text:
Friday, July 08, 2011
Consensual art
In 1974, the artist Marina Abramovic created a performance piece known as Rhythm 0. The piece involved a table, a series of objects - seventy-two in all, including a rose, a feather, grapes, honey, a whip, a scalpel, a gun and a bullet - and her own body.
This is her description of what happened:
I was standing there in the middle of the space with this table with objects. I put the objects on the table very carefully chosen, because the objects was for pleasure, and there was also the objects for pain, and objects that can bring you to death ... In the beginning the public was really very much playing with me; later on became more aggressive. It was six hours of real horror. They would cut my clothes; they would cut me with the knife close to my neck, drink my blood and then put a plaster over the wound; they would carry me around half-naked, put me on the table and stab the knife between my legs into the wood; and even somebody put a bullet in the pistol and put it in my hand ... pressing ... her hand against my hand and seeing if I would resist. But I remember after six hours when the gallery's come and say 'This piece is finished', that I started being by myself and started walking to the audience, you know, naked and with blood and, you know, tears in my eyes, everybody ran away - literally ran out of the door. I remember coming to the hotel that evening, looking [at] myself in the mirror, and seeing [a] really big piece of white hair.
The courage displayed in holding out for six hours in the name of art is astonishing, and the piece itself is fascinating. It seems to occupy a place between performance, meditation and psychological experiment, reminiscent of the Stanford prison experiment: a confrontation with the uncomfortable knowledge that, given the opportunity to hurt another human being, many people will take it. Perhaps out of sadism, but perhaps out of sheer curiosity: when the restrictions and taboos we usually rely on are removed, maybe it takes a certain strength of resolve to resist the temptation to hurt someone, just because you can't quite believe that you can get away with this: testing reality on someone else's body. Out of such curiosity, perhaps, come many atrocities: when the world and its norms upend, people may poke at the sore tooth of disbelief, using weapons and the bodies of helpless people. Likewise, it tells us a great deal about objectification; it would, for instance, be interesting to know how an audience would treat a male artist under the same conditions. The piece itself takes place in the relationship between artist and audience ... and as such, touches upon all sorts of intriguing reflections.
According to the clip I linked, Abramovic designed the piece in response to claims that performance art was masochistic and sensationalist because performers often used their bodies aggressively. Ambramovic, by simply giving the audience a choice of how to behave, relocated that aggression in the audience - but at the same time, looked at from another angle, Rhythm 0 was a profoundly aggressive act, or at least, a profoundly assertive one. In becomimg entirely passive and letting the audience reactions be part of the piece no matter what, Abramovic effectively encompassed and appropriated any possible reaction of the audience. No reaction the audience could give would not serve the interests of the piece. In her refusal to let the audience dictate, in any way, no matter how horrifically they behaved, what she would do on that stage - she had decreed she would be passive for six hours, and that's what she did - she cast the responsibility entirely back on the audience. She made them so responsible that eventually they tortured her and then ran away from her.
The relationship between artist and audience is a fraught one, and there can be an undercurrent of aggression that is, at times, shocking.
I just heard of this piece because my husband was reading a thread about it on reddit. In this thread, a commenter boasted that, were he there, he'd have sexually assaulted her and told her her art was crap, apparently under the impression that this made him clever. Of course, it wouldn't have done: assuming he actually would have done this (and Internet loudmouths are seldom to be trusted), it would merely have formed part of the piece: by her resolute passivity, Abramovic would have been getting him to reveal what kind of a person he was - and indeed, succeeded in doing so even without his presence at the performance. Such invitations do ask us to consider what we would have done.
I honestly don't know how I would have acted had I attended Rhythm 0. Thinking about her 2010 performance The Artist Is Present, in which she sat still at a table and people were free to sit opposite her, my first thought was to sit down, say, 'You may differ from me, but in your position I'd be bored,' and read aloud some poetry to pass the time pleasantly. That is, given the opportunity to mistreat someone, I'd consider myself presented with a challenge: do we only treat each other well because we're forced to by social rules? How do you deal with the knowledge that when the rules aren't enforced, you can actually do anything to anyone? And to my mind, the most assertive response is: I'll treat the person well because I choose to. In so doing, I declare that when I treat people well, it is because I choose and not because I am compelled. It's a kind of positive existentialism: the world may be random and without message, but within it, I choose.
And thinking that, I thought about occasions when I've argued with people, and have reacted by refusing to become rude. Sometimes I've been mad at people and reacted by sympathising with them. There have been times when I've been nice as an act of serious aggression - not to manipulate people, but to draw a boundary around myself: no matter how you aggress on me, you do not get to dictate how I behave. I will set a standard and act by it, and you will not provoke me into falling below it.
There are, in short, ways in which one can choose not to aggress that are combative.
But then there are combative reactions to art that are not very nice. Abstract and conceptual art, for instance, garner a lot of aggression. Some of it is imaginative - flying a burger past David Blaine on a remote-controlled helicopter, for instance, is a stunt in its own right - but some of it is just dumb anger, as with our friend on reddit.
What is it about conceptual art that makes people so angry? I have a suspicion, and it's not to the credit of the angered.
Art always serves a double function: beauty and consumption. Even artists who share their work for free are subject to consumption; art is both expression and product. And in many eras, certainly in Europe, consumption can dominate, for the simple reason that we all have to make a living. This can create a considerable tension.
Sixteenth-century British art, for instance, was largely dependent on patronage. Hence, to support yourself painting, you needed to produce paintings that patrons would buy, which meant painting subjects that patrons wanted. What patrons wanted was portraits. Hence, we have a lot of miniatures from that period. Yet even then, artists were arguing for a status higher than that ofmere commission-takers; Nicholas Hilliard, one of the most successful portraitists, argued in The Art of Limning (circa 1600) that it was 'a kind of gentle painting' - 'gentle', in this context, meaning noble, fit for a gentleman. It's a tension that has never gone away. Does the artist serve at the pleasure of the customer, or does the customer take what the artist chooses to provide? Or both? Or neither?
Art matters to us. Art is our contact with the world through the lens of other minds, but it's also our escape from the world, and it's also part of the face we turn to the world: the art we consume can be a way of displaying ourselves. How we consume art can become a big part of our identities.
Consequently, we don't always want art to throw that responsibility for determining who we are back at us. If art is there to consume, an artist is there to serve it up. And if they don't serve it up the way we like it, some of us react, on the surface, like angry customers who ordered a steak and were served a shoe: this isn't what you're supposed to do! Underneath that customer stance, though, there can be another layer.
From an artist's point of view, you see, there's a nightmare reader: the kind who considers that buying your book makes you their employee. If, having paid their eight quid, they find that you didn't write the kind of book they wanted, or you did and you haven't written another one, or you did but it's the wrong kind, or if you are but you're not doing it fast enough, or even if you express an opinion that they dislike on your own time, some people go beyond disappointment into outrage - and from outrage, into controlling language: the author should be ashamed, they need to grow up, they totally let their readers down. Often these are people who read a lot. For some consumers, the relationship with an artist is like nothing so much as the way an abuser views his partner: so essential to his identity that she has to be controlled with force.
There's the nightmare fan, of course, but there's also the person who gets angry with an artist they've never heard of for producing - or perhaps for getting legitimate attention for producing - art that supports a view of art the person doesn't like. Usually, such a person is angry with an artist for failing to satisfy ideas of art that they've acquired from art that caters to them more.
Now, not every work of art that shocks, annoys or displeases does so because it's bold and innovative. Some stuff is shocking to no purpose, which is crass and shallow, and some just isn't any good. As an undergraduate, I was on the committee of a theatrical society that funded plays, and by the time I graduated, I never wanted to hear the words 'challenge the audience's preconceptions' again. Nobody ever wanted to touch my heart or tickle my funny bone or lift my spirit; it was only my preconceptions they seemed to find so irresistible, and too much of that can be wearing. But the reason it was wearing was not that it's always pretentious to go against what the audience expects; it was simply that the people who talked about challenging my preconceptions never actually did. It was a convention in itself, and hence not very challenging; after a couple of terms, one of my preconceptions was that at least a quarter of the pitches would promise to challenge my preconceptions, and it was indeed so. (It was also a bit insensitive to the likely audience. Most of the people watching student plays in Cambridge would be arts undergraduates, in the middle of getting an extremely demanding education about the history of culture. Their preconceptions about what a play could be were very flexible indeed; promising to challenge them was like promising to shock an experienced social worker. You'd need to come up with something pretty remarkable.) If somebody had really challenged my preconceptions, I would have enjoyed it.
For instance, let's talk about artistically faked violence and aggression. The other day I took my life in my hands and watched the film Martyrs. Now, before I champion the director too loudly I should probably acknowledge that I owe him an apology, because I watched it like a complete coward. Rather than watching it beginning to end in a single sitting as was intended, I skipped around on LoveFilm, watching the ending first to see if I could stand it before risking getting attached to the characters, and then watching the rest in sections. (I have the excuse of a baby for the sections, but there's really nothing to say about watching the ending first except that I was being wet. I was resisting the artist's full creation, and that was my fault.) My white liver aside, I found the film extraordinary and fascinating - horrendous and sickening as well, but ultimately compassionate, intelligent and elegant.
In Martyrs, violence is, to put it mildly, a feature. What's most interesting is the director's perspective:
Describing the kind of horror films he was trying to get away from with Martyrs, he comments:
Noodling around on rottentomatoes.com to see what the critical response had been*, I came across a negative review of Martyrs that spoke not just of a displeased critic but of genuine artistic enmity. The critic compares Martyrs unfavourably with Hostel on the grounds that Hostel had firsties on the idea of chaining someone up and torturing them, but he also complains with genuine bitterness that:
Oh, reddit. Don't you ever change. (Because then the rest of the Internet will have to soak that shit up, and there's already more than enough to go around.)
I'm very glad I missed the performance you describe; I'm not sure either how I'd have reacted, but judging by how I feel right now, after just reading about it, I suspect I might well have tried very hard to kill somebody.
I have to say, my problem with performances like Rhythm O - or David Blaine's glass box over the Thames - is that I object strongly to human suffering in the name of art. When suffering can be prevented by the one bearing it, it becomes exponentially worse. (Perhaps this is related to memories of frustration with my clinically depressed sister sabotaging her own happiness...)
Of course, now that I think about it, it might also be connected to my disinterest in purely aesthetic visual art. Apart from stories and songs, I'm usually only intrigued by art that serves a clear or unexpectedly clever purpose. If these performance art pieces were billed as scientific or moral experiments, I might find them less objectionable... science and philosophy being subjects which, unlike pure art, I do find worthy of voluntary human suffering.
TL, DR: I think art's chief virtues are Joy and Truth, and where I find them missing or much muddled, it's hard for me to justify a cost for it.
And, Mouse, you see no truth at all in Ms. Abramovic's work? I find that as with the Milgram experiment, there's far more truth in it than I'd rather, and that truth is not particularly ambiguous or equivocal -- in both cases, you can't say "oh, well, real people wouldn't do this", because in both cases, real people did.
I object strongly to human suffering in the name of art. When suffering can be prevented by the one bearing it, it becomes exponentially worse.
How on earth? Are you seriously saying that voluntary suffering is worse than non-consensual suffering? Or that any artist who chooses to experiment with the limits of their endurance must be mentally ill? Or what?
I think art's chief virtues are Joy and Truth, and where I find them missing or much muddled, it's hard for me to justify a cost for it.
See, this is kind of what I'm talking about: you see to be arguing that unless art serves your pleasure, it isn't valid. Is it your personal place to 'justify a cost' that someone else is voluntarily paying?
@Mouse: All art is suffering - it's just suffering in degrees. I'm an author, and while certainly not on par with the displays of physical suffering presented above, writer's block can certainly be mentally anguishing. I also find it's an emotional roller coaster for me, because I have been known to laugh and cry with my characters. I do it private when I write, but I still do it. There have been times when I've been crying so hard I had to stop writing for a good ten, fifteen minutes to collect myself (killing off an important character, for instance, or an especially heartwarming scene). And I know I can't be the only one who does. So yes. All art requires some form of human suffering. It's just a matter of suffering by degrees.
@Kit: I apologize if you're already aware of this, but you seem to be describing the phenomena known to the Webbertubez as the "Fan-dumb" and the "Hate-dumb". Your first example about the reader who thinks everything is done for them, and expects the author to cater exclusively to their needs and wants, is a specific breed of the "Fan-dumb". Your second example, about the person who scorns the world and hates everything about it because it wasn't designed to cater to them, is a specific breed of "Hate-dumb." Both definitions can be found here: be warned. This is a link to TVtropes. Do not click here unless you're willing to lose a few hours of life in a wikiwalk (It'll be worth it though, I promise. If you've never been here before, this is an invaluable resource for artists and creators of all types).
As for the piece described, Rhythm O - I would've been horrified. Pieces like that force you to look inward at yourself as an audience; they rip down any preconceived notions you had about who you are and what you're about and force you to look at what you really are. Most people don't like that, because they're not as familiar with who they are as they like to think. Would I have participated in it? Absolutely not. I can't stand to see anything hurt; I'm the kind of guy who goes out of his way to avoid stepping on bugs if I'm outside (not inside though, that's a different matter). That's why I don't like movies like Saw and Hostel; my ideal horror film isn't the kind of movie they make anymore. That's not to say there isn't some degree of artistic merit there (with Saw and Hostel) - that's just to say it's not what I want to see, and it wasn't designed for individuals like me (otherwise hereafter known as the Softie(tm)). What would I have done? Now that's hard telling, because I wasn't actually there. But it would've upset me greatly to see someone else suffering, and I probably would've done something, I'm just not entirely sure what.
What really struck me, reading this, was how it ties into actual acts of violence and stalking around artists based on the belief of relationships based on familiarity with the artist's creations. People are really quick to call "mental illness" when a person develops delusions of a relationship with an artist, but I'm not sure something so widespread (though usually benign) which is mostly remembered via the violent actions should be included within "mental illness".
It's been interesting/scary to see how much the patterns of fans and celebrities in the wider culture replicate on the web. In one of my big hobbies now, Second Life, there are creators who sell their work. Many of them have problems of 1) people trying to become friends with them for free stuff; 2) people getting angry at them for not creating what they want, or often enough; 3) people supposing closer relationships than they have and acting overly familiar toward the creator; 4) incidence of violent threats around the store/creations.
I've become/been friends with a number of creators, and it's been interesting navigating when I knew them as people first versus when I got to know them after consuming their products - and navigating the ins and outs of keeping the focus on the friendship instead of the creations, even though the reason FOR the friendship is originally the creations.
However, in the process I've become a minor-celebrity (very minor) in a few different mini-communities (max a couple thousand) and so I've also experienced some of the effects of people who become very familiar quickly because they've watched you or read your blog for a while, so they feel like there's a friendship there due to the familiarity with your ....lets just say expressed persona.
It's almost like one of the basic childhood skills of navigating the difference between what people know based on your knowledge about them doesn't fully develop socially. What I mean is that ability kids get around age 4 to identify when a narrative changes with different info.
The test for this is a set of eight cards with two possible narratives, depending on whether half the cards are there. One narrative is of a boy being frightened by a dog, running away, and climbing a tree - and ends with him safe in the tree eating an apple. Remove the cards with the dog, though, and it's a boy running, climbing a tree, and eating an apple. Under around four, children who see all eight cards assume anyone who sees just four know the whole story; they can't differentiate between THEIR knowledge, and the knowledge of another person. (Children under four don't lie for this reason - lying is dependent on knowing you can know different things than other people.)
Socially, knowing that other people don't have a familiarity with you when the consumption is one sided (reading/observing instead of interacting) is the same skill but seems to be deficient in a lot of people. I think this might relate tot he objectification of others - if you can only consider your own experience, it becomes exponentially difficult to understand how other people could possibly be different.
When suffering can be prevented by the one bearing it, it becomes exponentially worse.
That actually makes a certain amount of sense to me. Pointless suffering is worse than purposful suffering. I'm certain that Abramovic would not think of her suffering here as pointless; it's clear that you, Kit, don't see it as pointless; and I don't see it as pointless either, but I understand how some people might see it as pointless.
I first heard of Abramovic in Filament magazine quite recently. She sounds fascinating and driven.
See, this is kind of what I'm talking about: you see to be arguing that unless art serves your pleasure, it isn't valid. Is it your personal place to 'justify a cost' that someone else is voluntarily paying?
I'm not sure how to respond to this, because of course I don't want to set my own pleasure as the measure of any validity. I'm saying why I myself cannot stand this form of art. It's very painful. And when I hear about stunts requiring hospitalization - as in Blaine's case, foreseeable guaranteed required hospitalization - I do start to worry about the mental health of the artist. Not in a merely patronizing sense, either. I've heard of people going on hunger strikes for human rights, but always with clearly stated goals. I've heard of people risking injury to help the helpless, but never for the sake of injury.
After this blog entry, I can see what the point could be. But never having heard the artists describe their work in those terms, I think that any message intended is being lost, which makes me worry that it's not worth the cost. And given that I'm not calling for censorship or preventing these artists from working - my feelings are far too ill-defined for that - I'm not sure why the empathy-based discomfort of the philistines is such a big deal. Or so monstrous.
Wow. I just ... Wow. Reading the quote from the performance artist left me dumbfounded. I stopped reading there for a few minutes and tried to imagine what I would do as a viewer/interactor with her piece. First off, it would not occur to me to put my hands on her body. It just ... wouldn't. The level of squick would be equivalent to touching a daemon in the Phillip Pullman universe. Nit because I don't like touching people. I do! But not half naked people I have never met before who are not in, e.g., a nightclub, emergency, or theatrical situation. Not someone in a state of vulnerability, of inequality.
But then, ok, I see the "point" is to touch and interact with the objects and artist ... So I maybe ... Put the rise up to her nose? Tickle her with a feather? Put a drop of honey on her lip? Touch her arm with a soft bit of cloth?
These are the things I can somewhat imagine doing to interact with this piece. Drawing BLOOD? With a KNIFE??? What the fuck??? Really? I have trouble believing that this is true. Who would ... How could you even ... My brain gropes to comprehend this.
And I am a woman who regularly thinks about classing muggers when I walk home at night through the park behind my flat, brandishing a juice bottle. I'm a woman who occasionally bites her partner just because it's satisfying (not hard, though).
And then I continued reading, and came to the part where the commenters on the thread are talking about assaulting the artist, and my head exploded and I had to stop reading and mentally excoriate humanity for a while.
Seriously? I mean, holy crap.
After I read this, I was watching a film and not enjoying it at all, and I found myself analysing it in terms of this essay: it was taking the nudge-nudge wink-wink attitude, painting a flattering picture of its audience. I felt like the film was saying all the time, "Hey, look at this stuff. We like this stuff, don't we? It's fun. But we're not emotionally affected by it at all, we're too cool and sophisticated for that. We just watch it because it's funny." I mean, it wasn't a comedy, but it certainly didn't have that "kiss of death" which is taking seriously the thing you're spending your energy trying to create.
I suppose what I'm saying is: I don't think I'd have enjoyed the film at all whenever I watched it. But if I had watched it before reading this, I don't think I'd have been able to articulate to myself why it was I didn't enjoy it, not clearly anyway.
What I find amazing about this is how there's no mention of anyone standing up to her abusers. I'm not at all surprised that some assholes would assault a vulnerable artist in that position, but I'm appalled that no one stepped forward to stop them. I'd like to think that I would have said something, but since I'm no better than anyone else, and no on else did, it seems reasonable to conclude that in the moment I wouldn't have either. Scary.Post a Comment
<< Home
July 2006 August 2006 September 2006 October 2006 November 2006 December 2006 January 2007 February 2007 March 2007 April 2007 May 2007 June 2007 July 2007 August 2007 September 2007 October 2007 November 2007 December 2007 January 2008 February 2008 March 2008 April 2008 May 2008 June 2008 July 2008 August 2008 September 2008 October 2008 November 2008 December 2008 January 2009 February 2009 March 2009 April 2009 May 2009 June 2009 July 2009 August 2009 September 2009 October 2009 November 2009 December 2009 January 2010 February 2010 March 2010 April 2010 June 2010 July 2010 August 2010 September 2010 October 2010 November 2010 December 2010 January 2011 February 2011 March 2011 April 2011 May 2011 June 2011 July 2011 August 2011 September 2011 October 2011 November 2011 December 2011 January 2012 February 2012 March 2012 April 2012 May 2012 June 2012 July 2012 August 2012 September 2012 October 2012 November 2012 December 2012 January 2013 February 2013 March 2013 April 2013 May 2013 June 2013 July 2013 August 2013 September 2013 October 2013 March 2014


