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New climate-energy legislation advancing in Congress would mark the biggest shift in US energy policy in 30 years, thrusting the economy toward renewable energy and away from fossil fuels.
If the bill, which cleared a key House committee May 21, is approved by Congress, it would be the biggest step by the United States – the world's largest greenhouse-gas emitter per capita – toward curbing climate change.
If President Obama signs the bill ahead of December climate talks in Copenhagen, as some suggest is possible, it would give the US a major role in shaping a multinational response to the climate problem.
Because stemming carbon dioxide emissions from burning fossil fuels is central to the climate conundrum, the new American Clean Energy and Security Act of 2009 (ACES) approved by the House Energy and Commerce Committee addresses energy and climate in one bill. Here is a rundown of its key points:
What's the bill's aim?
The ACES bill focuses on the smokestacks that produce 85 percent of US greenhouse emissions. It follows a three-pronged path to shift the nation to a low-carbon economy by boosting energy efficiency, developing renewable energy sources like solar and wind, and curbing greenhouse-gas emissions (GHGs).
Together, these are intended to cut US emissions to 17 percent below 2005 levels by 2020 – a compromise from the previously set 20 percent cut. That should put the nation on a path to reach 83 percent below 2005 levels by 2050 to help avoid the worst effects of global warming.
The bill is intended to jump- start a US push into energy-efficient technologies and grow green jobs, while boosting national security by shifting the US vehicle fleet toward use of domestic electricity instead of imported oil.
How would this be accomplished?
The main mechanism would limit emissions using a market-based "cap-and-trade" system for industrial carbon dioxide (CO2) emitters.
Beginning in 2012, a national "cap" – or total maximum CO2 emissions – would be set and then ratcheted downward annually.
Electric utilities, cement and steel plants, and others would need one "allowance" for every ton of CO2 sent up smokestacks. Power plants emit about 2.4 billion tons of CO2 annually – nearly 40 percent of total US greenhouse-gas emissions.
What about renewable energy?
A key part of the bill is a national renewable-energy standard combined with an energy-efficiency standard. US electric utilities would have to get 20 percent of their power from a combination of renewable sources (15 percent) and energy efficiency (5 percent) by 2020. But in a major compromise, governors could petition to increase the amount of energy efficiency up to 8 percent, with just 12 percent coming from renewables. Reps. Henry Waxman of California and Ed Markey of Massachusetts, the Democratic co-authors of the bill, accepted the lesser standard to win support of Democrats from states where coal-fired power plants predominate.
What's the price tag?
The total abatement cost would be $22 billion in 2015, rising to $31 billion in 2020 and $64 billion in 2030, the EPA reported in April. This would slightly curb average annual US economic growth from 2.71 percent to 2.69 percent. The cost per household is estimated at $98 to $140 per year.
But the final cost of the bill was set still lower by the House Energy and Commerce Committee compromise, which mandates a 17 percent (instead of 20 percent) emissions cut by 2020.
That change, the EPA says, would "likely result in lower allowance prices, a smaller impact on energy bills, and a smaller impact on household consumption."
Critics say it will cost far more.
Rep. Joe Barton (R) of Texas warns that the bill will "impact every person, every family, and every business" to the tune of "trillions of dollars."
But, says Natural Resources Defense Council economist Laurie Johnson, by the time abatement costs reach $64 billion a year in 2030, the US economy will have grown more than $9 trillion – about 150 times the amount spent on CO2 abatement.
Who pays the most?
As a candidate, President Obama proposed auctioning all carbon emission allowances – none given away – to avoid a windfall for polluters.
But to win congressional support, some 85 percent of the allowances would be given away (just 15 percent auctioned), according ClearView Energy Partners, an energy economics firm, a change decried by some environmental groups. Still, most of the freebies must be used specifically to blunt the impact of rising energy prices on households and energy-intensive industries. By 2020, the bill would increase the percentage of auctioned allowances to 90 percent.
In 2012, when the cap kicks in, electric utilities would get 44 percent of carbon allowances, according to Kevin Book, an analyst at ClearView. Again, the bill requires utilities to pass the benefit along to consumers.
Some 15 percent of the value of allowances would go to low- and moderate-income households to defray higher energy costs.
Energy-intensive industries like steel, cement, pulp, and paper would get 2 percent of allowances to soften competition from foreign rivals that don't have to meet an emissions requirement.
The House bill is expected to pass. What happens in the Senate, where Republicans may be able to filibuster a companion bill, is an open question.


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For many of the world's sports car company's, where model changes are counted in years rather than months, incorporating the latest technology can be a costly business that takes far longer than large volume producers who are constantly updating their models. So we received news that Ferrari has finally embraced the Apple brand into its cars.
The first application is on the four-seat AWD FF model that sees direct access to the car's infotainment system through Siri Eyes Free vocal commands. This will allow the driver to access music and telephone functions with voice activation, allowing the eyes to remain on the road.
Rear seat passengers can also embrace the brave new world by viewing movies, video games or web content via two iPad Mini fitted to the back of each headrest. This is the first fruit from the new collaboration, which will undoubtedly spawn other applications in the future.

subset: commoncrawl


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Longtime readers of this blog may recall my unfortunate run-in with a rat in my potting shed a couple of years ago. Ultimately, it was Rat: 1, Me: 0. The damn critter dug up and ate all my tender seedlings under the grow lights. I tried protecting what was left with duct-taped plastic covers, but the sauna that created was too much for them.
Until I can varmint-proof my potting shed (and I'm working on that!), I have had to move my seedling production center indoors. And this year, so far, so good, though I realized a little too late that the flats were too far away from the light, so my seedlings are a little leggy, but they will be ok. Here is my set-up.
I outfitted an old plastic parson's bench that was in my attic (thank you, grandparents!) with heating mats and grow lights. Each flat goes on a mat, under a light. The flats stay covered with the clear plastic lids and the lights stay off and the mats on all the time until we achieve sproutage, at which point the covers come off and the lights and mats go onto a timer. On for 12 hours, off for 12 hours.
At that point, I also set up a small fan to blow a gentle breeze onto the seedlings. Air circulation helps them become hardy. No hothouse vegetables tolerated in my rough-and-tumble garden!
As the second set of leaves appears on the seedlings, I move them to the garden window in my kitchen, where they receive direct sunlight. An open window on nice days encourages them to get more comfortable with outdoor environments. And I constantly check the soil for moisture—too much leads to dampening off; too little turns them into microscopic twigs.
And as they mature, I move them into my Growcamp, my little greenhouse/covered garden. There they will harden off—that means they will gradually become accustomed to outdoor life—and hang out until all danger of frost has passed and they can go into the ground.
Here's what's in my flats this year, by the way:
- Three kinds of tomatoes
- Two kinds of sweet peppers
- Two kinds of hot peppers
- Three kinds of basil
- Two kinds of marigolds
- Two kinds of zinnias
- Pingtung Eggplant
Seeeeeeeedlings . . . whoah-oah-oah seeeeeeedlings . . .


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NASHVILLE, Tenn. - The Lipscomb men's tennis celebrated senior day on Saturday, but unfortunately, lost the match 5-2 to Atlantic Sun Conference opponent No. 63 North Florida.
The doubles team of Colby Shaw and Tanner Brown won its match, while Daniel Hernandez and Stuart Tierney claimed victories in the singles.
Shaw, Brown and Oliver Streckerwere all honored as senior members of the team.
Lipscomb coach Andrew Harris said that missed chances in doubles hurt the team.
"We definitely missed some opportunities in the doubles," Harris said. "I wish we could have done better, but we bounced back pretty well."
Harris said that the play of Hernandez and Tierney helped a great deal in the singles. Hernandez won his match 3-6, 6-1, 15-13, while Tierney posted a 6-0, 6-4 win.
"Daniel Hernandez and Stuart Tierney did a great job in singles, and I think we're going to really rely heavily on them Monday against Belmont," Harris said.
Harris noted the strong effort from the Ospreys, saying that their preparedness was evident.
"I think UNF was definitely ready to go as always, and they didn't show many weaknesses," Harris said.
After Saturday's loss, the Bisons will close out the regular season by taking on rival Belmont at the Huston-Marsh-Griffith Tennis Center on Monday. Harris said he hopes the team will continue to improve as they face the Bruins.
"So, we've got to continue to get better match-in and match-out, and once we do that, I think we'll be in a good place moving forward," Harris said. "So, we're looking forward to getting back at it Monday against Belmont."


text: Just came upon this new site for all you puzzle cache hiders and finders and thought I would share it with all of you here. Have you ever figured out a puzzle and gotten to the cache coordinates to find that you are not where you should be? Well this is what you need to be sure that the puzzle was solved correctly. Looks pretty cool.


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Blossoms and Spines
Merna L. Nobile 11/8/2012 3:42:47 PM
Receiving an award from Better Photo is just like unwrapping a gift, the thrill is always the same! It is also exciting to be able to send my personal congratulations to each and every one of you and I look forward to seeing the gold though out the galleries. Merna
Beautiful and delicate yellow Prickly Pear cactus blossoms and spines. The average rainfall in the North Dakota Badlands is about 10 inches, so it is an arid region with several types of cacti growing. Visitors are amazed to find cacti in North Dakota.
Adjusted in PSE7.
Photographed in Medora, North Dakota on 6-28-2008 at 4:49 p.m.
Uploaded on 9/5/2012 8:13:55 PM
Camera: Nikon D80 Digital SLR Camera
Copyright for this gallery photo belongs solely to Lyle K. Glass. Images may not be copied, downloaded, or used in any way without the expressed, written permission of the photographer.
Log in to follow or message this photographer or report this photo.


