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Salford Museum and Art Gallery
Salford Museum and Art Gallery
Peel Park
The Crescent
0161 778 0800
0161 745 9490
There's loads to see and do! Stroll down our Victorian Street, Lark Hill Place and experience the sights and sounds of Victorian Salford with our original shop fronts and fascinating interiors. You can even test your strength and listen to the Victorian Top 20. Relax amidst the splendour of our Victorian Gallery and admire the paintings, pottery and fine art. With an ever changing temporary exhibition programme, from hands-on activities to modern art, there's always something going on at Salford Museum and Art Gallery!
Venue Type:
Library, Museum, Gallery
Additional info
We offer the following services and facilities for visitors with disabilities:
3 disabled persons parking spaces adjacent to entrance
Ramp into building
Lift inside building to access all floors
Loop in Reception area and in shop
Disabled persons toilets
Braile interpretation panels/tactile statues
The LifeTimes Gallery tells the story of Salford past and present through the voices and memories of local residents. Come and see what you can discover about life in times gone by.
The Victorian gallery has a number of distinguished paintings and a series of marble statues, specially treated to allow hands-on explorations.
Our other galleries are host to a number of interactive, family-friendly and contemporary exhibitions.
Collection details
Archaeology, Archives, Coins and Medals, Costume and Textiles, Decorative and Applied Art, Fine Art, Land Transport, Medicine, Music, Personalities, Social History, Weapons and War
Key artists and exhibits
- Lark Hill Place: Victorian Street
- Landau Carriages
- Salford Local History Library
Family Fundays
An afternoon full of free, family friendly, drop-in activities, workshops and events, held on the last Sunday of the month. All children must be accompanied by an adult.
How to obtain
Activities may vary so it's a good idea to phone ahead for details: 0161 778 0820/0821. Also, check out the online events booklet via the Salford Museum and Art Gallery website.
- About
- | Collections
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- | Map


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Found July 26, 2013 on
The Roosevelts:
Athletes love the spotlight—something that is given by the fact that they compete whilst being spectated by millions. Given the aforementioned fact, it seems obvious that many athletes would try and garner more publicity via Hollywood's legendary silver screen. And—as one would have guessed—many athletes have done so. This list will be going over some notable films that athletes have appeared in—the good, the bad, and the cringingly reprehensible. Before beginning, it must be noted that this list only covers films. So, such TV series as "The Rifleman" starring Major League Baseball pitcher Chuck Connors will be excluded. Pittsburgh Steelers in "Dark Knight Rises" Ben Roethlisberger, Mike Wallace, Hines Ward, among other Pittsburgh stars all cameo in the conclusion of Christopher Nolan's "Dark Knight" trilogy. Essentially, they star as Gotham City's football team who are playing another Sunday afternoon matchup—a game that is interrupted by the villainous Bane. In the end, this appe
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Through the Looking Glasses:
From the Camera Obscura to Video Assist
Jean-Pierre Geuens
Vol. 49, no. 3 (Spring 1996): 16–26.
The studio is finally quiet. The actors are restless. The crew is ready. "Sound." "Camera." The slate is taken. A voice calls "Action." A voice? Is this really the director, "with his back to the actors,"[1] looking at the scene on a little video monitor? Isn't the director, at least the solid Hollywood professional of old, supposed to sit just next to the camera, facing the action? What's happening here?
Following the trajectory that led from the old-fashioned parallax viewfinders to the contemporary use of video-assist technology, I will argue that "looking through the camera" is never a transparent activity, that each configuration has distinctive features whose design and implementation resonate beyond the actual use of the device. In his still seminal essay "The Question Concerning Technology,"[2] Martin Heidegger warned us that "technology is no mere means,"[3] that the adoption of a new method of production often expresses more than the simple substitution of one tool by another. In Andrew Feenberg's words, "modern technology is no more neutral than medieval cathedrals or the Great Wall of China; it embodies the values of a particular civilization. . . ."[4] Herbert Marcuse is even more radical. For him, "specific purposes and interests of domination are not foisted upon technology 'subsequently' and from the outside; they enter the very construction of the technical apparatus. Technology is always a historical social project: in it is projected what a society and its ruling interests intend to do with men and things."[5] Thus, as far as the camera is concerned, the very appearance of a novel gizmo could itself be significant of cultural or economic changes that have taken place in the film industry prior to the use of the new technology and, in turn, the actual practice of the supplemental device may help shape a different kind of cinema.
In the first years of cinema, getting access to the image that was to be recorded on film was no easy matter. The early cameras could never provide such necessary information. Indeed, not only the pioneer cameras of the 1890s and the
1900s but also the first truly professional cameras used by Holly-wood—the Bell and Howell 2709 and the Mitchell Standard Model—had to resort to peeping holes, miscellaneous finders, magnifying tubes, swinging lens systems, and rack-over camera bodies to give any information at all about the image produced by the lens.[6] At best, the operators were allowed to survey the scene before or after actually shooting it. Crucially missing from their arsenal was the capability to check on exact framing, focusing, lighting, depth of field, and perspective while filming. Although a lens could be precisely focused on an actor's position ahead of time, what happened during the shot, especially if there was any movement, remained a mystery. The operators, in effect, were shooting blind. As they watched through the parallax viewfinder on the side of the camera, a device that produced but a pallid, lifeless, uninviting substitute for the real thing peeked at seconds earlier, they remained outsiders to what was truly going on inside the apparatus. In a way, the mystery of what happened inside the camera during the shooting acted as a synecdoche for the further magic that would be worked on the film in the lab, where it was to be chemically treated and its content at last exposed to view. Only at the screening of the dailies could one know for sure whether the scene was good or needed to be reshot. Such a daunting situtation therefore required steady professional types and, indeed, this is how the "operative cameramen" were described by their peers in the American Society of Cinematographers: "They must be ever on the watch that no unexpected or unplanned action by the players or background changes from the originally planned movement and lighting on the set, occur during shooting. They sit behind the camera, like the engineer at his throttle, ever watching for danger signals."[7] These brave men behind the camera, despite their vigilance, thus stood in a hermeneutic relation to their instrument. The otherness of the machine remained unassailed, its viewing apparatus a numinous, hermetic object standing as a third party between the operator and the world. The best one could do was stand next to the thing, maybe controlling its mishaps or its surges, but, throughout, acknowledging the actual film process as a thorough enigma.
The situation changed in 1936, when the Arnold and Richter Company of Germany introduced continuous reflex viewing with its new Arriflex 35mm camera. The solution was truly elegant: by mirroring the side of the shutter that was facing the lens and tilting it at a 45-degree angle, the light that was not used by the film when the latter was intermittently moving inside the camera was now made available to the operator for viewing purposes. Suddenly, the deficiencies that had marred the early camera systems were eliminated as operators, looking through the lens during the filming, gained maximum control over the images they were shooting. In fact, the smoothness of the Arriflex
solution hid a paradox. Even though the operator may believe he or she sees what the film gets, technically speaking one never actually witnesses the same instant of time that is recorded on film because of the fluctuating movement of the shutter—when the operator gets the light, the film does not, and vice versa. More importantly, this means that the access to the lens is punctuated by the blinking presence/absence of the mirrored shutter. In my view, this flickering implies more than a simple technical chink; it radically transforms the linkage between the operator, the camera, and the world by literally embodying the eye within the technology of the apparatus itself.
Indeed, if we go back to the early years of still photography for a moment, there was always a sense of awe when the operator's head finally disappeared under a large black cloth in order to take the picture. "What do you have there: a girlfriend?" a model asked of Michael Powell's protagonist in Peeping Tom (1960), a comment that clearly exposes the prurience of the act. In a similar fashion, on the motion picture set, the view through the reflex viewfinder quickly became fetishized, the actual practice exceeding the useful aspect of checking on the parameters of the scene. Crew hierarchy determined who got to take a peek. Yet the static image one could witness when the camera was at rest had finally little to do with what happened during the real shooting, when the operator alone received the full force of the system. Then the impact was truly stirring; due to the saccadic nature of the shutter's rotation, the effect on the eye was nothing less than phantasmagoric. Because the other eye of the operator remained closed during the filming, the flickering light on the ground glass became thoroughly hypnotic, even addictive.[8] For the time of the shot, with only one eye opened onto the phantastic spectacle on the little screen, the operator was very much lost in another world, a demimonde, a netherworld not unlike a dream screen for the wakened.