text:
Youth, Conservation, Fishing, the foundation principles of The Bass Federation. If there are three better concepts to build an organization around, we have yet to see it. Okuma believes heavily in the Federation model. It's important. And because of that we sponsor the State Federations of Florida, Rhode Island, Arkansas, Virginia, Tennessee, Utah, Northeast Mississippi and Idaho. These groups don't ask for much, and return far more to the sport than they ever take from it. We're very proud to be involved and appreciative of the feedback we receive, from photos to product feedback on rods and reels like Komodo, Citrix, Krios, Helios, EVx and more.
If you're an avid bass angler, there's little doubt that you're already familiar with The Bass Federation. If your new to the sport, or simply haven't connected with an organization, the following outline, provided by the Tennessee Bass Federation, provides a lot to look forward to.
The Bass Federation
TBF is a 100% member owned company; it's owned, controlled and governed by its members through their home state federations like the Tennessee Bass Federation. The "federation," TBF, is the oldest and largest organized grassroots fishing organization in America, the only member owned national fishing organization. Our sole purpose is to support our core values, which we have held for more than 40 years; youth, conservation and fishing.
TBF is made up of individuals and groups that believe in the organization and its future as a way a life, not just a company, but a "family." As a family, TBF's members step up as club leaders, officers and presidents all over the country, without these volunteers TBF could never be successful. Unlike other companies, TBF's national office line is always open, and there's never, never an automated response. The TBF family takes care of its family.
TBF's sponsor partners make the federation unique in the industry, as well as, successful long-term. They offer federation members and their clubs an array of member benefits and opportunities. TBF's sponsors partners make it possible for TBF to pay back 100% of membership dues to member programs, which include industry leading insurance coverage, a host of No–Entry Fee events, a TBF member-only online store, individual member discounts, falling price auctions, tons of special offers, and massive support of their youth, conservation, state team, and state federations. Taking advantage of one or more benefits can save any member more money than their yearly dues costs to belong to BOTH TBF and FLW Outdoors, plus so much more.
Speaking of tournament opportunities, on a national average a TBF member pays less than $200 a year in total TBF member dues and entry fees to fish through their state, to the divisional, the Federation National Championship, the BFL All-American and the Forrest Wood Cup. You cannot fish for less anywhere…. on any circuit, much less one that offers berths in the biggest events in the business. It really does pay to belong to TBF.
Though being a TBF member is a bargain unequaled in the industry, TBF is about so much more. The federation is youth, conservation and fishing, not just tournaments. It is about the next generation, conserving our natural resources, fighting for clean water, as well as, saving money and qualifying to advance. All those things are important to the federation but they do not define what the federation is. The fun and camaraderie and the family-feel is what TBF is all about. Fishing for fun and bragging rights with life-long federation friends, and protecting the future of fishing and the rights to fish with our kids and grandkids is why TBF has grown and has continued to grow all these years. Family and fishing is why TBF exists; it exists 100% for its members and to support the things, the sport, they love. And like its members, TBF will continue to support the sport of fishing for decades to come.

