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Fantasia PechaKucha
1 2019-06-11T17:46:37-07:00 Jason Mittell 06e96b1b57c0e09d70492af49d984ee2f68945de 7543 1 A videographic PechaKucha of Fantasia plain 2019-06-11T17:46:37-07:00 Critical Commons 2017 Video Fantasia Evelyn Kreutzer 2019-06-11T17:48:43Z Jason Mittell 06e96b1b57c0e09d70492af49d984ee2f68945deThis page has tags:
- 1 media/KA_09_ISBN9781927852040_Bookmobile_Cover.jpg 2016-04-30T04:44:03-07:00 Jason Mittell 06e96b1b57c0e09d70492af49d984ee2f68945de Videographic PechaKuchas Jason Mittell 22 structured_gallery 277353 2019-06-11T21:07:26-07:00 Jason Mittell 06e96b1b57c0e09d70492af49d984ee2f68945de
- 1 2016-04-30T14:08:31-07:00 Jason Mittell 06e96b1b57c0e09d70492af49d984ee2f68945de Gallery of All Exercises Jason Mittell 8 structured_gallery 2019-06-11T21:05:38-07:00 Jason Mittell 06e96b1b57c0e09d70492af49d984ee2f68945de
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Scholarship in Sound & Image: A Pedagogical Essay
Pedagogical essay authored by Christian Keathley and Jason Mittell
'Scholarship in Sound & Image: A Pedagogical Essay' by Christian Keathley and Jason Mittell
This pedagogical essay is an outgrowth of 'Scholarship in Sound & Image', three workshops on videographic criticism that were hosted at Middlebury College in June 2015, 2017, and 2018. The workshop was funded by two grants from the National Endowment for the Humanities' Institute for Advanced Topics in the Digital Humanities. We want to thank the NEH staff members, especially Jason Rhody and Jennifer Serventi, for their wonderful support, as well as the staff from many offices at Middlebury College, particularly Mary Stanley, and our core collaborators Ethan Murphy and Catherine Grant.
The workshops were divided into two parts: during the first week, we led participants in a series of exercises designed to introduce them both to the editing program they would be using (Adobe Premiere Pro), and to the practice of working (or more accurately, playing) with the moving images and sounds of their media objects of study. Participants spent the second week working on a larger videographic essay project that they had proposed in their application.
Our approach during the first week was based on a couple of core principles. The first is that one learns by doing. Even though most of our participants had no video editing experience, we had everyone start making short videos on the very first day. Luckily, our colleague Ethan Murphy excels at teaching the tools of video production. Each morning, we gave a new assignment, after which Ethan gave the participants a tutorial in the core features of Adobe Premiere they would need to complete that assignment. Subsequent learning was accomplished via practice, peer advice, and consultation from the workshop leaders. Our mantra in the first week was 'Make First, Think Later'—a distinct challenge for a group of academics!
Our second principle was that formal parameters lead to content discoveries. Instead of asking participants to make a video that served a particular content goal (such as criticism, analysis, comparison, etc.), we created exercises with strict formal requirements, but open to whatever content people were interested in. We have found that producing work according to often arbitrary formal parameters will reveal something about your object that would be hard to discover through more typical analytical means. Such discoveries and revelations were a constant byproduct of these formal exercises, leading to deep conversations about the films that participants were working with.
To facilitate this process, each participant was asked to select a single film or other media object to serve as their source text for a set of five exercises to be produced in the workshop's first week. We found that feature films worked best; an entire season of a TV show was too expansive for the scale of the assignments we were giving. One participant in the first workshop chose an entire season of a webseries, but that totalled only 80 minutes in full, shorter than an average feature film. While the ultimate goal of videographic work may be to produce scholarly knowledge about a particular media object of study, that goal must first be set aside in favor of a careful examination of the object as an archive of moving images and sounds. We maintain that, if criticism is to be offered in a multimedia form, you must first learn something about how to effectively use moving images and sound to express yourself, and through certain exercises your media object of study will reveal aspects of itself. Thus, in these preliminary exercises, the goal was not to produce a videographic essay—that is, not to produce scholarship, though sometimes that did happen. Rather, the goal was to have the participants play with their media object as a way to explore how manipulating its components could create a variety of effects.
This last point is crucial. In 'Myth Today', the postscript to his 1957 collection Mythologies, Roland Barthes identified a distressing limitation in the ways that critical writing could regard an object of study. There are, he wrote,
Academic scholarship in the humanities has committed itself almost exclusively to the former approach, and for film and media scholars that commitment has been easy to maintain, as it has involved keeping the object and its analysis discursively separate—with our object in images and sounds and our criticism in writing. But with videographic work, this separation no longer holds. Analysis must always be conducted, to some extent, on the object's terms: that is, using its material—moving images and sounds—as well as (sometimes) some supplementary explanatory language.two equally extreme methods: either to posit a reality which is entirely permeable to history, and ideologize; or, conversely, to posit a reality which is ultimately impenetrable, irreducible, and, in this case, poeticize. [. . .] [w]e constantly drift between the object and its demystification, powerless to render its wholeness. For if we penetrate the object, we liberate it but destroy it; and if we acknowledge its full weight, we respect it but we restore it to a state which is still mystified.[i]
This commingling of the object with the critical discourse about it as a way beyond the ideologize/poeticize impasse was revisited by Barthes some years later in an essay on Proust, whom he regarded as a writer who stood 'at the intersection of two paths, two genres, torn between two "ways" he does not yet know could converge' in 'a third form, neither Essay nor Novel', but bearing the features of each. This practice of writing, as Barthes further described it in his autobiography, is one that would 'subject the objects of knowledge and discussion—as in any art—no longer to an instance of truth, but to a consideration of effects'.[ii] Though Barthes himself produced extraordinary examples of this writing—Empire of Signs, Roland Barthes (his 'autobiography')—few other scholars took up such a model. The challenge of imposing a poetic form on scholarly writing perhaps seemed too great, even for those who understood his point, burdened as they were by habit and by the narrow attitudes and practices of the academy regarding what constitutes legitimate scholarship.
But when working with moving images and sounds, the poetic force of the source materials cannot be ignored or avoided. Many videographic works adopt the rhetorical mode most typical for scholars, offering an illustrated lecture or written essay being narrated, an approach that we term the 'explanatory mode'.[iii] However, the most effective videographic works—those that produce the most potent knowledge effect—are those that employ their audiovisual source materials in a poetically imaginative way. Videographic criticism holds the possibility of being one possible fulfillment of this third form imagined by Barthes more than half a century ago.
This impulse motivated the exercises. Our pace was purposefully fast so that it discouraged over-thinking, as the participants had to focus on technical skills and making formal choices in order to meet the next day's deadline. Each day, participants would receive their assignment before lunch; afterward, they would receive necessary instruction in relevant features of Adobe Premiere (though any editing program, such as iMovie, can work just as well), and then they would spend the remainder of the afternoon and evening working on their videos. The assignments were screened the next morning—first in small groups for discussion and critique (led by Jason, Chris, Ethan, and our student assistant), and then as a full group so that we could view everyone's work and discuss issues that emerged from the assignment, especially as such exercises might be used pedagogically. Then it was on to the next exercise.
These exercises might be thought of like musical etudes: designed to teach a technical skill, but also with the potential to function as compelling cultural objects on their own write. Another parallel: Ezra Pound once asked his daughter to write a description of what she would see on the walking route she took when she got off the train in Venice to visit him at his home there. Pound explained the purpose of the exercise thus: 'To learn to write, as when you learn tennis. Can't always play a game, must practice strokes'.[iv] These videographic exercises were offered in the same spirit: as an opportunity for the participants to practice strokes, or even just to learn to hit the ball—though these exercises are likely a bit more challenging and fun than just practicing your stroke.
1. Videographic PechaKucha—The first assignment was a new form of videographic expression that we invented for the first workshop: the Videographic PechaKucha. A typical PechaKucha is an oral presentation format that has strict parameters for the timing of slides: 20 slides lasting exactly 20 seconds, each auto-playing, resulting in a presentation lasting precisely 6:40. The concept behind such strict but arbitrary presentational parameters is to force presenters to adhere to a rapid pace of a 'lightning talk', while creating a uniform rhythm for visual materials. The effect is that every PechaKucha feels similar on one level, but allows for great creative variation within this uniform rhythm and structure.
