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Fegenbush, Gibbons are candidates for top state awards
By JEAN L. KAESS
St. Mary Parish has the honor of having two educators in consideration for state awards.
Buffy Fegenbush, Berwick High School principal; and Sheryl Gibbons, English teacher at Patterson High School, are finalists in their respective divisions for the titles of state Principal and Teacher of the Year.
Fegenbush has worked in St. Mary Parish for 21 years in numerous capacities including as a new principal mentor. This is the second time she has been named St. Mary High School Principal of the Year, her resume states.
Gibbons has 15 years of experience in the area of English and language arts on the high school level, according to her resume.
Fegenbush attended Eastern Kentucky University, Nicholls State University, Northwestern State University, and most recently, received her doctorate of education from the University of Louisiana at Lafayette.
Gibbons attended the University of Louisiana at Lafayette and Arkansas State University where she received her master's degree in educational leadership.
This is the second time in Gibbons' career that she has been named a state finalist for teacher of the year, her resume states.
Gibbons has served St. Mary Parish in many capacities such as writing instructional calendars and creating six-week parish assessments in English. Her resume also states she organized and facilitated summer workshops for parish high school English teachers, presenting innovative techniques to improve both teaching and assessment. She serves as the English content leader at Patterson High and is the school's representative in state training as its teacher leader, according to her resume.
Among Fegenbush's accomplishments are serving as Louisiana Teacher Leader's principal representative, mentor for the Educational Leadership Master's Cohort, on the ULL graduate faculty and the St. Mary Parish Principal's Association, according to her resume.
She was selected for the International Institute for Education, Korean Studies Workshop in 2008 and the Japan Fulbright Educator Exchange Program in 2006, the resume states.
Fegenbush is a native of Kentucky and has been married to Jeff Fegenbush for the past 21 years. She is the mother of Megan, 18, attending Louisiana State University, and Taylor, 16, attending Berwick High. The principal was the first person in her family to graduate from high school. As someone who knows what a good education can do for one's life, it has become her life's work to make sure that others have the same opportunities. In her spare time, she enjoys reading, fishing and traveling.
Gibbons lives in New Iberia with her husband, Coby, and son, Zachary. This summer she is on a trip to Peru, while also writing the model content framework for English 2 classes in St. Mary Parish.
The Louisiana Teacher of the Year Program, which is co-sponsored by the Louisiana Department of Education, the State Board of Elementary and Secondary Education and Dream Teachers, is an annual event designed to recognize and honor top performing teachers in our state, according to the Dream Teachers website.
The statewide competition is part of the National Teacher of the Year Program, sponsored by the ING Foundation and a project of the Council of Chief State School Officers, a nonpartisan, nationwide organization of public officials who head departments of education in across the United States, the website states.
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2nnt (Mazi Moilanen) is a multi-genre electronic music producer based in Helsinki, Finland. He first began producing in the early 2007 at the age of 10 using online applications, but quickly moved onto FL 7 after its release. In late 2010, he got involved with the label Breakbit Music, and made his minor breakthrough in November of the same year.
Under this particular alias he focuses on creating hard electronic music, but also he produces noise music under the name "glasscarpenter", drone and minimal ambient as "From the Willowmeadow", as well as psychill, downtempo and chillstep under the name "Static Noise Bird".
Artist descriptions on Last.fm are editable by everyone. Feel free to contribute!
All user-contributed text on this page is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply.

subset: commoncrawl


text:
According to Damon Martin of Bleacher Report, UFC officials were in talks with Frankie Edgar and Cub Swanson to book the featherweights for The Ultimate Fighter 17 Finale main event slot.
Instead, Urijah Faber and Scott Jorgensen were cast in that role for the April event. The card needed a new main event after UFC flyweight champion Demetrious Johnson suffered an injury and was forced out of a planned fight with John Moraga.
The card will also feature female fighters Miesha Tate vs. Cat Zingano, heavyweights Travis Browne vs. Gabriel Gonzaga, and the finals in the current season of TUF.


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Having the Metropolitan Sewer District take over the operations of the Shepherdsville Sewer System seems like a great idea.
It still seems a little bit strange to tackle back-to-school events two weeks before the State Fair begins.
Summer is moving on fast but the heat is holding on.
FRANKFORT - The Kentucky Department for Public Health (DPH) is working to emphasize the importance of providing support for breastfeeding families.
FRANKFORT – Kentucky Attorney General Jack Conway wants to make sure Kentucky's senior citizens are armed with the latest information to protect themselves against fraud, identity theft and scams targeting the elderly.
Editor's Note: Second of a two-part commentary. Read part one, including a recap of the previous school year, here.
Editor's Note: First of a two-part commentary. Read part two, including plans for the upcoming school year, here.
Closing a casket on newspapers might be a bit premature.
Copyright © 2017
The Pioneer News Online is your source for local news, sports, events and information in Bullitt County and Shepherdsville, KY, and the surrounding area.


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Affiliated to
...possibly the most successful VX Club in the world!
Easi-RockIts is a thriving VX club with something for everyone. Chance to compete at the highest level, just for fun or just for fitness. We're always welcoming new members. First session free. Come and try it ...
HellCats- Minster FM Team of the year 2013
December 2016
Joint Bag pack with Stillington VX Clup at the Co-op on Long Street, Easingwold raises £300+
December 2016
Easingwold District Senior Champion is Paul Hildreth
Easingwold District Junior Champion is Henry Pittham
November 2016
Congratuations to Matthew Leyshon, Easingwold District Youth V2 Champion
June 19 2016
Congratulations to Miles and Jonah. Miles was awarded Junior Player of the Tournament at the Knockout Festival and Jonah was awarded the Cornerstones Award
June 13 2016
Thank you to Easingwold Lions for their donation to the club for new kit
June 13 2016
Easi-RockIts leave Easingwold School and move to Crayke
April 2016
Karen Bruin interview on the
March 20th 2016
Congratuations to Paul Hildreth, National V2 Champion, Masters category
March 19th 2016
Congratulations to Matthew Leyshon, National V2 Champion, Youth Category
March 2016
Easi-RockIts affiliates to the Female Coaching Network


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We offer you this space to share your knowledge about Magento and learn from our experienced customers.
Home › Forums › Reply To: Problem share on facebook pages! › Reply To: Problem share on facebook pages!
I just would like to preview the product image appears in sharing the link manually on facebook, as with all other templates. As shown in the picture I posted. http://www.rotinaarts.com.br/downloads/facebook.jpg
If I share the root of the site link on facebook all the photos appear on the site, including the products. Example: http://rotinaarts.com.br/downloads/tela principal.png. If I put a link to a specific product picture appears.
This is a templete Hellomix problem of why this is also the site that has the showcase: http://www.sugarandspice.com.au. In other templates I tested this problem does not exist. There must be something in the programming of the template that is blocking the image search function facebook.


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With Bank of Ireland Mortgages, borrowers can fix their rate at 0.99 per cent until 1 October 1996 so the savings in that first year would be enormous. However, Stephen Dilworth, head of corporate affairs, says: "Borrowers would be wise to budget for full rate payments from the start and put any savings into an account. This will get them used to the monthly commitment but still allow them to benefit from the low rate."
Another low fixed rate is available from Bristol & West Building Society. Borrowers can peg their rate at 0.95 per cent until the end of November 1996. Providing they don't want to borrow more than 90 per cent of the property's value, borrowers can fix their rate at 0.70 per cent for the same period.
Scarborough Building Society's Three Step Two Year Discount Mortgage lets borrowers pay back their loan at 0.75 per cent for six months, then 5.99 per cent for another six months, then 7.49 for a further year.
If you have a sizeable deposit to put down, savings will be greater. The Hinckley & Rugby Building Society currently offers a fixed rate of 0.75 per cent until 1 September 1996 - but only if you have a 30 per cent deposit.
But what are the potential pitfalls of such cheap mortgages? Many lenders will demand that you take their buildings insurance, and you may be forced to take contents insurance or even a life policy through the building society or bank to qualify. Another consideration is the fees and charges, legal, search and survey fees that apply to remortgages and new borrowers.
Considering it takes weeks and months before most mortgages reach the completion stage (even for remortgages when the borrower isn't moving home), a cut-price loan for a guaranteed number of months may last longer than one running to a certain date.
Clearly, lenders can't afford to provide amazing discounts or fixed-rate mortgages and then see their borrowers walk away the moment it has run out. Often, three or four months' gross interest is charged during the first three to five years of the loan. So, if you're mortgage shopping you can expect to be offered a cut-price deal but make sure you examine every deal with a healthy degree of suspicion. Even in the mortgage market you can be sold shoddy goods.
Looking for credit card or current account deals? Search hereReuse content