subset: commoncrawl


text:
As a dental professional, you know how important oral health is to your patients' overall health. You've also seen firsthand how dental phobia keeps people from seeking treatment. Since neglect seldom leads to easy dental visits, fear often becomes a self-fulfilling prophecy.
DOCS Education and our partners offer great sets of tools to help you extend quality dental care to your community.
Inspiring Faculty
Individually, the members of the DOCS Education faculty who'll serve as the primary instructors are master practitioners.
Collectively, however, the DOCS Education faculty rise to a league of their own. As a team, the DOCS faculty are unequaled for their knowledge, experience, teaching talents, and – most importantly – effectiveness.
In short, they preach what they practice.
Dentists and team members will leave immediately ready to implement what they've learned.
Since 1999, DOCS Education courses have earned the distinction of featuring America's Best Dental Faculty, led by Dr. Anthony S. Feck, Dean of Faculty. DOCS instructors are renowned for their interactive, hands-on teaching pedagogy that makes classes memorable, actionable, and enjoyable.
You'll quickly understand why our 25,000-course alumni consistently rank our faculty their favorite instructors ever.
In the world of comic books, Superman, Batman, Wonder Woman, Aquaman, The Flash, and Green Lantern comprise the core of the Justice League – superheroes who join forces to save the world from evildoers. Their sum is greater than their parts.
In the real world, we'll bring together an assembly of awe-inspiring educators – we think of them as, "The Dental League" – who partner with you and your team members to eradicate patient fear, anxiety, pain, and the scourge of neglected oral health.
Designed for doctors, team, and patients
Created and tested by experienced professionals with a single purpose in mind - to help more people receive the care they deserve.
Doctor products simplify and accelerate the implementation of extraordinary levels of safe and effective delivery systems. Help your dental team create a safer place for patients with products that strengthen confidence and the feeling of ownership. Give patients hope, courage, and a reason to reach out to you with non-judgmental communication tools.


text:
Schedule Performance Checks on my website
You can schedule Performance Checks to run automatically on your website.
Note: You need to activate Premium Performance Checks to enable this option.
- Log in to your Pro account. (Need help logging in?)
- Click Pro Clients and select Pro Sites.
- Click Websites in the left sidebar.
- Hover over the website and click Open website dashboard.
- Click Performance in the left sidebar and then click Performance Settings in the upper-right corner.
- In the General section select the check frequency and set YSlow, PageSpeed and Page loadtime parameters.
Note: When Performance Check results are lower than the values set here, you will be notified.
- Select Scan region and click Save Changes.


text:
MEMPHIS, Feb. 22 (UPI) -- Jack Sock continued his unlikely run Thursday with a straight-sets victory that put him in the quarterfinals of the U.S. National Indoor Championships.
Sock had played only one match on the ATP circuit this year prior to coming to Memphis, that outing resulting in a loss to Marinko Matosevic in San Jose, Calif.
Ranked a mere 168th in the world, the 20-year-old American stunned second-seeded Milos Raonic in the opening round of this tournament and he backed that up with a 7-5, 6-4 victory over James Blake Thursday.
Top-seeded Marin Cilic advanced past the second round by outlasting Igor Sijsling 7-6 (7-2), 3-6, 7-6 (9-7).
Cilic will next meet Kei Nishikori, who was a 6-3, 6-3 winner over Donald Young.
In other second-round matches Marinko Matosevic defeated fourth-seeded Sam Querrey 3-6, 6-4, 7-5, Alexander Dolgopolov ousted Rhyne Williams 6-4, 4-6, 6-4, Michael Russell won over Lukasz Kubot 6-2, 6-4 and Denis Istomin prevailed over Lleyton Hewitt 6-1, 6-2.


text:
Nordex said it would cease nacelle production at its Jonesboro, Arkansas, facility after it completes the orders in its current pipeline. The decision was driven by the wind industry's global overcapacity and the continued uncertainty and instability of the US market, the company said.
The nacelle factory at Jonesboro began operating in 2010 with the aim that it would eventually expand to include rotor blade production.
However, Nordex CEO Jürgen Zeschky today said poor demand in the US market had forced the closure.
"We are reacting to the weakened demand from the US market, brought on by the unpredictable extensions of the production tax credit (PTC), and the resulting low utilisation rate of our US assembly plant," said Zeschky.
Around 40 employees will be affected by layoffs, beginning in October 2013, and all future nacelles for the North and Latin American markets will be supplied from Nordex's factory in Rostock, Germany.


