text: Stop. Hey. What's That Sound? by Ken Jordan 1. When can a sound be an image? Often, of course, sounds are words. In songs, the musical elements that surround lyrics are often more important than the lyrics themselves. The words of few lyricists resonate from the page without benefit of performance. We accept that sound and language can be woven into a synthetic experience. But what about sound and image? One characteristic of digital media is that they allow for, even encourage, the combination of diverse media into integrated experiences. In a digital artwork words can lead to virtual architectural spaces, in which gestures may trigger images, which may in turn evoke sounds. Disparate media elements can be stitched together in a multitude of ways, layered upon one another so that it is difficult to separate them into their constituent forms. Just as a song combines music and poetry to make something that is distinct from either alone, digital media give rise to forms that wed: sound and movement; sound and space; sound and image. Since The Jazz Singer, when the flickering image of Al Jolson first crooned on bended knee, sound has been part of filmmaking. But with or without a soundtrack, film has always been a medium with its own trajectory. We don't tend to think of talkies as being a different medium than silents. In film, the moving image dominates, and the soundtrack is subordinate. Yes, it's important, it contributes, but it is not essential. Whereas a song without a melody or accompaniment is not a song at all: it's a poem. Dance, like film, does not become another type of artwork when without music. A song is different, because it unites music and poetry into a synthetic expression. Digital media, too, weave sound with other media to create artworks that are specific and irreducible. The formats are still in their early stages, and not yet codified so they can be referred to easily. But building on the legacy of Max Mathews -- the first person to produce sound out of bits -- artists, engineers, and theorists are exploring this fertile territory. In their work we glimpse new ways to relate to sound, different approaches to shaping sound, and insights for understanding how sound shapes us, the effect it has on consciousness. Intriguingly, those engaged in this exploration come from across the globe. Their common interest is not specific to any country or cultural tradition. Rather, it tends to coalesce where the technology exists to support it -- on university campuses, at art museums, or at institutions dedicated to digital arts, such as ZKM, in Karlsruhe, or the InterCommuniation Center in Tokyo. The desire to pursue works in this emerging medium -- which does more with sound than legacy technologies enable us to do -- may well be universal. 1 Our internal, personal experience of sound is far more complex and nuanced than our formal means to sculpt sound into profound expressions. A saxophone can capture a certain emotional moment; a Beethoven symphony or Ellington arrangement can help us encounter the elusive textures of our own feelings. But the possibilities of music-making are limited by the technology of our instruments. Even our experience of the most abstract music is invariably linked to something seen, touched, smelled. Sound is inherently physical. It is a vibration, it travels through the body, and evokes a bodily response. With digital technologies we can integrate sound at a fundamental level into artworks that employ other media, opening new ways for us to share our private experience of sound with others. Sound can suggest space, it can suggest color and motion. We often close our eyes when listening to music, and meditate on our private visual landscape. Music is an immersive experience. Sound occurs around us, enters our ears and envelops us. We inhabit sound. (Though this way to relate to sound may change. Recently it became possible to confine sound to a narrow territory within an open space. Tools now exist to shoot a beam of sound across space the same as a beam of light is projected -- tightly focused on a distant point. Only by intercepting the beam can you hear the sound. The military is developing this technology to send messages across a battlefield, while retail chains like KMart will use it to broadcast special sales offers next to the appropriate product display. Some sounds might belong to a restricted space; others might follow you as you walk through the store. Ultimately, every shopper could have a customized soundtrack, without wearing headphones. This will undoubtedly have implications for our notion of sound as a public experience.) The tools we have inherited for making music tap into some aspects of how we relate to sound, while wholly ignoring others. Though we rarely think of this, musicians have been restricted in their ability to play with sound -- to literally construct cathedrals of sound that you could walk through -- by the nature of their instruments. To date, a "cathedral of sound" has been, by necessity, a metaphor. One day that will no longer be the case. The human impulse toward mimesis is inspiring artists to employ emerging technology to create hybrid artistic forms that mirror the encounter of consciousness with the world. In the mind, sound is not so neatly sectioned off from space, touch, words, or image. One bleeds into the next, slipping and sliding in a spiral of associations. Digital media has already begun to reflect qualities of consciousness that had been beyond the means of artists to capture. In coming years, this will only accelerate. 2. The basics of digital technology invite artists to rethink traditional distinctions between the arts and to strive for something new. Ever since the emergence of computer-based media, engineers and artists have looked for ways to link diverse media together. This tendency dates back to one of the Ur documents of personal computing, Vannevar Bush's visionary article from 1945, "As We May Think." In it Bush proposed a device that gives the user access to a database of information, in the form of texts, photographs, movies, 2 and audio recordings -- though, because digital storage had not yet been developed, he describes this "database" as a desk filled with microfilm, shrunken photographs, tiny movies, and miniature audio tapes. This device, which Bush dubbed the memex, would allow the user to create persistent "trails of association" between discrete media elements, linking them together in a myriad of ways, just as the mind moves from idea to idea in a non-linear fashion. Part of his intent was to suggest that information can be organized in a way that disregards the formal differences between media types, since consciousness cares little for such distinctions. In the 1960s, inspired by Bush's vision, engineers and theorists laid the foundation for computer-based media and the wired network that enables the transport of digital media from computer to computer. Much effort went into establishing formats for digital media storage that would adequately capture the essence of an analog original. Technology was developed to transform line drawings or taped recordings into bits and bytes, virtual representations that convincingly mimicked the "real thing." Once saved as files, they could then be indexed in a computer database and made available for instant retrieval. Visionary engineers, like Max Mathews at Bell Labs, wrote software for computer- generated timbres that strove for the tonality of a musical instrument, or the full flavor of the human voice. Mathews built the first singing computer. Its performance of "Bicycle Built for Two," from 1962, became entrenched in the public imagination as an archetype of computer media when, a few years later, Stanley Kubrick had it sung by the mainframe Hal in his film "2001: A Space Odyssey." Unlike a digitized recording, this performance was a nascent effort to program bits in a database so the bits themselves would generate an evocative, humane expression. It was clear since those early days that computers play no favorites between media types. Rather, from the standpoint of a computer, the basic stuff of the Moonlight Sonata and the Mona Lisa is essentially the same -- they are both strings of ones and zeros, ready to be manipulated by whatever programming sequence a code writer chooses to apply to them. Ivan Sutherland, the great computer graphics pioneer, was perhaps first to grasp the full implications of this state of affairs. He was working on how to use computers to create accurate visual representations. Bits in a database, he reasoned, lent themselves to presentation formats as various as the human imagination could conceive. Yes, data might be formatted to look like a simple page of typewritten text, but it was just as feasible to present it as a fully realized three-dimensional environment. While one series of algorithms might structure the output of a set of data as a two dimensional picture, different algorithms could display that data as a volumetric space. At the tender age of 24, Sutherland proposed building what he called "the ultimate display," an interface to a computer-generated immersive environment that would synthesize all media into a representation of consciousness so convincing that "handcuffs displayed ... would be confining, and a bullet displayed ... would be fatal." Maybe the potential of virtual worlds got the young Sutherland overexcited, but he was not the last to be made breathless by the prospect of virtual reality. 3 Sutherland understood that a computer could integrate all media seamlessly into a complex experience, given the appropriate display devices and software. In the process, he hit upon one of the defining insights of our day: data are infinitely malleable. Artists and theorists have since expanded on this insight. The Austrian artist Peter Wiebel has observed that, unlike traditional forms such as painting or sculpture, digital media are variable and adaptable. "In the computer, information is not stored in enclosed systems, rather it is instantly retrievable and thus freely variable," he writes. This quality gives digital media a dynamic aspect not shared by traditional forms. Computer-based media can be called out of a database at a moment's notice, and adapted to the needs of the particular context in which it appears. Referring to the impact digital technology has had on the visual arts, Weibel wrote that "The image is now constituted by a series of events, sounds, and images made up of separate specific local events generated from within a dynamic system." The emergence of the bit has eliminated the strict separation between image, word, sound, and action. Within digital media, when such a distinction does take place, it will be because the artist has made a deliberate choice to do so. Sound is information, just as are images, words, smells, gestures, or haptic impulses sensed through the skin. The shaping of this information for esthetic purposes is the common strategy of the arts. But only since the rise of the computer as a media device have we come to regard art as so fundamentally a class of information, albeit information subject to a specific type of formal arrangement. In our era, an overt understanding of the ways that information can be structured, manipulated, and shared will be central to how we express ourselves through culture. The computer is our primary tool for working with information. But how this tool effects our relationship to information, and the forms through which we engage with it, is only beginning to be examined. Lev Manovich, the Russian new media theorist now teaching at the University of California at San Diego, has done much to establish a systemized approach to this study. In his book The Language of New Media he writes, "If in physics the world is made of atoms and in genetics it is made of genes, computer programming encapsulates the world according to its own logic. The world is reduced to two kinds of software objects that are complementary to each other -- data structures and algorithms." The consequences of this he suggests should be the focus of a new field of "info- esthetics," which would apply the legacy analytic resources of the arts to the subject of computerized information. 