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Walking to Mordor
June 3, 2014 · Print This Article
My wife and sometime collaborator Stephanie Burke and I recently completed a 140-mile walk as a perforance piece called "Walking to Mordor." The walk was based on an Easter egg introduced in Google Maps three years ago: if you asked it for walking directions from "The Shire" to "Mordor," instead of the usual "Walking directions are in beta" warning, a pop up announced, "Caution: One Does Not Simply Walk Into Mordor." The line is Boromir's, from The Fellowship of the Ring. Ignoring his naysaying, the two hobbits Sam and Frodo proceed to do exactly that.
The line, as spoken in the 2001 film, spawned an Internet meme which consisted of a still image of Boromir, hand in mid gesture, coupled with a line of text reading, "One does not simply…" followed by whatever the author wished to decry. Instances date back to at least 2004. In 2011, Google Maps joined the party by adding the Easter egg to their walking directions. Along with the warning, however, Google actually did provide a map and directions, from a restaurant called "The Shire," in Chehalis, Washington, to a tattoo shop called "Mordor Tattoo," in Arlington, Washington, 138 miles away.
When I showed Stephanie the joke, she mentioned that, coincidentally, she has family in Chehalis, and had spent some time there growing up. It didn't take long for us to decide that it would be fun, and funny, to take Google Maps' directions at face value, and walk the route. Almost immediately thereafter we realized we had to commemorate the journey by getting tattoos at Mordor, and that the tattoos should be of the map of the route. We documented the project with a series of photographs called "Instagram vs. Holga." Stephanie, a trained photographer, shot on the cult classic crappy medium format film camera, while I, with no more than a couple of undergraduate photography classes under my belt, used my phone's camera and the everyman's favorite app.
As has happened with more than one previous project, we didn't set out to make art. Our process is more often that we have an idea for something we'd like to do, and then, almost against our wills, we realize that it is starting to look quite a bit like art. Or at least like things that other people call art. And certainly, going for a long walk has quite a history as a form of performance art. It has spawned books, blogs, and even a society. Well-known examples include Francis Alÿs,Regina José Galindo, Simon Faithfull.
The history of walking as a form of performance art can never be severed from its history as a form of protest. Galindo's 2003 walk from the Congress of Guatemala to the National Palace, her feet dipped in blood to leave red footprints, was intended as a protest against Guatemala's former dictator, José Efraín Ríos Montt. Montt had formerly led a military regime known for widespread human rights abuses, and at the time of Galindo's performance was running for President in a democratic election.
Not all of those who have walked in protest have identified as artists. Perhaps the most famous example, internationally, is Ghandi's Salt March or Salt Satyagraha. By directly and pointedly disobeying a British law against domestic salt production in India (forcing Indians to buy imported British salt), the march essentially started what became the international Civil Disobedience Movement.
Inspired by Ghandi, A. Phillip Randolph and Bayard Rustin organized the 1963 March on Washington for Jobs and Freedom. The march itself covered barely more than a mile, from the Washington Monument to the Lincoln Memorial, though the 250,000 participants (60,000 of them white) had traveled from much farther away by bus, rail, and plane. Some spent 20 or more hours on buses traveling as far as 750 miles. Two years later, voting rights activists marched 54 miles, from Selma, Alabama to the state capitol in Montgomery. The Selma to Mongomery marches are commemorated by a National Historic Trail.
America's racial history (obviously still in the making) continues to inspire performance artists. In 2009 I reviewed Meg Onli's Underground Railroad project for Art Talk Chicago. (Five years later, her work holds up better than my early efforts at writing.) Presented as part of Twelve Galleries Project and curated by Jamilee Polson (who is also this blog's managing editor), Onli's project consisted of her retracing, on foot, the route of the Underground Railroad: a 440-mile journey, in Meg's words, "in search of blackness."
Exploring another form of blackness entirely, Chicago-based curator Amelia Ishmael co-edits Helvete, a journal of Black Metal theory, in the first issue of which was published David Prescott-Steed's "Frostbite On My Feet: Representations of Walking In Black Metal Visual Culture." (If you'd like to read the article for yourself, the entire journal is presented for free, as a downloadable PDF, at the above link. A print edition, also available, is well worth the price.) "Frostbite" tracks a few reference points linking walking with Black Metal culture. Principally, it finds the common ground between a grueling trek into the Norwegian tundra, led by Gaahl (former Gorgoroth frontman), and the author's own experience walking the mundane streets of an Australian metropolis while listening to Burzum:
In this case, "blackened walking" is seen to be less about the activity of walking itself and more about the circumstances under which one can move through space—walking not just for the sake of exercise, pleasure, or getting to the shops on time. With the modern world (invested in trains, planes, and automobiles), the slow, simplicity of a walk (Walking? How pedestrian!) seems to have lost some of its value. However, walking is capable of bringing one's focus back to a fundamental question of what a body physically needs to do in order to transition through, and therefore go on, in the world. Perhaps mourning the forgetting of the existential significance of walking, "blackened walking" pays respects to walking as the chance to explore self-determination and a readiness for the unknown.
We hadn't conceived of the "Walking To Mordor" project initially in terms of its connection to Black Metal, but as we walked, Prescott-Steed's phrase "blackened walking" echoed in my mind. The connection, however ephemeral, clarified itself in my mind as I looked over Tolkien's maps of Middle Earth, and researched his languages. Two of the bands mentioned in "Frostbite" take their names from Tolkien's writing. Gorgoroth is an arid plateau in the northwest corner of Mordor, surrounding Mount Doom; the name comes from Sindarin (the Gray Elven tongue) and means "dreadful horror." The name of another band, Burzum, means "darkness" in the Black Speech of Mordor.
Far from the tradition of protest marches, whether as performance art or otherwise, "Walking To Mordor" was in some was a playful exploration of what happens when a joke is taken 138 miles too far. A linguist became an author. His book became a movie. The movie spawned a joke. The joke became a meme. The meme became an Easter Egg embedded in the principal means by which Americans today naviage their world. With every breath spitting in the face of Alfred Korzybski, originator of the phrase, "the map is not the territory," most of us today confuse a glance at Google Maps, followed by a drive in the car, with exploration. We think of distances first in minutes of driving, or hours of flight. The landmarks we note are gas stations and Starbucks locations. Google Maps has become the average person's understanding of the world. Moreover, our culture is becoming one of remakes and mashups. References have taken the place of wit: "that's clever" has been replaced with "I have heard that before." Tolkien has been reduced, in the public imagination, to the origin of nerd-chic Internet memes, and we have tried in our way to be true to his work by dragging a piece of derivative humor, kicking and screaming, into meatspace.
Layering of Slices: ATOM-r Presents The Operature
March 25, 2014 · Print This Article
By Autumn Hays
This past Friday I attended The Operature an exhibition by the collective ATOM-r (Anatomical Theatres of Mixed Reality) at the National Museum of Health and Medicine Chicago. This exhibition was held in two parts an interactive installation and 90 minute performance showcase. ATOM-r's participants include Mark Jeffery (choreography), Judd Morrissey (text and technology), Justin Deschamps, Sam Hertz, Christopher Knowlton, and Blake Russell (collaborators/performers). The ATOM-r collective explores the application of forensic science and anatomical mapping, as viewed through the through the scope of performance, technology, and language. What struck me most about the exhibition was the poetic consideration of the body and the layering of segmented perspectives visually, technologically and through dance. This is especially true of the performance where the dancers bodies move like they are being examined for medical display, like they caressed with love or sex, like in battle, and like the ritualistic laying out of the dead all in one sequence. When combined the layers of sourced gesture seem not as if disjointed but in an embracing collaboration of movement. I feel my observation of this exhibition is like looking through a magnifying glass peeping in to catch glimpses at what is a large body of accumulated research.
