text:
To make the modeling chocolate: Professionals call modeling chocolate by the name chocolate plastic. Melt the chocolate and cocoa butter over a double boil. Bring the ingredients for the simple syrup to a boil. Place the corn syrup in a bowl and stir in the hot simple syrup. Pour this over the melted chocolate. Stir until it thickens. Place it in the refrigerator for at least one hour. The modeling chocolate will have the consistency of play dough when you work it with your hands. Divide it into three pieces. Use the food color paste to color one piece pink and one piece green. Work the food color paste into the modeling clay to distribute the color until it is the desired color.
To make the ribbon: Take a ball of each color. Use the palms of your hands to roll each ball into a rope about 1/2-inch thick. Place the ropes side by side and gently press together. Use a rolling pin to roll out the ropes to create a tri-colored ribbon. Use cornstarch to "flour" the work surface. The rolled chocolate should be about 1/8-inch thick. Cut a strip about 30 inches long and about 11/2-inches wide and wrap it around the brim of the hat. You may need to trim the ends.
To make the leaves and rose petals: Roll out each colored chocolate plastic using cornstarch to "flour" the work surface. The rolled chocolate should be about 1/8-inch thick. To make the flowers, use 2-inch diameter cutter to cut circles from the rolled chocolate. You need to gently thin the top edge of each circle and you can do that with the end of an offset spatula or a hard-boiled egg. Gently press the spatula or egg against the top of the flower to thin the edge (like a real flower petal). Use 11/2 and 2-inch oval cutters to cut out the leaves. You can also do this with a paring knife. Use the back of a paring knife dipped in cornstarch to make the veins of the leaves.
To make the center: All flowers have some kind of center. Use your fingers to shape a cone-shaped bud for the center of your rose. (Recipe continues on to Part Two)
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text:
Another week, another shift in the weekly download charts. If you've tried any of the applications on this list, please share with other readers in the comments.
Your Top 10 Android Apps for the week for Monday, August 2nd 2010 are:
10. Advanced Task Killer
Advanced Task Killer is a tool you can use to kill running processes and free precious memory on your Android phone. It has been in the #10 spot two weeks running.
9. Mobile Andrio
Mobile Androi is a Super Mario Brothers-like game for all Android versions. Comes in both free (ad-supported) and paid versions (approx $2.00).
8. Handcent SMS
Handcent SMS is a text-messaging application that features conversation view and allows users to customize their messaging notifications, application skins. See our full review here.
7. LauncherPro Beta
Launcher Pro is a home screen application drawer replacement app, featuring 7 home screens and a 2d or 3d app drawer. LauncherPro held down the #3 spot last week.
6. Smart Shortcuts
Smart shortcuts allows users to organize their applications, bookmarks, and contacts using tags to provide quick access to this information while de-cluttering their homescreen.
5. Barcode Scanner
Barcode scanner is an application that allows users to scan barcodes and search for price/availability of particular items at many local stores. It also has a QR code reader.
4. Camera 360
Camera 360 is a powerful picture suite that adds functionality lacking in the stock camera settings, such as LOMO, HDR, axis shift, draft, ghost, and more.
3. AppBrain App Market
AppBrain is a front for the Android market that allows users to install Android apps to their phone right form their PCs.
Well, three weeks in and we already have our first tie at the #1 spot. Here they are, your top two apps of the week:
1. Rockplayer
RockPlayer is a video player optimized for the Android platform (requires 1.6+).
1. 3D Compass (AR Compass)
3D compass is an augmented-reality compass that places a compass over your camera so you can see the direction you're facing in real-time.

