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Iowa Mathematics Graduate Programs and Schools
Math Graduate Schools may offer masters, doctorate and certificate programs in pure and applied mathematics. Pure mathematics is oriented to theory, formulas and solving problems that arise in computation. Applied mathematics uses math models and techniques to solve problems in areas such as business management, science, technology and engineering. Since there is often some overlap, you might also find a math school that has a broad-based program with courses in both types of math.
Math Graduate Schools and Math Graduate Degrees
Admission to math graduate schools varies but most require some background knowledge. Often, students need a bachelors degree from an accredited institution in mathematics or a related field. Some programs also presume students have some background in courses specific to the program they are applying to. These prerequisites might include multivariable calculus, differential equations, matrix theory, probability, programming language and statistics. Applicants may also need to write out their goals, have letters of reference and show GRE math test scores.
Masters in Math Schools
Masters in math programs could lead to either a Master of Arts (MA) or Master of Science degree. In some math graduate schools, the MA program offers a broader curriculum and includes math research. By contrast, the MS program might be more technical, and students might be able to choose an area of emphasis in subjects like discrete math, statistics or scientific computing. Some programs may also offer a thesis option, which could be preferable for those hoping to go on to earn a doctorate.
PhD in Math Schools
The PhD in math is a terminal research degree. Often, a PhD program in math starts with coursework and seminars which are designed to prepare students for various exams. Courses might cover topics such as algebraic topology and theory of probability. Students must successfully pass exams before they continue with their dissertation research. Then through their dissertation, they might explore a specific area of interest with the goal of contributing new knowledge to the mathematics field.
Graduate Certificates in Math
Graduate Certificates in Math are sometimes designed for teachers who want to boost their knowledge and pursue extra licensure with their state or regional education board. This type of certificate might be viewed as part of, or in addition to, a masters degree. Students could study topics such as linear algebra, advanced calculus and modern geometry. Moreover, they might take away stronger communication and analytical skills.
Find a Math Graduate School That is Great for You
Perhaps when you start to search for Math Graduate Schools, you have an image of a blackboard with formulas scribbled across and a classroom full of intense thought and critical analysis. Today's math graduate students may experience this and more from an on-campus math program. While the blackboard may not be replaced, many schools also have computer and statistical laboratories, libraries and other facilities that you might avail yourself of.
Also, in some math graduate schools, the program size may be limited, which could mean more face-to-face time with faculty, and the opportunity to engage with peers. When you are not proving and disproving theories or solving partial differential equations, you might be involved in other student activities. Or, hard at work alongside a professor, engaged in a faculty research project.
Take the Next Step
Search this site for math graduate schools by location and degree level, whether it is a Masters in Math or PhD in Math degree that you seek. Each math school has unique features and courses. Read about the programs generated in your search. Then, easily contact math graduate schools right from the page. We provide the form, all you do is send it out. Take the next step now!
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Copyright Policy at the European Commission – Science Commons' Response
November 24th, 2008 by Kaitlin Thaney
This past July, the European Commission released a green paper on issues pertinent to work in increasing access to scholarly content. The paper, "Copyright in the Knowledge Economy", raises a number of questions regarding licensing schemes for scholarly content. The following is Science Commons' submitted response to the Commission on Question 19.
The question reads:
"Should the scientific and research community enter into licensing schemes with publishers in order to increase access to works for teaching or research purposes? Are there examples of successful licensing schemes enabling online use of works for teaching or research purposes?"
Science Commons – Response to Question 19
Submitted on November 21, 2008 —
Within the scope of the Green Paper (section 1.2) is the dissemination of research, science, and educational materials to the public, and question 19 asks whether the scientific and research community should enter into licensing schemes with publishers to increase access to work for teaching and research purposes.
With respect to governmentally-funded research, the fruits of research should be openly available to the scientific community and the public, in accordance with the principles laid out in the Budapest Open Access Initiative, the Berlin Declaration on Open Access to Knowledge in the Science and Humanities, and the Bethesda Statement on Open Access Publishing. We believe that these declarations already articulate principles that are appropriate for ensuring broad, digital access to the scientific and scholarly corpus. Such access is particularly important with respect to results arising from research projects supported with government funding, because broad-based, digital dissemination serves important social and governmental purposes that motivate such funding.
We recognize that publishers have a variety of business models, and while open access models used by publishers such as Public Library of Science and BioMed Central offer the fastest and most direct means of making scholarly works available to the public, other, so-called "traditional†publishers, pay for peer-review and publication-related costs through subscription and access fees. They have argued that an exclusivity or "embargo" period is needed in order to fund investments in quality control and to support publication costs. We believe that fee-for-access publishing models are not necessarily inconsistent with the broad goals of open access, as long as the embargo period(s), if any, are reasonable, and that subsequent to the embargo period, scholarly papers published in journals are deposited in an online repository and made available for download free of charge and free of technical or legal restrictions. An example of such a policy would be the NIH Public Access Policy (April 7, 2008).
Furthermore, such works should be licensed to the public under terms that permit redistribution and appropriate reuse, including in certain circumstances, the creation of compilations, annotations, and other derivative works. Examples of licenses that support the ability to disseminate and to reuse works include the Creative Commons licenses, published by Creative Commons Corporation. The Creative Commons Attribution 3.0 license is an example of a license that is widely adopted by open access journals and recognized as consistent with the open access declarations discussed above. However, such open licenses need not be limited only to open access journals, but they can also be used a model for licensing works made available after any relevant embargo periods. Such licenses ensure that open access is not only available at a technical level through download (read-only access) but also at a legal level through appropriate licensing of copyright in order to permit the preparation of derivative works and other transformative uses (read-write access), which are central to scientific and cultural enterprises. Creative Commons has also worked with many international collaborators to make these licenses available in many languages, as well as to adapt them to the laws of many jurisdictions.
For almost two years, Science Commons has operated a portal and a tool called the "Scholars Copyright Addendum Engine," which aggregates a wide variety of recognized "Author Addenda" by means of which scholars can enter into negotiations with publishers to retain rights of reuse for scholarly and teaching purposes. While such tools may indeed aid a few scholars in negotiation with publishers to retain rights to archive and reuse their own works for teaching and research, such case-by-case negotiations do not make a significant impact in the vast majority of cases, which represents the bulk of published research. This is due in part to the relative imbalance in negotiating power and legal expertise of the parties to such publication agreements, as well as an imbalance in incentives, with many authors having a larger stake in being accepted for publication than in promoting post-publication access. Therefore, we believe that effective policy intervention requires action at the funder or governmental level to set the appropriate standards, through mandates and incentives that ensure that fruits of research, and especially government-funded research, are disseminated as broadly as possible and with the fewest legal restrictions, consistent with sustainability and quality.
Science Commons also supports broad digital access to the scholarly and scientific corpus because we believe that many difficult and important scientific and social problems require that scientists and researchers be empowered to take advantage of software, Web tools, and other data management technologies to support advanced searching, querying, and information integration. However, in the present environment in which access to the corpus of scientific knowledge is restricted and fragmented into a variety of "wall gardens," our ability to use that corpus and to apply modern computer technology to it is likewise fragmented and piecemeal. This has important implications for scientific productivity, impact of funding for research, knowledge dissemination and preservation, and the achievement of social and governmental goals.
Therefore, Science Commons encourages the Commission to consider strategies that incorporate the broad goals of open access, adoption of standardized licenses that facilitate appropriate reuse and exchange of knowledge and research products, and the enablement of digital information technology. We encourage the Commission to consider a variety of tools, including mandates, policies, and incentives to achieve this goal.
This can be found in our Reading Room. The Commission is soliciting feedback from the public on the questions listed in their paper until November 30, 2008. We invite your comments here, and also encourage you to submit a response to the EC on the green paper. There are a specific set of questions listed at the end of the paper, but responses may address a broader set of issues. Formal responses can be sent via email to email@example.com.

subset: commoncrawl


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Star Wars: Empire at War
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Star Wars: Empire at War is a real-time-strategy game set in the Star Wars universe and takes place a few years before the events of Episode IV. You can battle in space, as well as on land, in locations featured in the movies. Choose to play as the rebellion or the empire as you control units and heroes to complete varied objectives, ranging from rescue missions to sabotage. In addition to the single-player campaign, there is a two-player campaign mode and support for up to eight players in online skirmishes.
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Winnebago Industries is planning to unveil what it is calling some of the most exciting products in the company's history to its dealers at the upcoming Dealer Days Event in Las Vegas, April 29 – May 1, 2013.
"We're taking our league-leading lineup to the next level," says Winnebago Industries' vice president of sales and product management Scott Degnan. "We will showcase not only new floorplans, but entirely new product lines, and honor the best dealer network in the industry for their great achievements throughout the year."
Unfortunately, Winnebago is keeping everything top secret. The only hint Winnebago has dropped is the snippet of an image at the top of this post.


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Bodycare White Non Padded Cotton Bra (1503W)
Bodycare White Non Padded Cotton Bra (1503W)
As of 2019-03-21 11:59:57 IST (more info)
Not Available - stock arriving soon
Product Information (more info)
Manufacturer Description
Bodycare, a renowned name in innerwear industry, is popular for offering complete and smart collection of lingerie. For fuller cups and bigger bust, this black underwired Cotton Bra from Bodycare is an ideal option as it provides good coverage. It is made up of 100% cotton and has embroidered style on cups. Product Specifications- Brand Name : Bodycare Type: Bra Size: 30B Fabric: 100% cotton Coverage: full cover Straps: Cotton Color: Black Clasps/ Hooks: 2 Price: Rs, 185 Packaging: Box Additional Trait: Underwired Wash Care/ Care Instruction - Check all the instructions on the care label Expert Fashion Tip - Today, lots of women prefer to go for underwired bra as it gives good support to their bust.