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|2013-03-19, 00:26
|Link #1
Senior Member
Join Date: Dec 2005
One Piece - Chapter 702 [manga]
Welcome to the weekly manga discussion thread for One Piece.
Thread Guidelines
Oda was unexpectedly sick last week, but it he's back now (and with an early spoiler to boot)! Credit goes to Aohige for the spoiler translation:
-Chapter title is "Corrida Colosseum". The ministory reveals that the soldiers are revolutionaries, and their flag shows a likeness of their leader's son.... who looks like a mix between Che Guevara and Caribou.
-The blind man from last chapter tells the restaurant owner he'll handle the bill for the damages he caused. Interestingly, the owner seems to recognize his true identity. Luffy, interested in the old man's strength, asks who he is. The blind man replies that he's better off keeping his silence on that matter. Suddenly, the people in the restaurant realize that their belonging went missing.... and one of said belongings in question is Zoro's Shuusui!
-One of the toys claim that fairies were the thieves, but Zoro senses the actual their running away. He, Sanji, and Kinemon chase after the robber, and while Luffy is ready to join them, Franky has other ideas. He apprehends one of the thugs who tried to cheat the blind man and along with Luffy, interrogate him for the Smile factory's location. The thug doesn't know about that, but he DOES know that Dofla's officers are holding a special tournament at the colosseum, which has a special prize.....
-At the aforementioned Colosseum, people from all over the island are gathered. The announcer reveals that the prize of this tournament will be.... the Mera Mera fruit! Powerful people from all around the NW are gathered at the tournament, and we're also introduced to the officers from Dofla's crew who are participants: Senior Pink (fat guy with sunglasses and baby pacifier), dellinger (younger guy wearing a cap), Lao G (that one old geezer we saw before), Machvise (the other fat dude from Dofla's crew we saw before), and Diamante, the hero of the collsseum we saw a couple chapters back. Interestingly, it seems that the blind man is part of the tournament's audience. Back at the restaurant, Luffy just learns from the thug about his deceased brother's fruit being the prize in the tournament.....!!!
Interesting, so Dofla's plan is to give away the fruit in a tournament, eh? Honestly, I'm not too wild about tournament arcs (mainly because of how overdone they are), but I'm confident that Oda will handle it well. And at least, I'm interested in seeing more of the fighters gathered there (maybe we'll see some interesting faces there, both old AND new! ). And I'm kinda not surprised that the blind man didn't reveal his identity yet, though I'm wondering if he'll decide to join that tournament as well, in due time......
Also, I really wonder if that sword thief will go to either the arena or the smile factory? Unless the arena IS the factory.....?
Last edited by marvelB; 2013-03-19 at 16:34.
|2013-03-19, 01:41
|Link #2
Senior Member
Join Date: Dec 2005
No, I meant something more along the lines of hiding the factory in an obvious location to throw off potential enemies (since they wouldn't think of searching for it in a conspicuous place). Like maybe the factory is underneath the arena or something.
You speak as if it shouldn't be possible for the monster trio to be caught off guard like any regular person. Remember, they WERE kind of distracted by the blind dude showing off his DF ability.....
|2013-03-19, 02:32
|Link #3
( ಠ_ಠ)
Join Date: Jul 2006
Location: Somewhere, between the sacred silence and sleep
Sorry bit of correction:
the blind man didn't pay for the damage, he simply gave him the "bill to".
Man I can see Sakazuki getting red from seeing the bill already.
I didn't translate the spoiler, that spoiler is simply mine.
Most of the spoilers recently has been me reading the manga and actually making a summary instead of translating someone else's
|2013-03-19, 02:36
|Link #4
Senior Member
Join Date: Nov 2007
Location: Tennessee
Age: 31
Tournament arc! One of my favorite shonen traditions. 2014 will be a good year for the One Piece anime. Personally though, I would prefer for all nine Straw Hats to enter the tournament and save the factory for later. The Straw Hats dividing up into multiple groups every arc does get tiresome.
|2013-03-19, 06:34
|Link #7
Senior Member
Join Date: Sep 2010
Location: NL
It does seem like the strawhats are yet again split.
So it's the Zoro/Sanji/Kinemon group
and the Luffy/Franky group.
It's a bit lame though that someone like Zoro got his sword stolen.
This however does provide a chance for Zoro's group to end up in the arena (the contestants being all swordsmen, one might even be the sword thief) and Zoro being handicapped with having just 2 swords (again he's handicapped).
Zoro might even face off against the still mysterious blind dude. All the while Sanji can go undercover.
Personally I hope Luffy get's pissed because the surprise is not special meat but ace's DF and heads in the opposite direction. Having him matched with Franky who's just as unpredictable it can really go either way.
|2013-03-19, 08:59
|Link #9
lost ronin
Join Date: Oct 2008
Location: in the recesses of my convoluted mind...
interesting chapter... the old man is becoming more and more intriguing. what he said to luffy got me thinking.
tournament arc eh? hope oda won't focus too much on the tournament, i personally am sick of shonen characters competing in tournaments. i've had enough of it from fairy tail and hitman reborn.
|2013-03-19, 09:25
|Link #11
Okuyasu the Bird
Join Date: Sep 2009
Location: Alberta, Canada
Age: 27
Seems the revelation on who the old guy is will have to wait, still, the evidence on him being an admiral just keeps piling up.
So the winner of the tournament will win possession of the Mera Mera no mi and possibly consume it. It seems kind of late if you ask me for any of the Strawhats to interfere so I wonder how this will pan out.
Pretty quick chapter, but it's moving the story forward.~
|2013-03-19, 09:57
|Link #13
Senior Member
Join Date: Apr 2007
Location: East Cupcake
As for the chapter, I liked the fcat that Luffy helped interrogate someone. I'm not sure why, but it was interesting...
btw, anyone else really liking the shift in Caribou's story? I was suspecting something like this (revolution wise, not with the doppelganger), but to see Caribou in this situation is quite interesting.
|2013-03-19, 12:34
|Link #16
In the eye of the storm
Join Date: Feb 2010
The only tournament anime I've actually watched was Yu Yu Hakusho, which I really liked, so I'm looking forward to it.
What the blind man said to Luffy points out to him being either an Admiral or a Yonkou, someone high up.
I'm betting on him being an Admiral, sent to retrieve the Mera Mera no mi (so it doesn't fall into yet another pirate's hands) and/or keep an eye out on Doflamingo (quitting from the Shichibukai just like that does raise a lot of questions).
It's probably also why he didn't bother with the Straw Hats - it's just not his mission.
Che Caribou and the Gandam robot toy were pretty funny additions, too...
|2013-03-19, 12:55
|Link #18
Join Date: May 2012
Location: Nowhere, because I don't exist
Age: 27
|2013-03-19, 13:52
|Link #20
Senior Member
Join Date: Dec 2007
Oh my goodness. Aohige changed his avatar .
As for the chapter itself, I'm intrigued as to where the plot is going. I'm stoked for this tournament, as it's the first time One Piece has done a real tournament arc. It's pretty much a staple for shounen comics. And the old man being an admiral undercover is becoming even more heavily hinted at. It's better that people don't cause a commotion over someone so prestigious, so as not to attract any unwanted attention.
|Thread Tools


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GRANTHAM, Pa. – The York College women's track & field squad sent a group of student-athletes to the Messiah Quad on Wednesday. The Spartans, limited by sheer numbers, took third of the four teams in attendance, registering 23 points.
Sophomore Dana Mangano had a quality performance for the Green and White. She captured first in the triple jump with a solid result of 31' 7.5" while snagging third in the long jump.
In that long jump event, freshman teammate Laura Rowlands posted the victory with a jump of 15' 6.75".
On the track, Chitom Henry competed in a both the 400- and 100-hurdle events where she took third and fifth, respectively.
Racing in a pair of unfamiliar events, the 100- and 200-meter dashes, senior Allyson Montello put together a quality showing. She collected third in the 100 while recording fifth in the 200.
York's 4x400 crew posted a runner-up spot in the event.
The Spartans are slated to host the Green & White Invitational this Saturday. The action from York's Graham Field is scheduled for a 10:00 am start.
PHOTO: Chitom Henry competes at the York Relays earlier this season. Courtesy of Zach Clabaugh - www.sharpedgefoto.com


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Public Health Laboratories
The mission of the Public Health Laboratories (PHL) is to protect the public's health in NH through responsive, unbiased, quality laboratory testing; to actively participate in national and international surveillance networks; and to improve the quality of health and laboratory services in both the public and private sector.
PHL fulfills its mission through the five core functions described below.
Laboratory Response for Critical Incidents
- Disease outbreaks
- Newly emergent diseases
- Product contamination and/or tampering
- Terrorism response
Laboratory Analysis for Food Safety Assurance
- Microbiological testing of dairy products, shellfish and growing waters, and other food products
- Paralytic shellfish poison (Red Tide) testing
- Testing for lead and other metals in maple syrup, fish and other food products
- Testing for mercury in fish
Laboratory Services for Infectious Disease Control
- Tuberculosis testing
- Sexually Transmitted Disease testing
- Vaccine Preventable Disease testing
- Human Immunodeficiency Virus screening, confirmation and viral load
- Bacterial, fungal, parasitic and viral identification
- Drug susceptibility testing
- Rabies testing
Testing to Assess Occupational & Environmental Health Hazards
- Analysis of blood, paint, dust, soil, earthenware and crystal for lead content
- Analysis of urine for mercury
- Hepatitis, Lyme Disease and hantavirus testing
- West Nile Virus testing of birds, mosquitoes, equines and birds
Quality Assurance Leadership
- Reference lab services for hospital and independent labs in NH
- Training, internships and technology transfer for laboratorians
- Laboratory tours, demonstrations, science fairs and lectures
- Coordination of NH Laboratory Response Network