It is not so much that the frame provides for the operator a "synoptic center of the film's experience of the world it sees," as Vivian Sobchack has suggested,[9] but that what is being seen and the way it is seen combine in bringing forth a unique experience for the person at the camera. Let us consider for a moment the ramifications of what is actually taking place. A scene is rehearsed, then shot a number of times until the director declares him/herself satisfied. Through it all, the same general actions are performed with little change by the actors (basic gestures are duplicated, more or less the same lines enunciated) and the crew moves in sync with the action—a swinging of the boom that keeps abreast of an actor; a short dolly movement that accompanies an action; a dimming of the light level at the proper moment by an electrician; a change of focus by the camera assistant; and, for the operator, maybe a pan or other small readjustment that keeps the scene within the frame. What we have here, then, is no less than a ritual, a ceremony of sorts that also involves repetition, reenactment, and
specific gestures carried out by "practitioners specially trained."[10] On a macro scale, the effect of a ritual is to bond a group, to create a sense of communitas when all participants find themselves sharing an experience. And, characteristically, this is a well-known effect experienced by all in a film crew as the constant repetition of specific actions, performed with only minimal variations, gives each member the sense both of cultic participation in a grand project and of sharing in a larger, collective identity. For the operator who most intimately experiences it all as an eye mesmerized by the spectacle on the little screen, the effect is even more hallucinatory. The sense of time is altered; there is no past or future any more, only a flux, a duration, an endless synchronic moment with actions many times repeated, an epiphany punctuated only by "eternal poses," to use Gilles Deleuze's descriptive words.[11] Because it stands outside mechanical time and physical space, the experience recalls the "oceanic" early moments of life. During that moment, the operator, neither here nor there, stands liminally between two worlds. As he or she merges, to some extent, with the phantom action on the little screen, a communion takes place that integrates the self within an ideal reality. Not surprisingly a certain Ekstase can be reached. The effect then is not unlike that of a trance in a ritual, an experience that also momentarily transforms the individual. No wonder that, after the shot, different members of the crew turn toward the operator and ask: "How was it?"
Others have been sensitive to the reflex feature of the camera for distinct reasons as well. For instance, independent film-makers functioning simultaneously as directors and operators have worked both in fiction and in documentary. Among others, Nina Menkes, Ulrike Ottinger, and Werner Schroeter have always insisted on controlling the camera. In their kind of moviemaking, it makes a lot of sense not just to be present but also to participate in the moment of creation and help deliver the scene through the camera. For Direct Cinema practitioners, however (Richard Leacock, D. A. Pennebaker, and Albert Maysles in the heyday of the movement), the situation is somewhat different. As the subject here belongs not to fiction but to the real world, and the situation, by choice, cannot be rehearsed, there is no question of experiencing a ritual. Instead, the film-maker and the camera seem to merge into one persona that absorbs the scene and responds to it. For the Drew team, for instance, not only is the scene "unscripted, it's unrehearsed . . . for the first time the camera is a man. It sees, it hears, it moves like a man."[12] In other words, through its heartbeat, the pulse of its shutter, the camera now breathes as a human being. And the film-maker, operating like the expert craftsperson of old, carves up the world for the benefit of the viewer, dereifying the structures of daily life, eventually revealing what was either unseen or just obscure moments before. In this case, therefore, the look through the camera functions very much as an example of what Heidegger refers
to as techne , the Greek practice of the craftsperson which brings forth poesis through the work. For Heidegger, the decisive factor is not the tool itself but the "unconcealment" of the world that results from its use.[13]
However, because the rigid division of labor in the Hollywood cinema forbids it, the typical director is almost never the person behind the camera (often sitting, instead, just underneath it). For him or her, therefore, nothing really changed in the substitution of the original apparatus by the reflex camera. The director remains exterior to the camera's process. After orchestrating everybody else's actions, the director gauges the results of the take instantly, in vivo , by gut instinct. Precisely because such directors do not look through a viewing screen during the filming, they literally function as metteurs-en-scène: their scene indeed is the stage, the space where fellow beings move about. What they must be sensitive to is the human intercourse at hand, the social space between people, the presence of objects as well as the flesh of the individuals. All the senses of a director are imbricated in this evaluation. Although the scene is shot in pieces and staged to be captured in a certain way on film, the dramatic action has a reality of its own. It is thus experienced by the director as (to borrow another notion from Heidegger) Zuhandenheit , the ready-at-hand, an involvement with the world through technique that actually supersedes the use of the equipment.[14] Expressly because the director is not looking through the camera, the technology associated with directing remains somewhat in the background, only a subordinate accessory. For Heidegger, what is experienced in this fashion is ontologically quite different from what could be observed through Vorhandenheit , the present-at-hand, the contemplation of a decontextualized subject matter. Directors functioning in the traditional mode thus depend mostly on human rather than exclusively cinematic skills: this does not feel right, that timing is a little off, this character would not really do that.
Furthermore, if we listen to Emmanuel Levinas for a moment, when a face-to-face encounter among human beings takes place, the contact involves more than a mere recording of an action by the eyes.[15] It embodies the most fundamental mode of being-in-the-world. A face, for Levinas, expresses the vulnerability of the being; it is an appeal, a call. The face solicits a human contact beyond cold rationality or calculative thinking. Its sheer presence impinges on the other person's autocratic tendencies. In this light, the director's "vision" of the scene becomes compounded by his/her own presence among the actors. Sharing a unique moment of time, the director becomes thoroughly wedded to the players as fellow human beings who carry their load of pain or distress. Can the director in these conditions (to recall well-known cases in our cinema) remain unaware of the wooden leg of one actor even if it remains off-camera? Can the director not respond to the cancer that is eating up this other actor? Even if we abandon these dramatic examples, is it really possible for the director to leave entirely behind the
lunch shared with some actor, the conversations that went on, the hopes that were disclosed or the fears that were expressed? To go back to Heidegger, the director here does more than take a look (Sicht ) at the scene professionally; emotion is involved as well (Ruchsicht ), a look that involves sympathy, concern, and responsibility. Furthermore, the sharing of a human space and the mutual recognition that takes place between people automatically involve moral claims. One individual temporarily gives something of him/herself to another. Trust matters deeply. Ethics are involved. As a result, the director functions both as a participant in a shared exchange and as a shaman who guides others through a difficult process of shedding off. For such a director, the scene clearly takes place in front of his or her eyes, not behind where the camera is. After the take, the information that originates from the crew is certainly important, but it is purely technical in nature: did the action remain in focus, was the pan smooth, did the mike get in the shot, was the jolt to the dolly noticeable?
A radical departure to this long-standing mode of directing came about as a result of Jerry Lewis's introduction of video as a guide for the director to evaluate the quality of a take. There were of course good reasons for Lewis to do so: this was a logical solution to the problem of the actor/director, who was otherwise unable to check his performance. Buster Keaton would surely have been an ardent practitioner of the new technology. What Lewis did was elegant in its simplicity: he positioned a video camera as close as possible to the film camera, allowing him to view what he had just shot on playback. Although the technology was primitive and the equipment, at the time, heavy and cumbersome, Lewis persevered, and others eventually picked up on the idea. As early as 1968, some motion picture cameras that incorporated plumbicon tubes in the viewfinder (thus splitting the light that normally would go to the operator alone), were used to film a tennis championship in Australia.[16] The next year, videotape playback was used in the film Oliver! (Carol Reed, 1968) to check on the lip sync or the movement of performers. If the tape showed the actor or dancer to be in sync after all, it saved the retake of a difficult and expensive dance number.[17] By most accounts, though, credit for the integration of the video "camera" within the motion picture camera by means of a pellicle (a thin, partial mirror that split the light coming to the operator) goes to Bruce Hill, an engineer/tinkerer who had worked at Fairchild and Mitchell.[18] By 1970, working independently, Hill had modified a Mitchell BNCR and used a one-inch-videotape recording and playback system by Ampex. The subsequent image could be observed on a 17-inch monitor. A variation of this package was used for the helicopter sequences of The Towering Inferno (John Guillermin and Irwin Allen, 1974), the first time such a device was used by the Hollywood establishment.
