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Community News (V13-I46)
November 10, 2011 by TMO · Leave a Comment
Davidson students hear lecture on Islam
DAVIDSON,NC– Middle and high school Students at Davidson Day School in North Carolina learnt about modern day Islam last week. The guest speaker Ahmad Shakur is the founder and director for the Center for the African Diaspora in Charlotte and director of development for the Museum of Muslim Cultures.
He discussed misperceptions of Islam, its history, and how some modern day conflicts are based on that history. He also visited an Islamic history class at the school and in which the students for their final projects are researching how Islamic history is impacting modern global issues.
"Middle school students really thrive in an environment that allows them to think about the world around them," Mr. Coddington,a teacher, told the Davidson News said. "It allows them to think about themselves, take an issue that is relevant to their lives, and gain an educated perspective."
Fast-a-thon held at Southern Methodist
DALLAS,TX–The Muslim Students Association at Southern Methodist University held its annual fast-a-thon on Nov.3. The funds raised this year for orphans around the world.
MSA President Khurram Taufiq told the student newspaper that Fast-a-Thon allows college students to make a difference.
"We as students oftentimes can't do a whole lot of donating to charities," Taufiq said. "But Islam teaches us to always give back to the community what we can, regardless of the amount."
According to MSA reps the SMU MSA has raised close to $1.2 million for various charitable activities in the last eleven years.
Fire doesn't stop Wichita mosque
WICHITA,KS–A fire which gutted a Wichita mosque couldn't deter are Muslims from holding their prayers.
The Islamic Association Mosque held its friday prayers outside the burned facility. Its caught fire last Monday morning and flames gutted the inside. The cause of the fire is still under investigation.
Federal agents are leading the investigation to determine if the fire was an accident or a hate crime. The Islamic Association had received threatening letters prior to their building catching fire.
Purdue holds Islamic Awareness Week
The Muslim Students Association at Purdue University held its second annual Islamic Awareness Week by hosting a variety of activities last week and its theme was "Exploring the Muslim World."
The Muslim Student Association was excited to see a large increase in visitors this year compared to last, with more than 1,250 people visiting throughout the week.
The event aimed to educate others about the fundamentals of the Muslim culture and Islam, as well as correct common misconceptions, which revolved around theology and fine details. The bazaar, located in Memorial Mall throughout last week, hosted a variety of booths displaying different aspects of Islamic culture including food samples, henna tattoos and boards explaining the basics of Islam.
Boston University gets footbaths for Muslim students
BOSTON,MA–Muslim students at Boston University don't have to worry about spilling the water while they do wudu on campus. The university's Center for English Language and Orientation Programs has installed footbaths in its bathrooms, the BU Today reported.
Designed to accommodate Muslim students who must wash before prayer five times a day, the footbaths are available to everyone.
Elsie El Dayaa, CELOP's operations manager, says the decision to add the footbaths fit nicely with the office's planned remodel and its desire to meet the needs of its growing Muslim student population.
The number of Middle Eastern students enrolled at CELOP—many of them Muslim—has grown by 175 percent in the past four years and Middle Eastern students now comprise nearly 40 percent of the program's total population, according to El Dayaa. That is due in large part to a significant increase in enrollment of Saudi Arabian students sent by King Abdullah University of Science and Technology and Saudi Basic Industries Corporation. Several other Muslim students come from Africa and Asia.
CELOP is so proud of its new facilities, El Dayaa says, that "now we're known as the office that shows you its bathroom."
The footbaths are a first for the University.
Open House at Tawheed Center
June 16, 2011 by TMO · Leave a Comment
By Adil James, TMO
Farmington–June 10–For the first time in six years the Tawheed Center in Farmington welcomed local non-Muslim residents in a large coordinated open house and free health clinic this past Saturday. About 200 non-Muslims visited to tour the mosque, enjoy Muslim food and culture (henna and calligraphy), and listen to presentations about Islam by mosque volunteers and professional Muslim speakers including Dawud Walid of CAIR-Michigan.
The open house was also a chance to show the immense work that has gone into the mosque since the last open house in 2005.
The setup consisted of an opportunity for the visitors to watch perhaps 100 Muslims pray dhohr prayer in the mosque, a tour through the semi-divided banquet hall, where on one side about 20 volunteers stood with posters describing Islam, young volunteers who described various issues about Islam and welcomed questions; and on the other side of the banquet hall a question and answer presentation session tried to address the visitors' concerns about Islam.
The volunteers were mostly high school students–one of them, Mehak Haq, said that she was emphasizing that there is no compulsion in religion–that Muslims are guided to allow non-Muslims to worship freely. She said that "It is a good opportunity–very insightful questions… the people seemed respectful, very respectful."
Volunteer Ayyub Khan said that what surprised him about the event was the diversity of the visitors. Indeed, the visitors to the mosque showed an admirable range of ethnicities which is very gratifying in sometimes segregated Detroit. The visitors seemed to represent all the major demographic groups in America by race and age, the only possibly underrepresented group being adolescents and children.
Tawheed Trustee Asim Khan spoke very happily about the many visitors, estimating the number of visitors who had come so far, and also expressing his happiness with the volunteers: "See how many young people are involved? We are trying to get them ready to run things later on."


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Bestselling novelist Danielle Steel, 65, had a passion for fashion even before she got her hands on her first Hermes Kelly bag, a gift from her grandmother, at age 17.
In her latest book, "First Sight," the glamorous, semiannual swirl of the ready-to-wear runway shows in New York, London, Milan and Paris is the backdrop for the story of Timmie O'Neill, an L.A.-based fashion designer who runs a hugely successful empire, but has trouble finding love after a devastating loss.
I recently chatted with Steel about her new book, what she wears when she's up late writing and her latest guilty pleasure from Celine.
Q: Why did you want to set your latest novel in the fashion industry?
A: I'm always looking for new industries to write about. And this felt comfortable. I mean honestly, when you've written 129 books like I have, pretty soon these ladies are going to have to be plumbers and electricians!
Q: You have loved fashion all your life and even went to Parsons School of Design when you were younger. Did you have to do any research?
A: There's always stuff you don't know. I've always gone to the couture. But ready-to-wear is far more important in the world today. Used to be, no one went to those shows except people who worked in the industry. Now, you get Chinese movie stars and politicians' wives. I needed to know details like the sequence of shows, the ground rules, how long they last, in what case an American designer would show in France and some of the production details. I have a wonderful researcher whose training is historical. We have worked together since we were both 19.
Q: What's your process like?
A: I send my researcher an outline, and she sends me books and research on an era or industry, and I narrow down what I like as I'm writing the book. I want to be accurate, and I very seldom cheat. I did invent an entire train line in Tibet years ago because I didn't have a way for my people to get from one place to another. And I didn't get caught.
Q: Did you have any particular designer in mind when you created the lead character in your story, Timmie O'Neill?
A: I had an American female designer in mind, but I won't say who, and it was really only visually. I have to say, I have several heroes in fashion. And my three daughters in fashion are my real heroes. (Three of her nine children have been designer muses, consultants and/or fashion editors — Samantha Traina at C Magazine, Victoria Traina at Proenza Schouler and Vanessa Traina at longtime friend Alexander Wang's Balenciaga.) I'm a great admirer of (International Herald Tribune Fashion Editor) Suzy Menkes. We have wonderful lunches where we get to talk fashion. I've always from a distance had a great fondness for Grace Coddington. I love watching her with her big red hair, and her unfailing sense of style. My children are always telling me my hair is too long, but look at Grace!
Q: You describe Timmie's style as "casual in a mix n' match bag lady way, diamond necklaces with T-shirts, vintage mink jacket, alligator bag." Is that inspired by your own style?
A: No, I'm not so good at that look, but I am fascinated by how people put it together. My daughter Victoria, for example, will not wear a Birkin bag unless it's beaten to death. Of course, she gets them brand new out of my closet and beats them to death. I'm pretty classic in my style. I'm very small, so I'm not good in floating chiffons. I like chic, straightforward, structured clothes.
Q: What do you wear when you write?
A: I'm always frozen, so layers of cashmere. I like cashmere nighties, but it's not so easy to find them anymore. And one of mine has a black mark down the front, because I fell asleep with a pen in my hand and the ink spilled down the front. It's really so disreputable. But it's easier to work in my nightgown, and I layer on cashmere hoodies because I work late into the night. Occasionally, people ask if they can take a photo of me writing. I say, "Not in this lifetime."
Q: You paint a very glamorous picture of the fashion industry.
A: The fashion business is not for sissies, the faint-hearted or people who want to be dilettantes. And like any kind of work, it's not glamorous. People think I sit around in feathered peignoirs eating bonbons all day, when really I'm in torn jeans with old Alaia ballerina shoes and a funky black sweater. I'm stunned by how hard my girls work. Vanessa is on planes 80 percent of the time — traveling, doing shoots, finishing at 2 a.m., catching a 6 a.m. flight to the next place. Your 20s are hard years, when you are trying to find yourself. But all of my kids have strong career direction and are hard workers, like I am. I wrote my first book at 19. And I work 20-hour days most days.
Q: What was the last thing you bought?
A: I recently bought the red mink high heels from Celine. I kept looking at them, trying them on at every Celine store. And my daughters would say, "Take those off, they're ridiculous!" It's a nightmare trying to get dressed with the three of them. They tell me, "You can't wear that!" And the next day, I see it walking out the door on one of my daughters. So I bought the mink shoes anyway.
Q: So you challenge your daughters with their style?
A: I think I'm braver than they are. That comes from being older and having a sense of humor about life. They are very much purists. I'm not afraid to drag something out of the closet that's fun.
Q: Do you dress differently depending on where you are?
A: Yes, I have two very different lives; I have a chic life in Paris, which is a city where people buy nice clothes. And then I have my life in San Francisco, where people walk around in exercise clothes and hiking boots.
Q: If there was a fire and you could only save three things in your closet, what would they be?
A: Maybe my first Kelly bag my grandmother gave me. Or the white Jacques Heim coat she gave me when I was 14, which I turned around and wore backwards as a dress. Even early on, I always had my eye on fashion.