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SumAll integrates Foursquare, adds location to its existing data visualization orgy
When it comes to business intelligence, more data in means better decision making. SumAll has built an entire business this fact, enabling SMBs (small- and mid-size businesses) and enterprises to connect data sources from their ecommerce, social, payments, digital marketing, Web analytics, and project management platforms, among other sources, into a single visualization dashboard.Today, SumAll is announcing the integration of Foursquare check-in data to this already extensive list of some 2,000 data sources. This may seem like a trivial or incremental upgrade, but it's far more significant given that this is the first location-based data stream available on the platform. For the first time, businesses will be able to compare virtual website visits to physical brick-and-mortar store visits and gain insights into which types of digital marketing and customer promotions the most effective way to drive visits, and ultimately revenue.
"Foursquare has been a highly requested data source by customers over the last 2.5 years," says SumAll President Catherine Gluckstein. "With their reach, it's among the best ways to understand the correlation between location-data and other marketing data points. Things rarely happen in a vacuum and that includes visits to physical business locations."
SumAll, although still in beta, has seen explosive growth in usage of its platform, growing from 25,000 to over 80,000 businesses using its platform since May of this year, according to Gluckstein. While the bulk of these users fall into the SMB bucket, the product has also been adopted by large corporations like Starbucks, Pandora, EA, and SIEMENS, among others. Today SumAll tracks more than $2 billion in revenue, 290 billion social actions, and 190 billion site visits, the company says.
Foursquare has registered more than 4 billion customer check-ins since launching four years ago, and has 35 million registered users and 1.4 million active businesses currently using its platform. Among the many major brands actively driving users to check-in using the app are Wallgreens, ESPN, Pepsi, and Redbox.
It's one thing to analyze Foursquare checkins or ecommerce purchase data in isolation. The value of SumAll is that it allows businesses to visualize data from Foursquare, Facebook, Twitter, and Instagram, as well as Google Analytics, Google AdWords, eBay, PayPal, Shopify, and 2,000 other sources simultaneously over a series of customizable visualizations. One particularly data-driven business, for example, connected 121 individual data streams to its SumAll account, according to the company.
The goal of this data orgy is to reveal correlations and trends between marketing efforts and targeted business outcomes like customer engagement and revenue. It offers both a big picture and a granular level look into what's driving results for a business.
SumAll soft-launched its Foursquare integration at roughly three weeks ago and reports having "several thousand" businesses integrate the platform, indicating that it's proving a popular addition.
SumAll has raised a total of $7.5 million in equity funding, across two rounds from investors including Battery Ventures, Wellington Partners, and General Catalyst Partners. The company also raised $2 million in debt from Silicon Valley Bank in conjunction with its July 2013 acquisition of German social media monitoring company TwentyFeet. Through this acquisition and natural organic growth, SumAll is now deployed in 30 countries globally.
One of the more interesting elements of SumAll's position as a central clearinghouse for business intelligence data is the company's ability to anonymize and aggregate this data and draw insights across its user base. For example, the company can establish benchmarks like the average revenue rates within a category, the "value" of a like or a tweet, the number of photos or check-ins required to drive a single sale, and the best time of day or best day of the week to send a social promotion.
SumAll has proven to be a popular resource among its user base and continues to add to its value proposition with the addition of additional data integrations and product features. But the two-and-a-half-year-old New York startup has yet to monetize its platform, although Gluckstein indicates that a paid premium version of the platform could be coming by year's end. The key challenge ahead will be for the company to convert this existing audience to paid users, something that is far from a sure bet.
Businesses engage with customers and implement new marketing initiatives daily. In isolation, these digital bits and bytes is about as interesting as the reams of paper that would be required to print it out. But when combined, businesses are able to extract insights into the effectiveness of their various strategies and campaigns.
SumAll and companies like it stand to become more necessary as time goes on. The key will be making this data analysis simple and approachable for mainstream business leaders and taking big data analysis out of the hands of the engineers.


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Drew Barrymore Appreciates Whole Foods with a Hug!
Drew Barrymore carries two bags of groceries while exiting a Whole Foods supermarket on Sunday (November 4) in Los Angeles.
Before she left, the 37-year-old actress gave a hug to a Whole Foods employee who helped carry some of her groceries to the car.
PHOTOS: Check out the latest pics of Drew Barrymore
Earlier in the week, Drew and her husband Will Kopelman were spotted watching the Lakers play against the Clippers at Staples Center.
15+ pictures inside of Drew Barrymore showing her appreciation to a Whole Foods employee…


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Dec. 6, 2006
Second-year coach Kristin Peck has welcomed 10 new additions to her 2007 softball team. Her upcoming schedule was designed somewhat with the experience of her team in mind.
"Part of planning the schedule was knowing that we were going to have lot of young players with a lot of freshmen on the field at any one time," Peck said. "We want to make sure they are getting quite a bit of confidence early in the season before we get into the Atlantic Conference part of the schedule.
"We do have a lot of teams on our schedule that are very comparable to us ability-wise ... games that could go either way. If we are on our game we should win."
There are a number of tournaments on the schedule. One of the biggest is the Buzz Classic hosted by Georgia Tech in Atlanta March 2-4.
"it is a big tournament with around 25 teams," Peck said. "We are in the same pool with Georgia Tech along with Centenary, Indiana State and Buffalo. The good thing about that tournament is that you play every team in your pool and the top teams advance to the finals."
Indiana State will travel to Nashville March 8 to play the Lady Bisons at Draper Diamond.
The Lady Bisons will also be in Georgia for the Eagle Classic hosted by Georgia Southern in Statesboro, Ga.
"They had a team drop out on them late, so we don't have a schedule for their tournament," Peck said. "Georgia Southern went to an NCAA regional last year so they are pretty strong."
The Lady Bisons will play Stetson March 21 in an Atlantic Sun double-header, and then stay in DeLand, Fla., for a tournament hosted by Stetson March 23-25. Also in the field are Princeton, Cornell and Kent State.
"It will be fun to play them in a non-conference setting," Peck said. "Princeton and Cornell are usually two of the top teams in the Ivy League."
Also on the schedule is a round-robin series of games at Coastal Carolina Feb. 17 and 18 in Myrtle Beach, S.C.. Also in the field is Elon.
"Western Carolina is coming to play us at Draper Diamond to open the season Feb. 11," Peck said. "It is only their second year to have a program. We don't know a lot about them.
"We are going to Memphis this year on March 14. Last year was their first year to have a program and they did very well."
Eastern Kentucky visits Draper Diamond Feb. 27 and Western Kentucky stops there April 17.
Rounding out the non-conference schedule are double-headers with several mid-state schools including Austin Peay in Clarksville on April 3, Tennessee Tech comes to Draper Diamond Feb. 13. Tennessee State visits Draper Diamond March 28. Middle Tennessee closes out the Lady Bisons regular season schedule at Draper Diamond April 26.
"It's a good non-conference schedule," Peck said. "Yes, we are young, but we do have quite a bit of talent. And, should they perform well, we could very easily win 30 games. It's not going to be overly challenging, but it will be a challenge."
Six teams from the Atlantic Sun Conference qualify for the tournament. Stetson is the team everyone is expected to chase as it defends its regular season championship from 2006.
The Lady Bisons will host A-Sun foes Belmont (March 17), North Florida (March 30), Jacksonville (March 31), Mercer (April 13) and Kennesaw State (April 14).
In addition to Stetson, the Lady Bisons play Gardner-Webb (April 6), ETSU (April 7) and Campbell on the road in A-Sun games.
"Kennesaw is always a strong team," Peck said. "But they are still not able to go to the tournament. North Florida also had a pretty decent year.
"Jacksonville is real young with a new coach who moved up from being an assistant last season. Campbell had a great year and is getting better every year. Gardner-Webb made the tournament last year as well. Mercer should be strong again, but they will have young pitching. We will have young pitching too, so it will be a good match-up."
The Lady Bisons played in the Atlantic Sun Tournament in 2005.


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Bob Strollers
What is BOB? Who is BOB? Why is BOB? Where does BOB come from? Excellent questions all and perhaps never so appropriate than when referring to, well, BOB.nIn 1991, in San Luis Obispo, California, Roger Malinowski, a bicycle industry maven, met Philip Novotny, an airline mechanic, who had turned a decrepit beach cruiser bike into a versatile, lightweight, single-track bike trailer, called the YAK, and was rolling them out of his machine shop on a small scale. Roger knew a great idea when he saw it, and together they took Philip's invention and turned it into a revolution.<\/p>
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|2003-11-04, 00:19
|Link #1
Translator, Producer
Join Date: Nov 2003
Location: Tokyo, Japan
Age: 39
SMLA - More live action anime?!
So, I'll admit I watch this show for fun, but it has given me a good idea for a post....
What anime would you like to see made into a live action series (either in Japan, the US, or elsewhere)?
Please note, this is not asking what anime would NOT make a good live action series.
Last edited by Quarkboy; 2003-11-04 at 01:36.
|2003-11-04, 07:57
|Link #4
Senior Member
Join Date: Nov 2003
Age: 39
None. Making live-action versions of animations merely illustrates the inferiority of live-action as a format. Any animation worth its salt will make great use of the advantages that its format gives it, which will then be impossible to transfer to live-action, rendering such a remake inferior.
|2003-11-04, 08:43
|Link #5
i will admit PGSM is not as great as the anime (which is my personnal fav) But as a series its really cool, and funky, well done, and a credit to live action remakes.
Almost as good as Gunhead.
and i think NGE would make a good Live action, as well as blue gender
|2003-11-04, 14:27
|Link #7
Senior Member
I thought the LiveAction for Sailor Moon was rather cute.. It did look kind of funny though since it's a magical girl show. ^_^;
I think that any romance/drama series would make a good live action. I'm such a fan of Dorama's~
I also just heard that Aim for the ace! is going to be made into a liveaction drama. I can't wait. ^^
|2003-11-06, 00:57
|Link #8
Kougaiji no Miko
i'd really like to see a Saiyuki LA show that would be cool to see!! ^^ or maybe even Prince of Tennis or Hikaru no Go oh!! or maybe even Naruto or One Piece XD heh i could go on and on.. btw, i do like SMLA! it is very interesting to watch! even my mom watches it ^^
|2003-11-06, 04:15
|Link #9
The Man, The Legend......
Join Date: Nov 2003
Location: Redmond, WA
Age: 41
I would love to see a 3 movie deal for Last Exile with a really high budget. It could be done by an American studio since it would really have to have american or english actors to look right anyways.
|2003-11-06, 06:43
|Link #13
(9 '')9 yami yami (9 '')9
oh, i'm a big sailor moon fan but what they did was just so horrible that every time i see smla i wish that someone would shot me just down,
i really don't like live action series but if i had to choose i would enjoy fmp or love hina
|2003-11-06, 07:06
|Link #16
Pantsu Faito!
Join Date: Jul 2003
Location: GTO = Best anime. Ever. Thanks.
Age: 37
Go find out for yourself:
You won't regret it. I hope.
|2003-11-06, 07:09
|Link #17
Senior Member
Join Date: Nov 2003
Brief discription here... http://www.nt2099.com/DORAMA/g_gto.html
|2003-11-06, 12:12
|Link #18
damn gto looks good, reminds of that manga, about the girl with the velvet pussy panties, and her genetic experiment teacher, can rember what its called though
|2003-11-06, 15:11
|Link #19
The Man, The Legend......
Join Date: Nov 2003
Location: Redmond, WA
Age: 41
Im sure most of you all know that they're making a dragonball z live action. I myself am still really skeptical that they won't find a way to really screw it up, but have some hope now. I was reading on the official website and it has unconfirmed rumors that it is going to be rated PG-13 and be over 3 hours long. The best part is that their not going to try and jam the whole story into 1 movie either, it says that they are hoping for it to be 4 movies long. It would cover the saiyan, frieza, cell/android, and buu saga. Industrial Light and Magic (star wars, jurassic park) would do the special effects.
I know this is kind of old news but since the old forum is wiped out if figured I would repost it. Also I read on comics to films that wwf's Goldburg is signed to play Napa, I think he might be perfect for the roll, even if I hate wreastling I have to admit that he does look just like him and you would never find an asian person who could pull off playing Napa.
What do you guys think?
|Thread Tools


