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MNH Moments of Life
weddings, engagements
OF L IFE July 2010 Engagements Bauer & Huibregtse The engagement of Teresa Huibregtse and Travis Bauer is announced. Teresa is the daughter of Peter and Judy Huibregtse of Boscobel and Cindy Wooldridge of Eau Claire. Travis is the son of Keith and Marcy Bauer of Marshfield. A Sept. 25, 2010, wedding is planned. Blevins & Reichert The engagement of Heather Reichert and Michael Blevins is announced. Heather is the daughter of Dennis Reichert of Marathon and Denise Reichert of Chili. She is a graduate of Stratford High School and the University of Wisconsin-River Falls. She is employed by the Cape Girardeau Public School District, Cape Girardeau, Mo. Michael is the son of Mike and Dana Blevins of Perryville, Mo. He is a graduate of Perryville High School and is employed by BNSF Railway. A Sept. 4, 2010, wedding is planned. Loos & Dupee The engagement of Kari Dupee and Jeremy Loos is announced. Kari is the daughter of Kevin and Karla Dupee of Arpin. She is a 2004 graduate of Auburndale High School, 2007 graduate of Ashworth University. She is currently continuing her education and is employed in Marshfield. Jeremy is the son of Ken and Cindee Loos of Loyal. He is a 2004 graduate of Loyal High School and is enrolled at Mid-State Technical College. He is employed by Porter Built Construction. A Sept. 18, 2010, wedding is planned. Scott & Vancil The engagement of Tiffany Vancil and Josh Scott is announced. Tiffany is the daughter of Charlie and Jackie Vancil of Arpin. She is employed at Marshfield Clinic. Josh is the son of Brenda Kleifgen of Greenwood and Brian Scott of River Falls. He is employed at Pinecrest Supper Club. A Sept. 18, 2010, wedding is planned Braunsky & Harvey The engagement of Kristin Harvey and Troy Braunsky is announced. Kristin is the daughter of Jerald and Lois Harvey of Auburndale. She is a 2001 graduate of Auburndale High School and 2006 graduate of the University of Wisconsin-Stevens Point. She is employed by Opportunity Development Centers Inc., Marshfield. Troy is the son of Phil and Carol Abel of Arpin and the late Larry "Putz" Braunsky. He is a 1993 graduate of Auburndale High School and 1996 graduate of Mid-State Technical College. He is self-employed as owner of T-Bangers Bar & Grill in Auburndale, and works for Van Ert Electric. An Oct. 23, 2010, wedding is planned. Stanton & Fitzl The engagement of Wayne David Stanton and Kristina Marie Fitzl is announced. Wayne is the son of Edwin Stanton of Greenwood and the late Julia Stanton. He attended Auburndale schools. Kristina is the daughter of Ken and Colleen Fitzl of Greenwood. She attended Greenwood High School and Chippewa Valley Technical College. She is a certified nursing assistant. A Dec. 11, 2010, wedding is planned. 2 Monday, July 26, 2010 www.marshfieldnewsherald.com Engagements Raasch & Allmann The engagement of Melissa Sue Allmann and Randy John Raasch is announced. Melissa is the daughter of Richard and Debra Allmann of Colby. She is a 2007 graduate of Colby High School and a 2008 graduate of Fox Valley Technical College. She is employed by First Impressions. Randy is the son of Galen "Opie" and Tammy Raasch of Medford. He is a 2006 graduate of Medford Area Senior High School and a 2008 graduate of Fox Valley Technical College. He is employed by Marathon Cheese Corporation. An Aug. 21, 2010, wedding is planned. A Sept. 24, 2010, wedding is planned. Nazaret & Frey The engagement of Megan Frey and David Nazaret is announced. Megan is the daughter of Ric Frey, and Margy and Rich Hansen, all of Marshfield. She is a 1998 graduate of Marshfield High School and a 2003 graduate of the University of Wisconsin-Madison. She is employed by Harley-Davidson Motor Company. David is the son of William Nazaret of Miami, Fla., and Anna Gatto of Palm Harbor, Fla. He is a 1996 graduate of Red Bank Regional High School and a 2000 graduate of Vanderbilt University. He is employed by Wells Capital Management. Krug & Pescinski The engagement of Tara Pescinski and Craig Krug is announced. Tara is the daughter of David and Jane Pescinski of Colby. She is a graduate of Colby High School and the University of Wisconsin-River Falls. Craig is the son of Bruce Krug of Medford and the late Susy Krug. He is a graduate of Medford Area Senior High School and Chippewa Valley Technical College. They are both employed at BS Bar & Catering. An Aug. 21, 2010, wedding is planned. Marshall & Habeck Wendy Habeck and James Marshall announce their engagement. Wendy is the daughter of Len and Audrey Habeck Jr. of Weston. James is the son of Janet Marshall of Marshfield and James and Darlene Marshall of Dorchester. An Oct. 16, 2010, wedding is planned. Publishes the fourth Monday of the month in the Marshfield News Herald. Customized just for you ... You may opt for a free announcement for your wedding or engagement or you can include as much detail as you choose with a "Moments of Life" package. Call for details. www.marshfieldnewsherald.com Monday, July 26, 2010 3 Weddings Seth & Melody Dupee Melody Ortscheid and Seth Dupee were married June 12, 2010, at the Vesper Community Center, with Peter Kastenholz officiating. Parents of the couple are Scott and Connie Steele of Vesper and Rollin and Sharon Dupee of Arpin. The bride's brother, Troy Ortscheid, and her nephew, Jeff Ortscheid, walked her down the aisle. Maid of honor was Tami Strack. Bridesmaids were Lisa Ortscheid, Cara Dupee and Chelly Dupee. Best man was Brad Dupee. Groomsmen were Mark Kumm, Jason Koch and Matt Huber. The bride and groom are both high school graduates. The bride is employed by Foremost Farms. The couple spent their honeymoon at the Dexter Campground. They live in Arpin. Bryan & Holly Pretzman Holly Stoflet and Bryan Pretzman were united in marriage May 8, 2010, at Our Lady of Peace Catholic Church, Marshfield, with the Rev. Don Meuret officiating. Parents of the couple are James and Jane Stoflet of Marshfield, Kathy Rueth of Withee and Charles and Sandy Pretzman of Elkhorn. Matron of honor was Rachel Socha. Bridesmaids were Kerri Myre, Heather Boehlke, Jessica Mitchell and Elizabeth Frohling. Miniature bride was Miranda Boehlke and flower girl was Kimberlee Frohling. Best man was William Rice Jr. Groomsmen were Leonard Socha, Matthew Frohling, Nathan Stoflet and Jason Haas. Miniature groom was Aiden Stoflet. Serving as ushers were Mark Stoflet and Jacob Haas. The bride holds a degree in nursing and is employed at Midelfort Clinic, Eau Claire. The groom holds an agricultural mechanic technical degree and is employed by Haas Sons Inc., Thorp. The couple reside in Chippewa Falls. David & Marcie Koziczkowski Marcie Manthe and David Koziczkowski were married June 4, 2010, at the home of Judge Michael Brennan and Dr. Carol McCart Brennan in Marshfield. Judge Michael Brennan officiated. Matron of honor was Jacqueline Arnold and best man was Arnie Kaminski. Marcie is employed by The University Foundation: UW-Marshfield/Wood County and The University Commission. David is self-employed. The couple took a honeymoon trip to Door County. They live in Amherst Junction. We can provide an elegant, easy and safe way for your friends to give you a gift of cash. Open a MatriMoney Savings Account at Central City Credit Union. 5001144569 Planning Your Wedding? We'll help make your wedding day very special!!! Look to us for a large selection of wedding accessories. All Wedding Invitations Inv 25% OFF The way to give wedding cash. . 5001144565 Together We're Better! www.centralcitycu.com � Invitations � Announcements Napkins � Decorations � Guest Books � Photo Albums � Place Cards � Honeycomb Tissue Bells � Streamers � Programs � Gifts � Thank You's � Glass Chalk Markers � Wedding Shower Supplies M111 West McMillan, Marshfield 715-387-1286 Hours: Mon.