subset: commoncrawl


text:
Official Clothing Guidelines
The goal of the Lexington Training Band is to accurately portray a Massachusetts militia company as it appeared between April 18, 1775 and October 18, 1775. As a result, every member of the Lexington Training Band is expected and, more importantly, required, to accurately portray a Massachusetts militiaman to the extent permitted by up to date research.
Wearing outfits made of polyester, sewing plastic or modern buttons to clothing, wearing 18th century clothing uncommon to the Massachusetts Bay Colony, or simply wearing an outfit without a coat, smock or jacket, actually distorts the historical period and events we cherish so deeply. Further, by knowingly recreating clothing and equipment incorrectly, we engage in mis- education and do a disservice to American History.
The Lexington Training Band adheres to the "five-foot rule", the Continental Line's standard for authenticity. The five-foot rule came into existence in 1988 when the Continental Line was created as an umbrella organization to oversee Revolutionary War reenactments. All member units of the Continental Line are required to follow this rule.
There are several prerequisites to the five-foot rule:
A. All clothing MUST be produced from natural sources (Cotton, linen, wool, or leather) rather than man made sources.
B. All clothing and equipment must be from the correct period AND from the correct location. For example, a reproduced 1778 linen hunting shirt from the Ohio River Valley would not be appropriate for a person portraying a 1775 Massachusetts militiaman, but a reproduced wool frock coat from 1767 Massachusetts would.
C. All clothing and equipment must be supported and justified by at least two (2) primary and documentable sources. Primary sources include prints, paintings, letters, diaries, depositions, court records, Provincial Congress minutes, petitions, journals, newspaper advertisements, estate inventories and town resolves.
The five foot rule is defined as:
A person will be authentic if the spectator, from a distance of no more than five feet,
1. Identify or observe any items that are not reproductions of 18th century articles of clothing, weapons or equipment.
2. Identify or observe any article of clothing that is not cut and fit in the proper 18th century manner. "Cut in the proper 18th century manner" is defined as clothing that is produced, cut and sewn so that it is identical or nearly identical to 18th century clothing-patterns and surviving articles of clothing. "Fit in the proper 18th century manner" is defined as clothing worn on the body tight yet not constricted.
3. Identify or observe any 20th century anachronisms, including, but not limited to, modern shoes, modern shoes with buckles tied to them, modern glasses and modern wristwatches.
Please keep in mind that under the five-foot rule, the "spectator" is considered to be an experienced reenactor who is able to identify and observe what does or does not look authentic. However, for the five-foot rule even to apply, you meet the required pre-requisites listed above. If your clothing and equipment do not qualify under the five-foot rule, you will NOT be allowed to participate in an event with the Lexington Training Band.
The following items are mandatory and must be acquired by members of the Lexington Training Band before they can field with the unit. Failure to acquire these items will result in exclusion from events with the Lexington Training Band.
1. Coat and/or jacket
2. Knapsack, blanket roll, snapsack, or market wallet
3. Tin or wooden canteen, gourd, rumlet and/or leather covered glass bottle
4. Mess kit: knife, two-prong fork, wooden bowl and spoon and cup
5. Cartridge box or hunting pouch
6. Flashguard and hammerstall
7. Lock-pick and brush
8. Bayonet, cutlass, sword or tomahawk
The following items are prohibited by the Lexington Training Band and cannot be worn or carried onto the field. Failure to remove these items will result in exclusion from events with the Lexington Training Band.
1. 19th century clothing and equipment
2. Belts with round hand forged buckles from JAS Townsend
3. Military overalls
4. Blanket shirts from JAS TownsenD
5. Hunting shirts or hunting frocks
6. Frontier knives and axes
7. Scottish dirk knives and basket-hilt swords
8. Rifles
9. Company pins, logos, and nameplates
10. Economy tricorn hat from JAS Townsend (TH-915 and 918)
11. Suede leather hunting bags/ canvas hunting from JAS Townsend
12. Breeches, trousers, waistcoats, coats, great coats and sailor"s jackets from JAS Townsend
13. Haversacks and cloth "hunting bags"
14. JAS Townsend belt bags not converted to over the shoulder hunting bags
15. Modern glasses, cell phones and watches
16. Food carried in modern containers (Tupperware, modern paper bags, coke cans, tinfoil, etc.) and exposed to the
17. Capes/cloaks
18. Hat decorations, including Masonic pins, continental money, clay pipes and feathers.
19. Wearing a smock or frock coat without a workshirt and weskit underneath
20. Horizontal striped stockings
21. Modern shoes with buckles tied to the laces
All clothing and equipment must pass inspection. Clothing worn will be properly and well fitted and all visible stitching will be sewn by hand. If you are not absolutely certain of the accuracy and appropriateness of ANY items, please find out before you acquire them. No unapproved clothing or equipment will be allowed. All uniform and equipment items will be changed when changes are necessitated due to new documentation.
Members are encouraged to allow their clothes to age and weather in a manner appropriate to life in the field and/or at work. Thus, clothes can/should be stained and patched, but patches should be neatly done and in a manner that allows for preservation of clothes.
Absolutely refrain from washing small clothes (shirt and trousers) with bleach or modern heavy detergents. This will degrade the fibres and wash out their natural color.
The following are applicable to those portraying male militia men. The proper fit of clothing is paramount. See Appendix A for a discussion of this topic.
Hats: Hats must be round blocked and constructed of wool or fur felt. Acceptable styles include civilian cocked hats, flop hats, round hats, and partially cocked hats. Hats must be black, tan, grey or brown in color.1
Dress Uniform hats are prohibited.
Caps: Caps must conform to period examples. Acceptable styles include Monmouth caps, French caps, and workman"s caps. They must be made of wool or linen and be of appropriate colours (striped Monmouth caps are permitted).2 Highland bonnets and voyageur caps are BANNED.
Workshirt: Shirts must be appropriate to the mid 18th century. The collar should be no more than two and three quarter inches high and must close with one to two buttons. Wristbands should not exceed one inch in width. The neck opening should extend no more than nine inches down the chest. Acceptable materials for shirts include tow, linen, flannel, or light weight wool in white, natural, striped, or checked colors. Buttons must be made of bone, pewter, wood or natural or bleached linen thread. Wrists may be closed with thread buttons or with sleeve buttons.3
Neck Clothes/Rollers: Should be made of linen, linen/cotton blend, or silk and be cut triangular or square. Solid, checked, spotted, or striped colors are acceptable. They must be tied and knotted under the collar.
1 Most commercially available hats/hat blanks are oval blocked. See list of suppliers for makers of period correct hats.
2 James P. McGuane, Heart of Oak: A Sailor's Life in Nelson's Navy, (New York: W. W. Norton and Co., 2002), 87.
3 Paul V. Dickfoss, ""white Flannel Shirt," "striped Linen Shirt," "tow cloth Shirt:" Shirts of Runaways Advertised in Rhode Island," The Brigade Dispatch: The Journal of the Brigade Of The American Revolution 34, No. 2, (Summer, 2004).
Waistcoat: Must be made out of wool or linen. Must conform to 1750s, 1760s and 1770s examples. The 1750's style must extend to between mid-thigh and knee, and have 8 to 10 buttons down the front. Functional or false welt pockets should be located at waist level, and be covered by flaps with or without buttons and buttonholes. The 17660/1770s style should extend below the waist to the hip and have 10 buttons down the front. "Roundabout" waistcoats are also permitted. Pockets may be either functional or false welt or flap covered pockets. Waistcoats can be made of materials of a contrasting color and texture to the coat and breeches. Buttons should be pewter, brass, horn, or cloth/thread covered.4
Under Jackets: Under jackets, or sleeved waistcoats, should fit close to the body and in the sleeves. They may be made of wool, linen, and linsey-woolsey. Solid and striped colours are acceptable. Buttons may be pewter, brass, horn, or cloth-covered.5
Farmer's/Waggoner's Smock: Should be slightly larger than a body shirt and constructed of medium weight linen or lighter weight wool. These can be worn over body shirt and waistcoat or act as an extra work shirt. The length of the smock should be at least at the knee. Thigh and waist length smocks are mid to late war styles and are prohibited. Button arrangement should be the same as for work shirts. Natural, striped, solid, or checked colors are acceptable.6 Work Shirts are not to be used in place of a coat or jacket. They are for fatigue duty only. A lightweight cotton, osnaburg or linen work shirt from JAS Townsend is not an acceptable substitute for a smock.
Frock Coats: Frock coats are the most common outer garment for men regardless of class. They should be made of wool or linen. The frock coat, always worn over a waistcoat, could be of the same color and fabric as the waistcoat, or more commonly, as noted in ads concerning run-away servants or slaves, of quite different fabrics and colors altogether. The linings of frock coats were often of a complementary shade, with some being quite bold in pattern and bright in color. They may have a falling collar or no collar and either round or slashed cuffs. Acceptable colours
include blue, brown, red, black, green, "cloth," and other period correct solid colours. Buttons should be pewter, horn, wood, copper or cloth-covered.7
Bounty Coat: A bounty would have been issued to Lexington men serving at the Siege of Boston with Captain John Wood"s Company, Colonel Baldwin"s Regiment in October, 1775. The coat was a tobacco brown laborer"s jacket and would be cut much like a sleeved waistcoat with a collar and cuffs. The buttons, stamped with the regimental number "38", would generally be larger than 5/8-inch diameter and, therefore, spaced further apart. The bounty coat would have
pockets and pocket flaps without buttons on the flaps. Acceptable material is wool.8 Bounty
coats cannot be worn at events recreating an engagement prior to October 1, 1775.
Jackets: Jackets, or workman"s coats, should extend no lower than mid thigh. They may be cut "roundabout" the waist if desired. Double breasted jackets are permitted. All jackets should be close fitting in the sleeves. They should have round or slashed cuffs and rolled or fall down
4 Dickfoss, ""striped Flannel Jacket," "blue coarse jacket Kersey wove," "an old brown Broadcloth jacket": Jackets of Runaways Advertised in Rhode Island."
5 Ibid.
6 Cain, "A Frock and Trowsers, Spade and Hoe, Will Do For My Remaining Days: An Analysis of the Use of Farmer"s Smocks by Massachusetts Militia on April 19, 1775," New England Rev War Campaigners, 2008.
7 Henry M. Cooke IV, "Unlined Frock Coat," Historical Costume Services, 1999.
8 Cooke, "The Massachusetts Bounty Coat of 1775," Historical Costume Services, 1992.
collars. Pockets are optional but, if included, should be flap or welt style. Jackets should be made out of wool, linen, linsey-woolsey, or similar materials. Acceptable colors include blue, brown, red, and striped. Buttons should be pewter, brass, horn, or cloth-covered.9
Great Coats: Great coats must be made of wool, have a collar and at least one circular shoulder cape sewn into the coat. Cuffs should not have buttons and must be long enough that they may be turned down over the hands. The coats should have six to eight buttons down the front.
Pockets are optional but if included should be flap covered and without buttons. Buttons may be silver, steel, pewter, brass, horn, wooden, or cloth-covered. Appropriate colors include blue, shades of brown, shades of gray, red, and black.10
Breeches: Breeches must conform to period examples. They must be fall front style and should fit closely about the legs. They should be made out of leather, wool, linen, or fustian. Breeches may be solid, striped, or checked in pattern and colour. The most common colours for wool breeches were blue, black, brown, and "light." Other colours are also acceptable. Ties, buckles, or buttons may secure the knee-bands. Acceptable buttons include pewter, brass, horn, wooden, or cloth-covered.11 White canvas breeches are prohibited.
Trousers: Must be fall front style, above the ankle in length, fit relatively close above the knee, have a baggy rear seat, and adjustable ties in the rear. Trousers may be solid, striped, or checked in pattern and colour. Fabrics may include wool, linen, linsey-woolsey, or fustian. Buttons should be pewter, brass, horn, wooden, or cloth-covered.
Stockings: Stockings must come up over the knee and be wool, linen, or cotton. Colours may be white, gray, navy, black, mixed, or brown. Horizontal striped stockings are prohibited. Tube or athletic socks are prohibited. Stockings should be held up by garters made of leather (with period correct buckles) or worsted wool tape (with or without buckles).12
Gaiters or Half/Farmer's Boot: These should be made out of linen canvas or wool in black or brown. They should close with pewter or horn buttons, and extend about eight to ten inches above the ankle. Gaiters should be tight fitting and not sag. They must cover the laces or buckles of your shoes. Military style high (full) gaiters or Indian leggings are not appropriate for the civilian militia impression.
9 Dickfoss, ""striped Flannel Jacket," "blue coarse jacket Kersey wove," "an old brown Broadcloth jacket": Jackets of Runaways Advertised in Rhode Island," The Brigade Dispatch: The Journal of the Brigade Of The American Revolution 32, No. 2, (Summer, 2002). Also see Cooke, "The Massachusetts Bounty Coat of 1775," Historical Costume Services, 1992.
10 Dickfoss, "Greatcoats of Runaways Advertised in Rhode Island and Pennsylvania," The Brigade Dispatch: The Journal of the Brigade Of The American Revolution 33, No. 2, (Summer, 2003). Also see Cooke, "Keeping Out the
Cold: Men"s & Women"s Outerwear in America, 1750-1800," Historical Costume Services, 2010.
11 Dickfoss, ""dirty buckskin breeches," "blue broadcloth breeches," "black knit Breeches:" Breeches of Runaways
Advertised in Rhode Island," The Brigade Dispatch: The Journal of the Brigade Of The American Revolution 35, No. 4, (Winter, 2005).
12 Dickfoss, ""grey worsted," "mixt blue Yarn," "White ribb"d worsted:" Stockings of Runaways Advertised in Rhode
Island," The Brigade Dispatch: The Journal of the Brigade Of The American Revolution 31, No. 3, (Autumn, 2001).
Footwear: Should be plain, mid 18th century style leather shoes. Leather may be black or brown, smooth or rough side out. They should be closed with buckles (brass or steel) or laces.
Link to Official Clothing and Equipment Guidelines PDF
Note that the breeches on all four militia men are tight fitting from the knee and up the leg
An assortment of militiamen wearing breeches, trousers, coats and jackets. Note how the jackets and breeches are tight yet not restricted


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Remembering Jerry Lewis
Clip: Special | 1m 59s
Beloved comedian and filmmaker Jerry Lewis passed away on Sunday, August 20, 2017 at the age of 91 in his Las Vegas home. In this never before seen interview from August 2015, Lewis discusses what his father, an vaudeville entertainer, taught him.
Aired: 08/28/17Video has closed captioning.


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Now that you know everything Audi Allentown has to offer, chances are you'll want to actually see it for yourself. If so, come see us at 4725 Hamilton Blvd Allentown, Pennsylvania. Our team will be more than happy to show you around, set up a test drive, talk finance, order parts or schedule your next service appointment.