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Ahh, Frankie… they didn't so much capture the zeitgeist, as kidnap it, tie it up, hold it down, and have their way with it.
Certainly, back in the mid-eighties, they were omnipresent in the press, on the street, (due to Paul Morley's brilliant hijacking of designer Katherine Hamnett's 'Choose Life' t-shirt range) and even on TV and radio, at least when those august institutions weren't blanket banning them!
It all started back in the late seventies Liverpool punk scene. Singer Holly Johnson fronted the now-legendary Big In Japan, whose only single, also titled Big In Japan, appeared on the Eric's label, itself named after Liverpool's pre-eminent live club venue. The band consisted of future luminaries Ian Broudie (later of Original Mirrors and Lightning Seeds), art-terrorist and author Bill Drummond (KLF), Budgie (Siouxsie And The Banshees, The Creatures) and Jayne Casey (Pink Military Stand Alone). Despite an appearance on seminal British TV show, 'So It Goes', a UK tour, and interest from several big labels, Big In Japan splintered in the summer of 1978.
Concurrently, fellow Liverpudlian Paul Rutherford, a long time friend of Holly's, was singing with The Spitfire Boys, a punk band with a penchant for Ramones cover versions. Despite releasing one single, 'British Refugee', by summer 1978 the band had run out of steam.
During Holly and Paul's punk adventures, Peter 'Ped' Gill and Brian 'Nasher' Nash had been in a number of bands, including The Dancing Girls and Sons Of Egypt. Holly even sang with the latter, for the briefest of periods, appearing on regional TV with them. At this time, Mark O'Toole was playing in a number of unnamed groups, often with his three brothers, Jed, Colin and Vincent.
In 1982, yet another band were formed, the nucleus of which were Holly on vocals, Mark on bass and Ped on drums. Mark's Brother Jed joined as a guitarist, and with the additional vocal talents of Sonya Mazunda added to the mix, Frankie Goes To Hollywood was born. (N.B. The name had already been used by a previous group of Holly's, back in 1980, but they had never got past the rehearsal stage). The new Frankie began rehearsing and writing material and Summer of 1982 saw the groups live debut, supporting Hambi And The Dance, at Pickwicks, a public house in Liverpool city centre. Paul Rutherford, now back on the scene, was there to fill in on vocals for Hambi, and was so enthused by Frankie's performance that he joined them onstage. After the show, Mazunda was ousted and Paul recruited as vocalist / dancer. Frankie began sporting a new image – Paul and Holly letting their gay flags fly by wearing S&M gear, the three 'straight' band members looking every inch the Scallies they were, and friends Julie and Marie Muscatelli adding further visual spice by wielding whips in their leather outfits.
Frankie were beginning to attract attention now and Arista Records paid for demos of Relax and Two Tribes to be recorded. After hearing the results, Arista passed but Frankie were allowed to keep the master, creating a press pack by adding some superb photos, taken by friend John Stoddart, and a cheaply shot video of both songs, filmed at London's Hope & Anchor. Packages were mailed to TV, radio, press and record companies, and although Phonogram Records paid for more recording sessions, they too decided against signing the band. However, the tide was about to turn…
Jed O'Toole was tiring of record company apathy, and wanted a regular wage, so it was no surprise when he quit, making way for 'Nasher' to renew his acquaintances with Holly and Ped. 'The Tube', the key music show on fledgling UK TV network Channel 4, had seen the rough and ready video of Frankie, and were sufficiently impressed to commission a rather more impressive re-shoot, at Liverpool's State ballroom. John Peel's influential radio one show also offered the boys a recording session, which was broadcast in November 1982. The new video was aired on The Tube in early 1983, prompting Peel to re-broadcast the session, which in turn persuaded fellow radio one DJ David 'Kid' Jensen to offer Frankie a session on his show. The February '83 session that went out on Jensen's evening show was heard by many people, but most importantly by someone who was about to take the Frankie story to a whole new level.
Record producer and former Buggles pop star Trevor Horn had recently set up his own label, Zang Tumb Tuum Records, along with manger Jill Sinclair and ex-NME journalist Paul Morley. Horn heard the Frankie broadcast on the David Jensen show, and promptly signed them, along with Art Of Noise and Propaganda. Horn worked on the band's sound and Morley went to work on their image, refining and remodelling Frankie Goes To Hollywood as a media phenomenon. A period of inactivity followed, as Horn fulfilled his production commitments with Yes, but finally in September 1983, Frankie entered the recording studio. Horn, with his experience, pop sensibility and studio wizardry, fashioned a monstrous sound that gave the songs the cinematic grandeur they had always needed.
The first Frankie Goes To Hollywood single, Relax was finally issued in the UK on 24th October 1983. Morley cranked up the hype from day one, spending a fortune on a huge advertising campaign – very eighties, darling! Despite the huge push, the single stalled just outside the UK top fifty, before sliding down the chart. Help was at hand: The Tube invited Frankie onto their Christmas TV special, and they performed stunning versions of Relax and Ferry Across The Mersey with the band resplendent in tuxedos, with the exception of Paul, who appeared in sharp contrast to the others, dressed in trademark leather.
The first UK chart of 1984 saw Relax climb back up to number 35, and the Frankie camp breathed a huge sigh of relief. A performance on national institution Top Of The Pops lifted the record to number six, when fate stepped in once more. Radio one DJ Mike Read, playing the record on his chart show, happened to look at the sleeve of Relax, and was shocked by the sexual content. Immediately declaring the song 'overtly obscene' he tossed the record across the studio in disgust. On 10th January 1984, Relax was given a full BBC ban, which instantly drove the track to the number one position, creating a mountain of press and a veritable storm of outrage across the land. Relax was at number one for several weeks, creating a massive buzz and huge demand for more product. Expectation was high, but Frankie did not disappoint, with the release of Two Tribes on 28th May 1984 sending the nation into Frankie-frenzy. The magnificent video, directed by ex-10cc members turned video visionaries, Lol Crème and Kevin Godley, was also banned by the BBC, but the track was given massive airplay, and stormed to poll position in the chart, holding pride of place for a total of nine weeks.
The summer of '84 can be remembered mostly by the total dominance of Frankie, with a plethora of t-shirt designs boasting the proclamation 'Frankie Say…', and Relax and Two Tribes briefly holding the top two positions in the singles chart, a feat not equalled since fellow Liverpudlians The Beatles had achieved this in January 1968. Britain and Europe fell in love with Frankie, taking their full 12" of pleasure on a multitude of inspired Horn remixes, and at the end of the year, the stupendous Power Of Love took Frankie to number one again. Achieving a number one record with each of their first three singles, Frankie had equalled yet another Liverpool group, Gerry and The Pacemakers, who had been first to that particular summit in 1963.
'Welcome To The Pleasuredome', Frankie's eagerly anticipated first album was unleashed in October 1984, and pretty much washed all other pop away. 1984 had been their year; they had grasped their moment and ravished it. 1985 saw the USA finally take Frankie to their collective breast, with a repackaged Relax making the top ten, but in reality the dream was replaced by the hangover that necessitated a follow up album. Although 'Liverpool', released in October 1986, did not set the chart and the nation's imagination alight in the same way that its predecessor had, it was nevertheless an excellent album. The first single, 'Rage Hard' was a UK number four, and displayed the usual Frankie bragadaccio, but the next two 45s, Warriors Of The Wasteland and Watching The Wildlife peaked at numbers nineteen and twenty eight, respectively.
'Liverpool' itself was a strikingly good album, in fact many consider it to be at least the equal of its predecessor. The production is immaculate, the material is strong and in fact there is a case for making the statement that it's a leaner, meaner album than '…Pleasuredome', and contains no filler whatsoever. Certainly, time has revealed its many charms, and at the very least it's worth revisiting, despite being known more as the groups swan song than its defining statement.
Frankie Goes To Hollywood
Frankie Said
Frankie Goes To Hollywood
Sex Mix
Frankie Goes To Hollywood
Liverpool (Element Edition 2CD)
Frankie Goes To Hollywood
Welcome To The Pleasuredome (Element Series Edition)
Frankie Goes To Hollywood
Twelve Inches
Frankie Goes To Hollywood
Maximum Joy
Frankie Goes To Hollywood
Reload! Frankie: The Whole 12"
Frankie Goes To Hollywood
Bang!... The Greatest Hits
29 August 2014
FGTH - Pleasuredome @ SARM
06 June 2014
Frankie Ultra Deluxe Box Set Launched!
22 March 2013
The Eye Has It
21 November 2012
The FGTH SexMix - new discs available
13 November 2012
Frankie Said (Japan Edition)
13 November 2012
The Enduring Power of Love
13 November 2012
Pleasuredome Stereo Masters
05 November 2012
Frankie Said: Out Now
09 October 2012
Frankie Said
08 July 2012
The FGTH Sexmix - an apology
07 July 2012
The FGTH Sexmix - War!
06 July 2012
The FGTH Sexmix - Two Tribes
10 May 2011
The Return of Liverpool...
21 June 2010
For The Victims of Ravishment
28 January 2010
Pleasuredome... Deluxe! [updated]
12 November 2009
Jesus Christ! Still Bigger Than Frankie
16 October 2009
Great, Greater, Greatest
01 October 2009
For Those With An Eye...
24 September 2009
Frankie Say Greatest
17 September 2009
The Fashion Show
21 July 2009
Frankie in Japan
20 July 2009
Return To The Pleasuredome
16 July 2009
Is That The Twelve Inch Mix?
14 January 2009
Frankie Goes To Hollywood
07 January 2009
Virgin Say Relax
11 December 2008
FGTH 'Hard On' DVD on PAL and NTSC
17 November 2008
The Love of Power
11 October 2008
Il Divo Does To Hollywood
10 March 2008
FGTH mixology
25 October 2005
FGTH, repainted
08 October 2001
Twelve Inches of Frankie