3. The tools we have at our disposal to make art carry consequences for the art we make. Charles Rosen has written convincingly about the important role of the written score in the Western classical tradition. Not only was the score used to circulate new compositions, and preserve them for future generations. The audience's ability to read the score, at a time when most of the bourgeoisie learned musical notation, was critical to the reception of new works. Until the end of the 19th century, music was in large part a 4 private experience. Most people would first encounter a Beethoven sonata alone at a piano, paging through the score. This private dialogue of discovery, between amateur pianist and composer, suggests that the Western relationship to music had once been closer to our contemporary relationship to poetry -- engaged with a page, searching, meditative. Today, conversely, we think of music as belonging mostly to the public sphere. Rosen writes: "Our assumption today, made unconsciously, that almost all music is basically public is a radical distortion of Western tradition. We no longer have a public that largely understands how the visual experience of a musical score is transformed into an experience of sound, and to what extent this transformation is not a simple matter but is capable of individual inflections." The private quality that Rosen refers to was made possible by the specific means used in the Western tradition to create musical works -- the written score, musical instruments, and a system of instruction. The link between the notation on a page and the sound a musician makes when reading it is an interaction that blurs the line between mediums, just as digital media makes possible blurring in other ways. 4. Music had been the most transient of arts. It was ephemeral, of a particular place and moment, then gone. It could not be caught, repeated, transported. Without a plot and text to define it, as in theater, music is particularly challenging to discuss with those who have not heard it. While the score provides an approximate transcription of a musical work, it is rough, open to interpretation. Much of a musical work remains outside the score; not only the sections calling for the performer to improvise (which is common), but more importantly the make-or-break details of tone, texture, pacing -- details no written notation can capture. Before recording and broadcast, music was a medium of immediate presence. Late 19th century technology turned the medium on its head. Recordings became the primary way that we encounter music. What had been the most ephemeral aspect of music -- the detailed intonation of a fleeting performance -- became concrete. You hear the exact same notes broadcast over radio, in stores, on television, again and again. Jimi Hendrix's spontaneous deconstruction of "The Star Spangled Banner," played before a few stragglers at dawn at the end of the Woodstock festival, became the anthem of a generation thanks to the close proximity of a tape deck. Every impulsive swoop and shock of feedback on that recording was as if etched in stone. Like Hendrix, Louis Armstrong was less a composer than an interpreter of compositions. Had he lived at an earlier time, Armstrong's achievement might be known by rumor only, the way that jazz pioneer Buddy Bolden exists to us largely as legend. Chopin was also famous for interpreting the compositions of others, and while that work may have been as inventive as his own writing, we will never know. However, because of recording technology, not only do we have an extensive catalog of Armstrong recordings; we have 5 come to understand that the brilliance he brought to his interpretations effectively transformed them into original compositions. Generations of jazz players have memorized his solos note by note, treating his improvisations with a reverence previously reserved for the scored works of the canon. Machines fundamentally changed our notion of performance, enabling us to relate to acts of spontaneity as persistent compositions. It would be hard to overestimate the influence that this aspect of the capturing and replaying of spontaneous expression had on American culture in the last century. Through recordings, it became possible to identify and study the rigor behind apparently off-the- cuff creative decisions. Repeat listening allowed underlying structures to emerge. What had once moved so quickly through the mind that it could not be captured by writing was now readily available, at the drop of a needle. This availability elevated the improvisational act into a central tenet of 20th century creativity. Inspired by the jazz process, by mid-century artists across disciplines had developed ways to incorporate improvisation into their art making. Think of Jackson Pollock and Franz Kline in painting; Jack Kerouac and Allen Ginsberg in writing; John Cassevettes and his heirs in filmmaking; the Living Theater and the Open Theater on stage. (The ability to mechanically capture spontaneity coincided with a rising interest in the unconscious, led by Freud, and a belief that the unfiltered, unpolished expression was closer to Truth than a more considered articulation.) Though spontaneity as a goal in itself has since diminished, its legacy continues to be felt. The development of jazz and the technology of recording are deeply intertwined. Without the mechanical reproduction of sound, such deliberate mining of intimate moment-by- moment creativity -- as in the work of Art Tatum, Miles Davis, John Coltrane, and Ornette Coleman, to name only a few -- would not have been possible. Though some might be loath to admit it, jazz is as dependent on the innovations of engineers as any art form in history. Or perhaps it is better to say that jazz matured through its dialogue with technology. The records of old masters provided instruction for emerging artists, who learned their lessons and then kept pushing for more introspective improvisational structures, arriving at the modernist apogee of Coltrane's late recordings and Davis' hard funk mediations (the latter, not so incidentally, were themselves tape collages from a recording studio). 5. One consequence of recording often goes without comment: it brought attention to aspects of performance that before had gone unnoticed, and made them the focus of obsessive scrutiny. Every sonic detail captured on record is here forever. Record collectors, often alone in their rooms, or perhaps with a handful of friends, replay a fleeting moment many times, memorizing every click or buzz while endowing them with significance. What had been transient became concrete, making it available to examination, interpretation. 6 Whole libraries of criticism are devoted to the minute inflections of particular performances. They become landmarks in time, representing more than an aural experience -- they exhibit a lost way of being in the world. The preserving of old sounds invented a contemporary way to fetishize the past. Nothing makes this point more forcefully than the ultimate record collector's achievement: The Anthology of American Folk Music, edited by Harry Smith. The Anthology was compiled from Smith's personal stash of 78s recorded between 1926 and 1932, during the first wave of commercial releases by rural folk artists. Most of these sides were long out of print when the box set came out from Folkways in 1952. These remarkable, meticulously arranged disks were a seminal influence on the folk revival of the late fifties, and became a touchstone for generations of people seeking the roots of American folk music. For this one release, Smith received a Chairman's Merit Award Grammy for his contribution to American folk music in 1991. The Anthology conjured in the listener's mind a haunting never-never land of American cultural history; Greil Marcus described it as "the old weird America." This "America" stood in contrast to the whitewashed pop personified by Bing Crosby and Doris Day. The subject matter was dark and reflective; most importantly, the sound was ragged, jarring, unpolished. Though many of the songs in the Smith set were familiar, their delivery was strikingly unlike later recordings, which had been cleansed and made safe for the suburbs. It was the performance style of these records that gave them authenticity -- their specific modes, rhythms, timbres were unknown by the Eisenhower era. The Anthology was no more objective in its portrait of the nation than a Hollywood product. Nonetheless, it became the cornerstone in a constructed notion of American folk purity. The folk styles of the late 1920s came to be regarded as a timeless folk sound, as if folk music existed in innocent stasis for centuries, until undone by the corrupting influence of records and radio. From the late 1950s onward, folk purists used the mannerisms and inflections heard on 1920s records when they sang and played. Our notion of what it meant to be "folk" was fixed by the sonic specificity of those scratchy performances; they led to a kind of folk fundamentalism. Folk came to represent a Luddite perspective that resisted the perceived dangers of modern technology (like the electric guitar, as Bob Dylan came to learn when he went electric in 1965). Ironically, the codified folk style was itself the product of technology. Had recordings been made of rural music 50 or 100 years earlier, it would have sounded quite different. (Of course, trapping the folk idiom in 1926 was likely not Smith's intention. The brilliance of the Anthology is how well it represents a coherent world of musical possibilities. It is inherent to the mechanical reproduction of sound that an artist's music is trapped in a moment in time. A lack of documentation about who these folk artists were, how they lived, how they made their music, contributed to the mythification of these shadowy figures. But Smith's interest was less in freezing the past than opening avenues to the future. The Anthology's eclectic sensibility, as many have noted, can be seen as the direct progenitor of rock; its example literally turned the tide in popular song, which then had a profound transformational impact on American society. Smith apparently hoped for 7 as much when he put the box set together. "I'm glad to say my dreams came true," he said when accepting his Grammy. "I saw America changed by music.") What is folk music? Putting aside the genre category at Tower Records, the question poses a problem. We had thought of folk as music that arises spontaneously from the mass, without a solitary composer. Something that is shared, belonging to everyone. That definition describes nothing better than how electronic music is constructed today through the sharing of music files on the Internet. Once an old English melody would have migrated to the North American continent by boat, where it would reappear in a myriad of variations that differed from region to region. In the same way, today a single sample may reappear in hundreds of different mixes. The elements that are recombined to compose these new songs are shuttled across the wired network (where once they passed from person to person), making a music that reflects the techniques, tensions of our time. As DJ Spooky has suggested, folk music no longer comes from an acoustic guitar, but rather from a hard drive. 6. With the introduction of recording and broadcast, sound was separated from its source and began to exist independently. Today we take this for granted, so much so that it is hard to imagine the impact this separation had on the generation that first witnessed the telephone. An extension of the telegraph -- which effectively collapsed time and space, creating a networked planet -- Bell's phone was the first instance of a voice without a body, sans divine intervention. In the 1870s, many found this uncanny disembodiment an unwelcome challenge to the spiritual. The voice, it was thought, was too intimate a part of a person to be mechanically cleaved from the self, or the soul. Attitudes change. Though it took decades for the technology to mature, by the mid-1930s every aspect of music had been touched by the ubiquity of sound detached from its source event. From the electronic constructions of Xenakis and the Beatles, to the hip-hop DJs spontaneously composing dance tunes from extant recordings, the sonic art of the last century has been determined by engineers and their devices that preserve and manipulate sound. Once sound was separated from source, music traveled across borders and spoke across generations as it never had. The result: an extraordinary cross-pollination of influences in the century's musical works. For example, the Beatles created rock by combining the traditions of the English music hall with J.S. Bach, Indian raga, Stockhausen, the Goon Show, Chuck Berry, and Elvis Presley (among many others). This would strike us an unlikely mix if we did not already take it for granted. The recombining of sonic elements has been standard practice for composers and musicians for centuries. The young J.S. Bach spent hours copying Vivaldi scores, for example, and this must have fed his own compositional practices. But with the development of recording technology, many artists, like the Beatles, integrated a particularly wide range of influences (often first encountered through recordings) while 8 composing music from scratch. On their later albums the Beatles took a further step, and