text:
Very happy that my long article on Douglas Bagnall's Cloud Shape Classifier (2006) and Film-Making Robot (2004) has been published by Convergence: The International Journal of Research into New Media Technologies Vol 20, no 3: 352 – 368.
Its sadly behind a Sage paywall but this might help you get there: http://con.sagepub.com/content/20/3/352
The editorial says:
"Finally, in this issue on identity and self-expression, Susan Ballard raises a question over the uniqueness of our own human creativity. Ballard reexamines the notion of machine aesthetics which were, until recently considered shorthand for a fascination or celebration of the machine, a kind of techno-utopianism. Now, however, the machines that surround humans do appear to be capable of producing works of art. Ballard takes us into the creative world of Douglas Bagnall's machine aesthetics with cloud watching and film-making robots, challenging our assumptions of the uniqueness of our innate creativity."
My abstract says:
Can a robot waste a day away watching clouds? Aesthetics as a means to approach the world is a form of control until recently limited to humans. This essay uses two works by New Zealand artist Douglas Bagnall to examine the relationship between machines, information and aesthetics. I discuss how Bagnall's Film-making Robot (2004) and Cloud Shape Classifier (2006) are examples of aesthetic machines that, rather than being defined by information, repetition and the digital specificity of the pixel or the binary, are characterised by an aesthetic dynamism formed between emergence and mutability. Building on the recent identification of 'new aesthetics', I argue that processes of emergence and mutation contribute a new way to think about machines, information, humans and aesthetics. Finally, I suggest that Bagnall's works do not just demonstrate machinic vision but prefigure a move in contemporary art from the stable aesthetic object to the unstable and impure real-time process of machine aesthetics.
And for what Douglas says himself you should visit his website:
All photos (c) google and all screen grabs.]]>
I'm revising it now to present in a few weeks in Hobart at Unnatural Futures.
More than the simple defence of nature: Artists confront extinction.
If aesthetics had an invisible force it would be called nature. In the histories of art, nature is defined through a set of visual and social codes that have sedimented into a cultural and political place that is romantic, continuous and at a safe distance from the impacts of humanity and technology. In The Three Ecologies Felix Guattari writes: "In the future much more than the simple defence of nature will be required … and the adoption of an ecosophical ethics adapted to this terrifying and fascinating situation is equally as urgent as the invention of a politics focused on the destiny of humanity" (2000, p.66-67). Australian artists Hayden Fowler and Fiona Hall, and New Zealand artist Stella Brennan all construct media installations that demonstrate how unnatural our relations with nature are. In their hands nature is not static; it does not simply end where technology begins. Birds that can no longer sing are suddenly given voice, and humans regress into the dystopian reality of a techno-entropic environment. At the heart of each work is a newly imagined entropy not as death but renewal. Their works suggest that extinction does not manifest as a final fiery end but a terrifyingly slow dwindle. In the current shifting geo-physical environment where natural and human disasters have blurred into rolling catastrophes of technical and environmental melt-down, this paper asks what can be gained from an ecosophical approach to contemporary art. Overall, this paper examines how the ecological concerns raised by both Deleuze and Guattari have been renewed in contemporary media art such that the energetic forces of 'nature' continue to present aesthetic challenges for artists and viewers in the techno-ecological climate of the 21st century.
This is the gallery blurb:
AMONG THE MACHINES features works by 13 Australian and New Zealand artists who interrogate relationships between utopia, technology, nature and place. Situating the long term concerns of ecology alongside the hopefulness of utopian thought, and with a focus on the South Island of New Zealand, the works in the exhibition offer a speculative map for the future histories of media, machines and humans. For this, the second installment in a series of collaborative curatorial projects with visiting scholars, the Gallery will be working with Dr Susan Ballard, a New Zealand academic based at the University of Wollongong, Australia.
The artists are:
Susan Norrie
Daniel Crooks
Ruth Buchanan
Jae Hoon Lee
Aaron and Hannah Beehre
Hayden Fowler
Stella Brennan
Fiona Pardington
Nathan Pohio
Douglas Bagnall
Bronwyn Holloway-Smith
Ann Shelton
Ronnie Van Hout
Gathering some of the reviews and discussion:
Channel 9 (Local Dunedin TV) http://www.ch9.co.nz/content/new-multi-media-exhibition-created-dunedin
Radio NZ (National NZ Radio) http://www.radionz.co.nz/national/programmes/artsonsunday/audio/2562029/among-the-machines
Otago Daily Times (Dunedin Newspaper) review by Peter Entwhistle http://www.odt.co.nz/news/dunedin/265663/well-worth-getting-among-machines-projections
E-Flux advert http://www.e-flux.com/announcements/among-the-machines/
Otago Daily Times Profile by Charmian Smith http://www.odt.co.nz/entertainment/arts/263506/its-nature-man-and-machinery
Critic Dunedin Student newspaper http://www.critic.co.nz/culture/article/3133/among-the-machines
The Listener, NZ National news and current affairs magazine http://www.listener.co.nz/culture/art/searching-for-erewhon/
The ideas are part of something larger I'm working on which is thinking about the shift from galleries as twentieth century post-industrial monuments to twenty-first century post-industrial machines.
ISEA2013. 19th International Symposium on Electronic Art.
ADA ROUNDTABLE: Media art and the Transitional City.
Tuesday 11 June 2013, 13.30-14.30.
Imagining Disaster.
An earthquake is a natural disaster that shifts not only the land but also the way we imagine and locate ourselves culturally and socially within a city. The 1755 Lisbon earthquake is credited with causing a seismic shift in people's understanding of the world (Regier 2010). Most famously, for Voltaire it marked the beginnings of Modernism. Over the subsequent 250 years Lisbon has remained central to discourses of modernity, but as de Medeiros (2006) reminds us it was also a specific and particular experience for the Portuguese people. Disasters lead to broader reflection on culture as well as local action. The 2010 earthquake in Christchurch, New Zealand was immediate and catastrophic. It transformed a vibrant Victorian city built on a British industrial model with public spaces and art galleries at its core, into a transitional site.
The events in Christchurch have also transformed the way that I think about my practice as an art historian and the role of the contemporary art gallery. In particular I have begun to think about close connections between the discourses of modernity and the ruin, and contemporary models of the disaster as a war on 'terror'. In the really short time I have here I want to introduce both of these ideas.
The post-industrial city (or the city in ruins)
Over the past twenty-five years on an international scale, cities that were once based on manufacturing and primary industry have found themselves with major contemporary art galleries inside their once productive factories. The recognised pattern of post-industrialisation has become one where the social and labour base shifts from primary industries and manufacturing to networked labour (Neilson and Rossiter 2005, Raunig 2007), industrial labour forces shift outside of the European centres of power, factories close, turn to ruin, and are regenerated as gallery spaces (Rose 1991, Deutsche 1996, Matuscak 2007, Baniotopoulou 2001). Natural disasters engender a different speed to the process. Kevin Rozario calls natural disasters "engines of development and economic growth" (2010). This model of economic growth is embedded inside the concept of a 'transitional city'. Newman, Beatley and Boyer (2009) define a transitional city as a city that is responding to transformational change whether due to post-industrialisation, climate-change, disaster or population decline. (Hopkins 2008). Christchurch city adopted the term to describe its own rebuild. (Parker 2012, Christchurch City Council 2011, Rebuild Christchurch 2012). However, Christchurch presents some key differences to the 'usual' process of regeneration and transformation. Twentieth century models of post-industrialisation are redundant. This time there are no buildings to 'rebuild'. There are no ruins to inhabit. The approach in Christchurch has rendered the ruin absent. Instead it is a desert of gravel.
In "Media Planning for the Postindustrial Society"(1974) Nam June Paik introduced the notion of the electronic superhighway. Paik predicted the rise of the digital as a response to the post-industrial; an environment where the machine labour relationship is replaced with a networked communication relationship. Perhaps this is the way that media art practices can contribute to our thinking about the city without ruins, not as a rebuild, and not as an insertion of new structures (screens and the like), but a fundamentally different way of conceptualising the city as a network of relationships, one that foregrounds networked rather than monumental models for art in the transitional city.
The war on apocalypse (or the language of catastrophe)
My second point is more speculative and begins to move out from the specific instance of Christchurch. It is about language as much as experience. The machine age of Western industrialisation was conflicted by dystopian and utopian visions. The metaphor and concept of the machine was used to persuade a public fearful of the challenges industrialisation presented (Hell 2010). For example, the art gallery become a machine for social and cultural improvement. And later, the computer became a machine for expansive connection and communication. In the first year of this century this changed forever. Suddenly machines were not for education and communication but were tools for the generation of terror. America (and thus the world) entered a state of high alert. Brian Massumi (2006) describes the attacks on the World Trade Centre and elsewhere in America as markers of the moment when the western world adopted a very narrow affective spectrum of fear propelled by powerful neoliberal governments. New Zealand, like Australia rapidly adopted the dual languages and methods of disaster aversion and preparedness. "If you see something, say something." The Christchurch earthquakes then, occurred in a location that was already well acculturated to a neoliberal approach to risk. "Neoliberal governance goes hand in hand with a culture of risk. It is an art of dosages, knowing when and how much to intervene to avert accumulations of danger and sudden breaks." (Massumi 2005, p.2). However, Christchurch was a sudden break. No one could prepare for this. In neoliberal terms it is understood in the billions of dollars of insurance claims that still lie unresolved, and the 'opportunities' taken by many property developers to clear some historically difficult spaces. But the connections run much deeper. The political reaction to the disaster in Christchurch was modelled on responses to the manner in which America had responded to its own catastrophes: as much Katrina as September 11. In 1966 Susan Sontag wrote about the "imagination of disaster": our ability to fictionalise experience through film and narrative. The connections between the fictional accounts of Katrina in the mini-series 'Treme' and the real experience of the people of Christchurch should not be underestimated. The languages of disaster are not accidental. Michael Barkun has argued that "disaster is a mental construct that people place on experience" (2002, p.29). He continues: "events… may be similarly categorised despite enormous differences in the scope of damage" (2002, p.29). His point is that since September 11, both 'human-made' and 'natural' disasters are met by the same responses from politicians and communities in which a culture of everyday fear has lead to a kind of habitual uncertainty.