text:
Open Thread: Talk About What Matters Most to You
Discuss and debate the issues that mean the most to you.
Did you know that according to this Daily Mail poll, over half of all British Men do not know how to use a dishwasher? I'm sorry, let me try that again. Did you know that according to this Daily Mail poll, over half of all British Men "do not know how to use a dishwasher"? The quotes are necessary because it is the Daily Mail, and also because MEN OF ENGLAND YOU ARE FOOLING NO ONE WITH THIS.
The Daily Mail should run a second poll, a companion piece to this one. The title would read "Half of All Murders In Britain Perpetrated By Ladies Whose Victims Claimed To Find Their Washing Machine 'Too Confusing'. Because that is legitimately one of the reasons dudes polled gave for their ineptitude. What planet are we living on that someone would rather be perceived as mentally deficient over being a stubborn, lazy ass?
A large portion of the dudes feigning idiocy are between the ages of 16 to 24. This is surprising to no one. I have brothers this age. Intelligent, charming guys. One of them jumps out of planes for money, the other is skipping his senior year of college and going straight on to graduate school -- which I did not known was even a thing that could happen. That said, if I were to tell you that they had once pooped in a jar and hidden said jar in our basement to "see what would happen" I would not be lying to you.
This is all by way of saying that adolescent boys (and they are boys until they are 30 at a minimum) are disgusting. Doing laundry is cleaning something. This goes against their very code of conduct.
Exhibit a guy I went to college with. Rather than ever do his laundry, he would take off every article of clothing he had worn that day, neatly fold his shirt, drawers, and jeans, and then put them back in his dresser. If any of these items began to reek, he would put them in his freezer.
"It kills the bacteria that creates bad smells," he'd say.
"You know what else does that -- CLEANING THEM." I said.
It's not that I can't be filthy -- even now that I'm an alleged adult. I've stared at a pair of jeans for a full hour and not been able to identify when last it saw the soothing touch of that mildly disturbing Downy Bear. Also, maybe I think washing bras is pointless. Sometimes I feel that way about washing my hair too. Ultimately, I cave and clean any and all of these things. Granted, sometimes I have to wait until my jeans become sentient and come for me in the night, but it happens.
That's because nowhere on TV have I ever seen a woman I admire feign ignorance about a washing machine receive positive feedback. The guys I know who do stuff like accidentally put dish soap in the washer may be apologetic, but they also get that sitcom gleam in their eye. They've been taught it's okay for them not to know how to do this stuff -- people will find it endearing. Women will find it endearing.
In my house growing up, the four of us kids had responsibilities around the house assigned according to our physical abilities. Actually, my mom was better about this. My dad had me making him pots of coffee when I was still young enough to need a tiny stool to do so. He also called me Rebecca, Serving Girl of Ye Olde Provincetown, so there's that. Our genders had nothing to do with our chores. In fact, on our house, the person I remember overtly mocking for not knowing how to use a dishwasher was my sister.
"Is the washer the one with the door on the top or the side?" she called from the basement. I didn't chortle at her antics. Instead I took the opportunity to point out that she didn't know, and thus, was a fancy moron-princess living in a fancy-moron tower. Because I am a good sister.
The only time the gender disparity of chores as popularized in the media darkened our door was when my mom asked one of my brothers to sweep. He was annoyed, he probably had secret places he needed to be hiding his feces in. He grumbled for a while as he half-heartedly swept and then said, "SWEEPING IS A WOMAN'S WORK."
I never saw him again.
I kid, I kid. I saw him the next morning, when he was finally allowed to leave his room and apologize to all and sundry for his ass-hat-ednes. Fun fact, he does his own laundry, so does my other brother. They even switch loads and fold stuff in the dryer that isn't theirs. MIRACLES CAN HAPPEN IN THIS STRANGE WORLD OF OURS.
Do you know how to use a washing machine? Do you send your stuff out? I get weird about my drawers co-mingling with the drawers of my neighbors. Are there chores you think of as being boy chores or girl chores? Tell me in the comments!


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Baltimore's Child: Could it be ADHD?
Wondering if your child might have attention deficit hyperactivity disorder, more commonly known as ADHD? Here are a few clues to look for.
Kids with ADHD typically have a hard time paying attention. Often, they don't seem to listen, and they're easily distracted, whether playing or doing schoolwork. They may be in constant motion, too, apt to squirm and fidget in their seats—if they stay in their seats at all. Also, in general, they have a difficult time taking turns and frequently interrupt others. Read more...
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Adding 1/3 cup to 1/3 cup makes 2/3 cup. Adding fractions requires that the bottom numbers, or denominators, are the same. The top numbers, or numerators, are then added together.Continue Reading
In the above problem, the denominators are already the same. If they are not, a common denominator must be found. For instance, before adding 1/3 cup to 1/2 cup, it is necessary to find a denominator that is divisible by both two and three. The denominator in this case is six. To make 1/3 into a fraction with a denominator of six, both numbers are multiplied by two, and to make 1/2 into a fraction with a denominator of six, both numbers are multiplied by three. The problem becomes 2/6 cup plus 3/6 cup equals 5/6 cup.Learn more about Math Calculators