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LIRA is a student organisation that is designed to increase awareness and understanding of the world of international relations. LIRA seeks to provide a more interactive experience for students beyond La Trobe University's academic structure of lectures and tutorials.
LIRA aims to provide all students with an interest in international relations and politics with an opportunity to enhance their knowledge and become more engaged in the university experience through both social and extra-curricular academic forums. LIRA also acts as a bridge between students and faculty, as well as promoting the study of International Relations to potential students.
LIRA is an apolitical organisation, committed to providing balanced and unbiased information and opinions via the events we run and with which we become involved.


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After spending too much time hanging around Ann Arbor, our Four Seasons Mini Cooper S Countryman ALL4 finally busted out of town in April, heading for New York with editor Jean Jennings and her husband, Tim.
Jennings reports: "Tim did the straight shot out from Michigan, down US 23 to the Ohio turnpike, across Pennsylvania on I-80, stopping in Clarion overnight to visit friends, and then continuing on to Manhattan. I joined him for the ride home, leaving New York City on Thursday afternoon of Easter week. It took us about two hours to creep through the meatpacking district, into the Lincoln Tunnel, and out to New Jersey. We made it to our favorite stop off I-80, The Inn at Turkey Hill (exit 236). Exceptional rooms for just over $100, gourmet dining room, brew pub on the premises, fabulous breakfast buffet included, super nice staff. A definite oasis in a sea of Super 8s.
"Surprisingly, the Mini proved to be a pretty comfortable long-distance cruiser. The hobby-horse ride it delivers on rough pavement -- and most awfully, on New York City streets! -- goes away out on the highway. Helping that long-drive comfort is a cruise control that performs flawlessly, whether driving across the flat wasteland of Ohio or through the hills of Pennsylvania.
"The Countryman's back seat knee room was partly achieved by cheating space from the front passenger, but the addition of that back seat space is worth it. The extra passenger and cargo space are not just a marketing ploy, but are extremely useful if this is your only car. The MASSIVE amount of crap we took with us astonished our bellman.
Back in Michigan, the Jennings put the Countryman's luggage area to work carrying a very different cargo. "The weekend we got home, Bob [the Chesapeake Bay retriever] was in a dog show and we were able to put his cage neatly in the back along with his gear and our two duffle bags for the weekend. We had to shim the floor a little underneath his cage so it would ride flat. But there was plenty of room, and opening the hatch and window gave him lots of air and a good view of the dog world around him at the show."
Although the Jennings were pleased overall with the Countryman as road-trip machine, they did have their criticisms, chiefly with the interior design details.
"I'm not a fan of the giant central gauge. It forces all of the other controls to be jammed together in miniature underneath it, where they become partly obscured by the shifter.
"I know I would eventually get used to the seat heater buttons, and they aren't really important in the greater scheme of things (as critical as they are to snowbound Michiganders), but very hard to get used to their in-out actuation. Very clunky. Clunkier still are the vertical rotary dials controlling fan and temperature -- they're too low and stiff for comfortable use and extremely annoying."
As spring heats up, we'll see if the Countryman can get out and about even more.


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The Bald Soprano Society and Class Quotes
How we cite our quotes:
Mr. Martin: "I believe that our friends' maid is going crazy…she wants to tell a story, too." (421)
Mr. Martin and everybody else is totally offended by the idea that a maid might want to join in on their storytelling. This moment highlights the stark societal divides that often exist between middle class and working class people. The fact that all Mary wants to do is tell a story makes these divides seem even more absurd.
Fire Chief: "Who does she [Mary] think she is? [He looks at her.] Oh! […] But it is she! Incredible!" (422-426)
At first, the Fire Chief is just as snobby as the Smiths and Martins about the maid telling a story. Then he discovers that the maid is his long lost love, Mary. It's interesting how love can often transcend class divides.
Stage Direction: [Mary throws herself on the neck of the Fire Chief.] Mary: "I'm so glad to see you again…at last!" […] Mr. Smith: "This is too much, here, in our home, in the suburbs of London." Mrs. Smith: "It's not proper!" (431-435)
The Smiths' stodgy middle-class ideals are totally challenged by Mary and Fire Chief's display of affection – or any displays of affection for that matter. The fact that Mary and the Fire Chief's love crosses class boundaries makes it all the more offensive to the Smiths.


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On Monday in Allendale, Mich., the Delta State University Statesmen will get their chance to prove their the best in the nation as they will play in the NCAA Division II National Championship Golf Tournament. Practice rounds for the tournament began today with the first round set to start on Monday. The tournament will last through Friday. The trip to the national tournament is DSU's first since 2005.
The Statesmen, ranked 26th in the nation according to golfstat.com, have managed to get this far by finishing in a tie for second in the Gulf South Conference Tournament in Tunica and tied for sixth in the South/Southeast Super Region Tournament in Pooler, Ga.
Delta State head golf coach Sam Dunning said the team is anxiously waiting to get its chance to play in nationals.
"Our hopes are really good," Dunning said. "We're starting to peak toward the end, which is kind of unusual for us. I'm looking forward to see if we can continue to get better and better."
Delta State has 12 total golfers on the team. The five golfers that are going to the national championships are Reed Lindsey, Brad Thornton, Cameron Thomas, Zack Prichett and Chad Cupples. The first time the five golfers played in a tournament together was in the GSC Tournament. The golfers displayed some magic on the second round of the tournament as they shot a 10-under par, 278. Delta State and North Alabama, ranked 12th nationally, finished tied for second in the tournament with a 6-over par, 870.
In the NCAA South/Southeast Regional, those same five golfers proved what they can do once more by shooting an impressive 12-under par, 276 in the final round. The round put DSU tied with North Alabama again for sixth place with a three-round score of 881, which is 17-over par. The teams that finished ahead of DSU in the regional are top ranked Barry (868), sixth ranked Nova Southeastern (874), eighth ranked Armstrong (876), third ranked South Carolina-Aiken (876) and fifth ranked Lynn University (877). DSU's 276 on the final day of the region was the lowest score for any round shot in the tournament.
Dunning said trying to find the five best guys to play in a tournament hasn't been easy.
"This year through 10 tournaments, we had a different five for various different reasons — nothing by design," Dunning said. "Certainly, they played good in the conference and they stayed together for the regionals and the same five will be going to the nationals also."
The 10-under par round the five shot in the GSC Tournament and the 12-under par round the golfers shot in the regional tournament far surpassed Dunning's expectations.
"Actually during the regionals, I was hoping it would just be a good experience for everybody to grow on for the next year," Dunning said. "Then that 12-under was nothing I ever even dreamed about. It just came out of the blue."
The Statesmen were actually in 15th going into the final day of the regional. In the last round of the region tournament, Cupples birded on his first three holes to start the last day Thornton shot the low score of the day with a 67, Lindsey shot a 68, Cupples finished with a 69, Thomas posted a 72 and Prichett turned in a 75.
Lindsey said the team really didn't have a big mountain to climb.
"It wasn't as bad as it sounded like," Lindsey said. "We knew we had a chance if we could post something like what we did. Even though we were in that bad of a place, we weren't really that far off."
Lindsey said he was overjoyed when he found out the team was going to the national tournament.
"It was probably the best feeling of my golf career," Lindsey said. "We played that morning and those teams were finishing that afternoon. We were getting ready to go into a playoff, and we had just been really anxious all day to see what was going to happen. When we found out, it was a really good feeling. We weren't going to a playoff, because we punched our ticket to nationals."
Thornton said the road to the nationals has been a work in progress.
"This (regional) is the second tournament that this five has played together," Thornton said. "We've had an alternating roster for various reasons, and we pulled it together at conference. We didn't have the best start to regionals, but when a guy starts off with three straight birdies on the last day, everybody just kind of fed off it."
If DSU can finish in the top eight after the first three rounds of the tournament, the team will advance to match play on Thursday. The final two teams remaining will play on Friday for the national championship.
Thornton felt good about what the team is capable of at nationals.
"As far as our chances at nationals, the way I look at it, we've got the same shot as 19 other teams," Thornton said. "They all start off even. It's not about national rankings. It's about how you play for three rounds. Obviously, we have the skill to do it."
Dunning was also very grateful for the contributions made by graduate assistant coach Allie Maxwell.
"He's been a big help, and he's been to every tournament, "Dunning said. "I can't go to all of them. We probably wouldn't be where we are without him."


