text:
Now put yourself in the shoes of a 40-year-old diagnosed as schizophrenic, living in this same facility, dependent on a health care system you can't even fully understand. Your burnt-out relatives rarely visit you, your gray-haired neighbors across the hallway hardly leave their room, and your depressed, mentally ill roommate gave up on life by jumping from a balcony. Sometimes the wrong drugs are given to the wrong people, and sometimes, with chronic understaffing, medications aren't given out at all.
A nightmare indeed, but far from an exaggeration. Such conditions are a reality for many people stuck in some of Miami-Dade's woefully neglected, sometimes unlicensed assisted-living facilities (or ALFs). Although the elderly and the mentally ill have very different needs in terms of care, if they are poor, there's a good chance they'll be thrown together in one of about 160 places that are licensed to house such a diverse population. Even high-end assisted-living facilities that admit only seniors may not always provide the best of care. In this county there is a grand total of one person responsible for training all the administrators who run assisted-living facilities; only three inspectors assigned by the Agency for Health Care Administration (AHCA) make sure codes are enforced and the people in the approximately 9400 licensed beds in the county's ALFs are treated properly. According to Bruce Middlebrooks, who works for AHCA media relations, ALFs are not �required� by law to report how many people are living in each home at any given time. (Compared with other counties in Florida, Miami-Dade has the fewest number of inspectors assigned to assisted-living facilities.)
And these are just the licensed homes.
Unlicensed ALFs, experts and law enforcement say, have proliferated because of the shortage of affordable beds in licensed facilities. The underground network of ALFs is as vast as the number of legitimate homes for seniors and the mentally ill. �There are just as many unlicensed homes as there are licensed ALFs in this county, if not more,� says Det. Mary Walters from the Miami-Dade Police Department's elderly-exploitation unit. Douglas Adkins, chairman of the Florida Center for Assisted Living, a lobbying group that represents assisted-living facilities throughout the state, says dollar signs are driving the rise of unlicensed facilities. �It's more profitable to operate an unlicensed facility than it is to play by the rules,� says Adkins, who also owns an assisted-care home in Hilliard County that houses only mentally ill residents.
Since no agency monitors unlicensed facilities, neglect, abuse, and fraud are commonplace. In September City of Miami police officers charged 73-year-old Eva Avila with running an unlicensed home on SW 23rd Street. While conducting a surprise sweep of Golden House, police discovered eighteen elderly women living in bedrooms the size of walk-in closets. There was no air conditioning, and some rooms had no windows. The house was protected by burglar bars but lacked a fire escape; there were no licensed staff members on the premises. Avila told police she was just an old woman taking care of the people living in her home.
Only when a crisis erupts do residents complain to authorities, or anonymous tipsters report a case to an abuse hotline and make such places fall under authorities' radars.
A closer look at both the licensed and unlicensed ALFs and at AHCA investigations over the past three years reveals the deplorable state of many of those institutions set up to care for those who most need it.
The Pioneer Adult Residential Facility at 2166 SW Fourteenth Terr. is a legally run assisted-care home. It's licensed by AHCA and monitored by other public agencies and volunteer groups such as the Department of Children and Families (DCF) and the Long-Term Care Ombudsman program. Yet records kept by AHCA from as recently as this year show that the Pioneer is plagued with problems.
In December 1999 AHCA inspectors discovered that medicines were kept unlocked in a cardboard box, medical charts were incomplete, and some residents were either taking medicines without prescriptions or not taking medicines they were supposed to. One resident was taking Glipizide to treat diabetes, even though doctors had stopped prescribing it. The same resident was receiving another drug called Zestril every day without a physician's order. There also was no address or telephone number for the resident's health care provider on file at the Pioneer. When AHCA inspectors interviewed the Pioneer's assistant manager, Aida Leyva, she admitted not knowing who the resident's primary physician was. Another resident was prescribed insulin shots, but there was no record of the resident receiving them.


