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by Linda Levanti, Asheville, NC, senior in Humanities
I have a great vantage point from my position in the back of the classroom. Seated near the large picture window, with a glorious view of the massive walnut trees planted during the golden days of the Biltmore Era, I'm quite content. The wall to my back encloses this pleasant space, where like a cat curled on a sunny window ledge, I'm more or less out of sight. I don't often speak, satisfied to watch the activity from my sanctuary in the corner. Who'd have thought that one day I'd decide to become a teacher? Certainly not I.
It was the unconditional patience and encouragement of my kindly neighbors in a tiny, old-world village in central Mexico that set me on my path to teaching. It's a constant challenge to communicate even simple thoughts when faced with a language barrier, something we rarely experience in the United States. Accepting me into their beehive of daily activities, these aproned Madonnas were as happy to teach me some Spanish as I was to share a few words of English. I'm humbled and grateful for the many good humored teachers who helped me along the way. Nonetheless, there were still many times I felt terribly isolated by language, and a stranger in a strange land, in spite of the warmth of my Mexican family.
Shortly after my return to the United States I started volunteering at the local community college in an adult education class to satisfy certification requirements to teach English to speakers of other languages (TESOL). My experience had fostered a desire to help those living in the United States whose struggles with a foreign language are likely a great deal harder than mine had been in Mexico. I want to make a difference in the lives of those who are committed to learning their new country's language. After completing my training program, I stayed on at the college; I like helping in the classroom. And, the opportunity to quietly observe the instructor, while reinforcing my novice teaching skills, fit in with my predilection for staying out of the spotlight. That is, up until last week.
The class began quite as usual. As students filtered in, I handed out worksheets, and Monica, the level 4 instructor, began to teach. The lesson for discussion was subject-verb agreement. And so, Monica taught English and I helped Monica, that is until her phone rang mid-lecture, and the baby-sitter informed her that her infant daughter was ill…could she come home right away? Monica's eyes sought mine, pleadingly, as if to say, you do have your certification. Other than the one evening I had student taught an adult class many months before, an experience replete with sweaty palms and horrible stage-fright, I had not taught a class on my own. I wasn't feeling inclined to do so any time soon. But under the circumstance what could I say? Monica left for home, and I was on! And on my own.
It was performance time, and I flashed back on the frightened five year old I'd been at my first dance recital. The delicate pink ballet slippers I'd laced onto my feet, when told it was time to go on stage, no longer felt as enchanting as I'd imagined them. I was scared silly. All the wisdom and life experience I'd gained in nearly fifty years was reduced to the size of a quivering child. Thrust in front of the classroom, with the students' inquiring eyes focused on me, I felt a vulnerability that caused every fiber in my body to scream "run", which is what I had done at that first ballet recital. Not a pretty picture when you want to be a teacher. But I was no longer five years old, and fleeing was not an option. My saving grace is that age and hard won experience has provided me with an unwavering resolve, and so I stayed put and opened my mouth.
At a total loss for words, the immediate need to say or do something was bewildering. Quite unexpectedly, I felt as if a stranger had taken control of my senses and I began to dance. Not literally, but in a way that expressed my individuality. Performing as both marionette and marionettist, I was acutely aware of the tension in the strings that propelled my initial movements as an imperfectly executed pirouette spun me from the front of the room toward the large table that was the students' shared desk. As I drew a chair closer to my audience, inviting them to join me, I remembered how much I had loved my ballet slippers; how good it felt to lace the ribbons and twirl across the polished wooden floor. Without a script, I listened to myself conduct the class. The words flowed and the teacher in me sounded so confident. She was enjoying herself! In getting on stage, I was introduced to a part of me I had never met, someone who seemed to like dancing for an audience. I'd caught an astonishing glimpse of my potential self in those moments in front of the class.
Art critic, Michael Kimmelman, wrote in The Accidental Masterpiece that "Life itself might be an art." If my experience was any indication, I agree. Good art, when real and not contrived, fuels a deep and lasting impression upon viewer and artist alike. It can do that when we let go, and get out of our own way. I believe that this sentiment is essentially what Gunter Berghaus wrote about in the "Happenings and Fluxus" chapter of his book Avant-garde Performance. Based on the idea of unconventional and spontaneous artistic expression that compels the interaction of performer and audience, art is created that shatters life as we know it, effectively changing who we are into something new. The certainly unplanned accident of my performance in the classroom that day exemplified what both "Happenings" and "Fluxus" stand for. Reflective of Jean-Jacques Lebel's portrayal of the "characteristics" of Happenings, it became a moment of "breaking down the barriers between art and life…[to] transform human beings, and make them change their old ways of seeing, feeling, and being." It was terrifying and exhilarating.
Initially, my performance fell flat on its face. I wasn't like Monica. My audience was confused by this unsure presentation of a teacher. I've since learned that many students see their teachers, myself included, as if we're all cut out of the same academic "fabric", and whether it's Monica or myself at the head of the class, we are "all knowing" and greater in stature than the students there to learn English. In part, this is a cultural issue and likely a misinterpretation of Americans in general, but nonetheless, it makes for a very tough audience. I was faced with a chasm I had no idea how to bridge. Human nature being what it is, I'm sure they recognized my fear. Those sorts of things speak clearly in any language. Did they realize the degree to which my teaching had become the performance of my life? Probably not, but I do think they recognized themselves through the cracks in the perfect image they had constructed of me as an "American" teacher.
Unexpectedly presented with an instructor they were not accustomed to, the students initially responded to me by withdrawing. My discomfort increased and I felt myself teetering on the edge of the stage, an abyss between myself and the students huddled in the audience. They were reticent to speak; our previous interactions had been minimal. I experienced something that my instructors at NCSU had said about teaching foreign language classes, something that applied to me as well. Students are often afraid to speak for fear of looking foolish or making mistakes. Student or teacher, we all want to do well and look our best. There were moments during that two hour class when I stumbled. I recovered, the world didn't come to an end, and I kept going. When I performed for that class, it wasn't perfect. I was nervous at times, and lost my way. And then art happened in one spontaneous moment of laughter.
I'd laughed out loud at how much fun I was having in spite of it all. I couldn't be frightened any longer. It was just too silly. The students thought it was tremendously funny, and so did I. At that moment the feeling in the room transformed each of us. The "American" teacher, who fell off the stage, wasn't really any different than they were, and they gladly joined me in my dance. I had their attention. The chasm disappeared, and my students got that it was OK to try, and it was acceptable to make mistakes. We laughed, exchanged ideas, and as we became partners on that stage, no longer separated by perceptions of culture or class, we were performers and audience alike. I reflect that it was much more than just the subject-verb agreement of English grammar that we learned about that day. The art of authentic communication became a Happening. The Happening became the universal language of human interaction. I'll never know who learned more that day, me or them. I do know that together we created an accidental masterpiece that will remain a vivid image in my mind for years to come.
My son, who is a wonderful artist believes that art should exist only for the moment and then be gone, to allow for other inspirations to take its' place. My performance in the classroom reflects that sensibility. I've learned that art is not the result of paint and brush, nor is teaching, simply the rules of English grammar. They are only the tools we use to express the essence of who we are. When I teach, the art itself is ethereal, but its' effect lingers on. Like any artist who performs for an audience, I'm sure there'll be wonderful experiences as I teach and those that may not inspire great art. Either way, it will remind me that life, if lived as art, is its own accidental masterpiece.
* This essay was originally written for an assignment in Ann Millett-Gallant's class The Art of Life, in which the students are asked to create and partake in an act of performative art, then write about their inspirations, their interactions with their audience, the performance itself, and the results. The fortunate timing of Linda's unplanned teaching stint as this assignment was approaching led to this "accidental masterpiece."
Regarding my choice of the kitchen photo from among many possibilities, Linda writes, "… of all the photos, you pick the staged photo my husband took of me with a large beer bottle "caguama" and mug! My husband thinks that it'll make me look like a borracha! (drunkard) which is really funny as I rarely drink."


