text:
Bradford business makes payments at the Rio Olympics a breeze
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Bradford business makes payments at the Rio Olympics a breeze
19 Aug 2016
Athletes at the Olympics in Rio havee been able to keep their debit cards in their wallets and pay with their fingers. Visa has allowed them to make contactless payments via the NFC Ring, technology that was developed far from the heat of Brazil, in Leeds City Region.
Bradford-based John McLear was already a successful technology entrepreneur in the education sector when he invented the NFC Ring as a way to avoid having to carry keys and a wallet.
"John iterated through hundreds of prototypes (the early ones being 3D printed) and eventually ended up launching the first rings with a Kickstarter campaign back in 2013," says NFC Ring's Brand Director Chris Leach.
The initial ring raised £241,000 in crowdfunding and was recently followed by an updated 2016 model. In addition to opening doors, it can be used to unlock smartphones and transfer contact information – like a kind of 'wearable business card.' The Olympics will be one of the first times it has been used for payments.
While there are other NFC-enabled rings on the market, Leach doesn't see them as real competition. "We invented this technology and application. Other 'NFC enabled smart rings' (we actually own the trademark for the term 'NFC Ring'!) are simply copycats, and mostly only care about making a quick buck
"You know you are on to a good thing when there are cheap copies available all over the internet before you've even fully released your first version!"
From Bradford to the world
The Visa deal is just one of a number of partnerships in the works, according to McClear, who says that he plans to move to Los Angeles to take advantage of commercial opportunities there. NFC Ring is a proudly Yorkshire-based company though, and supports the broader local economy by using manufacturing partners in the area.
McLear says that the survivors of Bradford's once world-class wool processing industry have now retooled to work with materials such as carbon fibre and kevlar – ideal for companies wanting to innovate in the hardware space.
"We firmly believe in 'shopping local' wherever possible," says Leach, who adds that the company worked with material science students from Bradford University while developing the ring.
What's it like to be a technology firm in nearby Bradford?
"It's interesting," says Leach. "Bradford is such a culturally diverse and fascinating place to be in. There is no shortage of talented and hard working people in Bradford who are building empires in all industry verticals.
"It's great to be able to say that we are amongst those budding entrepreneurs that are proud of their home city and are constantly striving to help put the city back on the map. We're quite fortunate that there is such wide-ranging business in the city – as it means we have been able to seek out some local expertise with some areas of our production, such as packaging design and production, and help to give back to the local community in whatever way we can."
If you want your own payments-enabled NFC Ring, pre-orders are open now on the company's website at a price of £39.99
This story was originally written by Martin Bryant and published by Tech North.


text:
Four Seasons
Four Seasons knives are die-cut from a single billet of fine German stainless steel alloy and outfitted with an oversized hygienic moulded polypropylene handle. These knives are built to easily re-sharpen on a honing steel and resist oxidation from repeated exposure to moisture. The Four Seasons range is built specifically for commercial application in performing daily food preparation tasks under challenging conditions in the food service industry.
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Download Santvani MP3 lastest APK version by Bhajan and Bhakti song Mp3 for Android
Santvani MP3 Android Application. Santvani MP3 is offered by Bhajan and Bhakti song Mp3. Last Updated: February 29, 2016. Current Version: 1.2
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In this application all the popular Artists whose names are given below are included.
The friend circle and various groups contributed the content for this application. But still if we have taken some private content without any reference from the studio broadcasting then we're sincerely sorry for this misbehaviour.
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text:
During this research work, it was discovered that the Airline Ticketing and Management System used by some airline companies only offer the basic features of a ticketing system such as searching for flights, selecting available flights and paying for the reservation. This discovery brought about the idea of creating an improved ATMS.
Some of the problems faced by the existing systems include:
Inability of passengers to select seat(s) for their chosen
flight(s) from the existing reservation system. This has ultimately resulted in
time being wasted at the check-in
counter in assigning seats to passengers before they are allowed to board the
- No
option of passengers printing their boarding pass from the existing system.
- Non notification of passengers in the event of flight cancellation or delays
- No access to aircraft maintenance reports to ease passenger fears as regards to air travel and its disasters.
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On Monday June 11, 2018 at 12:33 AM, the Monterey Police Department received a call of an attempted residential burglary in the 400 block of English Avenue in Monterey. The suspect attempted to enter an occupied residence but was unsuccessful. The homeowner of the residence yelled at the suspect and the suspect fled on foot. The suspect was reported to be holding a handgun. NEWS RELEASE AND PHOTO IN PDF
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text:
Equity and Trusts
Publisher: Routledge-Cavendish
Date: 2009-08-18
Language: English
Pages: 1288
Added: 2015-10-31 23:20:03
Alastair Hudson's Equity and Trusts is an ideal textbook for undergraduate courses on the law of trusts and equitable remedies. It provides a clear, current and comprehensive account of the subject through which the author's enthusiasm and expertise shine through, helping to bring to life an area of the law which students often find challenging.
Beginning with the core principles, Professor Hudson reinforces the key points by means of clear examples throughout each chapter, helping students to build and develop their own knowledge of equity and trusts. A set of lively, discursive essays reflecting on the law then begin to outline the broader political, social and economic context of the subject and encourage the reader to begin to engage with their own critical analysis.
The seventh edition is supported by a Companion Website which includes:
- over fifty short podcast lectures by the author discussing and clarifying key topics from within the book, which cover an entire course
- a set of brief video documentaries filmed on location which provide context and bring to life selected key topics
- a brief introductory video presentation from the author introducing the viewer to the subject of Equity and Trusts and to the book in particular.
Show more Show less 1ca5e5a893669fd820e16af0fed04bdf
498460bf5f5b16b7db3c52dd0415170c] Bad link[/url]


text:
Another great paintjob from Death Spray Custom. If you don't know what film this bike's referencing then we need to talk.
Another great paintjob from Death Spray Custom. If you don't know what film this bike's referencing then we need to talk.
Spotted in Knightsbridge... we'd just been at one of the excellent Friday Late events at the V&A and I'm not sure the combination of iPhone camera and dwindling light levels are capable of communicating just how retina-shearing the colour was.
I've always had a soft spot for the Photorealist art movement. I'll admit a certain amount is because 'the picture looks like what it's supposed to' and as much as I loathe the typical knee-jerk philistine (and proud of it) reaction to any hint of conceptualism in art I do love craft as well. By which I mean technique, expertise, mastery of a medium, and what better proof of expertise than verisimilitude? But mostly I think it's down to the subject matter, I've already namechecked Robert Bechtle and this week stumbled upon Ralph Goings' website
My usual trackday one-piece leathers took a bit of a beating at Anglesey. I reckon they could still serve with some judicious stitching and the application of strategic gaffa tape if I ever get round to trying short-track... but not really fit for circuit work.
Labels: Motorbikes, Trackday
I was dimly aware that an experiment in Holland had shown that by removing road furniture, signage and painted lines they'd drastically reduced the accident rate. This great article on Jalopnik gives more details of why and some background on the radical traffic engineer Hans Monderman behind the scheme. I heartily recommend it.
Volkswagen have always been a byword for sophistication with their advertising, particularly in print. But those Madison Avenue copywriters had their hands full when they started on the VW account, as somebody wrily observed 'how do you sell a nazi car in a jewish town?'.
Labels: Advertising, Culture, Design


text: Hello! First post ever! And not exactly a happy one! I have a Model S 70 on hold ( ) all due to the Lease agreement.... or should I say disagreement? I ordered my beautiful car on May 5th and decided to apply for the Lease a couple of days ago.... only to find out that I was not approved. My credit is perfect and I was lucky enough to never have much debt. The finance department even said my credit is great! and my income is ideal! but I don't have enough history. They want to see higher car payments.... possibly a mortgage? So do I have to buy a house first? Did anyone else have issues with the Lease? How did you solve them? Did you end up just purchasing the car instead? I considered that but I don't like to keep my cars for longer than 3 or 4 years anyway so Leasing is ideal. My only solution here would be to have my husband cosign..... but I want to exhaust any other option before I do that.


text: Since we opened in 2002, Shoals Products has evolved in many ways. Family-owned and operated in Muscle Shoals, Alabama, our goal has always been to operate with honesty and integrity. Over the years, our business has grown to be very specialized in a few products. We are constantly seeking ways to offer our customers more for less. We still believe in good ole-fashioned customer service, treating our customers with respect and appreciating every customer we have. We are proud of our business, our staff, our customers and our products.


