text:
Archer Daniels Midland Company has appointed Juan R. Luciano the next CEO and also has elected him to the company's board of directors, effective immediately. Luciano previously served as company's president and COO responsible for leading and running the company's global operations.
Former Maidenform CEO Maurice Reznic was named Delta Galil's CEO of women's intimate apparel for U.S. and U.K. and president of its U.S. branch.
Eversight, the provider of cloud-based software has partnered with Periscope™, a McKinsey Solution, to bring promotion "Offer Innovation" to the retailers and consumer goods manufacturers in the U.S. and abroad.
Leading third party logistics provider Transplace acquired fellow 3PL Logistics Management Solutions in a deal that extends the company's expertise to chemical and industrial manufacturing.
Coca-Cola Life, a new reduced-calorie beverage with a blend of cane sugar and stevia leaf extract, is hitting the stores nationwide.
General Mills has elected David M. Cordani to its board of directors. Cordani, 48, is a president and CEO of Cigna Corporation, a global health insurance and health services company.
In the rapidly changing landscape for payments, market leader Vantiv is changing more rapidly than most as evidenced by dramatic growth in its transaction volume, revenues and profits.
Technology leader Samsung Electronics has introduced a new line of small interactive digital displays to replace printed posters and help brands and retailers drive sales.
ABF Freight has done something no other company in the trucking industry has done before.
General Mills has partnered with GRAMMY Award-winning group Camila for the company's 2014-2015 Musica y Sabor campaign focused on connecting with customers in the Hispanic markets.


text:
It starts with a "Back to the Future" clip, which was a short one. I have not seen that movie so I did not entirely understand it. After that clip was an "Indiana Jones and the Last Crusade" clip. I have not seen this movie either but I still understood it and it was pretty funny. After that was just a random clip I am not sure what epilepsy is so I did not understand it. Then there was another random one that I thought was pretty funny. Next was a deer hunting clip that was pretty funny. After that was one of the most messed up things I have ever seen on TV. This was definitely my favorite clip of this episode. It was hilarious; I could not believe that they did that. That clip is the reason that I love adult swim because I know there is no other network that would even consider running that. Then there was another deer hunting clip. The next clip was a mix parody of "The Beauty and the Beasts" and "The Bachelor". It was hilarious especially that black chick who thought she could sing. I loved it when the angry mob killed her. Then there was another deer hunting clip. This one was the funniest out of all the deer hunting clips. Then a clip with Montage Man, that was pretty funny.
Overall this is a great episode that is very funny.moreless

subset: commoncrawl


text:
Russian cargo vessel takes off for space station
The Russian cargo ship Progress M-14M was launched from the Baikonur cosmodrome in Kazakhstan early Thursday, bringing water and fuel to the International Space Station, the mission control centre said.
Progress was successfully launched at 05:06 Thursday (2306 GMT Wednesday) carrying some 2.6 tonnes of mainly water and fuel, Russian news agencies cited the Russian control centre as saying.
Global Satellite Market: Trends & Opportunities (2015-20)
It is due to dock with the ISS on Saturday at 0009 GMT.
There are currently six men aboard the orbiting space station; three Russians, two Americans and a Dutchman.
The Russian space industry suffered a bad year in 2011, with five failed launches.
Last August a Soyuz rocket and the Progress supply ship it was carrying crashed minutes after blast off from Baikonour, due to a motor failure, paralysing such launched towards the ISS for three months.
In October investigators said "negligence" was to blame.
Earlier this month a much-vaunted Mars probe launched in November crashed into the Pacific Ocean.
by Nasser Abu Bakr © 2012 AFP
Your company's press release on ASDNews and to thousands of other journalists and editors? Use our ASDWire press release distribution service.
Source : AFP
Mobile MILSATCOM 2016 conference
Aug 30 - Sep 1, 2016 - London, United Kingdom
Mobile MILSATCOM 2016 conference
Aug 30 - Sep 1, 2016 - London, United Kingdom


text:
CapitalSource Inc. Raised To Hold From Sell By Citigroup - Briefing.com >CSE
I find it somewhat ironic that Citicorp - a company that has driven itself to the brink and whose own survival is still in question even after billions of TARP funds - had a sell rating on CSE and has now diligently upgraded it to a hold after the stock has gained 300%. CSE has survived quite nicely and maintained some of the highest capital ratios in the industry even after the losses sustained. They did it on their own with no TARP assistance and have positioned themselves for very strong growth. After the stock hits $6 and more Citi will probably upgrade to a buy. Yet another stellar example of the general ineptitude and self-serving stupidity of most of the analyst community.
great point on the facts the CSE did this on it own!! no taxpayer dollars went into saving its ass. I think we deserve a Strong Buy just on that merrits!!!
It's not ironic at all. If you look at the list of upgrades/downgrades, you'll see that the prior entry for Citigroup was a 2005 upgrade to "buy".
well that makes a whole lot of sense. If you sold it then how the heck are you supposed to "hold" it now?sell it, sell it, sell it the analyst blares for months on end...... oh, oh,,, now change that to a hold it, hold it,, don't sell it now, just hold it!!!
i think "hold" and "buy" could be looked at as pretty much the same thing.
That's how they do it. CSE moved up more than 50% in the last month or two. Only then do you finally get the analyst scratching his head and calling it a hold. Once it moves to $8-$10, they'll finally do an upgrade to a buy.


text:
Pdf To Excel Converter 3000Free
Quick Specs
Total Downloads:47,380
Date Added:Jun. 15, 2009
File Size:11.66MB
Downloads Last Week:233
Product ranking:#9 in Spreadsheet Software
From Allimagetool Software: Are you worried about revising data of PDF files? Not any more. With Pdf to Excel Converter 3000 you can free batch convert your PDF files to Excel document to revise the form data. So you can edit and reuse your PDF content in Excel. It can preserve original layout, text, images, vector drawings of your pdf file. More, the processing speed is very fast. User-friendly interface is very easy to use with merely a few clicks. Advanced features: Simultaneously convert massive PDF files to Excel document format files once. Support the encrypted PDF. Several conversion modes are available for different needs. Customize to convert any segment of PDF to Excel document format file. Extract the text of PDF to convert to Excel document file. Convert PDF to Excel with accurately preserving the original Text, Tables, Graphics & Layout. Key features: Do not need any printer driver and Adobe Acrobat, Acrobat Reader etc software. Preserve the original layout of your PDF in an editable Excel. Support add the entire folder to convert. Convert with a high speed. Easy to use software. Have the option to auto open the output folder when conversion finished. If you do not have time to convert the files of list now, you can save the converted list to your computer. Do not need to load every file again.
read more +
see all reviews +
read more +
More Products to Consider
- Transform PDF documents to Excel documents.Open, edit, and save files using the new file formats in 200...Take an open-source approach to office productivity.View, navigate, and print PDF files.
- Convert JPEG, BMP, TIFF, and PNG images to PDF files.Create, encrypt, and merge PDF files.Keep track of how you use your PC.Render PDF files within applications that support the print ...
- Create professional PDF documents from MS Excel.Create, open, and edit Office documents.Recognize text from images using the open source Tesseract O...Convert MS Excel workbooks into PDFs.
- Provide (.3ds) file import plug-in for Pro/ENGINEER Wildfire...Convert PDF documents into XLS files.Combine multiple PDF files, images, and folders into one PDF...Convert Word, RTF, and TXT files into PDF documents.
- Convert your PPT/PPTX/RTF/TXT/XML files into PDF format.Convert MS Excel spreadsheets into PDF format.Produce professional quality SWF from Word, Excel, PowerPoin...Convert PDF document to Excel XLS format so that users can e...


text: RAND: Maria C. Lytell 2016-07-21T19:23:07Z Copyright (c) 2016, The RAND Corporation RAND Corporation http://www.rand.org/about/people/l/lytell_maria_c.html Implications of Force Drawdowns for Demographic Diversity http://www.rand.org/pubs/research_briefs/RB9859.html 2015-10-26T09:00:00Z 2015-10-26T09:00:00Z The Department of Defense (DoD) has been conducting a large reduction of its military force. DoD drawdown policies that target certain groups (by experience, specialty, or aptitude) could have adverse effects on demographic diversity. Force Drawdowns and Demographic Diversity http://www.rand.org/pubs/research_reports/RR1008.html 2015-10-26T09:00:00Z 2015-10-26T09:00:00Z In 2012, the Department of Defense (DoD) announced plans for a large reduction of its military force, which could have unintended consequences for demographic diversity. RAND analyzes how force reductions could affect demographic diversity in DoD. Human Resource Practices for Labor Inspectorates in Developing Countries http://www.rand.org/pubs/research_reports/RR917.html 2014-12-15T08:15:00Z 2014-12-15T08:15:00Z This review highlights the state of knowledge about the conditions, competencies, and incentives needed for labor inspectors in developing countries to successfully carry out their work. Strength Testing in the Air Force http://www.rand.org/pubs/research_reports/RR471.html 2014-12-05T08:45:00Z 2014-12-05T08:45:00Z Examines the usefulness, validity, and fairness of the Air Force's Strength Aptitude Test, with a focus on its implementation at military entrance processing stations and the process for setting strength requirements for career fields. Enhancing Critical Thinking Skills for Army Leaders Using Blended-Learning Methods http://www.rand.org/pubs/research_reports/RR172.html 2013-07-17T07:45:00Z 2013-07-17T07:45:00Z This report assesses the effectiveness of the Command and General Staff School's Advanced Operations Course for junior field-grade officers when taught in a blended distributed learning environment. The Extent of Restrictions on the Service of Active-Component Military Women http://www.rand.org/pubs/monographs/MG1175.html 2012-05-21T09:00:00Z 2012-05-21T09:00:00Z To support a congressionally mandated review of gender-based assignment restrictions in the U.S. military, RAND researchers described and quantified the positions that are closed to women in each of the services. Incentive Pay for Remotely Piloted Aircraft Career Fields http://www.rand.org/pubs/monographs/MG1174.html 2012-03-06T12:30:00Z 2012-03-06T12:30:00Z An econometric assessment of the effectiveness of incentive pays for retaining remotely piloted aircraft pilots and sensor operators. Information Systems Technician Rating Stakeholders http://www.rand.org/pubs/technical_reports/TR1122.html 2011-11-18T10:00:00Z 2011-11-18T10:00:00Z Discusses the relationships among stakeholders involved in manpower, personnel, and training processes for managing the U.S. Navy information systems technician rating.


