text:
Luis Camnitzer:
Introduction by Jane Farver
Moral Imperatives: Politics as Art in Luis Camnitzer by Mari Carmen Ramírez
While Jameson's antidote can be considered an accurate description
of the current state of political art in the context of post-industrial
capitalism, it fails to acknowledge the existence of other forms of
political artistic practice outside of the parameters of this system.
In doing so it obviates the fact that referential strategies not necessarily
predicated on modes of realism are still present in most forms of
art emerging from Third World countries or being produced within the
peripheral communities of 'others' inside the First World. In these
spaces, both the "non-cultural real" and the "referent" continue to
have validity as instruments of intervention or resistance against
the mechanisms of repression, assimilation and neo-colonial domination.
Whether or not this situation can be attributed to the phenomenon
of an "incomplete modernity,"7 that
characterizes many of these social groups, may not be so important
at this point as to acknowledge their existence and significance as
constitutive elements of a Third World cultural politics.
This distinction becomes particularly relevant when analyzing the case
of Third World artists functioning within the First World and the specific
mechanisms they have developed to resist total assimilation into mainstream
culture. The work of these artists for the most part will reflect the
tensions of this First/Third World relation in the persistence and superimposition
of modernist referential elements within postmodern artistic languages
and strategies. In the case of Latin American artists, these elements
assume the form of their concern with issues of cultural identity, contestatary
politics and the elaboration of artforms of resistance and communication
with a broad audience. While these artists also work within the structure
of the simulacrum, their art asserts the possibility of a space outside
of its parameters and works to expand this space into a critical stance
of resistance.8
The art of Uruguayan artist Luis Camnitzer is a concrete example of the
way in which this tension can provide the basis for a coherent and successful
body of work that addresses the First/Third World problematic while providing
an alternative to the question of a viable political art within the parameters
of the present system. Born in Germany, raised in the Jewish community
of Uruguay since age one, his art is grounded in and responds to a specific
worldview and political awareness impressed on one who was formed in the
colonial periphery.9 Yet the fact that he has spent the last 28 years
in New York situates his production in a space between his Third World
formation and his life and work experience in the First World. While distance
from the first has turned him into a "citizen of memory,"'the second
one has led him to produce his own hybrid form of arta form of "Spanglish"
art"to address the particular issues posed by his transcultural
In its internal logic as well as in his approach to the formal language
of his art, Camnitzer's work replicates the tensions between his center/peripheral
perspective and environments. His art is about the intellectual process
of making art, the irrelevance of learned techniques, the arbitrariness
of language and visual icons, the critique of art as commodity and the
demystification of the role of the artist in late capitalist society.
Yet paradoxically, it is also an art that recuperates the modernist concern
with the evocative power of the image and the signifying function of language,
speaks of the discreet seduction of the materials upon the artist, and
ultimately manipulates these elements in order to submerge the viewer
into a highly-charged field where he himself becomes an active participant.
Similarly, while working within the Parameters of conceptual art, Camnitzer's
conceptualism differs substantially from the formal idiom and logic that
characterized both the mainstream conceptual art movements of the 60s,
exemplified by the art of Joseph Kosuth and the Art and Language group,
as well as their contemporary revivals. In contrast to the stark analytical
and scientific bent of that art, in its emphasis on syntactic, formal,
tautological linguistic enunciations, Camnitzer's conceptualism is factual,
empirical, endowed with a strong semantic charge and loaded with cultural
The elements that separate Camnitzer's work from mainstream forms of
conceptual art are the assertion of the referent and the belief in the
possibilities of effecting through art a distinct transformation on thought-processes
and modes of perception of the individual in late capitalism. Both of
these traits originate m his conception of artistic practice as the exercise
of a highly ethical/political worldview. For Camnitzer, "Every aesthetic
act is an ethical act, . . . As soon as I do something m the universe,
even if if nothing else than a mark, I am exercising power. That may give
my work a political aura . . . political in the sense of wanting to change
society."13 Such a view is grounded
on a form of "ethical anarchism" based on the right of every individual
to participate of a community that negates power and is predicated on
equality.14 Since these conditions are
not found in reality, the goal is to empower the individual with the means
to transform his social environment in order to achieve this transformation.
Canmitzer's conception of political and artistic practice, more than
endowing his art with a political rationale or 'content,' makes explicit
the concept of politics itself as art. Camnitzer's politics are
founded on a critique of power, and the laws of art serve as a metaphor
for this critique. For Camnitzer, power is a game, the conditions or 'rules'
of which are recreated by the artist in the very structure of the work.
The viewer is then encouraged to figure out the rules laid out by the
artist, counter pose to them his own set of rules and then rearrange the
work according to the latter, thereby developing his own strategies of
deconstruction, construction and ultimately, liberation. This conception
also leads to ". . . an integration of aesthetic creativity with all the
systems of reference used in everyday life."15
From this point of view Camnitzer's art will be predicated on what I will
refer to as 'the strategy of the banal', i.e. the recourse to objects
and materials of ordinary everyday life which constitute 'packages' to
communicate his ideas.
The main problem posed by his art is how to produce an interventionist
(i.e. political) form of art, that while being non-representational will
serve to transform the viewer's consciousness politically, ethically,
aesthetically. Conceptual art for him became a strategy to carry out this
aim. Conceptualism's fierce attack on art as a commodity, its dematerialization
of the artistic object and its equation of art with knowledge offered
him a starting point from which to elaborate his own propositions in this
direction. Yet, whereas in conceptual art, these combative strategies
tended to focus on general assumptions about the definition and status
of art itself, ultimately reasserting the autonomy of the artistic sphere,
in Camnitzer, these mechanisms are expanded to include the critique of
thought-processes directly related to social and political realities.
In this sense, Camnitzer's approach, proceeds from the point at which
the self-referential aspect of the "art as idea as idea" proposal left
off: it combines images, phrases, objects in arbitrary relationships and
arrangements which extend the linguistic bases of that idiom into a perceptual,
cognitive realm.16 It thus offers the
work as a space in which the censorial and linguistic operations effected
by the viewer intersect and interact with each other, leading him to become
an agent in the production of the work and its meaning. The result is
a new approach towards political art, where the latter is defined not
in the explicit content of the image but in the multivalency of linguistic
and visual codes, the subversion of accepted or anticipated meanings,
the manipulation of images and language to question the logic of ideological
constructs and the mechanisms of social processes in late capitalism.
Camnitzer's redefinition of conceptual art and his politics as art proposition began with the tautological language works produced in the late 60s and early 70s, was further expanded in the evocative series of 1977-79, and has culminated in the complex installations of the last decade that merge his obsession with the juxtaposition of words and images with three-dimensional objects. To delve into the stages of this process is tantamount to apprehending the workings of a highly analytical mind constantly confronted with the demands of his ethical worldview and the inherent magic of the work of art.
Between 1967 and 1973 Camnitzer produced a series of etchings and installations
based on language that signaled his appropriation of the conceptual idiom
as the basis of his art. This initial stage, which announced many of the
themes and concerns that would constitute the main focus of his work,
involved reducing the formal elements of the work to a single word or
phrase in order to apprehend the logic of language as art in much the
same way as analytic conceptualism. Yet, this stage already saw his transformation
of the tautological idiom to suit his own purposes, mainly the communication
of political ideas. It was founded on the assumption that language could
provide a more direct means of communicating ideas about a particular
situation than images.
This early language series emerged out of the initial propositions of the New York Graphic Workshop, the experimental artists' group established by Camnitzer in 1965 with Lilliana Porter and Jose Guillermo Castillo.18 At that time Camnitzer was a printmaker concerned with the communicative potential of graphics and the need to make them accessible to a mass audience. His work consisted of large format expressionist prints which revealed his previous formation in a fine arts academic setting as well as the experience acquired after having spent one year of study in Germany.19 The NYGW was founded on a form of political activism that rejected the status of art as a privileged commodity and sought to make it accessible to a mass audience. It launched the idea of multiples_serial graphics by which a single element could be assembled in many ways in order to build new objects and images by its own repetition -- and the concept of the F.A.N.D.S.O (Free Assemblage, Nonfunctional, Disposable, Serial Object). FANDSOS represented "an attempt . . . to remove the property value concern of the consumer by including the disposability and destruction of the art object in the original idea." Its ultimate objective was to ". . . eliminate the high cost and pompous ritual that separate art from the public."20
The objective of producing prints for the masses not only proved untenable
in the highly commodified environment of New York but, having constituted
the project of the social realist movements of the 30s, was already imbued
with a negative weight that limited its formal and ideological outreach
in the 60s. Therefore, already by 1966, Camnitzer began looking
for ways to develop a more participatory form of art based on the process
of art itself.21 A series of works
with mail art carried out during this period, not only provided a more
direct way of circumventing the gallery and market network, but opened
up the possibility of working with forms of language and idea art. Works
such as Adhesive Labels (1966), which he affixed to elevators
and bathrooms, made him look closely at words and the relation to their
meanings while at the same time they provided him with a more direct way
of creating his own audience. Envelope (1967), on the other
hand, was based on a constant image that altered its dimensions with respect
to the relative position of the viewer, reasserting the latter's right
to see things as he pleased.22
These works almost immediately led Camnitzer to move away from printmaking
towards idea art. The decisive shift, which took place in 1966-67, was
the result of having discovered that working with ideas would allow him
to free himself of technical considerations and focus more concretely
on the intellectual process involved in the production of art.23
It also led to the realization that ". . . with a modest investment of
energy, [he] could change and reorganize the universe according to [his]
own wishes and design."24 This statement
would prove revealing in terms of the subsequent development of his production
and his position with respect to conceptual art. It already implied the
notion of the artist as manipulator of referents encoded in language or
linguistic propositions, a fact that was absent from analytic conceptualism
but well accorded with his concern for communicating an ethical/political
point of view.
Tautology, however, would prove to have short value for developing a political form of art as it was essentially antithetical to it. In spite of its concreteness, its value was essentially formal, negating any value or entity outside itself. In order to effectively use it, Camnitzer had to subvert it. His way of carrying out this subversion was to introduce perceptual elements in the structure and forms of the letters and texts. Thus, the outstanding feature of many of the works in this language series was the presence of perceptual referents which signaled Camnitzer's use of tautological words and phrases as signifying vehiclesrather than mediums of reproduction, as well as his reluctance to let go completely of the censorial realm of images. The inclusion within some of these works of such elements as cotton tosimulate the idea of the cloud, already established a difference with other conceptual art works based on language. In Horizon (1968), for instance, the splitting of the phrase by means of a horizontal line introduced an external element that simultaneously recalled the horizon while graphically illustrating it. Here Camnitzer was functioning on the premise that words themselves, in the spacing and relation of the letters and their placement, have a certain degree of image value in it. Changing or altering the context can transform this image value. In both cases, they require a viewer to take note of the changes.25
These language works revealed that by endowing the words with semantic or perceptual charge while utiIizing the linguistic form of tautology, he could produce a direct effect that provided possibilities for a direct form of political art they played on the way upon which information is relayed in our our media-oriented society; that is, they embodied information in the concrete form of a printed word that in turn could elicit associations on the viewer that would ultimately lead to a heightened awareness of the social issue. This was even more forcefully underscored in Che, Mariaghela, and Sosa, the first series of etchings with overt political connotations executed in the new language. In breaking a blank page with the impression in stenciled letters of the word "Che," for instance, Camnitzer was calling in powerful associations related to revolutionary Third World politics, war, repression, liberation, etc. The result was that the work not only assumed the function of a concrete language portrait of a slain guerrilla leader, but was capable of subsuming the viewer into the implicit narratives associated with those leaders.
Camnitzer's key discovery during this period was the fact that "logic
carried to the extreme of its possibilities could leadto something akin
to magic."26 This principle was put
to test in the work Living Room (1969), an installation piece executed
in 1969 at the Museo de Bellas Artes of Caracas. For Living Room, Camnitzer
covered the entire exhibition room with xeroxed words which reconstructed
a model of a living/dining room using words to physically locate the furni-
ture and other dining room objects. As in works by the North American
conceptual artist Mel Bochner, words instead of objects were used to "form"
the dining space, they created the idea of the space through self-referential
strategies. The significance of this proposition lay not so much in its
basic principle but in the reaction which it elicited from the viewer:
without instructions, people walked over the words describing the rug,
and walked around those designating the fully set dining table. The most
important fact revealed by the reception of the piece was that an abstract
floor plan, that is the idea of a floor plan, with its myriad and multiple
associations, could provide a deeper experience than to have been actually
situated in that particular space at a specific time.27
It involved a heightened state of consciousness that would become important
in developing a form of political art.
The next phase in Camnitzer's development signaled the production of
three transitional series, Arbitrary Objects and The Titles (1979),
Archaeology of a Spell (1979) and Fragments of, Novel (1980)
where the formal elements and structure that would constitute his approach
to political art were initially elaborated and tested. In these works
Camnitzer added images and objects to his use of language. Images, objects
or language by themselves did not function anymore for him; they had to
come together in order for the reality or idea to exist.33
The aim, therefore, was to "re-imagize thought processes,"34
a project which implied a further transformation of the logic of language
through the possibilities opened up by the image or object. The purpose
was not illustration but the creation of a semantic, connotative field
where the role of the artist was reduced to providing "the conditions
for the viewer to turn into a creator of images"35