This is where I think projects such as ADA MESH cities and Gap Filler amongst others suggest very different ways of imagining the world we live in. By critically engaging the narratives of disaster we can begin to think clearly about how and in what ways art, media and (my particular interest) the art gallery can contribute new forms of thought. As Barkun says "the new war against terrorism creates a need for a new public and governmental perception of, and response to, catastrophic events" (2002, p.27). For me, imagining the future of Christchurch has had a profound impact on the way that I imagine engaging with any form of contemporary art practice. And as an active transitional site Christchurch offers methods and experiences by which we can counter the raging neoliberal apocalypse of fear.
Baniotopoulou, Evdoxia 2011. "Art for Whose Sake? Modern Art Museums and their Role in Transforming Societies: The Case of the Guggenheim Bilbao." Journal of Conservation and Museum Studies, vol. 7 (March): 1-5.
Barkun, Michael 2002. "Defending Against the Apocalypse: The Limits of homeland Security" Policy Options, vol 23 (no. 6, September ): 27-32.
Christchurch City Council, 2011. "City Plan". http://www.ccc.govt.nz/homeliving/civildefence/chchearthquake/centralcityplan.aspx
de Medeiros, Paulo 2007. "Fault Lines: Narrative, Catastrophe and the Lisbon Earthquake of 1755" American Portuguese Studies Association (APSA) http://www.ellipsisapsa.com/Volume_5_files/Medeiros_ellipsis_5_2007.pdf
Deutsche, Rosalyn 1996 Evictions: Art and Spatial Politics. Cambridge, Mass.: MIT Press.
Hell, Julia and Andreas Schönle eds. 2010. Ruins of Modernity Durham and London: Duke University Press.
Hopkins, R. 2008. The Transition Handbook: From Oil Dependency to Local Resilience. Cornwell: Green Books Ltd.
Massumi, Brian. 2005. "The Future Birth of the Affective Fact" Conference Proceedings: Genealogies of Biopolitics (October) http://www.radicalempiricism.org
Massumi, Brian. 2006. "Fear (The spectrum said)" Multitudes Web (4 January) http://multitudes.samizdat.net/
Matuscak, Melissa 2007. "Redefining Production – Contemporary Art Museums in Post-Industrial Spaces: The Massachusetts Museum of Contemporary Art" International Journal of the Arts in Society vol 3 issue 3. pp.55-66.
Neilson, Brett and Ned Rossiter 2005. "From Precarity to Precariousness and Back Again: Labour, Life and Unstable Networks" Fibreculture Journal vol. 5 FCJ-022 http://five.fibreculturejournal.org/
Newman, P, Beatley, T & Boyer, H 2009. Resilient Cities: Responding to Peak Oil & Climate Change Washington DC: Island Press.
Paik, Nam June 1974. "Media Planning for the PostIndustrial Society." MediaArtNet http://www.medienkunstnetz.de/source-text/33/
Parker, G. 2012. "Christchurch should be transition capital" The Press 18 October.
Raunig, Gerald 2007. Art and Revolution: Transversal Activism in the Long Twentieth Century New York: Semiotext(e)
Rebuild Christchurch 2012. Transitional City Projects Bring Life Back to Central City" 21 June. http://www.rebuildchristchurch.co.nz/blog/2012/6/transitional-city-projects-bring–life-back-to-central-city
Regier, Alexander 2010. "Foundational Ruins: The Lisbon Earthquake and the Sublime." In Ruins of Modernity Hell, Julia and Andreas Schönle eds. Durham and London: Duke University Press.
Rose, Margaret 1991. The Post-Modern and the Post-Industrial Cambridge New York: Cambridge University Press
Rozario, Kevin 2010. "Rising from the Ruins" The Wall Street Journal January 16.
Simon, David and Eric Overmyer (dir.) 2010. "Treme" Series 1, HBO.
Sontag, Susan. 1966. "The Imagination of Disaster" in Against Interpretation, and Other Essays New York: Farrar, Straus and Giroux.
I was trying to test out a number of new ways of activating Deleuzian thought (in this instance the art machine), not as explanation, and not as illustration, but as legitimate application. A case of (art work) + (ways of thinking) = (new sensations) and maybe (a new kind of art gallery).
I'm writing it up as a book chapter based around Janet Cardiff and George Bures-Miller's Opera for a Small Room (2005).
This is a small excerpt from somewhere around the start of the draft:
Towards the end of Anti-Oedipus Deleuze and Guattari despair of ever escaping the structural alliances of commodity capitalism. They ask again and again how we form the relationships possible for escape, and how the human might move beyond established institutions. (p.368) Art and science offer two possibilities but seem as tied to the machinations of capital as any thing else. Over a few paragraphs, and ignoring the art historical codes that tend to keep artists temporally and materially separate, Deleuze and Guattari's discussion slips from Lorenzo Lotto to J.M.W. Turner to John Cage. This obscure grouping describes an 'other' art; a set of artworks that are formed from relations and experimentation, strange flows, materials and energies. Deleuze and Guattari find amidst these particular artworks a "force [that] fractured the codes, undid the signifiers, passed under the structures, set the flows in motion, and effected breaks at the limits of desire: a breakthrough." The breakthrough is effected by the artwork as machine set in motion by affects flowing underneath "a signifier reduced to silence." They present a different kind of artwork: "art as a process without goal." Let's call them art machines. Although Turner starts the machine in motion, it quickly becomes a Stygian river of harrowing filth and confusion – at one point propelled by both Artaud and Burroughs. It is art as process, as "schizorevolutionary," as expression and content that is no longer representational. All too quickly it is over. After just two pages Deleuze and Guattari move on, entering a new schizoflow (of science) they abandon the art machine at the moment it attempts to break through the forces of modernity.
Perhaps in 1972 this was the right place to leave the art machine: bashing at the operations of modernity, opening slivers where experimentation can slip through. Today the art machine has re-emerged as different kind of machine; formed this time from a group of abstract operations including not only the artist and the art work, but viewers and the art gallery within which the work is housed. New flows, new assemblages, new experiments.
And from my description of the Cardiff and Bures-Miller installation:
The work is visually and sonically folded inside itself: a room within a room defined by sound rather than space. This installation that inhabits a strange borderless space of art solicits certain responses. The small room invites viewers to become part of an intimate audience, yet anyone who lingers is immersed within a sonic space where they find themselves sheltering under a railway line and threatened by loud storms. Iconographically and semantically it draws us into the story of a solitary individual and his record collection. Peering in through gaps in the unglazed windows, the audience witnesses a miniature space of occupation. More than 2000 records are stacked to the roof against the internal walls, there is a comfy chair, trinkets, suitcases, lights, a set of dusty chandeliers, a ratty carpet. Books are held open by stones, an uneaten meal rests alongside a shoe rigged up to a light made from an old tin can. The shadow of a ghostly individual moves between the stacks, there is the sound of shuffling and selection, before tunes are deployed by unseen robotic arms onto one of the eight record players spread across the shelves. The music that plays through twenty four antique loudspeakers is at times synched with what seem to be stage directions spoken intermittently through a large central megaphone. Mostly the music is snippets of familiar songs and arias by the 'great' tenors; occasionally though there is a vividly sharp pop tune. Some of the records are labelled "R. Dennehy" in neat black biro. There is a needle lifted by an invisible hand. A tenor booms. After a while an alt-styled rock and roll song emerges, part Nick Cave part Tom Waits: "She was walking down the road with her shoes in her hand … I didn't know what to do, seems I'll forget her." The room transforms into a stage where multi-coloured theatrical lights illustrate the moody wailing of the desolate individual. This must be R. Dennehy himself, the clichéd man alone howling at the walls. His misery reaches a crescendo. The lights flicker and growl as a train passes by. "Music don't change anything," he says, "but it helps in some way. It's an opera after all, everyone dies in the end."
I presented this paper at the recent Telling Tales Crime Fiction and National Allegory conference here at Wollongong. Mostly I decided to use the conference as a forum for testing the idea of the agency of the nonhuman object in a context where objects are often active players in narrative constructions.
Below is a draft of the paper (as it was presented) and next I'm going to work to combine it with my earlier attempts to think through agency via Jane Bennett, Levi Bryant and Graham Harman. I'm well aware of the tension between the OOO (Object Orientated Ontology) approach to things and the more Deleuzian approaches framed within new materiality which still feel like my natural home. It is this tension I'm trying to inhabit and where I think this paper falls down.
The question time following the paper was open and challenging, (perhaps because the context was so unusual) and I still have a lot of work to do to explain the relationship between affect and agency and the location of each. For example the issue of whether a sculpture can be dead or not emerged as a productive way of thinking through affect. One person commented – 'how can it be a dead sculpture, it makes me feel awful.' – with the implication that perhaps not all sculptures are dead! When thinking about Goya's works and those of Jake and Dinos Chapman, it is usual to think about how they make us feel as viewers. Is this agency or affect? Or a strange blurring of them both.
The paper unfortunately leaves this problem deeply problematised …
'The Chair Did It': The Agency of Nonhuman Objects.
Dr. Su Ballard
Faculty of Creative Arts, University of Wollongong.