text:
It took Simon Faithfull 3 years to be granted permission to sink a boat off the Isle of Portland, a few km south of Weymouth, in Dorset, England.
What might sound like an ecological abomination is actually the start of a process that will create a new eco-system beneath the sea: an artificial reef. The sunken boat will provide a hard surface to which algae and invertebrates adhere, providing food for fish. The artist bought the boat off eBay for 75 pounds. It was called Brioney Victoria and had been rotting for decade at a Canvey Island yard. He emptied it, added a concrete wheelhouse to make it look like a working boat and then stripped it of anything that could potentially be harmful. Once ready, the small fishing vessel was towed out to sea. Faithfull set it alight, opened the seacocks, let water into the boat and dove off as it started sinking.
Five cameras were mounted on board to record the boat's descent and they are still monitoring its transformation, transmitting images via a dedicated website and relaying them to exhibitions. The first one is at Fabrica, a former chapel turned art gallery in Brighton. The show, which is part of the Brighton Photo Biennial, will later move to Calais and Caen. In the Brighton gallery, a big overhead screen show the boat smoking and very slowly sinking beneath the waves. A series of monitors at ground level broadcast the images from the drowned boat.
Faithfull was interested in investigating how an ordinary object at the end of its existence is given a new, almost eternal life. Like some of the artist's previous works, REEF documents the plight of a camera exposed to extreme elements or sent on a journey from which they might never come back. In 2003, for example, Faithfull sent a video camera attached to a weather balloon into the stratosphere. Simon Faithfull Interview for REEF Project
Simon Faithfull will be giving a talk at Lighthouse on Tue 21 Oct 7- 8.15pm. And if you miss the evening, check out REEF at Fabrica in Brigton as part of the Brighton Photo Biennial. The show is open until 23 November 2014. Also part of the Biennial: Amore e piombo: The Photography of extremes in 1970s Italy. |
Notes and video from the keynote that science writer and paleontologist Richard Fortey gave at the Age of Wonder festival in Eindhoven a few weeks ago.
The paleontologist's talk was titled Four billion years of life on earth: what should it teach mankind? It was my favourite moment in a festival that impressed me with the way it mixed disciplines, old technologies and innovation, science fiction and pure science, reflections about the ecological-humans and artistic experiments. Like most people who had a chance to be there, i do hope we'll get to live more "ages of wonder." But i digress. Fortey talked about Darwin and how his theories have been misinterpreted and misapplied to justify the practices of some capitalist business models. It started with his unconventional (that was his word) ideas about the history of life on earth and ended with comments on the soft drink industry. But here is the official blurb: Fortey believes that the natural progress of evolution is always towards greater richness, and that this is the way our planet is meant to be when Darwinian evolution is allowed to play out naturally. Mistaken ideas about Darwinism have contributed to a view of human life that diminishes rather than enhances richness, particularly in the Weltanschauung of market capitalism.
The video of his talk is below but since i had already typed my notes from Fortey's presentation before the video was uploaded, i thought i'd just leave them on this page in case you're interested in checking out some links. Besides, my pictures of dinosaurs are way nicer than his. Age of Wonder - Keynote Richard Fortey from Baltan Laboratories on Vimeo. For most of his working life Richard Fortey was employed in the Natural History Museum in London. His research has long focused on trilobites, a fossil group of extinct arthropods (joint legged animals) that were around for at least 250 million years. These marine creatures present the first really well preserved eyes in the fossil record . They evolved into all sorts of ecological niches and are a paradigm in miniature for evolution as a whole. (cf his book Trilobite! Eyewitness to Evolution) Charles Darwin's seminal work on evolutionary biology served as a backdrop of Fortey's presentation.
The full title of Darwin's book was On the Origin of Species by Means of Natural Selection, or the Preservation of Favoured Races in the Struggle for Life but its meaning and essence has often been replaced in popular imagination by the punchier formula "the survival of the fittest". That wasn't Darwin's phrase. It was introduced in a text book about biology by Herbert Spencer 5 years after the publication of the Origin of Species but it was adopted as an instant description of how evolution works. In some ways this simplification has had some unfortunate consequences. For example, it leads to the idea of progression, with each stage being an advance on and eliminating the previous one. Referring to the previous evening's talk about Super Intelligence, Fortey said that if we followed this Survival of the Fittest eationale then the supercomputers, which will soon equal then surpass and eventually make obsolete human intelligence, are the next step in this logical progression. The first part of his talk took us on a whirlwind tour of the history of life to illustrate progression.
The Stromatolite photos is a snapshot of life 2.5 billion years ago. Life existed before that. We know that at least by 3.5 billion years ago, living cells were already reproducing. We can find them as fossils but they are very rare and the ones we find from 2.5 billion years ago look very much like these stromatolites. Some of the fossils look like living blue green algae. It's very hard to tell the differences in some cases between the fossils and the ones still living. Stromatolites are very simple organisms but they have one important property for the history of the planet: they photosynthesise, they exhale oxygen, making life on earth possible for us. When life first appeared on Earth, the planet was very unwelcoming to life. Its atmosphere had lots of carbon dioxide and probably also poisonous gases and nitrogen. It had very little oxygen, if any. It's the activity over billions of years of these algae, these blue green bacteria that transformed the atmosphere into something that animals could subsequently breathe. Some of the very early organisms that existed before that and would this die in the presence of oxygen are still with us, living in crevices around the world. They never went away but the oxygen-loving organisms took over. We can fast-forward to when organisms with organized nuclei appeared. And then to about 1.3 billion years ago when the first sexually differentiated organisms are found in the fossil record. Once you differentiate the sexes, you get more possibilities of cross-breeding and more possibilities of variations and inherited variations which obviously ups the whole evolutionary stakes. So far, we've been talking about progression, even in quite a simple way. About 540 million years ago we arrive at the base of the Cambrian period and that's when trilobites appear in the fossil record. Trilobites are far more complicated organisms that anything we've seen before. Trilobites themselves are no more, they died out about 250 000 million years ago. These were animals with hard parts, they had the first toughened exoskeletons. We found trilobites with bite marks on them which brings us to another step in this history of the evolution of complexity as these marks show there were predators around of the time. Most of the earlier organisms were minutes. Trilobites can fit comfortably into the palm of a man's hand. Which means that at the base of the Cambrian animals got large, they are distinctly animals and some of them got hard parts, skeletons. Alongside the trilobites were other fossils. For example the Burgess shale in Canada which didn't have hard parts but was soft-bodied. Soft bodied organisms are harder to preserve. Aysheaia, for example, was one of these soft bodied Cambrian organisms and it is clearly related to the still living velvet worm.
In fact, most of the living of the largest groups of the animals that we know today had their first representatives in the Cambrian period. Around 542 million years ago, took place the so-called Cambrian explosion which saw evolution work very fast and produce designs which are still with us today. Life so far was fully marine but it eventually found its way onto land. Of course, each of these evolutions made for a new ecology and that's progression two.
The ancestors of nowadays' Liverworts left water and crawled over the surface of wet mud. Their green pads were photosynthesizing and releasing more oxygen into the atmosphere and as that happened it made it more suitable for animals to follow them onto the land. Now when you go onto land, you open up other possibilities for evolution, which gives way to a new eco-system. The next stage were organisms moving upwards (to get more light and thus take over your neighbours.) These animals and plants are not just fossils, they are still with us so the first qualification to the idea of progression is that when organisms evolve to the next stage, they don't die out, they are still with us, they have a niche that enables them to survive. The simple idea of progression of organism giving rise to another which outcompetes and eventually replaces it and so on is not an adequate description of what is happening in the world. Live moves on but the history is retained.
Fortey further explored this idea in his book Survivors: The Animals and Plants that Time has Left Behind. The next stage is to support that photosynthesizing column and carry it upwards to make a tree. The animals shortly followed the plants. The first ones were tiny insect relatives and then creatures that eat insects and ultimately our first distant ancestors, the first quadrupeds who came from their fishy relatives and set foot onto land. One of these fishy relatives is still living today: it's the Australian lungfish.
This lungfish is recognized by both zoologist and DNA studies as a close relative to our other relative that came out from the sea onto land. Some time during the Devonian period more than 400 million years ago, it came out onto land. Until recently, paleontologists were looking for a 'missing link', for the fossil of a fishy type of creature with a fin that looked like a hand. They eventually found this missing link. It's the Tiktaalik, a creature with a complex series of bones bones in the feet, half way between a fin and a hand. The early creatures that came to land actually had 6 or 7 digits, not 5.
We now have an ecological structure that you might recognize today: prey, predators, low and tall plants, etc. So far, it all sounds rather linear. Fast forward to the age of the dinosaurs, the terrestrial animals continue to evolve and get larger. The botanical situation at the time was similar to today's except that there were no flowering plants. Some of those dinosaurs were covered in small feathers, even tyranosaurus rex had fuzzy feathers. One group of these dinosaurs went on to give rise to the birds which evolved together with and from the dinosaurs but didn't die out with them. After the extinction of the dinosaurs, small insect-eating mammals gave life to large herbivorous & carnivorous mammals that preyed on them. e.g. bison, a survivor from the last Ice Age.
The final step is an animal that is a mammal that has consciousness and high intelligence. And so we have a rather linear progression that goes from the first cell to the intelligent human being. Could the next stage be the supercomputer that takes the brain element further into its next stage? Maybe... but that wouldn't be an adequate description of what evolution really does. However, it not simply an upward story. The history of life has been punctuated by mass extinctions when hundreds, sometimes millions of species became extinct within a short period of time. The so-called K-T event, for example, brought about the demise of the dinosaurs and many other organisms. But there were other mass extinctions. One of them at least took place at the end of the Permian period, and it was even more extreme. Survival then might have been lottery or maybe the surviving species had some quality that you didn't now you possessed but came useful when crisis arose and got you through. There was an element of serendipity in the organism that passed through. The K-T event took out dinosaurs and other organisms in the sea. It reset life and gave the mammals a chance to evolve into the forms we have today.
Throughout the history of life, brain power did increase in general. Metabolic rate also increased between the reptiles and the mammals. There is thus a progressive aspect in spite of these interruptions. The biggest interruption was the end of the Permian period (about 250 million years ago) when all the continents were united and the ocean went seriously anoxic. There was a violent eruption of volcanic gas in what is now Siberia. It produced the biggest extinction the world has seen. 90% of species probably disappeared. e.g. the ammonites. These extinction events reset the clock and give survivors the chance to re-evolve, to regenerate ecologies. Every time a mass extinction has intervened, evolution has filled up the gap afterwards, often with a very rapid period of evolution where the ecology reasserts itself. It is a very neglected fact about the history of life. A couple of examples: the coral reef which is often taken as a paradigm for biologically varied communities. The reef habitat goes back past 4 mass extinctions. At each stage, the reefs died out completely, but shortly afterwards they re-evolved which means that evolution rapidly fills all the niches. Another example is the woodland found in the south of England (and elsewhere in the world) with trees, plants and ferns. This particular structure has evolved from the coal forests of the Carboniferous period more than 300 million years ago that ultimately produced coal deposits. The structure of those forest is not so different from the ones we have today and it is extremely species-rich but not as species rich as today's tropical forest, the richest habitat on earth. You could replicate his argument with most of the major habitats on earth: they are very rich in species and after an extinction event, they 'restock' and become rich in species again. Now how does that not seem to fit in the account of the survival of the fittest? if one species is particularly good, it outcompetes the other so you would expect much more of a one species takes all situation but when natural evolution is allowed to play out, it goes for extremely species rich environment. Each of these extinction events allows life to replay itself in a sense and it replays itself always towards biodiversity and large numbers of species, not the dominance of one or two. The end product of evolution as it really works is thus a huge, incomparable diversity of organisms on the planet.