text:
A place of deep history and staggering views, one of UNESCO's first World Heritage cities has been flying under travelers' radar for a long time. But thanks to a growing economy and a renewed focus on preservation and development, that's about to change.
Author Sam Polcer Photography Sam Polcer
WALK THE STREETS OF QUITO, and you'll find the least-altered historical center in Latin America, with scores of dazzling churches, colonial mansions and museums that celebrate a culture going back thousands of years — from pre-Incan peoples to Spanish colonists to the present day. Head north, and you'll discover sleek new development, cosmopolitan restaurants and cutting-edge nightlife. Talk to anyone, and you'll hear a similar refrain, "You should have seen this before," uttered with a hint of wonderment.
Quito is changing. Has changed. Not long ago, the city's treasured colonial district was inundated with street vendors and plagued by poverty, but thanks to Ecuador's vast energy resources and growing economy, as well as an increased investment in its heritage, things have improved dramatically for this city set high in the Andes, ringed by volcanoes and jungle. No longer merely the gateway to the Galápagos or the Amazon, Quito today is safer, cleaner and more vibrant, brimming with cultural riches, a place where history plays out in real time every day.
This and archived issues
of Three Perfect Days
are available for free
on the iPhone. Just
search "Three Perfect
Days" or "Hemispheres"
in the iTunes store!


text:
Quench dry skin in two areas that need it most: hands and lips
A little effort can go a long way to protect hands, which lose moisture quickly in the cold weather.
- Invest in a good hand cream:
Absolutely essential this season, hand creams are thicker and richer than face or body moisturizers, and provide the extra protection hands need.
- Cover up: The less that skin is exposed, the better. Choose
a pair of thick gloves or mittens that don't let in much air.
- Try an overnight treatment: On an evening when you're sleeping alone, apply a thick layer of hand cream, put on dampened cotton gloves, then rubber gloves. It's not pretty, but the concentrated moisture will leave hands feeling soft and smooth the morning after.
- Give yourself a manicure: Clip nails and file them, making sure to file in one direction to avoid tearing. Rub extra virgin olive oil on the cuticles to soften; wipe excess with a cotton ball. Apply a vibrant nail colour and wait to be asked where you got your nails done.
- Eucerin 5% Urea Hand Cream is a potent, silky blend that is free of fragrance and colourants. $13,www.eucerin.ca
- L'Occitane Extra-Gentle Lotion for Hands & Body offers strong protection for sensitive skin, with a formula that includes honey, oat milk and 5 per cent shea butter*. $30, www.loccitane.ca.
- If you are not nut allergic, L'Occitane's best-selling Hand Cream ($28), features sweet almond oil, while a 20% concentration of shea butter makes it as luxuriously rich as it gets.
- Zoya Nail Lacquer comes in 60 colours. Its gentle, long-lasting
formula is formaldehyde, toluene and dibutyl phtalate (DBP)-free. $12, www.artofbeauty.com
*Note: Shea butter is derived from an African nut. Check with your allergist before using if you are allergic to tree nuts.
Lips need extra love in the winter. The only part of the body that doesn't have sebaceous glands (which produce oil), they're thin, sensitive and particularly susceptible to UV damage. These tips will keep them kissably soft:
1) Exfoliate: Lips should be exfoliated about twice a month. Use a washcloth or toothbrush to rub gently over the mouth, removing dead skin cells.
2) Moisturize: When moisturizing your face, dab a bit extra on your lips. And be sure to wear lip balm with SPF every day.
3) Stock up: Like socks in the dryer, lip balm disappears. Keep one everywhere you might need it: purse, car, boyfriend's place, pencil drawer at work.
4) Drink up: Chapped, dry lips are a sure sign of dehydration. Drink several glasses of water a day, and during the holiday season, try to alternate that glass of wine with one of water. Your lips – not to mention your head – will thank you for it.
- Aveda Lip Tint SPF 15 in Frosted Tulipa offers built-in protection and sheer, pretty colour. $17.50,www.aveda.com
- Kiehl's Baby Lip Balm is extremely gentle, perfect for little ones – but be sure to add a dab of sunscreen with SPF. $10.50, www.kiehls.com
- Almay Pure Tints Protective Lip Care SPF 25 conditions lips with a fragrance-free formula. $6.95.www.almay.com
First published in Allergic Living magazine. © Copyright AGW Publishing Inc.
To subscribe or order a back issue, click here.


text:
Bed With Uph Headboard - King Size 6/6
Contemporary Is One Of The Most Difficult Words To Define In Home Furnishings. It Means Different Things To Different People. Some View It As Stark, Unadorned By Ornamentation. And Some See It Simply As Clean Lines, Angular Hardware And Gleaming Finishes. Centurys Omni Collection Can Be Defined As Cool – Powerful – Curvaceous – Understated – Geometric – Sophisticated And Warm.
Product Specifications
- Dimensions
- Depth: 89 Width: 80.75 Height: 55.5
- Lead Time
- varies
Nearby Showrooms
About Century Furniture
Since our beginnings in 1947, we have strived to be the best furniture company in the world, providing finely crafted luxury furniture with impeccable design and quality and legendary service to our customers.
View Profile


text:
Good Price Metal Parts Machining Stamping
Precision Casting OEM Clip Clamp Parts
CNC Machining Metal Fastener Clip Clamp
Pipe Fittings Metal Clamp Pipe Bracket
OEM High Quality Alloy Metal Clamp Pipe
Hot Sale Flexible Metal Pipe Clamp
Steel Material Pipe Clamp with Good Price
Stamping Metal Clamp Pipe
Quick Release Metal Pipe Clamps
Good Quality Aluminum Pipe Clamp
Widey Used Metal Clamp Pipe
Metal Pipe Clamps Swivel Clamp for Pipe
Forged Parts For Pressure Vessel Forging Ring
OEM Alloy Steel Carbon Steel Forging Parts
OEM All Metal Steel Forging Parts For Vehicle
Hot Forging Automotive Parts
ABL Casting and Forging Automobile parts
High Precision CNC Zinc Die Casting Parts
Brass Aluminium Copper Forged Component Parts
Forging And Forged Machine Parts
Excellent Quality Steel Forging Automotive Parts
Cold Forging Shaft Steel Forging Parts
OEM Stamping Forging Part CNC Machining Parts
Aluminium Cold Forging Hydraulic Parts
We didn't put all products on website. If you can't find the product you're looking for, please contact us for more information.
Hot Products


text:
A South Texas man faces an aggravated robbery charge after being accused of ordering several tacos, pulling a sword and refusing to pay.
According to an affidavit, 28-year-old Adam Kramer began sliding the sword out of a sheath and threatened a waitress at a Mexican restaurant in San Antonio on Dec. 2.
Authorities said Kramer walked out of the restaurant -- without the food -- and to his truck while yelling either he got free tacos or somebody would die.
U.S. & World
Investigators said the waitress locked the door after the San Antonio man drove away.
No one was injured in the incident.
Law officers arrested Kramer the next day. Bond was set at $50,000. Bexar County jail records did not list Kramer as still in custody Tuesday or provide details on an attorney.


text:
Finished this weekend. Both for my own use and, for once, I tried to put in as much time and effort into soomething for me as I do for paying customers, instead of the usual rushed, half-arsed job I normally do.
Another new Anglo Saxon scabbard and a seax
For stories, poems, pictures
Moderator: Moderators
1 post • Page 1 of 1
- Medicus Matt
- Post Knight
- Posts: 1470
- Joined: Mon Jul 18, 2005 1:16 pm
- Location: Zummerzet
- Contact:
Another new Anglo Saxon scabbard and a seax
"I never said that I was here to help."
1 post • Page 1 of 1
Who is online
Users browsing this forum: No registered users and 5 guests


text:
322 members9 Likes
Hey im looking for people to play with some people about 3-4 times a week. I live off glenwood and milbrook so preferably in that area. Im about a 3.0 - 3.5. Im down for singles or doubles. Let me know if you can play sometime, im available as early as today around 6. Thanks,
Been playing tennis lately Heather?
Have a fun summer!
© 2020 Created by Mark / The Mayor. Powered by


text:
Manage Your Bookmarks and Share with Others
Save, organize and share your favorite online resources with Symbaloo! Use tiles to store links to websites, videos, web docs, and more.Create your account for free
All the online resources you need, together in one place
Make your online life easier by keeping all your favorite websites organized in a visually-appealing, personalized environment.
Save your links in tiles that you can customize with different colors, icons or images. Organize all of your favorite websites, videos, documents, articles and more - all in one place!
Manage and deliver the right content to the right person
Symbaloo PRO for Teachers helps you bring personalized online learning to your classroom and keep your educational resources easily accessible to your students.Read more
- Make online resources easily accessible on your own public domain. Available at any time, on any device.
- Distribute the right educational resources to the right person using personalized Groups
- Collaborate with other teachers and students to create the best digital content compilations
Symbaloo is a great way to organize assignments for students, paperwork for my administrators, and all those important resources for myself. My students love it because it is easy to follow. My colleagues love it because of its versatility. When I present these at EdCampATL and conferences, it's amazing to see the ideas that come out of the sessions! David Lockhart (EdTechSpeedDating)
Symbaloo offers an excellent, easy to use, platform for my students. They can choose the materials they want to use from the pictures, which is so helpful for my 1st graders! Symbaloo has saved us lots of time on our computers! Meghan Zigmond (ZigZagsTech)
If you haven't tried @Symbaloo check it out. It is an awesome visual website for organizing all your online resources! Derek Bezeau (@Weiss_Principal)
I love to share resources using Symbaloo. It has also helped with adding gamification in my class by creating a Symbaloo webmix that can be used as a level. The sequenced tiles make Symbaloo even better for adding gamification to my class! Bobby Lewis (@usabbs)
There is no other website/digital tool that has helped me more as an educator! I received more feedback about our Symbaloo webmixes than any other resource within the library. Students and teachers loved it....and parents thought it was wonderful being able to stay connected to the tools and resources their children needed. Shannon Miller (The Library Voice)
from $499/year
Manage the digital resources distribution within your educational organization
The ultimate platform for managing and distributing personalized content. Support teachers within the School and make it easy to save and share educational resources online.Read more
- Make sure that your educational resources are always accessible and available at any time, on any device.
- Optimize content distribution across schools by connecting and syncing students and teachers to Symbaloo.
- Provide all teachers with their own PRO workspace and allow them to manage online resource distribution to their students.
- Add teachers and other coordinators as Administrators for assistance with managing digital resources.
- Encourage educators to collaborate and work together to compile the best digital resources
Affordable & Transparent Pricing for Educators
- With advertisements
- Public workspace URL (i.e. yourname.symbaloo.com)
- Collaborate with other users in real-time
- Access to Learning Paths
$49/yearTry out for free for 30 days!All Sponsored features, plus:
- Become a Symbaloo All-star
- No advertising
- Choose your personal public workspace URL
- Unlimited collaboration with other users in real-time
- Personalized content distribution with Groups
- Online training (Symbaloo PRO Certification)
$499/yearTry out for free for 30 days!All Teacher features, plus:
- SIS Integration
- Unlimited account Administrators
- Advanced security settings
- Priority Support
- 12 Teacher licences
$1799/yearTry out for free for 30 days!All School features, plus:
- 48 Teacher licences
- 4 School licences


