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Following last November's singles Meetup, I'm holding another...
Veg*n Singles Event -ItTakesTwo!
This year we're lucky to be at Star Lounge, probably the UK's only veg lounge bar, just minutes from Harrow & Wealdstone station, with Bakerloo underground, overground and bus lines.
Their regular menu is pure vegetarian, and whilst they're happy to veganise, they intend to print vegan food and drink menus for us.
As it's Vegan Pizza Day, we'll have The Karma Free Pizza Company providing pizzas again (£1 an 8th) from about 8pm.
And, for those with a sweet tooth, they hope to bring some vegan cupcakes (£1.50-£2) this time. Plus, as an added bonus, vegan caterers Shambhu's will be bringing along cheesecakes.
All guaranteeing a little (or big) slice of vegan happiness, even if you end up leaving us still single!
As with the majority of my events, please feel free to come and go as you like during the night, Star Lounge is open from 5pm.
Love and light
P.S. This is an LGBT and veg-curious friendly event, please bring opinions but leave any preconceptions or prejudices at home :-)
This event is also going to be promoted by my friends over at...
and Veggie Vision Dating, who we've also partnered up with to offer everyone attending one month's Gold membership for FREE.
Nearby Kenton Recreation Ground's free outdoor gym, Kenton station is closest, offers resistance and cardiovascular workouts. Equipment includes chest and leg presses, a skier, surfer, body twister and horseback rider. Please wear appropriate clothing.
Plus you can also now RSVP for the main event on Farcebook (https://www.facebook.com/events/376636335779962) and at least 7 other Meetup groups!
0 · June 18, 2013
As well as this year's main event (http://www.meetup.com/londonvegan/events/121774452/), which is open to everyone, young and old, Helen and Julie are hosting their fourth (optional) speed dating Meetup from 6pm (http://www.meetup.com/londonvegan/events/125017982/).
0 · June 18, 2013
I've emailed the link to you Zofia, do let me know how you get on.
0 · May 24, 2013
Oops, that should have read "clicking on a link I 'sent'".
0 · May 24, 2013
Hold on, if you're clicking on a 'message', rather than a 'comment' on this event page, then perhaps it's the message I sent for last year.
Malcolm emailed me the other day about it, as it was sitting in his 'Pending' folder, patiently awaiting his attention... I had to point out that it had been sitting there for over a year then LOL
0 · May 24, 2013
How strange, that link works fine my end, can anyone else replicate the problem that Zofia is having?
Robert, can you give it a try please. The event is 'Celebrate Vegan Pizza Day', on Saturday, June 29, 2013, on the Surrey and Surrounds Vegetarians and Vegans Meetup group.
0 · May 24, 2013
Hi Zofia, did you try clicking on this link http://www.meetup.com/SurreyVeg/events/120511412/ which is on Surrey Meetup?
That should be for this year's event. You'll have to join the group to RSVP; there isn't lots of profile stuff to fill in, and you can use 'My profile>Email and Notifications' to stop emails for everything but events you've RSVP'd to, if you so wish.
0 · May 24, 2013
I'm going to whisper it, but anyone interested in a 'Veg*n Singles Event - Take That', err, I meant 'Take Free' ;-) As Vegan Pizza Day is on Saturday 29th June?
1 · May 15, 2013
I've asked Robb if I can post an event to celebrate Vegan Pizza Day (and hopefully include a singles element) on here. In the meantime you can read more on the event listed on my Surrey Veg*ns Meetup at http://www.meetup.com/SurreyVeg/events/120511412/
N.B. RSVPing on there won't commit you to anything, but will allow you to follow people's comments. I'll probably only update info and accept RSVPs on there this year, as it got silly with multiple Meetups last time.
0 · May 21, 2013
I've been talking about holding another Harrow event for ages (having first held a Meetup at Karma Free pizzeria), so I'm thinking along the lines of a day out west hosted by yours truly, ending with a social/singles at Star Lounge (I spoke to Ramesh and he's on-board for letting us have the downstairs/whole venue this time) hosted by someone else (or maybe VeggieVision Dating), to negate issues with my significant other.
1 · May 19, 2013
That's 'Free' entry and (probably) 'Karma Free', not actually free pizzas (unless someone else is buying)!
1 · May 15, 2013
Update on Veggie Vision Dating - Following the BBC's article that mentioned the site, which has helped increase the numbers signing up, there's one month's free Gold Membership not only for us but for ALL existing members (a change of contact at the company that hosts the site had held things up). Having just spoken with Karin, she'll try to extend the offer so that anyone signing up in the next 48 hours also qualifies http://www.veggievisiondating.com/
0 · August 22, 2012
That BBC vegan dating article can be found here http://www.bbc.co.uk/news/magazine-18833471
0 · August 22, 2012
Only a few takers for the FREE month's gold membership on Veggie Vision Dating... come on people, you've got nothing to lose in giving it a try, and any feedback would be most appreciated.
Had a few people asking about a third singles event... no plans yet, but still hope to do another Harrow event, possibly a mini VegFest. Natraj http://www.natrajfood.co.uk/ is another place to add to my list of possible attendees...
0 · July 20, 2012
Our partner for the night, Veggie Vision Dating, has uploaded a video with some pictures from the evening http://www.youtube.com/watch?v=WiVrBr6TAaY Hopefully we'll get a few still photos on here too soon.
