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It's hard to believe that we're just about a month away from Election Day! With so much attention on the race for the White House, it's easy to overlook that fact that there are a lot of other elections happening that day, too.
On November 6, all 435 seats in the U.S. House of Representatives are up for grabs, and so are 33 out of 100 Senate seats. And when you go to vote, many of you will also be choosing city council members, mayors, state-level representatives and governors. We can't tell you who to vote for, but we encourage you to use online resources to research your candidates' positions and voting records on the issues that matter to you.
It's not too late to register to vote, but please don't delay—there are several states with voter registration deadlines as soon as Saturday, October 6. In many states, you can register online in just minutes through sites like registertovote.org.
There are a lot of weighty issues facing our country, and you can help make a difference this election. Please register to vote!


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Exhibit Hall
Now Open on Level 1
This hands-on exhibit hall celebrates the richness of the natural world, with a special focus on the diverse ecosystems of Central Florida. Visitors discover the insects, plants and animals of coral reefs, salt marshes, mangrove swamps and other Florida environments. They learn how living and non-living things interact with each other and their environment.
The dramatic centerpiece of NatureWorks is Florida's Habitats, a glimpse into the natural world of Central Florida. In this realistic exhibit area, visitors explore the distinctive environments of Sand Pine Scrub, Cypress Swamp, Pine Flatwoods and Sinkhole Lake. There are also ample opportunities for guests to encounter live animals during regularly scheduled presentations.
- Observe a typical cypress swamp, complete with live alligators
- See how sea turtles make their nest at the sandy beach
- Discover the intricate system of roots at the mangrove swamp
- Watch how bees build their hive, care for young and gather nectar at the BeeHive Encounter
09 December 2013
Posted in NatureWorks
On Saturday, Dec. 7, 2013, Orlando Science Center unveiled the new enclosure for Teddy the Tegu in a special presentation reserved for the project's donors.
Thanks to their support and a 50% match by OUC, $4,550 was raised this past summer which resulted in a new habitat for Teddy. Contributors were invited for a light breakfast to learn about Teddy's new home from Science Center staff and get up close with the reptile.
The general public can meet Teddy the Tegu when he officially moves in early next year.

subset: commoncrawl


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Harvest figures, scarecrow-like effigies, appear on porches and in dooryards. Listen to learn more.
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Description:5 x 73.4GB Serial Attached SCSI (SAS) 2.5-inch 10K Single Port SFF Hard DrivePart Number(s)
IBM Part# 40K1097
Overview:HP SAS Enterprise and Midline hard drives deliver high performance solutions for hosting high transaction based applications. Available in HP hot plug carriers or non-hot plug. The HP SAS Enterprise and Midline hard drives come in both 2.5in (SFF) and 3.5in (LFF) industry standard form factors and are available in a variety of capacity points to meet a wide range of requirements. The SAS interface was designed and engineered for high availability, enterprise-class data storage where performance, reliability and data integrity are crucial.
CategoryIBM HardDrive
GenerationSAS SFF
Part Number40K1097-5Pack
Products ID456887
HDD Form Factor2.5 inches
Spindle Speed10000RPM
External Data Transfer Rate300MB/s
Seek Time2ms
Buffer Size16MB
Average Latency2ms
Interface (Detailed)Serial Attached SCSI (SAS)
Hot SwapYes


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Same Universe, Different Lenses: Science, Ethics, and Religion in Dialogue
This is a transcript of an interview given by Dr. Jennifer Wiseman at The Faith Angle Forum Conference on Religion, Politics, & Public Life on November 5, 2013.
The Resource Finder has powerful filtering features — check out the tutorial to learn more.
This is a transcript of an interview given by Dr. Jennifer Wiseman at The Faith Angle Forum Conference on Religion, Politics, & Public Life on November 5, 2013.
This chapter from Mark Noll's book Jesus Christ and the Life of the Mind seeks to understand science through a Christ-centered lens. Overall, if one accepts that nature is created and sustained by Jesus Christ, the author explains, then one must conclude that looking at nature is, in fact, the best way to learn about nature.
Mark Noll, historian and author of The Scandal of the Evangelical Mind, describes how Andrew Dickson White relentlessly advocated a view of history in which Science and Dogmatic Theology have always been at war with one another. Noll identifies 16 reasons why White's notion of warfare is mistaken.
NASA astronomer Jennifer Wiseman asserts that studying creation can show us the nature of God; science can inform us of what we need to do as stewards of God's creation; understanding the natural world gives us a deeper knowledge of Jesus Christ; and science can give us a better understanding of ourselves. This essay was presented at the November 2009 Theology of Celebration Workshop.
Many evangelicals believe that Young Earth Creationism is the only authentic, biblical way for Christians to understand origins, and that until the advent of Darwin's theory of evolution, it was the only view held by Christians. However, in this excerpt from Saving Darwin, Karl Giberson explains that Young Earth Creationism's origins are surprisingly recent.


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Zaji (S) - Page 29
Naruto-Arena forces you to select 3 characters when you start a new game. This page gives you an overview of all characters available in the Naruto-Arena game. Not only can you view each character's skills, you can also discuss the characters by posting comments.
Zaji (S)
Zaji (S) is a sensor shinobi from the Hidden Leaf Village. He is also part of the ambush division in the allied shinobi forces.Requirement to unlock: Mission: Zaji of the Leaf
Chakra Sensing
Zaji (S) uses Chakra Sensing on one enemy. That enemy will be dealt 30 piercing damage and all non-mental enemy skills affecting Zaji (S) will end.
Cooldown: 1
Chakra required:
Classes: Mental, Ranged, Instant, Unique
Exploding Kunai Ambush
Zaji (S) uses Exploding Kunai Ambush on one enemy dealing 20 damage and stunning their chakra and ranged skills.
Cooldown: 1
Chakra required:
Classes: Physical, Ranged, Instant
Momentum Reversal
Zaji (S) uses Momentum Reversal. The following turn the first enemy skill used on Zaji (S) will be countered. This skill is invisible.
Cooldown: 2
Chakra required:
Classes: Physical, Melee, Instant
Rock Wall Barrier
This skill makes Zaji (S) invulnerable for 1 turn.
Cooldown: 4
Chakra required:
Classes: Physical, Instant
Related subjects:
page 29,
NARUTO © 2002 MASASHI KISHIMOTO. All Rights Reserved.