The two operative elements that Camnitzer developed in this stage were
on one hand the conceptual matrix or grid and the elaboration of 'arguments'
or underlying narratives to organize the image-object-word sequences.
In these series, he would also develop more systematically the concept
of magic, which until then he had only pursued rather intuitively.
The first step before engaging in new associations of meaning, was a
systematic questioning of the arbitrary meanings encoded in words and
images. René Magritte's paintings with words that Camnitzer had
discovered early on in his career now provided an important starting point
for his explorations in this area. The incorporation of aspects of Magritte's
art into his own work, helped Camnitzer to break away from the literal,
rigid structure of the tautological series and explore unknown possibilities
in an almost playful, ironic manner. For Camnitzer Magritte was not a
surrealist but a proto-conceptualist.36
Two of his series, The Key of Dreams (1930) and The Use
of Words 1 (1928-29) were deliberately intended to demonstrate
the arbitrary relation between image-objects and the words used to name
or title them.37 Magritte was also important
in terms of suggesting multiple and unusual associations that could be
conveyed by a particular image.
The key formal structure that facilitated these pieces, already present
in Magritte, was that of the matrix or grid which served to articulate
the relations between text and images within a self-contained format.
Dictionary (1969), a work executed as part of the language
series of the late 60s provided the clue for this stage. Dictionary
comprised a series of language-image dictionary pages where the referential
element was not only established but made explicit through free association.
In these pages, for instance, Camnitzer would draw a square, next to which
he arranged the words 'table', 'plaza', 'well', 'prism', etc. all of which
could be related to the shape of the square. In the next sequential image,
he introduced a bent line inside a similar square, and proceeded to expound
further on its associative meanings. As a result of this interplay between
image/object and idea facilitated by the matrix, the content of image
and text in themselves became unimportant. The role of the viewer now
was to solve the relation between the reproduced images, the information
provided, the connotations of the words, their communication value and
their relation and interaction at any particular moment within the overall
format. The function of connotation became extremely important as it implied
transcending the prescribed social function of words into a cultural context
charged with referential and symbolic meaning.38
With the matrix in place, Camnitzer proceeded to explore the relationship
between images/objects/texts. Images had first reappeared in Camnitzer's
work in a series of boxes, exemplified by Victim's View found on the
Altar of Teotihuacan (1978), that carried self-explanatory
texts in the form of phrases or sentences that substitute the single-word
format of the tautology series. The boxes also represent one of the first
instances of the introduction of objects into his idiom. Although constructed
by the artist, they find their antecedent in Marcel Duchamp's ready-maces
and represent an attempt to apprehend reality concretely and directly.
In this sense they fulfill the same function as the format of language
series, i.e. they constitute a form of 'packaging' for the idea tic content
of the work.
The most important function of images and objects in Camnitzer's work
of this period was their power of evocation which resulted from their
random juxtaposition. This evocative function was in some ways similar
to Magritte's 'bewilderment'39 or Foucault's
'similitudes.'40 It relied on the underlying
affinities and similarities that would result from the bringing together
of banal, ordinary objects, images, and texts. Together these elements
would not only reveal a broad range of unexpected associations but would
also produce a Lyrical, poetic effect that ultimately lends Camnitzer's
work its particular seductive appeal.
The Archaeology of a Spell (1979) and Fragments of a Novel
(1980) continued the exploration of image/word relationships
while simultaneously expanding the viewer's participatory role. These
works combine images or objects and sentences in complex relationships.
The texts are handwritten texts, a fact that signals the active presence
of the artist within the work. Texts represent factual, logical statements
that in many cases describe or reiterate the image although including
outside referents. While the inclusion of the caption would seem to reduce
the content of the image to one meaning, it actually opens it up offering
multiple readings.
These two series signaled the apparition of arguments that provided a
structural format for the work. The Archaeology carried an argument
that was only known to the artist, it was inaccessible to the viewer.
Fragments of a Novel also carried an argument in the form of an
ambiguous narrative which was revealed to the viewer throughout the 13
pieces, in the form of three-dimensional objects and etchings that compose
the series. Fragments of a Novel is like a Hichcock film.
It leaves clues that incite the viewer to piece together the hidden narrative;
yet the narrative is never completely revealed, leaving open the possibilities
for many narrative constructs inspired by the combination of texts and
The construction and conditions for the presentation of
the argument that articulated these works, became the most important factor
developed by Camnitzer during this period that in turn opened a number
of possibilities for political art. As stated by the artist, "Once it
became clear that it was possible to convey the conditions for an argument
without defining the argument itself, I was ready to reintroduce politics
into my work. I could bypass both pamphlet and description."41
The argument can be defined as the underlying narrative that provided
the reasons for the work, ultimately related it to a larger narrative
or cultural context outside of its parameters in order to explain its
meaning. Translated into a political proposition, the argument could take
the place of "the message" of earlier forms of political art. Yet the
important point in Camnitzer's utilization of the argument was that, while
present, it was never completely revealed, leading the viewer to compose
his own argument within the matrix or conditions laid out by the artist.
These three series already involved stages of questioning the encoded
meaning of images, objects and texts, rearranging them within conditions
provided by the artist and thereby generating a new construct. Through
the questioning and rearranging of meaning, the viewer was ultimately
assuming a form of political behavior necessary for the emergence of a
new consciousness.
In the 1980s, building upon the experience of the previous years, Camnitzer
produced three series on the theme of torture and environmental mutilation
that constitute his most important body of political art work. Two of
these, From the Uruguayan Torture Series (1982), and The Agent
Orange Series (1985), were produced through a technique of photoetching
developed by Camnitzer in the early 80s as part of his teaching experiments.43
They consist of 35 and 50 photoetchings respectively that combine images
and handwritten texts.44 The third series
was the installation on the theme of torture produced for the XLIII Venice
Biennale in 1988 that combined objects, printed images, and texts. In
many ways each of these series builds upon the other, increasing the level
of complexity between their constitutive elements and ultimately producing
a powerful statement on the inner mechanisms of torture.
The three series sum up and expose the nature of Camnitzer's politics as art proposition. Here the Uruguayan artist emerges as the master game-player who seduces and provokes the viewer to engage in his fatal explorations through a mine field. While these works continue to exploit the relationship between image and text, they carry it to a more sophisticated and complex level. The ambiguity of the arguments of The Archaeology of a Spell and Fragments of a Novel gives way in these works to a concrete narrative structure and a concrete set of referents: the tortured and the torturer. The articulating principle of this body of work is that of "designing the rules of the game; once these are in place, everything else is easy and errors can be minimized."45 In a manner similar to that employed by Julio Cortazar in his novel Hop-scotch Camnitzer has devised a framework for the argument and many different possibilities for the interpretation of the plot, but only one conclusion: the terror generated by the torturer, the terror of torture itself.46
The subject of torture is perhaps the one theme that unifies and summarizes the experience of the entire Latin American continent in the last thirty years. It has been the instrument of an institutionalized "technology of terror"47 in ntries like Chile, Argentina, Uruguay, Paraguay and Brazil. torture can be operative at many different levels of social life, the mutilation of civilian bodies to the small incidents and confrontations that transform the routine of daily life into a reign of fear. It can manifest itself in many different forms: the silencing of public spaces, the anonymous burial sites of the dis appeared, the Mothers of the Plaza de Mayo. Therefore, in order to produce from the Ur uguayan Tol ture Series, Cam nitzer carried out extensive research. Each image in the series conveys or alludes to a real incident reported by the media or conveyed through the testimonies of witnesses as told directly to the artist or through reports of human rights groups.48
There is, however, no trace of the documen tary or testimonial genre in these etchings. Recurring to the banal and the ordinary, Camnitzer has chosen to focus on the quotidian aspect of the relation between the tortured man and the torturer. In this sense the series functions like a "diary of thoughts, words and images,"49 a journal of silences and inter slices, that articulates the relationship between torturer and victim. The images confront the viewer with ordinary objects and things that constitute the confined world of the tortured man: a light bulb, a milk bottle, a glass of water, an intruding cock roach, or the implements of the torturer, a set of pliers, an electric cord, a piece of wrung and twisted cloth, a thimble, nails. Camnitzer approaches torture not as a fact or an action but as a "structure of feeling"50 which appeals to the viewer's perception and memory working in a subtle way to effect a 'crisis in consciousness'. Here the artist has called upon all the perceptual mechanisms which he tried out in his earlier work. The montage of images, texts, gestures that constitute the tortured man's diary embody slight perceptual changes, allusions, sensations and shifts in points of view which recreate the experience be tween torturer and victim. In some prints, such as Cup, the same image is produced twice, so as to erase the divisions be tween tortured and torturer and suggest the points of view of both. In other prints, such as The Letter, the viewer bears witness to the tortured man's hallucinations in the form of a letter piercing a wall.
The process through which the viewer reconstructs 'the real' in the series
is extremely revealing. The 'reals or torture emerges as the result of
a complex economy of signifying elements embodied in the text/image relationship
which calls upon the viewer to produce its meaning, There is first a conscious
seduction effected through the material aspect of the piece that functions
to draw the viewer's attention. The finished quality of the photoetching
itself embodies a certain preciousness and fine arts quality that sharply
contrasts with the brutality of the theme. Yet the viewer feels attracted
by the colors and overall refinement of the etching, and is thereby drawn
into the work only to discover the nightmarish reality of the content.
Torture therefore assaults the participant viewer in the least expected
ways as he is forced to come to terms with its most subtle mechanisms.
The last etching plays the fatal trick upon the viewer putting to test
his worst reflexes: it offers him an electric prod in the form of an image
cut out from a mail catalogue announcement. In this way Camnitzer is making
the viewer aware that the mechanisms of our present system make the implements
of torture available to anyone, that we all fulfill the role of torturer
by way of our complicity within the present system. We can add that ultimately,
the viewer has already assumed the role of torturer, as the work really
comes together in his mind.
The Agent Orange Series, produced two years later, is based on
the same set of principles, an underlying argument, multiple possibilities
of reading and only one conclusion: the effect of chemical warfare on
the human species. Specifically, The Agent 0range refers to the
actual use of dioxine, one of the most powerful poisons ever produced
by man, to deforest jungle areas during the Vietnam War, and its mutilating
effects of this operation on both soldiers and the population at large.
As in the previous From the Uruguayan Torture Series, however,
there is no trace of the documentary or testimonial in this work. Here
the context and images have become even more ordinary and banal. The photographs
upon which Camnitzer based this series of etchings are from the backyard
of his house: they portray leaves, dead insects, a bolt, eggs, debris,
the artist's hand, a cardboard box, a rusty metal container. In this series
Camnitzer has turned the backyard into a place for potential genocide,
portraying its creeping effects into the most ordinary spaces of living.
out his production. This second reading of the piece is confirmed by
the simultaneous quotation of elements from the art of Magritte, Duchamp
and Marcel Broodthaers: Magritte's pipe, Duchamp's ready-maces and broken
mirrors, Broodthaers playful objects.51
Although references to the work of these artists had appeared before in
Camnitzer's work, their explicit presence in this piece both confirms
and legitimizes the works' function as critique of the modern artist:
through them Camnitzer is assailing the presumed liberty of the artist
to create something new given the elusive nature of 'tine real' embodied
in images and texts and its intrusion into the work regardless of the
author's intentions. The artist ultimately cannot evade ethical/political
commitment in the rearrangement of reality.
Several of the texts can also be read as confirmation of Camnitzer's position described throughout this essay: "He organized things as he perceived them"; "Reference proved a form of assertion" "Some of the meanings remained inaccessible"; "They found that reality had intruded upon the image." These texts function as the artists' voice in the work suggesting a further reading of the Venice Biennale Installation as a self-reflective metaphor. The associations of the creative act with torture, and the imprisoned situation of the tortured as a metaphor for the artist carry implications beyond the critique of the autonomous artist. Through this construct Camnitzer also seems to be reflecting on the role of the artist as master gameplayer or ultimate manipulator that he has carved for himself. He seems to recognize that to engage in politics as art is a risky game that implies the role of artist as constant arbiter of moral and ethical positions. It is impossible to assume that role and not expose oneself or not err in judgment. Similarly, there is the risk of internalizing authority and reducing all the possibilities of the game to those of the author, the latter emerging in the combined role of dictator and torturer. Camnitzer's piece is a testimony of the vulnerability of this position and the inherent dangers it poses to the artist. Hopefully, however, the artist will have given his audience enough insight into the process of the game for the viewer to effect his own deconstruction of the author's assumed power.
The idea of tackling history or memory itself can be seen as a summation of the strategies and positions elaborated by Camnitzer thus far. It extends the master-game strategy into the construction and deconstruction of histories or memories of past events, making the participant viewer aware of his own frame of historical reference as well as of his ability to change it. Such a position entails a political and ethical choice on the part of the viewer, as the act of rewriting or reconfiguring history ultimately entails the desire for transformation of the present. From this point of view Los San Patricios represents Camnitzer's most daring politics as art statement. For if one of the conditions of the present moment is the lack of a sense of history, of the sense of the past, in favor of the present embodied in the image or simulacrum,54 Camnitzer's work functions to confront this state and remind us not only that there can be a space outside of the simulacrum, an alternate logic to that of the image, but that that space is ultimately constructed and created by those who learn how to look, perceive, and act beyond the staticity of the image. Los San Patricios, thus summarizes the fundamental proposition of Camnitzer's work: that there can be no 'endgame' but a pro-active game where the 'real' and the 'referent' are transacted and negotiated, where the logic of history, politics, and art come together.
Fragment of a Cloud, 1967
Leftovers, 1970
Arbitrary Objects and Their Titles, 1979
Fragments of a Novel (Detail), 1980
From the Uruguayan Torture, 1983
Victim's View, 1978
Common Grave, 1970
Untitled, 1987


