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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.
Arc Music, world and folk music
A very excellent catalogue of titles from over 100 countries.
A very nice list of film foundations and grants.
Film Festivals
This site is produced by the Arts Group of the British Council and it provides and extraordinarily in depth listing of festivals. You can list your own here as well.
Film, Journals, Festivals, Screen Org...
Senses of Cinema is an online journal devoted to the serious and eclectic discussion of cinema.
Here is Sense of Cinema's links which include
screen organisations
asian cinema
film festivals
A superb list
Film Journals and Magazines
Here is a very good list of leading film magazines and journals with links to their online sites.
List of Film Journals and Magazines
Film journals and magazines combine discussion of individual films, genres and directors with in-depth considerations of the medium and the conditions of its production and reception. Their articles contrast with film reviewing in newspapers and magazines which principally serve as a consumer guide to movies.
Here is a long list of such journals and magazines and links to their site.
Grants for Filmmakers
This is a huge and helpful list of grants for filmmakers.
African Hip Hop
The foundations
Remix Theory
Remix Theory is an online resource by Eduardo Navas that offers some of his research on Remix.
Navas focuses on Remix itself as opposed to Remix Culture. In this site you will find a brief definition of Remix, which is examined more extensively in essays that will be added to this website as they become available.
Remix Theory is not meant to function on a daily basis. It is a resource updated periodically, according to the flow of research. It does not focus on the latest information, but on relevant material to the history of Remix, some which may have been published years ago. The site contains material that is obtained from other online sources, with the proper reference. The content of the site consists of reviews, articles, projects and images relevant to Remix. The site also features texts and projects by Eduardo Navas.
Remix Theory is designed to move towards a remix of itself, by recombining much of the material that is archived to put to test the possibilities of Remix. This will become transparent as the database grows, and specific projects are developed. The site is designed to host, archive and promote projects which explore the current possibilities of Remix online and offline; it is prepared to become a repository of collaborations with different people and institutions.
To learn more about the interdisciplinary practice of Eduardo Navas, Please visit http://navasse.net
Dance Theory and Criticism
Dance Theory and Criticism, a great many links here on dance.
© 2006-2009 Art and Culture Inc. All rights reserved.
Displays by Impact


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The Highland Mint features the home of your favorite team! An exclusive and numbered 8" x 10" photo of the University of Phoenix Stadium is triple-matted in a 13" x 16" wood frame under glass with a 24KT gold-flashed commemorative team coin and a 24KT gold-flashed NFL coin. The minted gold coins measure 1.5" in diameter and an individually numbered certificate of authenticity is matted between both coins. Each collectible is a limited edition of only 2500 and officially licensed by the NFL. It is also proudly made in the USA by the Highland Mint.
- 8" x 10" Photograph
- Includes certificate of authenticity
- Includes two 24KT gold-flashed coins
- Limited edition of 2500
- Made in the USA
- Measures approximately 13" x 16"
- Officially licensed NFL product
- Triple-matted
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Bill of Rights
Canisteo, NY 14823
For Consumer & Business Internet Users Who Download a Desktop Application to a Computer
- The right to receive clear, meaningful notice and the ability to affirmatively provide informed consent regarding whether or not to download and exactly when, with obvious, well-explained selection boxes or the equivalent whereby you can opt-in or opt-out, and the right to review and accept/reject an understandable, complete Privacy Policy and/or End-User License Agreement, or the equivalent.
- The right to rapidly and easily uninstall an unwanted application, inclusive of permanently disabling all undesired functionality while not impacting any other applications on your computer.
- The right to comprehend exactly what you are downloading, including the company behind it, the exact product name and version, an accurate description of the product's true function and behavior, a date as to when the product was last revised, and its size in megabytes (if compressed, then also labeled with the size when uncompressed).
- The right to understand unmistakably what, if any, cost the download entails, initially or at any point forward, and any limitations or restrictions of use, including if the user will experience any form of advertising. Also, all advertisements are demonstrably inside or contained completely within the desktop application; there are no advertiser pop-ups or pop-unders (WeatherBug version 6.0 and higher has no advertiser pops).
- The right to understand unmistakably what, if any, cost the download entails, initially or at any point forward, and any limitations or restrictions of use, including if the user will experience any form of advertising. Also, all advertisements are demonstrably inside or contained completely within the desktop application; there are no advertiser pop-ups or pop-unders (WeatherBug version 6.0 and higher has no advertiser pops).
- The right to a download completely free of any spyware, or software that in any manner or form "snoops" on your behavior, system resources or personal information (spyware generally refers to any technology that gathers personal information about your computer's configuration, your surfing/shopping habits - including information like web sites you've visited, your IP address, and your computer's host name). Also, the right to a download completely free of adware, which is software that has no other purpose but to serve ads based on behavioral or other user analytics.