At the opening of the temporary Stedelijk Museum in Amsterdam in 2010 there was a room curtained off from all the others. Looking behind the curtain I found two chairs, a silently meditative voice, a blue board resting against the wall, and a slide projection of an old ballroom. Of all the various objects somehow existing together for this moment, it was the chairs that held my attention. They were just chairs but they seemed important. The work is "Circular Facts" (2009) by New Zealand artist Ruth Buchanan, and is an installation based on the script of a performance Buchanan staged as she researched the strange and highly publicised disappearance of mystery writer Agatha Christie.
In 1926 Christie vanished for eleven days until she "was found staying in a hotel under a pseudonym after having suffered what she claimed to be a case of amnesia." (Buchanan). Buchanan's fascination with the story lead her to spend a summer living in a hotel; the two chairs in the installation are from this hotel. The slide is an image taken in the ballroom of the hotel where Christie stayed and is projected onto the tilted blue panel, becoming simultaneously a reflection and a kind of rabbit hole. In this context the curtain also changes its nature, becoming a different kind of curtain; perhaps now a bedside privacy screen found in a hospital ward. Individually these things are not monumental, nor do they narrate a fiction about Christie. They are however meaningful objects. Together their variations mark out an installation in an art gallery that makes us stop, wonder and begin to connect – things with other things, bodies with objects. Buchanan like many contemporary artists has an uncanny ability to imbue objects with energy. These choreographed objects seem to vibrate.
Can a chair have energy? Can it actively contribute to unravelling a mystery? Could it have actually participated in the perpetration of the mystery? Can it retain a vital force as it shifts form between countries, between bodies, and across time? In the same way that Buchanan's chairs are not Christie's chairs but somehow contain the story of Christie's disappearance, this paper in a conference thinking about what crime fiction does is not about what crime fiction does. Instead this paper is a meditation on the kinds of nonhuman objects that populate the pages of crime fiction. In order to think about the capacities of nonhuman objects it attempts to tap a current of thought appearing in philosophy and art criticism. The paper will begin by looking historically at some of the ways that the nonhuman object has been defined and defended. Drawing on the work of Jane Bennett in particular and scooting lightly past Bruno Latour and Gilles Deleuze the paper asks what kinds of actions do nonhuman objects perform. Or more specifically: what do objects do? The paper extends this into thinking about artworks and moments when concerns for the nonhuman and the human blur. I'm interested in artworks that challenge our assumptions about what objects can do and how they behave. Throughout I will focus not necessarily on how these objects make us feel, but on the kinds of sensibilities that these objects contain in themselves. In doing this I take on board Jane Bennett's challenge to work through a process of 'strategic anthropomorphizing'; what she recently described as "allowing yourself to relax into resemblances between your-body-and-its-operations and the bodies-of-things-outside." (http://philosophyinatimeoferror.wordpress.com/2010/04/22/vibrant-matters-an-interview-with-jane-bennett/) In attempting to talk from and through the nonhuman object my paper may unfortunately appear either obscure or outright flaky. Levi Bryant recently described the critical problem with the approach I adopt here saying that it "goes one step further [than recent work in the new materialities by] arguing that animals, microorganisms, institutions, corporations, rocks, stars, computer programs, cameras, etc., also have their phenomenologies or ways of apprehending the world." (http://larvalsubjects.wordpress.com/) With a focus on objects and their place at the scene of the crime I will address the agency and vitality of the nonhuman object. Buchanan's chairs are the first nonhuman objects to enter our collection, the second is a group of guilty objects labelled deodand.
In a discussion of what it might be to be a Latourian "actant", Jane Bennett raises the historical figure of the deodand. Enshrined in English Law for nearly six hundred years the deodand was an inanimate thing that had caused the death of a human, and as a result must be legally forfeited to the Crown. Bennett highlights the active role of the deodand, for example, a carving knife or a tram or a wheel were not necessarily an innocent party to the accident and thus could be confiscated. In "The Deodand and Responsibility for Death" Teresa Sutton lists a number of cases from the late eighteenth century where objects had caused the death of an individual and were thus declared deodand. For example, a clapper from a bell fell on a man's head, and as it was ringing at the time, the whole bell was forfeit to the crown. Another case involved drowning caused by a flock of 58 sheep that had all moved to one end of a boat. The law declared the objects (in this case – sheep) deodand because they were moving and had caused death. Significantly, the law of the deodand distinguished between a thing in motion and a thing standing still. A cart in motion required the whole cart to be forfeited, whereas a fall from a stationary cart would require the forfeit of just the wheel. These guilty objects in motion were afforded agency.
The practice of deodand was abolished in 1846; not coincidentally at the same time as the exponential rise of the railways. Too many accidents meant that the ongoing surrender of guilty things would remove most trains from the newly built tracks. William Pietz notes that the abolition of the law of deodand was part of a change to a raft of social institutions in the 1840s that "established legal structures better suited to capitalist enterprise and liberal society." Fault had to lie elsewhere. Increasingly complex laws of compensation, cause and effect replaced the deodand, but the nonhuman objects and their crimes did not go away.
Today the concept of deodand holds a place in legal history alongside sows charged with criminal offences, and cats hung to death in public spaces. It offers a useful way to think of the way that nonhuman things remain speculative and potent objects, not for just what they mean to us, but for what they mean in relation to other objects.
The agency of nonhuman objects does not always have to extend to criminal activity. From 1814 to 1820 the aging Spanish artist Francisco Goya began the process of engraving eighty three copper plates with a series of images reflecting on the worst possible effects of human activity. The "Disasters of War" contain an "unstinting portrayal of rape, genocide, torture and ritual mutilation." Together the plates make up what Philip Shaw has called: "the abject at its most insistent." [My argument here follows Shaw's closely]. Viewing the plates consecutively the horrors become overwhelming. Goya was responding to the Napoleonic occupation of Spain, its aftermath, and the atrocities committed during this time. Not published until 1863, 35 years after Goya's death, the "Disasters of War" are critical of both the French and the restored Bourbons. Art history has tended to approach the series by focusing on the way the prints represent a humanist retelling of the Romantic imagination via what might be called negative humanism, a view that Shaw says "looks the negative in the face and endeavours transcendence." And as Shaw says, there is something troubling to this reading, because despite their traumatic and disturbing horror the plates remain ambiguous. They are certainly negative, but are they transcendent? The unrelenting violence makes it hard to imagine any form of humanist moral transcendence driving the works. The images are neither rational nor ethical. In some situations we use artworks as a means for narrative; a way to get a message across. In this context, we might choose to read Goya's images as allegory, a means towards the truth. But I want to suggest something different. The "Disasters of War" are not just objects made by one human for other humans to look at, but objects that contain affective resonances of their own. They actively generate behaviours. The objects do not reflect on or represent, but contain the very taboos the artist sought to highlight. If we stop thinking of the plates as representations of humanist desire, and instead start to think about them as active nonhuman objects, the "Disasters of War" become active participants in the telling of tales of brutality.
Is it really plausible to say these images do something, that they have agency? Artworks occupy a strange place in the world. They inhabit the walls of our homes, hide out in dark corners of our fictions, and watch as we inflict pain on each other. As particular nonhuman objects they are never docile and always relational. Bruno Latour defined the actant as an event, human or not, and (often in Latour's world) formed from a combination of both. Actants are anything that "modifies other actors through a series of" actions (Latour in Politics of Nature). Levi Bryant gives the example of baking soda and vinegar that when combined become actants causing each to behave differently. (http://larvalsubjects.wordpress.com/2011/05/24/a-brief-remark-on-actants/) Manuel Delanda talks of hurricanes, events formed from the air that take on personalities and unique forms, so much so that we name them. The hurricane and its cousins are momentary relational nonhuman objects (think of Sandy, Katrina, Yasi). They modify everything around them. Artworks and hurricanes are not the same kind of entities; yet, we cannot reduce either to a kind of vehicle for human use. Goya's prints are not mere tools for the telling of stories of war. They have contributed to and changed behaviours – in this they are actants. They have agency.
Lets for a minute return to the definition of the object offered in the 1846 "Act to Abolish Deodands." The deodand was a nonhuman material object, an "accursed thing" that when in motion had killed a person. For example, to remove the requirement for deodand when a person had been dragged to his death by the workings of a mill, the law had to prove that "the accident which happened was a mere accident, and had not happened through any fault of the machinery." (Pietz) By the time that the concept of deodand was overthrown objects were becoming stabilised by capital. For example, the deodand required for the Sonning Cutting railway disaster in 1841 of two trucks and the engine, was considered impossible to pay, even if financially it would mean compensation for the families of those killed. Instead new laws regarding fatal accidents shifted blame away from the moving object and towards adjudication of the impact and severity of the injury. The nonhuman object in motion lost its place to a humanist rationale that turned its focus towards mitigating the impacts of increasing industrial and railroad accidents. Simultaneously the nineteenth century was beginning to see the massification of death due to war. (Although crimes of war have always been sanctioned off from the courts, the connection between Goya's prints being published and the overthrow of the concept of deodand is relevant).
The rise of industrial capitalism meant that the agency of objects became reduced to one of exchange. As Pietz explains the "death of the deodand" created money. [And here I follow his fabulous essay closely] Instead of the object becoming forfeit compensation could be financial; another form of debt exchange. Slipping away were the objects themselves. Taking up the place of the deodand were objects of industrialisation that could be bought and sold within a monetary economy. This transformation also included art objects, which due to the professionalisation of the art dealer were also becoming publicly exchangeable commodities.
In 2002 British artists Jake and Dinos Chapman purchased a historically significant edition of Goya's prints. Published in the 1937 as a reminder once again of the atrocities of war (this time Fascism in Spain) the edition includes a frontispiece showing a photograph of bomb damage to the Goya Foundation.