Scientists tend to avoid imputing human or moral values to their work. Fortey, however, added moral value to his ideas by saying that biodiversity is the way the world is supposed to be and not the dominance of one or two species. Some people say that we are now in a period when we are decimating the biodiversity of the planet, we are putting species extinct very fast or at least reducing their numbers to almost zoological garden proportions. Fortey's feeling as a biologist is that this is morally wrong. Extinction does happen naturally but if we can say as a precept that the state of nature as it should be is one that maximizes its richness, then you have a moral ground for saying what we are doing to the planet is wrong. The right state of the world is a rich one and we are going against it. Geerat J. Vermeij, in his book Evolution and Escalation. An Ecological History of Life pointed out that much of this richness is generated by antagonism between prey species and the predators. The prey evolves by developing new techniques to defend itself. Summary of richness and its implications. What does richness mean? We humans are just another species and perhaps our human society should also regard richness as a desirable end. The misapplication of Darwinism or when the 'survival of the fittest' is misapplied in the wrong situation (the 'winner takes all' justification): The Market is just another example of Darwinism in action. These days in the UK we keep hearing statements describing the Market as if it were a Darwinistic phenomenon. Margaret Thatcher talking about market forces said 'there is no alternative.' Even the corporate business model for the market uses the language of natural selection. Trawling through the newspapers, Fortey found example of this: we must adapt or die, we mustn't be dinosaurs, competition is threatening our market niche, it's a jungle out there, there will be a Starbucks on ever street corner, etc.
How did it get there? The model in the business man's mind is something like what has happened to our squirrel population. The South of England used to be inhabited by a population of red squirrels. Then came 'the American invader', the grey squirrel. It is clever, more aggressive, and brings with it a nasty disease. It is a much more successful animal. This kind of model is "the model takes all" model which lies behind this interpretation of the Darwinian process as applied to a lot of human activity. For Fortey, this is a violation of the principle of richness. The good state is one of proliferation of many product and places to make life as rich as possible. The end of product of the capitalism is nearly always very similar to the case of the grey squirrel: you get a reduction in richness. In capitalism, however, you often end up with a duopoly of two companies with very similar products that have eaten up other companies and then have to sell one another on superficial differences. Coca-cola bottles from around the world present subtle differences that reflect the local brands that the Coca-cola corporation has replaced over the years. If you look at the whole Pepsi vs Coca Cola line of products, you will find that these mega soft drink companies offer some one to one correspondences. For example, sprite and seven up are virtually identical. The main difference is the amount they spend in advertising. The wine industry is the opposite. It's the coral reef of the supermarket. There are infinite varieties of wines to choose from. Many were produced by small business. These are species actively evolving, which adds to richness. Fortey's idea wasn't about anti-capitalism but about how capitalism could also result in creativeness, innovation, variety. Does this have any use? 7 billion people on Earth, that's too many and if we need to feed them with shrinking resources, then how are we going to build super computers to take us to the stars? Is it too Utopian? Almost certainly yes.
Previous posts about the festival: "Volta", the oversized voltaic pile, Age of Wonder: Superintelligence and existential risks, Tree Antenna: using trees for radio transmission. There are more images on flickr and videos on Vimeo. |
The new episode of #A.I.L - artists in laboratories, the weekly radio programme about art and science i present on Resonance104.4fm, London's favourite radio art station, is aired tomorrow Wednesday afternoon at 4pm. My guest will be artist and 'videosmith' Sam Meech whose work explores the role of analogue technologies in a digital landscape, and the potential to fuse the two in production, projection and performance. I discovered Sam's work in Liverpool a few weeks ago, it was part of Time & Motion: Redefining Working Life, an exhibition at FACT that explores how the working day has evolved from the industrial revolution to the digital age. Sam Meech has hung over the gallery a banner which translates into a knitting design the working hours patterns of people active in the 'creative industry' and they are, as you suspect, radically (depressingly??) different from the traditional 8 hour shift. On Wednesday afternoon we will thus talk about knitting machines & digital images, punchcards, knitted Muybridge horse animation, musical 'textiles experiment' and open source swan pedalo.
Sam is also a co-director of Re-Dock - a not-for-profit arts organisation, developing projects that explore ways in which communities relate to digital media, ideas and public space. The radio show will be aired this Wednesday 19 February at 16:00, London time. Early risers can catch the repeat next Tuesday at 6.30 am. If you don't live in London, you can listen to the online stream or wait till we upload the episodes on soundcloud one day.
Aspect: V21: A Good Place to Stop! The title of this issue of the dvd-magazine is literal: this is the final stop for a publication that, in 10 years & 26 DVDs, has shown, promoted, curated, archived and put into context the works of over 200 artists working in new or experimental media. While i understand and respect the editors' decision, i'm going to miss Aspect. I liked it a lot, you see. While any artwork benefits from being seen 'in the flesh' rather than on the pages of a magazine, time-based works usually need the addition of sound and video to be better appreciated. ASPECT: The Chronicle of New Media Art gave the public the possibility to enjoy an artwork at their own pace: each work is introduced by a brief statement from the artist, it is then shown in its totality both as it would be in any art gallery but also in a version that shows the same video with optional audio commentary by a curator, theorist or educator who discusses the background and meaning of the piece. Aspect: V21: A Good Place to Stop presents 8 time-based works that explore the concept of endings. Either literally or metaphorically.
Alicia Eggert and Alexander Reben's Pulse Machine deals with the ultimate ending: death. Both the death of human beings and the one of technologies that have become obsolete. This electromechanical sculpture was 'born' in Nashville, Tennessee on 2 June 2012. It has been programmed to have the average human lifespan of babies born in Tennessee on that same day: approximately 78 years. The kick drum beats its heartbeat (at 60 beats per minute), and the mechanical counter displays the number of heartbeats remaining in its lifetime. An internal, battery-operated clock keeps track of the passing time when the sculpture is unplugged. The sculpture will die once the counter reaches zero. Pilvi Takala, Real Snow White (video excerpt) Pilvi Takala's Real Snow White is by far the most charming and absurd work in the selection. The young and pretty Finnish artist arrives at Eurodisney in Paris dressed as White Snow. Soon children want a photo and autographs from her. But her adventure will end before she can even pass the gates of the entertainment resort. Takala is asked by a security guard not to enter because the 'real' Snow White is already inside. That could create confusion. Besides, what would happen if the 'fake' Snow White does 'something bad'? The conversations between the artist and members of the security team sounds laughable. Unless you know about Disney's thirst for trademark and its application pending with the US Patent and Trademark Office for the name "Snow White", which would cover all live and recorded movie, television, radio, stage, computer, Internet, news, and photographic entertainment uses, except literature works of fiction and nonfiction. There are 6 other works to discover inside the new issue. Grab yours here! Previously: Magazine review: ASPECT - The Chronicle of New Media Art. |
I've managed to keep it under control so far but i've got quite an obsession with the work of Marcel Dzama. The world he creates mixes childhood nostalgia, violence, sex and history (without necessarily knocking you down with historical references) in the most sinister and seducing way.
Luckily for Londoners, the David Zwirner gallery has just opened a show about Dzama's latest work: Puppets, Pawns, and Prophets. The main protagonists are helpfully listed in the title. Part of the exhibition centers on his 2011 film A Game of Chess, with props, preparatory drawings and the final short film. The characters dance across the checkered board, wearing papier-mâché costumes and masks. The works is influenced by Bauhaus artist Oskar Schlemmer whose Triadic Ballet from 1922 included puppet-like costumes, and mask-wearing figures dancing across a checkered surface. More generally, the inspiration for the work is the early twentieth-century avant-garde who drew analogies between chess (with its balance between improvisation and predetermination) and artistic practice. The video shown at David Zwirner, however, restages some of the footage of A Game of Chess and turns it into Sister Squares, splitting the screen in four. The result is even more confusing and fascinating than the original film. The filming and the creation of the costumes took place in Guadalajara, Mexico, and the influence of local culture (cue to splendid Mariachi trumpeting and sombrero-ing the video) infiltrate the work.
But the video i couldn't get my eyes off is The Infidels. This time the puppet-like chess figures go to war against stockinged female "terrorists," AK-47 in hand. It's violent, joyful, enigmatic and sexy. I don't want to sound overly enthusiastic but this is probably the most sublime video i've ever seen.... (The quality of the video is not great but i think it should give you an idea.)
It's not in the gallery but check out the music video that Dzama directed together with Patrick Daughters for the band Department of Eagles: Screened on monitors facing the street: Marcel Dzama, Death Disco Dance And since we're on a video roll, check out this short interview that TateShots did with the artist 4 years ago: Back to what's on view in the gallery. With no comment:
I really loved that video. Please, go and see the show.
Marcel Dzama. Puppets, Pawns, and Prophets is open until 11 May at David Zwirner gallery in London. Previously: Even the Ghost of the Past. |
A few weeks ago, i was back in Gijón for the opening of Elastic Reality at the Laboral Art Center. The show looks at how artists are representing, commenting on and reacting to the shift in our understanding of the world brought about by technical innovations and in particular by our permanent state of 'connectedness.' I'll write with more details about the exhibition in the coming days but right now, i wanted to bring the spotlight on a work i found particularly impressive and thought-provoking. In Tarnac. Le chaos et la grâce, Joachim Olender explores a police and judicial blunder that hit France in November 2008 when a group of policemen wearing black balaclavas stormed into the small village of Tarnac and arrested a group of people who were later accused of being far-left terrorists plotting to overthrow the state.
Known as the Tarnac Nine, these people were in particular accused of incidents of vandalism on France's high-speed railway lines, which caused delays but no casualties. The case was characterized by a lack of proof against the 'terrorists'. The whole case against them was built on two things. The first was that the 'ringleader' Julien Coupat and his girlfriend had allegedly been seen by police near a train line that was later vandalised. The second one was an anonymous tract against capitalism and modern society titled The Coming Insurrection which the police believed was authored by Coupat. Joachim Olender's explores the affair through a set of a video-installation and an animaiton film. In one room, three screens hanging side by side show the images that the artist took on the 'scenes of the crime' and these images are pretty unspectacular: empty landscapes, desolate roads, farms in Tarnac, railways and dirty snow. A small room contains the second part of the installation: an animation film charting the various episodes of the affair, from the arrest to a discussion in the French Parliament. In the animation, the Tarnac Nine are wearing masks, they never utter a word and move quietly.
I found the project very moving. The story of the Tarnac Nine was obviously gripping, especially as i discovered it right when i was watching the final episodes of the TV series Spiral which was also dealing with social revolutions, acts of sabotages and the far-left in its various guises. But the way the artist dealt with the issue was also clever: he set the pace, exposed what have been called 'the facts' but let us draw our own conclusions. There's an air of mystery, an ambiguity that kept me glued to the installation's screens. That's why i wanted to interview the artist and in case you'd rather read his answers in original language, you can scroll down and read Joachim's answers in french. Hi Joachim! Why did you decide to explore the Tarnac affair? Why this particular story? The first image i recall evokes an American blockbuster. The headline of Libération on December 3, 2003 was Tarnac, des terroristes vraiment? ("Tarnac, are they really terrorists?"). You see men wearing black balaclavas storming into a village. There were talks of terrorism everywhere so i assumed they were terrorists. Later on, I realized they were cops. But i found the confusion striking and it stayed with me ever since. I starter collecting all the articles i could get my hands on. There was something peculiar that bothered me in this affair, I just didn't know what it was exactly. But my intuition told me that I needed to dig deeper into the story. Time passed, I worked on other projects and I came back to it in the Summer of 2011. I was stricken by the unresolved issue, the dark stain right in the middle of the photo, the one that conceals a crucial element, the one that prevents the case to be closed and that builds up a myth instead. Everything brought me back to a fiction, a story that needed to be told in order to expose its absurdity. I had the feeling that there was material, a breeding ground for reflection but above all, there was a dimension i could not grasp, a dimension that would not be grasped. The more i delved, the more obvious it was to me that the investigation was futile. It wasn't that the truth (the legal truth, the truth of the facts) couldn't be proved. To me, the issue was elsewhere. There were elements in the story that prevented me from moving on and that gradually made their roots into my projects, to the point of becoming its very core. Like a trick, an ambush that would become the making and the re-making of the affair. And of my film.