text:
Search results
You can search for Dismissal of U.S. attorneys controversy at Wikipedia or Wikiversity, learn how to search, or browse all books.
- for dismissal of an action for failure of the plaintiff to prosecute (Rule 41(b)). An involuntary dismissal, other than a dismissal for lack of jurisdiction35 KB (5,716 words) - 01:26, 4 May 2015
- Rhetoric and Writing in the Public Sphere: An Introduction/Transparency and the Public Sphere (section Protection under U.S. Law)were quick to draw a connection between the dismissal of Levine's case and Bloch's preceding elimination of anti-discrimination rules applying to homosexual31 KB (4,624 words) - 05:20, 26 November 2015
- Cultural Anthropology/Print version (section The Role of Television in Everyday Life of the Family in Serbia)The Concluding Rights consist of parish announcements, a blessing, the dismissal, and finally the exit procession of the priest. Reconciliation is also540 bytes (139,577 words) - 16:35, 27 December 2013


text:
- About Us
- Book Recommendations
- Signed Editions
- Kepler's Recommends
- Bestsellers
- Staff Picks
- Angela's Picks
- Becca's Picks
- Brooke's Picks
- Caitlin's Picks
- Christin's Picks
- Cressida's Picks
- Cynthia's Picks
- Jackie's Picks
- Jenna's Picks
- Julie's Picks
- Lee's Picks
- Leigh's Picks
- Lilly's Picks
- Marilyn's Picks
- Molly's Picks
- Nancy's Picks
- Nicola's Picks
- Nicole's Picks
- Pam's PIcks
- Praveen's Picks
- Ron's Picks
- Sina's Picks
- Todd's Pics
- Tori's PIcks
- Award Winners
- Kepler's Events
- Community Partners
- Book Clubs
- Literary Circle Membership
The Jackal's Head (Mass Market Paperbound)
Usually Ships in 1-5 Days
Althea Tomlinson's ostensible reason for returning to Egypt is to chaperone a spoiled teenager through this fabulous desert land. The truth is more complex . . . and dangerous. Ten years ago, something that happened here brought about her father's ruin and subsequent deathand Althea intends to clear her disgraced parent's name and finally lay a dark past to rest. But there are some mysteries best left buried in the shifting sands, and a devoted daughter's search for answers is stirring up forgotten memories almost too painful to endure, that propel her onward among ancient tombs, legendary treasures, miraculous discoveries . . . and ever-closer to her own threatened doom.
About the Author
Elizabeth Peters earned her Ph.D. in Egyptology from the University of Chicago's famed Oriental Institute. She was named Grand Master at the inaugural Anthony Awards in 1986 and Grand Master by the Mystery Writers of America in 1998. In 2003, she received the Lifetime Achievement Award at the Malice Domestic Convention. She lives in a historic farmhouse in western Maryland.


text:
Down Ruffled Puffer Vest
Product Actions
Moncler black lightweight channel-quilted down hooded puffer vest styled with a ruffled bottom.
Style # 503100645
- Drawstring hood, vertical zip hand-warmer pockets; grosgrain ribbon trim at pockets, collar, ruffled bottom and drawstring, grosgrain ribbon-covered snaps, metal logo zipper pull
- Fully lined
- Two-way zip-front closure, snap collar
- Available in Black
- Nylon; fill: down/feather
- Hand wash
- Imported
Inspired by explorers and designed for alpine chills, Moncler is worn by top winter athletes and an active urbanites go-to-label for meticulously crafted outerwear and sportswear.
Need Help? Have Questions? Contact Us.
Please call 1.888.222.7639 to speak with a Customer Service Representative.
We're here to help you:
Monday - Friday, 9 AM - 9 PM (ET)
Saturday - Sunday, 10:30 AM - 7 PM (ET)
If you prefer email, we can be reached anytime at email@example.com.
Free Shipping & Returns on all U.S. Orders. See Details.


text:
CLARKSVILLE, Tenn. (AP) - A Middle Tennessee sheriff's spokesman
says a fugitive wanted on child sex charges was caught less than 24
hours after Texas authorities alerted the department.
Miguel Zuniga Delgado was picked up Tuesday at a Walmart in
Montgomery County on a warrant from Abilene, Texas.
The 21-year-old Delgado is charged with continuous sexual abuse
of a child under 14, aggravated sexual assault of a child and
indecency with a child.
Sheriff's spokesman Ted Denny told The Leaf-Chronicle the arrest
followed good police work by Texas authorities in tracking the
suspect, who it appears had been in the Clarksville area for as
long as three weeks.
The U.S. Marshal Service aided in the arrest.
Delgado is held in lieu of $250,000 bond pending extradition to


text:
A Wild Ride for Financial Markets
S&P Threatens U.S. Downgrade, Dealing Fresh Blow After Global Worries Rattle Investors
Financial markets seesawed Friday, driven by fast-moving events in Europe and a jobs report that soothed immediate concerns about the U.S. economy but did little to ease longer-term worries.
It was an extraordinary end to a week that saw the Dow Jones Industrial Average collapse nearly 700 points as stocks were flung up and down by skittish traders. On Friday, the Dow gained 60.93 points, or 0.54%, to 11444.61. But that small change masked wicked swings. Within minutes of the opening bell, the Dow was up 245 points. But by midday the Dow had fallen 171 points from Thursday's close, only to soar back to nearly session highs at midafternoon. Bond and currency trading was also volatile.
S&P Downgrade
- S&P Press Release
- S&P Official: U.S. Downgrade Was Due in Part to Debt-Ceiling Brawl
- S&P Downgrades the U.S.: Five Things
Markets in Turmoil
- As the World Churns, Traders Squirm
- Dow Whipsaws to a Gain
- Treasurys Post Biggest Weekly Gain in Two Years
Europe Debt Crisis
Even with Friday's gains, the Dow finished the week down nearly 700 points, its largest point decline since the heart of the financial crisis in October 2008. The selloff left the Dow down 10.7% from its high in April of this year. It's in negative territory for 2011, down 1.2%.
While markets closed higher Friday, there was a fresh jolt four hours later: Credit-ratings firm Standard & Poor's downgraded the U.S. government's triple-A debt rating for the first time ever.
The move left investors facing a weekend of uncertainty about how markets will react Monday.
On Friday morning, it seemed that stocks had dodged a bullet. U.S. employers added a better-than-expected 117,000 jobs and the unemployment rate ticked down to 9.1% from 9.2%. In the minutes after the employment report, investors sold safe-haven assets like U.S. Treasurys.
But economists quickly poked holes in the report's positive veneer. The unemployment rate fell not because of stepped-up hiring, but because more discouraged workers gave up their hunt for jobs and dropped out of the work force. At the same time, the pace of job creation, which included 154,000 new private sector jobs, is barely enough to absorb the growth in population.
"One nice number isn't enough to change sentiment at the moment," said Ted Weisberg, president of Seaport Securities. "Folks are scared."
Another reason investors didn't take much heart from the jobs report was that the data was collected in the middle of the month, before the debate intensified over lifting the debt ceiling for the U.S. government. Many investors worry that the partisan fight may have further weakened already-fragile business and consumer confidence.
At the same time, the report was likely not weak enough to prompt new steps from the Federal Reserve to shore up the economy. Even were the Fed to act, investors are skeptical that there is much the central bank can do to remedy the structural problems the U.S. economy faces—notably heavy consumer and government debt. "The Fed 'is running out of bullets,' said Jan Loeys, head of global asset allocation at J.P. Morgan.
The stock buying was short-lived Friday morning. Bond yields quickly fell back and stock prices headed lower over the course of the morning.
The positive jobs numbers did little to quell concerns that the economy soon may be heading back down again. The best-performing stocks were those that investors favor when nervous, such as consumer staples— food, cigarette and household goods companies—and health care.
The focus abruptly shifted at midday following rumors that the European Central Bank would be buying Italian bonds, a move that could help calm troubled European bond markets.
Stocks leapt higher. From lows hit just before noon, the Dow surged roughly 200 points, or about 1.5%, in 15 minutes.
Officials later told The Wall Street Journal that while the central bank was open to purchases of Italian and Spanish bonds, no commitments had been made. At mid-afternoon New York time, Italian Prime Minister Silvio Berlusconi announced new reforms and budget measures designed to speed up improvement in its finances.
The news out of Italy lifted stocks almost to their high for the day and gave a boost to the euro, which gained 1.3% against the dollar Friday. Treasury yields finished the day higher, with the 10-year note at 2.554%, up from 2.46% Thursday.
U.S. and European leaders Friday scrambled to stem a growing sovereign debt crisis. In two separate calls, President Barack Obama spoke Friday with French President Nicolas Sarkozy and German Chancellor Angela Merkel, stressing the urgency of implementing a recent euro zone accord meant to douse debt fires that now threaten to engulf Italy and Spain. Mr. Obama encouraged his counterparts "to continued leadership...in addressing the challenges facing Europe's economy," the White House said in a written statement.
Friday capped a tumultuous week that began with financial markets roiled by uncertainty over whether the U.S. was going to raise the federal debt ceiling in time to avoid a default. At the same time, conditions were steady worsening in the European bond markets.
While the U.S. avoided default with a budget deal that still leaves the U.S. vulnerable to losing its AAA credit-rating, the cliff-hanger unsettled investors. That, combined with disappointment over how European officials have handled the continent's debt crisis, has left investors with dwindling confidence in the ability of policy makers to manage the big problems facing global economies. The result has been a broad shift out of stocks to safe-haven investments, such as gold, government bonds and the Japanese and Swiss currencies.
"The biggest thing that's taken place in the last month has been the degree to which confidence by both consumers and business has been shaken," said Lisa Shalett, chief investment officer at Merrill Lynch Global Wealth Management.
John Sarkisian, chief executive of Sklz, a Carlsbad, Calif., maker of athletic equipment, is taking a wait-and-see attitude.
"We have certain new hires that we need to make, but we're being more deliberate and waiting to see if retail sales have been affected," he said. "You just let things take a little longer, and that's what we've done with a few things given all the craziness. That happens to people when you get all this uncertainty."
—Steven Russolillo contributed to this article.
Write to Tom Lauricella at email@example.com and Conor Dougherty at firstname.lastname@example.com


