text:
March 20 -- To the Editor:
In her letter about the lawsuit filed by McIntyre developer Redgate Kane against the city for breaching its partnership agreement, Christina Lusky asks how the developer knew the exact length of time the council spent discussing strategy at the January 28 meeting(s). She confuses two meetings: the non-public meeting that started at 6:30 p.m. and the "special" but public Council meeting that started shortly afterwards at 7 p.m.
There are two references to meeting duration in the complaint document from the developer's attorneys. In the first, Redgate Kane's attorney makes a reference to the non-public council session that preceded the main special public Council meeting:
"Thousands of hours and millions of dollars were invested by the Developer working with the city and advancing the project toward mutually beneficial ends. Those efforts were undone by the bad faith actions of a newly elected City Council after little more than a half hour of discussion at a Special Meeting on January 28, 2020."
Then later a second reference to the public Council meeting itself.
"The January 28, 2020 Special Meeting began with the City Mayor addressing the public. Over the course of four minutes and 40 seconds, the City Mayor discussed his views of the McIntyre Project. . ."
Whatever you think of the McIntyre Project, both statements are factually accurate. But Ms. Lusky's conspiracy-theory mind assumes the worst – there must be a "mole" on the City Council leaking non-public and compromising information.
In seeking out the worst, she conflates the two meetings, which were held back to back. You don't need to be Sherlock Holmes to deduce that if a special non-public meeting starts at 6:30 pm and the Councilors later file into the Council chamber a few minutes past the scheduled start time of 7 pm, that it's reasonable to assume the meeting took a little over a half hour. And, more importantly, if you watch the recorded video of the meeting and note the time stamps, you'll find that the Mayor's speech – from the moment he hands Assistant Mayor Splaine the gavel -- is in fact precisely four minutes and forty seconds. That information is there for anyone in the public who cares about the truth of this saga. Mystery solved!
If there is a mole – a furry little natural muckraker but in the best sense of the word -- at City Hall, it's probably deep underneath the City Hall lawn, tunneling innocently in the dark, unaware of the paranoia lurking above. Where is David Lynch when you need him?
Gerald Duffy


text:
A Novel RPWN Selective Harmonic Elimination Method for Single-Phase Inverter
Faculty of Electrical and Control Engineering, Liaoning Technical University, Huludao 125105, Liaoning, China
College of Mechanical Engineering, Liaoning Technical University, Fuxin 123000, China
Author to whom correspondence should be addressed.
Electronics 2020, 9(3), 489; https://doi.org/10.3390/electronics9030489
Received: 30 December 2019 / Revised: 8 March 2020 / Accepted: 12 March 2020 / Published: 16 March 2020
(This article belongs to the Special Issue Power Converters in Power Electronics)
In the existing random pule width modulation (RPWM) selective harmonic elimination methods, the formula of switching cycle TN+1 is complex, and the duty ratio DN+1 of the next switching cycle needs to be calculated in advance. However, in the case of unknown TN+1, DN+1 is also difficult to calculate accurately, and the two parameters are based on each other. A novel selective harmonic elimination method in RPWM is proposed in this paper. The PWM voltage pulse is placed at the back of the switch cycle, which simplifies the formula of the switch cycle TN+1 and eliminates the need to calculate the duty ratio DN+1. Two kinds of RPWM selective harmonic elimination ideas are summarized. The general formulas of the switch cycle, the effective random number k, and the upper and lower limits of switch frequency corresponding to k are derived. The spectrum shaping of inverter output voltage can be realized without using digital filter in this method. Simple algorithm, small calculation and easy implementation are characteristics of the proposed method. The simulation and experimental results confirm the ability of the proposed method for reducing harmonics at the specific frequency in power spectral density (PSD). View Full-Text►▼ Show Figures
Figure 1
This is an open access article distributed under the Creative Commons Attribution License which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited
MDPI and ACS Style
Li, G.; Liu, C.; Fu, Z.; Wang, Y. A Novel RPWN Selective Harmonic Elimination Method for Single-Phase Inverter. Electronics 2020, 9, 489.
AMA StyleShow more citation formats Show less citations formats
Li G, Liu C, Fu Z, Wang Y. A Novel RPWN Selective Harmonic Elimination Method for Single-Phase Inverter. Electronics. 2020; 9(3):489.Chicago/Turabian Style
Li, Guohua; Liu, Chunwu; Fu, Zhenfang; Wang, Yufeng. 2020. "A Novel RPWN Selective Harmonic Elimination Method for Single-Phase Inverter." Electronics 9, no. 3: 489.
Find Other Styles
Note that from the first issue of 2016, MDPI journals use article numbers instead of page numbers. See further details here.
Article Access StatisticsFor more information on the journal statistics, click here.
Multiple requests from the same IP address are counted as one view.
Zoom | Orient | As Lines | As Sticks | As Cartoon | As Surface | Previous Scene | Next Scene

subset: commoncrawl


text:
Engagement and Impact: Design Thinking and the Arts
Engagement and Impact: Design Thinking and the Arts
That computer mouse that fits so nicely in your Read more
Engagement and Impact: Design Thinking and the Arts
That computer mouse that fits so nicely in your Read more
Rubik to the Rescue: The Rubik's Cube Engages Students inside East Harlem
I actually confess. I Read more
Sleep Jogger
From the growing up and even finding this is my older sister Angie walking the hous Read more
My Runaway Sister
– This can be my secondly try publishing erotica. An exceptional thanks fades Read more
If you value the idea of your main slot equipment designs adjoining available Booty Hunts and even Ancient Civilisations, just like a lot of participants execute, you will adore Booklet for Ra! Most people have previously spoken of along with couple of of this sort of game, by using a Drive crafted, Gonzo's Venture, as well as the Ruler from the Earth, Cleopatra, however the best of equally worlds. There is a same awesome stylistic motifs regarding both of those these good activities, really throughout a distinct discount package not to mention, through its very own special and also fascinating features. We certainly have made an effort to live in together with qualified all that farmville has got on offer, thus keep reading to learn precisely what is available to buy and additionally selecting the right slot machine game gameplay in your case! The video game took its brand from your Long lost Silk sun's light with the almighty, and also despite the fact that you are going to expect, the subject is due to the reasoning behind this about Egypt. Typically the headline card of your video game presents itself relating to the the top tv screen as well as being older wings, with the bright green pink textual content by using what "Arrange Connected with Ra" considering the "O" for "Of" being as a general ruby. The setting within the fishing reels is definitely brown and yet over these products, a person has a evident picture of some sort of wilderness, with a green skies plus pyramids relating to the horizon.
Your choices towards the bottom are actually fairly common names however , appears designed and additionally rather sizeable, the industry positive. All the token coordinate the look, by using visuals of your sarcophagus ', longstanding training books, scarab beetles including a figurine of RA very little looking within the reels. Mainly because mafia wars will probably be around obtaining booty, the additional snapshot about the fishing reels is usually an traveler loaded with a good chapeau in accordance with any beat, of which hundreds you almost all the generic symbols. The opposite pictures at the reels are actually the traditional 10-King value in various energetic colors together with senior wheels that you look for of all video slot machines. Wedding ushers token will pay out otherwise, but we are examine this further on.
A particular problem with the video game structure will be the encircling part of the reels. A structure of the 5 reels might be senior pillars, together with tinted figures right from 1-9 this instance any pay off lines. Along with with the phone numbers will not participate in other type, that is a embarrassment, mainly because they earn the overall game look and feel fairly tacky. And also it, beautifying not even half the number of take care of creases you will get in many of other video recording spots as a result be wary for this too.
As a U.S. based company serving globally, YOBO has its mission to provide excellent blogging content for professionals, so they can acquire long term loyal clients. Our talented writers are advanced digital researchers, that will easily determine the ideal prospect for any particular business and write the articles in a manner that addresses directly their needs and concerns.
315 Madison Avenue
3rd floor
New York, NY 10017


text:
Stock Photo - Working with a great team!
A team of designers laughing at their colleague's joke - Stock Photo
Stock photo ID: 385388
Stock Photo Keywords:
business businessperson people team work laughing businesspeople show smiling informal businesswomen man businessmen worker male businessman workplace working
How do you plan to use this image?
Choose Size and Download


text:
For 6000 years medicine , olive oil has been used for food beauty treatments as part of local cultural customs. Believe in us that sex workers call girls escort women in Jordan are what you have been ajlun looking! Here ajlun is the good news for you: there are plenty of women ajlun seeking men for flirt romance a serious relationship. SingleParentMeet. The best way to meet and date local ladies is trying online dating. Transfer to hotel in Amman for overnight. The village had a total land area of 56 185 dunams 56. A traveller from Poland.
Meet women in ajlun. Join SingleParentMeet. We aim to help local singles meet meet one another using the most powerful social networking tool. I am a professional service provider. Single parents are online now in our large and active community for dating. A desk in the corner of one of the rooms. Genesis 31: 21 So he fled with all that he had. Of course there are ajlun so many ways to meet women in real life but ajlun it' s hard to understand their personality life interests judging only by their appearance. They were all so genuinely interested in exchanging stories and learning about me.
Will entertain women; meet Legal disclaimer. Meet top- rated escorts and clients. ajlun mcradloff: " Red Light" ( meet us in the. com is a niche dating service for single women and single men. Even if you have a short time we will women find a way to use it to the maximum let you meet one of the most exciting girls living in the Ajlun area. Got to meet the ajlun rest of the staff. Meet loads of available single women in Nagpur with Mingle2' s Nagpur dating services!
Jordan embraces the oldest olive trees dating back to the time of Jesus Christ. He rose up passed over the River, set his face toward the mountain of Gilead. Genesis 31: 23 He took his relatives with him pursued after him seven women meet days' journey. com is designed for dating ajlun pen ajlun pals to bring single parents together. Only the most beautiful escorts in Jordan are available in our directory. Meet People in Jordan. Day 2: Breakfast – Jabbok River – Jerash – Anjara Church - Ajlun Castle – Overnight Amman. Meet Women in ajlun Jordan.
Meet women in ajlun. After that I was invited to the office. Girls cooked a cardamon coffee and insisted I stay overnight in Ajlun. Meet and assist at women Queen Alia INTL Airport through all government formalities. Meet ajlun people ajlun & make friends in Jordan meet at the fastest growing social networking website - Hot or Not.
Single women seeking men in Canada: meet them right here It' s often difficult to connect with dynamic, relationship- minded single women. This will add to the visit cost, but in some locations the daily cost of a guide can. Get ajlun satisfaction. 11, 201 likes · 6 talking about this. He overtook him in the mountain of Gilead. com meet new single parents for friendship dating. As women a general rule in an atmosphere when they feel at ease, less suspicious when they meet guys through the course of a regular day , women are more approachable as opposed to when a guy.
PLEASE NOTE: Due to the significant risk of abduction deception by taxi , professionals to countries where they do not have representatives is to arrange for a registered guide to meet visitors at airports , even private hire services, the ajlun best practice for companies sending executives rail stations. Sure you can meet people in bars, at social events, but it' s ajlun tricky to identify who is single, at work, let alone which women seeking men are actually looking for something long- term.
From the moment I emailed Kimkim to our departure from Phonm Pehn, it was perfection! I' ve previously been a travel agent and would highly recommend Kimkim Travel & Ms Thuy. Instead of feeling defeated and like you' ll never be able to find single people that you have a connection with, perhaps you may want to join the millions of others who have discovered how easy it is to meet singles online. Ajloun Forest Reserve is located in the Ajloun highlands north of Amman and covers 13 square kilometers. It is dominated by open woodlands of Evergreen Oak, Pine, Carob, Wild Pistachio and Wild Strawberry trees.
meet women in ajlun
Meet Local Girls Tonight is part of the Online Connections dating network, which includes many other general dating sites. As a member of Meet Local Girls Tonight, your profile will automatically be shown on related general dating sites or to related users in the Online Connections network at no additional charge. How to Meet Local Women to Get Laid or Get a Girlfriend.


