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Friday Fun: Why I Watch Airing Shows
Published on February 10, 2017
While I was going over my anime viewing habits in 2016 for the 12 Days of Anime series, I noticed that basically none of the shows I watched in 2016 were completed series. It's easy to point at my blog as the culprit, as I need to follow airing series to keep up my daily schedule. However, I only cover 6 or 7 series on this blog in each season, whereas I will watch about 20 series in total in each season (Blog-chan did nothing wrong!).
No, this issue is more of a barrier of entry. Something I've noticed with how I treat airing series is that if I fall behind more than three or four episodes for a series, I become a lot more likely to drop that series. So, the conclusion I draw is that my mind will be less willing to commit to completing a series if I know that I have a lot of content to cover. This distinction is important, because watching multiple airing series means that I still have to watch a 4 or 5 episodes at a time, but my individual commitment to any unique series is much smaller. In short, I just like switching what show I'm watching a lot.
As an overall analysis, I'd say one of the benefits of watching airing shows is I've been forced to examine shows a lot more on my own. There's more of a progression of opinions on the show. When I watch completed shows, I have a tendency to pull up summaries of future episodes to see where everything is headed, which dilutes the reactions. I also think it forces me to pick up more shows that I wouldn't normally watch simply because of the more limited pool. Though, I have to admit...cliffhangers in airing series are a bummer.
So, this post is part of an effort on my part to try something new. Let me know what you think!
NightswornFeb. 10, 2017, 7:03 p.m.
Double post!!
I'm sort of the same. Binging is good once in a while, but often I prefer the variation of watching quite a few different shows.
Friday Fun seems like a good feature so far :D (double posts ftw :D)
marthaurionFeb. 10, 2017, 7:21 p.m.
*shifts gaze*
yeah...binging is totally...something i do...
Schrodingers CatFeb. 11, 2017, 2:45 a.m.
I've seen that first picture somewhere before... dood
To motivate you even more, just post about all 20 of those shows! Triple posts for days!
marthaurionFeb. 11, 2017, 6:26 a.m.
Schrodingers CatFeb. 11, 2017, 7:12 a.m.
eh? dood? where?
Schrodingers CatFeb. 11, 2017, 11:30 a.m.
I don't see any "dood" here.
Schrodingers CatFeb. 11, 2017, 12:46 p.m.
D Talks AnimeFeb. 11, 2017, 10:14 a.m.
I'm the opposite. I tend to avoid airing shows and watch completed ones because I prefer to finish an anime before moving to another one. At most, I watch 2 shows together. But hey, it's still fun to keep with your (and others') weekly takes on simulcasts.
marthaurionFeb. 11, 2017, 10:34 a.m.
dont know how you manage that...if i were seeing everyone's reactions to airing shows all the time, i wouldnt be able to stop myself from joining in to see what's up
D Talks AnimeFeb. 11, 2017, 10:53 a.m.
I won't lie, sometimes I'm tempted to say 'what the hell' and just jump in but then I remember that I'd have to wait a week for the next episode and the temporary temptation fades away.
marthaurionFeb. 11, 2017, 11:01 a.m.
...join us
D Talks AnimeFeb. 11, 2017, 11:11 a.m.
marthaurionFeb. 11, 2017, 12:32 p.m.
it's fun!
D Talks AnimeFeb. 12, 2017, 7:32 a.m.
I believe you!
But for the sake of the sad remnants of my sanity, noooo.
marthaurionFeb. 12, 2017, 8:15 a.m.
nope, that's not a good reason :D join us
D Talks AnimeFeb. 12, 2017, 8:47 a.m.
You're right, who needs sani-wait what no.
marthaurionFeb. 12, 2017, 8:49 a.m.
a negligible loss!
D Talks AnimeFeb. 12, 2017, 9:02 a.m.
...fiine you win, I'll give it a try. If AoT s2 isn't an April Fool's joke, I'll be blogging that.
marthaurionFeb. 12, 2017, 9:03 a.m.
this is how it starts...
KarandiFeb. 19, 2017, 3:03 p.m.
I'm still torn as I never used to watch shows until they were complete, but that meant pretty much being unable to discuss anything with anyone online because a lot of the discussion is around what is currently airing. Now I split my viewing between complete series and airing series. Some shows work better week to week because it gives you some think time and the slow pace of some shows isn't as apparent when there is a week between episodes. Other shows work better marathoned when you don't have time to look for all the problems and they can move to the next thing before you convince yourself it isn't worth waiting for.
marthaurionFeb. 19, 2017, 3:50 p.m.
im pretty much over the edge by this point. honestly, ive never really felt anything strong about a show being more appropriate for marathon or weekly pace...i think the effect is minor to me.
KarandiFeb. 21, 2017, 9:38 p.m.
For me, slow stories that don't have individual episode conclusions because its really just one narrative, I enjoy marathoning. Weekly I get frustrated and usually end up walking away. However, anything emotionally draining or visually sensationalistic, I like weekly because it gives me processing time between episodes.
marthaurionFeb. 22, 2017, 6:58 a.m.
i think i just need the ability to step away from anything im watching, regardless of the story, so it's easier to do weekly watching


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Sunday, 3 April 2011
Dream Valley Challenge DT card and a crafting catastrophe!
Happy Mother's Day to all you hardworking Mums out there! I hope you're having a day of pampering!
This fortnight's theme at Dream Valley Challenges is 'Things With Wings.' The sponsor is One Stop Card Crafts and this fortnight's prize is a £10 voucher.
At One Stop Card Crafts we have a big range of ever changing discount making and card making craft supplies.
We are always adding to our range of craft supplies which are ideal for making handmade greeting cards, do-it-yourself invitations scrapbook pages, altered items and much more.
Our card making craft supplies include free UK postage, our popular discount scheme and quick service means our customers keep coming back for more.
Our prices are very competitive and this & makes us an ideal place to buy your card making supplies online. Some of our new products include Petaloo flower layers, Ranger Glitter Glue and Martha Stewart Punches.
Now for my card. This little cutie is Butterfly Nora by C C Designs, and she came from Dies to Die For. The sketch is from the wonderful blog I Need A Sketch - Jo lists all the sketches she's designed for Sketch Saturday and some other blogs.
Papers are DCWV 'Mariposa' stack - I've had this for ages because I couldn't bear to cut into the glittery, butterfly-y, gorgeous designs! I glittered Nora's wings and the butterfly and I distressed the circle in Broken China and then glittered on top, and also glittered the 3 butterflies punched with a Woodware punch. Too much glitter? Nah, never!! The sentiment is PB and I glittered that, too.
I did have another card rarin' to go on Wednesday, which just needed to be put together. Hubby brought me a glass of wine to sip while creating. Guess what? Yes, I knocked the glass over and soaked my card!
Panic! Rush to the loo to grab a towel to blot it all up! I may have said 'Drat and Botheration!' too. But it was too late. I really couldn't display a crinkly card with an odour of Chateau de Plonk for my DT example, so I started again, this time with different papers as I'd used up my previous choice. And, actually, this is a better card, probably because I'd put in all that practice before the disaster!!
So the moral of this tale is, Carding and Wine do not mix!
Do hop over to the blog and see the gorgeous creations of my teamies, they are so talented! And feel free to join in the Challenge, we'd love to see you!
Thanks for looking!
luv, Mags x
Promarkers: Blush, Dusty Pink, Pastel Pink; Buttercup, Canary, Mustard; Ruby, Crimson, Poppy, Powder Blue
11 comments:
- Crafty Urchins said...
such a pretty card,love the bling, what a nice hubby to bring you a glass of wine though....
ask him to leave the bottle with a straw next time much harder to spill.
- Sunday, April 03, 2011
- Khristen said...
LOL I have carded and wined before, and had the same results. I still do it, though, shame on me! I love your card. So pretty!
- Sunday, April 03, 2011
Beautiful card, I love the papers you've used. So sorry about the wine!!! xx
- Sunday, April 03, 2011
- Lynne in NI said...
Oops! Was the air blue 'cause you ruined your card or because you split your wine? LOL! But #2 turned out GORGEOUS ... that's a great sketch and I'm lovin all your sparkle!
- Sunday, April 03, 2011
- coops said...
stunning card mags.i love the sweet image and gorgeous colours and sparkle :D
xx coops xx
- Sunday, April 03, 2011
- debby4000 said...
Oh this is wonderful Mags and adorable cute image.
- Monday, April 04, 2011
- Mel said...
Hee I love this! And I bet the other card didnt look as pretty hee!
Hugs m xxx
- Monday, April 04, 2011
- Jules said...
Hi Mags
Lots of lovely layers on this one.
Love the layout and the gorgeous image and backing paper.
Shame about the wine .. .. what a waste LOL!!
Love Jules xx
- Tuesday, April 05, 2011
- melsanford said...
Oh such a pretty card! I LOVE all the glitter :-) Love 'n' hugs, Mel xx
- Tuesday, April 05, 2011
- Lin said...
I have an old Tommy Tippee cup you could have!
I had a disaster with a paint fusion piece in the week. Spent ages working on it and it fluttered to the floor where the dog decided to add her own improvements in the top two corners..... so now there are no corners at the top!
Saw that Mariposa on TV, how gorgeous does it look here, perfect for the image, so the wine possibly did you a favour.
