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147 April Waters Drive, Montgomery, Texas
$1,6953 Beds2 BathsActive
$1,6953 Beds2 BathsActive
147 April Waters Drive, Montgomery, Texas 77356 - This just listed rental home has it all. Fenced in back yard for pets. 3 car garage, Granite Nice tile.Recently updated outdoor patio. Nice open floor for entertaining. Enjoy the April Sound amenities!The pools in April Sound are waiting for you! The parks include practice baseball field, soccer field and there are several parks to enjoy. Have dinner at the Country Club! 24 hour security, 27 holes of golf boat launch. Please view today.
Listing Courtesy of Heritage Texas Properties


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Intro to 360 Filmmaking
Since the release of the first motion picture camera in the 1890's, humans have been using video to tell compelling stories. Film is an expression of the human imagination, it enables us to see the world from another perspective and escape from our own lives. 360 video and virtual reality are the newest mediums for telling our stories.
Whenever another medium arises a unique opportunity presents itself: to set a new paradigm and influence the next generation of storytellers. In this 2-day workshop, you will learn the basics of 360 filmmaking and create a short 360 video. You will go through the full production process from pre-production to distribution, learning techniques, and the evolving best practices. Upon completion, you will have a foundation of skills and knowledge to begin your journey as a 360 filmmaker.
• 2 days of intensive skills training
• Samsung 360 cameras and GearVRs provided
• Access to work with instructors one-on-one
• One day pass to Upload SF or Upload LA
• Healthy lunch & refreshments
Saturday, April 29 (10am-6pm)
10:00am: Intro to 360 Storytelling
10:30am: Form Groups, analyze 360 experiences, brainstorm script ideas and begin Pre-Production Plan
12:00pm: Lunch
1:00pm - 6:00pm: Production time! Create your first 360 video.
Sunday, April 30 (10am-6pm)
10:00am: Doors open. Meet with groups, start uploading footage.
10:30am: Post-Production, Editing, Stitching Lecture
11:30am: 360 Video Editing
12:00PM: Lunch
1:00pm - 4:30pm: Continue editing your 360 video
4:30pm-6:00pm : Share your videos with other student groups, peer review, feedback
Meet Your Instructors
Shamir Allibhai
Director of Strategy
The Soap Collective
Shamir brings 15 years of experience developing and leading successful businesses at the intersection of creative and technology. Before moving to SF, he was Head of Digital for the Doha Film Institute, which originated as a partnership with de Niro's Tribeca Film Festival and Qatar. Shamir is a member of the inaugural Facebook Oculus Launch Pad program.
Jarreau Bowen
Director of Operations/Production
The Soap Collective
With a 15 year background in user-centered design and social psychology, Jarreau oversees production and business operations. He views art as problem solving: bringing users, clients, and creatives together to create a narrative upon which beautiful products are built and needs are met.
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subset: commoncrawl


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Hoping one of you lovely Mums can help me!
My daughter was born on Thursday 9th January by emergency c-section.
My milk came yesterday but I am having problems with her latching on & staying on.
She will latch on then a couple of seconds later pull off and try and go on again. This can happen several times with her getting more & more worked up.
I told the midwives at the start she was hurting my nipples and all of then just looked & said she was on properly. It looks like the top of my nipple is hitting the hard palate of her mouth.
Last night I had to express some into a bottle & get my husband to feed her because I have been so stressed out and the pain was so bad. I've switched holds and going to try a nipple shield today.
Can anyone help with tips on how to get her to stay on?
Also sometimes when she attaches it's like she can't breathe properly?
I live rurally and the only LC support is at the hospital I had my daughter and no actual consultant so I am in the process of seeking one out of the area.
Pls help!
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Results 1 to 7 of 7
14-01-2014 09:56 #1Senior Member
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Coming off the breast
14-01-2014 10:00 #2
Maybe your breasts are too full for her to latch properly - it might be worth hand expressing to soften them before she tries to latch.
Also with the breathing, gently pull her legs towards your waist, it usually pulls the baby back so her nose is clear and able to breathe properly.
Good luck with sourcing a LC, and call the ABA for further info in the meantime if you're still having issues.
14-01-2014 12:05 #3
Google Dr. Jack Newman for info, diagrams etc or holds, latching, easing the pressure of overfull breasts etc.
When I had my 1st my breasts weren't too full but they were quite firm as they were still very perky so I needed a shield to help DD latch.
DS had a posterior tongue tie and would slip off during a feed and essentially end up biting. I knew something felt wrong but the hospital midwives said no to tongue tie. A LC diagnosed it at 5 weeks. A good way to check if this could be an issue is to place your finger into bub's mouth (nail side down) and feel their suck. The tongue should cup your finger and very little lower lip will be on your finger. If it feels like they are holding on with their lips (like sipping a straw), if you can feel any lower gum on your finger or if after a couple of minutes the tongue starts to slip back into their mouth as they tire then this would be something worth getting checked.
Sent from my GT-S5830 using The Bub Hub mobile app
14-01-2014 12:33 #4
^^^very well explained.
I also had tongue tie problems with ds2. He would slip on and off and hurt me in the process but everyone says he was on fine.
He was but as he was feeding with his jaw not tongue he would slip off and chomp on me.
Listen to your instincts mummy.
It took 4 months to get my sons tie fixed because no one in my small town would grow with the times and listen.
Hugs Hun. Good luck.
Sent from my GT-I9100 using The Bub Hub mobile app
14-01-2014 15:56 #5Senior Member
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She might be letting go when your let down starts, it could be a bit too fast for her. I used to express a bit before a feed so that he didn't choke on all the milk spraying out lol.
I used to get sore nipples at first too even though his latch was good, but it settled down within a couple of weeks, I think you just have to get used to it.
14-01-2014 17:35 #6Senior Member
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Thank you for all your support.
I have managed to get some nipple shields and it is such a difference! We have had 3 feeds where she latches straight away
Have also called ABA and been given then number for a LC. There is also a support group in the next town so I am going to attend ASAP.
I will try the trick with my finger and let the nurse know when she comes put for our check
14-01-2014 20:08 #7
Let us know how you get on Hun.
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|46 m²
|Tipo de imóvel
|Estadia Mínima
|2 noites
Views Cottage-espetacular acolhedores com vista para Watauga Lake w / deslizamento de barco / canoa. Very Private 1 quarto, 1 casa de banho completa w / sofá-cama acomoda até 4 pessoas. Rainha de tamanho sofá-mestre-full-cama na sala de estar. As grandes janelas na sala de estar lhe dar excelentes vistas sobre Watauga Lake & serra. Cozinha tem forno, microondas, máquina de café, máquina de lavar louça panelas e frigideiras. Grade do gás com abundância de utensílios grelhar fazer um churrasco a escolha ideal. Lençóis, toalhas, produtos e detergentes de papel incluído. w / d -a / c. TV por satélite / DVD. Limpe Out porta ofurô privativo no deck. Construído no lado do lago fogueira. Barco de deslizamento de cortesia canoa. Aluguel de barcos a motor através da marina local. O sonho de um pescador - Ambos rio e acesso ao lago. Esquiadores paraíso - água como vidro. Rafting, passeios a cavalo, caminhadas, esqui e pesca. Isolada e privada, mas conveniente para muitas aldeias rurais vizinhas como Boone, Blowing Rock, Avô Mtn. Pacote de boas-vindas extensa, com direções, de contacto 's & # 4 sites de actividades locais.
