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BienfangTracingPaper Rolls
BlickMega GoldenTaklon Brushes
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Manufactured according to the original formulas, the Artisti line includes authentic, hard to find colors like Prussian Blue and Bitumen. With the exception of the whites, which are ground in safflower oil, all Artisti Oils are prepared using top-quality, cold pressed linseed oil.
Color Swatches created using heavy application/medium application/50% tint and were applied on acrylic primed canvas (7 oz) material.
organic, monoazo
Permanent Yellow PY97 ranges from reddish yellow to greenish yellow with temperature shifts from cool to warm hues. It has good tinting strength and average to slow drying time. Similar in shade to Hansa Yellow 1, it offers much better fastness properties and good heat stability.
Pigment PY97 has excellent lightfastness, particularly in the darker shades.
No significant acute hazards of PY97 are known, though chronic hazards have not been well studied.
Hansa Yellows were first made in Germany just before WW1 from a series of synthetic dyestuffs called Pigment Yellow. They were intended to be a synthetic replacement for Cadmium Yellow. Permanent Yellow (PY97) represents a further development of this line, with the aim of producing a yellow pigment that is suitable for exterior use.
Arylide, Arylide Yellow, Azo, Brilliant Yellow, Monoazo, Monolite Yellow, Hansa Yellow.
titanium dioxide
Titanium White is the most brilliant of the white pigments. It is considered an all purpose oil color useful in all techniques and the best all around white. Its masstone is neither warm nor cool, placing it somewhere between Lead White and Zinc White. It is less prone to cracking and yellowing than Lead White, but it still yellows easily. Titanium White dries slowly in oil form, more slowly than Lead White but more quickly than Zinc White. It is opaque in oil and acrylic forms and semi-opaque in watercolor form. This pigment has good chemical stability, and its tinting strength is superior to both Lead White and Zinc White.
Titanium White has excellent permanence and lightfastness.
Titanium dioxide is highly stable and is regarded as completely non-toxic. Animal studies give no indiciation that it is absorbed biologically, even after long periods of exposure. The primary safety concern is with inhalation of fine pigment dust particles. Titanium White, if inhaled in large amounts over the course of several years, may cause a benign pneumoconiosis that is visible on x-rays. The National Institute of Occupational Safety and Health (NIOSH) considers fine titanium dioxide particles, if inhaled, to be a human carcinogen. The primary concern for artists is to avoid exposure to fine particulate dust from raw pigments.
Titanium is the ninth most abundant element in the Earth's crust, however mineral deposits that are economical to mine are less common. Titanium dioxide was first discovered in 1821, although it could not be mass produced until 1919. Widespread use of the pigment began in the 1940s. Since that time, it has become the most commonly used white pigment. The name comes from the Latin word Titan, the name for the elder brother of Kronos and ancestor of the Titans, and from the Greek word tito, meaning day or sun.
Zinc White is the coolest white, and it has a cold, clean masstone and a slightly bluish tint. It has less hiding power and is more transparent than other whites. It dries slowly and is good for painting wet into wet and for glazing and scumbling. Zinc White is neither as opaque nor as heavy as Lead White, its covering power is not as good, and it takes much longer to dry. However, it does not blacken when exposed to sulfur in the air as Lead White does. It is very valuable for making tints with other colors. Unmixed Zinc White dries to a brittle and dry paint film that may crack over the years, so it is not good for frescoing. It is more transparent in acrylic form than Titanium White and is the most commonly used white with gouache. Chinese White is a version of Zinc White appropriate for opaque watercolor techniques.
Zinc White has great permanence and lightfastness.
Zinc White is moderately toxic if ingested and slightly toxic if inhaled.
Though historians are divided on who first isolated the element zinc, they agree that it was first suggested as a white pigment in 1782. Zinc White was accepted as a watercolor in 1834 and was called Chinese White due to the popularity of oriental porcelain in Europe at the time. Ten years later, a suitable oil form was produced. By the early 20th century, it had improved to the point where it was an acceptable alternative to Flake White.
Chinese White, French White, Permanent White, Silver White, Snow White, Zinc Oxide.
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® Maimeri is a registered trademark.


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iCleanLanguage is a simple application that safely removes unwanted localizations, or language files, from your Mac computer. On OSX, these files can take up as much as 4 GB of space and, unless you wish to run your Mac in these languages, they are unnecessary. iCleanLanguage does this by scanning for these files and then selectively removing them. iCleanLanguage is different from similar applications because it allows you to remove files from specific locations or applications, gives a full report at the end of a session, allows you to exclude certain applications and folders, and can be used in "Dry Run" mode. It can also
What's New in iCleanLanguage
Version 1.4:
- Adds compatibility with OS X 10.7 Lion.
- Adds new language files.
- Now excludes all Adobe, Microsoft, and Quick Time apps by default.
- Clearer Interface
- Several overall code improvements and important bug fixes.
Requirements for iCleanLanguageMac OS X 10.4 or later
*Previously available here
Similar Software
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subset: commoncrawl


text:
I went from Fez, the dusky 9th century city in the ancient kingdom of Morocco, to modern, sparklingly jeweled Vancouver in bright bright British Columbia, continuously flying and laying over and flying again for nearly 36 hours to make my recording session with Tegan and Sara, nursing slowly dying intestinal parasites along the way. It was a long journey, but I couldn't sleep at all, because I was so excited that I was going to be hanging out with Tegan and Sara and their extended family, both biological and rock, for two days. I have been a rabid longtime fan of their music, and had even got to meet Sara once backstage at a show of mine in Montreal years ago. "The Con" is the song I go to when there is nowhere else to turn, when I have exhausted all my auditory options and I am all "a million hours left to think of you and think of that."
I love going to see them live too. Tegan and Sara play for thousands of fans every night and they make their fans feel like they are important, that they exist, that queers and girls can be rock stars too, that it's about them and about their lives and about the guitars and as they are defined by the music, they are made real in the world. Tegan and Sara make more than music. They make a whole generation of queers and girls feel like they matter. It's powerful and profound. When I look out into the crowd at a Tegan and Sara show, I feel a kind of elation, like together, in the music, we can do anything. It's the way rock and roll makes us invincible. With Tegan and Sara we can overcome anything – homophobia, sexism, even heartbreak. I love them. I love them so fucking much.
Photo by Lindsey Byrnes
I couldn't have been more excited to be working with them in the studio, after several months of juggling our mutually hectic schedules and finding time to make the song that perfectly opens up this record, "Intervention". It's the first track on the album because it's the first one I want everyone to hear. It's so hilarious but also deeply sympathetic and truthful and also, just fucking rocks. Incidentally, the lyrics were not written to satisfy my own obsessive relationship to the television show "Intervention," as the culture of addiction and recovery has fascinated me way before reality TV was a thing, but I dig the show. I still can't believe the alcoholics and addicts featured don't figure out right away that they are on "Intervention" and that there's going to be one soon. They must be really fucked up. And I must be really fucked up because often I find myself slightly jealous of the people on the program because they seem like they are having a good time, at least before they get all intervened upon. That is where my jealousy ends. I think having to have an actual intervention would be a true nightmare, and so writing the words to the song were a kind of prayer, a mantra against it ever actually happening to me.
Preview "Intervention – featuring Tegan and Sara" at Spin.com
Cho Dependent hits stores 8/24. Pre-Order Cho Dependent here for an instant download of the album!


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Template:Cub Scout Monthly Themes/2009/June
From MeritBadgeDotOrg
June 2009 BSA Theme - A Camping We Will Go
"This month Cub Scouts go camping! Have a backyard campout with your family. Pitch a tent or sleep out under the stars! Conduct a pack campout at a nearby Scout camp, state park, or even the local museum. An outdoor pack meeting might include a nature observation hunt, followed by an evening around the "campfire". Attend your council's Cub Scout or Webelos Scout resident camp as a den or pack or the council's family camp with your whole family. Camping doesn't always mean overnight; day camp is always lots of fun. Get those boys outdoors and let them discover the fun of camping while working on their Cub Scout Outdoor Activity Award. Whatever you do, do it outside and find out what the outing in Scouting is all about. While out on the trail, you can work on the Map and Compass belt loop and pin or the Astronomy belt loop and pin.
This theme is designed to promote character development by emphasizing these core values:
- Health and Fitness. Stress the importance of being healthy and fit for outdoor adventure.
- Responsibility. Camping helps reinforce the importance of responsibility toward yourself (being prepared), others (buddy system), and the environment (Leave No Trace)." - Program Helps
Character Connection:
Monthly Program Resources:
Belt Loops and Pins:
Webelos Activity Badges:
Theme-related activities:


