that and I finish the film by shooting any holes that are still missing in that stained glass mosaic…Maybe I'm just an accumulator of images and sounds and then I make tagpi-tagpi [patching up] and sew them together…. I just work with images and I put my sounds on and then I put a flow of thoughts and start juggling the sequences back and forth. I don't try to find surrealist images even in the way it happened in Perfumed Nightmare. I was a madman when I was making that film and I still am. I sometimes wonder how certain elements enter the film.(Ladrido 1988: 38).
This craft of allowing "found" materials may be naïve at first glance, but the spontaneous gathering and invention of images gives way to the next stage of conscious organizing and synthesizing. Kidlat Tahimik exploits the objective richness of his materials, but this does not mean allowing the unconscious or automatic instinct to take over. In fact, the opposite is the case: the conscious investigation of experience forces attention to the modalities of representation. This becomes patent in the scenes depicting the meeting of the von Braun Club, the passport picture-taking scene, the ceremony of Kidlat's leavetaking, and so on.
Stylization and self-referential techniques predominate. Thus instead of sustained dramatic sequence—the longest ones are the flagellation and circumcision scenes--we get individual and short shots combined in an extended temporal structure. This structure also prevents the formation of aesthetic aura by risk-taking cuts, as in the shift from wide shots of ricefield to Kidlat's sleeping face, from shots of carabaos in mudpools to the Virgin Mary in procession, even while continuity is provided by radio transmission of rocketship launchings, rock music, and the Igorot chant that sutures disparate scenes together. One result of this seemingly random splicing is the prevention of boredom or ennui.
The montage seems jerky at times, especially in the sequence of urban traffic, where repetition of motifs is absent. But the overall impression is not the "polyphony of decontextualized voices" characteristic of postmodern films like Blue Velvet which seek to recreate the cultural experience of past eras.
Pastiche may perhaps describe the sequence happening in Paris and Germany—here Kidlat ceases to have control over his vehicle (that is, his life) since its direction is determined by the American entrepreneur who dangles before the von Braun admirer the bait of a visit to America, the land of von Braun and rocketships. But pastiche is foiled with the counterpoint of an underlying historicity that is interrupted: the death of Kidlat's revolutionary father, the loss of control of the "vehicle" of independence by Filipinos. This is the unifying theme that undercuts the temporal discontinuity and generic heterogeneity of the whole: the potential of decolonization, the possibility of socialist revolution.
Toward a Tentative Reckoning
It may be instructive to compare The Perfumed Nightmare with Kidlat Tahimik's later film, Turumba. Mike Feria considers this latter film technically the best mainly because of a clear narrative line punctuated with "disquieting humor" (1988: 36). The theme of Turumba, as I noted earlier, is the destructive and unstoppable power of modernization. It unfolds in the change of the traditional way of life of a family in Pakil, Laguna, who makes papier-mache dolls for a living; the family's dream of wealth is nearly fulfilled at the cost of disrupting their organic solidarity: the father becomes bureaucratic manager who abandons his role in the annual "turumba" festival, the grandmother becomes a quality control officer.
In hindsight, Kidlat Tahimik believes that it is "my smoothest film to date," more like canvas instead of collage, with "color elements and the sound and everything" blending." He also testifies that except for his nephew Kadu, all the characters are real people who played themselves in their actual work as blacksmith, cantore, Aling Bernarda who fixed the clothes of the Virgin, and so on. Kidlat confessed that he "was always fascinated with the blacksmith because of the way he made Mercedez Benz shock absorbers into real beautiful bolos" (Ladrido 1988: 42).
In this film Mang Pati, the blacksmith, functions as the bricoleur, the free spirit, who converts the scrap iron of rusting Japanese war vehicles left in the jungle into useful tools. He stands for the independent artisan resisting the encroachment of the baneful capitalist division of labor that seizes hold of one family and destroys the enchantment of life centered on religious ritual and intimacy with nature's rhythms.
A "third meaning" often insinuates itself when various forms of signs and sounds—the family playing together, the father conducting the band, the cable transmitting radio and TV signals, the sounds of nature and traffic—intrudes into the unfolding of the business routine and demystifies its rationality. We are then led to reflect on the mode of representation as images. characters, and actions are distanced and displaced from their natural environment. We begin to discriminate between what is made up and what pretends to be natural or inevitable.
One more point needs to be emphasized. Despite the ingenious and witty cuts, the film follows a logic of causality based on the presence of the market and media of communication (radio, TV, highway traffic, exchange of goods). The narrative intelligence centered on the curious and dutiful son of the cantore provides the unifying consciousness that allows a degree of identification; in the midst of the accelerated pace of the "assembly line" production, the shots are dragged on to suggest psychological
introspection. A voyeuristic element insinuates itself in certain scenes when suspense develops—will the family meet the production deadline? What will happen to the turumba festival in the absence of the father?
But despite this tendency to classic expressive-realist cinema, the invocation of a disruptive nature—the typhoon winds—distracts us from the failure of the film to present the unrepresentable, the Munich Olympic festival, scene of international carnage. We are brought back to the immemorial present: the festival procession of the Virgin Mary winding back into the cavernous womb of the church, surrounded by the chanting and singing of the people, the undying matrix (in Bakhtin's dialogic thought) of vitality, resourcefulness, creativity.
It is not far-fetched to say that Kidlat Tahimik overcomes the seduction of technology and speed by a suggestion that what is complete is really uncomplete and unfinished. In this, Turumba rejoins the pioneering first work in asserting the auteur's control and shaper of a critical dialectic based on the transforming movement between production and representation, the disclosure of social relations as historical and changeable.
Reverberations from Quiet Lightning
Ultimately, despite his deceptively elitist or naif pose, Kidlat Tahimik should be judged as an adequate or deficient makeshift artist mediating between the containment strategy of a nativist romanticism proud of one's ethnic heritage and a radical critique of colonial mentalities and neocolonized sensibilities that block change and liberation of individual potential. To be sure, this judgment is very hypothetical; Kidlat's career is not yet over, so the verdict may not be forthcoming for some time yet.
Lacking a full assessment of Kidlat Tahimik's other works and those in progress, I can only provisionally conclude here by speculating on what audience position and effects the films may have.
So far the consensus is that Kidlat's films are primarily addressed to a Western metropolitan audience and critical consciousness. They have never been commercially shown in the Philippines; only the government's Cultural Center of the Philippines has exhibited them at certain times. Our interest approximates the reasons why, for example, Teshome Gabriel (1994) once speculated on the possibility of a distinctive "third world cinema" patterned after the three stages of the national-liberation struggle theorized by Frantz Fanon.
However, despite some analogies, I do not think Kidlat Tahimik is concerned with indigenization, combatting the "world cinematic language" of Godard and Coppola (Copolla is his North American distributor), or vindicating the folk/oral art of the Igorots and other ethnic groups in which spirit and magic predominate. There is indeed spatial concentration in both films demonstrated in wide and panning shots, long takes, graphic repetition of images, with few intercutting between simultaneous actions, rare closeups except for comic touches, with lots of witty juxtapositions and humorous parodies.
Kidlat's's filmic practice, however, cannot be categorized as "third world" throughout; it is a mixed and unevenly developed practice which, for the most part, stimulates critical reflection by techniques of displacement and distanciation. Only rarely does it summon hypnotic identification with heroic protagonists because the illusionistic power is always undercut or decentered by the devices we have noted. Its realism is intermittent, adhoc, conjugated with stylized self-reflexive gestures and idioms. The audience-position it allows, I think, will chiefly be skeptical, inquisitive, and partisan—even wrongheadedly utopian as Jameson's; it can at best contribute to catalyzing an agency that can raise consciousness and maybe mobilize a critical mass for the collective task of radical social transformation. In any case, any thorough evaluation of Kidlat's cinematic artistry will have to defer to the critical sensibility of Filipinos who are involved in the process of the popular struggle for national liberation and democracy--the masses of workers,women, peasants, intelligentsia, and professionals--without which art such as Kidlat's films cannot be properly appraised and fully appreciated.
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Tolentino, Roland. 1996. "Jameson and Kidlat Tahimik." Philippine Studies 44 (First Quarter): 113-125.
Vizmanos, Danilo. 1989. "The Balangiga Incident." Midweek (September 27): 11-14.
E. SAN JUAN, Jr. was recently visiting professor of literature and cultural studies at National Tsing Hua University in Taiwan and lecturer in seven universities in the Republic of China. He was previously Fulbright professor of American Studies at the Katholieke Universiteit Leuven in Belgium, fellow of the Center for the Humanities at Wesleyan University, and chair of the Department of Comparative American Cultures, Washington State University.. Among his recent books are BEYOND POSTCOLONIAL THEORY (Palgrave), RACISM AND CULTURAL STUDIES (Duke University Press), and WORKING THROUGH THE CONTRADICTIONS (Bucknell University Press). Two books in Filipino were launched in 2004: HIMAGSIK (De La Salle University Press) and TINIK SA KALULUWA (Anvil); his new collection of poems in Filipino, SAPAGKAT INIIBIG KITA AT MGA BAGONG TULA, will be released by the University of the Philippines Press in 2005.