Can you tell us about the material you used to research, document, prepare the installation? Did you meet some of the protagonists? Use mostly information found in mainstream media? The issue of the sources is probably the one that matters the most to me. In 2008, a few months before the arrest of these young people in Tarnac, a very engaged philosophical and political essay titled "L'insurrection qui vient" (The Coming Insurrection) authored by an invisible collective. People in power got scared by that book and decreed that the authors were young "anarcho-autonomous" people from Tarnac. They pointed to links between extracts from the book and the sabotage of TGV (high-speed train) lines and attempted to claim that these acts of sabotage were in fact acts of terrorism. In other words, the book was a bomb and its authors were terrorists. There were also plenty of press articles about the affair, many of them were published in Mediapart. I was reading everything i could get my hands on. I remember one article in particular: Pourquoi l'affaire de Tarnac nous concerne tous ("Why the Tarnac Affair matters to all of us.") It was written by Edwy Plenel (the President of Mediapart) on April 25, 2009. He explains with great clarity (a rare occurrence in this affair) that the issue with the Tarnac affair was the violation of vital democratic principles and that it should matter to each of us, even if and especially if we didn't agree with the ideas brought forward with the main protagonists. That was precisely what needed to be told. No matter what they were thinking, what they had written and even no matter what they had done, as long as their guilt had not been proven, they were entitled to the presumption of innocence. Strangely enough, what was important to me what not so much to figure out whether they were guilty or not. But the problem is that once the presumption of innocence is violated, it's too late and those in power have won because in people's minds, these guys are guilty. I later got in touch with David Dufresne, a former journalist who had followed the Tarnac Affair for Mediapart. At the time, in November 2011, he was finishing his book "Tarnac, Magasin général" (Tarnac, General Store.) I wrote him a long email, i wanted to submit my twisted vision to someone who had a good understanding of the affair. I needed to know whether i was completely mistaken or not. Everything was quite confusing at the time. And that's probably this chaos that i found so compelling. I found it totally unreal. Reading Dufresne's book taught me a lot about the affair. At the start of the affair, in late 2008, i read the texts and essays authored by the Tiqqun collective but often attributed to the Invisible Committee, the authors of The Coming Insurrection. I didn't want to interview the protagonists and enforce their desire of discretion. But i wrote them, to say that i was coming to Tarnac and that I would have liked to meet them. They confirmed my intuition by answering that they'd rather remain in the shadow. While i was there, i met one of the defendants. We said we'd meet again to talk. But then it snowed so much, it was so cold. I never saw her again. That's it for the sources. I should add that, although I was originally trained as a lawyer, i became an artist. Unlike the lawyer or the journalist who follows an affair, i can chose to feed exclusively on confusions, incoherence, gaps, cracks and on my own intuition. Instead of using what appears, i exploit what doesn't appear. Since nothing was clear in this affair, i decided to produce my own archives. That's why the virtual film is a document like any other document, although it has been built from scratch. It reveals the deception as much as it conveys the essence of the affair: the reconstitution. My film and installation became secondary sources. So while i was revealing the deception, i was also contributing to it and keeping the myth alive. Another thing: i wrote a scenario, based on 'real facts.' And i say 'real facts' because that is where the impossibility of telling the story started. Facts are inherently real but, in the Tarnac affair, every single element seemed to be debatable. To the point that my documentary project was, right from the start, distorted. Nipped in the bud. So this impossibility was what i worked on. No evidence, no trace, nothing. Just books. And that's fundamental, the main source used by the government, the one they regarded as 'evidence' was a book. Joachim Olender, Tarnac Now i'm also curious about the form that the installation takes. First, there's a 3 screen installation showing images you shot on location. And in an adjacent room, video game images chart the whole affair in complete silence, with members of the Tarnac Nine wearing masks. Why did you chose to show explore the subject this way? Why are the protagonists silent? Why using both videos of the location and virtual images? I wanted to fragment. The double installation sets a kind of mirror. I wanted to create an off-camera, separate the points of view. Each film is the counterpart of the other one. On the one hand, there's what appears to be real. On the other one, the virtual. Whichever reality we choose to see remains amputated. It's as if neither of the videos was sufficient to tell the story but the only thing that could account for this was the double installation itself, its fragmentation, the division between the materials: the real and the virtual. The working process was laborious. Each step, which had to fit into the project, acted as a basis for the following stages. I went shooting in Tarnac and Dhuisy (the location of the sabotage) with my cameraman and the editor who, because i couldn't afford to hire a sound engineer, had accepted to undertake the sound part as well. The idea was to make a "movie without a trace." I wanted to show the location of an affair that had shaken France. The places were obviously empty... The words of the accused had to be superposed to these images. I used extracts from the essays that were attributed to them as well as the superb interview with Julien Coupat (the main suspect in the Tarnac Affair) that was published in Le Monde on 26 May 2009, while he was still in prison where he would be detained for 6 months. Adding a voice-over was a way to confront the viewer. Because of the chaos, it was important to articulate certain things. You can always beat around the bush but the only things that seemed 'real' to me were their own words. They had to be heard. If you stay put and listen to the words, you are bound to ask yourself questions, it's a 'matter of sensitivity' (dixit Julien Coupat.) The making of the video game was the most important part. During five months, i worked in Garry's mod, a video game software, with two 3D animators. Using my footage and the images from Google Earth, we made a reconstitution of Tarnac and Dhuisy. I wanted to make a film you didn't know how to enter. Just like in Waltz with Bashir by Ari Folman, i felt that only animation could convey the real. The ideal suspect would be in place but nothing would happen. No action nor crime. Nothing. Only the direction would suggest the action. Twisting the video game universe, diverting it, hijacking the bugs, the constraints, the impossibility to manipulate the characters as one would wish, all these elements build up a kind of strangeness. The peculiarity is that it was a real "virtual shooting." I placed the cameras inside the sets built with my graphic designers and I filmed the models of the characters. I worked shot by shot rather than frame by frame. My approach is thus, on this aspect, closer to cinema than to animation. The idea of the mask came out of the anonymity of the protagonists. It was part of their ideology. The Invisible Committee wrote in The Coming Insurrection that "Being invisible is to be exposed.' They hardly ever accepted any interview. They were distrustful. Even when he was released from prison, Julien Coupat was in the truck of a car, to avoid meeting the press. Appearing in the case meant entering the political arena and the 'society of the spectacle.' The masks made them anonymous as much as it made them suspects. Besides, masks turned them into characters of the Commedia dell'arte. They had ended up in the spotlight and despite themselves, they kept the myth alive. Finally, it was also a way to play with the codes of the video game. The fact that everyone, the heroes and the villains, were wearing masks added to the general confusion in the film. I wasn't convinced of their innocence but it didn't matter to me anymore. However, i was convinced that the law had been violated. Even if the book had displeased those in power, that didn't make these guys terrorists. So I staged the abnormality, the fear, the figure of the guilty one, with a certain dose of irony so that viewers would ask themselves "But are they really guilty?" "What have they done exactly?" The silence of the protagonists, just like the mask, plays on the ambiguity. It erases any trace of culpability while raising suspicion at the same time. Besides, this reflects the "truth" quite accurately since the defendants have almost never expressed themselves in this affair. That might have driven the government crazy. And that's probably what 'saved' them. But the voice-over of the triptych was devised to echo the animation film. Even if they don't have a face, their words are present, their texts haunt the film.
While working on this interview, i've been reading about the Tarnac Affair and trying to figure out where the "Tarnac Nine" are nowadays, if they have been cleared of the accusations, etc. But i couldn't find any satisfying answer. Information seems to stop in 2010. Has the State and the police formally apologized for the unjustified accusations? And what does the general public think? Do they still believe that the protagonists are guilty or is it now clear to everyone that there was little to no evidence to sustain the accusations? I don't know the current legal situation of the defendants but i do know that these young people from Tarnac have long been (up to the time i was making the film at least) forbidden to leave the country and under judicial supervision. The situation is moving gradually. In November 2011, after the Tarnac Nine had accused the counter-terrorism police to have fabricated a counterfeit statement, the prosecutor of Nanterre opened an investigation for "forgery and use of forgery of public documents." In March 2012, the counter-terrorism examining magistrate, Thierry Fragnoli, is removed from the case. And on 24 October 2012 (four years after the start of the affair!), the newspaper Le Canard Enchaîné revealed that the credit card of Yildune Lévy, girlfriend and later on wife of Julien Coupat, had been used in Paris in the night of the 7th to the 8th of November 2008. Thus far away from Dhuisy, where the sabotage took place. The bank statement reports a withdrawal of 40 euros in Pigalle at 2.44am. Two days later, the Versailles Court of Appeal ordered the hearing of 18 policemen who had participated to the surveillance operation of the members of the Tarnac group. And, on 12 November 2012, Julien Coupat finally broke his silence and accepted to answer questions from journalists. "From now on, the only way we can disappear is by appearing," he explained. I'm not aware whether justice has pronounced a dismissal of the case. As regards public opinion, i think it has evolved over the course of the affair. For the first three years, at the exception of Mediapart, only very little alternative information was published. I believe that unfortunately, when the press follows those in power and violates the presumption of innocence, people engulf themselves in that direction too. Libération, a newspaper widely regarded as 'left-wing' headlined "L'Ultra gauche déraille" (The Far-Left goes off the rails), they later changed their position but by then it was too late. I think that many people believed they were guilty. Especially because, as I explained earlier, the defendants themselves contributed to the mystery. By refusing to appear, for example. Since the launch of the book "Tarnac, Magasin Général", the election of François Hollande and the latest legal elements of the case, the police blunder seems to be confirmed. But I doubt that the majority of the people really care. As i said earlier, before choosing art, i studied law. It is clear that the question of the criminalization of 'terrorism' has concerned me a lot. Let's remember that the 'terrorists' of 1940 were regarded as hero after the Liberation. But you know, everything is connected. In a case like this one, you cannot chose on side and leave another one aside. The rest is just a matter of communication. I think that the viewer understands better when they do they own reasoning. They have to be free to understand. There's this really interesting essay written in 2009 by Alberto Toscano for The Guardian. He argues the Tarnac Nine has demonstrated that we are losing "the political literacy, and the legal capacity, to distinguish between sabotage and terrorism, vandalism and mass murder, as every oppositional alternative to the status quo is swallowed up under the umbrella of terrorism. " Was your work commenting on this kind of issue? Or did you want spectators to draw their own conclusion? I wanted to highlight the absurdity of an affair that was built upon the publishing of a book. The criminalization of thought is a nightmare beyond understanding. It is pure literature (or, as you wrote, it is now worthy of a tv series.) It is Kafka's The Trial, George Orwell's 1984, it is science fiction. In Minority Report, Philip K. Dick imagines a society that hunts 'pre-crime', the