text:
Several former area players are on Atlantic Coast Conference football rosters this fall. The list includes freshman Qwen Ballard, a walk-on at N.C. State who played at Hunt. Also, former SouthWest Edgecombe running back Jerome Dupree is with the Wolfpack.
North Carolina has 2011 Charles B. Aycock graduate Jarrod James on the offensive line while Kwamaine Battle, the 2006 Wilson Times Ironman of the Year, is a redshirt-senior defensive lineman at Virginia Tech. Battle redshirted last season after suffering a season-ending knee injury in the Hokies' second game last fall.
Also, former Fike standout defensive tackle Leroy Vick is at East Carolina but will redshirt this season after a knee injury incurred in the Pirates first spring scrimmage. Vick earned National Junior College Athletic Association preseason All-America acclaim last fall at Georgia Military and enrolled at ECU in January.
Thursday, August 25, 2011
Subscribe to: Posts (Atom)


text:
Also referred to as a merchant bank, an acquirer is a financial institution that is licensed by Mastercard to help a merchant accept Mastercard payments. If you are a merchant with significant transaction volume, you may want to establish a relationship with an acquirer.Find an acquirer
Payment Facilitators
A payment facilitator maintains the direct relationship and holds the merchant account with the acquirer on behalf of sub-merchants, which are typically either new or small merchants.Find a payment facilitator
Accept payments fast with Simplify Commerce®
The developer-friendly solution that helps businesses accept customer payments securely ‒ online, in app and in person. Simplify Commerce gives you access to a merchant account, a connection for customer payments and features that make payment easier.Learn more


text:
Sony Ericsson Z610i themes
Ratings :
Click the stars to rate
828,788 Rated by :
2,786 user(s)
Click the stars to rate
- 1
- 2
- 3
- 4
- 5
828,788 Rated by :
2,786 user(s)
Retail Price: RM 750
AP Price: RM 565 - 580
AP Price: RM 565 - 580
Sony Ericsson Z610i - This striking phone delivers on its good looks: its advanced feature set includes a 2.0 Megapixel camera and broadband-speed 3G connectivity. With such a unique design and a choice of three eye-catching colours Luster Black, Rose Pink & Airy Blue.
Top, New and Popular Wallpapers for Sony Ericsson Z610i. The collection of Free Wallpapers for Sony Ericsson Z610i right here to be download. We update the collection of Wallpapers daily.
Select Other Phone Model
Select Other Phone Model


text: We've freshened up the elephants' paddocks with an additional layer of organic top soil and there was great excitement in the herd when they realised there was something new to sprinkle on their backs. Luk Chai uses his feet to test out the new soft topsoil. Photo by Ben Gibson Thong Dee put the new top soil to the test by running between the top and lower paddocks, while the rest of the herd made plenty of noises. Luk Chai didn't appear to know what all the commotion was about, but joined in the herd's excitement by letting out his second real trumpet! When they came in to the barn for their mid morning baths they were all black. They had been busy sprinkling the dirt on their backs all morning! Luk Chai uses his trunk to scoop up some new topsoil to sprinkle on his back. Photo by Ben Gibson


text:
Anatomy of Injustice: The Unsolved Killings of Journalists in Russia
After taking office in 2008, President Dmitry Medvedev promised to fight official corruption and ensure the thorough investigation of journalist murders. Although Medvedev seemed to be addressing separate issues, corruption and attacks on the press have converged at times in Russia. Two unsolved cases stand out.
SIDEBAR: Public Apathy
Hampers Press
Maksim Maksimov, 41, disappeared in downtown St. Petersburg in June 2004 while reporting on alleged police corruption. Authorities, who have suspended their investigation, appear to have disregarded credible evidence that might implicate police officers in the disappearance. Magomed Yevloyev, 37, died from a gunshot to the head while in the custody of Interior Ministry officers in Ingushetia in August 2008. Investigators have concluded that an officer fired the fatal shot accidentally, but they have left numerous questions unanswered.
The cases illustrate the broader struggle to maintain the rule of law. In reversing impunity in attacks on the press, the Kremlin must also move aggressively against corruption in law enforcement agencies.
Police looked into several leads, including a real estate deal and a potential car theft, Sergei Baluyev, Gorod's chief editor, told CPJ. Within a few weeks, Maksimov's property, car, and savings had been found intact—but investigators conducted only a cursory review of the reporter's notes and his conversations with colleagues, Baluyev said.
By early 2005, AZHUR, a St. Petersburg organization that conducts in-depth news reporting, came up with a seemingly important lead. Yevgeny Vyshenkov, AZHUR's deputy director, told CPJ that he and his staff had interviewed two people who said they were involved in Maksimov's disappearance. At the time of his disappearance, AZHUR found, Maksimov had been looking into reports of corruption at a local Interior Ministry agency known as Operational Investigative Bureau No. 2. The story was far enough along that Maksimov had approached agency officers for comment.
Vyshenkov told CPJ he had interviewed a person who said he had been hired to lure the journalist to a local sauna under the guise of a "business meeting." The person told Vyshenkov that two Interior Ministry officers and two others were waiting at the sauna. After being ordered to leave the room, the person told Vyshenkov, he heard the men assault Maksimov.
Vyshenkov said he had also met with one of the assailants, an ex-convict, who told him that the men had strangled Maksimov, put his body in the trunk of a car, and driven in two vehicles to woods outside St. Petersburg. There, the two officers drove off on their own with the body and returned a half-hour later, Vyshenkov said he was told.
AZHUR presented its findings to the regional prosecutor's office. Vyshenkov said he had persuaded the front person and the assailant to tell prosecutors their story. Nikolai Sirotinin, the Maksimov family lawyer and himself a former government investigator, said AZHUR's information was credible enough to warrant official investigation, but the prosecutor's office did not appear particularly interested in following up. Sirotinin told CPJ that investigators would not clarify what leads they checked.
A.V. Zaitsev, a senior official with the regional investigative committee, told CPJ in a written statement that his staff had indeed checked whether Interior Ministry officers were involved in the crime. He did not elaborate on what investigators had done or found. The two officers implicated in AZHUR's account were charged with forgery, false statement, and abuse of office in an unrelated case (they were later acquitted) but were not charged in the Maksimov case.
No concerted search for Maksimov or his body was undertaken until spring 2007, and that was at the insistence of the family. Sirotinin said he traveled to Moscow to persuade former colleagues in the Prosecutor General's Office to send a forensics team to assist. The search came up empty.
Sirotinin said his own requests to review the official case file were turned down. Russian procedural code gives investigators discretion to disclose details of an active probe to a victim's family and legal representatives; a family is entitled to access only when the investigation is formally finished. The investigation was suspended in 2008, according to Zaitsev, although it has not been officially closed, which would allow the family and its lawyer to review the file.
Maksimov's mother, Rimma, told CPJ that she has tried to persuade a number of officials to re-examine the case. Her most recent effort, in March 2009, was discouraging: A prosecutor told her "the case has no future." One aspect, however, has been settled. On November 30, 2006, at the behest of Maksimov's family, the Dzerzhinsky District Court in St. Petersburg declared the reporter dead.
Magomed Yevloyev, publisher of the independent news Web site Ingushetiya, had attracted considerable attention by the summer of 2008. His site, known as a reliable source of information in the tightly controlled southern republic, had reported on government corruption, human rights abuses, and a string of unsolved disappearances. In a June 2008 interview with CPJ, Yevloyev said authorities had retaliated by filing more than a dozen lawsuits seeking to close Ingushetiya. The region's two top officials at the time, President Murat Zyazikov and Interior Minister Musa Medov, had taken particular interest in shutting down the site, Yevloyev told CPJ. By August, the site's top editor had fled the country in the face of continuing threats.
So when the publisher and the president shared an August 31, 2008, flight from Moscow to the region's capital, Magas—and reportedly argued on the way—Yevloyev might have been anticipating difficulties. From the plane, Yevloyev sent a text message to a friend, one of about 20 people who had gathered at the airport to greet him, to say that "Zyazikov is flying with me." Before Yevloyev could disembark, Interior Ministry officers detained him and placed him in a UAZ vehicle headed toward the city of Nazran. Yevloyev was not handcuffed and did not resist, according to the journalist's friend, Magomed Khazbiyev.
Along the way, an Interior Ministry officer shot Yevloyev in the head. Within hours, authorities had declared that Yevloyev had been shot accidentally after he tried to seize a gun from one of three officers in the UAZ. The fatal shot happened to be fired by a second officer named Ibragim Yevloyev—a man ordinarily assigned to guard his uncle, Interior Minister Medov. (The officer is no relation to the victim.)
Astonished family and friends called the official account implausible, and they were not alone. As public outrage grew, Moscow intervened. On September 10, Aleksandr Bastrykin, head of the federal Investigative Committee in Moscow, ordered subordinates in Ingushetia to open an inquiry, although by calling the case negligent homicide, Bastrykin, critics said, appeared to predetermine an outcome. A month later, regional prosecutors reported that they had finished the investigation and that Ibragim Yevloyev would be charged with negligent homicide, the business daily Kommersant and the news Web site Kavkazsky Uzel reported.
But what kind of investigation was it?
Case documents obtained by CPJ indicate that investigators interviewed Ibragim Yevloyev on the day of the shooting. In his statement, the officer said the journalist was calm and was not handcuffed when he suddenly began to struggle with another officer. "It all happened in a matter of seconds," Ibragim Yevloyev said. "I had not yet turned to him all the way when Magomed Yevloyev abruptly leaned to the side and hit my gun, which at that very moment accidentally fired." A forensic analysis dated September 15, 2008, showed the journalist had been shot at point-blank range and that the bullet had pierced his temple.
Musa Pliyev, a former lawyer for the journalist's family, told CPJ it was unclear whether investigators had tried to re-enact the shooting. Neither was it clear that investigators had interviewed President Zyazikov or Minister Medov, who was at the airport when the plane arrived. The case documents show that investigators did try, unsuccessfully, to re-interview Ibragim Yevloyev. Minister Medov told investigators that his nephew and the other two officers in the UAZ (neither of whom have been identified) had been ordered by the Interior Ministry to leave the region, the case records show. Neither Zyazikov nor Medov responded to written questions submitted by CPJ in May 2009.
Public unrest prompted a shakeup in the regional leadership that fall. Zyazikov resigned in October and was subsequently named an adviser to President Dmitry Medvedev. Medov was reassigned to Interior Ministry headquarters in Moscow in late 2008, according to news reports. But the criminal case has gotten off to a slow start. Ibragim Yevloyev, who was also reassigned to Moscow, did not attend initial court proceedings on his negligent homicide charge. Lawyers for the officer have been quoted in news reports as saying that the case must be moved outside Ingushetia to ensure their client's safety.
In January 2009, the Ingushetia Supreme Court ruled that there had been no legal basis to detain the journalist in the first place. (He was purportedly being held as a witness in a criminal investigation into an explosion.) The following month, an Interior Ministry investigator acknowledged in a letter to the new president, Yunus-bek Yevkurov, that he had signed the warrant for Magomed Yevloyev after the journalist had already been detained and shot, Kommersant reported. No charges will be filed in that case, Ingushetia prosecutor Yuri Turygin announced in March.
Go to Chapter 7 >>
<< Go to Table of Contents