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Studio Room
Up to 3 Guests
- 1 Bedroom/s
- 0 Bathroom/s
- Pets Not Allowed
Estimating your equipment size
We are looking for an estimate of the size of your Caravan, Motorhome, Camper Trailer, Tent etc. once it has been set up or fully extended (outside to outside)... excluding your vehicle.
Caravans, Motorhomes, Camper Vans, Camper Trailers
Please include your tow/draw bar in the estimate.
Widths are generally around 4 – 5 metres (13.12 – 16.4 feet).
Note: Include annexes of pullouts in width.
|Average Lengths:
|4 – 12 metres (13.12 – 39.37 feet)
|7 – 14 metres (22.97 – 45.93 feet)
|5 – 7 metres (16.40 – 22.97 feet)
|Fifth wheelers
|7 – 14 metres (22.97 – 45.93 feet)
|Camper Trailers
|5 – 8 metres (16.40 – 26.25 feet)
Note: Do not include the size of the tent pegs
|1 person
|1 × 2.5 metres (3.28 × 8.20 feet)
|2 person
|1.5 × 2.5 metres (4.92 × 8.20 feet)
|3 person
|3 × 2.5 metres (9.84 × 8.20 feet)
|4 person
|4.5 × 2.5 metres (14.76 × 8.20 feet)
|5 person
|6 × 3 metres (19.69 × 9.84 feet)
|6+ person
|7 × 4.5 metres (22.97 × 14.76 feet)
Please be advised that Site sizes vary from park to park and within each park. Sites will be allocated based on the measurements provided during the booking process and it is the responsibility of the guest to ensure estimates are as close to accurate as possible.
If you are unsure, we would prefer you to overestimate or give us a call on 1300 738 044
These three berth studios are a great option for the budget conscious traveller. The studio room contains a double bed with an overhead single bunk bed with basic facilities for storing clothing and making tea/coffee. Shared bathroom facilities are provided at the end of each group of studio rooms. Linen and towels are included.
Cabin sleeps up to 3
Maximum of 2 adult(s)
Maximum of 1 children
1 Bedroom/s
0 Bathroom/s
No pets allowed in the Cabin
General Features
- Open Plan
- All Linen provided
- Double Bed
Kitchen & Dining
- Welcome Tea, Coffee and Sugar
Entertainment & Electronics
- Foxtel
- Internet - wireless
Plus enjoy all the park facilities and fun activities on offer at BIG4 Batemans Bay Beach Resort, as well as the many things to see and do around Batemans Bay.
You need to know
Terms and Conditions BIG4 Batemans Bay Beach Resort ABN: 47 504 455 945 Payment – A credit card payment for the total amount is required at time of booking. The Resort will process this charge against your credit card and send confirmation to the e-mail address supplied. Changes and cancellations – Changes and cancellations for stays (excluding Christmas/January & Easter) must be made more than 48 hours prior to arrival. A $20 administration fee applies. Cancellations for the period 20 December to Australia Day and Easter must be notified 4 weeks prior. A $20 administration fee applies. Where 4 weeks notice is not given the balance of payment will be forfeited. Reception hours are 7.30am – 7.30pm. (6pm in winter) Guests arriving outside these times must contact reception during reception hours to make alternative arrangements. Sorry, we do not have a 24 hour check in. Guests who fail to arrive on the designated day or who arrive after reception hours and have not made alternative arrangements will forfeit the cost of the first night. Check in time is from 2pm and check out is prior to 10am. A credit card must be produced in the name of the person staying at the Resort on check in. Any damage caused may be charged against that card. Minimum stays apply during all school holidays/Christmas/Easter/Long weekends, please check with park for details. Adult rate applies to persons above 15 years and children's rates apply to children aged 2 -14 years. There is no charge for children under 2 years. Special requests are on a request basis only and are not guaranteed at the time of booking With the exception of medically certified guide dogs, dogs are permitted at the discretion of the park manager on sites only. We reserve the right to refuse a booking at anytime from any person reasonably believed to: • Not be the person named on the booking request • Not be the person named on the credit card or not be authorised to use the card • Not be able to pay for any charges • May cause damage to the property of the resort or other guests • May exhibit socially unacceptable behaviour • Be younger than 18 years and not accompanied by a responsible person over that age • Be concealing a dog or other animal We reserve the right to terminate stays if guests are deemed by management to be behaving in a socially unacceptable way; causing damage; disturbing other guests; using unacceptable language or otherwise breaking resort rules. No refunds will be given and charges will apply for any damaged caused. BIG4 Holiday Parks of Australia Pty Ltd is not the owner of any particular BIG4 Holiday Park. BIG4 Holiday parks facilitates this booking service and is not responsible for the provision of services, standard of facilities or payments received. All bookings are made directly with the individual owner of this BIG4 member park and therefore BIG4 Holiday Parks will not accept any responsibility.
More Cabin Accommodation
3 Bedroom Cabin
- Sleeps: 8
- Bedrooms: 3
- Bathrooms: 2
This is a large and luxuriously appointed 8 berth family cabin overlooking the lake. It offers 3 bedrooms – main bedroom has Queen, own ensuite…
2 Storey Cabin
- Sleeps: 7
- Bedrooms: 2
- Bathrooms: 1
These luxuriously appointed 2 storey cabins have quality fittings and partial beach views. These cabins sleep up to 7 persons. They offer 2 bedrooms -…
Deluxe Cabin
- Sleeps: 5
- Bedrooms: 2
- Bathrooms: 1
These superior quality five berth cabins are absolute beachfront accommodation in Batemans Bay with great views. They offer two bedrooms – main…
Studio Room with Ensuite
- Sleeps: 3
- Bedrooms: 1
- Bathrooms: 1
These three berth studios are a great option for those wanting basic sleeping facilities in a park packed with outdoor activities. Studio room contains…
Easy Access Cabin
- Sleeps: 3
- Bedrooms: 1
- Bathrooms: 1
Located at the Big4 Batemans Bay Beach Resort, on the South Coast, this cabin accommodation has beach views and a ramp for easier access. It offers an…
Pet Friendly Deluxe Cabin
- Sleeps: 5
- Bedrooms: 2
- Bathrooms: 1
Superior five berth cabin is located with great views and within a short stroll to the beach. It offers two bedrooms – main bedroom with a queen…


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You did it
You've finally found the completely ad-free website!
Just kidding; there really are some websites with no ads out there. But can they offer entertaining browsergames? An immersive RPG platform? Let you create own websites? And most important, a nice and friendly community?
Because that's what you'll find on Yhoko.com. And the best thing is: No ads means we won't sell any of your data for profit. Instead the servers are funded by donations.
If you already have an account, please use the login box to your left. Otherwise follow this link to the registration:


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Houston Texans Women's #99 J.J. Watt Game Black Fashion Football Jersey
Two articles cohabitation, is deceived is inevitable, therefore, we have to
reward the text, test to history.
"Reward", the article is "reward". We read, is to appreciate, enjoy the rhetoric of good words, and try to put together from the line between the author's image. But this image is only for appreciation, if used for rigorous discussion, would be too rash. In the undivided heart and text before the text, this image is only our good expectations, not the author itself. At this point, the test of history is necessary. Historical records of the author's life, the evaluation of others is more direct than the existence of the article. As a saying goes: "Bear in the nest, how." The author in life, how, character is what.
Noble author, whether in life or the heart of the text are noble, then test to the history of a deeper analysis of his spiritual content, his articles and character more closely linked, it is useful and harmless of. And even if the encounter with the text, we can understand the reason, to make an objective evaluation. Forge in front of the historical data is nowhere to hide, rhetoric fame, deceived I, can not deceive BES.
But the article is not all; test to the history, history and text combined, the author's true clarity surfaced. With such an objective attitude to read ancient and modern works, we can really understand the author, get beyond the mere mention of the spirit of a piece of paper experience.


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Peg, Cat, and eight friends try to escape the Giants.
Peg and Cat must get chickens back in the coop before the farmer sees.
The pirates count 20 chickens to fall asleep.
Peg, Cat, and eight friends try to escape the Giants.
Peg, the Three Bears, and Pig form a band called The Fabulous Five!
Peg the Bold and Brave Sir Cat hear a cry for help.
Peg, Cat, and Richard make patterns using planets and stars.
Peg, Cat, Richard, and The Pig work to rebuild their ship using a pattern.
A strange spaceship visits Peg, Cat, and Richard on The Purple Planet.
Peg and Cat use a rockin' pattern to decorate a cake for teens.
Peg and Cat build a rocket out of bathroom stuff.
Peg and Cat make a treasure map in the bathroom.
Peg and Cat measure for buried treasure!
Peg and Cat find a buried treasure party.
Peg and Cat help a mermaid find her lost golden pyramids.
Peg, Cat and their friends recount the tale of how they solved the golden pyramid problem.
Ramone gives Peg the Bold and Brave Sir Cat a magic cylinder to help them defeat the dragon.
Cat sings a jazzy tune about how much he likes circles.
Those pirates are fighting again. This time over something even better than peaches…The Great Banana, Peg, and Cat know how to solve a problem like cranky pirates by dividing fairly.
Peg and Cat make the number 100 out of pizza stuff (it's really bath stuff).
Peg and Cat share rocks to build a spaceship.
The Pirates are sleeping over at Peg's house. They've never had a sleep over away from home and are feeling sad. Peg and Cat help them feel comfy and cozy so they can sleep.
While collecting space rocks for NASA, Ramone has time to show Peg, Cat, Richard and Pig how to count by 10s to 100.
Peg, Cat, and their friends on the farm sing a song.
Ramone shows Peg and Cat how to estimate. They make careful guesses of the number of recycling bins they need by looking at the sizes of junk to be recycled in them.
Peg and Cat put spheres in order from biggest to smallest!
10 Friends sing about sticking together.
Peg and Cat use 60 bubble beads to wash muddy Pig in the tub.
Peg and Cat sing and cut pizzas in half at the pizza place. They discover that they can cut lots of other things in half, too!
It's race day and Peg and Cat are competing against The Pirates, The Teens, and The Pig.
When Peg's marble accidentally flies into one of many identical bowls of spice, Cleopatra shows her how to use a pan balance to see which bowl contains her marble.
Everything is black and white in the Highlight Zone! Shapes and sizes have changed, too. Peg and Cat have to spot ten differences in the Highlight Zone to get things back to normal.
Peg and Cat watch Ramone and Pig's music video about the number twenty.
When the pirates can't get back to sleep, Peg shows them how to count to twenty.


