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From site: Soccer (women)
|September 26, 2018
Luther traveled to La Crosse, Wis. and was defeated by UW-La Crosse this evening by a final of 2-1. The loss dropped Luther's overall record to 1-5-3, while UWL improved to 5-2-1.
The Eagles did all of their damage in the first half. Maya Schmitt (1) scored the first goal of the match at 27:42. Cassie Handrick (4) scored what proved to be the game winner at 32:24.
Marta Springer scored Luther's lone goal in the 45th minute unassisted. It was Springer's second goal of the season.
Goalkeeper Kennedy Bergren went the distance in front of the nets and was credited with eight saves. On the opposite end of the field, Luther placed five shots on goal, four that were stopped by keeper Lily Brock.
Luther returns to American Rivers Conference action this Saturday when it will host Buena Vista University. Start time is scheduled for 2:00 p.m.
Sponsor: Soccer (women)
Contact: David Blanchard, 563-387-1586


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Do you have a friend, family member or know another setting in your area who you feel would benefit from LearningBook? Then why not let them know about us…you can grab yourself a £50 Amazon voucher or 20% discount on your LearningBook subscription if they sign up with us (or if you're feeling particularly charitable we can donate £50 to the charity of your choice).
We often hear from people that they came to us on a recommendation from someone else; therefore, it is only fair we reward those who have spread the good word about the benefits of our digital solution.
Simply fill out for the form below.

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is back-ordered. We will ship it separately in 10 to 15 days.
Select Quantity
Easy to apply or remove with simple wrap design. Ideal for swollen or injured knees. A removable rubber donut adds patella stability and improves patella tracking. Neoprene gives compression and therapeutic warmth.
\Universal Size fits measurements of 12 - 21".
Measure above center of knee.
Also available in Plus size.
Cannot be returned if worn or tried on ... NO EXCEPTIONS!
Item Number37-307UNNVY
Special instructions for Ames Walker


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Laurie Gale Designs Giveaway {CLOSED}
The first time I saw Laurie Gale Designs jewelry I was amazed. They are GORGEOUS!!!
Ok so I am going to show you just how gorgeous Laurie Gale Designs items are, they are certainly a work of art!
I am sure you will agree.
Calling all Twilight fans!!!
Edward's Lullaby Bracelet
I have wanted to create a bracelet just for "Edward" for quite some time but finding all the right components and then getting them gathered in my head, well that's been a challenge. If you are a Twilight fan, then all of the things I used will be no 'surprise' really, if you don't understand... well, you'll need to read the books, won't you? :)
Isn't it breathtaking? SO many details.
Or how about some gorgeous earrings?
These will definitely make a statement for any occasion.
Now I am going to show you MY FAVORITE one…
Dream of ... relaxation
The Summer is coming soon and all I can think about is relaxing on the beach somewhere, just soaking up the sun. I was in the mood to make something earthy yet bright and beautiful, this is the result. I mixed genuine turquoise stones (matrix), Howlite rectangles, large 10mm freshwater pearls, Swaro crystals and a stunning ocean side focal lampwork bead... just looking at it makes you long for that dazzling blue water and the salty air.
Doesn't it remind you of a tropical paradise with the sound of waves crashing in the sunset. It sure does for me. I would definitely love to own this gorgeous piece.
You are all lucky ducks today because Laurie Gale Designs is giving one of you…
My Favorite Fruit Lampwork Earrings
Want to win this wonderful giveaway? Here's how to enter:
1st Entry (Mandatory) Visit Laurie Gale Designs and tell us your favorite piece.
Additional Entries: You must submit the entry form for each qualifying entry.
*You must REFRESH the page in order to enter each qualifiying entry.*
|1 Entry-Subscribe to A Giveaway Everyday daily emails.
|2 Entries-Tweet this giveaway and leave us the tweet link. Please include @agiveawaydaily within your tweet.
|1 Entry-Let's have a little imaginary fun…If Laurie Gale Designs was to make you a custom piece what color(s) would it be? What theme?
|3 Entries-Sign up for Laurie Gale Designs emails here. Make sure you put A Giveaway Everyday in the notes section. :)
|5 Entries-Make a purchase from Laurie Gale Designs.
You have until August 17th @ 11:59 a.m. EDT to enter the giveaway. Winners will be chosen by random.org and will be posted on the winners board after the giveaway close. The winning entry will be verified before announcement. The winners will then have 48 hours to claim their giveaway items. If the winner does not claim their prize within their 48 hour period, a new winner will be chosen. *All entries received after the cutoff time will be deleted prior to choosing a winner.


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|Picture lifted off the Facebook page.
I'm in the white, second from right.
This morning The Sailor and I woke up early (for a non-work day) to run the Bonfield Express 5K. It was a little chilly and dreary and misting when we left home but it was a good race. After the Hot Chocolate race, I wanted to beat The Sailor.
We started off with about 3,400 other runners through the streets of Downers Grove. It was pretty crowded. We started in front of the walkers corral but still ran around a lot of walkers during throughout the course. And also children and people with dogs. Not really very safe in my opinion for such a large race. At one point I saw a woman running with a dog almost clothesline a kid with the dog's leash. Luckily she noticed before the kid went down.
Anyway, I followed The Sailor throughout the course, weaving around people the whole way. We got to the final stretch and he started sprinting. I tried to keep up, and was doing a good job, but about 20 yards from the finish, felt like I might puke if I kept up at that pace.
So he beat me by four seconds. He finished in 29:55 and I finished 29:59. Pace 9:39. Not too bad considering how little I've run in the past three weeks.
If it's any indication of the crowd, our splits were 10:16, 10:10 (lost 8 seconds to tie my shoe) and 9:12. Which means we did the last .10 mile in 20 seconds? Hmm. That's not right.I trust the official race time over the GPS on my phone.
Anyway, this will probably be our rematch.
And last night we saw Rev. Peyton's Big Damn Band at Schuba's. Awesome show. Where else will you see a washboard played like an instrument and then set on fire during the finale?


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Tronix Tuesdays took a dozen students to the Civil Engineers National Steel Bridge Building contest at the University of Minnesota in March. Tronix students watched the U of M compete with five other Midwest schools to build the toughest steel bridge and then had the opportunity to put their knowledge to the test! Three teams of students built balsa wood bridges that they tested for strength.
Thanks to the student chapter of the ASCE for an exciting day of engineering!


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23rd Annual NACE Race at Steele Indian School Park
Forty-three runners toured the scenic Steele Indian School Park in Phoenix, Arizona during CORROSION 2018 for the 23rd Annual NACE Race. This event would not be possible without our generous sponsors and dedicated volunteers! A special "Thank You" to Elisa Mueller and the Mueller family from Allied Corrosion that keep this tradition going each year! […]Continue reading


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Sydney & Simon Blast Off in Their Latest Adventure: To The Moon!
They've used STEAM-thinking to save Greenie, revive flowers for the art show, and now Sydney & Simon are embarking on their next adventure that is truly out of this world.
In To The Moon, the twin mice flex their creative and collaborative muscles to create a STEAM-inspired project about the Earth's Moon, all for a chance to meet astronaut Kris Kornfield!
To The Moon is the third installment in the STEAM-powered Sydney & Simon series, which includes Full Steam Ahead and Go Green, written by real-life twins Peter H. and Paul Reynolds. To The Moon is available now from Peter H. Reynolds' own book store, The Blue Bunny Books & Toys.
To celebrate the book's release, we put on our own STEAM-powered hats to develop a few activities for our paper prototyping and fabrication tool, Fab@School Maker Studio:
Inspired by Simon's moon-matching game, you can test your skills with the Fab@School Maker Studio 2D Moon Phase Puzzle. Try adding an extra challenge by filling in each Moon phase name yourself!
Join Kris Kornfeild on her mission and blast off with an animated Rocket Launch pop-up that slides up and down!
Or cruise through space with the Rocket Flight Path pop-up. Try making new tracks for the rocket to trace for an extra creative challenge!
Finally, test your FAB skills with the 3D Rocket Ship. Can you change the shape or size of the design? Can you put yourself and Commander Kris Kornfield inside the rocket?
The FableVision Learning team is excited to see what your students are fabricating, animating, and writing! Share your Moon-inspired Fab@School Maker Studio creations by emailing firstname.lastname@example.com. You may even get the chance to be featured in a future blog post!
But wait! Did you know that our Moon is going to pass directly between the Earth and the Sun on Monday, Aug. 21, 2017? This solar eclipse is a very rare event, and a great opportunity to use STEAM to learn and teach others about our position in the solar system. Check out NASA's Solar Eclipse resource here.


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Our Little House
A few months after buying our land we moved a small old wooden cabin on to it. It was built in the early 1920's and was in need of some serious love. This weekend we installed new windows, double panned! We found them at our local re-use store. It already is looking better. It has been a slow process but every weekend Alex makes his way to the land and works away on the cabin. Hopefully we will be living in it by April! I will post more shots as the cabin evolves in the coming months!