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- The right to be aware of precisely what effect the application will have on system resources, including storage, memory and other system applications, and network and/or Internet connectivity implications, in terms of duration, persistence, bandwidth required, and so on.
- For downloaded applications that come in multiples of two or more, the right to comprehensive information regarding what, if any, integration exists between or among the products, and what effect this has on system use, and an assurance that each and every application conforms to these rights best practices.
- The right to current and unambiguous information regarding the need for updates, how they can be obtained, the cost (if any), and the effect on system resources and use.
- The right to clearly opt-in or opt-out of email communications from the organization offering the software, and from any advertiser/sponsor communications.
- What is the exact product name?
- The exact product name is WeatherBug®
- What is the relationship between AWS and WeatherBug?
- WeatherBug is an officially registered trademark of AWS Corporation (Gaithersburg, MD).
- What is the current version of WeatherBug and when was it released?
- The current version is WeatherBug 6.0 and was released on June 11, 2004.
- What are the system requirements for WeatherBug 6.0?
The system requirements for 6.0 are as follows:
- Windows: Windows 98/ME, WinNT4/2000/XP
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- NOTE: Windows 95 users. WeatherBug 6.0 has been installed on Windows 95 systems.
- What are the compressed and uncompressed sizes of WeatherBug?
- The uncompressed size of WeatherBug 6.0 is 6.1 MB. The uncompressed size of WeatherBug with WeatherBug Search Companion is 6.65 MB. The compressed size of WeatherBug 6.0 is 3.1 MB.
- What is the cost for the program and cost for upgrades?
- WeatherBug is free and is able to stay free because of the ads it carries. When upgrades occur, there will be no charge to upgrade. WeatherBug Plus is ad-free and comes with customizable features and additional weather information for $19.95 a year. To learn more about Plus, please click here.
- What is the privacy policy?
- The privacy policy can be found by clicking, Privacy Policy.
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- The EULA can be found by clicking, Terms of Use.
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- Tech support can be found through the Support FAQ section, located at the bottom navigation, in addition, customers can fill out a support form that is submitted to the in-house Customer Support Representative.
- What is the current number of registered users?
You can find the current number of registered users on the top right of the WeatherBug.
Last Updated: December 1, 2004
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Update your classic game-day look with the Depth Chart T-shirt. A large NFL® team logo is printed on the chest, while a repeating tonal logo pattern is printed over top. The soft cotton construction boasts the same comfort you know and love.
- 100% Cotton jersey
- Crew neckline
- Large NFL team logo printed on chest with repeating tonal logo pattern on top
- Made in Pakistan
- Modern fit
- Officially licensed
- Short-sleeve shirt
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Designer - A Saxon Creation
My name is Saxon and I have been a digital designer for about seven years now. I live in New Braunfels, Texas and I am the mother of two lovely girls. I am also an Air Force wife, and I am proud to say that my husband serves his country. I am often asked why I design the things that I do (both whimsical and vintage) and the answer is simple… I scrap my heritage and family genealogy as well as the events happening in my life right now. I truly hope you find my designs easy and fun to scrap with, and I always LOVE to hear feedback and I often make kits on request, so please drop me a line if there is something you want to see in a kit.


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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: Saturday, March 01, 2014 - 3:00 pm
September 2013 - May 2014
First Saturday of the Month, 3:00 - 5:00 p.m.
Safely gaze upon the closest star to our home planet - the Sun. Our astronomers take aim at the sun to reveal the secrets hidden behind its glare. Take a peek at the Sun's surface to see what kind of day the sun is having. Sometimes the surface is placid and serene but more often than not, it is boiling with sunspots and solar flares.
All activities in the Crosby Observatory are weather permitting.


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Le Méridien Destinations: All Hotels
One of Our New Hotels: Le Méridien Riyadh - Opening September 1, 2016
Note: Bird's eye view has only 2 zoom levels.
Please note: Some new hotels may not yet have a street address and may not appear on the map.
= New and upcoming hotel


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© Copyright 1998-2015, The Motley Fool Limited. All rights reserved. This material is for personal use only.The Motley Fool, Fool, and the "Fool" logo are registered trademarks of The Motley Fool, Inc.Place of Reg: England & Wales. Company Reg No: 3736872. VAT Reg No: 945 6990 68. Registered Office: 5th Floor, 60 Charlotte Street London W1T 2NU.
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If you are a fan of Angry Birds game, I believe that you will love Angry Birds Space game. This is a new game from Rovio that will make you really addictive.
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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.
In this paper, MIT professor Ian Hutchinson addresses the question of how to engage arguments put forward by the New Atheists. In doing so, he offers a critique of scientism, the assumption that scientific knowledge is all the real knowledge there is.
Many barriers to the acceptance of the BioLogos model by evangelical Christians arise from popular misconceptions about the nature of science and its relationship to God's action in our world.