Com vista para o Lago Watauga TN
Enorme Mtn Lake
Atividades aquáticas
Boone NC Blowing Rock NC: 20 min
Perto de cidades / vilas férias
Tweetsie Rail Road
Avô Mtn
Festivais de Música
Estâncias de esqui: Beech Mtn
Sugar Mtn
Hawks Nest
e mais
We stayed with another couple~We brought our own blow up & but was an enjoyable stay for all. The Big front porch was our favorite hang out place when the guys weren't fishing or us girls site seeing. Very tranquil & relaxing especially with the Hot Tub.
The Peace & Quiet was just what we all needed to rejuvenate!
If I had a complaint~it would be the distance to the water from this cabin~It was my fault thinking directly on the water~But the brief walk was enjoyable.
Was easy to book & I've already gotten my deposit back as well. Enjoyable Relaxing Stay!
We stayed at Driftwood Cottage for 3 nights and it was just what we needed. My husband had been hiking the Appalachian Trail and was taking a few zero days to rest and recuperate. Even though there were several outdoor activities to do here at the lake (boating, fishing, hiking, etc.), we chose to just take in the view from the big porch, enjoy the quiet, and relax. The hot tub is a great perk. It worked wonderfully and is secluded on the the side of the cottage for privacy. The cottage was well stocked with kitchen needs. It is small, but plenty of room for two or a small family. The cottage is quite a ways from any stores (30-45 mins), so your best bet is to bring whatever you need with you and just enjoy the lake. We would love to come again and stay at some point.
Perfect they thought of everything
My wife, dog, and myself stayed here from Sat-Tuesday in mid June. The house was very maintained and in great shape. We enjoyed the views and accessibility to the dock/lake. The house provided a canoe with paddles and life jackets we enjoyed very much (the only thing we would suggest is having future renters place the canoe on the dock upside down to avoid water/algae build up). The views were spectacular and we enjoyed them from the deck where we spent most of our time. We look forward to coming back!
Just stayed here last week for the 3rd time. Had a wonderful stay. We decided to stay here too because our neighbors stayed with this company last year and had a wonderful time. The yard is well maintained and the driveway paved all most all the way, just a short gravel part to your door. Very easy to drive to this place. The property was spotless. The furnishings nice and the beds spread was new as well as new sheets and towels. During our stay the coffee maker acted up so we called the housekeeper who brought a new one right over. Our extended family stayed at Red Top Retreat about a 5 minute walk and even larger home that slept abut 14. My sister in that cabin said the same thing, clean as a whistle with newer furnishings. The complimentary canoes were down at the dock just as promised. We took them down the river and into the Cherokee Forest. We saw tons of deer, two big bucks, lots of turkeys and a couple of Eagles! We were so excited to see so much wildlife. Then we came across beautiful waterfalls where we went ashore and took lots of family pictures. It really was an incredible trip. We took many joy rides in our family van that were recommended by the cabin company. We went in many different directions. To the East is NC and to the north Va (only about a 30 minute drive) and of course this entire lake is in Tennessee so we got to see and visit 3 states during our vacation. Grocery stores are a good 30 minute drive, same with liquor stores and Walmart. So come prepared. The weather here needs to be mentioned. It was perfect in June. Not too hot and not too cold, no mosquitoes, just lots of beautiful lunar moths at night that were brightly colored. We did some hiking too, the Appalachian trail crosses Watauga lake so its easy to hop on and walk for a while. We rented a boat from the local marina. One of the best parts of our trip was cruising the lake. This lake is so big with large mountains surrounding it. We water skied and tubed and barely saw another soul. Altogether a great trip, great people to rent from. Our family of about 18 all together including both cabins agrees this was the best vacation ever.
Watauga Lake, mtns Leste TN, NC ocidental Boat Rentals, Roan parque estadual da montanha, Rhododendron Festival, Blowing Rock, Boone, Lineville, Banner Elk, Ski Beech, Sugar Mtn, Bristol, Bristol Speedway, Corrida semana, festivais Blue Grass. Apenas a uma curta distância da linha de estado de NC / TN em East Tennessee. Appalachian Great Smoky Mountains. NC e TN Atrações. Rafting, Caminhadas, caça, pesca, canoagem, caiaque. Único Localização. Você obtém os benefícios de ambos lago e acesso ao rio. Caiaque, canoagem, passeios de barco, pesca esqui aquático, tubulação de água, esqui e vela Tudo pode ser apreciado. Penhascos e cavernas prontos para aqueles que procuram aventura. Isolado ainda conveniente para muitas aldeias rurais vizinhas, restaurantes, entretenimento de estilo familiar a 5 estrelas.
Outras atividades: lojas especializadas, passeios de barco, observação da vida selvagem, canoagem, caiaque
Ski: Ski Beech Mtn / Boone NC
Sugar Mtn / Banner Elk NC
|Validade da Tarifa
|por noite
|Noite (fim de semana)
|por semana
|por mês
|Pacote ou Evento
Late summer-Fall 2017
jul 22 2017 - out 28 2017
Estadia mínima: 2 noite(s)
Fall 2017
out 29 2017 - jan 31 2018
Estadia mínima: 2 noite(s)
Tarifa Básica
Estadia mínima: 2 noite(s)
|Taxa de animais de estimação
|R$ 235,38 + Imposto
|cleaning fee
|R$ 266,76 + Imposto
Once your deposit is paid you'll receive an extensive welcome package giving direction to area activities, restaurants, boat rentas, ski resorts. Pet fee applies: If you choose to bring a pet be sure to click the pet box when reserving here online. Rates are discounted for only a couple or you can bring a full house. Extra guest fees apply: Be sure to include the correct number of guests.


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N'accepte pas d'invités
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Rejoignez Couchsurfing pour consulter l'intégralité du profil de Danielle. L'inscription est gratuite !
À propos de moi
Recently moved to WA looking to make new friends.
I spent 2015 travelling around the USA and Canada. 2016 travelling through Asia and 2017 in Australia. I want to meet as many people from all walks of life, learn about them and their town and share my life experience too. I love learning new things!
Couchsurfing is a platform I'm using for friendship & meeting new people!
Hard worker taking a break from the mundane and experiencing the world outside of my home town. After working 3 jobs for as long as I can remember, I am doing a complete 180, quit them all and having some time off to live a bit. I enjoy doing volunteer work, I'm pretty chilled out and easy to get on with. I travelled alone through North America, it was completely out of my comfort zone at first but I loved every minute of it. Through Asia I travelled with several different travel famo's and that was amazing too. I love talking over coffees. I've recently stopped eating meat and would love to try some vegetarian food in the area so any tips on nice places to eat are welcomed. I also love checking out local craft beers!