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After the funeral, its time for a procession:
148. At the conclusion of the funeral liturgy, the procession is formed and the body is accompanied to the place of committal. This final procession of the funeral rite mirrors the journey of human life as a pilgrimage to God's kingdom of peace and light, the new and eternal Jerusalem.
149. Especially when accompanied with music and singing, the procession can help to reinforce the bond of communion between the participants. Whenever possible, psalms or songs may accompany the entire procession from the church to the place of committal. In situations where a solemn procession on foot from the church to the place of committal is not possible, an antiphon or song may be sung as the body is being taken to the entrance of the church. Psalms, hymns, or liturgical songs may also be sung by the participants as they gather at the place of committal.
Practically everywhere in the OCF the preference for congregational singing is stated. And the repertoire includes not only anitphons, but psalms, hymns, and songs.
I can recall ever visiting only one parish (for an interview) that had a cemetery on church property. The pastor loved having the proximity–church bells often accompanied congregational song on the way to the graveside, he said. Nice.

subset: commoncrawl


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Spence leaves hospital after ending hunger protest
Attawapiskat Chief Theresa Spence to speak LIVE today at 11 a.m. ET / 8 a.m. PT. (Fred Chartrand / THE CANADIAN PRESS)
The Canadian Press
Published Thursday, January 24, 2013 5:30AM EST
Last Updated Thursday, January 24, 2013 4:57PM EST
OTTAWA -- Attawapiskat Chief Theresa Spence emerged from hospital Thursday to sign the First Nations declaration that ended her hunger protest after six long weeks -- a period during which Stephen Harper barely uttered her name.
Indeed, for a crisis that just two weeks ago had the prime minister squarely at its centre, it seemed a weary and chaotic finale, one largely devoid of anti-Harper vitriol.
The Cree leader, who hadn't had solid food since Dec. 11, spent most of the day recovering in hospital, only to show up unannounced at a celebration that brought First Nations chiefs from across the country.
A chanting, drumming crowd greeted her at a downtown Ottawa hotel, where she thanked family, friends and supporters for their backing during the six chilly weeks she spent on Victoria Island, just upstream from Parliament Hill.
She suggested she now intends to step back from the political struggle.
"There you go, chiefs, you take over and I'll be part of the audience some times, so I'll be watching you guys," Spence said, calling for unity among First Nations leaders.
"It's time to really stay together no matter what hardship that we go through, and no matter what the government intends to do to us to divide us. Always remember that we're here together and we're here for our people, especially the youth."
Emissaries from federal opposition parties kept a low profile at the second ceremony, where Spence herself signed the declaration that had been so painstakingly crafted to bring her protest to a conclusion.
NDP critics Charlie Angus and Romeo Saganash had been on hand at the hotel, but scheduling challenges kept them from lingering long enough to witness Spence's triumphant appearance.
The scene was a far cry from Jan. 11, when the street in front of Harper's working office near Parliament Hill was filled with protesters beating drums, pounding on his door and threatening widespread disruption if he didn't repeal changes to environmental legislation and improve conditions on reserves.
Inside the building on that day, Assembly of First Nations chiefs meeting with Harper got the chance to air their grievances about his government, demanding he empower senior officials to modernize ancient treaties and implement aboriginal rights.
The common tone among chiefs and Idle No More protesters alike was a loud, angry impatience with the federal government in general and Harper in particular.
On Thursday, however, the anti-Harper venom that united a disparate movement just a fortnight earlier was largely absent.
Spence's spokesman Danny Metatawabin, for instance, stressed the need to continue the struggle.
Elder Raymond Robinson, who staged a hunger protest alongside Spence, lashed out at the media and a long Canadian history of disrespect towards First Nations people.
And the NDP's Saganash and interim Liberal leader Bob Rae -- both instrumental in reaching a workable resolution to the protest -- spoke about the need for political will to make things change.
But the lack of a direct attack on the Conservatives does not mean Harper has skated through this First Nations crisis without a bruise, Rae cautioned. Indeed, he said, neither he nor his party grasp what is at stake.
"I think Mr. Harper has a very limited view of this issue, and I don't think he is showing the necessary imagination and leadership to deal with it in the way it has to be dealt with," Rae said.