Product Features
Wide straps for maximum support Skin friendly ,100% cotton fabric Provides enhanced look Keeps the wearer cool and comfortable Gives comfortable fitting


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Will You Resolve to Boost Your Career in 2013?
Most people, if stories like this one are true, enter the new year with plans to drink less, lose weight and get a handle on debt. All worthy goals, but on this, the first day back in the office for many, it's worth thinking about how to improve your professional life in 2013.
Whether it's resolving to be a better boss, stoke your creative problem-solving skills or dress (and act) more like a leader, At Work has identified ten strategies from Journal reporters and experts on what to do and how to do it.
That said, there are more than ten ways to get better at what you do–other ideas might include overhauling your LinkedIn profile, for example, or making a yearlong networking plan that will eventually put your dream job in reach.
Readers, we're curious about your plans for 2013. What will you do to make your work life better? Tell us in the comments section, or tweet to us with the hashtag #2013career, and we'll share the best ideas back here on the blog.


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A power outage this afternoon has affected traffic lights, residences and businesses along Route 8 from Dinnerbell Road to Route 228 East.
West Penn Power has reported between 501 and 1,500 customers in Penn and Middlesex townships who are affected by the outage. Workers are hoping to have the power restored by 5:30 p.m.


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Not sure if you were flying an RRD or another green kite, but you were the guy in the blue wetsuit, sunglasses, who was losing a little hair up top, who kept throwing 'tricks' (and I use that term very loosely) at the upper launch at 3rd today in the little cove that everyone takes off from.
I was trying to get out (behind 4 other kiters who were all lined-up) and saw you repeatedly come into the cove, do a 180 (about 2' above the water), and then head back out, meanwhile slowing everyone trying to get out and making for an incredibly dangerous situation. I saw you do this twice while I was trying to get out the first time. And then when people were struggling to get out, you kept looking over like you wanted to get in and show off your crappy 180!
Then I came back into cove to the north of the main launch after rescuing some poor guy's board, and while I was trying to get out, you were pulling the same shit!!! I chased after you and yelled at you not to do tricks in that cove any more, but you appeared to ignore me (as well everyone else giving you dirty looks).
Come on man, get with it - that is unsafe for you and more importantly, everyone else. To be honest, you were being such an idiot I didn't care if you cracked your head open on a rock but you were screwing everyone else up as well, and the newbs were freaked out. You think you can do tricks? Go to the lower launch and show off there.
You want to be an idiot, do it on your own time, on a weekday, when it's empty, not Saturday when it's slammed.


text: 04/24/2008 (09:31PM - 10:01PM) (Thursday) : DON GEISS (GUEST STAR RIP TORN) CONFIDES TO JACK (ALEC BALDWIN) THAT HE WILL BE NAMED THE NEW GE CHAIRMAN, AND JACK NAMES A NEW SUCCESSOR TO HIS POSITION. WILL ARNETT AND CHRIS PARNELL ALSO GUEST STAR --Don Geiss (Torn) decides to name Jack (Baldwin) his successor as the Chairman of GE, over Jack's rival, and Geiss' future son-in-law Devin Banks (guest star Will Arnett). Jack, in turn, chooses Liz (Tina Fey) as his successor because she "always has his back," and he can trust her. However, a shocking turn of events involving Geiss' health jeopardizes Jack's promotion. Meanwhile, Tracy (Tracy Morgan) realizes that his son did not invite him to 'Bring Your Dad To School Day' and thinks that he is embarrassed by his career. Also stars Jack McBrayer, Scott Adsit, Judah Friedlander and Keith Powell. Rip Torn, Will Arnett and Chris Parnell guest star.


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Junior Legion pitching staff shows bright future in 2015
For all the statistical advancements and significant strides made in understanding the world of baseball over the past two decades, a handful of truths from the first days of the dead-ball era have remained. Chief among them is the notion that strong pitching must be central to any team's success, no matter the level, no matter the time period.
So considering that this summer, the Darien-New Canaan Junior Legion squad allowed the second-lowest opponent run total in its league, odds would favor the team's chance of making the postseason. And yet, this is where another, long-held truth comes into play:
Luck, both good and astonishingly terrible, is an inevitable part of the game.
Or even 10 games. For instance, the last 10 games of the Darien-New Canaan season, nine of which resulted in one-run losses, is a simply unheard-of figure.
Of course, flip the coin, and you'll have instead nearly a dozen contests when the Darien-New Canaan staff held opponents to a combined 27 runs. And this theme, of truly outstanding mound work, held true for the club from start to finish, luck entirely aside.
Last Saturday, four Darien-New Canaan starters finished their respective 2014 campaigns with an ERA below 3.00, while another, Jack Havard, recorded four complete games. Collectively, these pitchers pinned opposing lineups to 87 runs over 27 games, good for an average of 3.2 runs per contest. Furthermore, the staff kept Darien-New Canaan to within five runs of every ball game with the exception of one, when a position player was forced to start on the rubber.
"I can't think of game where I was like, `Wow that kid did not perform to where we needed him to perform,'" Darien-New Canaan coach Michael Patrona said. "The kids have been great. Walks have been way down for us ¦ and sometimes when they throw their curveball or a change-up over for a strike, they can really be dominant."
Havard, a member of the New Canaan High School class of 2017, posted a 3.60 ERA during a team-high 40 innings pitched. The rising sophomore gained strength as the season wore on, putting forth his best start in a 3-1 loss at first-place Trumbull Friday. Havard allowed only one ball to leave the infield all game, as runners only managed to score on defensive miscues and small-ball tactics.
"He is what I'd call a bulldog. He just fights ¦ and works," Patrona said. "He throws hard, and he has a good change-up and good curve. He's constantly fighting, and he hits his spots."
Assistant coach Mike Alfieri agreed, detailing how the young hurler often pleaded to finish games even with his pitch count at 90 or higher through six innings.
"He wants to win and he wants to compete," Alfieri said.
One day following Havard's gem at Trumbull, fellow starter Charlie Sealy tossed another complete game where he scattered five hits and allowed zero walks in the season finale. Sealy's year-ending performance polished off a sparkling 1.54 ERA and a 1.11 walks and hits per innings pitched average (WHIP) earned over 35 innings from the hill.
However, his best performance came in a winning effort at Ridgefield, when the tall right-hander went six innings, firing two different curveballs in for strikes along with his regular, crisp fastball. Sealy, a student at Brunswick School who made the team after an individual tryout, kept hitters off-balance by dropping breaking balls in during hitters' counts.
"I think my control really came together this year," Sealy said. "I think we're going to come back next year even better."
Matthew Drake then entered in the seventh and struck out three Ridgefield batters to pick up the save. Drake, who also consistently induced ground ball outs as a starter, totaled 27 innings on the mound and a 2-3 record with a 2.74 ERA. In retrospect, his success was a pleasant surprise for the Darien-New Canaan coaches, who were impressed with his early feel for pitching.
"He threw harder than we thought he threw," Patrona said. "And he was able to change speeds, which was great. He can also throw a curveball for a strike."
When he wasn't working behind the plate, Liam Gallagher provided a steady presence from the rubber to the tune of a 2-0 record and 14 strikeouts over 18 innings. Similarly, Tyler Grant often trotted in from his center-field position to record two strikeouts for every one walk and an excellent 1.00 WHIP. Nick Walter rounded out the rotation, hurling 28 full innings for a 2-3 mark and 1.61 ERA
Even the occasional spot-starter and position player turned pitcher provided a boost for Darien-New Canaan. Jack Farren and Thomas Williams both averaged better than one strikeout per inning, while Jack O'Neill produced a 1.93 ERA from his only appearance. Chris Drake, brother of Matt, registered a 1.00 WHIP in five innings of work.
"Our pitching all year has been great for us," Patrona said. "And our fielding has been outstanding."
With 2014 in the books, the attention now turns to which members of the staff can and will return next summer. Currently, the Darien-New Canaan Senior Legion squad is projected to bring back a number of key starters, meaning the opportunity to move up a level will be very small.
"I can't imagine how good they're going to be next year," Alfieri said. "If they play at this level again, they'll be absolutely dominant."
And lest Lady Luck intends to rear an ugly head once more -- that spells equally ugly news for the rest of local Junior Legion baseball in 2015.


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About this font family
German type designers Erik Spiekermann and Ole Schäfer, and German design agency MetaDesign created this sans FontFont between 1996 and 2000.
The family has 18 weights, ranging from Regular to Bold (including italics) and is ideally suited for advertising and packaging, book text, editorial and publishing, logo, branding and creative industries, small text, wayfinding and signage as well as web and screen design. More…
FF Info Display provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, fractions, super- and subscript characters, and stylistic alternates.
It comes with proportional lining, proportional oldstyle, and tabular lining figures.
In 1998, FF Info Display received the The Big Crit award.
This FontFont is a member of the FF Info super family, which also includes FF Info Correspondence and FF Info Text.
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Irish director Jim Sheridan has crafted some of the most powerful films of the last two decades, some exploring facets of his own Irish heritage, others that continue to define him as a broad filmmaker who can also tap into the American consciousness.
His latest film, "Brothers", is already garnering some early Oscar buzz in the remake of the Danish drama about two brothers – one a soldier the other the black sheep and ex-criminal in the family, whose roles are reversed when the former goers missing in Afghanistan and the film stars Tobey Maguire and Jake Gyllenhaal in the title roles.
Paul Fischer spoke to the acclaimed director in this exclusive interview about then film and other projects include a movie version of the classic "Caligula".
Question: I vaguely recall the Danish movie and the two movies, I guess, are very similar. But were you familiar with the original source material before you -took on this version of Brothers?