text:
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NCs Hall of Fame DJ!! JUST AWARDED!! 2018 "BEST OF WEDDINGS PICK" by the Knot Magazine AND Wedding Wire Magazine 2018 "Brides Choice" Award DJ for NC ! Featured in DJ TImes Magazine NATIONAL PUBLI... more dj info
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Welcome to the higher standard in DJ entertainment. The DJ team at Event Resource Group, LLC are polished, professional entertainers who engage your audience and give a memorable performance, not just... more dj info
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Digital Sounds Mobile DJ Service. North Carolina's top professional entertainment service. I have been in the Mobile DJ Business for over 35 years and have performed at over 750+ Receptions and too ma... more dj info
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subset: commoncrawl


text: PyroCMS is a CMS built on top of Codeigniter, and I'm using a module called Pyrostreams. But the reason I'm posting here is because this is actually about nginx config as Apache works fine. Everything about the entire setup works fine on nginx, except it appears to be trying to call a couple of files from a "virtual" directory, which doesn't exist. Here's the log entry: "GET /streams_core/field_asset/css/datetime/datepicker.css HTTP/1.1" 404 The file actually exists in /www/cms/system/cms/modules/streams_core/field_types/datetime/css The author says it works just fine in Apache, and isn't able to install nginx himself. However, here's what he replied with: And yes, I do get a blank page, rather than a 404, so I suppose that shows it's hitting the controller OK? Here's the nginx config that Pyrocms suggest: http://docs.pyrocms.com/2.1/manual/...ernate-server-environments/nginx-with-php-fpm Here's the complete nginx config file I'm using: https://gist.github.com/3419706 And here's the .htaccess file that comes with the application (for those using Apache) https://gist.github.com/3419710 Been round in a few circles trying to figure this out - a bit lost now. Any ideas would be appreciated.