text:
Sleep apnoea is diagnosed as a chronic serious ailment that obstructs breathing during sleep. The affected individual experiences shallow and paused breathing while asleep. Breathing normally gets disrupted for a few seconds or minutes, causing the person to go from deep sleep into light sleep thus affecting the sleep cycle.
Obstructive sleep apnoea is common among people who are overweight. Due to excessive fatty tissues the airway gets blocked and collapses while sleeping, resulting in loud snoring and obstructive breathing. Enlarged tonsil tissues can also be the cause of sleep apnea this condition is more common in children. A lesser known type of this disorder is central sleep apnea, which occurs to individuals suffering from serious medical conditions. During this condition the brain mis-communicates with the breathing muscles, thus resulting in restless sleep and disturbing the respiratory control centre.
Chronic sleep apnoea can result in high blood pressure, heart stroke or failure, diabetes, depression, and headaches. If left untreated, it can result in poor execution of physical and emotional activities. So, it's important to get rid of snoring. There are so many solutions available in form of natural remedies, anti snoring devices, surgery etc but there're some simples exercises too. Given below are some easy tongue and throat exercises that strengthen the muscles and decrease the risks caused this life threatening disorder.
Tongue Exercises to help counter Sleep Apnea:
A large tongue is often the cause of this disorder. Simply check in front of the mirror if you have a large tongue or not. Stick your tongue out in front of the mirror completely and check, if you can view your soft palate and uvula then your tongue is normal. If the uvula gets hidden because of your tongue, then it's large.
Try out these simple exercises at home twice a day to find relief from sleep apnea.
Exercise 1
Hold a spoon on the palate behind the front row of teeth. Elevate the tongue to that position so that the tongue touches the spoon. Maintain this position for a few minutes. Repeat it 5 times, twice a day.
Exercise 2
Rotate the tongue inside your mouth. Roll it over the top and base of your mouth, between the lips, and on the teeth. Repeat this exercise twice for ten seconds just before going to bed.
Exercise 3
This is called the 'tiger yell'. Stick your tongue out completely in front of a mirror till you can see your uvula lifted up in a stretched position. Hold it in that stretched position till 5 seconds then relax. Repeat the exercises 10 times daily.
Exercise 4
Place the tip of your tongue on the palate and slide it towards the upper teeth. Then slide it backwards from the top of the upper teeth to the back till you can reach your uvula. Keep your head straight during this exercise so that you can feel your tongue stretch backwards. Hold it in that position for a few seconds. Repeat it 10 times before going to sleep.
Exercise 5
Blowing exercises are beneficial for the palate. Inhale deeply through the nose and then exhale via the mouth pressing the lips in resistance. Tighten the abdomen while exhaling for few seconds. Repeat 4 times a day for 10 minutes.
Exercise 6
Singing and pronouncing vowels in front of the mirror daily will considerably improve the condition. Repeating vowels 5 times everyday loudly will strengthen the jaws and the palate.
Exercise 7
Rest your chin to your chest and stick your tongue out between the teeth. Slowly lift your head upwards with the tongue sticking out. Bite the tongue gently as you look upwards and swallow while looking up to the ceiling. Repeat this exercise 5 times before going to bed. This will strengthen the throat, jaws, and open up the nasal passage.
Exercise 8
To strengthen the facial and throat muscles this exercise is very beneficial. Place your first finger inside your mouth touching the cheek. Push the cheek outward with the finger, and at the same time flex the cheek muscles to resist the push. Repeat the contractions for 10 times per cheek. Do this exercise 4 times a day for better result and relief.
Exercise 9
Neck muscles also need to be exercised in order to have normal breathing. A smile a day can save your life. Stand in front of the mirror and look at yourself. Then slowly pull up your lips for an exaggerated smile. Hold that smile up to 10 seconds then relax. Repeat the action 10 times. This will improve the jaw line and relax the throat as well.
Other exercises include chewing gum to flex the facial muscles and clinching a pen or pencil between your teeth to improve the jaw co-ordination. These exercises can be done at your own comfort and in suitable timings. In case the problem persists then it is advisable to get immediate medical attention. Do not take this condition lightly, but timely assistance can save your life.


text:
oil/stretched canvas
I painted with some friends at Ft. Hunter on Saturday. The weather was brisk, but warm in the sunshine and the color was glorious. It took a while, but the 2016 Fall has finally delivered-beautiful golds, rust, maroons, and deep, rich browns. Per usual, I completed the 'bones" of the painting [ composition, tree arrangement,value placement, some color] on site. The rest of the painting was completed at home.


text:
Made of Polyethylene (PE) material, this non-slip, light-weight playmat is a cost effective alternative to the PVC playmats.
Comes with numerical design that is educational, this colourful and fresh looking playmat will brighten up any room at home!
size: 1850 x 1400mm
thickness: 12mm
weight: ~4kg
Made from polyethylene (PE) material. Non-toxic, waterproof and easy to clean.
This item is rolled up and packed in a plastic sleeve.
This mat is made of polyethylene, not the same as bumper playmat (made of PVC). Please read about the differences HERE.
This item will be hand delivered within Australia.
We ship internationally. Find out the cost at check out or request for a quote by emailing us at:


text:
POSTED: May 8, 2013 9:26 AM ET
NEW YORK-- Denver's George Karl is the recipient of the Red Auerbach Trophy as the 2012-13 NBA Coach of the Year, the NBA announced Wednesday. Under Karl's stewardship, the Nuggets finished with a league-best 38-3 (.927) mark at home and the No. 3 seed in the Western Conference Playoffs.
In earning his first NBA Coach of the Year, Karl totaled 404 points, including 62 first-place votes, from a panel of 121 sportswriters and broadcasters throughout the United States and Canada. Coaches were awarded five points for each first-place vote, three points for each second-place vote and one point for each third-place vote. The award was tabulated by the independent accounting firm of Ernst & Young LLP.
Coach of the Year: George Karl
The Nuggets went 57-25 (.695) -- the league's fourth-best record -- despite beginning the season as the league's third-youngest team with an average age of 24.9 years, and not having a player score more than 16.7 points per game during the regular season. According to NBA.com/Stats, the Nuggets ranked third in assists (24.4 apg), generating an assist on 60.0 percent of their made field goals. Denver ranked fifth in player impact estimate (53.8 percent), offensive rating (107.6) and net rating (+5.6).
The Nuggets' 38-3 record at Pepsi Center was a franchise-best and tied for the 14th best home record in league annals. Additionally, their .927 winning percentage at home was the highest since 2008-09 when the Cleveland Cavaliers went 39-2 (.951) at Quicken Loans Arena.
In his 25th season as an NBA head coach (ninth with Denver), Karl earned two Western Conference Coach of the Month awards during the 2012-13 campaign. He won for March after leading Denver to a conference-best 13-2 (.867) mark, which included wins in the first 12 games of the month, feeding a 15-game, franchise-tying-best winning streak. He earned his first monthly nod in January after the Nuggets opened the New Year with a 12-3 (.800) record. During January, Karl passed Larry Brown for sixth place on the all-time coaching wins list and notched his 1,100th career win.
The sixth-winningest coach in NBA annals and the active wins leader, Karl has amassed 1,131 career victories in the NBA, including a streak of 21-straight non-losing seasons -- tied with Phil Jackson (21, 1989-90-2010-11) for the most in NBA history.
The Coach of the Year Award is named after legendary coach and Hall of Famer Red Auerbach who guided the Celtics to nine NBA Championships. In 1996, Auerbach was honored as one of the Top 10 Coaches in NBA History as the NBA celebrated its 50th anniversary.
|2012-13 Coach of the Year results
1962-63 - Harry Gallatin, St. Louis
1963-64 - Alex Hannum, San Francisco
1964-65 - Red Auerbach, Boston
1965-66 - Dolph Schayes, Philadelphia
1966-67 - Johnny Kerr, Chicago
1967-68 - Richie Guerin, St. Louis
1968-69 - Gene Shue, Baltimore
1969-70 - Red Holzman, New York
1970-71 - Dick Motta, Chicago
1971-72 - Bill Sharman, Los Angeles
1972-73 - Tom Heinsohn, Boston
1973-74 - Ray Scott, Detroit
1974-75 - Phil Johnson, Kansas City-Omaha
1975-76 - Bill Fitch, Cleveland
1976-77 - Tom Nissalke, Houston
1977-78 - Hubie Brown, Atlanta
1978-79 - Cotton Fitzsimmons, Kansas City
1979-80 - Bill Fitch, Boston
1980-81 - Jack McKinney, Indiana
1981-82 - Gene Shue, Washington
1982-83 - Don Nelson, Milwaukee
1983-84 - Frank Layden, Utah
1984-85 - Don Nelson, Milwaukee
1985-86 - Mike Fratello, Atlanta
1986-87 - Mike Schuler, Portland
1987-88 - Doug Moe, Denver
1988-89 - Cotton Fitzsimmons, Phoenix
1989-90 - Pat Riley, LA Lakers
1990-91 - Don Chaney, Houston
1991-92 - Don Nelson, Golden State
1992-93 - Pat Riley, New York
1993-94 - Lenny Wilkens, Atlanta
1994-95 - Del Harris, Los Angeles Lakers
1995-96 - Phil Jackson, Chicago
1996-97 - Pat Riley, Miami
1997-98 - Larry Bird, Indiana
1998-99 - Mike Dunleavy, Portland
1999-00 - Doc Rivers, Orlando
2000-01 - Larry Brown, Philadelphia
2001-02 - Rick Carlisle, Detroit
2002-03 - Gregg Popovich, San Antonio
2003-04 - Hubie Brown, Memphis
2004-05 - Mike D'Antoni, Phoenix
2005-06 - Avery Johnson, Dallas
2006-07 - Sam Mitchell, Toronto
2007-08 - Byron Scott, New Orleans
2008-09 - Mike Brown, Cleveland
2009-10 -- Scott Brooks, Oklahoma City
2010-11 -- Tom Thibodeau, Chicago
2011-12 -- Gregg Popovich, San Antonio
2012-13 -- George Karl, Denver