0 · July 4, 2012
Well I enjoyed it tho it was waay out of my comfort zone in terms of travel!
Given that some travelled from Cambridge, Oxford and the like I am obviously being a bit of a wuss, but heck I got there, made up the numbers and did indeed turn my frown upside down(for 1 nite only) ;)! Thanks Richard and all the team behind this
0 · July 4, 2012
Minal - http://www.meetup.com/londonvegan/members/13725277/ - you can always search by surname, if you're not sure.
0 · July 2, 2012
Sorry to everyone that didn't get the most from the night, I will make it up to you, I promise. Also, I'm just waiting for the code to enable the free month's Gold membership to Veggie Vision Dating, I haven't forgotten!
0 · July 2, 2012
Thanks Brian, but I'm sticking with 4 stars! There is always room for improvement...
0 · July 2, 2012
Next time we've been promised by Star Lounge that we WILL get the whole venue, as originally promised, so that Robb, Mirai and (hopefully) Darren can DJ properly without the noise issue (sorry about that Robb and Mirai, thanks for lugging all your gear over, it was appreciated and I'm gutted that you were let down at the last minute).
0 · July 2, 2012
Vegan Pizza and DJs, plus veg*n Indian food, cakes and company, made for a great night. Would've been 5 stars if we'd had the whole venue as intended.
0 · July 2, 2012
Lovely evening, great food & beer & great conversation, with familiar & new faces!
All the best, Jess :)
0 · July 2, 2012
Someone should request the ability to rate an event with 4.5 stars from Meetup because that's what I would have chosen.
1 · July 2, 2012
I'm keen to make that return visit to Harrow, and with the promise of the venue all to ourselves next time, I can envisage a bigger event open to everyone (not just singles) being staged at Star Lounge. This time, however, any pizzas (from Karma's menu) would be ordered on a first-come-first-served basis (and paid for) on arrival, and delivered in batches of 8 (the maximum Karma can do at a time. As much as I'd like to hold another event at Karma, it's too small a venue for what I have in mind.
0 · July 2, 2012
If we'd had access to the whole venue, as intended, then the music would've been in the dance hall, and upstairs would've been a quieter places to chat. Unfortunately the venue's last minute decision to confine us purely to upstairs scuppered that. There has been 'interest' in certain parties shown, in my conversations with people since, though my (stupid?!) 'cupid' reputation has been over exaggerated as usual :-)
0 · July 2, 2012
Nice and friendly people. I enjoyed the night.
0 · July 1, 2012
I must also send a big "Thank You" to Vegan Smythe, who not only wrote our Vegan Pizza Day theme song (http://www.youtube.com/watch?v=lqJt9jGi7sA), but also recorded us a message for last night's event (here it is for anyone that missed/couldn't hear it - http://www.youtube.com/watch?v=wPKNwatO5dY).
0 · July 1, 2012
A last minute appearance that proved more successful was The Vegan Tart (http://thevegantart.co.uk/), who was 'discovered' selling his wares for the first time, at Rosendale Street Market (https://www.facebook.com/events/136906863106840/), by Mark, who not only texted me about him as I was travelling up on the train, but also went back to the market to give him my number. Cheers mate :-)
0 · July 1, 2012
I spoke to Ramesh about the need to highlight vegan food and drinks (sadly the promised vegan food and drink menus didn't materialise, I'd offered to check his drinks list on Barnivore, but he said he'd do it) and he said he'll shortly be producing a new menu and will list vegan options. Karsh's (Only Eggless) bringing of vegetarian cake samples was a last minute decision, so I didn't have a chance to promote them properly. Annoyingly their Vegan Society approved range is launching in two weeks.
0 · July 1, 2012
My apologies that things didn't turn out 100% as planned (do they ever!), the decision to book out downstairs was made last minute and it wasn't until arrival that it became clear we wouldn't have access to the whole venue as promised. Ramesh, manager of Star Lounge, did apologise (he wasn't sure we could meet the 100+ guests, hence his decision to double book with the birthday party) and said next time we would have the place all to ourselves. As a free venue, sadly there was little I could do.
0 · July 1, 2012
Had a great time & great conversation. Met new & interesting people which is always a plus. Hopefully there will be another one in the near future (^_^)
0 · July 1, 2012
Well organized event but music was a bit too loud to be able to talk to people but strangely couldn't hear what the music was either - maybe something to do with the sound quality perhaps - sounded a bit muffled but maybe just me? Pizza was not as good as last time.
0 · July 1, 2012
Stayed much longer than planned cause I was having such a great time. Not sure what rating I'd give the pizza, though -- due to high demand, maybe Karma Free found it difficult to produce their usual delicious pizza... however, for those with a sweet tooth, last night one was spoilt for choice! So, now all I need to know is when is Pizza -- er I mean Singles Night round 3?? :) J/K
0 · July 1, 2012
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text:
A procession escorting the remains of an Oregon native killed in a wildfire will close all southbound onramps to Interstate 205 between Portland International Airport and Lake Oswego, Ore., on Wednesday, according to the Oregon Department of Transportation.
John Percin, a native of West Linn, Ore., was among 19 Hotshot firefighters who died June 30 in an Arizona wildfire. Percin's remains are set to arrive at PDX at 11:15 a.m. Wednesday, after which a procession will travel to Lake Oswego via I-205.