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The Color of the Sublime is WhiteSkip other details (including permanent urls, DOI, citation information)
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In this paper, I examine Melville's discussion in Moby Dick of the whiteness of the whale from the perspective of a Kantian account of the sublime. My aim, in the first instance, is to see if the comparison helps to shed light on Melville's puzzling discussion of the color white and why this color serves to heighten the feeling of being overwhelmed by terror when confronted with something extremely large or powerful. In turn, I intend to use Melville's discussion of whiteness to put pressure on some of the philosophical assumptions behind a Kantian analysis of the sublime. In particular, I hope to show that Melville's account of the war between Captain Ahab and the great white whale can serve as an aesthetic counterexample to the Kantian claim that both generals and war are sublime-but only if the general possesses civic virtue and the war is conducted in a just manner. I will attempt to use this counterexample to challenge the philosophical assumption that the power of reason is the basis of our nobility in the experience of the sublime, for this assumption is behind those contemporary accounts of the sublime that have been motivated by the Kantian analysis. As a result, the argument of this paper is an attempt to offer philosophical support to the efforts of those contemporary artists who, like Robert Motherwell, draw inspiration from Melville's discussion of the color white.
aesthetics, sublime, beauty, reason, imagination, Moby Dick, Melville, Kant, morality, humanity
1. Introduction
In a 1952 essay on the American Action Painters, Harold Rosenberg claims that "the American vanguard painter took to the white expanse of the canvas as Melville's Ishmael took to the sea."[1] One of the reasons Moby Dick was important for this generation of artists is that the novel engages in an ongoing debate between artists and philosophers concerning the proper understanding of the aesthetics of those things that seem to make us feel small and powerless. Melville's Moby Dick is rife with symbolism designed to evoke the experience of the sublime.[2] For example, there is the endless globe-circling of the whaling voyages, the imperturbable depths of the ocean, and the enormous power of the great white whale. In a central chapter entitled "The Whiteness of the Whale," Ishmael, the narrator of the story, uses examples such as the whiteness of the polar bear, the artic albatross, and the great steed of the prairies to explain why it is the color of the whale that evokes in him feelings of terror. The aim of this paper is to compare Melville's literary discussion of the whiteness of the whale with a philosophical analysis of the sublime.
In making this comparison, I intend to draw on a Kantian account of the sublime, and I have a number of reasons for using this account as a framework for the discussion.[3] First, Kant's aesthetics was enormously influential both in philosophical circles and in literary circles during the period when Melville was working as a writer. Second, Melville makes a number of direct references to the Kantian philosophy-including his aesthetics--over the course of the novel. These facts lead me to believe that Melville's many examples of sublimity, and in particular his discussion of the color of the whale, might profitably be read in light of a Kantian account of the aesthetics of the sublime.
In addition to shedding some light on Melville's rather puzzling chapter, I have an additional motive for comparing the discussion of the whiteness of the whale to Kant's analysis of the sublime. I hope to show that certain features of Melville's discussion can be used to raise a philosophical objection to the Kantian account. In particular, Kant argues that it is our rational humanity that enables us to remain undaunted in the face of those things that threaten to overpower us. In Melville's discussion of the whiteness of the whale, it is the fact that the color white simultaneously stands for what is most noble and pure, and at the same time also stands for what is most deadly that is the source of the special terror that Ishmael claims to experience when confronted with Moby Dick. In this paper, I will attempt to show that Melville's account can be used to put pressure on some of the philosophical assumptions behind Kant's account. In turn, these same considerations should give us reason to rethink some of the terms of the contemporary debate about the aesthetics of the sublime-especially those parts of the contemporary debate that have been shaped by Kantian assumptions.[4]
2. The Whiteness of the Whale
Melville's chapter on the whiteness of the whale directly follows a chapter entitled "Moby Dick." In the earlier chapter, Melville tells the reader what the whale symbolizes to Ahab, the captain of the ship and the primary agent behind the hunt for the great white whale. In the latter chapter, Melville tells the reader what the whale symbolizes to Ishmael, a member of the crew who works before the mast and takes his orders from the captain. In order to understand why it is the whiteness of the whale that causes Ishmael such dread, we should start with a brief account of what the whale means to Ahab.
Captain Ahab tells his crew that he is no stranger to the great white whale. In fact, on a previous voyage, they met in deadly combat, the direct result of which was the loss of his leg. Having suffered such a terrible physical loss, Ahab lay for many weeks in delirium as the ship rounded the Horn and headed for home. The narrator of the story tells us that, as Captain Ahab lay in his bed, his "torn body and gashed soul bled into one another; and so interfusing, made him mad."[5] In time, Ahab's madness became concentrated upon the whale. The result was that Ahab now had a "thousand fold more potency" than before.
One might, like Starbuck, the first mate, think that it is more than just madness to seek revenge against a dumb animal such as a whale. After all, it seems preposterous to suppose that Moby Dick acted out of anything other than blind instinct. In his attempt to bind the crew to his end, Ahab explains his purpose in hunting the whale. On Ahab's view, the whale is more than just a dumb brute. On the contrary, all visible things are "pasteboard masks" from behind which some "unknown but still reasoning thing puts forth his features. . . . " If a man is to land a blow against that unknown thing, he must "strike through the mask." Ahab admits that, at times, he thinks there might not be anything behind the mask. Nevertheless, for Ahab, the great white whale stands for "outrageous strength, with an inscrutable malice sinewing it." And this forms the basis of the pact between Ahab and the rest of the crew. Starbuck thinks it is blasphemy to seek vengeance against one of God's creations. But Ahab could care less about such concerns:
Such is the basis of Ahab's madness. Melville reminds us that there is a fine line between the kind of madness that manifests itself as insanity, and madness that exhibits the special powers of genius. For example, in the Phaedrus, Plato draws an analogy between the special form of madness that is exhibited in augury and prophecy, and the inspiration that a poet exhibits when giving a beautiful speech.[6] Melville appears to have a similar idea in mind when he explicitly refers to Plato and then draws an analogy between Ahab's madness and his special genius. Ahab's attempt to seek revenge against the supernatural powers that lie behind the mask is analogous to Prometheus's attempt to seek revenge against Zeus. In defiance of Zeus' command not aid human beings, Prometheus has given human beings fire and many other gifts. In turn, Zeus has decided to punish Prometheus by chaining him to a rock and commanding Moira to peck at his liver-despite the fact that Zeus and the other Olympians were able to overthrow the Titans only with the help of Prometheus' foresight.[7]
What Moby Dick means to Ahab is the personification of the impersonal powers in nature. The purpose in seeking revenge against these unjust powers is to take the case of man to bar. Insofar as Ishmael has, like the rest of the crew, formed a pact with Ahab, he too is committed to the pursuit of the white whale. But what the whale means to Ishmael is something different from what it means to Ahab. In order to explain why it is the whiteness of the whale that he finds so appalling, he begins with a list of examples of the more noble things that white has come to symbolize. Generally speaking, whiteness tends to enhance the beauty of natural objects. For example, the beauty of pearls, marble and japonica is, in each case, enhanced by their white color.
In many different cultures, at many different times, white has been emblematic of nobility. For example, in the sixteenth century the kings in the capital of Burma used the title "Lord of the White Elephants" as a symbol of their royalty, and the modern kings of Siam employed the same animal as their symbol. The flag of the Hanoverian kingdom bears the figure of a snow-white horse, and white was the imperial color of the Austrian empire. It is the color of the innocence of the virgin bride, a symbol of joy for the Romans, of honor for the American natives, and of justice in the legal systems of Europe. The white forked flame was held to be holiest by the Persian fire worshippers, in Greek mythology Jove was made incarnate in the form of a snow-white bull and, in Catholic ritual white robes are worn by priests and given to those who are redeemed.
What Ishmael finds puzzling is that the very same color that evokes such feelings of joy, innocence, holiness, and justice, also serves to heighten the feelings of terror when conjoined with something terrible. Once again, Ishmael starts with a list of examples, including the whiteness of the polar bear and the great white shark. Why, asks Ishmael, does the color of these animals serve to heighten the terror we experience when we imagine confronting such dangerous creatures? There is something about the ghastly color of the bear and the shark that makes them seem more terrible than other dangerous creatures, such as the Bengal tiger. Consider the arctic albatross, made famous in Coleridge's "Rhyme of the Ancient Mariner," or the white steed of the prairies. The former stands to the seafaring man as the latter stands to the plains Indians. For both, they are the object of the highest reverence and awe. In the case of the white steed, the feeling of awe cannot be separated from the fact that the horse appeared to the Indian as a divine creature.
Even in cases where there does not appear to be any sense in which the object is divine, there is something about the color white that heightens the experience of terror. For example, the appearance of an albino man is shocking to the eye. What is more, it is the pallor of the skin of a dead person that we find especially appalling. This feeling of dread is something we attribute to all of our ghosts and phantoms-witness the pale color of the horse that the figure of Death rides in the Apocalypse.
Ishmael asks how we are to account for the fact that the color white serves to intensify the feeling of terror in the experience of those things we find most terrible. Why, he asks, does the passing of a white friar or white nun evoke such dread on the part of an unsophisticated Protestant? Why does the white tower of London affect the imagination more strongly than the Byward tower or even the Bloody tower? Why do the White Mountains of New Hampshire affect our imaginations more strongly than the Blue Ridge Mountains of Virginia? Ishmael concedes that it may not be possible to analyze the cause of these heightened feelings of terror and dread. Nevertheless, he insists that there is something about the color white that serves to heighten these feelings.
Regardless of the fact that Ishmael thinks it is difficult to provide an analysis of such experiences, I propose to examine his comments about the whiteness of the whale from the perspective of Kant's aesthetics of the sublime. My aim in this next section is to focus on those parts of Kant's analysis that might help to shed light on Melville's discussion of whiteness. After we have managed to put enough of Kant's account on the table before us, I propose to put the Kantian account to work and attempt to see what might be beneath the surface of Melville's discussion of the whiteness of the whale.
3. Kant's Aesthetics of the Sublime
In the Critique of Judgment, Kant separates the discussion of the sublime into two parts. In the first part, he gives an account of what he calls the mathematically sublime, and in the second part he gives an account of what he calls the dynamically sublime. The former deals with the type of experience that is occasioned by things that appear to be absolutely large, such as mountains, oceans, and the starry skies. The latter deals with the type of experience that is occasioned by those things that appear to be absolutely powerful, such as large overhanging rocks, lightning and tornados.
The first point Kant makes is that the experience of the sublime is initially painful.[8] Later, he tells us that the basis of the feeling of pain is due to a failure on our part. When we have an aesthetic experience of something that is extremely large, such as the ocean, or very powerful, such as a storm, in which our imagination is under a constraint to bring the manifold of the experience into totality. Reason imposes the demand for totality, but it is up to the imagination to meet that demand in an aesthetic judgment. The problem is that the imagination isn't up to the task. When the imagination attempts to bring the manifold of the presentation of an object, such as the ocean, into totality, it finds that it is unable to meet the demand. The ocean is just too large, and the storm is just too powerful for the imagination to bring the manifold of experience together into unity. In a sense, the ocean appears to be infinitely large, and the storm appears to be infinitely powerful.
Kant maintains that, strictly speaking, it is not the object that is sublime. (pp. 107-113) In the first place, it would be a mistake to say that many of the objects that give rise to an experience of the sublime are infinite in size or power. For example, we can experience the pyramids of ancient Egypt as sublime even though the pyramids are finite in height. In order to experience such an object as sublime, we must view the object from the proper perspective. If we stand too close to the pyramids, we can see only a small part of a single block. If we stand too far away, the pyramids as a whole seem quite small on the horizon. However, when we view them from the proper perspective, the sheer size of the pyramids seems to overwhelm our powers of apprehension.
Objects that appear to be absolutely large, such as the oceans and mountains, make us feel insignificantly small in comparison. As such, the feeling of pain that we experience when we are unable, using our imagination, to take it all in, gives rise to a feeling of insignificance, or despair. Objects that appear to be absolutely powerful, such as a storm or a flash of lightning, make us feel powerless in comparison. It is in the experience of the dynamically sublime that we most often feel fear. In the face of the overwhelming power of the storm, we experience the fear that there is nothing we can do to achieve our human goals. In effect, we seem powerless to accomplish our aims.
Kant is careful to point out that in cases where we are overwhelmed with real fear, such as when we find ourselves caught in the middle of a life threatening storm, it is difficult to experience the storm as sublime. (pp. 119-123) The reason is that our judgment of the power of the storm is made in relation to our real efforts to accomplish our goals, such as the aim of keeping ourselves out of harm's way. In order to preserve the aesthetic effect of such experiences, we must view them from the proper distance. In such cases, we can aesthetically imagine the threat of the powerful storm, but we are not overwhelmed by real fear for life and limb.
If this aspect of the experience were all there was to the sublime, it would be more than just a little puzzling as to why we find ourselves drawn to such aesthetic experiences. Kant's answer is that there is more to such an aesthetic judgment than just a feeling of dissatisfaction with the powers of the imagination. The inability of the imagination to bring the manifold of appearance into totality serves as a reminder that there is something in us that is not overwhelmed. The basis of our ability to remain undaunted in the face of something that appears absolutely large is our own power of theoretical reason and its idea of infinity. Along similar lines, the basis of our ability to remain undaunted in the face of something that appears absolutely powerful is our power of practical reason and the idea of our moral humanity. According to Kant, the idea of the infinite and the idea of our moral humanity are ideas that have their origins in our powers of reasoning. (pp 124-6) In the first case, the idea of the infinite is something that we are able to grasp in virtue of our capacity to construct a mathematical series for which there is no limit. Or, to take the other case, the idea of the infinite worth of our moral humanity is something that we are able to grasp in virtue of our capacity to impose moral principles on our own conduct.
The primary reason we find the experience of the sublime so attractive is that the initial feelings of repulsion lead us to reflect on the infinite character of our own powers of reasoning. As a result, the initial feelings of pain are converted into feelings of pleasure. The pain we feel when we realize that our imagination is unable to bring the experience into totality leads to a feeling of satisfaction in our power of reason. Upon reflection, the imagination seems limited in its powers, but reason has its own aspect of infinitude. As such, we take pleasure in reflecting upon this comparison between imagination and reason. The finitude of the imagination is counterbalanced by the infinitude of our reason. We are aware that this is the proper relation between the two powers because it is our reason, and not the power of the imagination, that is the basis of our true vocation as moral agents.
For Kant, the differences between the experience of beauty and the experience of the sublime leads us to think of nature in very different terms. In the experience of natural beauty, we take pleasure directly in the object. We have a sense that the natural object seems to possess an underlying beauty that is well proportioned to our power of imagination. It sets our imagination into free play. The unity of the natural object is reflected in the harmony between imagination and reason. The experience of the natural beauty leads us to assume that nature as a whole is well suited for us. In effect, we are led to assume that nature is on our side in our attempt to realize our vocation as moral agents.
In the experience of the sublime, the objects of nature initially lead us to feel pain. We have a sense that the natural object is contra-purposive for our power of imagination. Because the object seems to be absolutely large or powerful and our power of imagination is unable to bring the presentation of the object into totality, we initially have a sense that nature threatens to overwhelm us. The finitude of the imagination in the experience of the sublime leads us to reflect on the powers of reason. Because we are aware that reason has its own ideas of the infinite, including the idea of our moral humanity, the experience of the sublime offers a very different moral education. In the experience of the sublime, we are led to assume that nature is not well suited for us but, morally speaking, we are superior to its power. Despite nature's ability to frustrate our attempt to realize any contingent end that we might pursue, the freedom of our will is not diminished.