Artist and BioLogos Senior Fellow Mark Sprinkle describes the importance of acknowledging the creative and subjective aspects of human knowledge in the midst of the debates about the relationship between science and faith.
In this scholarly essay, Steve Benner, a Distinguished Fellow of The Foundation for Applied Molecular Evolution in Gainesville, Fla., looks at what the role of a scientist should be. Benner looks specifically at "falsifiability", the acceptance of uncertainty, and the place of the scientist in public discourse.
Science and religion scholar Michael Ruse gives a personal account of his experiences as an author and public speaker on the compatibility of Christianity and biological evolution.
Giberson's essay makes the case that scientific fundamentalists are not merely arguing for the supremacy of science but also presenting science as a quasi-religious replacement. The agenda of the "New Atheists" is not merely to refute mainstream religion but to replace it. Unfortunately, the scientific community is poorly represented by these aggressive public figures.
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.


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Despite scenes of wreckage and debris covering the Capital Beltway near U.S. Route 50, all seven people involved in a three-vehicle collision are expected to survive, including four firefighters who were responding to a call, according to fire officials.
The collision involving a fire engine, a tractor-trailer and an SUV happened around 2:50 a.m. when the tractor-trailer rear-ended the fire engine on the inner loop of the Beltway, sending both vehicles into the outer loop lanes, where they struck an SUV, said Assistant Fire Chief Alicia Francis, a county fire/EMS spokeswoman. All three vehicles were overturned, she said, noting that the fire engine is "nearly totaled."
There were four firefighters riding in the fire engine, one driver in the tractor-trailer and a driver and passenger in the SUV, according to fire officials. The firefighters were from the West Lanham Hills station and were responding to a call for another traffic incident on the Beltway before they were struck, Francis said.
An exact cause for the crash has not yet been determined and Maryland State Police are investigating, she said. Since the crash, three of the four firefighters have been released from the hospital while the fourth remains in critical but stable condition at MedStar Union Memorial Hospital in Baltimore, she said.
They were all originally transported to trauma centers, she said.
Francis said all victims were listed in non-life-threatening condition, but did not know the specific condition of the occupants of the SUV and tractor-tailer other than that they were transported to MedStar Washington Hospital Center in Washington, D.C.
Francis said judging by the wreckage, it was fortunate no one was killed.
"It's a blessing that there were no serious injuries meaning fatalities. I'm really happy that didn't happen," she said.
Traffic delays are expected throughout the day as crews assess the collision and clean up debris, according to fire officials.


text:
Key14 posted an update 3 years, 4 months ago
4Minute never dissapoint me!
they never dissapoint any of their fans
Again and again, these six charming men from JYPE make our hearts beat faster. Now, they all came back as our ultra lover, still on the hottest time of the day… 02:00PM! ♥
2857 (See details)
Fan club Post Guide
Here is "Post Guide" explaining how to upload video / photo and adjust thumbnail photo. This will help write posts in fanclub easily. Click here to see the guide Close
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©2010 Korea.com Communications Co.,Ltd. All rights reserved.


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Zac Brown Band Richmond Tickets
Zac Brown Band Richmond tickets are available at Discount Prices. Don't pay more for the same tickets! Lowest Ticket Prices and Reduced markdowns makes us the hottest destination for purchasing Cheap Tickets. Order Zac Brown Band Richmond Coliseum tickets now and pick the best seats before they are sold out.
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365-Day Returns... Hassle-Free!
HOME Philadelphia Phillies Gear Philadelphia Phillies T-Shirts Sale Items (451 items) Product ID: 888073
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It didn't take you long to realize that the Phillies are the best team in the league, and you're the best fan in Philly. Your team pride isn't just reserved for game day — you'll sport Phillies apparel any day of the week. Be the type of dedicated, fashion-forward fanatic that all lady Philadelphia fans aspire to be in the slim fit Flyball Pitcher fashion top from Majestic. This soft cotton-blend tee features "Phillies" block lettering over a team logo in distressed screen print. The metallic accents and boatneck collar will highlight your stylish, yet unflinching team dedication.
- 90% Cotton/10% Polyester
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- Imported
- Officially licensed Phillies tee
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Shop early for holidays and birthdays with our 365 Day No-Hassle Return Policy! Because we stand behind the quality of our products, you can return any item in original condition for up to a full year from the purchase date. We want you and your gift recipients to love what you ordered, but if not, we make returns easy for you.
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12-Pack Cooler Bag—Utah Jazz
Our soft-sided 12-pack bag Kooler Bag is perfect for a day on the beach or an afternoon tailgating.
Keep your brew cold and your team spirit high with the Kolder™ 12-pack cooler bag. Ideal for outdoor picnics and tailgate parties, the NBA Kooler Bag is designed to hold over a dozen cans and is screen printed with a team logo on the side. It includes woven straps and a padded handle with a hook-and-loop closure at the top.