crime before it has even been committed. Only fiction could make people reflect. Paradoxically, people regard it as a documentary work. But i wrote a screenplay based on facts that were entirely reinterpreted. What else was I supposed to do? What is real, apart from the books that i read and the mounting of a case no one knows anything about? The absence of traces or the way to create archive using fiction: that's the whole issue. What can you see in virtual reconstructions, in a video game? A piece of evidence? An archive? Thanks Joachim! Credits: scenario and direction of the animation film: Joachim Olender. Production: Le Fresnoy + Solilok asbl. 3D animation: Thomas Jorion and Alexis Fradier. Editing of the image: Yannick Leroy. Sound editing: Yann-Elie Gorans. Mixing: Simon Apostolou ; Calibration: Baptiste Evrard ------------ Why did you decide to explore the Tarnac affair? Why this particular story? La première image dont je me souviens est celle d'un blockbuster américain. Le Libé du 3 décembre 2008 titrait "Tarnac, des terroristes vraiment?". On voit des mecs avec des cagoules noires qui débarquent dans un village. On parlait de terrorisme à tout bout de champ, j'ai donc pensé que c'était les terroristes. Ensuite, j'ai compris que c'était les flics. Mais cette confusion m'a marqué, et elle m'est restée. Je me suis mis à collecter tous les articles que je trouvais. Il y avait quelque chose de particulier qui me préoccupait dans cette affaire, sans savoir quoi au juste, mais j'avais l'intuition qu'il y avait quelque chose à creuser. J'ai laissé passer du temps, j'ai travaillé sur d'autres projets et j'y suis revenu à l'été 2011. Ce qui m'avait interpellé, c'était la question non résolue, la tache sombre en plein milieu de la photo, celle qui dissimule un élément crucial, empêchant toute résolution de l'affaire et construisant, à la place, un mythe. Tout me ramenait sans cesse à une fiction, une histoire qu'il fallait raconter afin d'en relater l'absurde. J'avais la sensation qu'il y avait là une matière, un terreau de réflexion mais surtout il y avait une dimension qui m'échappait, qui était là comme pour m'échapper. Plus je m'y plongeais, plus l'impossibilité m'apparaissait évidente et rendait à mes yeux l'enquête vaine. Non qu'il fut impossible de prouver la vérité (je veux dire juridique, des faits) mais la question à mes yeux n'était pas là. Il y avait comme des éléments qui m'empêchaient d'avancer et qui progressivement s'enracinaient dans mon projet, au point d'en devenir le noyau même. Comme une supercherie, un guet-apens qui serait la constitution et la re-constitution même de l'affaire. Et de mon film. Can you tell us about the material you used to research, document, prepare the installation? Did you meet some of the protagonists? Use mostly information found in mainstream media? La question des sources est sans doute l'une des plus importantes à mes yeux. Il y a eu en 2008, quelques mois avant l'arrestation des jeunes de Tarnac, la publication d'un essai de philosophie politique très engagé intitulé « L'insurrection qui vient » signé par un comité invisible. Les politiques ont pris peur face à ce livre et ont considéré que les auteurs étaient les jeunes « anarcho-autonomes » de Tarnac. Ils ont pointé des liens entre des passages du livre et les sabotages des lignes de TGV et ils ont tenté de qualifier les sabotages d'actes terroristes. Autrement dit, ce livre était une bombe et ses auteurs des terroristes. Il y avait bien sûr les articles de presse sur l'affaire, dont nombreux publiés par Mediapart. Je lisais tout ce que je trouvais. Je me souviens en particulier d'un article d'Edwy Plenel (président de Mediapart) du 25 avril 2009 qui titrait « Pourquoi l'affaire de Tarnac nous concerne tous ». Il y expliquait de manière limpide (ce qui fut rare dans cette affaire) qu'il était question dans l'affaire de Tarnac de violation de principes démocratiques vitaux et combien cela nous concernait tous, même et surtout, si nous ne partagions pas les idées de ceux qu'elle mettait en cause. L'essentiel était dit. Quoi qu'ils aient pu penser ou écrire, et même quoi qu'ils aient pu faire, tant que leur culpabilité n'était pas démontrée, ils avaient droit à la présomption d'innocence. Etrangement, il n'était désormais plus question pour moi de chercher à savoir s'ils étaient coupables. Mais le problème, c'est qu'une fois que la présomption d'innocence est bafouée, c'est trop tard, les politiques ont gagné, parce que dans l'esprit des gens, ils sont coupables. Ensuite, je suis entré en contact avec David Dufresne, ancien journaliste chez Mediapart qui avait couvert l'affaire de Tarnac. Au moment où je lui ai écrit, en novembre 2011, il achevait son livre « Tarnac, Magasin général ». Je lui ai écrit un long email afin de confronter ma vision tordue auprès de quelqu'un qui connaissait bien l'affaire. J'avais besoin de savoir si je ne me plantais pas complètement. Il faut dire qu'à l'époque tout était très confus. Et c'est probablement ce chaos qui m'avait attiré. J'y voyais quelque chose de totalement irréel. J'ai donc lu le livre de Dufresne qui m'a beaucoup appris sur l'affaire mais surtout, dès le début de l'affaire fin 2008, j'avais lu les textes et essais du collectif Tiqqun, qu'on attribue généralement au Comité invisible, auteur de « L'insurrection qui vient ». Ça c'est pour mes sources. Je dois préciser que, bien qu'ayant à l'origine une formation de juriste, je suis devenu artiste. Contrairement à l'avocat ou au journaliste qui couvre une affaire, je peux exclusivement me nourrir des confusions, des incohérences, des manques, des failles et de mes intuitions. Plutôt que de me servir de ce qui apparaît, j'exploite ce qui n'apparaît pas. Puisque rien n'était clair dans l'affaire, j'ai décidé de produire mes propres archives. En cela, le film virtuel prend la forme d'un document comme un autre, bien que construit de toute pièce. C'est une manière de révéler la supercherie et, en même temps, je transmets l'essence de l'affaire : la reconstitution. Mon film et mon installation devenaient des sources secondaires. Ainsi tout en la révélant, je contribuais à la supercherie, je faisais exister le mythe. Autre chose : j'ai écrit un scénario, tiré de « faits réels ». Je précise « faits réels » parce que l'impossibilité du récit commençait là. Les faits sont par nature réels mais, dans l'affaire de Tarnac, chaque élément semblait discutable. Le « réel » n'apparaissait jamais de manière évidente. Au point que mon projet documentaire était en quelque sorte déjà faussé, comme tué dans l'œuf. C'est donc là-dessus que je suis mis à travailler, sur cette impossibilité. Pas de preuve, pas de trace, rien. Excepté des livres. Et ça c'est fondamental, la source principale de l'Etat, qu'ils ont considéré comme un élément de « preuve », était un livre. Now i'm also curious about the form that the installation takes. First, there's a 3 screen installation showing images you shot on location. And in an adjacent room, video game images chart the whole affair in complete silence, with members of the Tarnac Nine wearing masks. Why did you chose to show explore the subject this way? Why are the protagonists silent? Why using both videos of the location and virtual images? J'ai voulu fragmenter. Le dispositif double installe une sorte de miroir. Je voulais créer un hors champ, disjoindre les points de vue. Chaque film est le pendant de l'autre. D'un côté ce qui semble être le réel, de l'autre le virtuel. Quelle que soit la réalité que l'on décide de voir, elle reste amputée. C'est comme si aucune des deux vidéos ne suffisaient à raconter l'affaire mais que la seule chose qui pouvait en rendre compte ce serait le dispositif même, sa fragmentation, le partage entre différents matériaux, réel et virtuel. La création du « jeu vidéo » a été la plus importante. Pendant cinq mois, j'ai travaillé dans Garry's mod, un logiciel de jeu vidéo, avec deux animateurs 3D. A partir de mes rushes et d'images tirées de Google Earth, nous avons opéré une reconstitution de Tarnac et Dhuisy. Je voulais réaliser un film qu'on ne sache pas par quel bout saisir. Comme dans « Valse avec Bachir » de Ari Folman, j'avais l'impression qu'il fallait passer par l'animation pour dire le réel. L'idée était de mettre en place le suspect idéal mais que rien ne se passe. Aucune action. Aucun crime. Rien. Seule la mise en scène qui le suggère. Venir tordre l'univers du jeu vidéo, le détourner, s'approprier les bugs, les contraintes successives, les impossibilités de faire faire ce que l'on veut aux personnages, tout cela crée une forme d'étrangeté. La particularité, c'est qu'il s'agit d'un véritable "tournage virtuel". Je pose des caméras dans les décors reconstitués avec mes graphistes et je filme les personnages qu'on a modélisés. Je travaille donc plan par plan et non image par image. Ma démarche est donc, de ce point de vue, plus proche du cinéma que de l'animation. L'idée du masque est née de l'anonymat des protagonistes de l'affaire. Cela faisait partie de leur idéologie : « être visible, c'est être à découvert » écrit le comité invisible dans « L'insurrection qui vient ». IIs n'acceptaient pas, ou très peu, d'interviews. Ils étaient très méfiants. Même en sortant de prison, Julien Coupat est sorti dans le coffre d'une voiture, évitant ainsi les rencontres avec les medias. Apparaître dans l'affaire, c'était rentrer dans le jeu du politique et dans la « société de spectacle ». Les masques, ça les rendait anonymes mais ça les rendait suspects aussi, et puis ça en faisait des acteurs de la Comedia del arte. Ils avaient fini au coeur du spectacle. Malgré eux, ils faisaient vivre le mythe. Et puis, c'était tout simplement une manière de jouer avec les codes du jeu vidéo. Les « bons et les méchants », tous masqués, ça ramenait la confusion générale au sein du film. Je n'étais pas convaincu de leur innocence, mais ça n'avait plus aucune importance pour moi. En revanche, j'étais convaincu que le droit avait été violé. Le livre pouvait déplaire au pouvoir, ça n'en faisait pas des terroristes. Donc j'ai mis en scène l'étrange, la peur, la figure du coupable, avec une certaine ironie, pour que le spectateur s'interroge « mais sont-ils vraiment coupables ? qu'ont-ils fait au juste ? ». Le silence des protagonistes, comme le masque d'ailleurs, joue sur l'ambigüité : il efface toute trace de culpabilité et en même temps accroît la suspicion. D'autre part, c'est assez proche de la « vérité » puisque les inculpés se sont très peu exprimés au sein même de l'affaire. C'est d'ailleurs ce qui a pu rendre les politiques fous. Et c'est sans doute ce qui les a « sauvés »... En revanche, la voix off du triptyque a été pensée en écho au film d'animation. Même sans visage, leur parole est donc présente. Leurs textes hantent le film. While working on this interview, i've been reading about the Tarnac Affair and trying to figure out where the "Tarnac Nine" are nowadays, if they have been cleared of the accusations, etc. But i couldn't find any satisfying answer. Information seems to stop in 2010. Has the State and the police formally apologized for the unjustified accusations? And what does the general public think? Do they still believe that the protagonists are guilty or is it now clear to everyone that there was little to no evidence to sustain the accusations? Je ne connais pas la situation juridique actuelle des inculpés mais je sais que les jeunes de Tarnac ont été longtemps (encore lorsque je réalisais ce projet) interdits de quitter le territoire et sous contrôle judiciaire. Progressivement, on a pu voir quelques évolutions. En novembre 2011, suite à l'accusation par les jeunes de Tarnac de la police antiterroriste d'avoir rédigé un PV mensonger, le parquet de Nanterre a ouvert une information judiciaire pour « faux et usage de faux en écriture publique ». En mars 2012, le juge d'instruction antiterroriste Thierry Fragnoli s'est dessaisi de l'affaire. Et enfin, le 24 octobre 2012 (quatre ans après le début de l'affaire !), le journal Le Canard enchaîné a révélé que la carte bancaire de Yildune Lévy, compagne et depuis lors épouse de Julien Coupat, avait été utilisée à Paris dans la nuit du 7 au 8 novembre 2008, donc loin de Dhuisy, le lieu du sabotage. Un retrait bancaire fait état d'un retrait de 40 euros à Pigalle à 2h44. Deux jours après, la Cour d'appel de Versailles ordonnait l'audition de 18 policiers ayant participé à la surveillance des membres du groupe. Et, le 12 novembre 2012, Julien Coupat a pour la première fois brisé le silence et accepté de répondre aux questions des journalistes. « Désormais, la seule façon de disparaître, c'est d'apparaître" s'expliquait-il. Je n'ai pas connaissance que la justice ait déjà prononcé le non-lieu. There's this really interesting essay written in 2009 by Alberto Toscano for The Guardian. He argues the Tarnac Nine has demonstrated that we are losing "the political literacy, and the legal capacity, to distinguish between sabotage and terrorism, vandalism and mass murder, as every oppositional alternative to the status quo is swallowed up under the umbrella of terrorism. " Was your work commenting on this kind of issue? Or did you want spectators to draw their own conclusion? Comme je l'ai dit plus haut, avant de me tourner vers l'art, j'ai fait des études de droit. Il est évident que la question de la qualification pénale de « terrorisme » m'a beaucoup préoccupé dans cette affaire. Souvenons-nous que les « terroristes » de 40 ont été considérés comme des héros à la Libération. Mais vous savez, tout est lié. Dans une affaire pareille, on ne peut pas prendre une partie et en délaisser une autre. Le reste, c'est une question de « comment transmettre ». Je pense que le spectateur ne comprend jamais aussi bien que quand il fait son propre trajet. Il faut qu'il soit libre de comprendre. J'ai voulu mettre en évidence l'absurdité d'une affaire qui s'est bâtie sur la publication d'un livre. L'incrimination de la pensée est un cauchemar qui échappe à l'entendement. C'est de la pure littérature (ou, comme vous l'écrivez, c'est aujourd'hui digne de séries télévisées). On est dans Le procès de Kafka, dans 1984 de Georges Orwell, on est dans de la science fiction. Dans Minority Report, Philip K. Dick imagine une société où l'on traque le « Précrime », c'est-à-dire avant que le crime ne soit commis. Seule la fiction pouvait faire réfléchir. Et paradoxalement, les gens y voient un documentaire. Pourtant j'ai écrit un scénario à partir de faits totalement réinterprétés. Comment aurais-je pu faire autrement ? Qu'est-ce qui est réel finalement, à part les livres que j'ai lus et le montage d'une affaire dont on ne sait rien ? L'absence de traces ou comment créer une archive avec de la fiction, voilà l'enjeu. Peut-on voir dans des reconstitutions virtuelles, dans un jeu vidéo, un élément de preuve, une archive ? Merci Joachim! Crédits: |