text:
Mexico clashes kill 22 , including police officers
27.07.2013 03:10
Clashes between criminals and
Clashes between criminals and
federal police left 22 people dead in Mexico,
including two officers, authorities said.
The additional 20 people killed are suspected
criminals, federal police said in a statement.
The fighting in Michoacan state on Tuesday
also left 15 injured.
The clashes followed six planned attacks by
criminals in different areas of the state,
including gunbattles on blocked streets with
cars, according to the federal police.
Federal officials are searching for those
responsible and reinforcing security to ensure
the region is safe.


text:
Sam Lutfi Says Britney Spears' Methamphetamine Use Led to Her Head Shaving Meltdown
You may want to duck — there's a lot of stuff hitting the fan right about now. Osama (Sam) Lutfi is making some major bombshell claims about Britney Spears' alleged drug use in his trial, and they're pretty scary. The entire thing sounds like a subplot of 'Breaking Bad.'
Lutfi's lawyers reportedly began their arguments with allegations of Spears' drug use. TMZ reports that Lutfi's attorney, Joseph Schleimer, told the jury, "She liked to use amphetamines. Most everything that went wrong was because of this drug." Schleimer claimed that Lutfi repeatedly made an attempt to use a "varsity team" to get Spears off drugs, and that when he made an attempt to get Spears and her house clean, that's when the drug-sniffing dog found a baggie of crystal meth.
Schleimer also claimed that BritBrit's dad and current co-conservator, Jamie Spears, punched Lutfi while Lutfi was "employed" by Britney. The Spears' team denies all of those allegations, especially that Lutfi worked for Spears to begin with — in part, they claim, because if Spears was really as high as a kite all the time, she wouldn't have been considered legally competent to hire Lutfi.
TMZ also reports that Lutfi claimed Spears' shaved head resulted from the starlet panicking over drug testing. She allegedly feared that if she was ordered to take a hair follicle drug test, traces of methamphetamine would show up and she'd lose custody of her two tots, Sean Preston and Jayden James.
Even scarier? Lutfi's lawyer also brought Spears' 5150 psychiatric hold back into the light. If you recall the horrifying night Spears was taken out on a stretcher, Lutfi claims an overdose of amphetamines was to blame — and that he tried getting Spears to see a psychiatrist as soon as two days before the incident happened.
Interestingly, too, Lutfi claims that he introduced Brit to her current fiancee and co-conservator, Jason Trawick, in 2007. Schleimer also made sure to note that while Lutfi, who Spears' family argues was a drug pusher, had a prescription for Adderall — an amphetamine — that he only used it on his own to control his ADD. Lutfi also allegedly warned Spears not to go through with her disastrous 2007 MTV VMA performance of 'Gimme More,' but says she refused to heed his advice.
Spears' team hasn't yet responded to Lutfi's allegations, but we can't wait to hear what they have to say.
Watch Britney Spears Perform 'Gimme More' at the 2007 MTV Video Music Awards


text:
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text:
Hubble Survey Finds Two Kuiper Belt Objects to Support New Horizons Mission
These images are from a Hubble Space Telescope survey to find Kuiper Belt objects (KBOs) in support of NASA's New Horizons mission to Pluto. The Kuiper Belt is a debris field of icy bodies left over from the solar system's formation 4.6 billion years ago.
Once the New Horizons craft flies by Pluto in mid-2015, the team's goal is to get NASA's approval to retarget the probe to fly by a KBO, which might only measure 20 miles across.
To test the feasibility of finding New Horizons targets with Hubble, a set of pilot Hubble observations were executed in June 2014. After a swift and intensive data analysis of approximately 200 Hubble images, the New Horizons team met the pilot program criterion of finding a minimum of two KBOs.
Multiple exposures taken with Hubble tracked the KBOs moving against the background field of stars in the summer constellation Sagittarius.
The image at left shows a KBO at an estimated distance of approximately 4 billion miles from Earth. Its position noticeably shifts between exposures taken approximately 10 minutes apart. The image at right shows a second KBO at roughly a similar distance.
The positions of these newly discovered objects are not consistent with any KBOs discovered previously. In reality, they are too faint to have been seen with ground-based telescopes (magnitudes 26.8 and 27.3, respectively).
It will be many weeks before the team can establish whether either of these pilot-program KBOs is a suitable target for New Horizons to visit, but their discovery provides sufficient evidence that a wider search to be executed with Hubble will find an optimum object.
NASA, ESA, SwRI, JHU/APL, and the New Horizons KBO Search Team