text:
STATE COLLEGE, Pa. (AP) — With Penn State limited to 65 scholarship players because of NCAA sanctions, coach Bill O'Brien has said keeping key players healthy is a crucial balancing act.
That balancing act was evident Friday during the 25 minutes the coach opened the Nittany Lions' 14th practice to the media.
Defensive end Deion Barnes, safety Adrian Amos and wide receiver Allen Robinson, all three expected to be key starters, sat out practice. So did offensive tackle Adam Gress and offensive guard Andrew Nelson.
"That's a balance we talk about every single day. We've got a lot of reps in practice. Okay, so let's say you get 50 to 60 reps in practice. One thing that we try to do is get our No. 1 groups quality, good reps," O'Brien said at the team's media day.
"We don't want to give them 50 million reps in a practice, but we try to get them quality, good reps, and then we try to get the younger players a lot of reps, get those guys in there and let them play football. We try to be creative every single day to make sure our team is as healthy as possible for Syracuse."
Barnes and Amos sat out as a precaution to safeguard against minor ailments becoming major. Robinson is nursing a minor hamstring injury. Gress, O'Brien said Thursday, "got banged up a little, but he'll be fine."
With Gress sidelined, the starting offensive line that appeared briefly in a two-point drill was: Garry Gilliam (right tackle), John Urschel (right guard), Ty Howle (center), Miles Dieffenbach (left guard), Donovan Smith (left tackle).
During that 11-on-11 two-point drill, sophomore quarterback Tyler Ferguson zipped a pass to Kyle Carter on an out route for the conversion. Carter, who is coming back from a wrist injury suffered late last season, used his large frame to wall off the defensive back and snatched the ball out of the air.
On the next play, freshman Christian Hackenberg had his pass to the right flat batted down by a defensive end.
Returning kicker Sam Ficken easily converted an extra point and 25- and 31-yard field goal attempts. Freshman Chris Gulla boomed a pair of 26-yard field-goal attempts through the uprights from either hash.
Following the goal-line drills, the team broke up into squad drills, one of which was a defensive back strip drill. The defensive backs were tasked with trying to strip, rip or punch the ball free from another player's hands.
Starting linebacker Mike Hull was paired with starting running back Zach Zwinak, who wore a red jersey signifying he wasn't to experience full contact. Even though Zwinak, who is recovering from a wrist injury suffered during the Blue-White game in April, had his wrist wrapped, he didn't yield the ball to the aggressive Hull.
Penn State opens against Syracuse on Aug. 31 in East Rutherford, N.J.
(© Copyright 2013 The Associated Press. All Rights Reserved. This material may not be published, broadcast, rewritten or redistributed.)


text:
Science Daily April 25, 2006
A group of
Japanese scientists has discovered that cannabinoids can
cause some white
cells to lose
their ability to migrate to the sites of infection and
inflammation. These findings, which appear in the May 5
issue of the Journal of Biological
could have potential use in the development of novel
anti-inflammatory drugs.
The cannabinoids are a group
of chemicals that include marijuana. These compounds bind to
and activate the body's cannabinoid receptors. There are two
types of cannabinoid receptor: the peripheral cannabinoid
receptor (CB2) which is predominantly found in immune cells,
and the central cannabinoid receptor (CB1) which occurs in
the central nervous system.
Recent studies have suggested
that CB2 may be involved in a wide range of physiologic
phenomena related to immunity, although research on this
function is still at an early stage. Among the possible
immunological roles for CB2 is an involvement in the
initiation of white blood cell migration to sites of
infection and inflammation.
In the Journal of Biological
Chemistry study, which was featured as a "Paper of the
Week", Yumi Tohyama and colleagues used an in vitro model of
blood cell migration to study the involvement of CB2 in the
recruitment white blood cells. They found that treating the
blood cells with compounds that bind to CB2 suppresses the
migration of the cells. When they examined the cells, they
discovered that they had lost their ability to develop a
front/rear polarity, which is something they need to
effectively migrate to sites of infection and inflammation.
Because cannabinoids seem to
suppress activated white blood cells, Tohyama believes they
could have a potential use in the treatment of inflammatory
The Journal of Biological
Chemistry's Papers of the Week is an online feature which
highlights the top one percent of papers received by the
journal. Brief summaries of the papers and explanations of
why they were selected for this honor can be accessed
directly from the home page of the Journal of Biological
Chemistry online at
The American Society for
and Molecular
Biology (ASBMB)
is a nonprofit scientific and educational organization with
over 11,000 members in the United States and
internationally. Most members teach and conduct research at
colleges and universities. Others conduct research in
various government laboratories, nonprofit research
institutions, and industry.
Founded in 1906, the Society
is based in Bethesda, Maryland, on the campus of the
Federation of American Societies for Experimental Biology.
The Society's primary purpose is to advance the
sciences of
biochemistry and
through its publications, the Journal of Biological
Chemistry, the Journal of Lipid Research, Molecular and
Cellular Proteomics, and Biochemistry and Molecular Biology
Education, and the holding of scientific meetings.
For more information about
ASBMB, see the Society's website at