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The Maroochydore (Cotton Tree) Visitor Information Centre is located on the corner of Melrose Parade and Sixth Avenue in Maroochydore under the Cotton Trees.
This accredited visitor information centre offers a one stop shop for travel information including maps, brochures and itineraries. Staffed by skilled and knowledgeable local volunteers, the Maroochydore Visitor Information Centre can provide advice on the things to see, things to do and where to eat. The Centre now has free Wi-fi.


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This website requires cookies to provide all of its features. For more information on what data is contained in the cookies, please see our Privacy Policy page. Continuing to use this website implies that you accept the use of cookies.
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These Forgefix Pozidriv Self-Tapping Screws are zinc plated for increased resistance to corrosion. Their Pan Head, with a flat under head surface makes the screw ideal to lay flat on sheet material of all types, thus reducing deformation. The screws tap their own thread in a pre-drilled pilot hole, in sheet metal.
The screws are single threaded to resist pull-out.
APPLICATIONIdeal for use in many DIY, ironmongery, engineering, electrical and plumbing applications.
Zinc coatings prevent oxidation of the protected metal to create a longer lasting finish. It does this by forming a barrier and by acting as a sacrificial anode if this barrier is damaged. Zinc oxide is a fine white dust that (in contrast to iron oxide) does not trigger a breakdown of the substrate's surface integrity as it is formed. The zinc oxide, if left intact, can act as a barrier to further oxidation, in a way similar to the protection afforded to aluminum and stainless steels by their oxide layers.
The Pozidriv screw is similar in appearance to the classic Phillips cross-head, but in fact is very different. The Pozidriv has four additional points of contact, and does not have the rounded corners that the Phillips screw drive has. The biggest advantage it offers is that, when used with the correct tooling in good condition, it does not cam out, allowing great torque to be applied. The Pozidriv screw can easily be distinguished by a line embossed in the screw head at 45° to the slots for the driver.
Availability: In stock
© 2019 Wonkee Donkee Tools
Developed by GloverSure Ltd.


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Michael Gough
Actor played butler in 'Batman' movies
Michael Gough, 94, a British actor best known for playing Bruce Wayne's butler Alfred in a series of "Batman" movies, died Thursday at home in England, his former wife Anneke Wills said through her agent. Gough's agent told the BBC that the actor had been unwell for some time.
During a career that began in the 1940s, Gough appeared in more than 150 films and television shows, including the popular British sci-fi TV series "Doctor Who" and the 1951 Alec Guinness film "The Man in the White Suit." He was something of a cult figure among horror film fans for roles in such movies as "Horror of Dracula" and "The Phantom of the Opera."
But it was U.S. director Tim Burton who thrust Gough into the international limelight, casting him as Alfred Pennyworth in "Batman" in 1989 alongside Michael Keaton in the title role.
He would reprise the part of Bruce Wayne's butler in three more installments: opposite Keaton in 1992's "Batman Returns," directed by Burton; and with Val Kilmer in "Batman Forever" (1995) and George Clooney in "Batman and Robin" (1997), the latter two directed by Joel Schumacher.
Gough worked with Burton again on "Sleepy Hollow" and also provided voices for the director's "Alice in Wonderland" and "Corpse Bride."
Gough was born in what was then known as Malaya to British parents on Nov. 23, in either 1916 or 1917. "There was some indecision as to when I was born," Gough told the Times of London in 1997. "My sister said it was 1916. I'd lost my birth certificate."
Gough indicated in the interview that he considered 1916 his birth year.
Besides his film and TV roles, he also acted on stage, winning a Tony Award in 1979 for his work in "Bedroom Farce."
Murray Warmath
Coach led Minnesota Gophers to national championship
Murray Warmath, 98, the football coach who led the Minnesota Gophers to a national championship and back-to-back Rose Bowls in the early 1960s, died of natural causes Wednesday in Bloomington, Minn., the university said.
The Gophers have not won a Big Ten title since Warmath led them to a share of the conference crown in 1967.
Warmath was hired in 1954 and went 87-78-7 in 18 seasons at the helm in Minnesota. After the Gophers finished in last place in the Big Ten in 1959, angry fans tossed garbage on his front lawn and hanged the coach in effigy. But it was just a year later that Warmath led Minnesota to the national championship.
Warmath was born Dec. 26, 1912, in Humboldt, Tenn., and played for the University of Tennessee under coach Bob Neyland from 1930 to 1934. He served in the Navy during World War II, held assistant coaching positions at Tennessee and Army and was the head coach at Mississippi from 1952 to '53.
His coaching style has been described as hard-nosed and disciplinarian, but he was also remembered as a man committed to social change. At a time when segregation was still the norm in the South and many Northern schools still refused to recruit black players, Warmath started one of his black recruits, sophomore Sandy Stephens, at quarterback.
The Gophers went to the Rose Bowl after the 1960 and '61 seasons. They lost to Washington, 17-7, in 1961, and beat UCLA, 21-3, the next year.
Warmath became an assistant coach for the NFL's Minnesota Vikings in 1978 and worked as a scout in the organization into the 1990s before retiring.
Marty Marion
Cardinals shortstop and 1944 MVP
Marty Marion, 93, the brilliant shortstop and 1944 National League most valuable player with the St. Louis Cardinals and a former manager of the Cardinals and St. Louis Browns, died of natural causes Tuesday in St. Louis, the Cardinals said.
The 6-foot-2, 170-pound Marion was nicknamed the "Octopus" and "Slats" for his long-armed, rangy fielding prowess, and was considered the best shortstop in Cardinals history before Ozzie Smith joined the franchise in 1982.
Marion, who played on World Series championship teams in 1942, '44 and '46, batted only .267 with six homers and 63 runs batted in during his MVP season, numbers that paled against teammate Stan Musial's .347 average with 12 homers and 94 RBIs. But Marion got the nod on the basis of defense and team leadership.
Though he had an all-time batting average of just .263 and never hit .300, Marion was an eight-time All-Star. His playing career cut short by a back injury, he managed the Cardinals in 1951, then was player-manager for the Browns in 1952-53. He also managed the Chicago White Sox for part of the 1954 season and all of the 1955 and '56 seasons.
Marion was born Dec. 1, 1917, on a farm in Richburg, S.C., was drafted by the Cardinals out of high school in 1935 and played 13 seasons in the majors.
James C. Tyree
Chicago media and financial executive
James C. Tyree, 53, the Chicago businessman who helped lead the Sun-Times Media Group Inc. out of bankruptcy, died Wednesday at a Chicago hospital after "an unexpected complication" from stomach cancer, according to Richard Price, president and chief operating officer of Chicago-based Mesirow Financial.
Tyree, who was chief executive and chairman of the financial services company, also suffered from diabetes and had kidney and pancreas transplants in 2006.
In 2009, Tyree led an investment group that took the Chicago Sun-Times' parent company out of bankruptcy. Sun-Times Media, which also owns dozens of suburban Chicago newspapers and websites, had filed for Chapter 11 bankruptcy protection in March of that year, after months of cost-cutting measures.
The company's troubles played out during the 2007 federal trial of Lord Conrad Black, chief executive of the Sun-Times' former owner, Hollinger International. Black was convicted of siphoning millions of dollars from Hollinger.
Born in 1957, Tyree grew up on Chicago's South Side and earned bachelor's and master's degrees at Illinois State University. He worked as a forklift operator and used academic scholarships and grants to pay for his education.
Tyree joined Mesirow Financial in 1980, beginning as a research assistant and working his way up. He was named president in 1990 and chief executive in 1992.
John Kronenberg
Longtime Los Angeles magistrate judge
John Kronenberg, 87, a U.S. magistrate judge for more than two decades in Los Angeles, died of kidney failure March 11 at the Covington retirement community in Aliso Viejo, said his wife, Marilyn.
Kronenberg was appointed a magistrate judge in 1973 and served until retiring in 1992. He returned in 1994 and worked until the next year. He had been an L.A. County deputy public defender from 1959 to 1973.
Magistrate judges are appointed by U.S. district judges to eight-year terms. A magistrate judge's duties include presiding over pretrial arraignments and deciding whether the accused may be freed on bail.
In 1986, Kronenberg turned down a bid by former Black Panther leader Elmer "Geronimo" Pratt for a new trial on charges in a 1968 shooting. Kronenberg generated controversy in 1985 by ordering the release on bail of an accused child molester. The ruling was overturned by a U.S. district judge.
John Robert Kronenberg was born March 15, 1923, in Spokane, Wash., and grew up in Santa Monica. He returned to Spokane to attend Gonzaga University but was drafted into the Army after one semester. He served in Europe during World War II.
Kronenberg worked six years for the Douglas Aircraft Co. as a tool design engineer before graduating from Loyola University's law school in 1958.
— Los Angeles Times staff and wire reports


