text:
Fourth arrest made after shootout with police
PETERSBURG - Petersburg police said Friday that they had arrested Andre Cordell Mason, 25, who was wanted on warrants related to a vehicle pursuit and exchange of gunfire with police late Wednesday night.
Mason was served with the warrants including attempted capital murder of a police officer. He is currently in Riverside Regional Jail. Mason was the only one of the individuals who was not arrested the night of the incident.
Police were able to arrest three other individuals who police say were in the SUV at the time of the incident - Chaz Jherron Brown, 22, of Hopewell; Bennie Young, 41 of Petersburg; and Darius Deandre Harris, 18 of Hopewell.
Brown, Young and Harris are each facing a charge of attempted capital murder and numerous other charges related to the incident.
As part of the continuing investigation, police recovered one weapon - a MAC-10 on the night of the incident. Petersburg Police Maj. Bill Rohde said the semi-automatic gun is considered an "assault-style weapon."
The incident began when officers working an anti-robbery detail on South Crater Road heard gunshots. As they began to search the area, they heard a call for a suspicious vehicle - a dark-colored sports utility vehicle in the area of Blackwater Drive. Shortly after that, another call came in for shots fired in the area.
According to police, the officers noticed a vehicle behind them matching the description and made two U-turns to get behind the SUV around 11:47 p.m.
In the 1000 block of South Crater Road, the SUV slowed and police say an occupant or occupants began firing at the officers in the car.
The officers returned fire and a pursuit began. The SUV took a ramp onto Interstate 95 South and exited back onto Wagner Road headed west. Several times during the pursuit, police say the SUV would slow and the occupants would open fire on police and then the vehicle would speed off again.
At Wagner Road and Medical Park Boulevard, police say the SUV crossed the median and deliberately struck another police car in the eastbound lanes of Wagner Road.
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text:
Old rivals will meet once again this week as Schoolcraft and Constantine will match-up in the District Finals. Schoolcraft comes in champions of the KVA with a sparkling 10-0 record while the Falcons come in with a 8-2 record. Schoolcraft won their regular season match-up 42-32 which ended a seven game losing streak against Constantine. The Falcons have ended Schoolcraft's season the last three years in the playoffs. They went to the state finals last season and have been to the state semi-finals in 2009 and 2010.
Nick Vlietstra talked with Schoolcraft Head Coach Terry Haas, running back Benny Clark and quarterback Jeffery Scott on Wednesday as they prepare for the big District Final game.

subset: commoncrawl


text:
Written by:
While moon over Konsantinovo wanders,
and meadows sleep in the silence,
your spirit still breaths,
seeking new oases,
peasant valley couldn't offer you worldly aspirations!
Restless vagabond,
you yearned for vision life couldn't give,
and flew through new dimensions so fast, too high,
giving vent to winds, you became stretched
between the Earth and Heaven,
a waterfall that kissed ground too soon!
Alexandrovich Yesenin!
The stern October has deceived you,
so you searched your ideals in liquor,
and your soul in women, finally
easing and sharpening your pain in Isadora!
Oh, remember Sergey,
you are part of our collective dreams-
the very same meadows, blossoms of birches,
and innocence that scream for you now!
Didn't you know that world's call
couldn't give you peace?
It's stars are pale, artificial seducers
No warmth, just empty symbols with tart taste.
You were not their child,
your heart yearned again
for tender birch woods,
your soul remembered silenced meadows,
fireplace that always waited for you,
and old hands that prayed
you would come back!
And dear Sergey,
Why all that beauty didn't love itself?
Your piercing blue eyes,
light wavy hair and full, soft lips
went into my pain!


text:
volcanic explosion
The topic
volcanic explosion
is discussed in the following articles:
major reference
volcano (geology)
Massive volcanic explosions are caused by the rapid expansion of gases, which in turn can be triggered by the sudden depressurization of a shallow hydrothermal system or gas-charged magma body or by the rapid mixing of magma with groundwater. The ash, cinders, hot fragments, and bombs thrown out in these explosions are the major products observed in volcanic eruptions around the world. These...
worst volcanic eruptions in history
volcano (geology)
Four worst eruptions in history
...1,400 metres (4,600 feet) of the summit cone were missing, and in its place was a collapsed caldera 6 by 7 km (3.7 by 4.4 miles) wide and 1 km (0.6 mile) deep. About 10,000 people were killed by the explosive eruption and the tsunamis caused by massive pyroclastic flows entering the sea. Agricultural losses from the thick ash deposits resulted in famine and disease, leading to an additional...
"volcanic explosion".
Encyclopædia Britannica. Encyclopædia Britannica Online.
Encyclopædia Britannica Inc., 2014. Web. 30 Sep. 2014


text:
Well, this was the first image I uploaded when I joined Society6, so I'm reposting it because it has ten likes, yet it is one of my best sellers. weird....
it's sharpie marker on paper
Seahorse in Blue
by S.G.D.
Phone Cases
Protect your iPhone with a one-piece, impact resistant, flexible plastic hard case featuring an extremely slim profile. Simply snap the case onto your iPhone for solid protection and direct access to all device features.
- 98Promote


text: This video which has been lying here, gathering digital, pixel-sized dust, is so ironically profound!! You recall that saying, "The child is the father of the man" ...here is that future man's young version telling his ancestors - us - to better hurry up with our experiments in the lab, so that the finished product reaches him tomorrow . Really good of you to post it Ritz!


text:
"Quiet Setting overlooking the Broad River"
"We could see Chimney Rock from our porch."
"So close to Lake Lure!"
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text: Welcome to DeWitt Martial Arts - Old School Chung Do Kwan & Hap Ki Do (26 Certified Black Belt Ranked Students)Garrett and Brenda DeWitt moved Brainerd in 1993 and shortly thereafter, with Brenda's assistance and the assistance of three Black Belt ranked friends from the Cambridge Tae Kwon Do Center, Master/Dr. Jeffrey Nyblom, 4th Dahn, Dr. Taryn Nyblom, 3rd Dahn and Jerry Lundeen, 1st Dahn, Brainerd Tae Kwon Do was was opened at 1302 Oak St. Three years later the dojang was moved to its present location at 1014 Laurel St., downtown Brainerd. Due to Chief-Master DeWitt's extensive Korean martial arts rank and training in Chung Do Kwan, Tang Soo Do and Hap Ki Do,the dojang's name was changed to DeWitt Martial Arts which establishes our strong foundation with Korean Chung Do Kwan, HapKiDo and a Korean weapons curriculum. DeWitt Martial Arts students are known for their excellent effort, dedication and continuous hard work to maintain the extremely high standards for the success of this martial arts school. Over the past twenty years within the Brainerd,Baxter area and surrounding counties, martial arts enthusiast of all ages have learned about our "old school traditional Korean martial arts curriculum" and challenging physical criteria which consistently improves physical fitness levels and martial arts defense skills. Our Chung Do Kwan and HapKiDo training not only focus on physical techniques but on mental control and cognitive development. DeWitt martial arts provides a welcoming location for everyone and DMA students are consistently training to advance their skills, harness their energy, improve their physical conditioning and cognitive knowledge of all kwans and styles within the martial arts. Our Korean martial arts lineage is directly connected to the Korean Chung Do Kwan founder and the Korean Hap Ki Do founder. A special thank you to those instructors within the Brainerd/Baxer area, Mrs. Cindy Eschenbacher, Mr. Todd Dahl, Master K. Keppers, Master/Dr. R. Taylor, Mr. R. Mertes, Ms. L. MacKenzie, Mr. M. Seymour, who have contributed greatly with their time, extra efforts and strong personal commitment to the Korean Martial Arts and to DeWitt Martial Arts.DeWitt Martial Arts Offers:*Two weeks of FREE lessons. No obligation to join or buy anything.*NO CONTRACTS, EVER!*Strict Korean martial arts training, not sports Tae Kwon Do.*Kukkiwon Certification.*Hap Ki Do Certification.*WTF/ITF and Hap Ki Do training curriculum.*The most intense Korean martial arts curriculum in central MN.*Some of the best trained and certified Korean martial arts instructors in central MN.If you are up to the challenge and you want to be involved with a martial arts dojang where rank is earned, never given, come in and try our two weeks of FREE lessons.A DOJANG WHERE RANK IS EARNED!