Dinos Chapman says that "We had it sitting around for a couple of years, every so often taking it out and having a look at it," until they were quite sure what they wanted to do. Jake picks up the story. "We always had the intention of rectifying it, to take that nice word from The Shining, when the butler's trying to encourage Jack Nicholson to kill his family – to rectify the situation." (http://www.guardian.co.uk/culture/2003/mar/31/artsfeatures.turnerprize2003)
Working meticulously over all 83 plates the Chapman brothers have replaced the heads of all the victims in the images with grotesque and distorted nonhuman forms including clown heads and puppy faces. The Chapmans sought to draw a direct parallel "between the 'enlightened' annexation of Spain and the recent 'humanitarian' interventions in Iraq." As Jonathan Jones says
"The Chapmans have remade Goya's masterpiece for a century which has rediscovered evil."
The series was retitled "Insult to Injury." In this process of defamiliarisation the artworks become strange. Their tattooed and scarified surfaces result in a new vitalism and energy. Animals take the place of human figures, as they once did in court.
In thinking through the agency of the deodand and these newly reworked art objects we discover different ways of thinking agency. Objects do things. These nonhuman objects don't just contain affective powers, but as actants (things in motion that relate to other things) they make things happen that are not just about and directed towards the human. Occasionally things go wrong, and this was the logic of the deodand. Take the knife and the knife will not kill. Take the wheel from the cart and it cannot hurt again. Place the knife in the hand of a dog and it becomes a different knife.
The 'rectifying' of the Goya prints was not the first time the Chapmans had reworked Goya. Another of their pieces forms the centre of a room at MONA in Hobart. "Great Deeds against the Dead 2" is a simultaneously graphic and sanitised reworking of another of Goya's plates from the "Disasters of War." But this is not a reanimation. This object is dead. The Chapman's describe it as such: "[we] were interested in making a dead sculpture. Dead in content and dead – or inert- in materiality." (Shaw) This is a nonhuman object with no agency. The violence committed is standardised as are the figures, the "plasticised wounds… nullify the gaze." (Shaw) Goya's tree that once had life, branches and leaves has been stripped and rendered in the same material as the human bodies impaled upon it. A central part of Jane Bennett's discussion of vital materiality is about the liveness or vitality of nonhuman objects. In keeping these objects discrete and separate to ourselves, Bennett says:
"the image of dead or thoroughly instrumentalised matter feeds human hubris and our earth-destroying fantasies of conquest and consumption. It does so by preventing us from detecting (seeing, hearing, smelling, tasting, feeling) a fuller range of the nonhuman powers circulating around and within human bodies."
Bennett's point is that we need to be able to recognise vitality in nonhuman objects as well as in human ones. A focus on vitality, motion, movement or circulation emphasises just how dead this particular object is. In revisiting Goya the Chapmans have contributed two different artworks, each with very different agency. The first adds insult to injury as historically significant prints exit one form of economic circulation only to enter another where they begin to vibrate with diabolic energy. The second is enlarged to tragi-comic levels yet remains forever a simulation.
Goya was working in Spain at the same time as moves were beginning to overturn the law of deodand in England. With the loss of the law of the deodand we no longer have a law protecting the agency of nonhuman objects. Where once they were able to take responsibility for the harm they have caused, objects have become just another group of silenced witnesses.
Our usual notion of an artwork is that it is a thing that is seen and not heard, a nonhuman thing that stays reasonably obediently within its designated area. Buchanan's installations place objects together into arrangements that demand performance of them. The chair didn't really do anything. Agatha Christie demanded eleven days of non-performance. Eleven days were she could absent herself from the world of familiar objects, where her agency was marked by her disappearance. She forfeited her name, her usual behaviours and surrounded herself with objects becoming strange. This is the best description I have of what an artwork (a nonhuman actant) is: an object becoming strange. The "Disasters of War" are violent objects. Over time they become strange, not just as markers of war and violence but of a time where nonhuman things did have agency, and their impacts could be taken seriously (even in a court of law). Jake and Dinos Chapman's intervention makes the etchings themselves forfeit. They also enact a kind of affective disappearance. The prints become deodand, nonhuman objects that remain active players in a society that once again needs to be reminded of the crime and horror of war.
Jane Bennett. Vibrant Matter: A Political Ecology of Things. Durham and London: Duke University Press, 2010.
Stedelijk Museum, Monumentalism – History, National Identity and Contemporary Art, NAi Publishers, Amsterdam, 2010.
Philip Shaw, "Abjection Sustained: Goya, The Chapman Brothers and The Disasters of War" Art History Vol 26, No. 4. September 2003 pp. 479-504.
Teresa Sutton "The Deodand and Responsibility for Death" The Journal of Legal History Vol 18, no 3 pp.44-55.
William Pietz "Death of the Deodand: Accursed Objects and the Money Value of Human Life" RES: Anthropology and Aesthetics Vol 31, Spring 1997 pp.97-108
Before I went, I had heard stories of the dis-function that had permeated this Biennale. For many it had became a record of how collaboration can never be enforced, but emerge. I was curious to see in what ways I could pick the curatorial voices, whether the experience of being a visitor would be challenged by the behind the scenes events. I did not need to wonder. Different floors of the galleries behaved like discrete exhibitions. The curatorial visions write large upon the wall hid nothing. Only on one floor was there a sense of a conversation, of works and people working and speaking together. The so called 'roundtable' (an architectural space built to host discussions) was starkly empty.
Amidst this muddle were some sustainably good works, things that continued to resonate long after my return to my grimy and sleazy gentleman's hotel room. This top ten was one of the easiest I've done.
1. Moon Kyungwon + Jeon Joonho EL FIN DEL MUNDO 2012, 2 channel full HD video, Sound 13:45min.
Two lonely individuals live out post-apocalyptic lives, in parallel times. One searching for the remnants of a past memory, and the other decoding a lost world understood only through material remnants.
2. Maki Toshima casket of TSUKUYOMI, 2012.
3. Sejla Kameric 1395 Days without Red, In Collaboration with Anri Sala and Ari Benjamin Meyers starring Maribel Verdu and Sarajevo Philharmonic Orchestra, 2011 HD Video colour sound, 63 mins.
Its alarmingly easy to teach students about Foucualt's ideas of surveillance and society in Wollongong – where the sense of being watched is still met with a slight distaste, or resigned indifference. To see the horrors and the fear of visibility played out on streets where to be seen has the potential for acts of true barbarism, is shocking, all the more so for the fact that this is simply a woman crossing a street.
4. Simon Fujiwara Rehearsal for a Reunion(with the Father of Pottery), 2011.
A father and son conversation that begins with love and ends with destruction. Of pots. Of replicas. Of a history that leaped between countries. And an expertise beset by anxiety.
5. Malak Helmy Records from the Excited State, 2012.
Some videos are felt rather than seen. The mysteries of the objects on the foreshore are some how resolved within various mirror states of self and other. The physical geographic location is present both now and in the future of itself.
6. Delaine Le Bas Witch Hunt at Context, Derry 2010.
Unsure of the violence, or the coding of languages I simply did not know. I did understand this was a work that took me somewhere as brutal as Angela Carter's fairy stories, and possibly more real for that.
7. Wolfgang Laib Unlimited Ocean 2011, 25,000 rice mountians, 9 pollen mountains; and, U Sunok Microhome-Mugaksa (room of colours) 2012, mixed media.
Inside Mugak-sa Buddhist temple it was impossible to separate these two works. Laib's still piles filled a large space surrounded by Sunok's smaller mediation rooms. The shifting hues of the rooms transformed the Ocean, colours travelled and moved. Both works somehow forced my body to the ground, to stand up was to occupy an unnecessary amount of space.
8. Chto Delat?/ What is to be done? Tower Songspiel, 2010. Video, colour, sound, 36:00min.
Wagner's total work was a fascist machine, where the devices of the illusion were hidden within a mystic gulf. Chto Delat expose the conspiracies of epic theatre, beneath which strange organic forms entangle the well be-suited chorus line. The surreal layering of hyper-capitalism with apparently communal decision making strategies is compulsively addiction.
9. Scott Eady 100 bikes Project:Gwangju, 2012.
There is something extraordinary about walking into a room and witnessing small groups of Korean children charging around on bikes from Dunedin. Eady's 100 bikes project grew from the small scale and local, into something still local (all the bikes here are recycled from local bikes) but somehow now about negotiating vast global spaces. As I left for the day I watched a small child charging off over the forecourt on a purple tricycle, weaving deftly beneath Tiravanija's ping pong tables, I don't think they were going to bring the bike back ….]]>
"Realism for me is a great tool to show how weird something is. There is nothing so weird as something weird placed among the banal. Realism is a great way to juxtapose the thing that falls our of comparing two things that you didn't know you should be comparing." (Spell on You: Media City Seoul catalogue 2012, p.292)
Seoul is a real city. There is no greater juxtaposition than the one between it and the not-quite-city I currently live alongside. Wollongong is banal, Seoul is not. It is also weird, Seoul is a different kind of weird; unfamiliar, challenging, real. In thinking about cities and banality and realism I find myself in Seoul to look at media art. In front of the museum part-time warriors with blank eyes gather crowds to reenact on the hour every hour a performance noe quite remembers having seen before, cameras pose desperate to grasp at the romantic grandeur of the Joseon period. Inside the gallery reality takes over.