Not surprisingly, directors shooting commercials were the first to embrace the new technique, for in their work in particular it is very important to check on the exact placement of a product in relation to many other coordinates. With the help of video, minute details could be discussed between representatives of the advertising agency and the technicians. Today, practically all commercial productions use video assist and playback on the set. In contrast, feature directors were distinctly slower in adopting the new apparatus: only 20 percent or so of the productions in the early 1980s used video assist. And although today most do, no more than 40 percent of the shoots bother with a playback system.[19]
On the surface, the use of video assist on the set provided only positive benefits for the director and the crew. For directors, being able to see the picture of the scene being rehearsed meant gaining back some of the control that historically had been lost to operators. For a crew, the advantages could be measured in terms of efficiency. During a shoot, questions keep flying to the operator: is the boom in the shot, where is the frame line, do I need to prop that area, are these people in the shot, how high do I need to light that wall, etc.? A lot of production time is lost as the operator attempts to make clear the parameters of the shot to the gaffer, the assistant director, the boom person, or the prop master. Once video assist becomes available and a large monitor is provided for the various crew members, all they have to do is look at it to answer their own question. In a similar fashion, the light split itself can be subdivided so as to provide a mini-image to the operator's assistant or the dolly grip. It might be more practical indeed for these technicians to look at an image on a monitor than to the scene itself to decide exactly when to initiate a rack focus or a dolly movement. All of these advantages end up saving time, and thus money, for the production.
There were, however, some technical mishaps that initially limited the appeal of the novel apparatus. The early grievances were mostly concerned with the disappearance of the director, who might be locked in a trailer loaded with equipment and who would communicate with the crew and actors only through a loudspeaker. Helen Hayes, for instance, was heard complaining about such a "disembodied voice" when working on Raid on Entebbe (Marvin Chomsky, 1977). And Garrett Brown grumbled that, when he was shooting the maze scene in The Shining (Stanley Kubrick, 1980), "Stanley mostly remained seated at the video screen, and we sent a wireless image from my camera out to an antenna on a ladder and thence to the recorder,"[20] in effect forcing Brown to go back and forth between the maze and the trailer, quite a distance away, just to find out if the take was good. That problem was eventually worked out when directors were able to use the monitor on the set itself. Another difficulty involved the operator: as the video system taps the light
that would normally go to the eye of the camera person, a loss of clarity can be experienced by the operator, in effect making the job more difficult. One reason black-and-white taps have been traditionally preferred over color models is that the former could function with much less light intake compared to the latter. A new color tap though, the CEI Color IV, is said to be almost as economical as the black-and-white models and is thus gaining in popularity. Flickering was another "annoyance" that marred some of the viewing. But there are now new models, such as those factory-installed by Arriflex on its new 535 camera, which incorporate a totally flicker-free tap. Although more traditional directors of photography, such as Haskell Wexler, have indicated their preference for a video image that reproduces the flicker of the motion picture camera, most directors of photography shooting commercials go for the enhanced version, perhaps to soothe the apprehension of clients or agency people who might wonder about the misfiring on the monitor.[21] A fourth difficulty concerned the matching of the image received on the monitor to specific aspect ratios when shooting wide-screen or when using an anamorphic lens. Here the solutions could be makeshift in nature (paper tape can be applied directly on the monitor so as to delimit the 1.85:1 aspect ratio), or electronic (monitors can now switch easily from a squeezed to an unsqueezed image). Finally, using videotape playback after each take may slow down the impetus of the crew because it interrupts everyone's activity—a situation that has limited the use of that particular technique. It might indeed be cheaper to redo a shot immediately than to break the momentum of the cast and crew. For this reason, videotape playback, when used at all, is looked at only after several takes have been shot so as to minimize the disruption.
Moving now from a technical to a cultural evaluation of video assist, we focus on its similarities to the camera obscura, a tool used by many painters in the seventeenth century to replace or supplement their own human viewpoint. Significantly, in both machines, the observer (the painter or the director) no longer confronts the world directly but looks instead at an image formed through an optical contraption. In other words, a mediation is taking place. If the technology remains transparent to its user, he or she, in the words of Svetlana Alpers, "is seen attending not to the world and its replication in [an] image, but to . . . the quirks of [a] device."[22] In his analysis of Vermeer's work, Daniel A. Fink has pointed to a number of optical phenomena directly related to the use of a camera obscura.[23] They are all consequential for the image being produced. For example, whereas in daily life the eye continually refocuses as it engages objects located at different distances, the camera obscura equipped with a lens forces the operator to view the scene through a single plane of focus, in effect making some objects sharper than others. Likewise,
whereas Vermeer's contemporaries represented relatively large and sharp mirror images of objects, very much like the eyes would see them, Vermeer's own mirror reflections are comparatively small and slightly out of focus, as they would appear through a lens focused on a different plane. All in all, Fink points out ten such "distortions" introduced by the instrument used by Vermeer.
In the same manner, today, the limitations of video keep interfering with the work of directors of photography because of the differences between what is seen on the monitor and what will be in fact recorded on film. The main culprit here is the lack of resolution of the video image and the fact that its contrast ratio does not match that of the film stock. Shadow detail, for instance, does not show up on the monitor, a situation that inevitably creates doubt about the handling of the lighting scheme. For the same reason, directors have been known to complain when low light levels may simply make it too dark for them to see the expressions of the players on the monitor. And, when using color, everyone frets about the differences between the colors on the set, those on the monitor, and those that will show up on film. In addition, directors of photography have noted that the usual size of the monitor (typically a 9-inch set) used by the director may also make it less likely that action will take place in the background in a long shot or even on the sides of the frame, as the miniaturized or peripheral action would not play well on such small screens.
The action therefore often ends up enlarged and more centered. Beyond this, if the movie is going to be cut digitally, it makes little sense for the production to pay for regular film dailies. As a result, the director will not be aware of the large-screen effect of the film until it is prepared for release in the theaters: a definite drawback. Lastly, the fact that the scene is observed through video technology as opposed to film may have consequences of its own. Film images' fascinatingly rich appearance originates in the random distribution of the silver molecules on the film surface. Each individual frame in effect configures the subject slightly differently. When played back, the scene is reconstructed twenty-four times per second, bringing forth more "livingness" to the eye of the spectator than any single frame could provide on its own. In contrast to this, as Vivian Sobchack describes it, "electronic technology atomizes and abstractly schematizes the analogic quality of the photographic and cinematic into discrete pixels and bits of information that are then transmitted serially . . .,"[24] a design responsible for the "sameness" of the electronic image. In other words, a picture so constituted may not prompt the kind of investment associated with the older technology. And this in turn may produce a viewing situation for the director that demands quick renewal and change, shorter scenes, a point of view that Charles Eidsvik has described as "glance esthetics" in lieu of the older, more traditional "gaze esthetics."[25]
Looked at another way, employee relations on the set have also gone through a subtle restructuring. The operator is no longer the sole source of vision. Someone is now watching over the very guardian of the sight. The situation is not unlike a contemporary version of Taylorism, where work is carefully meted out into distinct components that can be precisely measured through scientific management techniques. Early in the century, for example, Frank Gilbreth, a disciple of Frederick Taylor, determined through the use of photographs a bricklayer's ideal working position. He then attempted to enforce this position on other bricklayers, thus hoping to eliminate minor but wasteful divergences from the more effective stand.[26] However, as work is rationalized and systematized, a subtle de-skilling of the worker's craft occurs. In fact, it is no longer trusted at face value, it is verified through technology until it matches very precisely the demands of management. Andrew Feenberg put it this way: whereas earlier "the craftsman possessed the knowledge required for his work as subjective capacity . . . mechanization transforms this knowledge into an objective power owned by another."[27] On the set then, the camera operator ceases to function as an independent agent who is counted on to execute a difficult move. He/she becomes merely the mechanical arm of the director. The operator, having lost some of the creativity associated with his/her own work, is thus transformed into a semiautomaton. The change eliminates the trust in someone's craft. It reinforces the industrial aspect of film-making, the manufacturing
of a marketable commodity where the picture represents the surplus value of the labor performed by the operator.