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I appreciate the information, if you find the addresses let me know.
Is Heinz Klose in Frankfurt?
Thanks again,
----- Original Message -----
From: <email@example.com>
To: <firstname.lastname@example.com>
Sent: Friday, September 24, 1999 5:35 PM
Subject: Re: Visiting Germany - - Gardens
> In a message dated 9/24/1999 1:03:45 PM Central Daylight Time,
> firstname.lastname@example.com writes:
> << I am very much interested in locating
> and visiting gardens and or nurseries during this visit. >>
> Heinz Klose has a mag garden. Ullrich Fischer near Braunschweig has a fab
> nursery. I THINK that the nursery of the late the Countess von Zeppelin's
> nursery is still in operation---managed by her son-in-law, Prinz Carl von
> Bahr.
> I will send you Ullrich's tel #. He knows EVERYONE.
> In one of the Hosta Journals, there is an article on Hostas in Germany.
> Several private gardens are mentioned. The owners are members of the AHS
> am sure they would be glad to have you.
> I'l try to get you addresses.
> Public gardens: You will want to see Der Koenigliche Garten zu
> ---------------------------------------------------------------------
> To sign-off this list, send email to email@example.com with the
> message text UNSUBSCRIBE HOSTA-OPEN
To sign-off this list, send email to firstname.lastname@example.com with the
message text UNSUBSCRIBE HOSTA-OPEN


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Talk:Jim Tarbell
From Wikipedia, the free encyclopedia
|This article must adhere to the biographies of living persons policy, even if it is not a biography, because it contains material about living persons. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately from the article and its talk page, especially if potentially libellous. If such material is repeatedly inserted, or if you have other concerns, please report the issue to this noticeboard. If you are connected to one of the subjects of this article and need help, please see this page.
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College/Professional training info requested, please. Please add photo. —Preceding unsigned comment added by 126.96.36.199 (talk • contribs) 17:24, 5 September 2007 (UTC)
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text:
Clergy from the Coptic Orthodox Church began casting ballots yesterday to decide who will become the leader of the Middle East's largest Christian minority – a process which will end with a ritual involving a blindfolded child making the choice at random.
More than 2,400 clergy and lay people arrived to register their vote at the Coptic cathedral in Cairo, following the death of Pope Shenouda III in March. On Sunday the process will end with a "lottery" system.
- More about:
- Cairo
- Cathedrals
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- Egypt
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text:
The Fifth Column
på Southwark Playhouse
80 years on from the start of the Spanish Civil War, a play by one of the greatest writers of the 20th century appears in London for the first time. Ernest Hemingway was in Madrid in 1937, during Franco's siege, and wrote The Fifth Column there, under that bombardment. Philip Rawlings, a spy-catcher and covert member of the International Brigade, is engaged in a life-and-death struggle to unmask Fifth Columnists inside the besieged city. He is also passionately in love with a female war correspondent living in the hotel. Around them, the people of Madrid are trying, often comically, to survive; and the idealism of the young men under him, who came to fight with the International Brigades, is contrasted with the ruthlessness of civil war. Ernest Hemingway's For Whom The Bell Tolls is the great classic of the Spanish Civil War, and we hear his own inimitable voice in The Fifth Column. Many of Hemingway's novels are drawn from his own adventures and love affairs, and the play is based on real events and real people - the leading characters owe much not only to Hemingway and his lover Martha Gellhorn, one of the first female war correspondents, but also to Tom Wintringham ,"The English Captain" and Commander of the British Battalion and his lover Kitty Bowler.
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Leland de Señuelos Señuelos tipo de pez imán Color: Negro / Chartreuse (87614) EUR 52,61
Things Happen When You Pray (feat. Pastor Anthony E. Moore) EUR 1,29
CMBC Music Ministry
In search of unity: Story of the Conference of Mennonites in Manitoba
Living with conviction: German army captain turns to cultivating peace EUR 308,76
Church as parable: Whatever happened to ethics?
Mennonite templers (Echo historical series)
The Church as theological community: Essays in honour of David Schroeder
For everything a season
The Bergthal colony (Bergthal historical series)


text:
- This event has passed.
GROUNDHOG DAY on Groundhog Day! 24hr Hogathon!
2nd February 2016 @ 6:00 am - 3rd February 2016 @ 6:00 am£2 - £10
Tickets £2 / £4 / £5 / £10 (see below)
What could be better than watching Groundhog Day on Groundhog Day? How about a Groundhog Day double-bill! Or even a triple bill? Or even…. no, that would be crazy … a 24 hour groundhog marathon!?!?!?!
Yes, that's right. We're going the whole stupid hog, screening Harold Ramis' time-loop comedy 12 times back to back, starting at 6am on Groundhog Day, Tuesday 2nd Feb. Why? Because we can. Because, it's where film exhibition meets futile endurance, where cinephilia meets utter folly.
If you'd like to join us, you'll be able to drop in at any time during the wee small hours for a super discount screening (just £2!) and stick around as long as you can manage. If you want to come for the peak-time evening double bill for a fiver, then that's cool too. Or you could go the whole hog, and watch 12 films back to back for £10, (including cup of tea and a sandwich). Get involved for as little or as much as you like (or can take!). You crazy crazy people. Not even Shia LaBeouf would do this!
We're also encouraging people to use the screening to raise money for the cinema or the charity of their choice, so let us know if you'd like to be sponsored. We'll be live tweeting and reporting the weather repeatedly through-out the day (and night)
For the un-initiated, Groundhog Day is a 1993 cult fantasy comedy in which Bill Murray plays Phil Connors, an arrogant TV weatherman reporting on the annual 'Groundhog Day forecast', only to find himself in a time loop, doomed to repeat the same day ad-infinitum in the small Pensylvanian town of Punxsutawney. After perpetually experimenting with suicide, hedonism, and teaching himself classical piano, Phil finally begins to question his own world view of humanity.
Think alarm clocks, think Sonny and Cher, think Ned! It's like Edge of Tomorrow for weathermen.
Screenings at every 2 hours, starting at 6am!
We'll also be selling some amazing Groundhog Day prints from Chris Alsop on the night.
FINALLY – SPONSOR US! Sam and Chris will be projecting and introducing the film for 24 hours, living the hell that is groundhog day, in order to raise money to show more films for free. Help us raise our target of £240!
- Twilight Hog (6am – 4pm, 10pm – 4am / just roll up and stay as long as you can manage! ) – £2 – on the door only
- Peak Hog – single peak time screening (6pm or 8pm ) – £4 (£3 concessions)
- Double Hog – peak time double bill (6pm and 8pm screenings) – £5 plus souvenir ticket
- Whole Hog – all day, plus sandwich and a cup of tea – £10 plus souvenir ticket