Sheridan: Oh, yeah. I'd seen the movie, so, I thought it was a great movie, but it didn't kind of release in America, so I thought it could have a bigger audience. I talked Thomas Anders Jensen, the original writer who is probably the most prolific screenwriter on God's earth. I think he's had about 30 or 40 movies made, so I would constantly check with him the stuff I was putting in the movie.
Question: What are the challenges to reinterpret a European film with an American sensibility?
Sheridan: Well, there's a lotta stuff, because sometimes everything's so PC in America, since there's more at stake, especially in the film world, where there's so much money at stake, everybody's very careful. So, you can make a movie in Denmark Ireland, or whatever and raise the money mostly from your own TV, and say what the hell you like, which is the strength of those movies. Therefore I tried to be as honest and true, like the doctor said, don't do any damage first, then tried to make it my own, but I was always concerned with not damaging the original,
Question: Now part of the original was also set in Afghanistan. Was that always an aspect of the war that was important for you to explore?
Sheridan: Yeah, but I think it was more like The Iliad, where Ulysses comes home, but in the body of Achilles. It's kind of like the guy who's gone through everything, and comes back to be civilized, It's a story as old as the hills, so it could be any situation. I think the Afghan War is not so centrally important, but I think once we decided to remake it, we had to be faithful to the truth within the American army system, where the kids are much younger, which is from 19 up, and actuality, Toby's probably old for an American soldier. I think in the original, it's almost like a UN war, but you can't do that with an American story, because they're embedded in that. So, we had to be more true to that and that was one of the first things that started to differentiate it from Susannah's movie. Then my major thing is to be working with families, and healing the family.
Question: Did you go out of your way to avoid, or to incorporate any political elements to this war?
Sheridan: Not really. My only thing is kind of like the guy has to choose between the heroic suicide and just living, so he chooses life. When you're in the middle of a war, such as In the Name of the Father, everybody becomes propaganda. You can't say anything that's not propaganda, so it's going to be propaganda for one side or the other, rather than your opinion. I think what we were basically doing was telling the story of the guy who comes home damaged, rather than is at war damaged, so it's a story of coming home, almost like the second part of The Deer Hunter, If you look at that – and it could almost be a domestic version of The Deer Hunter, but more claustrophobic, and within a family's walls,
Question: As an Irish filmmaker, do you give a different perspective to a film that deals with some very purely American issues?
Sheridan: I think so. I think what starts to happen is, the Irish family structure starts to come into it, and how it impacts on American life. I kind of just wrote my own bits where it was me, with Sam Shepard and Jake – it was almost like my own Dad and me, although I'm the eldest in my family. So for me, it was a way of exploring brothers' relationships, and the Cain and Abel story,
Question: Now, geography plays a very important role in this film. Let's look at the two disparate locations. First of all, what were you looking for, and how much research did you do in terms of Afghanistan, and where were you able to shoot, to make those scenes realistic?
Sheridan: We watched tons and tons of footage of Afghanistan, and compared it to places in Canada and Europe, as well as Australia and New Zealand. But in the end, we went to New Mexico, because that landscape is very like the Afghan landscape, especially from the hills. We had some footage in there from Afghanistan, but I think it would have been impossible to shoot there from an insurance point of view.
Question: Were you looking at it at the beginning? Did you think to yourself, " Oh, that'd be really cool?"
Sheridan: Yeah, we thought about it, but it became quickly uninsurable,
Question: What about the small town aspect of this movie, which is such an integral part of this?
Sheridan: Well, we found that in Los Alamos, where they developed the atom bomb, so it's a kind of isolated little hamlet in New Mexico.
Question: You are an incredibly busy gentleman, if one wants to believe everything that one reads about all the things that you're planning to do. Let me start off Dreamhouse.
Sheridan: That's a definite. That's happening right now, with Daniel Craig.
Question: That strikes me as being a very kind of American genre film.
Sheridan: It is an American genre – that's exactly what it is.
Question: Which is very different from what we normally see from you. Why did you want to work on that particular front?
Sheridan: Because I think a lot of the time when I was in the past, kind of thinking, " Will I do that kind of movie?" I didn't because of fear. Fear of failure and whatever, but now I'm a little bit less concerned about that, and just go – okay, let's just do it.
Question: Now, Daniel Craig is in the film. Have you cast anybody else yet?
Sheridan: Not yet, but we're looking at a few people, but I'll know it in a week.
Question: When do you hope to finally begin shooting?
Sheridan: In February.
Question: Now I also understand that you're planning on doing a feature film of I, Claudius.
Sheridan: Yeah.
Question: That's true?
Sheridan: Yeah, I've adapted the script, I just need to fix it, and then find Claudius. Who would you think that would be?
Question: Oh, my God Claudius is a tough character. I don't know whom you would get to play that role. I mean, do you want British actors to be in the movie?
Sheridan: I could, but if you did that, you'd have to go all British, I think.
Question: I agree.
Sheridan: It could be Daniel and you could cast Colin Farrell as Caligula. [LAUGHTER] but there could be a lot of different things.
Question: It's an expensive proposition, to do a film of that period.
Sheridan: Well, it may not be, because there are some scenes that are outside, but a lot of it is like, a palace revolution with the Senate and the palace , so you can almost do 90 percent of it in there,
Question: So, it's also a very dense book. Is it tough to adapt it for a theatrical feature film?
Sheridan: Yeah because Claudius at home on TV, he's a non-proactive character, so you can stick with him over weeks and get to know him, But in a movie, it's hard to get to know somebody like that, so, I kind of need to make him a bit more proactive.
Question: What about Black Mask? Is that still going ahead?
Sheridan: That's something we're working on. It's Whitey Bulger,
Question: Is it about the creation of the Witness Protection Program?
Sheridan: No, it's more about a guy who was a gangster in Boston, and his brother was the Senator,
Question: Is it a way for you to kind of re-imagine the gangster genre?
Sheridan: Yeah. Yeah. It's kind of an Irish movie, about Irish gangsters.
Question: And what about Emerald City, which is another Irish theme?
Sheridan: That's something I kind of have chilled out on, so that's not hot right now.
Question: And Ikiru?
Sheridan: No, not happening.
Question: So despite your track record, and the extraordinary films that you've made is it still hard for you to get films made?
Sheridan: Well, I kind of have to start making American movies, because it's getting really difficult to make European ones,
Question: Do you want to go back and make a film in Ireland?
Sheridan: I'd like to make one in Ireland, yeah. The Euro is so strong, and the dollar's so weak, and costs are so high,
Question: Do you have a dream project that you're hoping to do?
Sheridan: Yeah, well, that's one about growing up in Ireland, called Sheriff Street.
Question: And you're writing that at the moment?
Sheridan: I wrote it years ago.
Question: Do you hope to get it off the ground soon?:
Sheridan: Yeah, but it's difficult, because a movie is a movie, and it cost money and I found it very difficult to raise enough to make it, Or I have to re-conceive how I make it.
Question: What do you hope American audiences will ultimately get out of Brothers?
Sheridan: Just to understand the returned warrior, the soldier who's hurt,
Question: Did it change your own perspective on the war? Did it alter it in any way?
Sheridan: No. No, no. It didn't.


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Tuesday, May 01, 2007
Day 5
Happy Law Day!
That greeting was just a distraction so I wouldn't have to announce that my child is not a star. She does not get to go to the head of the class. The Day 5 photo looks very much like Day 4, only less enthusiastic.
According to Rose, by Day 5, if the starter is active, it will have increased in volume to 3 or 4 cups. Mine is still bubbling, but she is more sluggish than active, and has definitely not increased to 3 cups.
Rose says that if your starter is not active, don't give up hope--just keep feeding it until it gets active. Perhaps my starter is just a late bloomer.
5 comments:
- Melinda said...
Patience, Grasshopper.
- Doughadear said...
Do not get discouraged! On the fourth day my starter had tripled and I was so pleased with myself I cannot tell you. Then the next day I fed it as usual and it wasn't at all responding as it had the day before. I was so sure that something had gone terribly wrong and I thought that's what you get for being so smug. I wrote to Rose with my concerns and she assured me that it will come to life and to be patient or as she put it "a watched kettle never boils". If I recall correctly the next time I fed it I added some organic rye flour to the mix (as suggested in an entry on Rose's site) and the very next day it came to life again and it has been doing well ever since. Once my starter would double consistently after about six hours after being fed I began to use it to make bread.
- breadchick said...
Don't get too worried. My first started didn't really bloom until day 6-7. If your weather was coolish or particularly humid as well, it won't be as active. She looks right and fine so just relax and let her do her thing. Doughadear's comment about adding a little smidge of rye flour is dead on as well and don't over feed her trying to get her to triple. First time parents really are nervous nellies ;-)
- DEMEGrad said...
To be very honest I had a tough time getting my starter at this stage to raise bread, so much trouble I mixed up some yeast sugar water and flour and kneaded into the dough just to get those breads finished. That happened the first two times I tried to use the starter, but I didn't give up and just kept feeding it and for me the third time was the charm, I've never had trouble since. Keep it going it looks GREAT!
- breadbasketcase said...
Melinda, Doughadear, Breadchick, and Demegrad,
Thank you, thank you, thank you! Patience is not my strongest virtue, and I appreciate the voices of sourdough past telling me that it will be all right.


text:
The word for today is…
puissance (noun) – Power; might.
Source : The Free Dictionary
Etymology : Early 15th century, "power, strength, authority," from Old French puissance, poissance "power, might" (12th century, from puissant.)
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text:
States Could Unite in Subprime Lending ProbeBy Reuters - | Posted 2008-02-05 Print
State attorneys general are talking to each
other and could join their separate investigations over the subprime
mortgage meltdown, Iowa Attorney General Tom Miller said.