text:
Full HD Home Theater Picture and Audio
Full-HD content in sharp 1080p high definition. Watch the latest Blu-Ray movie releases and video streams in home theater high-contrast quality without down-scaling or compression.
Vivid Projector Color Wheel
BenQ's six-segment color wheel (RGBRGB) with 6-times the speed of ordinary projectors and BrilliantColor™ Technology maximizes color depth and range for the clearest images without a rainbow effect.
CinemaMaster Audio+
The HT1070's 10-watt speaker projects clear sound with BenQ's Audio Enhancer, powered by MaxxAudio. Dramatically boosted bass and treble stereo sound emulates the same technology used by prominent Hollywood studios.
Short Throw Projector Capability for Your Home Theater Setup
Small space? No Problem. Get a stunning 100 inch screen from just 8 feet, guaranteed. Bring big-screen theater entertainment into your home theater room or apartment with the HT1070, easy.
Mobile High-Definition Link: Stream From Your Phone or Tablet
With the HT1070's MHL technology, you can stream web content from your smartphone or tablet instantly. Simply connect your mobile device via a MHL cable and watch the flawless mirroring of contents expanded onto the 100inch projector screen. Charge your mobile devices with the HT1070's extra 1.5A USB Type-A port so your phone doesn't skip a beat.
Home Theater Modes to Enhance Your Sports Experience
Sport Picture Mode | Sport Sound Mode
A precision configuration of color tuned digital enhancement provides stunning big-screen projection to make every second of the match seem larger than life. See every sweat gland, every blade of grass while fully immersed with optimized speaker audio.
|Enviromental Notice
Lamp in this product contains mercury. To dispose of the product or used lamps, consult your local environment authorities for regulations.
|Projection System
|Native Resolution
|1080p (1920 x 1080)
|Brightness* (ANSI Lumens)
|2000 ANSI Lumens
|Contrast Ratio
|Display Color
|1.07 Billion Colors
|F= 2.59-2.87, f=16.88-21.88mm
|Aspect Ratio
|Native 16:9 (5 aspect ratio selectable)
|Throw Ratio
|1.15 - 1.5 (100" @ 2.5m)
|Image Size (Diagonal)
|60" ~ 300"
|Zoom Ratio
|Lamp Type
Lamp Mode (Normal /Economic /SmartEco)
|3000/4500/6500 hours
|Keystone Adjustment
|Vertical ± 40 degrees
|Projection Offset
|115% ± 5%
|Resolution Support
|VGA (640 x 480) to WUXGA (1920 x 1200)
|Horizontal Frequency
|15 - 102KHz
|Vertical Scan Rate
|23 - 120Hz
|Computer in (D-sub 15pin) x 1
Composite video in (RCA) x 1
MHL x 1 (shared with HDMI)
HDMI x 2 (shared with MHL 2.0 x 1, HDMI x 1)
Audio in (Mini Jack) x 1
Audio (L/R) x 1
Audio out (Mini Jack) x 1
Speaker 10W x 1
USB (Type A) x1 (5V/1.5A power supply)
USB (Type Mini B) x1 (service)
RS232 (DB-9pin) x 1
IR receiver x 2 (Front & Top)
|Dimensions (W x H x D mm)
|13.6" x 4" x 8.5" (346.24 x 101.70 x 214.81 mm)
|HDTV Compatibility
|480i, 480p, 576i, 567p, 720p, 1080i, 1080p
|Video Compatibility
|3D Support and Compatibility
|Frame Sequential: up to 60hz 720p
Frame Packing: up to 60hz 1080p
Side by Side: up to 24hz 1080p
Top Bottom: up to 60hz 1080p
|2.75 kg (6.06lbs)
|Audible Noise (Normal /Economic Mode)
|34 / 29 dBA
|Power Supply
|AC100 to 240V, 50 to 60 Hz
|Power Consumption
|Normal 330W, Eco 280W, Standby <0.5W
|On-Screen Display Languages
|Arabic /Bulgarian/ Croatian/ Czech/ Danish/ Dutch/ English/ Finnish/ French/ German/ Greek/ Hindi/ Hungarian/ Italian/ Indonesian/ Japanese/ Korean/ Norwegian/ Polish/ Portuguese/ Romanian/ Russian/ Simplified Chinese/ Spanish/ Swedish/ Turkish/ Thai/ Traditional Chinese (28 Languages)
|Accessories (Standard)
|Remote Control w/ Battery
Power Cord
User Manual CD
Quick Start Guide
Warranty Card (by region)
|Accessories (Optional)
|Spare Lamp Kit P/N: 5J.JED05.001
Ceilling Mount P/N:5J.JAM10.001
Wireless FHD Kit P/N: 5J.Y1J28.A01
Qcast Dongle QP01 P/N: 5j.JCK28.A01
*Lamp life results will vary depending on environmental conditions and usage. Actual product's features and specifications are subject to change without notice.
Download: US 1 Year Limited Projector Warranty - Purchased after 5/1/2010 - 180/500
Download: US 90 Day Limited Replacement Lamp Warranty for Purchases After 5/1/2010
BenQ Universal Ceiling Mount
BenQ WDP01 - Wireless FHD Kit for HT Series Projectors
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text: How's it goin? Ive come to the conclusion that my G&L just isnt the ideal bass for the kinda of sound Im after these days. Its a great bass with a great sound and it plays great, but its output is just too strong and too bassy. Cutting the low end on this bass doesnt do it for me, it just sounds weird to me. I cant just change the settings on my amp since I switch between a few basses per set and Id rather not use another preamp or shapping pedal since I already have a lot of pre-amplification going on and a heavy rack. So now the question is, what do I get to replace it? I was thinking something (used) close to the price I could get for my used L-2500, or less. Namely: Fender Roscoe Beck V Ernie Ball Stingray 5 G&L L-5500 Reverend Brad Houser 5 Fender Precision Deluxe V Lakland Skyline Joe Osborne 5 Lakland Skyline 55-02 Im into basses with a classic look and Im looking for something with versatility. Id probably drop a pre into the passive basses since I like really cutting top end. I know plenty about the SR5, Fender P V, and Ive read enough about the JO5 but I dont know much about the other basses. Can you guys rate them in order from best to worst on their B string? Which bass has the most cutting top end? What about neck sizes? Thanks. I know thats a lot but I spreciate your help. Peace Nick


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Archive for August, 2006
back on form
Thursday, August 31st, 2006 | Uncategorized | No Comments
A long soak in the bath, the calmness of making soup and an early night with an Agatha Christie certainly did the job. By the time I turned out the light I felt beautifully relaxed. This morning I woke feeling awake for once and back to my normal smiley self. What a relief!
Today is an exciting day, although I didn't know it when I woke. Today I hear that contracts are being signed on the house, which means that at least one side of my move is going well. I shall have a completion date shortly, and so I aim to spend the weekend packing what I can. I've so far trawled the offices and collected a load of boxes to fill with books, clothes and all those other things I'm not going to need for the next few months. (OK, I know I'm going to need books – but not all of them. I shall have to be very firm with myself and only choose a few to take with me, and just go to the library more!)
Next week I should also hear more regarding estimates taken today on my (hopefully) new flat. It is obviously all up in the air at the moment and causing me much stress, mostly because it's out of my hands. Me? A control freak!? Never! But there is nothing I can do but sit back, wait and cross everything it's possible to cross.
the blue funk
Wednesday, August 30th, 2006 | Uncategorized | 2 Comments
Today is a Wind in the Willows day. I feel as if I want to be curled up on a visit to Mole's house one dark winters eve.
"The Rat paid no heed to his [Mole] doleful self-reproaches. He was running here and there, opening doors, inspecting rooms and cupboards, and lighting lamps and candles and sticking them up everywhere. `What a capital little house this is!' he called out cheerily."
I want to be in a capital little house, with bunks and candles, a blazing fire and a parlour. I want duvets a plenty and warm mugs of honey and lemon, home made soup and chunks of bread, still warm from the oven.
Although the weather is gloriously sunny, I feel tired and worn out and know I've lost the battle to hold off autumn. I've even gone so far as to order a new jumper, and find my thoughts turning to winter as the evenings get darker and the mornings have that inescapable chill. I would be prickly but I'm too dulled for that, and instead just sit looking morose and sorry for myself. I have promised myself an early night, and some homemade soup, and hope that this raises my mood from the doldrums. I do so hate to be glum.
acid brass
Sunday, August 27th, 2006 | Uncategorized | No Comments
Yesterday Tom and I gave up on the idea of a picnic and headed out to Bexhill on Sea and the De La Warr Pavillion to see the Jeremy Deller exhibition. We wandered around the newly renovated building, gazing out at the rain along the coast and marvelling at the "thing" out in the sea which looked rather like an oil platform but wasn't.
After a brief wander for some food and a bit of rock pooling, we headed back for Acid Brass. It started as an experiment that Jeremy Deller set up, whilst sitting in a pub and thinking of the many links between brass bands and acid house music. There was a lovely range of people there, from chaps in their dotage to children dancing about and running back and forth in front of the stage. It didn't take long before the dancing started, with a couple of groups who were determined to relive part of their misspent youth.
I don't think I've ever heard anything quite like it, it was great fun but also quite surreal.
the weekend beckons
Friday, August 25th, 2006 | Uncategorized | No Comments
With the sunshine, my mood returns and I find myself gazing happily out of the window at the blue sky, listening for birds and dreaming of picnics by the riverbank. Tomorrow we shall head out into the countryside and find a place to spread our blanket, but beforehand I shall pick up the necessary delicacies on my way home and somehow keep myself from picking at them this evening.
It is a relief to be in such a chipper mood especially considering that yesterday brought a conversation with my surveyor, which could result in problems with the new flat. I had thought that the whole process was moving too well, positively swimmingly in fact. But until reports are made and quotes received there is nothing I can do but hold fire and try not to worry too much. It is a little frustrating, but then again not entirely unexpected. I have been repeatedly told, by numerous people, that the whole house buying process is a minefield of problem after problem and for once I paid close attention to this advice.
I shall put the whole business out of my mind for the weekend though, and delight in picnicking, and adventures into the wilds of East Sussex to see an exhibition and a concert. What better way to spend time with my lovely boy?
dinner out
Thursday, August 24th, 2006 | Uncategorized | No Comments
Last night Tom and I headed to Katharine & Rich's for dinner. It's only been a month or so since they moved in, and the new flat is already looking lovely and lived in, with the vast majority repainted. Sam has a larger room, which means he actually has space to play with his toys and although the sitting room is narrow and galley-like, there is actually more room for their dining table than at their previous flat.
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Each month, PlayGround-LA casts twenty or more professional actors to present script-in-hand readings of original short plays written by L.A. playwrights for the Monday Night PlayGround series. Actors rehearse for 1.5 hours on Sunday or Monday leading up to the performance, with a brief tech on Monday evening and the performance at 8pm. Actors each receive a $15 stipend for their participation.
The mission of PlayGround-LA is to support the development of significant new local voices for the theatre. PlayGround-LA has developed a unique model for identifying and nurturing the best new writers, helping them to build a significant body of original work, and strongly weaving these artists into the family of local theatre professionals. PlayGround pairs early development playwrights with established, professional actors and directors and fosters the artistic relationships that develop.
For more information on PlayGround-LA and the Monday Night PlayGround series, visit http://playground-la.org or follow us on Facebook at http://facebook.com/playground.losangeles and on Twitter at @PlayGround_LA.