Lin xx
- Thursday, April 07, 2011
- Carole of Brum said...
that's such a fab card, I love the glitteriness. Shame about the mishap with the wine, but you more than made up for the loss of the first card. CoB
- Friday, April 08, 2011

subset: commoncrawl


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Inlove with your blog!
Blueberry Almond muffins a delicious easy lo carb recipe for breakfast, grain free, sugar free and keto friendly with a moist texture.
I love this new low carb sugar free diet ! Well I am still starving sugar someday but having to bake healthy food means that my baby can eat it too. No risk for her to eat too much sugar or unhealthy fat. Tomorrow is Friday and she is at home so it was a good time to bake those blueberry almond muffins for both of us. I did not bake muffins for a while as my previous attempt used sugar and I am not allowed to eat sugar anymore. So I came up with this easy blueberry almond muffin recipe using sugar free crystal sweetener. All you need to make those delicious moist breakfast muffins are:
I inspired myself from a regular muffins. I simply swap regular white flour for almond meal, adjust eggs amont and sweetened the recipe with my favorite sugar free crystal sweetener. The result was awesome. I used lots of berries – about 1 cup of frozen blueberries – but feel free to adjust or use a combo of raspberries and blueberries. As you can see on the pictures there is almost more berries than dough in these muffins which makes them really healthy.
I am sorry for those who do not have kids but I had to share my girl story while eating those Blueberry Almond Muffins. She was so cute. She was pushing the muffins on her mouth and nose, clearly sniffing them with a lovely sniffing sounds! It makes me laugh loud. That is why I am baking and cooking to see people happy around me. And she definitely know how to thank me for my work even if she is not talking yet. Obviously she can not wait Friday to try these little killer. She tested them straight away after her long day at the daycare.
And if you love low carb muffins I recommend you try my flaxseed muffin in a mug ! ready in 90 seconds this is the best option for a quick sugar fix with no sugar.
Inlove with your blog!
Do these freeze well??
where are the almonds in the recipe? they are shown in the pictures, but no instructions are givn & they are not listed in ingredients…


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Extracurricular: Naomi Yang's new video for Heather Trost's Agistri
in categories:
Naomi Yang's latest sojourn into videomaking finds here directing this trippy gem for Heather Trost (of A Hawk and a Hacksaw).
Agistri is the title track from Heather's debut solo album and was premiered over on the NPR website.
Agistri is released on Living Music Duplication on 2nd June.


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I own/run www.exoticcarforums.com, like most car enthusiasts, I am near computer illiterate and everytime I try to upgrade the site it comes very close to dying completely. Currently we are running Beta 6 and I like the multiple picture option in the new release- but am deathly scared of loosing my site (or having signficant downtime) if attempting it myself.
My site is a non-for-profit, hosting/vbulletin comes out of my pocket (the advertisements are more or less friends and don't generate any sort of profit)- so I can't afford to pay for an expert to help.
Any advice? Any way we could make a deal in which you can advertise on my site if you help me? I really don't know what to say.... Thanks!
[email protected]


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Hi Everyone! I updated the Tech Pages for legacy shift lights and the RPM simulator. Check it out! Let me know if I missed anything.
A recent poll I posted in this blog has shown the overwhelming majority of poll-respondents do find the forums valuable. My website visitor statistics corroborate these results. The forums continue to see the largest "views" among all other pages. That being said, I'm actively looking for a new forum provider. Unfortunately, this means it's quite likely the majority of the data in the forums may be lost. :-( Not cool. I'll continue to work on this and keep you updated. I'll do my best to retain the data, but I wont' make any promises.
I was quite impressed with the construction of the topper. The decorative front resembled a stained glass window (but with plastic). The soldered metal frame was fastened to a sub-frame with 3 bolts. This sub-frame held a set of incandescent light bulbs and winds into a coil for tree attachment. I managed to strap 60 WS2812B LEDs to the sub-frame and a Nano. Powered off a 3A 5V cell-phone charger, the entire setup took mere minutes to wire-up. I loaded a modified version of my under-cabinet lighting "Mood Lamp" code. Overall, for about 2 hours of modification, I'm quite happy with it. I'm already thinking about different modes, brightness levels, etc. but I'll probably wait until next year before I try something new.
Stay Tuned!
- jon
V3.11 Update
I noticed a minor issue when more than 25 LEDs were programmed in the menu. The system would slow and become a bit jumpy. I further optimized the code, removed some redundancy, and the system gained a significant amount of performance in RPM pickup resolution. I've posted V3.11 code to the TECH pages. All shift light kits shipped on or after 9/28/2017 will have the new code automatically uploaded.
Stay tuned
- jon
V3.1 Code and Schematics Online
The code, documents, schematics for the V3.1 Shift Light are available for download in the new "Tech" page. I'm adding this new section of the website as a permanent repository of information. (Still under construction)
Click Here: Shift Light V3.1 Information
I had an idea to remove the forums - they don't seem all that active, though I do see a lot of information I could aggregate in the "Source" pages. The support is lacking from the provider and it has some bugs -- tell me what you think. Should I remove the forums or keep them?
You'll also notice a new display. That's a neat OLED display - with improved menu system, option setting screens, more information, and status icons while running. However, the most significant improvements come from the RPM sensing circuitry and power management.
The old circuit relied on a directly connected transistor to sample the RPM signal. The new circuit is diode-protected and optically-isolated. This results in reduced noise, improved pickup response, and improved protection. The shift light is now totally isolated from your vehicles electronics and vice-versa. New power protection and a dedicated power regulator for the AMTEL chipset adds superior protection and noise elimination - taking the reliability and accuracy to new levels.
To make all this happen, I had to seriously overhaul major sections of code. It didn't take long before I hit (then exceeded) the program space on the AMTEL chip. The animation algorithms were totally stripped and re-written. A few menu items were removed and libraries were optimized. I had to save basically 20% of program space through redundancy checks and some good 'ol fashioned math.
Quality assurance and testing was carried out extensively. Not only did I scope nearly all inputs and outputs, but I also subjected the development units to different noise scenarios, power overloads, erratic signals, misconnections, and interruptions. The new circuitry performed admirably - detecting and accurately reporting signals down to 10% duty cycle and even AC signals +/- 15VDC.
Thanks again for the amazing community of dedicated enthusiasts from all makes, brands, models, and walks of life. This wouldn't be possible without you!
Stay tuned
- jon
Shift Light V3 Sneak Peak
V3.0 coming soon...
Hi Everyone! Been quite busy the last few months working on development for V3 of the Shift Light. I'm excited to say: all that hard-work is finally about to pay off. I've finished prototyping with upgraded parts and about to release the first circuit board for production and BETA testing. Development was challenging. I collaborated with numerous users to make improvements to the circuitry and user interface.
Therefore, I'm discontinuing the previous shift-light versions. Although I do plan to grandfather the software improvements as a FREE UPGRADE for all current users. This means I have a very limited supply of shift-lights remaining and will not be ordering more. I'll send out an email newsletter when stock of the new V3 is ready for sale.
Stay Tuned!
- jon
Forums are down :(
Sorry, folks. The Chippernut forums are currently down. I spoke with technical support and they are working on the issue. I apologize for the inconveneince. If you need any information or support, please contact me directly at firstname.lastname@example.com . I currently have a backlog of emails I'm trying to respond to, so please be patient as it may take me a day or two to respond.
Thanks again for stopping by!
- jon
Back to it
Hi Everyone,
Just wanted to update you that I'm back and catching up on emails and forum posts. I had a really busy last week and it didn't help that my primary Chippernut computer had a serious OS malfunction that took me out of commission for a few days. I also juggled the install of a new transmission in my IS300 - which proved to be quite time intensive. I'm all done and ready to get back to work. Thankfully my data was backed up on a separate server, so nothing is lost. Stay tuned for some exciting developments yet this year! Thanks again for your continued support!
- jon
Gone Fishin'
Jon @ Chippernut
May 2019
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Talking Talent, the award-winning UK coaching company specialising in solutions for working parents, female leadership and inclusion has acquired Life Meets Works, a US consulting firm that helps companies improve performance through innovative working practices.
The acquisition will boost Talking Talent's growth, increase its global client portfolio and enable it to broaden its range of face to face and online coaching and consulting services for clients around the world.
The company's headquarters will continue to be based in Oxford, UK, with Chris Parke as CEO. The US business will be led by Teresa Hopke, based in Minneapolis.
Life Meets Work is the US market place leader for working parent, emerging leader and career/life coaching and support. Talking Talent will be able to offer existing clients these new services together with its coaching for working parents, consultancy around gender diversity, parental transitions, women's leadership development and building inclusive cultures.
Bringing both organisations together, Talking Talent will provide its clients with an even more holistic approach to engage, retain and progress talented women and working parents.
The combined client base represents over 150 of the world's most successful multinational organisations. The network of offices in the US, London and Hong Kong will offer an amalgamated approach of organisation consulting, coaching, development and digital coaching platforms to ensure lasting systemic change and commercial benefit to customers.
Chris Parke, CEO Talking Talent, said: "Talking Talent was established in 2005 with the vision to make a difference to how women experience corporate life. By bringing Life Meets Work into the Talking Talent family we are combining the strengths of two companies leading innovation around building inclusive cultures, women's leadership and working parents solutions in their respective markets. The new venture provides an even stronger proposition to take our valued partnership forwards. It also strengthens our global presence making us better equipped to offer coaching solutions to multinational clients with global needs."