-Fri. 8-5; Sat. 8-12 The Marshfield Offices in Marshfield, Stevens Point and Plover BOOK & STATIONERY 4 Monday, July 26, 2010 www.marshfieldnewsherald.com Special Occasion? Let the whole world know! Celebrate the special moments in your life You only get one chance to announce your wedding, engagement, or special anniversary. Moments, such as the birth of your grandbaby, your child's first birthday or school graduation, that "big" fish or special sporting event only happen once in a lifetime. Now you can share your good news with the whole world! A commemorative "Moments of Life" announcements tabloid will be published in the Marshfield News Herald on the fourth Monday of each month, making your celebrations even more meaningful. You'll spread your good news to family and friends. After all, shouldn't the happiest days in your life make headlines? John & Jennifer Becker Jennifer Suttner and John Becker exchanged marriage vows at 1 p.m. Saturday, June 26, 2010, at Saint John's Ev. Lutheran Church, Christie, with the Rev. John Warmuth officiating. A reception and dinner followed at the Abbotsford City Hall. The bride is the daughter of Dennis and Patricia Suttner of Abbotsford. The groom is the son of Dorothy Becker of Loyal and the late Clarence Becker Sr. The bride was given in marriage by her father. Matron of honor was Hallie Xistris of Madison, sister of the bride. Best man was Clarence "CJ" Becker of Greenwood, brother of the groom. Seating guests were Matt Suttner of Madison, brother of the bride; and Anthony Becker of Greenwood, son of the groom. The bride is employed at the Marshfield News-Herald and the groom works as Grassland Dairy Products. The couple spent their honeymoon on a Caribbean cruise. They reside in Greenwood. Scott and Susan Fischer Susan Karau and Scott Fischer were united in marriage on April, 24, 2010 at St. John's the Baptist Catholic Church in Marshfield. Father Stoetzel performed the 2:00 pm ceremony and Cathy Heuer provided the music and vocals. Raymond Tompkins, the father of the bride gave her away. Susan is the daughter of Raymond and Bonnie Tompkins of Kelso, WA. Scott is the son of Sharon Fischer of Spencer, WI. Matron of Honor was friend of the bride Michelle Knoff from Granton, WI. Bridal attendants were Lynn Kronberger, sister of the bride, from Kelso, WA, Heather Tompkins, sister of the bride, from Spencer WI, and Vicki Lotter, friend of the couple from Wausau, WI. Best man was Larry Fischer, uncle of the groom from Helena, MT. Groomsmen were Darrin Neuendorf, friend of the couple from Loyal, WI, Robert Rutschow II, friend of the couple from Spencer, WI, and Kenneth Rutschow, also a friend of the couple from Spencer, WI. Serving as ushers were Richard Headlee Jr., uncle of the bride from Wausau, WI, and Nick White a friend of the groom from Marshfield, WI. Flower girl for the ceremony was Kira Kronberger who is a niece of the bride and the ring bearer was Nathaniel Karau, son of the bride. A reception and dance were held at the Eagles Club in Marshfield. The bride is a graduate of Auburndale High School and attended the University of Wisconsin Stevens Point. She is currently the store manager for Aldi's in Marshfield. The groom is a graduate of Spencer High School and attended the Universal Technical Institute, he is a technician for Wheeler's GM of Marshfield. The couple honeymooned in Florida. 5001143929 www.marshfieldnewsherald.com 5001135320 Monday, July 26, 2010 5 Weddings Greg & Sherri Masanz Sherri Fennell and Greg Masanz exchanged marriage vows June 26, 2010, during an outdoor ceremony held in Fenwood at the home of the bride's parents, with Andrew Schmitt officiating. The ceremony was followed by a dance and reception. Parents of the couple are Mark and Kelly Fennell of Fenwood and Donald and Roxanne Masanz of Stratford. The bride was given in marriage by her father. Maid of honor was Danielle Sockness and best man was Dana Sockness. Flower girl and ring bearer were Kendra Wiesman and Michael Sockness. The bride is a 1999 graduate of Edgar High School and is employed by Home Health at Clarity Care, Oshkosh. The groom is a 1991 graduate of Stratford High School and is employed by Loren's Auto, Oshkosh. The couple reside in Menasha. Ryan & Roni Spindler Roni Drexler and Ryan Spindler were married May 15, 2010, at St. Andrew's Catholic Church, Rozellville, with the Rev. Thomas Rudolph officiating. Music was provided by Bucky Drexler, vocalist/guitarist; Linda Jaecks, vocalist; Judy Polege, pianist; Lacey Drexler, violinist; and Kylie Hill, flutist. Parents of the couple are Glen and Diana Drexler and Russ and Sheila Spindler, all of Stratford. Maid of honor was Jennifer Taylor and bridesmaids were Lisa Duellman, Pat Arnold, Joelle Phillips and Brittany Theisen. Flower girl was Ally Leonhardt. Best men were Kevin and Chris Spindler. Groomsmen were Travis Haulke, Mike Kaiser and Rick Kaiser. Serving as ushers were Brian Drexler, Jesse Drexler, Doug Spindler and Paul Polege. The bride is a 2005 graduate of Marshfield High School and is currently attending Globe University of Wausau. The groom is a 1998 graduate of Stratford High School and is employed by James Peterson & Sons Construction. The couple reside in Stratford. Steven & Ashley Hollar Ashley M. Bean and Steven R. Hollar exchanged marriage vows during an intimate evening ceremony on April 23, 2010, at The Coma Zoo Marjorie McNeely Conservatory in St. Paul, Minn. The Rev. Shelley Dugan officiated. The couple wer honored at a local reception on April 24 at the Wildwood Pavilion in Marshfield. Parents of the couple are Jeff and Pam Bean and Tom and Janet Hollar, all of Sherry. Becker Photography Matron of honor was Amber (Bean) Guldan. Bridesmaids were Michele (Hollar) Woyak and Pamela Hollar. Best man was Tim Hollar and groomsman were Paul Hollar and Chris Guldan. The bride is a 2006 graduate of Auburndale High School and 2008 graduate of Argosy University, Eagan, Minn. She is employed by Aspirus Wausau Hospital. The groom is a 2000 graduate of Auburndale High School and 2004 graduate of Mid-State Technical College. He is self-employed with Arbor Vantage Professional Tree Care. The couple took a honeymoon trip to Negril, Jamaica. They live in Arpin. Something Old Something New Something Borrowed Something Blue 6 Monday, July 26, 2010 www.marshfieldnewsherald.com Coming Just For YOU This local women's magazine includes: shiTips Crafter's Fa on Corner Health Pamper and Yourself Fitness www.marshfieldnewsherald.com Monday, July 26, 2010 7 Anniversaries Don & Rachel Derfus Don and Rachel Derfus of Marshfield celebrated their 50th wedding anniversary June 13, 2010, with a Mass and special marriage blessing by the Rev. Victor Feltes at St. John the Baptist Church, Marshfield. A reception and supper followed, with Rev. Charles Stoetzel providing the meal blessing. The couple were married June 11, 1960, at St. John the Baptist Catholic Church, with the Rev. Don Wilger officiating. Original wedding attendants present were Shirley DeBevec, Darlene Nelson and Del Weiler. Three other original attendants are deceased. Don worked as a route supervisor for Serv-Us Bakery, the body shop at Wheeler Chevrolet, was a truck driver/ salesman for Standard Oil, Retzer Oil, and Raulin Fuels. He retired in 2000 from Halron Oil, after 37 years of service. He enjoys his flower garden, coffee breaks and his `62 Chevrolet. Rachel worked for Weinbrenner Shoe Factory for 24 years and retired from Marshfield Clinic in 2008 after 18 years of service. She enjoys cooking and baking for family and friends. They both enjoy going to the Brewers games, and watching their grandchildren play basketball, football, softball. They have four children, Cindy Dischinger, Larry Derfus, Ricky Derfus and Kathy Scheppler; and eight grandchildren. Is there a wedding in your future? Arnie & June Meyer 50th Anniversary Arnold (Arnie) and June Meyer celebrated their 50th wedding anniversary on March 20, 2010 with family members at the home of their daughter Bev. Special guests included the Steve and Andrea Atwood family of Spring Valley, MN whose son, Dustin passed away on August 30, 2001. Arnie received Dustin's heart that day and is doing very well. Without their gift, Arnie wouldn't have been here for this special occasion. Arnie and June were married on March 19, 1960 at St. John's Lutheran church in Auburndale, WI with Rev. Fredrick Krueger officiating. Myron Meyer Jr. Was the best man. Marlene Doescher was the maid of honor. Donald Budtke was a groomsmen and Jean Wilhorn was a bridesmaid. Arnie was born September 8, 1937 to Myron and Dorothy Meyer. He is a 1955 graduate of Marshfield High School. June was born on March 19, 1942 to Arthur and Verna Budtke. She attended Marshfield High School. Arnie and June farmed south of Rangeline until they moved to Spencer in 1987. Then Arnie worked on a farm for Brice Bender until Brice passed away. Then he worked for Weber's Farm Store until his heart attack in 1992. June worked at Weinbrenner Shoe Factory until 1996 when she went to work at Spencer IGA in the deli. She worked there until February 2009. They have four children: Randy (Lori) Meyer of Milladore, Bev (Jamie) Nelson of Mosinee, Pam (Bill) Flink of Marshfield and Kathy (Chuck) Scherr of Stratford. They have seven grandsons: Jake, Zac, Kaleb, Elijah and Noah Meyer, Jason and Justin Flink. Helen Callan 95th Birthday The family of Helen H. Callan is requesting a card shower in honor of her 95th birthday. Helen (Krause) was born August 22, 1915, in Marshfield, WI. Her family includes her children, Daniel Callan of Durand, WI and J. Patrick (Jane) Brunker of North Las Vegas, NV; two grandchildren; and one great-grandchild. 5001140369 5001144609 Cards of congratulations will reach her at 407 2nd Avenue East, Durand, WI 54736. 8 Monday, July 26, 2010 www.marshfieldnewsherald.com


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instructions taking up a full page. (Those listings do suggest different choices and priorities between the two countries, such as the prominent treatment of children in joint custody arrangements and refugees on the Canadian form.) The 2001 United Kingdom census form devotes a full page to instructions and rostering of household members (and, separately, short-term visitors). Though it is still a rather large presentation, the United Kingdom form is a remarkably concise distillation of formal residence definitions and rules that are—if anything—more elaborate than the U.S. residence rules (see Appendix B).