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Tree and Motorcycle Wedding Invitations
Our Vintage Lacy Trees have become a signature collection here at the studio. The stately tree trunks brush with watercolor combined with the whimsical lacy pattern as foliage have stood the test of time and continue to enchant couples everyday. So today I've collected some of our most recent favorites as well as old friends of this design that continue to inspire new versions today.
Megan tool her Lacy Tree scene to the next level with a detail venue painting full of personality.
Rebecca's custom tree trunk made a huge statement for the couple. We illustrated a tree species that only grows in Australia!
Ciaran's Wedding Invitation is a prime example of a very classic approach to this collection. Simple lines, clean layout, sweet artwork details. Love, love.
Betsy's Enchanted Tree Wedding Invitation featured a rainbow of color, dragonflies and the prettiest cardstock combinations. Love this mix of aqua paisley, silver and cream embossed floral patterns!
Julie's muted palette and chic rustic aesthetic can be felt throughout every detail of this invitation suite!
The Vintage Lacy Tree can even resemble a towering Redwood!
Our pets are like family, so we're not surprised so many couples want them to be illustrated and painted as part of the invitation design!
My personal favorite as seen in The Knot magazine back in 2009! Our very first magazine feature in fact!
A wildflower garden grew underneath this stately oak along with Jennifer's beloved pets. Notice her cutie turtle in there?
Michelle's suite featured so many custom details; her barn venue, pets, apple barrels and even hand painted ribbon!
Thanks so much for taking this journey with me today!! Want more Vintage Lacy Trees? Check our Signature here and our Expressive collections here!
It's been a busy season here at the studio and way too long since the last Peek into the Studio! I love this time of year as we're still creating suites for summer while wrapping up fall wedding invitations – the best of both worlds…
First is Allyza's eclectic wedding invitation combining watercolor sketches of a vineyard scene surrounded by late summer blooms like Lisianthus and Dahlias…The intensity of the Walnut veneer adds elegance and sophistication overall in an unexpected way.
Allyza chose to wrap her Pocketfold with lace and a simple tag illustrating the wedding venue…
Deanna's suite combines the most delicate bouquet of Hydrangea, Garden Roses and Dahlia with a delightful mix of cardstocks in Indigo, Paisley and blush.
I love how the raspberry tones of watercolor mingle with the shimmering blush stock here…
Deb's lakeside keepsake wedding invitations were a hit here. We call them keepsake because the simple folded concept allows guests to fold over and frame the artwork if they would like.
Hummingbird details…
Elizabeth and Joseph's Tree Wedding invitation suite was full of personal details from their chapel, dog and cat and a depiction of the tree under which they were engaged!
The little details…
Caitlin's Vintage inspired Wedding Invitation suite featured watercolor banners and roses all painted with sheer shimmery inks.
Alison's Watercolor Dahlia Wedding Invitation is definitely a new favorite of mine…Sketched lace cardstock framing is an unexpected detail that adds so much interest. Touches of sheer shimmery ink were added over the individually watercolored blooms.
Tara's mix of oceanside architecture and painterly blooms speaks volumes of the charming affair to come.
I can't get enough of this painting technique! Simple white inks against linen shimmer cardstock – ohh!!
So what am I up to?
Enjoying my most recent creative shoot seen in the latest Magnolia Rouge Magazine!
Painting Dahlias…well trying to keep up with what my garden is putting out…
Planning a mid summer celebration for the Momental Girls!!


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Pacemaker-Lead Code
Harriet S. Meyer
in AMA Manual of Style: A Guide for Authors and Editors (10th edition)
The NASPE/BPEG Pacemaker-Lead Code (NBL Code) is as follows: (Reprinted from Bernstein and Parsonnet by permission of Blackwell Publishing.)Typically, all 4 positions are mentioned, eg, UPSO, BAPS. .. ... More
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Welcome to the REPAP2020 project!
The project REPAP2020- Renewable Energy Policy Action Paving the Way for 2020, started in April 2009 and finished in September 2011, with the aim to facilitate the process of implementation of the RES-Directive, on a national level.
The main focus of the project was on the National Renewable Energy Action Plans (NREAPs) which Member States had to notify to the European Commission by 30th June 2010. One objective of the project was to have ambitious plans that ensure the EU to meet the 20-20-20 targets for 2020, as set out in the directive.
This website is the platform of the REPAP2020 project and provides background information for policy-makers, info about the project's activities and connects stakeholders from all over Europe.
On the following pages, you will find the results of this project, such as the RES-industry roadmaps for all 27 EU Member States. In addition, the website has information about the events and activities that took place within the REPAP2020 project as well as all partners involved in the project.
Importantly, this website provides background information on related studies and projects as well as useful contacts from all Member States.


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Map of Zadar, Croatia | Hotels AccommodationHotels Accommodation Australia
Below is a free Map of Zadar, Croatia from Google. Browse Zadar maps, hotels and cheap accommodation deals now - from 5 star luxury hotels, apartments and beach resorts to 3 star motels, holiday and caravan parks. For a Zadar hotel map search your destination below.
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NEW YORK–With cotton in low supply throughout the world, cotton futures prices have headed drastically northward in recent months—and appear to be headed even higher in the very near term.
Depending on the month of the contract, cotton futures prices have risen by from 36 percent to 44 percent in the past five months. According to the National Cotton Council of America, cotton futures prices ended yesterday at a range of from 74.42 cents per pound for March 2010 contracts to 78.6 cents per pound for March 2011 contracts. The average cotton futures price in July was 54.71 cents per pound for all contracts, as reported by the Web site Trading Economics.
Avi Gross, president of Divatex, said the company's cotton suppliers in Asia are fluctuating almost on a daily basis. "We would negotiate a deal with suppliers, but 10 days later they might come back and say they need an increase," he said. "It's very, very drastic. I haven't seen a phenomenon like this for 20 years or more."
The cotton shortage stems from two factors, according to Paul Hooker, president of Sferra Bros. "As the economy came to a grinding halt, growers of cotton pulled back and began growing other things," Hooker said. Plus, in early October, the news came that the cotton harvests throughout the world were well below normal. "Combine these two and you see prices going up," Hooker said.
A further complication comes from the past decade's dramatic growth in all-cotton sheets. The pricing situation is "not good since the market seems to be moving toward 100 percent cotton even more than before," said Barry Leonard, president of Croscill/Ex-Cell Home Fashions/Glenoit.
For the moment, some vendors may be able to keep finished-product prices in line. "We buy cotton well out as futures," Hooker said. "I sent a note to our customers that we're hoping not to have to increase prices through the first quarter of 2010."
How long they will be able to hold the line is a key question, however. "I believe (cotton) prices will keep going up for a long time," Gross said. "The dollar is also not helping because it's going down in value on world currency markets, which adds to the price rises."