Our videographic variant consisted of 10 video clips of precisely six seconds each, coupled with a continuous minute-long audio segment, all from the same film. This 1-minute video proved to be an ideal first assignment because its limited scope allowed participants to become familiar with some of the basics of video editing, while also enabling them to make new discoveries about their films through their search for clips and to experience new revelations through image/sound juxtapositions.
But this assignment was a great beginning for a second reason. One of the first responses that parameter-based assignments prompt in the maker—and we saw it in most of the first assignments—is to apply more parameters. That is, with the Videographic PechaKucha, makers tended not to select clips with total freedom, but to select and organize them in some logical and limiting way. For example, one might choose to alternate moving shots with static shots, or close-ups of people with long shots of action, or to restrict oneself to certain shots scales and contents—or to have the audio and video suddenly synch up in the middle, in shots five and six, as Allison de Fren did with her PechaKucha on The Stepford Wives (Bryan Forbes, U.S.A., 1975). Allison's carefully selected image/audio and non-sync/sync organization appropriately captured the banality behind the sinister husbands of the town of Stepford.
Another common approach was to collect instances of some motif from the chosen media object and pair this with dialogue or music from same. Evelyn Kreutzer isolated a single gesture from the animated Disney classic Fantasia (U.S.A., 1940)—the raising of arms performed by orchestra conductor Leopold Stokowski—then showed how many characters in that film repeat the same action across a variety of situations. Nathaniel Deyo took a similar approach, arranging repeated instances of Bogart walking through a door in The Big Sleep (Howard Hawks, U.S.A., 1946) juxtaposed against that film's famous dialogue between Bogart and Bacall in which they discuss horses, the racetrack, and maybe something else. Here, Bacall's assessment of 'what makes him run' seems as much about how Bogart moves and approaches people as it is about any other activity.
Note that this assignment specifies segment, not shot. Purists might prefer ten shots, each continuous. With this approach, the rhythm of the piece would be more easily controlled, and rhythm is an important element of the work produced in this (and every) assignment. But some media objects (especially more recent films and television programs) have very short shot lengths, and using them would require segments from the original that contain cuts. In these cases, controlling the rhythm of the Videographic PechaKucha becomes more challenging, and so the maker must use a segment with one or more shots in a way that, as part of the whole, provides rhythmic organization.
But we did not suggest any of these additional parameters. The makers must apply (or discover) them on their own. The application of form to one's material is a basic element of the videographic essay, just as it is in the media object one is studying. But for novice videographic essay makers, imposing form onto conceptual materials can be a special challenge. It becomes all too easy to start with a core analytical idea that you aim to express, and then fall back on explanatory voiceover accompanied by illustrative clips, which often results in a clearly argued but visually deadened work. Giving participants formal limitations first without regard for content forces them to consider the ways in which the shape of a container determines what can or cannot be put in it. This was especially true in the first day's assignment, as most participants had to work so hard to learn the software techniques required to accomplish the project that they had little time to focus on intellectual ideas. Make first, think later.
Inevitably, discussion would at some point turn to how one might revise this assignment by further refining the parameters, or by changing or adding parameters to explore variations. For example, one might set a limit that only one segment (or two) can contain director cuts. Or that one segment (but only one) must contain a cut. As a way to further explore image/sound relations, students might be asked to replace the audio track of their PechaKucha with the audio track from another media source as a way to offer critical commentary.
As noted above, each new assignment was followed by a technology session in which participants would receive instruction in the skills necessary to complete the exercise. For the PechaKucha assignment, students learned the basic skills necessary to make videographic work: rip their media object from DVD or Blu-ray using Handbrake and MakeMKV; import it into Adobe Premiere; make subclips; bring subclips into the timeline and unlink audio/video tracks; lay black slug; and export their finished video to a share folder on the college's network. For novice editors, these skills first seemed daunting, but by the end of a busy first day, they were all amazed that they had produced a project that not only accomplished the assignment's goals, but also revealed something about their chosen film.
2. Voiceover—While writing is the predominant way that film and media scholars disseminate their critical ideas, the spoken word is another common mode of academic analysis. From class lectures to conference presentations, scholars are used to presenting their ideas orally. At its least sophisticated, a videographic essay functions as an 'illustrated lecture', with a critic reading a manuscript over a series of clips, but such an approach misses both the poetic possibilities of videos and the engaged dynamic of a live lecture. Thus we wanted to introduce voiceover via an exercise that avoided associations with the typical academic lecture.
Many videographic essays use voiceover quite effectively, and the question of modulating vocal delivery and performance is a crucial issue in a video's success, even much more urgently than it is in a lecture or conference presentation. In such live contexts, we seek to 'hear past' the vocal delivery in favor of what is being said, and unless the delivery is truly atrocious, we manage to do that without much effort. But in a videographic essay that disembodies the speaker, the quality of the vocal delivery is immediately conspicuous, and whether a viewer keeps watching depends in large part on whether they want to keep listening.
In one early version of this assignment with undergraduates, Chris asked students to select a scene or sequence from their selected film and perform a director's commentary—that is, to perform a voiceover commentary as if they were the film's director, pointing out relevant aspects of the scene's design. The goal was to give students the opportunity to demonstrate that they could conduct close analysis, and also to practice their vocal performance. But too often, the vocal delivery was flat—likely because the exercise (close analysis) too closely resembled the kind of written assignment they were asked to do for critical studies classes. As a result, students wrote a paper and read it aloud (just as some professional academics do at conferences), and then laid it over the scene. The result was deadening. How to get past this? The solution that Chris found for his students was used as the second assignment for our workshop participants.
For this assignment, we asked participants to select a continuous video sequence from their media object and record a voiceover to accompany it, with the final video running no more than three minutes. The voiceover should relay an anecdote, tell a joke, read from some piece of writing, or otherwise provide an independent verbal channel of material not overtly related to the chosen media object. The content could be the participant's own original material or something that others had written/spoken. We also stipulated that the exercise must also incorporate some sound from the film itself. The video should be one continuous sequence from the film; duration and/or scale could be manipulated, but it could include no new video edits.
After the PechaKucha exercise, some participants were primed to engage in still more experimental work. Tracy Cox-Stanton simply (but very effectively) recounted a dream she'd once had and laid it over a radically slowed down shot of Catherine Deneuve from Belle de Jour (Luis Buñuel, France, 1967). Though the dream is recounted by an almost expressionless voice in the third person, it feels like an internal monologue—or if not, and the story is being told about Deneuve's character, then who is speaking? Either way, the approach invites us to link sound and image, while at the same time suggestively avoiding a direct connection. As her video demonstrated, when employed effectively, the voiceover story inevitably triggers the hermeneutic impulse, encouraging the viewer to understand the narrated story as illuminating some aspect of the film's thematic material, perhaps opening an aspect not accessible through conventional analytical discourse.
Others chose to more obviously perform their voiceovers. Derek Long offered a witty reading of an account of the dangers of Paris traffic, laid over a swordfight scene from Captain Blood (Michael Curtiz, U.S.A., 1935). Here, as in many of the week one exercises, a phrase suddenly matches a moment of action on screen, teasing us with its alleged significance. Susan Harewood's exercise expanded well beyond the specifics of her chosen object, Affair in Trinidad (Vincent Sherman, U.S.A., 1952), to implicate those colonialist nations that offer films boasting an uncanny combination of myth-making skill and historical ignorance. Harewood's amusing anecdote and her somewhat chatty tone, marked by her own Caribbean accent, put you at your ease—until her last lines strike with sudden force.
For the technology session, Ethan showed participants how to record their voiceover using portable audio recorders—although using a computer's on-board microphone or a smart phone can work effectively, as long as one is attentive to the ways that the space in which one is recording will affect the tone and quality of the sound. In addition, Ethan showed how to change the speed of both audio and video, so that images could be slowed down or sped up, and the tone of the voiceover could be affected by speeding or slowing it even slightly.
Here again, we discussed how one might organize voiceover in interesting and complex ways by adding your own parameters. There are, we noted, certain conventions of videographic voiceover: it typically comes in early in the course of the video and is spaced throughout in some rhythmically predictable way. But what if the voiceover doesn't begin until 30 seconds into a one-minute video? What if there are only three blocks of voiceover, each restricted to 10 seconds, and spaced from one another by 10 seconds? We offered no restrictions on integrating voiceover with dialogue, sound effects, or soundtrack music from the media object of study, so interweaving those sound elements is another option. Such additional parameters can work against the tendency to privilege content and intellectual engagement and encourage videomakers to allow the ideas to emerge from the source materials.