Pourquoi je suis sur Couchsurfing
Im couch surfing so that I can meet people who know the place where ill be staying, I can hopefully learn about them, their life and how they live. I also would love to make some new friends along the way. I have been couchsurfing since I started my trip in 2015 and its been amazing! The people I have met along the way have been absolutely phenomenal and I hope I continue to meet these amazing kind of human beings!
Centres d'intérêt
* Ran my own fashion boutique in England
* Films
* Photography, Art, Museums
* Meeting new people
* Adventures
* Road trips
* Learning & trying new things
Morceaux de musique, films et livres
Indie music lover, true life story books
Une aventure extraordinaire que j'ai vécue
Travel the world
Enseignez, apprenez, partagez
Feel the fear and do it anyway
Ce que j'aimerais partager avec mes hôtes
Im fun, friendly, cleeeaannn.
Pays que j'ai visités
England, France, Germany, Greece, Greenland, Iceland, Ireland, Isle of Man, Malta, Mexico, Netherlands, Scotland, Thailand, Turkey, United Arab Emirates, United Kingdom, United States, Wales
Pays dans lesquels j'ai vécu


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"Excellent Job. other tradies came to have a look at the job and they shook their heads. Harry accepted the challenge and delivered. Job was done before time and in best possible .."Lane Cove North, Sydney
Very reliable and very hard working professionals! Their prizes are affordable and their work is high quality!
Great customer experience and excellent workmanship by Dhan and the boys. Floored my entire house (except for wet areas) and the job was completed on time and under budget.
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Nightcliff, NT
Tiling installation
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Number of rooms: 3
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Around the 31st of July
Ground floor apartment access direct from car park.
2 bedroom unit. Lounge, kitchen is one big square room. They lead via a corridor to the 2 bedrooms.
Tiles throughout and require a skirting til...
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Rising Juniors and Seniors for the 2018-2019 year will be able to meet with representatives from local apartments and rental properties about living off campus next year.
The mission of the department of Housing and Residence Life is to develop inclusive, safe and educational residential communities by providing high quality facilities, services and programs. Motto: A caring community nurturing respectful relationships.


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Absolutely beautiful morning.
The new pump is still going - meaning it's not all clogged up - but going at a bit slower pace. I'll take it out when I get home from work and clean it. It has some catching up to do and it may be days or even a week before it gets all the gunk out of the pond and be nice and clean again.
My Elephant Ear/Taro plants are making a comeback as well. Huge windstorm threw everything into disarray. I tried to rearrange the plants back into some mode of what they once were, but only nature can totally fix it.
Well, just threw that out there. Nice morning, but it's going to get into the 105 range later on today, lol.
Tuesday, May 22, 2012
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This will be the first of an on-going series of how to own a dog - or several dogs - without having to shell out a fortune in keeping them h...
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Just a few minutes left before I have to sign in for work. Not feeling too terribly bad today, a good thing. Still have that cough, but fro...


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ALL >> Fashion-Costume >> View Article
Love Accessories? Jewelry Tips You Can Use
Total Articles: 20
If you just received a piece of jewelry from an inheritance or as a gift, or you just bought a piece on your own, you probably want to know more about jewelry in general. Where can you find information that you know you can trust? This article will address a few pieces of advice that will help you be a better educated consumer of jewelry.
Are you looking to purchase jewelry for someone special? You should first learn about jewelry so you will be an educated consumer. Nothing would be more awful than to purchase a special ring and have it turn your friend's finger green! Do your homework and educate yourself about buying jewelry. You will be glad you did.
If you want to buy one of the ladies in your life a piece of jewelry, but don't know her size, just sneak something out of her jewelry box that she already wears. That way you can have that item sized and get her the perfect jewelry in the perfect size - she'll be totally amazed!
Know what is trendy before you buy a piece of jewelry. The only thing better than picking up a gorgeous bauble is getting it on sale!
IF you're thinking of buying your child jewelry, a charm bracelet is an excellent way to go. Add a new charm at every milestone, such as, his or her first lost tooth. When your child grows up, he or she will have a special story that is attached with each charm.
If you would like to buy a pair of earrings for a loved one, make sure they have pierced ears first! It is a major faux pas to pick up a pair of gorgeous baubles only to find out they're unwearable. If you can, check her jewelry box, or ask someone close to her who might know like her Mother.
For a special and personalized gift, have a jewelry piece custom made for your recipient. You want the piece to match the person; unique people deserve unique jewelry.
If you'd like to show off your hairstyle, try wearing jewelry that compliments your hair's color. Green or aqua stones set off red hair beautifully, while jewel tones brighten darker locks. If you have fair hair, a clear sparkling stone like a diamond can make it shine, while a dark stone adds great visual contrast.
If you choose to make and sell jewelry at craft bazaars or flea markets, take time to ensure that each piece has a clearly marked price tag that cannot be tampered with, yet can be removed without damaging the merchandise. Although nobody likes to think that theft can happen to them, it is best to protect your investment of time and money.
Engagement Rings
When purchasing diamond jewelry such as engagement rings, earrings, necklaces and bracelets, knowing the 4 C's of diamonds are important. The 4 C's include: Cut, Clarity, Color and Carat. Some jewelers also like to add a fifth C which is Certificate and it is the grading report on the quality of the diamonds in your piece of jewelry. Knowing the C's of diamonds will make you a more knowledgeable customer.
When soldering a wedding ring and an engagement ring together, make sure the jeweler polishes the rings. Engagement rings are often worn for some time before the wedding band is and it will look like the rings do not match if they are not polished to look new.
Diamonds have long been a popular addition to jewelry throughout the world. However, you don't have to purchase large solitaires, such as those in pendants, earrings, and engagement rings. A popular way to get the most for your money is to get several smaller stones set together to imitate a larger one.
If you are looking to drop hints to your boyfriend about engagement rings, you can casually leave a magazine open to a page that features something you like or even cut out ideas and tape them to the mirror in the bathroom or leave it near his car keys. Eventually he will get the hint that you are looking for a ring.
Try not to get out of control when shopping for engagement rings and wedding rings. You may want that gigantic ring your favorite actress got, but the difference lies in what your sweetheart can afford. Do not pressure him into trying to afford something you know he can not.
Jewelry has many different and interesting aspects. Do your homework, and identifying the best investment pieces of jewelry will be easy. There is a wide range of jewelry out there for you to explore! These suggestions should be helpful for you to start out.
Check out ezerings to learn how to choose the perfect engagement ring.