text:
"All along he had believed, instinctually, that his broken heart had something to do with the collapse of the culture."
-Sarah Schulman, Empathy
"So I put despair on my schedule for twice a month; I think that's a reasonable amount of time to feel hopeless about everything, about staying here on Earth."
-Philip K. Dick, Do Androids Dream of Electric Sheep?
Found a way to not get out of the water at all. To lie in it, to lie on it.
For the water be in my eye line.
1. A day in Athens, then the sea, so blue, you can see it with your eyes closed. See/sea. This is what Derek Jarmen was referring to in his film, his blue masterpiece by the same name. His masterpiece Blue. And Pierre Guyotat in Coma: "My eyes are full of that blue and the sweep of the shore seen from above." And: "So, in this late autumn, that color, which I do not see but whose fishing and trafficking animates the coast over which I write, is already watchful, alive, in the increased darkening of my gaze. The resounding blue, a color of Antiquity, of The Book, of the perdition of History, of the horror of being alone in it."
I fell in love for the first time in Provincetown, too, three years later. I was 10 and he was 12. We were both from the city, and we'd met once before at my friend's house. Then one day he was in Provincetown, standing in line at the movie theater. My mother said, "go talk to him." I am still shy about all this. Him. Saying hello to someone like that. Someone fated (in Chinese culture, there is a difference between destiny and fate. This difference is described by the untranslatable word, Yuanfen). This story is in "Diegesis (World of the Fiction)" from my first book Beauty Talk & Monsters. Five years after the book was published, last February, he sent me a private message on Facebook in the middle of the night, saying he'd been "somehow clicking around online and found my writing." One essay in particular. "Somehow." An hour before, I'd woken up from a recurring nightmare about him. I've been having it once a year or so for fifteen years. Unable to sleep after that, I decided to Google him, something I've only done once or twice. What's he up to, I wondered. Then his message at around the same time, which I found the next morning. In his note, he said he liked the piece he'd read, that it was "so on," and he "just wanted to say that." Much of the essay he read is about our shared New York childhood. But the unspoken message of his email is that in that essay, only a few lines in, I write about him being the first boy I ever loved. Something he'd never known outrightly, something I think he's always needed to hear and which I regret not telling him, even though I had my reasons, so my admitting it, my putting it in writing where he could read it, was healing for him, I think. And him writing to me, finally, him reading it, was healing for me. I wrote "Diegesis" partly with that truce in mind for us. I wanted my own writing to be a witness to what had happened between us, because without putting it in writing we ran the risk, as every love story does, of "nothing had happened, generally, so it had been measureless" (Do Androids Dream of Electric Sheep?). A couple of emails in, we made a plan to meet, he suggested a coffee, I suggested a coffee or a drink, told him I'd be away for five months at artist residencies, then school. But ultimately we never did meet because he never responded after that. I don't know why. He's married now and has a little girl. But I think it might have been good for us. I think it would have given us some kind of peace. First loves need that, I think. I'd always hoped he'd find my (our) story one day. This is one of the powerful privileges of being a writer—you are building bridges. Roads to the past. Roads between times. When I went back to the essay he'd read and contacted me about, I remembered my confession about loving him and winced, still embarrassed after all these years. In one of his emails he said he was "still haunted by the past. Our past." Said he wanted to understand it but then left it alone, again.
6. The blue of bliss, the bliss of blue. The red of sun, when I close my eyes. The fire of sun as it gets cooler. The fire of people. My fire, as I get cooler. Older. Maybe I used to need my fire more? But I don't know my own fire the way others do, who have always thought I'm hotter than I am. Can I feel my own heat? No, but I feel my blue. I do my best to regulate it. Both the heat and the chill. Maybe I underestimated the cool down that happens over time. The shade. Mistaking it for complacency and never ever wanting to be complacent even though I need a lot of solitude. Or an away-ness from certain people and ways of living. Being alone, or not quite immersed in the world as it is, or at all, is one way to be in the shade. Rousseau going to an island in Switzerland in Reveries of the Solitary Walker to breed rabbits and study flowers. The sun hit him that hard.
7. Saudade: "A deep emotional state of nostalgic longing for an absent something or someone that one loves. It often carries a repressed knowledge that the object of longing might never return. It's related to the feelings of longing, yearning. Saudade has been described as a vague and constant desire for something that does not and probably cannot exist … a turning towards the past or towards the future…A stronger form of saudade may be felt towards people and things whose whereabouts are unknown, such as a lost lover, or a family member who has gone missing. It may also be translated as a deep longing or yearning for something that does not exist or is unattainable."
8. What is true friendship, true love, I ask myself as I climb out of the water on my third day here. New beach, a rocky cove.
The yoga instructor, who teaches on Amorgos during the summer, is "renowned all over the world" apparently. I end up fighting with her. It's bad enough T. came to dinner uninvited despite the way he treated me last summer. I can't help running into him on this small island, but at the very least I should be able to decide if I want to have dinner with him. M. could have asked, as I've told him numerous times that I never want to see T. again. I was already upset that he'd sent T. to pick me up at the ferry the night I arrived to the island on the boat. It was 2 am and I saw T. standing in the shadows. I thought he was there to pick up someone else, but I still ducked and went the other way. The next morning M. told me that he had asked T. to help me with my luggage. Of all the fucking people to send to my aid, especially when I never asked for help. I was a pool of sweat by the time I dragged my suitcase up the hill to my room, but I would have rather died than accept anything from T.
At one point the yoga instructor snaps (she'd been snapping at me all night about everything I said, and I'd never even met her before): "Yoga is not about showing off. Yoga is about the spirit." She'd been correcting me all night. This holy woman, with her silicone face and glistening lips the size of I don't know what, and whose every word is a fucking New Age platitude, calls herself Soul. Yoga is not for showing off (I never said it was. I could care less about the way the West has appropriated yoga, except that it pisses me off that it has), but a face and breasts are for slicing open and injecting? I guess she gets to decide what is and what is not for showing off. What is and is not spiritual. For me, the body and face are spiritual, too. I tell her she's been talking to me all night like she is my mother, except my mother has never talked to me like that. She explodes. "You are so aggressive. Go take a bath. Chill out," she barks. Her face is in my face, and she is pointing her forefinger at me when she says this.
The night turns into Reality TV. This yogi is primed for a fight. She's been waiting to have one with me all night. I say, "And you're not aggressive? Aggressive people always accuse other people of being aggressive. Is this how yoga instructors talk to people? Go get some more plastic surgery." She is up in arms about the last thing I say, not because she hasn't gotten tons of work done on her face, but precisely because she has and I have called her face on it. The stupid, frozen expressions she's been making all night, the grotesque pouts, while she condescendingly lectures everyone—mostly me—about being evolved. It wasn't my proudest moment, no, but I meant it. I'd been thinking it. Was in disbelief over her face. The content vs. the form. What she was saying versus the way she looked. I am after all a person to whom faces are everything. I still believe in the value of faces (not the commercial value), now more than ever, as real faces are dying all around us. Why can't I say that a certain kind of face bothers me, especially when I am being attacked? You think I am aggressive? I think your face is aggressive. There are different ways to be affronted. There are different ways to be full of shit. In The Smiths' song, "You've Got Everything Now," Morrissey sings, "And did I ever tell you, by the way, I never did like your face?" Well, I told her. Morrissey sings about hating a face the way some people hate someone's guts.
First of all, what A. says about me and M. is just nonsense. These men are old enough to be my father, I have no interest in either T. or M., I rarely have any interest in anyone, and I was just talking to M. that night, like I was talking to everyone else. Lastly, what business is it of anyone's even if I was? M. isn't married, and in fact he was interested in me last summer, but unlike T., had the decency to know it wasn't reciprocated and respected that. T. lashes out, "You are educated but you don't know how to behave. This is what you are like. You are a loser." If behaving is not telling the truth, then fine, I don't know how to behave. Especially with people like T. and Soul. And why am I the loser, but this 50+ year old lying lowlife scumbag isn't? What followed was much worse and involved everyone ganging up on me for insane reasons. Some random guys at the bar defended me, telling me not to "fall with the rotten fruit. To be strong because you are better. These people have cabin fever. They have nothing better to do on this island, and they're drunk." Other drunk male assholes called me an "angry woman." I left the bar alone. Better stick to nature. I didn't come here to get eaten alive. But, I wonder, have always wondered: why are the so-called "spiritualists," the Souls of the world, always the biggest assholes? Why do the most "evolved" people defend the worst people? Why do women always defend misogynists? Why do so many women gang up on women (I know the answer to this, but it still shocks me). Why is a strong young woman, traveling alone, still so suspect? Why does it bring out the village mob in people? The immoral moral.
15. "What a terrible mess I've made of my life." (The Smiths).
16. "In the pandemonium of image, I present you with the universal Blue" (Blue).
17. Auden: "Words are for those with promises to keep." This digital age hasn't got a clue about what it means to say things to people. I used to ask people (lovers) to tell me things, but I don't do that anymore. Warning: no one should say anything to me that they don't mean. Good or bad. I get attached to and hung up on words. Words are actions. Don't say you miss me. Don't say you can't live without me. Don't say you need me. Don't say you love me unless you mean it and want me to believe you. Unless you want me to carry it around with me for the rest of my life. I am married to everything and I can't help but remember. Can't help but care. And just the way words kill me, words save me. So don't say something unless you mean it and know what it means to mean something.
18. "Use your time just to work things out" (Maximo Park).
19. The road to blue. "One can know the whole world without stirring abroad." (Blue).
One can know nothing despite stirring abroad.
When people ask me what I like about you (X.), I'm not sure I know the answer. Or I'm not sure I can talk about it. Or I do know the answer, but they're not things I can explain, or that matter to other people. In my head I know it's partly because you are still wild. Meaning, you haven't been completely socialized or socially brainwashed yet. That doesn't mean you don't have other bad tapes running through your head. But you're not a fake, in the way that becoming (a) fake is like an American rite of passage these days. You still do and say the things you're not supposed to do and say. You still act the way people are not supposed to act. You still feel things that people have stopped feeling, and your feelings show—they are all over your face—even when you don't want them to. You are like a character in a movie and you make me feel like I am one too. You know—the kind of interesting, guarded, passionate chip-on-her shoulder misunderstood woman that people—men—only like in the movies. You don't ask me to change. You don't tell me what's wrong with me. You don't try to correct my behavior. You innately understood me. In other words, I think you knew me the moment you saw me. I think I knew you, too. Of course I could be wrong about all of this.
The old life of New York City subways (I remember some of this) is one of my favorite things about old New York. Lost New York. My parents' New York. An artist's New York. Working class and middle class New York. A New York of racial, ethnic, and class diversity. Scratches and shadows, empty lots and rubble. Neighborhoods. Abandoned piers and warehouses. River. Skyline. Bodies. Ages. All the ages we got rid of. The time-jump of time. The time-jump of trains. In trains. Maybe everything is a love story if you're a lover. No matter who. Now New York is a painted body scrubbed clean. Washed off. Washed out. That's lost its inscriptions, carved metal bark. Like no one was or is ever there. Here. How do we know where we are? We don't. What do people want to remember? Nothing. All these people on these cave drawing subway cars, like they're sitting in paintings that move.
At the Acropolis Museum in Athens, while writing on my computer and ordering food at the museum cafe, my waiter asks me where I'm from. I tell him New York. Of course this excites him, as it excites everyone abroad when I tell them this. New York is a world superstar. I want to dispel the myth and give him the reality, but I also don't want to kill his "dream." We chat about how it's his fantasy to live in New York one day.
When he brings me my food, he tells me it's on him. I refuse. He insists. I can't bear the idea that this guy, Nikos, probably makes no money all day and will use part of his pay to subsidize my meal. I say no over and over. He smiles and keeps insisting. "No," he says. "You are perfect. You are good." He emphasizes the word good. Of all the things to say. Of all the things to comment on. He smiles. He looks exhausted. Sad underneath his kindness. Then he brings me other things he wants me to try. Local dishes that are on him, he says.
He smiles and is chatty and open in a way that I am not used to, but love. Crave. My country's young are not like this. They are slick and aloof and guarded and cynical and opportunistic and savvy—used to everything. Worst of all, they are way too professional. Even when they don't want to be, which makes it even more heartbreaking. They are longing to connect but aren't built to connect. They throw words around but they can't handle what they mean. They never stick to their words and their words never stick to them. They want to feel, but mostly they can't. Mostly they play at feeling. Their feelings are from the outside in, not from the inside out. They love you one day and don't care the next. Nothing has a lifespan. They can take or leave anything and anyone. They want to be different, but can only be the way they are already. Maybe everyone everywhere is like this now.
By the ocean, I feel like maybe I have a chance to not lose my mind. I think of Derek Jarman's words: "Blue is love that lasts forever."
Sunday, July 15, 2012
Walking home tonight, rain finally comes but the humidity still doesn't budge. It's hard to breathe, but I am happy to be home for a few days, even in this heat, and with little time. I tell myself that if I get the big grant I applied for I can leave New York. I can leave America, too. But then I realize that I don't know where to go until I meet the person I can go with. Until I have love because love is the home I'm really looking for. The real reason to leave this time. I can't take off alone anymore because I'm not just waiting to leave, I'm waiting for someone to leave with. Someone to leave for. Someone to go to. Someone to stay with. This has not always been the case, as I've traveled my whole life, on long journeys, alone, and still go somewhere every year. Or maybe it has always been the case. Only where before I left to find something/someone, now I need to find someone/something in order to leave. This time I am running to stop. I think I've ended up with a loneliness most people start off with. Eventually it catches up with everyone. An astrologer tells me: "You do everything backwards." I wonder what backwards is. I wonder what everything is.
"And everyone will say you've missed your chance.
But you go out in the night till you got no place to go
Something you ain't doing right is haunting you at home."
Beckett in a letter:
"One may just as well dare to be plain and say that not knowing is not only not knowing what one is, but also where one is, and what change to wait for, and how to know, when it seems as if something is moving, which apparently was not moving before, what it is that is moving, that was not moving before, and so on."
In the documentary America in Primetime, which I wrote about last week, everyone happily reports that TV has come a long way from its 1950s origins, which were "fake," "unrealistic," and "out of touch" with the way things really are. With the way things really were. Every program ended with some tidy conclusion, they say. Some epiphanal or redemptive moment. But today, every obedient, calculating, opportunistic, divisive, fame-hungry, media savvy Reality TV contestant sums up their so-called "meaningful" and "life-changing" experience on TV with: "I've learned so much and I am so much stronger because of this." It didn't take 50 years for TV to catch up with reality. It took 50 years for Americans to completely lose touch with reality. Before TV was not like real people, but now real people are not like real people. They are like TV. This is a much bigger problem.
If love is also a politics of resistance, then certain kinds of anger go together with love. Today, in an email, L. writes about being a feminist kill joy, which is what I've been feeling like all the time lately, and writing about, too. But I am also angry with myself for how quickly I let go of the feeling that I am loved. I need a love so deep and lasting that I can't forget. A love that lets me live with and bear my anger.
"Gotta get mad to make that shit stop. Gotta be a killjoy.
but… also gotta love somebody."
"So true. And story of my life.
Getting/being mad
And wanting/needing to love somebody."
My mother said the most amazing thing to me today, as we talked on Skype and I complained about people. How fake and catatonic this culture has become.
She said:
"Americans have been dead for a long time."
I used to be so good at wearing my sadness on my sleeve. At being true to my anger. At not hiding anything. Not compromising. Saying exactly what I think. But how many times can you lose everything. Everyone. As a woman, in America, in the 21st century (and I can really only talk about my own time and place), the risk of alienation and disapproval is near-constant. Because the line between being liked and accepted and being shunned and hated is so thin and precarious. It literally depends upon how fake and placating and "positive" you are required and willing to be. Because apparently having any kind of critical mind these days (and not just on paper, although on paper isn't exactly encouraged either), and expressing yourself, has somehow become synonomous with being a bad or difficult person. The front is so much more important than who you actually are. So you can be an asshole as long as you smile and have a good time while being an asshole. But you can't say what you think and feel and still be thought of as a good person. You are forced to choose between popularity and honesty. Integrity and approval. You aren't allowed to have both. To be both.
In this country, if you have anything to say, if you step out of line, if you complain or criticize or disagree with anything or anyone, you are immediately written off as difficult, a bitch, a drama queen, a threat. If you speak out against things, or even for them—passionately—it doesn't matter if you're a decent person. It doesn't matter what your other good qualities are. It only matters if you smile and get along, even if getting along is not real getting along. Most especially if getting along is not real getting along. Is not love, is not honesty, is not vulnerability, is not truth, is not understanding, is not open, is not close, is not risk, is not work, is not change. There is no space for an incident-specific reaction. In an interview bell hooks once said that if your mind is decolonized in a colonized world then it becomes very difficult to live in the world.
Sara Ahmed, "Feminist Killjoys (and other willful subjects)":
"We can consider the relationship between the negativity of the figure of the feminist killjoy and how certain bodies are 'encountered' as being negative. Marilyn Frye argues that oppression involves the requirement that you show signs of being happy with the situation in which you find yourself. As she puts it, "it is often a requirement upon oppressed people that we smile and be cheerful. If we comply, we signify our docility and our acquiescence in our situation." To be oppressed requires that you show signs of happiness, as signs of being or having been adjusted. For Frye 'anything but the sunniest countenance exposes us to being perceived as mean, bitter, angry or dangerous."
Romans, 7:15:
"I do not understand what I do. For what I want to do I do not do, but what I hate I do."
I want to be held like this:
We weren't trying to be political. We weren't trying to be feminists. We weren't trying to be subversive. We weren't trying to stand on a soapbox. We weren't trying to pave the way for other women. We weren't trying to be strong, We weren't trying to change anything. Women can't do it all. Women can't have it all. Women don't want it all.
Don't worry, these television icons assure us, we're not feminists and we never were. This is the very soothing message being communicated to America 60+ years after the inception of television. It is hard to imagine a group of male actors saying the same thing about men on TV:
Men can't have it all. Men can't do it all. Men don't want it all. We weren't trying to be men. We weren't trying to be strong. We weren't trying to be outspoken or independent.
What women want, the women writers, directors, producers, and actors in America in Primetime, explain, is the right to be "flawed" and "imperfect." To rebel against the sanitized representations of American womanhood in the 1950s. But when have women ever been treated as perfect in our society? Submissive and incompetent, yes. One-dimensional and marginal, yes. Perfect really means silent and secondary. It does not mean that women haven't been put down and degraded for centuries for their so-callled imperfections. That is to say, for the way they don't—as a sex, the lesser sex—measure up to men. Being put on a pedestal is simply less-than sublimated as higher-than. But is fighting for the right to be "just as fucked-up"— imperfect—as men what feminism has been reduced to? Is feminism about accessing dominant power or eschewing it? Is it about the right to be different or the right to be exactly the same? Is role reversal the best we can do in the year 2012?
When it comes to men, the construction is reversed from the start: men are allowed to have it all to the degree that they have never been required to make the distinction or calculation between something, nothing, and everything—let alone justify the desire for, or the right to, the total and the whole. It is because men are permitted to be and have everything (I am talking, of course, about the straight white male norm here. The norm we see and hear represented) that they complain when they are actually expected to be accountable to that totality and wholeness. The desire is to signify power and entitlement, but cut corners when it actually comes to being accountable and involved in everything (the monetary, emotional, sexual, domestic, and spiritual). And what is "having it all" or "doing it all" mean anyway? It seems that both the question and the answer have always been not just about the relation between genders, but the relation between the concept of gender and its relation to entitlement itself. Last spring, for example, a male Tarot card reader warned me that as a woman artist simply wanting anything other than a writing life was impossible and would lead to a lifetime of suffering. It wasn't enough that I told him that I don't want children, or even marriage necessarily, or that I "suffer" precisely from feeling like writing is all I am allowed to have. Being anything other than one thing as a woman (no male artist is told this, even though it is no secret that male artists have historically not been able to balance their art with their personal lives either. However, they continue to believe that they can have both, without actually having to attend to both, precisely because they are not expected to do both) is perceived as unrealistic and greedy—the source of all gender trouble. When I told the Tarot reader that in addition to my writing I also want true and lasting love, which is radically different from simply wanting a man or a relationship, he was dismissive. Real love as opposed to just being in a relationship means that no one gets to just be or have a man or just be or have a woman. Real love is about being radically opened up from the inside out, not enacting roles. If it were just about having a man, I would already have a man, as just having a man would reduce me to just being—playing— a woman.
When men work and have families is that considered having it all? Is it even a question that belongs to what it means to think of oneself as a man? If we apply this question to all men, it is the construct of masculinity that begins to crumble, and not whether men are allowed to have both a professional life and a personal life at the same time. At this point this is a given right for all men, regardless of race, class, and sexuality. Nor is it a problem (or it's largely a problem when it is men of color) when men aren't physically present as fathers and husbands. When male actors and rock stars are on the road 180 days out of the year, when they rarely see their kids, rarely see their wives, rarely participate in their domestic lives or responsibilities, does it make them feel guilty, the way women always lament that it makes them feel guilty when they go to work instead of staying home? The way that women always talk about how being working mothers goes hand in hand with shame and guilt. Do working husbands and fathers feel this much guilt? Do they work less? Do they stop being film stars and rock stars and businessmen? Are they pressured to choose between work and family? Between fame and family? Between artistic life and family life? Between their sexuality and their work? Do journalists and talk show hosts ask them these kinds of questions? Do they wonder if they should give up their work to stay at home? Do they tell themselves they can't have it all? That they have too much? Do they ask themselves if they give enough? Love enough? Are they made to wonder why most men are still allowed to be absent in some way—to merely signify presence?
