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Great story on Jacob Cutrera in Tampa Bay Times today. Not sure it posted yet Posted by StPeteLSU on 12/9 at 9:20 am One on one conversation with Cutrera. Pretty intersting and funny. LINK Reply Back to Top |
Posted by stapuffmarshy on 12/9 at 9:21 am to StPeteLSU did it talk about his one on one tackle of Holliday last week?Reply Back to Top |
Posted by StPeteLSU on 12/9 at 9:24 am to stapuffmarshy Nope, mostly just human interest story about being a Cajun and his wife being a huge Saints fan with pictures and bobbleheads of Drew Brees in his room when he goes back home. How he misses the best food in the world and how he will go back to LA when he retiresReply Back to Top |
Posted by TigersOfGeauxld on 12/9 at 9:24 am to StPeteLSU Glad to see he made it into the NFL, hope that works out for him. I think with The Chief improving our LBer play the way he is, we'll see quite a few ex-LSU LBers in the NFL soon. Reply Back to Top |
Posted by WNCTiger on 12/9 at 9:34 am to TigersOfGeauxld yep, and the racists on here constantly whined about how bad he sucked when he played here, with the unwritten subtext was that he sucked because he is white. They do that every time we get a decent white player, at half back or especially on defense, despite the performances of Jacob Hester, and All Americans Kyle Williams and Craig Steltz. Racists: frick off. Geaux JC. I hope he has a good NFL career. And right about now, how many Americans would be glad to be making the NFL minimum (OT ballas excluded, of course)? I'd say based on SSA Income Statistics about 99.7% of people with a job in this country make less. Reply Back to Top |
Posted by Tiger in Texas on 12/9 at 10:03 am to WNCTiger Another Frenchman doing the state proud... Reply Back to Top |
Another one rantards ripped into over the years saying he sucked and was slow. Reply Back to Top |
Posted by PhiTiger1764 on 12/9 at 10:54 am to stapuffmarshy quote: Funny story on this. Good friend of mine is friends with Cutrera. Said after this play Trindon was running back to the sideline and saw a smirking Jacob Hester. Trindon: "What the hell you smiling about?" Hester: "You know who tackled you right?" Trindon: "Na who?" Hester: "Cutrera" Trindon: "AWWWWWWE frick!" Reply Back to Top |
Posted by udtiger on 12/9 at 11:03 am to PhiTiger1764 Reply Back to Top |
quote: WTF are you rambling about? I would assume that the majority of the posters on this board are white, so are you saying those white posters are racist because they purportedly bash white players simply because they are white? How can one white guy saying that another white guy sucks soley because he's white be considered racist? OR, am I misinterpreting post in that it's really aimed at the non-white posters? Reply Back to Top |
quote: you mad This post was edited on 12/9 at 11:11 am Reply Back to Top |
Posted by chambers538 on 12/9 at 12:32 pm to WNCTiger quote: You sound like the racist person. Reply Back to Top |
Posted by ibleedprplngld on 12/9 at 3:23 pm to PhiTiger1764 quote: Hahahaha classic. Although he was pretty slow, the dude was a pretty damn good run stopper. Plus, if memory serves me correctly, I believe he was the strongest player on the team while he was there. This post was edited on 12/9 at 3:24 pm Reply Back to Top |
Posted by RogerTheShrubber on 12/9 at 3:31 pm to Alt26 quote: Everyone assumes the white LB will suck, that's what he is pointing at. It's more stereotyping than racist. You see it here all the time, mainly from white posters. Nothing wrong with it, everyone stereotypes. Reply Back to Top |
Posted by Rock O Gbralta on 12/9 at 5:02 pm to StPeteLSU Nice story, but not to knowledgeable about "Cajun" language.Reply Back to Top |
Posted by justmebeno on 12/9 at 5:57 pm to StPeteLSU Way to go Jake!!! He is really looking good!! I live with Jake's cousin....said they got so mad reading bad things about him they just stopped reading. Shame we can't just support all the Tigers, all the time. This post was edited on 12/9 at 6:37 pm Reply Back to Top |
quote: This is not going to go over well with Hendo... Reply Back to Top |
WNC makes a valid point.... ibleedprplgold a few post later is a PERFECT EXAMPLE!! Do you know how fast Cutrera was timed on Pro Day??? WAY FASTER than Ali Highsmith, Ryan Baker & Stefan Francios....yet you never heard how slow they were! Maybe bec Cutrera was about 3 inches taller than those other guys so his stride was longer?? No thats not the reason! Reply Back to Top |
Posted by LSU GrandDad on 12/9 at 7:34 pm to Alt26 quote: where you been man? i think racists is too strong of a word to describe this but it is true that the perception is that ALL white people are slow and ALL african americans are fast. many white people have bought into this sterotype and when they see a white RB, or WR they are surprised how such a slow guy got the job. i have seen this hundreds, if not thousands of times. i have no idea how african americans perceive it but i know many white people do. Reply Back to Top |
Posted by yurintroubl on 12/9 at 8:08 pm to StPeteLSU Thanks for the link. He seems to represent his school and his state very well. Reply Back to Top Refresh |
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Ralph LaRossa, President & COO of PSE&G, the 2014 Special Olympics USA Games' newest Founding Partner, celebrates with Special Olympics athletes Velinda Ramsey of Trenton, NJ and Megan Clark of Mercerville, NJ. PSE&G will serve as Presenting Sponsor of the Games' Youth Leadership Initiative. The 2014 USA Games are expected to involve 80,000 people and bring $50 million in economic activity to the New Jersey area.
The Organizing Committee of the 2014 Special Olympics USA Games today announced a $1 million commitment from PSE&G, making the company a Founding Partner of the 2014 Special Olympics USA Games. The Games are expected to have a $50 million impact on New Jersey's economy as thousands of athletes, coaches, and supporters descend upon the Garden State for the Games. The Games will be the largest Special Olympics national games since they began in 2006.
PSE&G will be the Presenting Sponsor of the Games' Youth Leadership Initiative, which will challenge high school students to develop strategies to bring together students with and without intellectual disabilities. Activities will start next year in schools throughout New Jersey, challenging students to become leaders who create cultures of acceptance in their schools and communities. PSE&G will also sponsor the Games' national Youth Leadership Summit, which will bring to New Jersey youth from throughout the country for a week of activities that teach them how to become advocates for each other. These efforts are designed to lead to greater acceptance of Special Olympics athletes in the classroom. "We're proud to help bring a world-class event like the 2014 Special Olympics USA Games to New Jersey. We have great respect for the impact that this organization has had in showcasing the incredible spirit and abilities of athletes with intellectual disabilities," said Ralph LaRossa, president and chief operating officer of PSE&G. "The Games will bring an influx of people and investment to New Jersey, and provide tens of thousands of the state's residents an opportunity to get involved in activities that bring people together. We're strong and steady supporters of initiatives that strengthen the communities we serve."The 2014 Special Olympics USA Games will take place at sporting venues throughout New Jersey, June 14 through June 21. More than 3,500 Special Olympics athletes from all 50 states and the District of Columbia will compete in 17 sports. An estimated 10,000 volunteers as well as 50,000 additional spectators will be in attendance. "The impact of these Games on New Jersey will go far beyond the new dollars it brings to the state," said TJ Nelligan, Chairman & CEO of the 2014 Special Olympics USA Games Organizing Committee, "PSE&G's support will help create a legacy of acceptance in our schools and a new generation of leaders who are committed to ensuring that all people are valued and fully included in our society." "Young people are the future of our Special Olympics movement and we are thrilled that PSE&G will help power their leadership leading up to and during the 2014 USA Games," shared Timothy Shriver, Chairman and CEO of Special Olympics. "By providing youth the opportunity to engage with athletes with intellectual disabilities, they will be helping pave the way for more inclusive and accepting communities."The PSE&G sponsored Youth Leadership Initiative has two distinct initiatives. The first is the 2013 Special Olympics New Jersey Leadership Institute, which will engage New Jersey students as leaders to create cultures of acceptance in their schools and communities through sport. The second element is 2014 Special Olympics USA Games Youth Leadership Summit, which will assemble youth from throughout the country to participate in a week of idea exchanging and leadership development, including taking on leadership roles during the Games, in preparation for implementing programs of inclusion and acceptance in their home schools and communities. Learn more about the Games at 2014specialolympics.org. Follow the Games at Facebook.com/SpecialOlympicsUSAGames
Public Service Electric and Gas (PSE&G) is New Jersey's oldest and largest utility, serving nearly three-quarters of the state's population. PSE&G is frequently named one of the most reliable utilities in the nation, winning the regional and national ReliabilityOne Award for superior electric system reliability. PSE&G is a subsidiary of Public Service Enterprise Group Incorporated (PSEG) (NYSE:PEG), a diversified energy company.