"Frankly, polls may come up and down and people may say this and that about this issue. To me, it's not about polls, it's about justice.... They just don't get it, frankly."
Two new analyses appear to indicate the Canadian public remains confused by -- and is steadily disengaging from -- efforts by aboriginal activists and leaders to improve their relationship with the rest of Canada.
A telephone survey conducted by Harris-Decima for The Canadian Press suggests fewer than four in ten Canadians are both familiar with and sympathetic to the goals and aims of the Idle No More cause.
And an analysis of the movement's influence on social media platforms implies a waning influence: while some 17,000 people tweeted about Idle No More at the height of the protest Jan. 11, that number had dwindled to about 5,600 eight days later, says a new study by digital public affairs strategist Mark Blevis.
Nonetheless, there are signs it had some impact.
While Harper has avoided talking with or about Spence, he has engaged in the national conversation about how to improve the quality of life on reserves. In the Jan. 11 meetings with AFN chiefs, Harper agreed to appoint top people to lead discussions on modernizing treaties, speeding up land claims negotiations and improving education.
Plus, he agreed to move the date of that meeting -- a gesture Spence's supporters have interpreted as a tacit acknowledgment of her protest.
"The prime minister, for the first time, he did bend," said Michele Audette, who heads the Native Womens Association of Canada.
"Why? Because (of) Idle No More, because of the two men who decided to be with Chief Spence" in her hunger protest.
Still, many a chief was sombre Thursday about the outcome of the protests, quietly expressing a wish that she had declared victory on Jan. 11, while the outcry was so loud and the prime minister was paying attention.
They vowed to make sure the declaration that brought an end to Spence's protest and united the AFN, the federal Liberals and the NDP will not collect dust on a shelf somewhere.
"We will stand up. We will persevere. We want to be acknowledged, we want to be honoured we want to be respected. That's the message that we want to deliver," said Metatawabin.
"The fight does not end because the hunger strike ends. The fight continues. We have mobilized a nation."


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A few months ago, while in a university-level leadership class, the women were asked, "what would choose – your family or your career?"
The obvious response was family.
One of my classmates said she couldn't wait to have children so that she could stop working to be a stay-at-home mother. Even my professor chimed in and expressed her wish to someday be a housewife.
I answered differently.
"Both," I said. "I feel like my career choice will enable me to be a better mother to my children.
"It will allow me to provide for them and will allow them to see parts of the world they might not otherwise see."
The future-stay-at-home mother looked at me in disbelief.
I know my response probably sounded selfish.
And maybe it was.
But I'm sick and tired of walking around with a sign that reads, "I have kids; my life is over." Ever since my husband joined the Air Force, people – sometimes strangers – have given me an ultimatum: kids or a career.
When I was pregnant with my youngest son, Joah, everyone – including my husband and my mother – said I should sit out of school for a semester.
I didn't.
Most recently, while having lunch with a good friend of mine, the children versus a career topic came up. This friend is twice my age and has two adult-aged children.
"I had to stay home with my kids," she said. "It's the right thing to do because you can't get those years back."
The conversation went back and forth from my views to hers. We agreed to disagree on most of the conversation but agreed on one thing – you can't get those years back.
But that alone shouldn't force parents to give up their lives.
Should I forget that I'm a daughter or sister just because I'm a mother now? Should I forget that I'm a writer and a thinker just because I'm a mother? Likewise, should I stop trying to be the change I wish to see in the world and focus solely on my children?
I guess there's no right or wrong answer to those questions. But it is wrong to treat working mothers as though they are beneath those who stay home.
Even though it's not old-fashioned or as motherly as some would like, I choose my children every day in an unorthodox way.
I choose my children every day by leading by example. I choose them when I choose to follow my dreams while simultaneously teaching them to never give up. And if that makes me look less like a mother then so be it.
The happiest day for me won't be to look back at my children lying around the house. Sure, those are fun memories, but the happiest day for me will be seeing my children implement the love and the values I worked so hard to instill in them.
And you don't have to stay home to do that.
Or at least that's what I believe.