Judging by conservative family-values Reality TV shows like Super Nanny, the majority of men, whether working class or upper class, white men, or men of color (although people of color are almost never featured on the show), are still only expected to be breadwinners. If men are asked to do more, they feel they are being put upon, stretched beyond their limits, feminized, sent "mixed signals"—required to be "everything"—by the castrating side-effects of the women's movement. It's no longer enough, men complain, to be a "Man" with a capital M.
The very notion of having it all has only ever been applicable to women, for whom the public and the private, the personal and the political, the inner and the outer, are to this day still fundamentally irreconcilable. In post-20th century America you can't even want everything, much less have everything. Women themselves are quick to point out that mixing both the professional and personal is an impossible ideal, one that they are giving up on. In America in Primetime, Shonda Rhimes, a black woman and the creator and writer of Grey's Anatomy, states that for female surgeons like Meredith Grey (white) and Cristina Yang (Korean), "love is elusive" and the "fairytale impossible." Yet is the source of Don Draper's anguish on Mad Men the fact that he has an ambitious career and a family? Or is the shame all his own; so self-oriented and lawless it gives him a constant out: to have, but not want, everything. To possess everything, while also living with the option of having more of whatever and whomever else he wants, whenever he wants it. Is Draper's self-loathing and self-destructiveness simultaneously a foil and a vehicle for all of his transgressions and faults? That is, we need the faults for the transgressions and the transgressions for the faults. Is Draper's real torment and appeal having to answer for things men didn't have to answer for in the past? That is, the reality of the man who has to be accountable (in 2012) with the reality of the man who didn't have to (in the 1960s).
In the retro-enthused (retro diners, retro cars) web series Comedians in Cars Getting Coffee, Jerry Seinfeld and Joel Hodgson confirm the deep-seated nostalgia for the unrestricted retro-masculinity that is at play in Mad Men while driving to a New Jersey diner in a 1963 Sea Blue VW Karmann-Ghia.
Joel Hodgson: Mad Men is so great, still. I'm still in the middle of it.
Jerry Seinfeld: Yeah, I love it. We were on to that in the 80s.
Joel Hodgson: That's all we wanted. That was all we wanted—to be advertising guys in the 60s.
Jerry Seinfeld: That's right.
Joel Hodgson: We used to talk about that all the time (Hodgson and Seinfeld say "all the time" at the exact same time. That's apparently how deep the Mad Men fantasy goes for men of all generations, but particularly Baby Boomers).
Joel Hodgson: Drinkin' at lunch.
Jerry Seinfeld: Yup.
Joel Hodgson: Having a bar in your office.
Jerry Seinfeld: Yup.
Joel Hodgson: Is that like a shared dream of all guys our age? (both Hodgson and Seinfeld are in their fifties).
Jerry Seinfeld: Of course it is.
Joel Hodgson: And the sexual revolution was all tied up in that.
Jerry Seinfeld: Yup. I mean, that's what the sports cars were all about. Women will give this to you (presumably "this" is sex?) if you have the right accessories.
Seinfeld and Hodgson arrive at a 1950s diner in New Jersey for coffee and breakfast.
Jerry Seinfeld: It's another 50s diner. Why are we looking back all the time? This diner is about looking backward, right? So why are we looking back?
Hodgson's admission that he's "still in the middle of Mad Men" is indicative of what is morally and ideologically at stake for both of these men, which is not simply a favorite TV show, or entertainment, but a relationship to male authority, permissiveness, and an American past that precedes the social reforms of feminism. As young men coming up in the entertainment industry in the 1980s, Hodgson and Seinfeld—both white male Baby Boomers—longed to be mad men themselves: powerful, rich, and totally unrestricted.
For women the myth and rhetoric of everything isn't simply or specifically about being at home and being at work, but rather: and instead of either/or. Plurality vs. singularity. Even the binary itself is homogenized, as choosing work over and in addition to being a wife and mother is morally always the lesser choice. So while The Good Wife is about a working woman—a litigator played by Julianna Margulies—its title is haunted by the specter of the either/or binary and impossible female ideal. On TV men want to be free to be juvenile and ambivalent—partially absent, partially present, neither here nor there. However, when they are treated that way (Everybody Loves Raymond, The Simpsons, Family Guy,Married With Children, The Honeymooners, The King of Queens), they feel as though they have been emasculated and ball-busted by their castrating, ungrateful, disapproving, "macho" wives (see also the movie Falling Down, 1993). This of course becomes a vicious cycle, as this gives men comedic and dramatic license—"relief"—to act even more juvenile, incompetent, and ambivalent. Since you treat me like a baby, I act like a baby. Instead of: because I act like a baby, you treat me like one, and can't rely on me as a human being, much less a husband or father.
On TV, men want to be authority figures without being in control, or to be in control without being responsible or accountable. To be men while acting like boys, to be in power without doing anything to command it, other than simply and emptily signifying it. The flip-side of "women having it all," the so-called mixed signals of feminism and 21st century life in general, is the "burdensome" and "conflicting" (rather than thinking of it as expansive and integrated, it is treated as contradictory) things that men "have" to be now as a result of those advancements—the "everything" (plurality) that men have to now live up to, which is what Big Love was actually about. On Big Love, the multiple wives were less about Mormonism or polygamy and more about the supposedly impossible demands and appetites of modern women. Polygamy was merely a cover for a much more reactionary sentiment: the varied pressures that women put on men in contemporary life.
Just as Sex and the City's so-called smorgasbord of men was merely foil for the one man (Mr. Big. Can you get more Freudian?) Carrie Bradshaw not only wanted (a man who was such a Big Bad Daddy, silent-type throwback of a man, he wouldn't even tell Carrie his name), but who invalidated any of the supposed sexual liberation Carrie was indulging in, as well as the reformed modern men she was dating and having sex with (recall the show's Aidan vs. Mr. Big plotline). Mr. Big, it can be argued, was Carrie's narrative punishment—the shadow on her consumer-based, have-it-all freedom. He is, the show tells us, the man women really want, the man women truly deserve, the man women always go back to and leave the Nice Guy for. The man who will not be changed, who won't give you what you want, who will not bend to your or feminism's will—he's that strong—so you will have to change (back) for him. You will have to retro-reform.
"One more thing that I forgot to tell you, when I wrote you about Odysseus and Penelope.
The first creature that truly recognizes Odysseus when he comes home, when he
arrives in Ithaca is: his dog, Argos.
The dog that recognizes. Dog that loves. Has been loving and waiting and believing all this time. It's such a sad and beautiful scene, because after twenty years, Argos is very old, very tired, sick. But in that last instant he recognizes that his human has come home; he's happy. Odysseus isn't able to greet him as his master, because that would give away his identity, but he's moved by the scene, secretly cries. And when Odysseus leaves his side, the dog finally passes peacefully away."
And this, that same night, while I was reading in bed: Kafka on being a dog in "Investigations of a Dog:"
"How, indeed, without these breathing spells, could I have fought my way through the age that I enjoy at present; how could I have fought my way through to the serenity with which I contemplate the terrors of youth and endure the terrors of age; how could I have come to the point where I am able to draw the consequences of my admittedly unhappy, or, to put it more moderately, not very happy disposition, and live almost entirely in accordance with them? Solitary and withdrawn, with nothing to occupy me save my hopeless but, as far as I am concerned, indispensable little investigations, that is how I live; yet in my distant isolation I have not lost sight of my people, news often penetrates me, and now and then I even let news of myself reach them. The others treat me with respect but do not understand my way of life; yet they bear me no grudge, and even young dogs whom I sometimes see passing in the distance, a new generation of whose childhood I have only a vague memory, do not deny me a reverential greeting. For it must not be assumed that, for all my peculiarities, which lie open to the day, I am so very different from the rest of my species. Indeed when I reflect on it…I see that dogdom is in every way a marvelous institution."
These tweets on creative anxiety and the performance of failure in the digital age were originally going to be in a sequel to LACONIA: 1,200 Tweets on Film. But in the end I decided not to do a second volume.
Writers only write about their failure—about being failures—when they're no longer failures. Otherwise,
the narrative of failure wouldn't work.
Oct 5, 2:12 PM
I wonder how the internet has affected creative anxiety and self-doubt. I know artists have
always been plagued by it,
Oct 10, 7:52 PM
but I think having to hear about what everyone is doing and saying and thinking every minute
about what they are doing and making has made things infinitely worse.
Oct 10, 7:53 PM
We've lost the valuable feeling of being away from things. Of being removed. Of hermitage. Of
waiting. Of keeping things in before you let them out.
Oct 10, 7:54 PM
Of when to and when not to. The anxiety of influence has become something new. Something public. With the hypervaluation
Oct 10, 7:55 PM
of the private, you are successful based on how public you manage to be. How public you are
with your private.
Oct 10, 7:56 PM
"Is it possible to tell, when the knight of the courtly novel is in his catatonic state, whether he is deep in his black hole or already astride the particles that will carry him out of it to begin a new journey?…Cannot the knight, at certain times and under certain conditions, push the movement further still, crossing the black hole, breaking through the white wall…even if the attempt may backfire."
-"Year Zero: Faciality," Deleuze and Guattari
The Hanged Man Part I
What is interesting about the hyperbolic fight sequences of Wuxia films is the way they slow things down, zoom into motion, expanding, lengthening, and freezing it. Forcing us to see what we cannot see. Making people move in ways they cannot move. Live in ways they cannot live, making Wuxia a subjunctive genre. Wuxia films give us the spatiality of emotion and the emotion of space. Heightening where we bear to see things, bear to do things, bear to live.
In movies like Crouching Tiger, Hidden Dragon, Hero, and House of Flying Daggers, people see and feel each other regardless of proximity, that is, without actually having to be near each other. Characters can hear each other whisper from a hundred feet away. When people are far away, they are close. When they are close, they are far away. Far and close at the same time. Blades, daggers, and swords fly in the direction of emotional force, not in the direction they are thrown. Distances are reversed: far and close are close and far. Seasons are ubiquitous. Summer and winter happen at the same time. Forests slip into forests, creating layers of green. Green on green. Eyes are irrelevant, you see without them. Characters do what they can do and what they cannot do. Inner struggles and states are physically depicted through impossible action and movement. The body_ can do anything_. Is everywhere at the same time. Lovers say goodbye, but then always return. Lovers go one way, then turn back around. People are undone by each other's faces. Undone by each other. You can't forget. There isn't someone else. Distance is transgressed (traveled) by how far you are willing to go and how far you have gone. What you are willing to do—what you will yourself to do—makes you able to run across trees. And of course there is the impossible green everywhere. The everything, always, of green.
In A Thousand Plateaus Deleuze and Guattari write: "The hands of a clock foreshadow something." Because of cinema, the home of the face, the clock and the face go together. The hands on the face of a clock, the clock on the hours of a face. The clock is a destiny in the same way that a face is. Both Bergman's and Fellini's films are one long clock. Fellini loves the sound of wind howling, which is time passing. Loves it the way Bergman loves a ticking clock. It's the time we're up against, and in, and out of. A camera is a hole that captures a face. "This is the face as seen from the front, by a subject who does not so much see as get snapped up by black holes. This is the figure of destiny…its only function is to have an anticipatory temporal value."
This could be one definition of the time-jump.
I Am Love features a beautiful homage to Vertigo and Kim Novak's famous hair chignon as portal of time and female erotics. The hair loop is the entrace to desire. Not just chronos (time, moment), but kairos (supreme moment, the moment). As Julia Copus puts it in her article about time, waiting, and love, "You Just Keep Me Hanging On, "In modern Greek, kairos means simply 'weather,' suggesting the possibility that time may be a quality rather than a quantity. We see our first snowfall, climb mountains and fall in love in kairos time."
I Am Love is also a rapturous women's liberation film. Emma doesn't even let narrative punishment (the death of her son) stop her. Nor her debt to wealth. I Am Love reverses and sheds Vertigo's nercrophiliac weight and fetishistic doom. Emma follows Antonio, her young lover, instead of the other way around. Instead of Scottie following Madeline/Judy. Instead of the mysterious man in the museum that Kate Miller follows to her death in Brian De Palma's Dressed to Kill, Emma charges after love into life. After life, into love. Until I Am Love, that hair portal has always been entered, like her, rather than being the place from which and in which she lives. The supreme time at which she begins to live and the real quality of life begins.
"About Time"
by Mark Peter West
Glasgow Review of Books
June, 2011
"As the Glasgow Review of Books is on hiatus, I thought I'd re-post - with minor formatting changes - my review of Masha Tupitsyn's LACONIA:1,200 Tweets on Film
and Christian Marclay's The Clock, originally published in June 2011.
Take these notes as the continuation of a conversation. Tupitsyn's tweets are a series of moments between 2009 and 2010. Marclay's film is a series of moments from the beginning of cinema until now. Both form constellations from a time that extends both backwards and forwards. Tangents, reformulations, ideas followed up or discarded.
Don DeLillo's Point Omega begins and ends with detailed descriptions of people in a gallery watching Douglas Gordon's 24 Hour Psycho, where a nameless man has come back repeatedly, mesmerised by the elongation of action, his attention focused on the separation of each miniscule movement.
Christian Marclay's The Clock is currently screening at the Centre for Contemporary Art in Glasgow. It is a twenty-four hour film, a collage of cinematic moments featuring clocks, watches and characters checking, talking about, and running out of time, minute by minute. You are drawn in to an experience that recalls the "city symphonies" of the 1920s by Dziga Vertov, Walter Ruttman, and Alberto Cavalcanti, whose day-in-the-life of Paris was called Rien que les heures: Nothing But The Hours or Nothing But Time. The one-day novels: Ulysses, Mrs Dalloway, Don DeLillo's Cosmopolis.
Johnny Depp is followed by William Klein's Polly Magoo, followed by a crackly Japanese board room scene featuring a giant clock, which is followed by an agitated John Travolta. Despite their complexions and carefully lit profiles, stars too fall prey to the lure of the timepiece. Angelina Jolie stands on a wooden promontory overlooking a desert and checks her watch. Robert Redford waits for a contact in a diner's booth, worrying about shifting sands. Jason Schwartzman realises the woman of his dreams isn't coming to the event he's laid on for her.
Humanity's attention is focused on the miniscule movement of the hands of the clock.
The word "laconic" comes from the supposed concision of Spartans' speech. Sparta is the capital of the region of Laconia, or Lacedaemonia, which is in the southeastern part of the Peloponnese peninsula in Greece. In 1942 a German U-boat carrying civilians rescued from the sunken RMS Laconia was fired by the US navy. This led to the "Laconia Order" by the admiral of the German fleet, affecting both Allied and German conduct for the rest of the war and leading to lesser protection for non-combatants. Laconia is a city in Belknap County in the US state of New Hampshire. Claude Rains, who appeared in Casablanca, Lawrence of Arabia and Mr Smith Goes To Washington, died there in 1967. Directed by Frank Capra and starring James Stewart as Mr Smith, the latter film involves an attempted filibuster by Smith on the floor of the Senate. A filibuster involves a senator holding the floor for a prolonged period time through continuous speech which can last for hours or even days.
Reading Tupitsyn's book, you make notes in the margin in the same aphoristic manner as the content. Here are a few of mine:
I came to LACONIA cynically and sceptically. It seemed gimicky, and I was suspicious of the delegation of content's role to form; that by tweeting about film Tupitsyn was hoping that this device would hold far more than it should: the burden and necessity of argument. Because the form itself already made oblique comment on the subject at hand, the content was relieved of its obligation to be rigorously argued.
Yet somehow the opposite is true, content sweeps up form, and the book creates a rigor all its own, a remarkable series of tumbling thoughts through and about visual culture. At points it is quite stunning. They carry over to one another, reflect, argue with one another. The potential problems of this sort of formal construction - that each tweet would be isolated, irrelevant to anything beyond itself, a casual observation that has no particular interest or quality - dissolve as you read. Because you read. You make narratives, connections. Including Tupitsyn herself.
Audiences for The Clock have fun recognising films and stars. A quartet of elderly women in front of me exclaimed in joyous unison "The Sting!" when Redford appeared. They giggled conspiratorially after their shared reference.
Throughout LACONIA, topics, preoccupations, repeatedly assert themselves: - Michael Mann and Michael Haneke appear often, two film-makers whose outlooks, particularly toward feminism, are diametrically opposed. - Inside versus outside, in various forms - fake and real bodies ("fake has gone inside"), emotion and superficiality, "the masking smile is easy to fake", "after years watching fake movie lives maybe movie life is now more real than real life") - Warren Beatty's Reds. - The sea as metaphor - for consciousness, for a mirror. And the mirror as metaphor for the sea. - The film scholar Robin Wood. He is mentioned three or four times but each time prefaced with "the film scholar" as if we haven't been told this already. Is this because these tweets exist in an abstracted, separated time that doesn't relate to anything beyond itself? As if each tweet resets knowledge. Or is it because tweets are fragments whereas this book is a whole? - Cinema's preoccupations: time ("all-time and no-time", "any place and any time") and scopophilia. - Fashion models have "taught us that looking and wanting are not actually about desire, but about the industry and marketplace of desire. You look because you should. Because looking at and wanting the right things are a way of being inside." - New York and Los Angeles, between reality and movies. - The nature of love: "is it because rather than master the art of loving, we've mastered the art of capitalism? In other words, does the context have to be artificial and does money have to be the driving impetus? What if it were love?" "Is this what we've come to believe love is? Being "TOTALLY" in love with oneself?" Fame, and its effects on the human face. Including the financial ability (and perceived necessity) of deforming it through plastic surgery. "Instead of the fiction of character, it's now the fiction of the face." - Reality TV. "To replace reality?" - Phallocentrism. Especially in Judd Apatow films. - John Cusack's - cinematic, ethical, personal - downward trajectory since pretty much the start of his career.
To watch The Clock is to be both implicated in collective time and personal time. Recognising a clip is like reading an old diary entry; a whole world you thought was gone opens up again in front of you. You remember how old you were when you saw the film, where you were and who you were with. The film acts as an anchor point in lost time. But you also become crushingly aware of the distance between that vanished world and today. Even stars age, whether they've had surgery or not.
The book object changes when its content has been published before on a blog or on Twitter, and then gets revised and continuously debated after the book's publication. The book stops time, freezes it and puts itself in a time capsule. Despite the instant access the net affords, one feels a sense of security in knowing that things can be found in an object held in one's hand. However obsolete books may begin to look, we still feel the need to make them. Though we find their tactility important, does a degree of snobbery remain?: tweets are no more than casual observations until they are "legitimised" in book form.
This is a political problem. A vast amount of literary activity has not only moved from paper to the web, but would not even exist were it not for the web. Are we to dismiss it as mere amateurism? What about those like Tupitsyn who work out projects on Twitter, or Lance Olsen's novel Head in Flames, a wonderful book whose author in part worked out sentences on Facebook? Is it possible to balk at art-as-Facebook-status-update, living alongside Stephen Fry's tweeted tales of elevator entrapment whilst remaining open to the really quite good writing that exists amongst the terrible and the banal, good writing that should be read just as widely and with just as much respect as that on traditional paper and ink? How do we sift the good writing? Just keeping up with a very small part of it seems a full-time job. Will we all need assistants like Damien Hirst to read for us?
There are recurring images in The Clock too: - Americans watch TV in bed between 11pm and midnight. - Johnny Depp. Young at 11:42am, old just after 1pm. In From Hell, Secret Window, Cry Baby. - James Bond. Roger Moore more often than Sean Connery. - A teen film featuring a boy in a woolly jumper that is a very particular shade of blue. - Pronunciations of death in E.R. - The expected: eating, sleeping, working. A montage of walking legs at 9:57, people trying to get to work. - Coffee breaks between 10 and 11. Lunch-hours at 1 (rarely at 12). - Silent, heavy-breathing callers at 00:15. Andie MacDowell; Jane Fonda in Klute.
The Clock's persistent montage effects a synthesis of juxtaposition. Everything becomes equal.
Alongside Tupitsyn's book I've been reading Don DeLillo's White Noise, a great novel that does its own form of condensing, though rather than thought into 140 characters it condenses a cultural atmosphere into three hundred pages. A few images overlap and seem naggingly important here: Wilder, the 80s child, stares repeatedly at a screen - a window, the oven door, the TV. The TV moves from room to room, the family sharing it as if it were rationed, this despite its seepage into everyday life to the extent that its voices announce themselves as if they were coming from human beings bodily present in the house. Willie Mink, the inventor of a drug that represses the fear of death, sits in a chair throwing pills into his mouth, the TV on mute.
Like Tupitsyn, Marclay is fascinated by the human face. A young Willem Dafoe's completely uninteresting face, compared with his compelling strangeness today. The way the known and unknown, the contemporary and old, merge yet remain separated by the audience's recognition. We create hierarchies out of our recognition.
Each of Tupitsyn's tweets are timed and dated. I tried scrolling back through her Twitter feed to find the book's tweets in their natural habitat, but became exhausted when I realised how in Twitter-land, those tweets are an age away, if not simply irretrievable.
Each moment of The Clock is time wrenched from date. Time loses its definite article and becomes abstracted, universal but without reference to particularity. The words and rituals associated with specific times – 1 o'clock is lunchtime – become unmoored, confused. You think of "lunchtime" as something that happens but without human actors. 1 o'clock is lunchtime, lunchtime is 1 o'clock.
A strange moment occurs at Tupitsyn's 557th tweet. It reads:
"Robin Wood, a film critic who's influenced me profoundly, has died. RIP."
This one is devoid of the intellectual performativity of every other tweet, performativity required by the aphorism, a literary form devoted precisely to extravagant performance. Tweet 557 reminds us that this book was composed in public, that it is an act of writing in a community, performative in the sense of public. Tupitsyn writes in her introduction: it is "a book that shows its skeleton." Writing becomes simultaneously extravagant and coy. It is work in progress being thrust into the limelight, like a child actor having to grow up - and stay on the rails - on-screen.
In White Noise, the narrator Jack Gladney and his fellow academic Murray have a long rambling conversation about Jack's fear of death. Murray says Jack's problem rests in his inability to repress this fear. Jack cannot escape his constant awareness of the ticking clock. In Marclay's film, the unignorable fact of time is exhausting; every character from every film is anxious, taut, alert, their movement jerky, separated out into its constituent parts.
We come to watch time pass. Why? I walk through a deserted city centre on a Sunday morning before work, just to get in another forty-five minutes. Why?
And, of course, this book review of LACONIA by Elaine before I even knew her.
"The woman I love rode this way, carried off by horsemen. If I do not find her,
I will never find myself. If I do not find her, I will die in this forest, water within water."
Jeanette Winterson, The Powerbook