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free samples are availible here http://www.samplicity.com/download/
Say I use stereo microphone, so I doThis library contains True Stereo, or "stereo-to-stereo" impulse response set. The True Stereo sets use filenames that end with "L" and "R".
True stereo IR sets consist of two stereo IR files, one with reverb information for sound from the
left (L) input channel and one for sound from the right (R) input channel. Both files need to be
fed with a centered mono signal from respectively the L and R channel. Most current convolution
plugins have presets for True Stereo applications.
1) create 2 mono tracks, route them to L and R channel of mic, set track's pannings to L and R respectively
2) create 2 Convolution plugs on AUX, load "L" and "R" IRs into
3) send track_L to AUX1, track_R to AUX2
4) with latency 1024 it is even possible to monitor sound processed by convolution
problem is, as outlined in quote above, that Convoltion should recieve centered mono singnal, but in this setup it recieves panned one
as workaround it's always possible use insert Convolution but I got limited by MIX feature, sometimes just impossible to make desired sound while using insert

subset: commoncrawl


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To ensure an accurate and timely output of your digital files, this section reviews the tasks and processes required to prepare your digital file prior to seeing us. Each section is aimed at providing a solution that will prove to be an invaluable aid for the designer and service provider.
Precision Color Digital Imaging4475 W. Sunset Road • Las Vegas, NV 89118Phone: 702-498-4281 • Phone 702-498-4281E-mail: firstname.lastname@example.com


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Our suite of diagnostic tools can help you measure and develop every level of your organisation; from your overall organisational culture right down to individual styles, team dynamics, and leadership strategies.
Our team of experienced consultants, and extensive network of Accredited Practitioners, can support you to achieve sustainable results.
Empower yourself with our accreditation workshops and you'll have a measurable impact on the effectiveness of your organisation and those you support.
We have been transforming organisations for over 45 years.
Explore our latest resources including culture and leadership insights, and extensive research.
Empower your staff or yourself with our industry recognised accreditation and application workshops.
Our suite of diagnostic tools can help you measure and develop every level of your organisation.
Everyone's talking about organisational culture, but many don't really understand what it is…or isn't. In this paper, Shaun McCarthy defines the true meaning of culture and how we can see it play out within organisations. This paper looks at how we can "see" our organisations culture and whether it can be changed.
Download the What is Culture white paper - PDF 825 KB
Groups & Teams
Leaders & Managers
Get in Touch
Our friendly, knowledgeable team is available to answer your questions.
© 2016 Human Synergistics Australia Pty Ltd. All Rights Reserved.