text:
Hi! I'm Yisela.
I'm a User Interface Designer and an Anthropologist, a former mod for Graphic Design SE and a user of Stack Overflow and UX.
You can usually find me in The Ink Spot chat room.
Contact: yisela.com - LinkedIn - Behance. Current creative projects: The Geek Gift - Art Design War.
Avatar pic by Christian Schloe
- Frankfurt Am Main, Germany
- yisela.com
- Member for 4 years, 8 months
- 0 profile views
- Last seen Dec 19 '11 at 18:06
Communities (27)
Top Network Posts
- 131How to vertically center a div for all browsers?
- 56How to open or save as ico in Photoshop CS6
- 52Is there a free 'Helvetica Neue' alternative?
- 38How can graphic designers contribute to Open Source projects?
- 38Good visual alternatives of representing the Push and Pull signs on doors?
- 34What is the difference between wireframes and mockups?
- 29Should I design business cards in InDesign, Illustrator or Photoshop?
- View more network posts →
Keeping a low profile.
This user hasn't posted... yet.
Badges (1)
Gold —
Silver —
Bronze 1


text:
Slider transitions and caption texts works only with IE browser but no with FF or Chrome. Does anyone else have same broblem?
Slider transitions and caption texts works only with IE browser but no with FF or Chrome. Does anyone else have same broblem?
I have jQuery Slider 1.4.2 working in IE9. The slideProperties do not work in FireFox, Chrome, Safari or Opera.
My guess is it was developed on IE9 & not checked for cross-browser compatibility. I hope this is fixed soon as it is quite a nice slider.
Did you have any success or feedback?
I am having this same issue. Before, I could see the captions and thumbnails - I went through (as another support post I had read did recommend) and set up the slides from FRESH uploads, that fixed the images not displaying, but now, all the captions are gone in everything except IE9 -- please advise!
And actually, after some tinkering with the css file (jquery-slider.css) on line 73 (give or take) with the .caption - if you set the overflow to overflow:show; - it will actually display in FireFox, chrome, safari (opera not tested yet.)
it has something to do with the overflow value in the jquery-slider.css (at least in my situation).
I edited the original CSS to the following:
.jquery-slider .caption {
overflow:show; /* default: overflow:hidden; */
/* the rest of this was done to display my custom needs, but if you play around, you can get it where you want it... */
.jquery-slider .caption .content {
This is not a permanent solution for everyone, but after tinkering, I found that the overflow property was causing the caption not do display in Firefox, Chrome, Safari or Opera, while displaying correctly in IE9.
This topic has been closed to new replies.


text:
Stanley S. Brotman, 89, of Voorhees, a former federal judge in New Jersey, died Friday, Feb. 21, at Kennedy University Hospital in Stratford.
From 1975 until he retired in September, he served as a U.S. District Court judge for the District of New Jersey, sitting on the bench in the district's Camden courthouse.
From 1989 to 1992, he was also acting chief judge of the District Court of the Virgin Islands.
With more than 38 years on the bench, Mr. Brotman was the longest serving federal judge in the state's history, said Jerome B. Simandle, the district's chief judge.
"He really loved public service and the opportunity to resolve disputes," said Simandle. "He had a knack for bringing people together."


text:
News Releases
Looking for a press release about Malone University?
Have a question for our University Relations Department?
Please call 330-471-8240 or email jroznfgre+znybar+rqh.
Malone University's Beth Clark Thomas elected to honorary Eleanor Roosevelt Chapter of national education honor society Kappa Delta Pi
29 May 2013 | Release Number: 6651
Malone University students and faculty/staff take part in Service Learning trips around the world in the spring/summer of 2013
29 May 2013 | Release Number: 6630
Malone University's Jesse Ayers advances to final round of American Prize in Composition-Bands
29 May 2013 | Release Number: 6644
Malone University McFadden Gallery will feature works of adjunct faculty through September 23
23 May 2013 | Release Number: 6641
Discovery on Malone University campus leads to fundraising effort to help the less fortunate
22 May 2013 | Release Number: 6637


text:
May We Dance
Credits & Info
- Uploaded
- Oct 14, 2010 | 2:04 PM EDT
- File Info
- Song
- 4 min 29 sec
- Score
- 4.53 / 5.00
Related Content
You might also enjoy:
Licensing Terms
You may not use this work for commercial purposes without making specific arrangements with the artist UNLESS your work is a web-based game or animation, in which case you may use this freely.
- Score:
- Rated 4.53 / 5 stars
- Plays & Downloads:
- 4,640 Plays | 670 Downloads
- Share Links:
- Genres:
- Hip Hop, Rap, R&B - R&B
- None
Author Comments
Rated 4.5 / 5 stars
This was amazing bro
I'm thinkin the synths at 1:23 could be louder, and more like.. all up in your earphone :p. But amazing work bro. I've been writing a musical way to ask a girl out with this track. You are the mood setter my friend.
Thanks a lot! and I thought I was the only one that thought that about the chorus synth, Ima turn it up a little and update this beat a.s.a.p!
Thanks a lot!
Rated 5 / 5 stars
good rythm keep it up!


text:
What's the difference?
UMTornadoCamp13 doesn't have a bio yet.
Contact This Author
UMTornadoCamp13's Wunder Photos
Ads help us bring you the weather for free. We want to be able to continue building great weather products for everyone.
For less than a dollar a month ($10/yr) you can sign up for a premium membership and remove ads.
Remove Ads


text:
I'm trying to print 4 individual 8.5 × 2.75 pages tiled across 1 regular 8.5 × 11 sheet of paper in landscape format.
What's the best way to do so? When I select "Print options" → "4 pages to one sheet" it doesn't come out right.
Would placing the individual pages into columns solve this?


text:
23,000 Members Strong - The Largest and Oldest Mom Blogger Social Network
I'm a stay at home mom, wife and blogger! I'd love for you to stop by and check out my blog, Being Frugal and Making it Work: http://cheekymommaof2.blogspot.com
Check out my frugal tips and enter my giveaways! Leave a comment and I'll follow you back!
© 2016 Created by Mom Bloggers Club.
Powered by
Badges |
Report an Issue |
Terms of Service
Please check your browser settings or contact your system administrator.


text:
I have two tables:
Category (Id, Name, ...) and
Question (Id, CategoryId, Title, ...) with relation
Category 1-* Question. I need to get the top three categories (with the highest number of questions) from the database.
I wrote this SQL query:
SELECT TOP 3 c.Name, COUNT(q.CategoryId)
FROM Category c
JOIN Question q
ON c.Id = q.CategoryId
GROUP BY Name
ORDER BY COUNT(q.CategoryId) DESC
and of course it works, but I need to write this query in LINQ. The main problem is in the first line with
COUNT. How should I use it in this query?


text:
I really did not want to pay north of 11 for my shares but was prepared to the other day and even stated so. These idiots let me increases and at a ridiculous savings. Now I await opportunities to average in at even a better price if they should allow it. My concentration is on long term so knock your brains out shorts!
Sentiment: Strong Buy


text:
I was wondering if any could tell me how to get our eteamz site to show up on a google, yahoo, ect... search?
ACTIVE is the leader in online event registrations from 5k running races and marathons to softball leagues and local events. ACTIVE also makes it easy to learn and prepare for all the things you love to do with expert resources, training plans and fitness calculators.


text:
Most Recent Articles In They Are Wearing
Latest They Are Wearing Articles
- They Are Wearing: Republican National Convention
- They Are Wearing: Tel Aviv
- They Are Wearing: Adidas Fanatic Soccer Tournament
More Articles By
From the restrained to the bold, the chic to the wacky, there was as much entertainment on the streets as there was on the runway. Here, the best looks from New York, London, Milan and Paris.
Click Here for Street Style Images From Fashion Week in New York, London, Milan and Paris >>
See More From 'They Are Wearing' Here >>


text:
When I am trying to use round_page() function in my project, it stops compiling and says that there is linker problem. What am i doing wrong?
Announcing Stack Overflow Documentation
We started with Q&A. Technical documentation is next, and we need your help.
Whether you're a beginner or an experienced developer, you can contribute.
closed as not a real question by simonc, Midhun MP, Daniel Fischer, Jonathan Leffler, corsiKa Nov 22 '12 at 15:37
It's difficult to tell what is being asked here. This question is ambiguous, vague, incomplete, overly broad, or rhetorical and cannot be reasonably answered in its current form. For help clarifying this question so that it can be reopened, visit the help center.If this question can be reworded to fit the rules in the help center, please edit the question.
Sorry, I realized that i just had to include mach/mach-init.h


text:
British Broadcasting CorporationHome
The Indian Ocean - coastal waters
The tropical Indian Ocean is home to the Spice Islands. Characterised by beautiful sandy beaches, fringing coral reefs and coastal mangrove forests, this is a vibrant nursery area for marine life, such as whale sharks, crabs, seahorses and a great variety of fish. The coastal areas are where humans have the most direct impact on the ocean's resources.
Whale sharks, off Mafia Island
Very little is known about the world's largest fish. Weighing up to 35 tonnes, the whale shark has poor eyesight and relies on its sense of smell to track prey. Off Mafia Island, whale sharks congregate in large numbers in order to feed.
These gentle giants have the thickest skin of any animal and each has a unique spot pattern on its side. Comparing these 'fingerprints' with an ongoing whale shark ID databank will help scientists discover if the whale sharks have visited before and if there is a pattern to their visits. Some may travel as many as 13,000km (8,000 miles) to visit rich feeding grounds. The water is enriched by nutrients that have washed out to sea from the African river deltas.
|Learning more about whale shark behaviour could be crucial to their conservation.
|Dive category:
|Finding large congregations of whale sharks is always a challenge and for this reason accessing any site where they gather is not easy.
BBC © 2014 The BBC is not responsible for the content of external sites. Read more.
This page is best viewed in an up-to-date web browser with style sheets (CSS) enabled. While you will be able to view the content of this page in your current browser, you will not be able to get the full visual experience. Please consider upgrading your browser software or enabling style sheets (CSS) if you are able to do so.