3. Videographic Epigraph—Many effective videographic essays involve some combination of sound, images, and critical text, and most of our participants were looking for ways to bring their media object of study into direct contact with some critical writing. This assignment, which was designed to facilitate this process on a small scale, was inspired by several 'tribute' videos produced by Catherine Grant—usually a short memorial work made on the occasion of a star's passing. But in each of these videos, Catherine uses a quote from some critical text—a kind of 'epigraph'—that serves as a frame through which to read the video memorial. One example of this, 'Mechanised Flights: Memories of Heidi', a tribute to Shirley Temple, is particularly effective. As Corey Creekmur pointed out during the first workshop, an epigraph is one place where the traditional scholarly essay dips its toe into the poetic, as an opening quotation floats detached from the more explanatory prose to follow; but our goal was the reverse, with the videographic epigraph designed to serve more of an explanatory function. Given that a primary goal of the workshop was to encourage combinations of both modes, this short assignment seemed an ideal way to reintroduce the explanatory into the poetical.
Further, we wanted participants to play with the graphic qualities of titles. Just as we often ignore oral presentation style at a conference, we can quickly become blind to the graphic qualities of written text. Unless a font or textual layout is difficult to read, it usually becomes invisible. Not so on screen. All graphic qualities of text—font choice, size, color, placement in the frame, movement, transitions—are formal properties to be employed for the effectiveness of a videographic essay. Participants varied exercises illustrate this point quite forcefully.
Loosely following Catherine's model, we developed a 'videographic epigraph' assignment: we asked participants to select a sequence from their media object, and also a quotation from a critical text (not specifically related to the object) of no longer than five sentences. We asked them to alter the video sequence in some noticeable way using at least two different types of transitions or effects (but not editing multiple clips). The quotation should then appear onscreen in some dynamic interaction with the video. Further, they had to either replace or significantly alter the soundtrack. The completed exercise could not be longer than three minutes.
Patrick Keating Patrick Keating selected a quote from V. F. Perkins' essay 'Where is the World?' to go with a scene from his selected film, Trouble in Paradise (Ernst Lubitsch, U.S.A., 1932), highlighting the limits on any character's—and thus the audience's—knowledge of a film's story world. The graceful deployment of text on screen perfectly matched the gracefulness of Lubitsch's own cinematic choreography, with some words lingering to create both emphasis and rhythm. Jordan Schonig paired a long take of Sandra Bullock spinning in space from Gravity (Alfonso Cuarón, U.S.A., 2013) with a quote about spatial orientation—knowing where you are or being lost; and the use of Ella Fitzgerald's light jazz rendition of "All My Life" as accompaniment countered the ironic counterpoint of text and image, adding a layer of poignancy.
Maria PramaggioreMaria Pramaggiore's epigraph toyed with our desire to use the selected quote to 'read' the selected sequence. She laid a very brief quote from Kant over a slow portion of a scene from Barry Lyndon (Stanley Kubrick, U.K., 1975). Breaking the quote as she has—'The value of life / Insofar as it consists of / The enjoyment we get from people/is vastly overrated'—with more than 10 seconds passing between each section, Pramaggiore creates nearly unbearable suspense. We want desperately to see the full quote presented quickly, so we can understand. Further, her use of a calligraphic font both evokes the time period of the film and gently pokes fun at its fussy formality.
For the technology workshop, Ethan showed participants how to make titles, including how to change font style, size, color, and motion, as well as how to make different transitions between shots (dissolves, various directional wipes, and so forth). This assignment also required some audio manipulation, so Ethan demonstrated how to open multiple soundtracks and how to use the pen tool to manipulate the sound levels of these tracks.
4. Multi-screen composition—This assignment was prompted by a formal strategy that has become commonplace in videographic essays. The use of frames within or beside other frames, or a 'multi-screen' approach, is interesting partly because it is an uncommon formal practice in cinema or television. Often this approach has been used in videographic work to effectively show (rather than just describe) the visual relationship between two films—such as Cristina Alvarez Lopez's video "Games" on Ivan's Childhood (Andrei Tarkovsky, U.S.S.R., 1962) and Germany, Year Zero (Roberto Rossellini, Italy, 1948).
When Chris was in graduate school at the Art Institute of Chicago, one of his professors reported that Dušan Makavejev, when he was teaching at Harvard, would randomly select two films and project them side-by-side, looking for ways in which the movies might show their potential for positive valence, echoing one another through visuals, sound, or dramatic intensity. The professor then tried it out himself with simultaneous projection of Persona (Ingmar Bergman, Sweden, 1966) and Battle of Algiers (Gillo Pontecorvo, Italy/Algeria, 1966)—and it took only about five minutes for the films to seem to begin to 'talk' to one another. We wanted to capture something of this effect, so with this exercise, we asked participants to use a multi-screen process to construct a 'response' to one of the exercises produced by another member of the workshop. That is, they were to use their chosen film and integrate it with clips from one or more films used by other participants' exercises. The video had to contain moments of both full-screen and multi-screen, including images from the film(s) the participant was responding to. All audio and visuals had to come from the maker's chosen texts, peers' exercises, or the objects chosen by other workshop participants.
Liz Greene achieved this effect with her video on The Elephant Man (David Lynch, U.S.A., 1980), which also engaged Michael Talbott's chosen film, La Ciénaga (Lucrecia Martel, Argentina, 2001), another movie with an especially rich, dense soundtrack. Further, while most participants used multiple screens often throughout their videos, Liz selectively employed multi-screen, withholding and then strategically deploying the effect, both to invite comparisons between the films, as well as to create the effect that all the images and sounds we see are from the same movie.
To pair with her own media object, the final episode of the long running C.B.S. television series M*A*S*H (U.S.A., 1972-83), Casey McCormick borrowed images and a quote from Nike Nivar Ortiz's epigraph for his film, Sleep Dealer (Alex Rivera, Mexico, 2008)—a sci-fi film about borders and security set in the near future—as well as the audio, taken from his voice-over assignment, of a military drone operator describing the experience of controlling these modern weapons of war. The layering of past/present/future, as well as fiction/historical fiction/non-fiction, made for an especially dense and rich result exploring representations of war. Kathleen Loock paired scenes from Blade Runner 2049 (Denis Villeneuve, U.S.A., 2017) with a Rita Hayworth musical number from Affair in Trinidad (from Harewood's exercises) and clips from Maria Hofmann's object, the documentary Whore's Glory (Michael Glowogger, Germany/Austria, 2011). The mix shows the various ways in which the function of women—real or robotic, real or fictional—is to please men, as well as the ways in which the production of such pleasure inevitably involves suffering. Throughout the multi-screen exercises, participants discovered meanings and insights through one of the core elements available to videographic critics: juxtaposition.
5. Abstract Trailer—This assignment, initiated during the second workshop, was motivated by two earlier failures. We found that, during the first workshop, when participants were to spend the second week working on their own proposed videographic essay project, little progress was made. We took responsibility for this, assuming that we had not structured that second week effectively enough. Second, in that first workshop we also included an 'alternative trailer' assignment that was not as successful as the other exercises, but we still loved the idea of having participants engage with the generic conventions of the motion picture trailer, as the trailer has established norms in the short video format and parody trailers have been a ripe mode of video remix. We addressed both these failures by conceiving of the Videographic Abstract Trailer. This form asked participants to consider features of both the scholarly abstract (subject and critical approach) and the motion picture trailer (style and tone). One key goal of this video, as with a movie preview, was to make others want to see your final project. We asked participants to spend the weekend producing an abstract trailer, lasting no more than two minutes, of their final videographic project.
Katie Bird produced a trailer for a video on the connections between the history of Steadicam technology and issues of labor and the body, but it gives just as much attention to the powerful kinesthetic experience of Steadicam movement, as well as her own fascination with that experience and the technology behind it. Her video is a great example of how an abstract trailer can convey the feeling and mood of a videographic work. Nicole Morse produced a trailer for a video essay exploring the lead actor's look into the camera in the Amazon series Transparent (U.S.A., 2014-present). You can compare it with the completed work, which shifted focus somewhat during its development, as published in issue 5.3 of [in]Transition.