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Additional Products
Quarter Round:Quarter rounds, like most moldings, give your flooring that finished, clean overall appeal. The main use for a quarter round is to cover the expansion gap between the floor and the wall. A 1/2" gap is typically left as a "flex" space around the perimeter of the floor. While practical and necessary these gaps are not the most attractive pieces of a new home improvement project. Hence, quarter rounds are very common and can be found in most homes across the United States. Tip: make sure that the quarter round is nailed to the wall, not the floor. It covers an open gap that is there to make sure the floor can expand and contract if necessary. Nailing it to the floor itself will create issues if the floor moves.Images do not reflect color or accurate sizing. Color will match appropriate floor ordered. Dimensions are variable depending on the dimensions of the appropriate floor.
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Member Center
Planning Projects
Disaster Preparedness and Relief
ALERT Program
Multiple District Lions ALERT Chairperson Responsibilities
Multiple District Lions ALERT Chairperson Responsibilities
The council chairperson should appoint a Lion to the position of multiple district Lions ALERT chairperson. This Lion should fulfill the following criteria:
- Willingness to organize a Lions ALERT plan in the event of a local emergency;
- Understanding of program parameters;
- Knowledge of Lions ALERT program resources;
- Ability to cooperate with local emergency assistance resources;
- Ability to mobilize a Lions ALERT team after an emergency has occurred;
- Understanding of Lions Club International Foundation (LCIF) resources.
The responsibilities of the multiple district Lions ALERT chairperson are:
- Familiarity with Lions ALERT program resources including the Lions ALERT guide (IAD 911) and the (4) checklists:
- How to Develop a Lions ALERT Plan
- Disaster Relief Opportunities
- Personal Safety Checklist
- After a Disaster Occurs
- Ability to work with local authorities in the development of a Lions ALERT plan.
Before An Emergency Occurs
Multiple district Lions ALERT chairperson responsibilities:
- Develop a multiple district Lions ALERT plan.
- Encourage and promote district Lions ALERT plans.
- Organize multiple district training classes and seminars for district Lions ALERT chairpersons.
- Remind all Lions ALERT chairpersons to complete an annual review of their Lions ALERT plan.
After An Emergency Occurs
Multiple district Lions ALERT chairperson responsibilities:
- Serve as the central figure in implementing the multiple district Lions ALERT plan. Communicate with club. District, and multiple district leaders as well as outside agencies about the situation and the capabilities of the Lions ALERT Team.
- Assist districts implementing a Lions ALERT plan.
- Encourage districts to work together in the event of a natural, man-made, or healthcare emergency.
- Remind Lions ALERT team members to comply with safety regulations.
- Work with the public relations chairperson to submit Lions ALERT news and photos to local media.
- Remind Lions to use Lions-logo signs and wear Lions-logo apparel when serving as members of a Lions ALERT team.
Multiple District Lions ALERT Chairpersons Are Responsible for Rewarding Team Members with Lions ALERT Awards
- The Lions ALERT Banner Patch Award is available to any club, district, or multiple district that submits a Lions ALERT plan to Lions International Headquarters.
- Downloadable Certificates of Appreciation are available for presentation to Lions ALERT team members.
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Heat, Humidity and Long-Haired Breeds
Posted: Sep 16 2012
The following is a guest blog article by Jackie Roberts.Dark colors absorb heat; light reflects. The same applies for dogs and the color of their coat, but they can't change their coat like their owners can change clothes. A long-haired breed with a dark coat would be more likely to benefit from a shave in warmer months. This is because they are more likely to stay cool from heat loss when air passes over their skin, which doesn't happen when skin is insulated under layers of fur. To shave a dog of a lighter shade, on the other hand, risks a greater chance of sunburn. A sunburned puppy is not a happy puppy. If the decision is made to shave a lighter long-haired breed, don't forget about sunscreen. There are sunscreens made specifically for dogs, or if that isn't immediately available, scentless sunscreen made for children should work.
Veterinarians are conflicted about the benefit of long-haired breeds keeping their long hair in the summer. If a dog has longer fur in the summer, the consensus is that their fur needs to be well maintained and free of matting or tangles. That is really the only way that longer length would be of benefit to the animal. Long hair also hinders finding ticks, and does not keep a dog from getting bitten by mosquitos. If home is an especially wooded area, short hair might simply be a practical health choice. The perceived benefit of having longer hair in the summer months is that the layers of fur act as insulation against the heat, just like the insulation in a home. If a dog is panting consistently with long hair, though, the grooming situation should be reconsidered.
- Exercise at dusk or dawn in areas with access to shade and running water
- Cool vests
- Never leave the dog in a car
- Always have cold water at the ready
- Understand the signs of heat exhaustion, just in case
Posted by Roger J on September 17, 2012
I live in San Diego and work at the V.A. Hospital in La Jolla and i get so upset when peole bring thier pets and leave them in the car with no water and they barely crack the window. We are constantly calling the police who inturn will attempt to get intouch with the owners and if not then they will contact Animal control. At times I wish I could put the owner in the same position that they leave the dogs.


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Oct 26, 2012 7:35 AM by Katie Ferber, KSBY News
People in Santa Maria will celebrate Dia de los Muertos at a cultural festival on Sunday.
From noon until 6:00 p.m. the Veterans Memorial Community Center on W. Tunnell Street.
Organizers say it's a fun-filled day of entertainment, a childrens parade, food, and more.
The "Day of the Dead" ritual goes back thousands of years and was primarily started by the Aztecs.
Offensive or inappropriate comments are subject to removal. To report a comment, please e-mail us at email@example.com, and include the name of the story and information on the comment.
Thank you! KSBY.com
9 hours ago


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Select () or exclude () categories to narrow your recipe search.
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"This was a delicious lemon dessert! It was time consuming, however, as mentioned in other reviews, it was very well worth it. I tested it out on my husband, he thought the cake was a little dry, although, I did not use the entire 3/4 cup of syrup to brush the cake with. Next time I will be sure to use all of the syrup. This reminded me of a de..."


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The latest version of Adobe Flash Player is required to watch this video. Please click on the link below to download the latest version. Thanks!
The Federal Bureau of Investigation is calling a shooting at the Family Research Council's Washington, D.C., headquarters an act of domestic terrorism.
A police perimeter is still in place after a gunman walked into the FRC building Wednesday morning and shot a security guard employed by the organization.
Around 2:45 p.m., CBN News was also told via email by someone at the scene that there's now concern of a suspicious package. It's unclear where the package is located and whether a bomb squad has been called to the scene.
According to LifeNews, a man posing as an intern shot FRC security guard Leo Johnson.
Click play for the latest with CBN News Reporter Paul Strand from Washington, D.C.
Anna Maria Hoffman, an FRC staff member, later tweeted "Our security guard Leo got shot in the arm. Please keep him in your prayers."
"The police are investigating this incident. Our first concern is with our colleague who was shot today. Our concern is for him and his family," FRC President Tony Perkins said in a statement.
A suspect is in custody and authorities are now investigating motive behind the shooting.
"We don't know enough yet about him ... or mentally what he's thinking," said James McJunkin, assistant director in charge of the FBI's Washington Field Office.
The Family Research Council is a conservative group that stands for biblical values, including traditional marriage. In the past, the FRC has been listed on the Southern Poverty Law Center's list of "hate groups."
The National Organization for Marriage responded to the shooting Wednesday, saying, "Today's attack is the clearest sign we've seen that labeling pro-marriage groups as 'hateful' must end."
"For too long national gay rights groups have intentionally marginalized and ostracized pro-marriage groups and individuals by labeling them as 'hateful' and 'bigoted,'" NOM President Brian Brown said.
"Such harmful and dangerous labels deserve no place in our civil society," he continued.
Republican presidential challenger Mitt Romney also offered his reaction to the shooting.
"I am appalled by the shooting today at the offices of the Family Research Council in our nation's capital. There is no place for such violence in our society," Romney said in a statement.
"My prayers go out to the wounded security guard and his family, as well as all the people at the Family Research Council whose sense of security has been shattered by today's horrific events."
Keep Quiet? Chick-fil-A Challenges Political Correctness
California Board Blocks Chick-fil-A Opening
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Volunteering is a great way to give back to your community, but did you know volunteering can help you get a job? Volunteering can help you learn new skills, network, develop references and show employers your commitment. Learn more at this session by staff from United Way of Chittenden County's Volunteer Connection.
UVMx is a weekly leadership development workshop series on important topics relevant to student leaders and the success of their student organizations. It is open to all UVM students. Workshops are held every Wednesday from 12:00-1:00pm in the new Career + Experience Hub (1st Floor Davis). Participants are welcome to bring their own lunch and encouraged to enjoy some free goodies.


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The administration's Random Foreign Policy Generator is getting a workout lately when it comes to Libya.
[Spins dial. Lands on "Do nothing"] Yea! That was easy.
[Problem doesn't go away. Spins again: "Furrow brow and talk tough"] OK, that doesn't sound so bad. Where's my teleprompter?
[Problem still doesn't go away. People complaining. Spins again: "Launch bombs"] Well, that's the opposite approach of what I've aggressively preached about for the last decade, but whatever. As long as I can get back to golfing, being entertained and watching the NCAA tournament.
[Repeat . . .]
1. From the Bumbling Genius, Relax, It's OK, Obama Is A Democrat
If anyone is having difficulty reconciling the war-is-not-the-answer's dream president with Obama's war and his American bombs falling in Libya; don't feel alone. The only thing I can come up with as to how this could be is that he is trustworthy to do such things because he is a Democrat because he is an intrinsically good person. So, being a Democrat, we can trust his bombs will never kill Libyan children with flying shrapnel; or make Muslims want to blow American infidels up indiscriminately. But even if such horrors do happen don't worry, the media will make sure you don't hear about it; and that's the same as it not happening.
2. With Libya, the Left's Anti-War Hypocrisy is Complete – the title says it all.
3. Fish Wrap's Ross Douthat Finally Figures Out The Liberal Spin On Libya
Bush was just plain silly in not going to the Congress, getting a resolution, not going to the United Nations, getting resolution 1441 (after 16 other UN resolutions), not laying out the rationale for military action in Iraq in speeches over long months, including the State of the Union, and not putting a coalition of over 40 nations together, not to mention not giving Saddam numerous chances to work with the weapons inspectors.
4. And from samples of the false teacher department, we've got this from the Sojourners' Jim "the Gospel is all about wealth redistribution" Wallis: Nothing.
And we have this beautiful piece of self-parody by Chuck "Jesus is not the only way" Currie, Why I Can Support The Strikes Against Libya As A Christian: "The United Nations, not a U.S.-led coalition under cover of a UN mandate . . ." Oh, well since it is led by the UN and not just under their mandate then that changes everything. And you know Currie would have had the exact same views had it been President Bush in office.
Note to Liberals: Consistency — You're doin' it wrong.


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Illinois Horse Trainers
Searched for: Family
Page 1 of 1
Equestrianism / Sara Richter - Customized training program for you and your horse!
Highland Park, IL
Rising E Ranch / Max & Michelle Echternkamp - We are a full service Training and Lesson Barn
Quincy, IL
Cripple Creek Ranch / Christy Bourbonnais - Natural, versatile, sound, training from foaling to showing.
Harvard, IL


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Our favorite new Internet timewaster, Pinterest has in recent weeks become a haven for online pro-anorexia and eating disorder communities. Drawn to the site's image-heavy, community-oriented style, thinsporation posters have recently flooded the site, posting pictures of jutting hips, emaciated models and concave bellies, emblazoned with pro-ana slogans like "nothing tastes as good as skinny feels." And, most importantly, Pinterest posters can post anonymously, meaning that users can reach out to one another but still feel safe.
But all of that is about to change.