CHICAGO (Reuters) - State attorneys general are talking to each other and could join their separate investigations over the subprime mortgage meltdown, Iowa Attorney General Tom Miller said.
"There's been no movement to consolidate any of the cases, but nothing's been ruled out either," Miller said in a telephone interview on Monday with Reuters.
Miller, who took a lead role on previous nationwide settlements over questionable lending practices that netted hundreds of millions of dollars from Ameriquest Mortgage Co. and Household Financial, said attorneys general are talking to each other about subprime mortgages.
"We understand the value of that and it's never far from our minds that we can accomplish things together that we can't individually," Miller said, referring to the previous settlements. "But having said that, I think states are looking at different aspects of this whole incredible scenario and mess of subprime and the consequences of it, and we're keeping in touch with each other. It's unclear where that's going to lead."
He added that multistate legal efforts demand enormous resources for investigations, negotiations and litigation.
"There are only so many we can do and we have to be careful to pick ones that accomplish the most good for our citizens," Miller said. "One challenge here is to find litigation that would help the borrower."
Almost all the states banded together to reach the so-called Master Settlement Agreement in 1998 with U.S. tobacco companies, which are expected to pay states $206 billion over a number of years. The agreement with 46 states ended lawsuits against cigarette makers over recovering the cost of treating smoking-related illnesses.
Miller said companies that repackaged risky mortgage loans would traditionally face a securities case for failure to disclose or for inaccurately disclosing the risk. However, he pointed out that would benefit investors and not homeowners, who remain the primary focus.
In the meantime, Miller has organized a multistate task force to meet with mortgage servicing companies and investors to try to come up with ways to avoid foreclosures.
"We've had meetings with the top 20 servicers and we're getting data from them and we'll come out with a report sometime soon," he said, adding that a similar concept helped with a wave of farm foreclosures that hit Iowa in the 1980s and produced useful results for borrowers and lenders.
While the group was concentrating on modifying loans to prevent foreclosures, potential litigation was not being ignored, Miller said. With mortgage delinquencies causing unprecedented losses, many financial institutions have said they are willing to modify loans and ease terms for borrowers.
As foreclosure rates have skyrocketed, attorneys general in states such as New York, Ohio, Florida, Illinois and Connecticut have sent out subpoenas as they investigate companies and banks involved in subprime mortgages that went bad or bond insurers that backed risky subprime mortgage-related securities. States are also scrutinizing Wall Street credit agencies for their role in rating the securities.
(Editing by Tom Hals)
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text:
Aesthetics, or the science of art,...is only the progressive systematization, always renewed and always renewing, of the problems arising from time to time out of reflection upon art.
—Benedetto Croce, "Aesthetics," Encyclopedia Britannica (1929)
The questions of esthetics are unchanging—the definition of art (as distinct from non-art or sub-art), the function of art, the types of art, the effects of art, the genesis of art, the relation of art to history and society, criteria of critical evaluation, the processes of perception, and the generic characteristics of superior works. As esthetic thinking deals with properties common and yet peculiar to all things called "art," the philosophy of art, in contrast to "criticism," offers statements that are relevant to more than one art, if not fundamental to the arts in general—the presuppositions being that the various arts are more interrelated than not and that common artistic assumptions are more significant than differences in content and materials. Esthetics is, by definition, primarily concerned with "fine art," if not with only the very best art. Although the philosophy of art customarily depends upon the established hierarchies of critical reputation for its choice of individual examples, esthetics provides more foundation for critical practice than the latter offers the former. Concomitant esthetic concerns include the nature of badness and/or vulgarity in art, and whether art is, or should be, primarily the imitation of nature, the expression of self, or wholly the creation of imagination; for these are questions that are most definitively considered with reference to all of the arts.
Esthetics is more self-reflective than criticism, as well as more dispassionate about particular art forms or works; for it evinces not only a breadth of interest that is ideally all-encompassing but also an objective distance from individual artists, certain styles, internecine disputes and fluctuating hierarchies of reputation. Different esthetic philosophies emphasize different issues, as their basic choices often, on one hand, reflect metaphysical or epistemological assumptions (which may not always be explicit) and, on the other, determine their approach to remaining esthetic issues. Whereas the aim of science is systematic structure, the philosophy of art, even at its finest, is a set of related propositions. Esthetic thinking also tends to be more prescriptive than other branches of philosophy, ethics of course excluded; the American philosopher Charles S. Pierce dubbed esthetics "the basic normative science."
Esthetics has evolved as both a branch of philosophy (that currently has slight eminence within the American academic profession) and a collection of theoretical reflections by artists and critics, both making explicit those encompassing generalizations that are merely implicit in individual works; so that esthetic thought tends to come either from professional philosophers with an interest in art or from artists and critics with aspirations to philosophy. For these reasons, "esthetics" is not exclusively the domain of self-avowed estheticians, as the epithet is implicitly honorific, characterizing, first, a certain way of thinking about art and, then a level of both perspective and generalization that distinguishes true esthetic ideas from mere criticism about art. Since major esthetic theories emphasize not just different fundamental questions but different dimensions of artistic practice—the creation of art, say, rather than its perception; or evaluation, rather than generic forms—they generally do not possess sufficient common touchstones to invite easy comparison with each other. A further presupposition holds that art, as a particular kind of discourse differing from both expository argument and verifiable demonstration is best regarded as a second nature, so to speak, which is distinct from primary nature.
The answers to the classic questions of esthetics change in time, particularly as the success of a persuasive new style in art renders many old answers dubious, if not ludicrous. Everyone familiar with current art would find obsolete the favorite nineteenth-century categories of the sublime, the tragic, the comic and the picturesque, all of which were derived from a theory of literary and artistic kinds. The reason is, simply, that those qualities, so conspicuous in much nineteenth-century work, are just not particularly prominent in recent art. As Benedetto Croce wrote in 1929, "The chief problem of our time, to be overcome by esthetics, is connected with the [current] crisis in art and in judgments upon art produced by the romantic period." It is a modern truth that the same art that seemed incomprehensibly innovative to one generation is likely to strike succeeding generations as all too familiar, if not obvious. Indeed, a great change in art, as in our own time, challenges the old esthetic principles and raises a demand for new formulations that bring traditional preoccupations abreast of new experience; one result of every decisive revolution in art should be a comparable revolution in esthetic thinking.
American esthetics between the World Wars focused upon three great themes—the eternal characteristics of realized art, the nature of subjective processes in artistic creation, and art's social relevance. The first concern unifies, in retrospective intellectual history, estheticians as otherwise contrary as the neo-Aristotelians, with their emphasis upon the resolution of linear forms, and the New Critics, who claimed to derive esthetic criteria (as well as a critical method) valid for all literature and, by obvious implication, for all art too. A statement typical of the time (although its author's principal theory of art as wish fulfillment put him outside of these two schools) was DeWitt H. Parker's assertion, in The Analysis of Art (1924), "the general characteristics of esthetic form" could be reduced to six simple principles: "The principle of organic unity, or unity in variety, as it has been called; the principle of the theme; the principle of thematic variation; balance; the principle of hierarchy, and evolution." Pursuing this concern with unifying structure, Parker followed Aristotle in defining "organic unity [as] the master principle of esthetic form; all the other principles serve it," so that, here and elsewhere, the quest for unifying esthetic principles inspired an emphasis upon internal artistic unities. Even an esthetician-critic as instinctively eccentric as Kenneth Burke made his major theme the insidiously unifying impact of realized artistic forms.
Another school of American esthetics, influenced by the Italian philosopher Benedetto Croce (and to a lesser extent by Henri Bergson), emphasized intuition, as opposed to intellect, in an expressionistic theory of art. This had much in common with yet another theory that was derived from the impact of Freudian psychology upon esthetic thinking—regarding all works as expressions (and, thus, symbolic revelations) of the submerged, non-rational psychic constitution of its creator. However, both the Crocean and the Freudian positions were ultimately neither objective nor systematic enough to forge philosophical statements with more profundity than obvious platitude; and though the Freudian position often informed illuminating literary criticism, its descriptions of creative processes remained too abstract and mechanical—too divorced from the real problems of artistic choice and construction. (The European origins and dissemination of these traditions perhaps explains why Jean-Paul Sartre's esthetics, say, or Theodor Adorno's, also seem so similarly abstract and amorphous.) Moreover, the decidedly objectivist, self-effacing character of nearly all contemporary art, especially since 1959, makes expressionist theories appear even more irrelevant.
It was characteristic of the American philosopher John Dewey, in contrast, to be less concerned with the creation or art, or even with George Santayana's earlier emphasis upon esthetic pleasure, than with the audience's experience of serious art. In his single most influential esthetic text, indicatively entitled Art as Experience (1934), Dewey first characterized the pattern of human experience and perception—intrinsically unending, yet full of short-term conclusions. He then defined art's function as the coherent organization of experience, which is to say the creation of conclusions. This definition leads Dewey to suggest that the materials available to art can include anything in the world, and then that any practical or intellectual activity, "provided that it is integrated and moves by its own urge to fulfillment, will have esthetic quality." It follows that all successful art is "clearly conceived and consistently ordered," no matter the quality of the medium's surface; for in true esthetic perception, "A beholder must create his own experience." (This emphasis upon the experience of art identified what became known as "contextualist esthetics"; its primary exponents have been Stephen C. Pepper and Irwin Edman.)