The company has a long tradition of caring for the people and communities it serves. Each year, the energy company and its employees invest millions of dollars and thousands of hours to improve the quality of life in New Jersey. The company's culture dictates that service to customers and community go hand-in-hand. For more, visit http://www.pseg.com/community and engage @PSEGcares on Twitter.
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Today, the Templeton Foundation gave its most prestigious award to my hero, Jean Vanier. For Linda and our children and me, he has also been our retreat leader, our teacher of humility, our guide.
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Kindergarten students participate in a DiscoverE and Pre College Outreach bridge building activity
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The conclusion to the bestselling FALLEN series, with exclusive content from the darkly romantic world of FALLEN and an excerpt of Lauren Kate's TEARDROP.
When evil triumphs . . . when the world ends . . . trust your love.
The sky is dark with wings. . . . Like sand in an hourglass, time is running out for Luce and Daniel. To stop Lucifer from erasing the past, they must find the place where the angels fell to earth. Dark forces are after them, and Daniel doesn't know if he can do this—live only to lose Luce again and again. Yet together they will face an epic battle that will end with lifeless bodies . . . and angel dust. Great sacrifices are made. Hearts are destroyed. And suddenly Luce knows what must happen. For she was meant to be with someone other than Daniel. The curse they've borne has always and only been about her—and the love she cast aside. The choice she makes now will be the only one that truly matters. In the fight for Luce, who will win? The astonishing conclusion to the Fallen series. Heaven can't wait any longer.
People ask me: Why angels? Why paranormal? Why teens?
In the beginning, I'm not sure I knew I was starting down any of those twisted paths—paths that now seem so familiar to me that they are downright comforting. In the beginning, I was just writing about love.
Before Fallen, I'd written love stories and more love stories. I'd fallen in love with love stories—but they were also beginning to feel just a little bit too insular, too small. Maybe I was inspired by the lovers in my stories, but what was I saying about the world beyond them? Why should the love between two people matter to anyone else? In essence: How could love have larger implications?
That's when I read the line in Genesis about angels looking down from Heaven, finding mortal women beautiful, and ultimately falling for them—in two senses of the word, because (the story goes) the angels sacrificed their place in Heaven for that love.
Now that was a BIG love story. A big, complicated, fraught, and, most likely, doomed love story, which, I may have forgotten to add, is my favorite sort.
It started with Luce's character: What kind of girl would attract such heavenly attention? What wonderful secret did she hold inside? Once I knew that, I found Daniel, and the rest of the story unfurled from there, much like the way my angels' wings unfurl from their shoulders: in a great momentum-filled whoosh.
Luce and Daniel's love story led me deep into the world of angelology. It found me sitting in the office of a divinity scholar scribbling down which trilogy on the devil I needed to read next. It got me thinking about how very subjective the words "good" and "evil," "right" and "wrong" are and what that says about the way we see our world today. It led me into a dark place where I battled and struggled with my characters, wanting them to be things that, at the beginning of their story, they simply could not be. It blew up into four books and a saga I never could have anticipated about trust and betrayal, doubt and rejuvenation, ecstasy and loss.
In the end, at its core, the story all comes back to love.
And now, you may be wondering: Why love?
What else is there?
Lauren Kate creció en Dallas, Texas. Tras licenciarse en la universidad de Emory, se trasladó a Nueva York y poco después cursó un máster en escritura creativa en la Universidad de California, Davis. Ha escrito varias novelas juveniles, entre las cuales se encuentran Tormento y Pasión, las siguientes dos entregas de la exitosa serie Oscuros. Actualmente vive en Los ángeles con su esposo.


text: This speaks more to the tuning and quality of Cairo than the quality of the drivers or the chipsets, particularly since most Cairo development is done with Intel GPUs. The nVidia netbook case is not very revealing either, since netbook GPUs are in general underpowered compared to common desktop equivalents. The nouveau vs blob results were somewhat surprising, but can be explained by the differing focus of the blob vs Nouveau (that is, open source desktop use versus professional and gaming OpenGL use).


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white space. Mechanic's staple cleans up in refined white lacquer. Roomy three drawer storage sans hardware integrates self-pulls in a reveal beneath each drawer. Slim recessed "L" gunmetal legs heighten industrial influence. Surprise…even the interiors match in hi-gloss white. Build a strong horizontal line with multiples. Learn more about Mash Studios on our blog.


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No Mere Creature
The Exaltation of Christ
If Jesus' path to glory involves humbling Himself for the sake of His people, then one of the greatest ways we can bring Him glory is to remind the world of the clearest evidence of His humiliation — His death ...Read More
The Incarnation of the Son of God
Advocates of a kenotic Christology say the Son of God set aside certain divine attributes when He became incarnate. Such is impossible, for then He would not be fully God and could not save us. John Calvin comments, "Christ, indeed, ...Read More
The Form of God
At the very beginning of Paul's hymn to Christ, we have a powerful assertion of the deity of our Lord and Savior. The Jesus whom we serve is not just another man among men or one great teacher among many ...Read More
The Price of Love
Matthew 16:24–25 tells us that imitating God is a costly endeavor, one that requires daily self-denial and the narrow road of discipleship. If we think that there is no price to following the Savior, we are kidding ourselves. This price ...Read More
Speaking the Truth
Martin Luther purportedly said, "Peace if possible, but truth at any rate." We cannot lie to others about the depth of our sin or the sin of others even if we know lies will maintain "peace" between different parties. We ...Read More
What We Learned in Christ
Taking off our old selves — our Adamic natures that love rebellion — and putting on Christ is really a single act. We cannot live in Adam and in Christ at the same time, which means that we cannot refuse ...Read More
Learning Christ
John Calvin writes, "He whose life differs not from that of unbelievers, has learned nothing of Christ; for the knowledge of Christ cannot be separated from the mortification of the flesh." Scripture never asserts that sinless perfection is attainable before ...Read More
Gifts from the Ascended Christ
Christ's ascension to the right hand of God the Father demonstrates His sovereign authority to distribute good gifts to us as He wills. Because He has conquered death and hell, Jesus can give what is best to each of us, ...Read More
The Fullness of Christ's Love
If earthly families cannot be unified without the understanding and pursuit of love, how can we possibly think that true love for other believers is optional in the promotion of Christian unity? We are called to meditate on the depth ...Read More
Daily readings to encourage your heart and mind in the pursuit of God and his glory.Topics
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so what those arms are a part of his power thats like saying "kenpachi is only strong cause hes strong" its just retarded. and kenpachi fights reckless? did you actually watch the fight, im pretty sure nnotria was the one sprinting toward a guy who had just unveiled a new ability which nnotria didnt know anything about
and havent you noticed that kenpachis cutting power comes from his reiatsu? that is what that eye patch does, keeps his reiatsu under control and when it gets knocked of his cutting power increases so this means that to some extent cutting power=reiatsu this means that kyoraku a captain who has mastered swordsmanship to a level equal to kenpachi and has reiatsu nearly equal to kenpachi would almost certainly be able to cut nnotria
and those ceros? i doubt it firing 1000 ceros must have been tireing so it is likely that starrk just couldnt do it again because of how tiring it was/is otherwise starrk would have continued firing them, he was smart


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Little Naturalists: Story Time at Swaner
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Tuesday | Tip Day!