Spell on You is the 7th MediaCity Seoul Biennale. It is one of the few international biennale determined by a particular definition of media (art). This is not a biennale of painting (although there are paintings) nor of photography (of which there are numerous examples) and it does manage to side-step the trade fair particularities of media art. I arrive troubled by thoughts of media art that continues to distinguish itself from 'art'. MediaCity Seoul doesn't solve my anxiety. Concerns with social media technologies, networks and systems, and the whizzbang wonder of new devices are all present, but I'd expect this kind of innovation and reflection at any international art biennale. What useful specificity does the label 'media' art add?
This top ten is marked by the slow drift of time spent alone in a gallery.
1. Nathaniel Mellors (UK) The 7 Ages of Britain Teaser 2010.
Blue-ray full HD video projection with sound, 4mins.
I am part of an artwork. Absurdity. In the modern age it is the constructive tones of the made-for-TV documentary that offer a ray of hope amidst the sludge of a dying empire.
2. Dennis Feser (Germany) Vertical Distractions 2010.
Film, 4 mins.
Somewhere in Frankfurt there is a man made from celery. A literal cos-player oscillating between man and vegetable he stalks the rooftops pausing only occasionally to replace broken limbs. He is organism in motion.
3. Adel Abdessemed Mémoire 2012.
Video on monitor, colour, sound. 20second loop.
Teaching apes to spell. Once they know how, they can tell us how to stop committing atrocities. Adorno rings loud here:
"I do not want to soften my statement that it is barbaric to continue to write poetry … But … suffering also demands a continued existence of the very art it forbids; hardly elsewhere does suffering still find its own voice … The most significant artists of the period have followed this course." (Adorno 1992, p.87-8 in Kyriakides 2005, p.442)
4. Till Nowak (Germany) The Experience of Fliehkraft 2011.
Film/ Video (7 Series), 3 min x 7 loop.
Making the believable real Nowak's fairground attractions entice participants with their anti-gravity therapeutic possibilities.
5. Ryota Kuwakubo (Japan) The Tenth Sentiment 2010. N gauge rain and train, various daily objects.
When objects become strange they begin to incorporate other kinds of creatures. In The Tenth Sentiment the closed system of train and track offers a special kind of shadow play where cities formed of pencils emerge and become points in motion. Kittler says that "a medium is a medium is a medium. Therefore it cannot be translated." (Discourse Networks, p.265). Kuwakubo eschews media, translating objects via their material potentials.
6. Ryoji Ikeda (Japan/ Paris) data.matrix[nº1-10] 2009. Audiovisual installation, 10 multi-projection.
Frustratingly nonimmersive, nor even absorptive Ikeda's 10 plinths stand like sentinels in an overlit room projecting nonsense onto the walls. Blinkered to each other and with their backs to me, they seem like horses at the starting gates. I find a small space in a corner and try to listen.
7. exonemo (internet) DesktopBAM 2011. Computer installation with automated mouse cursor, projection, sound.
The criteria for AI should include a capacity for boredom. Only then could the particular kind of technonature called cursormouse be able to dream of independent performances tapped out on a desktop. Alone and left to its own devices the cursormouse travels the desktop surfaces of a techno galaxy. For more see http://www.frequency.com/video/exonemo-desktop/33724542
8. Robert Overweg (Netherlands) The End of the Virtual World 2012.
The banal world of gaming gets weird at its edges. For a while I traced the edges of objects in google earth. Here Overweg finds the drop off points where the game world simply ends.
9. Jae-eun Choi (South Korea) 37º56.42 42′N, 97.4414′ E 2012.
Mixed media, printer, camera, paper roll, x 2 computer.
A computer watches clouds. Others have watched other clouds (see http://cloudy.halo.gen.nz/about). This computer prints what it sees, leaving a scattered index all over the floor.
10. Zimoun (Switzerland) 25 Woodworms, wood, microphone, sound system 2009.
HD video loop.
Just because it is louder does that make the sound real, or does it remain the sound that I imagine it to be?
The spell of the city remained outside in the dreamspace of travel. The exhibition was comfortable. Real.]]>


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The Rise of American Imperialism (1890–1913) for AP U.S. History
Test your knowledge with these practice questions:
The Rise of American Imperialism (1890–1913) Review Questions for AP U.S. History
Summary: Beginning in the 1890s, the United States began to practice some of the same imperialistic policies that it had previously criticized major European powers for. Spurred on by sugar planters, America expanded its influence in Hawaii and in 1896 annexed the islands. Americans also pushed for an "Open Door" trading policy in China. Efforts to expand American influence abroad were motivated by economic, political, religious, and social factors; the "white man's burden" argument was influential in both Europe and the United States. There were also opponents to imperialism who often based their opposition on moral grounds. American imperialistic impulses flourished during the Spanish-American War; newly created American naval power was one important factor in the defeat of Spain. After contentious debate within the United States, America finally decided to annex the Philippines; it took three years for American forces to defeat Filipino rebels, who instead of fighting the Spanish now resisted their new occupiers, the Americans. Americans finished building the Panama Canal in 1914; the Roosevelt Corollary to the Monroe Doctrine further increased American influence in Latin America.
Open Door policy: policy supported by the United States beginning in 1899 that stated that all major powers, including the United States, should have an equal right to trade in China.
Social Darwinism: philosophy that emerged from the writings of Charles Darwin on the "survival of the fittest"; this was used to justify the vast differences between the rich and the poor in the late nineteenth century as well as American and European imperialistic ventures.
Spanish-American War: war that began in 1898 against the Spanish over treatment of Cubans by Spanish troops that controlled the island. As a result of this war, the United States annexed the Philippines, making America a major power in the Pacific.
Yellow journalism: a method of journalism that utilizes sensationalized accounts of the news to sell newspapers; this approach helped to whip up nationalistic impulses that led to the Spanish-American War.
USS Maine: U.S. naval ship that sank in Havana harbor in February 1898 following an explosion; the incident was used to increase calls for war against Spain. It was never definitively determined why or how the ship was sunk.
Panama Canal: canal across the Panama isthmus that was begun in 1904 and completed in 1914; its opening enabled America to expand its economic and military influence.
Roosevelt Corollary (1904): policy that warned Europeans against intervening in the affairs of Latin America and that claimed the right of the United States to intervene in the affairs of Latin American nations if "chronic wrongdoing" was taking place.
Dollar Diplomacy: foreign policy supported by President William Howard Taft and others that favored increased American investment in the world as a way of increasing American influence.
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GOP candidates trade blame for housing collapse
Byron York: Gingrich blows chance in crucial final debate
Romney steady, Gingrich flat in GOP debate
MOUNT DORA, Fla. - Newt Gingrich's appearance here, on a beautiful morning at a beautiful lakeside resort, marked a new escalation in the already-fierce battle between the former House speaker and former Massachusetts Gov. Mitt Romney.
For the first time, Gingrich added a long prologue to his stump speech, devoted entirely to an angry denunciation of Romney's attacks. Also for the first time, top representatives of the Romney campaign began to shadow Gingrich, appearing in person at the lakeside rally in a move that could signal an even more confrontational stance for the combative Romney team. Amid all that, the flurry of negative advertising in this state is becoming even more intense.
Mount Dora was Gingrich's first stop of the morning, in a long day that would end with the final GOP debate of the Florida primary, at the University of North Florida in Jacksonville. Waiting for Gingrich to appear, many voters said they were still undecided; most spoke well of both Gingrich and Romney and didn't want to see the candidates fighting each other. Some were put off by the seemingly endless series of phone calls and mailings from the Romney camp attacking Gingrich.
Gingrich himself certainly was. Instead of beginning a stump speech when he took the stage, Gingrich decided instead rail at the ads. "This is the desperate last stand of the old order, throwing the kitchen sink, hoping something sticks, because if only they can drown us in enough mud. ..." a clearly angry Gingrich began, mixing a raft of metaphors in a meandering denunciation of Romney. In the next few minutes, Gingrich accused Romney of taking big money from Wall Street, of accepting the support of lobbyists, of having a Swiss bank account, of owning stock in Fannie Mae and Freddie Mac -- all in an effort to suggest that Romney's attacks on Gingrich over lobbying are hypocritical.
"What level of gall does it take?" Gingrich asked. Further, Gingrich added, Romney had the audacity recently to question Gingrich's credentials as a Reaganite when Romney himself renounced Reagan during his 1994 run for the Senate in Massachusetts. "He said, 'I don't want to go back to the Reagan-Bush years," Gingrich said. "He's counting on us not having YouTube. That's how much he thinks we're stupid. ... The message we should give Mitt Romney is, 'We aren't that stupid and you aren't that clever.'"
Listening in the audience was Utah Republican Rep. Jason Chaffetz, a prominent Romney supporter who has been campaigning nearly nonstop on Romney's behalf. What was Chaffetz doing at a Gingrich rally? "Newt Gingrich introduced this idea that if he were to be the nominee, he would follow Barack Obama wherever he went, and I thought that was a pretty good idea," Chaffetz said with a smile. Other Romney aides and surrogates were also there; their presence allowed them to rebut Gingrich's points on-the-spot with the press, as well as get a firsthand impression of Gingrich's performance on the stump.
Afterward, Gingrich was asked why he hasn't sent surrogates to Romney events. "He doesn't say anything worth rebutting," Gingrich said dismissively. "I mean, I would send somebody if I thought it was a useful exercise."
Meanwhile, Gingrich has found himself the target of a renewed round of attacks from fellow conservatives. In the 24 hours before his appearance at Mount Dora, a variety of conservative voices, from National Review to Tom DeLay to Ann Coulter to former Reagan and Bush White House official Elliott Abrams, all published hard-hitting critiques of Gingrich.
Asked to respond, Gingrich said he has tried to run a campaign based on ideas. "I get a pretty good reaction from the American people on these large ideas," he continued. "And then there is the Washington establishment, which is sitting around in a frenzy, having coffee, lunch, and cocktail hours talking about how do we stop Gingrich?"