began to manipulate sounds from the actual records themselves, cutting and splicing existing audio fragments into wholly new works. These songs set a pop music precedent for the club DJs of the 1970s, who regularly spun new audio experiences from legacy recordings. A generation earlier, John Cage had already begun exploring this territory; his 1939 composition, Imaginary Landscape No. 1, was performed using test-tone recordings played on two variable-speed turntables. The separation of sound from source parallels similar developments in the visual arts, cited by Peter Weibel, which gave the image independence from the physical picture that once contained it. With images and sounds freed from the material circumstances of their origin, they became open to continual recontextualization. Weibel has noted how this dematerialization is leading to the ever more radical combinations of media which digital makes possible. The tendency to recombine fragments of media, to play with the pieces as pieces, has of course been a prominent artistic trope in recent decades. It is seen not only in music, but in a great deal of contemporary artwork, much of which emerged in dialogue with the post-structuralist theory of Lacan, Barthes, Foucault, and others. The theater of Richard Foreman is an obvious example, since he has placed the mixing of disparate elements at the center of his productions, beginning with plays like Rhoda In Potatoland from 1975. Foreman's madcap juxtapositions, which go by at a ferocious speed, mirror the barrage we feel from a non-stop flow of media fragments. He arranges these shards of consciousness into elaborate, dynamic constructions that make esthetic sense out of what in life resists literal sense. The fragments, the little pieces, are the raw material from which he builds a poetic whole. The avant-garde wing of electronic dance music draws from the same impulse, and uses samples to similar effect. Digital media enable this tendency to go much further. Once saved in a database, a recorded sound can be subject to more manipulations than any two turntables and mixer is capable of. A sonic element can be reconstituted on the fly according to a particular algorithm, in an interactive collaboration with the person who hears it. A sound can be linked to other sounds, but also to any form of media. A sound can lead to an image, which can in turn provoke a gesture. A sound and a gesture can be compressed into a single, inseparable event -- as in life. The mix-master sensibility is well suited to the possibilities of databases. 7. When audio becomes a digital file, it is stripped of its formal specificity -- it becomes raw information, preceding form. As a string of ones and zeros, that data is open to a myriad of creative manipulations. It can be directed in real time to produce certain sounds, as determined by an algorithm. Or the bits of an audio file may be accessed from computer memory to recreate the sound of an originating recording. But the same bits can just as easily be read by a software program to generate an image, for example. The formal 9 presentation of any string of bits is determined by the intentions, and capabilities, of the software that processes them. As Lev Manovich has put it, with the computer "media becomes programmable." This new reality has already become routine, and we give it little thought. For example, most computer programs for making and manipulating audio have visual components -- like waveforms and bar graphs -- that help the user to control the precise shaping of particular sounds. The same bits that generate sounds through computer speakers will trigger graphical representations on a computer screen that communicate details about volume, pitch, frequency, beats per minute, etc. There are many examples of commercial music making software that produce synched sound and graphics in this way. Digital artists have also began to explore the linking of sound and image outputs from a single source of data. In the mid-1990s, the British design team Anti-ROM attracted attention for interactive animations that combined chilly, cerebral abstractions with ambient techno music. Pictures on the screen and MIDI samples would respond together to the clicks of a mouse. This effect was achieved by using the software Macromedia Director, but in recent years artists have expanded on this functionality by writing their own customized programs. The Amsterdam collective NATO has created their own software to generate complex, interactive video images from audio feeds. It should strike us as remarkable that audio data can have a simultaneous visual representation. But we tend to take it for granted. Why? Because we experience the border between sound and image (or sound and word, or sound and movement) as arbitrary to begin with. In our art, that division has been imposed upon us by our tools. Given the resources, it is conceivable that the line between sound and other media might never have been drawn. Consider that when Thomas Edison set out to "do for the eye what the phonograph does for the ear," as he put it, his first attempt was to build a "kineto-phonograph" that treated sound and image as inextricably bound. He intended for the device to add moving images as a supplement to the phonographic experience; moving images alone were not intuitively of value to the 19th century sensibility. Edison described the machine this way: "The initial experiments took the form of microscopic pinpoint photographs, placed on a cylindrical shell, corresponding in size to the ordinary phonographic cylinder. These two cylinders were then placed side by side on a shaft, and the sound record was taken as near as possible synchronously with the photographic image, impressed on the sensitive surface of the shell." Edison's materials, ultimately, were not capable of doing the job, and he settled for moving pictures divorced from sound. But as Douglas Kahn has written, "The important facet of this enterprise ... was that the world of visual images was to be installed at the size and scale of phonographic inscription." Kahn also discusses how, prior to Edison's work on the phonograph, he intended to invent a machine that would "fuse speech and writing... [H]e sought to develop a device that could take the phonautographic signatures of vocal sounds and automatically transcribe them into the appropriate letter. This was, in effect, a phonograph where the playback was printing instead of sound." It apparently took much deliberation before Edison could de- 10 link the intuitive interdependence he perceived between forms of expression, as they are experienced in consciousness. Digital media expand our ability to recombine formal elements in a way that reflects our intuition. With a computer, a string of bits can be expressed simultaneously as sound, image, word, and movement. The limits of this expression lie only in the software we write, or in the hardware we build, to give it shape. 8. Digital technology can replicate the sound of instruments, just as it can make color pictures that resemble artist's prints, or produce moving images like those shot on film. For all intents and purposes, computer media can convincingly mimic legacy media. But in their essentials, works that rely on a computer are fundamentally different from the forms of expression that preceded them. For practical and commercial reasons, the software developed for computer media has largely focused on replicating familiar distinctions between disciplines. The media objects these programs produce are meant to fall into familiar categories: images, sounds, shapes, texts, behaviors. It's this easy categorization that leads Lev Manovich to describe computer-based multimedia as having a modular structure. When making a digital media work, Manovich writes, "These [media] objects are assembled into large-scale objects but continue to maintain their separate identities. The objects themselves can be combined into even larger objects -- again, without losing their independence." Most off-the-shelf multimedia software, like Macromedia Director, treat discrete media objects as independent pieces (sounds remain sounds, images remain images) while assembling them into complex works. An HTML document is similarly composed of separate, self- contained media elements. But there are a growing number of computer-based artworks that challenge the traditional division between mediums. One example is "Mori," the installation by Ken Goldberg and Randall Packer from 1999. Entering "Mori," the visitor passes through a curtain into a dark hallway and walks up an incline, guided only by glowing handrails that increase or decrease in brightness. The hallway turns a corner and leads to a widened space at the end. Under your feet, the floor vibrates, sometimes quite powerfully. The vibrations are created by speakers under the floor, which generate rich, low, quaking sounds -- orchestrated rumblings -- that rise and fall together with the handrail lights. The effect is of walking into the center of a hushed, meditative space that is part-cave, part-womb. A computer, out of sight, ties the installation's elements together. Through the Internet, the computer receives streaming seismographic data measured continuously from a site near the Hayward Fault, above the University of California, at Berkeley. Using the multimedia software Max, the computer translates this data into two real-time commands -- one that controls the lighting, another that sequences the rumbling samples that compose the sound, which then vibrate the floor when played. 11 The total effect suggests an intimate connection to the physical nature of the universe. The artists offer an interpretive frame through which a profound awareness of the cosmos can be experienced. "Mori" is an example of how new media technologies open avenues for personal expression where they had not been available before. The installation is a real-time communication with the geotectonic activity of the Earth, as expressed through an esthetic conjoining of light, sound, space, and haptic sensations felt through the skin. Significantly, while each of these media forms is discernable in itself, the originating data -- the impulse at the heart of the work -- is of none of these. Both the sound and lighting in "Mori" are interpretations of the real-time seismographic data, as controlled by a set of algorithms. The sound is a live mix, determined by algorithms, of samples of low frequency sounds. The audio is designed to vibrate through the listener, and to effect her bodily -- not unlike dance music on a disco floor, though "Mori" is a far more delicate, nuanced experience. The technical linchpin of the piece is the multimedia program Max. Named as an homage to Max Mathews, it was introduced in 1990, and has been updated regularly to keep pace with advances in computer processing. Unlike most other media software, Max was not designed to mimic familiar media forms. Rather, it allows for the direct manipulation of media files in real time through the algorithmic processing of data -- it effectively allows the artist to control the data, and output it in any format that he wants. Using Max, a software program that plays music can send information to a program that controls a lighting console, allowing the music program to direct the lights in the room where the music is played. Max is software that recognizes the intrinsic quality of computer-based media -- that it is fundamentally nothing but bits -- and enables an artist to shape these bits into the media forms most appropriate for achieving his intentions. Max allows for the total abstraction of media objects, because once they have become ones and zeros circulating through Max, it makes no difference what form of media they originally began as; the form the bits take at the end of the process is up to the sole discretion of the artist. Max points to a future where the purpose of multimedia software will be to blur lines between what were once distinct media. 9. It is actually surprising how little we know about sound. As our tools for playing with sound grow in their capacity for expression, we discover new ways for sound to act upon the body, and on consciousness. As artists explore this terrain, their work takes on aspects of the trial-and-error method of science. These artists, like scientists, engage in the act of discovery. They try to identify and exploit qualities of subjective experience -- provoked by sound -- that had previously gone undetected, or at least were publicly unacknowledged, perhaps because they were considered marginal. New musical tools enable us to pay attention to aural experience in ways we simply were not equipped to address. 