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The Queensland police will be using the CSIRO's Zebedee scanner to map crime scenes in 3D.
Two new species of peacock spider have been found in Queensland, Australia -- the colourful Sparklemuffin and the spooky Skeletorus.
An Australian man working 4,000 kilometres from home attended the birth of his child in real-time using virtual reality.
Ultrasound technology could provide a non-invasive way of treating Alzheimer's disease after researchers successfully restore memories to mice.
Police have arrested an Australian man for alleged possession of a number of 3D-printed weapons and enough parts to make four separate handguns, in addition to other charges.
An Australian man has been fined for breaking aviation safety regulations while flying his drone, but while he wasn't caught in the act, the man was busted after posting videos of the flights to YouTube.
State transport regulators in Australia have gone undercover in an attempt to fine UberX drivers for ridesharing, but Uber has thwarted these attempts by blocking their mobile phones from accessing the service.
Playing host to 19 different companies, the Arcade in Melbourne, Australia is dedicated to changing the face of indie game development. Just don't call it an incubator.
The layout of a medieval city underground at the site of Old Sarum has been revealed through the use of non-invasive digital mapping technologies.
Can Google's high-orbit, high-tech balloons provide Internet access to remote areas? The company will conduct its latest Project Loon test above Australia.


text: http://askubuntu.com – I have a samsung series 9 notebook. It only has 128 gb of ssd storage, and I want to be able to use Ubuntu 12.04 on it. Can I install Ubuntu onto a usb? Not to use it for installing onto my computer, but to natively run on it and act like hard drive. The USB is 32gb and if it can be done, how would I go about doing it? Cheers. (HowTos)

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Workshop advice could translate into cash for college
TEMECULA -- New laws, new scholarships, new Internet scams. For parents on the fence over whether to attend their child's college financial aid workshop, Temecula Valley Unified School District educators have a message: It's worth the time and effort.
The annual evening events, which are scheduled for the coming weeks at each of the district's high schools, are typically meant for the families of seniors preparing to graduate and attend college, and could save parents time, headaches and -- maybe most importantly -- cash, they said.
Similar workshops are also set to be conducted at other high schools across Southwest County. They are organized and hosted by high school officials, and often are led by the campus's educators and counselors, as well as guest speakers from area colleges.
At the basic level, they are useful in that they help parents and students understand how to best fill out the Free Application for Federal Student Aid document, a key form that helps financial aid officers determine whether students are eligible for money and how much.
"It's not confusing, but it's like sitting down to do your taxes," Chaparral High School counselor Debbie Searl said. "Anyone who can read can do it, but could you use some pointers? Absolutely."
What's more, changes to a few laws this year will be discussed at the workshops, said Great Oak High School teacher Megan Ellsworth.
"Small mistakes filling out the FAFSA can mean lots of lost money for families," she said.
Other tidbits at the workshops will include talks on new government loan amounts and new grants, she said. For example, the federal Stafford loan amounts have increased this year, she said.
Also, two new government grants, an academic competitiveness grant rewarding incoming freshmen who have completed a rigorous high school program with up to $1,300, as well as a National Science and Mathematics Access to Retain Talent grant, were created this year, she said.
The math and science grant is offered to students for their third and fourth academic years of college majoring in physical, life or computer sciences, math, technology, engineering or certain foreign languages, Ellsworth said.
And for parents who are small-business owners, they are no longer required to report the company's net worth on the FAFSA if the business is family-owned and controlled and has fewer than 100 full-time employees, she said.
The workshops also touch on how to fill out the form, and who is responsible for what, if a student is living in a mixed family, that is one in which the mother or the father is a stepparent, Searl said.
The agendas also tend to include information on Internet scams to watch for and tips for parents whose children are planning to attend a city college, she said, adding the student can still get cash.
"If a company asks for money to get families financial aid, it is a scam," Ellsworth said.
Even families that have been saving money to send their children to college, or who are well-off financially, should attend the workshops, she said.


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Michael Bartley is joined by Shawn Robinson and Wes Lyons to talk about what they are doing to try and make a difference in the lives of at risk youth.
Host Michael Bartley is joined by Lisa Scales, CEO of the Greater Pittsburgh Community Food Bank and Ken Regal, Executive Director of Just Harvest to discuss the issue of food insecurity in our region and what their organizations, with the help of the community, are doing to help fight hunger.
KDKA anchor Stacy Smith sits down for a conversation on his career of award-winning coverage, special reports and bringing the news to Pittsburghers for 30 years ... watch
Stacy Smith
KDKA anchor Stacy Smith sits down for ...
Bill Hillgrove has had a front-row seat for some of Pittsburgh's greatest moments in sport history ... watch
Bill Hillgrove
Bill Hillgrove has had a front-row seat ...
He's one of the most respected sports broadcasters in the region ... watch
Stan Savran
He's one of the most respected sports ...
For more than a decade, the Delta Foundation of Pittsburgh has been a driving force in making this town a more livable city for Pittsburgh's gay community ... watch
Gary Van Horn, Jr.
For more than a decade, the Delta ...


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Torbreck Run Rig 2007
Region: Australia » Barossa Valley
Winery: Torbreck Vintners
Color: Red
Varietal: Syrah
Similar Wines
Torbreck Vintners:
Torbreck Vintners was founded by David Powell in 1994. The roots go back to 1992 when Dave, who was then working at Rockford, began to discover and clean up a few sections of dry-grown old vines. Near lifeless, he nurtured them back to health and was rewarded with small parcels of fruit that he made into wine. Dave was able to secure a contract for the supply of grapes from a run-down but an... Read more
Torbreck Vintners was founded by David Powell in 1994. The roots go back to 1992 when Dave, who was then working at Rockford, began to discover and clean up a few sections of dry-grown old vines. Near lifeless, he nurtured them back to health and was rewarded with small parcels of fruit that he made into wine. Dave was able to secure a contract for the supply of grapes from a run-down but ancient Shiraz vineyard. He managed to raise enough money to share-farm the vineyard, a practice which involves paying the owner a percentage of the market rate for his grapes in return for totally managing the vineyard. This share-farming principle has enabled Torbreck to use fruit from the very best vineyards in the Barossa Valley, which is home to some of the most precious old vines in the world. In 1995 Dave crushed three tonnes of grapes and fermented them into wine in a shed on his 12-hectare Marananga property. He named his wine 'Torbreck' after a forest in Scotland where he worked as a lumberjack. The Torbreck endeavour is based around the classic Barossa Valley varietals of Shiraz, Grenache and Mataro, and a love for the wines of France's Rhone Valley. Dave loves the intense, rich, Rhone-like flavours that come from old-vines and the fact that Shiraz and Grenache are the mainstay red grapes of the Northern and Southern Rhone often draws comparison. Torbreck doesn't only make red wines though, we have Viognier, Marsanne and Roussanne planted on our winery block which we have blended to make a white wine for the last 2 years. In July 2002 the historic Hillside property was acquired by Torbreck. Situated in Lyndoch, it is one of the original Barossa properties. Vast and picturesque it contains some magnificent old and ancient vineyards that will further our source of premium quality fruit. The Hillside property contains a wonderful native ecosystem that supports a myriad of flora and fauna. Dave hopes to turn it into a nature reserve in the future that will be open to visits. In June 2003 at the finish of vintage, we opened our cellar-door for sales. An original settlers hut, it has been lovingly restored and provides a personal touch and some Barossa warmth whilst you taste our wines. It is open daily and we welcome any visits. In the middle of 2008 a long term vision of Dave Powell's will reach completion. A new winery and administration facility will have been completed on land acquired from a next door neighbour. This will enable our grapes to be made into wine using the best availble equipment and then bottled 'on the estate' using our own bottling line. Finally we have complete control of all aspects of production which will see a new benchmark of wine quality established by us in the Barossa Valley. Read less
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Good morning all,
I'm having some issues with floating point math, and have gotten totally lost in ".to_f"'s, "*100"'s and ".0"'s!
I was hoping someone could help me with my specific problem, and also explain exactly why their solution works so that I understand this for next time.
My program needs to do two things:
- Sum a list of decimals, determine if they sum to exactly 1.0
- Determine a difference between 1.0 and a sum of numbers - set the value of a variable to the exact difference to make the sum equal 1.0.