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[b]Photo Sharing
Photo sharing is done at our meetings on the first Wednesday of the month.
Photo sharing is done with digital files which we load into a computer and display using a digital projector.
Paid members are allowed to present seven (7) images each month.
Images will be shown only if member is present.
Image Preparation and Submission
- Images should be at least 1024 pixels on the longest dimension,
- but no more than 3 Megabytes in size..
- Format may be jpg, tiff, or psd
- Attach the images to an email with the email title of "Photochromers Photo Submission"
- Send the email to firstname.lastname@example.com,
- no later than the night prior to the meeting
Page title | Most recent update | Last edited by |
Gallery Submission Guidelines | June 21, 2011 10:25 AM | Ken H. |
Photo Sharing Submisssion Guidelines | February 5, 2014 8:56 AM | Ken H. |
About PHOTOCHROMERS | February 2, 2010 8:51 AM | Ken H. |
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An Academic Cut-Up, in Easily Digestible Paragraph-Sized Chunks or THE NEW KING OF POP: DR. KONSTANTIN RAUDIVE
One issue that I hope to address through the
use of trance channelers in live concert is the so-called "schizophrenic"
nature of much contemporary art. Much of the rhetoric of this
aesthetic is indebted to the writings Gilles Deleuze and Felix
Guattari. Instead of describing schizophrenia as pathological,
Deleuze and Guattari stress the positive aspects of the condition,
praising the schizophrenic's capacity to range across mental fields
to transcend the bureaucratization of the mind. They dismiss
the psychoanalytic desire to interpret unconscious production,
which they describe as having no significance or meaning14. Non-meaning,
thus naturalized, becomes the basis for an abstract, and anti-critical,
aesthetic one that, on the surface, emulates the "schizophrenic"
effect of fracture. One aspect of the so-called voice phenomenon
that is often commented upon is the meaningless and garbled nature
of the recorded utterances. This has been explained as the result
of faulty reception of spirit transmission, or more interestingly
as representing the degraded mental state of the "spirits."
The scrambled babblings on the tapes have been interpreted as
the tortured voices of those in Hell, as the taunts of demons,
or as the by-products of some numbing mental process that occurs
after death. They could be described as schizophrenic; however,
relative to the voice phenomenon, this description could hardly
be understood as a positive one. Writers for the supernaturalist
periodical Fate magazine, in response to Jürgenson's
recordings, came to the conclusion that "intelligence seems
to deteriorate rapidly after death."15 And, alarmed by the
disjointed nature of the voices, psychic researcher R.A. Cass
warned against the possible dangers of Raudive's experiments being
performed by non-professionals: "If there is a spirit world
full of the flotsam and jetsam of our military and mercantile
civilization. If a door has been opened between this world and
the next, then the masses armed with the cheap transistor sets
and £5 Hong Kong tape recorders, will participate in this
new Hydesville."16 Cass's statement is reminiscent of Theodor
Adorno's rants against mass culture's frenzied infantilism, which
are echoed in William Burroughs' satiric depiction of a pop band
whose "baby talk" lyrics send their listeners into ecstatic
infantile abandon.17 In these examples, delirious response is
not held up as something to emulate. An interesting parallel exists
between the negative reading of the voice phenomenon as the pronouncements
of base elemental beings, and as the equally dangerous by-products
of a, purposely, regressive aesthetic.
The imbecilic quality of the tape voices is not characteristic
of the output of traditional mediumistic devices. Few examples
of automatic writing, or even Ouija board pronouncements, are
as garbled as the phrases in Raudive's transcriptions. This kind
of fractured language usage would be especially inappropriate
if uttered by a human medium, whose portrayal of a specific persona
is an important condition of their believability. In fact, mediums
often tend to channel dead celebrities and famous historical figures,
as if the same social hierarchies that exist in this world extend
into the next. Compared to this cliched fixation with star system,
unified psychology, and history as grand narrative, the confused
and ambiguous nature of Raudive's spirit voices comes off as positively
contemporary - "Deleuzeian," if you will. It would
be interesting to place together on stage, trance channelers who
have been instructed to act as conduits to such famous Parisian
personalities as Serge Gainsbourg, Olivier Messiaen, Jim Morrison,
and Le Petomane, with an equal number of ecstatic channelers who
"speak in tongues." This contrast of unified psychological
portrayal with meaningless glossolalia might be made to echo the
shift in meaning of white noise from deep meaning to surface meaning
from that which contains hidden mysteries (spirit voices),
to that which is simply disposable popular product (Techno music).
How, or to what end, that might be accomplished I am not so sure
of at the moment. But as an exercise in theatrical staging, it
would be an interesting problem.
However, I must say that part of my attraction to this material
definitely had to do with the extra-musical discourse that surrounded
the recordings the endless arguments as to the source of
the voice effects. Whether they were explained as the voices
of spirits of the dead, of demons, as projections of the unconscious,
or secret CIA transmissions, the multitudinous poetry of discourse
attendant to these tapes excited me. It functioned as their lyrics,
and it seemed to offer promise of a music that escaped the compositional
formalism of Minimalism. I was looking for a "music"
that expressed more ideological concerns, like the sound experiments
done earlier in the century by the non-musicians associated with
the Futurist and Dada movements. My interests in these movements
extended to the tape experiments described by William Burroughs
in such writing as the invisible generation4, 1966. Burroughs,
like myself, was interested in the tape voice phenomenon and wrote
an essay, It Belongs to the Cucumbers, detailing his thoughts
on the tape experiments of Raudive5. The transcriptions of Raudive's
"voices" reminded Burroughs of schizophrenic speech
or dream utterances, and he proposed that the voices might be
"a backplay of recordings stored in the memory banks of the
experimenters,"6 instead of the voices of the dead. They
were, perhaps, recordings of the unconscious.
This populist attitude has radically affected the art world's
traditional relationship to pop music. Museum shows of "sound
art" in the past always reflected an avant-garde position;
no pop music was to found anywhere in sight25. Even though such
an esteemed artist as Andy Warhol worked with a Rock band in the
Sixties26, art institutions were unable to accept this particular
aspect of his work as art. And this was at a time when there was
already an immense amount of crossover between the worlds of the
20th Century avant-garde and pop culture27. Even ten years later,
the so-called art bands (the art school trained and media savvy
band Devo, for example), though obviously linked to the simultaneous
"appropriation art" movement of the late Seventies and
early Eighties, were still not accepted within the arena of art.
"Appropriations" of sources as diverse as cigarette
advertisements (Richard Prince) and the photographs of Walker
Evans (Sherrie Levine) were acceptable to the art mainstream while
appropriations of rock band structures were not. This fact is
definitely thought provoking. Something about the social meaning
of pop music made it impossible to co-opt for art world usage
at that time that is an interesting topic but one far too
complex to address in this short essay. Suffice it to say
this is not the case now. The art world has changed. Now, Pop
music rules.
I have been interested in these tape experiments since the mid-Seventies,
when I began to make noise music utilizing used magnetic tapes
bought at second hand shops and yard sales, as well my own recordings
made in the spirit of "musique concrete." My interest
in the so-called voice phenomenon was initially musical, and related
to similar interests in the minimalist music of composers like
La Monte Young. Jürgenson's and Raudive's tapes attracted
me as a form of a-compositional music. The implication was that
the signal being inscribed on the tape in Raudive's experiments
had nothing to do with the recording process; the voices were
not audible in the room and thus must have found their way onto
the tape in some manner other than through the microphone. If
this is the case, "Why record at all?" is the obvious
next question; why not simply amplify the natural "hiss"
of blank magnetic audiotape?
All of this is probably just a response to my general dislike
of most contemporary electronic dance music Techno, for
want of a better word. The primary discourses surrounding it
strike me as false18. The so-called "radical anonymity"19
of the music I read as indicative of a slacker ahistorical mindset.
The various musical appropriations utilized in most Techo tracks
are generally unrecognizable, so their recontextualization is
a moot point. Re-use is generally formal in nature, lacking the
qualities of overt and purposeful mis-use of quoted material found
in such forms as Psychedelic rock, Hip Hop, and Industrial music,
all of which I much prefer to Techno. The pseudo-Deleuzeian reading
of Techno as representative of a postmodern and "non-centered"20
aesthetic, because of the music's schizophrenic multi-part makeup,
is denied by the presence of a constant unifying dance
beat. Despite the utilization of the Cageian no-no, a steady
beat, Techno is decidedly Cageian music. It treats fracture in
a naturalistic manner21. Techno mirrors the sped-up and
fractured quality of contemporary electronic media and is analogous,
in effect, to radio tuner dialing or television channel surfing.
These could hardly be described as activities that induce delirium
or cause one to question the order of experience. They are simply
part of our daily media-dominated environment. Unlike the example
of William Burroughs who, through a politically conscious remixing,
makes us aware of the cliched experiential structures we perceive
the world through, Techno simply reiterates a naturalized technological
environment. Techno also stinks of technological utopianism; a
lot of the language attendant to it is reminiscent of Marshall
McLuhan's writings of the Sixties22. This was hard enough to
swallow the first time around, in the romantic haze of the Hippie
milieu, but insufferable now.