The installation included a 15 monitors that displayed the interactive exhibition's language poetry and digital art that seemed like entries dense with interconnecting references selected from an accumulation of archived materials. The Operature. Attendees are able to pick up cards with medical and anatomical imagery and show the QR-code to a camera provoking a response and changing the exhibited material as a corresponding text begins to dance across the screen blinking in and out. On other screens images of head cut into thin slices spin resembling the process of cross-sectional scans of bodies under anatomy study, or the presentation of anatomical evidence on glass slides. The dissection of slices is also seen in the exhibitions use of language fragmentation and the multifaceted perspectives created by technology that includes both in the installation and performance.
Upon entering attendees are prompted to download an app that allows them to interact using their smartphones during the installation and performance. Audience members found themselves taking on the roll of investigators drifting around the exhibition looking for signs, images, and codes that they could scan using their camera phone. Once scanned, these images display technological overlay ghost images and text that seem as if they had already been there, invisible, waiting for you to discover them. Often I find technological interactions to fall short but there is something consistent about the concept of a phone app that allows you to view an augmented reality layer in an exhibition based off anatomical theaters, where the audience becomes an investigator of anatomy. It was one of the best uses of interactive technology I had experience in an exhibition. This inclusion of the technological other worlds slips in and out of the subjective, pushing realties/non-realities together and is an integral interaction when used during the performance piece.
The collective stratum of reference is something you encounter in every aspect of ATOM-r's performance. One can view the piece from multiple vantage points choosing to sit in pews, walking among the performers, or standing above the performance looking down on it as in an operational theater. As the performers dance Judd plays the role of conductor, controlling projected displays of text reiterating those used in the installation, and reading them aloud as he performs.
He also provides the attendees with a technological viewpoint, displaying his live video of the performance showing the virtual reality ghosts we first encountered in our own investigations of the installation. The spoken language of the piece was delivered in the same cold cut tone as a scientific manual but had the touch of deeply personal poetics of the struggle with the body. The text provides us with many concepts such as the examination of the body as house, the treatment of the dead, and the histories of anatomical theater. One of the most interesting sources is the text sourced from the "stud file†of writer Samuel Steward describing details and observations about his various erotic encounters with men. These excerpts when juxtaposed with the anatomical body texts create an interweaves narrative of the gay male body.
The expert choreography composed by Mark Jeffery and his collaborators holds the audience captive while working in correspondence the technological devices. The all male group of performers embraced, wrestled, fell, carried one another around the room like corpses, posed for examination, removed and readjusted each other's buttons and zippers, each performer functioning simultaneously as the displayer and the displayed. Even the lights become dancers moving around the room and repositioned by performers. Observes peer into the dancers bodies, guided by the ever-present examiners lights. As the scenes are constructed I am reminded of the painter Thomas Eakins and his paintings of medical theaters. The audiences enters ATOM-r's The Operature like a crime scene, attempting to paste together all the clues given through the use of dance, poetry and art as evidence. To quote text from the exhibition, "the evidence looked back at you awkwardly and defiantlyâ€, asking you investigate the margins of these clues. Your reward for your exploration is an involved and richly layered experience that speaks to the poetics of anatomy and left me feeling touched to the bone.
If you would like to see it for yourself the exhibition continues till March 29th. There will be two more shows this coming weekend on Friday and Saturday. The interactive exhibition is open at 6pm and performance begins 8pm. National Museum of Health and Medicine Chicago, 175 W. Washington, $15 at the door. Here for more info.
(images provided by ATOM-r. Photo Credit: Katie Graves Photography)
Adapting the Umwelt: Art Orienté objet
March 17, 2014 · Print This Article
In a 2007, Art Orienté objet, a French collaborative group comprised of Marion Laval-Jeantet and Benoît Mangin, began a series of body modification experiments intended to communicate with animals outside of language. "Basically the project was to artistically adapt Jacob von Uexküll's Umwelt theory, which argues that the meaning of an environment differs from one animal to another in relation to its sensorial system†(Marion Laval-Jeantet, "Self-Animality,†Plastik: Art and Science, June 2011). The project began with an investigation of cats — what eventually culminated in a single piece, Felinanthropy, where Laval-Jeantet put on a pair of cat-like prosthetic hindquarters; by transforming her status as a bi-ped, she was able to change the hierarchical relation between herself and the cat. A subsequent experimental work led Mangin to put on a prosthetic giraffe head and engage giraffes in a zoo — exploring the giraffe's ability to recognize Mangin not as a human, but as something almost giraffe. More recently, AOo embodied an equine perspective; Leval-Jeantet built up a tolerance to horse blood by injecting a small bit of the animal's plasma into her system over the course of a year. She subsequently staged a horse blood transfusion performance with her partner Benoît Mangin. What remains of Que le cheval vie en moi!, is the  "relic," a small, innocuous petri dish, with human/horse blood. In the following interview, originally conducted for Paper Monument where an affiliated essay, "Humanimals†was published, I asked Laval-Jeantet a few questions about this work. All answers have been translated into English by Basia Kapolka.
Caroline Picard: What were you anticipating the affect of injecting horse plasma into your blood steam would be? How did you expectations measure up with the reality of your experience?
Marion Laval-Jeantet: In a certain way, I knew what to expect from the injection of the horse plasma since I had received injections of the horse antibodies one at a time during the preceding months. But it was still difficult to imagine what the effect of receiving all the antibodies at once would be. In actuality, my body's reaction was much more unruly than predicted. I think the families of antibodies increased each other's effects, so that the final reaction was very complex, affecting even my metabolism, my endocrine glands, my nervous system, as well as my sleep and appetite.
CP: Also, did you use the blood of one specific horse? Did your relationship with that horse change at all?
MLJ: I used the blood of three specific horses that belong to the laboratory I worked with. You couldn't say I established genuine contact with the horses. On the other hand, I wasn't specifically familiar with the horses before the experiment. The experiment changed my psyche so that I saw the horses differently after it, with a different appreciation. A familiarity.
CP: Can you talk a little bit about your horse-stilts? How did your experience of your own body change?
MJL: The stilts were mostly there to allow me a different way of communicating with the horse who was present during the performance. I was a little afraid of horses, actually. And it seems like horses attitudes change completely when your eyes are at the same height as theirs. With the stilts, my eyes were the same height as his, and I could see that the horse was calmer. It was also a way for me to be aware of the reversal of roles between me and the animal. And naturally, it was a way to distract myself from the possible anxiety that might arise because of the infusion. Because I was on stilts, I could only think of the goal: to join with the animal, and not of the psychological problems that might come out during the performance. Experiments with prosthetics always affect your fears about your body, and in the performance it was necessary that I have a strong sense of a double transformation, mental and biological.
CP: Do you feel like your "self" has been forever altered? In other words, there is an idea I believe I, at least, take for granted: that is that my self is continuous and sustaining throughout a linear experience of time. This assumption is challenged by ideas of drastic plastic surgery, transplants and cloning, for instance–the self as it was defined before is fundamentally no longer the same self it was before. It seems to me your work poses similar a question: how can a distinctly human self sustain its identity when it has become, also, part horse?