It is not unusual for multiple residence questions to be asked and additional address information collected on the census form. The Australia and New Zealand de facto censuses also ask for usual residence information, and the Swiss form asks for two addresses (and includes a check box to indicate which is the place where "you usually reside (4 or more days a week)" in a small amount of physical space on the page. (Again, the Swiss form is completed by each person, not each household.)
Some of the forms include reminders or cues to respondents, in addition to the standard instructions. The most prominent example of these is the New Zealand census form that—despite being light on formal instructions—makes repeated entreaties to respondents to be sure to include babies in the report. The Canadian census form for 2001 includes the reminder that the respondent be sure to include himself/herself in the count.
The 1980, 1990, and 2000 decennial censuses each included an Alternative Questionnaire Experiment (AQE) as part of their programs of testing and experimentation. Samples of census households (between 42,000 and 50,000 households in 1990 and 2000) received forms that differed in various ways from those received in all other households. The 1980 experiment focused mainly on variations on matrix-style forms most conducive to the electronic data-capture technology used at the time. The 1990 AQE was the most ambitious of the three; its experimental panels included completely redesigned versions of the census long form as well as radical structures, such as a kit of personal-response census forms rather than a single household form (DeMaio and Bates, 1992).
The 2000 AQE included experimental groups that assessed the impact of graphical and narrative instructions to guide the flow through the census long form; it also contained a group that repeated the census race and Hispanic origin questions in their 1990 form (for contrast with the 2000 version, which introduced the option of multiple-race reporting and restructured the ques-

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Irregular regularity: a chaos-theory reading of the ecology presented in Coleridge's "Frost at Midnight".
This article contextualises the ecocritical assumption that nature determines one's ideology within a chaos-theory framework, and argues that Coleridge's "Frost at Midnight" can be seen as an ecosystem, symbolic of the complex relationship between humans and nature. It then proceeds to argue that the complexity of this relationship, which is expressed thematically, is also mirrored in the poetic language that Coleridge employs in the poem--specifically in the repetitions and images that he uses, which seem to "repeat" natural processes. The article shows, through close reading, how Coleridge's view of humanity (as represented by his child) in relation to nature is linked to and determined by his view of nature.
Hierdie artikel kontekstualiseer die ekokritiese aanname dat omgewing/natuur bepalend is van 'n mens se ideologie binne 'n raamwerk van chaosteorie en argumenteer dat Coleridge se "Frost at Midnight" gesien kan word as 'n ekosisteem; 'n simbool van die komplekse verhouding tussen mens en natuur. Voorts word geargumenteer dat die kompleksiteit van die verhouding wat tematies aan die hod kom ook blyk uit Coleridge se poetiese taalgebruik in die gedig en spesifiek in die herhalings en beelde wat hy gebruik. Hierdie twee stylfigure "herhaal" natuurprosesse. Die artikel illustreer deur analise hoe Coleridge se siening van die mensdom (soos versinnebeeld deur sy kind) in verhouding tot die natuur sterk verband hou met en bepaal word deur sy eie siening van die natuur.
1 Introduction
Samuel Taylor Coleridge (1770-1850) was adamant that his children be brought up in the countryside, and so he left Bristol on the last day of 1797 to live in the country, in Nether Stowey. This move coincided with his withdrawal from active, public politics (Ashton 1996: 90; Roe 1990: 235-236). During this time, he frequently in letters wrote on the subject of "brotherly kindness" (Ashton 1996: 95). It was in this environment and frame of mind that Coleridge composed "Frost at Midnight" early in 1798.
Ecocritics would argue that the simultaneous shift in location and interest is no coincidence. In his influential The Song of the Earth (2000), Bate argues that humans are products of their environments. Following Charles-Louis de Secondat's and Alexander von Humboldt's lines of argumentation, he states that the weather may influence ideology (Bate 2000: 101). Stated differently, our view of nature determines our view of humanity. Coleridge, while living in the city, was a fierce spokesman for democratic reform and was opposed to war with France (see for example Roe 1990: 145-146). Moving to the country, he was still activist in his views (Roe 1990: 238-239), but retreated from active, public politics. This, ecocritics would say, was not merely a consequence of the restrictive legislation of the time but more specifically of a change in environment. The French philosopher Michel Serres has developed this idea further and applies it to recent-day posthuman, wired environments, stating that humans are not products of their environments, but instead are slaves thereof. He asks rhetorically and ironically: "Can we still call these things [missiles, satellites, nuclear waste et cetera] objects, and the people who use them subjects?" (Serres 2006). Bate (2000: 101) stresses the importance of the environment when he writes: "Because they work indoors in their air-conditioned libraries, modern analysts of ideology--like Frankensteins enclosed in their laboratories--have forgotten about the weather".
Writing from Nether Stowey, in post-French Revolution England, Coleridge is very much aware of the weather and this is evident not only in his view of nature but also in his view of humanity in relation to nature. This interrelation between nature and world view is the focus of this article.
Using a chaos-theory framework, I will argue that due to analogies between repetitions in the poem and the ones found in nature, "Frost at Midnight" functions much like an ecosystem and is, like nature, dependent on near-perfect repetitions. Subsequently I will consider the dynamics of the ecosystem within the poem, paying specific attention to the human-nature symbiosis. I will argue that this symbiosis is a result of the fact that humans metaphorically repeat nature. In conclusion, I will briefly suggest parameters for human-nature interaction in a posthuman environment that are founded in the poem.
2 Theoretical Framework
The above hypotheses rest firstly on a description of repetitions in the poem, and secondly on a description of chaos theory.
2.1 The Nature of Repetition
Repetition, according to both Shipley (1970: 269) and Scott (1985: 244), is the most basic principle of art. In poetry it underlies several stylistic figures such as assonance, metre, alliteration, consonance, rhyme and so on (Shipley 1970: 270). Being most basic, it is also very common. Shipley (1970: 270-271) identifies 28 broad types of repetition based, among other things, on what is repeated and how the repeating units are separated. Several of these types of repetition, such as ploche (repetition with variations), antistrophe (repetition in reverse order), metagoge (repetition that rings the changes in a word) and paregmenon (repetition of words of one root), are present in "Frost at Midnight". I will refer to them where relevant. I will use the term near repetition to refer to any repetition that includes variation, that is a repetition where the second, repeating part differs slightly from the first part of the repetition. These repetitions that Coleridge frequently uses in "Frost at Midnight" entail a sameness, or repetitiveness, but also a difference.
Besides formal repetitions such as the ones Shipley mentions, I will also refer to metaphoric repetition. I will argue that Coleridge draws humans into the repetitive processes of nature by showing how they repeat nature, either by using language, or by mimicking nature.
Shipley (1970: 270-271) makes an important point stating that "[r]epetition of any element at regular intervals ... produces a design. Some of the various units in a work may be repeated while others are not, giving the effect of 'irregular regularity'". Chaos theory, specifically fractal dimensionality, explains many complex processes in nature with reference to self-similarity, which could also be called irregular regularity.
2.2 Chaos Theory
Chaos theory is a complex field. I will, in this section, provide a brief overview of chaos theory, paying attention to three of its characteristics, namely fractal dimensions, the order underlying chaos, and sensitivity to initial conditions. These three things explain irregular regularity in nature.
Even though its origins can be traced back to the late 1800s (Anon. 2006) and even to antiquity (Sardar & Abrams 2000: 3-4), chaos theory only became prominent in the early 1960s. Scientists realised that nature was not as predictable as Newton had suggested. Instead, there were several things in nature that science could not account for. Scientists had to admit that systems were more complex than previously thought.