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We are at one with creating awareness on the persistence of slavery not only in the United States but the whole world as well. Our main goal is to reduce the victim of slavery, if not totally eradicate it.
Slavery existed as long as the time of Christ. Even dating way before that, slaves were already known to exist. In every part of our history, one way or another, they play an important role that created what we known to be our society today.
Contrary to what people know, slavery has no color. It is neither black nor white. It is not bound in any race, or in any country of origin. Although there were many accounts of slavery happening to certain races such as the blacks from United States, and to some races that were victims of invasions and have become exploits of wars, slavery is not just confined to those situations. Slavery could happen to anyone, anywhere, anytime.
In fact, slaves are still as real as today as they were before. Perhaps the situation is not just as dire as it was before, but it still exists. It just took a more domesticated form.
US National Slavery Museum is an independent organization that aims to educate about the slavery in the society. With the fast developing technology, and improvement of livelihood and economy at present, you may think that such practice is already eradicated. Unfortunately, it is not. There are still some places around the globe where capitalists continue to take advantage of cheap labor through slavery.
The condition range from horrid and insuferrable, up to sometimes being deadly enough to cause irrevocable damage to the physical and physiological well-being of an individual. What is worse is that, they are not the only ones affected, but their sons and daughters as well. The lifestyle of the whole family is restricted, and the kids are seen as the next generation "slaves." Such is persistent even in suburban areas that boast good neighborhood with dream-like contemporary garage doors Tempe.
Tracing the history, many have already died just to set the slaves in the history free. Numerous revolutionary tactics was put into action just to give them the equal rights they deserve. This is why it is such a bothersome news that there are people who still have not been freed from the clutches of slavery.
Career-oriented individuals call for a need to have additional hands at home. In a form of househelps that provide labor in exchange of compensation and benefits, there is a mutual understanding that transpire to make life better for everyone. While this could be a form of slavery, the reasonable salary the househelp receives easily offset this notion. This compensation pays off what was due for the labor done.
This is not the same thing when it comes to slavery. Slaves do not enjoy the same benefit. In fact, they endure more. They are treated nothing more that a property for the owner's convenience. They do not have any rights, and just follow blindly anything their masters would say. They sleep in the most despicable places and do not even the barest ability to provide for their own basic needs.
This is what we hope to adress here at US National Slavery Museum Organization. We find intervention so that such situations would not persist. We find away to free them and give them back the rights that are taken away from them, and we give them a new hope.
Join us with our advocacy. Emails us to know how.