The rolling closure is expected to begin soon after the arrival of Percin's remains. Closures will be in effect long enough to clear southbound lanes and will reopen once the procession passes, according to ODOT. The procession will start eastbound on Northeast Airport Way to southbound I-205, across the Abernethy Bridge to Oregon's Highway 43 and Lake Oswego.
The procession will include fire, law enforcement and other public safety vehicles. Motorists should consider avoiding I-205 during that time, according to ODOT, though the public can view the procession from freeway overpasses.

subset: commoncrawl


text:
- HaitiFoodFunding via Entrepreneurs du Monde - Palmis Mikwofinans Sosyal
Marie FloreHaitiRetailFunding via Entrepreneurs du Monde - Palmis Mikwofinans Sosyal
Marie EdeneHaitiRetailFunding via Entrepreneurs du Monde - Palmis Mikwofinans Sosyal
Triomphe De Ouanaminthe Group
Dieumene has been managing her business for the past seven years. She would like to use this loan to invest in the purchase of food products. She manages a grocery store and hopes that this loan will help her to expand her business.
The other Les Triomphes members need a loan for businesses such as the sale of charcoal, cosmetics and clothing.
Dieumene's dream is to buy a lorry to transport her goods.
Dieumene a dirigé son business pendant les 7 dernières années. Elle voudrait utiliser cet emprunt pour investir dans l'achat du produits alimentaires. elle dirige un magasin d'alimentation. Dieumene espère que cet emprunt l'aidera à agrandir son business.
Les autres membres Les Triomphes ont besoin d'un emprunt pour tels commerces comme vendre du charbon, cosmetiques et des vetements.
Dieumene rêve est l'achat d'un camion pour transporter les marchandises.
Additional Information
This is a Group Loan
In a group loan, each member of the group receives an individual loan but is part of a larger group of individuals. The group is there to provide support to the members and to provide a system of peer pressure, but groups may or may not be formally bound by a group guarantee. In cases where there is a group guarantee, members of the group are responsible for paying back the loans of their fellow group members in the case of delinquency or default.
Kiva's Field Partners typically feature one borrower from a group. The loan description, sector, and other attributes for a group loan profile are determined by the featured borrower's loan. The other members of the group are not required to use their loans for the same purpose.
About Haiti
10View loans »
Success!! The loan was 100% repaid
- Repayment Term
- 8 months (Additional Information)
- Repayment Schedule
- Monthly
- Pre-Disbursed:
- Mar 29, 2012
- Listed
- Apr 26, 2012
- Currency Exchange Loss:
- Possible
- Ended:
- Oct 16, 2012


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Tag: mubarak
Events – Hala February 2015 , Kuwait
Kuwait Upto Date • November 18, 2014 • 5 Comments
Would you like to write contents ?
iWrite is the section of our website which allow you to pick any topic of your interest and write to Light Your Words. We will publish your contents in our various Social Media's Platforms to expose your words. Just write and send your contents to [email protected] or Contact on 94418559


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This Craftsy platform has sparked a new interest in crafts and skills I had not done or worked with for many years. I most enjoy stitching and more of the freeform fiber art forms - using the techniques in many ways, including decorative as well as functional pieces. These classes have helped me to step outside of my box and try and learn new techniques, while brushing up on the old ones.
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text:
Company Overview of Bryant University
Company Overview
Bryant College of Business Administration is an educational institution that offers undergraduate and graduate degree courses in accounting, computer information systems, financial services, management, marketing, economics, English, history, and international studies. The college, formerly known as Bryant College, was founded in 1863 and is based in Smithfield, Rhode Island. It has endowment assets of $141 million.
1150 Douglas Pike
Smithfield, RI 02917
United States
Founded in 1863
Key Executives for Bryant University
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Junior QA Tester
- Ottawa, Canada
- Full-time
Company Description
Company Description
Fuel Industries is the intersection of advertising and entertainment - where enjoyment meets solid business strategy. We marry the best strategists and creative minds with an army of in house experts in the fields of animation, design, film and video production, sound design, music and online programming.
As technology changes, people change with it. Reaching your customer is no longer as easy as airing a 30-second spot in primetime - it requires breaking through filters. That's where we come in. Starting from piercing insight and strategy, we create entertaining experiences around your brands that resonate with your audience and create lasting impressions.
We are the evolution of interactive marketing. We are branded entertainment evolved.
Job Description
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Essentially, the QA tester simulates an end user and seeks out problems they
may encounter. QA testers will work closely with development teams to assist in
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• Contribute to milestone & release code by testing instrumented builds.
• Plan, design, peer review, and execute manual and automated test procedures.
• Perform integration, smoke, load, usability, performance and regression tests.
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• Work with producers, artists and programmers to ensure new features meet all acceptance test criteria.
Required Skills & Experience
• Degree in Computer Science, Communications, or related field, or equivalent training and professional experience.
• 1+ years overall industry technical experience.
• 1+ year experience in quality assurance.
• Previous software development experience and some knowledge of programming and scripting.
• Experience with iOS, Android, or other mobile platforms.