text:
56 Avery Avenue, Long Branch, NJ, 07740
A Dream by the Sea! Impeccable doesn't begin to describe this tastefully finished 4-bedroom 2.5 bath corner lot custom build! A mere hop, skip & a jump to the ocean! Totally renovated from top to bottom! 2 full kitchens boast stainless steel appliances, quartz & granite counter tops & custom cabinets. 4th flr is the ultimate entertaining space w/full kitchen, fireplace & Nano doors that open onto a sprawling terrace w/ocean views! Loft w/office also on 4th flr. Porcelain flrs glisten throughout the home! 2nd flr kitchen is a show stopper & open to family rm. Deluxe master suite! Lrg dining room open to living room. No need to trek to the theater as this home is equipped with a full media room w/reclining seats! 2 car garage w/circular driveway for ample parking!
56 Avery Avenue


text:
Franklin 8.5-Inch Rubber Playground Ball
- New textured pattern for superior grip
- Ideal for 4 square, kickball and other games
- Assorted colors
Browse all deals at Modell's Sporting Goods
See more in Outdoor Recreation
See more from Franklin Sports
* This offer may contain time-sensitive information and offers. Please check with Modell's Sporting Goods to confirm actual price & availability.
Please enter your name
- Be the first to comment!


text:
Have a look at these Black porn videos: these dirty redheads like big tails and their types are not among the exceptions. Guys feel the soft lips on their penis, which makes them want to fuck her and take her anus apart. As a result, she is on the four-legged bed and slowly devours the guy's yard by pumping while kneading his roubignolles. In these Black porn videos, then, she doesn't hesitate to have her face taken down for a charming hot pump, accompanied by a nice Spanish handjob. Also totally excited like a madman, he puts himself on the rod in 69 on the footstool while caressing his powerful shells until he kicks it in all directions and ends up having a hot orgasm and enjoying on it. As a result of sitting on the couch, the guy gets his hands touched and shines his tail by this giant boiling pig still in his thong. Completely boiling like embers, this bitch takes off all her clothes and is kicked in the ass by the novice who does not spare his strength to actively get her foot while she constantly shakes her pussy for her slightest pleasure. The male takes out his pine and really gets pumped before he gets his testicles licked. But this nympho loves to be bursting like a doggystyle with a few pine strokes until she has fun. Then, the guy gets ticked off and gives 3-4 kisses to this nympho lady who wants more. The guy is really hard to open this whore's legs and suck her slit so it's as hot as he is.
Channels : Novinhasamadora, Newgrounds, Hentaibrasil, Curvage