Another characteristic shared by the camera obscura and video assist is the apparent objectivity and finality of the image they provide. Because the scene was captured by an optical device, the camera obscura's picture was thought to be necessarily truer to the model than that obtained through traditional human effort. In a similar fashion, the contemporary film director imagines gaining access to the truth of the scene when he or she abandons the actors and watches the take, no longer face-to-face from underneath the camera but indirectly on the monitor. After all, isn't this image the very picture that is being simultaneously recorded on film, the one that will be seen later by the viewers? As Jonathan Crary puts it, in each situation "the observer . . . is there as a disembodied witness to a mechanical and transcendental re-presentation of the objectivity of the world."[28] As a result, the camera obscura and video assist can be said to incorporate within their machinery the Cartesian ideal of the partition between pure body sensations and the mind, with the latter, the true self, inspecting the observations gleaned by the senses. Paul Ricoeur best described this mode of thinking when he called it "a vision of the world in which the whole of objectivity is spread out like a spectacle on which the cogito casts its sovereign gaze."[29] What is at stake here is the authority of an ideal observer, removed from the scene, someone who is no longer operating as a body-in-the-world sharing a space/time continuum with the actors. The latter, instead, are objectified, appropriated for the director's use. As it plucks the scene out of that common, human context, video assist fragments the total experience specific to the traditional directing mode. What takes place in fact duplicates the calculative thinking of the traditional scientific experiment that first sets measurable goals for itself, then authenticates their presence in an ensuing test, thus "guaranteeing the certainty and the exactness"[30] of the project as a whole. Similarly, the contemporary director ends up verifying on the monitor what he/she expects to find there in the first place. The attention, in other words, is on what Heidegger called Vorhandenheit , the foregrounding of technology, of the actual, of what has been worked out during the rehearsals, at the expense of the film still as a project (his notion of Zuhandenheit ), a potential, something not quite yet there, something that remains a becoming, that is still in flux. The present-at-hand, what is already there, takes precedence over what is still outstanding, what could still be created. A metaphysics of presence-through-the-image in effect dominates the day.
What I am suggesting here is that getting access to the image is not an automatic panacea for the director. To illustrate this point, let us look at two films produced and directed by Francis Ford Coppola. On the one hand,
Apocalypse Now (1971) emerged from complete chaos and three years of shooting—perhaps the ultimate example of "how not to make a film"—a masterpiece. On the other hand, One from the Heart (1981) was conceived most rationally with the help of the latest electronic wizardry available at the time. From the very beginning of the production, an audiotape of the actors' read-through of the script was combined with storyboard images and temporary music to help the pre-visualization of the film as a whole. Polaroids of the actors' early rehearsals then replaced the drawings, followed by videotapes of the scenes shot on location in Las Vegas. As a result, long before a single foot of film was actually shot, "the whole movie could be seen at any time,"[31] by anyone involved in the film. Furthermore, when the film was ultimately shot in a Hollywood studio, Coppola could watch each take with music and sound effects. And he "was able, at the beginning of each production day, to view an edited version of the previous day's shooting, complete with music and sound effects."[32] The idea was to be able to handle immediately any kink in a scene, any difficulty with the pacing within or between scenes. As each segment of the project could be looked at, analyzed, dissected, film-making in effect became a totally rational enterprise, with the director-engineer at the helm calculating, quantifying, mastering the impact of each and every effect. This total involvement with the ever-present image, the absolute elimination of the mystery of shooting, should have produced the most successful film ever. What Coppola forgot though, in his all-out effort at demagicizing the film process,
is that, paraphrasing Maurice Merleau-Ponty, the director's "vision is not a view upon the 'outside,' a merely physical-optical relation with the world."[33] No more than a poem can be said to exist in the words per se, a film does not reside solely in an image that can be observed on a little screen. During the shooting, it remains instead a becoming, an opening, a possibility that may or may not be realized later on. A film, in other words (still paraphrasing Merleau-Ponty), is as much in the "intervals" between images as it is in the pictures themselves.[34] Fleeing the mystery of creation, the challenges and the claims involved in a face-to-face transaction, the contemporary director thus functions as a distant subject who masters and objectifies others through the supremacy of technique. The lingering of the body in time and space has been replaced by what Nietzsche called an Apollonian frenzy with the eye.[35] The mise-en-scène has turned into mere mise-en-image, a soulless play of isolated, context-free commodities.
Technology must never be accepted at face value. It is not because the science is there that the invention or the use of a machine will automatically follow suit. And not all novel techniques are successfully adopted by the practitioners in the field. One cannot, David F. Noble reminds us, ever simply state that the best existing technology is automatically being used at all times. Instead, we must always replace that assumption with more probing questions: "The best
technology? Best for whom? Best for what? Best according to what criteria, what visions, according to whose criteria, whose visions?"[36] Hence, insofar as video assist is concerned, what are the historical conditions that made its use so widespread? When Jerry Lewis used it there was little interest on the part of other directors to emulate him. Yet, not so many years afterward, in remarkable unison, most American directors ended up adopting his method. What happened in between that brought about this radical change? The answer lies in what Charles Eidsvik has called "the film's industry's defensive maneuvers of the 1970s and the 1980s,"[37] when, to repel the thrust of both television as a competing source of entertainment and videotape as a contending recording medium, changes were made in the kind of cinema that was produced. The writing in effect pushed the plots "into areas in which video could not compete well. . . ."[38] Practically speaking, this meant that the small movies, the psychological films, the non-action pictures, were abandoned to television. Conversely, the theatrical experience was redefined as the larger-than-life action spectacle. Although Eidsvik identifies location film-making as the main beneficiary of these changes, location per se did not prove itself enough of a draw to sell the real movie in the theater over the TV movie of the week. More was needed, and camera pyrotechnics were quickly enlisted to divert and bedazzle the spectator's eyes. These technological advances, however, also eroded the traditional control of the director on the set. First, the very mobility of the Steadicam created a dilemma for the director.[39] What was he or she supposed to do: run after the Steadicam operator or remain ineffectually behind? Second, the Louma crane isolated the camera at the extreme end of its reach, all the time maneuvered from afar by an operator working at a console. Third, cable contraptions of one type or another followed, flying the camera far above the scene. Fourth, helicopters equipped with gyrostabilized systems further extended the reach of the apparatus. Finally, the ease of digital technology pushed film-making toward ever more complex and demanding composite images. All in all, as the "scene" became less and less accessible, directors had no choice but to look at a remote image on a video monitor.
"In choosing our technology," Feenberg suggests, "we become what we are, which in turn shapes our future choices."[40] And so it is that a scene that required an improbable camera position would also benefit from graphic action and various kinds of pyrotechnics, traditional or otherwise—all situations that incidentally also showed up best on the monitors. In other words, whereas it is unlikely that the cinema of Ingmar Bergman would have significantly benefited from the use of video assist, that of Jim Cameron or Robert Zemeckis makes little sense without it. In this type of film-making, in fact, the device itself is no more than an advanced representative of other, more intensive technologies that will later on
enhance the surface appeal of the film in postproduction: digital-image processing, digital editing, digital sound enhancing, etc. And in turn this superior technology, this dazzling maneuverability, this extraordinary display of breathtaking technique is widely advertised, thus staking new claims for the global hegemony of Hollywood. The fire power of the contemporary American film may be less physically destructive than that of the old gunboat, but it nevertheless forces its superiority on the technologically backward national cinemas of Europe, Asia, and elsewhere, threatening their very survival.
For the new American director, however, success speaks for itself and money speaks best of all. Hence, no rejection of the power of technology should be expected. Needed or not, video assist is here to stay, not because it is necessarily the best tool for the job, but because, more than ever, we implicitly trust a machine more than ourselves to tell us about the world. As the objectification of the world through the domination of technique is pushed one notch further, the cogito of old can be said to have been given a more contemporary twist: video, ergo est .