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- Independent
- The Enterprise
- The Recorder
With speed cameras in Charles County catching roughly three times the expected speeders, county officials are dealing with too much of a good thing.
Rather than return a fund balance of more than $186,000 requested by the Charles County Sheriff's Office to pay for long-needed equipment, the county commissioners voted unanimously Tuesday to pay for the upgrades with excess revenue from the department's new speed camera program.
With the cameras catching roughly triple the number of speeders initially projected when the program started last summer, the cost of administering the program and processing the citations has increased as well, assistant sheriff Maj. Joseph "Buddy" Gibson said.
Accordingly, the commissioners voted to increase the program's current $257,000 budget to $900,000.
They also voted to allocate $186,070 in excess revenue from the program toward the purchase of 20 new patrol radios as well as upgrades to the dashboard cameras of 12 police cruisers and repairs to the intercom system and door motors at the county jail in La Plata.
"But that is not what we asked for," Gibson said.
The sheriff's office asked in October that those items be paid for with the $186,000 fund balance the department produced following the last fiscal year, Gibson said.
"For whatever reason, they chose to do this rather than give us the $186,000 we saved last fiscal year," he said, adding that excess revenue from the speed cameras is supposed to go toward improving traffic safety.
The department rotates its three mobile speed cameras among school zones throughout the county. It plans to add three more cameras this summer.
Charles County Sheriff Rex Coffey (D) appeared to believe that the commissioners were considering the department's request and did not directly object to the vote during their weekly meeting Tuesday.
"This is not the first time that we've used the money that we've left over from the previous budget," Coffey said before the vote. "What's the reason for anyone being a good steward of the money, if at the end of the day it's just going to be taken from you? This money's given to us at the beginning of our budget, and we've proven, at least I've proven over the last six years, that I'm a team player and I'm about making this budget work in these hard, tough economic times. These are things that we need to do and that we'd like to do."
Coffey expressed indifference regarding any excess revenue generated by the speed cameras.
"Some would convey me as some kind of money monger. I'm trying to run the sheriff's office. We're not out to make money. We're about public safety," he said. "The money that program generates to a profit, outside of fixing the things that need to be fixed, we don't care if that money comes back to the county government. It matters not to me."
"Ironically, we would actually hope it would lose money because that means people are in compliance with stopping at red lights or obeying the speed limit," chimed in Charles County Chief of Budget David M. Eicholtz.
"There you have it," Coffey said.
There also isn't any guarantee that the program will generate enough revenue to pay for the equipment upgrades, Gibson said. The new radios are expected to cost $111,900, while the camera upgrades will cost $20,900.
The jail also would get eight heavy-duty chairs, an $8,000 floor-cleaning machine and a $2,000 toaster to prepare meals for inmates.
Coffey stressed during the meeting that the camera upgrades are crucial.
"That protects us all out there when we have frivolous complaints about what officers said or did, these cameras and the sound mikes," he said. "They protect us from frivolous lawsuits."
Commissioner Ken Robinson (D) asked the sheriff to explain why the cameras were "so successful."
"I guess we're so successful because I just got one myself last week," Coffey answered. "I guess that's why."
In other business, the commissioners held off approving its staff's recommended school allocations for the first half of 2013 after members of the Charles Board of Education asked to first see how many past allocations were still outstanding.
The allocations are determined based on the number of open seats at county schools and then awarded to developers seeking to build homes.
The Department of Planning and Growth Management recommended that the commissioners approve 2,167 allocations this year, with half of them reserved until July.
The allocations are determined by a formula incorporating each school's open seats and the county's ratio of homes-per-student — an elementary school student lives in roughly one of every five Charles County homes, while one in 10 homes houses a middle school student and one in six houses a high-schooler. Developers need one allocation for every house they want to build, said Jason Groth, chief of resource and infrastructure management at PGM.
Though overcrowded schools receive no allocations, the formula allows for development even if the system as a whole is overcrowded.
For instance, the county's 22 elementary schools as a whole are overcrowded by 418 students, but because nine of them individually have open seats, 387 total allocations have been recommended for 2013. The six high schools are overcrowded by 724 students, but due mostly to 488 open seats at Henry E. Lackey High School and Thomas Stone High School, the county has recommended 631 allocations.
The remaining 1,149 allocations would go to the county's middle schools, which collectively have room for 450 more students.
But many of those allocations are effectively worthless — even if a particular school has allocations, a developer can't build unless the elementary, middle and high school serving the area all have open seats, Groth said.
The commissioners decided to wait to approve the recommended allocations until they could fulfill a request from Charles County Board of Education member Jennifer S. Abell to see how many outstanding allocations were currently held by developers.


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Science Live! Schedule
Our exhibits are designed to inspire curiosity and exploration, our Science Live! programs are designed to bring the exhibits to life. Whether it's a show in the Darden Adventure Theater or a one-to-one interaction with a volunteer at the Crosby Observatory, our live programs create the kind of impact that can last a lifetime.
Science Live! program schedules are subject to change based on staff availability.
Please call 407.514.2000 before you visit to confirm times and schedule.
Date: Friday, September 20, 2013
Yo ho ho, little buccaneers! Kids Town is celebrating 'International Talk Like a Pirate Day' and will be hosting special activities all week. Grab your boots, your hat, waistcoats and trousers and join us on the fun! Make your own eye patch, search for treasure, enjoy pirate stories, and meet a pirate (at scheduled times).


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Acta Cryst. (2012). E68, o58 [ doi:10.1107/S1600536811052160 ]
Online 10 December 2011
No syntax errors found
Alert level C PLAT912_ALERT_4_C Missing # of FCF Reflections Above STh/L= 0.600 5
Alert level G PLAT005_ALERT_5_G No _iucr_refine_instructions_details in CIF .... ?
0 ALERT level A = Most likely a serious problem - resolve or explain 0 ALERT level B = A potentially serious problem, consider carefully 1 ALERT level C = Check. Ensure it is not caused by an omission or oversight 1 ALERT level G = General information/check it is not something unexpected 0 ALERT type 1 CIF construction/syntax error, inconsistent or missing data 0 ALERT type 2 Indicator that the structure model may be wrong or deficient 0 ALERT type 3 Indicator that the structure quality may be low 1 ALERT type 4 Improvement, methodology, query or suggestion 1 ALERT type 5 Informative message, check
Copyright © International Union of Crystallography
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Chattanooga zydeco bands
Looking to infuse your entertainment lineup with a little Southern flavor? Book a Zydeco Band to play a blend of Cajun and blues rhythms at your event: birthdays, bar shows, cultural celebrations, and more. Browse below to find a band near you in the Chattanooga, TN area.