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Rebeca Grynspan: 11th Conference of the Parties to the Convention on Biological DiversityOct 17, 2012
Statement by Rebeca Grynspan UN Under-Secretary-General and UNDP Associate Administrator
11th Conference of the Parties to the Convention on Biological Diversity
8-19 October 2012, Hyderabad, India
Honorable President of the COP, Minister of Environment and Forests for India, Srimati. Jayanthi Natarajan,
Mr. Braulio Ferreira de Souza, Executive Secretary of the Convention on Biological Diversity;
Ms. Naoko Ishii, CEO and Chairperson of the Global Environment Facility;
Ms. Rachel Kyte, Vice President of Sustainable Development at the World Bank;
Honorable Ministers, distinguished delegates, ladies and gentlemen,
Human survival and wellbeing depend upon biodiversity and healthy ecosystems, and the goods and services they provide. Yet, in recent decades, the world has experienced unprecedented biodiversity loss and ecosystem degradation, undermining the very foundations of life on Earth.
Rapid demographic changes, unsustainable patterns of consumption and production, combined with climate change, are pushing our planet to its limits.
It is usually the poor and the vulnerable that are most affected, as they depend on ecosystem goods and services for their basic needs and livelihoods. Biodiversity loss and ecosystems degradation are undermining hard-won development gains, taxing societies and saddling the international community with extremely high costs. This is clearly compromising efforts to achieve equitable and sustainable development, as evidenced in the 2011 Human Development report published by UNDP.
If this is to be halted, the integration of biodiversity and ecosystems management into the development and poverty reduction agenda needs to be promoted — whereby biodiversity is not only addressed as a problem to be solved, but also as a way to create more resilient societies and achieve broader social and economic goals. We need to build a shared vision and commitment to 'biodiversity for development'.
This was emphasized in the outcome document at the Rio +20 Conference on Sustainable Development, that places biodiversity and ecosystem management at the heart of international efforts to reduce poverty and achieve sustainable human development.
Looking beyond 2015, the target year for the MDGs, Member States decided at Rio to launch a process for designing Sustainable Development Goals, starting with the establishment of an Open Working Group of the General Assembly.
UNDP will work closely with the UN system to support the Open Working Group as well as with the High-Level Panel nominated by the Secretary General on the post-2015 development agenda.
Our objective is to help Member States arrive at a unified set of concise, clear and measurable development goals that keep poverty reduction at their core and at the same time recognize and address broader sustainable development challenges – including the conservation of biodiversity.
To that end, UNDP is committed to play its part, working closely with different partners inside and outside the UN system such as the CBD, UNEP, the World Bank and the Global Environment Facility.
Indeed, UNDP is further solidifying its substantial work in this area — as exemplified in our new 'Biodiversity and Ecosystems Global Framework', which will be launched here in Hyderabad.
The Framework underpins UNDP's contribution to the global commitment to the CBD Strategic Plan and our support to countries in their efforts to achieve the Aichi Targets by 2020. It outlines the real value of biodiversity and ecosystems to society and calls for triple win solutions that simultaneously advance economic, social, and environmental objectives and manage adverse tradeoffs.
Based on this Framework, UNDP's work on biodiversity and ecosystems is now organized into three signature programmes that address the governance, market and livelihood barriers that are hampering conservation efforts . These are:
- a programme focusing on the integration of biodiversity and ecosystem management into development planning and production sector activities;
- a programme focusing on the strengthening of protected areas - including indigenous and community conserved areas - so that they are better managed and financed and can contribute to sustainable development, and;
- a programme on ecosystem-based climate change adaptation and mitigation.
With four decades of experience working in 146 countries in the biodiversity and ecosystems field, UNDP partnering with our sister agencies and other important stakeholders in this field, is well placed to provide effective support to governments in translating global agreements on biodiversity and ecosystems into national development actions and to bringing lessons learned and south-south cooperation to the table.
As a result of UNDP's work to date, and in partnership with the Global Environment Facility, production practices in a range of sectors, from agriculture to fisheries, tourism and extractive industries, have been modified to conserve biodiversity and strengthen livelihoods in an area of over three hundred million hectares of production land. UNDP has also strengthened the management of an area of 272 million hectares of protected areas, including marine and terrestrial protected areas, and indigenous and community conservation areas.
As the Parties to the Convention on Biological Diversity go about making statements today, I invite you all to seek common ground. You will of course bring different concerns and priorities to the table. But the challenges in front of us require thoughtful and creative consideration of where compromise can be reached. We must all do everything in our power to ensure that Parties are equipped to meet the Aichi Targets and fulfill the hard-won agreement reached at Nagoya.
The future of our planet hangs in the balance. We have a window of opportunity between now and 2020 to make a fundamental shift in the way we view our nations' natural capital – to shore it up as a vital development asset for food and water security, and an insurance policy against climate change.
Let us rise to the challenge.
I thank you all for your attention.


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Located in the heart of Trilby Florida. This use to be an old house used as an office back in the late 70's. Community Activist/Leader Denny Sharkey Mihalinec seen this county owned building as a way to start Trilby's first ever community center for area families to meet, to hold Town Hall Meetings, kids activities, festivals and a small part turned into a Library and computer room. Many Federal,State, County, City, Senators, Congressman and more participated in Town Hall meetings to improve the areas interest. At it's peak some 150 residents packed this small center for meetings on concerns residents had about the lack of jobs and infrastructure, the need for better housing in the Trilby, Lacoochee & Trilacoochee neighborhoods.
by Trilby Citizen December 07, 2010
buy the domain for your foodie vlog


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|Get your RealityKings password HERE >>
Pornsite: MoneyTalks
Date: 2010-04-13Categories for this video: 1 On 1, Big Ass, Blonde, Blowjob, Handjob, Hotpants, Masturbation, Shaved, Straight, Tall, White
We are on the last leg of our road trip with Money Talks. This week we bring you a hot blondie we find in Arizona to swing our golf club Money Talks style, topless. Next we head over to the Alamo where we get two dudes to strip down in the cold and have a scooter race, loser gets tazed. In Tallahassee we encounter a guy willing to dunk his balls in a hot cup of water for a ballsy tea time. Back over in Texas we get this lil cutie to bare us her chest in a lil titty flash. On to the main show our crew is looking for some spring breakers in need of party money. Our posse roams the streets as we find some victims willing to bare titties and get kicked in the nuts. This one couple wants to make sure they have a great spring break by earning some of our cash. This gorgeous babe shows us her boobs, her beautiful pussy and rides her mans dick in order to pay for her spring break.