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The #1 Fear in America is public speaking, but there are very few useful presentation techniques available. There is no simple solution because nervousness affects everyone differently. The nervous presenter blog is dedicated to helping you develop a strategy for managing nerves. You will see a number of tips that I suggest you try all designed to make your presentation more effective. Not every tip works for everyone, but one or two more tools can help you become a more confident presenter.
Monday, November 17, 2014
15 minutes to less stress - suggested yoga video
3 comments:
Great post, thank you so much for sharing.ReplyDelete
Great video! This can truly help many presenters fight their nervousness. I admire you for this post. Keep sharing.ReplyDelete
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Siân Phillips
May 14, 1933
Bettws, Carmenthenshire, Wales, United Kingdom
United Kingdom
Actor, Newsreader, TV announcer
Peter O'Toole, Robin Sachs
PhotosView All (11)
This slender, willowy actress with hooded eyes and chiseled cheekbones has demonstrated her versatility in roles ranging from the bon vivant of Herbert Ross' musical remake of "Goodbye, Mr. Chips" (1969) to the bloodthirsty Livia in "I, Claudius" (BBC, 1976) to impersonating screen legend Marlene Dietrich on stage in the 1990s. Sian Phillips began her career as a child performer on the radio in her native Wales. She also did a stint as an announcer and newsreader in her early 20s before concentrating on an acting career. Almost from the outset of her stage work, she was landing major roles, whether it be playing Shaw's "Saint Joan" in repertory or debuting in the West End as "Hedda Gabler." Since the late 50s, Phillips has amassed an impressive resume, generally earning strong reviews for her performances.In 1959, Phillips wed the tempestuous Irish actor Peter O'Toole and over the course of their 20-year union, the pair frequently collaborated. They starred as illicit lovers in the BBC production "Siwan" (1960) and acted alongside one another in four films, most notably "Becket" (1964), "Goodbye, Mr. Chips" and "Under Milk Wood" (1971). While her feature career lay dormant throughout the 70s, the small screen offered this marvelous character player several excellent roles. Phillips excelled as the suffragette Emmeline Pankhurst in the acclaimed BBC drama "Shoulder to Shoulder" (1974) and won BAFTA Awards for her turns as the matriarch of a Welsh mining family in the series adaptation of "How Green Was My Valley" (BBC, 1975) and as a power-hungry Roman Empress in "I, Claudius." As the 80s dawned, Phillips teamed with Alec Guinness for adaptations of John le Carre's spy novels "Tinker, Tailor, Soldier, Spy" (PBS, 1980) and "Smiley's People" (syndicated, 1982). Simultaneously, she revived her feature career offering nice turns often in material that was subpar (i.e., "Clash of the Titans" 1981). Occasionally, juicier roles, like Madame de Volanges in Milos Forman's "Valmont" (1989) or Mrs. Archer in Martin Scorsese's "The Age of Innocence" (1993) reminded all of what this actress was capable.In 1980, Phillips undertook her first stage musical role, that of Vera, in a London revival of "Pal Joey" and a new chapter in her career was born. In addition to appearing in classic roles like "Major Barbara" and "Ghosts," she alternated parts in musicals like "Gigi" and "A Little Night Music." Both aspects of her career dovetailed in "Marlene," her superb impersonation of the Teutonic movie legend. The first half of the show was a behind-the-scenes look at preparations for one of the legendary concerts Dietrich gave late in her life, while the second act was a recreation of said concert. When the show opened in 1997 in London, it was a resounding success. A 1999 Broadway staging met a less receptive response, but Phillips justly received a Tony Award nomination for her performance.
Actor Credits
Hochelaga, Land of SoulsSarah Walker
The Age of InnocenceMrs Archer
ValmontMadame DeVolanges
The Doctor and the DevilsAnnabella Rock
DuneReverend Mother Gaius Helen Mohiam
Clash of the TitansCassiopeia
Murphy's WarHayden
Dark RiverMrs Blessington


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The oldest of the small groups within The Genevans are the Grace Notes, a women′s sextet organized in the 1950s. Since the original members all lived in McKee Hall, and in a bow to Geneva′s Scottish heritage, they chose the name "McKee Lassies." Mrs. Ruth Douds, voice instructor, was their director and accompanist. The group suspended operations after Mrs. Douds retired in the mid‑1970s. The group was resuscitated in 1982 by Louise Copeland, a former Lassie who returned as instructor in voice, and since the members no longer came from the same dormitory, they chose the name "The Grace Notes." It consists of either six or nine women, and sings show tunes and other "classic" popular music. In addition to Genevans concerts, this group performs frequently for civic functions, women′s luncheons, and other community events.
© Geneva College | All rights reserved


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My amazing week filled with adventure, inspirations and impressions.
It was for me a dream come true. Once I wanted to walk the Kruger Park to experience the opening of all senses being to smell, hear, taste, see and feel that I am also a part of nature.
Elela Africa made this dream real and it exceeded all my expectations. If you ask me what the highlight of the trip was, I honestly cannot tell you as every single day on my Safari at the Kruger and in Botswana was special.
The walks in silent behind the guide sharpened my hearing for the sounds around me and made me listen. The aroma which swift my nose around every corner made me to smell the diversity of aromas (good and not so good) and trying to analyse it. To see a plant or grass moving was exciting as it could be anything causing that move. An animal, the wind, an insect or just breathe of what surrounded me.
The accommodation was basic with no electricity but awesome. Shower could be taken either cold or hot (perfect for the very hot days) and the bed was dry, clean and comfortable.
I never felt hungry as the kitchen always had something to eat and coffee or tea was available most of the time.
As bonus I got some valuable information about conservation, what it is all about and how it effects the future. How to read and identify the footprint of animals, what a huge number of trees, plants and flowers we have and what wonderful ways nature creates to grow and plant their seeds.
The knowledge of the Guides who walked with us was (is) enormous and if the answer was not there right now, I would get it a bit later during a talk after a walk or drive.
On top of all of that, I met some wonderful people and not a moment was awkward or tens as we all shared the same passion for nature.
Besides not having the greatest of luxury (which is a blessing if in the bush) I always would do a tour like that again.
Thank you Sandra and Elela Africa!


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By Fredrick P. Niemann, Esq. of Hanlon Niemann & Wright, a Freehold, NJ Probate Attorney
In our office we have an estate where the surviving spouse has died. In working on this estate we find that the deceased wife had Prudential stock in her name valued at $1,000. That's it, $1,000. The question raised was, isn't there any way to avoid probating her will for such a small amount? In some states the estate representative can file for a waiver of probate for a small estate, but in New Jersey most financial institutions, banks, etc., want a short form certificate from the surrogate's office before they will transfer and/or sell any securities or transfer any accounts under their custody.
For reasons I can't understand NJ has only a limited small estate probate exception.
Under NJSA 3B:10-3; Only when the total value of all real and personal property of the estate of an intestate will not exceed $50,000 and the surviving spouse will be entitled to all of those assets, probate can be avoided. But in the case of our deceased spouse (and others) the exception won't apply because (1)the decedent had a last will and (2)the surviving spouse is the decedent. As a result we must probate the will. What a waste!
To discuss your NJ Probate matter, please contact Fredrick P. Niemann, Esq. toll-free at (855) 376-5291 or email him at email@example.com. Please ask us about our video conferencing consultations if you are unable to come to our office.


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- Home
- Additional Maintenance Supplies
- Antifreeze & Coolants
- Heavy Duty Diesel Engine Coolants
- Diesel Engine Universal Coolant
- Universal Antifreeze (Green)
- Universal Antifreeze (Green) | 55 Gallon Drum
Universal Antifreeze (Green) | 55 Gallon Drum
Peak / AF22655
Universal Antifreeze (Green) | 55 Gallon Drum
Peak / AF22655
Product Description
Universal Antifreeze (Green), 55 gallon drum, for cars and trucks is formulated to meet or exceed all ASTM and SAE performance standards. Universal Antifreeze is an advanced formula product designed for use in engines from the smallest aluminum passenger car engines to light duty diesel engines. Universal Antifreeze is a unique combination of organic acids and inorganic salts plus special stabilization of the low silicate content. These changes have made this non-phosphate formula possible.
As an all metals and an all purpose antifreeze it meets or exceeds the following passenger car specifications:
- General Motors 1825M
- Ford ESE M97B44-A
- Chrysler MS 7170
- Ford ESE M97B18-C
As a non-phosphate formula it also meets or exceeds the requirements of European, Japanese and Korean auto makers. For diesel engines, Powerline contains less than 0.1 wt.% silicate. It meets or exceeds these specifications:
- ASTM D4985 General Motors 1899M
- Cummins 90T84
- Mack 014GS17004
- John Deere H-5 & 8650-5
- Freightliner 48-22880
- Detroit Diesel 7SE298
NOTE: This is a concentrated formulation and should be mix 50% with deionized water for best freeze protection.