When and How to Wash Your Bra!
Ahhhh laundry day…we all have it…we all wait way too long to do it…and, this just in, we may not be doing it right!
Aside from separating your whites and line drying your cottons, ladies, we're here to tell you, HAND WASH your lingerie! You finally found that perfect bra that makes you look in the mirror and say "are those my boobs!?", now make sure it lasts as long as possible!
Hand washing your bra will allow it to maintain the correct shape, keep the padding fresh, and the color crisp! There are a multitude of lingerie soaps out there. The TLBC ladies are fans of Eucalan and Forever New, but a light detergent such as Woolite also works well. Gently hand wash your bra in lukewarm water, using your hands to work the soap into the bra. If you use a specialized lingerie detergent, there is no rinsing needed! If you use another detergent, gently rinse your bra until no soap is apparent. Lay the treasured piece flat to dry and, if you're anything like us, wait impatiently for your delicates to be ready!
Watch TLBC Founder Emily Lau walk you through this technique below!
The other tricky question is WHEN do we wash our bra!? One key thing to remember is a bra does not need to be washed after every use, but it should be given a day of rest. This day off will help it regain its original shape and structure.
For a little more when to wash guidance check out the diagram below!
The Little Bra Company


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Question up for comments: Ecology and Nostalgia
Submitted by Ron Broglio on
Submitted by Ron Broglio on
Submitted by AshtonNichols on
Ecomorphism is the antithesis of anthropomorphism. Instead of seeing myself at the center of my world, I can now see my human activity—and yours—in terms of our connectedness to nonhuman life. For centuries the poets have said, "that mourning dove is singing a song as sad as I am sad" or "that cloud looks as happy the way I am happy as it skitters across the sky." Now we need to reconsider both the tenor and the vehicle of such anthropomorphic metaphors. The vehicle is the subject—humans—from which the characteristic (sadness or happiness) is taken. The tenor is the natural subject (bird or cloud) to which the human characteristic is given. Poets and other imaginative creators should now consider reversing this metaphoric order in the interest of ecocentrism. No longer should we just imagine ants as resembling humans. We now need to point out that humans often act like ants, or birds, or even clouds. A bird does not build a house the way I build a house, but I can roost just the way a bird roosts: ecomorphism.
This difference between anthropomorphism and ecomorphism is subtle but significant. Science has revealed to us that ant-colonies are like human communities, but equally important is the idea that human colonies are like ant colonies. Both are adaptive responses to specific social conditions. Likewise, butterflies do not use mimicry and thereby make themselves disguised the way humans use disguises. Humans use forms mimicry, derived from mimicry in butterflies and other "lower" creatures, to accomplish similar goals. Humans gather and store food the way squirrels do, not vice versa. Humans seek mates like the rest of sexually-selecting nature does. We are more like them than they are like us.
If it ever made sense to describe the nonhuman world as human, it no longer makes sense to talk about the "melancholy mourning dove" or the "anxious anteater". It now makes much more practical and poetic sense to describe ourselves in relation to the rest of nature than it does to humanize the nonhuman. If we want to keep thinking of ourselves as special—as superior to ants, and wasps, and birds—that is fine, but we should also recognize that we derive directly from, and are thus always linked to, the rest of wild nature. They came first. We arose out of them in the first place. We were not self-generated. Our humanity is deeply intertwined with and invested in all of the creatures that predate us on the evolutionary scale. Our own special status—when it exists—derives directly from our self-interest, nothing more, nothing less, but so does a chimpanzee's special status.
Ecomorphism sees human activity as dependent upon—and interdependent with—all ecological interactions on earth. At the same time, human activity plays an increasingly important role in all ecological systems. Human fires pump countless tons of airborne waste products into an ecosystem that has always produced its own "destructive" elements: volcanoes, tsunamis, earthquakes. Now, however, the three-pound blob of our human brain is always the self-conscious definer of the problem. Destruction only makes sense from a human point of view. No dinosaur worried about rapid climate change on the planet. No trilobite was troubled by alterations in ocean temperature. Even from our human perspective, the flood that brings death and destruction to the Nile or the Mississippi deltas also brings moisture, and nutrients, and life.
Our brain not only creates the sense of what we have to fear; it also reconnects us to the wider world around us. Ecomorphism emphasizes this need to see ourselves as determined by—while existing within—a world that lies beyond the illusory border of our bodies. The complex fact of consciousness is the condition that allows us to appreciate this central truth about our surroundings. We are a part of every environment we inhabit. There is no absolute separation between a world outside (nature) and a world inside (the mind). Our own self-consciousness—as writers from Shelley and Keats to Annie Dillard and Wendell Berry have reminded us—can give way to forms of unselfconsciousness that allow for fleeting unification between individuals and the wider world. Mystics from every cultural tradition have also known this truth. Such unselfconsciousness may best be described as environmental ambience. Ambience describes the unification of every element in a set of natural circumstances with the conscious mind that perceives those surroundings. In an ambient unity of self and surroundings lies one hope for an ecocentric ecology. As Tim Morton—one of the architects of ecoambience—puts the problem, "Ecology may [now] be without nature. But it is not without us" (205).
In recent years, ecocritics have described the progression from several millennia of Judeo-Christian thinking about the dominion of humans over animals, through Romantic empathy in the writings of authors like Blake, Shelley and Keats, toward our current willingness to emphasize our dependence on, not our dominion over, our natural surroundings. This development began in Genesis 1:28, when "God said unto them, Be fruitful, and multiply, and replenish the earth, and subdue it: and have dominion over the fish of the sea, and over the fowl of the air, and over every living thing that moveth upon the earth." Once God told us to subdue the earth, and offered us dominion over creation, humans had to decide how to use their new powers. They often misused them. The history of this misuse is recorded in centuries of environmental degradation, culminating in the ravages of twentieth-century industrialization, and in untold suffering of sentient beings, from captive creatures to more widespread animal cruelty.
Progress toward a new view began with an emphasis on pristine nature and natural law during the Enlightenment and the centuries since. This new view can be seen in gendered terms. Monotheistic and patriarchal dominion gave way, by the late eighteenth century, to mostly masculine articulations of Romantic empathy toward animals. Locke and Rousseau, among others, described a pristine natural state out of which we had all emerged. Keats and Shelley praised the birds and the beasts. In the twentieth-century, Romantic empathy merges with environmentalism, from Rachel Carson's silent spring to Al Gore's inconvenient truth. This modern ecoempathy has also evolved into what Carol Gilligan calls an "ethic of care." But an ethic of caring also needs an ethic of sharing. We need to share both the world we did not create—which we call "nature"—and the world we have created—which we call "culture." The two worlds are really one. From men with dominion, we have become humans who need to recognize our interdependence. From the illusion of arbitrary control we have moved toward an emphasis on symbiosis. In the process, we have reached our current desire to see the biosphere as a continuum of all life and all living process. From Jaweh's monotheological rod of control, we have made our way through Keats's anthropomorphic nightingale toward modern versions of ecocentrism and ecofeminism. The romanticist Nandita Batra has described this history as a long—often painful—progression from dominion to empathy to symbiosis (ISLE 3:2 Fall 1996). We might now want to call this sequence progress.
Blake's point-of-view in his lyric "The Fly," to choose just one example of ecoromanticism, puts us into an ecomorphic mindset by forcing us to ask, to what—or to whom—might I appear to be a fly?
Little Fly
Thy summers play,
My thoughtless hand
Has brush'd away.Am not I
A fly like thee?