text:
Next, you'll be asked to connect with Twitter. Rest assured, we will never send a tweet from your account
without your permission.
We will send you an email with an invite soon.
Obama, again to applause: "By the end of next year, our war in Afghanistan will be over." #SOTU
Obama: "Tonight, I can announce that over the next year, another 34,000 American troops will come home from Afghanistan." #SOTU
Obama, to applause: "America will complete its mission in Afghanistan, and achieve our objective of defeating the core of al Qaeda."
RT @jaketapper: Exclusive: POTUS to announce tonight that by this time next yr, 34k US troops in Afghanistan will be home, more than 1/2 there now
See what's Trending Now for @thedailybeast
Follow @thedailybeast on Twitter


text:
Dominica Hotels
16 Readers' Suggestions
December 23rd, 2011
10:22 am
I stayed here a year ago when it first opened and had the most beautiful holiday. The tree houses are so tranquil, the birds flying in to see what I was doing and the best view in Dominica from my Hammock. True Eco resort with rainwater collection, solar lighting and solar water heating. Please check it out.
— Eco Traveller, London, UK
October 17th, 2009
10:43 pm
I wanted to stay in a place that was in the capital Roseau to be close to the activities in the stadium for the World Creole Music Festival in Dominica and really liked Narakiel's Inn. Narakiel's Inn is a small inn but was nice, clean and very reasonably priced. The location was fantatic and the room was really well equipt with air conditioning and hot water which were essential. I think that some of the rooms also had small kitchens for a slightly higher rate.
— Anonymous
July 14th, 2008
5:28 pm
My husband and I recently stayed at the Hummingbird Inn in Roseau (approx 10 mins from the town centre. If you admire nature at it's best, we can recommend this little hideaway. The guesthouse is surrounded with beautiful plants & trees and iguanas and hummingbirds are aplenty. You can look forward to a well balanced Caribbean breakfast while being educated about the Island by the lovely Jean, the proprietor. We stayed in the suite which was spacious enough and comfortable. It's a gem of a place for those who appreciate nature. Apart from the fairly gradual climb to the apartment block, it's easy to get about by local buses or taxis. We really enjoyed our stay at the Hummingbird.
— Anonymous
December 9th, 2007
4:49 pm
— Anonymous
November 26th, 2007
5:12 am
I stay already two times in Dominica and i love the village Calibishie. Too find a nice place to sleep in this village is Calibishie Lodges, a small nice hotel with friendly staff and also very helpfull, this start already with there mail contacts, they give good information over internet about the island and there place. From the moment that you arrive, it's the same. Lovely apartments with all that you need. Good food in there restaurant and they give you good information about tours and what you can do on the island. Chris the owner takes his time for you. When you want to stay in the north part of the island, don't forget this village.
— Anonymous
June 8th, 2007
1:03 pm
Jungle Bay Resort and Spa is THE place to stay in Dominica. It is a luxury eco-resort in the jungle and your accommodations are in private 'Jungle Cottages' I was really impressed by the community involvement of this property. Keep up the good work Sam!
— Anonymous
June 6th, 2007
8:04 am
Try www.dominicahotelguide.com for a complete list of Dominica hotels and lots of pics!
— Anonymous
June 6th, 2007
8:00 am
We loved the NOMAD PACKAGE offered by an agency called BareFoot Travel. It is a hotel voucher program that allowed us to create our own itinerary and change hotels as we please. In March, it cost us about $380/pers for a week - Hotel and 4x4 rental included! A great value, and a perfect way to discover the Island. www.travelbarefoot.com
— Anonymous
February 1st, 2007
2:26 pm
Crescent Moon Cabins is a truly unique place. Located in an isolated valley half an hour from Roseau, on the road to Melville Hall, Travel in Dominica requires a car and a driver with the skill to deal with single lane roads. Once you get to CMC however the self sufficient hosts will make you most comfortable and you will find the meals truly gourmet. For someone interested in hiking and exploring the rain forest and volcanic fumerols of Dominica I cannot imagine a better place to stay.
— Anonymous
January 29th, 2007
2:08 pm
For a unique and rejuvenating experience try the Rainforest Lodge & Spa located at Sultan (was known as the Layou Valley Inn and recently name changed)- it's on 20 acres in the interior mountain rainforest in the middle of a spectacular nature and rare parrot sanctuary. has 20 rooms with new immersion bamboo treehouses being added. A Full Service property with great prices and packages.
— Anonymous
January 29th, 2007
9:45 am
There is the most divine house up in the mountains with its own waterfall pool for bathing. Best place to be for those who want 'unhurried, unworried, unspoiled, and unwind". www.rameltondominica.com
— Anonymous
January 29th, 2007
9:03 am
The Zandoli Inn in the Stowe area was the most spectacular only 5 rooms about $130 a nite wonderful host and staff one of the most enjoyable views for having dinner or drinks. All rooms face the water. Wonderful!!!
— Anonymous
January 28th, 2007
4:57 pm
Cocoa Cottages, located 4 miles outside Rouseau on the road to Trafalgar Falls offers airy , comfortable lodging, with healthful breakfasts and dinners available on site. Proprietor Richard Malawi and local Jeffrey Charles lead hikes to various destinations in Morne Trois Pitons bioreserve, including canyoning trips into some of the most awesome terrain on the island. It is a prime spot from which to step off into the lush paradise of Dominica.
— John, Amherst, MA
January 27th, 2007
3:44 pm
The most authentic Dominica experience can be had at Jungle Bay Resort and Spa. We loved the treetop cottages, the sound of the Atlantic, the endless activities to pick from. The lovely local staff will ensure your stay is a most memorable one.
— Anonymous
January 27th, 2007
3:21 pm
Jungle Bay Resort & Spa in Dominica is one of the best places to stay on the Island. They offer a wide range of hikes and activities weekly including the famous Boiling Lake Hike. Dining there is also great. Jungle Bay is very unique and outstanding as their general hospitality is excellent. From Rooms to dining to activities to Spa treatments and Yoga. It's everything you want in a bundle.
— Anonymous
January 27th, 2007
3:11 pm
hands down you have to stay at Jungle Bay Resort and Spa...the food is amazing, the cottages up in the jungle overlooking the ocean are luxurious and the experience will melt all your stress away. Indulge in this like we did for our honeymoon - it was the trip of a lifetime!
— Anonymous
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In a special edition of TEAMtalk's Numbers Game, Matty Briggs thinks France (9/1) and Holland (6/1) are the two teams to follow at Euro 2012.
Laurent Blanc's France are one of two Value Bet picks.
England's first Euro 2012 opponents were my selection several weeks ago and were chalked up at 14/1, but after plenty of media attention and their recent 4-0 win over Estonia, the bookmakers have slashed Les Bleus into 9/1.
But despite the price collapse, I still think there is a degree of value in backing Blanc's men.
I've also gone with another of Europe's powerhouses, Holland (6/1), as my other Value Bet.
The Dutch have also seen some support and shortened slightly over the last few weeks, but they have the attacking prowess to be a real handful over the next month and should give us a run for our money.
The Banker is Germany and Holland to qualify from Group B at evens, as I simply cannot envisage any other combination.
In-form Ashley Young is tipped up to top score for England at 13/2, while France ace Karim Benzema is the 12/1 tip to win the Golden Boot, while there are tips for four other Euro 2012 hot-shots.