Elizabeth Alsop, working with Showtime's Twin Peaks: The Return (U.S.A., 2017), borrowed the extraordinary mysterious force of its object's images and sounds to suggest that this series may be representative of a turn in recent television away from plot and toward something more (to borrow a phrase from Jason Mittell) 'batshit'. Hoang Nguyen produced a trailer on an early film by Norman Yonemoto, a director who, in the 1970s, was simultaneously active in two marginalized realms of filmmaking: video art and gay porn. Sean O'Sullivan's project promised to rebut the claim that television is not concerned with that subtleties style and meaning that its cousin cinema is by exploring the use of the rack focus over the three seasons of HBO's Deadwood (U.S.A., 2004-2006).
By this point, even the novice video editors were quite capable using various features within Premiere, and having spent a week watching each other's projects, they had created a robust peer learning environment, with participants seeking out technical tips and aesthetic techniques from each other, rather than just consulting the experts leading the workshop. This is in keeping with our experience teaching students this type of production: once you get over the initial hurdles in learning editing software, most advanced techniques are developed by experimentation, peer conversation, and self-exploration.
We share all these assignments and examples of participant videos to encourage the teaching of videographic criticism, as well as to model ways of assessing effectiveness. One advantage of videographic criticism in undergraduate studies courses is that it enables students to work with images and sounds, but it does not require costly cameras and editing systems—all of these exercises can be done with software that is either free-to-download (like DaVinci Resolve) or part of modern operating systems (iMovie). While asking students to produce a short video production piece of their own is one of the best ways to get them to appreciate all the care that goes into even an ordinary film, not every institution has cameras, tripods, and microphones available for such an assignment. But most do have computer labs with available editing software, where a course like this might be reasonably mounted. We can attest that this is a fun, stimulating, and unpredictable experience for students and faculty alike, requiring a willingness to make last minute changes and experiment with whatever presents itself.
In teaching the course to undergraduates, Chris and Jason have found that any given student's video for one assignment may unwittingly suggest the possibility of yet another parameter-based assignment. A class such as this needs to be highly collaborative, and the instructor needs to be prepared to relinquish some of the authority she commonly enjoys in traditional critical studies courses. But it is a collaborative opportunity that's all too rare: working with students to develop the forms this nascent scholarly innovation will inhabit. Our experience of the workshop with faculty and graduate students suggests that it is never too late to learn by doing, to open yourself up to new tools, methods, and discoveries, and to make first, think later.
Copyright ©2019 by Christian Keathley and Jason Mittell[i] Roland Barthes, Mythologies, trans. Annette Lavers (New York: Hill and Wang, 1972): 158-9.[ii] Roland Barthes, 'Longtemps, je me suis couché de bonne heure …,' in The Rustle of Language, trans. Richard Howard (New York: Hill and Wang), 285.[iii] For a discussion of the differing 'explanatory' and 'poetic' modes in the videographic essay, see Christian Keathley, 'La Caméra-stylo: Notes on Video Criticism and Cinephilia," in The Language and Style of Film Criticism, ed. Andrew Klevan and Alex Clayton (New York: Routledge, 2011).[iv] Quoted in John Berendt, The City of Falling Angels (New York: Penguin, 2005), 223. - 1 2019-06-11T17:49:55-07:00 Fantasia PechaKucha 1 An exercise by Evelyn Kreutzer plain 2019-06-11T17:49:55-07:00 Evelyn Kreutzer's PechaKucha isolated a single gesture from the animated Disney classic Fantasia (U.S.A., 1940)—the raising of arms performed by orchestra conductor Leopold Stokowski—then showed how many characters in that film repeat the same action across a variety of situations.


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At Automotive Solutions of White House in White House, TN, we know how easy it is to overlook vehicle maintenance when everything is working as it should - we also know firsthand the toll neglected maintenance takes on a vehicle. Here's an easy thing you can do yourself, that might save you an engine, transmission, or avoid numerous other problems.
Checking your fluids is easy; you either pull a dipstick or remove a cap, make sure there's enough liquid where it's supposed to be, and you're done. If it's low, fill it to the right level - congratulations, you've just saved yourself a trip to the shop and a lot of money.
Engine oil and transmission fluid levels are critical. Too much or too little of either will destroy an engine or transmission in short order, leaving you stranded and in need of a lot of mechanic work. Simply pull the dipstick, per the instructions in your manual, and check the fluid level...then add fluid as necessary.
Brake systems sometimes develop small leaks, that may take months to empty your fluid reserve. Check it regularly to avoid getting air in the system - one air enters the lines, your brake power is significantly cut, and they'll have to be bled in order to get them working again. If you notice a leak, no matter how small, have it serviced as soon as possible.
Coolant is critical to keeping your engine and transmission going. Just make sure the engine is cold before removing a cap or checking the reservoir - the system is hot and under pressure. Coolant checking and adding differs across various cars, trucks, and SUVs, so make sure you consult the manual first.
Also - make sure you're putting the correct type of fluid in your engine, brake system, transmission, or radiator. The type is often marked on the cap or dipstick, or you guessed it - in the manual.
Of course, when you bring your vehicle in for an oil change, we always check your fluids. Still, it never hurts to know how to do it yourself.
No matter your repair or maintenance needs, we've got you covered. For the best auto service shop in White House, TN, call or stop by Automotive Solutions of White House today.
Thank you for visiting Automotive Solutions of White House in White House, TN. Count on our automotive repair technicians to keep your car, truck, suv, or van on the roads longer and safer.
Schedule your appointment today BOOK NOW | CALL: (615) 672-4739


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Today is the first day of the 16 Days of Activism against Gender Violence 2016 campaign and The Pixel Project is kicking things off with our 6th annual list of 16 female role models fighting to end violence against women in their communities. The intent of this list is simple: to highlight the good work of the heroines of the movement to end violence against women wherever they are in the world. The women and girls in this year's list hail from 16 countries and 6 continents.
Many of these outstanding women and girls have shown that it is possible to transform personal pain that came out of facing gender-based violence into positive action to stop violence against women, empower themselves and to show other survivors that it is possible to move forward with dignity and happiness. They have refused to let bitterness and pain get the better of them, opting instead to stand up for themselves and for other women and girls.
Others on this list may not have experienced gender-based violence first hand, but they have stepped up to do what is right: to speak up for women and girls who cannot do it for themselves, sometimes at great personal risk. All this requires immense courage, generosity of spirit and a strong enduring heart.
Here in alphabetical order by first name is our 2016 list of 16 female role models. We hope that these women are an inspiration to others to get involved in the cause. To that end, we hope you will generously share this list via Facebook and Twitter to give these extraordinary 16 women and their work a moment in the sun.
It's time to stop violence against women. Together.
Note: Information for all role model profiles is sourced via online research and is based on one or more news sources, articles and/or The Pixel Project's own interviews with them. The main articles/reports from which these profiles have been sourced can be directly accessed via the hyperlinked titles. Please do click through to learn more about these remarkable women.
Written and compiled by Regina Yau
Female Role Model 1: Balkissa Chaibou – Niger
Balkissa Chaibou wanted to become a doctor, but when she was 12 she found out that she had been promised as a bride to her cousin. She fought to get out of the pending marriage by taking her family to court and seeking refuge at a women's shelter until the bridegroom's party left. Balkissa is now 19 and she campaigns for other girls to say "no" to forced marriage. She visits schools, speaks to tribal chiefs about the issue, and has also spoken at a UN summit on reducing maternal mortality, which is a health issue linked to early marriage.
Female Role Model 2: Bogaletch Gebre – Ethiopia
Bogaletch Gebre is a victim of female genital mutilation (FGM) who was born in Kembatta, a region in Ethiopia where FGM was endemic and women were largely uneducated. She learned to read by visiting the church school under the pretext of collecting water and eventually received a scholarship to study in the U.S and Israel. She returned to Ethiopia to help better the lives of women and girls and has spent 16 years campaigning for women's rights in Ethiopia. Through her relentless activism, Gebre has successfully reduced the rate of FGM in some parts of the country from 97% to just 3%.