For example:
[0.28, 0.55, 0.17] -> should sum to 1.0, however I keep getting 1.xxxxxx. I am implementing the sum in the following fashion:
sum = array.inject(0.0){|sum,x| sum+ (x*100)} / 100
The reason I need this functionality is that I'm reading in a set of decimals that come from excel. They are not 100% precise (they are lacking some decimal points) so the sum usually comes out of 0.999999xxxxx or 1.000xxxxx. For example, I will get values like the following:
To fix this, I am ok taking the sum of the first n-1 numbers, and then changing the final number slightly so that all of the numbers together sum to 1.0 (must meet validation using the equation above, or whatever I end up with). I'm currently implementing this as follows:
sum = 0.0
array.each do |item|
sum += item * 100.0
array[i] = (100 - sum.round)/100.0
I know I could do this with inject, but was trying to play with it to see what works. I think this is generally working (from inspecting the output), but it doesn't always meet the validation sum above. So if need be I can adjust this one as well. Note that I only need two decimal precision in these numbers - i.e. 0.56 not 0.5623225. I can either round them down at time of presentation, or during this calculation... It doesn't matter to me.
Thank you VERY MUCH for your help!


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Vote for Your Favorite Picture in the Cutie Patootie Contest: Halloween Edition
We've got a lot of cute kids in the first-ever Mix 93-1 + Stork Vision Cutie Patootie Contest: Halloween Edition. Now, we need your votes!
We've got a lot of cute kids in the first-ever Mix 93-1 + Stork Vision Cutie Patootie Contest: Halloween Edition. Now, we need your votes!
Mix 93-1 and Stork Vision are in the Halloween spirit with the Halloween edition of the Mix 93-1 Cutie Patootie series! Your cute little ghost, goblin, princess, super hero or whatever they decide to be could win a prize package valued at over $600!
A woman has died while riding a roller coaster at Six Flags Over Texas in Arlington.
Before summer runs out on you, Mix 93-1 and Fenton Honda of Longview want you to have some summer fun! You could be playing in the sun and soaking up the rays at Splash Kingdom Water Park in Canton, Hurricane Harbor in Arlington or at a Schlitterbahn Water Park in New Braunfels of Galveston!
We've known for a couple of months now that Justin Timberlake has more in store for us via The 20/20 Experience. Yesterday he teased his new single "Take Back the Night" with a short video, but blurred the release date. With love for JT, I dug deep into my photo archives for a Throwback Thursday photo of my attempt to score tickets to see *NSYNC's 'No Strings Attached Tour.'
Mix 93-1 and Six Flags Over Texas are giving you the chance to win a pair of tickets so you can jump on the newest and tallest thrill ride at Six Flags, The Texas Skyscreamer!
ABC managed to siphon a little bit of time away from promoting 'The Taste' (it's 'The Voice' for cooking -- we get it) to bring us the latest episode of 'The Bachelor' on Monday night. When all was done and kissed, Kacie, Kristy and Taryn were left without roses.
Everyone knows about the ball that drops in New York City's Times Square to mark the start of a new calendar year. What you may not realize, though, is that other cities around the nation have similar traditions that entertain and enthrall their local communities. Here's a look at some of the odder traditions that will be taking place in America tonight:
With the excitement of the passing of Propositions one and two in Tyler and the stocking of holiday flavored beers, the thought of the frothy cold beverage is on a lot of people's minds. Lucky for us Texans, our state offers a variety of great homeland brewers. We can support our state's economy and enjoy a cold one at the same time. So, which one is your favorite Texas beer?
Congratulations to all of our VIP loyalty club winners! This list of VIP winners includes station-specific winners, as well as Townsquare Media Tyler-Longview (101.5 KNUE, Mix 93-1, Classic Rock 96
Harry Styles of One Direction looks like a pretty brave guy. He's loaded with tattoos, he's courageous enough to date Taylor Swift knowing her track record -- and now, there's footage of him doing a free fall.


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Gingrich says primary win a blow to elites
COLUMBIA, S.C. (AP) — With a resounding comeback win in South Carolina, Newt Gingrich sent a message to Mitt Romney: not so fast.
Saturday's victory marks a remarkable turnabout for the former House speaker, who has battled back twice from near political oblivion. And it showed that Romney will face a fight from the right in order to take the GOP nomination.
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37th MEN – 17th WOMEN WORLD JUNIOR WEIGHTLIFTING CHAMPIONSHIPS Penang-Malaysia, June 26th to July 7th 2011 Olympic Games Qualification Event for individual athletes REGUL ATIONS The 2011 World Junior Weightlifting Championships this year will be held in the city of Penang, Malaysia. Below you will find relevant information regarding the Championships. Competition Rules and Regulations The competition will be held in accordance with the rules & regulations of the Handbook 2009-2012 of the International Weightlifting Federation. Medals Gold, Silver and Bronze medals will be awarded in each bodyweight category for both men and women in the Snatch, Clean & Jerk and Total. Competition Categories: IWF Categories for Men and Women. Men: 56,62,69,77,85,94,105, +105 Women: 48,53,58,63,69,75, +75 Preliminary Entries Preliminary Entry Forms must be submitted to the Organizing Committee and the IWF no later than April 26, 2011 Final Entries The final entry forms must be returned to the Organizing Committee and the IWF no later than June 07, 2011. Accreditation Upon arrival , delegations will receive their accreditation. We request that when you submit your final entry forms that passport photos in colour are submitted as well for all athletes and officials. Barbells/Weights Equipment ZKC equipment will be used at these Championships. Competition Venue The competition venue is the Penang International Sports Arena. (PISA) Training Venue Training will also be at the Penang International Sports Arena (PISA) Financial Condition An Entry Fee of US$ 200 per person - must be paid by each delegation for all of their athletes and officials. Accommodation Accommodation will be at the Hotel Equatorial (5* ) conveniently located in the commercial centre of Penang, . The hotel offers easy access to Bayan Lepas, Georgetown, Penang International Airport and Malaysia's mainland peninsular and is within walking distance of the competition venue. The cost per triple room (per person) is US$ 85 .00 this includes full- board (Breakfast, lunch and dinner) The cost per twin room (per person) is US$110 .00 this includes full- board (Breakfast, lunch and dinner) The cost per single room (per person) is US$130 .00 this includes full- board (Breakfast, lunch and dinner) A minimum stay of 4(four) days is required for all participants. Please note that accommodation shall be paid in full upon arrival at the Organising Committee accreditation desk Transport Local transport will be provided from the airport to hotel upon the arrival of delegations. Plus transport will be made available from hotel to competition venue. Legal Points of Entry to Penang The main gateway to Penang is Penang International airport. At a distance of 400KM from Kuala Lumpur. Approx. 1 hour by plane from Kuala Lumpur. The direct flight to Penang can come from Kuala Lumpur , Singapore , Bangkok, Hong Kong and southern airline from China. Hotel Equatorial - 5 star hotel in Penang The competition hall- The Penang International Sports Arena Executive suite accommodation at the Equatorial Hotel The grand ballroom the venue for the IWF Congress Travelling Documents Travelling to Malaysia is very easy. The documentation required is a valid passport. Visas Most Commonwealth countries do not require visa for the short period of stay. However other countries will require visas and therefore we ask each delegation to check if visas are required for their country. (Please note that no visas will be issued at airport) Departure Tax There is no departure tax in Malaysia . Health Insurance As per IWF Technical and Competition Rules, each delegation is required to have the appropriate Health Insurance in the event of an accident or unforeseen circumstance. Full medical services are available at the local hospital, but it is not possible for delegations to purchase health insurance in Penang. Proof of insurance should be presented at accreditation checkpoints. Doping Control Doping control will be conducted during the competition in accordance with the IWF Anti-Doping policy. General Information Malaysia is situated latitude 1 -7 …& Longitude 100 ʹ83° ° ʹ57°301-ʹ22°Total land area is 329750 sq.km. The country is dominated by rugged mountain ranges with a fringe of coral reefs and lagoons which surround the islands. Population The population of Malaysia is approximately 25.6 million people. Malaysia is a multicultural society with Indian, Europeans , Asian, and other communities. Kuala Lumpur is the capital of Malaysia Penang is the host city. Situated…Latitude 5 5 …& Longitude 100 ʹ53° -ʹ8° ʹ23°001-ʹ8° , Population of Penang is 1.5 million. Land Area 1046km2 Currency and Banking Facilities Malaysia has its own currency – RM. One (1) RM is at present approximately USD 35cents. All credit cards are welcomed by all hotels, restaurants, shops, rental cars, etc. Time Malaysia time is 8 hours ahead of Greenwich Mean Time. Official Languages Malay is the official language in Malaysia. Other spoken languages are English, Manderin, Tamil. Religion The main religious denominations in Malaysia is Islam. Others are Christianity, Buddhism, Hinduism & Sikh. Electricity Electricity supply in Malaysia runs on 220V. Climate and Seasons Malaysia is a tropical region. There is humidity 70%-80% and the temperature averages day 28 to 30 degrees Celsius and night 22 to 24 degrees Celsius. Visitors to Malaysia should bring light weight summer clothing. Health Malaysia is free from malaria and major tropical disease that are endemic in some tropical countries. Emergency Medical and Dental Care General Hospital is available as well as a private hospital. Telephones Direct dial phone service is available between Malaysia and all countries of the world. International calls may be placed from any private or public phone. WELCOME TO PENANG On the 7th July, 2007, George Town's – Penang rich living heritage, culture and history was officially recognised when the World Heritage Committee in Quebec City, Canada, officially inscribed the city as a UNESCO World Heritage Site. Jointly listed with Melaka, George Town was acknowledged as having developed over 500 years of trading and cultural exchanges between East and West in the Straits of Malacca. The influences of Asia and Europe have endowed the town with a specific multicultural heritage that is both tangible and intangible. Featuring residential and commercial buildings, George Town represents the British era from the end of the 18th century The Organising Committee will run daily sightseeing tours during the Championships for all delegations at no charge. WJWC -Organising Committee International Weightlifting Federation Chairman Dato Ong Poh Eng 1146 Budapest, Istvanmezei ut l-3. Phone: +60 12 4001952 or +60 12 5237749 Fax: +36 1 353 0199, +36 1 269 0208 Fax: +60 4 2262353 E-mail: email@example.com E-mail : firstname.lastname@example.com Website: www.2011wjwc.com 'JUNIOR' the mascot
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"37th MEN – 17th WOMEN WORLD JUNIOR WEIGHTLIFTING CHAMPIONSHIPS"Please download to view full document


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juliex1967's Kuta, Indonesia
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Jalan Raya
"Great place to watch the traffic go by."