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This has been a really "Smith" week. I have continued to prepare for the brick wall workshop tomorrow (wish me luck!). The presentation delivered at last night's meeting of the Fairfax Genealogical Society by Sandra MacLean Clunies, CG, "Where is Great-Grandma Hiding? Finding Forgotten Females," was a good preparation for the workshop. It more or less sounds as though I'll have to dig up every document on all the children and every other known relative of my brick wall, Susan Elizabeth Smith (Bonner Brinlee).
This week I finished "matching" families in the 1870 and 1880 censuses and ended up with 45 families who appear on both censuses and 17 families who appear on only one census (although for three or four of these families I did find families who might be a match). Then I sorted them into categories based on how well they fit the profile information I have for Lizzie, coming up with 9 families in category 1 ("good fit"), 14 families in category 2 ("pretty good fit"), 19 families in category 3 ("not a very good fit"), and 20 families in category 4 ("poor fit"). Usually getting relegated to category 3 or 4 was due to information that showed up in the second census indicating something like Elizabeth Smith was the same as Matilda E. Smith or that an Elizabeth or Susan Smith from 1870 had probably died by 1880. Other "low category" information would be high property values (I don't think Lizzie Smith came from well-off family), bad place of birth match (although not being born in Tennessee or not staying in Tennessee wouldn't totally disqualify a candidate). Of course, the information in the censuses can be incorrect and/or I may have the wrong picture about some of Lizzie's biographical data, so I don't rule any families out. They remain in the database, but for now I probably won't be doing as much to find out more about them as I will for families in category 1 or 2. This makes the task of finding more information on these families easier. I am hoping that I can narrow the 23 "good fit" families down as I find out more about them.
There are a couple of leads that look kind of promising. One is a family with a sister named Cordelia; Lizzie named her daughter Cordelia. This is also a family where the father died when the Lizzie in this family was young, so that could account for childhood poverty. The other lead is for a candidate for Lizzie's first husband, whose last name may have been Bonner. I also sent off for a Social Security Application for one of Lizzie's children that may provide reliable confirmation that her maiden name was Smith. (Two of her children's death certificates indicate that her maiden name was Smith.)
Friday, September 25, 2009
Family Newsletter Friday: 25 September 2009
2 comments:
Good luck!ReplyDelete
A lot of work but I love your four category method without dismissing any out of hand.
Thanks, Apple - I got some good (and some surprising!) advice today that I'll write about next week. I figured I had to adopt that "4-category, no-dropouts" method just to avoid missing anything.ReplyDelete
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After Cortes's conquest of Mexico in 1519, the Spanish moved north in search of further riches and potential converts. In present-day Arizona and New Mexico they established missions to work with peaceable American Indians and presidios (forts) to control hostile ones. In the late 1600s the French, already in Canada, explored the Mississippi River to the point where it emptied into the Gulf of Mexico. This expansion posed a threat to Spain's territory and Spain responded by extending its settlements into what is now Texas, thereby creating a buffer between the wealth of Mexico and French Louisiana. The Spanish established themselves in Texas by using the same system they had established in Arizona and New Mexico. Through missions, presidios, and an adjoining civilian community (a villa), missionaries and soldiers Christianized and Hispanicized the native population. During the 18th century, the Spanish established a chain of missions along the San Antonio River. These missions became the foundation for the city of San Antonio.
The San Antonio Missions National Historical Park, administered by the National Park Service, incorporates four 18th-century missions and their acequias, or irrigation systems. The Mission Trail extends eight miles and connects these historic places. The goal of the missions was to spread the Catholic faith among the native inhabitants and to serve as a buffer against expansion by foreign invaders. The missions were primarily religious centers where the Coahuiltecan Indian population was instructed in the Catholic religion and taught European beliefs. Four Spanish frontier missions are preserved here. They include Missions San Jose, San Juan, Espada, and Concepción. Established in 1978, the park encompasses approximately 819 acres, containing many cultural sites along with some natural areas.
Mission Concepción
Photo courtesy of the National Park Service
Mission Concepción (Mission Nuestra Señora de la Purisima Concepción de Acuna) was constructed c.1740 to 1755. The church building remains in essentially original condition and is the oldest unreconstructed stone church in the United States. The interior wall paintings in the convento (missionary quarters), depicting religious symbols, architectural elements, and geometric patterns, are rare surviving elements from this early mission period. Originally founded in 1716 in what is now eastern Texas, the mission was one of six developed by Franciscans to serve as a buffer against the threat of French incursion into Spanish territory from Louisiana. After a tenuous existence and several moves, the mission was transferred to its present site in 1731. Mission Concepción, a National Historic Landmark, is located at 807 Mission Rd. in San Antonio .
The church at Mission San José y San Miguel de Aguayo, known as the "Queen of the Missions," was constructed between 1768 and 1782. Founded in 1720, the mission was named for Saint Joseph and the Marqués de San Miguel de Aguayo, the governor of the Province of Coahuila and Texas at the time. It was built on the banks of the San Antonio river several miles to the south of the earlier mission, San Antonio de Valero (also known as the Alamo). Its founder was the famed Father Antonio Margil de Jesús, a very prominent Franciscan missionary in early Texas. Constructed of limestone, the church has two domes, a tower, an elaborate Baroque facade and an intricately carved Rose window. In addition to the magnificent church, the mission compound consists of several restored and reconstructed buildings, including quarters for the native inhabitants, a mill and granary. Mission San José National Historic Site, the largest of the Texas missions, is located at 6539 San Jose Dr. in San Antonio.
Mission San Juan Capistrano, located at located at 901 Graf Rd. south of Military Dr. near the junction of Mission and Villamain roads in San Antonio, was established in 1731 and underwent several building periods. The complex has the traditional plan of buildings and walls surrounding a central courtyard and includes the ruins of the second church (1756 to 1764) and the third church (post-1762), the foundations of some of the residential quarters, a convento (missionary quarters), granary foundation, well, and a residence (c.1824). San Juan, a self-sufficient community established on rich farmland along the banks of the San Antonio River, supplied produce throughout the region.
Mission San Francisco de la Espada is the southern-most of the San Antonio missions. Founded in 1690 as San Francisco de los Tejas near present-day Weches, Texas, this was the first mission in Texas. In 1731, the mission transferred to the San Antonio River area and renamed Mission San Francisco de la Espada. A friary was built in 1745, and the church was completed in 1756. The mission was established in 1731 and was used by James Bowie, William Travis and the Texas army as a stronghold against the Mexicans during Texas' struggle for independence. Ruins of the mission walls, a granary, a convento (missionary quarters) and a fortified tower also remain. The mission's kilns are the only known lime kilns in Texas that survive from the Spanish Colonial period. The mission has been rebuilt throughout its history and is currently being restored by the Archdiocese of San Antonio. Mission San Francisco de la Espada is located at 10040 Espada Rd. off of Mission Rd. west of US 281 in San Antonio. Mission San Francisco de la Espada, within San Antonio Missions National Historical Park, is the subject of an online-lesson plan produced by Teaching with Historic Places, a program that offers classroom-ready lesson plans on properties listed in the National Register. Mission San Francisco de la Espada has also been documented by the Historic American Buildings Survey.
Mission San Francisco de la Espada
Photo courtesy of the National Park Service
The Espada dam and Aqueduct came from the missions' need for irrigation for the crops necessitated an elaborate system of acequias, or irrigation ditches, to channel water. The Spanish constructed seven acequias, five dams, and an aqueduct, using American Indian workers. This system extended 15 miles and irrigated 3,500 acres of land. The Espada Aqueduct was constructed in 1745 by Franciscans to serve the mission lands of Espada. It is the only remaining Spanish aqueduct in the United States. The Espada Aqueduct, a Espada Aqueduct, within San Antonio Missions National Historical Park, is the subject of an online-lesson plan produced by Teaching with Historic Places. To learn more, visit the Teaching with Historic Places home page. It is also a National Historic Landmark, and is located on Espada Rd., east of US 281, near Mission de la Espada in San Antonio.
The missions were important to agricultural production. Each had a ranch for raising the sheep, goats, and cattle that supplied necessities like meat, wool, milk, cheese, and leather. The entire cattle industry, from ranching to the driving of cattle across long distances to markets, was developed in Mexico during the two centuries prior to the establishment of San Antonio. The Spanish also established necessary industries such as weaving, iron working, and from every period of the missions' history. A wide range of sculptural and painted decoration survives, illustrating how these arts developed on the frontier.carpentry; these were important to the maintenance of the entire military and political structure of the eastern portion of the Spanish American frontier. Mission-trained artisans and workers provided a principal source of labor and finished goods in a region at the far end of a long and expensive supply line reaching up from the south. Today the San Antonio missions are among the few relatively intact examples of the colonial missions in the Southwest. They contribute to the architectural record of this era as well as displaying well preserved examples of building styles.
Learn More about the San Antonio Missions National Historic Park from the park's website.
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... I think if I were able to start over, I would probably offer a slightly different variation. I really want to challenge the idea of Christmas as it is currently practiced by society being a purely Christian holiday, among other integration. I would probably argue the "secular" reasoning a bit different, in that there are some plausible secular motivations for keeping the current holiday. (sort of a second step to the first point). .. A few other things, mostly in re-arranging how the points are communicated, as I think I could have done a better job Anyway.. I'll give it some thought and let you know prior to a reboot.. I had thought about starting a new thread, as it was a substantial sub plot to the thread topic (directly related of course).
I think focusing on 123 arguments is a great way to keep things straight. Likewise I like the idea of creating 123 interpretations of the opponents argument because it will reveal if someone is correctly interpreting the others argument. If you want, we can re-engage the debate and just focus on one aspect trying to keep the focus on 123. Again, if you want. I kind of feel that that debate has run its course so no problem if you decline.
NP, after all these years I still have to work on form. I really need to start keeping a kind of response outline because trying to go back and summarize 3 -4 pages of responses, and confirm what has indeed been supported or not.. it's impossible, well maybe just a whole lot of work. Then, I tend to take too big a bite and post 5 or 6 sub arguments. Anyway, we are still a work in progress.
Thanks for the classy comment post-debate. I'd return the gesture but I apparently have to "spread it around" before I can give you a reputation comment. Good debate!
There were too many car commercials. It was like "buy a car".. "buy a car" .. "Buy a car!". It's just poor formatting.
I agree with your comment "PS. the video was good.. but not really relevant to coke." and felt the same way about many of the SuperBowl commercials. I had no idea what they were pitching until the end of the commercial. Many were impressive but not necessarily effectively selling the product.
Yep. It's a fun one but still has meat to it.
Thanks for the rep... I needed a leisurely topic.
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Crack achievement investigators Xbox360Achievements.org are back in action, and they've sleuthed out the 50 Achievement/1000 Gamerscore set for Batman: Arkham City. Included are two achievements speaking to a New Game Plus mode, which will allow a second playthrough with your fully upgraded Batman. Pore over the others, and then see Kirk's impressions from PAX and mine from Comic-Con to see if any of them concern details we haven't seen. (Hint: There are, and not just in the obvious story-chapter achievements.)
Batman: Arkham City Achievements [Xbox360Achievements.org]
You can contact Owen Good, the author of this post, at firstname.lastname@example.com. You can also find him on Twitter, Facebook, and lurking around our #tips page.


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Just a quick note that our book Race Against the Machine is now available in paperback from Amazon and CreateSpace (a print-on-demand company).
It's more expensive than the ebook ($14.99 vs. $3.99). We're not deliberately engaging in price gouging; this is near the minimum price CreateSpace will let us charge.
The content of the physical book is exactly the same, links have been replaced by endnotes, and graphs are in color. It's an ideal complement to the ebook, and it also stands on its own. Especially when ordered in huge quantities… 😉