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EAST REGIONAL:?Marquette 71, Miami 61
Vander Blue�s buzzer-beater came at the end of the first half. For a change, Marquette didn�t need one at the end of the game.
After sweating through two edge-of-your-seat comebacks in the NCAA Tournament, Blue and the Golden Eagles figured out how to put one away early, earning Marquette�s first trip to the Elite Eight since 2003 with a win over Miami in Washington.
Blue, who spurred the rallies that beat Davidson by one and Butler by two, finished with 14 points. He wasn�t Marquette�s leading scorer � that was Jamil Wilson with 16 � but it was Blue�s offensive and defensive energy that pushed the Golden Eagles to a double-digit lead in the first half, a spread Miami never came close to making up.
The third-seeded Golden Eagles (26-8) will face No. 4 seed Syracuse in the East Regional final on Saturday, aiming for a spot in the Final Four for the first time since Dwyane Wade took them there a decade ago.
The game wasn�t hard to decipher. Marquette could shoot; Miami couldn�t. The Hurricanes (29-7) had sentiment on their side, returning to the arena where coach Jim Larranaga led mid-major George Mason to the Final Four seven years ago, but they made only 35 percent of their field goals and missed 18-of-26 3-pointers.
Marquette, meanwhile, shot 54 percent, a stark turnaround from its 38 percent rate from the first two games in the tournament. Davante Gardner added 14 points, with 12 coming in the second half when the Golden Eagles were comfortably ahead.
Shane Larkin scored 14 points to lead the No. 2 seed Hurricanes, whose NCAA run to the round of 16 matched the best in school history.
Blue missed his first two shots � pining for a foul after throwing up a clumsy airball on a baseline drive � but he got on the board when he picked off a pass and converted the steal into a one-handed jam to give Marquette an 8-4 lead.
That got him going. A running one-hander made it 12-4. Blue and Junior Cadougan forced a steal, getting Larkin to commit his second foul in the process. The next time Blue missed, Trent Lockett was there to dunk the rebound and put the Golden Eagles up by nine.
Meanwhile, the Hurricanes couldn�t sink a shot, from inside or out. Raphael Akpejiori flung a hook that hit so high off the backboard that it looked better suited for a setup toss in a dunk contest. Miami started 2 for 12, including 0 for 6 from 3-point range, and Larkin�s 3-pointer more than 11 minutes into the game was the first Hurricanes field goal scored by anyone other than Kenny Kadji.
Even when the Hurricanes ran a play perfectly, the shot wouldn�t fall. Trey McKinney Jones had a nice screen set for him in the final minute of the first half, but his open 15-footer rattled in and out.
Jones� miss set the stage for Blue to end the half with an exclamation point. He hit a step-back 15-footer just before the horn to give Marquette a 29-16 lead at the break. He drained the shot, strutted backward downcourt, cocked his right arm and gave Wilson a chest bump as the Golden Eagles headed to the locker room well in control.
The Hurricanes played without backup center Reggie Johnson, who had surgery Tuesday for a minor knee injury. Johnson was averaging seven rebounds, but he would have helped only if he could�ve put the ball in the basket.
Officials allowed the game to be physical. Only eight fouls were called in the first half.
Syracuse 61, Indiana 50
With its 2-3 zone defense disruptive from start to finish, and Michael Carter-Williams pouring in 24 points, fourth-seeded Syracuse upset No. 1 seed Indiana in Washington to reach the East Regional final.
Syracuse limited Indiana to its lowest point total of the season, forced 19 turnovers, compiled 10 blocks and held the normally efficient Hoosiers to 33 percent shooting.
After getting past preseason No. 1 Indiana, Syracuse (29-9) will face No. 3 seed Marquette on Saturday night in an all-Big East matchup for a berth in the Final Four. Coach Jim Boeheim and the Orange haven�t been to the national semifinals since Carmelo Anthony led them to the 2003 title.


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Azadian Group provides $100K to NYC construction services business/
The company, a leader in its niche services segment, has been experiencing a seasonal slowdown in revenues and required short-term working capital to tide them over until business picks up again in the Fall. Due to a significant tax lien and the general nature of the construction business, the company was unable to secure traditional bank or ABL financing. We were able to close in just a few days from application.


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Arizona DUI Defense – Blood Test Inaccuracies for 2019
How to Defend against a DUI Charge in Arizona: 5 Ways Blood Tests Can Be Inaccurate
In Arizona, drivers may be charged with a DUI if their blood alcohol content is 0.08% or higher. Blood tests are widely accepted as being the most accurate way of determining blood alcohol concentration in drivers suspected of DUIs and are often the only objective evidence of a defendant's guilt, making the validity of the test a central question in a DUI trial.
According to Stanford University, the effects of BAC levels can vary from person to person, male or female, slender or heavier; even medication can play a significant role on the blood alcohol readings. Stanford has published a BAC Graph showing the levels of blood alcohol.
Contrary to popular belief, blood tests are not always conclusive in proving that a driver's blood alcohol content was above the legal limit. As explained below, many factors affect the accuracy of blood test results.
If your case involved the taking of blood or urine during your DUI arrest, you will need to wait and see if your BAC results come back at a reading of .08% or greater. This process can take between one (1) and six (6) months for your results to return. In the event your BAC readings are above a .08% the officer will send a suspension of driving privileges to the Arizona MVD office. You will then be notified with a "Corrective Action Notice" (i.e., notice of suspension). As soon as you receive this from the DMV, speak to our certified Phoenix DUI Specialist immediately so we can start the DUI Defense process and request a hearing on your behalf. This hearing request needs to be done within fifteen (15) days of the date of that suspension notice.
How can blood alcohol test results be challenged?
Below are 5 common categories of problems that may lead to the dismissal of DUI charges against defendants who have undergone blood alcohol testing:


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Cross triathlon
Now that's a dirty double
Andi Böcherer proves that even the world's best can enjoy some fun racing during the winter months.
March 6, 2018 | TRAINING|
Andi Böcherer nailed the "Dirty Double" on the weekend, taking the second race of the cross-duathlon series in Trier after taking the season opener at the Dirty Race Murr.
The race consisted of a 5 km run, 23. 2 km mountain bike and finished with another 2.5 km run. Böcherer took the race in 1:28:30, finishing almost 90 seconds ahead of local heroes Jens Roth and Andreas Theobald.
After a strong opening 16:17 run Böcherer had a 20-second lead, but last year's winner (and cross-specialist) Jens Roth was quickly on his wheel. Böcherer was able to pull away on the bike, though, enjoying a one-minute lead starting the run.
"It was a really nice race with a lot of heart and soul," Böcherer says. "Even if the conditions were tough and I had to push myself 100 percent on the bike course, I recommend this course and race to anyone who needs a change in his triathlon training. Two dirty thumbs up for the event - and also for the competition from Jens and Andreas. That was a lot of fun!"
The race rounds up Böcherer's winter training - now he heads for the sun in Spain on Fuerteventura in order to prepare for his first two major races this season: Ironman 70.3 Kraichgau and the Ironman European Championships in Frankfurt.


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Couple of symptoms here:
i) Running ESXi 6.0
ii) Running with the maximum amount of RAM and vCPU count
This was an interesting one insofar it would only occur if if you had updated the VM's to use above.
VM's would upwards to an hour to boot.
Upgrade to ESXi 6.0 patch 1 (build 2809209)
Related links
https://kb.vmware.com/selfservice/microsites/search.do?cmd=displayKC&docType=kc&externalId=2127782&sliceId=1&docTypeID=DT_KB_1_1&dialogID=32536068&stateId=0 0 32534952
In terms of actual detail never got the time to truly ascertain why the slowness occurred for me – occurred during the splash screen phase.


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The 2018 Honda Odyssey increased the use of high strength steels which helped the vehicle shed 75 pounds of weight. Honda used the highly innovative, next-generation Advanced Compatibility Engineering™ (ACE™) in the body structure.Read More »
2017 Audi Q5 Body Structure
Audi knocked nearly 200 pounds off some versions of its popular Q5 by using higher-strength steels and some aluminum.Read More »
Volkswagen New Beetle Active Rollover Support
The Volkswagen New Beetle features an Active Rollover Support that is seen in the video below.Read More »
2016 Honda Civic Body Structure
The 2016 Honda Civic Body Structure has several unique features that responders should know about. Besides a body structure made up of an increased percentage of Ultra-High Strength Steel (UHSS)Read More »
2016 Cadillac SRX Body Structure and Airbags
The 2016 Cadillac SRX has a safety cage built from ultra-high-strength steel, with crumple zones positioned to help absorb and manage crash energy. Six standard airbags, including front- and second-row outboard head-curtain side-impact airbags.Read More »
Hybrid and Electric Vehicle Emergency Field Guide and Free Training?
Ok.... here are two fire training courses plus a Rescue Guide from the NFPA.Read More »
2014 Volkswagen Touareg Body Structure
The 2014 VW Touareg body structure is packed full of reinforced steel. Take a look at the screenshot from Moditech's Crash Recovery System.Read More »
Need a great image for an extrication training PowerPoint?
Looking for a great image to update your extrication PowerPoint presentation? Here is a very large high definition image of the 2015 Chevrolet Colorado. It shows where press hardened steel and UHSS is used. You can zoom in on the ...Read More »
2014 Ford Fusion Body Structure
The 2014 Ford Fusion has an unique body structure. We covered the 2013 Ford Fusion last year here, but felt the need to update the material on the Fusion. The A-Pillar design stretches to the C-pillar and joins all 3 pillars ...Read More »
2014 Hyundai i40 Body Structure
The use of ultra-high strength steel in the 2014 Hyundai i40 bodyshell is highlighted in the image below. More ultra-high-strength steel and hot-stamping.Read More »


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This is neat: customise and download commonly used interface SVG icons.
Tagged: icons
What I learnt today: SVG icons
Today I familiarised myself with the use of SVG icons and SVG sprites and I was amazed by how well it fitted into my workflow. I won't go into much technical detail just yet, mainly because I want to write a detailed blog post about it.
Up until recently, I was thinking more and more about possible alternatives to over-used icon fonts. When using an icon font, we either accepted the overhead of unused icons or we compiled our own font, which became too much of a hassle.
So far, I've been very pleased with SVG sprites and for now, I would consider it the best way of displaying icons. That's what I learnt today.