MJL: Your question about fundamental change is completely fair. At the moment, I have a very strong sense that my body, and also my identity were deeply changed by the experience. In a physical sense, it's true. I will always have within me biological markers that bear witness to my meeting with the horse. The problem is that the external physiological effects seem to have only lasted a few months, and were strongest in the first four weeks. So today, even if there are some delayed reactions or long-term consequences, I can say that the transformation remains more in the mental structure than in the physical one. I have the sense of not having been completely human for some time. The experience changed my inner self forever. But this is also the case with previous strong experiences I've had, like my introduction to the pygmies of Gabon. Who made me see death. Each of these experiences makes my thoughts and my existence more complex, the more they change them. I believe deeply in the adaptation of the human body. More than in homeostasis. Existence itself is a permanent transformation, a constantly-evolving system. You speak of changes made to the body, but I think grief, for example, shakes up identity much more. My aim is not so much a transformation of my essence, as the wish to respond to an eternal frustration: to finally feel the animal otherness in myself, but also to stop thinking from a purely anthropocentric point of view. Already, the pygmies succeeding in making me feel the spirits in the forest, during a trance. I think that I am less and less purely human, which is to say that I am fundamentally more and more human, in the utopian sense of philosophical humanism.
Paper Monument was recently interview on the Bad at Sports podcast.
Anatomical Theatres of Mixed Reality: The Operature
January 29, 2014 · Print This Article
Last year I was invited by performance company ATOM-r (Anatomical Theatres of Mixed Reality) to sit in on several rehearsals while they worked on their latest piece together, The Operature. Since that time, the work has had a showing in York, they have produced a book with Pinups Magazine, recently opened a two person exhibition at Julius Caesar in Chicago, and continue to work towards the Chicago premiere of The Operature at the National Museum of Health and Medicine (175 w Washington, Chicago IL) March 21st, 22nd, and 28th 2014. A collection of notes from their rehearsals follows.
1. Chris' Back and Thigh
The theater holds between 200 and 300 spectators in six concentric galleries of narrow rows that provide standing room only. The bodies of the recently deceased are laid out as actors, like the dancer to the choreographer, the corpse submits itself to the movements of the doctor. The body following the request of the scalpel, as eager to articulate the interior secrets of the body as the doctor is to discover them.
2: Justin's Kidney and Chest
From where I sit in rehearsal I can easily make out the performers as they move about the table. Even as they tower above me, dancing from corner to corner. I need only lift my head slightly to keep them in my full view. The table is to my left. I am thinking about watching, about the pleasures of looking at bodies, and of the duets that emerge from my gaze. The duet between these men, their fingers nimbly grazing their partners torso, weight shared across thighs, every movement mirroring the duet of scalpel and chest, doctor to corpse, witness to theater, and beyond to the dimly lit corners of the farthest circle, where the excitement of discovering the interior of oneself is imagined with each brushing shoulder.
3: Sam's Ankle and Neck
Professor, tattoo artist, writer, and sexual misfit Samuel Steward kept a deeply coded and painstakingly noted account of his sexual encounters. Penile measurements sit alongside anecdotes and the occasional picture. A box of approximately 900 cards, the stud file is an archive of sexual experience and an attempt at exerting ownership over one's body. Stewards thirst is that of the anatomical doctor, both delighting in the bodily pursuit, in the ecstasy that comes from leaning against the submitted frame.
4: Blake's Pubic Bone and Shoulder
In rehearsal, at the moment, we are oscillating between the record of Samuel Steward and the technology of the anatomical theater. Movements are derived equally from sexual and surgical acts, both having striking similarities conceptually and visually. Through each week and each iteration of the work, I am left to ponder the watching of bodies as they are laid out before eager spectators, however they might be displayed in private or public exhibitions and however large or small the audience might be. This is how I understand the performance to function: as a technology of looking. The way a photograph captures a submitted partner or the way a surgical table in the center of an audience can amplify the form.
*Images courtesy of Christopher Schulz, Christa Holka, and Stephanie Acosta
Anatomical Theatres of Mixed Reality (ATOM-r) is a provisional collective exploring forensics, anatomy, and 21st century embodiment through performance, language and emerging technologies. Participants include Mark Jeffery (choreography), Judd Morrissey (technology & dramaturgical systems), Justin Deschamps, Sam Hertz, Christopher Knowlton, and Blake Russell (collaborators/performers). Â
In keeping with my interests and research in phenomenology and embodiment, this article addresses four disparate works that are currently on view in Atlanta. Drawn from four separate shows — Coloring and In Translation at the Atlanta Contemporary Art Center (ACAC), Live Amateurs at MINT Gallery, and Gyun Hur – A System of Interiority at Get This! Gallery — these installations address and provoke bodily experience. Unlike the other works in these shows, other than possibly Anne Lindberg's at ACAC, these works invite the viewer to inhabit the space they create. Each of these installation-based and -esque works instantiate a world within the particular gallery space. Broadly, these four pieces can be grouped into two categories: color fields/dimensions and bodily encounters. Rutherford Chang's We Buy White Albums at ACAC and Gyun Hur's A System of Interiority at Get This! both open to the viewer an experience of color. Jonathan Bouknight's Two Dancers; One Carries the Weight of the Other at ACAC and Maggie Ginestra's Angel of the Interior Heaven at MINT create moments of encounters with the human form, its materiality, and that of our own.
Traces of Color
In our everyday existence, our perception of color does not correspond to a geometrical color wheel. We do not necessarily examine the red of a fire truck when we see it wheeling towards us in our rear view mirror; rather, the red speaks to us, telling us to pull over, signaling to us that there is a fire, a situation, somewhere that needs to be tended to. In this confrontation with color, the pure red that exists as a particular wavelength does not concern us. The object, the red firetruck, exists as a phenomenon in our everyday being. Both Rutherford Chang's and Gyun Hur's installations create situations where objects are allowed to rest in their object-ness and our perception of their colors in their particularity are brought forth.
In the case of Rutherford Chang's installation We Buy White Albums, included in the show Coloring at the Atlanta Contemporary Art Center, the color white, which, depending on which theory of color and perception you choose, may not  be a color at all. Chang, in his use of a white object, exemplifies the ways in which bodies and objects collide, rub off on each other, imprint themselves upon the other. If white here is considered the gathering of all light on the spectrum, we can push the metaphorics of accumulation and negation; white as a manifestation of maybe both of these. By a process of collecting first-presses of the Beatles' White Album, Chang presents us with cultural signifiers that have visibly and explicitly been shaped and affected by bodies. Though each of these vinyl covers is white and was released in 1968, the installation presents the viewer with a range of color, wear-and-tear. Some of the album covers have drawings on them. Some have stains and spills. Some have an exaggerated impression of the vinyl disc lying inside; years of pressure worn into the album sleeve. The wall installation, though not touchable, allows the arranged albums to resonate with touch; the fingertips "feel†the cover without touching it; the fingertips can sense those who have touched the album before. Apart from the wall are album bins that the viewer can sift through, allowing her to touch these objects with her own hands, connecting to the hands that have touched this very object before. The signs of history and others' beings are traced, etched, scuffed, buffed, and impressed into these seemingly identical and mass-produced commodities. Accompanying the installation is an audio piece that is a layering of 100 copies of the songs from the White Album on top of each other, which illuminates the subtle differences between each of the albums; the "various scratches, dust, and differences in the pressing of the records.†[1] Even though these commodities are machine-made, the audio points to the object's own materiality and the ways in which the body's handling of them further affects their material conditions. In a way, Chang's piece illuminates the ways in which, as Merleau-Ponty states, "each object … is the mirror of all others.†[2]