Earlier, in his remarks to the crowd, Gingrich had those critics in mind when he told the crowd, "Remember, the Republican establishment is just as much an establishment as the Democratic establishment, and they are just as determined to stop us."
It's perfectly reasonable for Gingrich's critics to point out that a former speaker of the House is as establishment as one can get. But Gingrich is right about the determination to stop him. Florida is the biggest prize yet in the Republican presidential race, and an extraordinary array of GOP voices has come together in an effort to derail the former House speaker. Whether they succeed will determine the outcome of this campaign.
Byron York, The Examiner's chief political correspondent, can be contacted at firstname.lastname@example.com. His column appears on Tuesday and Friday, and his stories and blogposts appear on washingtonexaminer.com.


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- Northern Essex Community College - http://www.necc.mass.edu -
Adult Literacy
Posted By sbaletsa On June 17, 2009 @ 10:41 am In | Comments Disabled
The Center for Adult Education Programs and Practitioners (CAEPP) is administered by Northern Essex Community College within the Center for Corporate and Community Education and funded with grants from the Department of Elementary and Secondary Education – Adult and Community Learning Services and private grants. The NECC CAEPP offers Adult Basic Education (ABE) programs for High School Equivalency Test (HiSET) preparation, Transition to College, low intermediate to high intermediate/advance ESOL, and ESOL Career Pathways Bridge to College/Careers.
The High School Equivalency Test (HiSET) program provides basic skill instruction in Language Arts Reading and Writing, Science, Social Studies, and Math to prepare adult learners to obtain their high school credentials and to succeed in their next steps.
The ESOL Program offers classroom instruction in reading, writing, oral communication and grammar incorporating basic computer skills.
The Transition to College program prepares and enables adult learners to transition into and complete postsecondary education or training through academic instruction, appreciative advising, a three-credit college success course, and 2 three credit computer courses.
The ESOL Career Pathways Bridge to College/Careers program offers pre-college English language instruction in reading, writing and oral communications, while learning computer, college and career skills.
The NECC CAEPP serves adults who live in the Merrimack Valley and is committed to:
ABE or Adult Basic Education is an umbrella term that describes a range of educational services for adults; from basic literacy, numeracy, English for Speakers of Other Languages (ESOL), High School Equivalency Test (HiSET), and Transition to College.
These programs help adult learners to develop the skills, knowledge, and confidence that will serve them in their roles as family members, parents, community leaders and employees, as well as with post-secondary education and training.
The CAEPP also provides professional development opportunities to faculty and other adult basic education providers through Northeast System for Adult Basic Education Support (Northeast SABES). It promotes high-quality adult basic education services in Massachusetts through training, support, and resources that improve the skills and knowledge of practitioners and strengthen programs. Northeast SABES is part of a statewide staff development system for adult basic education programs and practitioners.
The CAEPP offers the following resources in this area:
Article printed from Northern Essex Community College: http://www.necc.mass.edu
URL to article: http://www.necc.mass.edu/academics/prep/adult-literacy/
Click here to print.
Copyright © 2013 Northern Essex Community College. All rights reserved.


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Window blinds and window shades from Select Blinds have several safety options available. This has been the case from the very first blind produced with the Select Blinds brand. Safety primarily refers to the cord used to raise or lower a window blind or shade. A lift cord or lift cord loop can become a deadly device to a playful child, or to a curious pet. In a matter of seconds, the cord can become tangled around the neck, and cause serious injury or death.
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Select Blinds cares about the safety of its customers, and provides one or more of these safety solutions with every blind or shade sold, and our thoughts and prayers go out to those families who have suffered due to the danger of a lift cord.
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GREENVILLE, N.C. -- Maurice Kemp scored more than 20 points for the third straight game and East Carolina cooled Alabama-Birmingham's previously red-hot 3-point shooting in a 74-61, Conference USA victory Wednesday night.
Kemp scored 23 points on 7-of-10 shooting and made 8 of 8 free-throw attempts for the Pirates (14-9, 5-5), who had dropped three of their past four.
Akeem Richmond added 15 points, Ty Armstrong 12 and Miguel Paul 11 with 11 assists.UAB (11-14, 3-7) was coming off a season-best 9-of-16 shooting performance from 3-point range against Marshall, but hit just 2 of 16 from deep Wednesday.
Forward Rod Rucker led the way with 14 points, but none of the Blazers' guards reached double figures.
East Carolina also beat UAB 91-85 on Jan. 23.The Pirates, ranked eighth nationally, averaging 17.1 assists, had 16 helpers. UAB entered ranked 10th with 16.7 assists per game, and had 15 Wednesday.
Evangelist Franklin Graham prayed on a sidewalk outside the Pentagon Thursday after his invitation to a prayer service inside was withdrawn because of comments that insulted people of other religions. More>>


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This game felt different.
Never in my life have I seen the Miami Dolphins score touchdowns on drives that lasted around two minutes. Never before. That ability to score quickly — because of the emphasis on the pass—is something this team has lacked, well, since Dan Marino.
That being said, raise your hand if you thought Miami Was going to blow it on Sunday? I know I did. I was convinced that Andrew Luck, king of the fourth quarter, was going to take over and beat a Dolphins defense that gave him virtually all day to throw on Sunday.
Boy was I pleasantly surprised.
The Dolphins held their lead and quarterback Ryan Tannehill orchestrated drives of up to eighty yards and he did it with ease. That being said, after getting off to a hot start Tannehill and the offense stalled, allowing the Colts to score 14 unanswered points.
Despite the concern in the middle, the defense bookended a strong offensive start and Tannehill remained composed, not forcing the ball into tight spots.
So the Miami Dolphins beat a 2012 playoff team, a team they lost to last season because of a fourth quarter comeback orchestrated by Luck. This time, the Dolphins came up with a big time sack from Phillip Wheeler. Wheeler had a big time game leading the team with 12 tackles, a pass deflection, and the game sealing sack.
And you know what happened after the Dolphins won? The media began jumping on our bandwagon. A couple weeks ago I complained because the critics were not sold on Miami. The Dolphins were ranked 24, 23, and 17th by the national media. Basically no one was hot on the aqua and orange, but we knew better.
All it takes is a few W's.
Peter King of SI put Miami fifth in his fine 15. FIFTH!! Yeah you read that correctly, and most of us would say that's a little high considering the Patriots were ranked 13th on that list, but hey: "if we win, they will come". Ha, see what I did there?
Anyway King wasn't the only one hot on the Dolphins, SportsCenter actually stopped talking about the rest of the NFL for a second to acknowledge Miami as a surprise 2-0 team. Hey, it's a start. It should also be noted that Miami is ranked 12th in SBNation's poll. Fox sports had the Dolphins moving up NINE spots to number 13.
ESPN's weekly ranking as the Dolphins listed at 12, up five spots from last week's 17 ranking.
Now can you imagine if the Dolphins can protect their house and beat the Atlanta Falcons — a team many people have going to the Super Bowl?
Oh buddy image the national media love then…


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Still photos and posters from the MPI Home Video produced movie Perfect Sense [Blu-Ray]. Pictured below are director David Mackenzie and stars Eva Green, Ewan McGregor, Connie Nielsen.
We'll update this page with new stills from the David Mackenzie directed film Perfect Sense [Blu-Ray] as soon as they're available from the studio MPI Home Video. Or use the "Film Info" tab to keep track of all the latest news on Perfect Sense [Blu-Ray] and look for it in theaters 2012-05-22.
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To The Campbell Soup Company Executives:
No, I'm not talking to you, secretary in the main office reading this. I know those big execs have got busy schedules, but goddamnit, this is important, and you need to get this to them. Say execs from Progresso sent another letter and they're talkin' shit again and calling Campbell's "shitty bullshit soup for babies." If they point out that Progresso is a subsidiary of General Mills, tell them oh yeah, you meant the General Mills execs and to stop being smartasses and read the goddamn letter. I don't care what you have to say, just get it done.
Oh, and, clearly, you're gonna have to remove this front page from this letter. You know, so they don't see my conspiring? Jesus Christ, do I have to spell everything out for you? This is first day shit! How the hell did you graduate from Secretary College anyway?
To the Most Notedly Esteemed Individuals of Whom the Upper Echelons of the Soup Business are Comprised:
First of all, allow me to introduce myself. Hello, my name is George Liberty Patriotism Freedom Guns Washington (it's a family name). First time writer, long time eater. I have quite literally loved your product since nearly the moment I was born, as my mother was a sickly woman who did far too much meth, and her doctor was not much better. As I was being delivered 3 ⅓ months premature, the doctor realized he was using the incubator to keep his hot-dogs warm, so he just filled a bathtub with about three inches of Cream of Mushroom and plunked me in. Worked like a charm, as you can tell, and it hardly caused any cognitive disabilities at lkcjutter reverberavtions apifhf;;wewqoi 11984485 THE KING COME DOWN.
Anyway, I write not merely to praise you for your life-giving elixir of animal brine. Instead, I come bearing sad news of disappointment. You see, I am a college student, which leads to peculiar financial circumstances. In particular, to combat the costs of tuition I am forced to live off of microwaveable meals and whatever algaenous feculence I can manage to suckle off the toes of homeless men.
So, imagine my joy when I discovered that you, sweet, sweet purveyors of nutrition and sustainers of being, had a product requiring only the container and a microwave to consume, apelled most blessedly, "Chunky Chili. With Beans." Why the FUCK had I bought all these REAL bowls? Campbell's, that meat-solution Deity, had already created a product WHICH WAS ITS OWN COMESTICATION APPARATUS?!?! And, even better: It proclaimed right there on that beautiful all-in-one, heat-and-eat container that it was Cooked with Care in the USA. I needed nothing more. I instantly filled my pants with ejaculate. I love the USA. Hell, I even live there! It's like you knew I wouldn't eat anything not made here, because MUH FREEDUMS.