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After a relaxing yet work-filled Spring break, I am back at Oxy and ready to finish up my last semester here! (Cue tears). I spent half of my break hanging out in my hometown of Riverside, CA. where I got to spend time with family, grab frozen yogurt with some high school friends, and do some hefty work on my senior comps presentation that is coming up in April. Shout out Mom for the tasty home-cooked meals! After spending time at home I headed back to Oxy to spend some quality time with my roommates. The first night back we headed to Palos Verdes, a beach about 40 minutes from Oxy, to spend a few days at one of my roommates' grandparents' home. Again, shout out to Grandma and Grandpa Naito for the fantastic food! While we were there we visited the Aquarium of the Pacific and spent a day napping/ reading for comps...Read More
Student Voices
Considering Oxy? Check out what our students have to say...
March 22, 2014
Blogger: Kristen Treat
March 22, 2014
Blogger: Julius DiLorenzo
Hey you!
The second semester is well under way, with less than two months until the end of the semester! Having just navigated through midterms flawlessly (well, until the grades come back), it's time to start planning courses for fall 2014. Fortunately, I am planning on participating in Campaign Semester so I get to circumvent this step, fun as it is. For those that don't know, Campaign Semester is a program through the politics dept. (though open to all majors) where you spend the fall semester of an election year interning full time on any high-level campaign in the country. You then return to campus after the election for a month-long seminar with the other participants and discuss and write on the experience. The best part: It's full...Read More
March 21, 2014
Blogger: John Ugai
So it's not exactly a secret, but I do feel like I need to get something off my chest—I love food. I would love to be able to say that it's a cute problem, like the kind of problem that's not actually a problem, but it isn't. This is a safe space, so let's be honest, mixing peanut butter into my Rocky Road at twelve a.m. will never be cute. I know what you're thinking too, that is definitely weird enough to be completely true. It is true, and I know first hand that those seemingly contradictory ingredients blend into a gooey, peanut buttery, smooth, chocolate, chunky concoction. I also know firsthand how food can help a small town kid from rural Colorado can blend with vibrant life in LA and at Oxy.
Coming from a small town with only two four-lane roads, Los Angeles was a...Read More
March 21, 2014
Blogger: Martin Pittman
As Spring break quickly came upon us, I began thinking about how I would spend this break. During spring break my first year I went home and relaxed with my family. Last year, I had the pleasure of escaping to a cabin in the woods for a Midspring Night's Dream with some friends. I realized how much I have typically traveled over spring break, and this year I found myself forced to remain around campus.
Unfortunately, the Sunday before break began our oxy men's rugby team caught it's first loss which meant we would play Sunday the 16th. I was so frustrated that my spring break plans had come crashing down as I knew we would have practice this week. However, this time spent at school gave me time to reflect on the semester so far, and what I realized is...Read More
March 20, 2014
Blogger: Becca Patch
In less than two weeks, your mailbox will begin overflowing with piles of fat envelopes, the word CONGRATULATIONS scrawled in elegant letters on the front. It's an incredibly exciting time, because it's the product of all the work you've put in over the last four years, but it can also be very stressful. With that in mind, I wanted to take a break from talking about my experiences at Oxy, and instead share some advice that spans from opening the mailbox to choosing your college!
(I'm also including a lot of random photos, courtesy of my first week of college-- this first one is of my mother and I sitting in Rush Gym during the very first day of Orientation)
1. It's a Roller-coaster. One day you'll open the mailbox and you'll have a CONGRATS envelop and you...
March 19, 2014
Blogger: Claire Marsden
Hello world! New blogger here. My name is Claire Marsden, and I'm a senior Politics major and an Admissions Senior Fellow from South Orange, New Jersey.
It's starting to feel very real that in about two months, I will be graduating from Oxy. It feels like just yesterday that I was schlepping my huge Parent Trap-style yellow duffel bag up the hill to Braun Hall and taking a sweaty ID photo thanks to the 90+ degree heat (perhaps because I am haunted by that photo every time I hand over my ID to buy food at the Marketplace). As a first year, I remember thinking about graduating and feeling like it would never come – that I would be forever hanging out in the Quad, tanning...Read More
March 17, 2014
Blogger: Laurel Cox
Hello everyone!! It's been a while!! As we reach the halfway point of the semester, I feel like I—along with all the other seniors—am faced with two conditions: extreme nostalgia and extreme denial. It has been (and will continue to be) a semester of "lasts" for me. Last recruitment, last class registration, last spring break, last semester of college. BUT! Rather than focus on what everyone knows is coming and can't help but talk about (GRADUTATION!!!), I'd rather reflect on the things I've learned in these four wonderful years at Occidental. So here I present to you some of my senior wisdom. I even made pictures \^o^/
1. It's never too late to change your mind.
...Read More
March 17, 2014
Blogger: Maddy Farkas
Cover letter? Check. Personal statement? Check. Resume? Check. Recommendation letters? Check. Double check that you've checked everything? Check.*
Applying for internships is a tedious job. I could probably score an internship with someone trying to apply for internships. We need the most help out of anyone, if you ask me. Are there any companies looking for college students with experience watching Netflix? (Yes, I have already checked Netflix.) I can almost guarantee you that I spend more time focusing on the what-seems-like-100 applications I need to fill out than any of my actual academic classes this semester. Let's just say I am very thankful for the wonderful women at our Career Development Center these past few weeks. Whether it's checking over my resume and cover...Read More
March 15, 2014
Blogger: Ashley Wilson
The further I've gotten away from my first semester of freshman year, the more I've realized how happy and at home I finally feel at Oxy. However, it's really nice to be home (in San Francisco), too. I was one of the only people in my quad that left campus to come home, and I'm really glad I did. I love spending time with my mom – she's one of my best friends. We have always had a great relationship with each other, mother-daughter and friend-to-friend. I talk to her about my problems, and she gives me great advice, especially when I'm feeling uneasy about my friends. Likewise, when she is having problems, I'm there for her, too. For the most part, my family and I have been blessed with good luck, good health, and happiness. We even just added a new addition to our family! However, since...Read More
March 15, 2014
Blogger: Sarah Schmitz
Hi everyone! As spring break comes to a close and I have to finally accept that my real life must resume, I wanted to reflect and recap some of the fun stuff I've done this past week.
This year my friends and I decided to stay in LA as opposed to going back home, as many Oxy students do. While I tragically do not have a car on campus (it's back home in the great city of Houston) I have wonderful friends with cars who volunteered to provide transportation.
Here are a few of the things we did during...Read More