At Get This! Gallery, Gyun Hur's new installation work A System of Interiority creates a constantly changing experience of color for the viewer through its use of multiple constructed layers. Built in an L-shape against two walls of the gallery, the work consists of a structure made of glass panes resting on columns of bricks with mirror panels connecting the glass to the cement floor. On top of the glass panels are three piles of hand-shredded silk flowers and powders in magenta, yellow, and orange. Underneath the glass panes, on the cement floor, is a ground of brown/black dirt and another material that sparkles. Above, a lighting system in three parts: a two-sided color-changing track, a standard can light, and a panel holding a grid of naked lightbulbs. This installation does not give itself easily to any vantage point; it requires exploration. Sitting on the ground at the vertex, the point where the two large glass panes converge, I witness the piles multiply in the mirrors against the back walls and those on the ground partially covered in dirt. Peering under the panes, into the dirt directly, a miniature landscape opens up that gives the illusion of a highway underpass; the stacked bricks transformed into concrete columns. The earthy brown contrasts with the black sparkles that reflect the lights above. The magenta, yellow, and orange piles, radiate color on top of the glass while the mirrors underneath them reflect other, more muted colors. The ways that the surfaces of glass, mirrors, piles of powders, and dirt reflect each other and the viewer, opening a field of tranparently-opaque relations, which according to Merleau-Ponty is a certain translucence: "The fully realized object is translucent.†[3] We delve into it in our perception of it, but only to a certain extent; not all of the object is perceptible at once; it hides something within itself.
Constructed Bodily Encounters
In our everyday experience, when we see bodies, we recognize them as human bodies like that of our own. However, Descartes (in)famously states in his Meditations of First Philosophy from 1641 that those bodies wearing hats and coats he views from his window could in fact not be human bodies at all: "But what do I see aside from hats and clothes, which could conceal automata?†[4] In art works that make use of the human body, particularly that of the living, breathing, fleshy human body, the problem becomes how to regard these bodies. Since they are part of a work of art, what is their status as objects of my gaze? Who are these people I am looking at? Is it ethical for me to gaze upon their forms? How should I contemplate them?
Jonathan Bouknight's installation, included in the show In Translation, also at the Atlanta Contemporary Art Center, consisting of a video monitor on one wall and five 7.5 ft tall drawings on the opposite wall, is a manifestation of the problematic experience of watching moving bodies and then viewing a seemingly static representation of them. The piece, part of Bouknight's Gaze Series, the work's process creates multiple possibilities of embodiment. The video depicts two dancers; a man and a woman, wearing grey – the woman in a grey top and shorts, the man in only grey shorts, bare-chested. The angle of the video, at first disorienting, allows the viewer to penetrate the space between these two bodies that are at times intermingled, at times only touching. The layers of drawings on 7.5 ft tall pieces of butcher paper gaze at this video. Each day of the exhibition, Bouknight works in the installation space and draws the video. In order to see the video, Bouknight has to turn his back to the drawings, thus making them blind contour. The drawings, made using black acrylic paint, have a movement all of their own. When focusing on the drawings, the audience is not able to see the video, and vice versa. This limited perception, intentionally created by the artist, allows the viewer to see each aspect of the work on its own – the drawings are not merely illustrations of the video. They are a layered exercise in line and movement. The viewer can lift one drawing to reveal more layers of drawings underneath. Each layer a manifestation of a particular viewing experience that is translated onto paper. Both these aspects of the work produce certain corporeal consciousness and affectivity. The layers of drawings bring about a similar weightiness that is felt when attending to the video of the two dancers; a play of movement, shifting arrangements, and physics enter into my own bones, muscles, and sinews.
At MINT Gallery, within the jam-packed show Live Amateurs, lives Maggie Ginestra's performance and installation Angel of the Interior Heaven #s 1 – 4. A card table with four folding chairs surrounding it is in a back corner of the gallery. On the table is a plate of nibbled on cookies, cards, and hand-felted scarves. Now, these chairs are empty. They were complete with sitters at the opening on January 11, 2014. They will remain empty until the closing of Live Amateurs on February 7, 2014. During the first performance, the sitters, naked save the hand-felted scarves, conversed with each other over cards, cookies, and wine. Other than trips to the bathroom, these nudes remained inside a privately public space; audience members were onlookers except when sneaking a cookie. These bodies, so exposed to the viewer, yet also so distant, provoked otherworldly and mystical imagery. They might have been those gods sitting atop Mount Olympus watching the mortals below. However, these gods were not concerned with we mortals; they seemed indifferent to our presence. These performers, on display for us, elicited somatic responses. The viewer was faced with the decision to gaze — perhaps only a sidelong glance, a glance perhaps engendered in our gender. It was not necessarily the initial confrontation with the naked human form that created a moment of discomfort; something else in this arrangement blocked my gaze. Perhaps something related to the poetry Ginestra provides with the performance/installation: "For the angels of the more interior heaven are able to speak with men by means of spirits of the interior heaven, thus this is effected mediately." (Emanuel Swedenborg, from The Spiritual Diary (1747). The terms "interior" and "mediately" being most important here. The gallery during an opening is usually an openly voyeuristic place: we gaze at the art on display and the other patrons that for the night share our space. But in this case, it was uncertain what my role here was: mere onlooker, voyeur, participant; there is an unease provoked by this ambiguity. Do these beings want me to interact with them? Am I supposed to serve as a sort of mediary between their internal space and their external surroundings? Or, do they want me just to leave them be? This is the moment of decision that I have to grapple with, which demands me to negotiate my bodily arrangement and positionality.
Return to Our Perceiving Flesh
Perceiving artwork is a bodily experience; the viewer is always perceiving the work from somewhere in some body, in some particular embodiment. This is not only true for installation work that more or less explicitly invites the viewer's body into the scene, but also for paintings, digital work, and etc. In Heidegger's essay "Origin of the Work of Art,†he describes a painting of peasant shoes made by Van Gogh as the creation of a particular world that we gain access to; we can imagine the possibilities of these shoes and the way they become equipment for the person wearing them. [5] I'm interested in how works are able to create new worlds for us to inhabit, on the micro scale — Chang quite literally creates the space of a record store in the gallery that we can peruse, though we always find the "same†record with every turn, and also on a macro scale — Ginestra's "angels†trace out an almost ethereal world that we cautiously navigate. These installations make us hyperaware that in our viewing of them, we have to negotiate the space the works carve out and the other viewers' bodies that are also present. In doing so, we are forced to return to our contoured, fleshy, perceiving bodies.
Both In Translation and Coloring are on view at the Atlanta Contemporary Art Center until March 8, 2014.
Live Amateurs is on view at MINT Gallery until the closing reception on February 7, 2014. Maggie Ginestra will stage another instantiation of Angel of the Interior Heaven during the closing reception from 7-11pm.
Gyun Hur's A System of Interiority is on view at Get This! Gallery until March 1, 2014. The gallery will stay open until 7pm on Wednesdays in order to experience the light change to night in the installation.
[1] Rutherford Chang's statement for Coloring.
[2] Maurice Merleau-Ponty, Phenomenology of Perception, trans. Donald A. Landes (London and New York: Routledge, 2012), 71.
[3] Ibid.
[4] René Descartes, "Meditations on First Philosophy" [1641], trans. Donald Cress, in Philosophical Essays and Correspondence, ed. Roger Ariew (Indianapolis and Cambridge: Hackett, 2000), 112.
[5] Martin Heidegger, "The Origin of the Work of Art," in Basic Writings, ed. David Farrell Krell (New York: Harper, 1993).