text:
- Oil Expeller, Oil Press and Oil Refinery Machine Supplier
- ----------Shandong Leader Machinery Co.,ltd.
Home>Products>Sesame Seeds Roasting Machine>High productivity Palm Oil Cake Solvent Extraction Equipment Process
High productivity Palm Oil Cake Solvent Extraction Equipment Process
- Jinan, China (Mainland)
- Sesame Seeds Roasting Machine
Sesame Seeds Roasting Machine
- 1 Set/Sets Palm Oil Cake Solvent Extraction Equipment Process
- Sesame Seeds Roasting Machine
- Contact with us
- paypal,UnionPay, Visa/MasterCard, Amex, Discover,T/T
- 10 Set/Sets per Day Palm Oil Cake Solvent Extraction Equipment Process
Product Details
|Seed oil
|Automatic Grade:
|Production Capacity:
|Place of Origin:
|Jinan, China (Mainland)
|Brand Name:
|According to the capacity
|According to the capacity
|According to the capacity
|After-sales Service Provided:
|Engineers available to service machinery overseas
|Palm Oil Cake Solvent Extraction Equipment Process
|Raw material:
Product Description
Sesame Seeds Roasting Machine Easy to operate. Microwave power Sesame Seeds Roasting Machine and the conveyor speed can be sleepless adjustment, there is no thermal inertia, can open and stop at an time, easy to control,improve the production environment.Microwave equipment High productivity Palm Oil Cake Solvent Extraction Equipment Process, no waste heat radiation, no dust, no noise, no pollution, easy to implement the testing standards of food hygiene.Sesame Seeds Roasting Machine Low-temperature sterilization, less loss of nutrients.Retain vitamin C,conventional heating treatment for fruits and vegetables is 46% ~ 50%, but the microwave High productivity Palm Oil Cake Solvent Extraction Equipment Process can reach 60%~90%.Retain vitamin A,conventional heating treatment is 58%,but Shandong Leader Machinery Co.,ltd. the microwave can reach 84%,and does not affect the original flavor, is a good method for deep processing of fruits&vegetables and get green foods.
Palm Oil Cake Solvent Extraction Equipment Processproduct description
Palm Oil Cake Solvent Extraction Equipment Process:
Palm Oil Cake Solvent Extraction Equipment Process:
First, cotton seeds experiences some woking procedures, cleaning, flaking, cooking, expelling, in the pretreatment plant;
cotton seedâ magnetic box â cleaning âflaking â oil pressing â oil filtrationâ extraction plant.
Then,the pre-pressing cotton seeds cake goes to leaching workshop to finishing leaching;
extractor â miscella â 1st, 2nd evaporation â stripper â crude cotton oil
Wet meal â DTDC toaster â cotton cake.
Finally,the crude oil needs to be refined to get refining cotton seeds oil, after degumming, deacidification, decoloration, dewaxing, deodorization.
Crude cotton oil â degumming ,deacidificationâ decolorization âdeodorization â refined corn oil.
2.Solvent Extracting:
Brief processes:
Fresh Solvent--Cake--Extracting--Wet Meal--Desolventising--Meal--Miscella--Evaporating and stripping--Solvent mixture--Condensing and Recovering--Crude Oil--Solvent Recycling--Refining Workshop.
Functions of main parts:
Extracting:To extract the oil in the cake by solvent, the general solvent is 6# extraction solvent oil or commercial hexane.
Desolventising:To remove and recover the solvent in the meal; Dry and cool down the meal at the same time.
Evaporating and stripping:Heating the the miscella by indirect steam, so that can vaporize the solvent and concentrate the miscella.
Solvent recycling: This process is to recover the solvent, decrease solvent comsuption, keep safety prodution and improve product quality.
Extractor types:
Level rotation extractor, loop type extractor, chain extractor
Extraction methods:
Use organic solvent through soaking or spraying contact methods to extract oil from oilseeds.
Advantages of extraction craft:
1.High oil yield, low residual oil in meal; 2.Low labor intensity;
3.Good working environment; 4.Good meal quality.
Negative pressure evaporation helps to improve crude oil quality.
company information
The company introduction
Henan LD Group was founded in 1976, after nearly 40 years of development and growth, has become a well-known Chinese grain and oil machinery manufacturing enterprises with import and export rights, in 2002 passed the ISO9001 quality management system certification, National Food Processing Equipment Engineering Technology Research Center, the National agro-processing technology and equipment research and development sub-centers and the provincial post-doctoral research base development platform.
The company has total assets of over 400 million yuan, has a production plant three, with a total area of 900 mu, employees nearly 3,000 people. Now capable of producing more than 60 series over 300 kinds of specifications of the various types of grain and oil processing machinery (including wheat processing, corn processing, sesame cleaning, processing garlic, wine, grain grinding, etc.), and to undertake 10 to 1000 tons / day and food processing complete 5 to 12 t / h turnkey seed processing equipment, products sold in more than 30 provinces, municipalities, autonomous regions and exported to Southeast Asia, Africa, Europe and the United States, dozens of countries and regions. Leading products MS series of electrical control milling machine, FSFG series of new plansifter was named national key new products, high-tech products in Henan Province, Henan Province, brand-name products. "LD" brand was named the National milling machine well-known brands, "LD" trademark in Henan Province.
Packaging & Shipping
According to the different equipment, we will design different transportation scheme, ensure the safety of the equipment in the process of transportation.
Our Services
We will be commitment to provide high quality products on sunflower oil press,soybean oil press,peanut oil press,cottonseed oil press,copra oil press and so on,and we aslo spply turn-key vegetable oil production line from raw material to refined oil
1. Ensure to timely provide complete sets of equipment and accessories.
2. Ensure that one-time installation debugging acceptance.
3. To provide high quality material with preferential price.
4. Priority to provide customer our new craftworks and products.
5. Free training technological operator to ensure the trained staff can operation independently.
6. In the installation process,we will appoint a installation supervision staff on the spot.
7. we will offer an experienced project manager, organize a good installation team for the work of field installation debugging.
8. In the warranty period, all because of the quality of products has caused the damage or failure of equipment, suppliers will take the responsibility for the free repair and replacing spare part.
9. Due to the damage caused by the customer,we only charge material costs for repair and replacement.
10. After the receipt of customers notice,we will suggests the method to solve problem within six hours,or send specialist to the site to solve the problem within twenty four hours.
Shandong Leader Machinery Co.,ltd. type multi-purpose drum roasting machine Sesame Seeds Roasting Machine Mainly used for peanut, chestnut, walnut, almond, swallow beans, coffee beans, seeds and other granular material baking or roasting.High productivity Palm Oil Cake Solvent Extraction Equipment Process Electric heating, fuel, or gas, coal as the heat source; the use of rotary drum, heat conduction, heat radiation principle, with coal to fuel; low production costs.The material does not contact with the fire during roasting ,Shandong Leader Machinery Co.,ltd. make sure the product quality is good, health, taste well, can reach the export standards.Temperature :300 degrees Set automatic constant temperature control.Sesame Seeds Roasting Machine Waterproof packing with the international export standard by 20ft, 40ft, 40hp container. High productivity Palm Oil Cake Solvent Extraction Equipment Process Equipment Fittings, Electric Motor and Power Cabinet will be packed in Wooden Case or Iron Box.Shandong Leader Machinery Co.,ltd. Other Equipment will be packed by Color-Stripes Plastic Cloth.
If you have any demand about microwave drying equipment and edible oil refining equipment, pls feel free contact us any time.
Whatsapp:+86 13064099546
NOTE:We can specially design the machine according to your production's features.
Contact Us
- Oil Expeller, Oil Press and Oil Refinery Machine Supplier
- AddressNo.15, Lanxiang Road, Tianqiao District, Ji'nan, Shandong, China
- Phone(Working Time)86-0531-85064681
- Fax86-0531-85064682
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text:
Few megawatts were installed, but work resumed in several countries on projects due for commissioning in 2013. Other countries, notably Israel and Jordan, made moves to kickstart deployment.
The Egyptian government remains committed to wind power, despite the political turmoil and serious economic problems. It is still targeting 7.2GW in 2020, as it seeks to diversify away from natural gas, and has taken the first steps towards phasing out fossil-fuel subsidies. Installed capacity remains at 550MW, although construction started last year on a 200MW plant being built by Gamesa in the Gulf of El-Zayt with European assistance. Commissioning is scheduled for 2014. In the same area, the government's New and Renewable Energy Authority (NREA) launched a prequalification process to build a 220MW plant, this time with Japanese funding, and should soon launch a tender for 120MW backed by Spain.
Egypt is increasingly seeking to mobilise private-sector investors to drive growth. Last year, NREA finalised land-use and power purchase agreements and secured financial guarantees for a 250MW project offered on a build-own-operate (BOO) basis near the Gulf of Suez. The tender is expected this spring. The government also decided to cut the capacity to be tendered for other BOO projects from 1GW to 500MW, and will instead auction the land concessions. These will be awarded to the highest bidders above a minimum of 2% of the annual output. In December, NREA put six blocks up for auction, each with a capacity of up to 100MW, in the Gulf of Suez; the closing date was 24 February. Investors can use the energy themselves or sell to third parties. A tender for the 500MW is expected towards the end of the year.
Italgen, the energy generation arm of Italian cement giant Italcementi has at long last signed a land-use agreement for its 120MW private-sector project in the Gulf of El-Zayt and is now seeking funding. Component manufacturer Elsewedy Electric's plans for a turbine assembly plant are still on hold, however, pending signs of market improvement and increased political stability.
While Morocco has escaped serious political turmoil, the country failed to add any new capacity in 2012, resting at 292MW. However, work started in February on the much-delayed Tarfaya project, a 300MW facility being built in 50MW phases on a build, operate and transfer basis by Moroccan conglomerate Nareva in partnership with French utility GDF Suez.
In April, state utility ONE selected a consortium of EDF Energies Nouvelles, Mitsui and Alstom as preferred bidder for 150MW at Taza in a public-private partnership. While the final terms are still under negotiation, KfW has agreed to lend ONE EUR 50 million to help finance the project. Six candidates have been shortlisted to tender for five projects totalling 850MW under another public-private initiative, the integrated wind power programme.
Nareva has three other plants under construction. Akhfenir (101MW), using Alstom turbines, is expected to come online this year, but there is a question mark over Haouma (50.6MW) and Foum el Oued (50.6MW), both with Siemens turbines. Construction should also start this year on a 10MW plant owned by Ciments de Maroc at its Safi cement works.
In theory, Tunisia added 101MW last year to give a total of 155MW. However, a series of arson attacks means that the new turbines, installed near Bizerte, have been taken offline, pending a decision on how to secure the facility. In the meantime, Gamesa is installing the remaining turbines at the 189MW project.
The government is still working on the regulatory framework governing private-sector initiatives. The latest estimate for publication is mid-2013. Likewise, the Elmed project, including 100MW of wind energy and an interconnection to Italy, is pretty much on hold due to uncertainty over the political situation.
There is better news from Israel, where the long-awaited national zoning regulations should shortly be issued for public consultation. The regulations define the permitting process and should remove many of the bureaucratic obstacles currently besetting the industry. The government also invited proposals for wind-power projects and is now evaluating the submissions.
At the same time, the repowering of Israel's only installation, a 6MW facility on the Golan Heights, has been given the go-ahead. Owner Green Wind Energy hopes to start construction in April and commission the new 15MW facility by year-end. Goldwind is tipped to supply the turbines. The state utility has also issued production licences for two projects totalling 17MW owned by Afcon EB Wind Energy and using Gamesa turbines. Afcon hopes to reach financial close in April and start construction soon after.
Jordan is also breathing new life into its wind market, aiming for 1.2GW in 2020, from 2MW now. This spring, the government expects to announce the winner of the stalled tender to build, own and operate (BOO) an 80-90MW plant at Al-Fujeij. It also launched a prequalification process to build, operate and maintain a 65-75MW project near Maan, to be part-financed with a grant of $300 million from the Gulf Cooperation Council. The government expects to launch the tender in the summer and announce the winner before year end.
As part of a policy to attract private investment, the government has also signed memoranda of understanding with 30 developers seeking to construct around 560MW of wind and solar projects on a BOO basis. Selected projects will be eligible to receive a feed-in tariff of JOD 0.085/kWh ($0.12/kWh).
Algeria and Libya
The Algerian government reiterated its ambition to generate up to 40% of electricity from renewable sources by 2030, including 2GW of wind power last year. The country was due to complete its first 10MW pilot project this summer at Adrar, using Gamesa turbines, owned by state utility Sonelgaz. In the light of January's hostage crisis at a gas plant, this looks increasingly unlikely as foreign companies will be nervous about employee safety.
In Libya, work has resumed on a 62MW facility near Dernah being built by Egypt's SWEG in partnership with its Spanish subsidiary M Torres Olvega Industrial (MTOI). The first turbines could start turning by the end of the year, with full operation slated for mid-2014.