Already, in the Seventies, a band like Kraftwerk had an ironic
attitude about their relationship to technology, and their image
as a "pop" band. This is obvious if you compare Kraftwerk's
strategies to that of one of their contemporaries, the neo-romantic
synthesizer band Tangerine Dream, who played up the seriousness
of their music and downplayed their self image the exact
reverse of Kraftwerk's approach. It's strange to see Kraftwerk's
poker-faced proclamations about their love of machines quoted
now as fact23, and their obviously cornball electronic compositions
held up as contemporary masterpieces. They are; but something's
been lost in the translation when the irony of Kraftwerk's relationship
to modernist technological utopianism is presented as its opposite.
In the depressed Seventies, when technological utopianism could
hardly be conceivable given the economic downslide that left many
industrial cities veritable wastelands, Kraftwerk's evocation
of Modernist aesthetics could only be read as a cruel joke.
What is so amusing, relative to this technological infatuation,
is that the main signifier for Techno culture, the DJ, fetishes
an outmoded technology the vinyl record album and turntables.
This is understandable in Hip Hop, which grew out of a poor street
aesthetic of limited resources, but not in the techie world of
Electronica. Limiting oneself to material found on record albums,
which hardly represents the contemporary information pool, and
which by and large is corporate pap, is ridiculous in this day
and age.
Do these "spirit voice" recordings somehow maintain
vestiges of their previous "metaphysical" meaning, even
after they have been shifted into the formalist bracket of dance
music? Is there something about them that, inherently, problematizes
their position as such? Robin Rimbaud has spoken to me of his
interest in the battery, in how it retains a memory of past usage
even after it has been discharged. He goes on to postulate that
buildings and spaces maintain a similar kind of residual record
of the events that have transpired there. This belief is very
much in line with spiritualist ideas. The haunted house, the poltergeist
phenomenon, are explained as the result of the continuing presence
of traumatized spirits or stored psychic energy associated with
a given place. There is a stake in the historical that I have
sympathy for in these mythologies. The unexplained phenomena
of the present must somehow be linked to the past. In an ahistorical
period, such as the one we live in now, I find this historical
concern refreshing, even though being a materialist
I assume that there are explanations to account for these phenomena
other than the presence of ghosts.
My interest in pairing intense aural experience
with critical intent has something in common with the tape recording
practices of William Burroughs as described in the invisible
generation. He sees experience as a kind of indoctrination
by a pre-ordained editing system. He proposes the systematic
recording and "playback" of daily life as a critical
practice. Ambient audio recordings are made, then counter-edited:
chopped up and slowed down, etc., in order to expose what he describes
as the "control machine" a prerecorded "grey
veil" that separates you from true experience. These recordings
could be compared to the tape collages of John Cage that are produced
through random game-like strategies: the Williams Mix of
1952, for example. But the focus in Cage's work is on pure aural
experience; his works lack the critical intention at the root
of Burroughs' efforts. When Cage chops together tapes recorded
at different locations, the changes in background hiss are experienced
as tonal shifts as music, and not as documents of specific
places. The abstract qualities of his work are foregrounded since
he denies any investment in his source materials. Burroughs' focus
on the political ramifications of the recording and editing process
is much more compelling to me. For this reason, I feel that it
is important to keep a record of the places that Scanner and I
record, as well as describe why they were chosen. The reason
for choosing these locations might be as simple as that they were
picked out of a supernatural guidebook of Paris12. But even this
information would reveal a historical aesthetic predilection,
would point toward a particular construction of history that ascribes
importance to certain figures and events.
This is why I believe that the recordings that Scanner and I make
around Paris should, initially, be understood as operating within
a pop music framework. The pop framework is the sign of quality
at the moment. We present the recordings, on one hand, as documents.
They depict certain locales in Paris that relate to histories
relevant to the spiritualist tradition that the tape voice phenomenon
is part of, and to certain avant-garde traditions that inform
the aesthetics of contemporary DJ culture. On the other hand,
we presents these same sound recordings as the musical background
for a contemporary style of social interaction specifically
the kind of dancing associated with Techno music. In this case,
the installation is a reflection of the many sound environments
that one finds in galleries and museums at the moment, ones that
attempt to move the world of rave and DJ culture into the arena
of the art institution. In line with this popular orientation,
Scanner and I have also updated the technology generally associated
with the tape voice phenomenon. We used contemporary digital recording
equipment, instead of the analog machines used in Raudive's day.
This is obviously problematic, given the recordings' final usage
as projective soundscapes, since digital recordings have far less
hiss than analog recordings do. But, it will prevent the resulting
sound from being read as a nostalgic comment on 20th Century electronic
music. Maintaining a popular and contemporary focus is also why
I want to do a concert in which the tapes are mixed live as they
would be in a dance club, with mediums presented as front figures
in the manner of pop singers. However, at the same time, I am
interested in clearly conveying that this change of focus from
spiritualist to pop bracket is the content of the work. It is
important that the audience understand that these ambient soundtracks
are historically rooted in extra-musical concerns. This is why
the visual component of the installation refers back to the original
recording event of taping in 'mysterious' and historical places.
(Of course, this aspect of the recording process could also be
understood through its explotational usage in such popular genres
as Goth or Industrial music. For example, the band Nine Inch Nails
has recorded songs in the house where the Manson family murdered
actress Sharon Tate and others.) These contradictory readings
obviously promote confusion, and part of my interest in embracing
that potentiality is that it points toward "schizo-culture's"
embrace of meaningless effect as the sign of popular appeal.
For example, our video surveillance of various Parisian sites
utilizes infrared heat-sensitive technology commonly used in the
recording of "paranormal" phenomena. This produces
a distorted image. In the context of our installation, this distortion
would more than likely be perceived as simply effect, in the same
way that visual effects are used toward no illustrative or symbolic
purpose in music videos. I expect that reading. At this moment,
no other reading could be expected.
Returning to my proposal that the electronic medium promotes its
own qualities, which come to be perceived as "aesthetic"
relative to the experience of playback, I find it interesting
to compare the experience of listening to one of Raudive's recordings
with that of the reception of certain structuralist artworks.
In some experimental films from the Sixties, such as George Landow's
film "Film in which there appear sprocket holes, edge lettering,
dirt particles, etc." (1966), which has been printed it so
that the normally hidden edge of the film frame is revealed, the
filmic experience is presented primarily as the relationship of
the film-as-material to its mechanism of playback. The relationship
of film to projector is what is being presented to the viewer
in these films, not narrative content. I believe a similar intention
is at work in Steve Reich's musical composition "Pendulum
Music"(1968). This piece consists of a microphone swinging
above an amplifier. As it swings over the speaker it produces
a series of feedback squeals that lengthen in duration as the
swinging slows. This continues until the microphone hangs, stable,
above the speaker producing a pure feedback tone. Here, the normally
invisible relationship of microphone to PA system, which are generally
only tools used for the purpose of amplification, is made the
content of the music, and feedback - which is usually considered
unwanted distortion - is the carrier of that meaning. Since we
are now in a period in which mystical interpretations of ambiguous
effects is not the norm, machinic, technical concerns predominate.
I believe the resurgence of interest in Raudive's tape experiments
has more to do with contemporary musical tastes than in their
spiritualist content. With the rise of Electronica as a popular
musical form, the history of electronic sound production is being
scoured for source material. In this environment, the tape hiss
that is considered distortion in Raudive's recordings as
that which hides their true content: the voices is now the
object of primary interest. The hiss is the content, and the
search for voices within it is now considered a kind of charmingly
naive sublimatory excuse to revel in the pleasures of electronic
sound. Because Electronica is a pop music form, its focus is
on effect not on theory. This is why Raudive's tapes may be resuscitated
within its bracket; the serious musical concerns of 20th Century
electronic music would not tolerate the mystical pretensions of
Raudive's recordings, nor accept them as musical. These issues
are not problematic in the world of pop music where effect is
all. This cultural sea change is something that I am interested
DJ art fares even worse when it is taken out of its proper milieu,
the disco, and moved into the art gallery and museum. The only
true politic that can be ascribed to electronic dance music is
a Dionysian one; people are having fun when they dance to it,
and that inspires in them some sense of "community."
This effect is impossible in the gallery context. Presented there,
this popular form simply becomes symbolic of populist aesthetics
in general. This is what one sees in an exhibition like Let's
Entertain24, which was mounted at the Walker Art Center in
2000 and traveled to the Pompidou. This show focused on artworks
utilizing pop cultural motifs, but no differentiation was drawn