As persuasive as Dewey was in characterizing ideal esthetic experience, his book resembles much of his other philosophy (as well as Emerson's and Thoreau's) in making essentially normative statements in a descriptive, matter-of-fact style. Secondly, the persuasiveness of his position is somewhat undermined by Dewey's evident ignorance of individual works and his equally evident insensitivity to issues of artistic quality. Finally, this emphasis upon the audience's experience becomes outright subjectivism in Curt John Ducasse's eccentric but influential The Philosophy of Art (1929), which holds that esthetic value depends upon individual experience and, thus, that works of art cannot be objectively compared. It is scarcely surprising that those philosophers and critics regarding Art as the diametric opposite of science should advocate a contrary intellectual methodology as more appropriate to esthetic discussion.
In the decade after the Second World War, no philosophy of art seemed more dominant in America than that expounded by Suzanne K. Langer, first in Philosophy in a New Key (1942), and then in her most sustained esthetic exposition, Feeling and Form (1953). Her theory of art as symbolic representation is indebted to the German philosopher Ernst Cassirer, for symbolism became Langer's "new key" for generating philosophical answers. "The edifice of human knowledge," she wrote in the earlier book, "stands before us, not as a vast collection of sense reports, but as a structure of facts that are symbols and laws that have their human meanings." The words of human language she regarded as one strain of symbolic activity; the non-discursive material of the non-literary arts became another. Both of them are devoted to "the creation of forms symbolic of human feeling," and a symbol is, in Langer's definition, "any device whereby we are enabled to make an abstraction." Thus, to answer the question of how artistic order is created, Langer suggests that the artist endeavors to create unique symbolic structures that nonetheless present "semblances" of familiar feelings—a creative process that, as Langer describes it, scarcely draws upon unconscious materials. "The function of art," she writes, "is the symbolic expression not of the artist's actual emotions, but of his knowledge of emotions." If the symbolic presentation is true to the form of a certain feeling, then this formal abstraction will not only give esthetic pleasure by itself; it will also function to instigate that particular feeling in the spectator.
The intellectual achievement of Langer's esthetics is a richly supported theory of art-as-emotion that avoids traditional schemes of expression and individual personality on one hand, and explicit universal myth on the other. One evident presupposition is that the ulterior meaning of non-linguistic forms can be universally understood; in truth, however, cultural anthropology documents this last assumption as needlessly naive—the color white, for instance, suggesting to Eskimos feelings quite different from those it inspires in Bushmen. A more critical limitation of Langer's esthetics is the general sense that her ideas best characterize American art that was prominent in the 1930's and 1940's—the representational music of Aaron Copland, the programmatic dance of Martha Graham, the poetry of T. S. Eliot, and post-cubist abstract painting. The sensitive historian of esthetics, Thomas Munro, observed in 1950 that "symbols and symbolism" was at the time the dominant esthetic concept. (Similarly, one reason for the influence of gestalt psychology among artists at that time was that it persuasively rationalized the experience of abstract painting.) Instead, the most significant recent art, in America and elsewhere, is by contrast so consciously constructivist and non-referential that no symbolic translations are intended.
Indeed, a conspicuous lack of contemporary relevance continues to plague nearly all recent writing by American academic estheticians, most of whom appear more concerned with understanding and interpreting classic doctrine, many of whom let their apparent ignorance of recent art slide into an unashamed hostility that fans the fires of philistinism. Even worse, as the British philosopher Richard Wollheim noted, "The great difficulty in any modern book of esthetics is to find anything to criticize. For by and large what is not unintelligible is truism." Anyone reading academic estheticians in bulk discovers that they rarely confront the major contemporary questions and, if then, rarely decisively enough; and this general vagueness leads to further platitudes in their specific discussions. One reason why they continually complain about being misunderstood, even by their professional peers, is that their initial expositions are frequently unclear. Then too, they often make a point of emphasizing "value" or evaluation (as supposedly untemporal and, thus, a philosophical specialty); but this emphasis, like that upon "beauty," serves in practice to introduce precisely those archaic standards that modernist art tries to surpass. As values, both artistic and humane, do indeed change, evaluation remains among the less enlightening approaches to any new art (or any unfamiliar experience, for that matter). New art, in contrast, customarily denies platitude and previous standards of excellence; it challenges accepted esthetic assumptions (particularly those separating art from non-art); it must be apprehended accurately before it is judged. Similarly, it is extreme works, rather than conventional ones, which prompt esthetic reawakening. With the acceptance of a radically different art comes the need to reinterpret, if not recreate, esthetic philosophy.
The truth is that just as so much consequential contemporary sociology comes from writers outside the academic profession, so the esthetic philosophy more appropriate to our time has been forged largely by artists and critics. This shift in origins comes not without shortcomings, of course. Whereas deductive estheticians tend to omit works that they do not like or cannot understand, the artist or critic, customarily working inductively, makes no pretense of moving beyond his primary enthusiasms. Concomitantly, artists and even critics inevitably adopt an approach whose initial scope is much narrower than Langer's, say, or Dewey's; they do not feel the academic obligation to acknowledge prominent previous alternative theories before presenting their own. Indicatively, they find definition more essential than evaluation, and the qualities of "significance" or "interest" more laudatory than, say, "beauty." Thirdly, artists and critics tend to be more intimately familiar with the extreme artistic endeavors that pose the most radical challenges to a de facto philosophy of art. These up-to-date inductive estheticians, at their best, forge generalizations relevant not just to one art but contemporary arts as a whole; and in the sum of their particular perspectives is perhaps a comprehensive esthetic philosophy that, except for minor divergences, would have fairly general contemporary relevance—at least to advanced American art since 1959.
One of the first American books to deal comprehensively with distinctively contemporary art was L. Moholy-Nagy's Vision in Motion (1947). Its author, born in Hungary in 1895, became successively a painter and photographer in post-WWI Berlin, a teacher at the Bauhaus, a film-maker, a designer, a sculptor, a writer successively in Hungarian, German, and English, and much else. As a refugee from Hitler's Germany, he emigrated first to London and then to Chicago in 1937 to head the New Bauhaus, which later became the Institute of Design (itself subsequently incorporated into the Illinois Institute of Technology). Written in English and published just after Moholy-Nagy's premature death in 1946, Vision in Motion draws upon its author's incomparably various artistic experience, in order to outline his innovative (and influential) program for artistic education. More importantly, as a participant-observer in the revolutions of modern art, Moholy-Nagy personally understood its radical break with past art; as an intellectual, he acknowledged the need for a new esthetics.
In the unprecedented activities of modern art, he found two encompassing tendencies—kinesis and arts-between-old-arts. The first revolutionary development—art that moves—he traced back to cubism and its innovation of systemic multiple perspective realized within a single plane; so that one change in the visual arts, for instance, was a decisive evolution from "fixed perspective to 'vision in motion' [of] seeing a constantly changing moving field of mutual relationships." This leads, of course, to mobile sculpture (where Moholy-Nagy himself was a pioneer creator) and even to cinema, where the form of cinematic montage with multiple perspective represents a formally analogous extension of cubism. In all modern art, Moholy-Nagy finds "space-time" or "vision in motion, " which he ultimately regards as "a new dynamic and kinetic existence free from the static, fixed framework of the past, " and this art demands, in turn, unprecedented kinds of esthetic perception. Moholy-Nagy's generalization is, of course, as perspicacious for contemporary painterly arts as post-ballet modern dance; and the simultaneously multiple perspective of cubistic visual space has formal analogies with, among other phenomena, the aural experience of post-Schoenbergian serial music.
On the second point of arts-between-old-arts, Moholy-Nagy's discussion of sculpture, for instance, acknowledges that an Alexander Calder mobile possessing negligible weight, kinetic form, and virtual (imagined) volume is not sculpture in the traditional sense but something else—a hybrid of sculpture and theater; and recognitions like this lead him to an acknowledgment of an increased diversity of artistic types. A next step is his acceptance of the unprecedented perceptual experiences instigated by the new art forms. Indeed, precisely because his esthetic thinking is so free of a priori limitations (upon artistic forms, say, or systems of meaning), Moholy-Nagy can offer persuasive rationalizations for freedoms already forged in art. Underlying this acceptance is, nonetheless, a strong sense of the particular integrity and capabilities of both each traditional artistic medium and of each new inter-medium; so that just as an artist would be ill-advised to do in one form what could better succeed in another, so a critic should not judge a painting, say, or a mobile with criteria more relevant to literature.
To explain the evolution of art, especially stylistic change (which remains the basic evolutionary unit), Moholy-Nagy introduces a theme previously unknown in American esthetics (which has tended to avoid the issues of artistic genesis and transformation). This new kind of sociological explanation, which can be called technological determinism, deals with the impact of crucial machinery upon the creative sensibility. The modern end of the Renaissance mode of representational space, where a scene is portrayed "from an unchangeable, fixed point following the rules of the vanishing-point perspective," is attributed to "speeding on the roads and circling in the skies....The man at the wheel sees persons and objects in quick succession, in permanent motion." If technology transforms the sensibilities of both perceivers and creators, it follows that art created after the dissemination of radios and then television would differ from earlier art, and these differences would in turn reflect those new technologies. (This theme is more prominently developed in the sixties thought of Marshall McLuhan.)
Moholy-Nagy also regards technology as crucially changing the sum of materials available to artists and thus, again in turn, influencing stylistic development. For instance, the innovative design of even something as mundane as a chair reveals an indebtedness to "electricity, the gasoline and diesel engines, the airplane, motion pictures, color photography, radio, metallurgy, new alloys, plastics, laminated materials...." One obvious extension of this principle holds that electronic sound-generation not only creates an audibly different music but that the mere existence of electronic-assisted sound would also affect musical works which are composed entirely by non-electronic means. In addition, as technology continues to develop new forms, so will art. Extending this sense of history to politics, Moholy-Nagy suggests that changes in creativity and technology—both mind and matter—must necessarily precede transformations in society.