Came here alot. Food is good and well priced. The place is always full.
Waterbom Bali
Jalan Kartika Plaza
"Great day off from shopping"
Relax or thrill your self on the rides it has both.


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Our special coverage of the closest race for years
Explore the personal stories of Syrian refugees in Lebanon
12 Jun 2010 09:42 GMT | Politics, Arts & Culture
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This week The Listening Post brings you a special episode on the military and the media, from Hollywood shoot-em-ups to Pentagon-sponsored spin doctors. Plus a look at the video war games that are literally putting youngsters in the line of fire.Propaganda is at its most effective when the audience does not know it is being manipulated and one of the best, glitziest examples of that is when propaganda is delivered on the big screen in the guise of a Hollywood blockbuster. The US army, navy, air force, marine corps, coast guard, and even the department of defence itself have established a beach-head in Hollywood. For as long as there have been movies, the US government has collaborated with filmmakers to ensure that their view of the world was shared with audiences around the world. From Frank Capra and Walt Disney to Steven Spielberg and Michael Bay, Hollywood directors have for many years consulted closely with the US government and military to bring greater authenticity to their movies. In return for their advice, personnel and even equipment, the US military gets a slickly produced feature length advertisement that airs across the world. Our Newsdivide this week examines how the US military trades access and equipment in exchange for a hand in shaping the big-screen perception of America's armed forces, if not the country as a whole.
Quick hits from the media world in Newsbytes: War films that win accolades from critics but fall flat with audiences; puppets of the Pentagon - retired generals go on the offensive on television talk shows; and can GE, a company involved in making missiles in addition to TV comedies, be objective in their reporting of war?
Video war gamesOur feature story this week takes a look at the video war games used as recruiting tools.Modern warfare can at times resemble a video game, with technology that allows armies to launch attacks and watch the results from computer consoles hundreds or thousands of miles away. And game-makers are getting better and better at simulating the sights and sounds of the war zone experience. The gaming shelves of video stores around the world are crammed with titles like Call of Duty are heavily influenced by contemporary conflict scenarios - often from the Middle East.The Listening Post's Robin Armstrong examines a trend that is putting the graphic reality of war on the computer screens of young people around the world.
Ladies love a man in uniform, at least that is what the Ukranian army wants you to believe in this recruiting ad that pits a high roller against a heavily armed soldier. It is our web video of the week.This episode of The Listening Post can be seen from Friday, June 11, at the following times GMT: Friday: 1230; Saturday: 1030, 2230; Sunday: 0300, 1930; Monday: 0030; Tuesday: 0630, 1630; Wednesday: 0130, 1430; Thursday: 0330, 2330.
Source: Al Jazeera
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Critics say the UK's home secretary is using Muslims as a 'political punchbag' in a bid to shore up right-wing support.
Human Rights, Politics, Racism
2014 was the worst year in more than a decade for polio infections, with at least 306 new cases reported.
Polio, Asia, Pakistan
Recent court ruling finds police unit not guilty of rounding up and executing 42 Muslim men during 1987 communal riots.
Human Rights, India, Asia
Nigerians are flooding home for Saturday's vote, but fears of violence grow amid the too-close-to-call election.
Nigeria Decides, Nigeria, Africa
It is a source of sustenance but also of tension and new political realities are now increasing uncertainty.
Egypt, Sudan, Middle East
A media post-mortem into the UK's surveillance report. Plus, why five years on in Argentina the media looks so familiar.
Media, Edward Snowden, Security
The untold story of how the Lebanese community overcame the odds and found their place in multicultural Australia.
Asia Pacific, Australia, Lebanon
How to keep a telenovela profitable and demanding sponsors happy while inspiring the production team to stay passionate.
Arts & Culture, Mexico, Latin America


text: Facebook launches in-stream video ad program Published on December 19, 2013. 0 Reprints Reprints Ad Age Reports Resource Guide B-to-B Marketing Fact Pack From spending trends to the biggest marketers and agencies, this handy guide gives you the lay of the b-to-b land. Learn more Menlo Park, Calif.—Facebook Inc. has launched a new video ad program, allowing advertisers to offer automatically playing videos within users' news feeds. The new ad units will begin playing as they appear on the screen, on both desktops and laptops as well as mobile devices, but without sound; if clicked or tapped, the video will expand and run the audio track. Users who don't want to view the video can scroll or swipe past it, Facebook said in a statement. And at the end of the ad, a carousel of two additional videos will appear to allow the viewer to see content from the same marketer, Facebook said. In this article: BtoB Advertisement Read These Next Tumblr's First CMO Stephanie Dolgins Will Also Oversee Its Media Deals Tim Peterson on 03.30.2015 97 0 Chevy Liked Its Truck Effort So Much, It's Taking It National Mike Colias on 03.30.2015 59 0 L'Oreal's Chief Digital Officer on Programmatic Plans, Startups and Org Charts Jack Neff on 03.30.2015 550 0 Comments (0)


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15 posts tagged with entrepreneur.
Displaying 1 through 15 of 15. Subscribe:
How Women of Color Are Driving Entrepreneurship in the US
Women of color are a principal force behind one of the most important components of America's current marketplace and our nation's future economy: entrepreneurship. Today, women of color are the majority owners of close to one-third of all women-owned firms in the nation. Increased access to business capital—including microenterprises, venture-capital-funded firms, and crowd funding—has helped the number of women entrepreneurs grow substantially. But women of color face significant obstacles in starting their own businesses, leading to the question of why so many of them turn to entrepreneurship. The growth of women of color as business owners is part of a long-term trend, but the question of why this trend is occurring is often left unanswered. Looking at the alternative to entrepreneurship—the traditional workplace—sheds light on some of the reasons.
Gored in the USA
The Running Of The Bulls Comes To America (Single Link BF)
Mark your calendars
Launching my first product :
Brand, Make, Sell Sell, Make, Brand
The Unexotic Underclass
You should care because the unexotic underclass can help address one of the biggest inefficiencies plaguing the startup scene right now: the flood of (ostensibly) smart, ambitious young people desperate to be entrepreneurs; and the embarrassingly idea-starved landscape where too many smart people are chasing too many dumb ideas,
A Russian Gains Prominence Among Fine Watchmakers
Soviet-era Russia was not a particularly friendly environment for aspiring fine watchmakers. For Konstantin Chaykin, who was born in St. Petersburg in 1975, there was no school where he could learn the craft that he dreamed of pursuing. So he taught himself.
mmmmmmmm, forbidden donut
Entrepreneur Jia Jiang has decided to overcome his fear of rejection through a sort of exposure therapy desensitization: he's "seeking one rejection on purpose every day for 100 days" by making crazy requests of strangers, filming each encounter on his iPhone and posting them to his blog. Here's his attempt on Day 3 to order doughnuts shaped (and colored) like the Olympic rings at a Krispy Kreme in Austin, TX. [more inside]
We ideally will align incentives via some sort of equity-sharing model.