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Orchester- und Chorwerke > Werke für Orchester
Johannes Brahms
Symphonie Nr. 2 D-dur op. 73
Herausgeber: Michael Struck, Robert Pascall
219,00 €
Wissenschaftliche Gesamtausgabe mit Kritischem Bericht, Serie I, Band 2, Leinen
Orchestermaterial bei Breitkopf & Härtel
Seiten: 313 (XXV, 288), Größe 25,5 x 32,5 cm
Bestell-Nr. HN 6004 · ISMN M-2018-6004-6
Perhaps the farthest –reaching revelations in the new edition of the Second Symphony are related to the order of composition of the four movements and the disposition of the low brass instruments. All in all, this amounts to something of a good musicological detective story, elements of which have been adumbrated in previous publications (including Reinhold Brinkmann's book on the Second Symphony, Late Idyll), but never fully clarified hitherto. … None of the foregoing aspects of Brahms's Second is readily apparent from the printed score that spreads so handsomely and readably across 216 pages of the new volume. But the performer or student who spends time working through the splendid introduction and the richly detailed critical report will have the privilege–and the thrill–of entering into Brahms's creative world, and into the compositional evolution of one of the great masterworks of the symphonic repertoire.
Is a new Brahms edition necessary? Certainly not in the way solving the world's problems of war, terrorism, health, and hunger are "necessary". But the present volume makes a strong case indeed for why the new Brahms edition is a welcome arrival on the musical and musicological scene.
[American Brahms Society, 2004]


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Storm fells historic Varina tree
Friday night's ferocious thunderstorm toppled dozens of trees throughout Henrico County, but perhaps none more significant than the one it felled on Route 5 in Varina. The oak tree that stood for some 150 years there, at the entrance to scenic Tree Hill Farm near the split of New Market Road and Osborne Turnpike, arguably was the most historic tree in the region. It was known as the Surrender Tree because nearly 150 years ago, beneath its fledgling branches, Richmond Mayor Joseph Mayo surrendered the City of Richmond to Union forces during the Civil War. Six days later, on April 9, 1865, Confederate General Robert E. Lee surrendered the Army of Northern Virginia in Appomattox, essentially ending the war. In the years since, the tree steadily advanced skyward, ultimately sprawling out high above electrical wires and the two-lane road beneath it, rooted to the ground by a trunk that grew to more than four feet in diameter. It presented a grand welcome to visitors at Tree Hill Farm, ushering them along a rolling, gravel-lined path dotted with other stately, if less historic, oaks toward the farm's 237-year-old manor house. Even as changes came to the 531-acre farm site – which was sold by the Burlee family to developers in 2006 – the tree remained a constant reminder of the site's significance. (Native American artifacts found on the site have led some to conclude that it may have been the home to the Tsenacommacah tribe of Virginia Indians, led by Chief Powahatan, the father of Pocahontas.) In late 2007, the Henrico Board of Supervisors approved plans for a large-scale mixed-use development on the site, featuring nearly 2,800 housing units, 1.16 million square feet of commercial space and more than 250 acres of green space. Initial plans called for construction to begin by early 2009, but today the site remains untouched, its future put on hold by a faulty economy. And so for the past six years, the Surrender Tree stood guard over its lonely but breathtaking Varina home, casting long shadows daily as the setting sun disappeared across the James River. Until June 29, when at last, the Surrender Tree itself surrendered, uprooting itself as it fell across Route 5. It took power crews a number of hours early the next day to clear the tree from the road, which was closed through late morning. Perhaps it was fitting that the tree's demise occurred on the eve of the 150th anniversary of the Battle of Glendale (the fifth of the Seven Days Battles), which occurred just a few miles east in Varina. Read more about the Surrender of Richmond here: http://www.henricocitizen.com/index.php/news/article/hasty_surrender_leaves_a_lasting_legacy_6327 |
VBS seeks blood donations
Citizen Staff Reports 12/16/2013
Virginia Blood Services (VBS), the sole supplier of blood for more than 20 hospitals throughout the state of Virginia, is in need of blood donors to help replenish the local blood supply over the holidays.
A decline in blood donations is typical during the winter months as people become busy with holiday activities and travel. Patient needs remain steady, however, making it important for people to visit a VBS donor site or mobile drive to give blood. > Read more.
Varina's Big Toy parade to help usher in holiday season
In Varina, one of the most anticipated events of the season is approaching. The 19th Annual Big Toy Parade will return on Dec 14, offering a "homey," small-town feel that helps elicit holiday spirit among participants and spectators alike.
The parade, which begins at 3 p.m., is sponsored by the Battlefield Ruritans and Henrico County Parks and Recreation and is held in conjunction with the James River Boat Parade. It is led by a grand marshal along Old Osborne Turnpike and ends at the Osborne Boat Landing, where hundreds of community members gather to await nightfall and the arrival of lighted boats, concluding a festive holiday celebration. > Read more.
Strikers, Kickers form partnership
Citizen Staff Reports 12/03/2013
The region's two premier youth soccer organizations – the Richmond Kickers and Richmond Strikers – have partnered to create Richmond United, a cost-free U.S. Soccer Development Academy program designed to serve the most talented players in the region. The arrangement marks the first time in U.S. Soccer Development Academy history that two member clubs have united their respective Academy programs.
Slated to begin play in the fall of 2014, Richmond United will field U13/14, U15/16 and U17/18 U.S. Soccer Development Academy teams. The teams will train and play home games at two of the top soccer specific complexes in the nation, Ukrop Park and Striker Park. > Read more.
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Henrico students star in 'Nutcracker'
A number of Henrico students are performing in the Richmond Ballet's production of The Nutcracker, which runs through Dec. 23. Pictured above, left to right are: back row – Elizabeth Sjovald (Mother Ginger), Deema Meguid, Maya Link (Mogi top) and Sophie Rounds (Mother Ginger) and front row – Sarah Echols (Chinese) and Carter Echols (Chinese). > Read more.
Weekend Top 10
Eastern Henrico's annual "Holiday on Parade" event is back tomorrow. Family-friendly activities will take place at various locations in the east end. The festivities will culminate with the 21st annual James River Parade of Lights. Also, several churches throughout the county are hosting holiday celebrations including West End Assembly of God, St. Andrew's United Methodist Church and The Gayton Kirk Presbyterian Church. For all our top picks this weekend, click here! > Read more.
A taste trip through Latin America
Estilo charms, with a stylish twist, in Henrico's Near West End
If you're looking for something a little different from the standard, ho-hum restaurant experience, look no further than The Village shopping center. Among the recent success stories to put down roots in The Village is Estilo, created by the owners of the gastropub Toast (featured in a Feb. 21 review in the Citizen), only a few steps away.
Estilo – which translates to style – offers a taste of Peru, Chile and Bolivia, among other countries, and a menu that rotates regularly through the rest of Central and South America. > Read more.
More News
Business in brief
Airport named Henrico Business of the Year
New 'Va. is for Lovers' plate unveiled
Upcoming holidays will delay some CVWMA collections
Virginia native Lee Smith, named 2014 'All Henrico Reads' author
'All Pro Dad' event scheduled Dec. 17
Business in brief
McDonnell visits Godwin High
Every breath matters
Governor-elect vows ethics reforms
- More Henrico News
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Tuesday, Dec. 10, 2013
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NADAP and its partners invite healthcare providers and administrators to join us for a breakfast to learn about the sweeping changes in healthcare reform in New York as a result of the Affordable Care Act. Our partners and staff will...
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"Break the Rules and Close More Sales" acknowledges that many entrepreneurs and service/trade professionals are accidental salespeople that find themselves in a client development role where they must balance their...
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The restaurant industry has seen explosive growth and has made a significant impact on New York's economy. Crain's New York Business along with industry leaders will cover the hot topics:- Restaurant grading: How the recent...
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Tuesday, Jan. 28, 2014
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Attendees will hear firsthand what each of the Borough Presidents envisions for their borough, their plans and top priorities once in office. Greg David, Crain's Columnist and CUNY J School Director, Business Reporting Program to...
The Yale Club of New York City New York, NY 10017
Tuesday, Feb. 11, 2014
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- Showing 6 posts filed under: Region: North America and Caribbean [–] published between May 01, 2011 and May 31, 2011 [Show all]
Call the Governor: Restorative justice bill passes Colorado General Assembly
from Ken Kimsey's blog Fairness Works:
Colorado's General Assembly passed legislation Wednesday night in the waning hours of its current session to include restorative justice practices among the options available to the justice system. Participation must be voluntarily chosen.