text:
Moving Without the Colonial Mirror: Modernity, Dance, and Nation in the Works of Vera Mantero and Francisco Camacho (1985-97) - Chapter 6
Chapter 6: Experiments on the Subjectivity of Modernity
This is chapter 6 of André Lepecki's doctoral thesis in performance studies (New York University, January 2001), Moving Without the Colonial Mirror: Modernity, Dance, and Nation in the Works of Vera Mantero and Francisco Camacho (1985-97), of which chapters 1, 2, 3 and 6 were prepublished on Sarma. The dissertation analyzes the work of Portuguese choreographers Vera Mantero and Francisco Camacho as cultural interventions into Portuguese national identity after the loss of the colonial Empire (1975), the end of fascism (1974), and the inclusion of Portugal in the European Union (1986).
Through Michael Taussig's notion of the "colonial mirror of production of reality," the dissertation locates dance as instrumental for an understanding of post-colonial Portuguese society. Through Eduardo Lourenço's notion of "imagology," the dissertation identifies the works of Camacho and Mantero as unique critiques of the images generated by the Portuguese about their own cultural and political identities.
Section I, "Outlining Positions," shows how the history of Portuguese theatrical dance in the twentieth century failed, until the mid-1980s, to generate an avant-garde movement. It locates this failure in the history of Portuguese fascism, its colonial policies, and their impact on the arts, particularly in dance. It discusses how Vera Mantero and Francisco Camacho's choreography was immediately perceived as exceptional, particularly by their innovative uses of the body as a positive point of departure for a critique of contemporary Portuguese culture.
Section II, "Mirrors," analyzes a solo by Mantero and a group piece by Camacho as choreographic deconstructions of colonial desire. When discussing Mantero's solo, it introduces the notions of "cultural anesthesia' (Allen Feldman) and of "still acts" (Nadia Seremetakis) to show how memories of the colonial war (1961-1974) are inscribed into everydayness. Through the Derridian notion of "adieu," it identifies in one of Camacho's group pieces a critique of colonial nostalgia.
Section III, "Agents," reads contemporary Portuguese society as politically driven by the desire to attain modernity. Modernity is described as a amnesiac, metamorphic, and choreographic Sate project. Three solos by Mantero are analyzed in terms of their critique of gender and race within this drive for the modern. Two solos by Camacho are analyzed as critiques of the forced sexual identities modernity seems to bring to the contemporary Portuguese body.
[T]he female body in
representation has
emblematized both the
obsessive terrain of
representational fantasy
and, as empress/impress of
the vanishing point, that
which escapes or is beyond
the representational field.
Rebecca Schneider, The Explicit Body in Performance
In a world like the one
in which we live, where so
much functions so badly, I
have the impression that
instead of saying "to
dance" it would be more
appropriate to say "to
gesticulate desperately."
Vera Mantero, Personal Notebook, April, 18, 1993.
Writing on the role of modernity in the construction of gender, Buci-Gluksmann argues that modernity announces itself by the means of a redistribution of the feminine and the masculine. While Buci-Gluksmann is referring to the earliest stages of European modernity (notably nineteenth-century Paris), more recent sociological studies seem to support this redistributive model whenever there is a drive for modernization. It is useful to invoke here the astonishing study by Edgar Morin on the modernization of Plozevet, a small hamlet in Brittany, conducted in the 1960s. Morin's study has particular relevance to Portugal, for the impact of modernization and industrialization described by Morin for Plozevet follows the same sociometric patterns and cultural modifications found in Portugal in the early 1980s. Confirming Buci-Gluksmann's insight, Edgar Morin shows how modernization requires a metamorphosis of old models of gender relations based on traditional peasant society. According to Morin, this metamorphosis attaches the modern to woman, in a logic similar to the one identified by Walter Benjamin for nineteenth-century Paris. In his Arcades project, Benjamin proposes that woman's subjection to modernity is camouflaged under the guise of woman's agency as consumer of commodities. The site of this subjection (for Benjamin) is woman's body. For Benjamin, this inclusion of corporeality in the equation of modernity's commodity culture contains woman's agency within a double role: woman as consumer of commodities insofar as she is also commodity. It is precisely this perverse dynamic that Edgar Morin sees taking place in Plozevet's metamorphosis into modernity. Morin calls this aspect of modernity's push towards bodily metamorphosis 'l'esthetisation féminine'. This is a process of aestheticization of women, in which a new culture of consumerism defines women's double role as buyers and showcases of (new, fashionable) commodities. In a perverse loop, woman's agency in modernity must be confined to the boundaries of commodity culture, notably to the (historically) petrifying dynamics of fashion. Thus, by means of an ideological tautology, in the redistribution of feminine and masculine roles imposed by the metamorphosis of modernity, woman becomes (in Edgar Morin's expression) an 'agent of modernity' only as long as she occupies the double position of consumer (of modernity's always renewed commodities) and of image to be consumed (i.e., as commodity herself).
I would like to emphasize the term 'metamorphosis' Morin uses to describe this process of entering into modernity. 'Metamorphosis' implies that the changes modernity brings forth are not solely of redistributive nature, as suggested by Buci-Glucksmann. Rather, the redistribution of gender roles brought by modernity must be quickly followed by naturalization and reification of those roles. Gender redistribution in modernity is predicated upon a radical destruction followed by a swift re-figuration of the body itself. This destruction and reconstruction happens in a most literal fashion: in new habits of dieting, grooming, making-up, working out, dressing up, pacing up. Those new habits and signs of 'progress' are so many spectacular surfaces imprinting themselves onto the bodies of women. Those surfaces are not necessarily superficial in their effect -- they sink deep, and not at all on a metaphorical level -- they sink into the organic, the perceptual, the nervous system, producing morphological and physiological changes. This new woman, imprinted by the fetishistic and optic signs of the modern, walks down the streets like on a runway, obfuscating the passers-by with the promise of (at least) a glimpse of her flesh. Woman's flesh is the organic stand-in for the so much desired (but never achieved, at least in Portugal) embodiment of modernity.
In which ways is the implementation of modernity as national project reflected in the theorization of embodiment and the re-figurations of gender that always underlies choreographing? And how do the echoes of Portugal's colonial past redistribute gender in this theatre of modernity -- a theatre casting woman as modernity's 'allegory', and predicated upon the fetishistic fixation of the racialized other as the eternally feminized primitive? Those questions are particularly relevant to the works of Vera Mantero discussed in this chapter: her solos Perhaps she could dance first and think afterwards (1991); Olímpia (Olympia, 1993); and uma misteriosa Coisa disse o e.e. cummings (a mysterious Thing said e.e. cumming, 1996).
The onset of what Eduardo Lourenço identified as a 'cultural metamorphosis of rare intensity' in contemporary Portugal is manifested in Mantero's work by a literal re-figuration of her body as dancer, as expressive agent in an overcharged representational context. This re-figuration manifests Mantero's explicit concern with modes of visibility and agency for women and their bodies. Mantero's choreographic explorations have a direct connection to the palpable transformations of the image of woman in recent Portuguese society. In what follows, I will analyze how Mantero -- in a moment in which she had to perform, like Camacho, for the 'European eye' at Europalia 91/Portugal -- decided to find (and to found) a radically new body for her dance. It was a body predicated upon a radical undermining of the naturalized and reified normative role for woman brought by modernity as glittering spectacle of flesh, standing between the fetish of the commodity and the exoticism of the primitive.
Just as Camacho's O Rei no ExÌlio was a response to a lost (national and personal) body pushed to the margins of history, Mantero's solo for Europalia materalized only after a deep, extremely painful and quite literal process of destruction and reconstruction of her own expressive body. This reconstruction had all the force of a resistant act.
The audience walks in and the set is already moving, although imperceptibly. Four feet made out of white wax are suspended from the ceiling. Hooked to contorted, silver wire, they define a large square on the stage. Each foot hovers two inches above an oil lamp, slowly melting away. A dim overall green-blue light contrasts with the four flickering yellowish flames from the lamps. Silence is occasionally interrupted by a brief hiss as melted wax meets flame, and the small black box smells like any Portuguese Catholic church (quite appropriately, the wax feet were bought in a devotional store in downtown Lisbon; these feet are usually used as 'ex-votos' (gifts) to a Saint or to the Virgin for healing a foot affliction). The stage has no backdrop -- rather, its brick wall is fully exposed and on each of its edges we see two wooden doors, just dimly lit. The audience settles down, and, after a moment of silence, the general stage light fades out, the lamps seem brighten a bit, the smell of melted wax and kerosene by now definitely has reached the noses of those in the back rows of the theatre. Presently, one of the doors opens and a young woman steps in. She has a greenish dress, nothing fancy. She looks almost like a housewife, except perhaps for her wild hair. She has a calm demeanor. She looks around her, and quietly goes through each one of the lamps, raising their flames. The wax feet start melting at a faster pace. She then steps into the square defined by the four oil lamps and the four melting feet. Immediately, she initiates a gesture right hand index finger leading the arm all the way up to her face, capturing her gaze. As if surprised, she grimaces. She looses her balance as fast as she recovers it, she moves about the stage following the momentum of her body just to contradict it right away. She reveals at times an unexpected quietness and then an unsuspected savagery.
All of the first movements and steps happen in silence. The woman's face is as active as her limbs. And face and limbs, occasionally, quite briefly, spasmodically contract -- abruptly interrupting the otherwise released flow of her movement -- as in a depiction of Charcot's hysterical patients at La Salpetriere. After a few minutes of this silent dance, the sound of Thelonious Monk playing Ruby, my dear fills the theatre. Aurally, the twenty minute dance solo will oscillate between silence and the uncanny repetition of Monk's three minute recording. Movement-wise, the piece will waver between very subtle gestures, absurd grimaces and desperate bursts of energy. Throughout, the wax feet melt beyond recognition, some eventually dropping off to the floor, formless.
This dance first took place in October 1991, in a blackbox theater in Leuven, Belgium. The woman in the green dress was Vera Mantero performing her improvised solo commissioned by the Klapstuk Festival on the occasion of the international exhibition Europalia 91/Portugal. In the previous chapter, I discussed the importance of Europalia 91 and Klapstuk Festival in the context of a performance of the nation eager to promote a new Portuguese self-image of 'modern European nation'. Just as with Francisco Camacho's solo discussed above, Mantero's solo work for Klapstuk also marked a significant turning point in her choreographic career, both nationally and internationally. This solo also marks the starting point in the development of Mantero's relationship to a politics of the female soloing body in contemporary Portugal. Her soloing body soon became a scandalous one.
The solo's title is already provocative, indicating in a way that the dance that it names positions itself right at the center of a problematics of gender and agency: Perhaps she could dance first and think afterwards, originally in English. The use of English was an attempt to increase the chances for some of the viewers to recognize in the title a line from Samuel Beckett's Waiting for Godot -- with the necessary gender adjustment. Since a title is both a work's preface and a work's destiny, this particular reference to Beckett immediately locates the solo aspect of the piece into a referential context of loneliness, if not desolation. It certainly puts the work within a certain self-derision edging on despair. The title also posits the piece within the semantic field of radical doubt. Indeed, the word 'perhaps' casts its shadow throughout the entire piece, as if containing in itself the justification for all the sudden changes of moods, interruptions, grimaces, that go through Mantero's body and also the silences and the monomaniacal repetition of a love tune. Most notably, the impact of the word 'perhaps' upon the fluidity of Mantero's movement (a fluidity that, one soon realizes as the solo progresses, is an impossible state for that body to achieve) provokes a profound questioning of the very material basis of her dancing. Signs of doubt abound in the dance. And Perhaps she could dance first and think afterwards becomes a literal verbal translation of those physical paradoxes and subjective incongruities this solo insistently enacts. As opposed to Pozzo's viewing (in Waiting for Godot) of dancing as 'naturally' preceding thinking, with Mantero the pressing question in her solo is -- what must take precedence when woman is dancing, movement or thinking?
North-American dance critic John Martin once wrote that "the unforgivable thing for a dancer to do" is to "mak[e] you think." Mantero's solo is unforgiving -- it allowed Mantero effectively to challenge the role of the dancer as 'entertainer', as mindless mover, particularly when that dancer happens to be a woman. Perhaps allowed Mantero to take her first steps into innovative and thought-provoking staging methods that would intervene and agitate not only the Portuguese dance scene, but Portuguese society at large -- and some, as we will see soon, have not forgiven her for that.
Although thematically Mantero's political and social concerns can be more explicitly identified in her work created after Perhaps, formally, at the level of the choreographic play between embodiment, movement, subjectivity, gender and presence, it was Perhaps that allowed Mantero to create a dance that could effectively disturb the representational field trapping a woman dancing solo, moreover a Portuguese woman dancing solo. It was Perhaps that opened the possibilities for Mantero to rethink her relationship to the female body, to woman's movement and presence, in order to create a series of performances that can be seen as small manifestoes for
another culture, one that is awaited and desired (and that we do not know yet if it is an artistic culture or a life culture, since both seem to merge), one that is in opposition to an institutionalized and dead culture.
Dancing sometimes in silence, sometimes with Monk, trapped within the sonic repetition of a love song and the spatial boundaries defined by devotional wax feet melting slowly beyond recognition, Perhaps initiates Mantero's use of the solo form as privileged form of social laboratory.
These issues were quite present back then, in 1991, during rehearsals for the solo. Mantero had asked me to design the set for a still untitled solo. However, she did not allow my presence in the studio under any circumstance. Not once. In trying to figure out what she wanted to create we had numerous, endless conversations about her doubts, her terrible doubts, her paralyzing doubts. I used those doubts as an inspiration for the set, which included found elements from a Portuguese reality, not at all 'modern', nor 'new', but were elements absolutely contemporary to the piece and at the same time elements that were being rapidly condemned to cultural anesthesia, to certain anachronism, by the means of an ideology of the new, 'modern', European Portugal. Those scenic elements should also tell of Mantero's doubting of dance as necessary art form. Therefore the melting feet. Therefore the smell. Therefore the flickering lamps that cast shadows and scent more than illuminate.
Mantero's doubt soon became a melancholia and then a deflation. Her body and her voice were mute, incapable of articulation. Not the world, not life, not the body served her as sources of movement. It seemed to Mantero that all that surrounded her was a huge, empty space, in need of being filled with time -- a space where silence had landed. With her mouth shut, in silence, sitting daily in a studio, doubting dancing, she decided to listen. So she listened and she waited. And, as Mantero told the story many, many times, chance broke the chain of silence and provoked movement. One does not know why, but it was Monk's Ruby, my dear that my dance was waiting for, she told me later on. Literally, Monk's three minute tune was the only thing that made her move (and because nothing else made her move, the song was repeated randomly throughout the solo, whenever the technicians felt she needed a boost, usually three times each performance). What is essential though, is that when Mantero finally moved, her body danced differently. Her movements were not limited to the anatomical mechanics of dancing she was able to explore so masterfully in her previous works and also while dancing the works of others. Something happened for the first time that became essential for her future perception of the dancer's body in performance -- movement left the body and went all the way up her face and reconfigured what, until then, had been her expressive field -- the charged, gendered, scopic field in which the female soloist dancer enters representation. This animation of the face, this desire to improvise, this doubting, this desperation all contributed to a solo in which the dance became filled with presence -- the irreproducible presence of a woman casting off the scopic armor of the spectacular, shedding off what Peggy Phelan has called 'the ideology of the visible' constraining and containing women's images every time woman presents herself as spectacle.
It is interesting to see how this strategy by Mantero of shedding off the spectacular actually generates a sort of invisibility. This is quite visible in critical reviews of her work, filled by gaps of memory, blind spots, slippages of the pen. Her dancing body disappears, as if its presence were condemned beforehand because it does not find itself in conformity to the rules of women dancing under the ideology of the visible.
This vanishing act was performed in a review of Perhaps printed in the Village Voice, on May 7, 1996:
[Perhaps she could dance first and think afterwards] is delicately nuanced, subtle work, perhaps too subtle for me, given I hit the Kitchen straight from a garment district fashion show where the designs of Anne Bowen are exhibited on topless models whose breasts have been elaborately adorned with frosting by pastry chef Jill Rose from Lespinasse. My first exposure to the wattage of the runway leaves me open-mouthed (); the mixture of aggression and eroticism, of specialized female flesh and exquisite fabrics draped so as to barely conceal that flesh, compares to the average dance performance as a conflagration compares to a candle.
Note the interesting slipping (away) of the review's subject: from two lines on Mantero's 'too subtle' dance (those two lines are the entirety of her solo's review!) to a paragraph on the aggressive eroticism and bombastic performance of 'female flesh' exposed under the spotlights of the runway. Note how the reviewer moves swiftly from signifier to signifier in order to replace an image of a woman by another image of femininity. From Perhaps and its subtleties in the Kitchen, a chain of culinary associations leads the reviewer salivating before delicious female bare breasts, giving an interesting literal twist to the Brechtian expression 'culinary theatre...' What becomes transparent in this fascinating, fast-paced motion of associations, in which Mantero's presence is swiftly erased by glaring 'female flesh' walking down a fashion show runway is that one image of woman (the aggressive-erotic-culinary-commodified 'female flesh') definitely obfuscates the image of another woman whose dances are categorized as 'too subtle' and therefore beyond perception and writing. It is precisely in this tension between subtle dances flickering like a candle and culinary obfuscation that Mantero's work reveals its profound efficiency as reconfiguring the representational field within which woman is allowed to dance and be present.
An address to the Academy, Lisbon's Universidade Nova, March 14, 1995:
There are dances that are not a literal translation, gesture by gesture, of a text (as I showed in my solo on Nijinski), nor the result of a reflection upon the meaning of a text (as in my solo Perhaps she could dance first and think afterwards). Perhaps we could call these dances the translation of a more general idea. Therefore, the idea of a 'Dance of Subtleties,' created as gift to offer to someone.