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Blake Lively dazzled in a dramatic organza Gucci gown at the Met Gala on Monday night but the "Gossip Girl" star set hearts racing in not one, but three hot looks for a photo shoot on Tuesday in New York.
The 25-year-old channeled her former TV character Serena van der Woodsen in a baby blue wool coat, hot chunky ankle boots and not much else. (Pssst, Blake! You forgot your pants!)
But who needs pants when you have thigh-high boots? The blond bombshell poured her toned legs into sexy "Pretty Woman"-inspired footwear and channeled Jane Birkin in a lace-up mini dress and wide-brim hat. It's too bad hubby Ryan Reynolds wasn't there to catch his new wife in action!
The photo shoot wasn't all sexy style; Blake's next outfit change was leggings underneath a baggy off-white sweater accessorized with black stilettos, a newspaper's boy cap and a New York-chic furry bag.
We can't help but be a bit jealous of Blake's effortless look and chameleon style. This girl can look hot in a paper bag!
Check out Blake's looks from the photo shoot below:


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The Soul of Uncle Sam
By EDGAR EUGENE ROBINSON, Byrne Professor of American History in Stanford University, California
At the Stanford University Alumni Conference Dinner on February 8, 1942
Vital Speeches of the Day, Vol. VII, pp. 305-307.
THIS year, 1942, it is fifty-five years since Senator and Mrs. Stanford laid the cornerstone of the University, and sealed away for some future day the records of that occasion. When they launched this venture on May 14, 1887, their country, this United States, was one hundred years old —a century of marvellous growth. They thought of the State of California that they had come to know, as new and promising, as indeed all America had been new and promising. They looked forward. Today we look back over that fifty-five years—and that span of years comprises one-third of the life of our nation.
Yes, we need to remember—when we consider our life as a people—that we have a history of one hundred and fifty years. Not a year of that century and a half that is not marked with tragedy; not an acre of this great area we call the United States not marked by failure; not a leader in all that length of years who has not known defeat; not a generation of men and women who have not known catastrophe, calamity, and war.
Write it down that our record shows that in 1777 during the winter at Valley Forge; in 1814 at the burning of the city of Washington; in 1863 on the battle-swept hills of Gettysburg; and in 1898 among the soldiers before Santiago —many failed to realize the situation as we see it in retrospect. Some generals failed; some politicians failed; but—most of all—a great majority of the people displayed complacency, self-righteousness, lack of cooperation, inefficiency—and experienced failure for a time. We should have learned to expect this. We have always had among our people the idle and the uncertain; most of all, perhaps, those who do not care, who have not developed what we call love of country—or a "social conscience," if you prefer that modern dressing for a very old virtue. But these minorities do not represent our people—that is, when we are alert. But we doforget this. And as a whole people, we have often stumbled, been chagrined, even lost heart. The United States we love is not the brilliant caricature of the photogravure section, nor the vivid moving picture on the screen. No! The United States we know—when we do not forget—is not the result of easy living, a soft acceptance, and a nonchalant drifting. It is the product of blood and sweat and tears. For we are the product of a pioneer frontier folk and, after that, the most vigorous people in modern times. All of our people have been exposed to common danger—on every frontier. Our people are a triumph over obstacles; our nation is a victory for those who cared—the credit for those who dreamed dreams—yes—and worked to make them come true. Our people have built voluntarily, and joyously. But they have suffered, as we are to suffer in our own day.
Here again we would do well to look closely at the United States; for although the posters may cry out—"Don't read American history; help to make it"—in our hearts we know how truly Lincoln spoke when he said: "We cannot escape history." At no time are we so aware of our existence as at this time of greatest danger. We are seeing ourselves.
Is it possible that there are many who still believe that Americans of our own day have all that they want, and that they are merely on the defensive? Surely nothing in our Past would justify such a view. The task of our thoughtful leaders since we entered the World War twenty-five years ago has been to show how little we had done, how much there was to do, and how much we wanted to do it. Our whole movement has been forward. If in 1942 we were merely on the defensive, science might save us, but if we remain true to ourselves we will carry a conviction, and recreate a conviction that our cause is the advance of all humanity, as we did in 1776 and again in 1917.
It is good to look at the strong side—to contemplate the virtues, and they are many—to observe through our upcoming the greatest return in body and spirit to the greatest number of persons in the whole history of the human race. It is an inspiring story. When the late E. D. Adams was asked years ago to give a series of lectures at Yale, he chose as his title, The Power of Ideals in American History. He believed that Democracy and Nationality and Destiny and Religion were living realities to our people. They were.
For when the founders of this nation set about the formulation of policies for building a state, they were already the heirs of a great tradition. They well knew the costs of pioneering; the physical tasks involved in crossing an ocean and cutting homes in the wilderness of an unoccupied continent. Millions came to live and to die; for this was to be their home. The nation they built embodied the principles that made their lives; it had the characteristics that are accepted as America. Men were practical; they had to be. Men dreamed dreams, else why did they move West? They made conquest of the continent, but—as a people—they first made conquest of themselves.
Perhaps I may amplify this for your memories in this way. Do not linger too long in counting your Presidents great and small; nor your battles lost and won; nor diplomatic victories; nor number of immigrants who came; nor number of inventions registered; nor number of acres under cultivation; nor miles of railway laid; nor all the marvellous improvements in living that led our optimists to speak of the conquest of nature. When men do that—and no more, as so many did after the War of 1812, the War of 1865, and particularly after 1918—they have lost touch with the America that has life for all the years to come. For when the curtain was lifted on the Atlantic by the visionary Columbus, and the great movement from Europe began, it opened a thrillingchapter for the human race. Those who came were free—or wished to be free—and all wished to maintain freedom. And freedom is—first of all—a concern of the soul.
Look closely at the figure of Uncle Sam—you know the thousands of cartoons. Uncle Sam has been an embodiment of the government of the United States for more than a century. He came into being during our second war with England, but most of us know him as a creation of our own century. Look at him! He is ever quizzical, but never naive. He is determined but not aggressive, an unusual combination. He is clear-eyed and his visions are of realizable ends. He questions and acts; also a good combination. He is practical, but he is humble before the magnitude of his task. Today I speak of the dreams that lie back of those kindly, thoughtful, reassuring eyes. For the very heart of our resolve as a people is in the soul of this idealized Uncle Sam.
The soul of America—the essence of its being—has been seeking always to the West of us for the solution of our problems. We have not only been moving West; we have been feeling and thinking West. We have been a long time coming away from Europe. It is not logical to keep on looking to the West, but the American people have continued to do so even after they reached the Pacific. The basic reason we were shocked at the attack upon Pearl Harbor is that our national psychology is always to look confidently to the West, that is, to the Future, just as always we look suspiciously to the East, that is, to Europe and the Past. No event in Europe in the past twenty-five years has shaken us as this challenge at Pearl Harbor. It was treachery—yes. It was a defeat—yes. But it was more. It forced a break in our thought. It was a blow to our persistent belief in the ultimate triumph of order in the world, and our own Future.
As the history of a nation is written by those who survive a period of time—so action may be anticipated in advance by the history that has become the memory of a people. It is here that we may see the preparation of our people for this truly awful time. Opposed to the expressed aims and measures of the aggressors of our day, we need not hesitate and wonder what response there can possibly be. Woodrow Wilson did not voice a new thought in 1917—any more than Thomas Jefferson had in 1776. Our very existence and all our expressions gave the answer, because civilized man had moved to a point where he demanded a world that was safe for democracy—and a world in which life, liberty and pursuit of happiness were the ends of existence.
Let us consider the lessons of our peculiar experiences as a people. Let us now list them—as is the present custom:
1. We have built a great continental civilization in an area approximately the size of all Europe. This has been constructive; our people have done this as free men under chosen leaders. Results count.
2. We have enlarged the domain of self-government—in city, state, nation. The democracy of our people is real —socially, economically, politically. It works.
3. We have built our nation and we have governed ourselves without surrendering the right and practice of disagreement and criticism. This is a triumph of common sense.
4. We have laughed at shams, and refused to go to extremes as we find them unworkable. Greatly concerned with the Future, we think and act with an eye to the judgments of posterity.
5. We have realized a living unity. Americans know that disagreements arise and conflict continues—as long as man lives. A nation built of peoples from the ends ofthe earth knows that if unity is to be found in action it must rest in freedom of thought. Our democracy, in war as in peace, must remain a democracy. That is the lesson of our history, and our gift to the world.
These are generalizations upon our success. Exceptions prove the rule, and the intensity of our problems.
So, as we meet today in this time of acute and bitter anguish, when every full-hearted acceptance seems dangerous, when we hardly dare to trust our thoughts, it is well to remember that—despite all contemporary signs to the contrary —we Americans are prepared for the test of the days ahead —as no other people in modern history. Is it because of our physical strength and resources? These are important. Is it a test of our intellectual grasp of the problems of the intricate and baffling modern civilization? It is. Is it a test of our moral purpose? We are ready.
A nation may be tested by its choice of heroes and its aspiration in poetry and song, as well as by airplanes and its contributions to science. Who are our well-accepted heroes? What are our well-accepted maxims of conduct? Do we defy the man of ruthless power? Do we accept as our code a code of brutal attack? Our poets do not sing well of war; they do not easily look upon destruction. For we do not make war easily; we do not easily plan to kill and burn and destroy. We know it is better to build a city than to bomb it.
But beware the man or nation slow to anger. When all measures short of war are tried—when neutrality has no longer a place—then we do see that we must make war. We alter all our lives—and our thoughts. Then we plan and build and train for destruction. This is a paradox. It is construction for destruction. We will succeed. And so certain is it, that in all measures for war—it is a preparation for the years that are to follow. And note—not a Peace alone for us, but for all mankind. That, too, is American.
I am grateful and proud that this University, as befits a great public institution in a democracy, has its own heroes and its own dreams so closely paralleling the visions of our people. Our leaders have pointed the way. Stanford can recall and honor its first president, David Starr Jordan, who gave so much thought and energy and leadership toward international peace. The man who has done more than any other in all history to feed the starving is Herbert Hoover, our alumnus. Chancellor Ray Lyman Wilbur has led in movements to bring sanity and safety to a mad world. No man in our own day has done more to attempt to solve the problems of the Pacific—that we might still look to the West with confidence. These men are symbols of our belief. The Church stands at the heart of our University. The soul of humanity has been our concern.
When the darkness of our time gives way to the light of a new day that surely must come, it will be seen that the familiar landmarks of our history are, as always, our guides and our assurance. We are not a new people. Ardently do we hope, fervently do we pray that our people will be true to their own history, that they may have a rebirth of freedom; that again, in the words of Lincoln never too often repeated, "Government of the people, by the people, for the people shall not perish from the earth."
Let it not be said of us, that we thought of America last. Let it be said, we cherished the beloved community of memory and of hope; that, as we helped to destroy the enemies of mankind, we never lost sight of the vision that made America great.