4. The Transition from Simple Fear to Terror
Ishmael's discussion of whiteness clearly includes examples that fall within Kant's classification of both the mathematically and the dynamically sublime. The central example of the book--that of the great white whale-is an example that fits within both categories of the sublime. The whale is the largest the whaling men of the Pequod have ever seen. What is more, the whale has a reputation as the most powerful beast that any whaler has ever dared to fight.
If we examine Ishmael's discussion of whiteness from the perspective of Kant's aesthetics of the sublime, a number of points come to the fore. The most striking point is that the whiteness of the polar bear, the snow capped mountains, and the combers on the ocean serve, in each case, to transform the natural feelings of fear into an overwhelming feeling of terror. In Melville's own words, the whiteness is the "intensifying agent" in those terrible things that makes them seem infinitely large and infinitely powerful.[9] This aspect of the experience is precisely what is needed, on Kant's account, to transform the feelings of fear into an aesthetic experience of the sublime. The reason is that something gives rise to an experience of the sublime only if we are capable of seeing it as infinitely large or infinitely powerful.
Like Kant, Melville is careful to point out that this is largely a matter of perspective. For some people, especially those who seem to be relatively immune to an active imagination, the white-capped mountains of the Andes are fearful but they are not terrifying. For example, the native Indians of Peru, who happen to live at the base of those very mountains, may acknowledge the fearful character of the inhuman solitude of those peaks but they do not experience dread at the sight of those mountains. Similarly, a sailor who is approaching land might experience fear at the sight of white breakers. Yet the result of that fear is not a feeling of dread but vigilance in sounding the bottom to make sure that the ship does not end up on those rocks. In both cases, the native Indians and the sailors have a healthy fear of those things that might cause them harm but they do not experience terror.
This is very different from the experience of the sailor who is out at sea, far from any shore, who sees a midnight sea of milky whiteness. In such a case, the sailor does experience terror. But it is not clear why the sailor feels such dread. Ishmael's explanation is that the whiteness of the deep sea at night is like a "shrouded phantom" that is as "horrible to him as a real ghost." (ch. 42) Ishmael's contention is that there is something about the whiteness of such objects that transforms our experience into a feeling of terror. My suggestion is that the whiteness of the object activates our imagination and makes it seem as if the object were infinite. Consequently, there is something about the whiteness of the artic albatross, and the whiteness of great steed of the prairies, and the whiteness of Moby Dick that makes them seem infinite and beyond the abilities of our imagination to comprehend.
This is precisely the point the Ishmael makes at the end of the chapter when he tries to answer the question of why the color white serves to intensify such experiences. His initial suggestion is that the indefiniteness of the color serves to shadow forth "the heartless voids and immensities of the universe" (ch. 42). Besides that fact that the Milky Way is white, what is it about the color white that might serve to heighten the feeling of infinity in an experience?
Ishmael considers three possibilities. First, the infinity of the universe is a reminder of our own finitude. As such, it is a constant reminder that, at some point in the future, each and every one of us will suffer annihilation. Second, the color white is, at one and the same time, both the lack of all color and the concrete manifestation of all colors. As a consequence, the color white seems to be a "dumb blankness, full of meaning." Third, he asks us to consider the theory of the natural philosophers, such as Locke and Kant, that all colors are merely secondary properties that do not inhere in substances themselves. On this view, all colors are merely properties that are laid onto the objects of our experience as they appear to us in perception. Consequently, all colors are but "deceits" and "all deified Nature absolutely paints like the harlot." (ch. 42)
Taking these three points together, they make the universe as a whole appear palsied like a leper. We can help to draw out the significance of Ishmael's conclusion if we consider one of the central differences between the beautiful and the sublime. In the experience of the beautiful, it is the underlying unity of the appearance of the object that draws our attention. The beauty of the rose consists in the relation among all of its parts-its petals, stem, leaves, and odor-such that all of the parts come together to form a whole. In an aesthetic evaluation of the beauty of the rose, each of the parts seems to us to be just the way it ought to be in relation to the large whole. The same is true of works of fine art, such as the beauty of a poem or a novel.
The experience of the sublime, on the other hand, is markedly different. In the experience of the overwhelming size of the mountains, or the overwhelming power of a storm, it is not the underlying unity of the objects that comes to mind. Rather, we experience the sublime especially in those things that seem to exhibit a lack of order. According to a Kantian account of the sublime, it is the chaos of the experience that makes it seem like an abyss for our power of imagination. These are the same features that Ishmael tries to focus our attention upon in the conclusion of the chapter. The color white seems to remind us that, despite the beautiful appearances on the outside, there is an underlying lack of order beneath the surface.
5. An Objection to the Kantian Account
In this section, my aim is to use points from Melville's discussion of the whiteness of the whale as a basis for making an objection to the Kantian analysis of the sublime. In order to explain the point of the objection, let us consider two observations that Kant makes about the experience of the sublime. According to Kant, a judgment of sublimity should lead us to attribute a higher rank to the general over the statesman. Unlike the statesman, who stands for the pursuit of political interests and the art of making compromises, the general stands for courage and strength. In a similar fashion, Kant also maintains that a judgment of sublimity should lead us to attribute a higher rank to war than peace. The reason is that war brings out what is most noble in human beings. It forces us to rise up above our personal interests and to fight for a higher cause. Peace, on the other hand, tends to enhance a merely commercial spirit.
It seems clear that Melville's discussion of Captain Ahab is designed to highlight a similar point. Captain Ahab is the general of the ship who is leading his troops into battle against the army of the sperm whale. This army of whales is led by the most powerful of all sperm whales--Moby Dick. Unlike the leaders of commerce back in New Bedford who are primarily concerned about making money, Ahab is committed to a higher purpose. In seeking revenge against the great white whale, his aim is to take the case of man to the bar.
Those who stay on land and those who run from the sea to port seek safety and comfort. But Ishmael maintains that the port is pitiful (ch. 23). Those who retreat to the shore from the howling storm crawl, like worms, back to safety of land. Only those who head out to the open sea are in a position to seek the highest truth, because Ishmael maintains that "all deep earnest thinking is but the intrepid effort of the soul to keep open the independence of her sea, while the wildest winds of heaven and earth conspire to cast her on the treacherous, slavish shore." Ahab exemplifies the difference between these two attitudes when he tells the first mate that he does not care for the riches to be had from a successful whaling voyage. The only thing aim that matters on his voyage is waging war against Moby Dick.
Up to this point, Kant and Melville seem to agree that an evaluation of the sublimity of each case should lead us to rank the general over the statesman and war over peace. At this point, however, the agreements end, because Kant adds two qualifications to his assessment of the general and war. On Kant's account, we can only hold the general in high esteem if he is courageous in battle, and also capable of being civil when in society. The general must constrain his actions by the laws of the land and respect the rights of the people. In a similar vein, Kant maintains that we can only hold war in high esteem if it governed by a just cause. (p. 122)
The qualifications in Kant's estimation of the sublimity of both generals and wars are grounded in philosophical commitments in his underlying analysis. As we have seen, Kant maintains that the basis of our nobility in the face of things that would appear to overwhelm us is our power of reason. In the case of the dynamically sublime, he insists it is our moral humanity that is the root of our nobility. When the whalers of the Pequod go to war against the Moby Dick, they face an enemy that possesses a power that appears to be limitless. In comparison to the power of the whale, the strength of single human being, or even the combined strength of the entire crew, seems miniscule.
According to Ishmael, it is the whiteness of the whale that gives rise to special feelings of terror. More terrible than the size of the whale, and more terrible than its apparent strength, the whiteness of the whale infuses it with aspects of infinitude. Instead of confronting a merely mortal whale, they go to battle against a spiritual power that symbolizes the abyss of death and annihilation. What inspires them to pursue such a formidable enemy is Ahab. As the captain of the ship, it was his intention to pursue the whale, and he was the agent who inspired the members of the crew to form a pact and head into battle.
On the one hand, the commitment of whalers to follow their general into war seems to fit the terms of Kant's analysis quite nicely. After all, they are following a general and not a statesman, and they are leaving the peace and security of land and deliberately choosing to head onto the open sea and to engage in war with Moby Dick. In general terms, the war against the whale clearly symbolizes a presumption that man faces a hostile nature. In this case, the crew of the Pequod is inspired to challenge nature's mastery over us. By engaging the whale in battle, they assert their independence from nature. On the other hand, Ahab is not a model of civic virtue, and the war does not appear to be a model of a just fight. As Starbuck maintains, the decision to purse Moby out of a desire for revenge cannot be justified. When Ahab and Moby Dick engaged in battle some years earlier, the whale took Ahab's leg. However, the whale is nothing more than a dumb brute that acted from natural instincts. It was not a vengeful creature acting from a capricious impulse to harm Ahab. As such, it is blasphemy against nature itself to seek revenge against the whale for the loss of Ahab's leg.
Ahab does not accept Starbuck's argument. What Moby Dick means to Ahab is the personification of the impersonal powers in nature. The purpose in seeking revenge against these unjust powers is to take the case of man to bar. In taking the case of man to the bar, Ahab represents the queenly powers of the individual personality:
Ahab is driven by a desire for revenge. But the battle against the whale is a battle against the destructive forces of nature. The point of the battle is that Ahab refuses to be overwhelmed by the apparent magnitude of such forces. The strength of will necessary to challenge the whale is symbolic of the strength necessary to assert the nobility of human beings in the face of the impersonal and destructive powers of nature.
I would like to point out that, according to the narrator, Ahab was shaped by his first encounter with the whale. When Ahab lunged at Moby Dick from his whaling boat with nothing more than a knife in his hand, and the whale tore his leg from his body, it was as if Ahab had been struck by lightning. The marks of this transformation are the shock of white hair that was left on Ahab's head and the white peg leg that was carved from the bone of the whale. The first battle with the whale and the loss of Ahab's leg was an event that transformed Ahab from a mere captain of a whaling ship into a general ready to lead his troops in a prolonged war against Moby Dick. The result is that Ahab himself comes to personify the nobility of human beings in the face of the destructive forces of nature. In effect, he stands for the very thing that, in Melville's opinion, is necessary for us to maintain our strength in the face of what appears sublime.
What is necessary is not moral virtue. That is illustrated by Starbuck's loss of virtue at the end of the novel. As the first mate of the ship, he felt a moral obligation to save the crew from the blasphemy of the captain. At one point, Starbuck had the opportunity to avert disaster by taking a gun from Ahab's quarters and seizing control of the ship. But, in the end, Ahab's will proved to be too strong for Starbuck's virtuous character. Ishmael cautions us against judging Starbuck too harshly for his failure of virtue. Despite the fact that Starbuck is put forward as the very model of virtue and prudence, we should never have expected the moral character of a person such as Starbuck to withstand the strength of will of a person such as Ahab.
One might accept this point and insist--contrary to the reading I am attempting to develop--that I am judging Ahab too harshly when I point to the amorality of his character and actions. It is clear that Ahab challenges the type of Christian morality that for which Starbuck stands as a model. But one might suggest it is quite possible that Ahab stands for a different type of moral commitment.[11] The reason that I reject such a reading is that Ahab himself maintains that his pursuit of the whale is beyond the requirements of morality. For instance, he agrees that "there is a sort of fair play that governs all of creation," but in the same passage he insists that no even that fair play stands over him.
Despite the fact that Ahab is not a model of civic virtue, and despite the fact that his war against the whale is not a model of a just war, I believe that Ahab's and the war both exemplify the experience of the sublime.
What argument do I have against the Kantian assumption? The main argument I have to offer is the following: By the terms of Kant's own analysis, the main proof in such a dispute about the aesthetics of the sublime is the very aesthetic judgments that we make. When I evaluate Captain Ahab and the war against Moby Dick in aesthetic terms, I find them to be sublime-despite Kant's reservations. In turn, I suggest that you judge them for yourself.
6. Melville and Contemporary Art
In this final section, I would like to examine one lesson that we might draw from Melville's account of the whiteness of the whale for contemporary discussions of art. Some contemporary discussions of Melville's literary art reveal a bias towards the Kantian assumptions. For instance, a number of interpreters assume that the figure of Ahab should be used primarily to make a political point. In their eyes, Ahab is an immoral leader who issues commands as a political despot.[12] He is a dictator who rules his ship with an iron fist, never giving a thought to the safety of the crew or even the financial interests of the owner's of the ship. On a Kantian analysis of the sublime, Ahab fails to represent the nobility of human beings because, as a leader, he fails to exhibit the proper civic virtues.
The primary suggestion I want to make for the contemporary discussion of the sublime is that it is a mistake to unduly constrain our aesthetic evaluations by moral or political concerns. The suggestion I am making has implications for the larger debate about the proper relationship between art, on the one hand, and moral and political interests, on the other. Many assume that art fails to serve its proper function if it does not make the proper moral or political point. I believe that such an attitude is grounded on a mistake. Like Kant, I believe that an appreciation of the beauty of both nature and fine art requires that we set aside any interests-including and moral or political interests--that might unduly bias our judgments.
Where I disagree with the Kantian account is in the analysis of the sublime. It is a mistake, I believe, to place undue moral constraints on the experience of the sublime. Like nature, art can give rise to an experience of the sublime even if it represents powers that are wholly destructive and threaten our very existence. Despite what Kant claims, it is not necessary for a work of art, such as a literary depiction of a whaling captain, to portray the characters as having civic virtue in order for us to find the art sublime.
Robert Motherwell, who explicitly cites Moby Dick as a major inspiration for his own painting, states that, like Melville, the painters of his generation express an attitude that is "rebellious, individualistic, unconventional, sensitive, irritable . . . . This attitude arose from a feeling of being ill at ease in the universe. . . . Nothing as drastic an innovation as abstract art could have come into existence, save as consequence of a most profound, relentless, unquenchable need." This feeling is similar to the "damp drizzly November in his soul" that Ishmael describes at the outset of the voyage. In an introduction to a 1950 exhibition, Motherwell describes his art in the following terms.
The point Motherwell is making is directly analogous to the point Melville makes in his discussion of the whiteness of the whale. The color white serves to heighten the feelings of terror we experience in the face of something that is large and threatening. The color transforms ordinary feelings of fear into the terror that is indicative of the sublime. My suggestion is that, in judging the sublimity of such works of art, we should hesitate before imposing any undue moral or political constraints on our evaluation. After all, the ability of art to help us confront the "fearful void" may depend upon its independence from just such constraints.
1. Elizabeth Schultz, Unpainted to the Last: Moby-Dick and Twentieth-Century American Art (Lawrence, Kansas: University Press of Kansas, c1995).
2. Herman Melville, Moby Dick; or, The Whale (Oxford: Oxford University Press, 1988).
3. Parenthetical references to Kant's third Critique are to the academy pagination. Immanuel Kant, Critique of Judgment, trans. Werner Pluhar (Indianapolis, Indiana: Hackett Pub. Co., 1987).
4. See, for example, Jean François Lyotard, Lessons on the Analytic of the sublime: Kant's Critique of Judgment, [sections] 23-29 (Stanford, Calif. : Stanford University Press, 1994) and Paul Guyer, Kant and the Experience of Freedom : essays on aesthetics and morality (Cambridge: Cambridge University Press, 1993).
5. Melville, Moby Dick, ch. 41.
6. Plato, The Symposium and the Phaedrus (New York, NY: State University of New York Press, 1993), pp. 85-139.
7. Melville, Moby Dick, ch. 42.
8. Kant, Critique of Judgment, pp. 114-119.
9. Melville, Moby Dick, ch. 42.
10. Melville, Moby Dick, ch. 119.
11. I would like to thank two referees for pressing the objection that is considered in this paragraph.
12. See, for example, Christoper Stern, Sounding the Whale (Kent, Ohio: Kent State University Press, 1996), and Julian Markels, Melville and the Politics of Identity (Urbana, Illinois: University of Illinois, 1993).
13. See the helpful discussion of Melville's influence on Motherwell's art in Elizabeth Schultz, Unpainted to the last, 129-160.
Associate Professor
Department of Philosophy
Northern Arizona University
Published February 23, 2006