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The Anderson Law Firm is dedicated to providing you with workable solutions to your business and personal legal concerns.
Large public corporations have teams of in-house attorneys, but most privately owned businesses and entrepreneurs have to scramble around searching for ad hoc answers to specific business and personal issues. The Anderson Law Firm is a full service litigation and transactional law firm which will serve as your general counsel and provide for all of your legal needs. We want you to let us do the worrying so that you can focus on growing your business.


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Air freight slows in May
Figures released by the International Air Transport Association (IATA) showed global air freight demand growth slowed in May while freight capacity rose. Demand growth measured in freight tonne kilometers (FTKs) fell to 0.9 percent compared to May of last year while air freight capacity in available freight tonne kilometers (AFTKs) rose 4.9 percent.
IATA said demand decreased or "flat lined" except for Europe and the Middle East which showed growth in air cargo volumes of 4.5 percent and 3.2 percent respectively.
"Global trade has basically moved sideways since the end of 2014 taking air cargo with it. Hopes for a stronger 2016 are fading as economic and political uncertainty increases. Air cargo is vital to the global economy. But the business environment is extremely difficult and there are few signs of any immediate relief," said Tony Tyler, IATA's outgoing director general and CEO.
IATA said Asia-Pacific airlines reported a 0.7 percent decrease in demand for air cargo in May compared to last year. Capacity expanded 3.7 percent. Airlines in Asia-Pacific continue to face headwinds from weak trade in the region and globally, IATA said.


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We hope our website can serve candidates from start to finish: from preparing for the GMAT all the way to getting their acceptance letters.
Palo Alto, CA (PRWEB) September 1, 2009
Business school candidates often say that the most difficult part of the admissions journey is simply starting. While there is a lot of great information available about GMAT prep and MBA admissions, the good content is usually scattered across many websites and resources.
Beat The GMAT, a Silicon Valley-based start up, is making life easier for these candidates through its recent site re-launch. The company is working with top GMAT prep and MBA admissions companies to put high-quality GMAT and business school admissions advice into one website, http://www.beatthegmat.com.
"We're partnering with elite experts to build a huge resource database for business school applicants," says Beat The GMAT Founder, Eric Bahn. "We hope our website can serve candidates from start to finish: from preparing for the GMAT all the way to getting their acceptance letters."
Beat The GMAT experts write daily articles, submit video lessons, and interact with visitors in the active Beat The GMAT forums (over 60,000 members to date). 45 experts from 11 companies contribute content to the website. Companies include:
- Accepted.com
- Clear Admit
- Grockit
- Kaplan Test Prep and Admissions
- Knewton Test Prep
- Manhattan GMAT
- MBA Podcaster
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Access to Beat The GMAT is free for everyone.
About Beat The GMAT
Founded in a Stanford University dorm room in 2005, Beat The GMAT is one of the largest online communities for GMAT prep and MBA admissions. The website features free expert-written articles, active GMAT/MBA discussion forums, prep resources, and scholarships.


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|A Collection of Informative and Interesting Articles
|Debt Collections (Advt.)
Why Acetal and Delrin Are the Same But Different PolymersBY: kiron mark | Category: Self-Improvement | Submitted: 2013-02-16 07:45:51
Article Summary: "Though they are both polymers known as polyoxymethylene, acetal and delrin are still different materials. They may be known as thermoplastic.."
Why acetal and delrin are the same but different polymers
Though they are both polymers known as polyoxymethylene, acetal and delrin are still different materials. They may be known as thermoplastic. Because of both these materials abilities to be rigid, they are both used to make a variety of precision parts. These precision parts require a certain amount of stiffness, lower fiction and excellent dimensional stability.
What types of parts are made from acetal plastics? Parts frequently machined out of acetal, including delrin, are wear strips, rollers, and bushings. These products need to be built with a certain combination of strength, dimensional stability and chemical resistance.
How is delrin different?
Delrin is a trademarked name from a major carpet manufacturer. A homopolymer, delrin has the strength, stiffness, hardness and toughness, solvent and resistance, abrasion resistance and low wear.
Acetal and acrylic sheets are more or less copolymers. This means they have a lower temperature resistance than delrin, which is a homopolymer. This means that acetal and acrylic sheets can tolerate lower temperatures and less friction resistance than delrin. This is why delrin is better suited for use in a number of automobile precision parts. This is why delrin and acetal are different, though they are both polymers.
Future uses for copolymers and homopolymers
Vision LED reading glasses may be one future use for copolymers or homopolymers. What other uses can delrin or acrylic sheets be used for the future?
As electric and hybrid cars continue to be produced, acrylic sheets may be used for instrument panels. Perhaps acrylic sheeting will continue to be used to produce better projection screens, windows for city swimming pools, acrylic transparent barriers that are used in zoos and museum displays, flood windows and acrylic glazing for artwork. Depending on the type of acrylic sheets, this material may be used in roofs, walls, or the ground.
Perhaps, the future will lead to greener methods to produce acrylic sheets. One way that is may be accomplished is by using a process known as alpha to produce the less methyl methacrylate, a key ingredient in making acrylic plastics. This may lead to less air pollution and chemicals that may produce harmful chemicals. This new process in producing acrylic products may lead to thinner eyeglass lens, better material for submarine windows and acrylic materials that are stronger, more heat resistant and able to withstand greater water pressures, if needed.
Plastic-Craft was founded in 1934 simply as a manufacturer of engraved signs and nameplates. From these humble beginnings we have grown into a worldwide supplier of all types of plastic materials, parts, components and assemblies. Our 33,000sq. ft. manufacturing facility, located in West Nyack, New York, has the in-house capabilities necessary to handle your plastic requirements. For more information, visit www.plastic-craft.com.
Did you know that plasti dip can be used to coat any polycarbonate sheet in a multitude of various neon colors, metallic finishes and steel gray. This gives the polycarbonate sheet extra durability and also can be used as a sealant for a skylight, as material for a greenhouse and also be used in the design of high-tech robots. Stronger than glass, a polycarbonate sheet is stronger than glass, with an impact strength 40 times greater, is a good insulator, and can still let in sunlight.
About Author / Additional Info:
Plastic-Craft was founded in 1934 simply as a manufacturer of engraved signs and nameplates. From these humble beginnings we have grown into a worldwide supplier of all types of plastic materials, parts, components and assemblies. Our 33,000sq. ft. manufacturing facility, located in West Nyack, New
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Here's the link to quite a few wallpapers. I've been collecting them for about a year or more from everywhere.. Enjoy. https://www.dropbox.com/sh/1m3o8jyy9tnryhd/AACOhjULLVPabyUpDkvEuiwCa Sent from my Paranoid S4
Please vote for this thread. One of the most helpful people on XDA and a great kernel. I'm just saying. Please place votes. 5 stars all day imo. Cheers. :good: Running great on ABCrom!! ;) Sent from my Nexus 5X using XDA Labs
Everybody can blast google, Samsung, lg etc for ETA's, even go as far as completely insulting the company, but heaven forbid you ask a dev for a ETA. Get outta here with that crap. It's a respect thing here on xda. Always has been... Some devs ha...
http://img.tapatalk.com/d/14/06/10/upedasur.jpg Sent from my Nexus 5 CandyKat ---------- Post added at 10:30 AM ---------- Previous post was at 10:30 AM ---------- http://img.tapatalk.com/d/14/06/10/atu6ebeg.jpg Sent from my Nexus 5 CandyKat...
My last run: 4 hrs 31 min screen and 20 hrs and a few mins total.:)Ktoonseractive, sio, 384min-1242max, screen off 486 w/boost on default, no uv. Even @ 1242mhz it still flies through anything!! I've always used apps to see my wake locks/partial W...