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Associate Professor of Theatre Design
He served as the technical director of the Summer Repertory Theater, Santa Rosa, CA for three years before joining StageWest in Springfield, MA, where he was technical director, scenic designer and artistic associate. With more than fifty designs to his credit Peter's work includes scenery for Equus, Riches, Closer, Venus, and BFE as well as lights for The Ride Across Lake Constance, Riches, Unplugging and Bind Their Wounds at Hampshire College. Other professional and summer stock design credits include the Miniature Theatre of Chester, Summer Theatre Mount Holyoke, Worcester Foothills Theater, New London Barn Playhouse and Summer Theater at Meredith Village. Peter has served as designer and fabrication consultant respectively for WALA Heimettel, International, and AGH Design. He designed and fabricated scenic elements for Popa Depot for HERE'S American Living Room Series.
Peter is actively involved in Hampshire's DART (Design Art and Technology) Program. He is focused on design-driven performance. Peter has worked with students developing and presenting performance pieces reflecting on trauma, a photograph, control, and a piece of thread. Peter's current project is based on memories of working in a DDT plant and Rachel Carson. In addition to scenography, Peter teaches courses in light art and in exploring performance spaces.
Designers, choreographers, and performers frequently face a traditional performance space or, as is often the case, face a nontraditional space and then question how to "fill" or design within it. What elements help create the functionality and appropriateness of a performance space? We will explore a variety of spaces, traditional and non-traditional, and the "performers" who use or have used them. We will then focus on design elements such as scenery, lighting, sound, costumes, or projections and examine the many ways these elements serve the text and/or vision of a performance piece within an array of spaces.
What draws us to the light? What is the depth of our connection? We use light as a mode of artistic expression: to illuminate, to underscore, to surprise or intimidate. Why? We enter our exploration of light through the study and practice of theatre lighting design. After gaining a firm grounding in the process of lighting for the stage, we will consider how light is used in dance, music, and installation art. Through the study of how light defines and reinforces line, movement, texture, scale, and color, we gather skills and techniques that inform our own personal use of lighting design. Students will experiment with light manipulation in class and work on group and individual projects throughout the semester.
In this course, students will design, build, and manage an escape room on Hampshire campus under the guidance of Professors Fay and Kallok. Though the professors will provide team leadership and direction, the students will be the ones creating the escape room, including concept art, storyboards, game design, puzzle design, set design, set construction, painting, lighting, sound design, production management, marketing, and live production. The set construction portion of the course will occur immediately following Thanksgiving, so students should be prepared to commit significant effort during that week. Students are expected to be skilled in at least one discipline relevant to escape room design, listed above. To facilitate the substantial collaboration that will be required outside of class hours, there is also a reserved lab time from 1pm - 4pm on Fridays. Prerequisite information: At least two semesters of course work in a discipline or disciplines related to escape room design, such as set design, lighting, painting, game design, audio design, project management, marketing, etc.
When designing costumes, projections, sound, lighting, props, or scenery, do theatre designers read plays any differently than a director or an actor? Should they? When reading a play, to what does a designer respond? Theme, character, dialogue, stage directions, place, time, rhythm, flow, and arcs all play into a designer's process of discovering the visual and aural possibilities of texts. How does a designer sift through the body of a script and discover clues of the physical nature of the play? This course focuses on reading plays with design in mind. We will read and discuss selected plays. Students will research period and aesthetic styles, lead discussions, present initial design ideas for each play, and work in "design teams." Throughout the semester students will expand their design vocabulary and experiment with design presentations.
Though the use of projections has a long history in the theatre, it is only within the last ten years that projection design has become a significant design element in many theatre productions. More recent advances in projection technology have made projections not only common, but often central to the experience of the performance environment. Continued experimentation with the integration of projections in many theatre productions has influenced other theatrical disciplines such as playwriting, directing and the traditional design areas. In this course we examine the history of projection design in theatre performance leading up to current practices. We will question the use of projection design in today's theatre while we experiment with strategies for its inclusion. Students will be given an introduction to the "tools" of projection design in a studio setting as they advance through a series of exercises and independent projects. Laptop required/ Macs preferred.
There are processes designers in the theatre must undertake to realize the physical world of a play. Moving through a series of individual and group exercises, students will begin to develop their own process toward expressing the passion of a theatre work through their designs. Throughout the semester students will develop a design vocabulary that allows for collaboration and interplay, while producing unified and coherent design work. This semester particular emphasis will be placed on scenic and costume design as students learn to communicate their design concepts using the tools of design: drafting, model building, and rendering.
Taught in conjunction with IA 316 (Advance Studies in Theatre Design), this course is intended for students who have completed at least one course in theatre design. Students will choose two projects, each addressing design issues in a specific area: scenery, costumes, lighting, sound, projections, or technical production. Working with the instructor and the advanced students, projects will be devised based on experience, skill building, and a desired level of challenge. The course will include explorations of historic and contemporary styles. Students will strive to improve their presentational skills, drafting, rendering, communication, and collaboration techniques. Students are expected to meet with the instructor outside of class.
In this course students will focus on two in-depth design investigations. Within a studio setting students will devise specific projects that address scenic, costume, lighting, projection or sound design issues. These projects may consist of, but not be limited to costume design renderings, scenic design models, light plots with cues, or sound plots with cues. Formal presentations are expected. For the final project students will be required to produce a complete design in the area of their choice for an intensive in-class critique. Students will be expected to address and revise this project throughout the semester. The course will include explorations of historic and contemporary styles. Students will strive to improve their presentational skills, drafting, rendering, communication and collaboration techniques. Students are expected to meet with the instructor outside of class.