12 The neurologist Antonio Damasio has discussed the process in which a sensory impulse creates a neural pattern in the brain that is converted into what he refers to generically as an "image." As he explains, "the word image does not refer to 'visual' images alone.... [it] also refers to sound images such as those caused by music or the wind, and to the somatosensory images that Einstein used in his mental problem solving -- in his insightful account, he called those patterns 'muscular' images." Notice that the distinctions between media forms in the mind are so blurry that, from a neurologist's perspective, a single term -- "image" -- can refer to them all. Damasio goes on to say that, while we know much about where such mental images come from, the mystery continues "regarding how images emerge from neural patterns. How a neural pattern becomes an image is a problem that neurobiology has not yet resolved." In their own way, artists pursue this same question. This exploratory approach has been helped along by the computer, which has led us to recognize how art is essentially a type of information. Just as Damasio's images are information. What happens when, rather than treating music as an inviolable art form, we see it instead as a kind of data to be manipulated for esthetic effect? How might this approach expand our notion of personal expression, enabling us to apply esthetics to experiences that had been outside the concerns of art -- that had been the domain of science? F. Richard Moore, a computer music scholar and pioneer who worked with Max Mathews at Bell Labs in the 1960s, has written about one matrix of possibilities that arises where science meets sound: "Imagine now a computer-based music machine that senses the musical desires of an individual listener. The listener might simply turn a knob one way when the computer plays something the listener likes, the other way when the computer does something less likable. Or, better yet, the computer could sense the listener's responses directly using, say, body temperature, pulse rate, galvanic skin response, pupil size, blood pressure, etc. Imagine what music would sound like that continually adapts itself to your neurophysiological response to it for as long as you wish. Such music might be more addictive than any known drug, or it might cure any of several known medical disorders." Where here does science end and art begin, or vise versa? Much of what Moore describes (the monitoring of body temperature, pulse rate, etc.) seems to belong to science. But he applies the legacy of esthetic practice to this territory. What do we like or dislike in music? No conclusive answers are possible. What we like at any moment depends on the context; nothing could be more subjective, or in greater flux. But inhabiting this subjectivity is the specialty of artists. Scientists will likely find that, when it comes to unlocking the mysteries of consciousness, the strategies of artists will play an increasingly important role. 10. No information exists in isolation. Rather, the information we come in contact with, and comprehend, are fragments from a continual flow. We grasp passing particles from this 13 flow, and understand them in a contingent manner. Meaning keeps shifting; our understanding evolves as we access subsequent information, which transposes what we had encountered before and casts it in a changing light. Digital media make the contingent nature of information explicit, because the technology reduces all formal means of personal expression into raw data ready for manipulation. It not only blurs the lines between distinct media. It invites the further shaping of this data by the person, or group of people, who are accessing it in real time. Novels, movies, symphonies are not interactive, because they are not capable of incorporating a direct response from the audience in their formal presentation, in real time (efforts to add interactivity to traditional forms are invariably awkward, and regarded as novelties). But because digital media are at their essence bits coursing through software, they can incorporate live response (as determined by the software), and be made to fit the needs of the moment. Artists and theorists such as Roy Ascott, Marcus Novak, Char Davies, and Pierre Levy have written about the implications of the radical interactivity inherent in digital media. But for the purpose of this essay, it is enough to note that by exploring interactivity art moves in the direction of science, and toward a deeper concern with the mechanisms of consciousness. In consciousness, we make sense of information based on the context in which we receive and perceive it. What the reader brings to the page is as important as what the page offers the reader. Before the computer, the page could not revise itself in collaboration with the reader, but with digital technology, what had been a recitation from author to reader becomes, potentially, a dialog. Which is to say that our engagement with art can become increasingly like our engagement with the intimate details of life. The explicit concern of art now becomes: how do we create "images" in the mind (as Damasio discusses) and what effect does the creation of such images have upon us? Sound, space, voice, color, composition -- do they become indistinguishable as we are better able to represent consciousness? Digital media provide an expanded set of tools, which will lead to new forms of expression, and a different way of thinking about art. These tools bring us closer to the underlying mechanisms of consciousness, so we can make art that comes closer to capturing, and representing, our intuitive ways of being. 11. It is hard to predict the consequences of using new media technologies. Edison's invention of cinema never anticipated the close-up or montage, for example, which themselves had a profound influence on the social organization of the last century. Only two decades after the popular acceptance of film were both of these key cinematic techniques discovered. I say discovered, rather than invented, because the potential for each was latent in the technology of moving pictures from its earliest days. But it took a shift in awareness for this potential to be recognized, and acted upon. 14 Even as the shift takes place, however, we may not notice it. For years, jazz and folk music were seen by many as bulwarks of the individual spirit against the perceived dehumanizing effects of modern machinery. Rarely was this music's debt to technology acknowledged by these same people. To even consider the possibility of it seemed counter intuitive, though it would have been apparent to anyone who chose to see it. The question is, what brings you to choose to see it? We are now entering an era in which the tools at our disposal to effect consciousness are increasingly agile. Digital media is opening new avenues to intimate personal expression -- through the recombining of media elements, and the blurring of distinctions between traditional mediums in a way that reflects our intuitive engagement with the world. The line where art blurs into science is at the forefront of the discovery of new esthetic experiences. New tools for personal expression provide us with fresh ways of understanding our selves. By using these tools, our sense of self will inevitably be transformed. Technology prompts new modes of subjectivity into being. What we think of as sound, as music, is going to change, as it changed so drastically in the modern era. Because of their extraordinary difference from what came before, digital media demand our attention. Otherwise, we will not see what it is we are becoming. Our analytical skills for identifying the effects of technology on culture have grown considerably since the days of silent film. If we see the changes, we may well be able to better direct them. After all, we are writing the computer code that is guiding the changes. As Plato remarked, citing Damon of Athens, "When the mode of the music changes, the walls of the city shake." If you choose to see it, you will notice that the walls around you are vibrating. 15


text:
Not Your Thunderstorms.
here welcome to: forums > random > general > names from a-z
Want to talk with your buddies without clogging up the rest of the forums? This is the spot to do it!
"-GorgeousDream.♥" wrote:Fawad.
Sana. Oh really?
I. Love. Michael.
Popular Song by MIKA ft Ariana Grande
1000th post made on 5/18/2013 at 12:16 PM
Names Catilena but please call me KITTY! I'm 12 and you need to add me!
My Idol and Role Model, ♥♥♫ Ariana Grande ♫♥♥
"Rosa Ind!ca" wrote:Humaira
A great online version of the famous Candy Crush. This is the best game launched...
Have you ever fancied being a ranger like those fantasy characters you love so m...
You run across the city in a car chase with the police officers.
The evil master kidnapped all of your friends!
Explore the world or hang out with friends in your own condo. Get a unique look,...

subset: commoncrawl


text:
Doctors Beck & Stone is the first international pet hospital group in China, supporting responsible pet ownership, and providing international-standard veterinary services.
We are constantly striving to exceed the highest operational, professional and ethical standards. We offer veterinary services, grooming, boarding, and pet food.
Our consultation and examination fee depends on the seniority and experience of our veterinarian. The fee for a regular vet is RMB 100; a Jr. VIP vet is RMB 180, and a VIP vet is RMB 280. To see detailed prices please click here.
We offer 25% compassionate discount for rescued pets as long as 3 months before they are adopted.
Doctors Beck & Stone international pet hospitals are located in Shunyi & Chaoyang districts, Beijing, Changning, Minhang & Pudong districts, Shanghai, Tianhe district, Guangzhou, and Nanshan district, Shenzhen.
Click on Appointment: Click on Pet pick-up: Click on Emergency
The Little Adoption Shop currently has more than 150 dogs in our care, and we are under constant pressure to meet our food, rent, medical and other expenses.
To read more click here.
We all want to give our pets the best possible care to ensure that they have long, healthy, and happy lives. That is why we have prepared the very best preventative healthcare plan, and named it the Pet Health Club.
For more details please click here.
NoToDogMeat is the official campaigning body of the UK registered charity 1154524 World Protection for Dogs and Cats in the Meat Trade.
Website: www.notodogmeat.com
Click here for more information.
Guangzhou's independent and non-profit dog rescue shelter, PAMILY, is driven by the passion of its volunteers and their commitment to rescuing street dogs. On March 1, 2004, our volunteers saved 20 street dogs, overwhelmed and encouraged by the success, we founded the PAMILY to continue our efforts in helping street dogs and educating people.
Website: www.pamily.org
Weibo: http://weibo.com/pamily
Wechat: 13710366604
Established in 2009, Tuhua is the first officially registered non-profit animal rescue organization.
Shanming is animal shelters under Tuhuan, located in Tuhua park, Haizhu district, Guangzhou
Contact Person: YoYo, Mobile: 138 2600 5253, Weibo: http://weibo.com/734142234
Shenzhen Dog Protection Association was founded in August, 2010, and is the only approved non-profit dog protection association in Shenzhen. The stray dog shelter is located below.
Contact Information: Dakan, Xili Town, Nanshan District. Email email@example.com (Office), firstname.lastname@example.com (Stray dog shelter). Website: http://sdpa.net.cn
JAR - Jaiya's Animal Rescue is a group of expat and Chinese individuals who have dedicated a part of our lives to rescuing and rehoming stray and abandoned animals off the streets of Shanghai. Our group is named in honor and loving memory of 9 week old "Jaiya Kristina", who passed away from SIDS on February 14, 2009. At JAR we believe that every animal deserves a safe, secure and loving home. Website: http://jargroup.doodlekit.com Blog:http://jarshanghai.wordpress.com e-mail: email@example.com Contact: Marvin (Founder)
The past few years we have seen more and more people here show care and concerns for the stray animal situation. However, there is a general lack of responsible pet ownership knowledge. Pet responsibility education need to become more popular in schools. BestFriends hopes that people and pets can become good companions, and kindhearted people can work together towards common goals in our community. Email: email@example.com Sina Weibo:BestFriends一路有你宠爱俱乐部 Website: www.bestfriendschina.org
Paw Pals Animal Rescue (PPAR) is a non-profit animal rescue group founded in 2007 by a group of individual animal rescuers. The mission of PPAR is to provide for the rescue and compassionate care of homeless animals, and to place adoptable animals in permanent loving homes. All cats at PPAR are sterilized, immunized and treated for parasites prior to adoption.