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Inhaltsangabe: Originally published in Russian in 1981, this unique history of early Soviet philosophy is now available for the first time in English, translated by Frederick Choate. Yehoshua Yakhot (1919-2003) was a professor of philosophy in the Soviet Union until forced to emigrate to Israel in 1975. While in emigration, he finished writing the book begun in Moscow years before. Yakhot s book is essential reading for an understanding of the counter-revolutionary role of Stalinism and its devastating impact on every aspect of Soviet thought. Rare among works dealing with this period, Yakhot presents an objective account of the theoretical role of the major figures in the early Soviet Union including, most significantly, that of Leon Trotsky, co-leader with Lenin of the Russian Revolution of October 1917. The book describes the flourishing of philosophical discussion after the revolution and ensuing Civil War. By 1922, the major theoretical journal Under the Banner of Marxism had been founded at Trotsky s urging. The first two issues contained letters from Trotsky and Lenin that constituted the program of the journal. By the mid-1920s, two contending camps had formed in philosophy: the mechanists and dialecticians. The relatively free debate between them on many complex issues was followed by Stalin s intervention in December 1930. In a ferocious reaction against the theoretical foundations of the October Revolution, Stalin sent countless genuine Marxists to their deaths during the Great Terror of 1936-1938. Prior to the opening of the archives in the late 1980s and early 1990s, Yakhot presents the largely unknown history of many of the Marxist philosophers victimized by Stalinism. The subjects covered in the book include: the subject matter of Marxist philosophy; the problem of contingency; the principle of partisanship in philosophy; Hegel and Marxist dialectics; Spinoza s place in the discussions of the 1920s and 1930s; the rejection of ideology by Marx and Engels; the influence of Bogdanov s ideas; the inevitable crisis of Soviet ideology; and continued attempts to conceal the crimes of Stalinism in the USSR.
About the Author: Yehoshua Yakhot was born on 2 March 1919 in Yaryshev, in the Vinnitskaya area, now in Ukraine. He volunteered with a group of students from the Moscow Institute of Philosophy, Literature and History [IFLI] on June 22, 1941, the day that Hitler s armies invaded the Soviet Union. Poorly trained and equipped, lacking even shovels, they were sent directly into battle. In March 1942, Yakhot was wounded and was one of the very few who survived when attacked by the German Luftwaffe near the town of Ostashkov, not far from Moscow. Yakhot completed undergraduate study in philosophy at Moscow State University in 1943, became a member of the CPSU in 1946, and finished graduate study at the Moscow State Pedagogical Institute in 1947. From 1947, He taught at the Moscow Finance Institute. He became a Doctor of Philosophical Sciences in 1965, and a Professor in 1966. His areas of scholarly research were problems of dialectical materialism and philosophical problems of social statistics. Yakhot enthusiastically embraced the partial de-Stalinization that began with Nikita Khrushchev's speech to the Twentieth Congress of the CPSU in February 1956. During the thaw, he parted ways with some of his pro-Stalin friends could not accept the change in party line. Yakhot not only rejected Stalin politically, but saw him as a poor philosopher. Yakhot was a devoted Marxist and thought that Marxist philosophy was a great achievement of the human mind on the level with Kant's and Hegel's. He never renounced these convictions to the end of his days.
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The Domestic Politics of Foreign Aid by Erik Lundsgaarde (Paperback, 2016)
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- DescriptionIn spite of shared rhetorical commitments to tackling poverty worldwide, dors have varied considerably in their use of aid as an instrument for global poverty reduction. This book explains varied dor priorities by examining how societal actors, governmental actors, and the institutions that regulate their interactions influence development policy choices. The Domestic Politics of Foreign Aid challenges explanations for dor generosity that identify humanitarian values, partisan politics, and welfare state institutions as key determinants of aid-giving patterns. It explains how the preferences of diverse sets of actors are amalgamated in the domestic political arena to shape national preferences for international redistribution. Drawing on interview research conducted with a variety of stakeholders in four dor countries (Denmark, France, Switzerland and the United States) and an extensive review of primary and secondary sources on aid politics in the countries studied, the book offers both a static overview of the characteristics of aid policymaking systems and a historical treatment of policymaking dynamics over a 25-year period (1980-2005). Applying a common theoretical framework to the four case studies and using development NGO advocacy as a starting point for examining the politics of aid, this book provides a synthesis of several strands of theoretical work dealing with interest group politics and political institutions to inform the analysis of the societal and governmental determinants of aid choices.
- Author BiographyErik Lundsgaarde is Senior Researcher at the German Development Institute (DIE), Bonn, where his work focuses on the diversification of the actor landscape in development cooperation. He is the editor of the book Africa toward 2030: Challenges for Development Policy (2011, Palgrave Macmillan). He received his M.A. and Ph.D. degrees in Political Science from the University of Washington, USA.
Key Features
- Author(s)Erik Lundsgaarde
- PublisherTaylor & Francis Ltd
- Date of Publication21/04/2016
- LanguageEnglish
- FormatPaperback
- SubjectEconomics: Textbooks & Study Guides
Publication Data
- Place of PublicationLondon
- Country of PublicationUnited Kingdom
- ImprintRoutledge
- Weight498 g
- Width156 mm
- Height234 mm
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text: Home > Bizzare > Japan > May 14, 2014 Bizzare, Japan Japanese manufacturers have released a bra that contains built-in ice packs so women can stay cool in summers. Share this:FacebookTwitterGoogle Related Posts There was an all girl band that would throw a 'Golden Condom' to the audience A teen killed by a train was sued by a woman because his flying body parts injured her. Kokura, Japan, was the original target of the atomic bomb that landed in Nagasaki. Scavenger's Daughter was a 16th century torture device that compressed the body until blood came out of the nose and ears. A Bonsai Tree planted in1626 survived the atomic bomb at Hiroshima and now resides in a U.S. Museum. A 2-year-old who died in Italy in 1920 has been perfectly preserved to this day. A Japanese man survived both the Hiroshima and Nagasaki atomic bombings during WWII. Hiroshima and Nagasaki are not radioactive anymore There is a website that lets you send a gallon of cow, elephant or gorilla shit anonymously to someone as revenge. A survivor of Hiroshima's atomic bombing went to Boston in 1951 and won the Marathon.


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23 July 2017 01:44
Campaigners fighting the threat to maternity services in Oswestry have made their message clear with a demonstration through the town.
More than 300 people – from newborns to grandparents – took to the streets on Sunday in a march aimed at making health bosses reopen the midwife-led unit.
It was temporarily closed – along with those in Ludlow and Bridgnorth – for up to six months earlier this month because of staff shortages, meaning women will have to travel to Wrexham, Shrewsbury or Telford to give birth.
Liz Grayston, a mother-of-four who launched the Save Oswestry MLU campaign at the end of last year, led dozens of families from the Bailey Head, while her husband Justin brought many more from Gobowen Railway Station, with both groups meeting outside the doors of the closed MLU.
Liz said they won't give up, adding: "The turnout has been amazing – I couldn't have asked for anything better.
"Other maternity units up and down the country are having the same problem, so I hope this shows them you can fight – and that you should fight."
Many of the families at the protest brought babies and children who had been born at the MLU, while others had returned their for post-natal care – something campaigners say is crucial and is currently unavailable because of the closure, which could continue until the end of the year.
Ben and Kate Jones from Gobowen, whose son Ted made his arrival at the unit almost four months ago, said: "We had excellent care at Oswestry.