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Reviewed By Michael M (Salem, VA) Reviewed for a 2010 Acura RDX —2/10/2015 2:50 PM
Sold them to co-worker,got a new truck before i installed them,he states they make a BIG difference
Reviewed By Jerry P (Spartanburg, SC) Reviewed for a 2012 Acura TL —10/6/2014 6:33 AM
Very Clear - Installation not as tough as led to believe. Make sure you take your time. Line it up correctly you do not want over the edges (cannot emphasize enough). Pay attention to curves and grooves, use low heat and hold in place using thumb as squeegee until it is adhered.

subset: commoncrawl


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No Hunting
Post your Comments or Review
This page has been viewed 31 times this month, and 1512 times total.
No HuntingNo Hunting (1955) - Donald Duck Theatrical Cartoon Series
This page has been viewed 31 times this month, and 1512 times total.
- Walt Disney Studios
- Donald Duck Theatrical Cartoon Series
- Featuring: Donald Duck, Grandpa Duck.
- Originally Released on January 14, 1955.
- Originally Released Theatrically.
- Running Time: 6:12 minutes.
- TechniColor
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Cartoon Summary:
Donald is inspired (possessed?) by the spirit of one of his forefathers to take up a gun and go hunting for his food.
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4" lift kit or 6" lift kit
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Dodge Ram Forum Senior Member
Join Date: Jul 2013
Location: Chicago
Age: 28
Posts: 95
Gender: Male
Vehicle: 2012 Dodge Ram 1500
Trim Level: Sport
Color: Black
Engine: 2009-20?? 345ci (5.7L) Hemi V8 390hp 407lb/ft
Rep Power:
Originally Posted by
fastNugly @ BP
If you need to be under 6'8" then a 4" and maybe 34"/35" tires is what will work.
Doing 35" and 4" lift will take you to 6'7" providing the stock height is 6'2"
My truck was 82.5" when I ran 35's for winter.
And I have a 6" lift and Bilsteins at 1.4"
This is taller than 6'8"
If you're going with a 4" lift with 2" rear block the Bilsteins may not be necessary as you'll be almost level with maybe 3/4"-1" rake
But a level kit and lift kit cannot be combined.
Although a lift kit and Bilsteins can
If and when you're ready, hit me up and we will build your truck together.ive assisted on many here on the boards.
Btw: hope you got all your parts
I got everything and it looks good. I am going to do the install Monday. I will snap a few pics if I can and a vid too.
As for the lift and wheels/tires etc., I will let you know as soon as I've got the funding. I would like to do it before any major snow hits or I will wait till late Spring.
In the meantime, all of these trucks on here look great. Can't go wrong with the 4 or the 6. Love em.
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You should be able to order a new set of media from IBM, shouldn't you?
Your business partner may need to get involved, though.
We were able to do this a few years ago after a couple of our discs were
damaged in a computer room "accident".
On Wed, Oct 17, 2012 at 10:00 AM,<ChadB@xxxxxxxxxxxxxxxxxxxx> wrote:
>Hello all...
>I'll be applying TR5 to an existing 8203-E4A system just before migrating
>to a new 8202-E4C system. I have the TR5 downloaded, but how can I get a
>new physical I_BASE_01 disc that has resave F on it?
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text: No recent wiki edits to this page. The invasion of the "New Kids" continues with PART FOUR... and this time the joke's on Reggie as he matches wits with a mysterious new prankster! Meanwhile, Jughead somehow attracts a twittering female fan club while Ethel discovers a previously hidden talent that has the new kids all atwitter!


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Dirty Girl 5K Mud Run: Baltimore/DC- 8-22-2015
- Sports & Fitness
- 23730 Frederick rd., Clarksburg, MD, 20871
Lost Boys vs. Top DC Chefs: The After Party
Lost Boys
Wednesday, December 8, 2010 from 9:00 PM to 11:00 PM (EST)
Lost Boys vs. Top DC Chefs: The After Party
For one night only, we're rubbing elbows with the DC area's best Chefs.
Join us for an unforgettable night!
The Judges Table
(10 Seats Available)
A one-night-only admission to the Ritz Cartlon's Secret Smoke Stack Room
1 Hour Private 3 Course Tasting and Wine Pairing with Chef Joe Palma at your Table
Surprise Preview Final Course
The After Party Private Screening
(Limited Seats Available)
Private Access to The Ritz Carlton's Viewing Party at Degrees Bar
Pick your poison from the evening's specialty cocktail menu
Rub elbows, grab some pointers, and root alongside the featured DC Top Chefs
In order to purchase these tickets in installments, you'll need an Eventbrite account. Log in or sign up for a free account to continue.