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Images by Jody Nguyen
It has almost been a month since I attended the launch and celebration of Agent Provocateur's first boutique in Adelaide, located on the lower ground of David Jone's newly- renovated floor. (It is always better late, than never, right?)
Upon arrival, we were greeted with appetising canapés (my favourite being the chocolate- dipped strawberries, which are unfortunately not pictured in this post as I consumed it within seconds), and multiple rounds of drinks.
The classic, British brand did not disappoint. Despite the somewhat 'cosy' location, it was quickly flooded with local VIPs who were enticed by the luxurious options that were available- ranging from delicate lingeries, bold swimwear to fancy accessories.
Alongside the mannequins, there were two gorgeous lingerie models who underwent three outfit changes throughout the night to showcase what Agent Provocateur has to offer. It was a proud moment when one of them happened to be a close co- worker of mine. I could not help but constantly display a slight giggle of happiness whenever I walked past her. Such a babe.
Overall, it was a successful night seeing the range within an intimate setting. If you're feeling feminine for the night, or want to treat yourself to some high- end comfort, you will know where to go.
Photo courtesy of Fashion Global
As I was too caught up capturing images, holding the camera in one hand, and a glass on the other, above is the only photo that was taken with the talented team behind Fashion Global. For the interested ones out there who want to clearly see what I wore for the night, you can view this post.
P.s. If you have been following my blog for a while, you would be aware that I do not normally write about the launches and events that I attend. Honestly, I do not have a genuine explanation as to why that is the case. Nevertheless, that indolent mindset has changed and I will ensure that there will be more of these write- ups, to strike a balance between the constant outfit posts that are published on here. Moreover, I believe it will give you, as the reader, a greater perspective into what actually goes on during such events that are exclusive to invites- only. Another positive reason to doing this is that it will yield me a great opportunity to be the photographer with my camera and lens, as it is something that I have not continued to practice in a long time. Sounds like a good plan?
Jody x