text:
Performance Car of the Year
Winner: Shelby GT500
Sure, it is not officially on the streets yet but Ford blew us away by giving the GT500 a DCT transmission. This is the first time an American V8 is paired to a dual clutch from the factory by a domestic producer and it will change the game.
Not to mention the car comes with five traction control modes, four exhaust modes, a carbon fiber driveshaft, built in line lock, and Ford won't void your warranty for tracking it.
This is what a car looks like when a company wants enthusiast business. Bolt on examples will get into the 8's. Watch.
Runner-up: Audi TT-RS
The TT-RS is the runner up again but that is only because it is not a new debut. This car is the German GT-R and better in some ways offering greater value, less weight, and a dual-injection fuel system.
As long as it is in production it will be likely be on this list. Audi deserves tremendous credit for what they did and managing to pull it off without getting Porsche angry at them.
Worst: MKV Toyota Supra
The new Supra? Or do we just call it the new Z4 Coupe? How about we just say it is an embarrassment to the Supra name.
Winner: Audi 2.5 TFSI
Performance Engine of the Year
Performance Engine of the Year
The winner for the second straight year. Why shouldn't it win? The motor is trapping in the 160's already and tuners are posting 9-second stock turbo results. It's frankly absurd how good this thing is. There is a reason it has won 9-straight International Engine of the Year Awards in its displacement class making it the all-time champ.
As we stated before: Is there a better modern turbo engine? When you factor in the price, technology, lineage, tunability, and performance the 2.5 TFSI is unrivaled.
Runner-up: McLaren M840T
How is an engine in a $300k+ car coming in second place to an Audi inline-5? Well, truth be told in the aftermarket the 2.5 TFSI actually has the faster results. That is insane when you consider a tune only McLaren 720S will run 9.2 @ 152 in the 1/4 mile.
No doubt we will see some incredible 720S times in 2019 but considering it takes over $300k to get where the 2.5 TFSI is for a fraction of the cost value simply has to be factored in.
Worst: Toyota 2UR-GSE V8
Someone please tell Toyota it isn't 2005.
Enthusiast Oriented Company
Winner: Ford
You have to give it to Ford this year. From the Ford GT, to the Focus, to the GT350R, to the new GT500, to the Raptor, Ford is providing enthusiast products at all areas of the spectrum.
How about the fact Ford will not void your warranty for tracking your GT500? How cool is that?
Runner-Up: Dodge/FCA
Last year's winner but this year's runner up. They have nothing to be ashamed of other than no longer producing the Viper. Dodge improved the Hellcat with the Red Eye edition and FCA even paired the monster Hellcat V8 to an all wheel drive drivetrain in the Jeep Trackhawk.
They are producing engine swap kits, monster crate motors, you name it. These guys know how to have fun.
Worst: Toyota
There was a time when it seemed this spot would become the BMW lifetime achievement award. Toyota, you actually managed to make BMW look good. What you did with the Supra is a disgrace.
Performance Development
Winner: 3D Printed Engine Internals
3D Printers are going to take on an increasing roll in aftermarket performance part development. We are already seeing 3D printed pistons and rods come to market. Wheels, brakes, valves, etc., the sky's the limit as to what is in store. The best is yet to come.
Runner-up: Carbon fiber and composite connecting rods
Just as 3D Printed engine parts will continue to gain traction so will composite engine parts such as connecting rods. Imagine lightweight rods that will not warp or lose shape. Pretty intriguing, isn't it?
Worst: C7 ZR1 ECU locking tuners out
This is odd to see from tuner friendly Chevrolet but the C7 ZR1 Corvette ECU is posing problems for tuners. Chevy really stepped up encryption and is making it difficult to extract more power. Why? Are they testing to see if they will be able to keep hackers out of autonomous products?
Winner: Mopar Hellephant V8
You can literally get a 1000 horsepower off the shelf motor from Mopar with a warranty and they will help you swap it into your classic muscle car project. They even have a swap kit with an ECU.
It's a beautiful time to be a car enthusiast.
Runner-up: Syvecs S7 standalone ECU's
Thank goodness Syvecs keep expanding their plug and play ECU line as manufacturers are stepping up encryption to an incredible level. Pretty soon we may have no choice but to run a standalone if wanting to tune.
Winner: ETS first to break the 3000 wheel horsepower barrier - World's most powerful GTR dynos 3046 awhp
What do you even say about these numbers? The GTR is in insane territory.
Runner-up: Vengeance Racing twin turbo Gen V Viper sets manual 1/4 mile record with 8.66@174 1/4 mile pass
With everything going to a dual clutch or automatic there is still something to be said for setting records while rowing your own gears.
Winner: Singer
These guys may be out of reach for most ($500k restomod 911's are for the richest of the rich) but what they are doing is incredible. While everyone else is going for more and more power they are going for less and less weight using modern materials to drop a 911 into the 2200 pound range.
Combine that weight with a 500 horsepower naturally aspirated air-cooled flat-6 and you have arguably the world's greatest driver's 911.
Runner-up: UnderGround Racing
They may be arrogant and they may cheat at times but their cars are fast as hell. UGR reset their own 1/2 mile record this past year hitting 259.67 miles per hour. They seem to be playing in a league of their own.
Worst: Hennessey Performance
Read this. Never forget.
ArticleWinner: Fabspeed proves you can survive and thrive in the automotive aftermarket without selling your Soul
Runner-up: What is the best BMW F80 M3 / F82 M4 S55 crank hub solution? Comparing Maximum PSI's multi-piece keyed crank hub to Gintani's single piece
Track Car
Winner: Lamborghini Aventador SVJ
Nobody thought the GT2 RS record laptime was falling any time soon yet Lamborghini regained their Nurburgring lap crown quickly with the Aventador SVJ (Superveloce Jota). Topping the GT2 RS 6:47.3 lap is no joke and the time to beat is now 6:44.97. When you hold this record, it is hard to argue with your track prowess.
Runner-up: McLaren 600LT
McLaren deserves tremendous credit for not resting on their laurels. They are so far ahead of the game they could easily get complacent yet they just continue to roll out improvement after improvement. The 600LT is their newest effort and it improves on everything the 570S is. It is the best track car for the money in the McLaren lineup and even a value when you compare it to the McLaren 720S, Porsche GT2 RS, or Ferrari 488 Pista.
RaceWinner: Porsche 991.2 GT2 RS vs. McLaren 720S drag race
The 720S seems to be in every good race video but this one is great as it shows two heavyweights slugging it out. You also get multiple camera angles that really do a good job highlighting the acceleration difference. Just a well made video with two of the world's top cars.
Runner-up: Naturally Aspirated beasts - Heads/Cam Gen V Viper vs. Lamborghini Aventador SV vs. Porsche 991.1 GT3 RS vs. Huracan
You can have fun naturally aspirated too!
Here is to hoping for a great 2019 in automotive performance!


text:
Please use this form to send questions or project particulars. Complete the below fields and click SUBMIT. The message will be routed directly to the contact email address for the company you are interested in contacting.
Please Note: This form is not for focus group sign up, nor should it be used for solicitation purposes. Misuse of our contact form will be considered a violation of GreenBook.org's Terms of Use


text:
Electron Kinetics Eagle 2 power amplifier
A quick glance at the Eagle 2's exterior leaves no doubt that your $895 has not been spent on fancy packaging. Not that the 2 is unattractive; the fascia is nicely finished and the case looks like it would win a run-in with anything short of a Mack truck. But the looks of the little Eagle are plain and uninspired. It's also quite small for a 120Wpc amplifier. When I pulled the cover, however, it became clear where priorities had been placed. Components are high quality, and packed tighter than a can of sardines. The transformer and power supply are massive, and the main circuitry can be conveniently accessed by dropping the back panel.
The overall sound is distinctly solid-state, but with a clean, smooth top end. In fact, the 2's HF performance is one of its strongest features: the highs are clean, clear, and well-extended, with a natural sense of air. Cymbals and brushed drums are nicely detailed, without excess sizzle, and the upper harmonics on violins and woodwinds are reproduced very well.
What makes the 2's HF performance so impressive for its price is a combination of speed and air usually found only on the very best amps. While the little Eagle's performance in these areas doesn't match a good tube amp or the BEL (the best solid-state amp I know of at the top end), it is at least in the same league with the best of the other solid-state amps. Based on the few times I've heard the Eagle 7, I'd say the 2 outperforms its larger sibling in the upper octaves.
The midrange is above average within the price class, but not the best I've heard in an under-$1000 amplifier. Despite sounding very fast and clean, there is some slurring at the beginning and end of notes; the 2 is not capable of revealing the nth degree of detail. Harmonic contrasts are good, but, again, not outstanding and no match for the Precision Fidelity M-8 (reviewed in Vol.7 No.7). The midrange has a mildly electronic character that makes it obvious you're listening to a solid-state amp. Although woodwinds and guitar sounded very goodthe natural throaty character or twang of these instruments came right outthe midrange of percussion instruments and piano suffered from a lack of what Peter Moncrieff calls "intertransient silence."
The bass on the Eagle 2 is another strong point. I've always found the Eagle 7A a little too big in the midbass, though this trait works well with many speakers deficient in that area. On speakers with good bass performance, however, the 7A's sound is just too rich and warm. The 2's bass is both tight and well-balanced throughout the bottom three octaves. The mid and upper bass are also fast and tonally accurate, making it easy to distinguish different instruments in the bass line. In the very low bass, the little Eagle slows down a bit compared to the best solid-state amps, but still outperforms its competition in the price class, most of which just can't deliver much level in the lowest octave.
In addition to sounding good, the Eagle 2 also delivers power. I ran it on some very difficult speaker loads, none of which gave it the slightest problem; I suspect this amp could drive a brick wall. The 2 put out enormous amounts of power very quickly on transients, and drove any speakers I had to average levels much louder than I'd ever listen for any purpose other than testing (though at high volume levels the 2 did clip on some transients). Listening to the little Eagle with its 120Wpc rating made me suspect that the FCC's power ratings are virtually meaningless. It simply blows most other similarly rated amps in its price class right out of the water.
Soundstage and imaging are very good, but with an up- front presentation that sounds too aggressive on some systems. All amplifiers seem to work better with some speakers and preamps than others, but the quality of the 2's performance is more affected than most by the character of the system's other components.
I found it to be a wonderful partner for the Nova preamp and Alchemist IIIS cartridge, producing a sound with nice tonal and spatial balance. But with the Electrocompaniet Pre 1 and a low-output MC, the 2's sound was too aggressive, having a solid-state edge and being forward. This could be partially offset by adjusting the feedback controls on the Pre l's head-amp board, but the results never sounded quite right. Among preamps in the Eagle 2's price range, I found the Precision Fidelity C-8 to work well, but I wasn't particularly happy with the PS IVH/Eagle 2 combination.
The little Eagle sounded good with the Watkins WE-1, and even better with the Dayton Wright XAM-4. The latter combo was surprising since the XAM-4s place the soundstage slightly forward, usually sounding very good with amplifiers that are a little laid-back. ]GH reports outstanding results using the little Eagle with the MartinLogan Monoliths, and a friend whose ear I respect claims very good results with the Eagle 2 on the larger Apogees. With the Nova preamp and XAM-4s, the combination I found best, the sound was nicely balanced, with excellent imaging and a large soundstage placed slightly forward. The soundstage was both deep and wide, and extended well in front of the speakers without losing width.
Despite the flaws noted above, the Eagle 2 can sound outstanding when partnered with the right components. It chews up most other amps costing less than $1000 without breathing hard. In comparison to the Precision Fidelity M-8, another first-rate amp in the Eagle's price class, the Eagle has more muscle and better performance at the frequency extremes. The 2 also presents a larger, more three-dimensional soundstage, but does not stack up well against the M-8 in the midrange or in accuracy of harmonic detailat least in most systems. Your particular musical tastes and associated equipment will determine the Eagle 2's suitability for you, but I preferred it in most applications. Because its sound varies more than most amps when used with different equipment, potential purchasers are well advised to hear the Eagle 2 in their own systems before the sale is final.Steven W. Watkinson


text:
Manually backup my website
You can manually back up your website at any time in Pro Sites.
Note: You need to activate the Premium Backup tool on your website to enable this option.
- Log in to your Pro account. (Need help logging in?)
- Click Pro Clients and select Pro Sites.
- Click Websites in the left sidebar.
- Hover over the website and click Backups.
- Click Backup Now.
- Type the name of your backup and click Save.