Female Role Model 3: Clementine Ford – Australia
Melbourne-based Clementine Ford is an Australian feminist and author who has has written and spoken up fiercely and consistently about male violence against women, first in Adelaide's Sunday Mail and opinion pieces in the Drum, then in the Fairfax website Daily Life. Her book Fight Like A Girl is part memoir and part polemic – detailing her development as a feminist and addressing the issue of violence against women head on. Ford is seen as a feminist who led "feminism back into the boxing ring" as she fights back against silencing and harassment online by naming and shaming men who verbally attack or threaten her, often replying to them publicly.
Female Role Model 4: Fatou Bensouda – Gambia
As a high school student, Fatou Bensouda would sneak into nearby courts to watch the proceedings and she noticed that women in particular were not "receiving the protective embrace of the law. For me that is one of the things that informed my decision to say, 'This is what I want to do.'" Today, Bensouda is the chief prosecutor of the international criminal court (ICC) in the Hague where she works to mete out justice to war criminals and genocidal despots. Her own position as a woman from West Africa has also informed the character of Bensouda's ICC – she has made it an explicit goal of the court to challenge the rape and exploitation of women and children in war.
Female Role Model 5: Frida Farrell – Sweden
When she was in her early twenties, Swedish actress Frida Farrell was tricked into attending a fake photoshoot, kidnapped, drugged and sexually trafficked to men in an apartment on London's upmarket Harley Street. Over a decade after she escaped her abusers, Farrell co-wrote the film Selling Isobel which was based on her harrowing experiences in the hope that her story will stop other women getting into the same situation. She said: "I wanted people watching to know that it could happen to any girl," Frida explains. "You don't have to be foreign, poor or not speak the language. People think these kinds of things just happen to poor immigrants, but it could happen to English girls too."
Female Role Model 6: Jacqueline de Chollet – Switzerland
Over the past 30 years Jacqueline de Chollet has been active in the fields of Women's Health, Social Justice, Education, Public Housing, and the Arts. She created the The Global Foundation for Humanity U.S. and the Association du Project Veerni to support the Veerni Project – a project that tackles the issue of child marriage in Rajasthan, India by improving the health and education girls and women in the region. de Chollet said: "We believe that by giving these girls access to education, health and the workplace, Veerni can empower them to take their rightful place in the lives of their communities and their country. Only then will they be able to exercise their human rights and live free from coercion disease and poverty."
Female Role Model 7: Laura Dunn – United States of America
Laura Dunn is the Founder and Executive Director of SurvJustice, a national nonprofit providing legal assistance to sexual violence survivors across the U.S. She founded SurvJustice after being raped by two men from her crew team at the University of Wisconsin in April 2004. She said: "Afterwards, I struggled for years through campus, criminal and civil systems without receiving justice. Through this tragic experience, I learned about the laws and how to advocate for survivors." In 2014, Dunn graduated the University of Maryland Carey School of Law where she received the William P. Cunningham Award for her national campus sexual assault advocacy, which includes passing the 2013 Violence Against Women Act (VAWA) Reauthorization and advising the White House Task Force to Protect Students Against Sexual Assault.
Female Role Model 8: Loubna Abida – Morocco
Moroccan actress Loubna Abidar was vilified and assaulted for playing a local prostitute in the award-winning film Much Loved, ultimately sending her into exile as a refugee in France. However, she refuses to be silenced by fatwas, online death threats and violence. In her autobiography La Dangereuse, Abidar frankly discusses how she went from overcoming poverty, exclusion and physical and sexual attacks by her father to becoming one of North Africa's the most acclaimed young actresses and feminist voices in recent years. In an interview with Women Of The World, Abidar said: "In the Arab world generally we have this problem of rapes committed by people known to the victims — by relatives, fathers, uncles. I don't only talk about my own story, I have done a lot of work with activist associations, especially with little girls living in the mountains."
Female Role Model 9: Nadia Murad Basee Tahar – Iraq
On August 3, 2014, when ISIS militants attacked Nadia Murad Basee Tahar's village of Kocho, Iraq. Six of her nine brothers were killed. Murad (then 19 years old) and her two sisters were forced into sexual slavery while their mother was executed as she was considered too old to be a sex slave. Murad was raped, tortured, and beaten frequently until she escaped and made her way to Germany where she began devoting her life to assisting other Yazidi women and girls who have suffered as she did. Murad is now a United Nations Goodwill Ambassador. In September 2016, Murad announced Nadia's Initiative which is dedicated to helping women and children victimised by genocide and crimes against humanity.
Female Role Model 10: Omaima Hoshan – Syria
15-year-old Omaima Hoshan, a Syrian refugee, runs workshops to discourage child marriage in Jordan's Za'atari refugee camp. "When I see young girls getting married, it scares me," Hoshan says in a video from the United Nations refugee agency. "Girls from my home have their future lost or destroyed. This is something I can't accept." Hoshan leads girls in drawing, acting and lecture sessions, spreading information about underage marriage and encouraging girls to stay in school and to speak to their parents about the issue, according to Mashable.
Female Role Model 11: Rachana Sunar – Nepal
When Rachana Sunar was 15 and still in school through a scholarship programme, she was informed by her parents she would marry a man she had never met before. Sunar escaped child marriage by misleading her parents into thinking that if she dropped out of school they'd have to pay for the past three years of her scholarship. Today, Sunar is a very vocal campaigner against child marriage in Nepal and says that dialogue is the only way to change entrenched attitudes to girls in rural Nepal.
Female Role Model 12: Radha Rani Sakher – Bangladesh
When Radha Sani Sakher was 14, she narrowly escaped an arranged marriage with the help of an educated cousin and her mother. Sakher returned to school with the help of her teachers and an aid group. Today she studies social sciences at Dinajpur's regional university and is part of the "wedding busters" who campaign to stop child marriage. To date, she has saved 20 girls from forced marriages. Sakher's goal is to build a centre for girls to find refuge from underage marriages until they are legally adults because "The situation has improved a little in recent years, but underage marriage still enjoys impunity."
Female Role Model 13: Sarian Karim Kamara – Sierra Leone
Sarian Karim Kamara underwent the brutal ritual of Female Genital Mutilation (FGM) twice when she was just 11 years old. It took Kamara four years after becoming sexually active to get to know her body and experience her first orgasm. Today, she teaches other FGM survivors how to work with their bodies to experience sexual gratification and have a healthy sex life. Kamara said that an openness to explore one's body in the wake of devastating physical trauma and a supportive sex partner are essential for FGM survivors to achieve sexual pleasure. "Even though the clitoris has been removed, that doesn't stop us from having full capacity of pleasure during sex."
Female Role Model 14: Tabassum Adnan – Pakistan
Pakistani activist Tabassum Adnan was married off when she was just 13-years-old. After suffering 20 years of physical and mental abuse, Adnan divorced her husband, which resulted in the loss of her children, home, and finances. To help stop gender-based violence that commonly affect Pakistani women including forced marriage, child marriage, honour killings, acid attacks and domestic violence, she started the NGO Khwendo Jirga, a first of its kind women-only jirga, where women meet weekly to discuss violence against women and swara, or giving women as compensation for crimes.
Female Role Model 15: Vidya Bal – India
Veteran Indian feminist activist Vidya Bal has spent her life fighting against violence against women and other forms of gender discrimination. In 1982, she founded the Nari Samata Manch (Women Equality Forum) and has gone on to create, support, and counsel women's groups. Bal said of her organisation's work: "We want to create awareness that it is about being a good human being—and not about being a "feminine woman" or a "manly man." Only then, we can aspire for an equitable society. This is a small experiment. I am hoping to make a small difference. Often I meet young boys telling me that after listening to my lectures their perspective of girls changed! Maybe that's just a temporary thing—but still a good thing."
Female Role Model 16: Zahra Yaganah – Afghanistan
Zahra Yaganah grew up as an Afghan refugee in Iran and, at 13, was married off to a violent man. Today, her book Light Of Ashes – part fiction, part memoir – which chronicles her traumatic life as a child bride is one of the fastest-selling books in Afghanistan. Using her writing to speak out, Yaganah breaks taboos by explicitly writing about taboo topics including marital rape, menstruation and the lifelong damage caused by child marriages. Yaganah hopes that her book will help Afghan women break free of the violence. "It is impossible for Afghan women to read this book and not find an issue that reflects their life story," she said. "Women can find their path, despite all the problems they have."