subset: commoncrawl


text:
Miguel - Adorn
Adorn Miguel
Have you heard Miguel's new track Adorn? It dropped on Saturday, February 4th, 2012.
Check out Adorn, the latest from Miguel. The track was released on Saturday, February 4th, 2012. Miguel's chances in this game are improving with each new release, and Adorn is no exception - quite the opposite, in fact. It's a nice addition to the impressive catalogue Miguel has been building over the years. We're definitely anticipating the next move.
Have you heard Miguel's Adorn? If you dig this, visit Miguel's profile for the latest info, news, songs, and mixtapes. Make sure to hit Miguel with a follow and/or like on Facebook and Twitter.
How do you feel about the production here?
Quotable Lyrics
"And baby these fist--uh--will always protect ya... Lady
And this mind, ooh will never neglect you; I'd die baby, Ooooh
And if they stay trying to break us down
But don't let that effect us, noo not me baby
You just gotta let my love
Let my love
Let my love adorn you
Ahh, le-le-le-let it just adorn"


text: -----BEGIN PGP SIGNED MESSAGE----- Hello! I have my m0n0 box connected to an ADSL line using PPPoE. I have an IP from the PPPoE connection which is dynamic, but I also have a block of IPs that are static. I use these using Server NAT and 1-to-1 NATs. However, previously, I used to connect to the PPTP server on the m0n0 box using one of the static IPs. This no longer works now, I'm sure because I don't have the proper rules created. How can I route traffic from the Server NAT IP to the m0n0 box? Thanks! - -- Zach Lowry MTSU, Murfreesboro, TN zach at zachlowry dot net -----BEGIN PGP SIGNATURE----- Version: GnuPG v1.2.4 (Darwin) iQCVAwUBRBHf1klgWWUxLyqhAQFLmQP/Zg8RMeXw84lY5VqOCTVNL+hZhjuqDZdI GKUpOACaejHhRTFyP7DN/cHiKrhoWozwzhxpfjSujL23VObS2AidVy+zn0jJ4+yP tIFn9HBpvVZhQjr3/6590FzBTfFNRsmxoCx9zOQjEc/OTf6OEBYkYMpNNYO2KtVX SZ1mm1IaBR8= =Ityo -----END PGP SIGNATURE----- |


text:
Coppola One-Act Marathon
Established in 1998, the annual Francis Ford Coppola One Act Marathon, named after the UCLA TFT alum and world-renowned filmmaker, pairs TFT graduate film directors with original works from their playwriting counterparts in the Department of Theater and casts outstanding undergraduate and graduate actors from the department as well.
No ticket needed, limited seats available on Rush basis only.
The Coppola One-Act Marathon in the 2012-13 academic year was comprised of two plays:
Fault Line by Nick Johnson
Directed by Paul Reisinger
Sweet Child by Roxie Perkins
Directed by Moana Sherrill
Dashawn Barnes, Nicholas Bell, Savannah Brown, Max Cody Coyne, Fatima Elbashir, Lila Gavares, Chelsea Fryer, Mia Piciucco, Nicholas Rapp and Jor-el Vaasborg
Scenic Design by Yee Eun Nam
Lighting Design by Michael Kozachenko and Noelle Sammour
Costume Design by Christopher Flagstad and Kimberly Forlenza
Sound Design by Renee Reiff
Stage Managers: Vaneh Assadourian and David Pisors


text:
Current Time
Bilbao + Basque Country hotels
The opening of the Guggenheim Museum in 1997 launched a new wave of modern architecture in Bilbao. Most of the hotels built in the city since then have an angular, minimalist aesthetic (although they don't skimp on luxury). There are some older, statelier hotels in the city, too, but even a few of these are redesigning so they're more "contemporary."
The neighboring seaside city of San Sebastián has surprisingly few great hotels for a tourist town. Apart from the handful of high-end lodgings (some of which have seen better days), there are mainly divey pensiones, which have their charms but not many creature comforts. Our recommendations, below, represent the best of the bunch.
Set right on La Concha Beach, this 148-room hotel recalls the San Sebastián of the Belle Époque era, when Spanish royalty made the city its summer...more
This "outstanding hotel" with a glass exterior and wavy central atrium takes inspiration from the Guggenheim, the city's iconic architectural site just across...more
Of the two upscale modern hotels in Bilbao, the Gran Hotel Domine is certainly showier—and it does have amazing views of the Guggenheim. In just about...more
Bilbao's Beaux Arts grande dame sits right on the grand Plaza Moyúa. Ever since 1936, when it was the provisional seat of the regional government...more
Situated just outside Bilbao in the town of Getxo, where the Nervión River meets the sea, Hotel Embarcadero is a 27-room property housed in a stately 1900...more
Set atop a verdant hill 15 miles west of San Sebastián, this country retreat is a seductive reason to leave the Basque city behind. Outside, vineyards...more
This centrally located Bilbao hotel is just a five-minute walk to the Guggenheim (Frank Gehry stayed when he was working on his initial sketches for the...more
Designed in 1912 by the same architect as the Ritz hotels in London and Paris, this ornate hotel caters to those that love old-school pomp and...more
In the heart of the Rioja wine region (about an hour south of Bilbao) this 2006 Frank Gehry-designed hotel has titanium curves that echo those of Bilbao's...more
Hotel Niza offers affordable, no-frills comfort in San Sebastián's most sought-after location overlooking the Concha beach. The 40 guest rooms (18 with a...more


text:
Related LibGuides
Lending Policies for Leavey Library DVDs
- Lending Period:Seven days
- Not renewable
- Check out (in) from: Leavey Library Circulation Desk
- $5 a day for over-due videos
This guide is intended to help people find the many Scandinavian/Nordic language feature films available at the Leavey Library. Danish, Finnish, Norwegian, and Swedish are the major languages included. Films are listed alphabetically under their respective languages and as they are displayed in WorldCat.
This compilation does not include films dubbed into a Scandinavian/Nordic language or where a Scandinavian/Nordic language is not the significant language spoken in a film. Silent films are also excluded.
The Seventh Seal - 1957 (Sweden)
Librarian |
Links: Profile & Guides |


text:
Minster senior linebacker Daniel Gusching earned the Division VI Defensive Player of the Year award in Division VI and Minster head coach Nate Moore was named Division VI's top coach in the Associated Press All-Ohio football team.
Gusching, a 6-foot-3, 217-pound senior outside linebacker, made 89 tackles this season with 11 sacks in 13 games.
Gusching schared the honor with Youngstown Christian's Kaevon Green.
COLDWATER — The common link between Coldwater and Kirtland coming into Friday's Division V state championship game is a team that didn't even make the playoffs this season.
Both teams bowed out of the playoffs the last two seasons at the hands of private school power Youngstown Ursuline. Coldwater lost the last two Division V title game to the Irish. Kirtland fell earlier in the playoffs the last two years to Ursuline.
The two squads meet at Massillon's Paul Brown Tiger Stadium on Friday morning at 11 a.m.
The Evening Leader's Winter Sports Preview is available to view in PDF format.
St. Marys running back D.J. Manning earned second-team All-Ohio honors and St. Marys senior center Austin Rupard was named Special Mention All-Ohio when the Associated Press released its Division III All-Ohio teams on Tuesday afternoon.
The teams are based on the recommendations of a state media panel.
Manning, a senior, rushed for more than 2,000 yards this season — setting the school rushing record and the single-game rushing record against Sidney in the season opener.
The Marion Local at New Knoxville boys basketball game scheduled for Friday, Dec. 16 has been postponed because of the Flyers' run to the state championship football game and Homecoming has been pushed up a week at New Knoxville.
The make-up date for the Marion Local game now set for Tuesday, Jan. 31, with a 6 p.m. junior varsity tip-off.
Homecoming activiies will now be held on Friday, Dec. 9 against Waynesfield-Goshen. That game is a 6:30 p.m. JV tip-off.
MARIA STEIN — Maybe nothing illustrates the next-man-in-line mentality of the Marion Local football program better than Justin Rutschilling, the Flyers' own proverbial rags to riches story.
Just a junior varsity player from a season ago as a junior, Rutschilling worked his way into becoming a first team All-Midwest Athletic Conference player on both offense and defense this fall.
The St. Marys Athletic Department has 205 tickets available for Saturday's boys basketball game at New Knoxville.
On Tuesday, parents of varisty and junior varisty boys basketball players and parent of varsity and junior varsity cheerleaders may pick up a maximum of two tickets at 5:30 p.m. in the high school main office.
On Wednesday season ticket holders may pick up a maximum two tickets starting at 5:30 p.m. in the high school office.
A quartet of Wapakoneta Redskins were named to the Division II All-Ohio football lists, which were released on Monday.
Wapak running back Connor Pickens earned first team All-Ohio honors. Pickens rushed for 1,611 yards this season.
Safety Kevin Kraft and offensive lineman Chris Schwartz were both second teamers.
Linebacker Brendan Wilson took third team honors.
The Divisions III and IV All-Ohio lists will be released on Tuesday afternoon and the Division V and VI lists will be released on Wednesday afternoon.
MINSTER — Minster center Tara Clune scored 19 points and the Wildcat girls basketball team had 11 players get into the scoring column in a 62-20 season-opening victory over Jackson Center on Saturday night.
Clune score all of her 19 points in the second and third quarters — including six baskets in the third to tally 12 of Minster's 18 third-quarter points.
Minster held Jackson Center to four first-half points.
Minster's Kayla Albers added 11 points and Sara Dahlinghaus had 10 points.
FORT RECOVERY —The Fort Recovery girls basketball team picked up a 55-30 win over the St. Marys Roughriders on Saturday night at the Fort Site Gymnasium.
The Indians, playing in their first game since losing to Anna in the Division III state championship game last spring, scored the final seven points of the first quarter and the last nine points in the second quarter.
Kylie Kahlig scored 12 points to lead a balanced Fort Recovery attack. The Indians had nine players get into the scoring column, including 10 points from Olivia Schwieterman.


text: My Brush With an Angel in Ellendale North Dakota By Marc Elliott April 9, 2014 Little did I know there was someone famous living in Ellendale North Dakota. Read More|Comment Category: Articles, Lifestyle, Shared Content Tags: $6000 tip, Abigail Sailors Send to a friend! Share on Facebook Share on Twitter Pin it! Reddit This! Share on Tumblr!


text:
Rory McIlroy holds off Tiger Woods, wins Honda Classic
New No. 1 player in golf
PALM BEACH GARDENS, Fla. (AP) -- Rory McIlroy won the Honda Classic with a performance worthy of the new No. 1 player in golf.
Right when it looked as though McIlroy had no serious challenge Sunday, Tiger Woods put some color into that red shirt with a birdie-eagle finish to shoot 62 and get within one shot of the lead.
McIlroy answered with a birdie, and then made three clutch par saves during a daunting stretch at PGA National. He closed with a 1-under 69 for the victory he needed to move to No. 1 in the world.
He is the 16th player to be atop the world ranking, and at age 22, the second-youngest No. 1 player behind Woods.
Woods had his lowest final round ever and finished two behind, along with Tom Gillis (69).
© 2012 The Associated Press . All rights reserved. This material may not be published, broadcast, rewritten or redistributed. Learn more about our Privacy Policy and Terms of Use .