text:
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Aliens Vs Predator: Requiem
Another CAM job but seems better than previous versions ... similar to a TS probably ...
Rlz date....: 31/12/07
Source......: CAM Homemade
Format......: XViD
Resolution..: 672x320 @ 25FPS
Audio.......: Direct Sound @ VBR192
Size........: 4815 !!!
Length......: 87 mins
Rating......: 6.1/10 (5,734 votes)
Genre.......: Action / Horror / Sci-Fi
Here another release for you. This movie has alot of darker scene so if you really want to enjoy it, you need to see it at the theater. We have decided to release it anyway just 4 fun & to share with you.
We have included a special tag at the beginning of the movie they will reconize them self and maybe stop using our release.
Mini Screenies
Dark Scenes seem ok ... a little cleanup using FFDShow (or Xbox) I reckon and it might be acceptable ...
ed2k: Aliens.Vs.Predator.Requiem.iNTERNAL.CAM.XViD-TeAmQCT.avi [718.57 Mb] [Stats]
http://torrents.thepiratebay.org/395661 ... PB.torrent
23Mb Preview file:
http://www.qshare.com/get/117587/TeAmQC ... e.avi.html


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New Study Determines 'Smart' Option for Urban Irrigation
Researchers identify optimal method for outdoor irrigation in Southern California; promising implications for drought response
Irvine, Calif., May 19, 2014 – A new study testing the performance of various landscape designs and water management practices is now published in Urban Ecosystems. The study, conducted by UCCHM's Neeta Bijoor and coauthors Diane Pataki of the University of Utah, Darren Haver of the University of California Cooperative Extension and UCCHM Director Jay Famiglietti, assessed several approaches to urban water irrigation, and determined "smart" irrigation technology to be the most significant factor in reducing outdoor water waste and maximizing irrigation efficiency.
With this study, "A comparative study of the water budgets of lawns under three different management scenarios," researchers set out to answer these basic questions for three different landscape types: What happens to the irrigation water that I apply to my lawn? How much of the water is really used by the lawn? How much is applied beyond what plants are using, and what happens to this excess? By answering these questions the study provides a simple and direct framework for optimizing outdoor irrigation efficiency--findings with obvious practical applications.
Researchers used simulated residences (paying specific attention to the lawn-portion of these models) to thoroughly test several "Typical" vs. "Recommended" irrigation and landscape scenarios.The three scenarios included a conventional landscape with a cool-season fescue (grass adapted for cooler regions, although it is commonly planted in semi-arid areas) and an automatic timer irrigation system; an alternative landscape with a warm-season paspalum (grass adapted to a warm climate) and a smart soil moisture sensor-based irrigation system; a second alternative landscape with a cool-season native sedge and a smart weather station-based drip irrigation system. Researchers measured the water flows into and out of the lawn, including total irrigation water application, plant water use, runoff, soil moisture storage and estimated subsurface drainage.
The second alternative landscape, which utilized the highest number of recommended measures, was expected to be the most irrigation efficient. However, the first alternative landscape (with the warm-season grass and smart sensor) was, in fact, the most irrigation efficient scenario. "People often think it's best to plant native species because it's believed they use less water. This study shows that native species don't necessarily use less water," said Neeta Bijoor, lead author of the study. "The use of smart irrigation technology was the most important factor for conserving water."
Overall, researchers found that smart irrigation technology reduced the amount of water applied to a given lawn without affecting plant function and prevented significant water losses by underground drainage. These smart irrigation systems were more significant than altering outdoor landscapes with the more water-conservative grass species. In other words, smart irrigation technology is the easiest and most effective way to save water and money.
These findings are of particular relevance given the current, severe drought conditions in California. Homeowners can significantly reduce the amount of water used and wasted by their lawns by purchasing smart sensors to adjust irrigation.
Find the full report HERE.
UC Center for Hydrologic Modeling highlighted for Water for Peace Global Outreach Campaign
Satellite data will be essential to future of groundwater, flood and drought management
UC Irvine, NASA researchers demonstrate need for national water management policy with map of U.S. 'hotspots'
Irvine, Calif., June 13, 2013 – New satellite imagery reveals that several areas across the United States are all but certain to suffer water-related catastrophes, including extreme flooding, drought and groundwater depletion.
"We don't recognize the dire water situation that we face here in the United States," said lead author Jay Famiglietti, a professor of Earth System Science at the University of California, Irvine, and Director of the UC Center for Hydrologic Modeling (UCCHM). Since its launch in 2002, Famiglietti and co-author Matt Rodell, Chief of the Hydrological Sciences Laboratory at NASA's Goddard Space Flight Center, have been using data from the NASA Gravity Recovery and Climate Experiment (GRACE) satellite mission to track changing freshwater availability all over the world.
The report, entitled Water in the Balance, draws attention to water management as a national, rather than just a regional or statewide problem. The GRACE mission is able to monitor monthly water storage changes within river basins and aquifers that are 200,000 km2 or larger in area, and, according to Famiglietti and Rodell, can contribute to water management at regional and national scales, and to international policy discussions as well.
Using GRACE data, the researchers were able to identify several water 'hotspots' in the United States, including its key food producing regions in 1) California's Central Valley, and 2) the southern High Plains aquifer; a broad swath of the southeastern U. S. that has been plagued by persistent drought, including 3) Houston, Texas, 4) Alabama, and 5) the Mid-Atlantic region; and 6) the flood-prone upper Missouri River basin. They also noted that since 2003, the wetter, northern half of the U.S. has become wetter, while the drier, southern half has become drier.
"GRACE data provide new insights into regions in the U.S. and around the world where water issues have already approached the crisis stage. Their potential for game-changing contributions to regional water management is just beginning to be realized," says Famiglietti, who believes that maps like his and Rodell's make a strong case for immediate action, and ultimately, for a comprehensive, national water policy in the United States.
The authors argue for greater investment to speed current GRACE data processing to ensure its availability for seasonal flood and drought forecasting, and for future gravity missions that can help water management even more than at present.
"A future mission that could monitor water storage changes every week or two, rather than on a monthly basis, and for river basins and aquifers that are tens of thousands of square kilometers, rather than hundreds, would be ideal," notes Rodell.
According to USA Today, in 2012 flood damage from Hurricane Sandy and the Midwest/Great Plains drought cost the U.S. $100 billion. The U. S. Geological Survey recently reported that since the beginning of the 20th century, enough groundwater has been depleted in the United States to fill Lake Erie twice.