Whartonite Seeks Code Monkey (SLTumblr).
Causal vs. Effectual Thinkers in Business
What distinguishes great entrepreneurs? "Discussions of entrepreneurial psychology typically focus on creativity, tolerance for risk, and the desire for achievement—enviable traits that, unfortunately, are not very teachable." So Professor Saras D. Sarasvathy (Caution, autoplaying video) of the University of Virginia's Darden School of Business created a case study to try to determine how they think, "with the goal of transferring that knowledge to aspiring founders." [more inside]
entrepreneurial paradise
In Norway, Start-ups Say Ja to Socialism - We venture to the very heart of the hell that is Scandinavian socialism—and find out that it's not so bad. Pricey, yes, but a good place to start and run a company. What exactly does that suggest about the link between taxes and entrepreneurship?
Jobs & Myths
Who Creates Jobs? Robert Samuelson at the Washington Post discusses a paper "Who Creates Jobs? Small vs. Large vs. Young" (behind paywall, pre-publication PDF). The thesis is that long term job growth really comes from new start-ups. [more inside]
Bottled Tap Water. Because Spring Water is so 2001.
Bottled Tap Water From New York. Sold to New Yorkers. New York City's tap water has been called among the nation's freshest. It's so good that a young entrepreneur is bottling it and selling it for $1.50. To New Yorkers.
Technology and Innovation
Ashoka Tech Blog A blog about women, social entreprenourship and technology (especially in the developing world). Includes such gems as the Peepoo bag.
Win In China!
Win in China! A "reality" TV show in China where young would be entrepreneurs compete for a large pile of startup cash to actualize their business ideas. Not everyone is happy about the glorification of capitalism, of course, and one losing contestant may have committed suicide, but overall reaction in China to the show seems positive. Video clips here (also a full length article by the Atlantic if you have a paid subscription).
Interview with Elon Musk - SpaceX and Tesla Motors
Interview with 36-yo entrepreneur Elon Musk of SpaceX and Tesla Motors (22min, video or audio, Jan 3 2007).
I think it's safe to say I'm the only 18-year-old in Britain with his own airline
Introducing alphaOne Airways: Probably the world's first budget airline with a Geocities website.
The brainchild of British teenager Martin Halstead, alphaOne will offer twice-daily shuttle flights between Oxford and Cambridge - that's only 70 miles as the crow flies.
Is Martin a pimply megalomaniac, the next Richard Branson, or just another harmless flight sim fanatic? No doubt Stelios is on the case...
The brainchild of British teenager Martin Halstead, alphaOne will offer twice-daily shuttle flights between Oxford and Cambridge - that's only 70 miles as the crow flies.
Is Martin a pimply megalomaniac, the next Richard Branson, or just another harmless flight sim fanatic? No doubt Stelios is on the case...
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Topic: TBD
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I love to take pictures against the light of the late afternoon sun! I love its golden touch!
Mexico 2011
Canon EOS Digital Rebel XSi
F/5.6, 1/250 sec,., ISO 640, 229mm
Textures and Actions: Florabella
Photoshop CS5
My picutre was translated into an artwork "come rain or come shine" by Randi Antonsen for the purpose of SoJie 12.
She uses mixed media, drawing,collage and acrylic on wallpaper to make portraits.
Thank you so much, Randi!
gorgeous light and lightness…beautiful portraiture.
She is so angelic! Love the light glow around her! Beautiful!
Great child portrait.
Portret i obróbka fantastyczne!!
Such a beautiful portrait of this sweet little girl.
I agree, the golden light is enchanting!! Love it!
There's something about her expression… and the treatment suits it so well :)
A child of the sun.
How beautiful
Bravo!!!! Gorgeous shot!!!!!


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UDG Reviews
New UDG Hardcases
The UDG team has announced three new Hardcases to protect a DJ's and Producer's investments. UDG now has Hardcases for the Pioneer DDJ-SP1, Pioneer RMX-500, and the Ableton Push. These Hardcases are perfect for those who need a little more added protection when their gear is on the move or in storage. We recently reviewed the new UDG Controller Hardcases and the Traktor A10 Hardcase with excellent results. Check out the full press release, links, and pricing after the jump.
[Review] UDG Creator Controller Hardcase
The UDG Creator Controller Hardcases come in four different sizes to fit almost all DJ controllers and they sport a durable nylon exterior with a foam eggshell interior to adequately protect against dirt, debris, scrapes, drops, and more. Check out our full video review to see how they hold up to the tests.
New UDG Creator Controller Hardcases
UDG has followed up the release of the new entry-level Urbanite series with a new entry-level line of DJ controller hardcases that will protect many different devices while still coming in at a great price point for the end user. The new UDG Creator Controller Hardcases are very similar to the smaller Hardcases by UDG that we reviewed in the past, but they come in four different sizes to fit almost every DJ controller on the market.
New UDG Entry-Level Urbanite Series Sleeves & Bags
UDG has been protecting DJ's gear and accessories for quite a long time now and they have introduced a new entry-level line of sleeves and bags that come in at a great price point. The new UDG Urbanite sleeves and bags are made of heavy duty nylon and contain a good amount of foam and padding to protect many different size controllers and gear that are popular with today's DJ's.
Mixware.net: UDG Creator DIGI Hardcase [Video]
Mixware.net is always bringing the newest DJ gear from companies like Decksaver, DJ Tech, and Vestax to the United States so that we can purchase it from our local outlets. Mixware has recently released a new video demo of the new UDG Creator DIGI Hardcase which is a medium sized protective case that can safely protect your gear and accessories from liquids, dust, debris, and impact. The DIGI Hardcase also comes bundled with a powered seven-port USB hub in the package.
UDG Digi Wallets Now Available
UDG makes some excellent DJ gear bags and hardcases for lots of different DJ equipment and accessories. UDG now has Hardcases for the NI Maschine Mikro, Pioneer RMX-1000, Novation Launchpad, Headphones, controllers, DJ soundcards and more! UDG has just announced two new Digi Wallets that allows DJ's to hold even more of their precious accessories such as hard drives and cables with ease. The new UDG Digi-Wallets are now available in two different sizes and two different colors and they will be available in the US via Mixware.net
UDG Introduces Creator Laptop Stand
Mixware.net is bringing the UDG Creator Laptop Stand to this side of the pond for DJ's and producers to have a new all purpose foldable laptop stand to help with the audio equipment setup. This new UDG Creator Laptop Stand folds down to a nice compact size for easy storage and has height and angle adjustments for convenience and setup versatility. It's made of durable metal and has two tiers of support for various items. Check out the press release and other information after the jump.
[NAMM 2013] UDG New Hardcases
UDG makes some great hardcases for DJ equipment and for NAMM 2012, they just announced that they will have four new UDG Hardcases on hand for DJ's to see first hand. UDG now has Hardcases for the NI Maschine Mikro, Pioneer RMX-1000, Novation Launchpad, and a Cartridge case that holds up to four DJ cartridges (including Shure, Ortofon, and Stanton). These Hardcases are perfect for DJ's who need a little more added protection when their gear is on the go. Check out the press release and more information inside.
Traktor UDG Trolley On Sale Now
Here's a bit of a deal for current Traktor DJ's who need a nice bag to get their Traktor Controllers, laptop, and other DJ gear from place to place. The new high quality UDG Trolley bag made specifically for Native Instruments Traktor products is now on sale for the price of $99. It can easily store all the Traktor controllers such as the S2, S4, F1, and X1 along with a 17-inch laptop all at once. These are only available for a limited time, so once they're gone, they'll be gone for good. Check out the press release and purchase links inside to get yours today.
Mixware.net UDG NI Traktor Audio 10 Hardcase Review (HD Video)
Our good peeps over at Mixware.net is bringing us some cool new protective hard-cases by UDG over to the Unites States. Their new lineup of UDG Creative hardcases are available for the Rane SL3/SL4, Native Instruments Audio 10, Audio 6, X1, and Maschine. In this quick HD-Video rundown review, I'll let you see exactly what you get in the package for $30 along with testing out the protection properties of the new Audio 10 UDG hardcase. Check out the video inside.