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Allows the unit to be used freestanding
Professional Towel Bar Handle
A curved stainless steel handle adds function and elegance, providing more room for a comfortable grip
Diamond Plate Door
Textured aluminum finish offers an industrial look
Adjustable Shelves
Rearrange your refrigerator space to accommodate all shapes and sizes or remove shelves for a simple clean-up
Hidden Evaporator
SUMMIT's original "hidden" evaporator is concealed in the wall so it never touches your fingers or your food
One Piece Interior Liner
Enjoy easy clean-up with a seamless liner that won't hold a mess in hidden crevices
Door Storage
Keep large bottles and condiments right on the door for easy access
Fruit and Vegetable Crisper
Get the longest life and best taste out of produce by storing greens in a convenient slide drawer
Interior Light
Automatically illuminates when you open the door
Adjustable Thermostat
Manage the interior temperature with ease and accuracy
100% CFC Free
Environmentally friendly design without ozone-damaging chemicals
*Note: This unit is designed for general purpose and medical applications and does not meet DOE energy standards for residential use.
|Exterior Width:
|Depth without Handles:
|Depth with door at 90 degrees:
|Total Capacity:
|5.5 cu. ft.
|General Specifications
|All Refrigerator
|ADA Compliant:
|Approved for Commercial Use:
|Approved for Medical Use:
|Hinge Side:
|Field Reversible Doors:
|Type of Shelves:
|Number of Shelves:
|Adjustable Shelves:
|Spill Proof Shelves:
|Door Storage:
|Defrost Type:
|Other Specifications
|Interior Lighting:
|Door Lock:
|Thermostat Type:
|Leveling Legs:
|Refrigerant Type:
|Refrigerant Amount:
|High Side PSI:
|Low Side PSI:
|Electrical Requirements
|115 Volts
|60 Hz
|1.3 Amps
|US Electrical Safety:
|Canadian Electrical Safety:
|Parts and Labor Warranty:
|1 Year
|Compressor Warranty:
|5 Years
- Brand:AccuCold
- Stock Id:193566
- Product Number:FF6BDPL
- Series:FF6 Series
- Color:Diamond Plated
- Type:Freestanding
- Style:All Refrigerator
- Hinge Side:Right
- Field Reversible Doors:No
- Freezer:No
- Series:FF6
- Cabinet Color:Black
- Door Color:Silver
- Number of Shelves:3
- Type of Shelves:Glass
- Total Capacity:5.5 cu. ft.
- Accepts Custom Panels:No
- Glass Door:No
- Split Shelves:No
- Counter-Depth:Yes
- Freezer Shelves:None
- Width:23.63"
- Height:33.25"
- Depth:25.13"
- Depth without Handles:23.5"
- Height without Hinges:33.25"
- Size:Compact
- Exterior Width:24"
- Depth with Door at 90 Degrees:46"
- Door Alarm:No
- Water Dispenser:No
- Sabbath Mode:No
- Approved for Outdoor Use:No
- Door Lock:No
- Defrost Type:Automatic
- Spill Proof Shelves:No
- Convertible Freezer/Refrigerator:No
- Crisper:Yes
- CFC Free:Yes
- Energy Star:No
- Volts:115 Volts
- Amps:1.3 Amps
- ADA Compliant:No
- Leveling Legs:4
- Approved for Commercial Use:No
- Adjustable Shelves:Yes
- Interior Lighting:Yes
- Frequency:60 Hz
- US Electrical Safety:UL
- Canadian Electrical safety:ULC
- Thermostat Type:Dial
- High Side PSI:285
- Low Side PSI:70
- Door Storage:Yes
- Compressor Warranty:5 Years
- Approved for Medical Use:Yes
- Refrigerant Type:R134a
- Parts and Labor Warranty:1 Year
- Exterior Options:Diamond Plated with Towel Bar Handle
- Refrigerant Amount:1.8
Technical Details
Fruit and Vegetable Crisper
Get the longest life and best taste out of produce by storing greens in a convenient slide drawer
Diamond Plate Finished Door
Textured diamond plate finish in wrapped aluminum creates a unique industrial look
Professional Towel Bar Handle
Curved handle in polished stainless steel completes the look.
Interior Lighting
Makes it easy to see what`s inside.
Door Storage
Store tall bottles and condiments right on the door for convenient access.
CFC Free
Environmentally friendly design without ozone-damaging chemicals.
31625 Re-useable Microfiber Cleaning Cloth
$14.95Qty: Add to Cart Free Shipping
4210463RW Easy-to-Use Maintenance Brush for Dryers and Refrigerators
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LHD Left Hinge Door Reversal (on reversible door models)
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SSK Install Stainless Steel Kickplate on Selected 24" Wide Under-counter Models
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SCD Install a Self Closing Door on Any Single Door Model
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Nikon's Fieldscope 3 is a waterproof, fogproof and shockproof spotter that delivers optical performance and flexibility. This Fieldscope is the straight body version, complete with sliding sunshade. All Nikon products include Nikon USA's full or limited warranty. 25 year limited factory warranty.
Technical Information
100% waterproof and fogproof
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This is the skin i made for 112 dB Limiter plugin
It has 1 vintage and this... the modern skin
full screen http://bit.ly/f0OFaD
anyway... enjoy it!
and drop a comment scottkane1 [{@}] gmail com
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Why are we doing art at all? An interview with Eiko Honda
August 16, 2016 · Print This Article
What happens to a word when it is introduced to a foreign language? What kind of concepts and realities are engendered? There is something viral and adaptive about the conveyance of ideas. The new word "Anthropocene," for instance is interesting to track—although it might carry an immediate potency, it doesn't have the history of other words, vs. "Leviathan," for instance, or "equality." A few weeks after the HKW's 2016 Anthropocene Curriculum, UK-based curator and philosopher, Eiko Honda, and I met to discuss the curious way terms refract through culture. She is the 2013-2016 curatorial fellow of the Overseas Study Programme for Artists, Agency for Cultural Affairs, Japan. Recent exhibitions she worked on include Ting-Tong Chang: P'eng's Journey to the Southern Darkness, Asia House, London (2016); Saya Kubota: Material Witness, Daiwa Anglo-Japanese Foundation, London (2016); and Missing Post Office UK, Ikon Gallery, Birmingham (2015).
Caroline Picard: In your talk, "Japanese Nature? Between Language and Landscape," you describe a linguistic paradigm shift that emerges when when an ideographical language (like Japanese or Chinese) meets a phonetic language (like English or German). As you describe it, the tension of that encounter can eventually yields a shift in thought. Does that shift relate all to the idea of authority?
EH: I think it's related to the question of who is the authority creating or translating a language. I'm personally very interested in the role of the agent. Let's say in "Anthropocene," for instance, there are currently two different ways of articulating that word in Japanese and I'm not entirely sure which one we have settled on. One of the words is written with the sign for "a person" and the sign for "a new age." The other is written as "mankind" or the age of mankind. The first possibility follows patterns of translations from the previous epochs, matching for instance how "Holocene" was translated. Depending on who actually translates the term and what kind of specialty that person has as far as academic study and political ideology, the implications can be quite different.
CP: How has that interest influenced your research?
EH: I've been looking at how the notion of "ecology" was introduced into the Japanese language at the beginning of the 20th century, as it compares to other everyday words which, in regular use now, were introduced by Miyoshi Manabu —a plantologist. Manabu studied in Germany in the late 19th century. He was a government bureaucrat well-known for introducing a policy to protect rare species of trees, and for introducing the term "ecology." Miyoshi created the term seitaigaku as the Japanese translation of the English term ecology in his book Futsuu shokubutsu seitaigaku/The Ecology of Common Plants in 1908. On the other hand, he had a contemporary Minakata Kumagusu who never really finished school but nevertheless ended up in London working in the British Museums. As an alternate transliteration of "ecology," Kumagusu gave it a different spelling.[1] The clear difference is that whereas one of the sei conveys the living things themselves and focuses on the life of the creature or plant, the other sei suggests rather a "nest" and "house"—that is, a safe comfortable sphere and space in which all living things can exist. Despite numerous essays and research notes he produced on all topics from the phenomenological study of Shingon Buddhism to science of the time to a reference on 19th Century England's Commons Preservation Society in his activism against Shirine Amalgamation Act that concurrently caused industrialization nature, which threatened habitat of his focus of research slime molds, he never ended up publishing a comprehensive work on his theory of ecological thoughts as such. However, what is strongly implied is that he urged ecology as an interdependent community of life that supports the production of each others' habitat. Whereas Miyoshi focused on the preservation of specifically rare trees, Kumagusu saw the importance of not even removing weeds, because weeds are part of an overall ecology sustaining the delicate nature of the primeval forest, and thus produced what the naturalist saw as the wonder of living things. Miyoshi and Kumagusu's approaches to ecology were comparable, but significantly different.
CP: In a funny way, I feel like you are suggesting that something as small as a single word or idea can have similarly large effects—
EH: I think, in a sense, words and languages we use are one of the most fundamental commons that affects scope of human imagination. Depending on when a term is introduced to certain cultures and by whom can lead to significantly different outcomes. Cultivating the similar line of inquiries, I recently wrote a short paper for the forthcoming publication The Nuclear Culture Source Book (Ele Carpenter ed., Black Dog Publishing) inspired by how the idea of "individual" in the West wasn't introduced into Japanese language until the end of the 19th century. Before that time, they didn't have an equivalent word that would articulate such notion. People back then had a different conception of how the world was organized. It's also important to pay attention to the context in which the notion was transliterated. When the word kojin, or individual, first appeared as it is used today in 1884, it was in a translation of a book Kokka Seiri Gaku or the "Physiology of Nation" written by the German—well Prussian, at that time—diplomat and grossdeutsch thinker Constantin Franz who urged federalism with a monarch, where a selected—not elected—council would advise the sovereign and make decisions. The same word was presented together with a translation of selected chapters from Thomas Hobbes' 1651 Leviathan.
CP: What brought on the publication?
EH: The book was published right after the coup d'etat of Meiji Year 14 in 1881 at the Japanese parliament, during which the government was trying to form a modern constitution; there was a dispute about whether they should follow a Prussian model or a British one. Political leaders of the Freedom and People's Rights Movement believed in the latter one; they were engaged with Franco-British social theories as reasoning ground. However, they were expelled from the government as a result of the coup, marking a shift in the government's translation of political theories to Prussian philosophies.[2]
CP: What role did the Leviathan play?
EH: The translated version of Leviathan was introduced in combination with that other, Constantine Franz's publication entailing the individual as somebody with equal, free and independent existence that would not be violated from the power of the state or any others, regardless of its occupations or social position.[3] When the Leviathan was translated in this context, however, the first chapter wasn't included, and the second chapter, especially the part that discusses the absolute power of the sovereign state, was meticulously translated. That first chapter includes Hobbes' theory of human nature, describing how an individual only exists outside the society. It only gains citizenship and enters human society in contract with the authoritarian power of sovereign. So, what is suggested here is that the individual was introduced in a context that makes the very origin of the idea in the constitutional narrative.
CP: Are you suggesting that Hobbes's writing changed Japanese culture differently?
EH: There is a huge difference between reading an original text and a text that's been only partially translated with a different structure of argument, or another version of the same text that has been translated differently, for instance one that has been heavily edited, presented without its very important introduction and first chapter. Those omissions can limit readers or human imagination from possibilities of what "individual" might mean.
CP: How have you been thinking about this in terms of the Anthropocene?
EH: Attending the HKW's Anthropocene Curriculum certainly made me think about that. In fact, I am currently working on a short text for the forthcoming edition of the Japanese-English journal 5: Designing Media Ecology edited by one of our conveners from the AC campus, the artist Andrew Yang, on the theme of the "Anthropocene." I look forward to feedbacks from our fellow participants and readers when it is done.
CP: I wonder how the idea of individuality changes in relation to large-scale environmental events. Maybe because I know your essay in The Nuclear Culture Source Book is about "Atomic Subjectivity," and we've talked a little about social practice in Japan, I was wondering if you thought current interests in social practice in Japan might be connected at all to Fukushima?
EH: There's been so much discussion around that for sure. Not everybody changed their nature of practice, but just as 9/11 completely shocked everyone in the US, there were urgent questions amongst practitioners who had cultural ties to Japan about what art could do and where it stands under the circumstances; in a sense, questions of collective responsibilities were addressed whilst conveying expressions of individual thoughts, interests, and concerns. I can never generalize, but it seems to me that whereas widely canonized older generations of contemporary artists in their late 40s and 50s were more concerned about their place within Western art history and the international market during their youth, increasing numbers of younger artists have started to question the importance of international esteem. Now the question has more to do with, "Why are we doing art at all?" I'm personally interested in the latter concern and trying to find a different idea of art history, or a different way of narrating artworks that might not necessarily fit within the established convention of Art History.
CP: What might that look like?
EH: I would like to think that it would be more to do with historiography of artistic practice that entails a possibility for empowerment of everyday life of everyday human beings—not necessarily just of artistic "genius" and heroes. As we know, grand-narrative histories have been written by certain identities to serve interests of certain race, culture, power, and gender and not of others. Whilst working with living artists to create a space of engagement—such as exhibitions, talk events, and published texts—with living minds of diverse culture, I came to think that these are acts of creating or amplifying narratives of what might be significant and otherwise potentially dismissed; to me, to consciously take part in the narrative making is, in a sense, to take part of the collective responsibility mentioned earlier. Re-evaluation of seemingly mundane languages that created the grand narratives of human history through investigations beyond the disciplinary convention of Art History felt like an important initial step to take. For example, the art historian Kinoshita Naoyuki has discussed how the idea of artwork—which is nowadays recognized with this word, sakuhin, in Japanese—is written in Chinese as a sort of product that's being made. That word, that term for artwork didn't really settle in our language until after the 1940s. Before that period, artwork was called sakubutsu. It's spelled as an object that's been made, but sakubutsu, if you write it and if you don't put it in a context or tell anyone what's it's about, it can also be read sakumotsu. It's exactly the same writing. Sakumotsu in our contemporary language today means vegetables or a harvest that have been gathered from your field—rice, or anything that you harvest from your soil. I'm interested in finding these kinds of underlying thought that have been hidden in history. Could we possibly investigate these different terms further and, in doing so, find a potential tool or a method for a new kind of language? One that might narrate practice without falling into a standard idea of art history or art historical narrative?
CP: Subtle shifts like that can have large and lasting consequences, even to the extent that they might destabilize hierarchies, or disrupt ingrained patterns of hierarchical thinking. What you propose is like a form of non-aggressive resistance, because you're just posing a question that says, "Well, what happens to our configuration," for instance, "of the art world or of the way we define art if we imagine that an artwork and a vegetable equate to one another?"
EH: Yes, exactly, and it's also related to the widely discussed issue of modernity. What does it mean to be modern? And can we possibly find a different kind of modernity by narrating our current issues and past events differently? Might that change the future as well? And of whom? How can we try to extend one's imagination beyond our established conventions? The historiography of language—of one of the most fundamental commons—and of artistic practice that works with the human tool of imagination— might have some answers to the queries.
This interview was conducted on behalf of Bad at Sports and the HKW.
[1] The particular difference between these two trajectories of ecology has been discussed by Takeuchi Yoshinobu, the Kumagusu scholar and chief curator of Wakayama City Museum.
[2] Takahashi Shinji, "Kindai Nihon to Hobbs/Modern Japan and Hobbs," Nishi Nippon Shimbun February 19, 1992, 51.
[3] Sait? Tsuyoshi, Meiji no Konoba, Higashi kara Nishi no Kakebashi (Tokyo: K?dansha, 1997), 229.
Layering of Slices: ATOM-r Presents The Operature
March 25, 2014 · Print This Article
By Autumn Hays
This past Friday I attended The Operature an exhibition by the collective ATOM-r (Anatomical Theatres of Mixed Reality) at the National Museum of Health and Medicine Chicago. This exhibition was held in two parts an interactive installation and 90 minute performance showcase. ATOM-r's participants include Mark Jeffery (choreography), Judd Morrissey (text and technology), Justin Deschamps, Sam Hertz, Christopher Knowlton, and Blake Russell (collaborators/performers). The ATOM-r collective explores the application of forensic science and anatomical mapping, as viewed through the through the scope of performance, technology, and language. What struck me most about the exhibition was the poetic consideration of the body and the layering of segmented perspectives visually, technologically and through dance. This is especially true of the performance where the dancers bodies move like they are being examined for medical display, like they caressed with love or sex, like in battle, and like the ritualistic laying out of the dead all in one sequence. When combined the layers of sourced gesture seem not as if disjointed but in an embracing collaboration of movement. I feel my observation of this exhibition is like looking through a magnifying glass peeping in to catch glimpses at what is a large body of accumulated research.
The installation included a 15 monitors that displayed the interactive exhibition's language poetry and digital art that seemed like entries dense with interconnecting references selected from an accumulation of archived materials. The Operature. Attendees are able to pick up cards with medical and anatomical imagery and show the QR-code to a camera provoking a response and changing the exhibited material as a corresponding text begins to dance across the screen blinking in and out. On other screens images of head cut into thin slices spin resembling the process of cross-sectional scans of bodies under anatomy study, or the presentation of anatomical evidence on glass slides. The dissection of slices is also seen in the exhibitions use of language fragmentation and the multifaceted perspectives created by technology that includes both in the installation and performance.
Upon entering attendees are prompted to download an app that allows them to interact using their smartphones during the installation and performance. Audience members found themselves taking on the roll of investigators drifting around the exhibition looking for signs, images, and codes that they could scan using their camera phone. Once scanned, these images display technological overlay ghost images and text that seem as if they had already been there, invisible, waiting for you to discover them. Often I find technological interactions to fall short but there is something consistent about the concept of a phone app that allows you to view an augmented reality layer in an exhibition based off anatomical theaters, where the audience becomes an investigator of anatomy. It was one of the best uses of interactive technology I had experience in an exhibition. This inclusion of the technological other worlds slips in and out of the subjective, pushing realties/non-realities together and is an integral interaction when used during the performance piece.
The collective stratum of reference is something you encounter in every aspect of ATOM-r's performance. One can view the piece from multiple vantage points choosing to sit in pews, walking among the performers, or standing above the performance looking down on it as in an operational theater. As the performers dance Judd plays the role of conductor, controlling projected displays of text reiterating those used in the installation, and reading them aloud as he performs.
He also provides the attendees with a technological viewpoint, displaying his live video of the performance showing the virtual reality ghosts we first encountered in our own investigations of the installation. The spoken language of the piece was delivered in the same cold cut tone as a scientific manual but had the touch of deeply personal poetics of the struggle with the body. The text provides us with many concepts such as the examination of the body as house, the treatment of the dead, and the histories of anatomical theater. One of the most interesting sources is the text sourced from the "stud file†of writer Samuel Steward describing details and observations about his various erotic encounters with men. These excerpts when juxtaposed with the anatomical body texts create an interweaves narrative of the gay male body.
The expert choreography composed by Mark Jeffery and his collaborators holds the audience captive while working in correspondence the technological devices. The all male group of performers embraced, wrestled, fell, carried one another around the room like corpses, posed for examination, removed and readjusted each other's buttons and zippers, each performer functioning simultaneously as the displayer and the displayed. Even the lights become dancers moving around the room and repositioned by performers. Observes peer into the dancers bodies, guided by the ever-present examiners lights. As the scenes are constructed I am reminded of the painter Thomas Eakins and his paintings of medical theaters. The audiences enters ATOM-r's The Operature like a crime scene, attempting to paste together all the clues given through the use of dance, poetry and art as evidence. To quote text from the exhibition, "the evidence looked back at you awkwardly and defiantlyâ€, asking you investigate the margins of these clues. Your reward for your exploration is an involved and richly layered experience that speaks to the poetics of anatomy and left me feeling touched to the bone.
If you would like to see it for yourself the exhibition continues till March 29th. There will be two more shows this coming weekend on Friday and Saturday. The interactive exhibition is open at 6pm and performance begins 8pm. National Museum of Health and Medicine Chicago, 175 W. Washington, $15 at the door. Here for more info.
(images provided by ATOM-r. Photo Credit: Katie Graves Photography)
Praise the Sun: The Contextual Language of Dark Souls
September 30, 2013 · Print This Article
Guest Post by Paul King
The most recent time I loaded up the game Dark Souls, my character unsheathed a sword from her back and drew her shield. And then I noticed a message, written maybe two steps away: "Grief.â€
The world of Dark Souls is, as the title would suggest, dark. It's a classic, worn down fantasy world where everything is crumbling. Your character begins in a prison for the lost and undead; your default state is one of decay. Even as you continue to a city meant for gods, all is in dangerous, ruinous disrepair.
And most of the game is spent alone. Save a few neutral, stationary characters, any sort of dialogue is non-existent. Your hero never speaks, only grunts in the heat of battle, and these stationary merchants quickly run out of new phrases, things to sell you, or purposes to exist.
But at a certain point, your character may buy (or steal) a chunk of soapstone from one of these merchants. Once you obtain the soapstone, you may use it to write, coating the floor in incandescent orange scribbles that, upon interaction, reveal their text.
During the course of Dark Souls, no fix for the broken world emerges. At times, other characters hint that the universe has descended into darkness from a former glory, and your lone hero's quest might be the thing to restore it. But nothing you do on your journey really changes anything; felled enemies reappear upon your death and subsequent rebirth, and also upon the saving of your progress. But while your standard fantasy actions yield no change and are easily erased, the soapstone allows you to impact the game's world in a singular, everlasting way: through writing.
There's a multiplayer component of Dark Souls that allows players to enter the world of another. One can invade or be summoned, and these are adversarial or cooperative interactions, respectively. Both are temporary.
Messages penned with the soapstone, on the other hand, are permanent. Quit the game and return days later, they will still be there. And perhaps more importantly, while invasions and summons are constrained to a single instance of the game world—that of the invaded or summoning player—messages, instead, are universal. Write a message on the floor of a chapel within your game, and the same message appears in the same chapel of another person's game.
And there they sit, for any other player who happens by it. But much like the world of Dark Souls, the system in which messages are created is opaque and difficult.
The soapstone may be used to write a variety of messages, but only from a template. You choose a format—for instance, "Try _____†or "Be wary of ______.†Once you've chosen a format, you can then choose from a list of categories to fill that blank. Options here include orientation ("Try left,†"Be wary of rightâ€), objects ("Try sword,†"Be wary of chestâ€), and attributes ("Try fireâ€).
Because the messages are selected from a template, speech is limited, and as such, messages become muddied. As with the world, story, and mission of the game, the onus is on the player as a reader to determine the intent of a message. And as with the rest of the game, the system can be frustrating—authorial intent easily becomes unclear, especially in the wake of present danger due to the game's refusal to be paused. Pick the wrong moment to write a message, or linger too long on selecting the correct Mad-Libbian phrase and it might instead spell death.
And Dark Souls' closed language system isn't immune to classic video game juvenility. At a certain point, my character encountered the message "Amazing chest ahead,†but instead of referring to what would make the most sense—a treasure chest—it was instead placed in front of a female character as an unfortunate reference to her anatomy.
While this example is depressing, it's fortunately rare. It also serves to underscore what is an even more important facet of the closed language: context. Not only may players choose what combinations of message to write, they may also choose where to place it within the world—for it to be a static element in the world of others. The same message becomes manifold depending on its placement.
A canned, writable phrase in the game is "Praise the Sun!†This is one of the only phrases that does not contain a mutable component (alongside "Good Job!†and "I did it!â€). Its placement is intended in relation to one of the game's religions—meant to be written in a peaceful, brightly lit area upon which the sun shines. A prayer.
I found it once at the bottom of a sewer. Surrounded by the carcasses of massive, dead rats—think The Princess Bride—here it was: "Praise the Sun!†In this context it served as an entirely different message, rife with a sense of irony not possible if placed in a different area. Though the text said differently, the message was obviously one of despair.
Just before an encounter with a massive, angry beast, somebody had written "try jumping.†And after dying to the creature several times—an event that happens with most encounters of the difficult game—the message clicked. And indeed, it was jumping from a ledge and plunging a sword into the monster's waiting back that proved to be the best strategy.
Elsewhere, I found the same message written on a set of uneven stone stairs, a crumbling railing beside it. "Try jumping.†I angled my view downward, past the railing, and saw only an endless descent, one that would surely kill me.
It did. After I learned a lesson about trust, I discovered another message, not far away: "Beware liar.â€
And what begins to emerge from identical phrases is a changing language, one dependent entirely on a static world. While some messages are incredibly straightforward (my favorite is "Illusory wall aheadâ€), others are incredibly vague.
One of the more interesting categories to choose a "blank†from is "Concepts.†The category sits at the bottom of the list, beneath "Characters,†"Objects,†and more, almost as if it were an afterthought. It is from this list some nameless stranger chose to pen "grief.â€
What strikes me especially about the use of "grief†is that it is wholly unnecessary—the entire world embodies "grief.†Though "happiness†is present on the list of concepts, the use of the word makes little to no sense in the context of Dark Souls—there is, ultimately, nothing happy within the game.
But within the constraints of the language system, these awkward, single words can be used in new ways that don't necessarily pertain to the game. Before a particularly trying monster, instead of writing "Try lightningâ€â€"the monster's supposed weakness—one could instead place "Try hope,†stepping outside of intended use.
What's interesting about these concepts is that they were placed in an otherwise interesting and well-thought out system; one that plays to the same difficulties and themes of the game. It is only when we as players make a conscious decision to write a specific message does the system break down, distancing itself from in-game tips and evolving into something poetic. When the system breaks, it allows players to leave an effective mark on not only their game world, but the game worlds of others.
Because while all messages might be eternal, the ones that conform to a useful fantasy system—tips, locations, or secrets—ultimately interact with the world by blending into it, not changing it. The jumping tip about the monster led me to a strategic shortcut, while the deceitful note on the staircase created a new, interactive game experience. Those that reference nothing in the world but language concepts create new experiences entirely outside of the game.
Much of Dark Souls deals with the idea of immortality. Your character, like most video game characters, is seemingly tireless. Die, and be brought back again, and again, unceasingly until the game is done. The environments and enemies around you never change, and the latter is in seemingly endless supply. Even when your quest is over, the only option is to start over, either as a new character or the same one, this time in a harder difficulty.
Though the entirety of the game is caught up in this idea of perpetual fantasy, it promotes an unchanging stasis rather than an everlasting immortality. The player created messages—which ultimately exist outside of developer boundary or intent—are the only things that truly seem to point towards immortality. While standard, intentional messages quickly blend into the context of the game's world; those that break the mold escape the world and its shortfall. When a message references nothing external in the static game world—through the intentional or unintentional garbling of the closed system—it turns into a testament of itself. As a result, it transforms the writer from a player, into an author, leaving an indelible mark.
 Paul King is a poet, writer, and video game enthusiast currently living in Chicago, IL. He grew up in Austin, TX and graduated from Bard College with a BA in Liberal and Written Arts.
J=o=u=i=s=s=a=n=c=e Knows Best
April 18, 2013 · Print This Article
J=o=u=i=s=s=a=n=c=e Knows Best
PS: I misread "you" instead of the "I" you have. How does this change the tone of the text? How does this change the idiomatic expression itself: "I break for strangers†or "I will rock you like a hurricane†or "the children are our futureâ€? How does this change the sense of a dialogue between a subject and an object of desire on the skintight highroad of language?
If the quir theorist Eve Sedgwick is rite and Allah language is performative: What is the qonsekuences, Mr. Bones? Language performativity simply means that that
the words we use have a social effect
such as when a judge pronounces you "guilty†or when a matrimonial couple utters "I do†or when land reform protesters scream
"ya bastaâ€.
On May 11, the following event will take place in Bucharest, Romania at the café called Tramvaiul Douazeci Si Sase:
Sweet Little Nothings: Contemporary Romanian Poets on Nihilism
Many recent poets have announced the death of postmodernism and the quick and subsequent births of Conceptual Writing, Fracturism, Flarf, Post-Avant Poetry, Slow Poetry, and so on. But is the age of deconstructing the metaphysics of history, god, and self indeed over in contemporary Romanian poetry? Otherwise put: what does it mean to write if nothing matters? What topics do self-conscious (and history-conscious) poets write about after the theory that the center does not hold no longer holds? Is Cioran still relevant when he claims that the most heroic thing for modern man to do is commit suicide? What kind of nothing do you believe in? What kind of nothing do your poems represent? Which nihilism represents you as a poet: Nietschean fecundity or confessional solipsism or another? Do you prefer to lose your past, your faith, your self in the infinite music of the void through Dionysian excess or in puritanical minimalism with its hidden Apollonian authority or in some other direction? How do your poems "take responsibility for their freedom†as Sartre put it? Camus found relief when the Sisyphean bolder was rolling back down the mountain. Where do you find relief? Is finding relief and closure why you write your poems?
This roundtable invites 5-6 poets to offer a definition and a poem showing what nihilism means to them and to their poems in 5 minutes. After these brief provocations, the audience is expected to harass the poets with questions about how Romantic (see John Keats' negative capability) they still are to think they can live in OR represent the nothingness of being. Bring your potato salad. The objective of these brief presentations and hoped-for audience response is not to make moral progress toward a True contemporary Romanian poetry but to make aesthetic progress by becoming more self-aware of our habits of mind.
Images courtesy of: 1280 × 1024 - stilpu.org
 A PDF version of the following post (with o so handsome formatting) is available for download here:
Play By Play : What to Expect in the Coming Months
January 18, 2013 · Print This Article
I came on as the Managing Editor of the Bad at Sports blog about a month ago. It's been an exciting turn and I hope to do well by it. A few people have asked what my vision going forward is, and I thought I might say something about it here. I hope to continue reflecting on the dynamic energy in Chicago's contemporary art world while connecting to conversations and aesthetic agendas in other cities and disciplines. That agenda was set in place a while ago and I believe I can continue to guide and focus that intention. There is room for experimentation in that vision, which seems necessary to me. Bad at Sports has never presented a tidy, singular package and as such, I believe it would go against the nature of the project to filter content and tone through a single, editorial lens. Its roots in independent, DIY and Punk Rock collectivism remain at the heart of the project's vitality and the blog is a platform for unique and individual voices that pass through the subject of contemporary art and culture. As such it becomes a nexus of concerns and responses to culture at large. That is something I hope to preserve under my stewardship. As an artist-run forum, Bad at Sports has the unique capacity to reflect on a host of subjects, exposing the intellectual, aesthetic and social networks that define and subsequently influence cultural production. I believe it is our job to explore and discuss the contexts we inhabit. In doing so, we further establish a living touchstone and future archive of contemporary discourse.
Some changes should be apparent already — others will fall into place like pieces of a puzzle in the coming months. The process is organic, but I've been trying to set up a casual, thematic architecture  that unfolds over the course of a given week. Eventually, I hope to schedule two posts a day, one before 2pm and one after. Built in to this, is room for special occasions and guest writers — those posts would either go live in the evenings, or fill in existing gaps. To that end I've been inviting a number of new writers, many of whom I have admired for a long time.
Here is something of a loose schedule:
Mondays: Essays and reflections from old favorites Jeriah Hildewin, Shane McAdams and Nicholas O'Brien — writers who have been posting with consistent dedication. In addition, I'm excited to announce a new bi-weekly column by Dana Bassett, whom you may know for her ACRE Newsletters.
Tuesdays are dedicated to three subjects: Performance, Social Practice, Language (or the performance thereof) and Object Oriented Ontology. Confirmed participants include longstanding contributor Abigail Satinsky and Mary Jane Jacob (Social Practice), Anthony Romero and João Florêncio (performance), Gene Tanta (language), Robert Jackson (OOO).
On Wednesdays, we will read about artists and art in other cities. The following writers will post on rotation: Jeffery Songco is covering the Bay Area, Sam Davis continues to represent Bad at Sports' Los Angeles Bureau, Sarah Margolis-Pineo is writing about Portland. Juliana Driever will be relaying posts, interviews and artist profiles about New York, and then we'll bring it back to the Midwest with Kelly Shindler's dispatch from St. Louis, and Jamilee Polson Lacy writing about Kansas City.
Thursdays herald our illustrious Stephanie Burke's Top 5 Weekend Picks and a new monthly contribution from author/translator Johannes Göransson whose writing you can also find here.
Fridays have been set aside for art reviews and artist profiles with contributions from Danny Orendoff, Monica Westin, Abraham Ritchie and myself.
WEEKENDS will feature a range and flux of the above, plus Brit Barton's Endless Opportunities, cultural reflections and short essays by Terri Griffith, continued posts from Jesse Malmed, in addition to a monthly contribution from the newly confirmed Bailey Romaine and Adrienne Harris.
My last note is this — there is room in this schedule for additional posts, posts that would feature special events, festivals and conferences in the city. That space would also be available to, at times, connect the blog and the podcast. As a first indication of this, we will be highlighting IN>TIME, a performance festival that is going on as we speak, from January until March.
Otherwise if you have any comments, suggestions or, even guest posts you would like to submit, please feel free to contact me at: email@example.com