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Breadcrumbs navigation
Old New Synagogue (Staronová synagoga)
One of the oldest and most valuable European and world Jewish monuments, and the oldest synagogue in Central Europe. The early Gothic building dates from the end of the 13th century with rich stonework and antique furnishings (wrought iron Gothic grille and chandeliers). It is today the main synagogue of the Jewish community in Prague.
- Monuments & Architecture
- synagogue/Jewish heritage
- Gothic
Opening hours
- November – March
- Mon, Tue, Wed, Thu, Fri, Sun
- 09.00 – 17.00
- April – October
- Mon, Tue, Wed, Thu, Fri, Sun
- 09.00 – 18.00
- Fridays – closes an hour before Shabbat
- Saturdays and Jewish holidays – closed
Entrance fee
- basic 200 CZK
- reduced 140 CZK
Practical information
SERVICES - times on www.kehilaprag.cz
ADMISSION FEES in detail here
- Old New Synagogue (Staronová synagoga)
- Červená
- 110 00 Praha 1- Josefov
- +420224800812
- +420224800813
Object history
It is one of the oldest and most valuable European and World-wide Jewish monuments, the oldest synagogue in central Europe that has been used for divine services continuously since the last quarter of the 13th century, with the only exception of the occupation years 1942 - 1945. It is one of the oldest Gothic monuments in our territory. It is an early-Gothic rectangular massive construction made of stone in the 1270s with high saddle roof with late-Gothic brick gables. It is enlaced from three sides by younger low annex buildings, which are used as a lobby and as a gallery for women. The two-aisle interior, arched via ribbed vaults into two pillars in the middle, gives an impression of an extensive space. In the middle of the Eastern wall, there is a box for the Torah scrolls. In the middle of the synagogue, there is a space for the speaker, enclosed by an iron Gothic grille, with a historical banner of the Prague Jewish Community above, with the emblem of the ghetto (Star of David with a Jewish hat inside).
Legend says that the ancestors of the Prague Jews built the Old New Synagogue as long as two thousand years ago, after the destruction of the so called Second Temple in Jerusalem (which happened in the year 70 A.D.) Hewn blocks from the shattered Jerusalem sanctuary were brought to Prague by heavenly angels, who built a beautiful chapel here. When the Messiah comes to gather the children of Israel, the angels will bring the blocks back to Jerusalem to build a new Jerusalem sanctuary, the third already.
The name Old New probably documents the fact that at the time it was built, when it was named New, the aim was to distinguish it from an older, non-preserved synagogue in Dušní Street. When more synagogues were built, the name was outlived already, but the older synagogue was still standing, and therefore probably the name Old New. In any case, it was the main religious centre of the Prague Jewish Community. This was also due to its two most significant rabbis: Jehud Löwa ben Bezalel (1512 - 1609), according to the legend the creator of the famous Golem, whose seat in the Old New Synagogue, to the right from the altar, has remained empty in token of esteem ever since his death. The second rabbi, even more popular in the world, was the famous scholar and master-rabbi Jecheskel Landau, called Noda bi Jehuda (1713 - 1793).
The reconstruction of the synagogue took place in 1967 under a strict supervision of the conservationists. There was another reconstruction in progress from November 1998 until March 1999. Constructional works were accompanied by a thorough archaeological research, which proved with great probability Jewish settlement in the surroundings as early as in the 11th century.
The synagogue is administered by the Prague Jewish Community. Regular services are held here, as well as other religious ceremonies, which belong to the significant boundaries of the Jewish community members - Bar mitzvah (accepting thirteen-year-old boys among men), etc.
The Old New Synagogue has been a National Cultural Monument since 1995.
Information source: www.synagogue.cz


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Monthly Archives: January 2018
How to shock treat your pool or spaShock treatment for your pool is a necessary step to complement your chlorination. Here is what you need ...Read more
How to clear up a cloudy poolEver experienced a cloudy pool? Not only is it unsightly, it can be unhealthy. Here is how you can get your poo...Read more
Pool Maintenance - FAQs AnsweredAs Australia's One Stop Pool Shop, we answer a lot of questions around pool maintenance. Here are the answer...Read more
How to make your pool sparkleHaving a sparkling pool is a cornerstone of a great home. But what do you do when your water loses its shine? H...Read more
4 Items


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Chief Executive Magazine
39,577 Active Subscribers $200.00/M
Published bimonthly, Chief Executive magazine provides information and insights to CEOs seeking to build more effective organizations. CEOs are the ultimate decision-makers and Chief Executive is the ultimate connection to them. Founded in 1977, Chief Executive is the only brand 100% focused on the information needs of CEOs.
Chief Executive Magazine gives readers the information they need to run their enterprises more effectively, more productively, and more expansively. Today's CEOs are more involved than ever in major investment and operational decisions – technology, recruitment, accounting, logistics, banking and more. Chief Executive also covers the human side of being a CEO and reports on the successes and failures of these influential leaders in ways that illuminate, educate, entertain, and inspire other CEOs.
Email Delivery of Postal List $75.00/F
Employee Size $20.00/M
Job Title $20.00/M
Sales Volume $20.00/M
Business Type $20.00/M
Gender $10.00/M
Geo $10.00/M
5,000 names


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Restaurant Template
Online restaurants are getting more popular these days. As a matter of fact, most people love to see online services through mobile devices including restaurant services. So, if you need a template for your upcoming online restaurant project, you should see Resto now! Resto is a one-page, free restaurant responsive bootstrap website template ideally crafted for café, restaurant and other culinary websites. It has a modern, clean and minimal design that gives your customers a pleasing user experience. It comes with simple navigation, reservation, events and contact.
Organic – Green Template
Green is a free html5 website template suitable for agricultural, ecology, farming, gardening, lawn services and for any organic businesses. It has a clean and modern design with sleek and cool, nature-design icon fonts. Green can showcase your organic products using pop-up gallery or pop-up video. Alongside, this template comes with smooth animation, slider and google map. aurants are getting more popular these days. As a matter of fact, most people love to see online services through mobile devices.


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A health term called diabesity is the combination of diabetes and obesity, as these two diseases go hand-in-hand. Physicians WEIGHT LOSS Centers can help if you're at risk of developing both diseases or are already suffering from debilitating symptoms. The team in Fairfax, Virginia treats diabesity by helping you lose unwanted pounds. Call Physicians WEIGHT LOSS Centers to schedule an appointment, or book one online today.
Often obesity and diabetes happen together, as obesity is a risk factor for Type 2 diabetes. The term diabesity includes the combination of obesity — especially abdominal obesity — plus different variations of diabetes, such as:
May people with diabesity also have abnormal cholesterol and triglyceride levels.
Various problems with the way your body uses insulin include:
Insulin resistance is when your body makes insulin — the hormone needed to properly absorb sugar from blood into cells — but it can't use the insulin properly. This causes an increase in insulin production to compensate.
Prediabetes is when your blood glucose (blood sugar) levels are higher than normal, but you don't yet have diabetes. Believe it or not, prediabetes is reversible with a healthy diet, exercise, and weight loss.
When you develop Type 2 diabetes, the team at Physicians WEIGHT LOSS Centers helps you manage the disease. You may have Type 2 diabetes for life, but new research shows even Type 2 diabetes and its symptoms might be reversible using weight loss, a low-calorie diet, and regular exercise.
You're classified as obese if your body mass index (BMI) is 30 or higher, and you have diabetes or prediabetes if your blood sugar is higher than it should be. The medical team at Physicians WEIGHT LOSS Centers helps you find out if your blood sugar is out of range.
Symptoms of Type 2 diabetes are:
Uncontrolled blood sugar can eventually cause problems with your blood vessels, heart, eyes, nerves, and kidneys. That's why if you suspect prediabetes or diabetes, seek treatment as soon as possible to get symptoms under control and possibly reverse your condition.
Lifestyle changes help treat diabesity. The team of medical experts at Physicians WEIGHT LOSS Centers offers:
By changing up your diet, eating fewer calories, getting regular exercise, and losing excess body weight, you can beat diabesity and reverse the signs and symptoms of the disease. Call Physicians WEIGHT LOSS Centers to learn more, or book an appointment online today.


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Neptune expands into the US
Neptune Marine Services has established an office in Houston.
Offshore staff
HOUSTON– Neptune Marine Services has established an office in Houston. It will operate under the name Neptune Subsea Inc.
John Allen, a Houston-based strategic business development advisor, formerly of GE Oil and Gas has been appointed to drive the expansion and maximize the company's opportunities in the region.
The expansion has been supported by Scottish Development International, the international arm ofScottish Enterprise. Funding was awarded to Neptune Subsea Engineering in Spring 2016 for Company Growth Business Support for expansion into the Gulf of Mexico.
Robin King, Neptune CEO, said: "Our expansion into the US was a strategic initiative planned to provide key clients in the US with the technical expertise they have grown to expect from Neptune. We are optimistic about the potential opportunities that our presence in the US will deliver and look forward to expanding our client relationships in the region."


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A write-up regarding atomic piercing.
Compelling atomic piercing pictures
An article upon atomic piercing tagged subsequently keywords such as piercing and body piercing.
Above images represent atomic piercing and are marked gone keywords piercing, atomic piercing and body art.
What's more, this post is tagged with these tags of atomic piercing and art.
Images are allowed for downloading, but be certain you're not violating any legalities.
Additional tags are:
lloyd pierce, jayde pierce youtube, ball sack piercing and sweet and sassy ear piercing.