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I 'mite' have a problem (photo attached)
I've noticed over the following month and a half that we've had quite the abnormal amount of little red mites in our new yard and there seems to have been a major boom in numbers. To the point where you can see the ground moving. It is really disturbing.
Anyway, I can't tell what kind of mites these are, mainly because some are reddish while others are brownish and are everywhere, from my compost pile ( in the photo, I intentionally left the new scraps there to give an idea on what I'm dealing with, and that was only 10 minutes in. That grain, that's orzo, for size reference.) to the walkways. Are they soil mites, bird mites, a mix? I had two on me earlier that I tried to crush, but like tick nymphs that was near impossible.
I used an organicide in the yard (and now our yard smells like ocean death- my neighbors will love me) in hopes it would at least curb the numbers, but if I have to I do have non-organic pesticide. If it's ticks, I don't want them. I just don't want to kill the other bugs that -I personally- enjoy, like the spiders, earwigs, millipedes, and sowbugs. I know many people consider them pests with the rest, that's fine, but I'd like to keep mine. I know the organicide will take out some of them too, but I hope not to the degree of the other pesticide...which I also don't want to use because I like my honey bees to come around.
At any rate, suggestions on ID'ing these guys. I will try to get better pictures.
This post was edited by KrakenQueen on Wed, Feb 13, 13 at 14:30
Of course you will kill the other more desirable insects, because if these are mites they're not an insect, but an arachnid and are especially difficult to control with most chemicals. The others will go down before the mites do. If they are clover mites, and I think that's a good possibility, control in the yard isn't how it's normally done. You just need to keep them from going into your home. They have population booms in spring and tend to go dormant when it gets hotter and in dry weather. They don't bite humans or pets, and in compost piles might actually be considered a beneficial. Google clover mites and see what you think. Never.......I can say that almost without reservation.....spray for something you haven't identified first.
Have you taken samples of these things to your local office of your University of Georgia Cooperative Extension Service for proper identification? As calliope has already stated spraying, or otherwise applying, any pesticide can do much more harm then good if your target is not affected by what it is you apply, and beneficial insects will be harmed.
Is there a problem that requires a solution or are these things just there?
As far as the ID goes...one clue from Queen just doesn't add up for me. In my experience with clover mites and their ilk, they smush easily...usually leaving a red smear behind. She indicated that these seem to have a hard exoskeleton.
Is there any chance of more pictures, queen? Still a mystery, as far as I'm concerned.
I'm still leaning on clover mites. Queen mentioned squishing them on her skin (don't think I ever tried that) which may be why they were tough to squish. I usually squish them on a hard surface (they love my stone house).
Clover mites will have very long pair of forelegs. I also thought they should be easily squished......the red mess is almost a diagnoistic. I'm assuming they are mites. She has the cooties, any chance you can look at them with a hand lens to see if they even have eight legs? ;-)
If they don't, then they aren't mites. A fuzzy photo of a tiny creature almost leaves us to go by descriptions only and keep pumping questions.
Hey guys, sorry for the extended delay in replying. I've been very tired (fibro/cfs), the cold has kept me indoors and we went out of town over the weekend.
It does seem as if there was a major bloom of worm bin mites (soil mites, yes?), however I did mention that several I had on me I attempted to crush (between my fingernails) and they just slipped out and kept moving along- I asked a friend and they're pretty certain those few were seed ticks. Which of course made my skin crawl. I haven't had much time to re-investigate due to rain and the cool/cold weather, but I will check for more seed ticks again when the temperature allows me to be more mobile outdoors.
I am normally against the idea of spray first ask questions later, but being there were two types that I saw and one of which had me concerned, I opted for the unusual route. The soil/worm bin mites are still in good numbers (noticed them wandering all over the place) and I haven't seen a decline in the earwigs, sowbugs, or spiders. I did see a lovely decline in the aphids and army cutworms that found my carrots, broccoli, and cilantro-.. didn't notice any seed ticks, I'll re-check on a warmer day.
In the future I will be sure to ask first and spray later. Again, it's not my normal plan of attack.
Easy way to tell, if they are ticks (and ticks are arachnids just like mites and have eight legs) you can tell by looking at one with a hand lens. Juvenline ticks only have six legs until their first blood meal. It's important to know if you have a massive bloom of seed ticks, since they are implicated in lyme. Why don't you just quit messing around asking online and friends and take a few into your extension department for positive identification?
Messing around implies that I am intentionally dragging my feet and not taking this seriously, let's not make assumptions please and have some patience. I said I would inspect further when the weather was warm due to my fibromyalgia. I currently have no way to get to the local extension department and am therefor doing my best with what energy I have available. I apologize for causing frustration in my lack of abilities to do things quickly, I have had to learn to find ways that suit my situation that are easy on me physically. If that means "messing around on the internet" and asking friends who also garden as doing research, then by all means I will do it that way first in order to protect myself from discomfort.
Here is a better photograph of the mites. I saw no sign of the tick-like ones from last time, they did look different.
When you mention seed ticks, is when I tell you not to delay seeking positive identification and it has nothing to do with you in any way dragging your feet or your physical disabilities. It has to do with they are a nasty disease vector (more than just lyme) and you shouldn't be exposing yourself to them if at all necessary and you NEED to know if simply being outside on your property is a risk if you find them on your body, and you need to know that as soon as possible. I have known too many people who have contracted lyme disease, and I was trying to spare you that possibility in an emphatic way. Adult male black leg or deer ticks are quite tiny, and will feed in the nymphal stage.
I understand and thank you for the concern, and it's appreciated, however it's not that easy for me to get out on my own all the time, especially right now. I'm also aware of the danger ticks can pose, I grew up in the mountains of NC and 99% of my free time was spent wandering the woods and creeks from sun-up to nightfall. Somehow I got lucky.
I have friends who unfortunately have suffered long term from lyme and know of another person who recently contracted it with very bad effects, and she's pregnant. So far I haven't known anyone to catch the other disastrous nasties.
I already have a major aversion to ticks and fleas, they wig me out. Though I can't make it to the office, I am sure I can email them or call asking about someone being able to come by and scope out the yard. Ticks aren't incredibly common in our area which is why I was curious/surprised when the ones I assumed to be different mites and tried crushing didn't crush. In the 12 years we've lived here I haven't seen a single one on any of my pets (though, we do dose monthly). Chiggers, on the other hand, are prolific thanks to the spanish moss but even those we have done a pretty good job avoiding.
I will call/email tomorrow to see what can be done and if I can get someone out here.


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The Bergen County Academies (BCA), is a free public magnet high school of choice for Bergen County residents located on the Dr. John Grieco Campus in Hackensack, New Jersey. The school offers seven specialized programs in the areas of mathematics and science, engineering and design, medical science, business and finance, culinary arts and hospitality administration, visual and performing arts, and technology and computer science.
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10 El Cerro Trail
Beautiful view lot of the Sangre de Cristos, Sandias, and Lone Butte. Electric and telephone are at the lot line. Hills, arroyos, rock walls and outcropping are yours to explore. Build your dream home, and then sit back and take in the serenity of the area. When one of Santa Fe's top builders, Faren Dancer tell you, "In viewing this property I was very impressed by the beautifully perched building site which offers expansive views and a true sense of privacy." you know this is a special property.


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Sweet Dreamer
Reviewed by
Dawn Farley
Sleeping is a magical process, not only because it provides our bodies and minds with time to rest and heal, but because it allows us a chance to DREAM! In our dreams we can be anyone, anywhere at anytime. Dreams, though, are not always easy to understand or interpret. We dream in pictures, and these pictures make up a code. Beginning to understand this code is just part of the author's intention in this book.
An extensive table of contests tells us all the fascinating aspects of dreaming and sleep in this book. Included are topics such as: What are dreams? How are they helpful? What clues does one look for to decode the dreams? The sections addressing how to interpret specific images in our dreams, such as animals, colors and situations will probably prove most interesting to readers.
This book is packaged with a dream journal for recording one's own dreams and various materials for constructing a dream catcher with instructions given in the book. Middle school age readers will find much to interest them here and have fun with the dream catcher before moving on to more scientific materials on the topic.


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Some Aspects of the Short Story.