Teresa Hopke, President of Life Meets Work, said: "We are excited to be joining forces with such a dynamic and vibrant company. We look forward to continuing to reimagine the workplace and transforming lives with our combined offering."


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Posts Tagged With: Asia
CWW: Up and Down
CB&W: Hot and Cold
My challenge to myself is to find these challenge photos from a recent trip to China. Cooking hot Peking Duck, and enjoying cold "iceas."
CB&W: Signs
For Cee's Black & White photo challenge: https://ceenphotography.com/cees-challenges/cees-black-white-challenge/
India: Taj Mahal—Monument to Love
In a faraway land called India, a great emperor named Shah Jahan adored his favorite wife, Mumtaz Mahal. When she died giving birth to their 14th child, he built her the most magnificent tomb in the history of the world—the Taj Mahal.
"We'll meet at the bus at 5:30am," our India tour guide informed us the night before. "We want to be first in line."
Ugh! Near the front of the line, we stood in the dark for what seemed like forever, waiting for the gates to open. Luckily we were squeezed between "stand in line" railings, so I had something to lean on in my groggy condition.
When we finally entered at sunrise, all sleepiness disappeared, and we were struck by the ethereal beauty of one of the world's most beloved edifices. Consistently named one of the Seven Wonders of the World, the ivory-white marble tomb takes your breath away when you see it up close for the first time. Its name is Persian for "Crown of Palaces," and so it is, reigning on a marble base, or plinth, at the far end of a narrow reflecting pool, and guarded by a minaret at each corner.
The tomb was commissioned in 1632 and finished in 1643 using materials from all over Asia (white marble from India, jade and crystal from China, turquoise from Tibet, lapis lazuli from Afghanistan, sapphire from Sri Lanka), and it's thought that more than 1,000 elephants were used to transport building materials. The rest of the 42-acre complex—finished between five and ten years later—includes a mosque, guesthouse and formal gardens. Total cost in 2015 U.S. dollars—$827 million. The project employed some 20,000 artisans under the guidance of a board of architects. In 1983 it was designated a UNESCO World Heritage Site for being "the jewel of Muslim art in India."
Clever subterfuge: To protect the building during WWII, the Indian government erected scaffolding around it in anticipation of air attacks by the Japanese Air Force. Scaffolding was again used during the India-Pakistan wars of 1965 and 1971 to mislead bomber pilots.
To this day, the Taj Mahal still stands as a symbol of love. Nobel laureate Rabindranath Tagore poetically described it as "the tear drop on the cheek of time." And so it was for Shah Jahan. When he died, he was laid to rest in a sarcophagus next to his beloved Mumtaz.
Touring India—the Road to Ranthambhore
The troop-carrier jeep bounced along a dirt road carpeted with large potholes that looked like they'd been blown out by meteorites. I tightened my grip on side railings and those attached to the back of the seat in front of me, but still, every pothole sent me careening in four different directions. Twice, my mouth connected with the side bar, and once, while I was looking up, the bar behind my head rose up to crash into my skull.
We were in the Ranthambhore Tiger Reserve, on safari, looking for wild tigers. So far, we'd spotted a lot of sika and samboor deer—including two young bucks testing their fighting mettle by locking horns—and several birds. But no tigers. Where the deer were, the tigers weren't, which makes sense from a deer's point of view.
To give you some background, the Ranthambhore Reserve covers an area of 1334 square kilometers, was started in 1973, and is home to six species of cats, three species of mongoose and marsh crocodile, an estimated 38 species of other mammals (the deer would fit in here), 315 species of birds and 402 species of plants. Whew!
The road wound up and down, crossing streams and the aforementioned potholes, through a thickly forested underbrush area categorized as tropical dry deciduous. If the tigers had been there, we might not have been able to see them in the tall grass. I was disappointed—and a little banged up. So, to avoid the whiplash affecting my lower back, I opted out of the next morning's safari. My husband did go, though, and we were both happy about the results. Not only did they spot a tiger, but also a marsh crocodile, monkeys, and different birds.
Tigers are king in Ranthambhore, and tiger images are everywhere, including at a craft shop known as the Village Women Crafts, where sari-clad women (sometimes with a small child nearby) sew and weave beautiful designs into wall hangings, clothing and other fabric items. It may be a woman's craft center, but men, it seems, are the ones painting tiger images. All the work is exquisite.
Another craft center again offered the vibrantly colored fabrics India is known for, as well as camel-pulled carriage rides. It was here that a group of sassy local barely-teenage boys (the girls are much more reserved) presented themselves to me to have their picture taken, and, wanted to take their picture with me. It was a delightful international exchange, and we all had fun. For me, this is one of the big perks of travel—random exchanges between people. It helps us bond with people of other cultures—and they with us—and reminds us that we are really all the same, despite different skin colors, religions and customs.
To see the slideshow, just click on any photo and use the arrows to move back and forth.
A Sampling of Southeast Asian Cultures
Last September, we embarked from Shanghai on a 17-day cruise that made port at Nagasaki, Japan; Busan, South Korea; Taipei, Taiwan; Hong Kong; Vietnam; Bangkok, Thailand; and finally Singapore. My story (with photos) of the journey is featured in the Spring issue of TravelWorld International magazine, starting on page 6. http://issuu.com/travelworld/docs/_twi_magazine_spring_2015/1. Please enjoy the tour.
Cee's Fun Photo Challenge: Bridges
Rong Gao (Dragon Bridge), Da Nang, Vietnam. Built in 2013 and designed by U.S. engineers, this dragon breathes fire and hissing smoke (water mist) each weekend after sunset. Now that I've photographed it during the day, returning at night is on my Bucket List.
Weekly Photo Challenge: Urban
The Blue Mosque, Hagia Sophia, Topkapi Palace, Istanbul itself, Cappadocia….all these iconic sites come to mind when travelers think of Turkey. But for this week's photo challenge, I wanted to show a different side of the country that straddles two continents, and, indeed, two worlds. Turkey is at the same time part Asia and part Europe, Islamic yet democratic, both modern and ancient, and in the immortal words of Donnie and Marie Osmond, it's a little bit country and a little bit Rock 'n' Roll.
By Rock 'n' Roll, of course, I mean Urban. In the Turkish countryside you'll see vast acreages dedicated to growing fruits and vegetables. But you'll also see a plethora of urban centers. Istanbul, certainly, but also Izmir, Ankara, Antalya and many others.
I've selected just a few of the many images that to me represent Turkey in its most unique urban sense.
Travels in Turkey: a Treat for your Feet
Ouch! Double Ouch! I'm the original tenderfoot, and walking barefoot over little ridges feels like walking on a bed of nails. But the sign said, "remove your shoes," so I knew resistance was futile, especially since management had conveniently made available plastic bags as shoe carry totes. A short distance to go over the ridged and wet terrain, and I knew the end result would be worth it.
I was at Pamukkale (pronounced Pah-MOOOK-kah-lay), where calcium-rich water oozes over a cliff and forms lovely white-terraced pools. At one time visitors could climb down to the lower pools and soak in the mineral waters, but no more. To keep hoards of tourists from damaging them, the lower pools are closed to bathing. But all is not lost. Travelers can still try out the healing properties of Pamukkale's springs.
One way is to patronize the spa. Pamukkale has been home to a spa since the Romans built the city of Hierapolis around the sacred, volcanically warmed spring (once you buy your ticket you can visit both the terraces and the extensive ruins of Hierapolis).
I didn't check out all the options at the spa, but I found Cleopatra's Bath (featuring underwater seating designed as broken and tumbled columns) and two rows of aquarium tanks. Sit on a bench above a tank, immerse your feet, and dozens of itty-bitty cleaner wrasses will relieve you of dead skin and any ectoparasites they can find. It's their job. And their food supply. One kind gentleman agreed to let me photograph his feet.
The other way is to do what I was doing—gingerly picking my barefoot way over to one of the calf-deep pools on the plateau at the top of the cliff, relieving my feet at little tidepools along the way. I must admit, the warm water felt indescribably good, and whether it was the comfort of the smooth-bottomed pool, or whether the healing waters were actually performing their magic, I won't ever know. But afterwards, my nagging headcold disappeared. I leave it to you to draw your own conclusions.
Where in the World…?
Where in the world is this ancient community dwelling (interspersed with Christian churches)? If you know, please share your story and your thoughts about this place: How and when did you come to be there?
It's in an ancient land where people lived above and below the ground.
Once the people embraced Christianity, but no more.
Most days, a flotilla of hot-air balloons hovers above the landscape.
You will see an occasional camel, which you can sit on and have your picture taken.
Shop for intricately decorated ceramics, leather coats, and carpets.
(Dallas, has Ahmet been here?)
Travels in Turkey: Where to Park your Camel
When I was a teenager, my parents moved us—lock, stock and barrel—from Pennsylvania to Southern California. We made our way across the country packed in our station wagon, checking into a motel each night and seeing the sights by day. When we were hungry, we stopped at a diner or supermarket along the way. All we had to worry about were boisterous bikers, a wrong turn here and there, and getting caught smuggling our parakeet, hamsters and cat into the motel each night.