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The fiction of Richard Powers sometimes resembles a dying satyr—above the waist is a mind full of serious thought, philosophical reflection, deep exploration of music and science; below, a pair of spindly legs strain to support the great weight of the ambitious brain. Powers thinks, and thinks well, and his almost nostalgic devotion to the European modernist tradition of "The Magic Mountain" and "The Man Without Qualities" makes him rare in American fiction. In his best books, "The Gold Bug Variations" (1991) and "Galatea 2.2" (1995), he displays an impressive command of the languages of music, genetics, computer science, and neurology, but more exciting is his willingness to engage in abstract thought, to argue and persevere, to carry arguments through the rooms of logic. ("The Gold Bug Variations," in particular, contains several profound essays on Bach.) Contemporary American novelists, compared with Powers, can seem like intellectual visitors, fiddling in the foyers of the mind.
The intellectual stakes are high, but, unfortunately, the novelistic means are limited. In his novels, Powers generally likes to keep two plots going. One story line poses, and tries to solve, a relatively abstract puzzle: Does the human mind function like a computer? Does genetics offer the best explanation of "the riddle of life"? What is the nature of consciousness? The second story line is almost always boy-meets-girl, in which protagonists connected to the first plot meet and fall in love or lust. The idea is that the messiness of human interaction deepens and complicates the initial abstract puzzle, and will always offer its own, ragged solution to that puzzle. The traditional domain of the novel—eros, marriage, the question of children, the irreducible particulars of domestic life—is made to intrude on the hushed lab of science and mind, so that one area of life cannot be properly envisaged without the other.
These two story lines are made dismayingly explicit, nowhere more so than in "Galatea 2.2." That novel tells the story of "Richard Powers," a thirty-five-year-old American novelist who is spending a year at the science research center of a Midwestern university. He and a brilliant scientist, Philip Lentz, decide to build a simulated brain, by linking together various computer systems that will imitate the processes of the human mind. Lentz and Powers want to see if this artificial brain can learn to read, and intelligently appraise, the kinds of Great Books that the Powers character himself read as a graduate student at the university. Meanwhile, in the novel's second plot, the Richard Powers character becomes obsessed with a graduate student who reminds him of his former lover. He is ashamed of the age difference:
For months, my bedtime stories had spun a decameron of long-term potentiation, recategorizing, neuronal group selection, transmitter and junctional molecules. Now, for some reason, my low-level structures, blinded by the harsh light that life's interrogation used to extract its confessions, decided to pull an Aschenbach. A Humbert Humbert. One of those old fools in Chaucer, Shakespeare, Restoration comedy, nineteenth-century epistolary vicarage farces. I meant to make an idiot of myself.
Powers is an ambitious novelist, but he is also ambitious for clarity, and is never afraid to spell things out. And here it is: on the one hand, high-level ratiocination, and, on the other, the "low-level" system of rutting and coupling. His mating plots tend toward the banal, and are written in a prose that is at once showy and anxiously explanatory ("decided to pull an Aschenbach"). So his novels lead double lives, in which the sophistication of his ideas is constantly overwhelming the rather primitive stylistic and narrative machinery; the reader has to learn to switch voltages, like a busy international traveller. What falls in the gap is any subtlety of insight into actual human beings. In Powers's world, scientists always sound like scientists; they never speak or act against type. The geneticist Dr. Stuart Ressler, in "The Gold Bug Variations," arrives to begin a research job at Urbana, and thinks thus about his first, solitary dinner: "For dinner, tomato juice minus gin: alcohol is a trace mutagen and destroys brain cells. The department must wonder why he hasn't come by to introduce himself. That's all right; wonder is the trump of the twenty-three-pair chromosome set." As Pushkin complained about Byron, do his conspirators have to do everything in a conspiratorial manner?
Along with this relentless approach to characterization is a fondness for the most stolid elements of old-fashioned realism, such as the "filler" that writers like to slip onto the page, to vary and explicate exchanges between characters. In "The Echo Maker" (2006), one loses count of how many times someone raises an eyebrow, or sadly smiles, or shakes a head: "She shook her head sadly and stacked the dirty dishes." "Hayes raised an eyebrow." "That single, arch Gillespie eyebrow." "He tilts an eyebrow at her." "He shook his head, a little sadly." "He shrugged and shook his head, apologetic."
"Does he sound different?"
She studied the air. "Slower. Mark was always a fast talker."
"Does he search for words? Have you noticed any difference in his vocabulary?"
Her lopsided smile returned. "Aphasia, you mean?"
She botched the pronunciation. Weber just nodded.
Powers is always prompting his people, as in this exchange from his novel "Gain" (1998):
"Don't yell at me. I didn't do anything."
"I'm not yelling." Furious, because he doesn't even know who to be angry at. "I'm not yelling."
All realist writers do a bit of this, reflexively, but these over-helpful adverbs and adjectives suggest a writer afraid to let the reader decide what is going on. And the difficulty with authorial explanation of this kind is where to stop: one could always be doing more of it, in more debased ways. Here is Gerald Weber, the middle-aged neurologist in "The Echo Maker," kissing his wife:
They kissed again. Amazing that the gesture still communicated so much, after three decades. He held back a lock of her mocha hair and grazed her forehead. Her hair was thinner than it had been in college, when they'd met. How searchingly beautiful she'd been. But lovelier to him now, at peace with herself at last. Lovelier, because graying.
This is the prose equivalent of the Lifetime channel—trashy ("mocha hair"), with a smear of pretension ("searchingly beautiful"). It gets prizes, or gets nominated for prizes ("The Echo Maker" won the 2006 National Book Award), precisely because it is hiding in plain sight: it sounds like every other middlebrow realist novelist, and so probably something like the Novel itself.
Powers's new book, "Generosity" (Farrar, Straus; $25), his most schematic and coarse, exaggerates the weaknesses of his better work. It, too, poses an abstract puzzle: "Is human happiness explicable?" One day, a young Algerian woman named Thassadit Amzwar walks into a creative-writing class run by a failed thirty-two-year-old writer, Russell Stone. Although her father was assassinated, and she is a refugee from the intense violence and civil strife of Algiers, Thassa is improbably happy. As she tells her fellow-students all about Algeria, "she laughs as she talks, as if she hadn't just treated them all to a misery that would have broken saints." Her euphoria mystifies and dazzles her teacher: "Just the sound of her voice is like a governor's pardon." Russell goes home and does some research. Could Thassa be suffering from some kind of post-traumatic stress disorder, in which she is blissfully repressing her pain? Or perhaps she has hyperthymia, a psychological condition of "constant mania without the depression"? When Russell hears Thassa extoll the beauty of her native land, its mountains and coast, he is dumbfounded:
"Nature?" He can't keep the bafflement out of his voice. A child of death who's thrilled about the future. An Algerian who shuns politics. A film lover who chooses the banality of mountains.
Russell decides to consult with an expert, a college psychologist named Candace Weld. Thus begins one of Powers's familiar secondary plotlines: Russell and Candace must get together. As they do.
One early problem is that Russell's bemusement and his rapid recourse to medical explanation make him seem a shallow student of human affairs. He is thinking like a Richard Powers novel, in which scientists must sound always like scientists, and political refugees must sound always like political refugees. The idea that someone, for whatever mysterious reason, might behave against type—"An Algerian who shuns politics," of all things!—seems to turn him almost insane with dim-witted suspicion. Russell's shallowness becomes the novel's, too, since it is just as invested as he is in doltishly solving the great "riddle" of Thassa's happiness.
Candace Weld believes that neither science nor medicine will explain Thassa's freakish jollity. She thinks instead that the Algerian's benevolence is metaphysical—she "had found something about how best to be alive." Nevertheless, she arranges for Thassa to meet Thomas Kurton, a Craig Venter-like entrepreneurial geneticist who runs a biotech firm in Boston. Kurton does his tests on Thassa, and announces that his subject's chromosomes are indeed coded for happiness: Thassa has an "optimal allele assortment—the happiness jackpot." Although Kurton is careful to qualify his findings, the media conclude, in a flurry, that he has found "the happiness gene." Thassa becomes a celebrity, and accepts an offer of thirty-two thousand dollars for the harvesting of her eggs. She goes on an Oprah-style chat show. But the pressure almost breaks her. She flees with Russell for the Canadian border, and tries to commit suicide in a motel room, an attempt that nicely provides the novel's answer to its own original bogus "enigma": happiness may be partly chromosomal and determined, but it is also mysteriously environmental, temperamental, and so on.