Dimensions: 18" L x 12" W x 1.5" H; 1 lb.
12-Pack Cooler Bag—Utah Jazz
12-Pack Cooler Bag—Utah Jazz
Our innovative products will provide you and your family with years of enjoyment. And with the Brookstone Protection Plus service and replacement plans, you'll have the added peace of mind knowing that if the unexpected does happen, we will simply repair or replace your covered product. Our enhanced coverage goes above and beyond the manufacturer's warranty, saving you time and money.
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This orange California state bear stuffed animal travel souvenir is embroidered with it's state name, a windsurfer and the sun. Every Symbolz state bear is complete with a colorful ribbon around its neck and a heart shaped American flag on its foot. That is how you know that this is an original state bear travel souvenir.
Each Symbolz state bear travel souvenir measures about eight inches in height, head to toe, and seven inches wide, paw to paw.


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Description:Proliant DL360 G4p 1U Rack Mountable Server 3.6GHz Xeon 1GB DDR2 CD-ROMPart# 376236-001
Overview:Combining concentrated 1U compute power integrated Lights-Out management and essential fault tolerance the DL360 is optimized for space constrained installations. Dual Xeon processors DDR2 SDRAM and PCI-X and PCI Express technology provide a high performance system ideal for the full range of scale out applications. What's more the DL360 G4p steps up the fault tolerant in an ultra dense platform with redundant power redundant fans and online spare memory embedded RAID capability and full-featured remote Lights-Out management.
CategoryProliant Server
Part Number376236-001
Products ID143109
Processor TypeIntel Xeon
Installed Memory1 GB
Maximum Number of Processors2
Processor Speed3600
Maximum Number of Processors2
Number of Installed Processors1
Processor Speed3.6 GHz
Number of Memory Slots6
Memory SocketDIMM
Memory TechnologyDDR2
Max System Memory12 GB
Installed Memory1 GB
Drive ControllersIDE/EIDE Drive Array (RAID) Ultra320
Cache Size2 MB
Bus Speed800 MHz
System ChipsetIntel E7520 Chipset
CD-ROM Read Speed24 X (CD,CD-R)
Number of Hard Drives Supported2
Included Network CardGigabit Ethernet (1000 Mbps)


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Residential Wiring Diagrams – Who Needs Them?
You will benefit from using residential wiring diagrams if you plan on completing electrical wiring projects in your home. An electrical wiring diagram can be as simple as a diagram showing how to install a new switch in your hallway, or as complex as the complete electrical blueprint for your new home.Although household electricity is nothing to play around with, in many ways, wiring is simpler than other repair and remodeling skills such as carpentry. Once you've learned some basic skills such as installing boxes, running cable, and splicing, you just need to determine which wire goes where. This is why a good wiring diagram is important for wiring your home safely. Keep your diagrams near-by. You'll want to refer to them often as you work on your project.Wire Colors:Electrical wiring diagrams that are in color have an advantage over ones that are black and white only. The wires will be colored the same as the actual wires you will be using. Commonly, the green wire is ground, white or off-white is neutral, and black, red or other colors indicate the hot wire. In some instances, such as some switch legs, the function of the wires will be indicated by colored electrical tape.Symbols:When looking at any residential wiring diagram, start by familiarizing yourself with the symbols that are being used. The electrical symbols will not only show where something is to be installed, but what type of device is being installed. Make sure you understand the symbols on your diagram before beginning your project. There should be a chart on your diagram showing the different symbols being used, much like a legend on a map.For example, a surface ceiling light will be shown by one symbol, a recessed ceiling light will have a different symbol, and a surface fluorescent light will have another symbol. Each type of switch will have a different symbol and so will the various outlets. You'll even find symbols showing the location of smoke detectors, your doorbell chime, and the thermostat.Switches:When it comes to household electricity, there's a lot more to consider than simply turning a switch On and Off. Some of the most common questions electricians receive involve switches. Once you understand the different types of switches and follow a good wiring diagram, you should be able to install a new switch in your home.Here are some of the more common switching configurations:A Single-Pole Switch provides switching from one location only. "Single-Pole" may sound simple, but there are different ways to wire a Single-Pole Switch and a set of electrical wiring diagrams will explain each of them to you clearly.3-Way Switches are used to control one or more fixtures from two locations. This is a common configuration in hallways and staircases. There are many ways to wire a 3-Way Switch. The power can start at a fixture or either of the two switches. Without a wiring diagram it can be very easy to make a serious mistake.A wiring diagram will even take the mystery out of wiring a 3-Way Dimmer Switch. What a great way to enjoy softer light and a reduced energy bill!One of the most complicated wiring configurations is a 4-Way Switch. These switches enable you to control one or more fixtures from three or more locations. It would be almost impossible to write the instructions in a way that you could simply read them and complete your project. However, a good wiring diagram will make it possible for you to successfully and safely tackle wiring 4-Way Switches.As important as electrical wiring diagrams are to the successful completion of your wiring project, safety and respect for electricity are essential. Never work on live circuits. Before you begin your project, identify the circuit you're working on and then turn off power to that circuit at the main panel. Then confirm that the power is off with a voltage tester. If at any time you feel unsure about what you're doing, please call a licensed electrical contractor.