About a hundred years earlier, eager settlers made the same trip via another kind of wagon—a wagon train. They had it a little tougher than we did. No convenience stores and plenty of danger from marauders or the whims of Mother Nature.
Now let's go back a little further—to the 10th century AD. There were no cars, busses, trains or planes back then, so travelers—mostly merchants carrying the riches of Persia and China to the markets of Europe, and vice versa, along the Silk Road—made their way across the landscape of central Asia in camel caravans. Safety in numbers, right? But there were plenty of highwaymen lying in wait in the dark of night to rob and kill.
Fortunately, the sultans of Turkey had a bright idea. They knew the best way to encourage commerce (and the taxes, political power and prestige the label of "trading dynasty" brought with it) was to protect the merchants, so they built a series of caravanserai (essentially parking garages for camel caravans) along the trading routes—each one a day's journey from the last.
These caravanserais were like stone forts or castles, with a large entry portal to accommodate the animals and whatever they were carrying, and an iron gate. There was no roof over the central courtyard, which often held a small mosque. Interior rooms included a great hall, bathhouse (Turkish-bath kind), bathrooms and places to sleep. Ovens were embedded in the ground to keep the place warm, and candles and lamps provided light. A manager oversaw operations.
Not only would these government-run caravanserais provide a nighttime safe haven for travelers, their camels, horses, donkeys and cargoes, they also offered services such as doctor, imam (prayer leader), veterinarian, messenger, blacksmith, shoe repair and cook. Travelers could stay for three days, and all services were free during that time. It was a win-win situation for both travelers and government.
When Europeans found new ways to China, the Silk Road declined in importance, and after the 15th and 16th centuries, most caravanserais were never used again. Many are in ruins, but some are well preserved and a treat to visit and explore.
Travels in Turkey: People
This time last year I was in Turkey. It's a place that will not leave my thoughts. Before I went, what I expected was mosques and sightseeing. What I got was a cultural infusion of sights and people that left me feeling both awed and happy.
Today, let's start with the people. Turks, especially those in the countryside and outlying towns, really like Westerners, perhaps because we're different, or come from such faraway places.
At one restroom/convenience-store stop along our bus route, a wedding party and family (sitting at picnic tables in front of the store) offered us food from their post-wedding feast. "Turks love to feed foreigners," our guide told us. Everywhere, groups of wide-eyed schoolchildren and their teachers surrounded me, practicing their limited English by asking the same two questions—what is your name, and where are you from—clamoring to hear me speak or just wanting to stare at me. The lack of a common language didn't seem to matter. Somehow we communicated. And they were eager to jump in front of my camera.
If you've been to Turkey, I invite you to share your stories of this amazing place by commenting below. Or perhaps you'd like to author a guest blog. And look for more—much more—from me on this subject.


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Dee Fontans is a jeweller, enamelist, fashion designer and performance artist. She studied at Parsons School of Design and State University of New York, and now teaches at the Alberta College of Art and Design. Her work has been exhibited and published in the United States, Germany, the Caribbean and across Canada. In 2003 Dee was voted one of "ten most important artists in Calgary, of the last 20 years". She was recently featured in a series of television Art Spots for the Canadian Broadcasting Corporation. In 2006 she received the Alberta Craft Council Award of Honour.
"My work stimulates and excites the visual senses through movement, the manipulation of shape and the exaggeration of the body."
Dee Fontans is an internationally recognized jeweller, artist, performance artist and fashion designer. Her designs are eccentric, fun to look at, and based in theory where she tries to dispel the old myths about men and women, and get back to basics of what makes us unique and yet so similar.
With her partner Charles Lewton-Brain, Dee founded and runs the Lewton-Brain/Fontans Centre for Jewellery Studies. The Centre promotes education in jewellery skills, techniques and the awareness of jewellery, body adornment and design. She also teaches in the jewellery department at the Alberta College of Art and Design in Calgary. She has exhibited and published in the United States, West Germany and Canada. Dee studied at the Parson School of Design in New York City and the State University of New York at New Paltz.
Collections: Europe, Asia, United States and Canada
Anne Barros, Ornament and Object: Canadian Jewellery and Metal Art, 1946-1996. Boston Mills Press, 1997.


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The Mcqueen - Self-Catered Apartment
425 Washington Blvd
Jersey City, NJ
Located in The Waterfront, The Mcqueen - Self-Catered Apartment is a perfect starting point from which to explore Jersey City (NJ). The hotel offers a wide range of amenities and perks to ensure you have a great time. 24-hour front desk, Wi-Fi in public areas, concierge, elevator, executive floor are just some of the facilities on offer. All rooms are designed and decorated to make guests feel right at home, and some rooms come with internet access - wireless (complimentary), non smoking rooms, air conditioning, heating, executive lounge access. Access to the hotel's fitness center, outdoor pool will further enhance your satisfying stay. For reliable service and professional staff, The Mcqueen - Self-Catered Apartment caters to your needs.
Info for The Mcqueen - Self-Catered Apartment
- Check In: 00:00
- Rates from: $245.00
- Check Out: 00:00
- Number of Rooms: 1
Amenities for The Mcqueen - Self-Catered Apartment
- 24-Hour Front Desk
- Concierge
- Elevator
- Executive floor
- fitness center
- Outdoor pool
- Shared lounge/TV area
- shuttle service
- Wi-Fi In Public Areas


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You are hereHome › Regional Services › Adult Learning
Adult Learning
Adult Learning is a not-for-profit organization funded by Government Grants. We strive to provide continuing education opportunities for adult learners in our community. Our course calendar is published twice a year; in September and January. Check out our website for all up-to-date information on available classes!
Office hours are Monday – Thursday from 8:30 am-3:30 pm.
We are closed for the months of July and August.
We are closed for Christmas break and spring break.
Box 180
102 Center Street
Vulcan, Alberta
Telephone: (403) 485-3109
Fax: (403) 485-1979
Main menu
- Your Government
- Departments
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- Links
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Vulcan County is now producing weekly newspaper ads to better inform our Rate payers, however we know that not all rate payers receive the Vulcan Advocate so all ads will also be available on our website.
Twin Valley Regional Water Commission
Vulcan & Region Family and Community Support Services (FCSS)
Vulcan Business Development Society
Vulcan Regional Food Bank Society
Vulcan Seniors Housing Initiative
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© International Police Association Pistol Club (Ireland)
Club Profile
The National Executive Committee of IPA (Ireland Section) has endorsed the Pistol Club as a National IPA Club within this Section. It was formally launched as the International Police Association Pistol Club Ireland at the National Council meeting on the 4th June 2008. The aims of the Pistol Club are to provide organised events for members of the IPA (Ireland Section) who are pistol and revolver enthusiasts and to promote and encourage interaction with like minded enthusiasts from other IPA sections around the world.
Since its inception some of our Pistol Club members have travelled to a number of Shooting Ranges where they had very enjoyable, educational and informative days of shooting.
- Northern Ireland - IPSC Shooting & Training
- Italy - Police Pistol Competition
- Malta - IPSC Shooting Competition
- Jersey Island - Club Outing to Local Club
- World Police Fire Games
The Club is open to new members all year round. Any person who is a member of the Internaconal Police Association and is a serving or reserve member of An Garda Síochána or a retired member of An Garda Síochána or a serving member of retired member of another police force living in Ireland are welcome to join.
There is an annual fee of €55 to be paid by members, and when the first application is made a passport size photo and proof of insurance will also have to be forwarded. Membership allows members to participate in events organised throughout the year and also allows members to shoot on a number of ranges throughout the country. A range fee will have to be paid to the range owner by members using these ranges.
The 4 founding members: Alan Lynch, Neil O'Malley, Noel Horgan & Pat Donnelly
- Garda Authorised Pistol Club (Pulse Ready)
- Compete at 10 IPAPC Events Per Annum
- Partake in Training Courses
- Avail of Cheaper Insurance / Shooting Fees
- Compete in NASRPC Competitions
- Shoot International at Police Events
|Frequently Asked Questions
|IPAPC Newsletter
|On-Line Membership
|Postal League
|Charity Shoot
|Club Shooter


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Tony Tremblay - Issue 110
"Reading `McLuhan'" in a Postmodern Age: The Constructions of Glenn Willmott, Terry Gordon, Robert Logan, and Derrick de Kerckhove
As I contemplate this review article on the multiple constructions of Marshall McLuhan, my attentions are distracted by the 1997 federal election. The likenesses between populist postmodern politics and representing mcluhanisme, as the French call the McLuhan/popular art phenomenon, are not lost on me. During the first televised debate last night, both the media and the party leaders were eager to remind us of the positioning of "otherness": Reform and the Conservatives on the right; the NDP on the left; the Liberals slightly right of centre; and the Bloc somewhere far off the ideological map, too far off to register as part of the mainstream collective. Even globalism, it seems, has parameters. The curiosity of all this labelling is that while it is frequently used, it is rarely claimed—the NDP generally doesn't refer to itself as Left, nor does Reform refer to itself as right, yet both are quick to label their opponents. The designations of left, right, and centre, of course, are little more than mystical demarcations that simplify differentiation and encourage generalization, exactly the sentence that each party wants to impose on its opponents, and exactly the simplicity our media mavens think we require. Yet, structurally, a more fundamental phenomenon is at work in the cultural programme of demarcation, having something to do with a well-documented historical tendency, specifically with what Vico called "historical drift." Adopted by Harold Bloom as the centrepiece of his "anxiety" theory, Vico's notion of "drift" advanced that the presence of strong precursors, mentors, or opponents encouraged an unconscious programme of ideological theft, in which the psychology of individuation asserted itself by calculated dissimilarity.