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"There is little credible discussion of just what constitutes the Iranian threat, though we do have an authoritative answer, provided by US military and intelligence. Their presentations to Congress make it clear that Iran doesn't pose a military threat," Chomsky wrote in his latest article titled "What Are Iran's Intentions?" published Friday.
Chomsky added that even "the majority of Americans" recognized Iran's right to its nuclear energy program before Washington officials and media launched a "massive propaganda onslaught" against the Islamic Republic over the past two years.
He added that presently powerful countries like Russia, China, India, and 120 member nations of the Non-Aligned Movement (NAM) oppose the US policy on Iran.
"Western commentary has made much of how the Arab dictators allegedly support the US position on Iran, while ignoring the fact that the vast majority of the population opposes it-a stance too revealing to require comment," he said.
Instead, Chomsky said, "Europeans regard Israel as the greatest threat to world peace," and in the Arab world he added, "Israel and the US are regarded as the pre-eminent threat."
The United States, Israel, and some of their allies accuse Iran of pursuing military objectives in its nuclear energy program and have used this pretext to impose international and unilateral sanctions on the Islamic Republic and to call for a military strike against Tehran.
Iran has repeatedly refuted the Western allegations, arguing that as a signatory to the nuclear Non-Proliferation Treaty (NPT) and a member of the International Atomic Energy Agency (IAEA), it is entitled to develop and acquire nuclear technology for peaceful purposes.
Israel, which is widely believed to be the sole possessor of a nuclear arsenal in the Middle East with over 200 undeclared nuclear warheads, pursues the policy of "deliberate ambiguity" on its nuclear program.
Tel Aviv has rejected global demands to join the NPT and does not allow IAEA inspectors to observe its controversial nuclear program.
Iran has always pursued the policy of nuclear transparency and has granted IAEA inspectors access to its nuclear facilities to conduct snap inspections.
from PressTV


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Our Process
LightCastle Partners (LCP) has dedicated capabilities to provide top of the line collaborative opportunities. We have developed service suites to best work together with our clients. Data is our best friend and we want it to be yours too. Ranging from data collection to analysis to solution implementation to tracking progress – we provide the complete value chain of expert services to help you chart your unique impact story.
Our Values
We just don't get things done. We get it done the right way. Consequently, all our actions are the reflection of our values.
- Entrepreneurial Spirit – We are entrepreneurs ourselves. We are passionate about the work we do. Our hope is to make this spirit contagious and, therefore, actively promote developing an entrepreneurial mindset among others, too.
- Ethics – We internalize a strong sense of ethical practices in what we do.
- Excellence – We merit quality over quantity. Emphasis on quality renders professionalism.
- Inquisitiveness – We remain insatiable in our thirst for new knowledge. Curiosity doesn't kill us, rather lets us thrive.
- Simplicity – We love to keep things simple. We strive to make this theme recurring in every aspect of our lives, be it personal or professional.
- Transparency – We foster an open culture of communication. Transparency establishes trust.


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I came across this post from Ranjan asking "why can't we handle Personal Finance properly"? The reasons he mentioned sounded very superficial to me; they are just shallow in my opinion (with all due respect to Ranjan).
As per my understanding, "Personal Finance" implies detailed analysis of financial flow of an individual at various point in time. Please carefully note that Personal Finance is not synonymous to having knowledge about stocks quotes, mutual funds, insurance or pension policies.
The single biggest reason why we can not handle personal finance properly, is because from childhood we are never taught to think about money in that fashion, making us believe that it is a materialistic entity that is just a means to satisfies our immediate material needs.
How many people remember their first lesson in personal finance or handling money given to them during childhood? I remember, the first time I was given money (it was 10 paisa), which I could independently spend, I rushed to the near-by kirana store to buy that juicy candy bar. When was the last time your parents tutored you on personal finance and importance of setting financial goals? (I am not talking about parent pestering for buying property etc). Also whatever limited parental advise that most youngsters receive regarding personal finance is based on their personal experience at burning their hands with specific financial tools.
In India, at the least, I've never heard about creating personal financial goals from my parents and I have not met anyone whose parents told them about it. In effect, people start accumulating their debts and then the financial situation blows out of proportion. I guess, they themselves never heard about it from their parents and did not find it important enough to be delivered to their off springs.
The biggest confusion among most people regarding financial planning stems from the fact that:
- They fail to understand their financial dreams
- They fail to prioritize and reach their dream financial goals
- They fail to learn and make the strategies either individually or using some professional advisor to achieve their goals.
- They lack the persistence to transform their dream goals into reality by executing and re-aligning their strategies.
And this confusion is carried over from them to their next generations and generations. Unless people realize that managing personal finance involve setting goals, creating strategies to achieve those goals and sticking to it, Personal Finance will remain an arcane and unmanageable subject.