To this date, PPAR has rescued more than 300 homeless kittens and cats, and successfully placed most of them in responsible, loving homes. Currently, about 70 cats are under PPAR's care and waiting for adoption.
PPAR holds Adoption Weekends (Saturday and Sunday), from 13:00 to 17:00 pm, at the PPAR Shelter located in Minhang District, Shanghai. Phone: 021-5480-1699.
For more information about being a volunteer, foster parent or how to adopt a cat or kitten from PPAR, please send an e-mail to: email@example.com
Web: www.pparshanghai.com
Together for Animals in China (TACN) is a not-for-profit organisation founded by a team of native and overseas Chinese animal rescuers and activists, with the aim of improving the lives of animals in China and promoting compassion for all animals. TACN works to bring people together to provide effective means to support animal rescue efforts, help abused and neglected animals and also help local animal rescue groups and individuals in China, with the ultimate goal of improving the quality of life of animals and ending the illegal dog and cat meat trade.
Website: tacn.org / yutatongxing.com
Welcome to THE LITTLE ADOPTION SHOP. If you can adopt, foster, volunteer or support us in any way, please drop by and check out our new place. We have adoptable dogs, good heating and a big welcome for you. Location: Shunyi, West Side of New Exhibition Center (新国展) Tel 1368-360-2305 Email: email@example.com Click here for Weibo. Click here for Facebook. Donations can be dropped off at The Little Adoption Shop, or made through the accounts shown here.
Established in 1987, Animal Rescue Beijing (ARB) is an officially registered non-profitable and non-governmental animal welfare organisation. We strive for animal protection and welfare, advocate education and legislation. Over 25 years ARB has placed hundreds of dogs and cats into families. Currently we have around 100 dogs rescued in our shelter in Changping, Beijing. They are all properly vaccinated on an annual basis, and most are sterilised. These cheerful fuzzy little angels are waiting for their Ms & Mr. Right, with whom they will be able to start a brand new life. Location: ARB Shelter, Mengzu Village, Baishan County, Changping District. Contact: Esther Yang (volunteer)
Mobile: 139 1028 5373 Email: email@example.com Weibo: http://weibo.com/arbchina
Blog: http://blog.sina.com.cn/arbchina Funding & Charity Sale: http://arbchina.taobao.com
Lost in Wuffdaokou is a private non-profit initiative of an expat couple living in Beijing who rescue homeless street puppies in the Wudaokou area, either by providing proper food or taking the weakest puppies in and nursing them back to health until they can be adopted by their "forever families".
You can visit http://lostinwuffdaokou.com/ for more information.
Formerly known as "Cat Friends," Beijing Cat was founded by Scarlett Zhang, and since 2001 has re-homed over 100 cats in happy adoptive families.
All of our cats seeking adoption are healthy, dewormed, neutered and vaccinated. They are also friendly, with sweet personalities, and suitable for adoption.
Website: www.beijingcat.org
Scarlett's Phone: 13501315988; Mail: email@example.com
Why We Rescue is a yearlong story-telling documentary that is traversing across all 50 united states highlighting how pets transform our lives for the better. This project is an opportunity to share everyday stories on how those pets can open our homes and hearts to the world.
To visit "Why We Rescue" click here.
Shanghai November 26, 2014
This is little rescue pup Martin. I found him while walking home one evening in Lujiazui. He was being teased by some men on the street and as I got a little closer, I realized his left leg was dangling from his body. I felt so sorry for him but as I already have a rescue dog, I tried to leave him behind, but he followed me all the way to an intersection where he walked blindly into traffic. This is probably how he broke his leg in the first place. He couldn't be left on the street after that as I knew he was not a proper street dog and had no chance of survival.
He's temporarily enjoying the comforts of our home, but our current dog does like his company since we have tied so much. Martin is very sweet and loves to be scratched on the neck. He is leash trained, housebroken, and starting to respond really well to the training we are doing. He would also do well where he is the only dog with a family who will give him firm guidance on house rules and spoil him with lots of toys. He loves squeaky toys!
Contact Information:
Mobile : 15618911080
Email: firstname.lastname@example.com
Beijing November 24, 2014
This is Oreo the puppy, otherwise known just as Puppy. He's about 2 months old. He was found wandering around the bins in the street and looking a little grubby overall. He's a cute little chap who likes sleeping on laps, rolling on his back, belly rubs, running alongside you and gnawing on bones. He was already house trained exceptionally well, now knows the words 'come here', will also come to you if you whistle, and may know how to sit if you say it in Chinese. He can go for walks off the lead and doesn't mind taking a bath. Sometimes he's shy of other dogs but is not aggressive. If you would like to adopt him he already has a collar, lead, bed, food, treats and lots of toys. And a big bone of course!
Contact Information:
Phone: 18614011503
Mail: email@example.com
Guangzhou November 21, 2014
Mochi, about 7 months, is a white boy with blue/grey eyes. I will leave China on Dec 15th, so I need help him find a home before that.
Mochi basically has free reign of my bedroom. He has a large cage where his food and water is but I leave it open. If I sleep in my room I put him in his cage and move it to the living room. He is very active at night so if he is confined to his cage he can be a bit noisy. He spends a lot of time lounging on the floor or running around on the bed. In my room is a large cardboard box that used to hold a comfortor that he has taken over. He loves to rearrange things and make a mess.
Mochi has a very distinct personality. He's very active and likes to move things around to be just where he wants them. He is a lot like a cat in that he enjoys affection but on his own terms. When he wants to cuddle he will come to you. He's very playful but has never bitten me. He loves food! He can be quite a little piggy. He gets 1-2 bowls of kibble every day and as much hay as he wants. I also give him fresh veggies every other day or so.
Contact Information (English only):
Wechat: Mika_China, Phone Number: 13265593857, Email: email@example.com
Shenzhen November 21, 2014
Sunshine is a lovely girl, about 4 months old. She is healthy, lovely and clever. She'd like to stay with people quietly.
Sunshine was rescued by a kindly lady one week ago. She is so clever that she followed and asked for help herself! The rescuer took her hospital for health check and deworming. And vaccination is also in plan.
Now Sunshine is waiting for adoption and your love.
Contact Information:
Shenzhen Hospital
Reception: 0755-8666 4495
Beijing November 19, 2014
I´m 10 years old male Cocker Spaniel. My life has been hard. I have 3 legs due to a car hit me. I was abandoned and have been looking for a new owner for a long time. I am very friendly and love to cuddle.
Exercise, I have to lose weight. Groomed once a month and a good brush thru my coat once a week. Special diet. And a lot of love!
Attention and a warm loving home! Cuddle! I´m very easy…
Contact Information:
Camilla at TACN
Mobile: 18311241633
Email: email@example.com
Shanghai November 19, 2014
Snowball is one of the 2 bunnies that I had to rescue from Pudong on Wednesday Oct 15 from a completely irresponsible owner who was planning to throw these 2 innocent bunnies in the street. Once I found out, I rushed to see them and had no other choice than taking them home and practically save them even if I already have 2 bunnies of my own right now...They were both crammed in one filthy cage for months (since he bought them in April), malnourished and with a bottle of dirty yellow water and a plastic bottom of a bottle with sharp edges, serving as their food bowl...plain miserable conditions...
I have taken them to the vet and luckily the health is good. They have a slightly longer teeth than normal, which will maybe need X-Ray to check, but maybe can be kept under control by constantly feeding unlimited grass hays.
Snowball is male, about 7/8 months old and the other one has found home last week.
We truly prefer someone to adopt that has some experience in raising bunnies. But, for who would like to give it a try and has never raised rabbits as pets, please let me know and I can help you and guide you through with everything you need to know about them.
Contact Information:
Gabby, Phone: 15026840061
Shanghai November 19, 2014
This poor little bunny was found by my friend's husband in a park nearby his home on October 20. The little bunny was running scared to death and luckily he managed to catch him and bring him home.
Next day, he took him to the exotic vet doctor for a check up. Turns out the bunny has fungus, which is a very common disease that can be treated. Right now, he's half way recovered, has weekly vet check ups and he's just extremely happy to be alive. We called him Beibei, he's a male, about 3 months old.
Beibei sure is a sweetheart, he's simply adorable and a loving bunny. He definitely deserves a better life, a responsible and loving home. It really breaks our hearts that we can't keep him, I have 2 bunnies on my own and my friends have one as well. The new owner is going to be very lucky to have him as a new addition to family.
We truly prefer someone to adopt that has some experience in raising bunnies. But, for who would like to give it a try and has never raised rabbits as pets, please let me know and I can help you and guide you through with everything you need to know about them.
Contact Information:
Phone: 15026840061
Beijing November 19, 2014
I´m 4 years old male German Shepard. My nick name is "Big softy" as I am very gently but still playful. A colon obstruction surgery was done 3 years ago. 4 inches off my colon was cut off. But now I´m fully recovered.
Exercise, long walks, being able to run. Special diet because I have to lose weight. A good grooming and brush a couple of times a week.
Run, play, long walks, other dogs, attention and a warm loving home!
Contact Information:
Camilla at TACN
Mobile: 18311241633
Email: firstname.lastname@example.com
Beijing November 19, 2014
Mary is about 6 months old, she was rescued by a kind lady in her compound. Her coat is ginger and white which makes her very beautiful. She is very nice and likes to play.
Mary is vaccined, dewormed and neutered.
Contact Information:
SOHO hospital
Beijing November 19, 2014
Feizai is about 1 year old, very easy-going ginger-white boy, both friendly with human and other cats. One kind lady found him in her compound and rescued him. He loves to be petted which makes him a very good friend for your families, especially for your kids.