More information on residential wiring diagrams and diagrams for all of these switches can be found in the Residential Wiring Diagrams section of my website: Ask-The-Electrician.com.
Dave Rongey is a Licensed Electrical Contractor with over 35 years of experience. He is also an avid Do It Yourselfer. Through the years Dave has seen too many DIY projects that are serious fire and safety hazards. Visit Dave at Ask-The-Electrician.com for electrical project guides, complete with photographs, which will enable you to enhance the beauty and value of your home safely.
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Description:Proliant 8500 Dual P3-550 Xeon 1MB 1GBHewlett-Packard Part# 323450-001
Note: Due to a weight greater than 100lbs Part# 323450-001 will be shipped via our "Ground" service.If you require faster shipping please call us during normal business hours for a shipping estimate.
Overview:Todays mission-critical applications demand ever-increasing scalability and availability from data center servers. The ProLiant 8500 one of Compaqs ultra-density data server product line delivers the performance and uptime required to meet the current and future demands of enterprise server consolidation e-business ERP thin-client and data mining applications. Based on the Profusion architecture jointly developed by Compaq Corollary and Intel the ProLiant 8500 offers excellent scalability driven by its balanced system architecture.
CategoryProliant Server
Part Number323450-001
Products ID15633
Processor Class:Intel Pentium III Xeon Processor
Processor Speed:550 MHz
Installed Memory:1024 MB
Memory Technology:SDRAM
Bus Speed:100 MHz
Cache Size:1 MB
Included Drives:3.5" 1.44MB Floppy Drive
Number of PCI Slots:11
Included Network Card:Ethernet (10/100 Mbps)
Chassis Style:Rack Mountable
Dimensions (HxWxD)12.14 in x 19 in x 27.45 in
Weight110 lbs


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- Independent
- The Enterprise
- The Recorder
New rules for visitors to St. Mary's County public elementary schools ban hugs and homemade food to anyone other than a parent's own child.
The guidelines, which are now in effect, limit the activities of some volunteers, school officials said, but are needed to ensure a safe environment.
A committee of several parents and principals from elementary schools in St. Mary's County met four times last fall to review and recommend new best practices for schools to follow. The new guidelines limit lunchtime and recess visits, ban handing out birthday invitations at school and prohibit visits during the school day by younger siblings.
"We think it's the right balance between safety and parental involvement," said Kelly Hall, executive director of elementary schools and Title I.
She said that elementary principals had reported many issues related to school visitors.
"At the same time, parents were expressing some concerns," Hall said.
Parents should not approach teachers for a conference while visiting, according to the rules. Those meetings should be scheduled ahead of time.
Siblings of students are not allowed to visit the school with the parent during the school day. It was unclear this week if exceptions would be made for student performances where parents and others are invited.
All visitors must sign in and out on a computer in a school's front office, where they will have their picture captured by a computer camera.
Superintendent Michael Martirano said Wednesday that schools are not open to anyone who wants to walk in, and that only people with real business should be there.
"We're not violating anybody's rights," he said, adding that the school's legal counsel had looked over the best practices.
The school board plans to review its formal policy on school visitation, which was last updated in 1998, later this spring or summer.
"I think this is horrible," board member Cathy Allen said Wednesday, adding that she does understand the need for the new rules.
"Certainly, elements of this are going to decrease parent involvement. It's just the nature of the beast," Allen said.
Board member Mary Washington said that schools, unfortunately, have become targets of violence in recent years. "We are entrusted to protect all our students," Washington said of the reason for the new rules.
The committee met and decided on the best practices before the shooting at Sandy Hook Elementary School in December that left 26 people dead, including 20 students, Hall said. The schools decided to roll out the new rules immediately.
"Everybody's anxiety is high," she said. Still, "we want to be reasonable," and will leave open the possibility of reworking the rules after they are tried out the rest of this school year, she said.
Sherry Whittles, a parent of a Town Creek student, said that there were intense discussions over the new rules during the committee meetings. "It is sad that it needs to be done for the safety of our children," she said, adding that she did not think any of the rules went too far.
The no-hugging guideline could be difficult, she acknowledged, because often it is a child who approaches an adult visitor for a hug.