"It was personalised, especially for us as first-time parents, and it was unique. We never felt rushed."
Some of those at the march took part for the future generations who will need it.
Su Perry, who gave birth to her daughter Emma Breeze at the unit 25 years ago, said: "I wouldn't have been without the unit which is why I am here today.
"This is the third time we have had to fight for maternity services in Oswestry – but why should we fight for something we are entitled to?"
Emma, who received post-natal care at the unit when she gave birth to her son Alfie two years ago, added: "It's such a trek to Telford for families and friends, and it's a 40-minute drive to bring your baby home.
"You can't beat the care they give at the Oswestry unit.
"They don't just look after you, they are helping you with feeding, getting sleep when you need it – and they will never discharge you until you are ready."
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Where has this month gone!?
14.10.2016 - 14.10.2016
The first thing I have to say on this blog is that my host brothers name isn't Joseph but is actually Patrick! I have no idea where I got Joseph from. I am convinced that is what he told me but apparently not! So yeh, my host family consists of Ma, Baba, PATRICK and Onea.
I have now been in South Africa for nearly a month. Which feels very strange to write as it really doesn't feel that long and I am not sure where the weeks have gone. One thing I have learnt so far is that South Africans are very loud! Our Ma knows everyone in the village and shouts hello and has full on conversations with everyone who walks past the house, even if they are right up the street. They also love loud music. Patrick has a massive sound system in his bedroom and plays music 24/7, even when he's not at home. And the TV is always on. There is no such thing as an inside voice and as soon as one person is awake, everyone's awake.The music at church is also deafening. Piano, drums and microphones are turned up so loud you can hear the sermon from all over the village. The vibrance and energy is catching though and makes everyday exciting and interesting.
During these past two weeks we have continued to help out with the computer classes, after-school programme and Scouts. We have run sessions on culture, gender, sustainable living and the importance of water, which the children all seem to have enjoyed. The majority of the community here do not have running water so rely on the local taps for clean water. However, these only work for around 3 days a week so the families have to stock up on water and use it wisely. In a place where it has been as hot as 43 degrees, this lack of water isn't great but the local people have learnt to get by.
We have also been clearing a plot of land to create a vegetable garden for the organisation. This was very hot and hard work and involved lots of interesting looking creepy crawlies but it will help the organisation cook for the children and have an income from the vegetables they sell. After three days we cleared the land and we are now waiting for the materials to be delivered so that we can put up a fence and start planting the seeds.
Another project we will be starting next week is to create a jungle gym for the children. We have been donated the tyres for swings and decoration and are now just waiting for the proposal for the other materials (eg; poles, slide, nails, cement) to be approved so that we can start building. We will start by clearing the land next week. It will be great for the children to have something they can actually play on rather than just dirt, rocks and sticks.
When we haven't been working, Sne and I have been getting to know our host family. Onea is 12 yet she seems to do all of the work round the house and most of the cooking. In Venda, women do all the work in the house and show respect towards men and their elders. Baba works 6 days a week and gets in about 8pm. He is a very lovely man and is helping us learn Venda, but he won't ever serve his food himself, Ma or Onea will lay it out for him to have. Patrick seems to be a law unto himself, doing what he wants, whenever he wants and the house is always full of his friends. They are all very nice but very, very loud! Ma is great and is definitely a social butterfly. She knows everyone and is also a local football referee. We went to watch two local games with her the second Sunday we were here and she got very animated. She also showed me her right to use firearms certificate so I won't be messing with her!
Last Saturday we travelled for an hour to Thohoyandou where I got to eat a pizza, buy chocolate and use a flushing toilet! It was amazing! I feel that I have adjusted to life here and am really enjoying the work we are doing. But it has made me realise how truly privileged we are to lead the lives we do back in the UK. We can have clean, fresh water whenever we want it - that's pretty great.
Posted by Ruthiebrady 13:20


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Goldman Sachs (GS) has been part of the crime scene -- CBS' CSI: Crime Scene Investigation franchise, that is -- since 2007. Now, the investment banking behemoth may be ready to flee the scene.
After owning 50% of one of this decade's most popular television franchises, the bank's private equity arm, GS Capital Partners, is looking to make a quick getaway.
GS Capital Partners has been talking to potential buyers for weeks weeks, according to a source with knowledge of the process. Variety Magazine first reported the potential sale and said the bank is seeking $500 million, which could value the franchise at $1 billion. Goldman Sachs declined to comment.
Related: Why old media stocks are on top today
CBS (CBS), which owns the remaining 50%, controls all the creative elements and distribution of the franchise, and that arrangement is unlikely to be upended if Goldman sells its stake.
CSI launched in October 2000, with CSI: Las Vegas, which gained a strong following. CBS capitalized on that popularity with CSI: NY and CSI: Miami, which CBS canceled in May. That franchise now runs in syndication, as well as through Netflix (NFLX).
Goldman has made a series of forays into the entertainment space over the years. GS Capital Partners has held stakes in the Yankees' YES Network, which it recently sold to Rupert Murdoch's News Corp. (NWSA), as well as in Village Voice Media, a company that allegedly ran a site used for sex trafficking. GS Capital Partners exited Village Voice in April 2012.
As part of the Dodd-Frank financial reform, banks have been forced to scale back investments in private equity. Going forward the bank can invest no more than 3% of a fund's overall capital. Ahead of the new rules, the bank invested between 15% and 30% of the fund's capital.