text:
Beaver Dam (BDHS) Class of 1939 Alumni List
Help us Update the Beaver Dam 1939 Class List by adding any names missing from the list below:
Registered Alumni
1939 Class List
Know Beaver Dam Class of 1939 graduates that are NOT on this List? Help us Update the 1939 Class List by adding missing names.
Reunions and Beaver Dam High School News
More 1939 alumni from Beaver Dam HS Beaver Dam, WI have posted profiles on Classmates.com®. Click here to register for free at Classmates.com® and view other 1939 alumni.
If you are trying to find people that graduated in '39 at BDHS in Beaver Dam, WI, check the alumni list below that shows the class of 1939.
Beaver Dam High School alumni can relive their experiences from high school by sharing memories and pictures, reconnecting with those alumni listed, and more.


text:
admin, January 15th , 2020.
There's no need to stare at unadorned walls in your bathroom. Treated canvas prints are water resistant and affordable. Go for oversized proportions for the best visual impact. For a unique look, have a local printer blow up a favorite photo into customized wall art. Nowadays, custom printers can create canvas prints and even laminate them for water resistance. When thinking of bathroom decorating ideas for art, think beyond a canvas print. A wall gallery of favorite objects like starfish or baskets can be another way to decorate your bathroom walls.
Bathtub is perfect idea if you want to have unique bathroom where you can relax. The look of the bath is very important if you want to achieve perfect relaxing atmosphere. From the following photos you can see that big window with breathtaking view can make the space in the bathroom more unique, calm and perfect for relaxing. But if you can't have big window with a view in the bathroom then you can choose more dark and tone down colors for the bathroom that will make the atmosphere in the bathroom more calm and relaxing.
Popular Ideas
More Inspiration
Monthly Archives
About ♦ Contact us ♦ Privacy Policy ♦ Terms Service ♦ Copyright
Copyright © 2016 · Inspirational Interior and Home Design. All Rights Reserved.


text:
High achievers pick colleges farther from home
- Students with higher test scores tend to go farther from home for college
- Link between family income%2C standardized test scores influences choice of college
- College applicants prefer schools farther from home than their parents prefer
The smarter your kid, the farther from home he or she may go to college.
The higher students score on a standardized college entrance exam, the more distance they may put between home and their college choice, a new study shows. A similar link exists between the education level of the student's parents: The more educated the parents, the farther from home their son or daughter tends to venture, the study finds.
The results don't necessarily mean high-scoring students can't wait to get out from under their parents' thumbs. The findings are "less about miles traveled and more about opportunity," says Steve Kappler, an assistant vice president for ACT, the testing company based in Iowa City that released the findings Tuesday. "The higher your score, the more opportunities you have. Students with more money have more opportunity. ... They have the ability ... to hop on an airplane and go check out a school."
The study, which examined ACT scores of about 1.17 million students in the high school graduating class of 2012, found that the median distance between home and campus for all students was 51 miles.
Distances varied widely by test scores, which range from 1 to 36. Among students scoring a 33 or higher, the median distance was 170 miles; among those who scored below 24, less than 50 miles. A 2009 study of SAT scores, published in the Journal of College Admission, found a similar pattern.
The ACT data support other research showing that low-income students who score high on their entrance exams limit their options because they don't know enough about the college selection process — including the availability of financial aid at schools they may have never heard of.
If students had their druthers, more might go farther afield. A 2012-13 survey by The Princeton Review, a test-prep company, found that college applicants differed with their parents about how far from home their ideal college would be. More than half of parents said less than 250 miles; more than 60% of students said more than 250 miles.
Kaylyn Hinz, 20, started her studies at Georgia Perimeter College, a community college near her parents' home in Covington, but not by choice. "I didn't want to go there at all because everybody from my high school was going there," she says. The problem? Low test ACT and SAT scores. "I'm a horrible test taker," she says. After a year, she transferred to Georgia State University in downtown Atlanta, where she originally had hoped to go. Distance from home: 34.9 miles.
Contributing: David Schick


text:
Khairul Bareeyah
Paperback, 109 Pages
List Price: $17.50
Price: $14.88
You Save: $2.62 ( 15% )
Prints in 3-5 business days
This book is one of the many Islamic publications distributed by Ahlulbayt Organization throughout the world in different languages with the aim of conveying the message of Islam to the people of the world. Ahlulbayt Organization (www.shia.es) is a registered Organisation that operates and is sustained through collaborative efforts of volunteers in many countries around the world, and it welcomes your involvement and support. Its objectives are numerous, yet its main goal is to spread the truth about the Islamic faith in general and the Shi`a School of Thought in particular due to the latter being misrepresented, misunderstood and its tenets often assaulted by many ignorant folks, Muslims and non-Muslims. For a complete list of our published books please refer to our website (www.shia.es) or send us an email to firstname.lastname@example.com
Product Details
- 9781312503151
- Copyright
- Ahlulbayt Organization (Standard Copyright License)
- Edition
- Second Edition
- Publisher
- Ahlulbayt Organization
- Published
- September 9, 2014
- Language
- English
- Pages
- 109
- Binding
- Perfect-bound Paperback
- Interior Ink
- Black & white
- Weight
- 0.47 lbs.
- Dimensions (inches)
- 6 wide x 9 tall
- Product ID
- 21798649
Your notification has been sent
Lulu Staff has been notified of a possible violation of the terms of our Membership Agreement. Our agents will determine if the content reported is inappropriate or not based on the guidelines provided and will then take action where needed.
Thank you for notifying us. We will email you with the results and/or actions taken as a result of the investigation if you chose to receive confirmation.
We were unable to complete your request.
We were unable to complete your request.
Listed In
More From
see more >
Azadari in the sight of... eBook:
Stories of Behlool Paperback:
$16.49 $14.02
The Awaited Savior... Paperback:
$14.97 $12.72
The Great Companion of... Paperback:
$20.51 $17.43
Nahj Al-Fasahal Height... Paperback:
$21.50 $18.28
Age Verification
The page you are attempting to access contains content that is not intended for underage readers.
Please verify your birth date to continue.


text:
Milosz Wozaczynski
Milosz Wozaczynski
Horst Wackerbarth
Yves Lecoq, A tribute to Darwin and Kubrick
George Platt Lynes, Elizabeth Gibbons with Umbrella and Mask, 1940
Dennis Mecham
Yoshiyuki Iwase via Fantomatik
Martin Munkácsi
Rodney Smith
David Blackwell
Girl with Umbrella
Nadav Kander
Andrew Baines
Melissa Kirsch's The Bumbershoot Manifesto says that, among many other things: "It is good manners to shelter unfortunate fellow pedestrian" and that "Taller people must raise their umbrellas over those of shorter people."
Bill Brandt
"Love me. Love my umbrella." — James Joyce (Giacomo Joyce)
Yale Joel
But, it must not be forgotten, it is also an umbrella. - Jacques Derrida, Spurs
"Was I to go on leaning on my umbrella and get drenched or was I to stop and take shelter under my open umbrella? It was a false dilemma, as so many dilemmas are..." - Samuel Beckett, Molloy
Yves Lecoq
"I don't see umbrellas in my dreams. Or balloons." - Vladimir Nabokov
Robert Parkeharrison
"I have forgotten my umbrella." - Friedrich Nietzsche
Julien Pacaud
David LaChapelle
Erin Butler
R,C. Hörsch via Fantomatik
Jared French, State Park, 1946
Max Ernst, Woman with Umbrella, 1921
Salvador Dali, Sewing Machine with Umbrella
Ever since the famous phrase of Lautréamont: "Beautiful as the chance meeting on a dissection table of a sewing machine and an umbrella", their sexual symbolism as male and female was recognized by the surrealists.
Francis Bacon
David Hockney, Man Stood in Front of his House with Rain Descending, 1962
Grandville "Une promenade dans le ciel", Le Magasin pittoresque, 1847
French School, Held Aloft by Umbrellas and Butterflies, 18th Cent.
René Magritte
"I thought that Hegel would have been very sensitive to this object which has two opposing functions: at the same time not to admit any water (repelling it) and to admit it (containing it). He would have been delighted, I think, or amused (as on a vacation) and I call the painting Hegel's Holiday." (Rene Magritte, 1958)
Carl Spitzweg, The Poor Poet, 1839
Henri Cartier-Bresson, Dieppe, France, 1926
City Elephant with Umbrella
Martin Munkácsi, The Happy Family – The Poor Relative, 1955
Berlin 1976
Leonard Misonne
Gisèle Freund, Les goudronneurs, Paris, 1931
Mi-Mi Moscow, Confucius, 2003
Good Bye