Or art not thou
A man like me? (ll. 1-8)
Such a dream of contact across the species line is not only the basis of all anthropomorphic thinking but also of all ecomorphism. A fly might be like you or me and, if he is, what might that say about us? Species boundary-crossing is not simply a metaphor; it is a scientific reality in the modern world. All species are connected. They can be metaphorically linked or literally linked. We have hinted at these metaphoric links since Aesop said that the ant was industrious, the fox was sly, and the tortoise patient. Now we know that there are literal links. We share genetic material with chimpanzee and crustaceans. We can transplant animal organs into humans. We can insert human genes into other species. We derive from and depend upon other species in countless ways. Ecoromanticism reminds of us these links from Blake's fly and Burns's mouse to Shelley's skylark and Mary Shelley's monster.
--Ashton Nichols
Submitted by TimothyMorton on
Submitted by TimothyMorton on
So here we are. We've discovered the oozing, slimy core of the poem, an ooze with a face—not a primordial ooze, a naturephilosopher's Urschleim (what a fantastic word—protoplasm is good too I guess), life-to-be. Instead, this slime is caught between categories of life and death, life-in-death, and it induces a horror deeper than revulsion over matter in the wrong place—Life-in-Death is a person. We are not in the realms of vitalism—which is idealism's ground zero.
Patricia Yaeger's excellent essay in the recent issue of PMLA shows how close to ecology contemporary art is, even when ecology is not explicitly its subject matter. Ooze is what contemporary art makes us face. Even when it's not ecological in content, or in form. It's ecological in its substance, and in its subject (position). (For more on this, see the Mission Statement a couple of posts back.)
It's paint-ooze. Sound-ooze (timbre-ooze more precisely). Word-ooze (L=A=N=G=U=A=G=E poetry and its Quine-esque exploitation of mention not use). Art as pollution. The unformed (Georges Bataille: l'informe).
Piles of "stuff" without frames, or the inverse, empty frames, that both say "I am art." Or, weirder, "Am I art?" Or "I am not art." "This is not an artistic sentence" (Public Image Limited did a song called "This Is Not a Love Song"). "This sentence is outside the aesthetic dimension." "The Night-mare Life-in-Death I am."
The ooze is "there is..." or "it is...." When we say "It is raining," what is the "it" that is raining? Lévinas calls it a murmuring or a splashing. The oozing of the there is. Freud: drives are silent. I think of the ichor melting out of the mouth of the little girl in The Exorcist.
I think of the photographs of Cindy Sherman. There's one—blast it, I can't find it online, but you can find it in Rosalind Kraus's book Cindy Sherman 1975–1993 (New York, Rizzoli, 1993), page 156. It's a face half-buried in splattered gore, staring out with wild eyes. Or if you want the candy-flavored version, try Pierre et Gilles' photographs, such as their one of the band Deee-Lite. The band members grin, growing out of roses, their heads sparkling like sugared plastic.
I think of the music of La Monte Young—alas, so hard to find. The Well Tuned Piano is a masterpiece, a worthy successor to The Well Tempered Clavier. It's about creating sounds by tuning a piano to play exquisitely refined layers of harmonics that seem to reach up and down into infinity. These sounds are literally the potential in the matter out of which pianos are made (wood and string and metal), and the spaces you play them in. That's what timbre means. After you listen to all five plus hours, you will become aware of the muddy compromise that is the "equal temperament" of modern pianos (and thus of other instruments generally). This comparison may be a little loaded, but it's like eating an apricot you pick straight off an apricot tree after years of eating ones that have flown on planes to reach your mouth. (Clue: they taste of roses.)
True materialism would discover multiple dimensions of materiality. It would be the love of matter.
Timbre—timber—hyle (Greek: matter, timber). Materialism in music. Rime: frosty encrustation, timbre of frozen water, sugar-coating, making things glitter, glossy. Rime, slime. Life in Death. The marginal gloss. "Blue, glossy green, and velvet black / They coiled and swam" (4.279–280). Colored ink. Like lines of illuminated text. Gloss—the speaking of speaking. Speaking in tongues. "I bit my arm, I sucked the blood, / And cried" (3.160–161).
The ancient Mariner's world—although we've ruled "worlds" in a strict sense out of court—is already this realm of sheer existence, of timbre. A place of glittering eyes and skinny hands, leprosy faces and grinning skulls. This is a world of synethiaphobia and synethiaphilia—phobic fascination and friendly investigation of intimacy. Intimacy with objects and abjects. Proximity to others. Scopo-rhino-oto-taxo-geuma-psyche-philia. "Perversion" as utter passivity in the face of feminized appearance. There's no good reason to admire those coiling glistening water snakes, floating like shorn Medusa's hair.
All those organs without bodies: a glittering eye, a skinny hand, looks and locks and skin as white as leprosy, slimy things with slimy legs, serpentine swimming, the curse in a dead man's eye. It's not a holistic world. It's a frothing mass of performances, gestures, behaviors that express certain genetic codes. Performance all the way down (see my earlier post on Judith Butler). A world of gyrating prosthetic limbs. You have to drink your own blood in order to speak. You wear a dead albatross. You use oars and masts, because you can't swim.
This is not your usual Birkenstock wearing, tree-hugging environmentalism, then. More like tree-licking. Queer ecology.
Recursive commodity fetishism. Life in Death. Fetishism looped back into itself. The glow of the glow of value. A paradoxical judo, tripping up the system with its own energy, not stepping outside it. Irony that doesn't involve distance. Irony and intimacy. Irony as intimacy. Knowing "knowingness." A mass produced feudal text that talks about itself. A brand new product, an antiqued commodity, encrusted with metal studs like a medieval Bible or a studded collar. A Gothic object, a Goth ecology. The gloss of gloss—a glossy gloss. Strange strangers. Sparkling slime. Artificial intelligence. (Not an oxymoron, like "military intelligence.") Romantic irony: a poem that knows it's a poem. A talking book about a walking book. "To him my tale I teach" (7.590).
Slime: it's slimy because it's made of enzymes, little subroutines produced by and productive of DNA sequencing. Primordial slime as a computational process. Amino acids that generate amino acids that act on other amino acids...no outside, all the codes implicit in the chemicals. Watching the water snakes as dreaming: watching the Id machine gyrate. Kris, the psychologist in Solaris, watching the surface of the sentient planet-ocean that "dreams" by sending forth horrifying simulations of the astronauts' guiltiest secrets. He is watching a giant brain. Electrochemical processes giving rise to words and ideas. "There's a killer on the road / His brain is squirmin like a toad" (The Doors).
(Here's the final scene from Solaris. Watch the wafting fronds and the boiling sentient ocean. Kris has decided to descend to the surface of the planet and live out his life communicating via the planet's simulations, which in the novel are called Phi-Creatures. Rather wonderfully, Phi (Φ) is the Lacanian symbol for the object in its existential density. I have an essay on this movie and ecology coming out in SubStance, probably some time later this year.)
"Nature loving" is supposedly chaste (impossible formula! like courtly love, or Neoplatonic love), and is thus slave to masculine heteronormativity, a performance that erases the trace of performance. "Leave no trace" was an environmentalist movement about picking up after you when you go hiking—but there's another dimension to this injunction. Masculinity performs no-performance, erasing its trace. If you look like you are "acting" masculine, you aren't. Masculine is Natural. Natural is masculine.
(In my recent project The Ecological Thought I've often capitalized Nature to return to it some kind of trace, some distinctive mark.)
Organicism: an artistic form in which form fits content like an invisible glove, leaving no trace. Most environmentalisms—including modern systems theories—are organicist. World fits mind and mind fits world (as Wordsowrth asserted). Blake: "You shall not bring me down to believe such fitting & fitted ... & please your lordship." His marginal gloss on Wordsworth's The Excursion (the Prospectus to The Recluse).