"Generosity" is subtitled not "A Novel," but "An Enhancement," perhaps Powers's way of demoting the book a rank or two, as with Graham Greene's "Entertainments." It is also, we are led to infer, the book that Russell Stone will begin to write about his former student, and, as Stone is himself a failed writer, perhaps Powers thought that mimetic fidelity compelled him to compose a failure, too. A less postmodern explanation might be the now reasonably well-known fact that Powers has for some time been writing fiction by dictation, with the help of speech-recognition software. Not enough help, alas: on the current evidence, he also needs bullshit-recognition software. The prose, dictated or otherwise, reads as if it had been written by an Orientalist Tom Wolfe. Thassa is, it seems, as old as epochs: "She's twenty-three . . . give or take an era," Powers declaims. She brings sweetmeats to class: "They nibble at Thassa's timche-poucht, which tastes of ancient oases." Later, she cooks for Russell and Candace; he can smell "the travelogue aromas issuing from down the hall." Travelogue aromas! This is travelogue writing, and it's anything but fragrant. Everything in this book is exaggerated and primary-colored: "A shudder crests across Russell's skull." "His heart tries to kickbox its way through his sternum." "His soul stretched as taut as shrink-wrap." An English medical ethicist who is an old foe of Thomas Kurton's scientific triumphalism is described as having "sad bloodhound eyes": "Her face is lined by a lifetime spent gate-guarding science's worst excesses." (In Powers's novelistic phrenology, just as scientists always sound like scientists, watchful ethicists look watchful and ethical.) Thomas Kurton is sketched journalistically, as David Brooks might glance at him in an Op-Ed column: Kurton, we are told, "showed all the signs" in childhood of early scientific brilliance—"the model rocketry, the ham radios, the long afternoons gazing into tidal pools, the complete Herbert S. Zim Golden Guides." As a teen-ager, he read the great British geneticist J. B. S. Haldane, and got his first microscope. A full scholarship took him to Cornell. "In short," Powers concludes, "Kurton's genes might have led him to genomics, no matter what environment threw at him. But environment pulled all the right triggers, at just the right times. All the right teachers, the right toys, the right texts in the right order." Powers is scientifically literate—he switched his major from physics to literature, and for a time worked as a computer programmer—but his reverence for the autistic "genius" of his fictional scientists has a certain fanboy ingenuousness.
"Generosity" is a slimmer, hastier, more crowd-pleasing book than anything Powers has yet written. Perhaps it is just a quick folly between more considered works. Still, in insidious ways it diminishes its better predecessors. One can't help noticing, for instance, that Powers borrows and adapts his own novelistic template. As with the earlier work, the novelist establishes an exaggerated opposition between science and the humanities, determinism and free will, so that a rigged argument can proceed, in which both extremes are rightly rejected. There is the pure scientific answer, and there is the pure humanistic answer. Either Thassa's happiness can be chemically explained away or it can't be. Thomas Kurton is on the scientism side: "Kurton has never doubted that happiness is chemical." Candace Weld, who thinks that science can explain nothing about Thassa, is on the humanist side. Russell, veering between biological and humanistic explanations, is somewhere in the middle.
"Galatea 2.2" functions similarly. To the question "What is human intelligence?," there are initially two opposing answers. The scientist, Philip Lentz, at first favors a purely computer-driven explanation: "The brain, Lentz had it, was itself just a glorified, fudged-up Turing machine." The Richard Powers character, the novelist, is on the other side. "You're not elevating the machine. You're debasing us," he complains to Lentz. In the course of the book, the computer that the two men build begins to develop genuinely human qualities. It "announces" that it misses Powers; it wants to be sung to, and begins to take on the properties of human memory. Both men grow fond of this simulacrum of a brain, and each switches emotional sides: the Richard Powers character eventually concludes that the machine has what can be called consciousness, while Lentz becomes more skeptical. A similar binarism is at work in "The Echo Maker," which tells the story of a man from Nebraska, Mark Schluter, who, after a terrible car accident, is stricken with Capgras syndrome: he is convinced that his sister is an impostor. To the question "What is consciousness?," the hospital's resident neurologist, Dr. Hayes, seems to represent one medical extreme: consciousness is no more than the sum of the brain's neurological parts. "All I know is what happened to his brain early on the morning of February 20," he says. Mark's sister, incoherent and medically illiterate, and angered by Hayes's narrowness, represents the opposite viewpoint. Gerald Weber, an Oliver Sacks-like neurologist from New York who arrives to examine Mark, stands for the flexible middle position, in which neurology and literature can coexist: "The rapid convergence of neuroscience around certain functionalist assumptions was beginning to alienate Weber." As a result, Weber feels that his brand of storytelling is becoming obsolete: "Instruments, images, tests, metrics, surgery, pharmaceuticals: no room left for Weber's anecdotes."
Powers's scientism issues in a marked predilection for describing human motivation as the product of biology. We are all, in the end, "low-level structures." In "Galatea 2.2," the Richard Powers character is amorously obsessed not only with his female graduate student but with the artificial brain he has helped build, which he calls Helen. Gerald Weber repeatedly returns to Nebraska, partly to see Mark Schluter but also to pursue an erotic quest for Mark's mysterious and alluring nurse, Barbara Gillespie. In "The Gold Bug Variations," Stuart Ressler becomes intoxicated with the study of genetics at the same time that he becomes intoxicated with his colleague Dr. Jeanette Koss. For Powers, erotic and scientific quests are both biological at root, so his dual plots work rather like the two story lines in "101 Dalmatians": if the two dogs' owners, the man and the woman, manage to meet and mate, then so will the dogs. Powers is never more repetitive than when he is describing love or lust as a species of determinism. As Ressler bends to kiss Koss, "every program in his body, every enzyme, every gemule collaborates on synthesizing a single biophor: take this woman and kiss her." When the Richard Powers character first gets close to the graduate student who consumes his thoughts, he recalls, "My skin went conductive. In the time it took me to drop another step, a bouillabaisse of chemical semaphores seeped up through my pores and spilled out to wet the air." As Weber kisses Barbara for the first time, "he surges on the dopamine, the spikes of endorphins, his chest jerking. . . . He slips down into limbic back alleys. . . . They flood each other, waves of oxytocin and a savage bonding."
Powers's latest novel is even more emphatic in this regard than its predecessors. When Russell first catches sight of Candace, there is an immediate attraction: "the massive spray of fight-or-flight hormones cascading through his limbs proves it." His eventual alliance with her is foretold by his biology. Lying in her bed, he smells "her gamey scent. He has read how people choose their mates on smell and some sixth sense, a pheromone whiff off histocompatibility complexes other than their own, but recognized. He was doomed to end up here, in her bed, from the moment they sniffed each other."
And so on. The twist is that this biological determinism is what produces the apparently "free" human messiness of the erotic narratives. For instance, the narrator of "The Gold Bug Variations" is trying to answer a human conundrum: Why did Dr. Ressler abandon, in the late nineteen-fifties, a brilliant early career in genetic research? The answer, provided near the end of the novel, is that Ressler fell desperately in love with Jeanette Koss but couldn't pursue the relationship, because Koss was already married. To avert the breakup of her marriage, Koss informs Ressler that she is leaving the university and moving away, with her husband. As a consequence, Ressler also decides to leave the research team, in part because he realizes that life is just too large and multifarious to be explained by one area of study:
By the time he gets to campus, it's clear, as clear as anything will ever be in the rough translation allotted him. The self-serving, pointless duplication of giant molecules created him in its own image, set him down here with only one order: Do science. Postulate. Put together a working model. Yet the hunt for the single, substantiating thread running through all creation is just a start. It's time for science to acknowledge the heft, bruise, and hopeless muddle of the world's irreducible particulars.
Under the fancy language is an all-too-clear message: biology (our "giant molecules") made Ressler a biologist. But biology (endorphins, limbic back alleys) also pushes us into human relationships and encounters (erotic, amorous) that have a way of messing things up—this is the "heft, bruise, and hopeless muddle of the world's irreducible particulars." So one kind of biology "made" Ressler a biologist; another kind of biology "made" him decide to swerve from what he was put on earth to do, and abandon his work as a biologist. We are determined—programmed—to be humanly messy.
Who could possibly argue with a view of life that combines a squeeze of determinism with a shake of liberty? There is nothing offensive in the familiar paradox that our apparent human freedom is highly overdetermined. Powers always discovers the happy and humane mixture, in which human beings are revealed to be a combination of the unfree and the free, the chemical and the non-chemical, the given and the found, the animal and the human. But one feels that he alights on his humane median only by making each side of that median extreme and impossible. And, after the real brilliance of Powers's mastery of various disciplinary idioms, this humane middle can seem milkily bland, perfectly inoffensive. "Generosity" ends in just this bet-hedging spirit. Thomas Kurton's scientific certainty has been properly cast into doubt by Thassa's nervous breakdown and near-suicide, but the novel closes with the information that Thassa has successfully sold her eggs, and that a child with her genetics has been born. So, Powers seems to say, we shall have to wait and see which is determinative of happiness, nature or nurture; for now, however, at novel's close, the answer must be, happily enough, "a bit of both."
Much great fiction has been involved in working out the relationship between determinism and human agency; you could argue that this is fiction's special province. Dreiser and Hardy were convinced determinists, but as novelists they were able to animate the fates of their characters, so that freedom and unfreedom were in dramatic, fateful play with each other. The scientifically literate French novelist Michel Houellebecq has managed the cunning paradox of espousing a violent anti-humanism while bringing to bleakly vivid life real human pathos and despair. Richard Powers compares poorly with these writers: his fictional work constantly asserts the importance of the human while never quite succeeding in enacting it. He makes beautiful connections between concepts (genetics, music, computers, consciousness, memory), but primitive and mechanistic connections between his characters. Indeed, his novels are not so much examinations of human motive as documents of bewilderment about human motive. Again and again, Powers finds himself drawn to a characterological enigma, the various answers to which he then sorts through, like a good researcher. But these enigmas arise in the first place only because he begins with such a basic concept of human motive. Richard Powers's novels are thus unwitting, even anxious confessions of their own inability to animate his characters. So they circle around their lack, animals not quite willing to shun their own dead. ♦