Feizai has been vaccined, dewormed and neutered.
Contact Information:
SOHO hospital
Guangzhou November 10, 2014
I'm a good boy, my name is cola. The original owner abandoned me, but luckli the Cissy rescued me and sent me to see the vet. I survived from distemper and fracture, and now I'm strong …
I already got all the vaccinations, also deworming medicine and flea medicine I need.
Now I need a home, a new master loves me. I will love her/him very much, and be loyal to him (her).
Please contact my rescuer Cissy if you are interested with me. Her WeChat is Cissylove1206
Beijing December 10, 2014
Huhu is a very easy-going ginger boy, both friendly with human and other cats. He doesn't bite or scratch at all which makes him a very good friend for your families, especially for your kids.
HuHu is about 8 months old. He has been vaccined, dewormed and neutered.
Contact Information:
Phone: 18911705050
Mail: firstname.lastname@example.com
Guangzhou November 10, 2014
This dog was found on Wednesday evening, November 5th. It was about 22:00 that evening, on Haiye Road which is near Jinsui Road and Machang Road.
He is about 1-2 years old, blonde-colored terrier mix. His weight is 6 kg. He is sweet, house-trained and never barks.
There is collar on neck but without tags or microchip identification. If you know this dog or interested to adopt him, please contact as below.
Contact Information:
Tel: 189-2873-8078 (Mr.) or
Doctors Beck & Stone Guangzhou Hospital: 020-28382960
Shanghai November 04, 2014
Clover & Crimson are 2 rabbits who would be boarded in Doctors Beck & Stone on Sep 30.
Unexpectedly Crimson gave birth on her way to the hospital. The owner was so supervised because she even didn't know Crimson was pregnant. But now she has already been a mother of 5 babies!
The owner can't afford so many gifts and asked us to find new homes for the bunnies during the boarding.
Now this family have spent a wonderful time in Doctors Beck & Stone for nearly 1 month. 3 of the them have joined new families, and the rest two will go home with their parents to wait for adoption!
Contact Information:
Ms Beth Strayer
Mail: firstname.lastname@example.com
Shanghai October 22, 2014
My dog got lost recently in our compound Fute village 5. You can find what do she look like in the pictures.
She is very kind and you won't feel uncomfortable when you meet her. So please help keep her temperately or tell me any information about her, thank you in advance!
Contact Information:
Mr. Guan
Tel: 185 2135 2716
Beijing October 14, 2014
Little stray kitten, male neuter, about 1 year or younger, updated to vaccination and deepened. Teeth extraction performed for severe stomatitis. I can't bring him back home as My son is allergy for cat dander, and I can't return him to wild as he lost his weapon teeth. I'd love to know if anyone can keep him home and I promise to provide all the cost for his lifetime or maybe a boarding family is OK.
Contact Information:
Mail: email@example.com
Beijing October 14, 2014
- She is a female dog, between 4 and 5 months old
- Found near the U.S. Embassy in Liangmaqiao
- Very well taken care of; sleeps through the night; loves walking, chasing leaves and playing fetch with her toys, and is very well behaved on walks
- Has been vaccinated, dewormed, and is in excellent health; have Beijing immunity certificate for registration
Contact Information:
Courtney Mazzone
Mail: firstname.lastname@example.com
Tel: 13910470881
Beijing October 11, 2014
Hi there, I'm Piper, an one-year old girl.
I was abandoned in Yuyuantan Park a month ago. I waited and waited for weeks but my "ex-human" never came back. I was heart-broken and scared. I didn't want to eat anything and was almost starved to death, until my rescuers saved me on Sep 26. They got me dewormed, spayed and soon to be vaccinated.
I'm perfectly healthy, well-behaved, sticky and quiet. I'm staying at foster home and looking for a new home, where I can follow my new human around, lick them, hug them, and love them forever.
Contact Information:
Demi Zhang
Phone: 136 4193 9327
Mail: email@example.com
Shanghai October 11, 2014
Phiebie, a very special dog with a unique story. She was found about 4 weeks ago by a German student near a night food market in Hongkou district. Phiebie was very skinny, her gums where white from her poor nutrition, she had a broken hip, and she had worms and flea. At this time she was not able to walk even few meters. Once the student brought her to the Dr. Beck and Stone hospital in Pudong , we discovered Phiebie was also pregnant with five puppies. Sadly due to her poor nutrition she had surgery to remove the puppies. We have been able to get donations for 6600 Yuan ( a part of the donations were covered by an amazing class of 7 and 10 year-old kids that have golden hearts and did house work in order to have the parents support them and donate for Phiebe's medical care) to cover the medical bills for her.
Now, 3 weeks after her surgery Phiebie is feeling better. She can walk without problems but she would still need a hip surgery which would fix the old injury. We are able to pay for the surgery if she needs it in 1-2 moths.
Right now we are URGENTLY seeking a a forever home for Phiebie since her rescuer went back for good to Germany on 27th of September and Phiebe is currently staying in a foster home. Phiebie is such a loving and quiet dog that enjoys being stroked and hugged. The worms and flea are gone and she's received her 1st vaccination already. We think she might have had a previous owner as she knows how to behave on a leash. She is around two years old and has been treated so she can no longer have babies. Phiebe is an amazing dog who would appreciate every little thing you do for her. She went through a lot and knows how hard the life can be. She is absolutely a dream dog for every family who would love her as much as she deserves to be loved.
Contact Information:
Mail of Melissa: email@example.com
Wechat of Agnieszka Burza: Agnieszka100
Phone of Gabby: 15026840061
Shanghai Octorber 09, 2014
It is Sooty. She came to us as a stray when she was about 2 months old and is a really lovely cat now coming up 11 months.
Now she need to find a new home.
Contact Information:
Mail: firstname.lastname@example.com
Tel: 13817730021
Shanghai October 08, 2014
Hi, my name is Coco and I am 5 months old. I got lost somewhere on Jian He Lu. Totally scared and exhausted, I eventually hid underneath the trolleys at Pines where my rescuer found me. I have been taken to the vet for shots, deworming, etc. In a week or two my eye lids will get operated. I have Cherry Eyes (third eye lid), very common with small dogs. The operation costs are already covered for!
I am desperately looking for a new home with people who will cuddle me, play with me and just take good care of me.
Contact Information:
Iris (German and English): 15800913214 or
Britta (French, Chinese, German, Englisch): 13636625172
Beijing September 26, 2014
Seven is a 2 years old male dog rescued from a public toilet where he was staying on piece of card board. He was very scared and had been much abused and due to this his right back leg was injured. Seven was taken to the vet for a checkup and the conclusion was that the leg had to be amputated.
Seven is a brave little dog who deserves a loving and forever home. He is very gentle and loves to cuddle. He have had a very tough life with no love. But he still trust and love humans and other dogs and cats. He is a very easy going dog and if you give him your love and trust he will follow you forever. Seven trots along great on his three legs. Now he healthy, eats and drinks normally. He has already been fully vaccinated and neutered. Oh, yes, weight is 8.5 kg.
Contact Information:
Camilla Larsson
Tel: 183 1124 1633
Mail: firstname.lastname@example.com
Beijing September 25, 2014
This dog is a rescued boy, about 3 or 4 years old. Now his one month behavior training will be completed on till 6th Oct 2014. And his story:
In early August 2014, four trucks loaded with hundreds of dogs were stopped by police force on the highway from Beijing to Harbin. They were being taken to the northeastern part of the country, planned to be sold to restaurants.
Luckily enough they were rescued and transferred to shelters and vets in the surrounding cities including Beijing. This dog in the below picture is one of the survivors.
Upon recovery he was vaccinated and sent to a professional pet training school (ZOOLOOK) for a one-month session, to get prepared with basic skills in order to find a permanent home for the rest of his life.
Prior to the training he was a bit sensitive to certain gestures probably due to the ill treatment he had received. After only two weeks of socialization, he has become very relaxed around human beings, attentive to calling and eager to be close to people. Very actively he would sit, lean over or even lie down and show his belly to ask for treats or pamper. He shows no aggression to his canine fellows, nor cats, horses or even birds. Luckily barking is not his cup of tea either.
With two more weeks to go, it is quite positive that he will be graduating with great scores. By then, he will be very much in need of a loving home.
Upon his graduation in early October, his potential adopting family will be offered with two sessions of owner & dog training class. Being a part of the training package, it aims to help both the dog and his owner to open their new chapter together.
The prime criteria for an adopting family would be that they love dog, and cherish him no matter what.
"Give him a name, give him a life."
Contact Information:
Esther Yang
Mobile: (+86)139 1028 5373
WeChat: esther3377
Email: firstname.lastname@example.com
Beijing September 22, 2014
We are the family of Baqi and Gizmo. Here we send you the pictures of Toto. We found Toto in the park at Central Park, where she was abandoned by some neighbor. She is a female rabbit, quite young but growing fast.
We have bought her a cage, where she spends most of her time, but she loves to enjoy some daily free time out of the cage and exercise her body. Like most pets, she needs the basic care of cleaning her cage and making sure she always has water and food. She likes to drink water and eat dry grass.
We are looking to move out by the end of the year and cannot take Toto out of the country with us. We would be most grateful if somebody likes rabbits (as pets) and would like to adopt Toto.
Contact Information:
Ignacio: 13911352829
Yun: 13126856254
E-mail: email@example.com
Beijing September 22, 2014
They are playful puppies!
The mommy dog name is Hua Hua, about one year old female dog with her litter 5 puppies, available for adoption now. Puppies are all healthy and just over 2 months old. When they were rescued, Hua Hua raised 5 puppies hardly with bare food. They currently are living in a less than ideal location. Gentle tempered and friendly, they really enjoy being around people. Smart, sensible and obedient, they are perfect dogs ready to join a new family.