This is Mantero, talking on her work. Immediately, the question springs forth: how is it that one creates a dance as a gift? Mantero's answer, particularly in Perhaps, is: by emphatically inscribing dance in the present time in which dance gives itself to vision that is, by improvising. How is it possible to think of the gift as a dance? Her answer -- she told us already -- is: by making dance absolutely subtle.
Interestingly, gift and subtlety are two elements Jacques Derrida associates with the possibility of revolution any time a woman dances while improvising. In a conversation with Christie McDonald, published under the title 'Choreographies', Derrida proposes that the improvised impulse -- because it necessitates plunging into a certain forgetting, and because it is predicated upon a lack of registering -- is the necessary condition that allows giving to take place. The associative chain forgetting / improvisation / gift derives from Derrida's reading of Marcel Mauss' classic study on the gift. Derrida argues that what Mauss called 'gift' (le don) should more properly be called 'exchange', or 'economy' since -- as Mauss has shown -- the gift always generates the obligation of retribution. In this sense gift initiates economy, for it is trapped within a never ending circularity grounded on the register of debt. For Derrida, in order for a gift that does not demand retribution to happen (i.e., a 'pure' gift), there would have to be no symbol, no marking of the act of giving, no registry. For symbol already implies a return, a reflexivity, a circularity, that is, a registry and a history. Hence Derrida's call for a radical forgetting. Derrida, in a step already choreographed by Nietzsche, identifies this forgetting with the dance of 'certain women' who stepped outside economy's circularity and outside the reproductive forces of history. "This step only constitutes a step on the condition that it challenge a certain idea of the locus [lieu] and the place [place] () and that it dance otherwise," writes Derrida. He continues by noting that such a challenging step is "very rare, if it is not impossible, and presents itself only in the form of the most unforeseeable and most innocent of chances." It is precisely this unforeseeable challenge that is intensified by the means of improvisation -- the performance strategy that continuously surprises not only viewer but also performer, and moreover may generate innovation.
While thinking about her dances that 'could be offered to someone as a gift,' Mantero added to the improvisational operations of chance the strategy of subtlety, by the means of a certain microscopy of gesture, in which what is given (through the dance) does not announce itself in the culinary, spectacular 'conflagrations' of woman's body exposure under the logic of the hegemonic gaze. Portuguese philosopher José Gil wrote on the subversive phenomenology of this microscopy (that Gil calls 'small perceptions') from which 'everything endures change' stillness becomes movement, and the stable, unstable. For José Gil, Mantero's dances are the only case in Portuguese choreography in which this 'intense movement' of microscopy takes place. For Gil, Mantero's dances of subtleties are not weak dance, nor frail dance. While conversing with Mantero about her work José Gil tells her:
Up to now, the Portuguese have always had a small macroscopic vision. But we didn't have the microscopic. And art nowadays works in microscopy, in small perceptions. What you do is microscopy. [And] microscopy is the intense movement.
These considerations illuminate the ways by which Mantero creates her dance of resistance by reconfiguring her body as it steps onto the unstable national stage. By entering into the realm of active doubt through her improvised dance of subtlety, Mantero fully embraces a constant state of instability and offers it (without, however, publicizing her giving) as potential subversion. Subversion of the expected image of a female body dancing (in which what matter is not the 'conflagration of the female flesh' exposed in order to satiate the sexual, or optical appetites of the audience), subversion of the dancer's corporeality (in which what matters is less its control but the flickering of the body in a presence as vibratile and as grinding as a Thelonious Monk love tune), subversion of a certain political desire to build a 'modern' Portuguese image (by surrounding herself with markers of the past as crucial landmarks of the Portuguese present).
The intensity Gil identifies in the microscopic subtleties of Mantero's works can be quite effective in its impact upon the social context in which it erupts and against which it works. Just as Jacques Derrida is quite explicit about the literalness of his image of the improvising female dancer as one who disturbs (if not revolutionizes) the economies of history, pedagogy, nation, patriarchy, Mantero's dances quite explicitly disrupt the place of woman's dancing within a certain pedagogy of gender and national identity. Derrida wrote:
The joyous disturbance of certain women's movements, and of some women in particular, has actually brought with it the chance of a certain risky turbulence in the assigning of places within our small European space.
Similarly, Mantero's solos after the breakthrough that was Perhaps , have been subjecting the small Portuguese rectangle to continuous turbulence.
With Perhaps Mantero found a new, expressive body, one that allowed her to say what could not have been otherwise expressed. Perhaps, in the words of Portuguese art critic Alexandre Melo, showed the Portuguese audience the uncanny possibilities of an intensification of the corporeal by the means of disturbing female physicality. A physicality close to the visceral, stepping into the uncertain, generating a subtle subjectivity -- claiming agency beyond the glare of commodity and consumerism. Mantero's following solos, in which the subtle fierceness of Perhaps is always somewhat present, would further intensify the questions that woman's visibility and woman's movements provoke within the confines of a 'new Portugal'.
A performance on the eve of the revolution's 19th anniversary. A young woman pulls with a thick rope a very heavy nineteenth-century ottoman. The young woman is naked. She holds a book in one hand, the rope in the other. She reads from the book, mumbling a bit. Her hesitant, intrigued voice projects provocative words on cultural control, the responsibility of the artist, the fetishization of art, and on the artist as parasite of Power. When the naked woman reaches stage right, she sits on the ottoman. She puts her book down. She lies over the golden drapery. She strikes a pose -- absolutely familiar. She looks at us right in the eyes. After a while she falls back with a silly thump.
Vera Mantero performed her ten minute solo Olímpia for the first time in 1993, in a politically motivated event: a 'dance marathon' demanding a national cultural policy, governmental funding for the arts, and fiscal recognition of the profession of dancer.
The piece starts with Mantero entering the stage from the wings, stage left. She is naked, and in one hand she holds an open book, from which she reads, mumbling, frowning, as if trying to understand the meaning of the text. In her other hand she holds a thick white rope. As she slowly walks in, her pace is suddenly arrested by the rope's tense resistance to her motion. She pulls hard, the audience hears a dragging noise --something heavy is clearly at the other end of the rope. Mantero resumes her reading and, as the action of stopping, pulling, and dragging is repeated a few times, an ottoman appears at the other end of the rope. The presence of the book, Mantero's concentration on the act of reading, and the labor of dragging that which will be her place of final rest immediately unsettles any expectations of a 'tableaux' rendition of Manet's original. Here, we have the ottoman as ballast, the rope as tool for mysterious labor, and the book as focus of OlÌmpia's gaze. Rather than silently staring at the spectator, this OlÌmpia is occupied by action and immersed in reading. It could be that the open book, the open white book, stood in for the 'vulvic' bouquet. However, rather than offering itself to the viewer as sublimated symbol, the book is a source for a constant stream of provocations.
The reading ends as soon as Mantero finds the proper spot for her ottoman on the stage. She lies down on it assuming the famous pose. After a few seconds of stillness, her body slowly starts to shift backwards, and in deliberate manner, she eventually falls on her back with an inelegant thump. Lights go down. Instead of seduction, we had matter. Instead of an icon, iconoclasm. Instead of the spectacle of the (female) flesh we had an introspective gag.
Mantero's contribution to the agit-prop event in one of Lisbon's Municipal theaters was performed under the sign of subtlety. This time, Mantero added a new element that would recur in her future pieces: her 'explicit body in performance.' Mantero's solo is based on an impersonation of Manet's Olympia, visually quite faithful to the notorious 1863 painting of Victorine Meurent, a well-known Parisian courtesan. Mantero's hair-style, her sandals, the black ribbon on her neck, the large flower decorating the left side of her head, even the embroidered silk cloth over the ottoman she drags on stage are all quite similar to the ones in the painting. The careful use of props and make-up augment an uncanny similarity between Mantero's features and the 19th century model, creating the impression of historical authenticity. But it is in the impersonation that the resemblances between one work and the other end. The introduction of elements of difference transform Mantero's Olímpia into (once again) a provocative performance.
Mantero cleverly uses performance in ways which add to representation, ways which are phenomenologically foreign to painting. By moving, Mantero animates Olympia, thus implicating immediately a certain use of temporality in the rhetoric of the image she is (re)creating; moreover, she uses her voice. This Olympia reads, and this totally capsizes the frame under which this specific figure has always been rendered in its multiple inhabitations throughout the history of the avant-garde.
One of the most famous inhabitations of Olympia by a woman is that of American performance artist Carolee Schneemann in visual artist Robert Morris' 1964 installation piece Site . Performance theorist Rebecca Schneider discusses Manet's painting at length in terms of woman's agency and in terms of the place for woman's sex(uality) in representation. Schneider's discussion prefaces her analysis of Schneemann's collaboration with Robert Morris. Schneider tells us how Schneemann felt 'immobilized' in the performance, due to Morris's "apolitical 'framing' in which [Schneemann] felt re-fixed." Schneider imagines what would have happened if Olympia became flesh and fully claimed the authorship of her own explicit self-representation.
When Olympia defies the validating signature of the male artist and steps out of his frame to authorize her own framing, perhaps stretching out live in the museum or gallery and claiming space as art and artists, she not only directly challenges the terms of demarcation between high and low, but unearths the gendered dynamics in that relation. The sexually active woman as both (low) object and (high) artist straddles and challenges a deeply ingrained gender divide in which active, or overt, or "virile" female sexuality is conceived as inherently animalistic, primitive and perverse.
This stepping out of the frame of the male artist's 'validating signature' is exactly what Mantero did in her own becoming Olympia. Mantero did not know until quite recently that Morris and Schneeman had done a piece based on the painting. In Mantero's notebooks, three weeks after the first performance, she writes simply: "What was Olímpia? A text, a desire to say it in a certain fashion, the exploration of a work of art." Just as in A Dança do Existir, the sonic rendition of text (text as the dancer's prosthetic extension to express something that is urgent) generates a sensorial tension right at the surface of the moving figure. Naked, Mantero reads fragments of French visual artist, anarchist, and founder of the Art Brut movement, Jean Dubuffet. Mantero reads as if she is trying hard to understand them, and while apparently struggling with their meaning, she quotes one of Dubuffet's most important political claims within Art Brut precisely the need for undermining the 'high' and 'low' classification of art and artists that Schneider identifies as the challenge brought by the performance of "virile female sexuality.
Olympia is therefore a title charged with unruly connotations -- both in the history of the visual arts, and in the history of representation of the female body. For Rebecca Schneider, despite the scandal surrounding Manet's painting and the historical revision invested in Morris's Olympia, both works only flirt with the idea of woman's agency – each reveals and toys with the possibility of this agency, but only to contain it, to frame it within the aesthetic. In Morris' case, as we saw, containment happens by the silencing and the passivity of Olympia. As for Manet's painting, Schneider concurs with most of the scholarship by affirming that the scandal of Olympia was provoked by the letting down of conventional representational strategies as they framed women's (naked) bodies.
In the same tone, Yve-Alain Bois recently reinstated Georges Bataille's reading of the painting's profound impact as something derived less from Manet "flouting the decorum of Titian's Venus of Urbino () because Manet painted a woman who was obviously a prostitute" but mainly because, in Olympia, "Manet refused the various ideological and formal codes regulating the depiction of the nude, whether erotic, mythological, or even realistic." An often cited example of this breaking of formal visual codes framing woman's representation and sexuality within 'the ideology of the visible' is the prostitute's direct interpellation of the viewer's (male) gaze. However, as Rebecca Schneider argues, this interpellative gaze is still trapped within the confines of a male gaze, and therefore as mute as Schneemann posing as Olympia in Morris' installation:
Olympia's ostensible challenge to the viewer was undermined within the painting itself. [] Olympia's suggested defiance and self-possession thus become deeply suspect in that the scene of her sexuality is displaced beyond her person onto the symbolic bodies of a black servant and a black cat.
In Manet's Olympia, three elements surrounding the main figure define the field of signification for what Carolee Schneemann called the depiction of a 'promiscuous beast.' Those elements are, the black maid, the luscious 'vulvic white floral bouquet' the maid holds, and the black cat at Olympia's feet. These key elements in Manet's painting are missing in Mantero's piece. The black maid is of considerable importance for the economy of desire in the painting for, as Schneider points out, "the black woman is the stand in, the double, for the vanishing point of Olympia's own genitalia," a situation "redolent with racism." As we will see, this racial element of black femininity as stand-in for white women's sex and desire is postponed, rather than forgotten, by Mantero. It will reappear powerfully in another of her solos, which I see as functioning as a diptych with Olímpia -- her piece on Josephine Baker uma misteriosa Coisa disse o e.e. cummings (a mysterious Thing said e.e. cummings, 1996). I will discuss this solo in a moment; for now, it is important to emphasize that the absence of the black maid from Mantero's Olímpia is central for the very sexual economy of the piece for, in Olímpia , there is no metonymical stand in for white woman's genitalia. Mantero stages (her) sex and her body not as symbolic displacements. Such staging can be seen as the very cause for the piece's turbulent effect in the several days after its first performance in Lisbon.
Georges Bataille wrote that while Manet's Olympia may not be the first modernist painting, it is certainly "the first masterpiece before which the crowd fairly lost all control of itself." Before Mantero's Olímpia , the Lisbon crowd did not quite riot -- but this living, talking, humorous Olímpia did provoke other quite symptomatic losses of control. Most notably, it provoked a complete lack of stability between name and referent, signifier and signified on the writings for the press that commented the piece. Quite literally, Mantero's Olímpia disturbed the field of signification that tried to describe/contain her within a certain narrative of the explicit feminine body in performance.
The issue of Monday, April 26, 1993, of the Lisbon daily tabloid A Capital, features in its customary brightly colored front page the required picture of a naked young woman. This time however, the naked woman was not the usual British blond fox, but a distinctly Portuguese looking woman. Also, the pose was certainly not within the genre of tabloid erotics. Examining it, one would see that it was actually an exact reversal of its usual components: the nakedness of the woman was full and frontal (usually tabloids suggest nakedness without full disclosure, breasts are covered by the model's hands, a tiny bikini covers her sex), and most importantly, the woman was not gazing directly at the reader. Rather, she looked away, and her legs, slightly apart, revealed her sex. The woman sat on what appeared to be an old-fashioned ottoman, instead of the standard beach-towel or bicycle-seat. The title insertion on the photo was even more unusual than the picture -- it read 'Protest in Dance'. The caption under the young woman's image expanded a bit more on the nature of this protest:
For about twelve hours, and in 21 different works -- including the closing "performance" by choreographer and dancer Rosa Mantero [sic] (in the photo) -- the professionals of contemporary dance staged in Teatro Maria Matos a marathon of protest against the lack of official subsidies for dance.
Later that same week, the prestigious, high-brow, weekly Expresso published in its 'Cartaz' (the paper's section on cultural events) a short article on the same dance event at Teatro Maria Matos -- Maratona para a Dança(The Marathon for Dance). Once again, the article was accompanied by a (different) photo of the same disrobed young woman. And, once again, there was a curious disturbance regarding her name. This time, she remained unnamed, unidentified. In a very rare lapse for the rigorous weekly, the photo was printed without a caption. In both newspapers, the title of the young naked woman's performance of 'protest' had been curiously suppressed (re/pressed).
The relationship between what was absent in the newspaper articles and the images the newspapers had decided to show during the mediatization of Mantero's body in Olímpia is symptomatic of the effects Mantero's 'explicit body in performance' produces in the Portuguese social unconscious. It is an example of the disturbance a 'dance of subtleties' can produce, of how the quiet presence of female flesh operates its destabilizing power against the culinary expectations of otherwise more spectacular types of feminine disrobing. In the case of the provocative photo in A Capital, the effect was that of a significant displacement of the function of the title and of the author's name. Writing, as performative assignment of name to referent, and authorship to work, underwent interesting, uncontrollable fibrillations. The absence of the title indicates some resistance in accepting the work in question as 'serious' art (a resistance emphasized by the inverted commas around the word performance in A Capital's A Capital's photo of Rosa's unnamed 'performance' performs is an optical fixation enduring denial. From Vera to Rosa, signifiers slip symptomatically on the front-page of the Lisbon tabloid, indicating by this movement what could be seen as the unnamable punctum of the photograph -- the semiotically explosive element in the photographic surface that, according to Roland Barthes, is both 'wound' and 'prick.' The punctum, as the rose, pricks and bleeds, and such bleeding is the pricking of semantic excess, of provocation, a piercing wounding that exposes and re-opens the scars of social silencing. The punctum, the rose, woman's threatening sex, all take over the field of the face, of identity, of personhood as Vera insists on looking away, and stares us down with her body, pressing the media to attach its gaze on her nameless sex.
There is something powerful happening here, in the capturing of that pose by the photographer, in the choice of the photograph for the front-page of A Capital, in the overflow of rose over truth. Something powerful enough to be silenced in the field of discourse is being performed by Mantero's Olímpia. But this silencing is also the effect of the punctum for "once there is a punctum, a blind field is created." Isn't this blind field the vanishing point in which woman disappears in scopic representation? In this field, Mantero's body can only be consumed, renamed, and silenced. There is an effect of defacement in this double gesture, even as the face of Mantero is appropriately reproduced by the photo-journalistic apparatus.
What remains unnamed is that which must remain unspoken, secret, segregated from the social sphere, invisible. Which is, according to Michael Taussig precisely defacement's labor:
For characterization of defacement can never confront its object head-on, if only because defacement catches us unawares and can only be known unexpectedly, complicit with the violence of daily life.