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Conferences and Seminars
The following list of national conferences/seminars will help mail managers to keep current with the latest developments in the industry and provide networking opportunities. This is a partial list of mail conferences and seminars.
MailCom Conference and Exhibition
This semi-annual national trade show is co-sponsored by Mail Systems Management Association and Mail Magazine. It includes vendor displays and training.
National Postal Forum
This semi-annual educational and trade show event for business mailers and key postal officials is sponsored by the U.S. Postal Service. NPF includes business sessions, networking, and an exhibition area displaying the latest products and services.
International Publishing Management Association (IPMA)
Each year IPMA holds an educational conference and exhibit to facilitate the interchange of ideas and experiences between industry professionals.
Pitney Bowes Mail Management Seminars
Offered at the basic, intermediate and advanced level, topics include managing carriers, reply mail, disaster recovery, mail center security, and special services.


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Wednesday, March 27, 2013
BirdLife World Congress is Coming to Ottawa in June
Posted by Anonymous at 9:50 AM 1 comments
Labels: bird, BirdLife International, BSC, chris, IBA, important bird area
Monday, March 25, 2013
It has to be a sign as Eagle greets the Nishiyuu walkers
Posted by Anonymous at 10:33 PM 0 comments
Labels: Cree, first nations, Golden Eagle, Hudson's Bay, Idle no more, James Bay, Journey of Nishiyuu
Classroom Book Project Supports Nature Conservation
Posted by Anonymous at 1:39 PM 0 comments
Labels: chris
Tuesday, March 19, 2013
Enjoy the Theatre and Support Nature
Posted by Anonymous at 11:22 AM 0 comments
Labels: chris
Sunday, March 17, 2013
Comet Pan-STARRS small but brilliant!
Posted by Anonymous at 9:04 PM 0 comments
Labels: comet, Nature Canada, Pan-STARRS, sunset
Thursday, March 14, 2013
New App explores Canada's nature and history
Posted by Anonymous at 8:07 AM 0 comments
Labels: chris, my parks pass, Parks Canada
Wednesday, March 13, 2013
Leap Into Spring with FrogWatch
Posted by Anonymous at 7:00 AM 0 comments
Labels: chris, citizen science, frogs, naturewatch
Tuesday, March 12, 2013
Dreaming About Nature
Posted by Anonymous at 8:30 AM 0 comments
Monday, March 11, 2013
Canada's Coolest School Trip - Voting Has Begun!
Posted by Anonymous at 8:18 AM 0 comments
Labels: chris, my parks pass, Parks Canada
Thursday, March 7, 2013
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Hey there Party Poopers!
Looks like Family Guy: Quest For Stuff has reached another milestone as today we celebrate the games 4th birthday. Yes, it's really been 4 years since some of us started playing. And for some even longer if you started with the Beta version.
And to celebrate TinyCo are giving you the chance to buy yourself a present as some popular characters are back in store.
Apart from this I wanted to say wow, Family Guy Addicts has now been blogging about the game for over 4 years, ever since it's beta release. So this seemed a good time to say a huge THANK YOU to you the readers, some of whom have been around since day one. I know there have been ups and there have been downs, and a lot of changes to the site, but overall I hope you've enjoyed the time you spend here as much as I do. Although I must admit when I first started reading, I didn't foresee becoming a regular contributor, never mind the last writer standing.
But looking back it's been a lot of fun, and I want to say thanks to Alissa & Bunny for starting the site; to all the contributors over the years who made the site so entertaining; to TinyCo for helping me continue the site after Bunny's departure last year, and most importantly I want to thank you, the readers and commenters, who are the heart and the very soul of this site. The way everyone has pulled together to keep things going this last 6 months has been amazing.
So but now back to birthday talk, what do you think of 4 years of questing for stuff? Have you played since the start? And anything you're still desperate to see appear?
~ Russian Tigger


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Google has poached some of the Hewlett Packard team responsible for Enyo, the webOS's framework that was on the HP TouchPad.
The news comes at a time when HP employees should be jumping ship -- the company just announced it's laying off 27,000 employees, according to Bloomberg Businessweek.
Enyo is an HTML5-based application framework, so it's unclear how the team will fit in with Google, the Verge reported, although it's likely that engineers are engineers in any platform and Google plans to use the to come up with Android innovations.
The entire team isn't leaving HP, but team leader Matt McNulty and others "responsible for 99 percent of the code" are heading to Mountain View. This makes sense because talented code monkeys are in short supply and Google could only benefit from new ideas and abilities.


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Nicole Stott
STS-128 Mission Specialist/ Expedition 20/21 Flight Engineer
This was NASA astronaut Nicole Stott's first space mission.
Nicole joined NASA at the Kennedy Space Center, Florida, as an operations engineer in the Orbiter Processing Facility in 1988 and held a variety of positions in Shuttle processing.
She was also NASA Project Lead for the Space Station truss elements under construction at the Boeing Space Station facility. In 1998 she joined the Johnson Space Center as a Flight Simulation Engineer. Nicole was selected by NASA as a mission specialist in July 2000.
Nicole launched to the Space Station on the STS-128 ISS Shuttle mission on 29 August 2009. She replaced NASA astronaut Timothy Kopra as Expedition 20 Flight Engineer. She returned to Earth 27 November 2009 with Shuttle flight STS-129.