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Last night's Mavericks-Timberwolves game ended on what appears to be an egregious non-call. With just three seconds left on the clock and the T-Wolves down by two points, Kevin Love's potentially game-winning shot was snuffed out by Shawn Marion. It looks like Marion hacked Love's arm on the shot, a circumstance that sent T-Wolves radio announcer Alan Horton into a wonderful conniption fit.
There is so much to love about this, particularly the swift arrival of Horton's anger—"OHHH THAT'S A FOUUUUL!"—followed by a few moments of stunned silence. He then goes on to question the referees' GUTS, before hitting us with a completely unhinged "NO, ED MALLOY!"


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Printer Friendly Version
Standard ECMA-331
Cases for 120 mm and 80 mm DVD-RAM Disks
2nd edition (June 2004)
This Ecma Standard specifies the characteristics of a case for use with the 120 mm and 80 mm DVD-RAM disks specified in Standard ECMA-330. The present Ecma Standard specifies nine related, but different implementations of this case, viz.
This Ecma Standard specifies
This Ecma Standard provides for mechanical interchange between optical disk drives. Together with Standard ECMA-330 for 120 mm (4,7 Gbytes per side) and 80 mm (1,46 Gbytes per side) DVD-RAM disks and a standard for volume and file structure, it provides for full data interchange between data processing systems.
The following file can be freely downloaded:
This Ecma publication is also approved as ISO/IEC 17594.
The previous replaced "historical" edition of this Ecma Standard is available here.


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Jan 31, 2004
Jan. 31, 2004
Despite a 3-0 shutout from Erica Korb in epee, the Elis fell to Penn 18-9 in Philadelphia, Pennsylvania. Yale was hurt by a 9-0 Penn shutout in saber.
Yale's Alisa Mendelsohn had a 2-1 day in foil, helping the foil team to a 5-4 victory, the only one for Yale in the competition. Despite Korb's 3-0 performance, epee lost 4-5 to the Quakers, while the saber team could not win any matches.
The Elis will return home to host Columbia University next Saturday in Payne Whitney Gym.


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Available ebook formats: epub mobi pdf rtf lrf pdb txt html
I love writing and have been writing fiction/drama in the form of short stories. Perhaps the drama was a bit too heavy and I thought a change was necessary. The simplicity of story, mixed with fantasy and description, got me on to romantic fiction. My first series, Elixir , really focuses on some of the most basic romantic fantasies. I am also hoping the descriptive narrative is appealing to women.
Writing romance feels like getting back to the simple basics of story telling. It was also fun writing the descriptive and hoping I was hitting some of the buttons of my readers. I look forward to finding out if they liked it. In any case, I am committed to writing more and will modify my style as I get more feedback. I am also considering another series, but I'll only share that with those who wish to know.


text: Here's one for all you typography nerds out there: Londoner graphic designer Sebastian Lester is a typographer, doing freelance work for clients such as GQ, Dell, and the New York Times. He seems to specialize in this sort of formal loopy script stuff, which I find quite impressive. If you like his work, you can buy high quality prints of some of his designs here, though it'd probably help to be British if you want to buy them, cause the exchange rate from dollars to pounds isn't so good.


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So I decided to try a holiday mini-album again. Not sure WHY I do this in such a small format when I have such a large family. And NOT daily, I just can't take the pressure. But nonetheless a holiday mini that I try to keep up with throughout the season and that I try to use to include the little things that go on in life during the holidays. What I really love about this year's album is that I am giving the Project Life style a trial run before I try to tackle it for 2014. So far, it is actually working pretty well! Of course, I still have a long way to go but here is what I have so far:
The Cover
Still, it's a great start for me and I am really enjoying the process. I love to give new things a try in mini-albums. I am learning to use my new Cameo that my mom and my mom-in-law got me for my birthday (thanks Mom and Mary!) I made a sequin pocket that I love and will definitely do again, I've toyed with some overlays that turned out well and of course, I used my Cricut to make some cards and pages from the Edge to Edge cart.
Hope this finds you all enjoying the season!