The Liberal Party of Canada and Marshall McLuhan are good examples of Vico's historicist paradigm: just as Trudeau created a Liberal left by misreading Tommy Douglas, so has Jean Crétien created a Liberal right by misappropriating the fiscal logic of the Tories that preceded him. The result is two Liberal parties, different but equally legitimate in their drift from the high-modern master narrative called "Liberal," whatever that is. Such drift, said Vico, has been the progress of history—a crooked man, from a crooked house, walking a crooked line, all in an effort to reclaim a master narrative that defies simple categorization. But who ever has been able to pin-the-tail-on-the-rarefied-donkey? (That "crookedness" applies to my central political metaphor is just good luck.) Mcluhanisme is undergoing a similar fate today, its manifestations, like liberalism, neither good nor bad, just varied. McLuhan's name now appears to have become more a palimpsest than any kind of oracle, somethingLife magazine never anticipated when it named him "the oracle of the electric age" (25 February 1966). Those who now lay claim to McLuhan come from all sectors, their methods and motives from all angles and agendas.
Always concerned with "putting-on" his audience, McLuhan prophesized the dialogicity of his legacy as early as Understanding Media (1964), when he wrote, "Too many people know too much about each other. Our new environment compels commitment and participation" (21). As to the fate of his historical signature in the postmodern present—the so-called "global village" of Eliotary "simultaneity"—McLuhan's critical poetics were equally farsighted and generous. He told Gerald Emanuel in an interview:
The more you create village conditions [in this case the result of electronic acceleration that retribalizes], the more discontinuity and division and diversity. The global village absolutely ensures maximal disagreement on all points. ("A Dialogue" 272 emphasis added)
True to form, McLuhan not only anticipates the future but offers us in the process an explanation for how we are to read mcluhanisme. The user is, after all, the content, an observation that Glenn Willmott makes in setting up his precept that "justifications for an individual style [are] of limited interest" given that McLuhan's message is "as diffuse as the responses to it" (169). I agree with Willmott and would add to his observation that while particular utterances of the idiosyncratic are indeed insignificant, the idiosyncratic act, as critical practice au courant, is highly significant, for it is a lasting register of the methodology of the Toronto School of Communications that McLuhan and Harold Adams Innis inhabit.
The license for this diffusion and diversity of critical opinion—and issued by the master narrative himself, McLuhan—provides the lead-in to my task at hand, which is to make some sense of the highly stylized, postmodern constructions of mcluhanisme. And I say "postmodern" with deliberation, for, as slippery a term as it is, it does accommodate the multiplicity of representations of McLuhan that now bombard us, a mere four of which I am addressing in this review.1 Indeed, I could have chosen from literally hundreds of other representations, everything from popular misreadings such as Ted Turner being described by Time as "The Prince of the Global Village" (which should remind us of Hugh Kenner's quip that few really know what McLuhan meant) to more serious critical overtures that reclaim McLuhan, including the scholarly work of B.W. Powe and Donald Theall, as well as the anthologizing of Frank Zingrone and the living McLuhans, brother and son. Equally significant, though perhaps more subtle manifestations of the McLuhan register, are everywhere around us, now so unconsciously assimilated that they have become part of our cultural and ideological landscape. I am thinking of the CBC's "town hall" phenomenon; of the inundation of PictureTel units in corporate headquarters and distance education units around the globe; of our culture's quick acceptance (suspiciously quick) of the phenomenon of the World Wide Web; of the longevity of the Neil Postmans, Arthur Krokers, Peter Druckers, and other communications sages; and, finally, of the legitimacy of cultural and media studies as areas of serious academic inquiry. Each of these phenomena, concrete and subtle, has about it something of the McLuhan residue, which is not to say that McLuhan was thedefinitive seer of the intellectual world, but that, as Tom Wolfe intimated in his now-famous Herald Tribune article, he was right about enough things that people listened. And people still are paying attention, making the oracle of the electric age as malleable and abused as Freud and Nietzsche. But that is, one learns after reading McLuhan, the point of mcluhanisme, isn't it? Glenn Willmott concurs:
McLuhan sacrificed himself to a problem which continues to confront every concerned intellectual struggling with his or her postmodern condition: what form of critical discourse will be able to communicate critical consciousness from one of us to another in the mass media of the Global Village? Today, McLuhan's value lies less in his own explicit answer, in his invention of a duplicitously satirical criticism, than in his larger and implicit, symbolic self-sacrifice to the problem of the critic itself—of the critic's body and medium—in relation to the already-produced nature of itself and others. McLuhan's must be retrieved as an archetype of the problem which confronts every intellectual today in his or her desire to empower, however partially, an audience and milieu. (207)
I maintain that the postmodern register of McLuhan today—his own undying nature as a palimpsest of critical practice—is his historical signature and immortality. If his star fell in the early 70s, it has certainly risen again, which leads me to a final observation unrelated to the allowances of postmodern license. In the 1990s, we have finally distanced ourselves from the late-60s cliché of McLuhan. Time, neglect, and critical processing have worked to his advantage, finally rendering him non-environmental. McLuhan is therefore being treated today as he could not have been treated in his own generation—we are making of him what he made of the New Critics and High Modernists who preceded him. He is visible now, as "the first theologian of information" (qtd. in Gordon 8), as counter-environment. As archetype, he is now more the figure than the ground of our critical inquiry. Our intellectuals are looking to him to point the way, as he looked to Pound, Joyce, and Lewis, the so-called "Men of 1914." His visage is now firmly centred, if still not focussed, in our rear-view mirror.
"The reader wears the mask of the poet's work even as the author puts on the public as a mask. One is probe for the other. Joyce put it in a phrase: `My consumers, are they not my producers?'"
(Cliché 27-28)
Glenn Willmott's McLuhan, or Modernism in Reverse (1996), which bears a similarity in title and post-structuralist spirit to Jameson's important work on postmodern culture (see note 1), is the book I begin with because of what appeared to me at first reading to be a central trope: Willmott's book is the deepest of the four I read, and, in its depth, the most closed. The deeper Willmott probed, I felt, the murkier his thought became, not because his logic was flawed or his syntax tortuous, but because his book imagined a scholarly audience awash in the reified, private discourse of post-structuralism. McLuhan's justification for reading Innis, cited by Willmott, captures the feeling I initially had, namely that Innis offers "`a pattern of insights that are not packaged for the consumer palate'" (110). "So does Willmott," I was prepared to say, forgetting both McLuhan's legitimization of "division and diversity" and his loathing for simple dismissal, which he concluded was an effete post-Romantic tendency that privileged the transience of content for the historical permanence of form. For McLuhan, judgement was just so much naiveté, unworthy of critical practice. And so, I was and am happy to reconsider what is a post-structuralist, Jamesonian "reading" of McLuhan, as much for the object-lesson my initial reaction provides as for the opportunity to laud what is an important contribution to McLuhan studies, one that will find its place next to John Fekete'sThe Critical Twilight: Explorations in the Ideology of Anglo-American Literary Theory from Eliot to McLuhan (1978).