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Viera, FL (Sports Network) - Roger Bernadina went 3-for-3 with a solo home run, four RBI and a run scored as the Washington Nationals thumped the New York Mets, 12-0, in spring training action on Sunday.
Jayson Werth ripped a two-run homer, while Ian Desmond and Chad Tracy added solo shots for the Nationals. Ryan Zimmerman finished 3-for-5 with three runs scored and Stephen Strasburg scattered five hits over five innings while striking out five and walking one.
Ruben Tejada and Vinny Rottino had two hits apiece and starter Matt Harvey was lit up for five runs and seven hits in just one inning. To make matters worse for New York, left fielder Jason Bay left the game with a bruised right forearm after getting hit by a Strasburg pitch.
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Lady Gaga's Book To Come Out In September
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Romance in New York isn't all orgasms at Katz's Deli and affairs to remember, but thanks to people like Nora Ephron, that's what we always thought it would be. ABC's new sitcom, Manhattan Love Story, which premieres tonight at 8:30 p.m., is just the latest in the long line of movies and TV shows that romanticize dating read
Over eight million people may live in New York City, but have you ever felt like the dating scene is filled with slim pickings? We don't want to say finding a partner here is akin to participating in the Hunger Games, but doesn't it sometimes feel that you're fighting to the death just to find someone you click with — read