Contact Information:
Ms Yang
Tel: 136-8144-3701
Beijing September 22, 2014
Sweetie, smart and sensible, one year old mother cat and her children available for adoption.
A special leader of her cat community, she was found skinny and malnourished wandering around the neighborhood. Before being neutered and immunized, she was raising her little of 6 kittens by herself. Eventually they were rescued and taken to a temporary location. At this time, her and her 6 kittens (all under 4 months) are living in a small cage in a basement with minimal lighting and the freedom to wander. They are all waiting to join nice families!
Contact Information:
Ms Yang
Tel: 136-8144-3701 (available for WeChat)
Shanghai September 17, 2014
The name of the dog is Khaleesi. She got lost from No. 491 Nanjing Road west (near Chengdou Road) on 24th August. Khaleesi is a very timid and "easy to scare" dog, so she might be hiding somewhere in Jing An District or have been taken to some vet hospital if she had an accident in the streets of Shanghai. Her rescuer and adopter are desperately looking for her, so please help look for and forward.
Contact Information:
Phone: 136 3649 6374
Mail: email@example.com
Beijing September 15, 2014
A lovely girl was abandoned by her previous owner and now is looking for a permanent home. She is healthy and cute, about four months old.
Contact Information:
Ms. Ou Nan
Tel: 13810758202
Shanghai September 9, 2014
Does she look like Snow White in fairy tales?
Princess is 5 months old, neutered. She is in good shape and weight is 2.1kg. She is sweety and nice, a little shy, but she will prefer to stay all the time with you once familar. Everyone will fall in love the time seeing her. Who will provide her a long time home?
Contact Information:
Shanghai Pudong Hospital
Tel: 021-51353091
Beijing September 9, 2014
Aidan is a four month-old handsome boy with long hair.
Aidan is quiet and gentle personality, so yes, a little bit timid, but will warm up when cuddled by children. He loves that! He just needs some time to get used to new people and a new environment.
Aidan is litter box trained and eats well. He would do best when his new family is willing to spend lots of time with him at the beginning for a smooth adjustment and a lifetime of trust.
Contact Information:
Serena (Shunyi area)
Mail: firstname.lastname@example.com
Shanghai September 5, 2014
This is my cat, he is 8 months old, has got vaccined. He is a little fat but lovely, sweety and prefer to stayed with people all the time.
I love him but I really has no time to take care of him because of heavy work and frequently business trip.
Contact Information:
Phone: 13917946757
September 4, 2014
Patton, male, 1 years old. He is a fluffy gentlemen with very cute face. He used to live in a wealthy Chinese family, but was dumped because of owner's pregnancy.
Patton has got vaccined and neutered, also toilet trained. He is super friendly and whenever you touch his big head, he'll snore toward you and rub your hand with his head. He's very easy going and a wonderful family pet for you!
Contact Information:
Phone: 18911705050
Mail: email@example.com
Shanghai August 25, 2014
Coconut is a friendly 1 yo white domestic rabbit. Her family is relocating overseas and they are unable to take her with them. So she need find a new home now.
Contact Information:
Doctors Beck & Stone MH hospital
Tel: 021-64029226
Beijing August, 2014
Lou was abandoned on the street when he was a baby, and found by a nice neighbor who gave him a home. Unfortunately she is very busy with work and wants to find Lou a better home where he can roam about and play.
Personality: Lou has a lot of energy and loves attention. He likes to follow people around. He loves to be petted on the head, especially around the nose and behind his ears. If you sit on the couch he will come and nudge your hand to get some love.
Ideal home: Lou is sociable and friendly, and he'd love to have more company so ideally you should have time to play with him, and room for him to run around.
Sex & Age: male rabbit and about 1 year and 4 months old.
Medical notes: Lou is not spayed. If you have another rabbit you should spay Lou.
Extras: Lou comes with a big pink cage and food and water dishes. (He won't drink from a water bottle but dish.)
Contact information:
Jess on WeChat at jmrapp19 or by text at 1861401125
Shanghai August 18, 2014
Ms Li rescued several kittens one and half months ago and the left is one of them. Their mother lost her life when they were very young even not open their eyes.
Now it is time for adoption, hope their foster will give her love and a long time home.
Contact Information:
Ms Li
Shanghai August 15, 2014
Coconut is 1 year old female rabbit, friendly and very good with children. Now the owners are relocating back to America, and they are in need of some help to have Coconut rehomed in Shanghai. They live in Pudong, so it will be more convenient to have the rehoming take place in Pudong, but Puxi will also be OK.
Contact Information:
Mail: email@example.com
Shenzhen August 14, 2014
I lost my dog called "LUCKY" last February 8 , 2014 in Shenzhen, Futian around Fumin Road and would appeciate if you can help me find my dog or if you have any advice. The pet shop in Futian lost my dog and I still keep looking when I have time.I attached the photo.
Contact Information:
Marco Hildebrand Lozano
Mail: email@example.com
Phone: 852-6163-4232


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The next morning, Metzger impotently chews out the Em City prisoner population. Everyone looks bored. I'd love the smart-ass who said, "Aw, did someone wose his wittle Nazi fwiends?" Apparently, no one's a big enough smart-ass to risk time in the Hole. Too bad Keller's not around. Or Demian.
McManus's office. McManus notes that the hole out of which Mack Daddy tried to make their exit was in the Depends Duo's old pod. Rebadow says that Busmalis dug it. Busmalis is all, "Rebadow!" with a delivery more appropriate to Rebadow having told McManus that Busmalis wears women's underwear to bed. Rebadow clarifies that Busmalis only did so (dug the tunnel, not cross-dressed) under orders from Mack, and that Mack threatened to kill Busmalis if he didn't comply. Busmalis is all, who in the wha-- er, yes, he did, and again, this is such lazy writing, like in that whole night they spent together when Mack Daddy were gulping lungfuls of dirt, Rebadow couldn't have, say, CLUED BUSMALIS IN TO HIS PLAN, which would have protected both of them, not to mention spared us this Abb-not and Costello routine? I'm going to need some shirtless Alvarez as well as shirtless Ryan now. Preferably together. Metzger points out that if that story is true, they should have come to the hacks, but Rebadow glibly says that Busmalis was terrified, and that he tried to warn Mack of the potential danger, but Mack wouldn't listen. Busmalis annoyingly parrots everything Rebadow says. God, shut up. Metzger still wants to discipline them, but McManus overrules him and sends them on their way. Outside, Alvarez and another orderly wheel Mack and Daddy's corpses by. Busmalis dorkily doffs his hat, and the two of them smile lovingly at each other, just as I smile lovingly at a bottle of Jack Daniel's, which is the only thing that's going to get me through this recap. I think I'm turning into Regina.
Morgue. Mack and Daddy are laid out on gurneys, naked except for towels covering their nether regions, and each wearing more powder on his face than was used in all of Farewell My Concubine. Hill's in there, so apparently he changed work details since the pilot, and then Poet enters. He tells Hill that the morgue is his new work assignment. "McManus's revenge on me for screwing up outside." As I said in my last recap, if McManus wanted to punish him, I don't know why the hell he allowed him to return to Em City at all. Hill asks what happened on the outside. Poet says that he spent all the money he got for the book on crack, and when it ran out, the dealers came after him. Okay, I know the timeline in Oz is screwier than Paul Lynde on Quaaludes, but Poet left Oz in the middle of the fifth episode and was back by the seventh, and we know that only a week passed between episodes six and seven, so it doesn't seem like he could have been outside for more than a few weeks. My point? The math adds up to either a very stingy publisher, an awful lot of crack in a very short time, or me having yet another pull from the whiskey bottle. Or, most likely of all, all three. Poet says it was self-defense as we see the flashback we saw last week, only this time, Poet fires his gun more than once. In fact, according to Hill, he shot the guy six times. Poet: "I had to make sure the nigger was dead." And you also had to make sure you got sent back to Oz. Guess which crime is more serious in my eyes? Poet asks what they're supposed to do, and Hill tells him that when the mortician gets back from lunch, they'll basically just hand him things, like embalming fluid and cosmetics. Poet's surprised that they would use cosmetics, and I know this was before the days of Six Feet Under, but I think, given his history, he would have been to his share of funerals, if you take my meaning. Poet starts poking at Mack's corpse for no clear reason as he says he won't wear makeup. Hill counters that when you're dead, you don't have much choice, as he examines a coffin. The sweet release of death isn't sounding too terrible at the moment, to be honest.


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"I'm not here to make a whole bunch of changes. The meat and potatoes of the program is still the same. It's basically an exaggeration of those boring fundamentals. We preach to the kids about taking care of the little things."
Related quotes
"It's only the meat and potatoes. When you are looking through the textbook, you're not seeing all the pictures and things. I mean, it just looks boring compared to other math books."
"Eating baked chips or veggie chips is not the same as eating a baked potato. It's a big mistake to think a chip is a vegetable."
"We're not unlike your average bag of potato chips, 20 percent to 30 percent air. What you're paying for is the packaging."


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MVC Widget Error
7 Tips to Prepare for Your Appointment
The key to a successful appointment is communication. To get the most out of your visit, prepare ahead of time so you can lead the conversation with your doctor. These 7 tips will get you ready
Appointments & Offices
Check insurance plans, locations and make an appointment
Is Dr. Kalter accepting new patients?
If you are a new patient, please check with Dr. Kalter before scheduling an appointment.
What insurance does he accept?