text:
Hoffenheim owner Dietmar Hopp has demanded an explanation for his side's pitiful performance at the weekend. A 1-0 defeat at home to Mainz has left Hoffenheim's ambitions of European football next season in tatters and Hopp would like to know why his team is performing as poorly as it is.
"I could never have imagined us playing so badly," he told the Rhein-Neckar Zeitung newspaper. "It was not even like we had half of our youth team on the field against Mainz – we had our proven regulars. But there was precious little coming from them."
The 69-year-old stopped short of questioning the coach, Ralf Rangnick, whom he has consistently backed in his four years in charge, but he does want Rangnick and the club's director of sport, Jan Schindelmeiser, to tell him precisely what went wrong last Sunday.
"I expect to receive a clear description," he said. "They are going to have to produce an analysis that is conclusive and from which we can deduce what is wrong at present. I would like an explanation for what I saw against Mainz. I could do without any beating around the bush, but then they never do beat about the bush anyway."
Hoffenheim currently lie 11th in the Bundesliga but are 10 points away from a qualifying place for the Europa League next season.
They currently sit 12 points above the relegation zone, so they are unlikely to be dragged into a relegation battle with only nine games of the season remaining.
Stuttgart goalkeeper Jens Lehmann is likely to retire in the summer after confirming he will not be extending his contract at the Mercedes-Benz Arena. The 40-year-old former Arsenal and Germany goalkeeper has opted against remaining with the club and hopes his understudies, Sven Ulreich and Alexander Stolz, will prosper following his departure.
"Staying would be unfair on Sven Ulreich," he told the Bild newspaper. "He will be rivalling Alexander Stolz and they are both looking forward to the challenge."
Asked if he would consider staying on a while longer, particularly as Ulreich has a serious injury and might miss the start of next season, Lehmann said he could "rule that out".
It appears the only scenario in which the former Germany international Lehmann would prolong his playing career is if a Premier League club came calling. He recently claimed that he felt good enough to play another year in the English top flight and an offer to do so may change his mind about retiring.
"I am planning to retire, but you just never know," he added. "I am still really enjoying playing football."
- More about:
- Bundesliga
- Jens Lehmann
- Mercedes Benz
- Vfb Stuttgart