Birthday invitations should not be handed out at school, Hall said, because students who are not invited could have their feelings hurt. She said school PTAs could develop phone and email contact lists, with parents' approval, to distribute.
Foods for celebrations should be limited to store-bought items that contain ingredient lists so as not to interfere with children's food allergies, according to the rules.
Parents visiting the cafeteria should not hug or touch children other than their own, nor should they discipline other children, the guidelines say. Parents should also not walk with their child when he or she leaves the cafeteria.
Prior approval is not needed to visit a child during lunch; however, some schools may have more specific rules based on available space, Hall said.
Only registered volunteers are allowed on playgrounds. And even then, they are not to play with children other than their own, including pushing on swings.
The school system several years ago began issuing volunteer badges to parents and others who registered. Those volunteers are given background checks and have their photographs and fingerprints taken.
Mike Wyant, director of safety and security, said that with almost 16,000 registered volunteers, the system was overwhelmed and stopped issuing the actual identification badges. Security screenings are still done.
Wyant said schools will be offered badges without expiration dates to give high-frequency volunteers, perhaps those who are in the school more than once a week helping out. Others will now just be given an identification number the volunteer can use to sign in.


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Polyken/Nashua 360-45 Heavy Duty FoilMastic Butyl Rubber Tape is a printed, 2 mil dead-soft aluminum foil backing with a 43 mil butyl rubber mastic adhesive. It is a waterproofing repair tape used for indoor or outdoor sealing of low, medium & high pressure HVAC duct systems (includes: metal duct, fiberglass duct and flexible duct systems). It seals cracks and seams in gutters, roof alleys, eaves, hips and ridges. Seal around chimneys and vent stacks; rooftop duct systems; and leaks in vans, cars and trucks. Also used for mobile home repair. Repair gouges, rips, tears in metal panels of trailers, shipping containers and metal buildings. Use duct mastic to mend poorly sealed connections; improve indoor air quality (since fewer pollutants circulating); lower utility bills; and burn fewer fossil fuels. Features include:
(1 to 11 rolls)
(12 to 59 rolls)
(60 to 119 rolls)
(>= 120 rolls)
* see individual roll price to left
(1 to 7 rolls)
(8 to 39 rolls)
(40 to 79 rolls)
(>= 80 rolls)
Offers the widest range of application flexibility available. Exhibits excellent processing performance whether manually or automatically applied. Has superior tensile strength, adhesion properties and holding force which ensures consistent, reliable seals. Hot melt adhesive will bond faster to a surface which is referred to as quick-grab or quick-stick. It typically has higher tack (will feel stickier to the touch), but is also softer. It has lower heat resistance, shear resistance, and sometimes UV resistance than an acrylic adhesive. NOTE: it is called hot melt because the adhesive is applied hot by the manufacturer and then hardens as it cools (you do not need to apply heat to the tape yourself).
Properties are similar to that of hot melt rubber, but natural rubber often holds where other adhesives won't (recycled fibers, dust, cold, heat and heavy loads). It provides good overall adhesion and moisture resistance.
Offer excellent performance, especially for applications in temperatures less than 40°F and greater then 120°F. It provides excellent clarity, has high shear strength, is usually more permanent/durable even when exposed to moisture, and it ages well over extended periods in fluorescent and sunlight. Since it remains clear for the life of the application and does not yellow over time it is ideal for applications such as sealing white cartons. While it has good initial adhesion it does take 24-48 hours to cure and to achieve its maximum bond strength (has gradual adhesion buildup). Another difference between hot melt rubber and acrylic adhesive is if you fold tape over making the two adhesive sides touch the acrylic adhesive will remain attached to the carrier (e.g. paper, film) while a hot melt adhesive will stick to itself and pull off of the carrier. It is the best choice for clarity, UV resistance and aging characteristics.
Is great for extreme temperature applications since silicone adhesive can work in continuous operating temperatures from -100°F to 500°F. They also exhibit good chemical resistance, retain electrical properties, and remove cleanly with little or no residue.
Zinc oxide based adhesive formula is a skin-friendly adhesive which is commonly used on sports medicine tapes.
Examples: 1/16 inch = 62.5 mils; 1/32 inch = 31.25 mils
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June 01, 2012 8:43 pm Abigail M N M
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- Independent
- The Enterprise
- The Recorder
Police have charged a neighborhood teen with committing the double-shooting homicide last month that left a Hampshire woman dead and her husband critically injured. The arrest followed the teen being charged with the murder of a Washington, D.C., taxi driver last week.
Joshua Terrell Mebane, 17, has been charged with first-degree and attempted murder for shooting Teresa Ann Bass and husband Jerry Bass Jr. as the couple walked their dog on the evening of Oct. 26 along a path linking the Waldorf neighborhood and Westlake High School�s baseball field.