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Feel like chicken tonight? You might want to consider ordering a pizza instead: More than half a million pounds of chicken products (over 275 tons!) are being recalled because the poultry "may be contaminated with extraneous metal materials," says the U.S. Department of Agriculture's Food Safety and Inspection Service. Yikes!!
The chicken in question is from Mississippi-based Sanderson Farms, which said in a press release that "None of the products that are the subject of this recall were shipped to grocery stores or packed directly for consumers." But even if there's little chance any of this chicken is in your freezer at the moment, this is still a pretty serious matter: The USDA has classified this recall as a Class I, which translates to "there is a reasonable probability that the use of the product will cause serious, adverse health consequences or death."
Pizza is sounding better and better, right? According to the USDA, it was a processing facility that discovered the chicken contained metal shavings, thought to be the result of a malfunctioning ice machine used during production. Scary!
More from The Stir: Popular Salad Dressing Maker Issues Nationwide Recall: All the Wacky Details
It's always extremely disturbing to consider how easily the food we eat can be contaminated, often completely by accident. And we see this kind of thing happen with literally everything edible, from produce to meats to grains and dairy. Nothing is safe! Okay, okay -- time to calm down. Calm down and double-check that no chicken anyone eats in the near future is from Sanderson Farms, that is!
Image via Ian Southwell/Flickr


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Dear players, as you remember,
Creating static command
Building a team is available to each player World of Tanks. Just go to the game mode "Team Deathmatch", select the tab "Play ladder" and then click "Create a Team". You can then send out invitations to join a team of interest to you players.
At the same time, you can send up to 20 invitations.
In a static team may consist of up to 12 people. Players in the team have different titles:
- team owner;
- officer;
- soldier.
The owner of the team is the player who created it. The following table lists the available powers in detail for all posts.
(c) 2015


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(Volume 24-10)
By David Pugliese
It has become the modern trend to increase the cost effectiveness of aircrew training through simulation — and the outsourcing of training flights to private contractors. David Pugliese examines what is in store for the next generation of RCAF pilots.
The Royal Canadian Air Force's future air training needs promises billions of dollars of work for aerospace firms. RCAF leaders have pointed to the need to acquire everything from new simulators to new aircraft for pilot training.
The RCAF future simulation strategy has outlined the need to purchase simulators for the service's CC-177 Globemaster III and CC-150 Polaris transport aircraft and CH-149 search and rescue helicopters. Those acquisitions would eliminate the need for the service to send personnel overseas for such pilot training, according to RCAF officers.
The full cost of implementing the simulation strategy is estimated at $544-million, with the potential for $2-billion in savings over the coming years.
In 2015, Canada's military also started work on a multibillion-dollar program designed to train its future pilots.
Industry representatives have been asked for feedback on the Future Pilot Training (FPT) project, expected to be worth at least $4-billion. The project will be put in place over the next five years and is expected to cover a 20-year period.
In the meantime, the Canadian government has extended CAE's existing contract for the NATO Flying Training in Canada Program through at least 2023 while the RCAF sorts out its training needs.
Military officers eventually hope to combine two existing programs, including the NATO Flying Training in Canada Program, which deals with advanced and lead-in fighter training. Besides training RCAF pilots, the program is open to other NATO and allied nations. Past participants have included aviators from Denmark, the United Kingdom, Singapore, Italy, Hungary, Austria, Saudi Arabia and the United Arab Emirates.
In 2027, a program dubbed Contracted Flying Training and Support, which will provide the Canadian Forces with primary flight training and specialized helicopter and multi-engine, fixed-wing pilot training, also will be brought under the FPT umbrella. Numerous firms are expected to be interested in the potential work.
For instance, Leonardo has already started marketing the Aermacchi M-345 jet as a solution for the whole range of the RCAF's training needs. The Italian Air Force has already ordered a first batch of five M-345 aircraft, which Leonardo describes as having costs comparable to those of a high-power turboprop aircraft but with a higher performance level. The first delivery of the planes for the Italian Air Force is expected by 2019.
The engine is a turbofan Williams FJ44-4M-34 for military and aerobatic use, according to the company. The cockpit is equipped with HOTAS (hands on throttle-and-stick) commands, digital displays with three-colour touch screen MFD (multi-function display) and a head-up display (HUD), which in the rear seat is replaced by a display repeater of images of the front HUD.
Life cycle cost reduction is driven by long fatigue life and two-level maintenance, Leonardo added.
Italy is expected to purchase 45 M-345s to replace the Aermacchi MB-339. The aircraft would be used in both a training role and for Frecce Tricolori, Italy's aerobatic team.
That last role could set the aircraft up as a potential replacement for the Snowbirds' CT-114 Tutor aircraft.
While the purchase of new training aircraft for the RCAF might still be some ways off, the awarding of another training contract is expected shortly.
The winner of the $1.5-billion Contracted Airborne Training (CATS) contract was supposed to be selected in December 2016, but it has been delayed somewhat by shortages of procurement specialists in the federal government.
Discovery Air Defence from Montreal has been providing such services for the Canadian military since 2005. It has also expanded in operations internationally and was recently hired to provide similar services to Germany.
Discovery Air is up against CAE, which has allied itself with Draken, a U.S. firm.
Public Services and Procurement Canada official Nicholas Boucher said the plan is to still award the contract sometime in the "fall of 2017" although no specific date has been provided.
The existing bids, however, are valid until October 31, 2017. As of press time, Boucher told Esprit de Corps that "a bid validity extension has not been requested," meaning that it is expected a winner will have been selected by the end of October.
CATS will provide aircraft to the Canadian Forces to simulate hostile threats for ground and naval forces as well as fighter pilots. The winning firm also provides aircraft to tow targets and carry electronic warfare systems for various training scenarios, according to the information supplied by Public Services and Procurement Canada.
CATS will run over an initial 10-year period, followed by the option to continue for another five years. The winning bidder is required not only to provide planes and pilots but also maintenance crews and engineering support. The Canadian government estimates that aircraft operated by the winning bidder will have to fly between 2,500 and 3,500 hours a year.
The majority of services will be provided in Victoria, B.C.; Cold Lake, Alberta; Bagotville, Quebec; and Halifax, Nova Scotia. Other training flights could take place outside Canada, including in the U.S. and Mexico.
Discovery Air has taken its skills developed on the Canadian program and is now applying them to other programs in foreign countries.
It has teamed with Leonardo and Inzpire Ltd. to develop and deliver what the firms are calling a customer-centred, low-risk, live air training solution for the UK Ministry of Defence's Air Support to Defence Operational Training (ASDOT) Program. The companies will combine their capabilities, expertise and experience in live air aggressor training, air warfare training, electronic warfare, and airborne systems integration to deliver a highly capable and scalable solution to support ASDOT's live fly tactical training needs through the mid-2030s, the firms noted in a statement. This support would be for RAF Typhoon and F-35 Lightning II aircraft.
Discovery Air had an earlier alliance with Inzpire but it has been expanded to include Leonardo, the firms noted in a September 12 announcement.
With extensive experience in working with the RAF on their Typhoon and Tornado aircraft, providing advanced technology, training, services and support, Discovery Air noted that Leonardo is well placed to understand the end user requirements for ASDOT and offer the best mix of simulation, networked and integrated training capabilities to train British combat jet pilots in the most effective and efficient way possible.


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This bed & breakfast is situated in Hollywood, just a 10-minute walk from the Storer House and the Wattles Mansion. It is also a brief car ride from Universal Studios Hollywood and the Hollywood Walk of Fame.
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This property is conveniently positioned in Hollywood and provides a swimming pool.
Situated within walking distance of Hollywood/Highland Metro Station, Modern Home in Hollywood Hills Los Angeles offers guests a convenient base while in Los Angeles. It provides laundry facilities, and is an easy walk from the Wattles Mansion.
Located in Los Angeles, Mar Lu is an easy drive from Universal Studios Hollywood and the Los Angeles County Museum Of Art / LACMA. It also offers free Wi-Fi, an outdoor pool and a garden.
The Beverly Hills Chateau is set in Los Angeles and is within a short walk of nearby attractions, including The Comedy Store.
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Dental Implant-Supported Denture
Dental implants are a great solution for restoring missing teeth; they can restore a single tooth, multiple teeth, or they can even act as support for bridges, removable, and fixed dentures. When patients are looking for a permanent solution to missing teeth, a dental-implant supported denture may be the perfect solution. It offers the benefits of dental implants, but may be a more effective solution to restoring many teeth rather than individual implants.
Dental implant-supported dentures are more effective than regular dentures because they are more permanent, they stimulate the jaw and therefore preserve your oral health, and they will not slip or cause sores in the mouth. To hear more about this tooth replacement solution, we encourage you to watch the testimonials below. You can hear from our patients about just how effective implant-supported dentures are and why Southern Oral & Facial Surgery is the best place for treatment.


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Efforts to legalize marijuana for recreational use are gaining momentum in Washington state and Colorado, despite fierce opposition from the federal government and a decades-long cultural battle over America's most commonly used illicit drug.
Officials in Washington state on Friday said an initiative to legalize pot has enough signatures to qualify for the ballot in November. In Colorado, officials are likely this week to make a similar determination about an initiative there.
Supporters are prepared to possibly spend millions of dollars ahead of the November ballot, when they hope a strong voter turnout, particularly among youth, for the U.S. presidential election will aid their cause.
"Whether it's make or break depends on what public opinion does after 2012, but in terms of voter turnout this is the best year to do it," said Alison Holcomb, director of New Approach Washington, the initiative's sponsor.
While 16 states, including Washington and Colorado, along with the nation's capital, now allow marijuana use for medical purposes, cannabis remains an illegal narcotic under U.S. law – and public opinion is sharply divided on the merits of full legalization.
California voters turned back a ballot initiative to legalize marijuana for recreational use in 2010, in part because of concerns about how production and sale of the drug would be regulated.
Since then, the U.S. Department of Justice has cracked down on medical cannabis operations in California, Washington state and elsewhere, raiding dispensaries and growing operations and threatening landlords with prosecution.
Read on at Reuters here


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Jeff Bezos, the founder of Amazon (AMZN), does not want to see Steve Jobs, the co-founder of Apple (AAPL), take away the e-reader market with the new Apple iPad. The iPad does almost all the things that the Amazon Kindle does, and has some additional features that allow it to operate like a laptop computer.
Apple may have made set the retail price of the iPad too high. The three versions of the device will be priced at $499 for 16GB, and $599 for the 32GB version, and $699 for 64 GB. Those price points are reasonable, but Apple adds $130 per device for 3G capability. High-speed wireless access is essential to the success of a portable e-reader or computer, so Apple is charging money for something that most of its competition has rolled into their base prices.
The Kindle is sold with the 3G capacity already installed. The small 6" version of the Kindle retails for $259, and the larger 9.7" screen version is available for $489. Amazon does have an e-book store with 400,000 books, but it is safe to assume that Apple will be able to match that selection over time.
The value of the Kindle today may be that some people simply want an e-reader and do not want to be bothered with the complexity of carrying a tablet, netbook PC, or laptop to read the books, magazines, and newspapers that they download and carry with them electronically. Nonetheless, the Apple iPad's price is too close to the Kindle's for Amazon to do nothing to protect its share of the e-reader market, which by some estimates is 90%.
iSuppi estimates the cost to build the base Kindle is slightly more than $185. The estimate was done almost a year ago. The volume of Kindle sales has probably helped bring down the price to build them. Amazon has room to cut price, but with a price cut it will take away some if not all of its profit on the device.
Amazon markets best-selling books in e-book format for $9.99. The online retailer probably does not make money on those sales, but they help Amazon to build a moat around its e-reader business. To strengthen that moat as Apple enters the market, Amazon will have to cut the Kindle's price by at least 20% to bring it well below the iPad's. That means lowering the price of the base Kindle to $199 and the 9.7" screen Kindle to $399. The new iPad coincidentally has a 9.7" screen.
Amazon will cut the Kindle price and that means it will probably do no better than break even on its e-reader/e-book business for the next year and perhaps longer. That is the sacrifice it will have to make to keep Apple from taking the market away.
Douglas A. McIntyre