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First Major Museum Exhibition to Focus on the Hindu Deity Vishnu Opens in Nashville
Two-Sided Stele with Vishnu (Flanked by Personified Attributes) and Durga, ca. 7th century. Sandstone, h. 43 1/4 in. Private Collection.
Vishnu: Hinduisms Blue-Skinned Savior, the first major museum exhibition to focus on the Hindu deity Vishnu has been organized by the
Frist Center for the Visual Arts
. The exhibition opened to the public as a ticketed exhibition Sunday, Feb. 20, 2011, and remain on view in the Ingram Gallery through May 29, 2011.
This exhibition, guest curated by Joan Cummins, Ph.D., Lisa and Bernard Selz Curator of Asian Art at the Brooklyn Museum, introduces one of Hinduisms primary deities to broad audiences through more than 170 paintings, textiles, prints and sculptures created in India, Pakistan and Bangladesh between the third and twentieth centuries. The exhibition represents a variety of periods, regions and art styles and reveals the many ways that Vishnu has been portrayed and celebrated. The works of art included in the exhibition were chosen for their artistic merit and for the novel or unusual treatments of their subject matter.
Vishnu has been worshipped for more than 2,000 years throughout India, and today, his devotees, known as Vaishnavas, can be found the world over. The god and his avatars have been the inspirations for countless great works of art and literature as well as music, dance and theatrical traditions. The exhibition covers much of the history of art in India and reveals the remarkable intellectual, technical and aesthetic sophistication of ancient Indian tradition. The exhibition introduces non-Hindu audiences to the beauty and cultural meaning contained in works of art relating to the Vaishnava tradition while offering Hindu audiences the opportunity to share and celebrate the traditional expressions of their spiritual beliefs.
Hindu Home Shrines: Creating Space for Personal Contemplation, a companion exhibition organized by the Frist Center Education Department, will explore ways several Nashville Hindu families incorporate their faith into their home lives.
Because the narratives associated with Vishnu and his avatars are entertaining and appealing to all ages, the Frist Center will offer an array of special educational programs for families, as well as music and dance performances and film.
We are honored to organize and present Vishnu: Hinduisms Blue-Skinned Savior, the first major exhibition to explore the Vaishnava tradition in art, said Frist Center Executive Director Susan H. Edwards, Ph.D. The material is incredibly deep and rich. We hope to reach broad audiences, from armchair travelers, to local and regional South Asian communities, to those who simply enjoy cultural exploration.
This exhibition comes at a particularly interesting time. As the influence of India grows in the global culture, we believe the exhibition will answer many questions often asked about Hinduism.
We have been gratified at the response we have received from the Indian community in Middle Tennessee who have guided us in the planning of this exhibition and the planning of our attendant programs, Edwards concluded.
As word of the exhibition has spread, the Indian community, worldwide, has been enthusiastic in its support. Hindu statesman Rajan Zed, president of the Universal Society of Hinduism, commented that it is a laudable step for the Frist Center to provide opportunity to the world to further explore Hinduism and its concepts.
Curator Joan Cummins, Ph.D., says The art of India is relatively little known in the U.S., which is a shame because its a tremendously rich tradition that gives form to thousands of years of spiritual inspiration through sophisticated craftsmanship. The diversity of Indian art and imagery is mind-boggling, and we hope to do justice to it with the selection of objects in the show. But we also hope to alleviate some of the misconceptions and confusion about Hinduism that I think a lot of Americans have. We hope that people will come away from the show wanting to know more about India and its neighboring countries. The time is right for this kind of introduction to Indian art, culture and religion.
An Introduction to Vishnu
Hindu worship can be divided into three broad groups: those who worship Vishnu the Preserver, Shiva the Destroyer or Devi the Great Goddess. Each of these groups believes its god or goddess is responsible for creating and maintaining the cycle of life and serves as the portal to ultimate salvation.
Of the three supreme deities, Vishnu is the most multifaceted. Although he is celebrated as the great creator of the cosmos, he most often serves as its savior, descending from heaven to save the worldand lesser godsfrom powerful demons and myriad threats. He assumes many shapes in his quest to maintain balance and order. Sometimes he appears in primary form, with four arms, flying on his eagle, Garuda. On other occasions, he takes a more limited, mortal body to live on earth as an animal or man. These earthly bodies, or avatars, have their own talents and personalities but share Vishnus blue skin tone. This feature distinguishes them from mere mortals and reflects Vishnus associations with the sea and sky and his cool, tranquil approach to saving the world.
The first section of the exhibition, Images of Vishnu, introduces Vishnu in his primary form with subsections dedicated to his attributes, consorts and legends. Known as Hinduisms gentle god, Vishnu is easily recognized in paintings by his blue skin. In sculpture, he is recognized by his upright posture, which signifies his constant effort to maintain balance in the cosmos. In addition to his blue skin and straight posture, Vishnu can be identified by the four objects he holdsthe discus or wheel (chakra), the lotus, the conch shell and a club-like weapon called a mace (gada). Two of the earliest works in the show, sandstone sculptures dating from the fourth and fifth centuries on loan from the Museum of Fine Arts, Boston, and the Brooklyn Museum, are examples of Vishnu in his primary form.
Subsections introduce Vishnus favorite weapons; Garuda the eagle, whom he rides when sweeping down from heaven; and his wives. Most Hindu gods have at least one wife or consort whose personality reflects and balances that of the god. Vishnus primary wife is Lakshmi, an extremely popular goddess who promotes wealth and good fortune. Several works demonstrate the intimate relationship between the god and goddess, including the painting Lakshmi Massaging the Feet of Vishnu made in the Punjab Hills region about 176570 and the tenth-century sculpture Lakshmi-Narayana from Rajasthan (Narayana is another name for Vishnu) .
The second section of the exhibition, The Avatars of Vishnu, is devoted to Vishnus avatars explored as a group as well as individually. An interesting figure in his primary form, the complexity of Vishnus character becomes clear when he assumes new forms in order to save the earth from myriad dangers. Although they share some of the characteristics of Vishnu, the avatars are a more limited manifestation of the god. They are less glorious, have finite bodies, sometimes display human weaknesses and are usually mortal. When Vishnu descends from the heavens in the form of an avatar, it is as if he is reaching his hand down: the hand may be fully Vishnu, but it is not the god in full.
Hindu texts differ on the number of times that Vishnu has descended to earth in avatar form, but the most standard list includes nine past avatars and one scheduled to arrive in the future. The list of ten is as follows:
Matsya the fish; Kurma the tortoise; Varaha the boar; Narasimha the half-man half-lion; Vamana the dwarf; Parashurama the Brahmin; Rama the king; Krishna the cowherd prince; Balarama the brother of Krishna (or Buddha the preacher) and Kalki the avatar of the future. The stories of all ten avatars will be recounted in the exhibition.
Those avatars more frequently celebrated in art will be more fully represented in the exhibition, with substantial subsections dedicated to Rama and Krishna, including a bronze sculpture of Rama from the Chola period on loan from the Philadelphia Museum of Art and the paintings Krishna and Radha in a Grove, ca. 1720 on loan from the Metropolitan Museum of Art and Krishna Fluting for the Gopis, ca. 1775 from a private collection.
The third section, Worshiping Vishnu, explores some of the ways the deity has been venerated throughout the centuries. It includes images that depict the people who pray to Vishnu and the places where they pray. It also examines objects used during prayer such as jewel-encrusted gold shrines for images of gods. This section includes examinations of select sectarian traditions within Vaishnavism that feature special images of Vishnu (or Krishna), most notably the icon of Shri Nathaji in Rajasthan and the icons of Jagannatha and his siblings in Orissa. Depictions of these icons, as well as other works of art made for the devotees of these sects, appear next to early examples of the chromolithographic prints that are perhaps more familiar to modern audiences. These mass-produced, full-color images of Hindu deities, produced starting in the early 20th century, can be found in many home and office shrines today and they serve as a postscript to the more than 1,600 years of Hindu artistic tradition represented in the exhibition.
Curator Joan Cummins, Ph.D, notes, Weve worked hard to make this complex subject as approachable and as enlightening as possible for the novice viewer. We recognize that even though the works of art are beautiful, it can be difficult to appreciate them fully without an understanding of the stories they tell and the ideals they reflect. The stories are indeed wonderful: we think it will be a great show for young audiences because Vishnus avatars take such a wide range of forms. They are involved in all sorts of intrigue, action and romanceand the good guys always win in the end.
The Frist Center convened an advisory panel comprising Hindu leaders, educators and members of Middle Tennessees Hindu community to assist in planning educational activities, programs and community events during the exhibition.
Frist Center for the Visual Arts
Joan Cummins
Bernard Selz
Vishnu: Hinduism's Blue-Skinned Savior
Susan H. Edwards
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The defense was not notified about the existence of a shotgun that could have been the murder weapon, preventing Craig Heidt from getting a fair trial, his attorney argues in court documents filed Friday.
W. Dow Bonds wrote the nine-page reply filed in Effingham County Superior Court that the state did not turn over a property submission form about the gun because "he (the prosecutor) did not think it was relevant."
Bonds made the arguments in answering the state's response to Heidt's motion for new trial. A hearing was held on the motion in front of Superior Court Judge F. Gates Peed in December. The judge gave each side time to file responses before making his decision.
"It is not up to the assistant district attorney to decide what is relevant and what is not relevant …especially when the same assistant district attorney made the issue relevant during his opening statements at trial when (he) accused the defendant of using the same type Remington model 870, 12-gauge pump shotgun to commit the murders," Bonds wrote.
"He now attempts to convince this court that the … shotgun found in the possession of a key suspect, Robin Heidt, with whom the state engineered a deal to secure her trial testimony, and who was the wife of one of the decedents, and who was the initial beneficiary of $3.5 million in life insurance proceeds from the death of her husband, somehow is 'not relevant.'"
Heidt was convicted in December 2010 of the August 2008 shooting deaths of his brother, Carey Heidt, and father, Philip Heidt, at the family home on Springfield-Egypt Road. He also was found guilty of shooting his mother, Linda Heidt, who survived the attack.
Bonds said prosecutor Michael Muldrew "made the unsupported assertion in his brief and to the media" that the defense was told about the shotgun and "chose not to act," something Bonds said is "erroneous" and "false."
He said there's nothing in the certified record of the trial about the defense being notified about the shotgun.
The murder trial was held from Dec. 1 through Dec. 9, 2010.
Bonds said the defense's trial strategy would have been different if the defense had known about the gun and its suppression "prevented the defendant from receiving a fair trial."
Bonds also says the jury never heard that the shotgun was disassembled by John Henry Rast, very shortly before Rast killed himself at his sister Robin Rast Heidt's house.
He said the shotgun could have been tested against imprint marks made on the rear door of the Heidt residence.