�I think the question on everyone�s mind is why?� said Charles County Sheriff Rex Coffey (D) during a press conference Tuesday afternoon at the sheriff�s office headquarters in La Plata. �What kind of person would do such a thing? There are so many questions, yet very few answers that I can provide at this point in the investigation. So let me say this to our community: You know me, you know our agency and our officers as well as our state�s attorney�s office. We are all committed to safety. Just know this: We are confident we have our guy, and he�s in custody.�
Police released little information on Mebane except to say he is currently not enrolled in school.
Officers working security at the Westlake-Great Mills football game that night heard several gunshots and were on the scene within a minute.
Teresa Bass was taken by ambulance to Civista Medical Center in La Plata, where she died. Jerry Bass Jr. was flown to an area hospital, where he was at one point listed in critical condition with multiple gunshot wounds to his back, Jerry Bass Sr. said at a meeting police held last week in the Hampshire community.
The Charles County Sheriff�s Office received an �indication� Friday from the District of Columbia Metropolitan Police Department that Mebane might have been the Hampshire shooter, spokeswoman Diane Richardson said.
The tip came the same day Mebane was arrested for the murder of a District taxi driver who was shot in the head and later found in his burning cab Nov. 7.
Information released at the press conference indicates that Baltimore County police got an initial tip on the cab driver�s killing and alerted District police. District officers arrested Mebane, and called Charles County officers afterward with information that Mebane also might be the Hampshire shooter.
As officers first arrived on the cab driver�s murder scene in Northeast Washington that night, the Hampshire neighborhood association was wrapping up the community forum in which county law enforcement updated residents on the investigation into the Bass shooting.
After receiving the tip, Charles County detectives went to the District and launched a joint investigation with police there.
Investigators executed search warrants on Mebane�s home in Hampshire and found a gun that the Prince George�s County Police Department�s forensic science unit linked to evidence recovered at the scene of the Bass shooting, Richardson said. Police have since found other evidence linking Mebane to the shooting, she added.
Charles County commissioners� President Candice Quinn Kelly (D) had high praise for Coffey at the press conference.
�This is another indication of Sheriff Coffey�s leadership in police work in Charles County,� she said.
Detectives are still working to establish a motive for the Bass shooting, Richardson said.


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Transportation System Development Charges (SDC's) are designed to help fund identified transportation system deficiencies created by future growth. They are one-time fees paid by new development to help pay a portion of the costs of capital improvements that add capacity to the transportation infrastructure for handling future growth.
These funds are dedicated. Fees collected in the Urban Growth Boundaries (UGB's) of Salem, Silverton, or Woodburn, will be used in the UGB in which it was collected. Fees collected in the rural areas of Marion County will be used in the rural areas.
ORS 223.297 through 223.314 establishes a uniform framework for governmental agencies to collect SDC's. The Marion County Board of Commissioners held hearings and adopted resolution to establish the Transportation System Development Charges. Marion County implemented the fee collection process in 1999.
SDC's are determined through the planning process. Methodologies have been established to review present capacity and forecast future deficiencies. Through transportation planning, estimates of increases in travel within the next 20 years and the improvement needs were determined. This information was used to establish SDC's within Urban Growth Boundaries (UGB's) of Salem, Silverton, and Woodburn. A slightly different methodology was used for rural areas.
The charges are assessed and collected at the time of increased usage of the capital improvement or issuance of a development permit, building permit, or connection to a capital improvement.
For questions regarding credits for developer contribution, refunds, appeals or other issues, please call Marion County Public Works, Land Development, Engineering, & Permits Section. (503) 584-7714.
SDC Online CalculatorSDC Rates and Resolutions


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Nb: infants must be under the age of 2 and
children must be under the age of 12 at the time of
At the heart of the French Alps, sat between 1400m and 2550m altitude, Valmorel offers breathtaking views of Mont Blanc. A brand new premium 4* Resort with 5*. Luxury Space and 80 intimate chalet apartments. The private luxury chalet apartments (from 2 to 4 rooms) include a Chalet Butler, dedicated concierge service, and your own Chef (extra charge).
The French ski resort of Valmorel is part of the Le Grand Domaine Ski Area with access to 167 individual pistes. In addition to the skiing in Valmorel itself (152km of pisted ski runs), the appropriate ski Lift Pass will allow you to ski or snowboard in the other Le Grand Domaine ski resorts of Doucy-Combelouviere and St Francois Longchamp. Valmorel is directly linked by Ski Lift to the ski areas of Doucy Combelouviere and St Francois Longchamp .With pistes above 2500 metres, skiing and snowboarding is assured throughout the season.
Snowmaking :- Valmorel is able to augment natural snow, on 6km of ski runs, with 343 Snow Cannons.
Ski Lift Capacity :- The 38 Ski Lifts of Valmorel are able to uplift 51,000 skiers / snowboarders per hour.