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Architecture, Fashion Design, International Film, Literary Theory and Electronica...
Avant-Garde Film, Discourse as Event, Digital Art, Performance Art and Photography...
'Paradise' shot in Brooklyn New York in the Fredric Olmstead designed, Prospect Park was shoot in summer and autumn 08 with a small crew shooting HD video, 720p and the sound recorded with a Sheps stereophonic microphone and is 107 minutes long. The visual style both verite and highly cinematic folds the actuality of the recording environment and the film making into the very fabric and story of the film. Casting, writing and rehearsal of the project took over a year before shooting. The ensemble of actors prepared with a variety of movement and characterization exercises taking cues from the experimental theatre work of Julian Beck and Joseph Chaikin and their ideas of experimentation, the living body and the immediacy of the senses.
The film starts with Solange, a professor in history and theatre arts at NYU. She brings her class to the park for her closing talk on 'fiction and the real'. Soon the class is folded into a fiction about life, love, time, politics, mathematics and more, all the while excavating the inner psyche of its characters.
As Solange brings her dream of 'Paradise' into being: a deconstruction of the messianic, sugar-coated Matrix fantasy, characters become authors who create characters who become authors: a Hoffmannesque nesting of consciousnesses begins. Solange, a novelist, dreams her family into the future, conjures her characters into the present, and leaves them haunted by an unremembered past. She renames her children Jules and Juliet, makes them lovers, siblings who like to pretend that they are pretending to be sister and brother, and who keep love and memory alive by impersonating each other. Her husband Roman, haunted by a chill presentiment of that first, malevolent thriller, finds himself receding into an infinity of other lives, as if there were no death only dissolving.
Emotions can get really scary, really intense, yet so beautiful, but yeah crazy, scary, how we need others, how we hurt others, how we want to be loved by others, by ourselves, how we don't know how to - these are the wild things, our wild emotions.
Read and had to post this interview with Spike Jones I found here
Spike Jonze by Scott Plagenhoef, posted October 7, 2009
Creating a film adaptation of a beloved work of literature is difficult enough with a novel, even a novella or short story. But how about a 10-line children's book? Spike Jonze took on that challenge in his long battle to bring Maurice Sendak's classic Where the Wild Things Are to the screen. With Sendak's encouragement, Jonze began work on the film in the early part of this decade, with the project then attached to Universal. Many years later, the film-- eventually scripted by Jonze and author/publisher Dave Eggers-- is finally being released in the U.S. via Warner Bros. on October 16.
Jonze's Where the Wild Things Are is not a children's film, which is to say it's not pandering, or cute, or repetitive, or simplistic. This is instead an art film about childhood, about the feelings and fears and needs of being young. In Jonze's hands, the film's young protagonist, Max, is the product of a broken home, with an overstretched mother, an older sister who has her own life, and a social structure that doesn't include him. These evocative early passages hint at the restlessness, the playfulness, the fright, and the untethered anger of being a child-- the needs for safety, belonging, and community, and the consequences of not getting them.
When Max flees to where the wild things are, these sensations become manifest. Already feeling adrift and unloved, he's thrust into a world populated with wild animals, where he is expected to serve as their king. This situation-- a young person being charged with caretaking, without instruction on how to do so-- draws easy parallels to Eggers' life, as detailed in the memoir, A Heartbreaking Work of Staggering Genius. The wild things themselves, rather than created with CGI, are portrayed by two sets of actors-- physical thesps in suits, and well-known actors doing voice work. As Jonze explains, this decision was to ensure that Max felt in the presence of the wild things-- "that they could hug, and yet he could be eaten at any time."
This potentially odd decision leads to a quintessential Jonze move-- Wild Things is a fantastical film shot in the director's now-familiar hyperrealist way-- even though it grew from necessity. Navigating a world in which a child needs the love and support of monsters is all too common for many kids, and Jonze's rendering of these emotional challenges and obstacles may guarantee Wild Things is neither a blockbuster nor Oscar bait but it helps retain a strong connection to Sendak's original vision. Jonze and Eggers had an almost limitless number of ways in which they could fill in this open-ended story, but rather than simply construct a narrative, they instead dig deeply into the scarred psyche of a young boy-- exploring his imagination, tapping into the heart of his anger and insecurities. It's a brave way to film a largely plot-free tale and it's also true to the spirit of the book.
After a recent screening to benefit 826 National, a collection of non-profits "dedicated to helping students, ages 6-18, with expository and creative writing," we had a brief opportunity to speak with Jonze about his new film and the long road it took to completion.
Pitchfork: I'm not sure if you were in the theater tonight. Do you enjoy watching your art with an audience?
Spike Jonze: When we put out a music video DVD [for the Director's Label series], we would do 90-minute screenings, and those were really fun. Normally when you put it out you don't get to watch different people, so that's just really fun.
Pitchfork: I was trying to think of anything in your past that had any connection to this narrative, and the one thing I could think of was your Daft Punk "Da Funk" video, because it's a mirror image opposite of Where the Wild Things Are-- one animal in a world of humans.
SJ: Yeah, I never thought about that.
Pitchfork: Obviously, the story itself comes from Maurice Sendak however: How did you end up hooking up with Maurice?
SJ: I had known him for a number of years, because he was producing another movie that didn't end up happening, but through that I got to see him as someone whose work I liked.
It was a book that he had talked to me about over the years a few times, and it was a book that I loved, and when he brought it up to me I was very excited but also very apprehensive, because it was something that I thought was so great and so perfect in its form-- What am I going to add to that? I was so apprehensive to add something just for the sake of adding it, for the sake of a movie, and not really having a reason to make it, basically. But eventually I came up with the idea that you see what you see there, and Maurice was great, he was insistent upon that taking it there.
Pitchfork: He was very generous about allowing you to create your own film?
SJ: Yeah, I really don't think we could have done it without that. I would have been too nervous to make something he wouldn't like. And I didn't want to do that.
We were really nervous with the first script, because we didn't know what he would think. He read it three times in a row. The first time he read it, he was like, "It's not like my book." And then he said, "Oh wait, I told them not to make it like my book." And then he said, "Let me read it again," and he started to be able to feel it. By the third time, he was totally detached from anything before, and was able to feel it for what it was, and he called us up and told us he wanted to do it.
He had script approval, so if he didn't like it, we just wouldn't have done it. So it was a big call to get that call from him telling us that he liked it, and good luck.
Pitchfork: How long was that gap between those readings?
SJ: He read it three times in one day.
Pitchfork: So he called you after the first reading, and said--
SJ: No, luckily he didn't call us then. He went through that process on his own and called us, and then afterward he told me.
Pitchfork: When you first started to imagine it, did you do so in more cinematic terms or narrative terms? It's virtually a picture book, and some of the power of it is that it's less a book someone would read to you as it is a book that a child can get lost in.
SJ: Well, cinematic terms. I knew I wanted it to be live action; I wanted to build the wild things for real. I wanted to be on location. I wanted it to be a real boy with real creatures, in a dangerous, unpredictable environment, where you're with wild animals. But that wasn't enough to make a movie. It was more the idea that gave me confidence that there was a movie there was that the wild creatures were wild emotions, and Max was trying to understand things that were confusing and frightening, and made him anxious-- things being out of control, and him being sort of emotionally wild himself.
Pitchfork: Did you see it as a childhood thing, in terms of the emotions, or are these more just human emotions to you? The adult relationships in the film have the same needs and fears in some ways.
SJ: The emotions I felt were true to a child, were true to what it feels like to be a kid. What the world is like from a nine-year-old's point of view. Like when you're nine, you haven't figured out how to process all this.
My memory is that nothing is explained to you, you've got to try to figure it out, pick up clues from the people around you, try to figure it out from their reactions. And the things that are out of control are scary-- I mean they still are, to me. But I think even more so at that age, when you really have no sense of control of your life.
And so the things that are really out of control, and scary, are emotions-- of people around you, that are unpredictable, or those in yourself which are unpredictable. Like having a tantrum. The thing I remember most about having a tantrum is not the rage during the tantrum, but the being freaked out afterwards, and embarrassed, and guilty. It's scary, to lose control of yourself. We wanted the movie to feel like it was made by a nine-year-old, on some levels. So like you're in the headspace of a nine-year-old, and you're in the world, you're on the island with Max, trying to understand this foreign place. It kind of feels like being a kid, you've just shown up to this place, and there's no road map to it.
Pitchfork: Were there other examples of children's art that you were looking at? Things that were sort of about childhood, rather than for a child?
SJ: It wasn't so much that we looked at them; there's things that we knew did it right, but we didn't reference them, we went back and watched them. Like The Black Stallion, that I loved, in 1981, it's beautiful. My Life as a Dog. The 400 Blows. there are a couple others, just films that feel like they're from a kid's point of view looking at the world.
Pitchfork: How did you and Dave Eggers end up working together?
SJ: Because I had known him for a few years, and I love his writing, and just like him as a person. It just felt right, it was one of those intuitive things, like, "That's who I want to write this with." Just sensibility-wise, his first book, the way he wrote about a young character. I don't know, just the way he writes, and we're very similar, we're the same age, just the way we grew up influenced and in love with Maurice's work. It wasn't even too thought out, it was just like, "That's right."
Pitchfork: Talking about your ages. Do you think there is something about this story that makes it so beloved with our generation specifically?
SJ: I'm not even sure if it's just our generation. I think it might be that if you're five years old and you read that book, you're like, "I recognize that." It's in the language of a kid, of monsters and of things being giant. And it's like when you're a kid, adults really do feel giant. Monsters are a part of your subconscious. You have even less control of your emotions than you do now. I think it's all in the book. And he is really speaking the language and what it feels like at that age.
Pitchfork: So you guys had almost an open-ended structure to build a narrative. Was all that freedom helpful, or more difficult? Did you go a lot of different routes before you got the script you wanted.
SJ: Not a lot of different routes, but we definitely wrote a lot of different drafts. We shot, and then had the footage... the way I work, I like to constantly evolve, and try to find a better way to do something; searching and seeing what else can be discovered. And so yeah, there were many things where we were like "That's an amazing idea!" and that was it for a week and then "No, no this is a better idea!"
Along the way, the things that stay are the things that really deserve to stay. I love that process, of not feeling overly pressured, "this is the movie," and some people can do that, like the Coen brothers, their movies I think they write, the script they write is very, very close to the movie they put out. And they shoot exactly what they need, you know I probably shoot about four times as much film as them. They're like, "Oh, we got it." And I'm like, "Oh, what else can we do? And what if we try it this way?"
You take that leap and you don't know exactly how it's going to turn out, but you know what it is that you're aiming for. You know your goal.
I recently sat down with the extraordinarily charming writer, artist, essayist and journalist, Trinie Dalton. We talked about her growing up in LA, mushrooms, the short story form, some of her favorite writers, what it is to be a poet, language, sounds, books, monsters, myths, writing and art.
ML: You were brought up in LA and at the same time spent a lot of time communing with nature.
TD: I did most of my early writing stream-side in the local mountains. I got really into Japanese poetry!
ML:You were telling me as a child how you and your brother made books together. You would write a story, he would collage things, sometimes vice versa.
TD: My brother was a talented artist (he still is…Greg Dalton) and so I'd recruit him to illustrate my books or to let me write stories about his drawings. We have several booklets we made with construction paper and crayon about various monsters. He was into the Universal Studios monster icons, while I was more into storybook fantasy.
ML: Your introduction to poetry come in your early years in high school, was it then that you know you wanted to write. Who inspired you?
TD: I was very close to my teachers in school, especially my English and Art teachers. I admired Shakespeare's sonnets, John Donne, loved the music inherent to the classics. Basically, I was a Sylvia Plath wannabe. But I was rather rebellious and liked psychedelics, so I had a teacher in tenth grade who noted similarities between my poetry and e.e. cummings' (very polite of her!). She opened up the world of experimental and beat poetry to me. High school was all about Ferlinghetti, Ginsberg, Burroughs, Kerouac… Through them I came to read the 60s and 70s counterculture gurus, like McKenna, Huxley, Kesey, and new Journalists like Tom Wolfe. The Electric Kool-Aid Acid Test and One Flew Over the Cuckoo's Nest were the texts I cited on my graduation yearbook page! Unfortunately, I was hung up on the retro thing, but it was a good springboard. From the beginning I was into people who studied form enough to break it in interesting ways. I also sought to have that confidence in voice that these famous men had, as a woman.