2.2.1 Fractals: Irregular Regularity
An important realisation in the history of chaos theory was the fact that what we observe depends on where we are positioned and how we measure it (Sardar & Abrams 2000: 33). If we look from afar at a ball it seems two-dimensional, but the closer we come, the more three-dimensional it becomes. The question arises: When does the object become three-dimensional? And what are its dimensions in between two-dimensionality and three-dimensionality? Benoit Mandelbrot, moving away from classical geometry, suggested that fractal dimensionality provides answers to these questions. He used the example of the coastline of England to illustrate the concept. Should one measure the coastline with a metre stick, one would get an approximate answer, which does not account for small nooks and crevices. Should one however measure the coastline with a matchstick, the coastline would seem much longer; the smaller one's measure, the longer the coastline would seem to be. Each of the smaller nooks is called a fractal. An important asset of fractals is that they are not regular shapes, but they are self-similar. Self-similarity implies that any subsystem of a fractal system is equivalent to the whole system. Fractals have the same general appearance as the whole (Sardar & Abrams 2000: 35). A cross section of a cauliflower, for example, reveals five florets, each of which has five smaller florets, and each floret again has five smaller florets, et cetera. A cauliflower has fractal dimensions. Each of the fractals repeats the whole, although it is not identical to the whole. This is also true of the bronchi in the lungs, the branches of trees, lightning and even the human brain. In nature many complex systems have fractal, repetitive structures.
Sardar and Abrams (2000: 34) write that to see a fractal is indeed to see infinity. It is almost like seeing the world in a grain of sand. Bate (2000: 111) writes that "Frost at Midnight" reveals Coleridge's "intuitive understanding" of the fractal structure of both time and weather. I believe that the poem also reveals his intuitive understanding of the fractal nature of space.
2.2.2 Order: Regularity
Fractal systems are both complex and orderly. According to Sardar and Abrams (2000: 45, 51) variables in a complex or "chaotic" system converge on what is referred to as a strange attractor. Attractors represent the states to which a system eventually settles. Strange attractors have fractal dimensions; they exist in an infinite dimensional space (known as phase space), but they themselves have only finite dimensions. Because variables in a complex system converge on a strange attractor, they repeat a basic pattern, the most famous being the so-called Lorenz attractor. These repetitions are referred to as "dense periodic orbits" (Anon. 2006). Despite fluctuations, variables in a complex system return to a more or less "normal" state: after the flapping butterfly wings caused a tornado in Texas (to use a well-known example), Texan weather ought to return to a normal state. This example illustrates irregular regularity in nature, and this basic principle governs weather patterns, animal population dynamics, economics and even the flipping of a coin (see for example Rea 2000). Chaos theory therefore paradoxically studies the order underlying randomness (Sardar & Abrams 2000: 82-83). Many theorists prefer to speak of complexity theory or chaotics rather than of chaos theory (Sardar & Abrams 2000: 81, 88), because they study the dynamics of complex systems with the ability to spontaneously self-organise (Sardar & Abrams 2000: 83).
2.2.3 Sensitivity to Initial Conditions: Irregularity
A complex system with its dense periodic orbits is, however, also sensitive to initial conditions. This means that a slight deviation from the (trajected) pattern or orbit can have a huge impact over time (Sardar & Abrams 2000: 42; Rea 2000), the so-called butterfly effect (Sardar & Abrams 2000: 26). Sardar and Abrams (2000: 27), for example, explain how an alteration of the movements of one electron in the atmosphere, a complex system, can result in a hailstorm.
Chaos theory therefore describes the irregular regularity in nature. Bogard (2000) summarises the dichotomy succinctly when he states that "[c]haos theory suggests that dynamic systems are nonlinear, nonequilibrial [but also] self-regulating". It stands to reason that within such a system, predictions are impossible (Anon. 2006).
The link between chaos theory and ecocriticism seems obvious. Chaos theory concedes that nature contains a deep order that emerges naturally (Sardar & Abrams 2000: 86). Not only does chaos theory explain natural processes, but it also reintroduces mystery and unpredictability into nature.
3 Echoing, Mirroring, Imaging: The Poem as Ecosystem
In "Frost at Midnight" Coleridge explores, among other things, how a fairly small change, namely a change of environment, can alter his child's future. This is reminiscent of the butterfly effect. This poem is one of Coleridge's so-called "conversation poems", which is a sustained blank-verse lyric of description and meditation, in the mode of conversation addressed to a silent auditor (Felluga 2000). It is characterised by an associative structure. The poem is written in free verse and depends on sound repetitions such as alliteration, assonance and word repetitions for its poetic nature, rather than on a fixed form and rhyme scheme. It is this free-associative type of repetition that strikes one on a first reading of the poem. Unlike normal repetition, one finds that "Frost at Midnight" introduces small changes in the repeating, second part of each repetition.
Consider for example:
The frost performs its secret ministry (a) Unhelped by any wind ... (lines 1-2; my emphasis) (1)
at the beginning of the poem, and near the end
... the secret ministry of frost (a) Shall hang them up in silent icicles shining to the quiet moon. (b) (lines 72-74; my emphasis)
In the quotations above, one finds two examples, a phrase (a) and a word (b), slightly altered when repeated. This type of repetition is called ploche--a repetition with variations. The repetition found in "[q]uietly" and "quiet" (line 74) could also be described as both metagoge and paregmenon, as it repeats both the sound and the root of the same word. Ploche, or repetition with variation, is also found in
... Sea, hill, and wood This populous village! Sea, and hill, and wood, (lines 11-12; my emphasis)
and also in
In this last example the typography indeed almost creates a mirror image: the words on either side of the word "and" repeat each other as though in a mirror. This type of repetition is called antistrophe--a repetition in reverse order. The near repetition, however, also introduces a change: the word "things" distorts what would have been a perfect antistrophe or mirror image. Furthermore, the small change in word order changes the meaning of the two near-repetitive phrases significantly.
Such repetitions frequently occur in the poem and are reminiscent of repetitions, loops and cycles to be found in nature. The idea of small changes introduced in repetitive systems reminds one of fractals, as explained by chaos theory.
In "Frost at Midnight" Coleridge explores and speculates on how a change of environment, a change in the present, can impact on his child's future. This theme is also symbolised and expressed in the structure of the repetitions that he uses. Coleridge's repetitions in "Frost at Midnight" may be seen as word equivalents, symbols for near-repetitive patterns, or fractals, in nature.
This phenomenon is not only confined to near repetitions in the poem, such as the ones discussed above. Many of the images used in the poem also conjure up the idea of a near-perfect repetition. For example, thinking himself back into his childhood, Coleridge looks forward to seeing his "playmate,/ When we both were clothed alike" (line 43) and the "idling Spirit" interprets the "puny flaps and freaks" of the film that flutters on the grate as an "echo or mirror" of his own mood (line 22). These images dealing with types of repetition such as mirroring, echoing, looking alike, include an element of sameness, a repetitiveness, but also a difference.
The poem, with its many repetitions, can be regarded as an ecosystem, symbolic of a contained, ordered whole encapsulating and dependent on near repetitions. One of the best examples to illustrate how the language of the poem imitates nature is:
But thou, my babe! shalt wander like a breeze By lakes and sandy shores, beneath the crags Of ancient mountain, and beneath the clouds, Which image in their bulk both lakes and shores And mountain crags ... (lines 55-59; my emphasis)
The words repeat like clouds repeat. The words in this quotation, like clouds, create near repetitions. Clouds never repeat or "image" (line 58) reality precisely, neither do they repeat each other, but they introduce change, much like the repetitive words in the example introduce syntactical and concomitant semantic changes in the repeating, second part of each repetition. "[S]andy shores" become "shores" in the repeating part, "the crags of ancient mountains" become "mountain crags". This is suggestive of the fractal nature of complex systems in nature, as chaos theory explains it. It is symbolic of the type of repetitions that underlie everything in nature. It would seem that the poem works according to the same underlying system as nature does, a system that suggests that small changes in the initial conditions may prove to be very significant.
4 Strange Repetitions: The Structure of the Poem
The most significant repetitive pattern in the poem is found in its narrative or chronological structure, where humans metaphorically repeat nature. The structure of the poem could be said to mirror or repeat not only other repetitions in the poem but also repetitive processes in nature itself. The repetitions in the poem are fractals, representing the whole on a small scale. The poem's narrative/chronology starts and ends with nature, as Coleridge's "abstruser musings" (line 6) move from nature to himself, his childhood, his child's future and back to nature. In the first part of the poem, Coleridge repeats--in the broadest sense of the word--nature by interpreting and symbolically refiguring it into language, and then projects how his child will "repeat" nature by living in harmony with it. There is thus a repetition implied between the two generations. Coleridge, however, intentionally changes his child's "initial conditions" in the hope of altering his future. I will now consider these repetitions and their effects, especially the way in which later changes are consequences of earlier ones.
4.1 Small Changes: Coleridge Repeats Nature
Coleridge provides verbal equivalents for his sensory experience of nature, repeating in language what he perceives and experiences subjectively. His view of nature, which Bate (2000: 102) deems of utmost importance, is thus expressed. When repeating nature, Coleridge employs language in a very peculiar way: he uses adjectives and similes that introduce small changes into the realm he describes. He namely introduces transcendent aspects, aspects of the unknown into nature, when he describes or repeats it.