between those works that had a critical intent and those that
celebrated mass culture. The socialized surface qualities of
the works was the main focus, and the underlying intent of the
show seemed to be to propose that surface meaning, "phenomenological"
meaning, is true meaning and that an artist's intent is besides
the point. This attitude is very much in vogue at the moment,
and I thoroughly disagree with it. I simply find it impossible
to look at such overtly constructed images of the social through
a removed "phenomenological" gaze. What is the intention
behind naturalizing the obviously constructed? I sense an unspoken
politic of compliance at work here.
The acoustical properties of spaces can produce
very strange effects. Vladimir Gavreau's famous "black noise"(sound
capable of killing) infrasound experiments grew out the fact that
he discovered that his laboratory was vibrating in unison with
a defective industrial ventilator in a building some distance
from his. This was caused by extremely low frequency sound waves
that literally induced pain in him11. It's obvious that an undetectable,
and mentally disturbing, phenomenon such as this could be construed
as paranormal. Even though I am not interested in mysticism per
se, I am interested in the combination of audio effects, myth-making,
interpretation, and history that is a common attribute of spiritualist
practice and literature. I find that the richness that results
from this admixture is absent in much formal "abstract"
electronic music. I am interested in examining spaces as generators
of noise, with historical informational accompaniment as a kind
of materialist add-on. I am interested in audio effects that
are so intense that they demand to be taken in as pure sensory
effect free of meaning, and then to refuse that demand by attaching
sociopolitical concerns to them. I like it all the better if
these concerns start to break down, fall into ambiguity and poeticization,
in the presence of this noise. They are still there, in a latent
form, and may bubble back into consciousness at any moment.
Following is a list of the places that video and sound recordings
were made:
1) 7 rue du Faubourg Montmarte. This is where the author
Isidore Ducasse (1846-1870), also known as Lautréamont,
died. Ducasse, poet and author of one novel, is often described
as a precursor to the later Surrealist writers and is an early
practitioner of appropriational writing strategies.
2) The Moulin-Rouge, where Joseph Pujol (1857-1945), also known
as Le Petomane, performed in 1892. An immensely popular entertainer
in his day, Pujol was able to perform musical and mimetic sound
effects by farting.
3) The interior of the Grotte es cascade des Buttes-Chaumont in
the Parc de Buttes-Chaumont. This constructed grotto is a famously
"spooky" location in Paris.
4) 5 du boulevard Montmarte. The former shop of Jean Buguet,
spirit photographer, operating in the 1870's.
5) 39 de la rue Condorcet. Former showplace of turn-of-the-century
ectoplasm extruding medium Éva Carrière.
6) The grave of Jim Morrison (1943-1971), American poet and singer.
Morrison merged his interests in poetry and avant-garde stage
practices in his band, the Doors.
7) The tomb of Allan Kardec (1804-1869), one of the leading exponents
of spiritualism in his day.
8) The tomb of famed French singer, Edith Piaf (1915-1963).
9) The tomb of Romanian poet Tristan Tzara (1896-1963). Tzara,
one of the founders of the Dada movement, is credited with inventing
the cut-up chance poem in the Teens.
10) The gravesite of Charles Cros (1842-1888). Cros designed the
phonograph, at least on paper, before Edison, experimented with
new techniques in color photography, and tried to contact life
on other planets.
11) The organ in Trinity Church where composer Olivier Messiaen
(1908-1992) served as organist from 1931 until the year of his
death. Messiaen is famous for his translations of bird song for
piano, this seems especially pertinent given that Friedrich Jürgenson
first discovered the tape voice phenomenon buried in his recordings
of bird song.
12) The home of famed Parisian singer Serge Gainsbourg.
This projective relationship of viewer or listener to art works (and I am primarily interested in considering Raudive's tapes as a form of aesthetic practice rather than a scientific or spiritualist one) is a common one today. Using the popular example of Sixties "psychedelic" music, projection may to found to operate on a number of levels. In certain songs by Jimi Hendrix, not only are the lyrics obscure in meaning, they are buried in the mix and accompanied by other vocalizations such as whispers or groans. Instrumentation is ambiguous as well. The guitar is distorted to such a great degree that at times it is hard to separate it from tape or electronic effects. In this case, all of these distortionary practices are purposeful. Hendrix's songs mix ambiguity and sensory overload to produce disorientation. The listener is invited to project his or her own subjective readings upon such a work, or to simply give up trying to ascribe meaning to it at all in favor or a more "disembodied" relationship to it. Relative to this psychedelic effect, Dr. John C. Lilly describes the effect of LSD on the brain as the introduction of white noise, which he describes as "randomly varying energy containing no signals of itself,"9 into the perceptual experience. He states, "The increase in white noise energy allows quick and random access to memory and lowers the threshold to unconscious memories (expansion of consciousness)."10 This overload of previously filtered-out material is often understood by the subject as emanating from outside of his or her own consciousness and ascribed a supernatural origin as being the voice of God or spirits, for example. Sensory deprivation has been shown to produce similar effects. The use of repetition and drones in musical forms such as minimal, trance or ambient music often induces a "dreamy" state that invites projection.
These sites were recorded on both video and a digital recorder. However, to push the self-reflexive machinic qualities I discussed earlier, soon after recording began the lens cap was put on the video camera, and the microphone was turned off on the audio recorder. The machines, then, in essence, record themselves and not the sites they are situated in. In post-production, to accentuate the white noise element that I postulate is so important to the tape voice phenomenon, the sound playback levels of the tapes will be radically raised so that whatever natural hiss is present on the tape stock will be accentuated. Also, in accordance with the tape voice researcher's observation that the "spirit" voices are generally faster than normal, the tapes will be slowed down by %50. As I said before these altered tapes will be played back at the Pompidou as if they are live feeds from the sites they document. This attempt at "naturalizing" the electronic effects applied to them should be easily recognizable as façade. Anomalies found in the tapes will be treated analogously to the "voices" found in Raudive-style recordings. They will be foregrounded through editing and looping. In this way, they will be made to function as "DJ mixes" and used as a dance music soundtrack for another video documenting people dancing at a disco. This tape will be presented as a live feed as well. The fact that the dancer's movements bear little relationship to the soundtrack should be enough to reveal the constructed nature of this "document."
Lyall Watson, the author of Super Nature, states
that a tape recording always seems to pick up more background
noise than there is in a real-life situation13. This is true.
We are programmed in such a way as to screen out as much extraneous
information as possible, otherwise we would not be able to deal
with the amount of external stimuli that bombards us constantly.
A tape recorder does much the same thing that putting a seashell,
or a simple tube, up to our ear does it makes us aware of
the amount of white noise that surrounds us continuously. Much
of the technology of spiritualism is designed to introduce this
white noise, as John Lilly describes it, into our perceptual range.
Many early spiritualist electronic devices took as their starting
point the medium's speaking trumpet, listening tube, or cabinet.
These were all simple tools meant to amplify the paranormal voices
supposedly channeled through the medium. Used as enclosures for
electronic amplification or recording, these objects produced
an effect similar to that of the seashell they accentuated
the white noise. With this project, I want to play with the historical,
political, and aesthetic discussions that color the reception
of this noise. In focusing upon the movement of this noise from
the bracket of supernatural research into that of pop music we
will, hopefully, find something interesting to say about the historical
roots of, and contemporary politics of, present-day Electronica.
I used tapes made in the Raudive manner in performances such as
Spirit Voices (1978). I returned again to them later, in
the Nineties, for a project done for the Do It exhibition
organized by curator Hans-Ulrich Obrist. Do It is a traveling
exhibition in which artist's works are reconstructed in various
institutions by local volunteers via an instruction manual. My
project consists of instructions for the production of a Raudive-style
spirit voice tape that is to be played back in a disco environment.
Very few people have followed the instructions precisely, but
then that's probably the point of Obrist's curatorial exercise.
I now have quite a large collection of these tapes. In 1998 I
did a performance at the Santa Monica Museum of Art where I mixed
these tapes live, somewhat in the manner of a DJ. This present
collaboration with Scanner is an outgrowth of this work.
A visit to a 19th Century medium was very much a theatrical experience. One would watch the medium to detect shifts in body language or voice that could be attributed to the controlling spirit. One would be on the lookout for trickery relative to the appearance of ghostly apparitions or disembodied voices. This is similar to watching a play or magic show, where truthfulness of portrayal and naturalness of stage effect are always under scrutiny. The relationship of the listener to a tape by Raudive is more akin to listening to a record album. Unlike the façade of theater, the audio recording is presumed to have some kind of one-to-one relationship to an original. This is true even in the case of recordings consisting of multi-channel compilations of various tracks where the original sources are hard to decipher. The audiophile is aware that there is an immense difference between the experience of a live concert and a recording of it, and the manner in which this difference is attended to is how the quality of a recording is determined. This is very much an aesthetic interpretation. The same attention, relative to quality, is applied to the playback mechanism itself. A worn-out record needle, a punctured speaker, inflects the recording with its own stamp, and this distortion of source is considered a negative quality. In listening to a tape by Raudive, one is hyper-conscious of the fact that the distortion of the recording process is the primary experience. This distortion is much louder than the "voices" buried within it. This is so much the case that one is compelled to question whether there are voices there at all; they might only be projective audio hallucinations induced in the listener by the general uninflected nature of the white noise. The detection of voices in the tape hiss could be considered analogous to the recognition of imagery in Rorschach blots.