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Galbi is a Korean grilled beef short ribs recipe. It is also known as Kalbi.
This is easy beef recipe is simple to make. It only requires the the meat to be marinated for a reasonable amount of time before grilling. If you are a cooking newbie, you won't have a hard time making this dish. This is as simple as making Inihaw na Liempo.
Choosing the right meat is important. Beef – in general – is not as tender as chicken, but there are certain parts that are softer than the rest: the short ribs is one of them. Make sure that you do not over cook the meat so that it will remain tender.
Galbi is usually eaten with leafy vegetables such as lettuce. The meat is wrapped with the veggie and dipped in fermented bean paste. However, this dish can also be eaten with steamed rice. This is what I do all the time. I like it dipped in toyomansi along with some chili sauce.
Try this Galbi Recipe and let me know what you think.
Galbi Recipe
- 2 1/2 to 3 lbs beef short ribs sliced
- 3/4 cups light soy sauce
- 3 tablespoons garlic minced
- 4 tablespoons brown sugar
- 2 tablespoons granulated white sugar
- 1 tablespoon cooking rice wine
- 1 tablespoon sesame oil
- 1/4 teaspoon chili powder
- Make the marinade by combining soy sauce, garlic, sugars, rice wine, sesame oil, and chili powder in a bowl. Stir.
- Place the beef short ribs in a heavy duty freezer bag and pour in the marinade.
- Secure the freezer bag by sealing the edges. Make sure to release all the air inside the bag before closing.
- Place the bag in the fridge and marinate overnight.
- Grill the short ribs for about 4 to 8 minutes per side (depending on the heat) while basting with the remaining marinade.
- Place in a serving plate. Serve.
- Share and enjoy!


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Royal Ambassadors (RAs) is a Bible-centered, church-based, Southern Baptist mission education organization for boys in grades 1-6 and Challengers is the organization for youth in grades 7-12.
Why the Name Royal Ambassadors?
The RA Motto, "We are Ambassadors for Christ," not only gives the organization its name, but also gives the boys and leaders a lifestyle goal. The Scripture passage 2 Corinthians 5:17-20 describes the purpose of Royal Ambassadors. While the RA motto is found in verse 20, the other verses sum up Paul's declaration of why we need to be ambassadors for Christ.
What are Challengers?
Challengers is the youth mission education organization for young men in grades 7-12. Challengers provides mission training and mission accountability as young men support each other to fulfill their personal commitment to live out and share the gospel.
Challengers also gives young men a wide range of ministry, mission experiences and develops their leadership skills. Challengers are transformed from average guys into on-mission Christians.
Ministry Assistant –
Monica Thompson
toll free 1-800-264-1225, ext. 227
direct 334-613-2227
- Our Resources
- Resource Book
- Setting Your RA Program Up For Success
- Register Your RA Chapter
- Boys Camp Information
- Adventure Weekend Information
Resources – Mission Study
- Attendance Chart
- Sample backpack missions lesson – Clean Body and Clean Mind
- Sample backpack missions lesson – Follow the Bouncing Ball
- Sample backpack missions lesson – Parades, Cowboys and Camp
- How to download a sample of the RA Leader Magazine
Resources – Advancement
Resources – Interest Activities
Challenger Resources
Larry Hyche Joins State Board of Missions
The Alabama State Board of Missions (SBOM) recently welcomed Larry Hyche to its team. Serving as a state missionary, Hyche will work as an associate in the office of global missions and focus on men's [...]
Boys Camp Testimony
For more than 21 years, I have been leading boys camps and also taking boys to RA Camps for more than 30 years. There are least three things that make the Alabama Baptist Boys Camp [...]