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I started this sketch on the same canvas as I did yesterday's Ginny portrait but ended up not being able to finish both portraits in one night, soooo they're going up separately. I started with a ref of Emma Watson but ended up diverting quite a bit so sadly it doesn't look much like her. I loved playing with the warm light though... I frickin love this weird shade of teal for the background, maybe that will be a running theme.
Emma is not exactly how I picture Hermione from the books but I do enjoy her in the films, she really is quite beautiful (too beautiful) and spunky.
Emma is not exactly how I picture Hermione from the books but I do enjoy her in the films, she really is quite beautiful (too beautiful) and spunky.
Geebus this is pretty.
this is so beautiful... i've seen it befor, but now i just had to comment on it. there are a lot of stunning things on the internet, but this is by far one of the most beautiful i've yet encountered.
flawless..... all of your work is so stunning!!
That's beautiful!!
IT looks like hermione at the Yule ball!!!
This IS Hermione, without a freakin doubt!
This is actually exactly how I picture Hermione
Emma Watson was too beautiful, and hermione's asset was her intelligence, not her body, and that's what I liked about her
In the picture, she looks knowing and clever and witty, which is what she's supposed to be
ever since i read a fanfic were Hermione became Sauron i've been getting weird character cambo's in my head like her with sharingan and is filled with hate like Sasuke or becomes like Zeref from fairy tail
Is there ANY way that you could do a tutorial? I LOOOOOOOVEE your art!!!!!!! Share your secrets!!!!!
love love love
what's weird is that there's a story were Hermione IS Sauron from lord of the rings
Gorgeous! Love the colors
WOW this is gorgeous... I love the colors!!
imo hermione is too beautiful in this pic... But still good pic!
I love this
This ia a beautiful rendition of my favorite Harry Potter character. I love that her hair is suggested rather than having all of her crazy curls defined. Thank You for sharing this piece of work with us.
These are so beautiful! <3
The smirk looks just like Emma's.
Beautiful portrait!! I love her determined expression!
wow really pretty!
You're a genius, like Hermione, but in drawing. You thought to draw characters from the time of the Marauders? Lily, Remus, James? I would love it.
These are amazing.
Where is Ron though?
Sorry, I had to ask.
Where is Ron though?
Sorry, I had to ask.
All your art is great >.< So jealous.
Back on topic, love em!
Back on topic, love em!
the eyes are so intensive
Soooo...I totally just fav-spammed you. Sorry. But I love all your work so much - it was as much as I could do to keep from favouriting all of it. Beautiful.
very lovely! <3 :3
Beautiful. I love the colours.
This, to me, looks the way I imagined the Hermione that gets out of the horrocrux when Ron tries to destroy it. It's really an amazing job
"I'm falling in love, falling in love, falling in love with Hermione Granger"!
Seriusly, this is awesome!
Seriusly, this is awesome!
this is such an amazinc picture! good job!
Love this portrait!
This is really beautiful - all of the portraits in this style are.
OOO Nice!
Aaah...The smile! So beautiful>_<
ooh I love it the hair, the smirk, the background, the colour of her eyes, the ooh forget it just everything about this is amazing
*runs to fav the painting*
*runs to fav the painting*
Very pretty.
Very nice!
It looks just enough like Emma Watson to confuse my brain. After seeing your take on her, I think I prefer Hermione this way.
Wow >_< major grammar fail on my last post . Hahaha .
You're work is fantastic.
This is gorgeous!
You have no idea how much I love this.