ML: You also have a good sense of science. What interested you in the sciences? Had you considered being a scientist?
TD: Growing up in the Angeles Crest foothills, I got to know the local mountains well. I signed up to volunteer with the Forest Service, and we'd clear trails, clean up after bears, all that…the ranger I trained with taught me how to ID flowering plants and from there I was hooked on natural sciences. Heading up to Humboldt County for college, I focused on Environmental Science, Astronomy, and Biology, thinking a forestry degree would be cool. But then when I faced Chemistry and Math, I hit the wall and realized I was an artist, not a scientist! I like to make science stories up, how plants came to look the way they look, what medicinal values they may have. It's a big part of my life but I don't care to be too accurate. My husband and I hunt all different types of mushrooms, and do work hard to ID them properly. But ultimately, we like fungi because mushrooms are inherently weird, beautiful, and they spark our creativity.
ML: At some point you fell in love with the short story form. When and how did this happen?
TD: After so many years of reading Tom Wolfe, Terry Southern, Joan Didion—writers who have such strong voices in the first person—I suppose I felt I had permission to begin writing in that first-person voice. From there, I started writing stories in "my" voice, and fictionalizing from there. While working as a librarian at Art Center College of Design, I studied short story with Benjamin Weissman, semester after semester. He taught me a lot about writing and exposed me to many contemporary authors who push the story form.
ML: There seems now to be a real interest in the short form with a number of anthologies being published, the short-short form, flash fiction.
TD: Yes, there is real public interest in short fiction right now. If only there would be better ways to support short fiction writing: more grant opportunities, more paying magazines and journals! Another interviewer recently said the same to me about the resurgence of the novella, as if the reading public can't handle long novels anymore. I think readers will read long works of high quality, and it is less about length than about engagement with the text. Though I do champion any promotion about short fiction, since short story is my favorite prose form. I think we're finally seeing what the post Gordon Lish generations are making of New York "short short" story styles from the 80s. (Many of those who trained with him, like Amy Hempel and Gary Lutz, developed rigorous rules against wordiness.)
ML: You are also very interested in cultural mythology and oral story telling.
TD: Right now, I am studying African, Asian, and Native American mythologies, in particular those related to the monstrous or abhorrent. I like myths that warn against taboo breaking. That's when chaos can really ensue and the storyteller's imagination can run free.
ML: You write about communications between humans and animals, humans from different times, fairy tales, monsters, the abject.
TD: To ignore horror feels a bit escapist to me. The animal-human bonding issue is sort of separate from horror, in that I study it more in regards to shamanism and human relationship to ecosystem. Human connection with non-human beings. Life is much larger than us. But when one gets into fairy tale and the realm of monsters, animal-human overlap can get horrible fast! Going back to the taboo breaking stories, the great mutant monsters are often borne from commingling between human and animals. There is a katsina in Hopi religion that is semi-Frankensteinian, stitched together from many different creatures. To me, that is the scariest kind of monster, one that is not at home anywhere. The monster adrift.
ML: What is your interest in horror? You've talked about Lovecraft's notion of cosmic horror, supernatural horror, tell us about this.
TD: Monsters highlight human fears, and reveal the culture in which they are invented. For MYTHTYM, I got into the uncanny monsters: doppelgangers, evil twins, schizophrenics, the doubling in one self that proves that we are not in control of everything inside our minds. I used mirrors as the symbol for this, and collected a body of work surrounding these topics. Maybe that lack of self-control is one of the scariest notions of all, across the world. Lovecraft, in his essay Supernatural Horror in Literature, writes about a "savage dawn," a life that includes and maybe even embraces the flip side of mundane reality: the cryptic, occult, extra-terrestrial, the spheres of the unknown. While I'm not very into aliens, I do like his definitions of "weird."
Lovecraft says that a "weird story whose intent is to teach or produce social effect, or one in which the horrors are finally explained away by natural means, is not a genuine tale of cosmic fear…" He most admires stories that evoke "primal emotion," that show the abyss and leave one in it, rather than rescue one out. I wholeheartedly dislike moral tales, whereas I love any tale that leaves one wondering about larger mysteries.
ML: In your first book, 'Wide-Eyed', a collection of short stories, you write about many things, one of them is fears revealed through horror in gender stereo types. You have this extraordinary innocence that's always proximate to dreams and death, like in Extreme Sweets how the narrator describes being inside the tornado in Oz in an elevator in the sky but underwater. How do you think of these things, were do they come from?
TD: Sometimes the symbols are crafted from dream imagery, changed and skewed but based on archetypes. The sky elevator, of course, is a dream image that pays homage to Dahl's Great Glass Elevator, fear of falling, etc. I like symbolic objects that are clichéd to gender, then twisting them, because those stereotypes are obviously imposed on us from the time we're born. I use color in that way, the blue/pink boy/girl thing…many people are surprised to discover that pink was once considered the "too masculine" color for girls. Anyway, symbols that conjure innocence in girlhood, as in my story about slumber parties, "Chrysalis," that likens sleeping bags to butterfly cocoons, I love to undercut. I get real joy out of proving that those objects and symbols are not implicitly girly, and that girly, by definition, does not represent some innocent, virginal stage. The virginal innocence in young women is a male fantasy that I'm attracted to and repelled by, therefore I'm interested in exploring it.
ML: You mentioned how Benjamin Weissman was one of your teachers. How was he, Dennis Cooper, Amy Gerstler and other writers involved with Beyond Baroque informative influential inspirational for you? There is humor in the abject that comes from this group. Certainly sex and horror.
TD: They teach me to embrace and exploit embarrassment in fiction. To be an uncompromising artist, to be brave. To accept that humiliation is part of life and can seed great art. To be self-motivated and to persevere. To not be shy about exploring sexual desires through artistic means. Like Dennis always says in interviews: it's better to write about killing people than to actually do it.
ML: Before I forget what are some of your favorite Lesbian Vampire movies from the 70's.
TD: Vampyros Lesbos, Daughters of Darkness, all of Jean Rollin's films, Les Vampyres, Girl Slaves of Morgana Le Fey…there are so many great ones!
ML: Why do you think we are so obsessed with Vampires? Is it about slavery and control?
TD: I like vampires because they suck blood and they can live for thousands of years. I think vampires are sexy and wise.
ML: How did your interest in monsters come about?
TD: All the mythological creatures I prefer tend to represent some facet of wilderness, fear of the unknown and the power that one can attain when that fear is harnessed.
ML: I am curious, you do so many things, when do you get to write. What is your process of writing? Do you write from dreams, research, keep a journal.
TD: I keep post-its notes in a basket with story titles and sentences that I want to work on later. I make collages and base fiction on them. I do record my dreams when I'm being properly diligent. I keep notebooks, and a file cabinet of art/text reference files for inspiration.
ML: Story structures, story forms, what are some of your compositional strategies?
TD: Currently, I either cut-and-paste paragraphs I write into longer texts, like DIY zine snippets. Or, I write an introduction, then sit on the story beginning while it simmers in my head until I have the whole thing packed in there like a firecracker. At that point, I sit down and write the first draft for several hours straight. Then go back and revise, often several times. Either approach goes for blasts of text, so the energy remains compressed and the text stays dynamic.
ML: You move easily between writing and collage, art criticism, music reviews, catalogue writing, interviews and more. You have two desks, a writing desk and an art desk.
TD: It's not really that easy for me, all told. I enjoy all of these endeavors, but it does make my brain tired. I like working each day until I feel like my mind has been exercised until it is about to explode. In the workshop I aspire to I will have four or five large desks and some helpers with administrative emailing. I get really tired of the computer and the tactile projects save me from becoming a total word-processing robot.
ML: A lot your art comes out of collage and zines and you have recently published Mythtym which looks beautiful. How did you go about this?
TD: Mythtym is made from three zines, two previously made and one built particularly for the compilation. A Touch Of Class was about unicorns, and accompanied a band I was in called Unicornucopia. Werewolf Express was made for a curated exhibit at the Yerba Buena Center in San Francisco. And Mirror/Horror premiered in Mythtym. Rather than just reprinting the old materials, I renovated each issue, did new type treatments and added in new work. More importantly, I collaborated with this amazing book designer, James Goggin of Practise UK. He did amazing typesetting and layout to tame the crazy DIY aesthetic.
ML: Tell us about Dear New Girl.... and how you went about making it.
TD: I confiscated notes from high schoolers and organized them into binders. Then my friend and co-editors, Lisa Wagner, who is a skilled typographer and book designer, offered to transform these note binders into a printed book. So we farmed out note packets to artists, collected their art, and built the book from there. It's a tribute to teens, that time in my life, and to improvisation and collaboration.
ML: You recently wrote for art+culture a series of posts on small presses. Maybe you can tell us about a few of them and the kinds of artists books some of them are publishing.
TD: On the blog, I've been focusing on publishers who have visual/text overlap. Picturebox, of course, TV Books, the music labels like Drag City who publish books, anyone who mixes medium. I'm a big fan of transgressing one's practice: musicians making art, writers drawing…I've also been writing about artists and authors who are adept visually and textually, as was Tove Jansson, creator of the Moomintroll sagas. She is a hero of mine.
ML: You are now going to be spending some of your time in New Mexico. You'll be able to commune with nature and talk to the spirits. You must be looking forward to it.
TD: I am really excited to start splitting time between wilderness and the city. I love both. I'm also sincerely hoping to get to know the cultures there, and to learn about American history the way it really went down. I love Pueblo Indian pottery and Diné weaving so I'm also excited from the craft perspective.
Aaron Schroeder is a very fine young actor who directs and performs in a theatre art collective called, Unidentified Artist Sightings. He's been very busy organizing for the Dumbo Arts Festival, 'The Map Is Not The Territory', an exhibit that will feature the work of over 30 artists from around the world spanning different artistic disciplines.
ML: Tell us about what you're doing for the dumbo arts festival.AS: I will be performing a portion of my one-man show "Box Theory" during the festival. The piece itself will be interesting because it is taken completely out of context from the rest of the show (this is the final part in the 5 section work). The reason I chose this work was because in the arch of the piece the character devolves and fragments until he is basically spewing out a kind of post-modern poetry with pointed subconscious resonance. When writing it I gave specific attention to the sound of the words and its musicality. I truly tried to craft a new form of theatrical monologue forcing the audience to negotiate between participation and complete submission. That may be really heady...but basically the final section straddles the line between performance art and theatre in a way I have yet to see, so I thought I'd try it out in a gallery setting. It may still be too "conventional" but we will see. The show is about my involvement with the program, so I think it's a perfect opportunity. ML: It's a group of artist actors performers you're working with?AS: I am performing as part of an exhibition called The Map Is Not The Territory. This exhibition is being presented by the group of mentors/mentees involved with the 2009 NYFA Immigrant Mentorship Program. The exhibit will feature the work of over 30 artists from around the world spanning different artistic disciplines. I am a part of the performance component for our Friday night opening. ML: I'm curious, is their a distinction in performance in work that is performance art or work that is theatre? Is there a distinction there or a different approach for you or does it all blend it? You work in a lot of venues, formats.AS: As far as the distinction between performance art and theatre I think more and more those lines are blurring. At least for me it has a lot to do with context and maybe the focus of the artist. For instance, out of context my piece could be considered more performance art because it doesn't really tell a story or have a narrative, it is more about witnessing this unraveling. However, there is very little attention in this new context of the gallery to the visual elements which I think often play a large role in performance art. What I will be doing is simply performance. Art or Theatre, Poetry, whatever I'm not sure. I do perform in many types of venues: bars, galleries, theatres, cabaret spaces. I think each space has its own code of conduct in a way that shapes the relationship to the work you're seeing. I think it's in the interest of the performer to think of their work with that fluidity and embrace the distinctions in venues. Unless of course you're making a point about it. But otherwise, art at least in performance is about audience. So you've always got to bring them along.ML:Tell us about some of your own work and what you've been doing lately. AS: I have this underground theatre movement called Unidentified Artist Sightings that I am constantly working on. We're sort of a cult, with a cult following, a pledge, a secret website and guerilla advertising. Their is a degree of anarchy to the idea. We basically put up theatre in bars and other unconventional spaces--this theatre however is always created in a 24 hour period and about taking risks, being experimental and exploring impulse. We're trying to bring the hype of a rock concert and the excitement and energy of an improv show together in a true-to-the-form theatre context. The work is scripted, it is crafted and then performed all within 2 days. The rest is the scariest thing you will ever do. But i think it's a great opportunity for actors to go crazy in a safe environment. I think it's working. Audience love it.Also I'm writing a new solo show that I'm hoping to perform at the end of this year. It's all about quantum mechanics, the internet, religion, Obama, you know...all the big topics. I'm excited by it. I always go after tackling the big questions or at least on a metaphoric level making the big questions the seed of all my work. That's what I love about theatre. I can talk about things I know nothing about and make convincing points without any proof. WAY better than college:) The writing is all most done, so soon I will start putting it on its feet and exploring it physically and with a director. I guess, other than that, I've been working on this film with you, Marc Lafia, which has been fun. It's always exciting to get the opportunity to explore stuff and craft work with many different eyes and perspectives working at once. Conventional movies are often made in the editing room, but movies with marc are just as much made in the moment of filming, which is EXTREMELY rewarding and exciting. So yeah. I love collaborating and I love self-scripting work and being critical in a philosophical way about life and society and your films are definitely a vessel for that kind of exploration. ML: Thanks. I love this space between theatre, performance, art, poetry that you're exploring. It's great for me, and I am sure others, to hear what you are doing in a concentrated interview like this. I look forward to seeing you tomorrow night.