The object-lesson of my first reading of Willmott's book is where I'd like to start, for my annoyance is ideologically laden with the burden of reading McLuhan in the postmodern present—that is, of reading McLuhan as much through a media panoply as through the covers of his own books. We have become accustomed to reading representations of thinkers, even of those thinkers with whom we are most familiar. And in being bombarded by the shadow-shows of representations, we become naturalized to messages that slowly re-package our knowledge so that the figure of that knowledge is shape-shifted into another form by the ground of new representations. This is another way of saying that "ground" nourishes "figure." My initial reading of Willmott is a case in point: I wondered what business a philosopher-philologist had in McLuhan studies. The fact is, McLuhan was as critically indebted to traditional, philosophical scholarship as he was eager to employ that indebtedness, a truism that is easy to forget in the maelstrom of popular/MTV versions of mcluhanisme. The upshot of all this self-disclosure points to the precariousness of reading McLuhan in the postmodern present, an activity which should probably be placed in double quotation marks: i.e., "reading `McLuhan,'" hence my title. In short, when one "reads `McLuhan,'" one engages the whole historical unconscious, accessing at best what Willmott rightly calls "an imaginary scaffolding thrown together, not merely from the ideological, but from the technical clichés of ...culture" (206). McLuhan, therefore, is what both the philologist and the MTV VJ remembered and forgot from their reading of a panoply of readings of McLuhan. To be sure, reading McLuhan in the postmodern present is a "high-definition" activity; he is "hot," meaning fully defined and detailed. Reading McLuhan is not reading what McLuhan wrote, which proves exactly what McLuhan said—that in the global Risorgimento, or postmodern revival, we read corporately and collectively, engaging the whole of the historical unconscious. "Reading `McLuhan,'" then, provides an analogue to the act of reading. To have thought about and become comfortable with that paradox is to begin to understand McLuhan and his age.2
Willmott's book, to begin again, is one of three types I am considering in this review article: the kind that explains McLuhan. W. Terrence Gordon's "most excellent" McLuhan for Beginners(1997) is similar to Willmott's in that it too explains, but in documentary comic book form, the McLuhan phenomenon. The vast remove of both books from the centre indicates how wide the craft of explanation really is, and how varied the audience interested in McLuhan: Willmott's is the high-starched treatment and Gordon's the lower-brow, "Gen-Y" version. Where Gordon's readers probably wear sunglasses, Willmott's probably suffer from eye strain. What twins both reader groups, however, is their desire to know something about McLuhan, and whereas those readers likely to buy Willmott's book are also likely to read it, those courted by Gordon want theClassic-Comic-Book version of the McLuhan story, which he delivers with the opening salvo, "Not only have you never read any of McLuhan's books, you've probably never read anything that makes you think you should" (1). And so, where Willmott's book is deliberate, comprehensive, and historically inclined, investigating sources and pondering implications, Gordon's is snappy, fast, hip, and jazzy. If indeed, as McLuhan claimed, one steps into a newspaper as into a bath, then one steps into Gordon's book as into a mid-summer carnival, full of forward and reverse angles, fade-ins and fade-outs, and all manner of cartoony talking heads and multi-media gargoyles, exactly what is needed to communicate with the "excellent adventurers" travelling through history on the air waves.3
In sum, I like many things about Willmott and Gordon's books, especially those ideas that are new or rarely examined. About Willmott's book I specifically like the treatment of the Greek notion of techne, which grounds the whole. Though Willmott doesn't credit Jacques Ellul directly for helping him apply the classical and seventeenth-century definitions of "technique" (later "technology") to McLuhan's use of the term, the spirit of Ellul certainly informs his treatment. As the unspoken creed of efficiency and regimentation—what a contemporary psychoanalyst might term the "symbolic order" of modernity—the subaltern, historical meaning of technology was certainly at the root of McLuhan's programme of illumination for social justice. In fact, after the fashion of Ezra Pound and I.A. Richards, McLuhan considered the process of unearthing etymologies to be one of the important tasks of the literati. As he wrote to Wyndham Lewis, his discovery of the real meaning of technology (primarily as extension, but also as constructivist systematization of process) would go a long way toward ending some of the "blackout of history." Willmott's book is especially valuable in its treatment of what McLuhan saw, again suggesting Ellul (but also Innis), as the unconscious technological imperative of high- and post-modernism. As early as The Mechanical Bride, McLuhan was warning of "the unity of the modern world becom[ing] increasingly a technological rather than a social affair" (87).
Willmott's book is also rigorously authoritative on McLuhan's sources and influences, thinkers as varied as Sergei Eistenstein, the Cambridge New Critics, Siegfried Giedion, Lewis Mumford, and the usual cornerstones: Pound, Lewis, and Innis. Curiously absent, however, is any sustained treatment of Joyce. If I have one criticism, finally, of Willmott's study—and I'll admit that it may be related more to the business of editing than writing—it is of the structural inference that McLuhan arrived at his ideas in an ordered way, that the journey from Pound through Lewis to Innis (from literary criticism to cultural anthropology) was paradigmatic for the development of his thought. In this inference, the book often falls for one of McLuhan's favourite metaphors for understanding the post-modern present—that of revisiting the scene of the crime, in this case a chronological investigation of McLuhan's many teachers. Surely McLuhan's own teachings are worth consulting here, for, simply put, subjectivity and cognition just do not work that way. Influence is as fickle as cliché, both more often than not remaining unexamined by the subject and unexaminable (except as fiction) by the critic.
In the same spirit of refutation I'll challenge Gordon's contention that if he were alive today McLuhan would probably not have an e-mail address (15). I rather doubt that, knowing what little I do about his fascination with early fax technology (presumably, McLuhan was one of the first Canadians to own a fax machine; so new was the technology that he had few recipients for his missives outside of the French and Japanese). Having said that, I also must say that Gordon's book is the best of the four I read in the way it summarizes McLuhan. Granted, that is the book's stated objective— to make McLuhan understandable to cyberspace travellers—however, Gordon's ability to synthesize McLuhan is first-rate, focussing on what the MTV crowd would want to know about the man: his views on TV and computers, popular culture, sex and advertising, and, of course, what all this global change means for youth. Gordon is also extremely effective in isolating and defining McLuhan's key tenets, so much so that McLuhan experts would find real value in reading Gordon's explanations of "the medium is the message," "hot and cool," "the global village," "cliché and archetype" and "laws of the media."
As well, Susan Willmarth's numerous illustrations (there are at least two on every page) provide provocative complement to Gordon's explanations, setting up a paratactic dialogue between visual and textual representations of mcluhanisme. In this, Gordon and Willmarth's collaboration is reminiscent of the McLuhan/Harley Parker project Through the Vanishing Point: Space in Poetry and Painting (1968). Designed to heighten our sensory awareness, such collisions of signifiers (of words and images—phonetic and pictographic signs) add not only resonance to the flatness of purely typographic representation but also offer working models of the post-modernity of mosaic man, who, newly retribalized, experiences the world in depth and all-at-once, the clear danger of which, as Gordon infers, is a somnambulism unmatched by Gutenberg's invention. Gordon's way of presenting and interpreting McLuhan is therefore of special interest to young people and the critically uninitiated. The way the book starts and the way the book ends presents a necessary and invaluable ecology for the retribalized: "...the new environment that McLuhan discerns should be studied as carefully as the O2system in the Apollo spaceship" (3); "If we had to put McLuhan into one sentence, it could be this: He asks us `What haven't you noticed lately?'" (136). In presenting McLuhan not as the champion but as the often self-parodying interrogator of popular/mass culture, Gordon comes as close to the spirit of McLuhan as any of these representations under consideration.
"I've been going on from extemporizations of Marshall's for thirty years."
(Kenner 297)
The second type of McLuhan artifice or construction that I am examining is what might be called "extension." Where Willmott and Gordon explain McLuhan, Robert Logan and Derrick de Kerckhoveextend McLuhan outward, using him as a footnote to their own inquiry, yet in a spirit different from how McLuhan used Innis as footnote to The Gutenberg Galaxy (50). The difference today, in the postmodern present, is that many of the thinkers who use McLuhan rarely bother to explain or investigate the "McLuhan" reference. Perhaps in a retribalized milieu that recalls the Homeric rules of oral man, they assume they don't have to. The consequence, however, of loosening the demands of indebtedness is that the subtext — in this case McLuhan — too readily gets claimed as legitimizer of a particular kind of inquiry. Robert Logan's book, The Fifth Language: Learning a Living in the Computer Age (1995), is a case in point. Though Logan's title echoes the later McLuhan, and though his book opens with an intelligent and cogent chapter on the Innis/McLuhan phenomenon, the balance of his book exhibits a reluctance to apply the lessons of McLuhan to the material being investigated. Here is one example.
Drawing parallels between the two notational systems [reading/writing and mathematics] could certainly help students to understand the abstract nature of the alphabet and the place number system. It might help those who are strong in math but weak in reading, or vice versa, to use their strengths with one notational system to better understand the other. These suggestions are purely speculative but certainly worthy of further examination and research. (118)
Though foregrounding what Foucault would call "discursive formation" is an interesting idea, McLuhan, I think, would comment that it is not a characteristic of information or educational policy to do that kind of work explicitly, obeying our inputs — what we term "programming" — but, in fact, to change our work environment as a result of the foundational grammars of the information itself (the syntax of the inputs those grammars require "to make sense"). To speculate, then, that computers or information can solve educational problems and cognitive discrepancies is not to understand (or not to subscribe to) the structural bias of information that fascinated McLuhan and Innis.
The other peculiarity that makes Logan's book the least satisfying of the four I read is Logan's tendency to range far too widely into areas outside of what appears to be the scope of his book (I admit to my discomfort in saying this because I cannot honestly say what the book aims at). Though I found occasionally interesting his treatment of literacy, numeracy, abstract science, the language of mathematics, the phonetic syllabaries of Akkadian speakers, the bifurcation of impressed logograms, the economic organization of tribal societies, the sociological debate over the definition of the middle class, and the rise of information technologies (to name but a few of the dozens upon dozens of media phenomena he covers), I found myself searching for the book's "teche," to use Willmott's term, amid its penchant for the encyclopedic and historical. In fact, what appears to be the book's first premise — that the challenge the middle class mounted to compete with the ruling elites was a function of the information-processing skills they acquired through education — emerges at the mid-way point of the study. As a short-hand archaeology of the 5000-year evolution of dominant media (speech, money, and mathematics), Logan's The Fifth Language is valuable, offering a wealth of insight and summary from thinkers as varied as Eric Havelock and Denise Schmandt-Besserat; but as a McLuhan-grounded cultural study of the ways in which "the fifth language"—computing—changes the contemporary pedagogic landscape, Logan's book leaves me wanting more of what he touched on in chapter six, where he charts how McLuhan's influence affected the socio-educational doyens of "the Wired World" (Alvin Toffler, Peter Drucker, and Peter Senge).