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text:
Don't blame you, Cathy. FB is largely a waste.
"Religion is what keeps the poor from murdering the rich."--Napoleon
On Apr 19, 2013, at 2:03 PM, Catharine Carpenter wrote:
> Don't know how many of you are on facebook, but I have deleted my account.
Didn't use or enjoy using it, and when the spouse sent out something without
checking who was logged in, it was the last straw. Hope everyone's gardening
is in full gear. Planted lettuce, spinach and snow pea seeds, but germination
is slow. My Queen Sophia marigold seedlings are doing well under grow lights,
but my purple hyacinth vines were attacked by my plant eating feline. Hope
they survive. Too wet even to weed, but at least the drought has broken.
> Cathy, west central IL, z5b
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Atomic Floyd SuperDarts
"Atomic Floyd are a relatively small British based company that not many people have heard of. They continue to sell their products through as few authorised dealers as they feel necessary which means that the £200 price rage for these is pretty much what you're going to have to pay if you want to have your socks blown off by these little gems. First Impressions: As I opened the parcel..." --smithamb
Stanton Dynaphase Sixty
"a tad muddy, but it can be easily fixed with abit of equalizing they're louder then stadium speakers with duel drivers there is a woofer and tweeter in each can, so that= loads of bass and tremble bass tons of bass to go around treble it has it, but that about all I can say sound they favor highs over mids, but 'they're still well balanced sound stage love it deep and rich Comfort fine..." --voodoo do-er
Stanton Dynaphase Fifty
" What can I say, vintage. Honestly well worth the $30 I payed for these. They have a nice sound to them in the $30 price range, not Hi-Fi by any means, but fun to wear around. " --GrandZechs
Atomic Floyd PowerJax+
"Foreword: These were my first 'high-end' headphones that I owned, and I have bought nothing better since. My only points of comparison are SoundMagic EH-10s, belonging to my brother. However, having lived with nought but these for quite some time, I feel able to cover their strengths and weaknesses. I purchased these brand-new from Atomic Floyd for full retail price (£99 GBP) ..." --NawiLlih
Atomic Floyd Twistjax
Build to provide max bass and max treble the twistjax were intended to replace my battered Sony ex75 in ears. They are the same build with a plug in ear with an acoustic bass chamber for hammering the soft tissue of the outer ear. The bass chamber is made of "acoustic steel" which gives a very solid look. At first the highs and lows are amazing and you hear pumpy basses with sparkling...
Stanton Dynaphase Sixty-A Headphones
I've been looking for someone that has these or has seen them before, I have a pair and have looked in many places but can't find these headphones ANYWHERE. No info, no pics, nothing...If anyone knows of these headphones or at least seen them in the past, please contact me ASAP. They were my dad's when he was younger. THESE ARE NOT STANTON DYNAPHASE SIXTY HEADPHONES, THEY ARE...
Atomic Floyd HiDefDrum
In-ear stereo headset Introducing HiDefDrum +Microphone™ by Atomic Floyd™ HiDefDrum are the headphones for music lovers with something to say. These mini works of art pair World Class acoustics with dual-filter technology, so every note you hear and every word you speak is pitch-perfect. Good looking, great sounding, clear talking. Welcome to the New State of Sound.
Atomic Floyd HiDefJax
Manufacturers Description: HiDefJax rugged, tactile styling and gut-grabbing deep bass sound, will send music lovers into a frenzy. Noise isolating design, WideBody acoustics and stunning looks, deliver a heady mixture that transports you to a higher state of music consciousness. Welcome to the New State of Sound.
Noise Canceling Foldable Headphones with Auto Wind-Up Cord
JVC HANC100 Noise-Canceling Headphones - JVC HANC100 is a noise-canceling headphone that can produce a 75% noise reduction when in the active mode. It also operates for 50 hours on one AAA Battery. It also has a cord rewind system, so that it will retract its 4.9 foot cord into its left earpiece. And to make it easy to travel the HANC100 folds down into a compact size and comes with a airplane...
Noise Canceling Earbuds - Pink with White cord
The JVC Air Cushion headphones deliver clean, detailed sound from your portable MP3 player. Soft, silicone rubber sleeves with air bubble cushions hold the headphones securely in your ears, and help minimize unwanted external noise. The headphones come with a selection of foam earbud sleeves to ensure a comfortable fit, and a handy carry case to keep everything organized.