The Map Is Not The Territory, 111 Front Street gallery 220 Friday Sept 25 from 6-9pm (opening with performances)
I recently sat down with Caspar Stracke and Gabriela Monroy, both artists, who, as they have for the last 5 years, curated this year's video_dumbo which opens this Friday, September 25. Here's the schedule . Thanks Gabriela, Caspar for getting together and congratulations.
ML: Gabriela, Caspar what's it like to curate as artists?CS, GM: I think many artists just slide into this profession, and vice versa, curators become artists. Since the early 90's curatorial work is officially acknowledged as an art discipline on its own (i.e. Jan Hoet, Documenta IV). Quiet a fascinating development. The ever absorbing Fine Art machine started eating itself, declaring even part of its own logistical production process an "artistic value".
As artists who have worked a lot with found footage, programming is like editing — each program becomes a giant found footage film with its own dramatical arc. ML: There are a lot of things going on, screenings, installations, live performance. Can you tell us how everything gets broken down and why?
CS, GM: You used the right expression. Curating short, time-based work is as much as breaking as it is the attempt to glue different artistic pieces into a bigger one.
So even if we stay quite open with genres and subgenres, we do separate into three major categories. Certain pieces were meant to be shown in a particular way and we respect that. The installation work usually loops and presents a totally different time concept as opposed to pieces made specifically for screening context. Ironically in our case they are not separated spatially.
This year, we return into a 4000+ sq. ft exhibition space where seven video installations are being shown and at the same time we have a cinema, within this space — When the programs are running, the installations stay in (only sound is turned down) Two years ago we tried it for the first time and were unsure because we thought that the light of the other installations would distract the main screen, but it didn't. In this giant gallery we had the luxury to leave a lot of breathing space around the pieces. ML: What is the average length of the videos and are there certain themes running through the different programs? CS, GM: I'd say the average length is around 7-9 min. Although, this year, we are showing works that are 8 seconds long and others that last 30 minutes.
We build themes out of all the works we requested or that were sent to us. This is the most exciting moment, when we build the screening programs. The themes range from concrete subjects like war and its distorted media representation to something as abstract as "knowledge" , "solitude" or animal voyeurism paired with robo-technology.
In a program we called Horror Vacui we combined gentrification and community loss. We juxtaposed the Shanghai demolition (by Zhengcheng Liu) of an entire residential neighborhood with the gentrification of Brooklyn's Williamsburg (by Diane Nerwen).
We are happy to be able to curate without any given restrictions. Our mission remains to be a platform for emerging video art from the NYC area, but we deliberately mixed that with international work. ML: Can you tell us about some of the work you're most excited about?CS,GM: We favor conceptual work that pairs thoughtful and elegantly worked out ideas with pleasant aesthetics. Colorful supersmart and sexy. This combination remains relatively rare.
ML: How would contextualize your program in relation to others worldwide. Perhaps you can tell our audience about some other festivals and how you see video_dumbo in this larger context? CS, GM: This is a question that is difficult to answer. There are too many film, video and media art festivals under this sun, some have just one common denominator (length, format, specialized subjects). In our case we define ourselves more as a festival/exhibition for contemporary video art not a short film / Indie film fest. ML: If you look 3 or 5 years back, where are the interests of artists today and where were they. What surprises you most about the current moment?CS, GM: Towards the end of the Bush era, 4 years into the Iraq war, we experienced that there were two camps: one that produced highly political work, very strong reactions on the war, the other completely avoided any confrontation and retracted in dreamland. ML: How do you think video is perceived and practiced today compared to 20 years ago. CS, GM: The most important aspect is that it totally freed up. In both a technical and aesthetic way. Video production 20 years ago involved a lot of heavy boxes.
Think of the typical video editing studio in the Eighties: Heavy CRT monitors, a stack of clunky 3/4 inch decks and a brutal Grass Valley switcher. Sounds very similar to the changing modalities of music production.
As for perception, it is true, everything (still) accelerates in media, and at the same there is a lot of stagnation. The omnipresent YouTube radar signalizes you: I've been there, done that, before a good idea can even progress. On the other hand we do sense a lot of energy out there.
Content and Framework have changed at the same time. The generation of people who started working with digital imagery today embed this medium into a much broader field of art practice. The notion of film or video festival feels a but outdated ("I know, grandpa…") ML: Would you be interested in presenting the work as an online festival?CS, GM: Yes, but we have not really found a good strategy yet for keeping integrity of a carefully curated program.ML: Tell us about some of your recent work.CS, GM: What immediately comes to my mind is a project which is still on hold and oddly the fare opposite of an online viewing concept we just discussed: Gabriela and myself started to work on a project called CINEMACITY, designed exclusively for cinema spaces, a film made out a variety of different cinematic components (on and off screen) also including social and spatial concerns, i.e. megaplex cinema culture blending into mall culture, and the dramatic shift /loss of the local one screen cinema social meeting spot. ML: Do you think curating effects the work you produce? CS, GM: Oh absolutely. It just did..again.
Notes Towards Affect Engines
Notes Towards Affect Engines
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Wed, 02/07/2008 - 10:48 — Adrian
Original Citation:
Miles, Adrian. "Notes Towards Affect Engines." International Association of Philosophy and Literature. Melbourne, July 2008.
Contemporary theory in its approach to digital media has largely relied upon traditional notions of story and narrative to understand the similarities and differences afforded by digital media. While this work has been invaluable it has emphasised the ways in which things like hypertext may, or may not be, story like and so has examined the new roles of the reader (Douglas 1994; Douglas 2000), and the implications for multilinearity for story sense. (Bolter 1991; Joyce 1995; Joyce 1995; Joyce 1995; Aarseth 1997; Gaggi 1997; Bernstein 1998; Dovey 2002; Landow 2006) However, emerging dominant digital forms juxtapose highly local content and practices with system wide and global combinatory systems.
Traditional approaches which retain assumptions of media as narratively informed run the risk of misreading or 'missing' what is peculiar to the possibilities of these digital systems where there are an enormous number of discursive forms available which probably fall outside of what we would ordinarily identify as the subject of the literary or narratological.(Eskelinen 2001; Eskelinen 2004) Many of these forms, while clearly story like (for example blogs) also move away from the regimes of representational narratives, whether fiction or non fiction, and produce work that could be characterised as ambient. For example, a video sharing site such as YouTube, while consisting of millions of micro narratives in the form of televisual fragments, only has the possibility of coherence in any formal narratological sense through theoretical sleight of hand, however is much more amenable to theorisation when considered as an ambient form. When considered in this light it is clear that much contemporary online systems are in fact systems for the production of ambient narrative, and as a consequence are moving away from representative narrative (stories about things) towards affective assemblages — systems for the production, distribution and participation of affects.
excellent things there.
F&A is about fashion art design style music
books magazines interviews kritik berlin.
backstage magazine
la couture
mode depesche
pretty pretty
Purple FASHION
Texte zur Kunst
This is not...
bobble bee
cafe mode
cherry blossom girl
chic looks
coco's tea party
diane pernet
dolls realm
enchant and doom
fashion does it better
fashion verbatim
garance dore
girl woman beauty brains blog
golden with migraine
hello jupiter
hope hope
inspire the starling
into the fray
jack and hill
jaques bagios
joanna goddard
kingdom of style
kunst blog
la femme
made by girl
making things
martin vallin
miss at la playa
miss dior couture
mode et plus
mode et utopie
my love for you
painfully hip
playground imperfection
search and destroy
shiny squirrel
simply olive
So FASH'on
style bubble
style bytes
the artist and his model
the coveted
the fashioniste
the stylophile
we make money not art
who what wear
Dance, Dance, Revolution
Engaging in a practice of permissive exploration, we strove to develop various formats for critical exchange that are both intellectually rigorous and playful. This intuitive and open generation of ideas, coupled with the speed and intensity necessitated by a limited creation period, propelled us towards an approach of decentralization. Not only did we as a Curation/Production group conceptualize and develop events, we also invited other artists to engage in the shaping of the festival. As a group we have nurtured a spirit of irreverence, and encouraged omni-directional experimentation throughout the festival's framework. We offer a skeleton, a potentiality. We are excited to see where and how it will meet you. With love, Rebecca Brooks, Beth Gill, Erika Hand and Isabel Lewis. Neal Beasley was a member of the Trisha Brown Dance Company from 2003-2007. He is a graduate of Idyllwild Arts Academy and holds a BFA in dance from NYU/Tisch School of the Arts. In his newfound freelance life, he is currently scheduled to work with choreographers Beth Gill, Eleanor Bauer, and Larry Keigwin. He has taught technique and repertory internationally for TBDC, as well as in the New York studios. He directed rehearsals for Ms. Brown's creation for the Paris Opera Ballet, both in its 2004 debut and the revival earlier this year.
Arts Alive
The aim of ArtsAlive.ca Dance is to enhance your enjoyment of dance by providing the background and knowledge you seek. Maybe you want to learn how to assess and critique a performance; gain greater appreciation for the elements of dance on stage and off; find out who's who in the world of dance – all this and more is at your fingertips, through ArtsAlive.ca Dance.
Bertolt Brecht 1898-1956
"The actor is not Lear. He shows Lear."
Dada at the Movies: an overview of da...
Dada at the Movies: an overview of dadaism
Dada at the Movies is a new show from Guy Livingston, launched at the Holland Festival on June 9, 10, 11, 2006. The show is touring European venues and festivals in 2006-07 and 2007-08.
View the program and technical requirements; view photos and videos from the preview tryouts
The Henry
In this blog, members of the Henry staff, members of Seattle's arts community, and artists can provide insight and informal commentary on exhibitions, programs, events, and arts issues while inviting members of our audience and readers to join in.
The Henry Art Gallery seeks to engage diverse audiences in the powerful experience of artistic invention and serves as a catalyst for the creation of new work that inspires and challenges. Exhibitions, collections, and public programs stimulate research and teaching at the University of Washington, provide a creative wellspring for artists, and reveal a record of modern artistic inquiry from the advent of photography in the mid-19th century to the multidisciplinary art and design of the 21st. The Henry was founded in 1927 and was the first public art museum in the state of Washington. In 2007, the Henry will celebrate its 80th anniversary.
Visit the Henry's website at www.henryart.org
The National Asian American Theatre Co.
The National Asian American Theatre Co., Inc. (NAATCO) is a tax exempt (501(c)3) not-for-profit organization formed in 1989. NAATCO's mission is to assert the presence and significance of Asian American theatre in the United States, demonstrating its vital contributions to the fabric of American culture. We present the following repertory:
James Wagner
James Wagner lives in New York and writes about art and politics on jameswagner.com. He is the editor, along with Barry Hoggard, of the arts calendar ArtCal.
Metastable Equilibrium
"All our writing - for everyone and if it were ever writing of everyone - would be this: the anxious search for what was never written in the present, but in a past to come." - Maurice Blanchot
© 2006-2009 Art and Culture Inc. All rights reserved.
Displays by Impact