Senate sponsor Sen. Linda Newell and House sponsor Rep. Pete Lee guided the legislation through multiple votes. The House concurred with the Senate version in a vote late on May 11. HB 11-1032, now goes to Gov. John Hickenlooper for signature.
May 31, 2011 Legislation, Region: North America and Caribbean, Country:USA, Government
I just hugged the man who murdered my son
told by Mary Johnson and Oshea Israel on National Public Radio's StoryCorps:
While most StoryCorps interviews are between family and friends, this conversation comes from two people who easily could have been enemies.
In 1993, Oshea Israel was a teenage gang member in Minneapolis, Minnesota. One night at a party Oshea got into a fight, which ended when he shot and killed another boy.
Now 34, Oshea has finished serving his prison sentence for second-degree murder.
May 25, 2011 Region: North America and Caribbean, Practice, Victim, Case:Homicide, Forgiveness, Country:USA
Dialogues can offer healing for crime victims
from Ryan Marshall's article in the Carroll County Times:
Recovering from a crime can be a deeply personal process for victims, but Maryland's corrections system offers victims who are interested a chance to interact with their attackers.
The state is able to arrange dialogues between victims and the person incarcerated for their crime.
May 23, 2011 Dialogue, Region: North America and Caribbean, Offender, Victim, Prison, Country:USA
Restorative Justice takes on West Oakland schools
from an article by Cassidy Friedman on New America Media:
From 2005 to 2009, the city of Oakland backed a restorative justice pilot project at Cole Middle School, in West Oakland, which was already slated to be shut down for low test scores. It was among the first attempts to implement restorative justice circles at a U.S. school.
By the final year, standardized test scores had risen by 74 points.
The school, which had suffered from a high turnover of teachers, retained all of its faculty.
And delinquency plummeted; suspensions fell 87 percent and expulsions dropped to zero.
May 11, 2011 School, Region: North America and Caribbean, Policy, Evaluation, Country:USA
Phoebe Prince bullies sentenced, but how do they make things right?
from Stacy Teicher Khadaroo's article in Christian Science Monitor:
Five teens who faced criminal charges for bullying in connection with the 2010 suicide of Phoebe Prince in South Hadley, Mass., have been sentenced to probation and community service.
While the courtroom chapter of the drama in central Massachusetts is largely over, bullying-prevention advocates hope that the work of "restorative justice" has just begun. Now, they say, the defendants should use their experience to help other young people steer clear of bullying and the deep harm it causes.
May 09, 2011 Juvenile, Practice, Region: North America and Caribbean, Country:USA
A visionary judge makes restorative justice come alive in Alabama
from Ken Kimsey's entry on Fairness Works:
In a six-part video series, Judge McCooey talks passionately about her believe that justice requires much more than the court system provides, especially in the area of giving crime victims the opportunity to meet the offenders, face-to-face, in a safe place, and to do so on a voluntary basis. (If you walk out of here and find someone has stolen your car radio, chances are you don't have much interest in meeting the thief, she says in one segment. But the more deeply you have been hurt, the more likely you want to meet the offender and ask questions like "why?".)
As appealing as her speaking style and warmth is her story about the unorthodox path that led her to the bench. Serving as a judge was never in her long-range plans, but when she won her first election against a well-established Montgomery lawyer, surprising herself in the process, she knew there were some new thing she wanted to try. Finding ways of implementing a restorative justice program was among them, and she set about methodically but quietly to make this happen.
May 04, 2011 Court, Justice, Community, Diversion, Region: North America and Caribbean, Judge, Country:USA


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Vermont broadband expansion proceeding in Orange CountyThe Associated Press | September 12,2013MONTPELIER - The Vermont Telecommunications Authority says broadband Internet service is expanding in northern Orange County.
The first seven miles of the Orange County Fiber Connector project are in service and a total of more than 32 miles of the 36-mile route have been hung on utility poles.
The route begins in Chelsea, generally follows Route 113 to Thetford and then Route 132 to Sharon.
The authority compares the fiber to interstate highways with a large capacity to transmit data. Internet service providers then connect customers to the fiber network.
Gov. Peter Shumlin has set the goal of ensuring all Vermonters have access to broadband Internet service by the end of this year.MORE IN This Just InRUTLAND- The federal prosecutor's office in Vermont says a 31-year-old man is going to prison for... Full StoryMONTPELIER-Vermont's education secretary has announced the four high school seniors who have been... Full Story -
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2007 Subaru WRX Wagon Pearl White over Grey with 101k miles. Has some nice upgrades like Exhaust intake HKS Blow-off valve and more. Both... More
1-owner, low-mileage 2011 Subaru Impreza WRX Premium Wagon. Finished in head-turning WR Blue Pearl over Carbon Black, this is an extremely desirable WRX wagon... More
2008 Subaru Impreza AWD Sedan. Only 82,900 miles on this One Family Owned Subaru! We bought it new in June of 2008 for my... More


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Spent one night in this hotel and it was very average one. If you look for value for money I wouldn't recommend it. Lot of the equipment in this hotel seem to be tired and not very well maintained, however if you need to sleep just one night, I think it is O. K., relatively good location, but I believe... More
- Also Known As:
- Slaviero Slim Alto Da XV Curitiba, Brazil
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#19 Business Hotel in Curitiba
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Hotel Class:3 star — Slaviero Slim Alto da XV 3*
- Official Description (provided by the hotel):
- You don't need to pay more to stay in a great hotel near downtown in Curitiba. Besides offering internet wi-fi and breakfast the apartments have a working place. And everything with the outstanding Slaviero quality. Modern and cool decoration. ... more less
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I'm just back from three days in Rockland, Maine, visiting the four Historic Inns of Rockland. What's wonderful about the Historic Inns of Rockland is their cooperative partnership. They work closely to not only promote staying in a historic B&B, but are committed to promoting the town too. It's so refreshing to see four innkeepers working so closely together.
There are something like 145 buildings on the historic district of Rockland, and four of them have been converted to lovely inns, with no two alike. I've now stayed twice at the Old Granite Inn (in the process of changing their name to Granite Inn, because the look is anything but "old"). Unlike many restored historic inns, the Granite Inn sports a very modern feel to it. Co-owned by a music professor (Ed) and a graphic designer (Joan), the rooms and common rooms have been totally converted from whitewashed walls and twin beds to fabulously bold colors, vessel sinks, granite counters and what I call "Ikeaesque" feel. It's clean, it's peaceful and it's a welcoming departure from a traditional B&B. Breakfasts are served in the welcoming dining room and are as hearty as they come. When I was there, I enjoyed a choice of two fabulous quiches, the inn's signature ginger scones, fresh fruit and yogurt, and a variety of juices, coffee and teas. It's all served buffet style, so you can help yourself to as much as you want. What a great way to start the day!
Located right across from the Rockland ferry terminal, the Granite Inn has a fabulously convenient location on Main Street. The views over the harbor are great. Last time I stayed, I was in room #5 and enjoyed watching the sun rise up over Rockland Harbor in the morning. No review of the Granite Inn is complete without mentioning the third innkeeper and stalwart welcoming committee, Zach, the mascot and inn dog. You can count on Zach greeting you on the front step as you arrive, and being the last to say goodbye. A final note -- the Granite Inn is dog- and kid-friendly too!
Moving up Main Street, the next historic inn is the Captain Lindsey House. Owned by Captains Ken and Ellen Barnes, both retired windjammer captains, the inn is filled with wonderful collection of furniture, paintings and artifacts from their travels throughout the world. In keeping with its owners, you'll find a nautical feel here, right down to the cozy dining room that feels much like one you'd find on an elegant yacht. A welcoming living room and a fabulous terrace mean there is plenty of common area to spread out in here. The overflowing window boxes conveniently just below the kitchen window bear the tomatoes and herbs that are likely to appear in wonderful egg dishes at breakfast. Be sure to ask Ken and Ellen about their colorful past; this is one special couple with an astounding background from child stars to blacksmiths, ship captains, artists and more.