Photo Credits:
- Balkissa Chaibou – From "The girl who said 'no' to marriage" (BBC News Online)
- Bogaletch Gebre – From "How Bogaletch Gebre is Bringing an End to Female Genital Mutilation in Ethiopia" (KMG via ibtimes.co.uk)
- Clementine Ford – From "This is why we have women-only spaces, and why I don't want to hear your complaints" (The Sydney Morning Herald)
- Fatou Bensouda – From "Fatou Bensouda, the woman who hunts tyrants" (Judith Jockel/The Guardian)
- Frida Farrell – From "The Sex Trafficking Victim Who Turned Her Nightmare Into A Feature Film (Huckmagazine.com)
- Jacqueline de Chollet – Courtesy of Jacqueline de Chollet
- Laura Dunn – Courtesy of Laura Dunn
- Loubna Abida – From "Actress Loubna Abidar refuses to be silenced by fatwas, death threats or violence" (Pierre Terdjman/New York Times)
- Nadia Murad Basee Tahah – From "A Yezidi Woman Who Escaped ISIS Slavery Tells Her Story" (Kirsten Luce/Time)
- Omaima Hoshan – From "This 15-Year-Old Syrian Girl Is Campaigning Against Child Marriage in Her Refugee Camp" (Makers.com)
- Rachana Sunar – From "Child marriage in Nepal: 'A girl is a girl, not a wife' (Rachana Sunar/The Guardian)
- Radha Rani Sakher – From "Bangladesh's 'Wedding buster' takes on illegal child marriage" (Bas Bogaerts/Plan International)
- Sarian Karim Kamara – From "Decades after undergoing genital cutting, woman teaches other FGM survivors how to enjoy sex" (Women Of The World/New York Times)
- Tabassum Adnan – From "Pakistani activist wins Nelson Mandela award 2016" (Tabassum Adnan/The Express Tribune)
- Vidya Bal – From "Meet the Feminist Fighting India's Entrenched Misogyny" (Frances Smith/Vice)
- Zahra Yaganah – From "The former child bride who is using her story to liberate Afghan women" (Andrew Quilty/The Guardian)


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The American Botanical Council (ABC) is celebrating its 25th year as a leading non-profit educational and research organization in the medicinal herb field. Its mission from the beginning has been rooted in education and helping the public, educators, health practitioners, researchers and the media develop informed opinions about herbal medicine while providing science-based data to back up their claims.
Since 1988, when ABC was merely a seed waiting to be watered, acceptance for herbs has grown and become a real force in the world of medicine, with ABC playing no small part in this inclusion.
Growing Roots
In the 1970s, ABC's founder and executive director Mark Blumenthal started out on the merchant side of the herb industry, selling bulk herbs and products with his business, Sweethardt Herbs. Here, he interacted with the public and learned that most people were not well informed about herbs, a disappointment Blumenthal took to heart. To combat the public's lack of knowledge on the benefits of herbs, Blumenthal helped found the Herb Trade Association, and started HerbNews, an industry newsletter that, after greater public demand, grew into the publication now known as HerbalGram, which compiles well-researched scientific data on herbs, and relies on a stringent peer-review process to ensure the validity of its data.
What started out as a simple, black and white newsletter-style publication has evolved into a thick monthly magazine with beautiful photography unmatched by anyone else in the industry. But HerbalGram turned out to be just the beginning. In 1988, Blumenthal incorporated the American Botanical Council as a non-profit educational and research organization to give his publication a platform to help spread the knowledge of medicinal herbs even further.
"I wanted HerbalGram to go to the next level," says Blumenthal. "So, I started ABC to take HerbalGram there."
With the new Council, education became a huge and important focus. Before long, Blumenthal began cutting out stories and articles about herbs from academic and professional sources, then photocopied and mailed them out to industry professionals who he felt would benefit from and enjoy reading the information.
"It started out as a window to my desk," he says. Soon, as the price of copier ink and stamps caught up to him, Blumenthal wondered if he could turn his hobby into a paid service and asked his readers if they would be interested. The response was overwhelmingly positive, and in 1992, HerbClip launched, earning $58k in revenue its first year. More than 20 years later, over 5,000 clips have been published and countless people reached with its switch to an e-mailed delivery format.
Mark Blumenthal, Founder and Executive Director of the American Botanical Council |
More Than Just A Sprout
Since its inception, ABC has continuously launched new education programs, like the Media Education Program that aims to supply information to the media that is well-researched and peer-reviewed; events, like HerbDay; lectures and publishing projects like The ABC Guide to Herbs, periodicals, newsletters and books. One of ABC's greatest achievements, says Blumenthal, was the complete translation from German into English and publication in 1998 of The Complete German Commission E Monographs.
"It is considered to be a major work," says Blumenthal. The 715-page book was ranked as the #2 medical book by Doody Publishing, a renowned medical book reviewer, in 1998, making it the first alternative medicine book to qualify for the award. Two years later, ABC followed up with Herbal Medicine: Expanded Commission E Monographs. These books helped push herbal medicine into the public eye and provided even more assurance that herbs could become an accepted mainstream form of healthcare.
Almost at Full Bloom
Since 1988, ABC has made it its mission to educate the world on the benefits of medicinal herbs, and Blumenthal is happy to see his hard work and dedication to the subject has made a difference.
"I am gratified by the current acceptance of herbs," he says. "ABC is an agent of this change." He knows there's more work to be done, however, and hopes in the future to concentrate on education about intentional adulteration and extraction methods for herbs.
The road to complete acceptance is long and oftentimes leads to dead ends, but for 25 years, ABC has navigated the obstacles and continued developing new educational outlets to spread scientifically sound information. Although happy with how herbs are currently perceived, there's no stopping Blumenthal and ABC until their message is heard and accepted by everyone. Here's to 25 more years and congratulations! WF
Published in WholeFoods Magazine, October 2013


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5 Basic Network Security Tips for Small Businesses
May 21st, 2024
Even if you believe you are at low-risk for cyber attacks, your business in Austin, TX does always face a threat of being broken into. As a matter of fact, nearly 45% of attacks are geared to small businesses meaning 1 in 40 small businesses are prone to attack and being hacked. How do you ensure online security today?
1. Gear up your employees (train them)
Human errors are a major flood gate for attacks, so prompting and training employees in Austin, TX is key to business protection. Even something as simple as leaving an account open when going to lunch posses a threat, so keep on top of employees. Simply informing them of attacks and security will help bridge the gap and lessen the likelihood your business is attacked. Keep employees updated and teach them to spot signs of phishing online. Security and network policies should also be in place for security.
2. Update software regularly
Outdated software, such as inventory trackers, is a key area where attacks occur. Update software, update and look for leaks or patches, seek out vulnerabilities, and spot signs of malware and threats. They are there, so make sure you look for them and keep things up to date.
3. Protect your wi fi
A main point for cyber attackers is your wi fi connectivity in Austin, TX , especially if it is not secure, password protected. Use firewalls and make sure everything is encrypted for optimal security. Even routers and broadcast names should be secure and password protected. If you have public wi fi for customers, set up a second network, and pay the costs to password secure it and encrypt it. It will pay off in the long run, even if it does cost a bit more up front.
Virtual private networks block your IP address. It provides "masks" so attackers won't know where information is coming from or being transmitted to and from. Especially with on the go software and technologies, the more secure, and the more you can safeguard your business and employees, the better. Although there are free VPN providers, they aren't as reliable, so if you choose this route, consider a paid for provider.
5. Two-factor (point) authentication
When the opportunity is offered, take it. It is basically a second protection in place, if the hacker gets through the first road block you have set up for your business, in order to protect yourself online. So if authentication isn't turned on, or something is outdated, this is a second point of protection which is provided to your business in Austin, TX , you otherwise don't have without two-point authentication.
It is important to safeguard yourself online; especially as a mid-sized or small business. Even if you think things are safe, and no one is after your business's information, you'd be surprised just how many threats are out there. So consider a few, or all of these points, as a starting point to add more security to your networks, and to ensure your company in Austin, TX (as well as your clients' information) is as safe as possible when it is on the web.


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- This event has passed.
Keeping Memories Alive & The Big "O" OTTO Show
September 10, 2017 @ 11:00 am - 4:00 pm
FreeI believe that Every Life has a Story and that everyone's story deserves to be told and preserved for future generations.