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• Must have used a smartphone in your daily (non-work) life for at least 1 year
• Experience playing mobile games is a major asset
Additional Information
Please send a copy of your resume to firstname.lastname@example.com
We are looking for someone for an exciting project and need to hire immediately.


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US manufacturer of carbon tubing, aerospace composites, and more.
Advanced Composites Inc. is an award-winning manufacturer of aerospace composite structures, composite products for defense, carbon fiber tubing and commercial carbon and fiberglass structures.
Filament winding and compression molding. Advanced Composites Inc.
For more than twenty years, Advanced Composites Inc. has used filament winding machines, molds, and superior carbon and fiberglass materials to produce high-performance structures for some of the world's most demanding applications. In addition to filament winding, which comprises the majority of Advanced Composites Inc.'s work, we also incorporate compression molding, reaction injection molding and lay-up composites manufacturing processes into our production repertoire. From carbon and fiberglass tubing to intricate components for medical devices to aerospace and military parts, Advanced Composites Inc. can meet all of your composites manufacturing needs. And, if you need assistance developing your composite product, our engineering department can actualize your design. Or help you develop a design. Advanced Composites Inc. has the engineering capacity to model, test and prototype it for you.
After completing all of the developmental phases, we can use our filament winding or molding technologies to make a first production run. And a second, third and so on. We'll handle all of your filament winding, design, prototyping, modeling, engineering, compression molding and other composites fabrication needs.
Manufacturing composites for every industry.
Advanced Composites Inc. has produced composite structures for some the largest US manufacturers across a range of industries. We make carbon and glass tubes and various other components for aerospace, defense and commercial applications. Regardless of project scope, we know how to meet your deadlines and quality standards. Consistently. With our design and prototyping division, a robust quality control program, six filament winding machines and an arsenal of additional production infrastructure, Advanced Composites Inc. is prepared to handle all of your manufacturing needs.
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Advanced Composites has enjoyed steady and sustainable growth since its incorporation in 1991. In addition to filament winding, Advanced Composites Inc. manufactures composite products with compression molding, reaction injection molding and lay-up production technologies. As a result of such growth, we've undergone a series of architectural expansions to accomodate our swelling workforce and increased output. The most recent of these expansions came online in the spring of 2015 and included a significant addition to our manufacturing workspace. With this outgrowth, Advanced Composites' facility now boasts nearly 50,000 ft2of floorspace. Read more about ACI's infrastructure...
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Check Out Citizen Tv's Lilian Muli Top Ten Most Memorable Fashion Moments.
Lilian Muli is no doubt the best dressed female Tv presenter in the Kenyan Tv-sphere, a fact that has seen her run, successfully an infamous fashion watch panel going by the name, "Fashion watch" Where the panelist nitpicks on people's choice of dressing.
Meet Larry Madowo And Lilian Muli Hanging Out In London 3 Years Ago (Photo)
Arguably some of the most popular TV anchors of our time, Larry Madowo and Lilian Muli have an enviable skill in front of Teleprompters and cameras. They have been around for a decade or so.
Nigerian Singer Openly Salivates On Citizen TV's Lilian Muli... Here Is What He Told Her
Lilian Muli Kanene, the citizen TV anchor, has been one of the most attractive figures on our screens for close to a decade. Since her days at KTN, Lilian has has glittered with her glowing beauty, attracting suitors from all walks of life.
This Is What Zari Hassan Revealed To Lilian Muli About Her Affair With Singer Diamond Platinumz
We are all aware by now that Ugandan mademoiselle Zari Hassan was in the country over the weekend where she joined her fellow socialite Huddah Monroe for the Art of Luxury event at the Skylux Lounge.
These Are Some Of The Things You Did Not Know About Citizen TV's Lilian Muli Kanene
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Citizen TV's Lilian Muli Finally Reveals Her Relationship With Shabana FC Chairman Jared Nevaton
Lilian Muli is one of the most decorated TV sirens in Kenya. From her days at Standard Group as a news presenter with KTN to her current station, Citizen TV, the mother of one has always shown like a morning star.
Mbita MP Millie Odhiambo Blasts Citizen TV's Liliani Muli Over Slim Possible
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Photo: Lilian Muli Flashes out Her Leg in a Thigh-High Slit Dress
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text:
- 439Promote
Framed Art Print
Barcode Trees illustrationby Jane Hazlewood
Choose from a variety of frame styles, colors and sizes to compliment your favorite Society6 gallery, or fine art print - made ready to hang. Fine-crafted from solid woods, premium shatterproof acrylic protects the face of the art print, while an acid free dust cover on the back provides a custom finish. All framed art prints include wall hanging hardware.
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text:
Antiretroviral Treatment Outcomes in HIV-HBV Co-infected Patients in Southern Africa
This study is currently recruiting participants. (see Contacts and Locations)
Verified December 2015 by University of North Carolina, Chapel Hill
Carolyn Bolton Moore, MD
Centre for Infectious Disease Research in Zambia
Information provided by (Responsible Party):
Carolyn Bolton Moore, MD, University of North Carolina, Chapel Hill
ClinicalTrials.gov Identifier:
First received: February 9, 2014
Last updated: December 9, 2015
Last verified: December 2015
- Full Text View
- Tabular View
- No Study Results Posted
- Disclaimer
- How to Read a Study Record
No Study Results Posted on ClinicalTrials.gov for this Study
|Study Status:
|This study is currently recruiting participants.
|Estimated Study Completion Date:
|December 2017
|Estimated Primary Completion Date:
|June 2016 (Final data collection date for primary outcome measure)


text:
Alchemy Helios
top view small.jpg
Alchemy Helios, Sram Red, Enve, Ergot Wheels (tubeless), Dash Saddle
Alchemy Helios
top view small.jpg
Alchemy Helios, Sram Red, Enve, Ergot Wheels (tubeless), Dash Saddle
It is not procrastination if you put it off right away
The strato:
I don't know dcktr, but I knew a Helios was coming.