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How Long Can I Drive On Bald Tires?
Three Ways Bald Tires Can & Will Kill You
Don't Let this Happen to You
You can drive on bald tires for as long as you feel comfortable risking your life. Technically, you can drive on bald tires until they burst on the freeway while you're doing 80 miles per hour; but we don't endorse that. Customers often ask the expert mechanics at Sturtevant Auto how long they can drive on bald tires and we always tell them; "As long as it takes to drive down to our yard and buy new tires." Bald tires aren't just dangerous, they're deadly. Driving on bald tires can kill you the following ways:
We aren't writing this because we want to scare you into buying tires from us. We're writing this because driving on bald tires is truly dangerous. The 2,000 pound hunk of steel you are driving is connected to the road by four pieces of rubber, make sure those pieces of rubber are safe.
Affordable Used Tires from Milwaukee-Area Junkyard
Bald tires are nothing to mess with, especially on slippery roads. It's a sure sign that you should replace your tires-pronto! Don't wait until it's too late, visit our junkyard near Milwaukee to find used car tires for cheap. They serve as wonderful replacements in excellent condition and you're not spending a fortune!
Sturtevant Auto carries used car tires for all different makes and models, including:
1. Hydroplaning in a Rainstorm and Crashing into a River
The tread on your tires is designed to push water out from underneath them. As that tread wears down nothing prevents water from getting between the road and your tires. Once you hydroplane, you can no longer turn to avoid a crash or brake to slow down.
2. Losing Control and Spinning Out into a Tree
The tread on your tire helps grip the road. Proper tread ensures your car goes where you want it to go, not where momentum wants it to go. Take a turn with bald tires and there's nothing stopping you from going straight into a tree.
3. Stopping Short and Crashing into a Semi
Tread keeps your car from going where you don't want to go. If your tire is bald, you won't have any tread to slow you down. Stopping distance increases exponentially if your tires are bald. You could have the best brakes in the world, but they won't make a difference if there's nothing keeping you on the road.
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Aside from used tires, we also carry other auto parts for affordable prices. From windshields, to batteries and transmissions, we've got it all, including:


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Aspire PockeX Review:
Aspire PockeX Pocket AIO can be your Vape Companion both indoor and on-the-go. Designed to be discreet and low-profile sub-ohm device, it is only 11.77cm tall and 1.97cm width making it a perfect All-in-One device that fits in any pocket.
As I mention earlier, the Aspire PockeX has a compact size of 11.77cm by 1.97cm.
Being just a little bit shorter than your average smartphone.
The PockeX is one of the shortest tube-shaped pocket All-in-One (AIO) device.
Available in Matte Black and Stainless Steel finish.
Top Fill Tank System
Aspire PockeX has a top-fill design which means the atomizer screws into
the top portion of the drip tip instead at the bottom tank of the device.
This allows us to replace the atomizer without draining the tank with e-Liquid.
The Aspire PockeX has a 2ml liquid capacity and features a 0.6ohm coil,
which is based on U-tech technology and constructed from 316L SS heating material. It is recommended to be fired at a wattage range of 18-23w and at that wattage range
it ensures a deep and flavorful vapors. Aspire PockeX uses a 1500mAh battery
and can get a maximum output power of 23W.
PockeX Top-Fill Instructions
- Unscrew and remove the top cap
- Squirt your favorite E-Liquid into the tank (Do not exceed the Max line when filling)
- Screw the top cap to the PockeX tank
Note: When using the atomizer for the first time, make sure to let the
wick soaked with e-Liquid before firing. This should take around
2-3 minutes depending on what e-Liquid was used. This will ensure your atomizer will not burn out..
Features and Specifications Of Aspire PockeX
- Top Fill – Easy to Fill without draining e-Liquid while replacing coils
- Top Airflow
- Leak Proof Design
- Tank capacity: 2ml
- Coil resistance: Nautilus X U-Tech Coil (0.6 316L SS)
- Resistance Range: 18-23W
- Delrin Drip Tip


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Plaid silk nursing top
Model: Betty
Height: 5'5" Weight: 150 lbs Pregnant: 32 weeks with baby #2
Model wearing: M
Maternity, fitted, breastfeeding friendly
Questions about fit? Email firstname.lastname@example.com
92% Bamboo 8% Spandex, machine wash cold, tumble dry low
Made in Canada
This high quality bamboo tank will have you wanting to stock up in all the different colours. Simply designed with pull-down nursing access, it's a basic foundation for mixing & matching. With all the different outfits you can make with it - you'll be living in this before and after your baby arrives.
Fun model facts:
What's the one thing you can't wait to eat/drink (after baby arrives)? Sashimi and eggs over easy.


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Today's Saturday Interview guest is historical novelist Alison Morton. Welcome to my blog. Please tell us a little about yourself as writer and as person.Tell us a little about yourself as writer
The novel writing bug struck me in the middle of a bad film. Although impressive cinematography, the film's dialogue grated on my ears. I turned to my husband and said, 'I could do better than that!' And he replied, 'Well, why don't you?'
Until then, my 'word work' had been translation, editing, generating commercial and government documents, financial drafting and two academic dissertations. The day after the bad film, I started bashing out my first draft of 90,000 words. When I'd typed 'The End' ninety days later, I didn't have a clue what to do with it. Then began a three-year apprenticeship as a novel writer; courses, conferences, joining a writing association, reading, networking, critique groups, professional evaluations and innumerable rewrites.
After kissing a lot of literary frogs, but never finding my agent prince, I decided to publish independently via publishing services company SilverWood Books.
Why did you choose to write historical fiction?
Is there any other kind? Seriously, I had grown up reading The Eagle of the Ninth (R Sutcliff), and books by Geoffrey Trease, Henry Treece and Mary Renault amongst others.
Children gain a more personal understanding of the past when they identify with characters in an exciting story and see historical events through those characters' eyes. Reading historical fiction spurred me on to find out more about the real people in those stories and the period they lived in, and eventually led – many years later – to me taking a master's in history.
What in particular fascinates you about the era(s) you write about?
The complex, power and value-driven Roman civilisation has fascinated me since I walked on my first mosaic at age 11. 'Rome' lasted 1229 years in the West, which time span would take us back to AD 786 from today. It changed from a tiny community of tribal farmers to a confident military and trading empire boasting high culture, diversity, power, engineering and rule of law eventually dwindling to a miserable rump kneeling before barbarians. But Rome gave us systems, values, cultural and engineering genius and literacy that are still firmly embedded in our psyches today. In my alternate projection of a Roman society in the present day, this heritage is an integral part of the thriller stories and the characters' motivations.
Tell us about the concept behind your books. How did you get the idea?
Since the age of eleven, when my father told me about senators, soldiers, trading ships power play and conquest, I've wondered what a modern Roman society would be like if run by strong women. I spent many hours building a whole world around this idea, daydreaming about adventures, heroic women, high treason and Roman virtue. Even when absorbed by standard historical fiction, speculating about the historical timeline has been a favourite pastime with me; Robert Harris's Fatherland caught my imagination immediately when it came out in 1992.
All this came together as my 'what if' thrillers set in Roma Nova, the last part of the Roman Empire to survive into the modern age. It's a small hi-tech country wedged in between the Helvetian Confederation, New Austria and northern Italy. People are resilient, direct and very attached to their Roman roots; my heroines serve in the modern Praetorian Guard – now there's a turnaround! You can read the full story of how Roma Nova became the egalitarian–plus society it is today from its origins in AD 395 here: http://alison-morton.com/roma-nova/roma-nova-history/
The first three books, INCEPTIO, PERFIDITAS and SUCCESSIO are set in the recent past and the present, and feature Karen/Carina Mitela, whom readers seem to like! The next three take us back to the late 1960s to early 1980s, the time of Great Rebellion and the seizure of power by a ruthless man with a nationalist vision.
What is your life like outside of writing?
There's a life outside of writing?
What is your advice to new writers?
- Think about the purpose of your book, work out the structure – incident, three turning points, black moment, denouement, wrap-up – before you start writing.
- Visualise your characters' lives, but don't do over think it – their personalities will emerge as you write.
- Bash your story out and don't agonise about editing while writing that first draft
What are you working on now?
Book 4, AURELIA, came out in May this year. I've nearly finished the first draft of the fifth book in the Roma Nova series. Books 4, 5 and 6 are a new cycle in the series, but I make sure each book can be read as a standalone story. When I've polished book 5 to the best of my ability, it will go to my critique partner, then structural editor and finally copy editor. And of course, in between these stages, there will no doubt be revisions…
Historical Novel Society indie Editor's Choice Autumn 2015
Late 1960s Roma Nova, the last Roman colony that has survived into the 20th century. Aurelia Mitela is alone – her partner gone, her child sickly and her mother dead – and forced to give up her beloved career as a Praetorian officer.
But her country needs her unique skills. Somebody is smuggling silver – Roma Nova's lifeblood – on an industrial scale. Sent to Berlin to investigate, she encounters the mysterious and attractive Miklós, a known smuggler who knows too much and Caius Tellus, a Roma Novan she has despised and feared since childhood.
Barely escaping a trap set by a gang boss intent on terminating her, she discovers that her old enemy is at the heart of all her troubles and pursues him back home to Roma Nova…
Raised by a feminist mother and an ex-military father, it never occurred to Alison Morton that women couldn't serve their country in the armed forces. After six years, she left as a captain, having done all sorts of interesting and exciting things she can't talk about, even now…
Fascinated by the complex, power and value-driven Roman civilisation since childhood, she wondered what a modern Roman society would be like if run by strong women…
Now, she lives in France and writes award-winning Roman-themed alternate history thrillers with tough Praetorian heroines – INCEPTIO, PERFIDITAS, SUCCESSIO and now AURELIA.
Connect with Alison on her Roma Nova blog: http://alison-morton.com/blog/
Facebook author page: https://www.facebook.com/AlisonMortonAuthor
Twitter: https://twitter.com/alison_morton @alison-morton
Goodreads: https://www.goodreads.com/author/show/5783095.Alison_Morton
AURELIA trailer (YouTube): https://youtu.be/K5_hXzg0JWA
Find all buying links here: (multiple retailers/formats):
AURELIA: http://alison-morton.com/books-2/aurelia/where-to-buy-aurelia/