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MILLEDGEVILLE, Ga. - After a fourth-place finish at the Richard Rendleman Invitational earlier this week, the Georgia College & State University golf team earned the third spot in the most recent GolfStat Head-to-Head Ranking, released Wednesday.
Barry University jumped to the top spot, while Chico State earned the No. 2 spot. No. 4 Central Missouri and No. 5 University of North Alabama round out the nation's top-five. The Bobcats are one of two Peach Belt Conference (PBC) teams in the top-10, as Lander University leaps from No. 11 to No. 6.
The GolfStat rankings take into effect strength of schedule, head-to-head finishes, and stroke average to attempt to mathematically rank the top teams in collegiate golf.
Head coach Jimmy Wilson's Bobcats are back in action March 15-16 at the Southeastern Collegiate, hosted by Valdosta State University.
The GCSU Department of Athletics, winners of the 2008-09 PBC Commissioner's Cup, sponsors 10 varsity athletic programs at the NCAA Division II level. As a Division II program, GCSU prides itself on balancing the life of the student-athlete, evidenced by the Bobcats' multiple appearances in post-season competition as well as documented academic success and community-service involvement. Sign up at Twitter.com username GCSUSID for up-to-the-minute reports, and visit www.GCSUBobcats.com to nominate your favorite former Bobcats and Colonials to the GCSU Athletics Hall of Fame.


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|Lakeland, Fla.
|High School:
|George Jenkins
Nickname: Cessie
Residential College: Silliman
Major: Undecided
Future Plans: I will pursue a degree in psychology while fulfilling all requirements for pre-med in an undergraduate degree. I hope to continue my education with acceptance to a medical school to become a physician.
Lowest Score: 72
Why She Chose Yale: My top four college choices were all out of state schools. I knew that wherever I went to school I would be far away from my family. Upon arriving at Yale for my official visit, I felt something I had not felt at the other schools... I was home! From Coach Rompothong to my teammates, everything just felt right. Throw in the best education in the world and who wouldn't choose to attend Yale.
Other schools officially visited: Georgetown, Princeton, Indiana
Favorite place at Yale: The top of Science Hill
around sunset
My favorite class at Yale: The Good Life (Prof. Alfred Guy)
Song: American Baby
Food: My parent's homemade pizza
Book: True Believer
Golf Course: Teeth of the Dog (Dominican Republic)
Place She'd love to visit: Italy


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The Saints will be without four players, including running back Darren Sproles and right tackle Zach Strief, when they face the Falcons Sunday.
Defensive end Junior Galette (ankle) and wide receiver Courtney Roby (shoulder) also have been ruled out, according to Larry Holder of the New Orleans Times-Picayune.
This is the second absence for Sproles with a broken hand, and Strief could be out for some time as well.
Saints interim coach Joe Vitt said Strief was on his way back from seeing a specialist about a sports hernia. Vitt said he didn't know if Strief would need surgery.