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Moderators: Three Stars, dagny, pfim, netwolf
newarenanow wrote:
I have no idea with the legality behind this, but I see it similar to employment clauses and other noncompete clauses as well.
Jopaz wrote:- Is the policy legally enforceable?
Jopaz wrote:- If the policy has been "sporadically" enforced (i.e. not try to collect from everyone who left), does that weaken the company's position?
Jopaz wrote:- My understanding is that this cannot legally be witheld from the employee's final paycheck or unused vacation/sick time payments, is this correct?
Jopaz wrote:- Since the employee does not actually have the money (he spent it on the tuition), is it reasonable to set up a payment plan? Then what happens if the employee does not meet the payments?
Jopaz wrote:- In general, what recourse, if any, does the company have after the employee leaves?
tifosi77 wrote:Jopaz wrote:- My understanding is that this cannot legally be witheld from the employee's final paycheck or unused vacation/sick time payments, is this correct?
In CA, employment law states that employers cannot set off debts between the company and a departing employee by withholding pay. But that's not universally the case. If PA does not have this restriction, I think they can withhold every dollar over minimum wage represented in the vacation time payout. For example, say you, er the employee has two full weeks of vacation time to cash out. At 40 hrs a week, that's $580. But if you're salaried at $40k/yr, two weeks (before tax) is just over $1,500. So that's about $1,000 that's presumably up for grabs upon separation.
Mango Salsa wrote:My girlfriend works in a nursing facility and they have a policy like this. After you've worked there one year they'll send you to nursing school but you have to pass your classes and I think you owe them two years service once you graduate or you have to pay back the tuition. She says they dont enforce it, though.
Jopaz wrote:Also, a case can be made that the company received some benefit from the additional training/knowledge while the employee was still there. And a large company might let this slide but even $10K is a big amount for a smaller company.
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YWFT Moteur began as a technical, retro, machine-like design, with a second version later released as YWFT Maetl. YWFT Moteur carries a strong inspiration from the type work of Wim Crouwel, but branches into a new realm of a more French/German engine-like type design. YWFT Moteur works very well as a headline, especially in poster design projects. YWFT Moteur was converted to Opentype in 2010, and was previously known as Alloy. In the early 2000's it was used heavily by the video gaming magazine 'Playstation' for headline and display purposes.
TTF | 6 Fonts | JPG Preview | 1 Mb RAR
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Sari-sari Store Canvas Bag
This original papemelroti filipiniana-themed canvas bag that is perfect for carrying anything, anywhere. Great for your own use or to give it as a gift.
- Original design by papemelroti graphic artist Robert Alejandro
- 15.5" x 16"H (39.5cm x 41cm)
- 19.5" Handles
- Digital print on canvas
- Zippered top closure
- A papemelroti exclusive
- Handcrafted in the Philippines
Tags: / accessories / bag / candies / canvas / filipiniana / Philippine
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All orders are processed after payment has been confirmed. Orders are processed within 2 business days from 8:00 AM-5:00 PM, Monday to Saturday. Orders placed on Sundays and holidays will be considered orders placed on the next business days.
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You will be notified via email with your tracking number once your package has been picked-up by our courier. After which, control of your package's arrival is turned over.
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We accept PayPal Express Checkout, BDO/BPI Bank Deposit, Cash-On-Delivery, and Dragonpay.
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"The Imminence of a Revelation Not Yet Produced": Ashbery and the Pragmatist Sublime
How can we define the philosophy of pragmatism? What is the relationship between the philosophy of pragmatism and the poetics of John Ashbery? Is there one? Ken McClelland cites Cornel West's citation of C.I. Lewis as "being one of the best characterizations of pragmatism ever formulated" (Opening Truth 12). Lewis writes,
Pragmatism could be characterized as the doctrine that all problems are at bottom problems of conduct, that all judgments are, implicitly, judgments of value, and that, as there can be ultimately no valid distinction of theoretical and practical, so there can be no final separation of questions of truth of any kind from questions of the justifiable ends of action. (qtd. in McClelland 12)
McClelland goes on to comment that, "with the words, 'the justifiable ends of action' in mind, we clearly see that pragmatism's philosophical impulse is inextricably tied to temporal consequences, with the idea that the future is of ethical significance" (12). McClelland then cites Dewey's essay, "The Development of American Pragmatism," in a long block quote, an excerpt of which reads, "The doctrine of the value of consequences leads us to take the future into consideration. And this taking into consideration of the future takes us to the conception of a universe whose evolution is not finished, of a universe which is still, in James' term "in the making," "in the process of becoming," of a universe up to a certain point still plastic" (qtd. in McClelland12-13).
This notion of the universe "in the making" and "in the process of becoming" might resonate with readers of John Ashbery's poetry, a practice of art that, in the able and nimble hands and mind of Ashbery, is constantly in flux, in process, suggesting a seemingly irrational "lack of coherence" that in Ashbery, as William Watkin writes, "does not deny a lack of cohesion" (187). As Watkin points out,
it is almost always the case that within his poetic units the semantic short-circuiting at the level of coherence is made up for by the two key factors of cohesion which often serve to undermine thematic semantics: lexical groupings and syntactic process. (187 my italics)
This "processual aesthetic" of Ashbery's poetry is later described by Watkin as "a process of putting down and moving on" (214). And it is this process of becoming, noted by Dewey in terms of a characteristic of the future, and therefore in terms of the primary orientation of the philosophy of pragmatism, that Ashbery embodies in his poetic praxis. Ashbery's work is a radically open-ended language game (language games in the plural seems more appropriate), that seems to give one the experience, through language, of the future in the immediate process of becoming, of things beyond our awareness coalescing, forces turning and tuning up, like a great orchestra just about to begin, as we sit at the edge of our seats and experience
The great, formal affair[…]beginning, orchestrated,
Its colors concentrated in a glance, a ballade
That takes in the whole world, now, but lightly,
Still lightly, but with wide authority and tact. (Ashbery 427)
Better yet, as Ashbery himself has said, first quoting an essay by Borges entitled, "The Wall and the Books," then commenting on it,
'Music, states of happiness, mythology, faces molded by time, certain twilights in certain places—all these are trying to tell us something, or have told us something we should not have missed or about to tell us something. The imminence of the revelation that is not yet produced is, perhaps, the aesthetic reality.' The imminence of a revelation not yet produced is very important and hard to define in poetry and probably is the source of some of the difficulty with my own poems. But I don't think it would serve any useful purpose to spare myself or the reader the difficulty of that imminence, of always being on the edge of things. (qtd. in Hubbard my italics)
"The imminence of a revelation not yet produced" is a remarkable formulation for describing the process of the future unfolding, and it is what I hope to signify by the term the "pragmatist sublime." Such a phrase ("the imminence…") conjures images of openings, or landscapes glimpsed, waterfalls or canyons, suddenly or slowly, possibilities rising up with inexhaustible and astonishing energy, potentials parting like curtains to reveal further potentials, more dazzling drawing rooms, a hall of mirrors of what-may-come-next. This is the world of Ashbery; and it is also the world of William James, one of the founders of pragmatism, who wrote in Pragmatism: A New Name for Some Old Ways of Thinking, (a book that David Herd has called "a guidebook to American poetics before and since" (13))
But if you follow the pragmatic method, you cannot look on any such word as closing your quest. You must bring out of each word its practical cash-value, set it at work within the stream of your experience. It appears less as a solution, then, than as a program for more work, and more particularly as an indication of the ways in which existing realities may be changed. (28 his italics)
"Pragmatism," James writes a paragraph later, "unstiffens all our theories, limbers them up and sets each one at work" (28). The same can be said, of course, for Ashbery's poetry, and also for our experience, when we are more sensitized to it. Indeed, it is one of Ashbery's greatest virtues as a writer that, in the way which Gunter Leypoldt describes Martha Nussbaum's take on Henry James – "moral intelligence….understood as a heightened perception of complexity…[an] ethical progress [becoming] a question of improving our aesthetic powers of discrimination" – Ashbery augments our powers of feeling, perception and imagination, placing us more immediately within the variety of contexts which constitute our world (Leypoldt 146). Ashbery, like both James brothers, makes our experience more powerful, more intense, more interesting, more enriching.
This is what David Herd means when discussing Ashbery's "poems of occasion" – the notion of the "defining Ashberyan ambition" being "to write the poem fit for its occasion," or "to achieve a poem appropriate to the occasion of its own writing" (7, 10). It is the idea that currently, as I type, there are more than ten books situated in various alignments on my desk: books about the New York School of poets, books about Richard Rorty, books about Ashbery, and three books in Spanish, one of which I have to translate for a Spanish exam in order to graduate from my master's in English program at the University of Toledo; there is an orange washrag near the books, a knife coated with stale hummus, a phone peeping out from behind a stack of articles; there are trees outside the window, their leaves, to paraphrase Ashbery in "As One Put Drunk into the Packet-Boat" "yellowed by the sun"; the sounds of cars driving on the road in front of my apartment, the refrigerator in the kitchen humming, a guitar leaning against a bookcase, etc. All this is part of the "occasion" of which I write right now (not to mention the culture(s) of everything in my apartment, lurking behind or afore everything, making everything somehow a part of a disjointed but connected picture) – and it is this richness and plurality of detail that Ashbery drenches his poems in and with.
This notion of the occasion, written about wonderfully and helpfully by Herd, is what William James also intuits with astonishing insight, when he writes in his deservedly famous chapter in Principles of Psychology, "The Stream of Thought,"
The traditional psychology talks like one who should say a river consists of nothing but pailsful, spoonsful, quartpotsful, barrelsful, and other moulded forms of water. Even were the pails and the pots all actually standing in the stream, still between them the free water would continue to flow. It is just this free water of consciousness that psychologists [Ashbery might say poets as well] overlook. Every definite image in the mind is steeped and dyed in the free water [the occasion] that flows round it. With it goes the sense of its relations, near and remote, the dying echo of whence it came to us, the dawning sense of wither it is to lead. The significance, the value, of the image is all this halo or penumbra that surrounds and escorts it,- or rather that is fused into one with it and has become bone of its bone and flesh of its flesh; leaving it, it is true, an image of the same thing it was before, but making it an image of that thing newly taken and freshly understood. (255)
Therefore, as James writes earlier in the same chapter, "The truth is that large tracts of human speech are nothing but signs of direction in thought" (252-253). James, like Ashbery, redescribes the climate of our mental environments; in so doing, he gives us, as Ashbery does, a more nuanced, more complex, richer sense of who we are and how we are. James, like Ashbery, enlarges us.
So how do James and Ashbery achieve such a powerful effect? How do we understand the consequences of this effect? The answer to the former question is, of course, their language; for, as McClelland has written, "Experience is linguistic top to bottom (and side to side)." (Opening Truth 20) The answer to the latter question demands that we now introduce the figure of Richard Rorty, a neopragmatist whose work sheds incredible light on Ashbery's poetic praxis, just as Ashbery's poetic praxis embodies those pragmatist doctrines as mentioned above, just as James's work sheds incredible light on Ashbery. But what is it, more specifically, about Rorty's philosophy, or even his vision as a thinker, that elucidates so well what Ashbery is doing, or Ashbery's vision as a poet? More concisely, How does Rorty's revolutionary philosophy help us understand Ashbery's revolutionary poetry? What does it mean to write revolutionary poetry or philosophy?