It is said that a ghost's greatest desire is to get back at least a glimmer of substantiality, something tangible that will bring him, for a moment, back into his flesh-and-blood life. To gain a little substantiality in your eyes, I will sum up in a few words the general tendency and sense of my stories. I'm not doing this simply for the sake of information, for no abstract summary could replace the work itself; my reasons are more important. Since I'm going to be concerned with some aspects of the story as a literary genre, and it's possible some of my ideas may surprise or shock my listeners, it seems to me only fair to define the type of narrative that interests me, pointing out my special way of seeing the world. Almost all the stories I have written belong to the genre called fantastic, for lack of a better word, and are opposed to that false realism that consists of believing that everything can be described and explained, as was assumed by the optimism of nineteenth-century philosophy and science, that is, as part of a world governed more or less harmoniously by a system of laws, principles, cause-and-effect relations, well-defined psychologies, mapped-out geographies. In my case, the suspicion that there's another order, more secret and less communicable, and the seminal discovery of Alfred Jarry, for whom the true study of reality lay not in laws but in the exceptions to those laws, have been some of the guiding principles in my personal search for a literature beyond all naive realism. That's why, if in the ideas I set forth you find a predilection for everything exceptional about the short story, be it in thematics or in the forms of expression, I think this presentation of my own way of seeing the world will explain my stance and focus upon the problem. At worst, it can be said I've only spoken of the story as I write it, and yet, I don't think that's so. I feel sure that there exist certain constants, certain values that apply to all stories, fantastic or realistic, dramatic or humorous. And I think perhaps it's possible to show here those invariable elements that give a good story its particular atmosphere and qualify it as a work of art.
The opportunity to exchange ideas about the short story interests me for several reasons. I live in a country--France--where this genre has not held much of a place, though in recent years there has been a growing interest among writers and readers in this form of expression. At any rate, while critics continue to accumulate theories and maintain heated polemics about the novel, almost nobody takes an interest in the problems the short story entails. To live as a short-story writer in a country where this form of expression is almost an exotic product, forces one to seek in other literatures the sustenance lacking there. Gradually, in the original version or in translation, one gathers, almost spitefully, a vast quantity of stories past and present, and there comes the day to weigh it all in the balance, attempt an evaluative approach to this genre, so hard to define, so elusive in its many contradictory aspects, and in the last analysis so secret and turned in upon itself, a snail of language, a mysterious brother to poetry in another dimension of literary time.
But beyond this stopping-place that every author must reach at some point in his work, a discussion of the short story especially interests us because every Spanish-speaking country on the American continents is giving the short story a place of special importance that it had never enjoyed in other Latin countries like France or Spain. With us, as is only natural in young literatures, spontaneous creation almost always precedes critical examination; a good thing it is so, too. Nobody can try to say that stories should be written only after we know their laws. In the first place, there are no such laws; at most one may speak of points of view, of certain constants that structure this rather unbounded genre; in the second place, there is no reason theorists and critics should be the same people writing the stories, and they naturally would come on the scene only after there exists a body, a mass of literature that will allow for research into and clarification of its development and features. In America, in Cuba, just as in Mexico or Chile or Argentina, a great many short-story writers have been at work since the early years of the century, hardly knowing one another, at times coming across one another almost posthumously. Faced with this unwieldy panorama, where very few know one another's work well, I think it's useful to speak of the short story above and beyond particular national or international traits, because it's a genre that holds for us an ever-growing importance and vitality. One day the definitive anthologies will be drawn up--as they are in Anglo-Saxon countries, for instance--and we'll know how far we've come. For the moment it seems to me to make sense to speak of the short story in the abstract, as a literary genre. If we come up with a convincing idea of this form of literary expression, it can go toward establishing a scale of values for this ideal anthology yet to be. There's too much confusion, too many misunderstandings in this area. While writers plunge ahead with their task, it's time to speak of that task itself, leaving aside individuals and nationalities. We have to have a workable idea of what the short story is, and that's always hard because ideas tend to be abstract, to devitalize what they're about, while in turn life recoils in pain from being roped in by concepts in order to tie it down and classify it. But if we have no working idea of what a story is, our efforts will go for nothing, because a short story, in the last analysis, exists on that same human level where life and the written expression of that life wage a fraternal war, if you'll allow me the term; and the outcome of that war is the short story itself, a living synthesis and also a synthesized life, like water trembling in a crystal, a fleetingness within a permanence. Only via images can one convey that secret alchemy that explains the way a great story strikes a note deep within us, and explains as well why there are few truly great stories.
In trying to grasp the unique character of the short story, it's common practice to compare it to the novel, a much more popular genre with many precepts concerning it. It's pointed out, for example, that the novel unfolds page after page, and hence in the time it takes to read it, and need stop only when the subject matter is used up; the short story, on the other hand, starts with the idea of a limit, and first of all a physical limit, so much so that in France, when a story runs over twenty pages, it's then called a nouvelle, a genre straddling the short story and the novel proper. In this sense, the novel and the short story may be compared, using an analogy to cinema and photography, in that a film is in principle "open-ended," like a novel, while a good photograph presupposes a strict delimitation beforehand, imposed in part by the narrow field the camera covers and the aesthetic use the photographer makes of this limitation. I don't know whether you've heard a professional photographer talk about his art; I'm always surprised that it sounds so much as if it could be a short-story writer talking. Photographs as fine as Cartier-Bresson's or Brassai's define their art as an apparent paradox; that of cutting out a piece of reality, setting certain limits, but so that this piece will work as an explosion to fling open a much wider reality, like a dynamic vision that spiritually transcends the camera's field of vision. While in cinema, as in the novel, catching that broader and more multiple reality is a matter of developing an accumulation of bits, not excluding, of course, a synthesis that provides the work's climax, in a photograph or great short story it works the other way, that is, the photographer or writer has to choose and delimit an image or event that's significant, not just in and of itself, but able to work upon the viewer or reader as a sort of opening, a fermentation that moves intelligence and sensibility out toward something far beyond the visual or literary anecdote the photo or story contains. An Argentine writer, very fond of boxing, told me that in that fight that takes place between an absorbing text and its reader, the novel wins a technical victory, while the story must win by knockout. It's true, in that the novel progressively builds up its effect upon the reader, while a good story is incisive, mordant, and shows no clemency from the first lines on. This shouldn't be taken too literally, since the good story writer is a very wise boxer, and many of his first blows may seem ineffectual when he's really tearing down his opponent's most solid defenses. Take any great story you prefer and analyze the first page of it. I'd be surprised if you found any gratuitous elements just there for show. The short-story writer knows he cannot work by accumulation, that time is not on his side; he can only work in depth, vertically, whether upwards or downwards in literary space. And this, which put this way sounds like a metaphor, expresses nonetheless the core of the method. The short story's time and space must be as if condemned, subjected to a spiritual and formal pressure to achieve that "opening" I spoke of. One need only raise the question why a certain story is bad. It isn't the theme that makes it bad, because in literature there are no good or bad themes, only good or bad treatments of a theme. Nor is it bad because the characters are uninteresting, because even a stone is interesting if a Henry James or Franz Kafka turns his attention to it. A story is bad when it's written without that tension that should be there from the first words or first scenes. And so we can anticipate that the notions of meaningfulness, intensity and tension will allow us, as we'll see, to come closer to the very structure of the story.
We were saying that the short-story writer works with material we may call meaningful. The meaningful element of the story would seem to lie mainly in its theme, in the choice of a real or imagined event that possesses that mysterious ability to illuminate something beyond itself, so that a commonplace domestic episode, as is the case in so many admirable stories of a Katherine Mansfield or a Sherwood Anderson, becomes the implacable summing-up of a certain human condition or the blazing symbol of a social or historical order. A story is significant when it breaks through its own limits with that explosion of spiritual energy that throws into sudden relief something going far beyond the small and sometimes wretched anecdote it tells of. I am thinking, for example, of the theme of most of Anton Chekhov's admirable stories. What is there but the drearily everyday, mediocre conformity or pointless rebellion? What's told in these stories is almost what we, as children, in the boring gatherings we had to share with the grown-ups, heard the grandparents or aunts talking about: the petty, insignificant family chronicle with its frustrated ambitions, modest local dramas, sorrows the size of a parlor, a piano, a tea served with sweets. And yet, the stories of Katherine Mansfield or of Chekhov are meaningful; something bursts forth in them as we read and offers us a sort of breakaway from the everyday that goes well beyond the anecdote summed up therein. You have seen that this mysterious meaningfulness does not lie only in the theme of the story, because indeed most of the bad stories we've all read contain episodes similar to those treated by the authors named. The idea of meaning makes no sense unless related to intensity and tension, therefore no longer concerning just theme but the literary treatment of that theme, the technique used to develop the theme. And here is where, suddenly, there's a division between the good and the bad writer. So let's pause carefully at this parting of the ways to see a little better that strange form of life, a story that works, and see why it's alive while others, apparently like it, are no more than ink on paper, made to be forgotten.