It is not procrastination if you put it off right away
I wanted an Arion before it even had that name, but the two things I don't like about it are:
the boxiness and solid triangle where the seat stays join the seat tube, and the way the seat tube just cuts off like a rectangle instead of a nice airfoil or kammtail shape. That can't be very aero, or at least it isn't in the eyeball wind tunnel. The seatpost looks like a rectangle which really bothers me. I know there's a round seat tube option, but it's an aero frame, and that just ain't right.
and the amount of space between the cutout seat tube and the rear tire. That also can't be very aero, and certainly isn't very attractive.
the matte black version also looks much better than this teal version too, IMO.
Other than those things, though, it's a nice bike.
in any event, I've been interested in a dash saddle/seatpost combo for the S5, but can't seem to find any good reliable info on the Dash saddle shapes. Do you have any?
Last edited by Herbie53; 03-16-14 at 07:23 AM.
"Today me will live in the moment, unless it's unpleasant, then me will eat cookie." -Cookie Monster
It looks better outside in the natural night, but my photography skills suck and couldn't get a good picture. I just finished building it a few weeks ago, and I'm really enjoying it. So much lighter and a lot more stiff than my old 2004 Fuji Pro.
Last edited by speling_champ; 03-16-14 at 01:10 PM. Reason: bad photo link
My first ever. Road bike, 2014 Colnago Strada, picked it up yesterday rode 10 miles from shop to home and I absolutely love it, smooth,responsive,and sexy!, I already changed some stuff on it took white bar tape off and did Black lizard skin, and put a Fizik carbon rail saddle, and front Mavic Ksyrium SL.will post updated pics later.
Below pics of my Italian ladies


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I want to make my own baby food and I saw the infomercial on the Magic Baby Bullet.Ā Does anyone have this and do you like it?Ā Does it steam the veggies too?Ā I want something that does the steaming and mashing as well.
I want to make my own baby food and I saw the infomercial on the Magic Baby Bullet.Ā Does anyone have this and do you like it?Ā Does it steam the veggies too?Ā I want something that does the steaming and mashing as well.
furbabies-Auggie and Olive
I don't think it does the steaming. ┬ĀI don't have one though. ┬ĀI think it's just a mini blender/food processor thing. ┬ĀA regular blender or food processor works just fine.
If you've met one kid with autism, you've met one kid with autism.
Part-time working, happily married to my highschool sweetheart and mommy of THREE beautiful princesses!!
Feb'09 and Jan 12 and Oct 14
I've seen commercials for it, but I do not have one. So here is my (nonexperienced with it) opinion: a steamer + food processor is a much better investment. You can make a lot more in it and it will be useful long after the babyfood stage, which doesn't really last that long.┬Ā
Don't bother spending the money. We have an immersion blender and used that for all our pureeing. It was much easier than dragging out the food processor or the blender all them, and way easier to clean. Also a much cheaper investment.
"We must be the change we want to see"
- Gandhi
I have it and it does steam them. I really like it. Now, my baby is a week old so I haven't used it yet lol, but I did a little practice session and I made green beans and it came out really good. I even tried some and it tasted fine. I like it a lot so far.
Natalie (23)+Ryan(24)+ Baby Max!
July 11th, 2007= Anniversary
June 11th, 2011= Baby Max came!!
I'd go with your standard blender... that way you can make big batches!┬Ā I have the "Blender Baby Food" book w/ recipes (how much water and IF the veggies/fruits need boiling first... when you boil you keep the water for blending so you don't loose the nutrients).┬Ā I'd then blend and pour into ice cube trays.┬Ā Once the cubes froze, pop them out and into Ziplock bags... VWALA!┬Ā I say save the $ and stick with what you already have at home and buy a good size stack of ice cube trays so you can save time doing big batches!
Wife to Erik 2007, Mama to Davis 11/23/09, Angel boy lost 1/21/11 @ 22wks, Reagan 1/13/12, Rainbow #2 Due 10/3/13!
I do agree with everyone else though, it's probably not worth the money. My MIL bought it for us.
Natalie (23)+Ryan(24)+ Baby Max!
July 11th, 2007= Anniversary
June 11th, 2011= Baby Max came!!
I have to disagree. I made food for DS and I found my food processor to be way more useful. And it's something I still have a use for. Once you're done making babyfood (only a few months) will you use this device for anything else? Just something to consider. I actually only steamed mangos and carrots. Most stuff I baked. I was able to make more things that way. For instance I baked a squash and sweet potatos in the oven at the same time. Just had to rinse the food processor between batches. Super easy and doesn't take much time at all! I also froze in ice cube trays and then stored in ziploc bags.