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InterfaceUltra3 SCSI
Additional informationLVD- Low Voltage
Rotational Speed7200 rpm
[ Replacement Video ]


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Free Medical Study to Help Prevent Heart Attacks
Kristin Hosfelt
Kristin Hosfelt joined WVII ABC 7 and WFVX FOX Bangor News team in September of 2012. Pursuing a career in TV news has been a dream of hers since she first stepped foot in a news studio at 12-years-old. She has a true passion for storytelling and loves knowing each day working in the field, will be different than the day before.
She's a California native and a graduate of San Jose State University with a BS in broadcast journalism. She previously worked as a reporter, anchor, and producer for SJSU's student-run newscast, and interned at KCRA News in Sacramento, CA and NBC Bay Area in San Jose, CA.
When she's not in the newsroom she enjoys cooking, reading, and traveling. She's a Packers Shareholder, a cross fit junkie and she's always looking for the best place to get Mexican food.
She's thrilled to be here on the east coast and if you see her around be sure to say hello!


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This story was updated at 5:30 p.m. on Nov. 19, 2013.
Police shot and killed a man in Germantown who had called them earlier that night saying he had just shot and killed his grandmother and roommate.
Antoine Duane Goodrum's initial claim that he had killed two people turned out to be untrue.
When Goodrum, 27, was shot, he was wearing a tactical utility vest and carrying numerous extra magazines loaded with ammunition, according to Montgomery County Police Capt. Jim Daly.
The events unfolded around 9:15 p.m.,when police received a call from Goodrum, who said he had just shot and killed his grandmother and his roommate at his home on Red Robin Terrace, according to a police statement.
Police said they found the two unharmed, but discovered a parked car near the home riddled with bullet holes. Police said several shots were fired from inside the home.
Police heard other gunshots being fired in the neighborhood, called for back-up, and created a perimeter using police dogs and a helicopter as they searched for Goodrum Monday night. They found him at Great Seneca Highway and Grotto Lane, police spokeswoman Angela Cruz said.
Police said Goodrum was armed with an AR-15 rifle and refused to comply with officers' commands.
According to the police report, officers negotiated with Goodrum for 12 minutes before he was shot. He was pronounced dead at the scene.
Daly said in his report that seven officers fired their weapons during the incident.
The officers involved in the shooting were: Joseph Arnold, 5th District, 11 years of service; Peter Camp, 6th District, 15 years of service; Edward Clarke, SWAT, 10 years of service; Lee Guzinski, 5th District, 15 years of service; James Reed, SWAT, 11 years of service; Sgt. Adam Taylor, 6th District/Decentralized SWAT, 15 years of service; and Sgt. Alexander Yokley, 6th District, 9 years of service.
They are all on paid, administrative leave pending the outcome of the investigation, which is standard procedure after a shooting.
Marcos del Castillo, a neighbor near where the shooting took place, said he didn't know the people living in the home on Red Robin Terrace.
At about 9:30 p.m., he and his housemate were preparing to go to bed, he said.
"We heard a series of loud bangs" that sounded like "loud hammering," he said.
He didn't call police immediately because he wasn't sure it was gunfire.
"I don't have any experience with guns," he said.
Minutes later, though, he looked out a window, and saw that a truck parked outside had one of its windows shot out, he said. He called 911 soon after.
Then, he heard gunfire farther away.
For 20 minutes, he and his housemate huddled on the floor, and tried to stay away from the house's exterior walls or windows.
"We were definitely both very scared," he said.
They never saw the man who fired the gunshots, he said, but officers came to the house to let them know everything was all right.
One officer told him, "Don't worry, he's dead," del Castillo said.