Organicism must therefore partake of environmentalist chastity. A performance of no-performance. Un-perversion. A desire that erases its trace as soon as it appears. Desire as erasure, erasure-desire. The curtain rises on a pregiven world, always greater than the sum of its parts (holism). But slime is not organic: it's a computational process. Things only look like they fit, because we are not perceiving them on an evolutionary or geological time scale. If you move a Sphex wasp away from the hole she is inspecting (as a suitable storage place for the caterpillar she has caught), she will perform the same behavior, meaninglessly, at the next hole. Nature looks natural because it keeps going, and going, and going...like the undead! And because we keep on looking away, keeping our distance, framing it, sizing it up.
Blake heard the voice of authority in organicism. We must articulate a nonauthoritarian ecology. Authoritarian organicism gains its power through a naturalizing of sexual difference. Nature is unmarked ("leave no trace"). It is established by exclusion, then exclusion of exclusion. We must retrace it to the end, return the gloss, the slime, the rime, to the book of Nature. Ecology must unthink "ecologocentrism."
Perhaps we could give ecologocentrism the slip by saying that Nature is beyond concept. Beyond concept, Nature is. Wordless Nature. But no. Thus a negative theology of the environment must always fall prey, finally, to the deadly logos it wishes to transcend. Thinking you can escape metaphysics by outlining a hyperessential being beyond being only repeats the problem. Nature is not unnatural. A negative theology of the environment is the ultimate chastity—it refuses even to name the non-name, refuses even to non-name it.
Vegetarianism—how could I bash it? I started my career researching it, and eating it! But it's interesting, the linguistic fallout from vegetarianism. All that meat, all those mangled bodies. The subject position from which vegetarian arguments are made is too often fascinated carnivorous carno-phobia. Violent non-violence.
Shelley's vegetarianism was certainly this: abstaining from meat, yes, and also from un-fair-traded spices, indeed. Yet the obsession with obsession; the equation of madness with crime, crime with disease; longing for a society without a symptom—for a society without people, in effect. A society without a trace. A death-driven obsession that Shelley himself brilliantly dissects in Alastor, the hardest poem I've ever read, with all its contradictory messages and levels.
"Leave no trace" as a translation of "Let it be." Heidegger in his hide: the stupefied, plangent hush of his prose tells of a huntsman waiting for Being, with a gun or binoculars. Even if the gun is only the gun of the fascinated gaze. The "meditative" quiet of the forest where you can hear the "sharp, subtle sounds of animals jumping forth...and [you] can shoot at them." Let it be! Pull! Bang! What a fantastic sight! Shhh, quiet, I'm trying to kill this rabbit. Quietly, meditatively, I insert my knife gently and smoothly into its neck, mindfully and meditatively I slit its throat...In the rabbit's blood I can smell the quiet of the fields, the "toilsome tread" of the paws on their daily round, the search for something to nibble...this rabbit corpse is a moving environmental poem, like a pair of old shoes in a Van Gogh painting...mmm...
If in the process of being "ecological" we only extend our phobias of psychic, sexual and social intimacy, then we will have paid a terrible price. We will have created a cleaner, easy-wipe version of the reality that got us into this mess in the first place. There will still be pollution. It will accumulate based on the injunction to leave no trace. There will be normals and pathologicals. Efficiently functioning phobia.
While we strive to make production less toxic, less dangerous, less deadly, thinking needs to slow down and become entangled in its own slime.
Submitted by TimothyMorton on
"It is an ancient Mariner" (1.1); "The Night-mare Life-in-Death was she" (3.193); " 'There was a ship,' quoth he" (1.10). Is the ship the Mariner first mentions to the Wedding Guest not his own ship, but her ship, the death ship? It would work in the structure we are elucidating here. The ship is presented in its sheer existence. Something about the terror, the urgency, with which the Mariner collars the Guest, as if the ship were all too present in his mind, causes the Guest to recoil. The Guest catches a glimpse of Life-in-Death in "his glittering eye" (1.13).
Her face, beautiful and eaten away. She lets bacteria feast on her flesh. Lévinas asserts that the ultimate demonstration of our utter responsibility for the other is maternity, which is a condition of allowing the other to eat you, from the inside, the ultimate host-parasite relationship. Life-in-Death is a perverse mother of us all, a leper woman who just comes alongside us on a floating ship, like the Mariner, the figure of the homeless man stopping one of three by the Bridegroom's door. Two indigents: Lévinas argues that the face is always the face of indigence, always evoking a crushing responsibility on our part. Life-in-Death is utterly destitute, wedded to Death. She is a zero-degree conatus, less than a minimal will to live, more like a letting-the-other-feast-on-me.
Indeed, the mother of us all was "mitochondrial Eve," a bacterium that hid out in protozoan single-celled organisms to survive the global ecological disaster called oxygen. And like DNA, Life-in-Death plays games of chance. And like DNA, and life forms in general, it becomes impossible to tell who is living off of whom. Is she Life-Despite-Death? Like weeds growing up after a bomb explodes? Or Life-as-Death, as tick-tock compulsion to repeat, meiosis? The liveliness of death? The deathliness of life? Coleridge's pithy ballad form makes it wonderfully hard to tell.
If we are to survive the twenty-first century, we ecosocialists will need to revise our ideas of passivity, weakness, the uncanny, vulnerability, and gentleness.
A face that is far from a face of strength and power, far from a face at all. Red lips and free looks, and utter abjection within beauty, abjection as beauty, beauty as abjection. Language breaks down trying to evoke her. She's like the woman sniper at the end of Full Metal Jacket, the horrifying shot of her writhing slowly on the floor whispering "Shoot me...shoot me." Isn't this why Life-in-Death is frightening? Not because she's some Disney witch queen, but because she isn't. "Her skin was white as leprosy"—isn't it a shudder of compassion we feel here? Of course, it isn't mediated through the usual condescending channels, and thus may feel more like revulsion.
Consider the Abrahamic traditions of caring for indigents and lepers.
The Mariner is an anti-Jesus (not perhaps an Antichrist), weighed down with the Albatross-cross, the weight of "it." Now he's faced with the frontal horror of it in the flesh, persecuting figures—yet even for these he is still responsible.
In one sense Life-in-Death is an allegorical figure, always not who she appears to be. But in another, can we ignore how vividly, uniquely realized she is? Would an allegorical reading (which would start by calling her "Life-in-Death," the Mariner's name) begin to tear us away from her collapsing face? Can we coexist with her and not suffer an allegorical-allergic reaction? Can we stay close to her even if our blood "thicks" with "cold"? If we can't stay, isn't our messing about in environmental boats just a boy's game in an ultimately safe, antiseptic, order of the Same? A game of violently bootstrapping ourselves into Being? Into a world that, for all its sublime grandeur, is already paved with the concrete of essence? A place where we could feel at home, comfortable with all our gadgets handy, the golf course down the street, Nature over yonder, animals tolerated, even respected perhaps, sporting around our dwelling?* Where resoluteness in the face of death cocooned us against the vulnerability of life? Where we would finally have sanitized and smoothed over the queerness of the strange stranger, with her uncivilized and unnatural presence, her horrifying gentleness?
Our poem has gone overboard.
*I am quoting Shelley:
No longer now
He slays the beast that sports around his dwelling,
And horribly devours his mangled flesh.(The Dæmon of the World, 2. )
Submitted by KurtFosso on
Reading Derek Ratcliffe's wonderful ornithological, corvi-cultural study, The Raven, returns me to a closing query of my previous entry: "What sort of animal meaning . . . does [the raven] present in Coleridge's "The Raven"? Ratcliffe quotes one R. Bosworth Smith:
A bird whose literary history begins with Cain, with Noah, and with Elijah, and
who gave his name to the Midianite chieftain Oreb; whose every action and cry
was observed and noted down, alike by the descendents of Romulus and the ancestors of
Rolf the Ganger; who occurs in every second play of Shakespeare; who forms the subject
of the most eerie poem of Edgar Alan Poe, and enlivens the pages of the Roderick
Random of Smollett, of the Rookwood of Ainsworth, of the Barnaby Rudge of Dickens,
is a bird whose historical and literary pre-eminence is unapproached. (cited Ratcliffe 9)
Indeed the raven has served "to point many a moral and adorn many a tale," in part because this bird has seemed to many to be "the bird most like ourselves" (D. Kennedy and A.B. Walker, "The Great Transformer"), a prophet, omen-bearer, watcher, and so forth. But how much do these age-old associations and allegorical uses relate to the bird's own being and behavior, as an animetaphor that is as much an instigator as a product of cultural markings?