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An extremely ugly woman; a woman that you would only have sex with if a bag were placed over her ugly ass face.
Your girlfriend is a bagger!
by jones February 05, 2003
by niggaliciouszor April 29, 2007
A flamboyant member of the Tea Party. A derivative of the word teabagger which describes the costumes with teabags that Tea Party members wear. Sometimes it is used as a derrogatory name because it also depicts a unique sexual act in which ones scrotum is dangled over anothers face.
Did you see that bagger in the red leotards, high-heeled bucked shoes and three cornered hat with tea bags hanging from it?
by AlterEgo55 November 02, 2011
A bicyclist that is more focused on how much they can haul on their bike than actually riding the bike. Adding bags upon bags to carry things they will never really need. Some items may include tiki torches, hammocks, camping chairs, box fans, art easels, welding equipment, sewing machines and last but not least a customized kick stand to hold the 900 pound bicycle that they have created. The majority of the equipment that they haul on their bike is used only when they are not riding the bicycle. A bagger will speak often of riding a bicycle even though the majority of the time is spent doing anything but riding. They are helpful from time to time as one thing they do have in their bags is beer.
"Look at that homeless man on the bicycle mommy" "no honey, that's just a bagger. "
by Mr tinkle November 04, 2015
A person with an awesome body with a face only a mother could love. Used to describe how one wishes a bag could be placed over the person's head.
by US Beef June 15, 2007
High school kids who still 'bag' their lunches, looked at by other kids as being too poor to buy lunch at school. Hence called 'baggers'. Also lumped into the overall term: Baggers and Bussers
One HS kid to Another: Dude bags every day, eats a cheese sandwich and an apple!
Another: Baggers Banquet! Cheese sandwich on white!
Another: Baggers Banquet! Cheese sandwich on white!
by sarasplayroom.com July 13, 2009
General term for a motorcycle equipped with saddlebags for storage. Sometimes used to describe the riders of such motorcycles, stereotypically affluent, older white men who only ride on weekends.
I got tired of lugging my stuff around in a backpack, so I traded my sport bike for a bagger.
Is he a hard-core rider?
Nah, he's just a bagger.
Is he a hard-core rider?
Nah, he's just a bagger.
by Capt. America is Dead August 26, 2009
Sep 24 trending
- 1. Watermelon Sugar
- 2. Ghetto Spread
- 3. Girls who eat carrots
- 4. sorority squat
- 5. Durk
- 6. Momala
- 7. knocking
- 8. Dog shot
- 9. sputnik
- 10. guvy
- 11. knockin'
- 12. nuke the fridge
- 13. obnoxion
- 14. Eee-o eleven
- 15. edward 40 hands
- 16. heels up
- 17. columbus
- 18. ain't got
- 19. UrbDic
- 20. yak shaving
- 21. Rush B Cyka Blyat
- 22. Pimp Nails
- 23. Backpedaling
- 24. Anol
- 25. got that
- 26. by the way
- 27. Wetter than an otter's pocket
- 28. soy face
- 30. georgia rose