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Saturday, June 27, 2009
Artaud and "Profound Anarchy"
The spirit of profound anarchy...is at the root of all poetry.
Poetry is anarchic to the degree that it brings into play all the relationships of object to object and of form to signification. It is anarchic also to the degree that its occurrence is the consequence of a disorder that draws us closer to chaos.
To make metaphysics out of a spoken language is to make the language express what it does not ordinarily express: to make use of it in a new, exceptional, and unaccustomed fashion; to reveal its possibility for producing physical shock; to divide and distribute it actively in space; to deal with intonations in an absolutely concrete manner, restoring their power to shatter as well as really to manifest something; to turn against language and its basely utilitarian, one could say alimentary, sources, against its trapped-beast origins; and finally, to consider language as the form of INCANTATION.
It is readily visible here that some parts of Artaud's formulations fit post-avant (and the Philly Free School) better than others. How much in common does edge, in its generalized, denotative sense, have with anarchy? Artaud does not give examples here of what would constitute a resolutely anarchic language. It would seem that, because post-avant (as I have formulated it) has a strong narrative sense, the kind of anarchy that Artaud is naming would be inadmissable. On the other hand, poems with edges can impart the feeling of anarchy, rather than the anarchic state itself. That is part of post-avant, and applies to performance/spectacle, such as ours at the Highwire Gallery, too: creating affect out of semblances of anarchy and/or chaos. The irony, and it is one that Artaud does not address, is that to create this kind of affect takes tremendous formal discipline. You cannot waste any words, make any false or half-assed moves, produce anything which does not enhance the overall effect. This, to me, is one of Artaud's Achilles' heels: he does not offer examples (at least where poetry is concerned), but a kind of Science of Imaginary Solutions, so that we are left to piece together and reconstruct our version of what Artaud is talking about. One thing that would be hard to argue with is that Artaud wants words to transmit a certain vision of reality, rather than any artifice or self-absorption.
This is what I referred to earlier: a certain way of making art through authenticity, which in this case means channeling and accessing the primeval chaos that lies beneath all language. Language serves something deeper, rather than being an end in itself. Where post-avant is concerned, this depth flows from a commitment to expressing every kind of edge which can incise into human beings: psychological (and Artaud happens to hate psychology, which is another stumbling block), emotional, metaphysical, sexual, and all the other ones. Physical shock, as Artaud describes it, is an apt description of what post-avant poetry should produce (in its ideal form, which many poets are still working towards.) Incantation, however, is problematic, in the sense that it aligns poetry with music, and language that merely "chimes," that is merely musical, can never suffice for post-avant. Although, who knows, perhaps someone will write a striking anaphoric poem in the post-avant mode, and show us how it can be accomplished. In Feel, I tried. Perhaps I was held back by the Beat association, perhaps not. I do not see any reason why it could not happen. All it takes is a commitment to edge and to affixing it to poetry's long history; ambition, in other words. How ambitious is post-avant? Artaud seems sometimes too scattered, to diffuse, to be truly ambitious.
Here's another interesting Artaud bit:
We must get rid of our superstitious valuation of texts and WRITTEN poetry. Written poetry is worth reading once, and then should be destroyed. Let the dead poets make way for others. Then we might even come to see that it is our veneration for what has already been created, however beautiful and valid it may be, that petrifies us, deadens our responses, and prevents us from making contact with that underlying power, call it thought-energy, the life force, the determinism of change, lunar menses, or anything you like. Beneath the poetry of the texts, there is the actual poetry, without form and without text.
Artaud wanted to transcend, circumvent language, and to do it through theater; poetry (of course) does not have the option of getting beyond language. Nonetheless, these are useful insights, because it shows what post-avant has in common with its parent movements: a hankering for something "deeper than language." It is also useful to think of post-avant as an irreverent movement, which acknowledges lineage without being willing to sacrifice any of its edges. Post-avant, and post-avant poets, should be polyglot. I want post-avant to be in that prized second category: a movement which succeeds via authenticity. I do not want to cast aspersions on other movements, but there is a potential for a new mode of humanism in post-avant, and the opportunity is too good to waste. We cannot be the ideal artists that Artaud would have wanted; we rely too much on what Artuad wants to get rid of. However, that Artaud associated affect, chaos, anarchy, and physical shock with his Theater of Cruelty is a good sign. There is genuine overlap. The idea that post-avant could manifest a Poetics of Cruelty is not too far-fetched. The point Artaud was trying to make is that what is most cruel can be what is most real, and post-avant is attempting to prove precisely the same thing.
Posted by Adam Fieled at 6:30 AM
Tuesday, June 23, 2009
Post-Avant and Personism
Frank O'Hara's Personism, though not as stringently defined as Breton's Surrealism, or our own Aughts Neo-Surrealism, is another movement (a one-poet movement, in this case) that can and has had a fruitful interaction with post-avant. There are solid reasons to say that post-avant can go further than Surrealism; where Personism is concerned, I would say that post-avant does not necessarily go further, but is substantially different in its approach. Personism involves the social aspect of poems; how they can serve as links between individuals (or groups), and in doing so enact a tender (or fierce) intimacy. What is intimate about the O'Hara poems we know is that we never doubt his sincerity as a (usually first-person) protagonist. The edges come from a certain honesty at all costs; that O'Hara does not pull punches, though he is seldom brutal, either. O'Hara is sincere, overt, direct, and touchingly so. What post-avant wants to do is to take Personism and darken it. Post-avant's spin on the Personism ball often produces poems that have an edge of detachment, parody/satire, or even meanness; taking Personism and giving it an edge of experience over innocence. Rather than reality infringing on dreams, reality infringes on relationships. People's edges are exposed, their weaknesses probed, their insecurities laid bare.To demonstrate the darkening of Personism, I thought to bring in a poem by Jason Bredle, one of the darkest (and funniest) poets working this terrain.
This famous Personal Poem is taken from O'Hara's Lunch Poems. It is representative of O'Hara's vision of Personism (which he did, in fact, patent):
Now when I walk around at lunchtime
I have only two charms in my pocket
an old Roman coin Mike Kanemitsu gave me
and a bolt-head that broke off a packing case
when I was in Madrid the others never
brought me too much luck though they did
help keep me in New York against coercion
but now I'm happy for a time and interested
I walk through the luminous humidity
passing the House of Seagram with its wet
and its loungers and the construction to
the left that closed the sidewalk if
I ever get to be a construction worker
I'd like to have a silver hat please
and get to Moriarty's where I wait for
LeRoi and hear who wants to be a mover and
shaker the last five years my batting average
is .016 that's that, and LeRoi comes in
and tells me Miles Davis was clubbed 12
times last night outside BIRDLAND by a cop
a lady asks us for a nickel for a terrible
disease but we don't give her one we
don't like terrible diseases, then
we go eat some fish and some ale it's
cool but crowded we don't like Lionel Trilling
we decide, we like Don Allen we don't like
Henry James so much we like Herman Melville
we don't want to be in the poets' walk in
San Francisco even we just want to be rich
and walk on girders in our silver hats
I wonder if one person out of 8,000,000 is
thinking of me as I shake hands with LeRoi
and buy a strap for my wristwatch and go
back to work happy at the thought possibly so
Now, a post-avant response; Bredle's Girls, Look Out for Todd Bernstein:
Because after sitting out for a spell
he's back with a degree in accounting and a high
paying position in one of the leading
pharmaceutical corporations in the country
and aspirations of owning that exotic yellow
sports car, license plate EVIL.
And like Dennis Meng at Sycamore Chevrolet
stakes his reputation on his fully reconditioned
used cars, I stake my reputation
on telling you Todd Bernstein means business
this time, girls. No more of this being passed over
for abusive arm wrestling stars. He's got
a velour shirt now. No more of your excuses-
if he wants you, you're there. None of this
I'm shaving my pubes Friday night nonsense-
come on, you think Todd Bernstein's
going to fall for that? He knows you're not
studying, not busy working on some local
political campaign, not having the guy
who played Cockroach on THE COSBY SHOW over
for dinner, not writing any great American
novel. He's seen your stuff and it's nothing more
than mediocre lyrical poetry with titles
like "The Falling" and "Crucible" and "Waking to Death"
that force impossible metaphors, despairing
about love and womanhood and how bad
your life is even though you grew up happily
in suburban America, or at least as happily
as anyone can grow up in suburban America,
which normally, you know, consists of
the appearance of happiness while your dad is doing
three secretaries on the side and your mom
pretends not to know and brags to the entire
town about how you're an actress about to star
in a sitcom about the misadventures of a cable TV
repairperson who, while out on a routine
installation one day, accidentally
electrically blasts herself into the living room
of a family of barbarian warloads on a planet
near Alpha Centauri who force her into slavery
before sending her on a pillage mission
to a planet of Cloxnors who capture her and place
her in a torture institution where she meets
a vulnerable Meeb whom she convinces, because of
her cable TV repairperson skills, to let her
become nanny to its impressionable Meeblets just
before it's about to rip off her limbs
with its ferocious abnons and devour her.
The results, according to your mom, are hilarious,
but come on, you and I both know the story
is just so PREDICTABLE. And Todd knows
your writing doesn't pull off any metaphors
for the happiness taken from you by some dude
who played bass and called himself a musician
when all he could really do was play a couple
of chords and sing about true love and alligators
and how the alligator represents true love
which somehow explains the legend where the guy
cut open an alligator one time in Florida
and found a golfer. There's just no fooling
Todd. Sure, he'll act like he's interested, that's
Todd Bernstein, and he'll make claims
that he too has written or been artistic
at some point in his life, but Todd Bernstein
knows all you girls really want is a piece
of good old Todd Bernstein. No longer
will any strange auras enter the bedroom
during sex and keep him from maintaining
an erection, no longer will any women
walk out on him repulsed. If anybody's walking out
after sex, it'll be Todd Bernstein, I can assure you.
He won't be humiliating himself by falling down
a flight of stairs in front of a group of Japanese
tourists anymore, but rather coaxing entire
masses of women into his bedroom. Because
that's Todd Bernstein. He's on the move.
And he wants you to know, girls, that he's well aware
you certainly can't learn Korean sitting around here
which is why he's out there right now, preparing
for the slew of women just beyond his sexual
horizon, spray-painting GIRLS, LOOK OUT
FOR TODD BERNSTEIN on the side
of a Village Pantry.
A mouthful, to be sure. But, as funny, perverse, and on-the-surface as much of the humor is, notice that there is an ambiguity here that is not in O'Hara. What we have is a poem mostly written in the third-person, with an "I" here and there thrown in for good measure. The effect is to call into doubt what the relationship is between "I" and the legendary Todd Bernstein. The narrative has so many edges in it that the implied relationship could not be farther from the relationship between Frank and LeRoi in the first poem. There, Personism means straightforward friendship, camaraderie, a sense of being in cahoots against the rest of the (especially literary) world. We do not learn anything embarrassing about Frank or LeRoi in the poem (unless we want to count Frank's "batting average.") Here, we learn nothing about the poem's "I," and everything (and more) than we ever wanted to know about Todd Bernstein. Frank and LeRoi are equals; the narrator in Bredle's poem seems to be looking down on Todd Bernstein from an omniscient perspective. When put through the post-avant skewer, Personism comes out twisted by the recognition of human frailties. We see so far into Todd Bernstein that he becomes a joke- his delusions of grandeur, sexual frustrations, inability to connect. Bredle's tangents (and there are a bunch) are another way of creating edge; it is the literary equivalent of playing bumper cars. Bredle includes the raw and the brutal, to hilarious effect- the gruesome detail about girls "shaving their pubes Friday night," the suburban dad "doing three secretaries on the side." The net effect is Personism shot through with black humor and satire, and it is, to my eyes, at least as potent as O'Hara's original version.
P.S. Jason Bredle on PFS Post.
Posted by Adam Fieled at 5:50 AM
Sunday, June 21, 2009
Jordan Stempleman: Softer Edges