text:
Book your room at Country Inns & Suites By Carlson, Council Bluffs
Get an overview of this hotelHotel in Council Bluffs with casino and free breakfast
Situated in Council Bluffs, this hotel is within a 10-minute walk of Mid-America Center, Joe's Karting, and Horseshoe Council Bluffs. Bluffs Run Greyhound Park and Dodge Riverside Golf Club are also within 3 mi (5 km).
Hotel Features
Along with a casino, this hotel has an indoor pool and a fitness center. Free buffet breakfast, free WiFi in public areas, and free self parking are also provided. Other amenities include a 24-hour business center, coffee/tea in a common area, and meeting rooms.
Room Amenities
All 133 rooms offer conveniences like refrigerators and microwaves, along with free WiFi, free wired Internet, and cable TV. Other amenities available to guests include coffee makers, free weekday newspapers, and free local calls.Would you like to give us feedback? Share it! Opens in a new window
Country Inns & Suites By Carlson, Council Bluffs17 Arena Way Council Bluffs IA 51501
Hotel Amenities
Hotel Amenities
Country Inns & Suites By Carlson, Council Bluffs features an indoor pool and a fitness center. High-speed wired and wireless Internet access is complimentary. This hotel offers access to a 24-hour business center and meeting rooms. Guests can enjoy a complimentary breakfast. Event facilities measure 678 square feet (63 square meters). This Council Bluffs hotel also offers a casino, an arcade/game room, and coffee/tea in a common area. Onsite self parking is complimentary.
- 24-hour business center
- 24-hour front desk
- Arcade/game room
- ATM/banking
- Casino
- Coffee/tea in common areas
- Free newspapers in lobby
- Conference space size (feet) - 678
- Conference space size (meters) - 63
- Dry cleaning/laundry service
- Elevator/lift
- Express check-in
- Express check-out
- Fireplace in lobby
- Fitness facilities
- Free breakfast
- Free self parking
- Free WiFi
- Free wired high-speed Internet
- Indoor pool
- Laundry facilities
- Meeting rooms
- Number of floors - 3
- Safe-deposit box at front desk
- Total number of rooms - 133
- Year Built 1985
Family Friendly Amenities
- Arcade/game room
- Cribs/infant beds (complimentary)
- Free Wi-Fi
- Indoor pool
- Laundry facilities
- Microwave
- Refrigerator
Available in all rooms: Free WiFi , Free wired high-speed Internet
Available in some public areas: Free WiFi , Free wired high-speed Internet
Free self parking
Room Amenities
- Air conditioning
- Blackout drapes/curtains
- Cable TV service
- In-room climate control (air conditioning)
- Coffee/tea maker
- Free weekday newspaper
- Free cribs/infant beds
- Daily housekeeping
- Desk
- Free local calls
- Free WiFi
- Free wired high-speed Internet
- Hair dryer
- Iron/ironing board
- Microwave
- Pay movies
- Premium TV channels
- Private bathroom
- Refrigerator
- Shower only
Where to Eat
Guests are offered a complimentary hot/cold buffet breakfast.
Nearby Things to Do
Recreational amenities at the hotel include an indoor pool and a fitness center.
To make requests for specific accessibility needs, complete the "Special or Accessibility Requests" section of "Trip Preferences" when you book your hotel.
- Accessible bathroom
- In-room accessibility
- Roll-in shower
Hotel Policies
Check-in time starts at 4 PM
Check-out time is Noon
Payment types
- Pets not allowed
You need to know
Extra-person charges may apply and vary depending on hotel policy.
Government-issued photo identification and a credit card are required at check-in for incidental charges.
Special requests are subject to availability upon check-in and may incur additional charges. Special requests cannot be guaranteed.
Optional extras
- Cribs (infant beds) are available for an additional fee
- Rollaway bed fee: USD 6.00 per night
Hotel Name
- Country Carlson Council Bluffs
- Country Inns Carlson Council Bluffs


text:
Thank you for another successful school year. Enjoy the break and we look forward to seeingall of you in September!
Thinking of running for a spot on the Board of Education? Click here for important dates, application and details.
New things are happening every day! Wondering what is happening on Bonnel Field, where we are with the new data center, or just what has been done on any of the major bond projects? Click the headline for an ongoing photo gallery the depicts some of our progress. Thank you for your support!
The Integrated PreSchool Program information is now available. Please click the headline for complete information, details and registration forms. Other questions about the program? Email email@example.com.
The Summer Arts and Sciences brochures and registration information are now available. Please click the headline for complete details. We hope to see you there!
The state asks that each school district submit a self-assessment of its implementation of the Anti-Bullying Bill of Rights Act. The self-assessment was viewed as an opportunity to reinforce and strengthen the district's HIB prevention and intervention programs, policies and practices. The state also used the self-assessment process to assign a "grade" to each district and individual school. The maximum total score for a school is 78 points. Click the headline for additional information on HIB and details realtive to our school district's performance.
In December 2013, the CWC School District revised the Harassment, Intimidation and Bullying policy. The district's anti-bullying coordinator is Scott Klepesch, Director of Instructional Services, Harrison School, Gray Street, West Caldwell. Mr. Klepesch can be reached at firstname.lastname@example.com or 973-226-7120.
7:30 PM BOE Public Conference Meeting


text:
Frameworks Software
Hot topics in Frameworks Softwarebasic ide flash text flash animation design loki-blender delphi delphi sql formatter ares galaxy 188.8.131.5254 codeigniter time sheet basic accounting projects php sql
yunus and my other projects
Yunus is a simple "visual" script language. Yunus is obsolete (left in 2004). However this site exhibits many projects; you will find my other "PHP, VS.NET, Flash, Delphi" projects. eOgr is my second complete application after Yunus.40 weekly downloads
as3commons aims to bring some well known java.(lang|util).* goodies, like a collection framework, string utilities to actionscript32 weekly downloads
Flest Framework
Flest is an application framework for building enterprise RIAs in Adobe Flex 3 and ActionScript 3. It uses such design pattern as Controller, Factory, Command, etc. High efficiency, simplicity and practicality were set as its mandatory design features.1 weekly downloads
Flash Designer Classes
A collection of handy actionscript classes (eg: textfield with scrollbar). The pupose of these classes is to provide designers with basic flash knowledge the tools to enhance their designed elements with the behaviour they need.
Magnesio is an AS3 framework to help you to do common tasks faster
The initial idea is to build an application framework that will be hosted on Mono ASP.Net, and the UI with Flex.


text:
Cozy Modern Room
Maks. liczba gości2
Rozmiar15 m²
- Klimatyzacja
- Śniadanie
- Internet
- Balkon/taras
- Zamykany pokój
- Dostępny parking
- Ręczniki
- Kuchnia
|V. Jacopo Castelli, 30175 Marghera, Włochy
|Rodzaj nieruchomości
|Prywatny pokój
|Kod referencyjny
|Wskaźnik odpowiedzi
|Czas reakcji
|Kilka godzin
|Zaktualizowano kalendarz
|5 dni temu
My guests have access to a master bedroom with private bathroom and breakfast service, a fully equipped kitchen, and a balcony shared with the guests of the second chamber.
Nearby you will find the "Giardinetto" with excellent cuisine and pizzeria, "The Diplomat" tavern Venetian specialties.
|Opłata tygodniowa
|1607 zł
|Zameldowanie po
|Do ustalenia
|Zameldowanie przed
|Wymeldowanie przed
|Zasady Anulowania Rezerwacji
Bruna was very kind to us. She gave us a ride to the rental apartment from her own place when we arrived by taxi from the airport. She also gave us our last ride to the train station on our departure day & helped us to figure out where we needed to wait to catch our bus to Austria. That was very helpful, Bruna!
We seemed to click instantly while we chatted & folded dry sheets together.
Great experience with our host!
Bruna and Walter met us at the room location and took us to the little apartment. The room was clean and very up to date. It was also in a quiet location. Half a block away is a bus station and ticket office that gets you into Venice. Bruna had valuable tips for our stay and we felt very well taken care of.
Bruna is very nice, helpful and you will get a lot of useful infos travelling and eating in venice. The bedroom is small but comfortable, the bathroom very clean and the kitchen had everything we need. The photos say all...
We had three nice days at Brunas Cozy Modern Room!
Thanks to Bruna
Bea and Fabian (Berlin)
Great place to stay! Bruna is a very nice host and gave us lots of good advise about restaurants, parties, shopping etc. If we come back to Venice, we would stay here again. The room was clean and we shared the kitchen with another couple. You can go to Venice by bus, 15 min, bus stop is not far from the house.
Amazing host, and very helpful for us.
She knows a lot of places in Venice.
House is extremely clean and very well designed. It 10 min from Venice by bus, so if you want to go to Venice, choose Bruna's house in Marguera.
See you soon Bruna :)
Bruna was a a respectful, helpful host. The aparmtent is located close to Venice Mestre and is good base to explore the old beuatiful Venice centre.
Brunas place was very nice. Bruna gives good information about venize and how to get there. The location is out of the tourist attractions what is a good thing. You can get to venize by buss every 10 min. And remember never cut the pasta!
Die Unterkunft war sehr sauber und schön.Mit dem Bus war Venedig schnell und einfach zu erreichen.Die Gastgeberin Bruna war sehr freundlich und gab uns viele hilfreiche Tipps bezüglich der Sehenswürdigkeiten in Venedig. Die Unterkunft ist sehr weiter zu empfehlen!
Buen sitio para hospedarse, cerca del centro de Venecia. La anfitriona muy atenta, nos explicó todo. Volvería a ir.
- Gwarancja jakości zakwaterowania
- Każdy gospodarz jest weryfikowany telefonicznie
- Bezpieczna płatność za pomocą szyfrowania SSL