No American has done more to forge an esthetics for post-WWII advanced art than John Cage, perhaps because no other avant-garde artist or critic has so persistently insisted that radical developments in his own initial specialty—in this case, the composition of music—are relevant to other arts. Typically, those ideas suggesting esthetic respeculation have been scattered though Cage's numerous lectures and interviews, his innumerable conversations both private and public, and the essays and texts he collected into three books of miscellaneous writings—Silence (1961), A Year from Monday (1967) and M. (1973). His esthetic philosophy is also articulated, largely by resonant implication, in his musical works.
Cage's most general purpose could be defined as opening all esthetic activity to creative processes and perceptual experience unknown before; so that he came to regard as most laudable those contemporary works that realize a purposeful violation of old artistic ideas. "Art, if you want a definition of it," he wrote, "is criminal action, because it conforms to no rules." In order to transcend ingrained convention Cage frequently exhibits a dialectical intelligence that asserts art might be opposite of everything it once was; yet by making diametrically contrary esthetic statements, Cage thus makes possible a range of intermediate syntheses. For instance, if the aim of art was once the fabrication of a presentation that is as various and interesting as possible, Cage proposes creating something with minimal surface variety and little immediate interest, even espousing outright repetition and, thus, boredom as not only perceptually engrossing but fertilely inspiring ("The way to get ideas is to do something boring"):
In Zen they say: If something is boring after two minutes, try it for four. If still boring, try it for eight, sixteen, thirty-two, and so on. Eventually one discovers that it's not boring but very interesting.
(This concern with repetition to cunning excess is also found in the works of Gertrude Stein, who was probably the most consequential precursor of radical American esthetics.) Cage's ideas have come to rationalize, for both better and worse, all in contemporary art that extends itself far more, in time and space, than was previously acceptable.
If past art aimed to display an artist's esthetic conscience and the work's essential organization, Cage advocates the use of procedures that would both minimize the artist's taste and induce structural disorganization. In the case of music, for instance, this principle informs Cage's invention of the prepared piano, where the strings' original pitches and timbres are radically changed. Afterwards in Cage's own career came chance operations in "composing" or writing out a score, so that traditional structures would assuredly be avoided; and then came the use of live-time machines, such as a turned-on radio with spinning dials, so that the sounds emitted could not be predicted in advance. All these rejections of previous constraints also function, intentionally and intelligently, to free artistic creation from personal control and, therefore, the resulting work from both conventions and cliché. In follows that, in sharp contrast to previous composers, Cage intends to avoid giving a score that is too specific to his performer-collaborators, thereby allowing them far more freedom of individual action than earlier musicians had. Indeed, he has followed his self-withdrawal logic to this radical esthetic definition: "Art instead of being an object made by one person is a process set in motion by a group of people." This esthetic theme of art as process, rather than product, also had immense influence upon painting and sculpture (even in different styles), as well as dance and intermedia, all through the sixties and seventies.
In the end, Cage favors not artistic improvisation, which depends too much upon acquired habits (and, thus, conventions) but artistic indeterminacy—the creation of conditions or ground rules that force artists to work in unusual ways, which are in turn likely to produce unexpected (and thus unpredictable) results. Indeed, precisely in his preference for extreme originality and complex acoherence, coupled with his contempt for familiar objects and experiences, does Cage himself deny the absolute, indiscriminative license implied by his philosophy. His self-denying principles notwithstanding, Cage in practice usually retains some authority (invariably revealing ingenious and tasteful choices) over the frame of activity, thereby insuring, paradoxically, an art of purposeful purposelessness, as distinct from purposeless purposelessness. Indeed, the key to his artistic intelligence is precisely the imposition of general constraints that allow, if not induce, a circumscribed range of specific freedoms.
The artistic result of Cage's strategy of freedom within subtle constraints has usually been fields of disordered activity that are formally beyond collage, which is merely a juxtaposition of several dissimilars. Instead, Cage realizes a far more multiple mélange that is without symbolic references, without a formal center, without distinct beginnings or ends (and thus, suggesting incompleteness). He regards such willful disorder as subtly naturalistic—as an "imitation of nature in her manner of operation." More specifically, he initiates an ongoing event that is as formally non-climactic and internally repetitive as nature itself usually is; and this conclusion explodes the art-life dichotomy as well as the hierarchical structuring that were both sacred to traditional esthetics. (One byproduct of this last theme, the destruction of traditional artistic hierarchies, is the sociological exposure of previously under-examined dimensions of cultural authority and artists' subservience.)
Precisely because Cage's ideas rationalized works of art that a previous age (and archaic critics) would find hopelessly chaotic (or in violation of old rules), he came to insist that audiences accept disorder—in this case, atonal and astructural sound; so that in the course of reflecting the philosophic influence of Zen Buddhism, he asserts that not only must people perceive everything, but we must accept everything we perceive. However, this assertion too remains a dialectical antithesis in Cage's ironically systematic, ironically extreme but highly suggestive esthetics.
It should not be forgotten that the "disintegration of form" that so alarmed conservative critics, such as Erich Kahler in his 1969 book of that title, actually indicates their own inability to grasp alternative formal structures (if not a first-hand ignorance of what they condemn); for in fact true formlessness in any created object or experience is impossible. Anything that can be characterized in one way rather than another, as resembling one thing rather than another thing, has, by that act of definition, a perceptible form. The non-hierarchical evenness or pure formal diffuseness that is characteristic of Cage's own best art, for instance, reflects a kind of identifiable unity that, needless to say, is not emphasized in his philosophy of art.
Another Cagean strategy has been the creation of artworks or events that, though superficially trivial, have great resonance as implied philosophical statements. In his 4'33" (1952), for instance, an eminent pianist sits at his instrument and makes no audible piano sound for four minutes and thirty-three seconds. Nothing happens, in a superficial sense; yet by making no-sound in a context where sound is expected, the piece implies that in the "silence" is the work's sound—or more precisely, in all the random, surely atonal and astructural noises audibly within the frame of 4'33" was the "music." Thus, the esthetic point, by inference, is that "art" consists of all the sensory phenomena that one chooses to perceive; the next inference holds that normal life is rich in art or esthetic experiences that are continually available to the spectator who attunes his sensory equipment.
Cage's idea of art as anything that generates esthetic experience curiously carries John Dewey's thinking to a philosophical extreme, as do Cage's notions of art as revealing experiential reality and of the beholder as necessarily creating his own experience. In addition, 4'33", for all of its originality, reveals a debt to Marcel Duchamp, whose great innovative idea consisted of imposing, by means of art rather than argument, esthetic value on things which were not initially, or previously, endowed with artistic status.
Just as the radical gesture in Cage's esthetics lay in his justifying the creation and acceptance of perceptual disorder, somewhat similar concerns inform Morse Peckham's highly idiosyncratic and provocative essay on Man's Rage for Chaos (1965), which is indicatively sub-titled "Biology, Behavior, and the Arts." Drawing upon a scholarly background in English literature and cultural history, its author suggests that, though man craves order in his life, esthetic experience "serves to break up orientations, to weaken and frustrate the tyrannous drive to order, to prepare the individual to observe what the orientation tells him is irrelevant, but what may well be highly relevant." This emphasis upon the individual's experience of art, as well as the method of deducing artistic value from an idealization of perceptual processes, also resembles John Dewey (who likewise confessed to more interest in behavior than art); but quite contrary to Dewey, who wanted art to provide artistic order for the sake of common experience, Peckham takes the radical tact of advocating artistic disorder on humane grounds. "Art is the reinforcement of the capacity to endure disorientation," his book concludes, "so that man may endure exposing himself to the tensions and problems of the real world....Art is rehearsal for the orientation which makes innovation possible." By implication, then, the new forms of "disordered" art better prepare our perceptual equipment to comprehend the unprecedented structures of contemporary life; but in philosophical contrast to Cage, Peckham advocates disorder with respect to previous art (or conventions), not in imitation of life-like processes.
Peckham is by training a scholar-critic of literature; Cage initially a creator, finally in more arts than music. Another philosopher of the new art was at his professional beginnings a painter who also took degrees in philosophy and art-history; so that Allan Kaprow's most important text, Assemblage, Environments & Happenings (1966, though first drafted and circulated several years before) exhibits a participant-observer's synthesis of both involvement and distance—an intelligent awareness of both personal experience and esthetic issues. A sometime composition student of John Cage, Kaprow assimilated his teacher's passion for stretching both the creative imagination on one hand and the receptive sensibility on the other. Indicatively, he first became known for advocating, in a 1958 essay on "The Legacy of Jackson Pollock," the use of all possible materials and "unheard-of happenings and events" in the processes and preoccupations of painting—a position ultimately indebted to Marcel Duchamp, with a nod to Cage. Kaprow's book brilliantly outlines an evolution, in part his own, from collaged painting to assemblages (or three-dimensional collage) to environments (or artistically enclosed spaces), and finally to a mixed-means performance art that he characterized in retrospect as "a collage of events in certain spans of time and in certain spaces." In short, Kaprow follows Moholy-Nagy in advocating the rejection of conventional barriers between the arts; and like Cage, Kaprow challenges the traditional distinction between art and life. In Kaprow's thinking, the latter position demands, first of all, the strict elimination in one's creative practice of the materials, actions, and themes indigenous to earlier arts:
A picture, a piece of music, a poem, a drama, each confined within its respective frame, fixed number of measures, stanzas, and stages, however great they may be in their own right, simply will not allow for breaking the barrier between art and life. And this is what the objective is.