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Chronic Trauma, the Sound of Terror, and Current Israeli Cinema
Since the outbreak of the first Intifada in 1987, and especially during the height of the second Intifada (2002–04), Israeli society experienced chronic trauma. This stemmed from a long series of terrorist attacks perpetrated by Palestinian suicide bombers who acted alone, carrying explosive-packed belts or parcels into crowded urban settings. While an average of three such attacks occurred monthly between October 2000 and November 2004,1 they were pushed away from the public eye by Israeli public discourse.
This distancing is built into the level of visual imagery allowed by the media. The attack is represented in media reports by familiar iconography (long shots, invisibility of the corpse, etc.). In terms of sound, one can't even speak of representation, but rather of a total absence, the result of a silencing. Even though the blast waves of the explosion are mainly responsible for the traumatic forcefulness of the event, i.e., its visible traces, the volatility of the sound of the blast is consistent with its "silencing" in terms of its representation. The traumatic sound lacks any intimacy with the symbolic. In this sense, when speaking of levels of traumatization, repressing sound seems to be the deepest level. No wonder, then, that Israel's chronic social fantasy regarding terrorist attacks is first and foremost acoustic: every Israeli is familiar with the visual aftermath of attacks, but only the victims have actually heard them. The fantasy, structured around the moment of the blast as a phantom, is powerful precisely because the sound quickly vanishes and is unrepresentable. Like the traumatic event itself, signified by its reverberating boom, the sound is conceptualized only later, in its imagined post-effect. From this perspective, [End Page 121] sound symbolizes the unapproachable essence of the traumatic event, and is thus more commensurate to the event than the visual image could ever be.
These memory processes become even more complex when one looks at the overall context; i.e., both the Intifada and the occupation.2 I believe that the acknowledgment of the terror attacks, and therefore, post-traumatic memory, was retarded because of a combination of conservative political orientation, discourse focused on Jewish victimhood,3 reluctance to recognize the steep price of occupation, and the hegemonization of victory.
During this period of ongoing trauma, the collective memory of the Israeli imagined community—as manifest in public discourse—forced itself on personal memory4 and subjugated the latter's single-event character to its own chronicity (which opposes acknowledgment). The result was two modes of memory that have in common not what they share (the trauma of the terror attack), but what they don't share (the acknowledgment of trauma and its conversion to post-traumatic memory). In other words, Israeli reality during those years was one of anti-memory, its structure preventing it from becoming memory. Therefore, any attempt to analyze the trauma must develop tools either outside of memory or beyond it.
Recent humanities-based trauma studies from Caruth5 to Walker6 have repeatedly focused on analyzing the single traumatic event (rather than chronic trauma), doing so through conceptualization of memory (and not of anti-memory). Traumatic memory (with obvious characteristics of double telling, a-referentiality, and belatedness)7 determines the character of traumatic discourse and its limits.
The question is how the reality of "anti-memory" was expressed in Israeli cinema during the second Intifada; i.e., is it possible to present post-chronic trauma outside memory? And further on, will Israeli cinema treat the acoustic phantom, the generator of chronicity? If so, will presentation of the sound as the volatile other of the post-traumatic image assist in mediating a new approach towards the symbolic, the horrific?
Beyond Memory and into the Time Trap
I suggest, therefore, the term "pre-memory" to describe memory (both personal and collective) that has not yet become part of the belatedness (Nachträglichkeit) process. Pre-memory hampers or obstructs belatedness in an attempt to distance its effect, which is the belated response of acknowledgment. This mode comes before the first belated processing of the traumatic experience.
Discussing extreme traumatic events, Marianne Hirsch and Janet Walker define distinct types of remembrance. Hirsch coined the well-known term postmemory to define the identification-related traumatic memory of the post-Holocaust generation as opposed that of the Holocaust generation itself, the victims: [End Page 122]
Postmemory is a powerful form of memory precisely because its connection to its object or source is mediated not through recollection but through representation, projection, and creation—often based on silence rather than speech, on the invisible rather than the visible . . . It is defined through an identification with the victim or witness of trauma, modulated by the unbridgeable distance that separates the participant from the one born after . . . Postmemory characterizes the experience of those who . . . have grown up dominated by narratives that preceded their birth, whose own belated stories are displaced by the powerful stories of the previous generation, shaped by monumental traumatic events that resist understanding and integration.8
In order to free herself from the binarism of false memory/true memory and discuss the immanent and inseparable link between fantasy and reality in unrealistic modes of historical memory in cinema, Walker coined the term disremembering:
The process described by psychological literature as that of conjuring mental images and sounds related to past events but altered in certain respects shall be termed "disremembering." Disremembering is not the same as not remembering. It is remembering with a differencr . . . Disremembering can become urgent when events are personally unfathomable or socially unacceptable. Disremembering incest or the Holocaust is a survival strategy par excellence.9
Are postmemory and disremembering beyond-memory forms? Are they anti-memory? I believe not. In spite of their disparities, both are involved—in different ways—in the processes of identification, displacement, vicariousness, and belatedness. Neither of the writers is defining a condition of a-memory, but rather a condition in which the memory form is forced upon the person doing the remembering, and is recast as a survival strategy. (Walker says so openly, Hirsch hints at this).
Should pre-memory also be looked upon as a survival strategy? I believe not. Both of the above memory modes facilitate defining pre-memory by opposing it: pre-memory is the polar opposite of these processes. It abrogates identification with the personal memory; rejects metaphoric, metonymic, and displacement relationships in order to separate the modes from one another as much as possible and impose the collective on the personal; and rejects or halts belatedness.
I believe that two factors "transform" belatedness from a process that induces acknowledgment of the event to the obstructiveness of pre-memory. The first is the chronic nature of the trauma, which resulted in the memory of personal events being overcome by the chronicity of the attacks. The second is the subjugating invasiveness of the collective memory.
If pre-memory is essentially the opposite of post-traumatic memory, how should the "opposite" of the temporality of belatedness be defined and how [End Page 123] can the temporality of this personal/collective anti-memory be described? Beneath the trauma of terror attacks, the temporal reality of anti-memory is a pathological milieu that has trapped Israeli society between two "possibilities of time" that undermine the approach to time currently accepted in trauma studies ("before and after"). On one hand, pre-memory is the time of the attack, the time that "any minute an attack can happen"; on the other, it is the other time, the interval.
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The interpretive parameters of secondary trauma and distance suffering10 that were adopted consequent to the events of September 11, do not accurately describe the unique Israeli combination of catastrophes that are [End Page 124] simultaneously one-time and chronic. The term 9/11 in fact symbolizes its one-time nature, and calls attention to the Israeli antithesis—almost twenty years of continuous trauma—and accordingly, and necessarily, what alters the psychosocial approach to time and the status of traumatic memory for those who experience it.
What characterizes the time trap? First, the two possibilities of time accelerate the presentification of the experience as "new" time: "The significance of the now is . . . in the presentification of both the 'now-no-longer' and the 'now-not-yet.' This is where the now differs from the 'ordinary' conception of time."11 Both possibilities of time create radical temporality of presentification as part of the survivors' instinct not to give in to premonitions. The accelerated version of presentification is based on two separate systems of time. In one, the arbitrary moment controls the individual/singular. In the second, the time is the interval, seemingly infinite, until the moment of the event. In contrast to the individual moment, the critical moment of temporality, the interval has double significance in three aspects: it is composed of a compressed multiplicity of events, but also acts as a gap; it is infinite, but has the potential to become singular; it is perceived as an a-traumatic break, but has the traumatic potential to take possession of us. The gap between the critical moment and the interval (compression/emptiness, endless/singular, a-traumatic/traumatic) is based on the second characteristic of the time trap, negative circularity.
How can the critical singular moment be described? Beyond Walter Benjamin's theory of shock, how can the negation of continuity be described? As the suspension of consciousness of the passing of time? As the opposite of durée? Karl Heinz Bohrer claimed that "suddenness is understood . . . as an expression and a sign of discontinuity and nonidentity, as whatever resists aesthetic integration."12
The sudden as an ontological category indicates precisely the watershed point at which the referential and the indexical fractures break away from the traumatic event. Suddenness is the third characteristic of the time trap, and describes both the quality of the one/singular moment of abruptness and the double significance of the interval. The fourth characteristic relates to the lack of anticipation of the unknown, replaced by anticipation of a known unknown (shall we call it uncanny presentification?). Israeli society experienced a change in the perception of the irreversible moment, the arbitrariness in which public space is transformed from a fertile space to a consuming space, the citizen changing instantaneously from a passerby, flâneur,13 to a terror victim. Suddenness is thereby characterized by irreversibility, arbitrariness, and specific bi-temporality (caught between the already-occurred and the yet-to-occur.)
These characteristics raise several questions: Did Israeli cinema during the second Intifada respond to the time trap? Did it succeed in locating the sudden? Is there a style of suddenness? [End Page 125]
From 2002 to 2005, the Jerusalem International Film Festival sponsored Moments, a competition for three-minute films. On the cultural level the project was a response to the time trap in which the random moment constructs reality.