This event is In Loving Memory of my parents,
& In Honorary Memory of "MIKE MARVIDAKIS"
All proceeds benefit the Biker's Against Child Abuse (B.A.C.A.)
KEEPING MEMORIES ALIVE" is the Show of all Shows and the one you OT-TO to not miss. Come join us as we stand together and honor the memories of our loved ones with lasting personal tributes in a supportive community where kids, friends and families are welcome.
KEEPING MEMORIES ALIVE welcomes all Vehicles, Customs, Classics, Luxuries, Cars, Trucks, Motorcycles, HotRods, Boats, Atv's, Off-Roads, Snowmobiles, All Classes of Racing, Imports etc etc etc. My Dad, OTTO had a NEED FOR SPEED and a passion for Power & Performance in anything that moved. Therefore, all Motor/Power Sports are welcome to join in on the fun.
KEEPING MEMORIES ALIVE is my way of honoring my parents however, I am inviting & encouraging anyone who attends to bring a memorial in honor of a loved one (Including any memorials for Pets) to share and display. This show is for everyone as we all have experienced a loss of some significance in our lives.
KEEPING MEMORIES ALIVE will include the singing of the National Anthem, A Flag Ceremony & an ENGINE REV SALUTE Since my dad was a an avid Drag Racer, The Car Show Trophies will be custom made out of a variety of car, boat & motorcycle parts. The trophies will be dedicated to those who have been and/or continue to be a significant Icon in the Drag Racing Community. There will be Honorary Judges who will vote for their favorites in certain classes and then they will be awarding the trophy to the winner.
We will have a variety of Vendors, Raffle Prizes, Auction Items, An Onsite Pet Adoption, A Photo Booth, Family & Pet Memory Trees and the Delicious Cuisines provided by SMOKE A BILLY BBQ & my dear friend -Owner – Jason Greer.
Rumor has it a certain Bear will be making an appearance to educate the kids on How We Can Prevent Forest Fires along with McGruff The Dog. The West Valley City Police & Fire Departments will be onsite with activities for the kids.
Fun for the entire family.
Mark your calendars and save the date and Join us at our Official Sponsors location VALLEY FAIR MALL IN WEST VALLEY CITY.
Admission is Free!!


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· If we are required to disclose such Personal Information by any applicable law, regulation or legal process.
· We will not sell, trade or rent your Personal Information to others unless you have given your permission. With your permission, we will only share your Personal Information with carefully chosen, reputable and trustworthy third parties. We will follow the relevant legal requirements and use all reasonable precautions to ensure that only responsible third parties see the Personal Information. However, we are not responsible for any breach of security or any act or omission of third parties who receive the Personal Information.
If you are using our web sites, we will use your personal information to help you to log on to your account and into restricted areas of our web sites and to permit future use of the web sites. We may use your IP address to help diagnose problems with our server, or to administer our web sites. We may conduct analyses of user traffic to measure the use of our sites and to improve the content of our web sites and our services. These analyses will be performed through the use of IP addresses and cookies. We may also use cookies to enable the signing in process after you have registered with us and to provide you with more tailored information when you return to our web sites. A cookie is a piece of information that is stored on your computer's hard drive by your web browser. Most browsers accept cookies automatically, but usually you can alter the settings of your browser to prevent automatic acceptance. If you reject the use of cookies please note that the efficient operation of the web site that you are using may be affected. Most of the advertisements that you see on the web sites are generated by third parties who may use cookies to track viewing of their advertisements and for other purposes specified in their own privacy policies. We have no access to or control over these cookies (although we may use statistical information provided to us – not containing personal information – arising from these third party cookies to improve the targeting of advertisements to you and other users of the web sites). You can obtain further information about third party privacy policies or disable their cookies by visiting their web sites.
Your use of our web site indicates your consent to the cookies described in this policy.
A web cookie, a commonly used data collection technology, is simply a piece of text which can be placed on the browser of your personal computer or mobile device and subsequently read as you visit a web site. A cookie may be a session cookie, that is, a cookie that remains on your browser while you are logged on to a particular web site and then disappears when you close your browser, or it may be a persistent cookie, a cookie that remains on your browser over a period of time. Information from a cookie may be collected and used in aggregate form. Or data may be collected into an individual profile or record. That individual record may either be unique but anonymous, or the profile can be linked with information that identifies you as an individual.
You can learn more about cookies, generally, at www.allaboutcookies.org
We may use cookies for a number of purposes:
1. We may use a limited number of cookies essential to particular services you have requested or for security purposes. A few of our sites use a cookie for a shopping cart function when you purchase services or offerings. In particular, if you have registered for a site or use a customer portal we may use a cookie to authenticate the pc or mobile device that you are using.
2. We allow third parties to set analytics, or performance, cookies to collect and report aggregate information. These cookies provide reporting to us on an aggregate basis and so, do not identify you at all. We use the aggregate reports to understand how our web sites are used and improve their usefulness to our audiences.
3. A number of cookies also support how our web sites function, identifying your pc or end device on a unique but anonymous basis. These cookies may, for example, remember your language preferences or recognize an individual's activity within a single session.
4. If you register for a site, we use a cookie to associate your presence with a specific user name and password or account. We may use a persistent cookie to recognize you automatically each time you return, but only if you ask us to do so. We may also use cookies to prepopulate your login or forms you fill out on the site with information you have already provided. Finally, we may use certain demographic information to enable third party ad servers (see below) to show you ads based on information about you in your business capacity, for example, your title within a company or the size of that company.
5. Some of sites may also allow third party ad servers to serve their own cookies to display advertising on our web sites. We do not determine, control or have access to their cookies. In addition, some of the ads they serve may generate their own cookies. We will list all cookies shortly so that you can review their privacy policies for more detail about their practices.
The cookies we use are an accepted part of ecommerce and important to your use of our websites. Performance cookies allow us to understand our audiences as a whole and improve how our sites meet your needs and expectations. Many of the functional cookies are basic to how our sites and services work. The cookies we use for registration allow us to conduct our business online. Our sites and services, or parts of them, may not work properly without these cookies.
Your use of our websites indicates your consent to the cookies we have described in this Policy.
But if you should wish to revoke that consent, or any part of it, at any time you may control cookies and third party ad targeting in the following ways.
Most modern browsers offer you ways to control or block cookies. These browser controls will usually be found in the "options' or "preferences" menu. For more help, you may take a look at the "Help" settings or review these website for more details –http://www.aboutcookies.org/Default.aspx?page=1
Some of our sites use third party advertising and ad targeting. For ways to turn off third party ad targeting you may want to visit The Internet Advertising Bureau UK – http://www.iabuk.net/.
You can find more information or turn off targeting by member companies at YourOnlineChoices UK, http://www.youronlinechoices.com/uk.
If our use of cookies changes, we will post the changes to this policy. Please check frequently as online data collection practices and our use of them continue to evolve. To contact us about this policy, you may email peter – at – woodcotemedia.com. When emailing please indicate which of our sites your question relates to.
We will only disclose personal information about you internally, which includes any member of Woodcote Media and to third parties for processing purposes associated with payment processing, the supply of goods and services, for web site administration, or elsewhere when you have consented to such disclosures, or where such disclosures are required or permitted by law. These third parties we contractually bound only to use personal information to perform the services that we hire them to provide.
We use administrative, technical, and physical measures to safeguard personal information against loss, theft and unauthorised uses, access or modifications. Certain areas of our web sites may be password protected. If you are a user of our web sites and have a password, you can help to preserve your privacy by ensuring that you do not share your password with anyone else. Payments made via our web sites or other third party providers are processed in a secure environment.
We take steps to regularly validate the personal information we hold to ensure that the information is accurate and, where necessary, up to date. Information that is no longer required for any valid business purpose, and that we are not required to keep pursuant to any applicable law, will be routinely destroyed by secure means.
If you have any questions or wish to have any Personal Information edited or deleted, please write to Compliance Manager, Woodcote Media Ltd, 124 Middleton Road, Morden, Surrey, SM4 6RW, UK.


text:
The Alexandria Police Department and City Hall should have done their homework before recklessly implementing red-light cameras to mitigate traffic accidents in the city. Whether Alexandrians agree with placing cameras at three intersections, everyone can agree that public officials have the responsibility to wade into such issues pragmatically before the fact, not after it.