Indeed, the new art Kaprow invented, to which he gave the unfortunately catchy name of "a happening," is perhaps the closest that art has yet come to meshing with life (and reducing the "psychic distance" of traditional esthetic experience), while yet retaining a distinct artistic, non-life identity. The crucial point for the philosophy of art lay in the fact that a true happening—a performance occurring outside a theatrical setting, completely open (or unfixed) in both time and space, and involving everyone who happens to be within its frame of activity—was by intention as unpredictable, impermanent, and changing as life itself. Nonetheless, the endeavor still satisfied an old definition of art as reflecting more or less deliberate operations—in this case, the scenario of roughly outlined activities that the happenings-artist provided in advance to his prospective collaborators.
"At present," Kaprow's book concludes, "any avant-garde is primarily a philosophical quest and a finding of truths, rather than purely an esthetic activity," so that whereas Cage offered an esthetic for unpredictability (and the acceptance of happenstance), Kaprow forged instead a philosophy advocating impermanence on one hand, and an art independent of any objective forms on the other. "Once, the task of the artist was to make good art," he wrote in a manifesto first published in 1966, "now it is to avoid making art of any kind." What, then, is the "artist" to do? Kaprow's answer was anything, regardless of exhibited craftsmanship or permanence, yet with both the intention of uniqueness and the awareness that his doings would probably be recognized as artistic endeavor.
The decision to be an artist thus assumes both the existence of a unique activity and an endless series of deeds which deny it....Anything I say, do, notice, or think, is art—whether or not desired—because everyone else aware of what is occurring today will probably (not possibly) say, do notice, or think of it as art at some time or other.
Kaprow's ideas, along with such examples of inferential art as Cage's 4'33", forge an idealist philosophy of art, which bases significance primarily upon perception and contextual awareness (rather than the art object). Several radical implications of this view were brilliantly developed by another artist-critic, Michael Kirby—first in Happenings (1965), and then in essays, especially "The Aesthetics of the Avant-Garde," he collected in The Art of Time (1969).
The contemporary impact of epistemological empiricism, as well as analytic philosophy, inspires the ideal of a rigorously empirical esthetics. This would be capable of clearly distinguishing analytic elucidation from evaluation, and then of making precisely accurate statements which, as a prime criterion of acceptability, could be verified, in roughly similar form, by every equally knowledgeable observer. Of course, such empirical esthetics would become valuable only to the extent that the commentaries of its exponents moved beyond inarguable facts and superficial descriptions to more profound critical illuminations that would, nonetheless, exhibit a logical consistency, linguistic precision, and verifiable accuracy previously unknown in discourse about art. In a retrospective summary, written in 1951, of a program first presented in his earlier essay "Scientific Method in Esthetics" (1928), Thomas Munro championed "a scientific, naturalistic approach to aesthetics: one which should be broadly experimental and empirical, but not limited to quantitative measurement; utilizing the insights of art criticism and philosophy as hypotheses, but deriving objective data from two main sources—the analysis and history of form in the arts, and psychological studies of the production, appreciation, and teaching of the arts. However, as Munro himself is more a prodigiously thorough scholar and decisive theorist, his own major contributions have been not a philosophy of art but exhaustive and definitive studies of, first, the categories of artistic endeavor, The Arts and Their Interrelations (1949), and then historiography theories of Evolution and Art (1963). (One result of analytic philosophy alone—especially Ludwig Wittgenstein's influence—has been an academic concern with the language of art and literary criticism.)
Among the more eccentrically suggestive, and yet patently unsuccessful American attempts at an empirical theory of artistic value were the foolishly simplistic algebraic formulas that the Harvard mathematician George Birkhoff proposed in his Aesthetic Measure (1933):
where, "within each class of aesthetic objects," M equals esthetic measure, O is order, and C is complexity. However, one problem with this "quantitative index of [art objects'] comparative esthetic effectiveness" is that it offered no empirical method for specifying the exact degree of each factor in the equation—for verifiably quantifying the components. A second problem with Birkhoff's formula is that it measures unity in variety, which is at best only one of several dimensions of artistic value. Such deductive theorizing, in contrast to the inductive generalizations more appropriate to science, prompted Thomas Munro himself to comment in 1946 that quantitative esthetics so far "has dealt less with works of art than with preferences for various arbitrary, simplified linear shapes, color combinations, and tone-combinations."
Beyond that, the new, post-WWII scientific hypotheses of communication—information theory and cybernetics—both suggested schemes of esthetic understanding. The first, for instance, promises a quantitative measure of the experience flowing from a work of art to its receptor—not the content of these transmitted messages, but the size of its channel, the amount of communication precisely measured in "bits," and its quality in terms of essential information versus redundancy. Though several writers—John R. Pierce, Leonard Meyer, and Lejaren Hiller, among them—have attempted to derive esthetic hypotheses from information theory, no new major ideas have yet emerged. Cybernetics, which emphasizes responsiveness within a closed system, offers ideas relevant less to static art than, say, to that new art form which emerged in the sixties—responsive kinetic environments; but here too, no esthetic theory has yet been fully developed. There is no doubt that a truly persuasive empirical esthetics would represent a great intellectual advance, especially with an artistic generation less eager than its predecessor to rescue art from science. The result might well supercede previous esthetics much as physics replaced some terrains of metaphysics. While the inadequacies of the forays so far suggest that the procedures used to encapsulate primary physical nature may have less relevance to the artifacts of secondary nature, the philosophy of art could probably profit from emulating the rigor, objectivity, and decisiveness of scientific discourse.
A continuing, but somewhat peripheral concern of recent American esthetics has been the difference between art and sub-art. The latter is not synonymous with "non-art" or "anti-art," both of which are by now thought to be historically relative terms (last year's "anti-art" often becoming tomorrow's conventions). Rather, the term refers to that kind of commercialized "popular art" or "mass art" that became prominent in the nineteenth century and, thanks to advertising and mass-merchandizing, increasingly pervasive in the twentieth. One of the first major analyses of sub-art came from the critic Clement Greenberg (himself an able advocate of modernism in all culture) whose 1939 essay on "Avant-Garde and Kitsch" made the decisive distinctions that influenced future esthetic discussion. True arts, in his view, "derive their chief inspiration from the medium they work in" and an awareness of artistic history, while kitsch is subservient both to established artistic formulas, and, usually, to the prospect of an immanent sale. Different in intention and intrinsic nature, kitsch and art also vary in effect. Innovative art at first strikes its spectator as puzzling, if not inscrutable, inevitably creating its awn audience of admirers, while kitsch exploits stereotyped understanding for a pre-conditioned public, if dealing finally in "the lowest common denominators of experience." In contrast to kitsch, which cultivates the effects of art (and often programs an unmistakable response), avant-garde art, as noted already, defines its integrity by a capacity for genuine surprise. "Avant-garde culture is the imitation of imitating," Greenberg continues, as "its best artists are artist's artists, its best poets, poet's poets." The difference between kitsch and avant-garde (synonymous in Greenberg's mind with all that remains relevant in contemporary culture) is so great that they have nothing in common beyond cultural ancestry and superficial mediumistic resemblances.
Kitsch is mechanical and operates by formulas. Kitsch is vicarious experience and faked sensations. Kitsch changes according to style, but remains always the same. Kitsch is the epitome of all that is spurious in the life of our time.
The social origins of kitsch, in Greenberg's view, lies not in capitalism per se, as most "left" critics charged, but in modern industrial society, which on one hand induces mass-merchandizing of all objects that could be manufactured in unlimited numbers and, on the other, created the "urban masses" that became the most eager consumers of kitsch. The Soviet Union, he hastens to point out, suffers as much kitsch as the U.S.
The issue of mass culture continued to preoccupy many American intellectuals, scarcely a few of whom were also as attuned to genuine art as Greenberg. (Most of them, one suspected, studied tripe because they preferred it to art, or at least found kitsch more susceptible to glib analysis.) Whereas the sociologist customarily studies kitsch's relationship to its audience, esthetic discussion emphasizes its intrinsic nature and purposes; and while critical and moral reasoning could separate one kind of kitsch from another, the esthetic point remained—that kitsch is not art but sub-art. The first real contribution after Greenberg's formulation came from Marshall McLuhan in The Mechanical Bride, written during the War but not published until 1951. Here McLuhan examines mass-cultural artifacts with a critical sensibility honed on the close rhetorical analysis of English literature; and this approach enabled him to perceive that the representational discontinuity distinguishing modernist painting and literature also characterizes, for one example, the newspaper's front page with its discontinuous field of unrelated articles, oversized headlines and occasional captioned pictures:
It is on its technical and mechanical side that the front page is linked to the techniques of modern science and art. Discontinuity is in different ways a basic concept of both quantum and relativity physics....Notoriously, it is the visual technique of a Picasso, the literary technique of James Joyce.
The Mechanical Bride broached two esthetic themes that McLuhan develops more prominently in his later works—that this discontinuity reflects the impact of electronic information technology (such as, in the example at hand, the wire news service) and that, differences in quality notwithstanding, "The great work of a period has much in common with the poorest work." All this insight into mass culture does not prevent McLuhan from proposing a necessary measure for distinguishing art from kitsch—"how heavy a demand it makes on the intelligence? How inclusive a consciousness does it focus?" (The "pop" paintings of the sixties, it should be noted, do not deny this distinction; for though the artist has appropriated subject matter drawn from kitsch, the best works turn this mundane material to highly sophisticated and uncommon ends.)
Nothing indicates more conclusively the obsolescence of traditional esthetics than the irrelevance of its favorite terms, and as such earlier phrases as "beauty" and "aesthetic distance" lose their currency, the times become ripe for a new esthetic philosophy. Much of this opportunity has been assumed, albeit circuitously, by artists and critics, at least in America, so that by now a substantial intellectual structure can inform intuitive and/or sensory sympathy for the new art. The final result has been a perceptual emphasis that ultimately underscores a highly idealist (and almost solipsistic) philosophy of art, which encompasses such radical propositions as Marshall McLuhan's "Art is anything you [the artist] can get away with," and Cage's hypothesis that art is anywhere, and everywhere, that the spectator wishes to perceive it (e.g., "Theater takes place all the time, wherever one is. And Art simply facilitates persuading one this is the case").