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Show your support on race day wearing this classically styled women's Prime polo from the OVER THE WALL COLLECTION™. It features your favorite driver's number and facsimile signature heat-seal embroidered on the left chest.
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1990-2005 Mazda Miata Performance Parts
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Racing Beat has been at the heart Mazda performance products since 1971. For the Miata we offer one of the most extensive selections of Miata performance and appearance products available from any one manufacturer. Racing Beat's signature products include an extensive offering of our Power Pulse exhaust line, Miata suspension parts, chassis, and appearance items - all designed and engineered by Racing Beat specifically for the Miata. We invite you to review our online Miata parts listings and contact us with any questions you may have regarding a specific component for your Miata.
Racing Beat Flywheel For The Miata Returns!
After a several year hiatus the Racing Beat aluminum flywheel for the 90-97 Miata has returned! Proudly produced in the USA by Racing Beat, this awesome flywheel is great upgrade for any street or track Miata application. See the product listing in the Flywheel section.
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n Man listed as critical after Tuesday crime" /> n Man listed as critical after Tuesday crime">
A Waldorf woman killed herself and critically wounded her husband in an apparent murder-suicide attempt Tuesday evening.
Officers found Linda Lindsey, 64, shot to death and her husband, 68, alive but suffering from bullet wounds inside their home in the 3100 block of Heartleaf Lane minutes after they received a call at 8:21 p.m. from Lindsey's relative reporting the shooting, Charles County Sheriff's Office spokeswoman Diane Richardson said.
The relative told police that she had called Lindsey to check up on her, only to have Lindsey tell her that she had shot her husband, Richardson said.
Police found a firearm by Lindsey's side. Her husband was flown to a hospital and remains listed in critical condition, Richardson said.
The motive for the shooting is under investigation by Detective G. Higgs.