Accommodation in a standard Club Room (other room types available at extra cost).
Club Room
Modern and welcoming (23 to 29m2) with stylish ensuite, flat screen TV and valley views.
Suite – 5* Luxury Space
Spacious suites include a double bed with a separate room with 2 singles, 2 bathrooms, dressing room, living room and private terrace.
Chalet Apartments
Warm, cosy comfort, whilst refined and modern 2 to 4 bedroom apartments (from 83 to 194m2), all with separate kitchen, dining room and living room.
Other Club Med Resorts in France
Club Med Meribel L'Antares| Club Med Meribel Aspen Park| Club Med Meribel Le Chalet| Club Med Val Thorens| Club Med Val d'Isere | Club Med Tignes| Club Med Peisey-Vallandry| Club Med Arcs Extreme| Club Med La Plagne 2100| Club Med Aime La Plagne| Club Med Avoriaz| Club Med Chamonix| Club Med Serre Chevalier| Club Med L'Alpe d'Huez| Club Med Les Deux Alpes
Other Club Med Resorts in Switzerland
Club Med Saint-Moritz| Club Med Villars| Club Med Wengen
Other Club Med Resorts in Italy
Club Med Cervinia| Club Med Pragelato
Iglu acts as a travel agent for disclosed principals/tour operators, further details
of which will be made available at the time of booking. Your holiday contract will
be bound by the tour operators terms and conditions.
Prices are shown for a basic room or unit, can be subject to change and are indicative
until time of booking. Please call on 020 8544 7114 for prices for other travel
and room options for this property.
The price shown includes 7 nights accommodation,
with flights from Leeds/Bradford.
Prices shown are per person per week based on maximum occupancy. Descriptions and
quality ratings are provided by the Tour Operator (or one of the Tour Operators
where similar holidays are offered by more than one supplier). We reserve the right
to make minor adjustments to the description or rating based on staff and customer
feedback. For payments by credit card, a 2.5% credit card charge (4% for AMEX) will
be added to your invoice. If you pay by a UK issued debit card, there is no charge.
All bookings are subject to a £5 per person Passenger Admin Fee charged by Iglu.com.


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Back To Signature Caramel Apples >
Triple Chocolate Get Well Soon Caramel Apple Gift
Item 1930394
Back To Signature Caramel Apples >
Triple Chocolate Get Well Soon Caramel Apple Gift
Item 1930394
Our Guarantee
We put a great deal of attention into delivering our product to you. We make our gourmet caramel apples to order and ship 3-day or faster to maximize freshness.
However, in the unlikely event that you are not completely satisfied, let us know. We'll make it right!
Our Process
Starting with handpicked, extra fancy apples delivered fresh from Washington State orchards, we smother the apples in our famous, handmade, creamy caramel and then hand-decorate them with premium chocolate and gourmet toppings.
How Big Are These Apples?
MRS PRINDABLES Gourmet Caramel Apples are available in two sizes: Jumbo & Petite. Jumbo apples serve 8-10 people and Petites 1-2 people. View our side-by-side apple size comparison.
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Surprised by Meaning
McGrath's goal is to help readers see that science is neither anathema to faith, nor does it supersede faith. Both science and faith help with the overriding human desire to make sense of things. -Amazon
The Resource Finder has powerful filtering features — check out the tutorial to learn more.
McGrath's goal is to help readers see that science is neither anathema to faith, nor does it supersede faith. Both science and faith help with the overriding human desire to make sense of things. -Amazon
Walton presents and defends twenty propositions supporting a literary and theological understanding of Genesis 1.
In this book, G.R. Davidson offers a simple three-step approach for examining scripture and science any time the two appear to clash. -Amazon
Alister McGrath examines the significance of current scientific understanding to natural theology.
John Polkinghorne and Nicholas Beale respond to key questions about the interaction of science and faith.
Sparks argues that the insights from historical and biblical criticism can indeed be valuable to evangelicals.
The Language of God combines Collins's faith and experiences as a genetics researcher with discussions of science and spirituality.
Is science fact and religion just opinion? Is there the mind of a Creator behind the universe? Can a scientist pray? This book provides a clear, lively and frank set of answers to these fundamental issues. - Amazon
Using the insights of modern physics, Barr reveals that modern scientific discoveries and religious faith are deeply consonant.
Enns offers an evangelical affirmation of biblical authority that considers questions raised by the nature of the Old Testament text.
A series of lectures given by Polkinghorne exploring the compatibility and interaction of faith and science.
Peter Harrison examines the role played by the Bible in the emergence of natural science. He shows how both the contents of the Bible, and more particularly the way it was interpreted, had a profound influence on conceptions of nature from the third century to the seventeenth. -Amazon
Polkinghorne examines the Nicene Creed and presents the evidence for why it is true and relevant today.