Back to Coleridge's fabulous animal poem. Following the playful forgery-oriented opening, the text describes how,
Underneath an old oak tree
There was of swine a huge company
That grunted as they crunched the mast:
For that was ripe, and fell full fast.
Then they trotted away, for the wind grew high:
One acorn they left, and no more might you spy.
Next came a Raven, that liked not such folly:
He belonged, they did say, to the witch Melancholy!
Ratcliffe points to the raven's associations with death and darkness, likely owed to its black plumage, vocal mimicry, intelligence, and "sepulchral voice" (10). No surprise, with or without kicking Edgar Alan Poe, that Coleridge's speaker should pointedly mention the folk associations with "melancholy" and the supernatural. Indeed there's little here to surprise. A herd of swine feasts on acorns beneath a bountiful oak. When the pigs depart, an opportunistic solitary raven sees an opportunity and visits the now vacated spot in search of remaining spoils. Ravens are of course opportunists, and their diet includes not just carrion but also, on occasion, various seeds and berries, including acorns. So there's some ornithological verisimilitude afoot here, despite the folklorish associations (from which the narrator distances himself and the bird).
The speaker continues his tale of this lone scavenger:
Blacker was he than blackest jet,
Flew low in the rain, and his feathers not wet.
He picked up the acorn and buried it straight
By the side of a river both deep and great.
Coleridge knows his ravens (better, certainly, than I on this point); ravens do indeed make use of food caching: "Fat, fatty meat, egg, bones, bread, dates and dung are materials which have been seen to be hidden, usually in holes or beneath stones, but sometimes in small excavations dug by the birds themselves" (Ratcliffe 95). And if ever there was a bird likely to recall the location of that cache, it is the raven (see Ratcliffe 251).
Where then did the Raven Go?
He went high and low,Over hill, over dale, did the black Raven go.
Many Autumns, many Springs
Travelled he with wandering wings:
Many summers, many Winters—
I can't tell half his adventures.
The narrator espies his own perceptual limit: his inability to "tell half" of what the raven has experienced (via its/his anthropomorphized "adventures"). Those "wandering wings" carry the bird beyond any human's ken. Indeed those wings return a different raven, a descendant of the acorn-cache-maker and unwitting tree planter:
At length he came back, and with him a She
And the acorn was grown to a tall oak tree.
Hardly the same raven—whose lifespan would likely not exceed twelve years--and yet to the human fabulist it is that same "he." It is a species or family line (raven crest) that returns, rather than an individual—eh? (That or a very fast-growing oak!)
But is all this literalism, all this reliance upon and reference to ornithology, beside the point, despite the fact that, up to this line, Coleridge's animal poem seems to portray its raven subject quite accurately? Do such textual-biological correspondences figure in this text, as one part of its animetaphorical meaning? Or are they beyond it and extraneous to it? Let me close with an inspiring closing statement from Tim Morton's Ecology without Nature: "Hanging out in the distance may be the surest way of relating to the nonhuman" (205). More to come.
Kurt Fosso
Submitted by TimothyMorton on
In Ecology without Nature I argued that it was the very idea of Nature itself that posed an obstacle to ecological thinking and praxis. Nature has recently received various upgrades, for example in the form of ecophenomenology, which insists that we are embedded (like Iraq War reporters) in a lifeworld. This language comes from Heidegger.
If the ecological thought is to tunnel back behind Heidegger, it must encounter the thinking of Emmanuel Lévinas.
Lévinas argues that below Being, beyond essence, closer than breathing, is the proximity of the really other other, the strange stranger in the language of The Ecological Thought. Unnameable as such, yet still palpable as an excess or "lapse" within the ontological order of things, is "the face," Lévinas's word for the strange stranger as we encounter her, or him, or it. Our very being is both subtended and interrupted by the face of the other, who stands destitute before us and before whom we too are destitute. Sadder and wiser.
In Otherwise than Being, Lévinas declares that the face is "the collapse of phenomenality," in that it is "too weak" and "less than a phenomenon" (88). The face of the neighbor causes "the human" to "shudder" (87). The asymmetrical contact between us and the face causes us to revert "from grasping to being grasped, like in the ambiguity of a kiss" (80). More passive than inertia, this contact is "an inversion of the conatus [Spinoza's word for the will to live] of esse" (75). It is "not an extrapolation of the finite, or the invisible taken to be behind the visible" (154). It is on this side, "a hither side of the here" (180). This would be an encounter that did not take place within a lifeworld. A non-holistic reality where my obligation subverts the creation of worlds, with their insides and outsides, their included and excluded. Where identity was not—where personhood and phenomenality were less than you expected.
Is this not the shuddering of the Wedding Guest before the Mariner?
But is it not also the shuddering of the Mariner before Life-in-Death, a face consumed with leprosy?
And might it contain an encounter with the sheer existence existing things—"a thousand thousand slimy things" as the Mariner says (4.238)? This existence, which includes the Mariner's own "liv[ing] on" (4.238). Might this ecological "element" in which we are immersed also be visible in the disturbed and disturbing face of the other? And is the ecological thought therefore a coexistence with coexistence itself (and with coexistents, as it were)? Lévinas grants this possibility when he asserts that the "absurd" there is (his phrase for sheer existence) can be "a modality of being-for-the-other" (164). In fact, you need the "weight" of this existence for alterity to go beyond essence (164). Lévinas himself opens the possibility that the there is with its incessant "splashing" (140) might be the face itself, as if the face were glimpsed obliquely, that nothing truly separates background from foreground, just a "strange distortion" (Shelley).
Something like this happens in The Triumph of Life, when in an Arcimboldo moment, a root twists into the face of Rousseau. And it happens in Frankenstein, when a creature made of pieces of animals and human corpses rises up to embrace its terrified maker.
Isn't this the horror of Life-in-Death? The gentleness and ambiguity of her threat to essence? Her existence is ambiguity in all its fullness. She does nothing, really. She merely appears; she casts dice; she speaks, and whistles. Her face rots away. She floats on the sea, space of nomads, pirates, traders, gamblers, not tied to the State, beyond the law. She is as passive as the Mariner. It is finally her passivity that disturbs. We behold her; we are beholden to her.
Submitted by TimothyMorton on
Hi everyone.
You may be wondering what I'm going to do with these posts. Well—I decided before I started that I was going to experiment with this new medium by posting some close reading. And that I was going to write things that wouldn't be in any of my forthcoming books or essays.
So this is where you get it...
Close reading is itself an endangered species, as presses close their doors to books on literature. (UC press doesn't do it at all any more, for instance; and try getting a book on poetry or theory out there, esp. in the UK.) Close reading's environment is dying.
I think blogging provides an excellent habitat for close reading.
I was wondering how my assumption was working—my assumption that the blog medium itself, and the RC site in particular, would provide the necessary context for these organs without bodies...
Submitted by TimothyMorton on
Hi Everyone,
Click here for an account of a green videoconference I just did for ASLE UK (the Association for the Study of Literature and the Environment). Science has just done a piece about it.
It seems so obvious that in the future we will need to reconfigure conferencing so that their dates overlap! That way keynote speakers can be shared by videoconference without wasting carbon.
Polycom is a pretty neat, cheap application on the new pcs that supports excellent videoconferencing (better than Skype).
Advantages: saving money, carbon; getting 1+n lots of feedback for the price of one; no jet lag.