It is not by chance that after relating defacement to the quiet violence of daily life, Taussig identifies one very specific function of defacement, a function that further illuminates the slippages regarding Mantero's explicit body while performing her Olímpia . "Defacement", Taussig writes emphatically, italicizing the sentence, "becomes equivalent to covering the genitals." Showing (the genitals) while covering (the name of) the face becomes then an act fraught with symbolic contradictions and anxieties -- anxieties tied up with the absence of representations of the body in Portuguese art, and the conflicting need, identified by Michel Foucault in his History of Sexuality, of modernity to make sex public in order to cast it as the secret. These contradictions powerfully collapse onto the bodies of women, who emerge in modernity as the site/signs/sights of modernity itself, particularly through the figure Mantero inhabits in her 'dance of protest' -- the figure of the prostitute.
It is at this point, in which a performer whose piece based on an image of a prostitute is publicly defaced with the same discursive violence reserved to prostitutes, that the manipulations of Mantero's images while performing Olímpia start to gain a broader significance. It is a question of agency, of who inhabits the image from within, torques it, re-shapes it, undoes the image's ballast. It is also a question of who resists that agency and who fights it so as to keep images (of women) as they are. Thus, we must discuss for a moment the theoretical links between the terms in discussion " 'image', 'woman', 'prostitute' " and their political resonances within the context of the modern, and more specifically of the Portuguese modern.
Woman's (naked) body as site of contention, and the convoluted movement between the repression of sex and the expression of the face, are all aspects that Vera Mantero has been exploring in her solo work. The most problematic 'image' of woman as commodity and, moreover, as image of the modern, is that of the prostitute. This collapsing of the image of the prostitute as theater of the modern derives from Walter Benjamin's readings of Baudelaire and nineteenth-century Paris. For Benjamin, the prostitute is the complete example of the 'dialectical image', collapsing and illuminating all the contradictions of nineteenth-century capitalism as she "synthesizes the form of the commodity and its content: She is 'commodity and seller in one". Elin Diamond explains Benjamin's concept of the dialectical image as "a montage construction of forgotten objects or pieces of commodity culture that are 'blasted' out of history's continuum." Given its collage nature, the dialectical image gives itself to the 'materialist reader' only through a flash of recognition in which past and present emerge as one. It is undeniable that the figure of the prostitute (pre)occupies the field of women's representation in modernity.
What needs be added to Benjamin's insight is that this figure (woman, prostitute) as dialectical image remains passive before a materialist reader. This is Rebecca Schneider's critique of Benjamin's notion of the prostitute as dialectical image. She writes,
Benjamin's dialectical images seem to wait passively for the intervention of a historical materialist who, discovering them, is viscerally struck by a flash of insight and proceeds to interpret the images as mysterious runes []. Benjamin's object awaits the capacities of a gifted materialist observer who, like some Great White Emancipator, can invest it with the ability to look at us 'in return'[] as if that object did not possess a 'look' of its own, whether we are habituated to recognize it or not.
By identifying what Elin Diamond called Benjamin's "maculinism" in the gender dynamics underlying the readership of the prostitute's body as dialectical image, Schneider provides us with an insight that may clarify the confrontational potential unleashed by Mantero's Olímpia . Mantero's use of Olympia's image activates the figure of the prostitute beyond her overdetermined position as commodity and seller. It is in this sense that one may suggest that Mantero's inhabitation of Olympia's image participates in a double mimesis, what Elin Diamond calls "a strategic re-imagining of the images themselves" in which the feminist performer occupies the images from within only to twist them and throw them into new relations.What is interesting in Diamond's identification of strategic re-imagining in feminist performance is that this strategy, by undoing its 'masculinist' origins, re-claims, or re-invents, Benjamin's dialectical image's potential for political critique. The image is again (re)invested with a potential for political critique, that Diamond assimilates to the Brechtian gestus. It is also in this gestic manner that Mantero builds her Olímpia -- an image clashing against a collective, prescriptive 'look' (to use Benjamin's term), a look eager to fixate woman's image within discourses in which woman giving herself to view as commodity and seller is the very banner of the modern condition.
What became clear to Mantero from her experience with Olímpia was that the naked surface of the female body is of extreme importance for modernity and its logic of commodification (of women). Thus, Mantero's skin assumed an unsuspected compositional importance in her future work. It is the emphasis on the body's surface as theatre of fashion that attaches the new role for woman to the logic of the commodity and turns women into commodities. This loop in modernity's choreography of gender as a struggle of surfaces over women's agency leads us right to yet another of Mantero's solos in which her skin becomes a theatre of quiet provocations.
A quiet precariousness is precisely the choreographic devise Mantero uses throughout her solo uma misteriosa Coisa, disse e.e. cummings (a mysterious Thing said e.e. cummings, 1996). Mantero's twenty minute piece was commissioned to be a "tribute to Josephine Baker." As I wrote above, I am proposing that this solo operates as a dyptic with Olímpia. There are some structural and compositional similarities between the two works. Uma misteriosa Coisa is the only other Mantero solo in which she uses her naked body; it is her only other solo without music or soundtrack, and, also as in Olímpia, it is a solo in which Mantero uses her voice to interpellate the spectators directly. Despite these similarities, the elements that I want to consider in pairing up the two solos as a dyptic are those which contribute to explicitly push forth the question of woman's visibility and agency in contemporary Portugal. In uma misteriosa Coisa the question of woman's (in)visibility is addressed by Mantero in her 'blackening up' (we will see exactly how, in a moment). It is through this blackening up that Mantero presents woman's body as site of a permanent tension in modernity. A body in which woman's subjectivity and identity are predetermined by a racialized discourse, under which white femininity becomes visible only through the erasure/abjection of an othered body, the black woman's, 'standing in' for white woman's sexuality, and against which white woman's body gains status as 'civilized','proper','visible.'
As usual in her working process (whether for her solo or group creations) Mantero spent quite a few months researching Baker, reading biographies, watching her movies, looking at rare footage, and listening to her songs before stepping into the studio to start constructing her piece. As she had done previously, in 1989, for a similar commission to create a solo on the figure of Nijinski, she approached her "character" by deconstructing her most recognizable gestures and mannerisms into short movement sequences, organized around certain themes in this character's life. After amassing about an hour of dance material for what was supposed to be a 20-minute piece, and just a few days before the premiere in Lisbon, Mantero decided to throw away everything she had. What she decided to do instead, was of remarkable simplicity.
The stage is dark as we enter the theatre. Lights go down, and darkness becomes complete. Time passes and we hear some hesitant knocking sounds on the wood floor. The knocking is uncertain, and it moves about the stage. It soon stops close to us, center stage. Slowly, a faint trace of light, a very narrowly focused spot, reveals a wide, very white woman's face, with very red lipstick on her lips, and very long eyelashes and sparkling blue shadow on her eye lids. It is an hyperbolically staged face, a mask, a mask of a white woman performing a clichÈd image of certain vaudevillian seduction. The face, however, does not smile, nor seduce. It is calm yet alert. Under the faint spot light, the face seems to hover, bodiless. After a while, the very red mouth opens, and endlessly, calmly, quietly, starts to recite, with a few discreet accelerations and interruptions, a litany. She says, in Portuguese: uma tristeza, um abismo, uma no-vontade, uma cegueira Atrozes. Atrozes. (A sadness, an abyss, a non-willingness, a blindness Atrocious. Atrocious.) As time passes, the spot gradually widens its field of action and Mantero's body becomes increasingly more visible. As the very white face gains a body, we realize that it is a racialized body, the naked body of a white woman who decided to cover most of herself with make-up in order to create the illusion of blackness. It is a self-conscious illusion this one, for it is not only the face that remains white, but the hands are also not blackened up. Thus, the dark brown paint works not as a minstrelsy device, in the sense that minstrelsy 'caricatured blacks for sport and profit', but rather as a gestic marker of an hyperbolically, artificially constructed body.
While discussing Carolee Schneemann's performance with Robert Morris based on Manet's Olympia (Site, 1964), Rebecca Schneider notices how
The erasure of the black female body in Site was also deeply problematic. Without a black body to distinguish it, whiteness in white culture appears to be invisible (a white body is not read as marked by race), and because the black serving woman was vanished, Schneeman's whiteness, in her claiming agency, appeared unmarked. As already standing in for the vanishing point in Manet's painting, the re-vanishing or double-vanishing of the black servant in Site was not remarked, and any agency Schneemann may be read to have claimed would have been claimed across the black woman's explicit erasure.
What we have with Mantero's use of make-up in her blackening of her body is precisely the marking of both whiteness and blackness as forces of tension within the construction of white woman's identity, and particularly of white woman's sexuality. The darkened skin points, as in a Brechtian gestus, toward Mantero's overtly theatricalized whiteness, while the white skin indicates blackness as an abjected outside in the theatre of identity. Once we add the third element in Mantero's 'costuming' of her body in uma misteriosa Coisa, we have an even more complex figure, disturbing the binary opposition of whiteness and blackness. This third element appears first in the piece aurally, with the knocking sounds about the stage; it is then visually indexed and supplemented by Mantero's lack of balance (while the light is still too dim to disclose her body fully), and, once her body is finally fully revealed, it becomes the visual punch line of the performance: Mantero is standing, precariously, strenuously, on goat's hooves. Thus, this doubly racialized woman is again doubled -- her body is also bestial. The beast is the lurking danger of woman's genitalia, it is the 'savage' animalization of the body in the racist view of blackness, and it is the savage image Mantero chooses to use in her explicit body in performance. The resulting image of the animal she chose to incorporate prosthetically with her nakedness has a very specific connotation in Portuguese -- a connotation that ultimately makes this solo bend over itself in its stream of signification as it gets layered on Mnatero's composite figure and how this figure imbricates itself with Portuguese colonial history, and with Portuguese current predicament of lurking after modernity. The she-goat is, in Portuguese, a 'cabra', the coarse synonym for whore. Here, signifiers loop around the feminine force-field in the ideological terrain of modernity and emerge in Mantero's choreography as a literal, visceral representation of Benjamin's dialectical image of modernity, Buci-Gluksmann's 'allegory of the modern', Edgar Morin's 'agent of modernity': woman as commodity and consumer, that is, as whore.
By replacing the ballerina's point shoes with animalesque hooves, Mantero stages two powerful visual statements. Choreographically, she proposes for Josephine Baker a dance of unbalance and pain (she has to stand for over 25 minutes on demi-point, thus foregrounding dance as strenuous labor). Semantically she brings us back to the figure of the whore, back to Olímpia and her scandal (which is the scandal of female sexuality under woman's radical agency). Again, a third element must be added to the composition Mantero's quiet litany, repeating itself endlessly, calmly, matter of factly, insistently, hovering between factual statement, minimal poetry, and blunt accusation.
This solo is no happy "tribute" to Josephine Baker. Mantero, while never loosing her focus from the figure of the African American dancer, does not attempt to re/present Baker. Rather, she carefully constructs a figure in which she animates not a historical Baker, but Baker's resonating presence as central in the collusion of dance, primitivism, and race in the body of women. Just as in Olímpia, the inhabitation of an over-determined image from within takes place. This time an extra ethical and choreographic care is required -- the image is not that of a painting, but of woman. Again, Mantero's compositional strategy is based on a certain mimesis. However, Mantero can not just embody the semblance of Baker as she did for Olympia, not with all the history of minstrelsy, of appropriation of the black woman's body by white women, not with the recent Portuguese colonial past. Mantero takes pain to undo the mimetic machine of racism and minstrelsy -- but she does so by indicating precisely the mechanism by which mimesis does bodies. In every extremity of her body -- face, hands, feet -- Mantero disrupts the illusion of the mimetic. Hers is a gestic mimesis, as described by Elin Diamond, as "a strategic reimagining of the images themselves". If Michael Taussig is right in identifying in Josephine Baker's dance a 'disorganizing' of racism by her brilliant parodying of racism's mimesis, then Mantero's disorganizes the ways by which her own relationship to Baker is both complicated and facilitated by the uses of mimesis.
Rebecca Schneider argues that "a feminist explicit body artist cannot employ primitivism, as her body itself has been linked to the lure/threat of primitivity." Marked as "already primitive" the explicit body feminist performer "deploys or re-plays her primitivization back across her body in a kind of double take, an effort to expose the cultural foundations of shock." If Mantero "blackened up" her body, it was just to perform the unmasking of that blackening up in the center of her performance. She chose doing that by the means of pain. Pain happens in the piece by the means of Mantero's insistence in keeping her balance while standing on her improbable goat feet, and by her choreographic decision to stay put in one place, that is, by her decision to not to move as one expects dancers to move. As Mantero tries to find balance in her grotesque bestial hooves (something only her refined classical technique could allow) thus expanding and exploding with definitions and expectations of what is 'dance',she activates yet another gestic agent in the field of mimesis and representation (of the racial other). As she strains, as she recites, as she stands put under the spotlight, streams of sweat quietly streak down her body. If aurally she provokes with her sad recitation, visually she disturbs the field of dance by making sweat an explicit agent of meaning. Sweat signifies Mantero's labor when apparently there is none (she seems not to be giving her audience its money's worth). As her physical strain increases, sweat also subtly removes the dark paint from her skin, opening white scars in her body, showing it is all a fiction, an image, an image of women-whores condemned to dance to certain tunes whistled by someone else's lips.
The subversion of the representational field is absolute. The dancer is hyperbolically naked in front of us, sweating, masked. She is a whore, she is an enchantress, she is an accuser, she is in pain, she is monster, she is beautiful, and she moves at the vibratile threshold of dance. She prefers to stand still, but that is the most excruciating physical task. She tells us of our blindness and stares right into our eyes. We can no longer rest neutrally in our places. Her pain and her repetitive recitation summon us into the timing of the piece she carefully weaves. We cannot avert our eyes from that body under strain, trapped within itself, trapped under its double layer of skin, each skin as historically overdetermined as the other. In this exacerbation of presence by means of stillness, aurality, and pain, the audience is marked as utterly contemporary to that lamenting body. The naked body of a female dancer becomes not the moment of voyeuristic jubilation, not a vehicle for the reiteration of racial divides, but the trigger of an uncanny nausea drawn by a sudden revelation: in its unveiled presence that woman-whore-beast body is crying out a history of blindness and mis-encountering, a history of untold violence and labor, a history of destruction of bodies.
This is a moment Nadia Seremetakis calls an 'exit from historical dust' by the quiet invocation of the historically, culturally discarded. This is when Mantero's composite body reshuffles the ground upon which spectatorship and dance stand. We are not seeing her, Josephine, despite being there. We are not seeing Mantero, despite her exposure. Her naked body transpires opaqueness, literally, as her dark coloration becomes sweat, streaming down her skin and revealing a white body under the overdetermined body of the dancer whore.
Ultimately presence is deferred: throughout the solo, the spotlight that first illuminates only her face and then, in a twenty-minute fade-in, gradually reveals the rest of her body, operates a reverse effect of illumination. For the more light is shed onto Mantero's body, the less we are able to see her, the less we see Josephine Baker, as what fills up our sensory is sweat, tremor, but mostly her voice. What is left of this dance by Mantero is an acoustic image. It is as if light blinded the scopic field only to enhance the aural field. In Lisbon, when I saw the piece in 1996, Mantero's recitation provoked an increased and quite raucous amount of discomfort in the audience. The plural form of 'atrocious', the word that adjectifies every other one in the piece, is in Portuguese, 'atrozes'. As Mantero stood on the spot trying to balance herself, telling us of the abyss, the blindness, the bad-faith, one member of the audience, a middle-aged white woman, talked back to Vera, loud, disaprovingly 'Artrose! Artrose!'(Arthritis! Arthritis!).
It is most notably in her solo work that Mantero pushes and disrupts the boundaries of representation and presence to their absolute limits. From the start, Mantero's solo performance caused a disturbance in the fabric of the Portuguese society. For six months after her Olímpia, and the publication of her photo in A Capital, Mantero was subjected to harrassment and daily anonymous phone calls threatening her with rape (Mantero later included some of these calls, left on her voice mail, in the soundtrack of A Dança do Existir). Following this experience, she forbade the press to photograph her body in her Josephine Baker piece. Such was the disturbance provoked by a woman's body challenging the regimentation of both 'Portugueseness' and of modernity, particularly of modernity's pressures to a certain performance of femininity.
Philosopher José Gil, in a conversation with Vera Mantero, tells of his reaction the first time he saw Mantero's work on the stage, in the early 1990s. Says Gil,
Regarding your choreography, the first time I saw a piece by you, I left the theatre asking myself, 'But where is she coming from? Where is this Vera Mantero coming out of?' Of course, one always comes out of somewhere, there is always a gap, a black-hole, tiny openings in the fabric of the society from which certain people emerge. Which is strange ().
Peggy Phelan writes that performance's ontology implicates the present by the means of presence. Mantero's solo works, always performed by herself, implicate her body fully within the Portuguese cultural landscape, one in which, as we saw, not only the body is absent, but, moreover, one in which women's bodies are highly regimented, are visible only by and through this regimentation.
This is Mantero's own political agency as citizen, as woman artist immersed in a social context that must be probed, provoked, questioned thoroughly and consistently. It is telling that in an interview for the Lisbon daily, while discussing the role of technique and of training for the dancer, Mantero proposes a multiplicity of techniques in dance, acting, voice, and beyond, so that the dancer becomes less of a professional and more of a 'person'. The reporter then asks, "And the body, how do you use it?" And Mantero replies, "I use it to exist(laughter)." This existence creates shock-waves in the social tissue. Mantero's body literally becomes a rupture of the limits of desire and social control upon a woman's agency.