Mandy (34), DH (35), married 4-5-08
James Michael arrived 6-18-10! 8lbs 5 oz, 21.5 inches
Ada Marie Due arrived 1-18-12! 10 lbs 5 oz, 21 inches
I just had this discussion with friends last week.┬Ā Everyone who made their own food just steamed and used a food processor.
DH has the magic bullet for smoothies and although it works he's gone through two of them in 4 years and doesn't really do what the infomercial claims.┬Ā He tried making a small batch of salsa and it either pureed it or left huge chunks in it.┬Ā Our food processor does a much more even job of chopping or pureeing.
I just looked at the site, and it doesn't look like it steams it. ┬ĀJust a glorified blender with accessories.
If you've met one kid with autism, you've met one kid with autism.


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Wake Forest coach Jim Grobe came prepared as he gathered his team. He wore his reading glasses, had statistics in front of him and used a stern voice.
Grobe is determined not to have the Demon Deacons join the growing group of big schools to lose to the little guys of the Football Championship Subdivision.
He knows a slip up against upstart neighbor Elon Saturday in their first meeting in 70 years will quickly erase memories of the Demon Deacons' stirring comeback win over Stanford last week. It would also be a miserable way to go into the start of the Atlantic Coast Conference schedule next week against Boston College.
Four FCS teams have knocked off Football Bowl Championship teams this season. The Phoenix are ranked No. 11 in the FCS polls.


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August 10th, 2013 (4:48 PM). Edited August 10th, 2013 by bitbybyte.
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Hey, thanks guys! I'm known for rushing into things... haha! :D
I'll take it slow, your right! Thanks!
I changed it up by a lot! Hopefully it goes in-depth! :D
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Former Cowboys QB Troy Aikman Donates $1 Million To United WayAikman's career as a Cowboys Hall-of-Fame quarterback was marked by unselfishness. It stands to reason that as he raises his family in his adopted hometown, his post-football career would be marked by the same trait.
Arlington Life Shelter Expanding Next YearA short-term shelter is making a long-term investment in helping the homeless in the Arlington area.
Free Admission To Dallas Zoo This Weekend With DonationEach guest who brings two cans of food, or like-new pet supplies (dog/cat food, leashes, collars, blankets, beds, treats, toys), will receive free admission for that day.
Anonymous Donor Leaves $50K Check At Texas Nativity SceneA Texas nonprofit group benefiting children has received a surprise $50,000 donation left under a baby Jesus figure.
Generous Texan Drops Dozens Of Silver Dollars In Red KettleA Salvation Army bell ringer in North Texas recently got a lot of shiny surprises -- to be exact there were 72 surprises. When workers collected one of their Red Kettles in Mansfield they found that someone had dropped 72 silver dollars inside.
Irving Mother's Organization Clothes Children For SchoolShawana Carter founded an organization that provides school clothes to children who qualify for free or reduced-price lunch.
Dallas Animal Services Wants You To Match Maggie's GiftDallas Animal Services is hoping to raise thousands of dollars in donations, $2.26 at a time.
More Families Are Adopting Children By Adopting EmbryosInfertility is more common that you think. One in five couples suffer from infertility in the United States.
Jerry Jones Donates Land To Razorbacks FoundationThe owner of the Dallas Cowboys is donating about 250 acres of land he purchased for $7.3 million to the Razorbacks Foundation.
Firefighter Receives Christmas Donation After On-Job InjuriesNorth Texas Firefighter who was badly burned on the job receives Christmas donation.
27-Year-Old Donates All Scratch-Off Ticket Winnings To Animal ShelterA 27-year-old who won $500 on a scratch-off lottery ticket, is giving all his winnings to the city shelter at Dallas Animal Services.
Mark Zuckerberg, Wife Donate $25 Million To Fight EbolaFacebook founder Mark Zuckerberg and his wife Priscilla are joining the fight against Ebola.


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Smart Painting: An Interview with Josh Reames
October 31, 2013 · Print This Article
By Kevin Blake
Josh Reames makes smart paintings. Whether he is deliberately utilizing painting tropes, such as the dripping brushstroke, or deploying obvious geometric abstraction, Reames' work acknowledges his awareness of the painting vocabulary while creating his own grammar from canvas to canvas. Reames aligns his understanding of painterly tradition with his interpretation of contemporary experience that speaks directly to the viewer through text, emoji, palm trees, and anything that seems fitting in the moment of creation. As Reames carves out his own space in the painting world, he wittingly nods his head to a history he  knows well.
Kevin Blake: You have an interest in the escapist ideal, and while those ideals are more overtly addressed in your multimedia constructions, I think your paintings, at times, depart from those ideas and allow for a more eclectic read. Can you talk about your modes of production and how those different methodologies have different relationships to your conceptual framework?
Josh Reames: Sure, I think the paintings lend themselves to an eclectic read, but only as a group. I try to keep individual paintings focused on specific ideas. I think all of the work addresses escapism, just in varied ways. The tropical imagery and psychedelic drug references are just as involved with escapism as the act of painting is. The eclectic read is a product of my scattered focus, which is probably a product of internet culture. My conceptual framework is pretty broad; if I had to describe my intentions with painting it would be to use painting as some sort of filtration device for cultural bi-product. I mean, I'm super into the idea of relativity (cultural, moral, etc.), and painting has this ability to literally flatten images and references into a rectangle. By pushing images together and composing them into a painting, you can flatten the references and remove the hierarchy of importance. So Abstraction, palm trees, emoji, drippy brushstrokes, dollar signs, cigarettes, and the Sphinx can all be flattened to the same level – composition. Either nothing is really dumb anymore, or all of it is, it's getting hard to tell.