Descriptors, such as adjectives and phrases that function adjectivally, normally modify and qualify nouns, aiding comprehension and as a result help one to visualise what is being said. Several of the descriptors in "Frost at Midnight" seem vague and unusual, even random. The frost is said to perform a "secret ministry" (line 1; my emphasis), meditation is vexed "with a strange and extreme silentness" (lines 9-10; my emphasis) and Coleridge describes his surroundings in Nether Stowey as "this hush of nature" (line 17; my emphasis).
Even though these descriptors contribute to the atmosphere of the realm created in the poem and add almost otherworldly shades to the respective nouns they qualify, they do not really contribute to one's visualisation of the natural environment and the phenomena in it. It is not a pure and complete rendition of the sensuous aspects of nature, of what Coleridge experiences. Like the clouds, Coleridge introduces changes as he describes or repeats nature. The nouns still largely carry familiar associations (we know what silentness is, what frost looks like), but the defining and modifying adjectives that are supposed to narrow the meanings of the nouns down, are imprecise and foreground an uncertainty regarding their visible features. The repetition in language is imprecise--it can be said to be a near-perfect repetition. What does the "hush of nature" (line 17) or the "eternal language" (line 61) sound like? The descriptors do not directly appeal to the senses, and instead of "solidifying" the phenomena described, they create a vagueness surrounding them. As a result one has to suspend one's disbelief willingly to form a mental picture of the environment. Within each of these phrases is an element suggestive of the transcendent, an element of the sublime, something surpassing our understanding. This may seem to be a small change, but it changes the way we, as readers, perceive nature. It moulds nature as a mysterious place that we cannot comprehend merely with our minds and senses. Furthermore, it is illustrative of how the poet sees nature and it determines the world view he projects for his child. In fact, there is a direct relationship between how Coleridge sees nature and the world view he foresees his child will have. In the future world that Coleridge projects in the last stanza, the world literally changes for his child.
Within this vague setting, Coleridge also has "[a]bstruser musings" (line 6). The emotive value of this image is strong and creates a gothic and mysterious atmosphere, but the image itself tells us very little of what Coleridge ponders; it does not reflect what he thinks. The poet seems to be in a mysterious harmony with his surroundings. It is almost as though his thoughts have the same fractal structure as his surroundings.
Such images at their clearest conjure different pictures in the minds of different readers, as they do not render a complete repetition of actuality. An element of uncertainty surrounds them. All of these images comprise an element beyond the senses, unlike for instance Keats's nature images in, among others, "Ode to a Nightingale". The result is that nature is elevated to a mythic, mysterious plane; nature eludes our grasp, because what is represented in verbal form, does not constitute an exact repetition of the world we know. The language introduces change into the realm.
Likewise, similes normally bring unfamiliar things within the frame of reference of the reader by comparing something unfamiliar or abstract with something known, giving one a point of reference to interpret the unfamiliar object. In a simile we expect the unknown to, in some way, repeat the known. In "Frost at Midnight" Coleridge does the exact opposite. He compares phenomena in nature to abstract things, and thereby creates a world that is indistinct and difficult to picture. The world described does not repeat what we know. Ashton (1996: 127) points out that this type of simile on the one hand draws the experience nearer (as that is what we expect a simile to do) and on the other hand emphasises the unusualness of the experience. In its repetition of nature, these word equivalents introduce small changes. Coleridge's child is said to wander like a breeze (line 54). Here something more or less familiar, a child's wandering, is compared to something rather abstract and unpicturable, namely movements of a breeze. Even though the image conjures a feeling of freedom, the child's actual wandering is cast into uncertainty and we are precluded from "seeing" it. In order to make sense of the image, one has to rely on one's imagination, and not merely on the information given. Put differently, one relies on one's imagination to make sense of the child's wanderings, and not on one's sensory experience, because Coleridge introduces change as he renders this experience into language. Similarly, "the numberless goings on of life" (a verbal rendition that already encompasses something unfathomable) are "inaudible as dreams" (lines 12-13; my emphasis). The unrepeatability creates a sense of elevation--a sense that we cannot fully understand nature.
The language that Coleridge uses introduces small changes to the world, and it places nature partially outside of our frames of reference and understanding. It repeats nature, but simultaneously changes it. It specifically changes and mediates our perceptions of nature. Images such as the ones described above could be called precluding adjectives and similes. I chose the word preclusive partly for its Latin roots and partly for its English meaning. Preclude comes from praecludere, which is derived from prae (before) and cludere (to shut/to close). The word's etymology brings to mind something that is foreclosed, perhaps closed before one's eyes. Coleridge reveals a natural space, but also keeps it hidden: it is as though he creates the world by hiding it. He gives one some clues as to what the world looks like, but in essence it remains inscrutable. The quantity of such images in the poem leads one's attention to that which is hidden. The result of the preclusion can be connected to the word's English meaning: it excludes one from fully comprehending the natural space and makes the realm mysterious and evasive. The inscrutability of the natural realm created in this way leaves one searching for the whole, and makes one aware of the immensity of nature. By showing or repeating only a part, and hinting at that which remains hidden, Coleridge makes one curious about the whole, especially those parts of it that are precluded. Coleridge uses the same technique to create otherworldly spaces in poems like "Kubla Khan" and "The Rime of the Ancient Mariner". The changes in the rendition of the world will alter the way we perceive and think about it. We actively construct the world of the poem, using our imaginations, knowing there's more to the realm than is suggested merely by the language. Stated differently: the language does not repeat what we know precisely, it does not repeat nature exactly, but it does repeat nature's workings. Like fractals in nature, the language in the poem repeats the whole on a smaller scale: the language firstly repeats the structure of the poem, but it is also self-similar to nature.
The preclusive images used in connection with nature are in stark contrast to the exact and precise images used in the description of the cultured cityscape that Coleridge associates with his childhood (stanza 2). In this space he sees the "stem preceptor's face" and makes a "hasty glance" to the classroom door which is "half open". Almost everything in this space is described clearly with much emphasis on sensory experience:
And so I brooded all the following morn, Awed by the stern preceptor's face, mine eye Fixed with mock study on my swimming book: Save if the door half opened, and I snatched A hasty glance ... (lines 37-41; my emphasis)
The preclusive images introduce the unknown into the known, and this small change not only conjures up curiosity regarding nature, creating the sense that the world is greater, grander and vaster than we can comprehend, but it also catalyses bigger changes, changes in world view. These small changes bring the reader to a different understanding of nature. The fact that the world is vaster than we can comprehend is in line with Coleridge's world view at the time when he wrote the poem.
Coleridge was attuned to the fact that nature surpasses our understanding. He expresses this view in a letter dated 16 October 1797 to Thomas Poole, when he relates that even from a very young age he formed all his creeds not by his senses but rather by his imagination. The letter also makes it clear that Coleridge was intrigued by the inexplicable and invisible in nature and in the world (Coleridge 2000: 503). In the same year Coleridge also wrote and published "The Rime of the Ancient Mariner". In the introductory note to this poem, Coleridge's fascination with the inexplicable is illustrated when he writes, "I can easily believe that there are more invisible than visible beings in the universe" (Coleridge 2000: 48-49). In his description of nature in "Frost at Midnight", he introduces the sublime and the transcendent, not only things transcending experience but also transcending knowledge. He creates an unknowable nature, a sphere beyond our grasp. This presents a very different way of thinking about nature: following Newton's scientific contributions, many people of this era believed that nature was governed by identifiable laws and was therefore utterly controllable. Coleridge's world view brings mystery back into nature. This may seem like a small change, but it changes the course of Coleridge's child's life. Coleridge projects that this change would influence his child's initial conditions in such a way that the child would have divine knowledge, as will be explained shortly.
4.2 "[F]ar Other Scenes": Coleridge's Child Repeats Nature
Coleridge's train of thought, having sojourned in his own childhood, is brought back to his child, and then wanders into the future. The fact that Coleridge's thoughts move from his own childhood to his child's implies similarities or repetitions between the two of them and their experiences. Coleridge's mind is, however, focused on the difference. This is the point in the poem where he speculates on the effects that the different location would have on his child's future. He speculates on the effects of the change of initial conditions:
My babe so beautiful! It thrills my heart With tender gladness, thus to look at thee and think that thou shalt learn far other lore, and in far other scenes/For I was reared in the great city, pent 'mid cloisters dim, and saw nought lovely but the sky and stars. (lines 49-54; my emphasis)
Coleridge effects change in the initial condition so that his child would not repeat his own (Coleridge's) childhood. Instead his child would repeat, or mimic, nature; he would "wander like a breeze" (line 54). This differs markedly from the poet's childhood experiences: unlike Coleridge who was distanced from nature, the child not only repeats nature but becomes intimately part of it. Because Coleridge values nature, his child will be brought up in "far other scenes".