Let's begin with what many have deemed an important aspect of Rorty's thought: his notion of metaphoric redescription as inquiry. What is "metaphoric redescription as inquiry"? Christopher J. Voparil writes,
Under different names this work of redescribing was a part of Rorty's thinking since his earliest published work, where he calls attention to the fact that "any metaphysical, epistemological, or axiological arguments can be defeated by redefinition" – the philosopher's ability to "change the rules" of the game largely by altering the relevant criteria. (33-34)
This approach, Voparil continues, "looks to the imagination, rather than to inference" in order to recontextualize, a process that is "not unlike what takes place in Kuhnian periods of revolutionary science" (34). And seismic shifts in culture, Kuhn and Rorty might say, happen not through logical argument, but through a different style of imagining and imagination, that reweaves contexts into new tapestries. This has much to do with James's notion of temperament, as well as Harold Bloom's notion of the agon of influence. James writes in Pragmatism,
The history of philosophy [and poetry] is to a great extent that of a certain clash of human temperaments[…]Of whatever temperament a professional philosopher is, he tries, when philosophizing, to sink the fact of his temperament. Temperament is not conventionally recognized reason, so he urges impersonal reasons only for his conclusion. Yet his temperament really gives him a stronger bias than any of his more strictly objective premises. (8-9)
And Bloom, whose lifework might be said to be involved with developing a thickly pataphysical and Freudian account of the process of metaphoric redescription, writes (calling redescription "revisionism"),
Poetic Influence – when it involves two strong, authentic poets, – always proceeds by a misreading of the prior poet, an act of creative correction [redescribing] that is actually and necessarily a misinterpretation. The history of fruitful poetic influence, which is to say the main tradition of Western poetry since the Renaissance, is a history of anxiety and self-saving caricature, of distortion, of perverse, willful revisionism without which modern poetry as such could not exist. (30)
The notion of redescription thus allows us to somehow hold in our minds the paradox that there is no precedent for a Shakespeare, a Whitman, or an Ashbery, just as there is no Shakespeare, Whitman or Ashbery without the tradition they inherited. The same can be said of other world-changers, figures like Einstein or a Darwin; or as Rorty writes,
Hobbes did not have theological arguments against Dante's world-picture; Kant had only a very bad scientific argument for the phenomenal character of science; Nietzsche and James did not have epistemological arguments for pragmatism. Each of these thinkers presented us with a new form of intellectual life, and asked us to compare its advantages with the old. (qtd. in Voparil 35)
But redescription, as Voparil points out, is not just a "method of inquiry": citing Rorty, he writes, "'speaking differently, rather than arguing well,' on [Rorty's] view is 'the chief instrument of cultural change.' In a word, redescription is political; redescriptions have the power to change our minds" (35). Here is Rorty, writing about redescription in Contingency, Irony, and Solidarity:
The method is to redescribe lots and lots of things in new ways, until you have created a pattern of linguistic behavior which will tempt the rising generation to adopt it, thereby causing them to look for appropriate new forms of nonlinguistic behavior, for example, the adoption of new scientific equipment or new social institutions. (9)
An awareness of this method is an awareness, Rorty might say, of the contingency of language – that language has no intrinsic nature – and therefore of "a picture of intellectual and moral progress as a history of increasingly useful metaphors rather than of increasing understanding of how things really are" (Contingency 9).
We find this sentiment – that intellectual and moral progress happens as a result of new vocabularies replacing old vocabularies – articulated over and over in Ashbery's poetry. In fact, I would hazard the argument that, in the terms of William James, metaphoric redescription is in Ashbery's "voluntary thinking" a "topic or subject about which all the members of the thought involve" (259). James goes on to write in his Principles that
Half the time this topic is a problem, a gap we cannot yet will with a definite picture, word, or phrase, but which, in the manner described some time back, influences us in an intensively active and determinate psychic way. Whatever may be the images and phrases that pass before us, we feel their relation to this aching gap. To fill it up is our thought's destiny. Some bring us nearer to that consummation. Some the gap negates as quite irrelevant. Each swims in a felt fringe of relations of which the aforesaid gap is the term. Or instead of a definite gap we may merely carry a mood of interest about with us. Then, however vague the mood, it will still act in the same way, throwing a mantle of felt affinity over such representations, entering the mind, as suits it, and tingeing with the feeling of tediousness or discord all those with which it has no concern. (259)
Again, notice how James, through his own metaphoric redescription, enlarges our understanding about what our individual interests mean, how they feel, how they operate within the idiosyncratic consciousness that forms the matrix of our deeply private selves. This is exactly what Ashbery achieves in his greatest works, for his poems make redescription their content, even as their form and process enact redescription as their primary way of unfolding.
Metaphoric redescription is in Ashbery's earliest "self-portrait" in Some Trees, in "The Picture of Little J.A. in a Prospect of Flowers," where he writes,
Still, as the loveliest feelings
Must soon find words, and these, yes,
Displace them, so I am not wrong
In calling this comic version of myself
The true one. (14)
It's in "Illustration," also in Some Trees:
Much that is beautiful must be discarded
So that we may resemble a taller
Impression of ourselves. (25)
The sense of the new replacing the old can be found in The Tennis Court Oath, in "White Roses":
So put away the book,
The flowers you were keeping to give someone:
Only the white, tremendous foam of the street has any importance,
The new white flowers that are beginning to shoot up about now. (66)
And the sense of the contingency of language can be found at the opening of "A Last World":
These wonderful things
Were planted on the surface of a round mind that was to become our present time.
The mark of things belongs to someone
But if that somebody was wise
Then the whole of things might be different
From what it was thought to be in the beginning, before an angel bandaged the field glasses. (83)
We find the sentiment that there are no neutral starting points for thought in "The Eccliast" in Rivers and Mountains: "There was no life you could live out to it end / And no attitude which, in the end, would save you" (135). And perhaps one of the most famous of Ashbery's "utterances" in terms of new vocabularies replacing old vocabularies can be found in "Clepsydra," in a passage which reads,
Each moment
Of utterance is the true one; likewise none are true,
Only is the bounding from air to air, a serpentine
Gesture which hides the truth behind a congruent
Message, the way air hides the sky, is, in fact,
Tearing it limb from limb this very moment: (140)
But these are only fragments; and what we find, when reading through Ashbery's ouvre, is that these are not isolated incidents, but part of a larger pragmatic temperament that shapes the poems in such a way as to suggest, in the unfolding of the poem's inner logic, the redescription of what it means to be alive through a new vocabulary replacing an old vocabulary.
Quickly, What was the old vocabulary? That depends on the critic. Bloom would say Stevens and Whitman; Ben Hickman would say the English tradition; David Herd cites Randall Jarrell's description of Robert Lowell's poetry as
the coiling violence of its rhetoric, the harsh and stubborn intensity that accompanies all its verbs and verbals, the clustering stresses learned from accentual verse, come from a man contracting every muscle, grinding his teeth together till his shut eyes ache. (qtd. in Herd 33)
Herd goes on to write that,
The way Ashbery, along with O'Hara and Koch, solved the problem of not being Lowell was by reading widely in pursuit of alternatives, revitalizing American poetry as they did so – and in the time-honoured fashion of Whitman, Eliot, Pound and Stevens – by absorbing influences from elsewhere, France and Russia in particular. (35)
It does not concern my study here to delve too deeply into the impact of the French and Russian influences on Ashbery, as this has been chronicled elsewhere, especially in the work of Herd in regards to Pasternak's influence on Ashbery. But I do want to stress that Ashbery is almost abnormally preoccupied with change, with what progress might mean, with the way in which change and progress and difference happen through metaphorically redescribing the world. To look at this issue more closely will require closer readings of the poems throughout his oeuvre. For the sake of this essay, I will be focusing on Ashbery's first book, Some Trees.
If the majority of Ashbery's work is concerned with the way in which the future, like a horizon, spreads out before us, (though we do not know which direction it will take us in), then we might say that each of his books presents various strategies for conveying this feeling to us aesthetically. In Some Trees, as Catherine Imbriglio has pointed out – though in the context of "closeted spaces" as opposed to the "revelation not yet produced" – this feeling is often transmitted via the notion of reticence, silence, and secretiveness – or, as David Shoptaw writes, "Some Trees is as remarkable for it excludes or slights as for what it represents" (19). Since we don't know what the future will bring, it follows that we must be, to some extent, reticent, silent or secretive – reticent, because we don't know what will happen, and therefore do not want to overstep our boundaries, not necessarily in a fearful or quietist way, but certainly in a vigilant way; silent, because perhaps in our silence we may become more attentive to what is about to happen; and secretive, the etymology of which suggests a hiddenness, and therefore an awareness that the future itself is secret, is hidden, is somehow magically undisclosed. This hiddenness has less to do with the cryptic way in which Some Trees "encodes a gay network of friends circulating among enemies and possible informants" (Shoptaw 20), and more with the cryptic nature of the future itself. Thus we read, in "Two Scenes," (a title that itself betrays a reticence about being too specific, about naming; as Shoptaw points out, "nearly half [of the poems in Some Trees] indicate the form or mode of their poem" (19)):
We see us as we truly behave:
From every corner comes a distinctive offering.
The train comes bearing joy;
The sparks it strikes illuminate the table.
Destiny guides the water-pilot, and it is destiny.
For long we hadn't heard so much news, such noise.
The way was warm and pleasant.
"We see you in your hair,
Air resting around the tips of mountains." (3)
For a long time I have wondered about the first line of the first poem in Ashbery's first published collection: "We see us as we truly behave". It troubles me, because Ashbery strikes me as such an anti-essentialist, an anti-foundationalist, a la Rorty, who would therefore be uncomfortable with notions such as Truth or a monolithically true perception. Therefore, I do not read the line as Imbriglio does, as "one totalizing visionary moment," such a phrase being, as I deem it, an unhelpful oxymoron, as a visionary moment, according to Ashbery, would not and cannot be totalizing (279). I'd like to suggest that we posit that "to see us as we truly behave" is a way of saying, "when we are oriented towards the future, wondering what will happen to us, then we can "see us as we truly behave", as most people are acting in such ways that suggest they are aware of their future and are making decisions in the present to realize what they hope for in the future. Going along with this interpretation – which implies that, even if we are oriented towards the future, we do not and cannot know what it will bring – is a sense of child-like wonder and magic in the poem, an almost forced naiveté, an enormous Joseph Cornell-like innocence. "From every corner comes a distinctive offering" we hear, and "The train comes bearing joy; / The sparks it strikes illuminate the table". Furthermore, "Destiny guides the water-pilot, and it is destiny", and "For long we hadn't heard so much new, such noise." Each line works with the lines before and after to create a tapestry of novelty, of exciting things occurring which are hard to place. The notion is repeated in the second stanza, in which we read,
This is perhaps a day of general honesty
Without example in the world's history
Though the fumes are not of a singular authority
And indeed are dry as poverty. (3)