|'Made in Germany' faces new test as antitrust claims are leveled at automakers
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Times have subverted the plenty they point to: Things, we have not always known this division – Misprision
of interest, profit, rent – coded Surplus, decoded as labor evaded As gain the source of all wealth so degraded The land and the worker elude the vision – A scission of surplus and use corroded And still, things goaded by labor, nor faded, But like light in which its action was aided. We are things, say, like a quantum of action Defined product of energy and time, now In these words which rhyme now how song's exaction Forces abstraction to turn from equated Values to labor we have approximated.1
Hannah Sawtell has been in residence at Bloomberg working without portfolio, in parallel to the financial data vendors. Here, she is witness to the feeds, analytics and exchanges that proliferate from the terminals. Securities, preferred shares, equities and commodity markets circulate and message across the proprietary secure networks. Streaming as snapshot files of global regions, specific markets or commodities the vagaries of financial data is ticker-taped and broadcast. Sat at a terminal we speculate the image of the vendor capturing and mobilising economic projections in real-time, delayed or filed at the end of the day. Screen capture is integral to this perception of economic projection. All screens are the revelatory apparatus, a machine adept at any account that permits us to make visible unfolding technological patterns where virtual time and space substitutes itself for an indistinct reality. Screens negotiate this substitution. The vendor seeks to convert intangibles and chimeric capital into fungible value. This is the transparent image of late capitalism, diagrammed in the movements of stocks and shares. The phenomenon fascinates because it deviates from the core of historical production where value is tied to product. This seductive fascination concerns objects and bodies in motion. Desire here must be understood as conditioned by a dynamic force that commodifies behaviours. Control of behaviours conditions the control of futures. The terminal and screen configures the architecture of the environment. Vendors cross paths through various hubs designed to increase connectivity and interaction. For Sawtell, the screen is the mode of capture and tool for artistic labour. Temporal objects continuously flow and dissolve on screens as if all screens are cachectic-labouring brains. Information technology enters the realm of fiction, an immaterial edifice of value that bears a certain resemblance to art and art's modes of constructing meaning and value. Sawtell's Vendor is a form of appearance, showing up within things, gaining traction through formlessness. Within a virtual environment contingent on the limits of the object falling away, the Vendor 'occupies' the immaterial space of finance, cognitive labour, and the imaginary. The Vendor is a constructed subject metamorphosing to critically transform the apparatus like Baudrillard's 'gambler'. The Vendor is the latest manifestation of protagonists that occupy Sawtell's work; the figures of the Degreasor, Egressor and Osculator also mobilise action – necessarily collective – in a series of sculptures, films and accompanying soundtracks. These scenario driven avatars imbue and figure entities as 'quasi-subjects' or as 'quasi-objects' – activators of a transitive subjectivity.2 They have a stage presence producing a sense of subject-hood requesting agency for and from the artwork. Anthropomorphism tussles with the minimalist vocabulary deployed in the structures Sawtell fabricates. We consider the work of art neither as 'a machine nor an object, but rather an almost body', which is to say, 'a being whose reality is not exhausted in the external relationships between its elements; a being that, while not decomposable into parts through analysis, only derives itself up wholly through a direct phenomenological approach'.3 In the on-going Degreasor in the Province of Accumulation series Sawtell proffers an assemblage where resolution and distribution eradicate figure and ground. Blue back posters magnetised and fixed informally constellate a materialised glimpse of the profligate image. The images presented, despite their ubiquity, are transparent to point of invisibility. Sawtell exports the images from their compressed form, accentuating the very creases of their existence – their own conditions of circulation. Significance is barely retrievable but figures through marginalisation and perseverance. Their appearance is proportional to the promotional bandwidth they inhabit. They are entoptic images that arise from the optical system and expressed with optical tools. The world of appearances is visible through watery contact lenses
straining to reorientate inverted film posters, topographical NASA scans and gold molars. The eye is the browsing search engine, the biological originator of the screen. The 'look' both as a verb and noun, quality and command, activates – are you seeing what we are seeing. This encounter exceeds the spectator address of primary objects. These images feed into the strictures of an artwork through the existing economy of attention and affect. Flat-packed minimalist reliefs of overwritten design templates are shown adjacent to the images. They are provisional objects – machine cut models, bent and adulterated their forms are described by their means. Their proximity to the larger images forces a flickering reading between image surface and object. They appear as 'specific objects' accumulating 'interest' operating in the space between perception and interpretation, continually negotiating this in-between space.4 Unpacking the congealed energies of production within the work we unravel an accumulation of references, properties and actions. From the blueprints of industrial technology and design to the software and programmes of digital abstraction, the work strives to become operative and transformative. These shifting modes of abstraction absorb elements from capitalist technology with the aim of salvaging and infusing the artworks with the logic of excess. In the hyper abstraction of 'cognitive capitalism'5 the surface skin of design triumphs over the non-identical 'refuse' that is sensory experience. The degreased forms of the reliefs emerge from packaging design, the wrapped protective membrane of MP3 players and the shell cases of data disks. In turn, their anodised surfaces are lacquered with blue, turquoise and magenta hues. Listed as a medium, phosphate acid bonderises their surfaces creating something more opaque, obscure and threatening. The strength of the sculpture derives from the fact that grasping the works by 'means of a list of their physical properties, no matter how complete, is both possible and impossible'.6 This discrepancy is precisely what characterises the phenomenological perception of the work – a perception in which the hungry eye does not capture through intellect but with an embodied, changeable and inexhaustible process of accumulation. Spiralling out from these material qualities, we can trace the movement of dynamic, productive processes. Phosphate acid morphs as an aqueous solution, a Janus faced substance exchangeable in its uses from naval jelly rust remover and over the counter teeth whitener to a cure for nausea and an intensified food additive. In addition, it is the essential element in Parkerising fire arms, reproducing the cold metal image of violent extraction that foregrounds the 'Province of Accumulation'. Sawtell channels Rosa Luxemburg in a call and response with the accelerated and limitless accumulation of the present. It is within this condition that Sawtell plays out her actions, metabolising over-production and critically challenging the colonising forces that capture and embody labour. Accumulation is a prerequisite for capital – without it, all we have is our skin. The first cycle of accumulation is the extraction of resources. For Luxembourg accumulation has its roots in violent expropriation as repeated dispossession. In Swap Meet (Ijen Mix) Optic, 2012, two images hinge and cohere within an adjustable structure that seems to vacillate between window, shelf and screen. The lower image offers us the banality of a water droplet screensaver made physical via toughened glass. This window refuses to look into the world and expresses new autonomy, an updated opaque 'fresh widow'. Sharing the same editorial real estate the upper image blends a crude transition, frozen mid-wipe between the corporate comfort of an Airbus cabin and an aerial contour map of the volcanic Ijen of the title. The image literally objectifies the elusive elements of environmental stimulation