text:
Audi S3 Sportback arrives in Brazil
Audi of Brazil announced on Friday, February 7, the arrival of the S3 Sportback country. Imported only in five-door body, he is already on sale at the dealerships for 205,500 dollars.
The model has a powerful 2.0 TFSI engine with direct fuel injection and turbocharging. The 280 hp is available at 5,500 rpm, with maximum torque of 38.75 lb-ft between 1,800 rpm and 5,500 rpm. If equipped with automatic transmission six-speed S tronic, the S3 Sportback accelerates from 0 to 100 km / h in 4.9 seconds, reaching 250 km / h, electronically limited.
Clearly prioritizing played most sports, the S3 Sportback bring items such as launch control, all wheel drive, paddle-shifts to gear changes, sports suspension, Audi Drive Select system (which alters the responses of the gas pedal, rates and direction, prioritizing a more economical or sporty) driving.
The list of standard items include a sound system of high quality manufactured by Bang & Olufsen, Bluetooth, digital air conditioning multimedia system with satellite navigation (GPS), multifunction leather steering wheel, bizona, electric sunroof, front airbags, sides and to protect the driver's knees, Bi-xenon headlights, rear parking sensor and start-stop system, among others.
Read more automotive news
2016 Chevrolet Camaro is the current evolution
Version 2016 Chevrolet Camaro will be different from the present. Using the same platform as the Cadillac ATS and CTS, the model will undergo another redesign, but according to information compiled by the Edmunds site, changes with respect to the generation that is currently for sale will not be large.
CEO of Lamborghini supercars rejects hybrids
Stephan Winkelmann, CEO of Lamborghini, returned to position contrary to the idea that the supercars should use hybrid technology. Speaking to Car Advice website, the executive sees some problems in the dissemination of this proposal.
Nissan will take new sedan concept in Beijing
Nissan announced on Monday (10) will present a new concept car to the public during the next Hall of Beijing, scheduled for the April event. No images were released teasers or model, nor its official name.
Jaguar XKR-S shows Sportbrake
Jaguar surrendered to the club of supersports turkeys. The XFR-S Sportbrake coming soon to the streets of Europe to try to obfuscate their arquirrivais Audi RS6 and Mercedes-Benz E 63 AMG.
Aston Martin will take special editions of the DB9 and Vantage to Geneva
With the approach of the Geneva Motor Show, held in March, the manufacturers begin to submit your news, Aston Martin has released special editions that will take the Vantage and DB9 for the event in Switzerland.
Electric VW Golf arrives in Germany for 34 900 euros
The new Volkswagen Golf VII electric already being sold in Germany, with a starting price of 34,900 euros.
Skoda Octavia Scout reveals
Skoda showed on Tuesday (11) the Octavia Scout. This is an "adventurous" version of the van, which will be shown to the public at the Geneva Motor Show in March and will hit the European market in the second half of 2014.
Hyundai Reveals Veloster RE: FLEX
Hyundai took the Hall of Chicago to present on Friday (7), the Veloster RE: FLEX. A special limited edition (3,000 units) brings some aesthetic changes to the sport.
Ford Increases Production of Super Duty pickups
Ford will increase the production capacity of pickup trucks F-Series Super Duty. The automaker will invest $ 80 million in its plant in Louisville, Kentucky.
Adam Opel Cabrio is spotted in Europe
With enough disguise, the new Adam Opel Cabrio was spotted testing in Europe. As you can see, the convertible model remains the default body, like the Fiat 500 and Citroen DS3 Cabrio C.