text:
Difficult Questions: One View of Twin Cities
June 13, 2013 · Print This Article
Guest post by Eric Asboe
As a curatorial department of the Minneapolis Institute of Arts (MIA), the Minnesota Artist Exhibition Program (MAEP) is "dedicated to exhibiting and supporting artists living and working in the state of Minnesota." Begun in 1975, the MAEP is a creative partnership with the MIA, "founded by a group of regional artists interested in creating an innovative exhibition and programming space. What began as a year-long agreement has been extended into an ongoing relationship between the Minnesota artist community and the MIA." An elected artist panel representing the Minnesota arts communities selects artists from open calls who exhibit within the MIA. The MAEP is an integral part of the MIA's broader efforts to "enrich the community through art," expanding beyond its galleries, engaging audiences in ways that effectively utilize the assets and strengths of its collection, while continuing to question how that collection can continue to enrich Minnesota artists and visitors in new ways.
The current MAEP exhibitions embody and transform the MIA. In Posture is Everything, Kristina Estell gathers sheets of molded silicone across a series of armatures. The armatures seem to have caught the simultaneously flowing and visibly weighted silicone, interrupting the gravity we suddenly notice more intensely. On closer inspection, the silicone has been carefully layered, applied, and manipulated by hand. The manipulations of the silicone and the human presence they reveal disguise the fact that the area of the silicone sheets is exactly the area of the MAEP gallery floor. Estell subtly lures the visitor into examining the materiality of the museum, inviting visitors to question what they see and the environment in which they stand.
Allen Brewer's exhibition Verbatim begins with the MIA collection. MIA visitors were asked to describe any piece they liked in any way they chose. From those descriptions, Brewer created new works, continuing to solicit and create work throughout the exhibition. The conceptual framework leaves Brewer a lot of room, but, in the exhibition brochure, Brewer explains he preferred to work with "objective definitions, like 'round' or 'black.' Words such as 'beautiful' are unusable to me." Brewer playfully uses the objective words of the descriptions to create his works (e.g. the colorfield of "Lucretia" described by Sandra, the rigid shapes of "Linear Still Life" described by Katie Van Zante). The new works are diverse, and they show Brewer's close attention to the nuances of language and the difficulties of defining aesthetic experiences.
With the MAEP, the MIA asks and lives through difficult questions about the role of artists and arts institutions in the future of the arts. How can contemporary artists work within encyclopedic art museums? Through nearly forty years and over 180 MAEP exhibitions, the MIA has been dedicated to exploring the role it can play in enabling contemporary art, and it continues to be a unique model to other institutions. With free admission year round and a broad appeal through its collection and programming, the MIA exposes its many visitors of all ages and locations to vital contemporary Minnesota artists.
What role can local artists play in a global museum? MAEP exhibitions are far more than an experiment in thinking locally. The exhibitions are dynamic; the artwork is excellent. More importantly, by supporting an artistic peer selection process, the MIA helps build a community of artists, specifically in and with the resources of a major art institution. Alan Brewer's exhibition pushes the question further. When I met with him in his MAEP exhibition, he stopped to talk to a visitor, an older man who had written a description. They discussed his description and possibilities for recreations. The transformative power of that individual conversation and the way Brewer has empowered all visitors to the MIA to engage in completely new ways with its collection demonstrates to me the MIA is not just asking how local artists can shape a global museum, but, more importantly, how we can all shape the museums of the future.
Last weekend, Northern Spark, the all-night arts festival of the Twin Cities, a project of Northern Lights.mn, happened for the third time, 8:58pm Saturday to 5:26am Sunday. It is impossible to capture a festival with over 75 projects, multiple sites, and tens of thousands of visitors in words that do all of it justice. Those visitors, however, were the key to and strength of the festival as a whole. The visitors were the focus of many of the projects, whether learning (screen printing, letter press, cyanotype), watching performances (music, dance), or engaging on an individual level (soundscapes, sunrise boat cruises). Inside and around the Saint Paul Union Depot, the projects called for more than passing engagement. Hundreds of people joined in Christian Jankowski's Rooftop Routine, twirling hula-hoops. I saw multiple families camped at astronaut spirit academy, with children asking to return late into the night. The air in the Union Depot Carriage Way, under the main plaza, was thick with spray paint from hundreds of taggers participating in Underpass of the Eyes of Freedom. Piotr Szyhalski's sprawling, riveting performance, Permanent Labor, invited visitors to celebrate "the round of production and consumption, of making and using." The layered movements and labors of the performance, washed by waves of drumming and singing, were a stark contrast to the people waiting in the long lines for the nearby beer tent and food trucks for a different type of labor.
In a very different context than the MAEP, Northern Spark asks difficult questions about the place of arts festivals in the landscape of contemporary art. How can an arts festival shape our vision of a city? Northern Spark was focused in the Lowertown area of downtown Saint Paul, an arts and cultural district with artist live/work spaces, Saint Paul's only art museum, and the Mississippi River hidden on its border. The creation of a new light rail line through the middle of Lowertown, increased focus on creative placemaking, and the expectations of what an influx of the creative class might do are shining a bright light on Lowertown and downtown Saint Paul generally. Northern Spark's presence in Lowertown this year, the number of people who attended, and the economic impact of those visitors will continue to play a part in the area's ongoing development.
Can an arts festival attract more than artists, and can an all-night festival move past spectacle to real engagement? In the largest single event of the festival, thousands of people stood in the rain to watch Chris Larson's Celebration/Love/Loss, a full-size replica of a Saint Paul home designed by Marcel Breuer burned to the ground. The house was simple and beautiful, and the burn was awe-inspiring. (This video shows the house before burning, but this video shows how massive the flames really were.) Some of the quieter, less explosive projects, however, truly showed the possibilities of engagement. The all-night Singing From the Sacred Harp, organized by the Minnesota State Sacred Harp Singing Convention, brought home for me just how the conversations, techniques, and tools of an all-night festival can last far beyond that night. Sacred Harp Singing encourages people of all experience levels to sit together in an inward facing square to sing four part hymns and anthems without practice. During my first Sacred Harp experience, I was told that the most important part of singing is how loudly you sing. Since that time, I have rarely experienced anything as moving as a room full of strangers singing together perfectly, and the power of Singing From the Sacred Harp at Northern Spark was similarly palpable. The square of chairs was tucked away at the top of a little used stairway; all of the passers-by stopped in rapt attention at the beautiful music, the wide smiles, and the astonished laughter of the singers, even though it was well past 3am.
Eric Asboe is an artist, writer, and cultural worker. Asboe's creative works prioritize process over product and explore the boundary between practice as improvement and practice as way of life. Forthcoming projects include ubuwebtopten.com. He currently lives and works in Minneapolis.
Comics & the Aesthetic Economy
June 11, 2013 · Print This Article
Guest Post by Faye Kahn¹
While social evidence that the rich is dividing farther away from the poor becomes more & more unavoidable, it seems that at the same time the art world is inversely nudging the them closer together. Traditional distinctions between "high" & "low" art are fading. In his essay "Comrades of Time," discussing the definition of the term "contemporary," Boris Groys states that "…at the turn of the twenty-first century, art entered a new era-one of mass artistic production, & not only mass art consumption." Art-making is no longer restricted to a higher, educated or professional class. With the encouragement of advancing technologies from the ball point pen to the smartphone & increased visibility of the individual creative practice via the internet has reified this notion of art as "mass-cultural practice" ad infinitum (probably to some ad nauseum). To track the currency of art between upper & lower economic & academic classes & attempt to elucidate the creation of connecting middle classes of art, for instance independent comics & publication as well as social media experiments, it may be helpful to recognize the presence of commercial aesthetics in all classes. By following this reciprocal currency of consumerist media to high art & back, there are many significant signs pointing to a possible future of a classless art world.
Imagine this daisy in an advertisement for a department store chain. Now imagine it in a comic made by a peer. Lastly, imagine (or remember) this daisy in a contemporary art museum, as a part of a painting, a 300-editioned print of which is sold for more than $1,000. Of course this image is fairly well known- it was designed by artist Takashi Murakami in the mid-late 90s & repeated throughout his career in various incarnations (in carnations……….). What is unique about this daisy, however, is that to the unfamiliar eye its origins & environment could believably be in any of these three locations, or strata of art. It is difficult to say this of other contemporary arts images- a Jeff Koons sculpture, a performance piece by Marina Abramović, a photo by Wolfgang Tillmans (although this might be grounds for an interesting project). Most can't be conceived in the commercial sphere-until the work becomes safely art-historical, when they can be reproduced on consumer goods & sold to a nostalgic or young audience-until then they are works intentionally too "conceptual" or "difficult" to be at home in a consumer setting where expediency of communication is paramount.
Murakami was/is famously aware of this & was actively attempting to collapse gaps between high & lowbrow art communities. Naturally, other internationally renowned pop artists like Lichtenstein & Warhol & more recently Philip Guston & Yoshimoto Nara have exercized a similar style. I stop at Murakami, not because I'm particularly fond of his work, but because his conceptual "Superflat" agenda is well articulated & aware of the collapse of economic boundaries. "When comparing  a half a million dollars to 'free,'" says Murakami, comparing to his blind-assortment collectible figure series ('free' with a purchase of candy) to his life-size statues of the same characters residing in contemporary arts institutions, "there's an overwhelmingly different sense of values, almost a confusion of values."² This "confusion of values" intellectualized by Murakami in the art scene in the late 90s/early '00s is a significant checkpoint in the travel of commercial aesthetics, but this consciousness not exclusive to artists of highly educated stature (according to Wikipedia, Murakami has a Ph.D. from the Tokyo University of the Arts) but also in artists in so-called lower, consumer target-market classes.
Before I continue, here's quick review these "levels of art" as crookedly defined for the purpose of this essay:
1) High Art (elite)
2) "DIY" or "Low" Art
3) Commercial Art (consumerist)
"High Art" referring to work usually made by career artists & found in the gallery, museum, & similarly institutionalized art biennials, fairs, etc., with a prestigious milieu of critics, buyers, curators & so on. For level 2, I'm wont to trade in the negative term "low" (granted this negativity is a badge of pride for some) for "DIY," which as an adjective has come to encompass the "mass practice" of unprofessional quotidian participation in the making of art ("unprofessional" or "quotidian" not as pejoratives, but as neutral descriptors)-including student work. Level 3 is one populated by masters of an aesthetic practice but whose products are intended to be consumed by an unassuming hoi polloi. Although this stratum by nature lacks the conceptual, self-aware qualities arguably integral to defining something as "art," certainly artistic techniques are employed (& exploited). Not only this, but it is common for early-career artists to hold jobs in this industry for obvious financial reasons, allowing them to coexist on both levels, while to varying degrees keeping their personal work separate.
This commercial universe, simultaneously seductive & repulsive, has provided us a strange key to a universalized art practice. It consists of a language instantly readable & in turn available to all to appropriate (throw legality into the wind). The visual toolbox of late capitalist propaganda is one of monumental typography, drop shadows, heavy outlines, over-emotive caricatures, light reflecting textures, shining sparkling neons, pastels, & primaries, & supreme cleanliness, (even when portraying something dirty). Whether you want simple geometrics or complex mechanics there is a commercial toolset for you. Anyone born in a first world country (& to a lesser degree, beyond) in the past 50 years has come to age in a society increasingly saturated by this imagery & fast motion. Having been the target market of any number of advertising campaigns at every given moment of a lifetime, a significant number of artists, whose headcount increases with the approach of the contemporary period, have co-opted this style in more radical ways than simple parody. Take for example (moving beyond the household names of 60s pop artists) Mike Kelley's Memory Ware Flats collage series, the gradients (among many other things) of Cory Archangel or the clusterfuck of American commercialism in Ryan Trecartin videos. All of this work is, while certainly of high conceptual &/or critical value, speaking with a language that is, though perverted, immediately legible or familiar to anyone who has experienced pop culture.
This artistic momentum is surprisingly well represented by the current proliferation of amateur comic artists, many of whom are vocally & visibly aware of the high art world. It's safe to say that comics, originally a consumer product, have become widely accepted as an outlet for personal expression, like photography, that has become recently emancipated from its irreproducible commercial status to the disposal creatives of all ages & classes. The beginnings of this can be attributed in significant part to movements like the underground comix scene in the 60s & 70s with artists like Rick Griffin & R. Crumb (among many others) carrying through to cartoonists of the 80s & 90s such as Gary Panter & Raymond Pettibon. These cartoonists, along with experimental anthologies like RAW & Weirdo expanded comics into experimental territory, communicating more with high art logics than their syndicated predecessors/counterparts (psychedelics are a shortcut to philosophy!?). Counterintuitively, while extending the medium into traditionally elitist domains (psychedelics are a shortcut to the philosophical!?), they simultaneously introduced comic-making to a wider, younger, & unprofessional bracket. Now, comics were not only an art to be consumed, but an art practice to actively participate in, as much or as little as one consumed them.
The alternative comics community today is expansive to say the least. Contemporary DIY comics anthologies like Mould Map, Sonatina Comics, & Happiness (to name just a tiny fraction of those existing today), tumblrs, Â & conventions (Brooklyn Comix & Graphics Fest (although recently discontinued!), CAKE, TCAF, etc.) document hundreds of artists per year. Comics have gradually become another near-neutral visual alphabet or option for people to represent themselves with: similar to how everyone with a camera can now be a photographer/self documentarian, anyone with a writing tool can now be a comics artists/self documentarian.
Despite this hyperactivitity & close relationship to the art world, independent comics remain largely ignored by institutionalized critical artistic discourse. While there's no shortage of books, journals, & blogs dedicated to dissecting comics culture & composition, they remain intended for readers interested in comics specifically & lack a serious concern for communicating with the larger contemporary art world. In other words, while the artwork straddles all strata of art, the reception does not (or does so very disproportionately). When consulting with a few active comic artists about this, many of them responded with reference to a class-related animosity between the comics & high art world in one direction or another, or rather, to the anti-intellectual/elitist (respectively) attitude either of the two fosters. On the one hand, comic artist & editor of the Happiness comic anthology series, Leah Wishnia states, "…art/alt/underground comics are a rejection of the elitism propagated by the fine art market, and the institution behind the fine art market may resent this and therefore, continues to label the majority of comics as 'low art.'" At the same time, comic artist Blaise Larmee expressed a disillusion at the contemporary alt-comics sphere for its perceived blandness to outside audiences & Austin English admitted to looking to fine art for more inspired organization of text, characters & figure drawing. Unsurprisingly, the comics blog "Comets Comets" (the name a riff on the popular "Comics Comics Mag" (now also defunct) ran by Dan Nadel of Picturebox Publishing, Tim Holder, & Frank Santoro) maintained by Larmee, English, & comics artists Jason Overby & Carrie Bren was one of the only (if not the only) sources of writing that started to look at comics in a conceptually analytical way.
"Where does form end and content begin?
American comics came from newspapers and manga from ukiyo-e. There was no preciousness about the drawings that led to the printed matter until more recently. Original art can be beautiful to look at, but it's beside the point: comics are perfect objects that have been formed by combining the raw material of an individual's (or group of them) vision with the machines of mass production (computers, these days). They're able to (like other modern media) lack the Bodhidharma-style transmission of artistic consciousness "Art" traffics in and allow many people to have and enjoy the same content cheaply."
Jason Overby, originally posted on Comets Comets on 06/21/2010. The blog was disbanded in the summer of 2011 but some of the original writing remains here & here.
Due to the internet visibility of artists at all moments in their careers, we are more aware of this in-between group of young artists, concurrently existing in all levels of art, & in turn the levels are more connected, regardless of said existing tensions. Artists emerging from the 90s Providence Fort Thunder junk-art-music-noise-space-universe like Brian Chippendale, Matt Brinkman, & arts collective Forcefield are a few examples using this new form of commercial art inspired neo(n)materialism in a way that has caught the eye of institutions such as the Whitney Biennial & new galleries. Vancouver-based artist Chris Von Szombathy utilizes cartoon, illustration & commercial vernacular to communicate severe & conceptual topics beyond what's normally associated with their style. Austin English put together a show at Baltimore Open Space exhibiting young artists with comic-influence such as James Ulmer & Leif Low-Beer. Strange (reciprocal?) lateral appropriation (to borrow a term from Sean Joseph Patrick Carney) is happening between artists inside & outside of the comics world not only in places conducive to such activity like tumblr but also in the gallery space. All of these instances are notable because they are garnering attention while they are happening, while they are "contemporary" rather than after they have become art historical (the art world is not lacking in Gary Panter & R. Crumb shows).
There is much more to say & countless more artists to consider in the economy of aesthetics between the different classes of art. It brings to mind for example the many lives of anime character AnnLee traded between artists Pierre Huyghe & Â Philippe Parreno (her latest incarnation by Tino Seghal at the 2013 Frieze Art Fair, discussed here & many other places), the universe of fan art (recently considered here in Hyperallergic), "designer" vinyl toys & statues, & the time-based worlds of animation, photography, & film. The entirety of DisMagazine seems to be dedicated to promoting alternative use of commercial aesthetics.
I recently walked into a new-ish local gallery space called Beginnings in Brooklyn to find a show exhibiting 3 artists: a painter, a photographer, & a writer. The painter, Jamian Juliano-Villani immediately caught my eye as her work subscribed to a neon(n)materialist agenda, reappropriating known graphics like animation smear-frames & 70s illustrations by Moscoso with updated dayglo color schemes. The photographs, initially seeming unrelated, were by Jan Kempenaers & documented the abandoned Yugoslavian monuments to the socialist republic. This visual work was punctuated by framed essays referring to the rise & fall of democratic capitalism, written by Wolfgang Streeck, director of the Max Planck Institue for the Study of Societies (MPIfG), based in Cologne, Germany. The sheer variety of this show, while on second look (& after discussion with curator Matt Giordano) managing to be cohesive through the themes of ideological criticism, along with the newness of the gallery I think attests to novel locations in which commercial aesthetics can now comfortably exist & will appear more frequently in the future. Sternberg press, who published the original "What is Contemporary Art†e-flux edition from which I extracted the Boris Groys article quoted in the introductory paragraph recently posted on their tumblr an upcoming volume on "Altcomics.†All of this, while egos will never completely allow a true socialist art world, is evidence that surprising juxtapositions & convalescence of all three classes of art are becoming more possible & will bring artistic practice & hopefully also criticism to more audiences without losing conceptual value or legibility.