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"Working Our Way Home: 'We are the people we've been waiting for'"
Click below to download the WOWH conference registration form in pdf format.
click here to download registration forms
You may either bring a completed form to the conference registration and information table when you arrive,
or you may mail the form to us at:
Working Our Way Home
c/o Kate Eubank
Oberlin College Multicultural Resource Center
Wilder 105
135 West Lorain St
Oberlin, OH 44074 USA
IF YOU ARE REQUESTING HOUSING OR SPECIAL ACCOMODATIONS in your registration form, please also email
email@example.com so that we may make arrangements ahead of time.
Enter supporting content here
firstname.lastname@example.com / 440-775-6466


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Community Support / Stewardship
Here at Appalachian Outfitters we love the great outdoors as much as you do! We share your love for natural wonders. That's why we work with organizations both locally and nationally to promote the wise use and conservation of the nature we love. We believe we have a responsibility to support and enhance our community in which we live and work. We do this through the classes we offer, the community work we do, and the environmental issues we support. In 2012 Appalachian Outfitters was awarded Retailer of the Year by SNEWS and Backpacker Magazine in the community category.
CLASSES WE OFFERWe offer classes to promote the use and conservation of the outdoors to train people in safe practices, and encourage them to go out and enjoy nature. Some of the classes are:
MAP & COMPASSSee more of the landscape without the fear of getting lost. Learning to navigate with a map, compass and GPS device can be satisfying and beneficial. Let our professional navigation instructors teach you how to orient a map and use a compass.
OUTDOOR PHOTOGRAPHYJoin our professional photography instructors as we teach techniques to make masterpieces out of your nature shots. We teach the basics of how to use your digital camera and take you to the next level with nature photography. Make your own masterpiece to hang on your living room wall.
BACKPACKING SKILLSLearn how to make a comfortable home in the outdoors. We'll teach you how to travel, set up a campsite, cook and backpack in the beautiful great outdoors.
FALL HIKINGSee the colorful fall leaves like you have never seen them before by joining a hiking group to walk some of our local hiking trails. Enjoy the camaraderie of like-minded hikers and make new friends while sharing hiking tips. Bring your camera to record the beauty of autumn in northeastern Ohio.
KAYAKINGWe offer basic kayak selection classes that cover how to choose your first boat, how to care for your boat, what safety equipment you will need, and where to go paddling in our area.
ROCK CLIMBINGWe will teach you all the skills you need to know to get up the rock and confidently out climbing. We have classes that will teach you the basics of belaying, climbing technique, and lead climbing. We provide all the climbing equipment and professional instructors. Classes are held at Kendall Cliffs.
Each year we work with a variety of local and national groups that are interested in preserving and restoring our environment. We also work with different groups that have grants to impact the environment in a positive way. For example, we were a sponsor of River Days to clean-up the Cuyahoga River in 2012.
COMMUNITY SUPPORTWe believe in giving back to the community that supports us. We do that in a variety of ways.
Appalachian Outfitters is proud to have been a Partner level sponsor in one of the biggest outdoor related events of which Northeast Ohio has ever been a part. Yvon Chouinard, founder of Patagonia Gear and Clothing Company, was selected by Case Western Reserve University to receive the Inamori Ethics Prize at Severance Hall in September 2013.
Each year we have a Haven of Rest Coat Drive. We offer a discount on a new jacket if the customer donates their old jacket to the coat drive. Last year we had about 80 coats for the Haven of Rest homeless shelter.
We worked with FITS Sock Company (vendor) to acquire over 600 pairs of their second quality all wool socks which have minor cosmetic defects, but are correctly made. These socks are then given to the Haven of Rest homeless shelter.
We have also worked with and support such groups as the Susan G Komen Foundation, Happy Trails Animal Sanctuary, PAWSibilities®, Humane Society of Greater Akron, Cuyahoga County Animal Shelter, Conservancy for The Cuyahoga Valley National Park, Boy Scouts of America and Girl Scouts of America, Ohio Canal Corridor, Friends of The Crooked River, The Conservation Alliance, and many more.
If you have a recommendation for an environmental project, community support project, or a class we should offer, please contact our store.
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P90X3 Workout – The Very Best Ways To Get In Shape And Remain Fit 5909
Getting fit is the act of improving and looking after the health of the body. After the advice in this post can assist you keep in shape and stay toned. There is no need to feel like it is a lot of pressure to gain access to shape. Don't neglect the health of your body! Use the advice you locate below.
If working out is new for you, take into consideration hitting the gym having a trainer at first. A trainer can help you determine the goals you should looking for yourself and will help you setup a good work out program. It may be quite intimidating coming to the gym when you are new, or haven't been for a while. A trainer might help supply you with the confidence you require. By using a professional instruct you in proper fitness, you will be successful quickly.
When you use weights, start with smaller machines first. Smaller muscles will tire long before your larger ones will, so you'll want in the first place barbells before you start the bigger machines. The progression needs to be gradual, from lighter to heavier until you are getting the desired results.
Monitor your consumption of calories. Knowing precisely how much you consume on a daily basis is very important, because it assists you to monitor regardless if you are prone to gain or slim down. The combination of burning calories while exercising and closely watching the amount you eat will produce quick, major results.
You might be watching tv, but that doesn't mean you need to lose momentum toward your weight loss goal. By way of example, walk briskly into position every time a commercial comes on. You may also make lounging on the couch more active with some hand weights. There are many chances to squeeze in a few exercise.
Many individuals want to do lots of repetitions with lighter in weight instead of heavier weights with few repetitions. Muscle mass will not just entail lifting one of the most weight. Furthermore, it requires having the capability to endure a fitness for some time without losing your strength. Some of the best workout warriors exercise this way.
Keep a correct daily log. Including such things as food, drinks, exercise, and everything else. You must also record the day's climatic conditions. After that you can change everything to your day-to-day routine that can help you get fit. In the event you miss a training, list the main reason why that happened.
Once you workout utilizing a bench try out the pads on it by pressing down. In the event the padding in the bench seems like this has been worn down to the base, it's best that you simply find another machine to make use of. If you are using a poor machine, it is possible to injure yourself.
A training regimen has lots of benefits. Should you start up a regular exercise routine, you can locate a significant increase in your emotional health and well-being. Training releases endorphins creating feelings of euphoria. The more you workout, the greater you will feel about yourself plus your abilities. So, think about your regular workout in an effort to boost your mental health together with the physical improvements.
Most exercise programs usually do not burn the level of calories most people think, so they exercise for the extreme. It is possible to really hurt your whole body and joints in the event you push it a lot of, so try your greatest to diet greater than pushing the body.
An excellent exercise to help you fit is kickboxing. Regardless of how fit you will be, it can be extremely hard to finish a kickboxing routine without feeling thoroughly figured out. This exercise is ideal for quickly burning plenty of calories and strengthening your strength.
The ideas on this page could possibly be the first steps on the way to a healthier, fitter lifestyle. Incorporating new fitness ideas, even if you offer an established training regimen, can boost your results. Becoming fit takes time it is an ever-changing process.