Let's look at it from the writer's point of view and in this case, necessarily, from my own version of the matter. A short-story writer is a man who suddenly, in the midst of the immense babble of the world, more or less involved in the historical reality around him, chooses a given theme and makes a story out of' it. This choice of theme is not so simple. Sometimes the writer chooses, and at other times he feels as if the theme irresistibly imposed itself on him, pushed him to write it. In my case, by far most of my stories were written--how should I say this--beyond my will, above or below my reasoning awareness, as if I were no more than a medium through which an alien power were coursing and making itself seen. But this, which can depend on one's temperament, does not change the basic fact, and that's that at a certain moment there is a theme, be it voluntarily invented or chosen, or strangely imposed from a level where nothing can be defined. There is a theme, I repeat, and this theme will become a story. Before that happens, what can we say of the theme itself?. Why that theme and not some other? What reasons consciously or unconsciously move the writer to choose a given theme?
To me it seems that the theme that gives rise to a good story is always exceptional, but I don't mean that a theme should be extraordinary, out of the common run of things, mysterious or unusual. Just the opposite; it can be a perfectly trivial, everyday anecdote. What's exceptional is a magnetlike quality; a good theme attracts a whole system of interconnecting links; for the author, and later for the reader, it "gels" a vast amount of notions, half-glimpsed things, feelings and even ideas that were virtually floating around in his memory or sensibility; a good theme is like a good sun, a star with an orbiting planetary system, that, often, goes unnoticed till the writer, an astronomer of words, reveals to us its existence. Or rather, to be both more modest and more modern, a good theme is somehow atomic, like a nucleus with its orbiting electrons; and all that, when it comes down to it, isn't it a proposal of life, a dynamic that urges us to come out of ourselves and enter into a more complex and beautiful system of relations? I've often wondered what it is about certain unforgettable stories; when we read them, they're in together with a lot of other stories, maybe by the same author. And here the years go by and we've lived through and forgotten so much; but those small, insignificant stories, those grains of sand in the vast sea of literature, stay with us, beating inside us. Isn't it true that each of us has his own collection of stories? I have mine, and I could give you some names. I have "William Wilson," by Edgar Allan Poe; I have "Ball of Lard," by Guy de Maupassant. The little planets keep their orbits; there's "A Christmas Memory" by Truman Capote, "Tlon, Uqbar, Orbis Tertius" by Jorge Luis Borges, "A Dream Come True" by Juan Carlos Onetti, "The Death of Ivan Ilyich" by Tolstoy, "Fifty Grand" by Hemingway, "The Dreamers" by Isak Dinesen, and I could go on and on.... You'll have noticed already that these aren't all the standard anthology items. Why do they linger on in memory? Think of the stories you have never been able to forget and you'll see that they all have this in common: they bring in a reality infinitely vaster than that of their mere story line, and so they've influenced us with a power their seemingly modest content, their brief texts, don't even hint at. And that man who at a given moment chooses a theme and makes a story out of it will be a great short-story writer if his choice holds--sometimes without his awareness of it--that fabulous opening-out from the small to the great, from the individual and bounded to the very essence of the human condition. Every enduring story is like the seed in which the giant tree lies sleeping. That tree will grow in us, will cast its shadow across our memory.
Yet, this notion of meaningful themes needs further clarification. The same theme may be deeply meaningful for one writer and insipid for another; the same theme will strike a deep chord in one reader and leave another cold. In short, one can say there are no absolutely meaningless themes. What there is, is a mysterious, complex connection between a certain writer and a certain theme at a given moment, just as this same connection will later be struck between certain stories and certain readers. So, when we say that a theme is meaningful, as in the case of Chekhov's stories, this meaningfulness comes about partly through something beyond the theme in and of itself, by something that comes before and after the theme. What comes before is the writer, with his set of human and literary values, with his drive to create a work with meaning to it; what comes after is the literary treatment of the theme, the way in which the writer, faced with the theme, lays hold of it, forces it verbally and stylistically into shape, molds it into a story, and reaches beyond it toward something greater than the story itself. Here I see a chance to mention something that happens to me a lot, and that other story writers will be just as familiar with. Habitually in the course of a conversation someone tells of a funny, moving or strange episode, and then turning to the story writer at hand says, "There's a great idea for a story; you can have it." They've given me tons of themes just that way, and I've always answered politely: "Thank you," and I've never written a story with any of them. Yet, once a friend was rambling on about the adventures a maid of hers had in Paris. While I was listening to her tale, I felt it could become a short story. For her, those episodes were just so many odd anecdotes; for me they suddenly took on a meaning that went far beyond their simple, even banal, content. So every time I've been asked how I distinguish an insignificant theme--however funny or exciting it might be--from a meaningful one, I've answered that the writer is the first to register that indefinable but overwhelming effect certain themes have, and that's why he's a writer. Just as for Marcel Proust the taste of a madeleine dunked in tea suddenly flung out a vast array of seemingly forgotten memories, so the writer responds to certain themes, just as his story, later, will get a response from the reader. All of which is set on course by the aura, the irresistible fascination, that the theme stirs in its creator.
So we get to the end of this first step in the birth of a story and come to the threshold of creation itself. Here we have the writer, who's chosen a theme using those subtle antennae that allow him to recognize those elements that later will become a work of art. The writer is faced with his theme, with this embryo that is by now a life, but has not yet taken on its definite form. To him this theme holds meaning, has a sense to it. But if that were the whole thing, it wouldn't get us much of anywhere; now, as the last phase of the process, as an implacable judge, the reader awaits, the final link in the creative process, the crowning or the downfall of the cycle. And that's when the story must be born as a bridge, born as an access route, take the leap that sends the first meaning, discovered by the author, clear to the other end, the more passive and less alert and often even indifferent end we call the reader. Clumsy writers are likely to fall into believing that all they need to do is write out, as is, a theme that touched them, to move readers as well. They're like the parent who naively imagines everyone else will find his son as beautiful as he does. With time, with failed attempts, the story writer who can get past this first naive stage, learns that in literature good intentions aren't enough. He discovers that to re-create in the reader the thrill that made him write the story, he needs a writer's craft, and this craft consists, among many other things, of achieving that climate found in every great story, that compels the reader onward, keeps him riveted, tears him away from everything going on around him, so that later, when he's finished the story, he can reconnect with his world in a new, richer, deeper or more beautiful way. And the only way to steal the reader temporarily away is with a style based on intensity and tension, a style where formal and expressive elements fit, seamlessly, the nature of the theme, give it the most penetrating and original visual and sound image, make it unique, unforgettable, and place it definitively in its time, in its setting, and in its core-most meaning. What I call intensity in a story means the elimination of all the ideas or situations that are neither here nor there, padding and transitions that the novel allows for and even needs. None of you has forgotten "The Cask of Amontillado" by Edgar Allan Poe. The extraordinary thing about this story is the sharp elimination of any description of the setting. By the third or fourth sentence we are at the heart of drama, present as revenge is implacably taken. "The Killers," by Hemingway, is another example of intensity won by eliminating all but what is essential to the drama. But now let's think about the stories of Joseph Conrad, of D. H. Lawrence, of Kafka. With them, each in his own way, intensity is a different matter, and I prefer to call it tension. It's an intensity that comes out in the way the author slowly leads us into the story line. We're still very far from knowing what will happen in the story; still, we can't tear ourselves away from its atmosphere. In the case of" The Cask of Amontillado" and "The Killers," the bare facts, with no buildup, leap out at us and capture us; but in the measured flow of a Henry James story--"The Lesson of the Master," for example--one immediately feels that the facts in themselves hardly matter, that it's all in the powers that unleash them, in the subtle net that was there before them and is still at work. But be it intensity of action or the story's inner intensity, it's the result of what I earlier called the writer's craft, and with this we come close to the end of this look through the short story. In my country, and just now in Cuba, I've been able to read stories by the most diverse authors: mature or young, from city or country, drawn to literature for aesthetic reasons or by the social needs of the moment, politically committed, or not.