text:
Quick Shrimp Boil
- Posted by Johanna on December 27, 2005 at 7:37 pm
- Category: Recipes and Food
I often want to have some cooked shrimp around for a salad or quick pasta dinner. Here's a quick way to make some with good flavor.
Combine the following in a large saucepan:
1 cup dry white wine
1 teaspoon dry mustard
sprinkle of red pepper
2 bay leaves
1 sliced lemon
Add water until the pan is 2/3 full and bring to a boil over high heat. Add your shrimp (as many as will comfortably fit in the pot — I usually make 20-24 medium-sized) and cook for 3-4 minutes. Drain and cool them.
Comments Off


text:
Trash to Treasure: 28 Recycled Crafts
Bonus: Get our newsletter & special offers for free. We will not share or sell your email address. View our Privacy Policy
Housewarming Gift Box
By: Melony Bradley
Welcome your new neighbors with a Housewarming Gift Box from Melony Bradley. Nothing says hello quite like recycled gifts. Crafts like this one show you care. Simple recycle corrugated cardboard and use it to construct a miniature house that you can paint.
- Jacqaurd's Neopaque paint
- Neopaque paints
- Recycled corrugated cardboard
- Wool felt
- Beads
- Wire nippers
- 20 gauge beading wire
- Vintage book pages or patterned paper
- I used Jacqaurd's Neopaque paint to paint my houses white. But with the array of colors the paint is available in, you can choose from so many other colors.
- I like Neopaque paints because they are designed to cover dark backgrounds with light application. Neopaque paints brush on smoothly and remain soft and flexible when dry.
- Use recycled corrugated cardboard for the features of the house as well including doors, little flower pots, a chimney, you name it.
- For the flower pots, create little flowers cut from wool felt and centered with beads. First use wire nippers to cut off 3" of 20 gauge beading wire. Then insert one end of the wire into the center of the wire. Thread the wire onto the the wire and create a loop to secure with chain nose pliers.
- Insert your flowers into your cardboard pot. I created a pot and a lid from the recycled cardboard but didn't expose the corrugated layer to create some additional texture.
- Paint the door and pots a color of your choosing, I chose black and then dry brushed with white Neopaque.
- For the windows, decide how large and where you would like them to go on your house, then use a square or rectangular template to cut from the box onto traced lines on the front of the house.
- Back the windows with some recycled vintage book pages and some patterned paper for curtains.
- Stamp a sentiment such as "Welcome to your new home" or "From our house to yours" on white card stock, cut out and glue to the roof.
- Finally I added a few more small touches, including this tiny bunting created from the leftover scraps from a previous project created from Lumiere.
Your Recently Viewed Projects
Love these projects? Get MORE delivered to your Inbox – FREE Click Here!
What's Hot
- 674 Recycled Crafts: Crafting with Recyclable Items
- 25 Easy to Make Water Bottle Crafts
- 19 Things to Do with Old Jeans
- 27 Uses for Toilet Paper Rolls
- Spring Paper Tube Sachet
- Soda Bottle Chandelier Plastic Bottle Craft
- "12 Thrifty Trash to Treasure Crafts" eBook
- 26 Ways to Craft with Egg Cartons
- Recycled CD Coasters
- Prettiest Pink Mason Jar Decorations
Something worth saving?
- SAVE all your favorite crafts
- ADD personal notes
- QUICKLY reference your crafts
Free eBooks
- 12 Thrifty Trash to Treasure Crafts
- 17 Flower Craft Ideas: How To Make Paper Flowers, Easy Fabric Flowers and More
- 18 Crafts with Felt: Simple Craft Ideas, Felt Flowers & More
- 24 Tie-Dye Techniques: Free Tie-Dye Patterns
- 24 Valentine's Day Crafts for Kids: Lovely Kids Crafts Ideas and Projects
- 25 Cool Things to Do with Wine Bottles
- 26 Spring Crafts for Kids
- 41 Valentine's Day Crafts: Valentine's Day Cards, Gifts and More
- Cupid's Handmade Crafts
- Irish for a Day: St. Patrick's Day Craft and Recipe Guide
Our Newest Projects & Articles
- Rainbow Fish Craft Projects For Kids
- Mini Teddy Bear Crochet Pattern
- Vintage Hanker-Chicks Easy Sewing Pattern
- Scrappy Quilt Bracelets Fabric Craft
- Flower Petals Crochet Baby Blanket Pattern
- Learn to Embroider with the Best of Leisure Arts
- Colorful Ladybugs Toilet Paper Roll Craft
- Reworked Rainbow Table DIY Craft Project
- Leisure Arts Book Bundle
- Polyform Sculpey Clay Beginner Pack


text:
Ready to purchase a new washing machine? Appliance repair pros say some newer washing machines actually don't last as long as older models.
Find Top-Rated Salina Discount Appliances
Angie's List helps you hire the best - and avoid the rest!
Discount Appliances to Avoid
Top Rated Discount Appliances
Prevent buyer's remorse with us
- Over 3 million people trust Angie's List to help make the right choice
- Be informed to avoid costly mistakes
- Shop with us to ensure a fair price
- Our complaint resolution team will help if a project goes bad
Over 484 reviews for
Salina Discount Appliances from people just like you.
Over 2 million people trust Angie's List.
- Your Membership Includes:
- Instant access to top rated businesses covering 700+ services
- Our Complaint Resolution Team to help when a project goes bad
- On-the-go access to our iPhone, Android, & iPad apps
Access to trusted reviews, the best Discount Appliances and exclusive discounts!
Real Member Reviews
Memberships allow Angie's List to certify that all reviews are real reviews from real members—no fake, bogus, or anonymous reviews here!Deals
Angie's List is a Community that you'll use time after time. Research who to hire, learn tips and tricks, and consult with your neighborsInstant Community Access
Members can choose from tons of deals and discounts for projects they need to do, like 30% off exterior home painting!Complaint Resolution
If a project goes badly, Angie's List has a complaint resolution team standing by to help you.
Local Articles in Salina
Some believe 'green' appliances really aren't because they break down sooner, while others say the units reduce energy consumption and preserve resources
With droughts plaguing the nation, homeowners need options on ways to reduce water consumption inside the house. Here are some tips on what you can do.
When buying a major appliance like a new dishwasher, a great place to start is to look for the Energy Star label. We've anticipated some questions you may have.
Angie's Answers
Personal opinion but I will not buy another front load washing machine again. They simply do not clean clothes as well as the old agitator style washers do. In the summer when I am hot and sweaty I have to wash shirts at least twice, sometimes up to four times to get the stink out. Also, while they may save water per load washed, they run a lot longer. My old washing machine took about 20 minutes to wash a load of clothes. The front loader takes about an hour. What it saves on water it more than makes up for in electricity I'm sure running three times as long. Our front loader has not leaked but it doesn't do the job for my clothes. Maybe someone sitting in an office all day has fewer problems having to rewash clothes.
As for appliance brand recommendations I have no particular favorites. They all seem to be disposable these days, often costing as much to repair as to replace. Samsung has made some good appliances as of late I've heard a lot of good reviews about from customers. I've got a customer who bought a Kenmore refrigerator when they built the house. The ice maker has gone out and the replacement part isn't any better since it's a known defect according to the appliance repairman they had look at it. It was just past the warranty so they didn't pay for another part to be installed that was going to fail again. Since Kenmore is made by other companies I'm sure they aren't the only one with this problem. We live in a disposable society. I look at how well it works, the warranty and cost and weigh the last two of those after kicking out the ones with bad reviews on that model.
Todd Shell
Todd's Home Services
San Antonio, TX
Depends a lot on your current configuration. Rough numbers, $4-7,000 for the generator including autostart and automatic load transfer circuit box and master breakers (usually all come on the generator).
Installation (with pad already inplace and gas hookup - about $500-1000.
Electrical about $800 minimum, to maybe $2500. The $800 will get you a simple transfer switch installation but if you want some household circuits to run on the generator but others not, depending on how your current wiring is run, can run to $2000 to pull existing circuits to a new panel.
The problem is that all circuits that are going to be on the generator, unless you are planning to carry the entire household load, have to go to a separate circuit breaker panel which is fed off the automatic transfer switch, so they get power from either the power company or the generator, depending on which is providing power at the moment. That means the circuits running off either source have to be disconnected from your current breaker box, extended (commonly) over to the new box, and hooked up. All other circuits stay on your current breaker box, to run only off the public power when it is on. If the generator is large enough capactiy for your entire house load of course it costs more, but this circuit termination point moving is not needed, so electrical work drops way off to basically a connection box with the transfer switch.
A couple of words of advice - pay attention to weather protection, fire barrier between the unit and the house (including issues of overhead decks that can catch fire), automatic fire shutoff/suppression, and trickle charging from house power to generator battery. Also read CAREFULLY your power comopany rules on generator installation (commonly requires their signoff), any code restrictions on generators and noise in your area, and if your insurance rate will go up. (It definitely does if you have a fuel tank, I don't know if it does with natural gas-fired generators.)
Welcome to the world of Google ! Google this search phrase - dual fuel downdraft convection oven range
You will find a number of brands that make dual-fuel ranges with convection oven - Jenn-air of course, and GE, Bosch, Kitchenaid, Maytag, LG, Samsung, Wolf, Frigidaire, Thermador, Viking all sellin the US. Almost all major brands make this a dual-fuel convection oven range - find model(s) you like, then start checking with local vendors to see who sells them locally - the big home improvement box stores and Sears, Best Buy for starts.
However, the bad news - according to an article I found, only Jenn-Air still makes downdraft stovetops, although I did find one blog notation about a person buying a European Viking with downdraft. Basically the fan capability in downdraft ranges is just not enough to capture the odors and grease and steam coming off a cooktop, so the other brands all dripped it and recommend an over-stove powered vent hood. Most downdraft units had about a 1/10HP fan that pulled about 300 cfm - the same as a modern bathroom fan,, when to actually cause a reverse (downward) airflow over a range requires more like 1000 cfm or more causing a downward airflow of about 10-20 mph - which would make for a little private windstorm around your stove. People also found they did not like the reduced oven size to accomodate the fan unit.
Thermador and Dacor and probably others make behind the range vent units that stick up a foot or two and pull some of the fumes from the rangetop, though reviews say their performance is iffy and basically only affects the rear burners.
My recommendation - go with an overhead vent hood and eliminate the greasy buildup and high humidity in the kitchen that go with downdraft ranges - you will also pay about half a much as for a Jenn-Air downdraft unit.
Appliance Sales reviews in Salina
Over time the noises became more frequent and . We called in November 2014 and told him of the problem. gave us a number to call to request a factory repairman. The GE repairman made some adjustments and the noise was somewhat improved but over time became ; so loud you could hear it throughout the entire house.
We called again and he instructed us to call the GE repair service and what to tell them. Second GE repair man arrived and diagnosed the problem as faulty 7"risers. sent their crew and removed the risers and rebalanced the washer and dryer at no cost to us. They also took the defective risers back to the appliance center. From that point on took charge of the issue and worked with GE to secure for us a 100% refund. I'm thankful to for taking ownership of the problem and helping us through the issue. He did all of the paper work and contacted GE for us. A few weeks latter called and said he had a 100% refund for us. We could not be happier with and .
This morning my husband spoke to , the "Service Manager" at the store. His response was that our only option was NOT to have the dishwasher installed. Really? We were NEVER told that this could occur from either the store or the installer. Now we have to incur further expenses to call a plumber to replace the valve they damaged.
I will NEVER recommend Rice Appliances. If you go to in Sarasota or any other appliance store they will meet their competitor's price. We paid an installation fee for each of these- so the service wasn't free.
If you decide to purchase your dishwasher from Rice don't have them install it. Consumers- BEWARE.
So I could go into more detail but the bottom line is that this company doesn't provide you with all of the info when you call unless you ask them lots of specific questions and sounds like they have policies for a bunch of things which aren't made clear. I will say that the manager I spoke with remained professional but seemed unwilling to be flexible to account for misunderstandings and errors in terms of what customers aren't told/aren't given enough info to make sure they are following the companies policies.
All Discount Appliances in Salina, KS
A Full House
Appliance Zone
Cahaba Scapes
DirectBuy of Indianapolis
Horizon Appliance & Electronics
Sears Hometown Dealer
Junction City
Join Angie's List to get the best local reviews in Salina.
- Instant access to reviews for 700+ services
- Exclusive service discounts - up to 70 percent off!
- Top-notch support from our live call center