with parts standing together and apart. Hoping out loud, the artwork exists within the imperfect and broken where matter can be changed without mattering. Hyperlinking out of the image we meet the sulphur miners of the Ijen tectonic strata. The extraction of resources from the deep red molten sulphur lakes is the most precarious work of dangerous extraction. The mining of brimstone from the turquoise acid crater bound for industrial consumption as fertilizer, fungicide and the primary ingredient for the best quality gunpowder. This form of colliding inventories of properties, ethical preferences and imaged materials continues in Swap Meet (Al-bahr al-mayyit mix) Optic, 2011. Industrial products in their own promotional terms appear as strata and contemporary debris fossilising in front of us. Extracted with no outlet alongside the evocation of endoheric lakes the salinity and buoyancy of the exchange visualises a super-abundant condition detached from exploitation. Transient definitions and divisions of labour is where fission and separation are the rule. Over proliferation pits global and local against each other, privation against excess eradicating community. Informal structures buffer an attempt to endure traces of historical processes, both ideological and aesthetic. In Swap Meet (bio mix) Optic, 2011, the liberal appropriation from the 'free flow of information' and our rights to 'know' supplement the conspiratorial mode with apparent opposite. Depicted in the shuttered decal is a Swedish server farm. The internet provider offers 'bullet proof' secure hosting. Thirty meters below ground in a rebirthed pre-Cold War bunker is an extraordinary environment – the futuristic stronghold for the Wiki Leaks files. Sawtell's appropriation of the provider's mutual interior fissures another chapter in which 'it is a mistake to assume that revealing the entirety of what has been secret will liberate us… Appearance, the public face, is never simple hypocrisy'7. Of course, we cannot trust the façade. Appearance is all we have. We do not find the truth in gossip and scandal, the facile complaint of co-option or institutional recuperation; we are absorbed into 'pure malevolence' – interned in an impossible place filled with the assumption that 'the site of artistic transformation is the site of political transformation' and that this place is always 'elsewhere'.8 Sawtell probes this uneasy desire for the politicised role for art making and that which reveals or irradiates the present – 'a physical diagram, a corporeal blog... poison the gossip, kick some asses, jinx out the jargon, hack into lives.'9 Tensions between formal and economic abstraction manifest in sensuous thinking and an implementation of a concept by coding or programming surfaces. She extracts image-form through our engagement with surface properties. The result is the disclosure and complicity of the primary form of abstraction – namely exchange. The economic sphere manages and administers the circulation and distribution of the surplus (sovereignty) – the excess is precisely that which has to be economised. The argument, if we listen to theory, is to grasp what the economic actors are doing, the type of activity they are engaging in, and make visible our findings through the pornography of circulation. We could argue that art itself, on a symbolic level partakes in the primitive logic of accumulation – hide our sources; deny the commodity character of the art object and stock pile our cultural capital. Art participates in the phenomenon and embodies the conditions of advanced capitalism. We are engaged in a highly speculative activity – where things add up to considerably more than the sum of their parts – continuously generating surplus value. Expectation is the market driver. Fictitious capital generated through un-backed speech acts is met with our enthusiasm that they be true. In these instances, we are the very image of capital, the source of value – 'our attention'. This currency is extracted by framing our powerlessness in the face of seduction – the realisation that the accumulation of capital is tied to a
moment when profits are skimmed in the 'pay-off' of the 'bonus realm'.10 The alternative rites of excess have always been about squandering capital, in the eclipse of the 'accursed share', never accumulate, 'always waste it and get wasted, to consume and be consumed, and refuse to save anything or be saved by anyone'.11 From within the superabundance of production and the inability to produce meaning, we are always taking adjacent paths. This is how dialectical thought acts as a transition from one thought to the next, one definition to another, with causality replaced by participation. There is the familiarity of an argument whereby the artwork is just like any 'thing', as potentially multiple as any commodity and exchangeable for what it is not. Present and absent they simultaneously defer any place or time. Countering this liberation as damaging false equivalence, we are left with a neutered and detached autonomy. We pay a price for a guilty exceptional status – part of the world and partly not, partly for use, partly for symbolic exchange. Semi-autonomous artworks under the conditions of late capitalism recognise seriality and the mutability of digital processes setting up new commands and behaviours as they glitch and corrupt accelerated circuits. The 'swap meet' market assemblage is perhaps a less contested form of occupation compared to that of the barricade. Through it, Sawtell makes the processes of accumulation visible and transparent. Seemingly, in open source methods of sharing no one is dispossessed, or excluded. Political unconscious is congealed in the mass voluntary coerced production of the digital, in the willingly self-exploitative production of the 'general intellect.' In acquiescently displaying the act of accumulation, we acknowledge that anybody can participate. The spatial frame of Sawtell's 'swap meet' configures both convivial and 'dissensual' attraction – assembled, not as units of significance but chains in ritual handling, in centrifugal movement, forces that implicate and cache our searches. These ripped entities construct many of her works in states where the world of appearances is radically changed. Modern biotechnology and its unpredictable consequences, or the information economy, organise themselves through a parallel logic of the bazaar and bizarre. Art production here seems like a way of working aesthetically and politically with the potential to future an alternative to social reality. There are no gifts per se to colonise us, no question of what we owe the image-object. In the 'swap meet', objects remind us of productivist 'comrades' retrieved by artists as revolutionary agents and as tools for change. In EU Egressor (October 30th mix), 2011, Sawtell lays out a potlatch of materials, horizontally arranged to form a temporary autonomous zone. Plugged in, reverberating like a cellular phone on vibrate, the materials in their fading yellowing glow, replicate surface and form, from African call centre placemat to concrete canvas. The flattened space pitches an austere location and provisional structure to dwell, think and communicate. Concrete canvas is a mobile material fabricated to produce sustainable buildings with great speed and efficiency. It is, however, mostly hoarded in the domain of the military and not where we imagine it needed. This may indeed highlight the fantasy of participation, as a corollary of encounters between objects and subjects, but Sawtell's work holds out the possibility for a new assemblage of political encounter through a 'parliament of things'. Any assemblage as the material vocabulary of a collection faces in two directions – 'to assemble is one thing; to represent to the eyes and ears of those assembled what is at stake is another.'12 The nebulous notion of our social apparatus is the network that exists between heterogeneous sets of discourses, the pen, the keyboard and language itself entangled in an ensemble. The apparatus separates us from our own subjectivities – a process of individuation subtracted from power relations as a sort of surplus value.