Last, but absolutely not least, the LimeRock Inn completes the Historic Inns of Rockland group. Here's an inn that has it all -- gracious innkeepers (PJ and Frank), comfortable and spacious rooms decorated in everything from Victorian to "Maine Cottage" style, gorgeous photography taken by PJ, and fabulous breakfasts offered by Frank who learned to cook in his Italian grandmother's kitchen. The LimeRock Inn is one place where you really must stop and smell the flowers. The gardens are fabulous -- both surrounding the wraparound porch and in the back surrounding the gazebo. The porch is filled with comfortable wicker funiture, making the perfect spot for reading the morning newspaper with a cup of steaming coffee or a great book. There's a small guest office with a computer and printer, so you'll always be able to stay in touch too, and a guest pantry filled with goodies 24-7.
All of the inns offer free wi-fi throughout the inn, and they're all Green Certified Environmental Leaders of Maine. I was amazed at the list of recycling and re-use programs at the inns. I learned on this trip that the LimeRock Inn saves all its food scraps for a local pig farmer to convert into food for the animals. The Historic Inns of Rockland were named among the top ten eco-friendly inns in the country by BedandBreakfast.com in 2008. For those who want the ideal spot for exploring Maine's Coast with eco-friendly inns that have not sacrificed luxury or the finest hospitality, the Historic Inns of Rockland make the ideal home base.


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The new year is almost upon us and 2011 will soon be a year for the history books. But we can't let it go without recognizing the biggest global drug policy stories of the year. From the horrors of the Mexican drug wars to the growing clamor over the failures of prohibition, from the poppy fields of Afghanistan and the Golden Triangle to the coca fields of the Andes, from European parliaments to Iranian gallows, drug prohibition and its consequences were big news this year.
The Pentagon's and Department of Defense strategy though the CNTPO, is part of the plan for the privatization of military assistance and intelligence services, which turns to be a very profitable business, and part of the U.S. secretive move to transfer tactics from the so called "war on terror", to the "war on drugs."
According to the description given by the US federal government, the CNTPO seeks to provide a wide variety of security services, which, in Mexico's case, would include instruction for pilots and mechanics of UH-60 (Black Hawk,) Schweizer 333 or OH-58 and Bell 206 helicopters; development and delivery of curriculum, provide all personnel, equipment and materials, and conduct training for night vision helicopter pilots and crew. Other contracts would include delivery of equipment and training to exchange information on drug trafficking activity.
MEXICO CITY — Latin American leaders have joined together to condemn the U.S. government for soaring drug violence in their countries, blaming the United States for the transnational cartels that have grown rich and powerful smuggling dope north and guns south.
Today the First Cannabis Social Club of Belgium, Trekt Uw Plant in Antwerp, brought in its fourth harvest of 2011. In a meeting in Antwerp 90 members received their plant containing each 20 grammes of cannabis. Since February 2010 the association grows cannabis for the personal use of its 150 members, on the basis of the principle 1 plant per member. This is made possible by a ministerial guideline that was signed in January 2005 by the Minister of Justice and all 5 Chief Prosecutors of Belgium, which decriminalises the possession of max. 3 grammes of cannabis or 1 cannabis plant.
Growing cannabis for personal use is a sensible and healthy alterntive to the illegal market and the tourism from Belgians to Dutch coffeeshops. Trekt Uw Plant uses only ecological cultivation methods, without any risk of contamination or adulteration of the product, like it can be the case on the black market. Contrary to the illegal market, a Cannabis Social Club is not accessible to minors. And because members of Trekt Uw Plant do not need to drive to the Netherlands anymore, to buy cannabis in coffeeshops there, a contribution is made to the reduction of public nuisance and pollution.
The conservative Dutch government said Thursday it is delaying plans to ban tourists from buying marijuana until at least May 2012, though it still intends to curtail the country's famed tolerance policy.
Cannabis is technically illegal in the Netherlands, but police turn a blind eye to possession of small amounts and it is sold openly in designated cafes known euphemistically as "coffee shops." Large-scale growers are prosecuted.
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Michael Hastings was the investigative reporter who brought down the top U.S. general in Afghanistan. In June, he died in a mysterious and fiery one-car crash in Los Angeles. Was it an accident? Or a conspiracy?
US Supreme Court ruling on marriage equality will impact Minnesota in many ways.
The unfinished business of fixing the economy dominated President Obama's State of the Union Address Tuesday night. He outlined his second-term agenda of proposals designed to create jobs, particularly for the middle class.
President Obama calls for stricter gun laws, but acknowledges that no number of new laws can entirely prevent the death toll produced by guns, estimated at more than 30,000 a year.
In his first road trip to promote his plan to fight gun violence, President Obama visited Minneapolis the site of a recent mass shooting.
President Obama's visit to Minneapolis to tout his plan to reduce gun violence comes after the White House releases a photo of him skeet shooting last August.
President Barack Obama's inauguration address touches on climate change, an issue barely mentioned during the 2012 campaign, and gay rights, an issue that the US Supreme Court will likely issue a ruling on this year.
President Barack Obama along with Vice President Joe Biden unveil the most sweeping proposals for curbing gun violence in two decades.
President Obama holds a press conference to mark the end of his first term and answers questions about the upcoming fight over the debt ceiling with Republicans in Congress and potential legislation or executive orders to prevent gun violence.
Following his meeting with President Hamid Karzai, President Obama used his weekly address to update the American people on how the United States will end the war in Afghanistan.
A few hundred people gathered in a drizzling rain Friday afternoon and into the evening to observe Dia de los Muertos — The Day of the Dead — a traditional Mexican holiday to honor those who have died .
After a protest at Riverside University High School — a public school — the Milwaukee School board has agreed to hold a public meeting to discuss a new policy requiring mandatory metal detector screenings.
As the national debate over the direction of education rages, Milwaukee appears to be ground zero for the school choice movement, cuts in public education and expansion of charter schools that many public education advocates believe are detrimental to students and schools in the city.
About 2,000 union members and their families marched in Milwaukee's annual Labor Day parade — a smaller turnout than in recent years.
Minnesota learned from Wisconsin's failure on marriage equality. Can Wisconsin now learn from Minnesota's success?
Mercenary-style guards carrying assault weapons will return to the north woods of WIsconsin after an Arizona-based security firm received proper permits to operate in Wisconsin. Last month, the heavily-armed guards, wearing camouflage and some with face coverings, startled hikers and other forest visitors when they showed up — without permits or the legally required name tags and credentials.
The Democracy Convention, billed as "nine conferences, one movement" happens in Madison, Wisconsin. The convention looks at ways to strengthen democracy from many angles including economics, defense, and yes, politics.
Wisconsin Capitol Police have arrested 120 people — arrests are continuing daily — for singing without a permit in the Capitol Rotunda. Sure, "This Land Is Your Land" — but you need a permit to sing it in Wisconsin.
John Spooner, the 76-year-old Milwaukee gun collector who shot and killed 13-year-old Darius Simmons in front of his mother last year, was sentenced Monday to life in prison with no chance of parole for the shocking murder — captured by a security video camera — by a judge who called the killing "an evil act."
Tweet TweetBreaking News: The elderly "gun nut" convicted of the murder of a 13-year-old Milwaukee boy was found sane by a Milwaukee jury on Friday. The determination — after brief jury deliberations — that John Spooner was mentally competent when he shot 13-year-old Darius Simmons on May 31, 2012, means …
Tweet TweetFrom UpTake contributor Rich Neumeister, at Open Secrets Since 2005, the Bureau of Criminal Apprehension (BCA) has paid nearly $750,000 for what they call a "cellular exploitative device." After the state's top cop agency got their new spy tool, the Hennepin County Sheriff had to get one, too. In …
It's clear that Kristine Sorensen loves the art of storytelling. The executive director of In Progress, Sorensen has spent her career capturing stories on film and teaching others to do the same.
Tweet TweetStory for The UpTake by Sheila Regan On the heels of last week's large Black Friday protests in the Twin Cities, demonstrations calling for better wages for fast-food workers were staged in three Minnesota cities Thursday: Protests demanding a living wage were held outside fast-food restaurants in Minneapolis, Lakeville …
Football fans, elected leaders and Vikings big shots assembled under a heated tent on Tuesday to celebrate the symbolic groundbreaking for a new Vikings stadium and the demolition of the old Metrodome.