Disadvantages: you don't get to visit the luxurious resorts at which literature conferences are so often held : ) And it may take you a little time to get up to speed with your audiences (no face to face chats in bars, etc.)—I found this highly workable, actually.
Submitted by AshtonNichols on
Tim's reflections on Coleridge's mariner keep reminding me of Thoreau's willful essay "Walking": "I wish to speak a word for Nature, for absolute freedom and wildness, as contrasted with a freedom and culture merely civil-to regard man as an inhabitant, or a part and parcel of Nature, rather than a member of society." We need precisely such a model of "wildness," a sentiment Thoreau echoed often throughout his writings. The word he emphasized was not "wilderness." He never said, "In wilderness in the preservation of the world," as more than 600 mistaken web-pages claim he did. His quotation was "in wildness is the preservation of the world." Thoreau's "wildness" is not only, or even primarily, about wild places. His "wildness" is also about a state of mind. Thoreau tells us again and again that we not only need wilderness retreats; we need to "wild" minds. We need to "wild" not only external places, but internal spaces. We need "wildness" as a verb, as in, "I hope I will be able to wild my mind during this ecocentric year of roosting." There may be wildness in all wilderness, but wilderness is never a prerequisite for wildness. This lesson is even more important for our technocentric twenty-first century than it was for Thoreau's industrializing nineteenth century.
We need to wild our minds, but we need to wild them carefully. We do not need to burn thousands of gallons of jet fuel to get to wilderness retreats in the sequoias of California or the mountains of Wyoming. There are powerful ironies in our current position. Many of us, as good environmentalists, leave our urban homes and expend thousands of dollars and billions of calories in an effort, as we say, to get back to nature. But how silly. Where are we going? What are we leaving behind? We need to keep out wild minds with us every minute of every day, whether we are walking through untrammeled wilderness or riding our four-wheel drive vehicles down crowded streets and concrete highways.
Do not get me wrong. I include myself in this critique, and while I am calling for wild minds, I also call loudly for the preservation of wild places. We still need to save wilderness spaces with an absolute sense of the distinction between human activity and nonhuman activity that has nothing to do with us. Just as important as our set-aside spaces, however, is the wild sense I want to call "roosting." When birds roost they have a direct and powerful impact on the trees they choose for roosting. They build nests in branches, gather food from the leaves and stems around them, and leave their limey waste products to fertilize the ground beneath them. As much as we need hands-off, wheels-off wilderness, we need hybrid places and mixed-use spaces, human landscapes ecocentrically re-imagined and redefined. Humans are always in nature and nature pervades every last human space. A new sense of internal and external balance can now emerge out of our use of the prefix "eco"-ecocentric, ecomorphic, ecotecture-and our feeling for our widest echome: a unified dwelling place that includes human habitations and also the nonhuman habitations all around us.
We are never cut off from nature by our human world at all. This is a central aspect of all true ecology. We are always within and among natural processes which we did not create and which we cannot control, for good and for ill. The good part of this equation is easy: ocean sunsets, autumn hillsides, nesting swallows, fields of wild flowers. But the "ill" side of nature is no less natural: harsh climate, violent weather, wild animals, poisonous plants, disease-causing organisms, toxic chemicals. Illnesses, allergies, and injuries: all are fully natural, so is nature good for us, or bad? This is precisely the question and distinction we need to move beyond. Nothing we can do can take us out of nature. There is nowhere for us to go. From inorganic elements assembled in the watery world of the womb, we move out to grow and flourish until we die and return to the inorganic elements that shaped us. We are wild things. Just because we have tamed aspects of wild nature, it does not follow that we have lost the wild mind within.
Alexander Graham Bell, to extend Thoreau's point about such "wildness," invented the telephone because his mother and sister were deaf. Bell had no particular interest in voice communication per se; rather, he wanted to solve a precise problem in the natural world. His family members were born with ears that did not work. His vested interest was in helping those whose ears were naturally weak. He sought a human solution to a natural problem. His own brand of wildness was directed at one aspect of nature, at the anatomy of the human ear that had left his family deaf. Nature, as the Romantics always knew, is full of all sorts of just such wild terrors-deafness, disease, drought, hurricanes, volcanoes, bacteria, viruses-that affect us. Such "negative" nature has a direct and constant impact on every aspect of our lives, no matter how high the skyscraper we inhabit, no matter how wide the concrete jungle that encloses us. So work to wild your mind and find ways to roost lightly on the earth. Coleridge would approve.
--Ashton Nichols


text:
Women Are Acting Too Much Like Women On Pinterest Or Something
Liberal feminists keep telling everyone that gender is a social construct and that women should be more like men — which is why Pinterest apparently disturbs them so much.
One in five women over the age of 18 who regularly use the internet is on Pinterest, which had an estimated 23 million users as of July.
…But the site's popularity highlights an uncomfortable reality: Pinterest's user-generated content, which overwhelmingly emphasizes recipes, home decor, and fitness and fashion tips, feels like a reminder that women still seek out the retrograde, materialistic content that women's magazines have been hawking for decades – and that the internet was supposed to help overcome.
…Pinterest – which drives more traffic to marthastewart.com and marthastewartweddings.com than Facebook and Twitter combined – has become impossible to ignore, even as critics deride it as "the Mormon housewife's image bookmarking service of choice." But it's much more than a collection of pretty pictures. In fact, the site seems like one big user-curated women's magazine – from the pre-internet era. Sites like Jezebel were created as an antidote to women's print magazines, which are rife with diet, fitness and dressing tips. The internet has for many years now been thought of as a place where women can find smarter, meatier reads just for them.
Instead, there's Pinterest: heavy on recipes (diet and otherwise), inspirational quotes, exercise tips, and aspirational clothes and homes. Kitchen porn, cupcake porn, bracelet porn – any kind of eye candy you can think of is probably on Pinterest, waiting for the next Pinner to covet it enough to re-pin it. People don't go to Pinterest for articles, they go there to scrapbook every imaginable physical aspect of their dream lives, right down to the Mason jar candle holders you really hope to get around to DIY-ing for your next cocktail party.
On Pinterest, you'd never know that sites like Jezebel and Feministing had hit the internet.
Here's a crazy thought: Maybe the average woman doesn't spend her days obsessing over abortion, free birth control, and fighting the imaginary patriarchy like liberal feminists. Maybe Pinterest is so "heavy on recipes (diet and otherwise), inspirational quotes, exercise tips, and aspirational clothes and homes. Kitchen porn, cupcake porn, (and) bracelet porn" because that's what women are actually interested in. Maybe that's also why most women's magazine focus on those same areas instead of the virtues of "Slut Walks" and the male/female power dynamic.
That chafes feminists to no end because they hate admitting that there are any differences between men and women (except that women are better, naturally), so seeing evidence that most women are interested in cooking, looking pretty, and having a nice house spoils the little fantasy world they've built for themselves. Of course, that's a good thing because liberal feminism has been out of touch with reality for a long time and anything that gets those feminist heads back in the real world is doing a public service.
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This is so incandescently idiotic – on so many levels – that I don't even know what to say about


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Longines concludes a new partnership with the Qatar Racing and Equestrian club
Attaining a further milestone and bestowing the Middle East with its prominent attitude of elegance, Longines has entered into a strategic business partnership with the acclaimed Qatar Racing and Equestrian Club. This exclusive partnership was announced at a glittering press conference that was graced by His Excellency Sheikh Mohammed Bin Faleh Al Thani, the Chairman of the Club, Mr. Sami Al Boenain, General Manager of the Club, Mr. Walter Von Känel, the President of Longines and Mr. Juan-Carlos Capelli, Vice-President and Head of International Marketing of Longines. Both entities are extremely notable in the international equestrian world and this alliance will see Longines become the official timekeeper for all equine events that will take place at the Racing and Equestrian Club.