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Memorandum for: The President's File, Richard M. Nixon
Subject: Meeting with Elvis Presley, Monday, 12:30 p.m.
The meeting opened with pictures taken of the president and Elvis Presley.
Presley immediately began showing the president his law-enforcement paraphernalia, including badges from police departments in California, Colorado, and Tennessee. Presley indicated he had been playing Las Vegas, and the president indicated he was aware of how difficult it is to perform in Vegas.
The president mentioned that he thought Presley could reach young people, and that it was important for Presley to retain his credibility. Presley responded that he did his thing by "just singing." He said that he could not get to the kids if he made a speech on the stage, that he had to reach them his own way. The president nodded in agreement.
Presley indicated that he thought the Beatles had been a real force for anti-American spirit. He said that the Beatles came to this country, made their money, and then returned to England, where they promoted an anti-American theme. The president nodded in agreement and expressed some surprise. The president then indicated that those who use drugs are also those in the vanguard of anti-American protest. Violence, drug usage, dissent, protest all seem to merge in generally the same group of young people.
Presley indicated to the president in a very emotional manner that he was "on your side." Presley kept repeating that he wanted to be helpful, that he wanted to restore some respect for the flag, which was being lost. He mentioned that he was just a poor boy from Tennessee who had gotten a lot from his country, which in some way he wanted to repay. He also mentioned he has been studying communist brainwashing and the drug culture for over ten years. He mentioned that he knew a lot about this and was accepted by the hippies. He said he could go right into a group of young people or hippies and be accepted, which he felt could be helpful to him in his drug drive. The president indicated again his concern that Presley retain his credibility.
At the conclusion of the meeting, Presley again told the president how much he supported him, and then, in a surprising, spontaneous gesture, put his left arm around the president and hugged him.