H. FAYE KAHN is a freelance animator in NYC &  a free-format radio DJ at listener-sponsored WFMU in Jersey City, NJ. She resides in Brooklyn, NY & holds a BFA in Film/Animation/Video from Rhode Island School of Design.
1. Many thanks to Matt Giordano of Beginnings Gallery, Blaise Larmee, Jason Overby, Austin English, & Leah Wishnia for taking time to chat with me about these subjects & providing important examples. Thanks also to Chris Von Szombathy who discussed this with me about this at length in 2011.
2.© Murakami, Takashi Murakami: Company Man, by Scott Rothkopf pg. 137
Guest Post by Jamilee Polson Lacy
I'm wrapping up my stint as Inaugural Curator-In-Residence for the Charlotte Street Foundation in Kansas City. My final project, rises Zora, a multi-venue visual and performing arts exhibition, explores Kansas City as an urban labyrinth. While the labyrinth as a thematic premise initially seems a little hippy-dippy, it's one that actually encompasses and incorporates so much historically, philosophically, artistically, and more. Theories of the labyrinth—and there are many which span the ages of Greek and Roman mythology to early Christianity, Karl Marx to Umberto Eco, Cervantes to Borges and Calvino—demonstrate the thing as both concept and literal form that ultimately represents time. The labyrinth is an infinite series of choices to be made through time and space, and we get to decide whether to be conscious of those choices or not. I think the city, which quite obviously mimics a literal labyrinth, presents a plethora of choices—some exciting and dangerous, some banal and commonplace—so it's nearly impossible not to think of it as a conceptual labyrinth as well.
Kansas City has an interesting history that accommodates a show like rises Zora. It, like most cities inland west of the Eastern seaboard, was designed on a grid, which, according to its first known utilizer and urban planner Hippodamus of Miletus, is society's attempt at ordering the labyrinth. So, in the simplest sense, Kansas City features lots of beautiful right angles that repeat from the street level Jeffersonian grid into the design of enormous buildings and neighborhood squares. But what is more interesting, are the random parts of the city—those which don't conform to this guiding grid, this attempt to order the city and its users' navigation and time within it. Places where the highways meet and tangle up or where the parks and the rivers and the construction disrupt the perfect patterns are great of examples of how the labyrinth can't be controlled by a grid or a society. And in every case, there are multiple labyrinths that overlap and collide as neighborhoods, cultures, and ways of existing in the universe all configure as complex webs of time's effect on everything. These systems' inability to control the labyrinth's physical manifestation correlate to humanity's ultimate powerlessness to control or change the actual course of time. Only time changes us; we can never change it.
This idea of time as a series of labyrinths—also mazes, matrices, and networks, which are all versions of the labyrinth concept—emerges again and again in contemporary art. Artists, like Theseus navigating his way through Daedalus's labyrinth to its center in his efforts to conquer the Knossos minotaur, traverse complex, even confusing problems of time and space to reach some sort of goal. At that point, the artist must pass through one labyrinth to another. In other words, the artist comes to a rite of passage.  Italo Calvino, my favorite labyrinth expert, metaphorically discusses this rite of passage in every novel. In Invisible Cities, from which the rises Zora project title is taken, we see Marco Polo artfully describe and navigate the mysteriously international labyrinth that is Venice to the great Kublai Khan. In If on a winter's night a traveler, the reader, which may or may not be you or me, must navigate the labyrinths of literature, language, and lust. And in the under-appreciated Mr. Palomar, we experience alongside a man, Mr. Palomar, the many rites of passage that come with middle age and the realization that death is a real thing just like every other life event/labyrinthine transition.
The rite of passage has a long history in tandem with the labyrinth. Though we think of the labyrinth as inherently Greek in its roots (which isn't incorrect as the first reference to the labyrinth is the oral tradition that tells of Daedalus's architectures), it too is found throughout time and across geographies as part of pagan and tribal culture. Indeed, labyrinths as mystical symbols and ritualistic structures marked communal and individual life transitions including harvest, friendship, protection, love fertility, adulthood, death, and the list goes on and on. In Central and South America the Aztecs and smaller lesser-known tribes constructed the most elaborate hedges and mountain wall labyrinths, while in Scandinavia the Middle Age citizens built Troy towns to protect their maidens. In many cultures there is the walk about, for which the labyrinth is materialized as a vast geographical expanse of the unknown, within which one must learn to make choices outside their cultural context. I mention the walk about specifically because in two weeks a few of Charlotte Street's Urban Culture Project (UCP) Studio Residency participants will open a thoughtful group show at their designated gallery space called WALKABOUT.  The UCP Studio Residency program is unique in that it provides an important opportunity for Kansas City's young and emerging artists to have the space in the form of a free downtown KCMO studio and exhibition venue to develop their work and the professional practice. The program operates on an academic yearly cycle, and is therefore winding down for this year's residents. Featuring five artists who will leave the residency transformed in one way or another, this WALKABOUT exhibition strikes me as the perfect metaphor for the rite of passage they will soon experience.
Another exhibition in town, Barry Anderson's The Janus Restraint: The Ascension at The Studios, Inc. directly considers rites of passage as Anderson himself as an artist, a father, and a citizen of the great big universe experiences them. The Studios, Inc. is another residency program in town that provides free space to artists. Unlike the UCP Studio Residency, this one is for mid-career artists who have developed studio practices in Kansas City over a considerable period of time. Artists are given a huge space for three years, with the possibility of renewing for a second three-year term. The space and the artists tenure at The Studios, Inc. is subsidized both by The Studios, Inc. board/organization and a local patron, who both in exchange for their generosity receive an artwork from the artist for their respective organizational and personal collections. Perhaps the most exciting organization in town because it nearly bursts with possibility to be something more, The Studios, Inc. operates on the most interesting model and really does support some of the city's most interesting artists with space. Unfortunately though, the organization lacks vision in that their collection is rarely shown and, other than providing free workspace and an exhibition (in an on-site gallery space that could be really remarkable if its exhibitions were professionally curated and also sprinkled with some out-of-town flavor to contextualize/expand the production of Studios, Inc./Kansas City artists), they do little to promote their residents on a national or international scale. Anderson's exhibition, though it consists of entirely new work, feels like a retrospective precisely because it seems like it should be so pivotal to the artist's career. In some capacity, each artwork—photography, video, sculpture, and installation—takes on Anderson's personal, professional, and existential transitions. The show even has an urgency as it practically screams, "What am I going to do next?!†A serious question considering that this glorious exhibition isn't likely to be reviewed outside of Kansas City. There is no national/international coverage here, no critics with freelance relationships with Artforum, Art in America, Frieze, or the likes, and it seems to me like no one in town is working to do anything about this serious problem. (I actually hope that when I leave KC, I'll be able to create a rite of passage for another to provide KC-specific commentary on Bad at Sports.) After this year in Kansas City, I can very confidently say that amazingly prolific artists like Barry Anderson are plentiful here, but who will ever know, and more importantly, who will ever care if no one writes about them for the rest of the world to see? Though Anderson's solo show beautifully mines a variety of rites of passage on many fronts, there seems to be none in sight for him in this respect.
There do finally seem to be pathways opened up for new blood at Kansas City's art museums, which, though I hate to say it, present some of the most inconsequential contemporary art programming in the country (with the exception of the Nerman Museum of Contemporary Art, an incredibly smart contemporary art museum and private collection that lives miles away outside Kansas City in Johnson County, and KU's Spencer Museum, which lives 30 minutes far away in Lawrence, is pretty good, too). The Nelson-Atkins Museum is the biggest game in town. Much of the community's patronage goes into this institution, though it reflects very little interest in that same community that supports it. There is no regular local contemporary art feature or commission, and there are very few quality or comprehensive contemporary art exhibitions to expose the city's prestigious art school—the Kansas City Art Institute—population. The Nelson-Atkins has appointed a new Curatorial Director, Antonia Bostrom, who I hope comes to the museum with at least a little interest, respect, and enthusiasm for art being made today. Also, the Kemper Museum, a private collection and exhibition program of contemporary art run by one of the city's wealthiest families, finally hired a curator after last year's layoff scandal calmed down. Given the banal sensibilities and rigor-lacking qualities of the exhibitions chosen and organized by the museum's current senior-level administration, I doubt (but really hope) that this curator, Erin Dziedzic, will bring with her the clout needed to integrate local and cutting edge art and issues into the programming plans and change the museum. But, I'm holding my breath that this rite of passage will include local artists because I'm an optimist!
Maybe it's because I've reached my own transition point in that I'm finishing my own residency and leaving this city—and thus passing through a formative stage of my life—in mere weeks, but I feel like there are identifiable rites of passages happening all over Kansas City right now. In recent months, three of the city's arguably biggest contemporary art players have announced that they will transition out of their longtime roles in the contemporary art world.
1)  John O'Brien, owner and director of the Dolphin Gallery, one of the city's few commercial galleries, has decided to get out of the business. This is a huge blow to many artists who already feel the suffocating grip of an almost non-existent art market in Kansas City. But poetically and poignantly, O'Brien's daughter Caitlin mounted the last show at her dad's gallery, showing that a family tradition for contemporary art will likely bare fruit in Kansas City some day. One hopes that O'Brien's labyrinth which holds numerous Kansas City artists of all stripes could spill into the realm of Bill Brady KC, a gallery run by the New Yorker, but given Brady's lack of interest in the local folks, I don't see that passageway being paved anytime ever. I do hope, however, to see a young townie open her gallery doors with a roster that promotes a collection of Kansas City's emerging and longstanding artists alongside the international talent with which they are equal stock.
2)  Margaret Silva, the Hallmark heiress, has announced that she will close the city's most nationally relevant venue, Grand Arts, a kunsthaus-type space that she funds mostly on her own dime. To me, this news brings the most despair. In a city that is home to some incredibly experimental cultural production, there must be a place where artists can see the work of other leading conceptual artists—their international contemporaries. Grand Arts brings in some of the best artists in the world to present challenging, provocative exhibitions and social practice programs. Unfortunately, the organization is much too quiet—they hardly market a thing—and their programming schedule is inconsistent not to mention thin. I've been here nearly 11 months, and though they have a number of part-time and full-time employees, I've seen two shows there (with many months-long gaps in between them). But man, when Artistic Director Stacy Switzer finally gets a show up and going, it's darn good. I'll be sad to see this place close its doors in 2015.
3)  And finally, Charlotte Street Founding Director David Hughes, Jr. (full disclosure: Hughes is one of my bosses, for lack of a better term) will step back from the organizational helm over the coming months. Hughes, in collaboration with the organization's diverse board and savvy Charlotte Street Co-Director Kate Hackman, has been instrumental to the success of the city's most experimental and ambitious artists through the facilitation of Charlotte Street's Visual and Performing Art Awards (aka thousands of dollars unrestricted CASH for artist winners), in addition to numerous exhibition and professional development opportunities for artists and others (like me!). Hughes will stay on with Charlotte Street in an advisory role, but he will pass the reins to a new executive director yet-to-be named.
Hopefully, these folks will expand the matrices that currently exist in Kansas City to accommodate new paths for contemporary art. While I know that many in town are worried, and they should be, I'm sure that the rites of passage between these folks and venues will pass on to someone ready for the challenge. And me, I have accumulated Kansas City artists into my own labyrinth, which I can't help but take with me everywhere I go. And the new Charlotte Street Curator-In-Resident, whoever s/he may be, will likely do the same because Kansas City artists and their work are magnificent and relevant. After all, the labyrinth is just time. And again, because I'm an optimist, I'm sure that time will keep moving along and shifting to open one passageway after another for Kansas City contemporary artists.
Jamilee Polson Lacy is an artist, curator and writer based in Chicago. Currently, Lacy is the Inaugural Curator-In-Residence for Charlotte Street Foundation in Kansas City, where she organizes exhibitions, educational programming and publications for Charlotte Street's Crossroads District gallery, la Esquina. In Chicago, Lacy additionally operates as the founding director of Twelve Galleries Project, a transitory, collaborative exhibition experiment. She has engaged in solo and collaborative projects with many creatives and institutions, including A+D Gallery at Columbia College Chicago, The Black Visual Archive, Chicago Artists' Coalition & Hatch Projects, the School of the Art Institute of Chicago, Hyde Park Art Center, Museum of Contemporary Art Chicago, Western Exhibitions and Quite Strong, among others. In addition to numerous catalogue essays, interviews and articles, Lacy has published Color: Fully Engaged, a book of interviews and essays, and written series for Flash Art's Umelec Magazine, Art 21 and now, Bad at Sports. Lacy holds two undergraduate degrees in studio arts and art history and a Masters of Comparative Literature and Arts from Northwestern University.Â
Since self-publishing his wildly successful first novel Clumsy in 2002, he's created numerous other painfully funny autobiographical comics, co-written the 2012 star-studded film Save the Date (starring Party Down's Lizzy Caplan and Mad Men's Alison Brie) and penned a hilarious series of graphic novels that explore the challenges of being both Darth Vader–ruler of the evil Sith empire–and a single dad.
Brown's newest Star Wars-themed book Jedi Academy (out on Aug. 27), is a coming-of-age story about a boy named Roan and his adventures mastering the Force while juggling all the issues that come with being a middle schooler.
Brown took the time to answer a few questions via email — keep reading to learn more about his past and current work in film and publishing.
June 5, 2013 · Print This Article
Guest Post by Wendy Lee Spacek
Greetings from INDPLS, new friends!
Caroline and I saw one another a few weeks back at a poetry reading I gave at Heavy Gel in Chicago. I gushed about life in Indianapolis to her, so she asked me to send a monthly dispatch from the Circle City all summer long, and I'm delighted to do so. You may be thinking: INDIANAPOLIS?!?! WHERE IS IT? WHAT IS IT? You may even be thinking "more like, IndianaNOPLACE!" and I assure you, many a naysayer has said that (including our own Native Son, Kurt Vonnegut Jr.)
But let me relay to you a tale of a place that has touched me deep down in my soul like not so many things can. For a number who live here, Indy is the most magical Midwestern city; Steeped in possibility, affordable, walkable, bike-able, jam-packed with public art and home to some seriously nice people.
Indianapolis is the 12th most populous city in the United States (sandwiched between #11 Jacksonville, FLA and #12 San Francisco.) As of today our population is approximately 834,852.
Indianapolis is the state capitol of Indiana. The capitol used to be in Corydon (pop. 3,122) but in 1820 some powerful dudes decided to move it to the very center (almost) of Indiana. In part because most capitols are located in the center of their states and partially because they mistakenly believed that the White River could be used as a highway for boats. Well they were wrong- Indianapolis is the largest city in the United States on a non navigable body of water.
Being our capitol city, downtown is the center of government, so we have a high density of beautiful, historic government buildings, memorials and monuments.
Speaking of these beautiful, historic government buildings, this May First Friday (the night out for art here in Indy) brought a once-in-a-blue-moon, one-night-only opportunity to enter the former City Hall building on Alabama Street for an exhibition of work by 47 current, former or graduating students from Herron School of Art and Design. Aptly named VACANT, the exhibit took inspiration from the wildly successful TURF exhibition held in the space during Indy's moment in the spotlight: Super Bowl XLVI.
The show was curated by graduation Herron Seniors Taryn Cassella, Anna Martinez and Andrea Townsend. Where TURF was an exhibition of installation art, VACANT included work across mediums. I especially enjoyed Jordan Ryan's section off the main library detailing the history of the building. A good review with some pictures from the exhibition an be seen on Indy's weekly arts newspaper, Nuvo's website.
Vacant Old City Hall Building. Image via Historic Indianapolis.
Jon Keown's artwork in VACANT. Imagine via Nuvo.net.
This same evening I also made it to Monster Gallery in Fountain Square (one of the city's most happening neighborhoods) to catch Portland-based artist Tripper Dungan's show: What's For Dinner?
This is actually one of the most exciting things I've seen lately. The paintings themselves demonstrate a super high level of skill, extremely tight and in an incredible array of colors. The addition of Chromadepth 3D glasses was almost too much to take. I spent at least an hour circling through the gallery taking in florescent anthropomorphized fast food and dancing psychedelic popsicles popping out at me. It was a visual treat. Plus, Tripper was there and his whole outfit was in Chromadepth and he was a really nice guy.
Images via Monster Gallery
The very next day brought the long-anticipated opening of the Indianapolis Cultural Trail (an 8 mile bike & pedestrian path that connects the city's seven designated cultural districts.) It was an all-day event that featured tons of free activities along the entire trail. A sampling of what I saw/did: petted an albino skunk, talked to a miniature therapy horse, saw a knit bombed house, and saw live performances by 9 marching bands! The marching bands were my favorite part because of their historical context in celebrations/mourning, as well as their significance for youth. Six high school bands converged on Market St. downtown with the sole purpose of playing "Get Down on It" by Kool & The Gang.
High School Marching Bands converging on Market St.
John Marshall Community High School's drum line playing "FREAK THAT" on closed down Market St. Downtown.
A contemporary twist came through the addition of a free performance on the ground/steps of the Central Library by Chicago's own Mucca Pazza as well as a Brazilian-style party parade down the trail led by Bloomington's Jefferson St. Parade Band.
Mucca Pazza performing in front of the American Legion Mall
Late in the month brought the Broad Ripple Art Fair a fundraiser for the Indianapolis Art Center, (my place of employment) which included 225 local, regional and national artists. My participation was working the Make Art Take Art Leave Art Market where people could make and trade art for free!
I also hosted a poetry reading at Indy Read Books, our only independent bookstore within the downtown area. Here is a Vine from local Poet Doug Manuel's reading.
My friends and I also painted this mural (on the sly?) on an electric box in our neighborhood:
And lastly at the end of every month the Indianapolis Museum of Art hosts an free event called Final Friday and I typically find myself there. The music is curated by DJ Kyle Long of Cultural Cannibals and features both a DJ set by him and a live performer or band. This month was a Pakistani via Brooklyn garage band called The Kominas. Overall it was a good event. Although I did get in trouble for trying to dance with a Georgia O'Keefe painting.
The Kominas playing at the IMA
Ai Weiwei's Installation "He Xie"
Kyle Long DJing in front of Robert Irwin's, Light and Space III, 2008.
Until next month!
Wendy Lee Spacek is a poet who lives and works in Indianapolis, Indiana. She likes her city very much. She is a core volunteer of the Indianapolis Publishing Cooperative (Indy Pub Co-Op), publishes small editions of handmade books under the name Soft River and is an arts administrator at the Indianapolis Art Center. She will be posting monthly all summer long about her encounters with art, culture, creative experiences and resources in her city.