I am by no means convinced that Jordan Stempleman's work fits into a post-avant frame-work. As with Andrew Lundwall's Neo-Surrealism and some of Chris McCabe's work, there are edges, and what Stempleman is doing is (more often than not) substantially new, but edges are usually overtaken by an impulse towards grace, delicacy, charm, and sophisticated perspectives. These are the thematic issues Stempleman raises which this discourse needs to deal with: non-edgy affect (love), straightforward sentiment, caring, affection, and the domestic. With Stempleman, as with Steve Halle, what you get, as has been shown in PFS Post, is frequently an air of the domestic sublime; poems which address private concerns in resolutely subjective language. All these things seem incompatible with the brutality, rawness, razor-sharp edges, and modes of affect that I see as pivotal to post-avant.
This poem is called Love, and it is from the Otoliths book Facings. It can be considered an archetypal Stempleman poem:
I told them, you can take half the conversation
away from a stranger without them ever knowing
it, take the real side away, and then turn it
into that place, that day that never happened
to you, some intended thought, now yours. There,
you will have it for years, or because of the excitement
that will no doubt accompany this treasure, the night
will come when, not alone to repeat it only to yourself,
perhaps, lying down in a close but uncomfortable
position, faced with a person equally as exciting (in
their own way) as what you've heard, you will tell
them this side of things, so they can stare at you
as you tell it. And afterwards, before falling asleep
near them, they will tell you, I know, I was there.
There are no edges, as I have defined them, here. The poem takes its energy from an intimacy that is graceful, relaxed, and even (slightly) epiphanic. Beyond an obvious glow of genuine human warmth, the poem is charged by a subtle kind of pronoun game: who is "them" in line one? Why does the third person plural not appear again? The conceit of having more than one "I" in the poem creates an effect of boundaries being blurred, which is very similar to what we experience in close physical proximity to a lover or mate. Yet the poem's peculiar grace lies in the combination of familiar and unfamiliar elements: it is never obvious, and, while it does not exactly attack, it is certainly multi-leveled. This impression is heightened by a kind of twist ending, in the sense that the poem deliberately leaves unanswered questions. This is done without ever losing sight of an immaculate internal smoothness, the opposite of edginess. How could the second "I" have been there to witness the fabled conversation? Was it a miraculous occurrence?
Here is another Stempleman poem, from his Blazevox book String Parade. It is called Unlike Weight:
There are more faucets
in this house than hands.
My daughter thinks of telling
me, the time is now
to go out and get myself
a gun. She silently looks
at me, eyeing my gumption,
determining how much firepower
my wrists will take.
She looks at me differently
in these times, with a doubtful
pattern of the eyes, quite unlike
when we swim in large bodies
of water. There she is light
enough to carry. There she trusts
my arms will never snap.
There is a sweetness and a vulnerability to this which suggests edginess without being edgy. Edge here is an undercurrent, a darkling hint. I cannot think how this can be done in post-avant, unless it is made threatening and/or surreal, which is of course what Brooklyn Copeland does in Borrowed House. The dynamic between Copeland and Stempleman is interesting: both are low-key, subtle, nuanced, detailed, and (seemingly) rural. The difference seems to be that Copeland focuses on an edgy sense of her own sexuality, rather than on the settled domesticity that Stempleman highlights (as Nick Moudry plays the middle between them.) Stempleman comes ever so close to overdoing sentiment; but there is an imaginative edge, amidst all the grace, which redeems him most of the time. Here, it is displayed in the issue of fire-arms, in a very unlikely context. Domesticity is a theme or trope which will need to be addressed over a length of time. It is too broad and too complicated a conundrum in serious poetry to solve instantly, even in a discourse which aims to be as inclusive as possible.
Posted by Adam Fieled at 6:47 AM
Wednesday, June 10, 2009
Brooklyn Copeland: Borrowed House
Borrowed House, by Brooklyn Copeland, is a chap released this year by Greying Ghost Press. I do not know if Brooklyn will have a problem with the post-avant appellation; yet these poems are, in fact, exemplary of what poems from the narrative branch of post-avant can do. They derive their energy from dramatic metaphors, some of which are extended for the length of the chap. Copeland's language never veers into the literal; figurative language predominates, and so narrative (in these poems) is immediately distinguished from "literal" narrative sense, as it appears in mainstream poetry. Copeland's poems haunt out of a sense of heightened tension and drama, more potent for being understated. Despite their reliance on dramatic metaphor, these are demonstrably "relationship poems," that work out their edge via "we" rather than "I." Between these divergent impulses, unique textual entities present themselves, that demonstrate both the freshness and the disturbing quality that I look for in post-avant poetry.
The conflicting strains manifest palpably in He Is Watching which, in its eight solid lines, brings together many of the best elements in Copeland's poetry:
Press into the window.
You become
the shallow face
that presses into the window,
surveying all that was
and wishing for just one
more chew on the blade,
another second to swallow.
As is the case in Stacy Blair's work, the understated quality of the poem belies its visceral intensity, the physical nature and sensations that accrue to close readings of it. This response is encapsulated in the final two lines: "..chew on the blade,/ another second to swallow." Revulsion is part of the point, what lends the poem its potency, and why I would align it to post-avant. It disturbs, unsettles, yet is not presented in a grandstanding way. In fact, if read quickly, it is rather inconspicuous. It must be read slowly and carefully for its spell to be cast. The title (He Is Watching) clues us in that the poem, on at least one level, concerns voyeurism. It could be emotional, psychological, or sexual, but it undoubtedly involves a self-conscious narrator, who cloaks her rhetoric in metaphoric terms; a sophisticated narrative-thematic gambit Copeland makes. It is, also, a surprisingly complete performance from a younger poet, and doubly surprising because the different levels are not immediately apparent on first reading. If you dig deep into this poem, it is perceptible that the lack of sentiment and fanfare are specifically what allows the poem to turn its tricks successfully. Levels of temporality are salient here too: the narrator is "becoming," while "surveying all that was."
Other poems in the collection play their games more overtly. Flirtations turns psycho-affective confrontation into a children's game, minimizing its seriousness with dollops of irony and raw frankness:
Drunk beside the pond, we play
with ultimatums
:if you cannot fathom this thick mud.
:if you cannot pull the legs from this daddy-long.
:if you cannot stew this prepubescent carrot
in your own blood.
:if you cannot hitch the butterfly with your sugared thumb.
:if you cannot look me in the eye
when you recite
the filthiest passage in the grassiest language.
The anaphoric catalog presented here is interesting for a number of reasons. Since both partners are "playing," it can be difficult to tell which partner is saying what. The most obvious ultimatum, of course, is the "prepubescent carrot in your own blood," which issues from the female protagonist. She seems to be indicting her partner's sexual immaturity, his inability to raise himself above infantile self-obsession. These two lines are placed in the center of the anaphoric structure, making them both more visible and asked to carry more weight. Conversely, we are presented initially with the fact that these lovers are "drunk": this would seem to cast doubts on whether the catalog can be taken seriously, or if it is merely a kind of game again. Why are the lovers placed "beside the pond"? The pond, in fact, reappears throughout Borrowed House, but what it denotes remains elusive. A pond is not wild or active like a river or a sea; it is (like the astrological sign Scorpio) "fixed water." As such, it can be taken to denote the established feeling of unease that has developed between the two protagonists, or something they have in common, or something between them that is draining their energy; or a little bit of all of these. Ultimately, Flirtations is interesting because it seems to contradict its own title; rather than seeming like flirtations, these ultimatums feel more like a game of Russian Roulette. Between the title and the substance of the poem, a layer of irony is added which makes the poem that much more satisfyingly obtuse; and that kind of depth, of multi-leveled attack, is what post-avant is all about, or should be. I continue to explore these issues critically here, and creatively in the new denver syntax.
Posted by Adam Fieled at 4:48 AM
Friday, June 05, 2009
"Anything with an edge": Rethinking Post-Avant
Many definitions have been posited for post-avant. There was a flurry of action about five months ago, in which I and a handful of other poets had it out over what post-avant means and what it does not. It was my impression that no general consensus was reached, and that much had been said but little of it had a substantial impact. This goes, certainly, for the things I said too; I do not privilege my own formulations here. Nonetheless, I think the discussion is a worthwhile one, and thinking about it has led me to some new conclusions. Here is the original definition I posited for post-avant: the diasporic movement of Language Poetry towards a new synthesis with erotic and narrative elements. That's roughly it. What I have been thinking over the last week is slightly different, and simpler. It is defining post-avant poetry as anything with an edge. This begs some immediate questions. What do we mean when we say that a poem, or a book of poems, has an edge? How do we strictly define edgy poetry? Colloquially, if it is said that something has an edge, it usually denotes that it is pointed, direct, sharp, and that it skirts the uncomfortable or the unsettling. It may deal, thematically, with a difficult issue, or it may take an unusual stance on an issue that has become stuck in a rut of settled representations.
These are the names of some poets you will see mentioned in the days to come: Jordan Stempleman, Brooklyn Copeland, Nick Moudry, Mary Walker Graham, Stacy Blair, Jason Bredle, David Prater. To start with: all share a sense of vested intensity in representations of affective extremity in collusion with delicate, sensuous handling of metaphor and prosodic effects. What I call edgy in them may be an edge of humor, or of sexual hunger, or of desperate longing for any kind of transcendence, over circumstance or sense. Why this edge leads these poets away from disjuncture, back into narrative and erotic engagements, is that the ultimate textual idea or ideal here is fulsomeness, of being well-rounded, or of being a synecdoche of what is most compellingly human, humane. Avant-gardism, with its willful obfuscations, finds its wings clipped on one side; Centrism's insipidity and hackneyed expressionism finds its wings clipped on the other. Interesting to me is that so many of these poets were raised, nurtured, and found their voices in the Midwestern United States. How long has Indiana been waiting to express itself in a profound way?
The Midwest is in the middle of things, where the larger United States is concerned; so is post-avant poetry, as I have defined it here. If, because interrogations of text and textual efficacy must remain a post-avant imperative, the connection to Language poetry must remain staunch, it is nevertheless the case that post-avant can never settle for less then a cards-on-the-table confession of general emotional urgency and (perhaps spectacular) expressive intensity. Thus, the ways and means these poets have of developing this dichotomous dynamic- avant-garde interrogations towards linguistic innovation, offsetting a Neo-Romantic sense of appreciation of emotional and aesthetic gravitas- will be what we look into, hopefully with a refreshed sense of solid ground being broken, and with it a strain of American art guaranteed to live a long and healthy life in the world, as an ancillary branch of the Philly Free School, and Neo-Romanticism itself (as has been defined here).
Posted by Adam Fieled at 6:29 AM
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text:
Hello stamping friends! I have another 4th of July celebration card to share with you today.
This cute image is from the Boom! clear stamp set. There are three different dynamite images and several funny sentiments included in the set. I colored the dynamite with copics and then cut it out using the coordinating Boom! Die Set. My papers are from the Patriotic Picnic 6x6 pad from Doodlebug Design. If you want to see some of the other cards I've made using this set you can look here, here, and here. As you can see, I've gotten lots of use out of this adorable stamp set.
Thanks so much for stopping by!
Hugs, Anita
I would like to enter my card in these challenges:
Hiding In My Craft Room #205 - Any Holiday
Marker Pop Challenge #71 - 4th of July
Stamps: Your Next Stamp - Boom!
Paper: Doodlebug Design - Patriotic Picnic; Neenah
Other: Copics, Wink of Stella clear glitter pen, Your Next Stamp Boom! Die Set, Paper Smooches star die
Sunday, June 28, 2015
Your Next Stamp - Boom!
8 comments:
It's always a treat to catch up with you and your colorful happy cards, Anita! This is - I gotta say it - a dynamite 4th of July card!! Hugs, DarnellReplyDelete
What a fab clean and simple card, I love the image, its so cute!!ReplyDelete
Ack!! Adorable card! The image is colored beautifully (I WANT THAT STAMP SET NOW!), and your card layout is beyond PERFECT. A+ for sure! Thank you so much for joining us over at MarkerPOP! for our 4th of July Challenge!ReplyDelete
This is such a fun card! I love that image, so cute!ReplyDelete
This is such a fun card! I love that image, so cute!ReplyDelete
Totally funny card!!!!! Lots of energy in thst lil guy!!!!ReplyDelete
this is so totally cute.. I love everything about it.. Thanks for joining us at MarkerPop!ReplyDelete
Sweet cardReplyDelete
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text: Here you can find wigs and clip-on sets in synthetic hair. Synthetic hair doesn't have the same quality as real hair and doesn't tolerate heat as well. However, synthetic hair extensions are cheaper than real hair extensions and are perfect if you aren't going to use the hair very often; perhaps for special parties or fancy dress events.