Now, this sounds all great. But let me sidetrack here for a second. Clearly, you guys have got some serious gentlemen developing your product. You are an international food corporation: The stocks may say you're only worth 1/10 an Apple per share, but I know that you've got to have enough bullion held back to make Goldfinger shit doubloons. In all likelihood, you're nabbing engineers from NASA and Battelle left and right. These are people who probably get off on ensuring 800,000 gallons of tomato soup fall within .05% variance in viscosity. People who nuzzle their calculators to sleep and have an aneurysm when labels don't all overlap to within ⅛ an inch of specifications.
Which brings me back to my main point, and my reason for writing: You have the finest team of soup-scientists this side of anywhere. Yeah, I'll say it, you're the best in the world. No, fuck Progresso. Did Andy Warhol paint fucking Progresso cans? No. So why, please, please tell me why, with an ensemble of finely tuned broth-container-designing machines, CAN YOU NOT MAKE A GODDAMN PULL-TAB LID FOR YOUR GODDAMN CHUNKY CHILI BOWLS THAT I CAN OPEN WITHOUT SPLATTERING YOUR ACIDIC MEATY-TOMATO SWILL ALL OVER THE GODDAMN FUCKING ROOM?!
I mean, honestly! Jesus H. Tittyfucking Christ (family name), how hard can it be! I want to warm my chili and then put it in my mouth, I don't wanna have it sprayed in a fine, hyper-speed mist across my face like I'm part of some Texan cuisine bukkake. My roommate can tell if I've made your fucking soup when he gets home because there's a silhouette of my body in chili spatters on the opposite wall. I've blinded no less than three too-curious cats with your edible Mace, and I loved Mr. Tuffy-paws, you soulless bastards.
And it's not like this is even a particularly difficult thing to remedy, because, I mean, COME ON. I don't have to brave torrents of foul sugar water besieging my orifices when I crack open a Coke, and that involves popping a small piece of metal at high speeds directly down into the liquid. All your's involves is peeling it slowly back like the world's only edible tin of sardines, except at the last moment it's like there's a sudden spasm in the fabric of reality, causing like 50% of the delicious soup I paid for in hobo-bones to soak every piece of clothing I own in tomato puree and "caramel color," regardless of whether it was in the closet at the time. It says "Roadhouse" on the bowl, but I don't recall ever being at a roadhouse where the waitresses dumped the food in my lap instead of on the plate, and I've been to a lot of roadhouses because for a while I was certain my real father was a trucker and I was determined to find him. Actually, I have been to a roadhouse like that once, but I think that was the idea and also the waitresses were topless, so it was really somewhat more acceptable. Potential alternative to revising the can: package boobs with the soup. I would accept this as an alternative.
Alright, I'm spent. I have nothing more for you, you soup-dealing bastards. I hope you can't sleep at night because the thoughts of the stains are haunting you, and I hope your families prefer ramen noodles.
-George Liberty Patriotism Freedom Guns Washington, esq.
(Source: zomggreer.blogspot.com)


text:
It's spring break, and the pretty little liars are trading in Rosewood for a cruise vacation. They want nothing more than to sail into the tropical sunset and leave their troubles behind for one blissful week. But where Emily, Aria, Spencer, and Hanna go, A goes, too. From scuba diving to tanning on the upper deck, A is there, soaking up all their new secrets.
Emily is smooching a stowaway. Aria's treasure-hunting partner is a little too interested in her booty. Spencer's going overboard trying to land a new boy. And a blast—or rather, a crash—from Hanna's past could mean rough waters ahead for everyone.
The liars better tighten their life jackets. A perfect storm is brewing, and if they aren't careful, A will bury them at sea. . . .
Oh Lordy, but isn't it about time Miss Shepard gave up these books!
As much as I love reading the series it really has gone past it's heydays. I'm a firm believer of coming out while you're still on top but it seems Sara Shepard is not. I'm wondering is it her as a writer wanting to keep writing this or is she under some sort of pressure from the TV show writers who want her to keep the story going.
Repetitive. That is what this novel is. We've heard the same story several times over now. More drama happens to the Pretty Little Liars, they foolishly try to cover it up, A stalks them, they jump to all the wrong conclusions, something goes down at a big gathering toward the end of the story, and as another twist to the plot is revealed right at the end they all receive the same text from A. Hasn't this been the exact format of every book up to now?
It's gotten so ridiculous now that I have zero sympathy for these girls. They are actually committing crimes and should rightly be hounded for doing so! In my opinion I'm actually on A's side now!
And how many times can Emily meet a new mysterious girl, fall for her and she turns out to be gay/bisexual too??? I mean COME ON!!!
Step it up or give it up Sara....
Divaliciouz Rating *****


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Dr. Dany Zayour, Wichita Kansas
I was referred to him for an issue with insulin resistance, and for that he was fairly decent, though he mainly skipped over most of the explanation and put me on medication to control it. Because I knew about the medicine from the doctor who referred me and my own research, I let that slide. I don't know what his reaction would be to more questions, but he seemed very brusque in his manner, giving me the basic information and telling me he wanted me on the medication.
I also decided to talk to him about going on testosterone when I saw him, rather than trying to get into another endocrinologist at a later time. He required a letter from a therapist, and treated me like I didn't know what I was asking for, because I was still hesitant about the whole situation. He seemed slightly condescending, and shocked that I could name the methods of ftm bottom surgery. After that he seemed a bit more polite, but still distant.
He had me come back two months later to check insulin levels and talk about testosterone. When I came in with the letter, he seemed to mostly ignore the insulin issues other than making sure I was still taking the medication and sending me for blood work after he saw me.
He did give me the prescription no problem, but his prescribed dosage was 200mg every three weeks to start with, gradually increasing to 200mg every two weeks. If you know anything about testosterone dosages, those levels and intervals are strange and not normally recommended. 200mg is a very high dosage, especially starting out, and a three week gap in shots to ramp up instead of gradually increasing the dosage raised a red flag.
Being nervous and still wary of questioning what he was recommending, I decided that since most shots are self-administered, I would just adjust my dosing myself, and mention it if he asked. I did go in to his office for my first shot, and his nurse was good about letting me set the dosage, rather than sticking to what he had prescribed. However, both Dr Zayour and his staff continued to use female pronouns throughout the visit. Other than that his staff was polite and efficient, but it was uncomfortable to hear "she" and "her" throughout the visit.
Dr. Zayour also didn't schedule a follow up visit to check testosterone levels after a few weeks, the only follow up he scheduled was after six months, and he seemed more interested in insulin levels after that period than how testosterone would affect me.
Overall, he's not a bad doctor, just seems fairly dismissive or unconcerned about patients who are transitioning. He's fairly educated about transgender care, other than strange dosing levels, but doesn't seem to want to spend time on it. It could have also been in response to my age (21), I don't know what his reaction would be to an older adult.


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Reader Comments (Page 1 of 1)
After reading pages and pages of the comments on this article, I can't believe how many people completely missed the intended point.
In simplest terms, here it is: we don't want to have to buy inferior gear with our 10-man Ulduar Valor badges.
25-man Ulduar raiders will be able to buy gear equivalent to what Heroic Ulduar bosses will drop with the new badges if they have bad luck with RNG. That's one of the reasons the badge system exists. 10-man Ulduar raiders will NOT be able to do the same thing, because the gear on the Valor vendor is inferior to what will be dropping from bosses in normal Ulduar.
Implementing a new badge for Ulduar-10 would have easily prevented 25-man raiders from stockpiling Valor badges to buy tier 8 gear on the first day of the 3.1 patch, which is the only justification Blizzard has given for not making two pieces of tier 8 gear available to 10-man raiders.
"Blizzard have stressed that 10 man Ulduar WILL be easier whilst simultaneusly stressing that 10 man naxx was unintentionally harder than 25 man here and there.
We can't make demands of Blizzard with the assumption that their design process is inherantly flawed when they identify the past mistake whilst designing the future content. With this in mind, why would the easier raid require a legendary item?"
You're paraphrasing Blizzard's statements to fit what you want it to fit, but it's not entirely accurate. They have NEVER "stressed" that normal Ulduar is going to be easier than heroic. They said "probably," and that's the extent of it.
You ask why we feel like we can state that their process is flawed when they acknowledge their mistakes. We can say it because they did not set out from the beginning to make 25 man Naxx easier to do than 10 man Naxx, but that's how it ended up. They have time and time again started processes with their stated goals upfront and have had to go back and readjust and readjust and readjust some more to achieve the goals they were shooting for, and in some cases, they've had to just move on and start working on the next thing without ever making it. Looking back and saying "yeah, we messed up there" does not in any way guarantee that future mistakes won't be made.
It's a ridiculously complex system, and thinking that mistakes won't be made would be foolish. They have made many in the past and, and leaving 10-man raiders to purchase inferior gear with their badges is going to be one of the items on that list.


text:
New here? Create a New Account
on orders over $50*
Live Chat or 1.877.364.3865
If you order this shirt, be aware that you will receive one of two versions. One claims to be "slim fit" and one just says "undershirt". The ones that have "slim fit" written in the neck are large, wide, and stretchy. The ones that just say "undershirt" are slim fit and have very little stretch. The medium grey "undershirt" is close to 2 sizes too small and has no stretch. I usually wear a medium with t-shirts. It's a nice shirt if you end up with the right size/version combination. It doesn't have that super deep "girl shirt" v-neck like american apparel's shirts.