text:
Eye Health Center
Laser Procedure Could Eliminate Need for Reading Glasses
Aug. 4, 2000 -- For years, eye doctors have been treating people who would otherwise need reading glasses by using two different prescriptions of contact lenses -- correcting one of the patient's eyes for close-up tasks and the other for distance vision.
Now they are taking this concept further and using laser surgery to do the same thing. The idea may make some people a bit queasy, but doctors say the key to success is giving patients a detailed explanation of what to expect and plenty of support through the adjustment phase.
This type of correction is called monovision. It is used to treat a condition called presbyopia, usually seen in people 45 and over, in which the eyes gradually lose their ability to focus on nearby objects. Refractive surgeons -- who specialize in correcting focusing errors such as nearsightedness, farsightedness, astigmatism, or irregularly shaped corneas -- perform the procedure during standard laser eye surgery.
"In monovision, one eye is primarily used at a time for ideal focus," refractive surgeon Andrew I. Caster writes in his book The Eye Laser Miracle. "Both eyes are used all the time, but one is generally primary, depending on the distance of the viewed object. Peripheral vision and depth perception are usually normal."
Caster, who practices in Beverly Hills, Calif., tells WebMD that a trial run with contact lenses is "by far the best thing" before moving on to surgery. He estimates he has performed monovision correction in more than 1,000 patients. "If a patient chooses monovision and is educated about it in the proper way, they are almost always happy with it," he says.
Andrew Maxwell, a refractive surgeon at the California Eye Institute in Fresno, Calif., estimates that he and his colleagues have performed the procedure on 300 to 400 patients. "The patient satisfaction level goes all the way from being extremely pleased to having a hard time dealing with the difference between the two eyes," he says, but "in general, the patient satisfaction is relatively high."
Like Caster, he says patients should try monovision with contact lenses first to see how they adjust. "About 25% of our patients were already living that way [with contact lenses], so they know if it's something they want to do," he tells WebMD.