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The Ultimate Guide To The Best 40th Birthday Party, Ever
Turning 40 is kind of a big deal. You've been alive nearly half-a-century, but you're not quite over-the-hill, so you can still enjoy a great party. If you're turning 40, or know someone who is, make sure the party is sufficiently impressive to mark the occasion. No lame paper party hats or warm beer served […]+ read more
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6 boozy desserts that will actually get you drunk..
Well lets face it, Alcohol isn't always the best tasting thing to ingest. Here are 6 ways you can enjoy alcohol without letting it leave that sometimes bad aftertaste in your mouth… 1) Margarita Gummy Lollies 2) Dark Chocolate Red Wine Cupcakes for parties 3) Tequila Brownies 4) Baileys ice cream pie […]+ read more
Malbec chocolate truffles
Ingredients needed Cocoa Heavy whipping cream Barefoot malbec Semi-sweet chocolate Instructions on how to make them: Step one: get your chocolate chopped up. Place the chopped up chocolate into a bowl. Next: get your heavy whipping cream, slowly cook below boiling point in a saucepan. Next: add the wine to the chocolate while you wait […]+ read more
Dark Chocolate Bourbon Cherry Soda Floats Recipe
Dark Chocolate Bourbon Floats are super easy to prepare and don't really take much time, because it These taste really really good: Ingredients needed: • 2 bottles of cherry soda • 1 pint of dark chocolate ice cream • 4 ounces of bourbon Easy steps how to make them: Just fill glass with ice […]+ read more
How to make star galaxies in a bottle
What you will need to make them… 1. A clear bottle or container with a decent lid. 2. Cotton balls 3. Glitter ( colour of your choice ) 4. Water 5. Food colouring or fabric die (typically pinks and blues work best, yet you can pick anything that you prefer. 6. A pencil, straw, or any […]+ read more
Boozy edible LEGO for your next party
So maybe you used to play with LEGO when you were young? Maybe your kids love playing with it now.. Well right when you thought LEGO's couldn't improve, someone pops up and makes a formula for consumable ( Yes you can eat them!! ) custom made sticky LEGO pieces that you can even stack and […]+ read more
Who Else Wants To Know How to make 17 Delicious Party Appetizers
These party appetizers will surely wow your party guests. Remember, party appetizers are very handy and useful for spicing up your party event. Before we get started here is something we recommend for any dinner party –> Laser Star Projectors Also we recommend these to serve your drinks —> Cocktail Fountains Here are some 17 […]+ read more
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Firstly one of the most important tools you are going to need to keep your wine the correct temperature is this — Wine Corsicle Oh SO! You are the type that loves to play host and have friends over for a party time to time! The real problem lies on the time and energy […]+ read more
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11 Essentials needed for every weddingWeddings being one of the most important days of your life we have compiled a list of fun and unique ideas that will help you ... Read More
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text:
Turkish Lamb
|Leftover lean lamb roast
|2 Cup (32 tbs), all visible fat removed, cut into 1/2-inch cubes (About 3/4 Pound Meat)
|Leftover lean, rare roast lamb
|3⁄4 Pound, all visible fat removed, cut into 1/2-inch cubes (2 Cups)
|Minced garlic
|1 Teaspoon
|Freshly ground black pepper
|To Taste
|Olive oil
|1 Tablespoon
|Canned italian plum tomatoes/4 very ripe tomatoes, peeled, lightly juiced, and seeded
|14 Ounce, drained and cut into 1/2-inch wide strips
|Italian plum tomatoes/4 very ripe tomatoes, peeled, lightly juiced, and seeded
|14 Ounce, drained and cut into 1/2-inch wide strips (1 Can)
|Grated lemon zest
|1 Teaspoon
|Chopped scallions
|1⁄2 Cup (8 tbs) (The White And Part Of The Green)
|Chopped parsley
|1⁄2 Cup (8 tbs) (Preferably Italian)
|Cooked rice
|1 Cup (16 tbs) (Basic Foolproof White Rice / Rice Pilaf)
|To Taste
1. In a bowl, mix the lamb and garlic with salt and pepper.
2. Take a 10-inch heavy non-stick skillet and brush the olive oil evenly over the bottom of it.
3. Heat the skillet until it is almost smoking.
4. Add the prepared lamb to the skillet and brown quickly, stirring all the time, over high heat.
5. Add the tomatoes, and reduce lower heat slightly.
6. Cook the mixture for 2 minutes more, so that the tomatoes are barely cooked and retain their original texture.
7. Push the lamb and tomatoes to the center of the skillet and sprinkle with the lemon zest.
8. Sprinkle the scallions and parsley around the edges of it.
9. Cover the skillet tightly and remove from heat.
10. Let the meat sit a few minutes until some juices collect.
11. Stir the mixture gently and serve over rice.
12. You can serve with a good crusty bread.


text:
Waste & Recycling Companies in Afghanistan
Category: Waste & Recycling ×
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Industry: Energy - Climate Change ×
Location: Asia & Middle East ×
Location: Afghanistan ×
based in Kennesaw, GEORGIA (US) (USA)
ABUTEC, an acronym for Advanced Burner Technologies, is an international manufacturer of Environmentally Friendly Combustion Solutions. ABUTEC specializes in offering high efficiency, low emission, burners and flares to various industry segments and applications. ABUTEC manufactures Infrared Burners, Enclosed Flares, Vapor Combustors, Incinerators, Thermal Oxidizers, and ...
EcoIntense GmbH
based in Berlin, GERMANY
With offices in Germany and the U.S. EcoIntense (founded 2007) is the leading specialist for HSE management software solutions. Our 100% web-based software solution EcoWebDesk complies with ISO 14001, ISO 50001 and OHSAS 18001. EcoWebDesk is the one-stop shopping solution for organizations providing data consistency, streamlined processes, real time information as well as ...
Greenergy Solutions Inc.
based in Quezon City, PHILIPPINES
Greenergy Solutions Inc. (GSI) is sustainable development and renewable energy company, organized by professionals with more than 100 years combined experience in technology, operations, financial and policy issues in environment and power utility sectors. Greenergy Solutions Inc. (GSI) endeavours to be more than just a Technology and Environmental management company. ...
CSRware, Inc.
based in San Francisco, CALIFORNIA (USA)
CSRware offers Conflict Minerals Management, Supply Chain and Energy & Sustainability software with EH&S integration. Meet CMRT, SEC reporting or other regulatory deadlines quickly, easily and accurately. To do your job well, you need accurate information at the right time. Unfortunately, that information lives in an ever-increasing mess of fragmented spreadsheets, ...
based in Gulshan-e-Iqbal, PAKISTAN
ESAN, established by experts in the field of Environment, Energy, Health, Safety and Security, is a platform combining ecology and sanity. We offer a mechanism of sanity working at its best for the betterment of environment. Disrespecting environment and persistent ignorance of SANITY in our daily chores has resulted in ecological disorders. ESAN sprouted as a hybrid ...
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Inderscience publishes collections of high quality peer-reviewed international journals, including Energy, Environment and Sustainable Development. This collection addresses short- , medium- and long-term views of environmental issues; critical current topics, e.g. global warming, renewable energy, nuclear energy, alternative propulsion, water; more established topics, ...