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The Prometheus Institute and the Work of Bulat Galeyev
It's hard to sum up the interests and achievements of Bulat Galeyev, who died in Kazan, Russia, on January 5 at the age of 68. He was a teacher of physics and aesthetics. As a scholar, he published scientific research on synesthesia, and as an artist he staged his own theatrical performances that synthesized visuals and music. He studied and championed the work of Lev Termen, even when the theremin's inventor was nearly forgotten in his native country. Inspired by the ideas of early-twentieth century composer Alexander Scriabin, whose orchestral works are usually performed without the colored-light shows that he choreographed for them, Galeyev devoted his life to a multi-faceted study of art and sensory perception. The radical, interdisciplinary nature of his career is even more impressive when you consider that it evolved in the conservative, often stifling intellectual atmosphere of the Soviet Union.
Galeyev's base of operations was the Prometheus Institute in Kazan, a city about 450 miles east of Moscow. To gain official support and funding, Prometheus attached itself to an aviation engineering research institute, and its unique position in relationship to industry was not dissimilar from the experimental initiatives hosted by Bell Labs and Siemens in the West. Galeyev's line of inquiry was certainly not a priority for Soviet science. But when he founded Prometheus in 1962, the country was still euphoric from launching the first human into space a year earlier. The light-music concerts that Galeyev organized at Prometheus blended in with the widespread vogue for science fiction and futurism.
Thanks to Prometheus' close connections to an official research laboratory, its employees had access to equipment that ordinary citizens could never dream of. Galeyev and his team took advantage of ...
ArtBase Update
Rhizome's ArtBase has been fortunate to receive some great submissions in the last few months. Cody Trepte sent Cody on Cage on Joyce, a text generator based on a series of poems by John Cage where "JAMES JOYCE" is spelled vertically through rows of horizontal text that are as difficult to read as Finnegans Wake. Cage wanted to create a form of writing free of intention, and Trepte uses software to take that idea to its logical conclusion. Tomasz Konart submitted August, the most recent in a calendar of twelve interactive animations that use faint, obscured, or distorted photographs to evoke a feeling of loss and reflection. Roch Forowicz, a Polish artist who explores issues of surveillance, contributed documentation of his installation Panopticon, two rows of eighteen CCTV cameras submerged. As viewers pass down the central aisle, they are observed from all directions, like in the eponymous eighteenth-century prison design. Marketscape by Brooklyn-based artist Christian Marc Schmidt is data visualization of the S&P 500 stock index. It's sure to provide suspenseful viewing for months to come.
Keep checking the ArtBase for more updates or subscribe via RSS, and artists should remember that we're always accepting submissions.
Interview with Goldin+Senneby
"The boys from Sweden are not really interested in Kate's habits, her lifestyle, the clothes she wears; they're interested in Headless Ltd., a company they want to know more about. And they're interested in a book which they think Kate is writing about them, a book called Looking for Headless."
These lines are from the first chapter of Looking for Headless, a serial novel that artists Goldin+Senneby commissioned from author K.D. The chapter was originally published as the work of Kate Dent, an employee at the offshore consultancy Sovereign Trust, but Goldin+Senneby retracted their claim about the author's identity after some prodding from Sovereign's lawyers. By chapter three, the legal confrontation had already become part of the story, and the lawyers' communication was just another of the many real-world facts woven into the fabric of the novel.
Goldin+Senneby's project Headless (2007-ongoing) uses the idea of investigating the Bahamas-based company Headless Ltd as the basis for a wide-ranging study of how events are remembered, created, and communicated in the production of narrative. The seedy glamour of offshore finance provides an effective context; it is fertile for plots of mystery and intrigue, and the huge sums of virtual money floating offshore make an apt metaphor for the symbols and ideas that compel people to action and set events in motion. Goldin+Senneby further extend the financial trope by adopting corporate practices to make Headless, outsourcing the project's many texts, events, and performances to specialists. For their exhibition at the Power Plant in Toronto, on view through February 22, Goldin+Senneby commissioned documentary filmmakers to interview an investigative journalist about how to make a documentary about investigating Headless Ltd. They also hired a curator and a set designer to devise a didactic display introducing viewers to the characters of the novel Looking for Headless.
A system as rich and recursive as Headless simultaneously generates both questions and answers to them. In previous interviews the artists have responded to questions about the project exclusively in the form of quotes from its various parts. For the interview below, however, they produced some new statements, perhaps mindful of the opportunity to recycle them in future incarnations of Headless. - Brian Droitcour
Raqs Media Collective at the New Museum's Night School
Tonight at 7 p.m. the Dehli-based Raqs Media Collective will begin a three-day run of programs at the New Museum, as part of the Night School series of public seminars. Raqs has been embraced by the art world, although, as the ambiguity of the group's name suggests, the scope of its projects extend to a larger audience. Monica Narula, Jeebesh Bagchi, and Shuddhabrata Sengupta joined forces in 1992, after they completed their studies in Mass Communications in Delhi, and, at the time, had planned a collective career in independent cinema. But their work in documentary filmmaking and public broadcasting, coupled with their fascination with the nascent internet, drew them to issues related to the production and dissemination of information. Today, they continue to address those "rarely asked questions," to use the phrase the group has half-jokingly suggested its name is an abbreviation for.
Raqs's projects tend to take the form of open-ended, open-sourced networks. OPUS, or Open Platform for Unlimited Signification, is an online database of artist-submitted artworks. Conceived in the spirit of open-source software development, Raqs's online digital commons encourage sharing, collaborating, and appropriation. The collective's commitment to free culture continues in The Sarai Programme at Delhi's Centre for the Study of Developing Societies. The Sarai network of artists and scholars produce vast amounts of research and other forms of cultural knowledge, all of which is placed in the public domain.
The collective has also expressed its sensibility through a resistance to restrictions and hierarchies in their installations, performances, and theoretical writings. A recent essay in the inaugural issue of e-flux's Journal takes several fresh and surprising approaches to make ...
24-Hour Smarty People
As promised, I attended last week's "24-Hour Program on the Concept of Time" at the Guggenheim and wrote the following report, which attempts to convey both the variety of approaches participants took to the symposium's broad topic as well as the experience of being present and alert for the full duration, with just a break for breakfast and a few power naps.
The HUO-year is a unit of time invented by art critic Jennifer Allen to measure how far in the future a name will be remembered. You get one year for each project, two for an exhibition, seven for an interview, etc. HUO expands to Hans Ulrich Obrist, the curator whose intellectual hyperactivity inspired Allen to write a wry essay predicting that Obrist's omnipresence in the present will guarantee him more future name-recognition than John Cage, even as a performance of the latter's ORGAN2/ASLSP (As Slow As Possible) continues to hum through the year 2639. Obrist racked up a few dozen more HUO-years at the "24-Hour Program on the Concept of Time," as did the event's organizer, Guggenheim chief curator Nancy Spector. With an eye to the future, the entire Program was recorded, and at this moment the Guggenheim's curatorial staff is surely working to label, transcribe, and catalogue those videos for posterity. In the meantime, here's an elliptical and incomplete summary.
The symposium began with a talk by philosopher Ted Sider, who gave a lucid description of the theory of static time, which proposes that entities are permanently present at points in space but are only visible to us at certain points in time. Next was Joshua Viertel, president of Slow Foods USA, an earnest nonprofit administrator ...