This new esthetics has, it is true, won more acceptance from artists than literary people, but the revolutions of modernism have always first occurred in the non-literary arts. Nonetheless, ignorance of these ideas, like responses proclaiming "hoax" and/or "not art," will usually serve to identify a commentator as fundamentally philistine, no matter how well "educated" he superficially seems. Only this new esthetics, rather than an older one, can assimilate the artistic innovations of the past decade—not just mixed-means events, artistic machines, and kinetic environments, but also conceptual art, experimental literature and works revealing the impact of new technologies of mental change. Contemporary art is, in truth, "the only art we have": and as it continually changes, so there is an unending need for an esthetic philosophy that is, as Croce put it, "always renewed and always renewing."
* * *
Beardsley, Monroe C. Aesthetics from Classic Greece to the Present. N.Y.: Macmillan, 1966.
———, and Herbert M. Schueller, eds. Aesthetic Inquiry. Belmont, CA: Dickinson, 1967.
Cage, John. Silence. Middletown, CT: Wesleyan Univ., 1961.
———. A Year from Monday. Middletown CT: Wesleyan Univ., 1967.
Coleman, Francis J., ed. Aesthetics. N.Y.: McGraw-Hill, 1968.
Croce, Benedetto. "Aesthetics," in Encyclopedia Britannica. Fourteenth ed. N.Y. & London: Encyclopedia Britannica, 1929.
Dewey, John. Art as Experience. N.Y.: Minton, Balch, 1934.
Ducasse, Curt John. The Philosophy of Art. N.Y.: The Dial Press, 1929.
Goodman, Nelson. Languages of Art. N.Y.: Bobbs-Merrill, 1969.
Jacobus, Lee A., ed. Aesthetics and the Arts. N.Y.: McGraw-Hill, 1968.
Kadish, Mortimer R., ed. Reason and Controversy in the Arts. Cleveland, OH: Case Western Reserve Univ., 1968.
Kahler, Erich. The Disintegration of Form in the Arts. N.Y.: Braziller, 1968.
Kostelanetz, Richard, ed. The New American Arts. N.Y.: Horizon, 1965.
———. John Cage. N.Y.: Praeger, 1970.
———. Moholy-Nagy. N.Y.: Praeger, 1970.
Langer, Suzanne. Philosophy in a New Key. Cambridge; Harvard Univ., 1942.
———. Feeling and Form. N.Y.: Scribner's, 1953.
———. Problems of Art. N.Y.: Scribner's, 1957.
———, ed. Reflections on Art. Baltimore: Johns Hopkins, 1958.
Levich, Marvin, ed. Aesthetics and the Philosophy of Criticism. N.Y.: Random House, 1963.
Margolis, Joseph, ed. Philosophy Looks at the Arts. N.Y.: Scribner's, 1962.
Munro, Thomas. Toward Science in Aesthetics. N.Y.: Liberal Arts, 1956.
———. The Arts and Their Interrelationships. Revised ed. Cleveland, OH: Case Western Reserve, 1967.
Parker, DeWitt H. The Analysis of Arts. New Haven: Yale Univ., 1924.
Peckham, Morse. Man's Rage for Chaos. Philadelphia: Chilton, 1965.
Philipson, Morris, ed. Aesthetics Today. N.Y.: Meridian, 1961.
Rader, Melvin. A Modern Book of Aesthetics. Revised ed. N.Y.: Holt, 1953.
———. A Modern Book of Aesthetics. Third ed. N.Y.: Holt, 1960.
Vivas, Eliseo, and Murray Krieger, eds. The Problems of Aesthetics. N.Y.: Holt, 1953.
Weitz, Morris, ed. Problems in Aesthetics. N.Y.: Macmillan, 1959.
Above copied from: http://www.richardkostelanetz.com/examples/mat10.php


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Take a look at this exciting Fall Craft Tree—a great project for kids at any age!
What you need:
- Old Puzzle Pieces (you can find a new puzzle at the Dollar Store
- Brown paper sack (or construction paper)
- Paint
- Glue
You start off by making the tree trunk by cutting strips of a brown paper bag or brown construction paper. Here comes the fun part--scrunch the paper up to create texture for the tree. Glue the branches and trunk to the blue piece of paper.
For the leaves, use old puzzle pieces and glue them on the branches. Feel free to paint the puzzle pieces beforehand if you want a specific color.
Have fun overlapping the pieces to give it more dimensions.
What a perfect Fall Craft for the kids! I found is project on www.IHeartCraftyThings.blogspot.com! Special thanks to Rachel Nipper for allowing us to share this project!


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Atlanta Celebrates Photography will open registration for its annual Portfolio Reviews this Friday, June 1st. This is one of the best of the annual Reviews, and I strongly encourage you to consider participating. Anne Dennington has done a fantastic job assembling Reviewers (a mix of regional/national professionals), with educational and public viewing as additional components for registrants.
Click here to view application procedures and confirmed reviewers to date.
The Portfolio Review and walk are part of ACP Festival 9, an annual, citywide festival in October. Now in its ninth year, the ACP 9 Festival programming includes photography exhibitions in diverse venues, lectures by both internationally acclaimed and local artists, a portfolio review and walk, a pushpin show open to all Atlantans, a film series, and a public art program.
Good luck and don't miss this deadline!


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Moderator: Aa3rt
In any condition, including stuffed and mounted!! I'm not sure any Jewett double enders still exist. There are a couple of AE&C / CA&E interurbans in ILL and OH IIRC.RussNelson wrote:Live or museum pieces?
I'm wondering if there are any double ended Jewett heavy interurbans left anywhere.
RussNelson wrote:Live or museum pieces?
That could be Trolley Valhalla's location at Jobstown, N.J. Some of the cars are now in Scranton, Pa., one went to Seashore Trolley Museum in Maine, some others to Arden, Pa. If the photos are older than 1971, then it's their former location in Tansboro, N.J.SemperFidelis wrote:A google search of "Trolley Town" will bring you to some pictures of abandoned trolley cars somewhere in Southern New Jersey (maybe moreso Central New Jersey). It was some sort of failed trolley museum.
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Mad Men Season 5 proved to be the most polarizing in the show's history to date (it even failed to snag a Golden Globe nod for Best TV Drama), but its themes of social, political and cultural upheaval - coupled with the emergence of modern domestic dissatisfaction - resonated with even the more critical viewers and fans.
Thus, anticipation remains high for the return of the Sterling Cooper Draper
Pryce staff, following the S5 finale - and its ominous conclusion - but proceeding what has been acknowledged as the penultimate season, before we learn Don Draper's (Jon Hamm) ultimate fate in the seventh season.
AMC has announced that Mad Men S6 will premiere this year on Sunday, April 7th at 9:00 p.m. ET/PT, beginning (like S5) with a two-hour episode - written by head showrunner and creator Matthew Weiner - before it returns to the regular 10 p.m. ET/PT time slot on the 14th, with an episode that Hamm is directing.
Here are statements from the official press release:
"To be able to continue exploring the stories of these characters for a sixthseason is an amazing opportunity," said Weiner. "We love mining this world andlook forward to bringing the audience stories that we hope will continue to both surprise and entertain them."
"It is a calling card and a point of great pride for AMC to be the network home of'Mad Men,' led by Matthew Weiner and his brilliant team," said Charlie Collier, President and General Manager, AMC. "We can't wait to shareseason six with the world and what better way to start than with a special two-hour premiere?"
"The success of 'Mad Men' is built on the exceptional artistry and imagination of Matthew Weiner, the cast, and the entire writing and producing team," saidKevin Beggs, President, Lionsgate Television Group. "They continually strive to raise the bar and we look forward to bringing viewers another great season."
Furthermore, during an interview with The Daily Beast, Weiner confirmed (again) that season 7 is going to be the last. He emphasized that having an end date was instrumental in shaping the overall narrative for S6 and that executive producers (and fellow showrunners) Maria and André Jacquemetton convinced him to not hold anything back for the final season; though, Weiner suspects he will "probably be painted into a corner by the end of the season," but seems okay with the idea (in the public eye, anyway).
Weiner also confirmed the following:
- Peggy (Elisabeth Moss) is returning in S6, but there's no guarantee she'll ever reunite with Don (professionally or personally, for that matter).
- The final, cryptic, moments in the S5 finale are very important, in setting the stage for season 6. In fact, Weiner advises that viewers "just [re-watch] the last 10 minutes of Season 5 right before Season 6 starts."
- Peter Campbell (Vincent Kartheiser) will NOT commit suicide this season, as Weiner admits the aura of despair - giving way to self-inflicted death - surrounding the character in S5 was "completely unconscious on my part."
Lastly, Weiner says season 6 and 7 will have the most observable contemporary relevance of any seasons in the show to date:
"There's always the intention to have it have something to do with the world we're in right now. That's only because I only can write from what I know. And for some reason or another, this season feels particularly related to where I feel that we are right now, as a country and as a society...There's been a bit of a blow to our self-esteem. None of the economic realities of the '60s, of any of the years that we've done the show, reflect what's going on right now. It was really a boom time for the economy, for job creation, and American industry. But I think that the social order, the blow to our self-esteem and turning inward as we deal with the loss of something. The loss of our—now I'm being super-vague about it. I'm not prepared to talk about it."
We'll find out exactly what he means when Mad Men returns with its sixth season on April 7th, 2013, at 9:00 p.m. ET/PT.
Source: The Daily Beast