Ashbery is calling our attention to the unprecedentedness of the future, and he is conveying this notion to us through language that redescribes this feeling in a new way. The poem ends, "As laughing cadets say, "In the evening / Everything has a schedule, if you can find out what it is." I do not read this line as suspiciously as Imbriglio does, as signifying a secrecy necessary because of Ashbery's homosexuality, although I do find such a reading compelling. Nor do I read the poem, as Marjorie Perloff does, as a kind of fantastical polyphony of dream-logic – i.e. "Not what one dreams but how – this is Ashbery's subject" (252). Again, Ashbery's poems do suggest, as Perloff has written, the logic of a dream; but here it is a matter of emphasis; and I wish to emphasize that his poems also suggest, with a florabundance rarely exhibited, the multifariousness of conscious lived experience reflecting on the future. (Of course, this reflecting on the future is also a kind of dreaming; and in that sense my argument dovetails with Perloff's.) The evening can be interpreted, then, not as a metonym for dreams, nor as a metaphor for a pernicious shadowy presence of homophobia, but rather as a trope for the future, when the darkness suggests a wide-openness, commensurate with the sublime expansiveness of contemplating a future that is already somehow happening, all the time, though in some ways unbeknownst to us.
We find this same reticence, secretiveness and silence evident in "Popular Songs," which ends,
There is no way to prevent this
Or the expectation of disappointment.
All are aware, some carry a secret
Better, of hands emulating deeds
Of days untrustworthy. But these may decide.
The face extended its sorrowing light
Far out over them. And now silent as a group
The actors prepare their first decline. (4)
Here, we might say that "the face" is a trope for evening, for the horizon of the future, for it is a metaphor with, again, a certain wide-openness, a vastness that suggests the power of memory, feeling, imagination. ("Perhaps we ought to feel with more imagination" Ashbery writes later, in "The Recent Past" (136)). There is no way to prevent "this" – perhaps a pronoun referring, in its ambiguousness, to the ambiguity of the future – just as there is no way to live a life without disappointment. Everyone is aware of the powerful dangerous imminence of the future, but some, as Ashbery writes, "carry a secret / Better," perhaps implying that for some, this awareness leads to powerful creations. But why the metaphor of the theater and acting in the last line? What does this calling our attention to artifice have to do with an awareness of the imminence of the future? Perhaps our very secretiveness makes us actors and actresses, acting a certain way on the surface, though all the time we are "nursing some private project" (Ashbery 125).
Ashbery's reticence does not only manifest itself in lines that directly refer to the word "reticent," such as the end of "As One Put Drunk Into a Packet-Boat," where we read the oft-cited, "But night, the reserved, the reticent, always gives more than it takes" (428). Reticence is part of his overall strategy, as Imbriglio points out, and can be found in his willingness to supply us with details of a narrative, combined with his unwillingness to fill out these details into some kind of totalized story. We see this reticence about narrative in "Popular Songs," a reticence about filling in the gaps, or the way in which gaps are filled; and we also find it in "A Boy," a poem whose suggestiveness is far more powerful than its completeness. We also find it in "Album Leaf," where Ashbery asks three questions –
What can we achieve, aspiring?
And what, aspiring, can we achieve?
What can the rain that fell
All day on the grounds
And the bingo tables? (12)
without directly answering them. Even in a poem like "The Instruction Manual," where the narrative we are given, the picture of the world, feels somewhat complete, the poem is written in a tone of such ferocious irony that it is very difficult to read the overall picture of the poem as in a way a serious attempt at capturing totality. We might even say that Ashbery's reticence plays into the astonishment of his images, for what makes Ashbery's images so dazzling is their imaginative unexpectedness, their visionary unprecedented-ness, which seem to be the reward for being reticent, for waiting, and therefore exhibit the other side of reticence, which is boldness, courage, the willingness to adventure, to manifest in the greatest possible way the beauty of one's own idiosyncratic character.
This reticence, which translates at times into the shocking novelty of Ashbery's images, can be found in a wonderfully memorable way through Ashbery's "The Picture of J.A. in a Prospect of Flowers," a poem that begins with an epigraph from Pasternak that reads, "He was spoilt from childhood by the future, which he mastered early and apparently without great difficulty" (13). "Picture" is divided into three sections, and the first one begins,
Darkness falls like a wet sponge
And Dick gives Genevieve a swift punch
In the pajamas. "Aroint thee, witch."
Her tongue from previous ecstasy
Releases thoughts like little hats.
"He clap'd me first during the eclipse.
Afterwards I noted his manner
Much altered. But he sending
At that time certain handsome jewels
I durst not seem to take offence."
In a far recess of summer
Monks are playing soccer. (13)
The first stanza oscillates between images of reticence, wonder, and silence, combined with a cartoonish form of violence. Genevieve, who appears like a cartoon character, is punched "in the pajamas," yet she is so taken by some "previous ecstasy" that she "releases thoughts" (assumed to be either words or cartoonish thought boxes) "like little hats." Then Genevieve speaks, and mentions another trope for the future, an eclipse (perhaps the "darkness [falling] like a wet sponge"); a change in behavior on the part of Dick; and then a silence on Genevieve's part about being punched. After we hear that Genevieve exhibits her own style of reticence, perhaps out of wonder at the "handsome jewels" given to her, we hear that "In a far recess of summer / Monks are playing soccer." The images are juxtaposed so strangely and suddenly, there is a hilarious absurdity of the poem that seems to muffle the fact that the poem is also exorbitantly silent and almost abnormally reticent. For what better way of expressing unexpected silence than the implacable image of monks "in a far recess of summer" playing soccer?
The second stanza then takes these themes of reticence, wonder, and silence, along with the tonality and modality of cartoon violence, and changes into a meditation on re-description ("So far is goodness a mere memory / Or naming of recent scenes of badness") which varies with a tonality and modality of fantasy ("as dirty handmaidens / To some transparent witch, will dream / of a white hero's subtle wooing, / and time shall force a gift on each"). This makes sense philosophically, for a radical orientation towards the future will carry with it an emphasis on the imagination, since the future itself ("moral and intellectual progress") is largely a product, Rorty might say, of what we imagine in the present. Yet a radical awareness of the future also has its costs, which we find out in the third stanza, where Ashbery's philosophy of "acceping // Everything, taking nothing" seems to lead to an almost morbid trauma, where silence and revelation, like Elizabeth Bishop's experience in "In the Waiting Room," take on traumatic hues. In this situation, Ashbery imagines his past self as a "pale and gigantic fungus," perhaps a metaphor for a certain kind of sickliness owing to a constant vigilance pertaining to what may come next. Yet the poem ends on a note of re-description again, where "only in the light of lost words / Can we imagine our rewards." This suggests that only as new vocabularies replace old vocabularies ("lost words"), can we begin to imagine our aspirations and what these aspirations might lead to.
Shoptaw reads this ending differently. He writes,
Virtue, so the saying goes, is its own reward. For Ashbery, however, virtue is rewarded only retroactively, in the fame of published poems in which the past is irrevocably lost and recaptured: "And only in the light of lost words / Can we imagine our rewards." As Proust says, in what becomes another encrypted moral for "Picture," "the true paradises are the paradises that we have lost." (28)
Yet I cannot help but feel that the locus of meaning for the last phrase in the poem pivots around the meaning of "lost," which Shoptaw seems to interpret as something missing or absent that consequently produces nostalgia in the speaker, a nostalgia that allows the speaker to create or imagine a poem out of its longing. It's really a matter of emphasis. Shoptaw does, importantly, draw our attention to the fact that Ashbery is not only a poet concerned with the future, but also one fascinated by nostalgia, by the past. Yet for all Ashbery's interest in these matters, the ending of "J.A" has less do with nostalgia ("the light of lost words") and more to do with dead metaphors ("the light of lost words"), which is to say, more to do with an emphasis on imagination than memory. I also wish to add to David Herd's potent interpretation of "J.A.," when he writes of the poem as "the self-conscious product of the various influences that constitute its aesthetic background" (45). Yes, the poem is that, but it is more as well: a meditation on the influences that helped to create it, as well as a meditation on the contingency of language itself, whereby virtue can be re-described as "stubbornness," and a "comic version" of oneself can be designated (with irony) the "true one." Perhaps our best interpretation of this ending comes from James Longenbach, who writes, "'Truth' is not undermined by these realizations; it is reconceived [or re-described] by the adult Ashbery as a contingent quality even as his former self, frozen in the photograph, continues to think of it as permanent and unchanging" (92, my italics).
What is clear from all this is that pragmatism, as a philosophy oriented towards the future, and therefore towards an undisclosed, disclosing open-endedness, can be used in helpful ways to interpret the challenging but rewarding poetry of Ashbery. Thinkers like William James and Richard Rorty, as well as John Dewey, must be used to help us understand Ashbery's important, influential, amazing poetics. For as Ashbery's ouvre develops, we find new strategies, new genres, new ways of discussing the aesthetic power of the "revelations not yet produced." And the more we can understand how Ashbery helps us to reach this remarkable pragmatist sublime, the more we can begin to understand what Borges called the "perhaps, the aesthetic reality," (though one cannot help but feel that Ashbery would change this to "perhaps, an aesthetic reality").
Works Cited
Ashbery, John. Collected Poems, 1956 – 1987. New York: Library of America, 2008. Print.
Bloom, Harold. The Anxiety of Influence: A Theory of Poetry. London: Oxford UP, 1975. Print.
Herd, David. John Ashbery and American Poetry. New York: Palgrave, 2000. Print.
Hubbard, Will. "In Which We Enter the Double Dream of Spring." This Recording.com 27 April 2008. Web. 10 May. 2013.
Imbriglio, Catherine. "'Our Days Put on Such Reticence': The Rhetoric of the Closet in John Ashbery's Some Trees." Contemporary Literature 26. 2 (1995): 249 – 288. Print.
James, William. The Principles of Psychology, Volume One. New York: Dover Publications, 1950. Print.
James, William. Pragmatism and Other Writings. New York: Penguin Books, 2000. Print.
Leypoldt, Gunter. "Uses of Metaphor: Richard Rorty's Literary Criticism and the Poetics of World-Making." New Literary History 39.1 (2008): 145 – 163. Print.
Longenbach, James. Modern Poetry After Modernism. New York: Oxford UP, 1997. Print.
McClelland, Ken. "John Dewey and Richard Rorty: Qualitative Starting Points." Transactions of the Charles S. Pierce Society 44.3 (2008): 412 – 445. Print.
McClelland, Kenneth A. "Opening Truth to Imagination: The Pragmatism of John Dewey and Richard Rorty." Diss. Brock University, 2006. Print.
Perloff, Marjorie. The Poetics of Indeterminacy. Princeton: Princeton UP, 1981. Print.
Rorty, Richard. Contingency, Irony, and Solidarity. New York: Cambridge UP, 2009. Print.
Shoptaw, John. On the Outside Looking Out: John Ashbery's Poetry. Cambridge: Harvard UP, 1994. Print.
Christopher Voparil and Richard Bernstein (ed.). The Rorty Reader. Malden: Blackwell Publishing Ltd. 2010.
Watkin, William. In the Process of Poetry The New York School and the Avant-Garde. London: Associated University Presses, 2001. Print.


text:
The government entices property buyers with lower property taxes.
Handelsblatt, one of the leading economic newspapers in Germany, dedicated an article to the Greek real estate market, in its printed edition of 07/02/14. The CEO of Engel & Völkers Rhodes, George Petras, was quoted as saying to Handelsblatt that second home market buyers do not usually rely on credit institutions. Additionally, the lowered land transfer tax is in conjunction with the easing of the property market resulting in an increase in prices.
"Georg Petras also sees a turn around in the holiday home real estate market." Prices within the medium and high-quality second home market in regions such as the Peloponnese and on the islands are now stable and will rise later on this year," predicts the Swabian German-Greek who directs the real estate office of Engel & Völkers on the island of Rhodes ."
"Petras strongly advises potential clients, not to look for properties on their own, because in Greece quite often the ownership of real estate can be extremely complex."