A change in the initial conditions will, according to the laws of chaos theory, amount to a huge and significant difference. Coleridge's child, repeating nature, as he "wander[s] like a breeze", growing up in close harmony with the natural environment, would have sublime knowledge. He would understand the "eternal language" that "God utters" (lines 61-62). "That eternal language, which thy God utters" (lines 61-62) is another preclusive image, but Coleridge suggests that this experience would not be precluded for his child growing up in a natural environment. His child's ability to gain divine knowledge is--according to Coleridge--a direct consequence of the child's upbringing in nature:
But thou, my babe! shalt wander like a breeze By lakes and sandy shores, beneath the crags Of ancient mountain, and beneath the clouds, Which image in their bulk both lakes and shores And mountain crags: so shalt thou see and hear The lovely shapes and sounds intelligible Of that eternal language, which thy God Utters, who from eternity doth teach Himself in all, and all things in himself. Great universal Teacher! he shall mould Thy spirit, and by giving make it ask. (lines 55-65; my emphasis)
With the words "so shalt thou" (line 59) Coleridge implies a causal link between his child's upbringing and his divine knowledge: his child would come by his divine knowledge by dwelling in nature. Bate (2000: 41) writes that dwelling alone in nature is the most characteristic, most intensely Romantic route back to nature. The divine knowledge that the child will acquire would culminate in a life and ideology that would be entirely different from what it would have been, had he grown up in the city. The word "therefore" in the following lines again implies a causal link between the initial change (dwelling in nature) and the child's future:
Therefore all seasons shall be sweet to thee, Whether the summer clothe the general earth With greenness, or the redbreast sit and sing Betwixt the tufts of snow on the bare branch Of mossy apple-tree, while the nigh thatch Smokes in the sun-thaw; whether the eave-drops fall Heard only in the trances of the blast, Or if the secret ministry of frost Shall hang them up in silent icicles, Quietly shining to the quiet Moon. (lines 66-75; my emphasis)
The world literally changes for Coleridge's child: it becomes a place where "all seasons shall be sweet to [him]", because he has an understanding of nature that can only result from living in harmony with nature.
5 Conclusion
Ecocritics have shown how something usually deemed insignificant, or disregarded altogether, like the weather, can determine something as significant and important as one's ideology. This can be explained within a chaos-theory framework: a small initial change in views or thoughts on nature may culminate in a significant change of world view. This is explored and expressed in the poem both thematically in Coleridge's speculations on his child's future and in the construction of repetitions and images. The poem itself can be seen as an ecosystem, symbolic of the complex interaction between humans and nature. On a thematic level, Coleridge's view of nature determines how he sees the future of his child. Stated differently, by changing his child's initial conditions, Coleridge hopes to change the course of the child's future: he hopes that his child will have divine knowledge and that his future life will be happy and in harmony with nature. The idea that initial changes are important is echoed in the near repetitions and images that he employs in this poem. In the repetitions that he uses, the changes in the second part of the repetition emphasise the importance of the small changes, and simultaneously mimic or repeat nature. The repetitions in the poem function much like fractals in nature. They can be seen as fractals of both the structure of the poem and of nature. The preclusive images that Coleridge uses create a vagueness surrounding the realm and introduce the sublime into nature, making the reader aware of the fact that nature eludes our grasp. Tapping into Coleridge's world view and specifically into his ideas regarding the immensity of the world, and drawing on insights derived from chaos theory and ecocriticism, one may argue that a changed view of nature may have far-reaching consequences. Coleridge's view of nature is admirable: it is a humble view of nature where humans are overwhelmingly aware of the fact that nature is beyond understanding, and where they yearn to live in harmony with nature.
Chaos theory has taught us that predictions are virtually impossible in a complex system. Coleridge's predictions for his child, Hartley, did not come true. Instead, Hartley repeated many of Coleridge's bad habits, such as addiction. Nonetheless, Coleridge's world view as expressed in "Frost at Midnight" is the correct frame of mind to think about nature in a posthuman world. It is a view that propagates a non-exploitative symbiosis between nature and humanity, where the mystery of nature is valued and where we acknowledge that we do not know everything regarding nature. It is a view that starts and ends with nature, a view that pays close attention to natural processes and that views humanity as part of those processes.
Frost at Midnight--S.T. Coleridge The Frost performs its secret ministry, Unhelped by any wind. The owlet's cry Came loud--and hark, again! loud as before. The inmates of my cottage, all at rest, Have left me to that solitude, which suits Abstruser musings: save that at my side My cradled infant slumbers peacefully. 'Tis calm indeed! so calm, that it disturbs And vexes meditation with its strange And extreme silentness. Sea, hill, and wood, This populous village! Sea, and hill, and wood, With all the numberless goings-on of life, Inaudible as dreams! the thin blue flame Lies on my low-burnt fire, and quivers not; Only that film, which fluttered on the grate, Still flutters there, the sole unquiet thing. Methinks, its motion in this hush of nature Gives it dim sympathies with me who live, Making it a companionable form, Whose puny flaps and freaks the idling Spirit By its own moods interprets, every where Echo or mirror seeking of itself, And makes a toy of Thought. But O! how oft, How oft, at school, with most believing mind, Presageful, have I gazed upon the bars, To watch that fluttering stranger! and as oft With unclosed lids, already had I dreamt Of my sweet birth-place, and the old church-tower, Whose bells, the poor man's only music, rang From morn to evening, all the hot Fair-day, So sweetly, that they stirred and haunted me With a wild pleasure, falling on mine ear Most like articulate sounds of things to come! So gazed I, till the soothing things, I dreamt, Lulled me to sleep, and sleep prolonged my dreams And so I brooded all the following morn, Awed by the stern preceptor's face, mine eye Fixed with mock study on my swimming book: Save if the door half opened, and I snatched A hasty glance, and still my heart leaped up, For still I hoped to see the stranger's face, Townsman, or aunt, or sister more beloved, My play-mate when we both were clothed alike! Dear Babe, that sleepest cradled by my side, Whose gentle breathings, heard in this deep calm, Fill up the interspersed vacancies And momentary pauses of the thought! My babe so beautiful! it thrills my heart With tender gladness, thus to look at thee, And think that thou shalt learn far other lore, And in far other scenes! For I was reared In the great city, pent 'mid cloisters dim, And saw nought lovely but the sky and stars. But thou, my babe! shalt wander like a breeze By lakes and sandy shores, beneath the crags Of ancient mountain, and beneath the clouds, Which image in their bulk both lakes and shores And mountain crags: so shalt thou see and hear The lovely shapes and sounds intelligible Of that eternal language, which thy God Utters, who from eternity doth teach Himself in all, and all things in himself. Great universal Teacher! he shall mould Thy spirit, and by giving make it ask. Therefore all seasons shall be sweet to thee, Whether the summer clothe the general earth With greenness, or the redbreast sit and sing Betwixt the tufts of snow on the bare branch Of mossy apple-tree, while the nigh thatch Smokes in the sun-thaw; whether the eave-drops fall Heard only in the trances of the blast, Or if the secret ministry of frost Shall hang them up in silent icicles, Quietly shining to the quiet Moon.
Anon. 2006 Chaos Theory. Online: Wikipedia. <http://en.wikipedia.org/wiki/Chaos_theory>. Accessed on 20 November 2006.
Ashton, R. 1996 The Life of Samuel Taylor Coleridge: A Critical Biography. Oxford: Blackwell.
Bate, J. 2000 The Song of the Earth. London: Picador.
Bogard, W. 2000 Distraction and Digital Culture. Online: <www.ctheory.net/articles.aspx?id=131>. Accessed on 3 August 2006.
Coleridge, S.T. 2000 The Major Works, Including "Biographia Literaria", edited by H. J. Jackson. Oxford: Oxford University Press.
Felluga, D.F. 2000 A Guide to Literary Terms. Online: <http://web.ics.purdue.edu/~felluga/guide337.html#conversation>. Accessed on 16 November 2006.
Rea, G. 2000 Chaos Theory: A Brief Introduction. Online: <http://www.imho.com/grae/chaos/chaos.html>. Accessed on 20 November 2006.
Roe, N. 1990 Wordsworth and Coleridge: The Radical Years. Oxford: Clarendon.
Sardar, Z. & Abrams, I. 2000 Introducing Chaos. Cambridge: Icon.
Scott, A.F. 1985 Current Literary Terms: A Concise Dictionary of Their Origin and Use. London: Macmillan.
Serres, M. 2006 Revisiting "The Natural Contract", translated by A.M. Dibon. Paper presented to the Institute of the Humanities, Simon Fraser University (Canada), 4 May. Online: <www.ctheory.net./articles.aspx?id=515>. Accessed on 3 August 2006.
Shipley, J.T. 1970 Dictionary of World Literary Terms: Forms, Techniques, Criticism. London: Allen & Unwin.
(1.) All line references are to "Frost at Midnight" in Coleridge (2000: 87-89). (2.)
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Our readers know of Livio Radio (see my review here) for their Bluetooth in car radio hardware kit, available at your local Radio Shack, but you may not know that they have created Livio Connect, an API targeted at hardware makers and app developers. I had the opportunity to speak with Jake Sigal, CEO of Radio.