text:
Jennifer Lopez' career has been on an upward trajectory for decades after she first burst onto the scene as "Jenny From The Block."
The stunning, triple-threat, singer, actress and dancer made a name for herself in the film industry with a number of romantic comedies (we'll forget about Gigli for everyone's sake) but her recent movie Hustlers takes her to a whole other level.
The film has so far grossed $157 million, and despite Lopez and the movie being snubbed for an Oscar this season, it's widely considered to be a hit.


text:
|Help support Yugipedia by using our Chrome extension, which redirects links to the old Wikia/Fandom site to Yugipedia, ensuring you see the most up-to-date information. Firefox users don't worry—a similar Firefox add-on will be out soon. If you have any issues or find any bugs, be sure to let us know on Discord!
Card Trivia:Amplifier
- "Jinzo" appears in this card's artwork.
- So far, this is the only Equip Spell Card whose activation cannot be negated.
- This card's OCG/TCG artwork is taken from Yu-Gi-Oh! Duelist Duel 99, specifically from the panel showing "Jinzo" being equipped with this card. However, its hands are raised in this artwork in contrast to that manga appearance.


text: So What Does Date Rape Smell Like? The Line, an innovative new documentary movie about intercourse and permission, hit the United states University campus the other day. Today, The Line's blog addressed the current debate at AU over pupil newsprint the Eagle's anonymous intercourse line, which offered a drunk, hazy, and painful intimate experience as […]Read more


text:
Hurry up! Just 19 items left in stock
Prices go up when the timer hits zero.
19 in stock
Foie Gras D'Oie Castaing Serves Two
|Store your goose foie gras in a cool dry cupboard until opened. Once open store in fridge and consume within 3 days.
|Nutritional Information:
|Per 100g : 1719 kJ (411 kcal) Fat : 39g of which saturated : 13g / Carbohydrates : 4.6g of which sugars : 0.5g / Protein : 10g / Salt : 2.7g.
Goose foie gras, water, port wine, salt, spices, sugar, anti-oxidant (sodium ascorbate), preserving agent (sodium nitrite).
Goose foie gras is best served cool with some lightly toasted bread and fig chutney or wine jelly.
MARCH SALE – Enjoy 10% Off Full Price Across Most Of The Range Today And 20% Off Our Foie Gras! We Have Received A Fresh Shipment Of Perard Soups And La Belle Chaurienne Gourmet Ready Meals From SW France Just Arrived! And Do Take A Look At Our Special Offers Corner! Delivery Time: Please Allow 2 – 3 working days (excludes weekends) Due To Increased Demand.