text:
i have just installed it..limited to 100 words but nothing on the main page
i have just installed it..limited to 100 words but nothing on the main page
It doesn't seem to make any difference to my excerpt option when writing a post either
I ran a test, but the plugin options work just fine.
Do note, though, that the plugin only replaces the default excerpt function used in WordPress. If you have written your own custom excerpts, this plugin will leave them be (just as the default function would have).
So I suspect that the 'problem' you are having is actually normal behaviour.
Feel free to elaborate, though.
I have to chime in on this as well. I am running 2.5.1 and it doesn't work for me either. I have tried everything. It simply doesn't work. it's a shame though, this could have been a really great plugin. Too bad it seems like he author is asleep at the wheel.
No need plugin to do that...
put this in function.php your template file
function my_trim_excerpt($text) { // Fakes an excerpt if needed
if ( '' == $text ) {
$text = get_the_content('');
$text = apply_filters('the_content', $text);
$text = str_replace(']]>', ']]>', $text);
$text = strip_tags($text);
$excerpt_length = 30;
$words = explode(' ', $text, $excerpt_length + 1);
if (count($words) > $excerpt_length) {
$morelink=sprintf(" [...]", get_permalink());
array_push($words, $morelink);
$text = implode(' ', $words);
return $text;
remove_filter('get_the_excerpt', 'wp_trim_excerpt');
add_filter('get_the_excerpt', 'my_trim_excerpt');
put your limit words in
Hi Indojepang....
the theme I am using (White as Milk) does not have a function.php file...or at least, I can't find it in order to paste your code in and try it
My posts are really long and would like to be able to create excerpts automatically.
Is there a plug-in that works?? Im using WordPress 2.5
I am a newbie to .php - so can you tell me how to find the function.php file, if you are saying this plug-in is not necessary???
The plug works also with WP 2.6. You just have to check your templates for the tag the_excerpt().
This works for me, and apart from thinking that some of the tags should be disabled by default (e.g. table and form tags), I think this is how the_excerpt() should work by default!
I'm using WP 2.6 and I couldn't get this plug-in to work either. I'd really like my HTML markup to show in my excerpts. Is there a workaround or another plug-in? My template allows for pasting specific excerpts...I tried it both ways.
Just learning WP, so please answer in EZ_speak! ;)
This doesn't work for your custom excerpts.
It creates excerpts automatically by stripping your posts.
It WORKS like a charm.
But if you have custom excerpts then it won't change them.
Using wordpress 2.6 also.
Thanks for the plugin. Wonder why this is not in the core of wordpress anyway.
Forgot to add, it even works with shortcodes! love it , 5 stars!
The plugin seems to work for most people, but apparently it doesn't always work (even though you're running the same WP version). I'm guessing this might be the result of conflicting plugins or the use of custom excerpts.
I will be adding an option to override custom excerpts in a future version. I will also try to figure out what is causing the random problems that some people are having, but I can't promise anything.
Thanks for taking the time to post.
It works fine here, i'm using WP 2.7.
Just installed, activated and it was done.
I wish people would stop saying it works fine for them and just tell the people who are having problems what they are doing wrong. "Look for the_excerpt"? Where? Some of these people have said they are new so can you please enlighten us.
Mine is a new install, I haven't done a custom excerpt or whatever it is. I tried WP's extension, it failed to strip out caption tags and anyone who asked how to do that never got an answer.
So I deactivate that one and try this one. Nothing happened. No answers to questions for those of us who have never used WP before. I've been trying to figure this out for hours and it's so frustrating that people act like this when others come here for help.
I've installed quite a few php applications but, this support forum is the most frustrating one I've come across.
By the way, you would save the developer of the plugin a lot of time if he knew there was nothing wrong and what we're doing wrong.
Very useful plugin.
I've found a problem is that the options in the WP admin interface override any options I specify by using the the_advanced_excerpt() tag.
For example, if I use the code
then it doesn't block IMG tags because IMG tags are still checked as an option in the admin interface.
The result of this seems to be that you can't have some excerpts in some contexts that display images and some that don't, which I thought was the purpose of the_advanced_excerpt() tag?
I'm using version 0.2.2 with WP v2.7.1
megami20, chillax a bit. You get what you pay for in these support forums.
What the people are doing wrong is likely just not understanding how the plugin works - or more likely not understanding how WordPress works.
If you want help though, you need to explain a bit more than "it's not working".
First thing everyone needs to do is check their theme to make sure it is using <?php the_excerpt() ?> instead of <?php the_content() ?> where you're looking for excerpt text to appear. You can do this under the APPEARANCE->EDIT menu in the backend (or just edit the php files in your theme folder via FTP).
If none of that makes sense, then you need to take an hour or two and familiarize yourself with how WordPress themes work. If that all makes sense, come back and explain clearly what is and isn't happening.
This topic has been closed to new replies.