Phil Spector gave us the Wall of Sound. Julie Andrews gave us the Sound of Music. Now, Bob Marley's family wants to give us the Bag of Rhythm. I've written about the House of Marley before, and their commitment to both quality audio equipment and charitable efforts through their 1love foundation, named after Bob Marley's classic song.
I wrote about VIP Orbit a while ago, but they've made some enhancements that leverage the real estate of the iPad, and address some of the cosmetic concerns I raised in my initial review. As Hannibal used to say on the A Team, I love it when a plan comes together. Well, Mike Muhney, the creator of both VIP Orbit and of the highly popular ACT database program must love how the world has migrated to both circles in the case of Google and the cloud in the case of Apple and others.
For centuries, man has searched for a perpetual motion machine... Unlimited power that never runs out. Now a true perpetual motion machine doesn't exist but with the iBattz Mojo Battery Case, you can come close.
Let me continue (previous article HERE) with the systematic test of the Nokia PureView 808, Nokia's new cameraphone flagship model, which, based on my tests and measurements so far, will be even bigger a hit than the Nokia N95 was back in the day. (Just to remember: back in its day, the N95 had by far the best camera among all mobile phones.)In this current installment, I try to provide you with answers to- the high ISO behaviour in both full-resolution and binned mode- whether the downsampling helps at keeping absolute resolution high; that is, is the (binned) image quality, detail-wise, comparable to those of the Foveon sensors
Let me continue (previous article: MWC Report Part II: EXCLUSIVE: Nokia PureView 808 resolution tests!) with my systematical tests of four high-end Android ICS phones, all sporting true (not the PenTile joke of Samsung) 720p resolution screens I've conducted here in Barcelona, at MWC. (Personally, I, who has spent hundreds if not thousands of bucks on iOS and Symbian apps, don't want to invest in another ecosystem so I won't purchase any of them – now that Windows Mobile is, unfortunately, no more, I prefer the iOS + Symbian dual setup: that is, iOS for apps, games & tablets and Symbian for phones & cameras.)
Let's continue my MWC report series (previous (first) part HERE) with the stuff that makes a camera & smartphone freak like me salivate: some serious (and I do mean serious!) camera tests. Note that, as there were no really-really groundbreaking iOS announcements at MWC (as opposed to the announcements and new models of almost all other major manufacturers), I'll only cover iOS later. My exclusive stuff, measurements and new tablets, smartphones first, even if they aren't made by Apple.
I've just returned to my hotel room from the first day of MWC so that I can get ready for the MobileFocus event in the evening. I couldn't wait with sharing my experiences with you on the spot. Having little free time, however, let's start with the most two important pieces of news: the Nokia PureView 808 (a phone with a freaking good camera) and the Samsung Note 10.1 (a really decent tablet). I had some quality hands-on time with both models. Let's start with the former.Nokia PureView 808
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All vehicle trades considered, including classics and performance. There is no shortage of cheap, run-down MGB roadsters on the market. This is not one of... More
It is a rare occurance to find a classic or vintage car with an almost complete service history from day one, however this 1970... More
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1972 MG.pros new engine maybe 3000 miles on her uprated valve springs weber carb that has been modified by bradley rustorations recommendations tires are... More
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1977 MGB, Recently repainted. New top and tonneau cover. New gas tank. Four new tires plus a spare. New battery. Luggage rack. Original wire wheels.... More


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As It Happens | Mar 27, 2013 | 29:58
Descent into Chaos: Inside Syria's Civil War
In March of 2011, young Syrians chanted for freedom in the streets. Today, those same streets run with blood. Two years after the uprising began, As it Happens takes you on a rich journey through our archives and to the streets.


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Trace the Kristine Baker you are in search of for with our people search tools. PeopleFinders.com has an in-depth databank to help you locate people on the basis of age, prior residences, relatives, aliases, and more. Kristine Baker was born in 1947 and is 67 years old. Known relatives include Janet L Shorthouse, Vyron G Dowdles, Joanne Marie Dowdle, Jeremie Kyle Countryman, Sherry Ann Dowdle, Ken L Dowdle, Edward Dowdle, Kenneth L Dowdle, Vyron Glenn Dowdle.
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text: ChoireProfileFollowUnfollow ChoireFiled to: tabloid media Us Weekly People Magazine the cost of everything and the value of nothing 9/25/07 4:53pmEditDelete Invite manuallyPromoteXDismissXUndismissBlock for gawkerHideShare to KinjaShare to FacebookShare to PinterestShare to TwitterGo to permalinkUs Weekly is raising its newsstand price! It's gonna be a hefty $3.99, the same as the new price of People. [Mediaweek] 8Reply 8Discuss


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The GQ Eye: GQ on Style
Stuff We Like: THIS Invitation From J.W. Hulme and Pierrepont Hicks
Wanna get an editor's attention? Curse. But, like, ya know, in an intelligent, I-buy-nice-stationery way. The fine folks at J.W. Hulme and Pierrepont Hicks gave a discreet nod to their home state with these... read more
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- Watch Style Editor Will Welch Break Down the Best in NBA Style
- How to Dress Like a (Potential) NBA Champion
- The Short Sleeve Shirt Solutions You've Been Searching For
- This Is the Only M65 Jacket You'll Ever Need
- Sneaker of the Week: Supreme x Vans Old Skool
- Dwyane Wade Collaborates with The Tie Bar for All-Star Style at Benchwarmer Prices
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- The Return of The Pack
- Celebrity Wives and Girlfriends: A Guide to the WAGs of the Rich and the Famous
- Solve the Manson Murders with David Duchovny
- Chris Pratt Cover Story: From Dadbod Sidekick to Rock-Hard Hero
- Excerpt: Nick Offerman's Book Gumption and His Friendship with Conan O'Brien
- The Movie's Fine, But You Should See the Trailer
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- The Sick-of-Winter Guide to Spring Cooking
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DMV to Internet-less New Yorkers: Get in Line
By Jared Chausow
By Katie Toth
By Elizabeth Flock
City Hid Facts From Feds About Rikers
By Albert Samaha
Flood Wall Street Gets Pepper Sprayed and Arrested
By Anna Merlan
By Jon Campbell
Report Sheds Light on Anti-Muslim Bias
By Jon Campbell
Rikers Island Lawsuits Over Diabetic Care
By Albert Samaha
But what the fuckGay Pride without Bush's endorsement is like Earth Day without an oil spill. And whatever the official word is on our right to be openly proud, being gay in 2001 New York still has its undeniable joys and intrigues, along with the usual headaches, all of which I've personally experienced just from watching Showtime.
It's a life filled with contradictions, beginning with the fact that our adulterous mayor is on a phobic spree that includes closing down anything sex-related that isn't a $100-a-pop Broadway show. Of course there are ironies within the gay community, toolike Andrew Sullivan's high-tech sex outing, whereby the conservative critic of gay promiscuity was revealed to promote himself on barebacking Web sites as a wanton studmuffin who likes to turn tricks with his bum. This saucy scandal showed that we're all torn between our intellects and our dicks, though only some are able to yell at gay men for being too stereotypically hedonistic while also screeching, "Give it to me, you hot, tempestuous pig!" In the midst of the uproar over Sullivan's travels, one onlooker commented that the most fun to be had was calling up the guy's personal Web site and seeing the phrase "downloading Andrew Sullivan."
Naturally, showbiz is what I milk for juice, and it pays off, providing a glitzy reflection of society's absurd responses to queer life. For each step forward lately, there's a giant one back, with every Barbara Walters daring to "go there" paving the way for a Ricky Martin shaking his bon-bon at inaugural festivities (did he really need the exposure?) or a Madonna righteously defending Eminem's verbal carving of gays as refreshingly un-p.c.
And the absurdities keep on cominglike the fact that we're still not allowed to marry, but the law fully permitted Barry Diller to tie the knot with Diane von Furstenberg, their wedding seemingly attended by more gays than last year's Pride parade. On the bright side, our parents probably don't have much sex either. At least these two like each other!
But the biggest, kookiest gay story of the year involved divorcé Tom Cruise suing a gabby porn star, stating that the gossip the guy was spreading was erroneous and could devastate Tom's career. And why? Because, Tom's lawyers explained, our star needs to be convincing as a hetero action hero and doesn't want to lose the sizable chunk of his following that's antigay! Funny, I don't remember Tom Hanks threatening, "Don't tell anyone I like womenI'm starring as a homosexual in Philadelphia and I need people to believe me." Cruise has also never been mad about being called straight, even though such reports could conceivably diminish ticket revenue coming from gay audiences and hetero bashers. Yes, Cruise has a right to sue for what he deems are untruths, but he shouldn't have fed into that old bull that gay talkin an obscure French magazine yetis deeply detrimental and vicious (though of course he added that there's nothing wrong with being gay, blah blah blah).