- Amerigroup (Wellpoint)
- Cigna
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- United Healthcare


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It is logical, and it seemed easy enough, to begin a discussion of The Cat and the Canary with a discussion of the history of "old dark house" mysteries — those movies where a disparate and largely shifty group of people convene upon a mysterious old mansion and find themselves embroiled in — and probably accused of — either a murder or a theft. Lots of skulking, staring, and clutching hands appearing from behind curtains or the doors of hidden passages ensues. From the silent era to the end of the 1930s, there was a dizzying number of "old dark house" films produced. They were cheap to make, easy to write, and demanded little from the production company or the audience. At their worst, old dark house mysteries were harmlessly entertaining. Often they were much better than that. The formula was so adaptable that it could be grafted onto pretty much any type of movie. Even established series like the Bulldog Drummond and Charlie Chan movies fell back from time to time on the old dark house motif. From horror to comedy to crime to thriller, it was easy to crank out an old dark house version of the genre and keep everyone at least moderately satisfied.
Category Archives: Film & TV
Kiss Kiss, Kill Kill
From time to time we accidentally wander into the realm of the nearly comprehensible, that no man's land where the movies almost make sense. Our journeys sometimes bring us to these uncharted waters, and when cast adrift in them, we do the best we can in such a strange sea. But always what guides us, our great hope on the horizon that forever propels us forward even when things are at their most sane and logical, is the knowledge that we shall one day, like Ulysses returning home to Ithaca, return to a familiar port and once again watch the sun set slowly and with fiery bombast over an ocean littered with films that are completely and unequivocally batshit insane.
Buck Rogers in the 25th Century
There was a period, brief but never the less real, when we paid to see television shows in the theater instead of watching them for free on, you know, television. This started back when some crafty producer would take a couple episodes of a TV show and splice them into a single movie — even if the plots of the two episodes had almost nothing to do with one another. And in 1979, producer Glen A. Larson managed to get not one, but two pilot episodes released as feature films. Granted, these were substantially expensive and ambitious (in their way) pilots, but still. He was asking people to pay money to see something they'd see for free at home. He was able to do that because of Star Wars. And we did it. I did it. The first of them was Battlestar Galactica. The second was Buck Rogers in the 25th Century. When I saw them both in the theater I remember liking Battlestar Galactica, but Buck Rogers? Buck Rogers I loved. And years later I still love it. This movie/television pilot is also the reason I discovered Santa Claus doesn't exist.
The Girl from Rio
Amazing, isn't it, the kinds of ridiculous crap they used to play on broadcast television back in the days before cable? I saw Jess Franco's lurid, sleazy, wholly indescribable The Girl from Rio on afternoon TV under its alternate title, Future Women. It was on WDRB-TV 41 in Louisville, a scrappy independent station that was, for at least part of its lifespan, actually run out of someone's garage studio. At a time when there were only three broadcast channels plus PBS (which, back then, was actually watchable thanks to their affection for 60s and 70s British spy and science fiction shows), having WDRB pop up was a real treat, especially for a kid like me. WDRB was more than willing to broadcast all sorts of weird stuff the majors wouldn't touch, and it was thanks to them that I first saw Godzilla, kungfu movies, and a whole pile of Eurosleaze horror cinema.
Chinese Ghost Story: The Animation
Tsui Hark's one modest ambition in life was to forever change the way movies were made in Hong Kong. Just that. A small order, right? The amazing thing is that he managed to pull it off. His work in the early 1980s served as one of the foundations of what would become known as the Hong Kong New Wave — that heady period of filmmaking from the 1980s through to the middle of the 1990s when new filmmakers and new styles of filmmaking were running rampant and turning Hong Kong into the most interesting movie making mecca in the world. It's no accident that Hark found himself in the middle of this cinematic upheaval, just as it's no accident that what happened in Hong Kong then so closely mirrored what had happened with American filmmaking in the 1970s. The old guard was puttering along, making movies that were out of touch with what young filmgoers wanted. The hungry new generation was waiting to bust out from under the thumb of their mentors and flood the market with bold new approaches and ideas. And finally it got to the point that the next generation could not be contained. They took control, and nothing was the same again.
If I rack my brain, I can come up with an English language corollary by which to describe Fantomas. But that doesn't change my perception that there is something irreducibly French about the character. Certainly, Sax Rohmer's Fu Manchu is similar, in that he is one of those rare examples of a villain serving as the central figure and driving force behind a popular series. But, while Fu Manchu's representation was that of a monstrous "other", playing on the racial anxieties of the age in which he was created, Fantomas seems more like a personification of the id unleashed. As such, he engages his audience in fantasies of a life lived without borders or moral constraints, with the traditional heroes and cops-and-robbers aspects of the stories serving to house those fantasies within a socially acceptable context. It's as if Bataille or De Sade had chosen to couch their transgressive works within the format of a dime detective novel.
Apocalypse Code
Studies of Russian cinema tend to be studies of Soviet cinema — classics from the glory days (such as they were) of the communist powerhouse. Russia has moved on, though, both cinematically and culturally (though Vladimir Putin would love if that wan't the case), and modern Russian cinema is a very different beast than the cinema from which it has grown. And what could be more different from Soviet era cinema than being almost exactly like modern American cinema? Or maybe, if we don't want to stick with the usual Cold War comparison, let's say modern South Korean cinema. Oh wait…there's a Cold War connection there too, isn't there? Anyway, the point is, modern Russian cinema — at least the big budget version — is highly polished, very slick, slightly soulless, and if you replaced the Russian language with English, you'd be hard-pressed to tell that Apocalypse Code wasn't a minor Hollywood blockbuster.
After the global success of Peter Jackson's Lord of the Rings trilogy, to say nothing of the Harry Potter books and movies I hear were mildly popular for a brief period, most everyone assumed the world was ready for a glut of big-budget fantasy films full of heroic posing and dodgy CGI effects. While there were attempts — The Golden Compass, a few Chronicles of Narnia films, that lavish epic In the Name of the King from Dr. Uwe Boll and featuring King Burt Reynolds — most of those attempts fell flat on their face, and the cash-in trend died before it took off.
L.A. Confidential
In the spirit of sleazy old "true confessions" magazines, here's my confession: I am a life-long easterner, raised in Kentucky, schooled in Florida, happily living the rest of my life in New York City. All three locations are awash in hardboiled, noirish, and/or Southern Gothic credibility. And while I have no intention of leaving New York, and even less intention of moving to the West Coast, I never the less have a strange fascination with Los Angeles. Granted, this fascination is built entirely on assumptions I know to be wholly inaccurate — that L.A. is or ever was the L.A. of Philip Marlowe, seedy detective magazines, and faded Hollywood glory. Residents of Los Angeles, feel free to do the same with New York. I would love to, but I deal with the city on a daily basis so my image of Gotham as Gotham, full of Prohibition-era suits and Weegee crime scenes is too often undercut by the reality of pleated Dockers and people wearing sweatpants. In my misconception of L.A., there is no room for what Los Angeles actually is. And since there is an entire country between it and me, I am going to ignorantly cling to my illusion of a city designed entirely by Raymond Chandler and David Lynch, safe in the knowledge that it makes no difference to me what L.A. "is really like."
War of the Robots
When one possesses tastes such as I do, one often assumes that one will find oneself standing alone in a vast sea of people who think one is mad, completely mad. If the Internet has taught me one thing other than there are a lot of blogs maintained by people's house cats, it's that you're never so alone as you think you are. No matter how obscure or out of the mainstream your affection for a particular something may be, chances are very good there are multiple discussion boards, tumblrs, and websites dedicated to defending and celebrating whatever that thing may be. Heck, by Internet standards furries, scat freaks, and people who like to watch monkeys stick their fingers up their butt then sniff them and fall over are mainstream. And yet even in this glorious netherworld where everything is acceptable and nothing is beyond the realm of defensibility, there are rare occasions when I still feel cold and alone in a world that regards me with a suspicious and disgusted eye. Such is the case when I offer up the opinion that Italian science fiction films are "pretty good."


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Federal science, technology, engineering, and mathematics education programs, known as STEM programs, help enhance the nation's global competitiveness by preparing students for related careers. Hear our latest podcast with Melissa Emrey-Arras, a director in GAO's Education, Workforce, and Income Security … Continue reading
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Image March 6, 2014 Tagged agencies, budget, Congress, Defense Department, Department of Defense, Department of Labor, DOL, Environmental Protection Agency, epa, federal budget, fiscal, Housing and Urban Development, Justice, Justice Department, Labor, personnel, reductions, sequester, sequestration, services, workforce
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Phone (925) 457-5187
Age Suitability 18 and up
Yoga by Crystal
Saturday, May 18, 2013 10:30a to 12:00p
Yoga by Crystal Stockton, CA
OPEN HOUSE!! Yoga By Cystal invites all Yoga enthusiast and beginners to an open house to experience Yoga, ask questions about Yoga and programs available. Yoga by Crystal will provide daycare for ages between 5 and 11 years of age. Refreshments and light snacks will be served. If you need to get out and want to enjoy a refreshing experience in the wellness of your body, we invite you to come and experience the arts of Yoga.
Created by rudylodi
Location & Nearby Info
Yoga by Crystal
1419 W. Fremont St.
Stockton, CA 95203
(925) 457-5187
1419 W. Fremont St.
Stockton, CA 95203
(925) 457-5187
Show nearby:
0.9 mi 2 Pepperoni's Pizza
1.2 mi 4 Casa Flores Downtown
1.3 mi 6 Yasoo Yani
2.0 mi 7 La Victoria's Delicatessen
2.0 mi 8 Genova Bakery
2.5 mi 10 Swagat
Reviews & Comments
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Sat 3/28 7:00p
Sat 11/29 6:30p
Thu 2/5 7:00p
Wed 4/1 7:00p
Wed 2/11 7:30p
Fri 5/15 6:00p