As an "extender" of McLuhan and mcluhanisme, Derrick de Kerckhove's work has more resonance than Logan's—and not just because he worked with McLuhan (so did Logan), but because he brings a more sophisticated and creative cultural analysis to the consideration of media subtext. One need only read the first few pages of The Skin of Culture: Investigating the New Electronic Reality (1995) to discover what I mean, as the following should make clear:
From the moment they take to computers, our children develop a kind of speed addiction that makes them howl and kick if their favourite programs take more than a nanosecond to come on-line.
Where other cultural observers might have cited forces of marketing, McLuhan saw in this phenomenon a purely psychological pattern of narcissistic identification with the power of our toys. I see it as proof that we are indeed becoming cyborgs, and that, as each technology extends one of our faculties and transcends our physical limitations, we are inspired to acquire the very best extension of our own body. (3)
The success of de Kerckhove's techno-cultural commentary is related, in my reading, to his study of how McLuhan used his own footnotes to advantage, most notably Innis. Like McLuhan, de Kerckhove foregrounds his sources in an attempt to extend the implications of their thought, as all good cultural criticism does, building from foundation. And so, though de Kerckhove's leaps are often bold, as McLuhan's were, they resonate deeply in their observance of historical praxis, making them more credible inductions than the wild ahistorical guesses of digital hypsters such as Nicholas Negroponte and Louis Rossetto. In this, McLuhan's study of literary history as a barometer of how artists achieved "effect" seems to be an object-lesson that other forecasters also employ—and I am thinking specifically of Neil Postman and Jacques Ellul here. However elusive the formula for precocity is, it seems always balanced between the backward glance and the forward application. What Logan's book lacks in forward application, de Kerckhove's has in abundance, making The Skin of Culture, in many ways, the fin-de-siècle Understanding Media.
This is not necessarily to claim de Kerckhove as McLuhan's successor, a position many have tried to fill in the last few years, but to say that in his consideration of the duplicitous 1990's clichés like "3-D," "virtual reality," and quot;cyberspace," de Kerckhove comes as close to the method of McLuhan inquiry as any other techno-exegete I've read. In fact, one experiences in reading de Kerckhove the same kind of discovery and excitement that reading McLuhan provides; and, like McLuhan, his work begs paraphrase. Unfortunately, only a few examples will have to suffice:
Because of the sequential properties of our alphabetic conditioning, the western mind has also been trained to divide information into small chunks and reassemble them in a left-right sequential order. The alphabet has supported the basic inspiration and the models for the most powerful codes of mankind: the atomic structure, the genetic string of amino acids, the computer bit. All these codes have a power of action, of creation, and they all stem from the basic model of the alphabet. (34)
The fantasy of alien persecution, despite any hard evidence to support it, is, of course, a kind of traumatic metaphor. It could be the psychological effect of the technologies attacking the culture. But we should observe that the Japanese variety is curiously more intimate than the standard `good-guys-versus-bad-guys' type. Indeed Transformers are creatures of design that are both organic and mechanical in turn. What could be a closer approximation of the uneasy adjustment of Japanese psychology to the cyborgian integration of man and machine? By comparison, westerners have been raped by their machines almost without noticing it. In essence, the western equivalent to the Japanese Transformer are Bladerunner's androids, mechanization taking an organic form; Transformers portray organic beings turning mechanical in self-defence. (162)
Television modulates our emotions and our imaginations in a way comparable to the power of music. That is why the rock video is a natural television creature.
This is another aspect of the mysteriously tactile dimension that McLuhan attributed to television. When he suggested in later books that `the medium is the massage,' making fun of his own celebrated aphorism, what he meant was that television caresses us and rubs its meaning under our skin.... The overnight success of Trivial Pursuit seems to indicate that most of us share approximately the same body of trivia. In all this, TV may very well be doing our thinking for us. (16-17)
Now, as we penetrate the screen's virtual realities with eyephones, datagloves and data suits, we are entering the third media era: Cyberculture. Cyberculture is the product of the multiplication of mass by speed, as video technologies are intensified by computer technologies. High Definition Television is a typical example of this kind of multiplication. The deeper message of HDTV is not better definition or finer resolution, but more power to the frame. HDTV is television educated by computer. (125)
The constant in de Kerckhove's book is a willingness to intuit from available evidence and scholarship, an action that relies on a thorough investigation of the deep structure of media subtexts combined with an intimate knowledge of popular culture. The combination, as with McLuhan thirty years earlier, is both exciting and critically valuable. For a McLuhan-inspired (and extended) exploration of the latest cyber-cosmologies, de Kerckhove's The Skin of Culture is first-rate.
"Innis sacrificed point of view and prestige to his sense of the urgent need for insight.... He is setting up a mosaic configuration or galaxy of insight.... Innis makes no effort to `spell out' the interrelations between the components in his galaxy. He offers no consumer packages in his later work, but only do-it-yourself kits, like a symbolist poet or abstract painter."
The final type of McLuhan "reading" I should mention here is what only could be termed "the McLuhan mosaic"—McLuhan in preview, sound bite, and trailer. The consciously mosaicconfiguration of this kind of testament is more frequent than the two other treatments I examined in this review, a curiosity that reflects our need to have McLuhan presented to us, in the first-person, again and again. Part of this need is related to the complexity and topicality of his thought, part related to our pride in producing such a thinker, and part to the success McLuhan has had in turning us into information anthologizers, those who articulate the world in (and assimilate the world by) "info nuggets." A few of the more notable of these information anthologies that capture the McLuhan mosaic are George Sanderson and Frank Macdonald's Marshall McLuhan: The Man and His Message (1989), Barrington Nevitt and Maurice McLuhan's Who Was Marshall McLuhan? (1994), Eric McLuhan and Frank Zingrone's Essential McLuhan (1995), Paul Benedetti and Nancy DeHart's Forward Through the Rear View Mirror: Reflections On and By Marshall McLuhan (1996), and, of course, the electronic Understanding McLuhan (1996). Most of these, to add another curiosity, are coffee table books, multi-media kaleidoscopes that present the full sensory complex of McLuhan's thought.
Having said that I'll end on my favourite hobby-horse and say, as I think inductively about this review article, that the multiple constructions and representations of McLuhan are themselves representative of a ground that electronic text is now appropriating, and at the expense of literacy. Sellers of hypertext and digital hype claim that the true mosaic configuration is theirs, that before McLuhan's so-called "electrically-configured whirl" (Massage 150) the linearity of type rendered the historical unconscious hopelessly teleological. That reading can indeed be extracted from McLuhan, especially if one reads only a few chapters of The Gutenberg Galaxy; however, if one samples the full McLuhan plate and considers the multi-sensory implications of his thought, then surely the mosaic configuration which McLuhan first discovered in Innis's methodology predates the electronic claim by generations and even centuries. In reporting on his own archaeology of post-Gutenberg cultural knowledge, Foucault concurs:
The frontiers of a book are never clear-cut: beyond the title, the first lines, and the last full stop, beyond its internal configuration and its autonomous form, it is caught up in a system of references to other books, other texts, other sentences: it is a node within a network....the unity of the book, even in the sense of a group of relations, cannot be regarded as identical in each case. The book is not simply the object that one holds in one's hands; and it cannot remain within the little parallelepiped that contains it: its unity is variable and relative. As soon as one questions that unity, it loses its self-evidence; it indicates itself, constructs itself, only on the basis of a complex field of disclosure. (The Archaeology of Knowledge 23)
So it is with McLuhan, and so it is with the rich multi-sensory musée imaginaire of literacy that, like Pound, he explored—and, as Pound writes in The Cantos, "not as land looks on map / but as sea bord seen by men sailing" (59/324). In other words, in three dimensions. Both McLuhan and the typographic, therefore, are as hyper-extended as hypertext and other digital phenomena. If Negroponte's "being digital" indeed means having exploded your borders, then that is an old schtick, one from the old typographic world of authors and subjects. Your reading of my reading of "reading `McLuhan'" would seem ample proof.
- Significant as well to McLuhan's postmodernism is that the pre-eminent postmodernist critic, Frederic Jameson, has used McLuhan frequently as a harbinger of the postmodern, one whose critical practice threw the gate open for Roland Barthes, Michel Foucault, and Jacques Lacan to critique the high modernism of the New Critics and the industrial re-tooling of the early twentieth century. Jameson's Postmodernism, or, The Cultural Logic of Late Capitalism (1991), is especially revealing in this light, as is the fact that Willmott's book under consideration in this review was written at Duke University under Jameson's supervision. And Willmott's is not the first doctoral thesis on McLuhan that Jameson has been involved with.
- I am still working on it, which is to admit something important, namely that all this "confessing" is not anything like a series of false starts; rather, my confessing is proof of the diligence we must have in interrogating our own sensibility, which remains predominantly visual in character and expectation, especially in its institutional—i.e., what Roland Barthes called "writerly"—aspects.
- Of course, McLuhan too, as Gordon reminds us, altered his prose "to capture the pop objects of [an] emerging technological age"(25). I.A. Richards' belief in the servitude of language to thought was never far removed from McLuhan's practice, nor, it appears, the practice of McLuhan explainers today. Once again, the medium is the message; we communicate as much by how we say something as by whatwe say.
Works Cited
- Foucalt, Michel. The Archaeology of Knowledge & The Discourse on Language. New York: Pantheon Books, 1972.
- Gordon, W. Terrence. McLuhan for Beginners. Illustrated by Susan Willmarth. New York: Writers and Readers Publishing, Inc., 1997.