The short-short film as a cultural category operates within exceptional time and place. In contrast to the episodic film 11'09"01–September 11 (p. Alain Brigand, FR, 2002), the format is neither a gimmick nor a one-dimensional response to arbitrariness: it provides an exact expression of the intensive time experience that quickly reaches culmination and makes the attack a traumatic event. In contrast to narrative films, however, the Moments films are characterized by how they use audial presentation to deal with the suddennessof terrorist attacks.
The audialization of the trauma does not deal with the moment of the attack itself. Instead, the films use sound to build a sometimes misleadingly familiar representation of "before and after" the trauma: "if" has been added as a Z . iz .ek-like return of the repressed from the future. In addition, each of the three possibilities is portrayed as invariably embodying the other two. In all of the films the "before" is also the "after," which is also the "if," as if the attack that has already occurred will re-occur.
The following analysis of four of the films will illustrate four possibilities of representing post-traumatic terrorist attacks through a combination of the short-short format and sound that transcends the time trap.
Possibility I—The Quiet of the Interval (Waiting for the Attack)
Rak Shelo Yavo Po Ode Pigua/Just Not Another Suicide Bombing (Amit Drori, IL, 2004)
For the entire three minutes, the film depicts passengers on a bus. They are photographed in medium or full close-ups and are all seen observing the activities unfolding on the bus. Only diegetic sounds are heard.
This short film is built on the no-sound of waiting for an attack; that is, on the typical quietude of the time trap in which anticipation of the random moment structures time as an interval that lasts until the very moment of the attack. This momentary silence, Lacan's beneficent punctuation, connotes the horrific antithesis of nothingness—a quiet something, unavoidably present. This quasi-documentary depiction of an April 2004 Jerusalem bus ride as a period of waiting is important for several reasons: First of all, the exterior of the bus is never photographed and the world of the bus becomes a closed one. Second, the waiting emphasizes the interval, the gap, because there is no action. Third, the passengers look into the camera in a way that is almost premonitory, since the camera is placed where a potential terrorist could be standing. They look at the camera without being aware of its presence, just as they cannot be aware of the presence of the invisible terrorist. Vis-à-vis both [End Page 126] the camera and the terrorist, the passengers' look is not a gaze, but rather the undirected glance of ordinary bus passengers. Fourth, it is filmed over a long period of time. The camera follows the passengers with long shots, the silence emphasized by the passing time.
The facial shots, lack of action, undirected looks, long takes, diegetic sounds (voices, horns, doors, sirens), and complete lack of dialogue suspend the moment of suddenness; they indicate that the passengers are total strangers and emphasize the arbitrary randomness of their being together on the bus. As a result, the traumatic "before" and "after" are united. In the mute look at the camera and the complacent quietude, there is anticipation not only of the future, but of the past. The inability to see the invisible, so tragic here, becomes in a deep symbolic sense a symptomatic effect that precedes the traumatic cause. This three-minute film catches and represents the time trap of terrorist attacks through the sound of silence and the "look without a gaze."
Possibility II—The Techno-Sound of the Scanner
Security Groove (Idan Alterman, IL, 2002)14
Against the of backdrop of urban Tel Aviv, the film opens with a car-park security guard asking a driver to open his trunk for inspection. From the instant the hood is slammed, pounding music accompanies the security signifiers (bags and cars inspected, zippers opened, bodies scanned, security surcharges rung up). The faces of the public are almost unseen. We see only the faces of the security guards and the security signifiers. The shots are fast and cut by the rhythm of the music. The film follows the inspections, the instructions ("open the trunk"), and the questions ("are you armed?") repeatedly until the last car. Its inspection is accompanied by the ticking of a clock and the Israeli national anthem.
This film, unlike Another Suicide Bombing, depicts twenty-four hours and deals with the second aspect of waiting time, the two meanings of compressing events into the single moment of "security." The portrayal of the waiting period is also ambiguous in an additional sense. On one hand are the technical sounds of the security routine—probably a reflexive indication of the habitual naturalization of technical tones liberating the security sounds from the ordinary and bringing them into the domain of the aesthetic. The techno-music is seemingly a part of contemporary musical reconciliation expressing technolust. The technolust and the humor that yield to the rhythm indicate that we are in the domain of a double-faceted defensive illusion: both of security and of cinematic aesthetics. On the other hand, the repetitiveness and redundancy of the ritual of the sound indicate anticipation not of the defensive illusion but of the possible failure of the surveillance culture. The ritual of the sounds is necessitated by the crisis of the senses fostered by the terror.
While visually and audially the film highlights the security system, it invalidates the gaze as a possible source of power and control. The camera is inside the open car trunk or the open bag, and together we observe the security [End Page 127] guard—and not the opposite. The "place" of the potential bomb is actually looking at him. In concert with the panoptical question "Are you armed?" the scanner is the main pan-auditory instrument, the auditory correlative of surveillance culture. Its sound, which determines the techno-narrative, emphasizes the loss of the power of the gaze and grants preference to sound. What is hidden from view is discovered by the ear. Absurdly, the denaturalization of the sounds of security reminds us that this also characterizes the time of the terror attack: what is hidden from the eye is discovered by the ear . . .
The urban soundtrack of Security Groove ends in an ironic audial dystopia. The national anthem HaTikva (The Hope), replaces the ritual repetition of the security sounds. Only the anthem is heard, outside its usual context, its national ceremonial nature expropriated.
The techno-political sounds of the period of the second Intifada transform the eternal time of national hope and pride into an eternal time of security. This is not, however, the time of eternity. The failure of the culture of surveillance is revealed in repetition, culminating in the ticking of a bomb heard together with the closing of the hood, and alludes with finality—through the convention of audiality—to the failure of surveillance. In this sense, Security Groove returns us to the negative circularity of the time trap.
Possibility III—The Unheard Modulation of the Corpse
Ringtonim/Ringtones (Dov Gil-Har, IL, 2004)
This film opens with a close-up of a ringing cell phone. The camera views a series of such phones and occasionally returns to show the words displayed on their screens ("Mom," "Dad," "Sarit is looking for you"). The ringtones are heard one after the other and then one on top of another. The frame gradually opens and we see the surroundings—the interior of an incinerated bus. The camera, scanning the empty seats, blood-soaked floor, and scattered school bags is accompanied in the last minute by a live radio broadcast announcing there may be casualties.
Unlike Security Groove, Ringtones offers no auditory pleasure. Since a cell phone is always connected to the body—the ear or mouth—the ringtones, as disembodied voices, confirm the absence of the body in the total sense. This is not only the disembodiment of the caller's voice so familiar in contemporary culture, unconnected to total absence since the voice is present and only the body absent. Instead of the voice of the recipient being a representation of its body, we are exposed to a request for modulation that signifies total absence of the body that also includes absence of the voice. The telephone represents the missing body of the dead as a kind of prosthesis. It is expressed very simply—most of the phones are lying on the seats.
The movement of the camera within the bus takes us to the invisible site in public space, inside the charred bus, which seems to be presented as post-abject space. As the history of the telephone proves, it has always been associated [End Page 128] with death. With that, in this film, which plays havoc with the rules of the telephone-story genre,15 a change takes place in the threat of the perverse acousmêtre described by Chion.16 In Ringtones, the horror is introduced in reverse, since the ringtones replace the potential acousmêtre voice, which becomes absent, and in its absence reflects the horror of the unanswered ringing. The acousmêtre repeatedly loses the horrific and powerful status usually ascribed to it in cinema. The horror stems from the repetition of the negation of response, which is confirmed by every additional ringtone.
The film ends with narration from four commentators. The last one creates a dramatic narratization of the journalistic story, which retrospectively verbalizes what had not been said. It contradicts ringtones as a recycled symbol of the culture of knock-offs and downloads, which in this nacromedia site consumes and annihilates itself.
Possibility IV—Simulation of Postmortem Sound
Shalosh Dakot l'Arba/Three Minutes to Four (Eliav Lilti, IL, 2002)
Some ten speakers (mother and daughter, young couple, old couple, policewoman, two children . . . ) face the camera one after another and describe their upcoming deaths in a terror attack.
This film is based on the nightmare time of an imagined attack at the attack site, a busy Tel Aviv intersection, with the speakers describing their upcoming deaths or injuries. Above all, future time, as it is realized in the words of the characters ("I'll start to run away," "Tomorrow I'll say I don't believe he's gone," "I leave behind a wife and three children"), creates an uncanny feeling. The opening overhead shot reveals the attack site from above; the narration imitates the ticking of a time bomb. After each monologue the camera returns to the same shot of the intersection, but it is clear time is passing and the speakers hasten what the future will bring. For this reason, the last tick-tock is heard together with a visual shot of the same intersection, this time empty of traffic. The moment of suddenness is displayed as a moment of emptiness.
The nightmare time of the imagined attack is not only realized in the perception "if" as in, "if there will be an attack that has already taken place"—this imagined attack not only involves the perception of the "if" in terms of a proleptic traumatic symptom of a repressed that returns from the future. The decision to compress the time into the time "before" four o'clock by describing those minutes after they have transpired is a distinctly political choice.