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Day three:
I'm grateful for my Mom.
Where to start on the most influential woman in my life? Let me just say that when I think of what kind of Mom I want to be to my kids, I think of my own Mom. She is the most kind, compassionate, giving, loving person I know. As she would say, "I'm the kindest person in the world!" (Inside joke – apparently her personality type is supposed to be the nicest personality.) She's always been there to bail me out. She'll always be there to bail me out, I know that. She makes the best food {ROAST}, she can sleep anywhere {a talent she developed over the years having 6 children}, and she loves unconditionally. She is beautiful inside and out – and hilarious! She's the "master of the universe!" Mom, thanks for always being there for me {like when I was two weeks overdue and I came to your house crying and you took me to get a mani/pedi}. I love you x a million and I truly hope I can be as good of a mother to Holden (and our future children) as you are to all of us.
-Little Wife Power House


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Family Guy Flashback: "Death Is a Bitch" Review
After Peter tries to get out of paying a hospital bill by filling out a form stating he was deceased, he is visited by Death himself, voiced with sarcastic perfection by former Saturday Night Live
Weekend Update anchor, Norm MacDonald. Death injures his ankle during an escape attempt by Peter and is forced to recover at the Griffin household. While he's out of commission, the laws of death no longer apply, and Peter is forced to take on the role of the Grim Reaper himself.
Norm MacDonald's ultra-sarcastic take on the Grim Reaper is the highlight of this episode. His high level of ingeniously acerbic wit was never recaptured quite in later voice-over efforts by Adam Carolla, who portrayed Death in his subsequent appearances. His interaction with the entire Griffin family is absolutely hilarious. His conversations with Meg and Chris are particularly memorable, and a scene where Lois starts to undress thinking she'll have to pleasure Death is another awkwardly hilarious moment. The real groan-worthy uncomfortably disturbing highlight is a flashback sequence featuring Death in his teenage years in the back of a car with a girl named Sandy. Death accidentally kills her, and then states, "I'm going to be a virgin forever… or am I?" It's around this time that we started to see the gloves really come off from a humor perspective, and when it seemed the writers would really push the boundaries of what they could get away with saying or doing on television.
Death also asks Peter to consider what a world without Death would be like, and this leads to another classic Family Guy awkwardly amusing flashback of what if Hitler was alive and was a talk show host.
Stewie's excitement of Death's arrival is typical for the character at this point in his matricidal development. He's completely enthralled by the Grim Reaper and is the only member of the family who's genuinely excited about having him around. However, other than a missed murder attempt on his mother (due to the laws of death no longer applying), Stewie didn't get too much screen time in this outing. Meg, Chris and Brian's scenes in this episode were also kept to a minimum.
Peter's faced with a moral conundrum of carrying out Death's desire to get the world's attention by killing the kids from Dawson's Creek by crashing their plane, or be killed by Death himself. The situation is resolved when he refuses to carry out Death's wishes, not because he thinks it's wrong to kill, but because if he kills off the kids then he'll have nothing to watch on Wednesdays. Of course, Peter blunders and accidentally kills the pilots of the plane, causing the plane to almost crash. However the heroic efforts of actress Karen Black, who starred in the a '70s disaster flick titled "Airport 1975″. The kids from Dawson's Creek are saved along with the rest of the passengers on the plane. Death also recovers from his ankle injury and much to Stewie's dismay, leaved the Griffin home to resume his duties as the Grim Reaper, and sparing Peter's soul.
In addition to the first appearance of Death, this episode also marks the debut of Doctor Hartman, who makes several significant appearances in later episodes in the series.
Overall, this was yet another extremely enjoyable early episode of Family Guy. While it didn't feature as creatively cohesive a storyline as in previous outings, there are plenty of memorable random jokes and the first appearance of Death alone makes this episode stand up well to repeated viewings.


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Friday, December 8, 2017
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farewell Anna Maria hello home!
We got in our van which was packed to the gills and drove Michelle to her rental car. She was driving to Orlando to spend the rest of her we...
To our lovely and willowy Abby B...wishing you a wonderfilled year of being 18. Here you are ready for prom last spring:
Today, our family journeyed into St. Paul to get the two eldest children phones...the time has come. We were successful at getting on for An...


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GOLDDERBY – "The beauty of the show is that it's such a fast paced, on-the-move narrative," says Jessica De Gouw as we chat via webcam (watch above) about her acclaimed new series "Underground." In this WGN America drama about the underground railroad, she plays Elizabeth Hawkes who, along with her husband, abolitionist lawyer John (Marc Blucas), turns their Ohio home into a refuge for escaped slaves. "The stakes are always so much higher with every episode."
When we first meet Elizabeth, she is "at a point of aimlessness," having learned she is unable to conceive. "I think she's a woman who has so much to give, and so much energy, and a lot of love," explains the Australian actress. "I think the lack of her ability to give that to a child, to make a home for a child, made way for something else, and she really throws herself in wholeheartedly to helping other people escape."
Though hesitant at first, after making the trip down South to meet John's brother, slave-owner Tom Macon (Reed Diamond), she is quickly convinced. "You can't un-see something like that," De Gouw explains. "That sets up her spiral into anything and everything that comes her way, which is quite the adventure."
Unique among period dramas, "Underground" tells its story with energy and verve, modernizing the past. "You don't want to just force a history lesson on people every week," she says. "You want it to be entertaining, you want it to be historically accurate, but I think it has to be a delicate balance."
Gallery Update: 'Cut Snake' Pr...
'The Last Tycoon' Drama Picked Up To S...


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About Me
Hi! I'm Conrado Cucio, an entrepreneur, businessman, networker, freelancer and a Civil Engineer by profession. As part of my community services, I'm currently the livelihood Program Manager of Gawad Kalinga (To Give Care) Character Village- the poorest of the poor community at Perpetual Help, Iriga City, Camarines Sur, Philippines
I created Pinoy Big Thinkers' blog to help my fellow Filipino's how to really think big and how we can help people to help themselves and how to make transition from full-time mom and dad, unemployed, out of school youth, professionals, to a successful entrepreneur.
I started Pinoy Big Thinkers in the second quarter of 2008 to help other people deal with the sometimes overwhelming prospect of starting a new business while still running the household.
Prior to managing my own time, I spent over 15 years as an employee working for different companies (local and international) and building other's dream. Three years before I constructed my first resort business, I was the lone construction management and technical consultant of Armed Forces and Police Savings and Loans Association, Inc. (AFPSLAI) www.afpslai.com.ph wherein I enjoyed the privilege to travel provinces all over the Philippines which I've accustomed myself to different kind of people, culture, customs, traditions, their way of life and thinking and the backgrounds that affect the way how they think and how they face the hardness of life. Those are the factors that prompted my soul, spirit and body to create this blog site.


text: Just one more thing! If you would like to join my stamp mailing list and recieve notices of the winners of this contest and when a new contest is about to begin, enter your e-mail address below and hit the 'Join List' button. If not, click, here. (Mailings will be sent about once every two months.)