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By JEFF PICKELL
This week's column shall recount the vigors my friends and I undertook in celebration of the Memorial Day weekend, among other things.
The First Annual Tri-County Watermelon Eating Contest Invitational was an inspiration and a delight.
The idea for the competition came to me in a vision—a vision of watermelon for sale at a local vendor, to which my valet Jimbo and I had traveled with the interest of purchasing a parcel of noodle salad. On sight of the immense green fruits, turgid in fecundity, I turned to Jimbo and instructed that we shall buy two plump specimens.
"I suspect we'll stage a race of sorts, Jimbo," I said. "It is only proper to eat a slice of watermelon or two on a balmy Memorial Day weekend, and that we do it in stiff competition—one that includes physical rigors as well as that rigor we undertake in shoving fruit down our maws."
By tea time, we had rounded up five competitors—my brother, James; the voluble Tony Centofanti; James Dickey, a lay-about and amateur apothecary; a man we knew only as Chris; and, of course, myself.
The valet Jimbo never much cared for watermelon and volunteered himself as judge.
So it was that at 6 p.m., we competitors lined up on the southern edge of my courtyard, faced with the following challenge—to consume one slice of melon, sprint 20 fathoms, devour another slice, gallop a further 20 fathoms and touch a patio chair: all more quickly than the competition.
I had stacked the game against the only man I suspected a more fleet masticator than myself—my brother. Though he could ingest hogsheads of food in seconds, he had, until recently, weighed nearly 25 stone. While he has shed at least a third of that weight, I had recently undertaken to augment my own foot speed with circuit exercise and jumping jacks. Certainly, I thought, whatever time I lost in the mouth race would be made up in the foot race.
Scarcely could I have been more incorrect. Immediately after the starting firecracker detonated, I set myself at a substantial disadvantage by lunging into my fruit too brashly, knocking two large pieces onto the lawn. I finished the remainder of the slice with impressive clip, but my grasp was encumbered by the watery slickness on my palms. I had barely fished the first derelict chunk from the grass when James sprinted off with much apace.
Following soon after was Tony, and by the time I bounded to the second station, they were both well into their slices. Both touched the patio chair before I had even swallowed the last mouthful of my second watermelon.
My third place finish was remarkable only in that I rounded out the distinguished trio that touched the chair more than a minute before the final two pitiful competitors. However, all involved remained in good spirits and looked back on the contest with much praise and amicability. It is with such sentiments that I shall recall my time here at the Observer.
Speaking of: if my diction this week seems strangely garrulous, it is because I am practicing for my life's next endeavor—to attend a graduate academy, where pretentious nincompoopery is the norm and discernible prose is reserved for proletarians.
So, it is with much solemnity that I announce that this shall be the final installment of the Standard Deviant, and that I shall depart Morenci soon.
However, it would be hideous and improper to be on my way without first thanking several inhabitants of Morenci and Environs, among them David Green, Colleen Leddy, Gene Beaverson, Chris Hylander, Joan Rice, Tom Spiess, Dee Potter, Dee Ferguson, Kyle Griffith, Anita Van Zile, Brad Whitehouse, Melissa Stewart, Chief Larry Weeks, Dominique Cox, James Wright, Chuck Ekins, Harriet Clark, Rich Foley, David Hankins, Valerie Salerno, Liz Stella, Sheri Frost, Sue Schaffner, Sally Canfield, the proprietors of the Morenci Pub, and innumerable others.
I thank you all for coming in and out of what have been the two most interesting and, well, quite indescribable years of my life.
Finally, for any who might have wondered how I fared on Saturday's Graduate Record Examination, I am satisfied to say that I scored in the 93rd percentile on the portion with which I was most concerned. I shall not bore you with further report.
Thank you, and best wishes to all, especially Kim Ekins, whom I, personally, couldn't imagine forgetting to include in a farewell column.– May 31, 2007


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Dancing With The Stars 2011 Maksim Chmerkovskiy Updates On His New Dance Studios, Jewelry line, and More!
Maks released a new Blog Video at his You Tube Channel today! He announces he's back at "Soho" currently. He's excited about how "exciting" life is at the moment. It's "fast" and it's "interesting". Maks is also excited about his dance studios….especially the new studio opening up in Los Angeles. They are looking at other cities for studio locations too (please scope out DENVER too, Maks and Tony!). Maks also talks of how glad he is that The Bachelor is over and he boldy states he never plans to be a Bachelor on TV ever again. He then thanks all the fans for following and supporting him. He also thanks those who are "not" supporting him because you push and motivate him. Finally, Maks mentions his jewelry line will finally be released to Amazon.com, Endless.com, and a "big retail giant" (which he doesn't mention which one it is yet) by the end of this week. Great video! Check it out! I've never seen him more happy, and excited about life!
Heidi's Note: It appears Maks deleted the video – someone let me know when he puts it back up and I'll re-insert it. Maybe his "haters" were attacking him. LOL
Vogue back and here ya go. I hope it's not deleted again;
Adding; Maks also talked to Access Hollywwod about his dance studios today including the new studio planned for Los Angeles. He also reveals why he loves dancing so much and why he loves promoting it.
"I love dancing. I love what it does and I love promoting it," states Maks.
What dancing does is shape shift many a body into a toned body of work. Need proof? Just check out Kirstie Alley or other "DWTS" slim-down alum Kelly Osbourne.
"Dancing is a great workout because it requires you to use every inch of your body. Its high intensity and the dynamic rhythmical changes elevate your heart and burns calories faster than regular cardio," states "DWTS" troupe member, Ted Volynets, who also trains at Dance With Me studio. "The fact that dancing is a FULL body workout results in it sculpting your entire body. You are losing weight and toning up simultaneously. Your core muscles are engaged the entire time, holding your posture strengthens your back, and your legs are always active."
Yet, for those who feel darn right silly getting on the dance floor, Ted has this advice – "It's cliche but it's true: 'Dance like no one is watching.' As with anything else in life, if you are caught up with what other people are thinking, you are missing the moment and opportunity to better yourself!"


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Life Noggin narrator Pat Graziosi asks the question "What If You Were Never Taught Anything?" and explores the ways a person's brain would develop without any education.
Education is essential, but what would happen if you never learned anything?
People considering a Bonsai fruit tree should know that in the winter the leaves of a fruit tree will fall and they typically grow much faster. You can find...
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