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Meaning & Origins
Originally an affectionate nickname from the Scottish word bonnie 'fine, attractive, pretty'. However, it was not until recently used as a given name in Scotland. Its popularity may be attributed to the character of Scarlett O'Hara's infant daughter Bonnie in the film Gone with the Wind (1939), based on Margaret Mitchell's novel of the same name. (Bonnie's name was really Eugenie Victoria, but she had 'eyes as blue as the bonnie blue flag'.) A famous American bearer was Bonnie Parker, accomplice of the bank robber Clyde Barrow; their life together was the subject of the film Bonnie and Clyde (1967). The name enjoyed a vogue in the second part of the 20th century, and has also been used as a pet form of Bonita.
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Bonni, Bonny, Bonna, Bonney, Bonne, Bonnye, Bonnee, Bonn, Bonnia, Bonnae
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This Elite Metallic front full-zip men's hoodie from OVER THE WALL COLLECTION™ is so cool, even opposing fans will race off to find one of their own. The left chest and back are adorned with team-colored NASCAR driver graphics along with an eye-catching metallic design. A pair of front hand pockets, the banded cuffs, and waistband supply warmth for chilly days at the track.
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- Independent
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One child found dead in car trunk in Prince Frederick, second discovered in La Plata attic
By KATIE FITZPATRICK
Staff writer
After more than a year of police investigation, Melissa Schrae Bowen, 33, of Prince Frederick has been charged with one count of second-degree murder and two counts of manslaughter after one of her children was found dead in the trunk of a car in Prince Frederick and another of her children was found dead in an attic in La Plata.
Capt. Steve Jones of the sheriff's office said although he cannot comment on the case, he said police are pleased with the result of the investigation thus far.
"We are happy that there is an indictment in this case," Jones said. "It was an emotional case for law enforcement; this was an emotional case for the community."
At 5:45 p.m. March 8, 2012, the Calvert Control Center received a phone call about a deceased newborn infant found in a trash bag inside the trunk of a car on Hallowing Point Road in Prince Frederick, according to a Calvert County Sheriff's Office press release.
Members of the Calvert Investigative Team responded to the 5400 block of Hallowing Point Road where the infant was found in the trunk of Bowen's four-door passenger car, according to original reports. Bowen's parents found the body while cleaning the interior of the car at her mobile home residence, deputies said.
Through investigation, deputies discovered the baby had been born between October 2011 and January 2012, the press release states.
On Nov. 16, 2012, the Calvert County Sheriff's Office was made aware of a deceased newborn infant found in a suitcase in the attic of a La Plata home, according to the press release.
The fetus was found around noon that day by a family cleaning out their house and was sent to the Office of the Chief Medical Examiner in Baltimore for an autopsy, according to original reports.
Police said the infant died in Huntingtown and was taken by Bowen to the La Plata home. Police believe the baby was born between January and December 2007.
Both cases were assigned to Det. M. Mudd of C.I.T. and remained open pending further investigation and autopsy results, according to the release.
Upon conclusion of the investigation, Bowen was indicted with second-degree murder and two counts of manslaughter.
She is being held at the Calvert County Detention Center on $750,000 bond.


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- Independent
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St. Mary's liquor board members fined the license holder of a Great Mills Road business $300 last Thursday upon his admission to an administrative infraction of reusing or refilling bottles of alcoholic beverage.
Garland Thompson, an inspector for the St. Mary's Alcohol Beverage Board, went to International Beverage, Deli and Cadillac Jacks on Oct. 25 and found two funnels and six to 10 half-empty liquor bottles in a rear storage area, a lawyer for the board said at last week's hearing. St. Mary's sheriff's Cpl. James Stone, the county's alcohol enforcement coordinator, questioned license holder Paul Choporis, the lawyer said, and Choporis told the officer that the bottles were leftovers from nonprofit groups' events, and that the returned liquor was used in the bar.
Stone found similar bottles in the bar, according to R. Christopher Beaver, the board's attorney at Thursday's meeting.
Shane Mattingly, Choporis' lawyer, said that nonprofit groups would seek donations, and that Choporis would donate bottles of liquor, later charging the groups only for what they used. The returned liquor included two half-bottles of Crown Royal.
"He would combine the two and use that at his bar," Mattingly said.
Choporis now donates whatever alcohol isn't used by the nonprofit groups at their events, his lawyer said, and it's up to the nonprofit groups to dispose of the extra alcohol.
Moses P. Saldaña, the liquor board's chairman, said the regulation is geared toward a concern for a business' customers.
The board members concurred with Vice Chairman Linda Palchinsky's motion to fine the business $1,000, suspended to the $300 penalty on the condition that no further violations occur there during the next three years.
In a separate matter, David Dent of the county's licensed beverage association told board members that independent alcohol outlets are concerned that legislation during this year's General Assembly session in Annapolis could seek to repeal a 39-year-old state ban on issuing alcohol permits to chain stores.
"We'd see alcohol being sold at dollar stores," Dent said, adding that retail chains could get volume discounts and force smaller shops to close. "They'd have a serious advantage," he said. "There would be a lot more vacancies in the shopping centers."


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Buried Treasure is manufactured by a privately owned company, Life Line Foods, which has been involved in the Health Food Industry since 1969. Buried Treasure is a nutriceutical division, founded in 1996, and specializes in the manufacturing of liquid minerals, liquid vitamins, and liquid speciality nutrient formulas. It is on the cutting edge of manufacturing high potency liquid complexes designed for efficient absorption and greater bioavailability. Buried Treasure produces optimum potency synergistic liquid formulas which contain no fillers, binders, or excipients. Experience the "liquid advantage" with Buried Treasure.
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Welcome to the Kid Sports Memories website. We are a unique company that offers custom trading cards to help you and your family commemorate the special sports events in your children's lives. No matter what the sport, we have a trading card template that will help you hold on to each season with a custom sports trading card for you to hand out to your loved ones and friends. We do offer discounts for teams and leagues. Please contact us for more info.
Choose from a variety of themes, colors, and styles, using your photo and our templates.
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