The film works on two planes. First, as a response to the so-called martyrdom videos of Palestinian suicide bombers. Since it is usually impossible to identify their corpses after an attack, they thus attain permanent visibility ex post facto. The corpse of the suicide terrorist again becomes whole and coherent by means of the Palestinian transcendental-religious-national reconstruction: [End Page 129] it appears to be a body, not a corpse. As I have argued in other forums, the main power of such video recordings is the re-corporealization of the corpse of the terrorist,17 which has significance in the struggle for visibility, and concomitant symbolic significance in the struggle over the imaginary lost soil of Palestine. From the Palestinian standpoint, discourse on the lost soil is sometimes conducted via the body that symbolizes it. The recorporealization of the corpse of the terrorist via the video signifies an ongoing claim to the soil. In this struggle for visibility, Palestinian recorporealization stands in complete contrast to the Israeli taboo regarding visibility of the corpse in public discourse. That being the case, Three Minutes stakes a claim for visibility of attack victims, for replacing the corpse with a body, which may also be thought of as a claim for legitimacy of the soil, previously accepted in Israeli culture mainly regarding soldiers. The second plane, consequentially, uses the metaphorical postmortem to actualize being in the place of the ultimate other who is not I. Does the cinematic fiction succeed, given the strangeness of the situation of the "I" who has undergone trauma, to present, as a way of working through the trauma, the ability to be in the place of the other? That is, does this film represent not only what the theory of trauma in the last two decades seeks to locate again and again—namely, the I in the place of itself, in the place where the trauma occurred, and was experienced—but also the I in the place of the suicide terrorist? Or are we speaking here of the opposite situation—of the impossibility of the ritual resurrection of the dead?
Three Minutes adds to the certainty of the flashback/forward an "if" of a special kind. It is impossible to separate between the I and the other, or between the body-that-underwent-resurrection of the other, and my-bodythat underwent-resurrection, which claims to possess, at least, my post-mortem audiovisual re-presentation.
An interesting phenomenon is developing here as part of the possible responses to the representation of terror attack trauma. This is precisely sound that can not be closely identified with the infantile scene; that does not permit access to language; nor is it associated with phenomenal loss, with the birth of desire, or aspirations to discursive mastery. That is to say, not sound as researchers like Kaja Silverman, Rick Altman, and Mary Ann Doane have described.18 Not sound from a psychoanalytic context, but from a moral one. Neither pre-linguistic nor extra-linguistic, but sound as political language. The most complex and original use made of sound—as we saw in the last example—brings us to the moral possibility of taking the place of an other. Sound enables this more than any other textual component. I suggest here a retreat from the so-very-complex theory of sound in the cinema, to its most simple meaning: to be the other through his voice. This does not mean rejection or negation of his voice, but the opposite—an attempt to speak through his lips, which becomes my attempt to speak through my lips. In his name, in my name. In fact, this is an unavoidable result of an act of terror. A terrorist attack is characterized by an intermingling of blood that lasts until the mixed-up body pieces are separated. [End Page 130] At that place, that of the unidentified abject, he is given a voice. It seems that as long as it is heard, there will be an option of recovery.
What does the before/after [if] structure discussed earlier in a different regard have to do with the time trap? To answer, I need to briefly outline Laplanche's re-interpretation of Freud's writings on trauma in which he returns to the latter's seduction theory in order to clarify the double significance of Nachträglichkeit. In his opinion, even Freud did not fully understand how the two meanings belong to the same concept and how they interact in seduction theory.
We translate Nachträglichkeit in French as après-coup, and in English . . . as "afterwardsness" . . . because there are two directions in afterwardsness . . . For instance, I can say, "The terrorists put a bomb in the building, and it exploded afterwards." That's the direction of deferred action. And I can also say, "this bridge fell down, and the architect understood afterwards that he did not make it right." That's an after-the-event understanding.(Emphases in the original).19
According to this observation, Freud created a split in seduction theory between determinist theory, in which the first traumatic event decides the second, and the hermeneutic theory, in which the second event retroactively projects on what has already happened. The importance of this split and the double significance of the concept that Laplanche prefers, and accordingly translates as afterwardsness and not belatedness, are connected by the need for synthesis of the two directions/two meanings. As Caruth argued in the same interview,
So to understand the truly temporal aspect of Nachträglichkeit . . . you have to take into account what is not known, both at the beginning, and later . . . Whereas the other two models of afterwardsness imply either knowing later, or maybe implicitly . . . knowing earlier.20
Does the structure of Three Minutes create synthesis between the two meanings of trauma as they are perceived in chronic trauma? In this sense, the film is more than a symptom of social trauma. It manages to radically create a structure of immanent dislocation for the traumatic event, understood, according to Laplanche, by examining the temporal structure. It may be that in this sense expression of the traumatic chronicity of the time trap during the second Intifada reveals immanent dislocation to a traumatic event more than a one-time expression of the event would. In any case, Laplanche's rereading of the Freudian claim that all trauma is built around two scenes, suggesting that there is a see-saw effect between the two,21 enjoys maximum realization within the before/after [if] structure. Laplanche adds that traumatic nightmares are connected more directly to the original traumatic message. In the present case, it may be that this effect—structuring the nightmare as the subject [End Page 131] of a short-short film—also influences the strong uncanny feeling of the time trap.
The Sound of Terror
An analysis of these four films shows that in one sense the moment of the explosion remains preserved by the audial phantom. That is, the significance of non-expression of suddenness is a result of a certain level of rejection of the terror attack. In another sense, however, the use of suddenness creates a sonorous envelope22 that is not a reproduction of televisual iconography. Instead of the sound of the explosion, the envelope embraces the quiet (the interval, the waiting); the ringtones (the mechanical-acoustic substitute for the absent body); the scanner (confirmation of a living rather than mechanical body), and the ticking of the time bomb and postmortem narration that projects on the past and merges with it through afterwardsness. The material objects in the terror scenes contribute to this merging because they act as prosthetic objects. That is to say, the scanner, the cell phone, the skeleton of the bus, the imagined time bomb, and the imagined videos are actually, á la Grosz,23 a concrete expansion of the corpse.
The sound continues to preserve the terror as chronic trauma and represent the time trap. As a consequence, and in contradiction to the ideological orientations of victory, three-minute cinema converts the cinematic scopic drive into an auditoric drive in a reality where the hyper-surveillance of the camera has lost all value. This is not the prominent invisibility of terror representations in the public sphere, which serves conservative purposes, but a declaration of the loss of the power of the gaze within the culture of surveillance after the terror. Amidst a reality in which the panoptic look has lost its power, the sound brings us closer to the event and offers the opportunity to conceptualize and internalize it.
Israeli short-short cinema brings us closer than any other representation in the public sphere to the repressed-terrible and to the place of the other. Doing so through sound, short-short cinema responds to the perception of time as cultural and culture-dependent. The short-short films of Moments prove that only the cinematic psycho-acoustics of terror attacks afford us the opportunity to get past the time trap. [End Page 132]
Raya Morag is an assistant professor of cinema studies at the Department of Communication & Journalism, the Hebrew University, Israel. Her research and publications deal with trauma discourse and feminist-corporeal theory. Her book Defeated Masculinity: Post-Traumatic Cinema in the Aftermath of War is forthcoming (P.I.E.—Peter Lang).
My thanks to the Levi Eshkol Institute for Social, Economic and Political Research in Israel, the Hebrew University, for funding this research.
1. During the first Intifada (December 1987 to December 1989) 271 Israeli citizens were killed by Palestinians. During the second Intifada (September 2000 to July 2006) 696 were killed. http://www.btselem.org and http://www1.idf.il/dover/site.
2. Raya Morag, "The Living Body and the Corpse: Israeli Documentary Cinema and the Intifadah," Journal of Film & Video (forthcoming).
3. Idith Zertal, Death and the Nation: History, Memory, Politics (Or-Yehuda, Israel: Dvir, 2002, in Hebrew).
4. Hal Foster, "Death in America," October 75 (Winter 1996): 46–48.
5. Cathy Caruth, Unclaimed Experience: Trauma, Narrative and History (Baltimore: Johns Hopkins University Press, 1996).
6. Janet Walker, Trauma Cinema: Documenting Incest and the Holocaust (Berkeley: University of California Press, 2005).
7. Caruth, Unclaimed Experience: Trauma, Narrative and History, 7, 11, 17.
8. Marianne Hirsch, "Surviving Images: Holocaust Photographs and the Work of Postmemory," Yale Journal of Criticism 14, no. 1 (2001): esp. 9–12.
9. Walker, Trauma Cinema, 17–19.
10. Barbie Zelizer and Stuart Allan, Journalism after September 11 (London: Routledge 2003); Lilie Chouliaraki, "Watching 11 September: The Politics of Pity," Discourse & Society 15, no. 203 (2004): 185–198.
11. Martin Heiddeger quoted in Karl Heinz Bohrer, Suddenness: On the Moment of Aesthetic Appearance (New York: Columbia University Press, 1994): 49, 65n45.
12. Bohrer, Suddenness: On the Moment of Aesthetic Appearance, vii.
13. Charles Baudelaire, The Painter of Modern Life, and Other Essays (New York: Phaidon, 1964), 5.
14. Security Groove, 2 min., 51 sec., http://www.youtube.com/watch?v=lFQnMo 0C83Q (accessed October 14, 2007).
15. Ned Schantz, "Telephonic Film," Film Quarterly 56, no. 4 (Summer 2003): 23–35.
16. Michel Chion, The Voice in Cinema (New York: Columbia University Press, 1999).
17. Morag, "The Living Body and the Corpse: Israeli Documentary Cinema and the Intifadah."
18. Rick Altman, ed., Sound Theory, Sound Practice (New York: Routledge, 1992); Kaja Silverman, The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema (Bloomington: Indiana University Press, 1988); Mary Ann Doane, "The Voice in the Cinema: The Articulation of Body and Space," Yale French Studies 60 (1980): 33–50.
19. Cathy Caruth, "An Interview with Jean Laplanche," Postmodern Culture 11, no. 2 (2001): 7.
20. Caruth, "An Interview with Jean Laplanche," 8.
21. Jean Laplanche, Life and Death in Psychoanalysis (Baltimore: Johns Hopkins University Press 1970), 41.
22. Doane, "The Voice in the Cinema: The Articulation of Body and Space," 44.
23. Elizabeth Grosz, Time Travels: Feminism, Nature, Power (Durham, NC: Duke University Press, 2005), 131–152. [End Page 133]