text:
Throughout our campus, classrooms which once were built to traditional specifications are being wired for Internet access and converted into learning centered environments. These classrooms include an assortment of technology tools including lecterns with integrated control systems, computers, LCD/DLP projectors, 120" screens, digital document cameras, VCR/DVD combo players, high quality speakers, laptop cubbies and other equipment that can be used to enhance instruction. Closed captioning encoders are also being added to all "Smart Classrooms".
Need a specialized piece of audio/visual equipment not found normally in Smart Classrooms, see the eHelp Classroom Technology Unit page.
Additionally, IT@CPP has installed Deep Freeze on all of its classroom computer systems. If an unauthorized software or file change occurs on one of these systems, Deep Freeze reverts the computer system to its original software configuration, removing any software or file changes that have occurred since its initial installation. Spyware, viral infections and/or illegal download storage files are removed once the system is rebooted. This removal process occurs automatically at midnight, every night.
To prevent storage of illegal downloads, downloader programs or hacker programs, our systems do not provide a place for file storage. It is suggested that classroom computer users bring their class presentations and projects on their own storage media (i.e.: jump drive, CD or DVD).
By reducing the amount of time required to maintain these classroom computers, Deep Freeze benefits the whole campus community.
eLearning offers workshops on a variety of subjects, including design of online instruction and use of the Blackboard Learning Management System (LMS).
For a list of available workshops, see http://www.csupomona.edu/~elearning/workshops.shtml.
The IT@CPP Classroom Technology Unit is responsible for the design and installation of Smart Classrooms throughout the Cal Poly Pomona campus. If you have a technical problem while working in one of these classrooms, call the IT Service Desk at X6776. Be prepared to provide your name and classroom location.
An IT Service Desk representative will try to help you resolve the issue via the phone, but if your problem cannot be resolved quickly, he/she will ask someone from the Classroom Technology Unit to meet you in your classroom. IT Service Desk and Classroom Technology Unit hours are:
IT Service Desk Regular Business Hours:
Note: IT Service Desk hours may be modified to 8:00 AM - 5:00 PM, Monday through Friday, when classes are not in session during the winter and spring breaks.
IT Service Desk Summer Hours:


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It all starts in the region...
The Center for the Regional Economy (CRE) brings together faculty, students and alumni at Saint Mary's College with business, governmental and non-profit groups in the San Francisco East Bay, the Greater San Francisco Bay Area and the Asia-Pacific Region in support of an economy that is economically, socially and environmentally sustainable.
- It carries out research, both academic and applied, on the issues and problems related to its mission, and provides access to research results as broadly as possible.
- It provides consultancy and advisory services to its constituents leveraging the expertise of Saint Mary's faculty and students.
- It organizes events that bring together internal and external constituencies for shared discussion of topics of joint interest.
Upcoming Events
Jul8Graduate Business Online Information Sessionat 12:00PM,
Jul8Serve with Contra Costa Food Bankat 5:45PM, Contra Costa Food Bank 4010 Nelson Drive, Concord
Jul16Graduate Business San Ramon Information Sessionat 6:00PM, San Ramon Valley Conference Center, 3301 Crow Canyon Rd, San Ramon, CA 94583
Jul17Graduate Business Third Friday Mixerat 5:30PM, Stanford's Restaurant & Bar 1300 South Main Walnut Creek, CA 94596
Maps & Directories
Mailing Address
Saint Mary's College of California
1928 Saint Mary's Road
Moraga, CA 94575
(925) 631-4000
Google Map | Campus Map | PO Boxes


text:
January 26-30, 2015
It is common knowledge that fraud is a large problem for payers, who must spend money paying fraudulent claims as well as on
"Thanks for keeping us current and up to date. Your book has all of the information that we need. We look for your Renewal each year."
"We purchase the book every year so we can stay current with the changes."
"I really like your Behavioral Health MultiBook. It has been really helpful."


text:
Simi Valley programmer trapped by questions
"I don't know if it's a good thing or not," he said of the pictures and the pain they trigger. "It's just something I want to do."
But life keeps happening. As workers install a television cabinet, White sits on the edge of a living room sofa, a can of diet soda at his side. Tower stories spill out of him, one starting before another has been finished.
The smoke was so thick some people climbed to higher floors, a few of them talking to those on the ground on two-way radios that went dead when the south tower imploded. Other people had earlier followed the instructions sounded over loudspeakers and stayed put, some of them dying instantly when the second plane came. Some made it to the ground only to be buried by the crumbling giant of a tower. One man White knows escaped the stampeding black cloud of dust and debris by dashing through an open glass door that was slammed shut the instant he shot through it.
White escaped by grabbing his laptop and fleeing down the stairs. When the announcement came that the south tower was safe and people should return to their offices, a man near him yelled, "F--- that." They surged downward in a life-saving rebellion.
He kept running until he was 12 blocks from the tower, trying to find a place where he could get through on his cell phone to his wife, Corinna, back in Simi Valley.
White leans forward, immersed in his memories. Corinna leaves the room. She said the stories are too uncomfortable, like visiting New Jersey or New York, which she hasn't done in more than a year. Their eldest son, 6-year-old Brian, stays longer, listening to his father. He has become accustomed to televised images of the imploding towers. "There's Daddy's building," he says.
White traces his and New York City's path to recovery.
"On Sept. 12, you're just happy you're alive ... Everyone loves each other," he said, explaining how life slowly slides back into its old groove. People become fixated on work again. Courtesy is elbowed by the rush and pressure to get somewhere.
"Everyone's pushing on the subways. You see that come back," he said. "I don't like it. It doesn't make me feel good."
But his life also reverted to a semblance of what it was. The 32-year-old chief technical officer continues to work both in Simi and his company's offices in New York, flying back East once or twice a month, overcoming his fears by researching airplane safety and calculating the millions of flights between crashes.
White, who used to rent an apartment in New Jersey, moved to a studio in lower Manhattan to be even closer to his employer, Euro Brokers. He awakened once to a loud noise, wondered if it was another attack and reminded himself not to sleep through the evacuation.
About two months ago, a new wave of anxiety struck. White would be in New York with friends or at home with his family when the fears would sweep over him. What if he had stayed on the 84th floor? What if he had stayed at the base of the building? What if he died?
It was so overwhelming that sometimes he'd call Corinna just to talk it out. "It's a bad Sept. 11 night," he'd say.
White realizes trying to answer the "what ifs" is an exercise in self torture. He knows he has to concentrate on what happened, not what could have happened.
"I guess at some point you just have to say that would have sucked," he said.
White derives comfort from being prepared. He keeps a bottle of antibiotics above his refrigerator in case of smallpox.
He researched the wind patterns around east Ventura County, concluding his family was well-protected should chemical warfare or nuclear radiation hit Los Angeles.
He equates Simi Valley with safety and New York City with danger. He works on plotting out the next 1,000 days of his life, trying to find a way to be in New York no more than 100 days.
He thought about going back to the city for a memorial service today. Then he thought again.
"My natural reaction," he said, "is I don't want to be anywhere near New York."
Subscribe to the Ventura County Star
Need Help? Call us at 1-877-710-6182.
Monday-Friday: 6am-3pm / Saturday: 6:30am-10:30am / Sunday: 7am-11am