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Buying property in Bodrum is a lifestyle investment. Bodrum is Turkey's St. Tropez and has for many years attracted the jet set tourism from all over the world. If you want to combine investment with sailing, good lifestyle and long sunny days, then our affordable properties in Bodrum can fill your requirements and expectations. Bodrum is an international port city that many Europeans choose when it comes to investment in Turkey. Bodrum is divided into different areas such as Yalikavak and Gumusluk which are the most popular choices when buying property in Bodrum.
Property in Bodrum offers a lifestyle beyond the ordinary
If you buy property in Bodrum then you make a safe investment. Bodrum offers everything you can imagine from upscale restaurants to fully booked ports. The city has enjoyed great international celebrities visiting Turkey and the society gathered here during the summers. The city not only offers jet set life for those who ..


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Our commitment is to make your life better!
Nova Nuts was established with the goal to help everyone out there to improve the quality of their life. We'll be focusing on developing healthy eating habits that will enhance your general well-being.
Nutrients from Nuts & Seeds are a great source of energy for your body
If you take care of your body & health you will definitely love Nova Nuts. Take a tour of our website to get to know our products and the people behind the Nova Nuts brand.
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So even from my own (humble) assessment, the 2nd class was a huge success, going beyond my expectations.
Approximately half the students (15) pitched their ideas to the class. Each had 2 minutes for their presentations, plus a bit more time to answer clarifying questions. After each pitch, the student taped a paper to the wall with h/her project's name on it.
After all the pitches, each student then gave a 15 second description of h/her project, as a reminder. What was so interesting about this was how easily each could encapsulate the essence of h/her project so easily.
Each student in the class was then given 3 sticky dots and was instructed to 'vote' with them. They could place all 3 on one project, or do otherwise. After the voting I removed those project pages that had 2, one or no stickers on them. Then
spontaneously the students starting finding similarities between projects, and began negotiating mergers. After discussion one merger occurred and 6 projects were selected.
To form the teams I asked each student to list h/her first, second and third choices, the invited 2nd year grad students to select their team, then 1st year grads, then seniors, juniors and sophomores (there are no freshmen in the class). The seniority-based approach was accepted by the class as a fair method of selection.
I closed each team at 5 members.
The teams had 15 minutes to meet each other and informally discuss their projects. Next week they will organize to build their business plans. In a future post I will ask each team to describe their projects and post them for comment.


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Mediation Services and Training
Mediator Certification Training Dates
You do NOT need to be an attorney to be an appellate, circuit civil, or county court mediator.
Mr. Dunlap is an approved Appellate, Circuit Civil, and County Court Mediation Certification training provider. In addition to teaching mediation certification courses at Barry University School of Law, Mr. Dunlap offers certification training to the public several times during the year. Click for Circuit Civil Registration Form or County Court Registration Form.
Details about both programs are set forth below:
Supreme Court Certified Circuit Civil Mediator Training Program
July 26-28, August 3, 4, 2019
The five day course will begin at 8 a.m. and end at 5:30 p.m. on each day of the training.
Mr. Dunlap will offer a 40 hour Circuit Civil Mediator Training Certification Program at Barry University School of Law in Orlando, FL.
This course is open to anyone interested in becoming a certified circuit court mediator.
Mr. Dunlap is a licensed practicing attorney, Certified Circuit Civil, County Court, and Appellate Court Mediator. His wealth of practical experience as a mediator and attorney who represents clients (plaintiff's and defendants) at mediations affords students the opportunity to receive a meaningful and valuable training experience.
Florida Bar Credits: 48 General CLER Credits, 7.5 Ethics.
How to Register: Click for Registration Form. Mail the registration form and payment to the address listed on the form or click here to register and pay through PAYPAL.
Cost: $945 - registration MUST BE RECEIVED by July 22, 2019.
($895 early registration fee if received by July 15, 2019).
Call for availability after January 1.
Class size: the training program is limited to approximately 15-20 students. Sign-up early to preserve your spot !!
Refunds: Refunds will be granted up to two weeks prior to the first day of training, but are subject to a 25% penalty, unless applied to the next training session offered. Refunds requested within two weeks of the first day of training will be denied.
Mentoring/Observations: Students who successfully complete the 40 hour training program will also be required to complete mentoring (observation of circuit civil mediations) requirements prescribed by the Florida Rules for Certified & Court-Appointed Mediators.
Training Materials: Students will receive Florida statutes, rules and procedures applicable to county court mediators, and other handouts during the course.
Contact Eric Dunlap at email@example.com or at 321-230-3088 for any questions.
Florida Bar Continuing Legal Education credit and CME credits.
Supreme Court Certified County Court Mediator Training Program
(May 31, June 1 and June 2, 2019)
May 31 (5:30 p.m.-9:20 p.m.), June 1 (8:00 a.m. - 5:30 p.m.), and June 2 (8 a.m. - 5:00 p.m.) - Supreme Court Certified County Court Mediator Training Program
Lunch will be provided both Saturday and Sunday
$295 (registration deadline October 28, 2019)


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People in London, KY will go out of their way for you, but sometimes you have to ask for help. If you need bad credit repair, you need to approach the right people and say, "Please repair my credit." Helpful resources and London credit solutions are available if you make an effort. Just like you can't expect a potential employer to find you, you can't expect a consumer credit counseling service to seek you out. However, if you approach a non profit credit repair service and ask for help, you might be surprised at the level of responsiveness.
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Threadbare Egyptian soccer team forced to break Adidas boycott
National squad can't afford new uniforms after Arab ministers call for boycott on sportswear firm following Jerusalem Marathon
An Arab boycott of Adidas, ordered because the sportswear firm sponsored a race in Israel last month, has knitted Egypt's national soccer team into a corner.
The head of the Arab Council of Youth and Sports Ministers, Saudi Prince Nawaf Bin Faisal, called for a boycott on the German firm, as well as all others who sponsored the Jerusalem Marathon.
But Egypt's national team, which sports Adidas threads, can't afford new uniforms, forcing it to break the boycott, according to Al-Ahram.
The team, known as the Pharaohs, is scheduled to take part in a number of friendlies in the coming days, against Nigeria, Iraq and Benin, at a training camp in the United Arab Emirates.
"We have no choice but to wear Adidas in the UAE camp as we don't have any other outfits," Pharaohs Director Samir Adly told the Arabic newspaper. "I hope the Egyptian Football Association resolves this problem when we return from the UAE as we currently have no options but Adidas."
Arab sports ministers called the boycott in Jeddah earlier this month for what they said was an Israeli attempt to present Jerusalem as its capital.
They added they would organize a rival marathon, under the banner "Jerusalem is Ours," to be run in multiple Arab cities at the same time as the Jerusalem Marathon next year.