Twenty-six people were arrested Friday during the "March to end Poverty Wages," the culmination of a week of Black Friday actions pressing for better pay and working conditions and the right to organize for retail, janitorial and other low-wage workers in Minnesota.
Tweet Tweet Story by Kathryn G. Nelson and Nick Coleman The Minnesota Legislature's leading proponent of tougher gun-safety measures, Rep. Michael Paymar, announced last week that he won't run for re-election next year, but he plans to go out with gun-control proposals blazing. Paymar, a nine-term DFLer from St. Paul, …
Jaymie Kelly got a surprising answer after she sent an email to President Obama describing her trials with JPMorgan Chase and Freddie Mac. Eight days later she got a call from the Office of the Inspector General of the Federal Housing Finance Agency telling her that her case is under review.
People gave more and watched more of this year's Give To The Max day than ever before.
Watch The UpTake's coverage from the Mall of America, CoCo Uptown and the Triple Rock Social Club. We helped raise millions of dollars for thousands of Minnesota charities with GiveMN on Give To The Max Day.
The Captain is not going away! He is coming back to give them big hornswogglers a run for their doubloons in 2014. That's right! The Captain is putting in for what you call the governor of this godforsaken island they call Minnesota.
Tweet TweetI was 30 years old, a journalist with a passing knowledge of Indian history. Yet it had never occurred to me, until I came across the name of Ernest Wabasha one day, that people still lived among us who were connected to the terrible events of 1862-63, the time …
Tweet TweetEditor's note: "Mni Sota Makoce: The Land of the Dakota," was the winner in the Minnesota category of the 2013 Minnesota Book Awards, which were announced Saturday. Congratulations to authors Gwen Westerman and Bruce White. — updated Sunday, April 14 at 8:07 a.m. One hundred and fifty years after …
A two-week journey from South Dakota ends in Mankato, Minnesota to mark the 150th anniversary of the largest execution in the United States where 38 Dakota (Sioux) Indian men were hanged for their involvement in the Dakota-US War of 1862.
According to tradition, "We Are Here" is what each of the 38 Dakota Indian warriors who were hanged on the day after Christmas in 1862 said as the nooses were placed around their necks. "We Are Here" is also the title of an exhibit on view at the historic James J. Hill House in St. Paul, Minnesota. Native American artists comment on the events and aftermath of the U.S-Dakota War in the form of contemporary painting, sculpture and traditional works.
Minnesota's Dakota tribe commemorates the 150th anniversary of their 150-mile "trail of tears" forced march out of their ancestral land in 1862.
After the US-Dakota War of 1862, 38 Dakota men were hanged in the largest mass execution in US history. Many believe the execution was also one of the largest miscarriages of justice in the nation's history. Today, Representative Dean Urdahl hopes to "rub a little salve in the wound" by seeking a pardon for one of the executed warriors. His name was Chaska.
150 years after the Dakota War, the war remains a wound that has yet to heal. We watch a special ceremony remembering the many Dakota women and children who did not survive the winter of 1862-63 at the Fort Snelling "concentration camp".


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The beautiful An Cala garden is surrounded by cliffs, giving it a horseshoe type shelter. The garden has an impressive range of plants and features. These include bold and colourful plants, natural rockeries and several small, winding streams throughout the gardens. There is also a waterfall, ponds and many herbaceous plants as well as azaleas, rhododendrons and cherry trees in spring.
The garden offers spectacular views across to the Isle of Mull and is one of the Glorious Gardens of Argyll and Bute. This scheme showcases 20 stunning gardens across Argyll & the Isles.
For Accommodation and information, please call:
0845 859 1006
Monday to Friday 9am - 5pm
Saturday and Sunday - closed
*Calls may be recorded


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This page displays only a select list of music events.
Want to add Luther College Music Department events to your google calendar? Add this address: email@example.com and follow these instructions.
Student Recital: Kathryn Lillich Sr. Voice
Date: | Sunday, February 17, 2013 |
Time: | 12:00 pm |
Location: | Noble Recital Hall |
Sponsor: Music
Contact: Doris Patterson, 563-387-1462


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Help support nearly 40,000 animals in need
Step up for animals! I will be participating in the Animal Humane Society's 35th annual Walk for Animals. With five Twin Cities locations, they care for nearly 40,000 animals in need each year. This year, the need is as great as it has ever been. Animals also suffer the effects of tough times and this is exactly the time when our commitment must be at its strongest. These animals rely on your support and anything you can give to help me reach my goal will make a big difference in their lives. This is a short walk that goes miles and miles and miles for animals – animals that absolutely need us and love us absolutely. Please support me - and the animals - with a donation by selecting the "Support Me" button above the thermometer or "Make a Gift" below the thermometer. Our efforts will help make a big difference! Thank you! If you think this page contains objectionable content, please inform the system administrator. |
Golden Valley | 845 Meadow Lane North, Golden Valley, MN 55422 | 763-522-4325 (c) 2009 Animal Humane Society |


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Latest update: 17/12/2009
- China - Copenhagen climate summit - France - International Press Review - Prince Charles - UMP
Guffaws in British press over UMP campaign song
INTERNATIONAL PRESS REVIEW: This morning's The Independent reports on the UMP's much-ridiculed campaign song, "Changer le monde".
The idea was to give the party a fresher, more dynamic image ahead of regional elections in March, but the UMP Party's cover of 1970s hit "Changer le Monde" has drawn widespread ridicule.
The video features French ministers jiving along to the music with appalling lip-syncing added in for good measure. The Independent says even former ministers in the ruling UMP party have poured scorn on this exercise in naff-ness. Luc Ferry said it made him "want to vomit" while Yves Jego remarked, "Honestly, I think it was a mistake." Here's the clip so you can judge for yourselves!
Other stories in today's international papers:
Wall Street Journal (Europe)
Impasse in climate talks
China Daily
China's promise truly ambitious
International Herald Tribune
Cameras rolling, an emboldened China seeks to reclaim
The Guardian
Charles faces fresh meddling claim over letters to ministers


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If you're a fan of chrome then this 1956 Buick Special will certainly hold a special appeal. For many the appeal of the smallest... More
1954 Buick Century Special 2 door convertible with Carlsbad Black exterior paint, white convertible top and Coker radial wide whitewalls with factory Buick hubcaps.... More
This 1953 Buick special 2 door sedan is located in our Louisville KY showroom. This 53 Buick was actually once owned by NASCAR great... More
1953 Buick Super is for sale in our Louisville Ky Showroom. In 1953 Buick\s Super shared the Roadmaster\s new V8 the Fireball V-8. This... More
1957 was a very big year for the automotive industry but if you're looking for something a bit more stylish and substantial than a... More
1953 BUICK SPECIAL Unique and Attractive One-Year-Only Styling, Dry Western Car, Outstanding to Drive, Last Year for the Straight 8 Fireball Motor The 1953 Buick Special: Long... More
This exceptionally nice, very clean, original 44,000 mile car comes equipped with a 322 Nailhead V8 engine with Dynaflow automatic transmission. All new heads,... More
• Very solid 67,000 original mile Georgia car • Two careful local Atlanta area owners • Buick's famous, powerful "Nailhead" V8 engine • Dynaflow automatic transmission • New... More
BUICK: 1954 Skylark, this Skylark appears as a #2 Century convertible, its Skylark hard parts were exchanged with a Century hardtop to build a... More
BUICK: 1958 Limited 4-door hardtop, very good original condition, auto trans, silver blue exterior, grey interior, 50,000 miles, 2nd owner, never wrecked, only minor... More
BUICK: 1956 Roadmaster 2-door hardtop, rare, all options, estate settlement, runs like new, great investment, 1 owner, $24,500, call for details. 631-714-4671, NY.... More
BUICK: 1950 Model 56R Riviera, a lovely one-owner 2-door hardtop with a wonderful history, the original colors are imperial blue over Barton gray with... More


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The Community of Disc Golfers and About All Things Disc Golf
A group for anyone who uses Discaroo for trading discs. Get the plastic you want!
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Diamants Légers de Cartier Necklaces
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