- Kenner, Hugh. Mazes. San Francisco: North Point Press, 1989.
- de Kerckhove, Derrick. The Skin of Culture: Investigating the New Electronic Reality. Toronto: Somerville House Publishing, 1995.
- Logan, Robert K. The Fifth Language: Learning a Living in the Computer Age. Toronto: Stoddart, 1995.
- McLuhan, Marshall. The Gutenberg Galaxy: The Making of Typographic Man. Toronto: University of Toronto Press, 1962.
- The Mechanical Bride: Folklore of Industrial Man. New York: The Vanguard Press, Inc., 1951.
- Understanding Media: The Extensions of Man. New York: McGraw-Hill Book Company, 1964.
- McLuhan, Marshall and Quentin Fiore. The Medium is the Massage: An Inventory of Effects. New York: Bantam Books, Inc., 1967.
- McLuhan, Marshall and Harley Parker. Through the Vanishing Point: Space in Poetry and Painting. New York: Harper Colophon Books, 1968.
- McLuhan, Marshall and Wilfred Watson. From Cliché to Archetype. New York: Viking Press, 1971.
- Pound, Ezra. The Cantos of Ezra Pound. 1934. New York: New Directions, 1981.
- Stearn, Gerald Emanuel. Ed. McLuhan: Hot & Cool. 1967. Toronto: Signet Books, 1969.
- Willmott, Glenn. McLuhan, or Modernism in Reverse. Toronto: U of T Press. 1996.


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William Jordan Jr.
William Jordan Jr.
William Junior Jordan is wanted for the brutal murder of a man in Georgia. On March 6, 1974, James Rouse, Jr., was taken hostage by Jordan and an accomplice and was forced to drive to a nearby lake. There, after walking into the woods, he was shot in the head with a shotgun. Jordan and the accomplice were arrested and, in June of 1974, were convicted and sentenced to life in prison on charges of murder and armed robbery. On August 6, 1984, Jordan escaped from the Wayne Correctional Institution in Odum, Georgia, and has not been seen since that time.Jordan has a visual defect which is corrected with glasses.
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The following Official Record of William Jordan Jr. is being redistributed by Mugshots.com and is protected by constitutional, publishing, and other legal rights. This Official Record was collected from a Law Enforcement agency on 11/22/2011.
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Mugshots.com : 4676375
Birth Place : Wadesboro, North Carolina
Height : 6′ 2″ (1.88 m)
Weight : 135 lb (61 kg)
Hair Color : Brown
Eye Color : Blue
Gender : Male
Race : White
Nationality : American
Occupations : Heavy Equipment Operator, Brick Mason
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Scars / Marks / Tattoos : N/A


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Because staycations are a lot less hassle than vacations.
Want to spend some good ole family time with the kids, but no bandwidth to hop on a plane for a trip overseas? No worries, we have plenty of options here in Singapore that cater to the kids, so that you can keep them entertained while getting a little shut-eye or me-time yourself. Check out this list of kid-friendly/family friendly rooms for your upcoming staycation!
From themed family suites in a dedicated floor to Buds — an interactive indoor and outdoor play space for kids spanning some 1,872 square metres, the little ones will have a ball of a time at Shangri-La Hotel, Singapore.
At Buds, there's the Explorer Zone (for kids over 4 years old) which is filled with sand pits, nets, slides, ball pits and mazes; the Toddler Zone (for kids under 4 years old), which has swings and slides, an interactive piano floor, a ball pit and vintage kiddie rides; and the Outdoor Playground which features a giant pirate ship structure offering challenging climbs and slides, and a water play zone with splash pads. Buds encourages the little ones to learn through play in a creative, self-directed and experiential environment along with their parents, which is a great chance for bonding. Besides the awesome play space, there are three different activity rooms: Stage (music studio), Muddy (art studio) and Bake (baking room), not to mention a special Friday night activity called Superhero Fridays. Kids get to experience being a superhero (superhero cape and mask included) and participate in themed games, while you get to have a mini date night with your partner.
When the kiddos are tired, they can retire to whimsical and fun rooms. The Deluxe Family Rooms' alcoves house a tent, along with a set of welcome toys and storybooks, while themed suites have adorable children's rooms featuring different thematic designs (such as Treetop, Castle and Safari) that are connected to their parents room by a 'secret' passageway. Kids get to receive personalised letters which include a puzzle to solve. Upon solving it, the passcode obtained will unlock an in-room treasure chest that holds a surprise. Which kid wouldn't be thrilled?
Buds by Shangri-La is located on the first floor of Tower Wing (indoor) and first floor of Garden Wing (outdoor) at Shangri-la Hotel, Singapore, 22 Orange Grove Road, 258350, tel: 6213 4833.
Nestled in Sentosa, Festive Hotel is a walkable distance to attractions like Universal Studios Singapore and SEA Aquarium, which will leave your kids jumping for joy. It is also just a tram station away from the beach, which is a great opportunity to take them out for a picnic and sandcastle day at the beach. Festive Hotel's Deluxe Family Rooms are also extremely spacious — the 35 – 37 sqm space includes a living area, king-sized bed, a sofa bed and a loft bed. More space for the kiddos to run around! For a special touch, you can request for kids tailored bathrobes too! The hotel facilities also include a kids pool (it's the only hotel in Resorts World Sentosa to have one), so your little munchkins can have a splashing good time. Still bored? Hop over to the Kids Club at the nearby Hard Rock Hotel Singapore, which has a host of programmes and activities for kids from three years old and above to keep them entertained.
Festive Hotel is at Resorts World Sentosa, 8 Sentosa Gateway, Sentosa Island, 098269. Email email@example.com.
Go camping with your kids in the comfort of a hotel room, a perfect way to avoid the mozzies! The Ritz Kids programme comes with a Ritz Kids Night Safari sleeping tent in the room, which includes a single-sized premium mattress, feather duvet and a standard pillow. Young kids between the ages of 4 to 12 can also embark on a little adventure around Ritz Carlton's lobby to collect animal stamps on their Adventurer Passport, which they can use to redeem a free scoop of ice cream. Infants and toddlers below the age of 4 will also receive a set of mini bath amenities as a welcome gift. For convenience, mummies and daddies can also request for baby cots, prams and bottle sterilisers. To entertain the kiddos (aged between 4 to 11), head over to the Ritz Kids Playland, a themed play area filled with games, storybooks, toys, and a special movie theatre, with craft activities available during weekends. Or rent DVDs from the concierge and have a movie marathon! What fun.
The Ritz-Carlton, Millenia Singapore is at 7 Raffles Avenue, 039799, tel: 6337 8888. For more info, visit here.
Send your kids on a whimsical adventure with Furama's themed rooms. Explore cool themes such as Pirates, Underwater and Castles, and watch them channel the inner actor/actress in them. Kids being kids, will definitely be thrilled to see the bunk beds. Every room also has an Xbox console to keep your whole family entertained. Aside from the fabulous themed room, kids will also love the outdoor swimming pool that the hotel has. If you're dining at The Square@Furama, keep your little ones entertained at the Children's Play Area, where they can look forward to popular cartoon video screenings, activity sheets and free-play toys. At level one is a dedicated children's play room, PAWS, where kids can challenge themselves on the Dome Climber, build their own village with blocks and Lego, play make-believe with friends and more.
Furama Riverfront is at 405 Havelock Road, 169633, Tel: 6333 8898.
This nature-inspired resort has lovely themed rooms that will spark the adventurer in your kids. Choose from the Amazonian Jungle, Underwater or M&M's themes and enjoy a special kids check-in counter and welcome pack. There's also a cool treasure box full of surprises, which junior can unlock after playing an in-room game. They will also enjoy clamouring up and down their bunk beds. For a splashing good time, head over to the nearby waterpark Wild Wild Wet (if you booked directly with the resort and you're a NTUC Plus! Member, you get complimentary unlimited access to the park). Or sign up for their activities, such as Urban Farming, kayaking to a floating kelong restaurant, art jamming and cycling to hidden gems in the East. Sounds too fun to miss.
D'Resort @ Downtown East is at 1 Pasir Ris Close, 519599, tel: 6582 3322.
Treat your kids to a homely staycation with Swissotel's Kids Rooms, where even the bed sheets are kid-friendly. Each room is colourful, bright, and also thoughtfully designed for the little kiddos. There will be age-appropriate amenities, toys and games are available, such as Xbox and board games for the children to have fun with. Swissotel Merchant Court has also dressed up the toilets with cute towels and mats to make bath times more fun. With a room so amazing, your kids will surely have a whale of a time.
Swissotel Merchant Court is at 20 Merchant Road, Singapore 058281, tel: 6337 2288.
By Emilia Tan, February 2019
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More on The Finder:
These are Asia's 10 Best Hotels For Families, According To Savvy Travellers
14 Handy Tips For Travelling With Kids And Strollers On Public Transport In Singapore
Best Kid-Friendly Things To Do In Hong Kong
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A pot of gold for family friendly golf facilities
More than one in four people (28%) in the UK do less than 30 minutes of physical activity a week. In May of this year, Sport England published their "Towards an Active Nation Strategy" laying out how they intend to combat this figure and increase participation in sport over the next five years. Funding has been tripled to tackle inactivity with a dedicated pot for family based activities. Is golf best