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Fox Pushes Disability Benefits Myths
Research ››› ››› HANNAH GROCH-BEGLEY
Fox hyped the high number of people receiving federal disability benefit payments to push myths about the program and suggest many recipients are "moochers" and "takers." In fact, a majority of applicants are denied benefits, and experts agree the higher levels of disability recipients are a direct result of the recession and an increased number of women receiving benefits.
MYTH: It Is "Easy" To Receive Disability Benefits
Steve Doocy: "It's Relatively Easy To Get On The Disability List." Fox & Friends co-host Steve Doocy said that the recent increase in disability applicants could "perhaps" be "a sign of a lousy economy," while claiming "it's relatively easy to get on the disability list, so, you know what, I need to feed my family, this is my last option." He concluded: "There should definitely be some different standards, better standards" for the screening of applicants. [Fox News, Fox and Friends, 12/6/12]
FACT: "Eligibility Criteria Are Stringent," And Over Half Of All Disability Claims Are Denied
SSA: "Denied Disability Claims Have Averaged Nearly 53 Percent." According to the most recent data available from the Social Security Administration, only 34.8 percent of applicants were successfully awarded disability benefits in 2010, down from 56.1 percent a decade earlier. Between 2001 and 2010, "[d]enied disability claims have averaged nearly 53 percent." From SSA:
The final award rate for disabled-worker applicants has varied over time, averaging nearly 45 percent for claims filed from 2001 through 2010. The percentage of applicants awarded benefits at the initial claims level averaged 28 percent over the same period and ranged from a high of 37 percent to a low of 26 percent. The percentage of applicants awarded at the reconsideration and hearing levels are averaging 3 percent and 13 percent, respectively. Denied disability claims have averaged nearly 53 percent. [Social Security Administration, July 2012]
CBO: 61 Percent Of Initial Disability Claims Are Denied. According to research estimates from the non-partisan Congressional Budget Office, 61 percent of disability applicants are denied during the Initial Determination Stage. 27 percent of those applicants then appeal the decision, but only 3 percent of appeals are approved during Reconsideration, the first appeal stage. [Congressional Budget Office, 7/16/12]
GAO: SSA "Denied, On Average, 54 Percent" Of Supplemental Security Income Child Applicants And Recipients With Mental Impairments. According to the Government Accountability Office, "[t]he number of Supplemental Security Income (SSI) child applicants and recipients with mental impairments has increased substantially for more than a decade, even though the Social Security Administration (SSA) denied, on average, 54 percent of such claims from fiscal years 2000 to 2011." [Government Accountability Office, June 2012]
CBPP: "Eligibility Criteria Are Stringent." The Center on Budget and Policy Priorities noted the eligibility criteria for disability insurance applicants are "stringent." CBPP further noted that "applicants must show that they suffer from a 'severe, medically determinable physical or mental impairment that is expected to last 12 months or result in death' " and must endure a significant waiting period:
The law requires that the impairment must already have lasted for at least five months before the applicant can qualify for DI. Together with the requirement that the impairment must be expected to last another 12 months or result in death, this emphasizes that DI is not a program for the temporarily disabled. SSI may be available during that period for very poor applicants; sick leave, private insurance, family resources, or savings might tide over others. The waiting period provides an intuitive reason why applications rise during recessions. In a robust economy, few workers will quit a job to subsist on little or nothing for five months with an uncertain prospect of a DI award; but in a recession, a spell of unemployment can last long enough for a disabled worker to be able to satisfy the waiting-period requirement.
Typical processing times at the DDS level are three to four months, and processing times at the hearing level average about a year. The allowance rate at the Administrative Law Judge (ALJ) level (also known as the hearing level, generally the second level of appeal) is quite high, which has led to some valid concerns about inconsistency in decisions; yet it is important to remember that ALJs are often seeing claimants whose condition has deteriorated since their application was turned down and whose case file is better documented when it reaches the ALJ (often with the help of an attorney) than it was at the DDS stage. [Center on Budget and Policy Priorities, 8/9/12]
MYTH: Increase In Disability Benefits Due To "Moochers"
Doocy: "Has The Number Of People On Disability Gone Up Because They Are Moochers?" On Fox & Friends, Doocy asked, "Are more people getting sick and disabled, or are we just wasting more money?" Later, he asked, "Has the number of people on disability gone up because they are moochers, or because more people need help?" [Fox News, Fox and Friends, 12/6/12]
Sykes: "A Lot Of People, I Think, Are Figuring Out That It's Easier To Collect These Checks Than It Is To Go Get A Job." Guest Charlie Sykes, a conservative radio talk show host, implied on Fox and Friends that disability insurance was being taken advantage of by the "takers in society," and claimed, "I think that a lot of people are figuring out that it's easier to collect these checks than it is to go get a job, integrate into society, learn what earned success is all about":
SYKES: This is one of those moments we have to step back and say, OK, do we really want a safety net that is targeted at the genuinely disabled, or are we just creating another program for the takers in society? I mean this thing has ballooned to about a 130 billion dollars a year. There's no indication that it's going to slow down any time soon, and, quite frankly, you know the whole approach of the Americans with Disabilities Act was to integrate the disabled back into society. What this program is doing is essentially saying, no, you don't have to work, we're going to create this permanent alternative, and unfortunately that means that a lot of people, I think, are figuring out that it's easier to collect these checks than it is to go get a job, integrate into society, and learn what earned success is all about." [Fox News, Fox and Friends, 12/6/12]
FACT: Experts Agree That Majority Of Recent Increase In Disability Benefits Is Due To The Recession
CBO: "In The Aftermath Of The Recent Severe Recession, Applications For DI Benefits Reached A Historic High." According to the Congressional Budget Office (CBO), the increase in the number of applications for disability insurance (DI) was directly linked to the severe recession:
When jobs are plentiful, some people who could qualify for the DI program may choose instead to work. Conversely, when jobs are scarce, such as in economic downturns, some people with disabilities may find that their employment opportunities are especially limited, and they will instead choose to apply for DI benefits. Indeed, in the aftermath of the recent severe recession, applications for DI benefits reached a historic high, exceeding 2.9 million in calendar year 2010.
CBO projects that as a result of the most recent recession and slow recovery, the number of disabled worker beneficiaries will continue to rise over the next few years (although growth will slow as the economy improves). That increase in participation stemming from the severe economic downturn will add to the long-term trend of rising enrollment. [Congressional Budget Office, July 2012]
Senate Permanent Subcommittee On Investigations: "Between October 2008 And June 2010, Job Losses Among Workers With Disabilities Far Exceeded Those Of Workers Without Disabilities." In September, the Senate Permanent Subcommittee on Investigations submitted a report on the Social Security Disability Programs. The report found that the increase in disability applications was a direct result of the financial crisis, and that "job losses among workers with disabilities far exceeded those of workers without disabilities":
The stress to the disability system was likely exacerbated when the financial crisis hit in 2008, resulting in a number of individuals losing jobs and, in turn, employer sponsored health insurance benefits. Census data indicated that between October 2008 and June 2010, job losses among workers with disabilities far exceeded those of workers without disabilities. Without health insurance, it is possible that chronic conditions held in check by medicine and treatment worsened and became more difficult to manage or even became disabling. Those workers potentially turned to federal disability insurance. In other cases, workers with disabling conditions who had refrained from applying for disability insurance because they were able to manage their impairments and sustain work, lost those paychecks, and then applied for disability insurance payments. [Senate Permanent Subcommittee on Investigations, 9/13/12]
PBS: "During The Recession, Disabled Workers Were Hit Five Times As Hard As Other Workers When It Came To Losing Their Jobs." PBS NewsHour reported that "during the recession, disabled workers were hit five times as hard as other workers when it came to losing their jobs. People with disabilities have also had more trouble finding new jobs during the recovery." [PBS NewsHour, 7/26/12]
FACT: Changes In Workforce Explain Most Of The Growth In Disability Benefits
CBO: "Much Of The Recent Growth ... Stems From Increases In The Number Of Women Receiving Disabled Worker Benefits." The Congressional Budget Office found that much of the growth in the number of people receiving disability benefits since the 1970s stemmed from the increase in the number of women in the program:
Much of the recent growth in the share of the population that comprises disabled workers stems from increases in the number of women receiving disabled worker benefits. Between 1970 and 1995, the percentage of women who received such benefits grew by about 0.6 percentage points -- about the same rate of growth as for men. Between 1995 and 2011, however, women receiving disabled worker benefits increased from 1.0 percent to 2.1 percent of all working-age adults; the corresponding change for men was from 1.6 percent to 2.4 percent. [Congressional Budget Office, July 2012]
CBPP: "Changes In The Workforce Explain Most Of The Growth In The Disability Rolls." According to the Center on Budget and Policy Priorities, "[c]hanges in the workforce explain most of the growth in the disability rolls." CBPP explained:
Several important factors have swelled the number of disabled workers substantially during the last few decades:
- Baby boomers have aged into their high-disability years. Aging takes a toll on many workers' bodies and minds long before retirement age. People are roughly twice as likely to be disabled at age 50 as at age 40, and twice as likely to be disabled at age 60 as at age 50. (See Figure 2.) As the baby boomers -- the huge cohort of people born between 1946 and 1964 -- have grown older, the number of disability cases has risen substantially.
- More women have qualified for disability benefits. In general, workers with severe impairments can get disability benefits only if they have worked for at least one-fourth of their adult life and for five of the last ten years. Until women joined the workforce in significantly greater numbers in the 1970s and 1980s, relatively few women met those tests; as recently as 1990, male disabled workers outnumbered women by nearly 2 to 1. Now that more women have worked long enough to qualify for disability benefits, the ratio has fallen to 1.1 to 1. This has been a large factor behind the increase in the number of DI beneficiaries.
- Social Security's full retirement age rose from 65 to 66. When disabled workers reach full retirement age, they begin receiving Social Security retirement benefits rather than disability benefits. The increase in the retirement age has delayed that conversion for many workers. In December 2011, more than 400,000 people between 65 and 66 -- nearly 5 percent of all DI beneficiaries -- collected disabled-worker benefits; under the rules in place a decade ago, they would have been receiving retirement benefits instead.
The report included the following graph:
[Center on Budget and Policy Priorities, 8/9/12]
Department Of Labor: "Men With Disabilities Are Almost Twice As Likely To Have Jobs Than Women With Disabilities." According to the Department of Labor's Office of Disability Employment Policy, women with disabilities face "specific employment barriers," are less likely to have jobs than men with disabilities, and are significantly poorer than men with disabilities:
Neither disability policies designed to ensure employment of people with disabilities nor policies aimed at gender equity in employment have recognized the specific employment barriers experienced by women with disabilities. The inequities are significant:
- Men with disabilities are more likely to be employed and have full-time jobs, and men with disabilities are almost twice as likely to have jobs than women with disabilities;
- Women with disabilities are also significantly poorer than men with disabilities, due partly to the fact they are more likely to be unemployed, and also that when they do work, they receive considerably lower wages than men with disabilities; and
- Disability affects women workers in their role as caregivers for family members who have a disability or who are elderly, as the majority of caregivers in the United States are women. [Department of Labor, accessed 12/6/12]
FACT: Unemployment Among The Disabled Is Significantly Higher Than Among The Non-Disabled
Bureau Of Labor Statistics: Unemployment Rate 5.6 Percent Higher Among People With A Disability. According to the Bureau of Labor Statistics, the unemployment rate for persons with a disability was 12.9 percent in October 2012, while it was only 7.3 percent for the non-disabled. [Bureau of Labor Statistics, 11/2/12]
Center For American Progress: Employment Rates Among People With Disabilities Have Dropped Significantly Since Late 1980s. The Center for American Progress reported that the employment rate for men with a disability "fell from 28 percent in 1988 to 16 percent in 2008," and for women with a disability the employment rate fell from 18 percent in 1988 to 15 percent in 2008:
The employment rate of males in their forties and fifties with a self-reported disability fell from 28 percent in 1988 to 16 percent in 2008 (approximately a 40 percent decline). The employment rate of comparably aged males without a disability held roughly constant at 87 to 88 percent. For females in this same age range with disabilities, the employment rate declined slightly (from 18 to 15 percent) while the employment rate of their counterparts without a disability rose from 66 to 76 percent. [Center for American Progress, December 2010]
NY Times: "The Unemployment Rate For Blind Adults Of Working Age Is Nearly 70 Percent." The New York Times reported that according to Kevin A. Lynch, chief executive of the nonprofit National Industries for the Blind, "[t]he unemployment rate for blind adults of working age is nearly 70 percent -- a number that has been stagnant for 30 years." [The New York Times, 3/24/12]
FACT: 70 Percent Of People With Disabilities Live In Poverty
NY Times: "Today, 70 Percent Of People With Disabilities Live In Poverty." A New York Times article headlined "The Disability Trap" highlighted the overwhelming poverty of those who rely on Social Security disability payments, called "Supplemental Security Income" or S.S.I. The article reported that "[t]oday, 70 percent of people with disabilities live in poverty." [The New York Times, 10/20/12]
APA: "Persons With Disabilities Are More Likely To Be Unemployed And Live In Poverty." According to the American Psychological Association, "persons with disabilities are more likely to be unemployed and live in poverty," despite of the fact that "two-thirds of people with disabilities are of working age and want to work":
[P]ersons with disabilities are more likely to be unemployed and live in poverty. The American Association of People With Disabilities (AAPD) estimates that two-thirds of people with disabilities are of working age and want to work. The high incidence of poverty among persons with a disability fuels doubts about the sufficiency of public assistance to these individuals.
- Results from the 2006 American Community Survey (ACS) reveal significant disparities in the median incomes for those with and without disabilities. Median earnings for people with no disability were over $28,000 compared to the $17,000 median income reported for individuals with a disability (U.S. Census Bureau, 2006).
- In an effort to investigate unemployment disparities, a recent study surveyed Human Resources and project managers about their perceptions of hiring persons with disabilities. Results indicated that these professionals held negative perceptions related to the productivity, social maturity, interpersonal skills and psychological adjustment of persons with disabilities (Chan, 2008) [American Psychological Association, accessed 12/6/12]
For more on Fox's misleading coverage of disability benefits, click here.
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