text:
Eric Fletcher, Baron Fletcher
Eric George Molyneux Fletcher, Baron Fletcher, PC (26 March 1903 – 9 June 1990) was a Labour Party politician in the United Kingdom.
Fletcher was the son of a former town clerk of Islington. He studied at Radley College and the University of London and became a solicitor, specialising in international law. He was deputy chairman of the Associated British Picture Corporation.
Fletcher was elected onto the London County Council for Islington South, serving 1934-49. At the 1945 general election, he was elected as Member of Parliament (MP) for Islington East, defeating the Conservative Party feminist MP Thelma Cazalet-Keir. In Harold Wilson's first government, he served from 1964 to 1966 as Minister without Portfolio, House of Commons spokesman for the Lord Chancellor's Department and then Deputy Speaker.
Fletcher also served as a member of the Church Assembly, 1962 and as a member of the Senate of the University of London and governor of Birkbeck College and the London School of Economics. He was knighted in 1964,[1] And appointed to the Privy Council in 1967.
On 9 July 1970, Fletcher was created a life peer as Baron Fletcher, of Islington in Greater London.[2]
- ^ The London Gazette: no. 43501. p. 10115. 27 November 1964.
- ^ The London Gazette: no. 45147. p. 7673. 10 July 1970.
- The Times House of Commons 1955. The Times. 1955.
External links[edit]
- Hansard 1803–2005: contributions in Parliament by Eric Fletcher
|Parliament of the United Kingdom
|Preceded by
Thelma Cazalet-Keir
|Member of Parliament for Islington East
|Succeeded by
John Grant
|This article about a Labour Member of the Parliament of the United Kingdom is a stub. You can help Wikipedia by expanding it.
|This biography of a life peer is a stub. You can help Wikipedia by expanding it.
- 1903 births
- 1990 deaths
- Members of the Parliament of the United Kingdom for English constituencies
- Labour Party (UK) MPs
- Deputy Speakers of the British House of Commons
- Members of London County Council
- Labour Party (UK) life peers
- UK MPs 1945–50
- UK MPs 1950–51
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- People educated at Radley College
- English solicitors
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- Labour MP (UK) stubs
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on Dec 12, 2012 11:34 AM by gbite
EM cloud 12c or OPS Center 12c?
Dec 12, 2012 11:34 AM
First, can someone please tell me the difference between the 2 if any?
Secondly, we are on 11g Grid Control on which we have around 5 hosts and total of around 15 databases. With consideration to go to the latest (12c), I am of the opinion of doing a fresh install of EM 12c and adding the hosts and databases as I believe 12c will give a better opportunity to manage hosts including Solaris and VMs plus the databases etc.
Is it better to do it this way or upgrade the the 11g Grid Control.
I have the same question
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1) Depending on the size of the envelope and the size of the letter, you will need to fold differently. This is for a standard formal A4 letter, you should fold twice, resulting in three sections.
2) Bend the letter (without folding) into an 'S' shape until the three sections look roughly the same size. If you have the envelope to hand, you can check that it will fit. The start of the letter should face outwards. If you are using an aperture envelope, it is especially important that the address is facing outwards and will be positioned correctly when it is inside. The sections do not have to be the same size; it is convention to have the front section slightly smaller than the others.
3) Fold down firmly, and use a ruler to press on the fold, making it neat, straight and crisp.
4) Place it into the envelope so that it is facing out and with the top of the letter at the top of the envelope. If it helps, imagine you are using an aperture envelope.
5) If you are hand-writing the address, do so before you put the letter in the envelope, otherwise you will dent the letter.
V3 can offer envelope design, printing and stuffing. For a quote please visit our website: www.v3print.com or email firstname.lastname@example.com


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email@example.com wrote:
> Morning,
> The Lachmans registered a plant called Lonesome Pine.
> I can't find Lonesome and Blue in any of the registration lists that I
> have.
> Which leads me to guess that the L&B is a Benedict...just a guess.
> cb
> Carol in CT z6/5
Good morning and thanks
Bob Bob Axmear 208 2nd St Ne Waukon, Ia 52172
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