It all started when the Washington Times made a few assertions about the program on their editorial pages. Among them was the point that paying $50 for running a red light was effectively voluntary, because until a law officer personally delivers a citation to the violator, he is not legally liable to pay. If red-light runners simply trashed their ticket, the city would trash taxpayer money and manpower sending public safety officers to the front doors of countless homes, the editorial argued.
Police Chief Earl Cook responded in a letter to the editor, claiming, If violators fail to respond to the violation notice, the matter will be turned over to a collection agency. Contrary to the assertion in the editorial, tickets are valid in Virginia if they are sent in the mail
Chief Cook was wrong.
The Alexandria Times confirmed not only does the collection agency hold zero legal sway over the violator, but a hand-delivered citation is the only way to propel justice forward and force payment onto lead-footed drivers, according to Virginia law.
The most unnerving part of the situation? The City of Alexandrias police department, transportation department and even its own attorneys were unaware of the laws nuances until newspapers pushed for answers. City Hall was as clueless as the public until media began poking around. And police have yet to address the Alexandria Times on this specific matter at all, despite repeated queries.
Meanwhile, the cameras have perched atop three Alexandria intersections since July.
The city is apparently committed to enforcing the program at all costs literally. The man-hours, administrative costs and gasoline used for the APDs convoluted, complex process (see graphic on page 5) could negate the $50 fine. Perhaps this proves the program really is about safety, not generating revenue, which the Washington Times questioned. But its a happy coincidence for the APD, which did not understand its own system until recently.
Making assertions without respect for the facts is irresponsible and damages credibility. Before a controversial program makes its way to reality, top decision makers could learn from traffic signals: observe a yellow light. Slow down.


text:
EZ2 Lotto Draw Result for September 3, 2019
EZ2 Result - 2D EZ2 result today, hearing and winning numbers (EZ2 lotto result 11am 4pm 9pmEZ2 result draws are conducted daily except during major holidays. These are the latest PCSO EZ2 results for the 11 AM, 4 PM and 9 PM draws today:
EZ2 LOTTO RESULT – Here is the result of EZ2 Lotto draw released by Philippine Charity Sweepstakes Office (PCSO)
Winning Combination
11:00am |
04:00pm |
9:00pm |
For other results, please visit the main page PCSO Lotto Results.
Play | Description | Prize |
Standard | 2 winning numbers in exact order | P4,000.00 |
Rambolito | 2 winning numbers in any order | P2,000.00 |
EZ2 lotto result are held daily, every 11am, 4pm and 9pm. Aside from EZ2 results, you can also check here other lotto result from PCSO.
You may also check our ez2 result history for the past lotto draws. Check out the all pcso lotto result history for the past lotto draws.
Moreover, based on the Philippine Charity Sweepstakes Office (PCSO), here are some reminders in playing the EZ2 Lotto:
- Only players 18 years old and above are allowed to play the lotto games.
- This lotto game has daily draws every 11:00 am, 4:00 pm, and 9:00 pm. You can watch the live draw through YouTube.
- In case you got the two winning numbers in exact order, you will win PhP 4,000.00.
- If you are playing via the Rambolito, you may win PhP 2,000.00.
EZ2 Lotto 11AM
Tuesday, September 3, 2019,
EZ2 Lotto 4PM
Tuesday, September 3, 2019,
EZ2 Lotto 9PM
Tuesday, September 3, 2019,
EZ2 Lotto Result
Tuesday, September 3, 2019,
PCSO Lotto Results
Tuesday, September 3, 2019,
PCSO lotto results today


text:
Privacy Policy
Scope of this online privacy policy
This Online Privacy Policy describes how The Gilpin Casino ("The Gilpin Casino" or "we" or "us") protects your privacy when you use the website located at www.thegilpincasino.com (the "Website"). The Gilpin Casino takes seriously the issue of safeguarding your privacy online. This Online Privacy Policy explains our information gathering process and outlines the information we collect and how it will be used to better serve you. This Online Privacy Policy applies only to personal information collected through our Site, and is part of and incorporated into the Terms and Conditions of Use for our Site. To review the full Terms and Conditions of Use, click here.
Your consent to this online privacy policy
What information do we collect on our site?
Information You Volunteer. When registering on our Website for any reason, including registration to join one of our clubs, to play an online game, when filling out our survey, or when modifying your profile on our Website, you are providing us with personal information, which will be used for marketing programs designed to provide you with special offers. This information is collected for the use of The Gilpin Casino and our affiliates, and will not be shared with other organizations except as described in this Privacy Policy.
Information Sent to Us by Your Web Browser. On a regular basis, our Website collects information about you that is not personally identifiable. Some examples of such information include your IP address, the type of browser you are using, what sites you came from, what pages of our Website you visit, how much time is spent on those pages, or what pages you exit from. We use this non-personal information primarily to create statistics that help us improve our Website and our business. In addition, we may review our server logs for security purposes, such as detecting intrusions into our network. If we suspect criminal activity, we might share our server logs – which contain visitors' IP addresses – with the appropriate investigative authorities who could use that information to trace and identify individuals.
Our Website issues cookies to collect certain non-personally identifiable information. This process is used to help us enhance your future visits to our Website. Because The Gilpin Casino manages hundreds of pages of content, we want to ensure that you will be able to find the information and offers that interest you.
Visitors to our Website who accept cookies may be presented with targeted messages, offers and ads on this Website, which we believe would be most beneficial to you, based on observed preferences.
With whom do we share your personal information?
We may share personal information collected through our Website with our affiliates and related companies, and with companies and organizations that perform services on our behalf (for example, companies that provide data management or other support services to us). We may disclose the personal information we collect through our Website when we, in good faith, believe disclosure is appropriate to comply with the law (or a court order or subpoena); to prevent or investigate a possible crime, such as fraud or identity theft; to enforce the terms of use or other agreements that govern your use of our Website; to protect the rights, property or safety of The Gilpin Casino, our users or others; or to protect your vital interests. Information submitted to our Website is an asset of The Gilpin Casino and will become part of our normal business records. Your personal information and other data collected by us may be transferred to another company that has acquired the stock or assets of The Gilpin Casino, for example, as the result of a sale, merger, reorganization, dissolution or liquidation. If such a transfer occurs, the acquiring company's use of your personal information will still be subject to this Online Privacy Policy, and any privacy preferences you have expressed to us.
Modifying your information
We respect your right to make choices about the ways we collect, use and disclose your personal information. You may update or modify your information or change your preferences at any time by logging in to the Edit Profile section of our Website.
Transfer of data abroad
If you are visiting this Website from a country other than the countries in which our servers are located (currently USA) the various communications will necessarily result in the transfer of information across international boundaries. By visiting our Website and communicating electronically with us, you consent to the processing and transfer of your data as set out in this policy.
Password protection
Certain areas of our Website are password protected. You are responsible for maintaining the confidentiality of your passwords. We have the right to assume that anyone accessing our Website using a password assigned to you has the right to do so. You will be solely responsible for the activities of anyone accessing our Website using a password assigned to you, even if the individual is not, in fact authorized by you. You agree to change your password immediately if you have reason to believe that your password may have been compromised or used without authorization.
Linked internet sites
Third party Internet sites, accessible through links on our Website, have separate privacy and data collection practices, independent of us. The Gilpin Casino does not control these websites, is not responsible for their data practices, and is not to be held responsible or liable for the policies or actions of such websites. These links are provided for your reference and convenience only and do not imply any endorsement of the activities of these third party websites nor any association with their operators. We urge you to review the privacy policy posted on any websites you visit before using the websites or providing any personal information about yourself.
Under 21
The Gilpin Casino does not knowingly or intentionally collect any personal (identifiable) information from, or market to individuals under the age of 21. If you are aware that an individual under the age of 21 has provided us with personal (identifiable) information, please contact us immediately so that we may identify the information that needs to be removed.
This online privacy policy may change
We reserve the right to update or modify this Online Privacy Policy, at any time and without prior notice, by posting the revised version of this Online Privacy Policy on this Website. Your use of our Website following any such change constitutes your agreement that all personal information collected from or about you through this Website after the revised Online Privacy Policy is posted will be subject to the terms of the revised Online Privacy Policy. You may access the current version of this Online Privacy Policy at any time by clicking on the link marked "Privacy Policy" at the bottom of each page of our Website.
Effective date of this online privacy policy
This Online Privacy Policy is effective as of November 1 , 2022.