This project refers overtly to the tape experiments conducted by Friedrich Jürgenson, a Swedish filmmaker and artist, and, somewhat later, Dr. Constantin Raudive, a Latvian psychologist living in Germany. These experiments grew out of the discovery, in the late Fifties, of "voices" buried in field recordings Jürgenson made of bird song. As these experiments progressed, microphone recording was given up in favor of recording from radio receivers set to non-broadcast areas of white noise. Another researcher, Attila von Szalay, has made similar tapes with no signal entering the recorder at all. He simply held the end of a wire jacked into the recorder so that his body acted as a "microphone." (Since the early Forties, von Szalay, an American, has been trying to record the mysterious voices that he hears, first on a record cutter, then on an early wire recorder.) These recordings sound, basically, like amplified white noise, and must be listened to very carefully to discover the "voices" buried within them. The voices on these tapes are said to consist of snippets of phrases, in various languages, and at different speeds. All of these particular researchers concluded that these voices were those of the dead. The tape voice phenomenon came to wide public attention with the publication of Raudive's book Breakthrough in 1971.
The project that Robin Rimbaud (AKA Scanner) and I have proposed for the Sonic Process exhibition consists of a series of ambient audio and video recordings made at various sites in Paris. These recordings will be presented on video monitors at the Centre Georges Pompidou as if they are live feeds from external locations. On a projection screen we will present another "live feed," from a disco, showing people dancing to "mixes" of the sounds we have collected. Later, we will do a live musical concert utilizing these same tapes. The pose of presenting the tapes as live video feeds is meant to accentuate the "reality" of the information being presented and to propose that the museum setting is an improper one for the experience of our artwork.
The experiments of Jürgenson and Raudive
are part of a long spiritualist history of attempts at communication
with the dead. What differentiates the likes of Jürgenson
and Raudive from their 19th Century spiritualist predecessors
is that the human "medium," the person who acts as conduit
for the voice of the departed spirit, has been replaced with an
electronic device. As soon as electronic communication devices
were invented, the same technical principles were applied to spirit
communication. Plans exist, attributed to Thomas Edison, for
a "telephone" to communicate with the dead. He is known
to have been working on such a device in the Twenties7. This
is only one of many examples of spiritualist electronic devices
produced in the Twentieth Century. Obviously, one important reason
for this shift to an electronic medium is an attempt to eradicate
the subjective presence of the human intermediate. An unforeseen
by-product of this shift to an electronic "medium" is
the introduction of a new aesthetic element derived from the electronic
gear itself. I would argue that this electronic spiritualist tradition
is one of the roots of late Modernist electronic music. The following
quotation from From Beyond, an H.P. Lovecraft horror story
from 1920, already exhibits an appreciation for the musicality
of electronic equipment, and one that, by virtue of the machine's
supernatural purpose, colors the sound with the mysterious aura
of the exotic.
". . . below the crowning cluster of glass bulbs. The
usual sputtering began, turned to a whine, and terminated in a
drone so soft as to suggest a return to silence."8 This
description of the sounds emitted by a machine designed for extra-sensorial
contact with unknown dimensions could easily be descriptive of
current ambient music.
Mike Kelley, 2001
14 This quote by Deleuze sounds as if it was
written specifically to elucidate the aesthetics of much contemporary
sampler-based music: "To desire consists of this: to make
cuts, to let certain contrary flows run, to take samplings of
the flows, to cut the chains that are wedded to the flows. This
whole system of the unconscious or of desire which lets flow,
which cuts, which lets move, this system of the unconscious, contrary
to what traditional psychoanalysis believes, means nothing. There
is no meaning, no interpretation to be given, no significance."
"Capitalism and Schizophrenia: Gilles Deleuze and Felix Guattari
interviewed by Vittorio Marchetti" (1972), in Felix Guattari,
Chaosophy (New York, Semiotext[e], 1995), p. 76.
15 Clark Smith and Ann Strader, "Friedrich Jurgenson and
the Voices of the Dead", in Frank Edwards, Strange Fate
(New York, Paperback Library, Inc., 1963), p. 11.
16 R.A. Cass quoted in ibid., Voices from the Tapes, p.
17 "The Buful Peoples came out with a horrible number called
"Here Me Is." Seems the infant son of Buful Bradly
would hide himself behind a sofa or under a desk and pop out saying
"Here me is" and that gave him the idea. The stage
is an empty room and then the Buful Peoples start popping out
in baby faces saying "Here Me Is" and shooting the audience
with projection guns. Thousands of fans went mad, put on diapers
and rushed through the streets shitting and pissing themselves
as they screamed out: "HERE ME IS" "HERE ME IS"
"HERE ME IS." The board of Health issued a powerfully
worded warning relative to "the dangers to health mental
moral and physical posed by the hideous practice of baby-talking
or still worse baby-singing adults." William S. Burroughs,
(1968), in Daniel Odier, The Job: Interviews with William S.
Burroughs (New York: Penguin Books, 1974), p. 215.
4 William Burroughs, "the invisible generation" (1966),
included as an appendix to The ticket that exploded. (New
York, Grove Press, 1967) pp. 205-217
5 William Burroughs, "It Belongs to the Cucumbers" (undated),
in The Adding Machine: Selected Essays (new York, Grove
Press, 1967) pp. 52-59
6 ibid., "It Belongs to the Cucumbers" p. 59
25 For example, such exhibitions as Sound at the Los Angeles
Institute of Contemporary Art and P.S.1, Institute for Art and
Urban Resources, Long Island City, NY in 1979; and Soundings,
at the Neuberger Museum at the State University of New York at
Purchase in 1981.
26 Warhol produced the first Velvet Underground album, did the
cover artwork for their first two albums, and included them in
his multimedia show The Exploding Plastic Inevitable.
27 See Simon Frith and Howard Horne, Art into Pop (New
York and London, Routeledge, 1987), for a history of the influence
of the art school, and avant-garde aesthetics, on post-war pop
18 My two primary sources for the history and discourses surrounding
"Techno" were: Ulf Poschardt, DJ Culture, trans.
Shaun Whiteside (London: Quartet Books Limited, 1998); originally
published in Hamburg, Germany in 1995 by Rogner & Bernhard
GmbH & Co. Verlags KG.; and Simon Reynolds, Generation
Ecstasy (New York: Routledge, 1999).
19 ibid., Generation Ecstasy, p.4
20 ibid., DJ Culture, p. 283
21 John Cage's naturalistic sentiments are exhibited in the following
quote: "'One must be disinterested, accept that a sound is
a sound and a man is a man, give up illusions about ideas of order,
expressions of sentiment, and all the rest of our inherited claptrap.'
'The highest purpose is to have no purpose at all. This puts
one in accord with nature, in her manner of operation.'"
John Cage quoted in Marshall McLuhan and Quentin Fiore, The
Medium is the Massage: An Inventory of Effects (New York,
Bantam Books Inc., 1967) p. 119.
22 This quote from a book chronicling the San Francisco hippie
scene contains language that is remarkably contemporary: "While
it is rare for a hippie to acknowledge that his way of life has
any theoretical sources, at least one name, that of Marshall McLuhan,
crops up frequently. It is from McLuhan that the Haight-Ashbury
gets its cybernetic rhetoric, its concept of industrial pastoralism,
its admiration of tribal life, its sense of human behavior as
explained by game theory, its loyalty to art forms that require
"total involvement." From McLuhan, too, the Haight-Ashbury
gets its justification for the hope that, come the cybernetic
revolution, all men will be artists." Leonard Wolf, ed.,
Introduction to Voices from the Love Generation (Boston:
Little, Brown and Company, 1968), p. xxix
23 ibid., DJ Culture. P. 369
12 In fact, most of the sites that were recorded for this project
were chosen from two tourist guide books of Paris: Francois Caradec
and Jean-Robert Masson, Guide de Paris Mystérieux (Paris,
Editions Tchou, 1985); and Judi Culbertson and Tom Randall, Permanent
Parisians: An Illustrated, Biographical Guide to the Cemeteries
of Paris (London, Robson Books, 1991)
24 Karen Jacobson, ed., Let's Entertain, Exhibition
Catalogue, (Minneapolis: Walker Art Center, 2000)
11 Vladimir Gavreau, "Infrasound", originally published
in Science Journal, Vol. 4, No. 1, January 1968, reprinted
in Amok Journal: Sensurround Edition (Los Angeles, Amok,
1995), pp. 379-389
9 John C. Lilly, M.D., Programming and Metaprogramming in the
Human Biocomputer (New York, The Julian Press, Inc., 1972),
p. 76
10 ibid., Programming and Metaprogramming in the Human Biocomputer,
p. 76
13 Lyall Watson, Supernature: A Natural History of the Supernatural,
(New York, Bantam, 1974) p. 69
1 For information on the history of the tape voice phenomenon
see: Peter Bander, Voices from the Tapes: Recordings from the
Other World (New York, Drake Publishers Inc., 1973); Suzy
Smith, Voices of the Dead? (New York, Signet, 1977); D.
Scott Rogo and Raymond Bayliss, Phone Calls from the Dead
(Englewood Cliffs NJ, Prentice-Hall, Inc., 1979)
2 ibid., Voices of the Dead?, p. 50
3 Konstantin Raudive, Breakthrough: An Amazing Experiment in
Electronic Communication with the Dead (New York, Taplinger
Publishing Company, 1971)
7 ibid., Phone Calls from the Dead, pp. 141-142
8 H. P. Lovecraft, "From Beyond" (1920), in The Lurking
Fear and Other Stories, (New York, Ballantine Books, 1975),
p. 61