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Remember that speed rating night we gave you a chance to come to earlier in the month? Well 20 lucky readers did, and they were kind enough to give us their opinion on the latest phones available on the network.
If you are wondering what speed rating is, O2 explains it as an event similar to speed dating, which mobile tech lovers attend and select their favourite device from a number of options.
So just what did you think about the Nexus 4, the HTC One X+ and the Sony Xperia T? Press play to find out.
Let us know if you would like us to run more of these evenings, so we can work on bringing you another one in the coming months.


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Build Guide by DEWO
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This guide has not yet been updated for the current season. Please keep this in mind while reading. You can see the most recently updated guides on the browse guides page.
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Zilean Build
Ability Sequence
Not Updated For Current Season
The masteries shown here are not yet updated for the current season, the guide author needs to set up the new masteries. As such, they will be different than the masteries you see in-game.
"The Chronokeeper is never in a rush. He has all the time in the world."
Welcome to my Zilean by Belenzor guide.
You can find my other guides here:
DEWO's Profile
This time we'll take the most annoying champion there is next to Heimerdinger.
Zilean is considered as a support champion, since the only damaging ability is Time Bomb. But as you probably know every stick has 2 ends. I found that playing ths char as a 100% support role is kinda boring. It took me long time to give him 2nd chance, and boy i was suprised how fun he is to play when you do him in burst damage-support char.
This guide will present you the Harras-DPS-Nuke whatever you want to call it AP build.
I can agree that cooldown reduction items are realy good for him, when you play him as a total support with a little bit damage help, but i just dont find that much enjoyable, and should it care if you are 2 shoting Teemo? :)
With AP build you still have your utility spells that save your teammates, you still can slow or even double slow oponents, you can do all the stuff you could do on CDR build as a support but here you can also use your AP to accualy gank, or even turn the lategame team battles to your advantage.
Heal - my personal choice. Lets you harras and stay longer in lane in early game and lets you support your team better in mid/late games ganks/teambattles.
Main purpouse is to let you stay longer in your lane since you dont have any lifesteal you have to either buy pots and waste cash oooor get this one.
Flash - I simly cant live without this skill on any char. It's just too usefull, blink in blink out, trick out with LoS blink, chase, escape. Most versitale skill ingame.
Why not others?
Ghost/Exhaust. You realy need that? With Time Warp you can do same thing, on lower cd. Yes maybe you won't be able to blind, but what to blind if you can slow them while they are still at range and cant hit you anyway?
Clarity, its a good spell for him, but tbh only in early game. Later on it gets useless.
Cleanse? You are not a tank (but you can pretend that with Chrono Shift). Still not worth it. You should stay in the back harrasing and helping not taking everything on you.
With your harras abilities, the enemy should never get even close to your tower...
Ignite, Good spell, but from my observations its either you kill someone with double bomb or you dont. This spell will not make it a diference.
Buahahahahahah srsly? you will die? With this char its nearly impossible if played correctly. Well you will "die" but not even close to real death.
You are NOT a jungler. You will 1 shot creep waves anyway. Useless.
Teleport. You will be everywhere extremaly fast with Time Warp -> rewind Time Warp anyway. You can take it but its not that valuable in my eyes.
Standard caster 9/0/21. Nothing to add here.
Standard caster runes.
Heightened Learning - Increases experience gain of all allied champions by 8%.
Global buff that gives 8% more exp, and that is BIG, for example you can take 5% you get from masteries and you need to spend 4 points in it. This will still give you even more! Nice for everyone. Self-explainatory. (ps. you still get 2.5% from masteries :))
Time Bomb - Places a bomb on any unit, allied or enemy, which detonates after 4 seconds, dealing area of effect damage.
Zilean places a time-delayed bomb on a target. After 4 seconds this bomb will detonate, dealing 100/155/210/270/330 (+1.0) magic damage to all surrounding enemies.
Cooldown - 10 seconds
Cost - 60/75/90/105/120 Mana
Range - 700
The only damaging ability you have, but DAMN this one has it's kick. Its the biggest damage dealing NON-ULTI spell ingame. (only morgana binding does more but it is a DoT and it has it's cd... quite big one. Not talking about troubles with targeting and getting the right target prisoned)
The range is quite standard for an offensive spell, but long enaugh to keep your enemy apart of getting exp.
This spell is realy great for early game harras. At lvl 1 with Amplifying Tome bought you will deal 122 damage at a cost of 60 mana. If we take usualy mid-laner Ashe with 359 Health she should be dead after your 1st double bomb on lvl 2. (it usualy ends up like this: after 1st harrases (2 bombs on lvl 1) i get lvl 2 and rewind. I wait for good occasion and cd on bomb. Place it, rewind, flash place 2nd = dead.
Rewind - Zilean can prepare himself for future confrontations, reducing the cooldowns of all his abilities. Rewind also passively increases his ability power.
Reduces all of Zilean's other cooldowns by 10 seconds. Rewind does not affect itself.
Cooldown - 18/15/12/9/6 seconds seconds
Cost - 50/50/50/50/50 Mana
Range - 600
A straightforward and all-around skill. The time you enable it you get 10 sec reduction on rest of your spells this means:
You have instantly another time bomb cooldown ready.
You cut your time warp spell to half (10 sec)
and your chrono shift ulti will be ready 10 sec faster. (if you rewind frequently, your ulti cd will be ready in 1/2 of it's normal cd.
Time Warp - Zilean bends time around any unit, decreasing an enemies movement speed or increasing an allied units movement speed for a short time.
Zilean slows an enemy champion's movement speed or increases an allied champion's movement speed by 55% for 2.5/3.25/4/4.75/5.5 seconds.
Cooldown - 20/20/20/20/20 seconds
Cost - 100/100/100/100/100 Mana
Range - 700
One of the most versatile spell ingame. Can be used to travel faster, escape, chase, save your teammate, slow down enemies, kite etc etc.
VERY mana ineffective skill on early game. Try not to use it if you realy dont have to. Mana cost of 100 for 2.5 sec movement speed increase without boots is an economic fail.
Usage: SLOW DOWN enemy carry (never ever boost yourself in that cases) if you are running away from him. This is a fairly often made mistake. Slowing down the carry will allow you to run enaugh for your boots of mobility will kick in. Tested it it. This way you will get less hits than boosting yourself. Keep that in mind. Its even considered better in some situation if you face 2 vs you situation. You have to calculate fast what will be better.
Boost yourself ALWAYS when you move out of your spawn point.
Boost rewind boost if you want to catch up on team fights, or you want to get to another lane faster.
If you face a loosing position on an 2vX always boost your teammate. You will get away due to your boots of mobility. Be a nice guy and dont think about yourself only.
This spell also is a great to initiate team fights. You pick up their support/best carry ping it so team knows what is going to happen and slow him/her down. If your teammates have at least 1/100 of brain cells, they will go and gank him/her. Now the tricky part is that one of your teammates will be focused and they will try to kill him... this is where your ulti comes in handy.
Chrono Shift - Zilean places a protective time rune on an allied champion, teleporting the champion back in time if he takes lethal damage.
Marks the target with a protective time rune for 15 seconds. If the target would take lethal damage, they are instead transported back in time regaining 500/750/1000 (+3) of their health.
Cooldown - 180/160/140 seconds
Cost - 200/200/200 Mana
Range - 900
One of the most annoying skills ingame :) It's a better, active copy of Guardian Angel item.
The diference is that with some ability power, you will rez with full HP :) The cooldown with good rewinds and some items will be like 30-40 secs.
And most of all... you can cast it on OTHERS!
This OTHERS! part you should realy take into heart.
No matter what you will do, you wont be the carry or a tank in your team. ALWAYS prio throwing this one on your carry if he is focused or on tank if his survivability is good. This can for sure turn the tides of battle. Enemies throwing every cd to take down your carry, he gets up with full hp... and rips them apart while they all have cd's running.
As a support char in later game you dont need items for that since your support spells dont scale with anything. AP is something you will need to help. Your ulti will bring up tanks at full HP, and you will have enaugh CDR from those AP items.
Some ppl say thatFrozen Heart is something you should aim for him as support. I can agree its a great item with huge cdr and survival options, but as you are quite scary target to try solo and you stay in the back in teamfights you dont need it that much.
This build is made to have fun with your char, as well as work good against anyone and Heart is a wasted item if you have a heavy caster team against you.
Start of withAmplifying Tome and 1Mana Potion.
I pick mana potion instead of healing one since i have Heal as summoner skill, and mana pot can make whole diference in getting that last rewind+bomb to kill your opponent or not. He is a spell spammer and needs alot of mana.
Amplifying tome is cheap and great source of AP early game. it boosts your bomb by 22 damage (unmitigated) witch is very devastating early game. It also speeds up the proces of gettingMejai's Soulstealer.
Next in line are boots. My pick areBoots of Mobility.
Why? Simple. Their +5 boost benefits alot more fromTime Warp. This spell is a % boost, so when +5 boost kicks in, and you Time Warp yourself you will be running faster than WB Classic Roadrunner��®Meep Meep!
Getting early gameRod of Ages will let you survive more and spam more in mid/late game. Also theCatalyst the Protector while you are getting the rod will let you harras more and will keep your manaflow quite high if you did get soloing the middle lane opportunity.
Next stop we need some additional nuke as well as some CDR. Hmmm let's see...Fiendish Codex converted intoDeathfire Grasp will do the work just fine. The only problem is to ALWAYS use the grasp if it's off cd and preferably as initial atack. My tip is to move it to your space number 1 or 2 in inventory, so it will be close to your "Q" button. Pressing 1/2 and than Q = quite big nuke.
At this point you should see champs getting some magic resistances already (specialy tanks), we need to lower their Magic Resistance.
Cheap but great tool for this (wich also gives you fair amount of AP) isVoid Staff.
And the last item... what would be a caster without his preciousssssss...Zhonya's Ring. 120AP + 25% of your current AP = overkill.
Aditionaly, you have the use option (i place the ring in slot number 4 or 5 to be close to my ultimate "R". Saved my *** several times from big nukes.
In short
Early game - Harras
Mid game - DPS & a little Support
End game - Full support & a little AoE damage dealing.
Early game.
Fight for mid lane! Its the best place for you no matter what. With your harrasing ability and damage you diliver in single bomb shot, any1 will fear you and will try to stay max rage from you.
If you position yourself correctly you can even slow down the progres of lvling other char since they will be out of range of getting exp.
My personal best was me lvl 14 him (Tristana) lvl 7 with 2 kills on her. Try to plant the "package" on opponents head as frequently as possible. If you won the mid lane, mana should not be big of a deal if you dont waste it on Time Warp. Use Time Bomb + Rewind + Timebomb ONLY as finisher. In other situations, plant a bomb back up a little bit till you have the bomb cd almost ready and go back between hostile melee mobs and casters, and try to scare away your opponent from exp lane.
Remember that Zilean has one of the biggest range of "melee" attack ingame. Use it.
A GREAT MOVIE was made by Shurelia. I suggest watching it to see how lane control looks like.
It's a superior movie not only for this guide but for every champ there is.
After you got your lvling up done, and you see that enemy is starting to leave lanes (or you pushed and destroyed the mid tower) you can start helping with pushing and ganking other lanes. But keep an eye for your mid tower.
Mid game.
Your mid game starts quite late (on lvl) about lvl 13-15. You should have fiew stacks on Soulstealer, your boots made and sometimes even Rod of Ages already completed.
In this part you should be absolutly everything. Your lvl should be about 4-5 higher than anyone else on bot/top lanes. Your HP pool should be like a tank pool. So you work as a tank (with ulti on you you can eat all their nukes and still come back with full HP. Your AP should be high enaugh to nearly 2 shot everyone. Your Time Warp is already maxed and gives 5.5s slow on your target. Get as many kills/assists as possible now. Help on pushing towers with double bombing the creep waves. Dont die - should be easy with your ulti.
Late game.
Now if the game is not an EZ-MODE game, you are not so devastating killer as you were in early/mid game. Try focusing on supporting your team.
By than i mean, use Timewarps on teammates enemies is your prio, not planting bombs.
Try saving your carry or tanks (if they are good at soaking loads of damage else... keep your carry alive :) with your Ultimate.
Dont be selfish and try killing. Assists is all that you want now. You will have your soulstealer stacked EZ-MODE now with getting 4-5 assists on Teamfights.
After slowing or boosting som1 try planting 2 bombs on 2 diferent targets, and slowing/boosting again.
Why not stacking 2 bombs on 1 target? Answer is clear. More AoE damage. If you damage all 5 of them, and your carry will kill them off, you will get 5 assists from single team battle. The AoE damage will be less predictable and more bursty, since 2 bombs will trigger same time on bigger area. Just watch they die, and still... Don't die. Try standing in the back.
Last words
Took me 2 weeks to end up this guide :) Now it's time for my way of Ezreal.
Hope this guide will help you play Zilean the fun way. Its realy fun to play when you see ppl screaming "ZOMG imba bombs hitting me for 800! NERF NERF" and running away on your sight :)
You can also watch this fun game on YouTube where a player makes a AD Zilean.
Had tons of laugh when he was owning Twich in mid XD
Be sure to rate and comment.
Also i would like to get a comment on each -1, since i want to improve my skills playing this char, so dont just troll minusing without comment i would be gretefull. Thanks & cya in my next guide.