If they sold these two versions separately, so you would know what you were getting, I'd give it 5 stars.
Note to Dex: This is an undershirt and 99% of all white undershirts are moderately see-through. The tighter the shirt, the more transparent it is.
0 Comments
Can You Pass The Acid Test?
This is definitely the most distinct and original all-over-print tee that I've seen, though.
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These are, by far, my favorite jean made by matix. They run 1-2 sizes larger than the grippers and are more comfortable than the grippers. The Volcom Rowley's and 2x4's pale in comparison to these (though the gusseted crotch on the rowleys is pretty nice).
0 Comments


text:
posted by Rebecca Keenan | 0 Comments
Today's Photo of the Day on Hostelworld.com features Modry kostolik, the stunning Blue Church you'll find in Bratislava, Slovakia.
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5,286pages on
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this wiki
|"Vaya Con Dios"
|L&O, Episode 10.24
|Production number: E1108
First aired: 24 May 2000
| Written By
René Balcer & Richard Sweren
Directed By
Chris Misiano
Plot Edit
Plot The DA's office prosecutes a Chilean colonel for the murder of a New Yorker working with the Communists during the Pinochet military coup. But has the office overstepped its jurisdiction?
Cast Edit
Main cast Edit
- Jerry Orbach as Detective Lennie Briscoe
- Jesse L. Martin as Detective Ed Green
- S. Epatha Merkerson as Lieutenant Anita Van Buren
- Sam Waterston as Executive A.D.A. Jack McCoy
- Angie Harmon as A.D.A. Abbie Carmichael
- Steven Hill as D.A. Adam Schiff
Guest cast Edit
- Joe Morton as Leon Chiles
- Tomas Milian as Colonel Emilio Pantoya
- Rebecca Schull as Mrs. Whitman
- George Morfogen as Mr. Reyes
- Armand Schultz as Kevin Morse
- Brian Davies as Judge Warren Busey
- Michael David Lally as Paul Wheeler
- Larry Clarke as Detective Morris LaMotte
- Michael Ealy as Private Nelson
- Robert Jason Jackson as Sergeant Scott
- Ellen Lancaster as Rana Whitman
- William Jay Marshall as Don Fredricks
- Patricia Mauceri as Belinda Rojas
- Olga Merediz as Elena Calderon
- Julián Rebolledo as Lieutenant Orra
- David Wolos-Fonteno as John Groban
- Mary Shultz as Carrie Benson
- David Derek Rogers as Abraham
- Edwin Sherin as Chief Justice
- Don Stephenson as CSU Technician
- Paul Molnar as Medical Examiner
- Bill Fairbairn as Foreperson
- Nancy Franklin as Female Justice
- Elaina Erika Davis as Claudia
- Alicia Renee Washington as State Department Attorney
- Amy Bouril as Clerk
- Yusef Bulos as Van Dam
- Marcus Ho as Chris
References Edit
Jason Whitman; Sam Whitman; Chile; Augusto Pinochet; Landis Hill Hospital; National Intelligence Directory; Edwin Albrecht
Quotes Edit
- Lennie Briscoe: From what I've heard, this Pantoya's almost a war criminal.
- Belinda Rojas: Old history. Chile's a democracy now. Colonel Pantoya's a senator.
- Lennie Briscoe (after Ed Green dials a Chilean phone number): Let me guess. Voice mail hell in Spanish.
- Lennie Briscoe (about Captain Albrecht): If he had anything to do with killing this man's kid, he better run. 27 years ago or not.
- Police Officer (looking at the dead man on the stairs): Figure him for a vagrant, looking for a warm place to sleep.
- Lennie Briscoe: Well, he found it.
- Mr. Reyes: They hung me upside down and burned me with cigarettes. They put electrodes on my tongue and my eyelids. They would not let me sleep. They tried to drown me three times. They put a gun to my head and pretended to shoot me. They did this to me for two months.
- Jack McCoy: You're positive these men were under the command of Colonel Pantoya?
- Mr. Reyes: He came to the police station many times. (to Pantoya) The man you laughed at, who was hanging like a pig, it was me! Through my blood and my tears, I saw you, Colonel!
- Colonel Pantoya: I have immunity. Blanket immunity.
- Lennie Briscoe: The same blanket you put over Jason Whitman's corpse?
- Paul Wheeler: It's not an American problem.
- Jack McCoy: A dead American's not your problem?
Background information and notes Edit
- This was the final appearance of Steven Hill as Adam Schiff in the franchise. In the next episode, "Endurance", it is said that he is in Vienna working on Holocaust Reparations.
- Continuity: In Jack McCoy's office (Thursday, March 11) Det. Green tells Jack about the confession, and begins shaking Jack's hand. In the next shot, Jack should be seen finishing the handshake, but, he is not.
- Unlike what was depicted in the episode, the Supreme Court does not report its decision on the day that a case is heard. Cases heard on Monday are voted on Wednesday, while cases heard on Tuesday and Wednesday are voted on Friday. However, Schiff does implicitly how unusual the decision's speed is with the remark, "Quick turn-around for this court."
- This episode was intentionally written to not show the final verdict but to let the viewer form their own opinion and appreciate Adam Schiff fighting to the end. However based on Schiff's not being present in his role at District Attorney at the beginning of season 11, it is safe to assume that the verdict was not in the state's favor. (Leon Chiles remarked that if the people of New York saw him lose this case, they would likely not reelect him. Schiff's being overseas working on Holocaust reparations suggests he resigned rather than face reelection and a probable loss.)
- During the trial, the defense attorney mentions Che Guevara. Che Guevara was a famous Argentine-born Marxist revolutionary and associate of Fidel Castro. In the years after his execution, his name and face have been associated with socialist revolutionary movements.
- Abbie Carmichael: We're tilting at windmills.
- A Don Quixote reference that is commonly used to describe a futile fight.
- Police Officer: He was lurking, the tenant's exact words.
Ed Green: Lurking, you ever see anybody actually lurk?
Lennie Briscoe: Bela Lugosi, that guy could really lurk.
- Actor Bela Lugosi is probably best known for playing Dracula and other classic horror movie characters.
- This episode appears to be ripped from the headlines of Charles Horman, an American journalist, who was one of the victims of the Chilean coup of 1973 led by General Augusto Pinochet, along with the British government's 1998 arrest, on an international warrant issued by a Spanish judge, of Pinochet himself. Horman's case was made famous by Costa-Gavras' 1982 film Missing.
- The episode title is a Spanish phrase meaning Go with God. It's also what Adam Schiff says to Jack McCoy when giving him permission to go ahead with the case against Colonel Pantoya.
| Previous episode:
| "Vaya Con Dios"
Law & Order
Season 10
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Onlinemania.org Web Analysis
Our web analysis service harvested the source of this domain and found its title to be: Onlinemania . Type of server being used is Apache/2.0.59 (Unix) mod_ssl/2.0.59 OpenSSL/0.9.8g which is common OS being used these days. Web server is found to be in Spain. Latitudes and Longitudes are 40 and -4. This report is generated on 2012-07-13 13:36:20.
|Google Pagerank :
|Alexa Rank :
|341,273 Visit Alexa
|Webserver :
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|Website title:
Backlinks make a website strong. Bots check the number of backlinks of particular site and decides where to place it in serp. Backlinks are below.
|Alexa :
|86 visit Alexa
|Ovh Systems
HTTP request is followed by headers sent in a response of http request. These headers were returned when we requested to open the site on our side. These headers are respected by browsers and behaviour changes with specified header information.
|HTTP/1.1 301 Moved Permanently Date: Fri, 13 Jul 2012 16:30:46 GMT Server: Apache/2.0.59 (Unix) mod_ssl/2.0.59 OpenSSL/0.9.8g Location: http://www.onlinemania.org/ Vary: Accept-Encoding Content-Type: text/html; charset=iso-8859-1 HTTP/1.1 200 OK Date: Fri, 13 Jul 2012 16:30:46 GMT Server: Apache/2.0.59 (Unix) mod_ssl/2.0.59 OpenSSL/0.9.8g X-Powered-By: PHP/5.2.1 Expires: Thu, 19 Nov 1981 08:52:00 GMT Cache-Control: no-store, no-cache, must-revalidate, post-check=0, pre-check=0 Pragma: no-cache Set-Cookie: PHPSESSID=cf0c85379704ee22fac622b187a395d0; path=/ Vary: Accept-Encoding Content-Type: text/html
Whois provider display everyone's info publicly if not hidden by owner. So ownership details including phone num, name, home and business address, etc. All information and contact details exists in whois record.
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Domain ID:D151645215-LROR
Domain Name:ONLINEMANIA.ORG
Created On:17-Feb-2008 23:02:09 UTC
Last Updated On:04-Apr-2012 10:03:20 UTC
Expiration Date:17-Feb-2014 23:02:09 UTC
Sponsoring Registrar:OVH (R135-LROR)
Status:CLIENT DELETE PROHIBITED
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Registrant ID:ovh4f7c1c613b4p
Registrant Name:David Peribanez Martinez
Registrant Organization:Mania Media SL
Registrant Street1:Valderrebollo 20 1 a
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Registrant Country:ES
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Admin ID:ovh4f7c1c616cu9
Admin Name:David Peribanez Martinez
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Admin Street1:valderrebollo 20
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Tech ID:ovh4f7c1c616cu9
Tech Name:David Peribanez Martinez
Tech Organization:Mania Media SL
Tech Street1:valderrebollo 20
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Tech Country:ES
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Name Server:SDNS1.OVH.NET
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Graphs are best way to analyse data in a second. That's why we showed you this format of data. These pictures shows plotted lines showing ups and downs in traffic. Have a look please.
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