text:
Alison Woomert
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News Briefs
Orphaned boys in low- and middle-income countries as vulnerable to abuse as girls, study finds Read Story >
Smith receives NCI funding to study use of HPV self-collection in cervical cancer screening Read Story >
- #UNC #Gillings biostats research was recognized as 'Top 10' by the Clinical Research Forum: http://t.co/LI3WDjb6xE http://t.co/3p7BnDP7cW about 15 hours ago ReplyRetweetFavorite
- Orphaned boys in low-income countries are as vulnerable to abuse as girls, finds #UNC #Gillings' Christine Gray: http://t.co/1ulW2w2vWt about 21 hours ago ReplyRetweetFavorite
- It's World Immunization Week 2015 and Vaccination Week in the Americas! Check out the conversation happening at #VaccinesWork. about 22 hours ago ReplyRetweetFavorite
- The environmental sciences and engineering folks from #UNC #Gillings had a perfect day for their spring picnic. http://t.co/Yu2XJl9MoF 05:04:16 PM April 24, 2015 ReplyRetweetFavorite
- Also from @TIMEHealth: #UNC #Gillings' Dr. Barry Popkin on whether you should try green juice. http://t.co/woXxBJm9GE http://t.co/l19Dm8SR1p 02:29:33 PM April 24, 2015 ReplyRetweetFavorite
- Here's a sneak peak of the #UNC #Gillings 75th anniversary exhibit, up @hslunc through June 7. http://t.co/OxARqtN2r7 12:17:29 PM April 24, 2015 ReplyRetweetFavorite
- MT @hslunc - "Heard of Trailer 39, #UNC #Gillings students? Check it out at the exhibit on our 75 years of history: http://t.co/Mj08fA7eQq" 12:14:45 PM April 24, 2015 ReplyRetweetFavorite
- Larry Han, a junior studying biostatistics at #UNC #Gillings, has been awarded a prestigious Goldwater Scholarship! http://t.co/YJyHLF2Lop 10:08:39 AM April 24, 2015 ReplyRetweetFavorite
- You asked: should I use antibacterial soap? Dr. Allison Aiello, from #UNC #Gillings, answers in this story from Time: http://t.co/Fcqqk4iP1f 09:14:16 AM April 24, 2015 ReplyRetweetFavorite
- It's not just April 23, it's also #UNC #Gillings Biostatistics Awards Day! Congratulations to all the recipients. http://t.co/q0QeZ5MBLq 04:42:07 PM April 23, 2015 ReplyRetweetFavorite
UNC Gillings School of Global Public Health
- Is anti-bacterial soap killing us? Maybe not directly, but it isn't a good thing - especially for our kids, says #UNC #Gillings Epidemiology Prof. Allison Aiello in TIME: http://time.com/3830176/antibacterial-soap/View on Facebook
- If your grandparents experienced some sort of emotional trauma does it affect your DNA? #UNC #Gillings Health Behavior Prof. Wizdom Powell discusses: http://live.huffingtonpost.com/r/segment/stress-grandparents-endured-impacts-our-resilience-to-it...View on Facebook
- Let's talk juicing #UNC #Gillings (no, not the kind cyclists and baseball players used to be accused of doing)! Which is better for you, Smoothies or Veggie juices? #Gillings Prof. of Nutrition Barry Popkin explains in Time: http://time.com/3818098/green-juice-kale-healthy/View on Facebook
- The #UNC #Gillings environmental sciences and engineering department had a gorgeous day for their annual spring picnic. (Some of us posting to Facebook are a little jealous of how good that watermelon looks!)View on Facebook
- Want to learn more about the history of the #UNC #Gillings School? There's a great new exhibit in the entryway of the Health Sciences Library that marks our 75th anniversary. See photos of all the deans, class notes from former students and even the marker for Trailer 39, where Dr. Dennis Gillings began his career. http://hsl.lib.unc.edu/news2014/1429813662View on Facebook


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Diagnosis in Chinese Medicine (9780443064487)
Publisher: Churchill Livingstone
Binding: Hardcover
This major, new book is a complete, easily accessed and highly illustrated guide to diagnosis in Chinese Medicine. Emphasis is placed on "real world" issues and symptoms, and the text focuses on clear interpretations of signs and symptoms - the practice beyond the theory. Since Chinese medicine diagnosis relies on a subjective appraisal of the patient's symptoms and signs - which form a pattern - many factors beyond traditional Western symptoms are taken into consideration e.g. a patient's voice, the absence of thirst, feeling hot or cold, the patient's smell, tone of voice, glitter of eyes. Thus, Chinese diagnosis is based on a subtle appraisal of a patient's disharmony, which may not be a "disease" at all, and as such requires careful interpretation of a range of nuances. This book will help lead students and practitioners through basic on to sophisticated levels of diagnostic interpretation.
- Provides a clinical understanding of traditional Chinese medicine.
- Offers an unparalleled depth of information that is meticulously cross referenced.
- Includes all the signs and symptoms, however subtle, with which a modern patient may present in the clinic.
- Provides clinical experience and understanding from a leader in the field of Chinese medicine.
- Clearly outlines the decision making options in key situations to help readers through the most challenging topics.
- Logically organised so readers can quickly find the information they need in clinical situations.
- Well illustrated support for practitioner and student alike. Includes 16 page colour plate section.
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Gary Minns, Rated: 4
Great Book!
Another very good offering from one of TCM's best known Western exponents. Maciocia breaks diagnosis down into ever multiplying layers and sub-layers, offering possible explanations for even the most minute observation. It's good information but occasionally mixes classical TCM theory with Maciocia's own ideas.
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Even if it's fast, there is always a lag. Lag makes it feel sluggish. If you scroll a lot, you spend a significant amount of time waiting for the animation instead of doing what you want to do.
I scroll when I'm reading, and scrolling animation interferes with reading.
But I guess that the young generation who grew up with GUIs sees things differently and I might be showing my age.


text:
Tonight 10pm (East):
The U-2513 is what's known as a Type 21 German U-boat. In the 1940s, the Type 21 was a secret weapon that threatened to change the course of two wars: WWII, and then later, the Cold War. During WWII, German hopes were riding on it, and the Allies were terrified of it. After the war, the British, Americans, and Russians couldn't wait to get their hands on it. It was a weapon that had the potential to change the balance of world power and determine the outcome of the Cold War. Join our Deep Sea Detectives, John Chatterton and Richie Kohler, as they dive in over 200 feet of water some 95 miles offshore of Key West. There they investigate the wreck of a one of WWII's most significant naval innovations--a boat design that changed history.


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It's a fancy word for the type of tree. It all comes down to the pattern, lines, swirls and overall character of the tree's natural grain and whether it fits the "room's character" where the floor will reside.?
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This depends on the species or the stain. Choose the right color that matches your tastes or decor!Engineered Hardwood FlooringThis consists of REAL hardwood layers with a plywood or medium-density fiberboard (MDF) backing. It's extremely stable, which means it can take on wood's natural movement in high-moisture areas. |


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Researchers use optogenetics to reverse drug-induced brain and behavioral changes.
Researchers use optogenetics to reverse drug-induced brain and behavioral changes.
Researchers have mapped out the DNA of what some scientists claim to be an arsenic loving bacterium.
Over the past decade, researchers at RIKEN Center for Developmental Biology in Japan have generated complex tissues, including mouse retinas and Purkinje cells (a type of neuron) that integrated appropriately into the mouse fetal brain.
A snapshot of the most highly ranked articles in ecology, from Faculty of 1000
A new study finds key differences between established and new human embryonic stem cell lines.
After 6 months in orbit, Caenorhabditis elegans return to Earth—alive and well.
Through a series of sustained collaborations, Joshua Sanes has deciphered the molecular synergy that guides synapse formation.
Researchers find that newts are capable of regenerating body parts well into old age.
Full Professor and Senior Research Group Leader, German Center for Neurodegenerative Diseases. Age: 42