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Back to Document
American Academy of Allergy, Asthma, and Immunologyhttp://www.aaaai.org
Food Allergy Research and Educationhttp://www.foodallergy.org
Allergy Asthma Information Associationhttp://aaia.ca
Calgary Allergy Networkhttp://www.calgaryallergy.ca
Food allergy. EBSCO DynaMed website. Available at: http://www.ebscohost.com/dynamed. Updated March 31, 2014. Accessed August 25, 2014.
Lee CW, Sheffer AL. Peanut allergy.
Allergy Asthma Proc.
Mayo Clinic Staff. Peanut allergy. Mayo Clinic website. Available at:
http://www.mayoclinic.org/diseases-conditions/peanut-allergy/basics/definition/con-20027898. Updated June 27, 2012. Accessed August 25, 2014.
Nut and peanut allergy. Nemours Kids Health website. Available at:
http://kidshealth.org/kid/stay%5Fhealthy/food/nut%5Fallergy.html. Updated October 2011. Accessed August 25, 2014.
Peanut allergy. American College of Allergy, Asthma, and Immunology website. Available at:
http://www.acaai.org/allergist/allergies/Types/food-allergies/types/Pages/peanut-allergy.aspx. Accessed August 24, 2014.
Peanut allergy. Asthma and Allergy Foundation of America website. Available at:
http://www.aafa.org/display.cfm?id=9&sub=20&cont=517. Accessed August 25, 2014.
Peanut allergy. The Food Allergy Research and Education website. Available at:
http://www.foodallergy.org/allergens/peanut-allergy. Accessed August 25, 2014.
1/2/2014 DynaMed's Systematic Literature Surveillance
http://www.ebscohost.com/dynamed: Frazier A, Camargo C, et al. Prospective study of peripregnancy consumption of peanuts or tree nuts by mothers and the risk of peanut or tree nut allergy in their offspring. JAMA Pediatr. 2013 Dec 23.
This content is reviewed regularly and is updated when new and relevant evidence is made available. This information is neither intended nor implied to be a substitute for professional medical advice. Always seek the advice of your physician or other qualified health provider prior to starting any new treatment or with questions regarding a medical condition.
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God who gave us life gave us liberty. Can the liberties of a nation be secure when we have removed a conviction that these liberties are the gift of God? Indeed I tremble for my country when I reflect that God is just, that his justice cannot sleep forever. Commerce between master and slave is despotism. Nothing is more certainly written in the book of fate than that these people are to be free. Establish a law for educating the common people. This it is the business of the state and on a general plan.
Thomas Jefferson, A Summary View of the Rights of British America
When we talk American history, and particularly America's foundational social and economic institution, the argument is often made that we should judge the architects of this nation "within the context of their time" - i.e. that we can't judge Jefferson and the likes for being slave owners, because they were merely products of a particular cultural milieu (and that history may not judge us kindly either). This is problematic though in light of the fact many of these same men, Jefferson being a prime example, understood slavery to be "tyranny". They were capable of understanding and articulating a justice much more expansive than the one they opted for. I really struggle with this, and take from it, among others, the lesson that the greatest threats to justice are the lies we tell our selves. It's hard to even conceive the size of the lie they had to tell themselves to birth America, all blue with the umbilical of slavery around its neck.