So, and even though it may sound like stating the obvious, whether in Argentina or here, the best stories are being written by writers who know their craft in the way I've been talking about. An Argentine example will help show what I mean. In our central and northern provinces there's a long tradition of oral tales, that gauchos pass on at night at fireside, that parents keep on telling children, and suddenly they leap into the pen of a local-color writer and, practically always, they're horrible stories. What happened? The tales themselves are a joy: they translate and sum up the experience, sense of humor, and fatalism of man out in the country; some even rise to poetic or tragic dimensions. Heard from an old man of old country stock, while sipping mate, they can wipe out time and one thinks this was how the Greek tale-singers told the adventures of Achilles to dazzle shepherds and travelers. But at that moment, when a Homer should come to make an Iliad or Odyssey out of this store of oral tales, in my country along comes a gentleman who finds city culture a sign of decay, for whom the short-story writers we all love are so many aesthetes who wrote for the trifling amusement of social classes whose star has gone out, and this gentleman realizes that, instead, to write a story all that's needed is to write down a traditional tale, keeping as much as possible of the tone of telling, country turns of phrase, grammatical errors, everything they call local color. I don't know whether this way of writing popular stories is cultivated in Cuba; I hope not, because in my country all it's given us is undigestible volumes that don't even interest people out in the country, who prefer to go on sipping their brew and listening to stories, nor do they interest city readers, who may well be jaded and decadent, but they have read the classics of the genre with care. On the other hand--and I'm still talking about Argentina-we've had writers like Roberto J. Payro, Ricardo Guiraldes, Horacio Quiroga and Benito Lynch who, also making frequent use of traditional themes heard from old-country elders like Don Segundo Sombra, have managed to bring out this material's potential and make it into a work of art. But Quiroga, Guiraldes and Lynch knew the writer's craft through and through, that is, they would only work with significant, nourishing themes, just as Homer must have discarded tons of war stories and magic tales to keep the ones that have come down to us through their enormous mythic power, the resonance of their mental archetypes, their psychic hormones, as Ortega y Gasset called myths. Quiroga, Guiraldes and Lynch were writers of universal scope, with no local, ethnic or populist prejudices: that's why, besides choosing the themes of their stories carefully, they pressed them into a literary mold, the only one that could convey to the reader all their values, all their ferment, their sweeping range both in depth and height. They wrote tensely, they showed intensely. There's no other way a story will work, hit the mark, and dig into the reader's memory.
The example I've given might well interest Cuba. It's clear that the possibilities the Revolution offers a story writer are almost endless. City, country, political struggle, work, various psychological types, ideological and personality conflicts, and how all this is heightened by the drive I see in you to act, to express yourselves, to communicate as you never before could. But all that, how will it translate into great stories, stories that reach the reader with due power and effect? Here's where I'd like to apply concretely what I've said on a more abstract level. Enthusiasm and willingness are not enough by themselves, just as writer's craft is not enough by itself to write the stories that will set forth literarily (that is, in our shared sense of admiration, in the memory of a people) the greatness of that Revolution in progress. Here, more than anywhere else, is needed a total fusion of these two forces, that of the man fully committed to his nation's and the world's reality, and that of the writer lucidly sure-handed in his craft. Nothing short of this will do. The more of a veteran and an old pro a writer is, if he lacks a deep-seated motivation, if his stories aren't born of core experience, his work will be no more than an aesthetic exercise. But the opposite will be even worse, because fervor and the urge to communicate a message are no good without the expressive, stylistic instruments that allow for that communication. At this moment, we are touching the crux of the matter. I believe, and I'm saying this after weighing at length all the elements involved, that to write for a revolution, to write within a revolution, means to write in a revolutionary way; it doesn't mean, as many believe, to be obliged to write about the revolution itself.
For my part, I believe the revolutionary writer is the one who fuses in himself, inseparably, awareness of his free individual and collective political commitment, and that other sovereign cultural freedom, that of the full mastery of his craft. If that writer, responsible and lucid, decides to write fantastic or psychological literature, or turn his writing toward past times, his act is an act of freedom within the revolution, and so it's also a revolutionary act even though his stories aren't concerned with the individual or collective forms the revolution assumes. Contrary to the narrow criterion of many who have literature mixed up with instruction, or literature with teaching, or literature with ideological indoctrination, a revolutionary writer has every right to address a much more complex reader, one who is much more demanding in spiritual matters than what's imagined by those writers and critics thrown into those roles by circumstances and convinced their personal world is the only world in existence, that the concerns of the moment are the only valid concerns. Let's repeat, with reference to what's going on around us in Cuba, Hamlet's admirable line: "There are more things in heaven and earth, Horatio, than are dreamt of in your philosophy." And let's think that a writer isn't judged only by the theme of his stories or novels, but by his living presence :in the heart of the community, by the fact that the total commitment of his person is an undeniable guarantee of the truth and the necessity of his work, however foreign that work might seem to the circumstances of the moment. That work is not foreign to the revolution because it's not accessible to everyone. Just the opposite, it proves there exists a vast sector of potential readers that, in a certain sense, are much further separated than the writer from the final goals of the revolution, those goals of culture, freedom, full enjoyment of the human condition, that Cubans have set for themselves, to the admiration of all those who love and understand them. The higher they aim, those writers who were born for it, the higher will be the final goals of the people they belong to. Beware of the facile demagoguery of demanding a literature accessible to everyone! Many of those who push this line only do so because of their evident inability to understand literature of wider scope. They clamor for popular themes, never suspecting that often the reader, simple as he may be, will intuitively be able to tell a poorly written popular story from a more difficult, complex story that will force him for a moment out of the little world around him and show him something else, whatever it may be, but something different. It makes no sense to speak of popular themes, period. Stories on popular themes will only be good if they are built, like any other story, on that demanding and difficult inner mechanism that we've tried to show in the first part of this talk. Some years back, I had this proven to me in Argentina, in a gathering of country men where a few writers were present. Someone read a story based on an episode from our war of independence, written in deliberately simple style to place it, as its author said, "at the peasant's level." The story got a polite hearing, but it was easy to see it hadn't left its mark. Then one of us read "The Monkey's Paw," the justly famous story by W. W. Jacobs. The interest, the thrill, the fear and, at the end, the enthusiasm were extraordinary. I remember we spent the rest of the night talking about spells, witches, diabolical revenge. And I'm sure Jacob's story keeps on living in the memory of those illiterate gauchos, while the supposedly popular story, manufactured for them, with its vocabulary, its made-easy intellectual content and its patriotic interest must be as forgotten as the writer who manufactured it. I've seen the thrill simple people derive from seeing Hamlet on stage, a hard and subtle work if there ever was one, and an unending topic of scholarly study and infinite controversies. It's true those people can't understand many things that thrill specialists in Elizabethan theater. So what? Only their feelings matter, their awe and rapture at the tragedy of the young Danish prince. That proves that Shakespeare truly wrote for the people, in that his theme was deeply meaningful for anyone--on different levels, to be sure, but reaching each one--and the theatrical treatment of that theme had the intensity common to great writers, which breaks down the seemingly sturdiest barriers, and men recognize each other and become brothers on a level beyond any culture. Of course, it would be naive to believe that any great work could be understood and admired by simple people; it's not true, and can't be. But the wonder that Greek or Shakespearean tragedies evoke, as well as the passionate interest many stories and novels--not in the least simple or accessible--can flame, must raise the suspicion among advocates of mislabeled "popular art," that their idea of the people is slanted, unfair and, in the end, dangerous. It's not doing the people a favor to offer them a literature that can be taken in effortlessly, passively, like going to see a cowboy movie. What needs to be done is educate them, and that's a first step, a matter of instruction, not literature. It has been reassuring to me to see how in Cuba the writers I most admire participate in the revolution, giving the best of themselves, without offering up part of their possibilities on the altar of a supposedly popular art that will benefit no one. One day Cuba will have on hand a store of stories and novels containing--worked out on an aesthetic level, rendered eternal in the timelessness of art--the, revolutionary adventure of today. But those works won't have been written out of obligation, following the slogans of the hour. Their themes will be born when the time is ripe, when the writer feels he must mold them into stories or novels or plays or poems. Their themes will carry a genuine, deep message, because they won't have been chosen in obeisance to a didactic, proselytizing norm, but from an irresistible force that will seize hold of the author, so that he, summoning all that his art and technique can offer, not sacrificing anything to anyone, will convey to the reader as fundamental things are conveyed: blood to blood, hand to hand, man to man.
This article originally appeared in Casa de las Americas, Nums. IS16 (1962-1963). It is translated here by Naomi Lindstrom with the permission of the author.
First published in issue 3.3 (Fall 1983)
JULIO CORTAZAR (1914-1984) lived in Argentina and France. He is the author of Hopscotch, 67: A Model Kit, and Blow-Up and Other Stories.
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