KB: You make pictures that perpetuate your grasp of the canon of abstract painting, and I wonder if there is any escape from those parameters. When you are making paintings, how do you filter your knowledge of abstraction (historical and contemporary) to maintain something that is your own? Can artists escape the initiated forms they supersede? Can painting ever escape from itself?
JR: Maybe I'm wrong, but it seems like the need for iconoclasm is outdated. I think the idea of superseding or escaping abstraction comes from some need for a linear narrative of "this became that, then that became something else" which I think has been a legit way of understanding a progression of artists, at least for the past few hundred years. But now I think it's a little different; sampling, re-sampling, homage, and straight plagiarism are all viable forms of historical awareness in art. The drippy brushstroke has historically been an abstract tool, meant to express the presence of the artist – a remnant of the physical self. But over time, that becomes a trope, a symbol separated from it's original context. I think this is liberating in a way. It's sort of like Tarantino using the tropes of old kung-fu films like Zatoichi and Lady Snowblood; he takes an outdated thing and makes it fresh. In that sense, Robert Motherwell or Franz Kline didn't have the internet, so I have a fresh set of tools to play with.
KB: Is sampling, re-sampling, homage, and straight plagiarism unavoidable at this point?
JR:Â I mean, all the best artists have stolen, it's just easier now. When you are completely inundated with images on a daily basis there becomes this subliminal pool of imagery and information that seeps into the studio. I don't think it's completely unavoidable, but if you are like most artists with access to the internet, it is pretty difficult to avoid. That being said, I don't think there is anything wrong with it.
KB: Your paintings reference artists like Charline Von Heyl and Christopher Wool among others and I am curious as to how you think you arrived at those influences? What I am trying to understand from your perspective, is how you feel about so many artists drawing from the same well. The internet provides an infinite range of source material, yet the pool of imagery that seeps into your studio, seems to be oozing into everyone else's simultaneously. Fortunately, you are distilling it all in an interesting way. It is a pattern in art history for contemporary artists to be in dialogue with one another. How do you negotiate those terms and demands?
JR: I love Wool and Von Heyl, I think they are some of the most important living painters. I relate to how Wool handles abstraction, especially with the screen prints, in an almost hands-off kind of way. He takes abstraction, historically an emotionally charged way of painting, and filters it through a Warhol-ian process that removes the hand. I think there is a lot of humor there, super dry though. So good! There are only so many ways to make paintings; different combinations of styles, tropes, paint handling, tools, etc. Eventually it's not difficult to take a step back and see artists doing similar things. I'm not sure it matters though, as long as the thing being made is interesting and has some connection to the artist. After that it's all personal taste.
KB:Shifting gears a bit, I was hoping to talk to you about text in your paintings. Often times, text is integrated into the image and sometimes the text appears to be squeezed out of the tube on top of an abstract composition–your paintings "YYY" and "Land Grab" come to mind. How does text operate for you in your paintings?
JR:Text is a way to guide the viewer, to give some sort of context to an otherwise abstract painting. I always integrate the text so that the letters or symbols double as marks, either sprayed or squeezed in the same way any other mark would be made on the canvas.
KB:I'm interested in your word choices and how, if at all, you see them as a personification of yourself. Or are the words derived from language you see fitting into your escapist trajectory?
JR:I keep a running list of text ideas in my sketchbook and on my iPhone. The word combinations that get used are usually really open ended, allowing for specific/individualized reads, but also have a specific connection to me. Sometimes it fits the escapist trajectory, but others will be references to books I'm reading or words that I came across that stuck with me.
KB: Can you talk about how the array of non-traditional painting materials have made their way into your painting practice? Spray paint, airbrush, and fluorescents, to name a few, seem to be the rage. Are these materials and/or high key palettes coincidence or do you think they reflect something more concrete?
JR:In a broad sense I think non-traditional painting materials, usually applied to abstraction, are a way to make abstraction relatable. Matias Cuevas' poured paintings on carpet, or Andrew Greene's glass abstractions are good examples; they bridge the gap between a messy abstraction which really just exists as a historical trope, and everyday materials, which pulls the trope into something new. I don't think my work really fits in this category,  I think using airbrush and fluorescents aren't that uncommon; I started using the airbrush because I have no patience with paintbrushes. I'm a pretty shitty painter if you put a brush in my hand, I can never make it do what I want it to do! The airbrush is different, it's way more versatile, and quick. As far as the high-key color palette's go, I'm sure there's some coincidence there, maybe trends – personally I just like shiny things…
KB:I think you are right, these techniques are becoming more and more common in contemporary painting practices. Maybe it relates to a culture of instant gratification, immediacy, and even escapism. Does the pace of everyday life influence your material applications and the speed at which you make your work?