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Tag: hackfrag
Apple TV Hacking: hackers, grooveshark, Bluetooth stack
Family responsibilities have kept me from posting about many amazing developments going on in the Apple TV hacking community this past week but I assure you that things continue to move ahead quickly and in promising directions. Brian Chen wrote up a great summary of this effort over at Wired. This...
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Women in Japan are renting out their legs for advertising space
New trend in advertising: Using bare legs to promote brand awareness.
Renting billboard space in prime locations may have been the old way to advertise, but these days, Japan is scouting out new space to rent for their advertising campaigns. According to the Daily Mail, enterprising firms have rented ad space on a Japanese woman's bare legs, paying her to wear a miniskirt 8 hours a day to display their advertising.
More from Living: 25 most provocative fashion & beauty products
The Daily Mail reports that in order to participate, a woman will get her leg stamped with an ad, then go about her daily life, but make sure she is constantly wearing a short skirt to show off the branding.
More from Living: 21 style don'ts to live by
The woman must also take a picture of her leg with the advertising on it so that the company knows they are doing their job.
This unique form of advertising is definitely an interesting concept, but is it affective? It is certainly an attention-getter.
Tell us: What do you think of this concept?
Bing: Odd advertising
Photo: via odditycentral.com
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What makes women feel their sexiest?
The 18 cities with the prettiest people
Seeing is believing: Plus-size models may boost body image
It is really sad some people still don't understand that tattoos are accepted in the mainline of society. Everyone from Doctors ,Lawyers, Peace Officer, and Judges all have tattoos
So I guess all of these people are losers. Not everyone who has tattoos are bad people just because they choose to get them. Because they all have a meaning to them. I'm sorry if you don't like tattoos and that is your opinion. But that doesn't make you a loser in my eye.
IF it washes off... well maybe.. But permanently tatooing anything on your body is really stupid and shortsighted.
WHAT happens to all you 'hip/turds' with all these tatoos when you finally grow up and 5 or 10 or 20 years from now - realize you totally defaced your bodies and are tired of it!???
ANYONE out there think long term about ANYTHING anymore???
Very sad!!!
beauty tips and style advice
Comfortable (and stylish) walking shoes for travel
Finding stylish and comfortable shoes for your trip abroad is easier said than done. Check out these 5 shoes that will save your feet during your next trip.
Forget me nots: The most talked-about dresses of the past 20 years
Stylish dresses made unforgettable by the famous.
13 ways to transition summer fashions into fall
Don't pack in your warm-weather favorites just yet!
What Kate Middleton should wear for her second pregnancy: 6 looks from the spring 2015 runways
This week's surprise announcement about Kate Middleton's pregnancy has already sparked speculation on what the Duchess will be wearing with her soon-to-be spare heir. What's more, the spring 2015 collections in New York are providing Middleton with plenty of maternity-friendly ideas for day and night. Here, we pinpoint six looks that should carry the Duchess through her third trimester.
Get the street style look of 7 Fashion Week tribes for under $100
Style inspiration doesn't just come from the runway. Every Fashion Week, we look far beyond the shows themselves—from the designers and the traveling troupes of editors to the models, photographers, and showgoers, all sorts of style tribes are out hitting the pavement. To refresh our fall closet, we look to eight chic cliques, from the front-row power couples to street-style bloggers. Even better? Getting the look of your favorite tribe has never been easier—everything we've pulled is $100 or less.
5 fall fashion must-haves
Autumn is upon us, and we've got sweaters, coats and booties on our minds! Below are the first things we'll be buying (or have already bought!) to kick off next season.
The ultimate fall boot guide
As autumn approaches and the opportunity for days spent lying by the beach begins to wind down, there comes a time to trade the sand-strewn sandals of summer in for the bright, shiny new footwear of fall. And what's the best way to kick off your closet in preparation for a brisk temperature drop? The boot. From animal print to glittery, hiking to fringed, our fall boots include everything you need to start the season off on the right foot.
The best back-to-school denim for grown-ups
No matter what the era, denim is always a staple. From blue to black, acid-washed, studded, and shredded, there's a denim to fit any mood (or body type). For this fall (and back-to-school month), we've rounded up our favorite picks of this all-American classic: Whether we are inspired by a nineties Kate Moss, Rihanna's affinity for fringe, or model off-duty looks, our elevated denim guide is guaranteed to refresh your wardrobe just in time for the new season.
Upgrade your hair game with these get-gorgeous tips
Beachy waves, soft strands—you can have the dream locks you've always wanted.
11 style rules to break right now
You already know wearing white after Labor Day is cool. But menswear is reinventing itself rapidly, leaving some long-held mandates by the wayside, not to mention a bunch of men with a lot of questions. Sure, some style laws are truly inviolable. Showing a quarter-inch of cuff will always be crucial, but with designers and dandies flaunting so many former taboos it's hard to tell what's in play these days. So we thought we'd take this opportunity to let you know which rules no longer apply.
The ultimate under $100 guide to fall trends
With every changing season, our shopping lists seem to grow and grow and grow . . . and yet our bank accounts somehow stay exactly the same! But don't fret, you can capture all the best fall trends straight from the runway without breaking the bank. Whether you're yearning for cozy knits, statement necklaces, or bold graphic pieces, our Fall Fashion Guide gives you the best looks—all for less than $100.
Fashion Week A to Z: Vogue's guide to spring 2015 shows
Allow us to be frank: Fashion Week is a bit of a misnomer. What with the global sprawl of shows—from New York to London to Milan to Paris—it really should be Fashion Month. (Or Fashion Forever.) Either way, what better way to kick off the marathon of shows, after-parties, flights, and appointments than with our comprehensive A-to-Z guide to all things Fashion Week? Here, find out what to do, eat, see, wear, and keep your eye on this season.


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After two years of hard work at improving school attendance, thanks in part to Community Foundation leadership and funding, the Consolidated School District of New Britain is seeing evidence that the effort is paying off in improved academic performance.
As part of its Community Sponsorship Awards pilot program, the Community Foundation is providing assistance to eight local community events, each of which plays an important role in boosting civic pride and bringing neighbors together.
Some 56 area students have been awarded scholarships totaling more than $175,000 from funds managed by the Community Foundation, the largest single-year scholarship award total in the Foundation's 70-plus years.
The hard work of the Early Childhood Collaborative of Southington is paying off: Funding from the Community Foundation's First Years First Fund and others is helping to implement Southington's Community Plan for Young Children.
Strengthening and improving the quality of after-school programs serving 10 to 15-year-olds in Berlin, New Britain, Plainville and Southington is the goal of this year's $10,000 Catalyst Fund grant, which will be awarded in November.
Mitch and Maureen Porydzy's life together had only just begun when cancer intervened and took Mitch from his family and the Southington community. Nearly 30 years later, the Mitchell J. Porydzy II Memorial Scholarship Fund is preserving Mitch's legacy.


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