Tom used to focus on suing anyone who said his marriage to Nicole Kidman was a sham, but now that their union's as shattered as Tom's Oscar hopes, he's had to vehemently chase down other targets. On DataLoungemy favorite Web site, filled with bitchy, opinionated postingssomeone put up a mock article titled "Tom Cruise Sues Long Island Man for Masturbating to His Image." But the real saga was even more fascinating. Nicole was suddenly announced as having been pregnantthis via the man she was on the verge of breaking up with! (Sadly, she miscarried.) And after the split, the tabloids quickly had Cruise dating another woman, Patricia Arquettea false story later exposed as a case of mistaken identity.
If Tom somehow is worried about losing his gay fan base, he should relax; Rosie O'Donnell still gushes about him on her talk show! But who can keep track of her love life? Soon after she said, "I love you, Kelli!" at the Daytime Emmies, Rosie explained that Kelli's just a very close friend, and later raved on her show about a hot-looking man she'd spotted at a movie theater. Maybe he'll take her mind off Tomif not Kelli.
On nighttime TVwell, cablewe've had a phalanx of gay characters humping and bumping, but all the progress instantly dissolves whenever Queer as Folk actors run to the press to blather about how they washed their mouths out with Listerine after kissing scenes. If these people ever played murderers, I'm sure they wouldn't bother to hold press conferences saying, "By the way, I was deeply repulsed, never having killed anyone in real life." But playing gay? Eeew.
Thank goddess that Gale Haroldwho stars as Folk's hot-to-trot Brianshowed great enlightenment recently when a TV interviewer asked if he was afraid he might lose jobs as a result of playing a gay character. "I wouldn't want to work for homophobes anyway," he said as thousands cheered. Yaysomeone saying the right thing! I love you, KelliI mean Gale!
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As I understand it they were made and sold by Pentax as a budget range. I know two of the zooms also turned up with Pentax branding (no other difference) as cheap kit lenses.
The 28mm is the same as the late Pentax-M 28mm f2.8 but with different coatings, I have one and it isn't bad around f8. Colours aren't as good as the SMC Pentax 28mm f3.5 (and the Pentax-M 28/3.5) I also own though.
I'm also told that the 135mm f2.8 is a surprisingly decent lens, although the f2.5 doesn't seem hugely popular in reviews. It does seem to be part of what I can only just avoid calling ebay scams though - frequently listed with a high BIN price (as in twice what you'd pay for a good M 135mm f3.5) in the hope that people will mistake it for the SMC Pentax 135mm f2.5 (which is a completely different lens).
I have the Pentax-A 28-80 (and the F version) which were also sold as Takumar-A and -F. Avoid. They're horrible to use and the images are even worse! Mine turned up with a P30n (which I wanted) and is now mostly used as a stand for small items. Covered with a cloth it does a fine job of supporting photographic subjects! There are SMC Pentax 28-80s in both the A and F series which are much better.


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Don't get me wrong, I know she means well, but shd is just being pushy. She has fertility issues and no kids, so how do I kindly tell her thanks but no thanks?
(hubby and I are super private family ppl and we weren't planning on having a shower anyways. This is our third baby, and we've never had a shower bc it's not or style.)


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Sundown: The West Bank Boom
Huckabee in Jerusalem, wonders of the world, and more
• A new study found that West Bank settlements receive a disproportionately high amount of government subsidies, and that their population grows at three times the rate of Israel proper's. [Reuters]
• Former Arkansas Governor and Republican presidential candidate Mike Huckabee will reportedly broadcast his weekly Fox News show Huckabee with Mike Huckabee from an Israeli construction site in Palestinian East Jerusalem. Huckabee will be there in "solidarity"; the U.S. opposes the building. [Haaretz]
• The U.S. State Department is requesting the extradition of 11 Israelis accused of running one of those Nigerian email scams. It is also requesting $10,000 cash wired to an account, in exchange for which it will receive US$50,000,000. [Ynet]
• Jordan revoked the citizenship of thousands of Palestinians living there, with a minister explaining, "Our goal is to prevent Israel from emptying the Palestinian territories of their original inhabitants." [JTA]
• Don't forget to vote the Dead Sea as one of the New Seven Wonders of Nature. Its 27 formidable competitors include the Amazon, Mt. Kilimanjaro, and the Black Forest. [Arutz Sheva]
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A brief discussion of whether a parent should place a child on title with the parent on the parent's house.
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Liverpool legend Robbie Fowler is pleased seeing Raheem Sterling agree terms over a new deal.
Sterling has decided to commit himself to the Reds for the next five years.
"What I'm seeing is that this is a kid who's had the right attitude drilled into him, and I think that's a good thing for Liverpool - a big thing," Fowler told the Mirror.
"Sterling has a great talent, but what he also has that makes him stand out is a maturity in his approach to the team's needs that you rarely see in youngsters. That shows he'd being coached and developed in the right way.
"It's so easy these days for kids to believe their own publicity. They are treated like superstars, they get massive money even before they've done anything, and they don't have to clean boots or the terraces any more!
"But I watch Raheem and I can see he has respect for the team and for the senior players around him.
"And his decision-making is good - he doesn't just want to beat players and then shoot to get personal glory.
"I think the manager has to take some credit in that development. He's still a kid and got a long way to go - he needs to improve his final ball - but Brendan Rodgers has already proved himself as a coach at the top level, and he's in the right hands."


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Putting decaf in the regular coffee pot? Now that's just evil taken a step too far.
The decaf's response:
Putting decaf in the regular coffee pot? Now that's just evil taken a step too far.
The decaf's response:
Tags: coffee · Michigan · most popular notes of 2012 · not-so-veiled threats · office
If only there were a simple solution to this problem…
related: PC Load Letter?!
Tags: Houston · most popular notes of 2012 · office · the printer
Thanks to Kenny from San Francisco for introducing me to the work of my new favorite doorman.
related: "Church Sign Writer" is a real job
Tags: actually totally reasonable · office
…because if you are saving the contents of your nose for an afternoon snack, feel free to use to office walls for that purpose!
related: The bathroom-stall booger epidemic
Tags: Canada · hygiene · nose-picking · office
Spotted by Kathy at her office lunchroom in Seattle:
The real sad reality?
related: You sure nag like my mother…
Tags: cleaning · office · rebuttals · Seattle · smartass · Your mother doesn't...
From the ladies' room…
And the men's room…
And the men's room, one day later…
related: And a Happy New Year to you!
Tags: bodily fluids · hygiene · office · toilet
Reports Barb in Las Vegas: "A woman in our office, originally from the Philippines, just got her citizenship. Our often inappropriate receptionist wrote this note on her card."
Yes, that really does say "no more climbing over barbed wire in the nite." Adds Barb: "She also printed lyrics from West Side Story in giant font and hung them in the area where we had celebratory cake. So odd!"
related: America the not-so-beautiful
Tags: Comic Sans Alert · Las Vegas · misplaced patriotism · office · oh no you didn't · WTF?
Writes Erica in New York: "I don't think this woman is aware that the aggressive automatic flush makes water splash all over the toilet seats…but she's obviously very angry."
related: Coffee pot flowchart
Tags: etiquette · flow chart · most popular notes of 2011 · New York · office · piss · toilet
Writes our submitter in Madison, Wisconsin: "This note appeared in the staff bathrooms the day after a meeting I had with my boss…a meeting that included some discussion about how large parts of my day involve looking for things to do. So…I guess I'm 'uninteresting'?"
related: A few clues that you might be stuck in a soul-sucking job
Tags: message to all intended for one · now that's management · office
Instead of letting the Facilities Dept. know that the toaster was broken, the folks in Catherine's office opted to collaboratively solve the problem Apollo-13 style, using only the paper products found in the office supply cabinet.
The major difference? This time, failure was an option.
Tags: kitchen · note wars · office · Oregon · smartass · toaster


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Alexondra Lee
|Alexondra Lee
February 8, 1975
Pennsylvania, U.S.
|Years active
|Stephen Dunham (2005-2012; his death)
Alexondra Lee (born February 8, 1975) is an American actress. She was married to actor Stephen Dunham until his death in September 2012. She worked with him in Paranormal Activity 4.
She was born in Pennsylvania[1] to parents Mae and Harry Lee. Lee studied ballet at the age of four and began dancing with the New York City Ballet at the age of seven with whom she performed in The Nutcracker Suite.[2]
She starred in the short-lived Special Unit 2 as Detective Kate Benson and had a regular role as Callie on Party of Five. In 2006, Lee appeared as one of five corpses recounting the tales of their death on a CSI: Crime Scene Investigation episode entitled "Toe Tags".
Lee was ranked No. 81 on Stuff Magazine's 101 "Most Beautiful Women in The World" in 2001. She had a role in Paranormal Activity 4 as Holly Nelson.
External links[edit]
|This article about an American television actor or actress born in the 1970s is a stub. You can help Wikipedia by expanding it.