text:
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A secretary (but not legal, medical, or executive) is the glue that holds office-type operations together. In this day and age, secretaries may have a variety of roles in assisting team or work-groups, but the main duty of the job is simply to facilitate operations for everyone else. This often includes performing scheduling work, filing work, typing and transcription, answering phones, and directing calls.Read More...
Most secretaries will need strong computer skills. While there are no strict educational requirements for the position, most employers will require applicants to have proficiency in Office suite software applications and the ability to type above 30-50 words per minute. Secretaries must also have excellent communication skills, as he/she will regularly handle incoming phone calls, be they outside calls or from other work groups within the company. Those in this position are also expected to screen and direct calls to the rest of their particular work-group based on company protocols.
Many organizations employ secretaries to assist in proper document-handling and filing, as well. Strong organizational skills are essential for arranging and scheduling meetings, traveling, and similar work. Secretaries must also be able to juggle multiple tasks at once and prioritize them to help the office achieve maximum efficiency.
Most secretaries should have at least a high school diploma, and many will seek vocational training and placement beyond high school. Because general secretaries do not need the additional training required for work in legal or medical fields, smaller companies may hire them as entry-level personnel. Larger employers typically prefer job candidates with prior experience in the field. Secretaries typically work in office environments during regular business hours, Monday through Friday.
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As Non-Legal, non-Medical, and non-Executive Secretaries transition into upper-level roles such as Registered Nurse, they may see a strong upturn in salary. Registered Nurses earn $55K on average per year. When Non-Legal, non-Medical, and non-Executive Secretaries are ready for the next step in their careers, they often become Administrative Assistants or Executive Secretary or Administrative Assistants. Those roles pay an additional $6K and $10K, respectively.
Non-Legal, non-Medical, and non-Executive Secretaries report a focused set of job skills. Filing and Microsoft Office are considered valuable skills and can increase employee pay by 8 percent and 7 percent, respectively. Skills that are correlated to lower pay, on the other hand, include Data Entry.
Median of all compensation (including tips, bonus, and overtime) by years of experience.
Experience and pay tend to be weakly linked for Non-Legal, non-Medical, and non-Executive Secretaries — those with more experience do not necessarily bring in higher earnings. Salaries for inexperienced workers average out to $25K, and those with five to 10 years' experience earn a higher median of $23K. Non-Legal, non-Medical, and non-Executive Secretaries claiming one to two decades of experience make an estimated median of $27K. Non-Legal, non-Medical, and non-Executive Secretaries who have acquired more than two decades of experience generally do see greater compensation; their average income is approximately $30K.
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Rated 5 out of 5
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text:
Need help ordering? Call us
Sales: Monday - Friday, 7:30am - 5:00pm Central Time
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21B-121R765 (BL410) - Bolens Tiller / Cultivator (2005)
Put your snow blower up on blocks to get the weight off the tires. If they sit on the ground in the same position for 9 months of the year, your tires will likely no longer be round.


text:
I often get asked about search engines and what I think about Bing.com. I say, "See for yourself and try bing-vs-google.com."
I wanted an article on software architecture. So I typed "Architecture Software" and got the results below. What do you think?
I like the results on the left. Granted, it doesn't always end up that way. But this time it was a no – brainer.
"Software Architecture" and "Architecture Software" are two different things, though. Google's giving you exactly what you asked for.
If I'm somebody looking to compare software for my architecture business--which is probably the most likely use case for "architecture software"--Bing isn't giving me what I want.
I tried "Software Architecture" and looked at the results. After paging through the annoying "sponsored links" from Google, the results for Bing were the same. From my scorecard Bing got it right twice and Google got it right once. I am definately not saying Bing always gets it right. But in this somewhat general case Bing did!


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Alright so, last year I clipped my horses legs for his second last show. It was all good until he started to get these red scabs/red marks/bumps on his legs. There gone now and its winter but I was wondering if anyone has an explanation for this? Was it sunburn or just irritation fro being clipped for the first time?
Sorry, don't have any pictures of when his legs had the scabs and such.


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John Farrell Ready to Assume Role of 'Villain or the Bad Guy' When Red Sox Square Off With Blue Jays
Originally written on NESN.com | Last updated 4/5/13
John Farrell isn't a very well-liked guy in Toronto these days, and that will be abundantly clear throughout the Red Sox' weekend series with the Blue Jays. Farrell, who spent two seasons as Toronto's skipper before arriving in Boston, is likely to hear boos throughout the series at Rogers Centre, as some Jays fans have gone as far as to label the Red Sox manager a "scoundrel" for the way he left the organization. Farrell doesn't seem too concerned, though. Instead, he's focused on the task at hand. "Villain or the bad guy, whatever it might be, I can only say we're looking forward to the challenge that lies ahead of us," Farrell told reporters on Thursday. "People are going to have their own opinions, and I respect that. It goes along with the heightened interest in the Blue Jays and a lot of the changes they've made. There's a lot of excitement there. In this case, with how things unfolded, the unique set of circumstances that surround both the change in Toronto and here in Boston, I can fully appreciate that they might have those feelings. What might come out of it, we'll see starting [Friday]. But we're looking forward to going up there and competing against them." The Red Sox and Blue Jays figure to have some heated American League East battles this season, so the drama is already there. A little extra animosity never hurt anyone, though. Have a question for Ricky Doyle? Send it to him via Twitter at @TheRickyDoyle or send it here.
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Police official Kesh Bahadur Shahi said 10 districts have been flooded, with rescuers recovering 54 bodies. The death toll is expected to rise.
It has been raining since Thursday in the region, about 250 miles west of the capital, Kathmandu.
Roads have been either flooded or blocked by landslides in the districts. Power and communication towers were also knocked down, stranding thousands of people in the area.


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Knitting and Crochet Patterns from Red Heart Yarn
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Knit Shoulder Shrug
By: Bernat
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This lightweight shoulder shrug is a great way to cover up in the warmer months. Use this shrug knitting pattern from Bernat Yarns to create the pretty shrug with soft natural yarn made from cotton and corn.
- Yarn: 3 balls of Bernat® Cot'n Corn (60 g / 2.1 oz) #19417 (Nectarine).
- Knitting Needles: Size 4.5 mm (U.S. 7) knitting needles or size needed to obtain gauge.
21 sts and 26 rows = 4" [10 cm] in pat.
Approx 14 x 36" [35.5 x 91.5 cm].
One size to fit average lady.
Cast on 73 sts.
1st row: (RS). *P1. K3. Rep from * to last st. P1.
2nd row: K1. *yfwd. Sl1. K2tog. psso. yfwd. K1. Rep from * to end of row.
Rep last 2 rows until work from beg measures 36 ins [91.5 cm], ending with a 2nd row. Cast off in pat.
Sew side edges tog for 8" [20.5 cm] from cast on and cast off edges to form
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Dee2227 6696197
Feb 25, 2012
Made a few of these for people. Was nice for my sister who is always cold, especially in restaurants in the summer. It takes the chill off, can fit in a purse. I made it in a neutral color (taupe) to accommodate to any of her wardrobe. She loves it! To make it bigger or smaller, I would suppose you could add/subtract rows and length to the pattern, and/or a different size of needles.
- WAS THIS HELPFUL? YesNo
gagirl37 1295728
Jul 09, 2011
How would you adjust the pattern to fit a small or medium petite?
- WAS THIS HELPFUL? YesNo
Pickets Patches
May 21, 2010
I love this pattern! But being kinda new to the world of knitting, how would I enlarge it to fit a 2X or 3X lady instead of an average one?
- WAS THIS HELPFUL? YesNo
telstra44 5151517
Jan 07, 2015
Increase by multiples of 4. The pattern just repeats 4 knit stitches and 4 purl stitches. Hope that makes sense ) I made this and really liked it however it was slightly to small, next time I'll be making it slightly wider.
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Dec 01, 2009
I love it. Thank you email@example.com
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