text:
Property Details
Basic Information
- Property Type: B
- MLS Number: 22000849
- Acreage: 0.57
- Square Feet: 24829
- Year Built: 1950
- Zoning: res
- Foundation: Block, Concrete Perimeter
- Town: Dennis
- County: Barnstable
- State: MA
- Zip: 02639
Interior Features
- Description: Rare Investment Opportunity!! Here's your chance to own a Four Family Home just 3/10 mile to beautiful Haigis Beach! This wonderful Year Round Property has strong rental history and comes with many recent updates including electric, fresh paint and new Title V Septic to be installed this Spring. It offers incredible versatility: Use the 1st Floor unit with 3 Bedrooms, Spacious Living Room/Dining Area, and good sized Kitchen and rent out the other three units, all which currently have long term tenants-at-will. OR use the ENTIRE first floor (total of 5 bedrooms 3 Bath!) for extended family & still have two one bedroom rentals on 2nd floor to supplement your mortgage payments! It also offers gleaming hardwood floors, a heated breezeway, and oversized two car garage plus a full basement. This would also make a great single family home for large family with ideal set up for in-law apartment. It's set on a nice level corner lot with plenty of room for parking (10 plus cars!). Original house was built in 1950 and had addition in 1969 and 1976. Don't miss this unique opportunity - call now!
- Waterfront: No
- Basement Description: Bulkhead Access, Full, Interior Access
Utilities and Appliances
Utilities and Appliances
- Cooling: None
- Heat System: Electric Baseboard, Forced Hot Air
- School District: Dennis-Yarmouth
- Miles to Beach: .1 - .3
Other Details
- Annual Tax: 3183
- Tax Year: 2020
- Water Access: Public


text:
Q: What did the elephant say to the naked guy standing in front of him?
While traveling in West Virginia a man noticed an old gentleman standing in his front yard with a shovel in his hand wiping the sweat from his brow crying. Concerned, the man stopped and asked him what was wrong. "I just got finished burying Old Blue. The best old coon dog I ever had" he sobbed. Looking around at 6 holes dug the man asked him why he had to dig 6 holes to bury one dog. He said "Boy, don't you know nuthin'? The first 5 holes were too small".
There was a Rabbit, a Turtle, and a Lizard. The three of them were thinking of a way to get rich. OK I've got it says the Turtle we can sell produce. Great idea, they all agreed. The Turtle says I'll go get the plow with the cow, you Lizard go get the seeds and you rabbit go get the fertilizer and we will all meet back here. So the Rabbit gets back three years later, and finds a big mansion and fields of growing crops. The Rabbit knocks on the door and asks: is there a Lizard living here?? The butler replies: Yes, "Mr. Lizard is out by the yard." Is that right? Does a Turtle live here?? Asked the Rabbit. The butler replies: Yes, "Mr. Turtle is out by the well." Well says the Rabbit, "Go tell them that Mr. Rabbit is here with the SHIT!!!"
Did you hear about the cat that swallowed a ball of wool?
© 2001-2020 SpicyJokes.com
Date created May-17-2001


text:
Don't Have an Account? Sign Up to Save Favorite Listings, Save Searches & More...
Renovated and private! 10 mins to Sherwood Park and 4 mins to schools- Live the country dream in this spacious 2380 sq ft 5 bed, 3.5 bath home on 4.4 acres! UPDATES incl: ALL new flooring (NO CARPETS!), vinyl windows throughout, updated baths (ALL 3.5!), updated kitchen, 2 hi eff furnaces, HWT, A/C, fixtures, paint, and new basement W/ SECONDARY KITCHEN AND SEPARATE ENTRY! The main floor boasts a huge kitchen with an island and prep sink, painted cabinets, marble back-splash, new hardware, sub zero fridge and wolf stove top. A large family room (with 9' patio doors), spacious dining and living room, laundry room, big foyer and 2 pc bath complete this level. Upstairs features 4 bedrooms incl. a 5 pc bath, and massive master complete w/ HUGE walk in closet, 2 barn doors and 3 pc ensuite w/ glass walk in shower. The new basement has a bedroom, rec room, family room, kitchen and new 4 pc bath. The park like yard is treed, fenced, has a barn with concrete floor and 220V wiring, and... there's room for the RV!
Disclaimer: Data is deemed reliable but is not guaranteed accurate by the REALTORS® Association of Edmonton.
Listing information last updated on April 3rd, 2020 at 11:01am CDT.


text:
China Gold Supplier for Vertical Burn Tester - Glow-Wire Fire Testing Equipment – Skyline
Product Detail
Product Tags
Related Video
Feedback (2)
China Gold Supplier for Vertical Burn Tester - Glow-Wire Fire Testing Equipment – Skyline Detail:
IEC60695-2-10~13 Glow-wire Flammability Testing Equipment
Product Technical parameters of the Glow-wire Flammability Tester
|Special of test chamber
|0.5 CBN (W1000 * D600 * H1260mm)
|Temperature range
|500~1000°C, can be adjust and digital displayer.
|Temperature error
|±10°C (500~750°C) and ±15°C(750~1000°C), the accuracy class of ±0.5.
|Temperature sensor
|K-type thermocouple which size is Φ0.5, from oversea.
|Pressure to specimen
|0.8N~1.2N, and the depth of press must not less than 7mm
|0~99min 99s, can be adjust in range
|There are 3 timer for this machine, respectively BURNING TIMER (Ta),
|normal setting it of 30s as standards,Duration burning timer (Ti) and flame die timer.
|Time error
|Special layer
|Smooth wooden board (thickness is 10mm) with a layer wrapping tissue (12g/m2~30gm2) on the board, and the position at a distance of 200± 5mm
|Simple operation, the measuring temperature system is
|stabilization and reliable, auto temperature compensation.
|Power supply
|220V/AC±10%, 50Hz
According to IEC60695-2-10~13,UL746A, IEC829, DIN695, VDE0471etc.
Product Features of the Glow-wire Flammability Testing Equipment
1.The flaming chamber and control part of the integrated design, convenient installation and operation.
2.The shell of chamber and main parts made of stainless steel, which resistant smoke and withstand the rust of gas
3.SCR automatic control system to automatically adjust the current to achieve the purpose of control the precise of temperature;
4.Time and temperature display by digital, convenient for observation and records, stabilization and reliable for use.
Product detail pictures:
Related Product Guide:
As a way to present you with ease and enlarge our enterprise, we also have inspectors in QC Workforce and assure you our greatest support and solution for China Gold Supplier for Vertical Burn Tester - Glow-Wire Fire Testing Equipment – Skyline , The product will supply to all over the world, such as: Hongkong , Auckland , Netherlands , After 13 years of researching and developing products, our brand can represent wide range of products with outstanding quality in world market. We have completed big contracts from many countries such as Germany, Israel, Ukraine, United Kingdom, Italy, Argentina, France, Brazil, and so on. You probably feel secure and satisfy when copperate with us.
By Judith from Moldova - 2017.06.22 12:49
In our cooperated wholesalers, this company has the best quality and reasonable price, they are our first choice.
By Evangeline from Lithuania - 2018.06.26 19:27
Write your message here and send it to us


text:
Chat With Auckland Members Interested In Senior Chat
Looking for Auckland members to video chat with? Search through the profiles below and you may just see if you can find someone you can chat with Contact them and talk about anything. Our site has 100's of members in our chat room with someone like you! Register your Totally Free Profile Now
- 61
Not rich not tall but enjoys life
- 65
Roddy by name
Roddy by name
rowdy by nature
- 60
Single , hoping to connect...
Single , hoping to connect to find a friend,partner,...
Genuine, family orientated, hard-working, guy with a GSOH, my own teeth, hair, don't need glasses (not in the dark anyway) Content, but missing a friend, partner,lover to share and do things that are better done by 2 So a funlovn, confident down-to-earth, happy lady if you're out there...
Hi travel picnics and walks
Hi travel picnics and walks
Like travel nz and aus spending summer at beaches in nz in caravan with good company.
Picnics beach walks travel
Picnics beach walks travel
Like company to enjoy beaches travel and quiet times with.
- 25
Single live alone and very...
Single live alone and very horny
Looking for company and love with lots of cuddles and kisses
Happy hookah
Happy hookah
I am a married man who is married to a born again virgin Mary I have not fucked for at least the last 17years out of the 48years of our marriage. Can anyone help me out of this situation please?
- 82
I am a romantic guy looking...
I am a romantic guy looking for a relationship
81 year old widower honest, friendly, reliable trustworthy. ,and wanting to find a soulmate
Philip is...
Philip is open.to.any.approach of a genuine.nature
I am an honest d Empathatic.intelligent.pers on
- 62
Hi looking for companion
Hi looking for companion
i am easy going ,laid back sort of guy
- 51


text:
Closed today
04 72 13 25 00
The Apple Store at the La Part-Dieu shopping centre offers the perfect opportunity to try out all our Apple products and explore our superb accessories. Our Enterprise Sales Team is happy to advise and help you find the right solution for your company. Or head on down to the Genius Bar for practical technical assistance.
Opening Hours :
Monday to Sunday : Closed
Categories :