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My therapy of choice is water. I've always liked swimming, but aqua therapy is soooooo different from vigorous exercise. We walk into the body temperature pool in silence, with an 80-year-old guiding us away from the stresses on our minds and bodies, and focusing our thoughts instead on the sensuality of the medium. We are told to feel the very moment a part of our body senses the lift; know that water crystals are changing shape as they receive us. Then for five minutes or so we find our own slow way of dancing with the water.
Gayle's eyes close in bliss. Our therapist, Carolyn Rashti, tells me to keep mine open and look at something in particular so I don't lose balance. I had back surgery a year ago, and I have weak ankles, probably from wearing "corrective" shoes as a toddler. I have goofy vision, that makes me see double. In other words, I've always been a klutz.
Carolyn is a retired dancer who studied with Martha Graham in New York City and at the Institute for Movement Exploration at Wesleyan College in CT. She has a Master's in Counseling. She has performed, taught, invented, and provided health as a certified therapist to dancers, singers, actors, athletes, and many others with varying degrees of physical challenges.
I started with her two days a week six months ago. I am straighter, stronger, firmer, slimmer, calmer, and more graceful (occasionally), and I know how to breathe correctly.
A normal class is 4-6 individuals, each with a unique recovery goal – from knee replacements; systemic problems that create lethargy and thus weight gain; broken ribs. Depression. She directs specific movements to each of us.
Even the U.S. Army uses this kind of treatment at Walter Reed Hospital to rehabilitate soldiers with musculo-skeletal and brain injuries, and post-traumatic stress.
So why don't more people try this kind of healing? First, it's not covered by insurance (although it is tax deductible). Secondly, there are not enough heated pools like the one provided at Santa Rita Springs in Tucson. This one is in a lovely building with lots of windows, so we can see the palo verde trees waving in the breeze.
Whoops! Focus. My imaginary ponytail is being pulled up by the spirit of the fierce Graham. Her 80-year-old proselyte is ready to jump up on my shoulders to hold them down. I drop them, stand on one leg, my leg and spine are now in alignment, reaching right through the roof.


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When I moved to Portland over four years ago, I was pleasantly surprised to discover an abundance of movie options and most with food and drinks! Though many second-run movies play at cheaper theaters, you can see independent, foreign and new release films for $5 or less on specific days. Here are some of my favorite movie options around the Portland area:
1. Living Room Theater – 341 SW 10th Avenue, Portland, OR
When I lived downtown, this was one of my go-to theaters. Normally tickets are $10 but on Monday and Tuesday, they are $5!
Comfortable seating, great food and drinks. The theaters are small so arrive with plenty of time to spare to select your seat and order food or beverages. I like the variety of movies this theater offers: foreign, independent, documentaries, second run, new release and more.
The only downside to this theater is the location as you'll need to pay for parking if driving. Luckily, it's on the streetcar line.
MONDAY & TUESDAY: $5 tickets
NOTE: This theater only allows people 21+ after 7pm and 3D not included in the special pricing
MORE INFO: http://pdx.livingroomtheaters.com
2. Laurelhurst Theater and Pub – 2735 East Burnside, Portland, OR
I love Laurelhurst! Movies are never over $4 and the pizza is delicious. Laurelhurst shows independent, second-run and classic films. They have a varied beer selection and all food and drinks are at very reasonable prices.
EVERYDAY: $4 tickets, $3 Matinees, $3 – 60+, $2 Under 12
NOTE: Must be 21+ after 5:30 pm
MORE INFO: http://www.laurelhursttheater.com
3. Regal Evergreen Parkway Stadium 13 – 2625 NW 188th Avenue, Hillsboro, OR
When I can't wait to see a new release, I come here! Tuesday showings are $5. It's your standard giant movieplex. Some movies are just meant to be seen with all the bells and whistles. Arrive early as it's a popular night for movie goers and you want to be sure to grab a seat!
TUESDAY: $5 tickets
NOTE: 3D not included in special pricing
MORE INFO: http://www.regmovies.com/Theatres/Theatre-Folder/Regal-Movies-On-Tv-Stadium-16-907
4.Valley Cinema Pub –9360 SW Beaverton Hillsdale Hwy, Beaverton, OR
This theater shows a good mix of second-run movies. They also offer food, beer and wine at great prices. No paying $12 for a popcorn and soda here!
EVERYDAY: $4.75 tickets
MONDAY: $1 tickets ( ! )
NOTE: CASH ONLY, 21+ after 8pm
MORE INFO: http://valleycinemapub.com
5. Mission Theater – 1624 NW Glisan, Portland, OR
I check Mission Theater showtimes every so often to see if something catches my eye. More often than not, they show cult classics. They may also show live broadcasts of sporting events, documentaries, snowboard and ski films. You never know what you are going to get at Mission Theater but that's part of the fun.
EVERYDAY: $4 tickets, $3 -12 and under, $2 tickets before 5pm
NOTE: Under 21 must be accompanied by a parent or guardian
MORE INFO: http://www.mcmenamins.com/
As long as you're flexible, there are many affordable movie options in the Portland area. Happy watching!


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Supply Planning Internship - J.M. Smucker Co.
Provided by: The J.M. Smucker Company
The Supply Planning Internship is available to senior students pursuing a Bachelor's Degree in business. Intern duties will include managing inventory, facilitating the review and resolution of inventory shortages, analyzing inventory data and assisting the Supply Chain Planning department. You must have an interest in logistics/supply chain and have excellent communication, computer and organizational skills to be considered for this internship.


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Monday, February 27, 2012
Easy, free pantry upgrade
13 comments:
- Linda said...
Nice Pantry Richella! I liked your chalkboard that you did on the back of the door. And I also liked the "Thank You for our food"... lettering on the wall! You are clever girl!
I loved how organized it was...I need to do that to my pantry/cupboards.
- February 27, 2012 at 5:29 PM
- GLENDA CHILDERS said...
Creative use of your pantry space. Love the chalkboard shopping list.
- February 27, 2012 at 5:33 PM
- melissa * 320 Sycamore said...
so cute, Richella! How about a limerick with those 3 words? You can do it :)
- February 27, 2012 at 9:29 PM
- Amanda @ Serenity Now said...
Oh, I love that!! Great for taking inventory. :)
- February 27, 2012 at 10:14 PM
- Restaurant Brugge said...
nice post thanks
- February 28, 2012 at 12:09 AM
- business economy world said...
awesome post thanks 4 sharing this post with us
- February 28, 2012 at 12:10 AM
Great idea! I love that & will have to keep that in mind eventually when we buy a house. :-)
- February 28, 2012 at 8:18 AM
- Kelli @ RTSM said...
Such a great idea! I need to do that inside the doors of our pantry too! Right now the boys soccer schedules and their school lunch menu are taped inside the doors...but a chalkboard would be fun too:) I love the vinyl saying on your wall too. Perfect for the kitchen!
- February 28, 2012 at 6:04 PM
- Kathy @ Creative Home Expressions said...
Love it, Richella! I need to organize our pantry here better. The hubby hates the wire shelves so we will be doing something with those. I do want to hit the dollar store for some of their storage bins to help out, too. I need to go back and see your post on organizing it.
- February 28, 2012 at 8:54 PM
- pam {simple details} said...
So clever!! I'll never tire of chalkboards, so fun and functional!
- February 29, 2012 at 12:20 AM
- Tammy @ A Walk in the Countryside said...
I love the chalkboard idea! Thanks for sharing!
- February 29, 2012 at 12:31 PM
- Kim @ Savvy Southern Style said...
Richella, love the chalkboard door in you pantry. Wish my door could be done like that, but I have bi-folds. Thanks for sharing at Wow.
- March 5, 2012 at 9:04 PM
- pantry cabinet said...
Oh, I loved how organized it was... Great for taking inventory. :)
- April 5, 2012 at 8:02 AM
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Thank you so much for taking the time to leave a comment! I read every one; they make my day. If you have a specific question, please be sure your email address is attached to your profile or leave your email address in the comment; I'll get back to you as soon as I can. Every blessing!


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Wow, that Taylor Swift can keep a secret. She surprised her fans very late Thursday night with the perfect Christmas present: a new song, "Safe & Sound," which will be on "The Hunger Games" soundtrack. Better yet, the lovely, acoustic song features The Civil Wars.
We don"t know much about how the whole thing came about, but Swift started dropping hints via Twitter earlier in the evening that she had a surprise, and then, wham. The song, written by Swift and Civil Wars, is a lullaby of sorts, as she and The Civil Wars" Joy Williams gently sing "Just close your eyes, the sun is going down/you"ll be alright, no one can hurt you now/Come morning light, you and I will be safe and sound" as a guitar and drum insistently and powerfully build, but never overwhelm the delicacy of the track. It's one of the prettiest songs we've heard Swift do.
[More after the jump…]
The song is already for sale on iTunes. The movie, starting Jennifer Lawrence and Josh Hutcherson, opens March 23.
What do you think? When you think "Hunger Games," do you think Taylor Swift?


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This section contains 283 words
(approx. 1 page at 400 words per page)
Chapter 14 Summary
That evening, Amelia accompanies the rest of the party to the tomb, where they are met by Emerson dressed in a long crimson robe. Emerson begins the performance by pulling Habib out of the crowd and pronouncing him to be an evil doer. Emerson continues, speaking in Arabic and English, proclaiming to be receiving information from the ancient gods as he addresses the audience. Emerson employs magic, even using the unwilling cat Bestat as his partner in the show. Everyone seems to have enjoyed the show except for the eccentric Madame Berengeria, who berates Emerson, then accuses her daughter of sleeping with all her suitors and abandoning her mother. Madame then collapses, and they all return to Baskerville House. Mary tells Lady Baskerville she and her mother will leave the next morning, but Emerson insists Mary go to the excavation site instead to...
(read more from the Chapter 14 Summary)
This section contains 283 words
(approx. 1 page at 400 words per page)