Anything and everything we encounter has 'the capacity to capture, orient, determine, intercept, model, control, or secure the gestures, behaviours, opinions or discourses of living beings'.13 Seen from this perspective the appeal is to identify and investigate apparatuses, together with incessant attempts to find new ways to dismantle them. Visible objects, affirmations that can be formulated, forces exercised, and subjects in position are like vectors and tensors. It is cartographic in form a way of producing new maps. Breakage and fracture, working and making visible fragments and scrap are indicative of untangling the social apparatus. Contemporary art abounds with heterogeneous time capsules, stuffed with lost abstractions and broken links. In Sawtell's films, from Rent, 2008, to Osculator, 2012, we perceive the process of disintegrating frameworks as a highly developed condition. 'The relationship between pollution and filmmaking strikes me as a worthwhile area of investigation'.14 Sawtell takes up the challenge posited by Smithson that film is capable of picking up the pieces. Using the screen to record, Entroludes 1–6, 2010, are culled from browsing and poaching the pollution of the 'contemporary global arcade'15 of the internet. Disjointed sound and image extends the animal, mineral, vegetable classification of things. Semi-abstract assemblages occupy the screen with virtual rapidity following streams beyond the dominant feeds and suggested sites. Different pixel and image density are pushed from low resolution to high definition. This throws veneers and machinic interfaces into sharp relief. Visual plagiarism is an act of salvage; cut and paste are after all the first two commands on our drop down menu. Sawtell's films are a Mnemosyne project with anthropological sensitivity to the social lives of moving images, accompanied by the sound of stuttering phlegm and tincture. Industrial napkin folding machines hum against the animation of sliding dividers in their exhaustive multi-functionality. Our search engines now regulate the ways questions can be asked. Free text combination removes grammatical correctness in equality of all words. A new orthography to question the world or address questions the world asks us. 'Browsers are philosophical machines', promoting all accessible clouded answers in the 'sum of all occurrences'.16 Sawtell's language of images dwells far away from the home button immersed in the phenotype manifestations on screen. Toned brightness hyperbolically amplifies the swipe aesthetic of 'screen povera'. We nod along punching staples to snippets of a radio broadcast reporting the demolition of a department store. These films do not yield meaning easily through the absurdist quantitative taxonomy where data matters. A foreign voice instructs us to pull a temporary partition over a green screen but like Melville's Bartleby we 'prefer not to'. We are ourselves objects, when we attend to the objecthood of the thing we are shaping – poem, jpeg, sound file – the more we let ourselves be used, as objects in our own right, by the field in which the objects participate – the more we let the demands of the field dictate our choices. To attend to the field of things in circulation is then to attend to what Lévi-Strauss coined as 'entropology' where 'every verbal exchange, every line printed, establishes communication between people, thus creating an evenness of level, where before there was an information gap and consequently a greater degree of organisation.'17 Entropology articulates the discipline concerned with the study of the highest manifestations of this process of disintegration. The files sitting on our hard drive seek a better balance between production and neglect. We seek an archive materially and physically robust enough to withstand the climatic changes and yet we acknowledge our involvement with those climatic changes and market disturbances. The waste of abandoned sites are critical for Sawtell's re-purposing of detritus; from the over-produced grubbed-up markets to the sprawling favela;
between forcing the right conjunction of letting sound, image and idea be – and between one person's potential and someone else's possibility. Here, art and politics share the same medium or gestures. In its expanded sense they encompass all the physical manifestations through which people confront each other and evoke desired responses –speech, images, signs or architecture. A message must be received, and not just transmitted. Sawtell's methods map positions in relation to the forces of persuasion, seduction, authority and violence that gestures and things can generate. In doing so, she avoids portraying social processes as exclusively determined by closed institutional structures, making participation appear possible.18 Frameworks of the apparatus, affecting production affect us through the 'machinic efflorescence'19 of the technology we use, and importantly the way we acquire knowledge. Within Sawtell's set of operations, the ideology of form is intertwined with the aesthetics of form in a 'dialectical flash'.20 History warns us that the difficulty of dialectical thought lies in its summative nature. We cannot say one thing without revisiting the totality of everything that precedes our enunciation. A dialectical method might intensify our self-awareness; we see the occurrence of thought in the very act of thinking. This breathless sink oscillates between the object-orientated activities of thought to dialectical self-consciousness. The dialectic becomes as speculative force, just as the Vendor thinks ahead, operating in the subjunctive tense. 'Method is detour', Benjamin tells us. It is a way of proceeding through shortcuts, deviations, drift, and associations, cognitive and indirect. Another reading could see Sawtell's methods as a self-generating or self-effacing set of propositions. Envisage an operating system, unzipped though a string of meta-instructions for generating artworks, which in turn is modified and replaced as the work proceeds, much as current computing architectures write the history of their application in ever-greater capacity and integration. Sawtell visualises material resources as a series of updates with the historical risk that certain ways of running these images maybe irretrievably lost, turning into defunct encryption. In this analogy, Sawtell offers, right from the beginning, a coded reading that continues, through glitch and user error to bear the underlying structure of earlier haptic systems. This logic is quite different to the dialectic of negation toward a final horizon of resolution at some terminal point. Sawtell abandons previous systems and formats while preserving their general operational capacity. She shows us how to do this through a set of preferences where the language of one system is re-functioned – not simply translated. This convergence opens the commodities depicted to the labour and value congealed within them. The artwork becomes a knowing receptor through the overwriting of junked syntax of images, objects and things. Alun Rowlands
1 Extract from Louis Zukofsky 'First Half Of "A"9' originally published in November 1940 as a mimeographed booklet of forty-pages, the poem attempts to forge something concrete from the 'coded surplus value' overwriting a transcription of Marx's vocabulary with Spinoza. Republished in Louis Zukovsky, "A" (New York: New Directions Books, 2011) p.107 2 Michel Serres, The Parasite (Minneapolis: University of Minnesota Press 2007) p.225–7 3 Neo-Concretist Manifesto was published in the Sunday Supplement of the Jornal do Brasil newspaper on March 23, 1959 4 Donald Judd, 'Specific Objects', Arts Yearbook, 8, 1965 rep. in Donald Judd, Complete Writings 1959–75 (Halifax and New York: Nova Scotia Press, 1975) p.181 5 Franco Berradi, The Soul at Work: From Alienation to Autonomy (Cambridge: MIT Press 2009) 6 Rosalind Krauss, 'Allusion and Illusion in Donald Judd' Artforum, vol. 4, no. 9, May 1966 7 Slavoj Žižek 'Good manners in the Age of WikiLeaks', London Review of Books, vol. 33 no.2 January 2011 8 Hal Foster, 'The Artist as Ethnographer', The Return of the Real (Cambridge: The MIT Press, 1996) p.302 9 Jutta Koether, 'Mad Garland' Art and Subjecthood – The Return of the Human Figure in Semiocapitalism eds. Isabelle Graw and Daniel Birnbaum (New York: Sternberg Press 2011) p.81–2 10 See: Diedrich Diedrichsen, On (Surplus) Value in Art (New York and Rotterdam: Witte de With Publishers and Sternberg 2008)
11 Jan Verwoert, 'Exhaustion and Exuberance: Ways to Defy the Pressure to Perform' Dot Dot Dot 15, 2007 p.89–112 12 Bruno Latour, 'Realpolitik to Dingpolitik, or How to Make Things Public', eds. Bruno Latour and Peter Weibel Making Things Public-Atmospheres of Democracy (ZKM and MIT Press, 2005) 13 Giorgio Agamben, 'What is an Appartus?' What is an Apparatus? And Other Essays. (Stanford: Stanford University Press, 2009) p.13 14 Robert Smithson, 'Art Through the Camera's Eye' Robert Smithson: The Collected Writings, ed. Jack Flam (University of California Press, 1996) p.375 15 Hannah Sawtell, Interview by Yin Ho, Rhizome, Web. April 16, 2012 16 Boris Groys, Google: Words Beyond Grammar dOCUMENTA (13), 100 Notes No. 046 (Hantje Cantz, 2012) 17 Claude Lévi-Strauss, Tristes Tropiques trans. John and Doreen Weightman.(New York, NY: Penguin, 1973, 1955) p.413–4 18 See: Eve Kosofsky Sedgwick, 'Paranoid Reading and Reparative Reading, or, You're so Paranoid, You Probably Think This Essay Is About You', in Kosofsky Sedgwick, Touching Feeling: Affect, Pedagogy, Performativity, (Durham and London: Duke University Press, 2003) p.123–53 19 Felix Guattari, 'Remaking Social Practices', The Guattari Reader, ed. Gary Genosko. (Oxford: Blackwell, 1996) p.262–3 20 Hannah Sawtell, loc. cit.
Broadsheet #1 by Hannah Sawtell Printed by Business Week on the occasion of the exhibitions: Vendor Bloomberg SPACE 5 October 2012 – 12 January 2013 Osculator ICA, London 9 October – 18 November 2012
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted, in any form or by any means now known or here after invented, including photocopying and recording, without prior knowledge and permission in writing from the publisher. Copyright © Bloomberg SPACE and ICA, London, the artist and authors, 2012. Designed by John Morgan studio ISBN: 1-900300-68-0 ISBN: 978-1-900300-68-1 Supported by:


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