text:
Narrow Search
Star Party Tableware
Star Centerpieces
A Star Centerpiece will Put a Twinkle in Their Eye
Each star centerpiece creates an out-of-this-world table at your party. Star centerpieces are perfect at your daughter's pop star or American Idol party!
Shimmerin Star Centerpieces
Your Price: $14.99 eachCandelabra Centerpiece
Your Price: $11.99 eachAffair to Remember Centerpiece
Starting at: $2.99 eachStar Centerpieces
Your Price: $29.99 set/63-D Star Centerpieces
Your Price: $29.99 set/6Black and Silver Gleam 'n Shine Centerpiece
Your Price: $4.99 eachStar LED Lights
Your Price: $1.49 eachStar Sparkle Centerpiece
Your Price: $1.99 eachTurning Base System
Your Price: $25.99 eachReflecting Mirror Centerpiece
Your Price: $3.99 eachBlack Glitter 3D Star Centerpiece
Your Price: $6.99 eachHolographic Silver 3D Star Centerpiece
Your Price: $29.99 pkg/6Gold Glitter 3D Star Centerpiece
Your Price: $6.99 eachSilver Glitter 3D Star Centerpiece
Your Price: $6.99 eachGold Star Centerpiece
Your Price: $3.99 eachCelestial Wonders Centerpiece
Your Price: $12.99 eachAwards Night Star Statuette
Your Price: $5.99 eachStar Centerpieces
- Shoot those stars straight into the heavens using star centerpieces such as twinkling celestial centerpieces at your patriotic day party.
- Add some light and a touch of elegance with shimmering star centerpieces.
- Use a star centerpiece table decoration or star centerpiece to show your guests the stars that they really are.
- Fill your ShindigZ cart with all of your star centerpieces and star party supplies for your upcoming party.


text:
Electronics » Computer Interface »uLog 3-Channel Analog DataloggerThe uLog is a tiny analog-voltage logger with a 3.3V TTL serial interface. It uses an Atmel ATtiny24 AVR to sample three analog voltage channels at 50 Hz with 10-bit resolution and stores the data on an AT45DB161D 16 Mbit flash IC, which allows for approximately two hours of logging when running the default firmware. Compare all products in Computer Interface.
File downloads
Log In | Wish Lists | BIG Order Form | Shopping Cart
US toll free: 1-877-7-POLOLU ~
(702) 262-6648 |
Catalog | Forum | Blog | Support | Ordering | Distributors | About | Contact |


text:
Boston, Newton And Belmont/Watertown's Premiere Pilates, Yoga & Healing Arts Center
Transforming Boston Bodies Since 1989
448 Common Street 2nd Floor
(Above The Spirited Gourmet)
Belmont, MA 02478
Click to find our Belmont location on Google Maps. (Or for driving directions.)
Click here to view our real-time class schedule.
30 SESSIONS TO A BRAND NEW BODY! 30 Sessions to a Brand New Body. Each BBP workout is scientifically designed to target problem areas. Need help getting started? Email us and we'll get right back to you.
Tell us a little about yourself…
We look forward to helping you get started!
site design by lisa hazen design & editorial | photography by matthew modoono


text:
- 22 Resorts
- Consistent Snow
- Diverse destinations
- Resorts open before those of many other states
- Home to Vail, Beaver Creek, Copper Mountain
Related Regions: Mt. Hood, Oregon, North America, United States
Check out our infographic on snow conditions across the Western U.S. and Canada to see what resorts have the best snowpack to last the season.More
Get snow reports, forecasts, and conditions for your favorite resorts, mountains and ski areas. Get Started


text:
More about this preview.

Change DPI Base size is 150
Explore Our fabrics
Optional Filters
I'm going to use this fabric to make...
I'm looking for a fabric that is...
Receive our weekly email with news about contests, giveaways and prodution releases.
Email Address
No Thanks
© 2008-2014 Spoonflower Inc


text:
Includes Affordable Weekly Menus Plus Print-and-Go Grocery Lists
BIRMINGHAM, AL (April 24, 2012) – Healthy eating is easier than ever with the new Clean Eating menu option from eMeals.com, a time-saving online meal planning service that simplifies family dinner preparations while also trimming grocery bills as much as 30%. The new plan – one of over 30 available to eMeals subscribers – provides seven days of good-for-you meals featuring fresh meats, produce and seasonal items with no processed foods every week. The average weekly shopping trip will set you back as little as $100, thanks to advance planning and efficient ingredient use.
Delivered online for as little as $5/month, each family-friendly weekly menu includes seven creative dinner entrees with side dishes for four to six servings. Sample dinners from the Clean Eating menu include Greek Chicken Wraps with Spinach Cantaloupe Salad; Pesto Seared Salmon with Lemon Couscous and Herb Roasted Tomatoes; and Spaghetti Bolognese with Roasted Zucchini and Onions – all created by a foodie mom in San Francisco who puts her culinary school degree and interest in 'clean' food to work to feed her own family of six.
The plan also includes:
• Print-and-go grocery lists organized by store sections for easy shopping
• The option to shop at any grocery store in the country
• Easy recipes and instructions for each menu item
"Many people think it costs too much to eat healthy. Our Clean Eating plan shows that it's not only possible but easy when you have the menus and grocery lists prepared for you," said eMeals founder Jane DeLaney. "Instead of sticking a frozen pizza in the oven or stocking your pantry with Hamburger Helper, you can feed your family for as little as $3 per person with the confidence that your kids are eating real food and getting what they need to thrive."
A full week's worth of sample Clean Eating menus can be viewed at http://emeals.com/meal-plans/. eMeals plans to expand the Clean Eating plan to offer menus for two in the near future.
About eMeals.com
eMeals.com has been the market leader in online meal planning since 2003, having provided a simple and affordable dinnertime solution to hundreds of thousands of busy people everywhere. The eMeals team constructs and publishes 50 delicious meal plans and corresponding grocery lists every week based on food style preferences, family size and the current sales at selected grocery stores. Dinner menu plans include classic family meals, clean eating, paleo, simple gourmet, low-fat, portion control, low-carb, Mediterranean, gluten-free, vegetarian, and the natural and organic plan. Add-on breakfast and lunch plans are also available. For more information, please visit www.emeals.com.
Press Contact Information
If you would like more information or to arrange for an interview please contact us.
Copyright 2002-2015, eMeals Inc. The eMeals name and logo is a trademark of eMeals Inc. All Rights Reserved. Terms of Use | Privacy Policy


text:
Ceomadhyapradesh.nic.in Madyha Pradesh (MP) voter id card online registration
• Service: Madhya Pradesh Voter ID Card Online Registration 2013-14
• Number of Assembly Constituency: 231
• Number of Rajya Sabha seats: 11
• Assembly: Madhya Pradesh Vidhan Sabha
• Total Population: 72,597,565 (as per 2011 Census)
• Total Number of Voters: 4.60 Crore
• Chief Electoral Officer (CEO): Shri Jaideep Govind
• E-mail contact: firstname.lastname@example.com, email@example.com
• Joint CEO: Shri S.S. Bansal, Shri B.S. Savner
• Voter ID Online Enrollment: ceomadhyapradesh.nic.in/login_reg.aspx
• Track your application status: ceomadhyapradesh.nic.in/Status.aspx
• Toll Free Number contact service number: 1950
• EPIC means: Electors Photo Identity Cards
• DPL means: Designated Photographic Location
• National voters day: 25 January
• Official Website: ceomadhyapradesh.nic.in
• Government web site:www.mp.gov.in
• List of Election Officers: CEO, Divisional Commissioner, District Election Officer, Dy.District
Election Officer, ERO, Election Supervisors, District SP, Returning officer etc
• MP Election results (previous) of Parliamentary, Assembly:
• Application for EPIC: Form 001)
• List of forms: Form 6, Form 6A, Form 7, Form 8 and Form 8A
• Any issues related to voter list and voter id call on (STD code: 0755)
- Apoorv Jain : 2559612
- Neha Yadav: 2559614
- Amit Soni : 2559615
- Vivek Sarkar : 2559616
- Neeta Sharma: 2559617
Download voter id duplicate: Voter who had original card is lost/destroyed/mutilated. Voter has to mention bio details, EPIC. Fill the form with all details and submit: ceomadhyapradesh.nic.in/dupicatevoterIdeng.pdf
Bharatiya Janata Party (BJP)
Bahujan Samaj Party (BSP)
Communist Party of India (CPI)
Communist Party of India (Marxist) (CPM)
Indian National Congress (INC)
Nationalist Congress Party (NCP)
Rashtriya Janata Dal (RJD)
Samajwadi Party (SP)
Madhya Pradesh Election Commission of India Office Address
Office of The Chief Electoral Officer
Madhya Pradesh Nirvachan Sadan
17, Arera Hills,Bhopal
Madhya Pradesh, India
Ph No: 0755 – 2550488, 2551282, 2571924
Eax No: 0755 – 2555162