JR:I agree, I think people (artists included) generally have a short attention span and as a result, a lot of impatience. I know I do. I am always able to look at a painting that took months to complete and think "wow, that took a lot of time". But I don't think the amount of time something takes makes it any better than if it was quick. Again, my use of the airbrush is entirely about speed and impatience. I want the paintings to look meticulous, with slick surfaces and plenty of precision – but I want to make a lot of paintings, so speed is key! The pace of everyday life probably has an indirect influence on that.
KB:Speaking of the pace of everyday life, how do things look in your studio right now as you prepare for your solo exhibition at Luis De Jesus in Los Angeles this January? What do you plan to show?
JR:It's crazy in here, I just got back from an 11 day trip to NYC where I saw some pretty rad shows (Josh Smith, John McCracken, Joshua Abelow, etc.). It's great to be back in the studio working on some new paintings. I think I'm going to make a handful of emoji paintings and text paintings with text-message shorthand. The working title is THE INTERNETS. Time is such a luxury though, I've been considering hiring a studio assistant so I don't have deal with those pesky tasks like stretching and priming canvases… we'll see!
Kevin Blake is an artist and writer working in Chicago.
October 29, 2013 · Print This Article
"Tumblr is a great way for people who don't create content to share content thus lending their life some kind of creative import.† This is the somewhat omniscient Jayson Musson's tweet from a couple of weeks ago. The more I think about it – and I have been thinking about it way too much – the more I realize that he's probably right. There are a lot of people on Tumblr and I am one of them. And I cannot get enough.  But you know what, I don't care if these people haven't created the content they're posting, at least they're posting content – which, in of itself, is a creative act.  And it's visual, and I personally am constantly learning from it.  It's a visual literacy of the highest import.
My own Tumblr, Installator, is a curated (for lack of a better term) blog of other people's content.   Installator (wrapit-tapeit-walkit-placeit) is essentially a compendium of art in a state of movement – being installed, de-installed, moved, crated, knocked down, hung, lifted, cleaned, screwed together, and on and on. It's about art as an object, but decidedly not the object that most people understand it to be. Not precious, or in some cases priceless, well-lit aesthetic nuggets that just seems to appear on walls, or pedestals, in fields, on buildings and above couches. These are images of artworks that are not static.
Sometimes I wonder if people who go to museums or galleries think these things just kind of magically appear overnight – like some sort of aesthetic fairy flitting down to delicately place a painting on a wall with their sparkly fairy-dusted level. Well they don't, and there is a magical coterie of individuals who do make it happen: art handlers/preparators/riggers/etcetera. I am not an art handler, though I have done my fair share of handling art (I'm also married to a former preparator). It is with the utmost respect for these folks that I showcase them in the photos that make up Installator. Other people are impressed too. Of the many comments I do get on one photo or another – a common one is some form or another of: "I want to do this for living!â€
Looking for images can be a pain in the ass, but when I find a good one I get really excited. I have a loose set of criteria that I stick to when finding them; ideally it's a large jpeg; includes an image of a person(s); is of an artwork or artist that I admire; is visually representative of the act of installing or de-installing and has to be stimulating to look at. Funny pictures help, as do process-oriented sets of images. I mostly start with a Google image search including an artist's name (or sometimes an artwork) and the word "installingâ€. Another route I take is plundering the Facebook photo albums of museums. I find that European museums do the best job of documenting their behind-the-scenes, but there are a few museums with their own oft-updated Tumblrs, blogs and websites (the Dallas Museum of Art, Contemporary Museum of Art, Houston and the Walker Art Center are tops.)
At this point it seems as though a lot of Museums are catching onto this peeking-behind-the-curtain-thrill. Many of them are sharing much of the work that goes into setting up an exhibition, not only by posting more and more images for the public, but also using it as a form of education about the lives of artworks. This can only be healthy. It humanizes the pricelessness that these objects are assumed to have once they enter the institution. It also showcases the care for these objects from a preservation standpoint. I thought this quote from the Chrysler Museum of Art was interesting, even though the images they did post were some of the most beautiful I've come across: "We generally do not discuss anything related to the movement of art. There are lots of reasons for this, ranging from the obvious (security) to the obscure (proper protocols and handling). …. We rarely if ever actually photograph art being moved. This is [a] field where mistakes are not an option, and a great work of art being damaged because somebody tripped over a photographer just can't happen.â€
There is also what I cannot find.  I have a mental list of artists whose work I would very much like to see installed. There are also museums that simply aren't interested in showing how work travels from the bowels of their storage to the walls of their galleries. Outside of Instagram, commercial galleries very rarely show images of their artists work being installed (though Salon94 has a great blog that features this). Along the same lines, it's often difficult to find images of art fairs being loaded in. Artists who have their own websites also rarely show images of their work from this viewpoint (Sterling Ruby and Martin Eder (?) are a couple of exceptions). Holy Grail images would include almost anything pre-1980, better yet pre-1950.  The Smithsonian's Archives of American Art (watermarks excluded) is by far one of the best resources I've found. As far as mediums go, who knew it was so hard to find images of drawings and photographs being installed?
A short wish list, in case anyone was inclined to do some of their own digging and submit: Morris Louis (a good one, though this one is pretty good), Allan McCollum, Eve Hesse, Cady Noland and On Kawara.
What's next? I thought an old fashion artbook might be a good way to harness a lot of what's happening on the Installator tumblr. There is more to mine here: from the relational aesthetics of it all to the art historical precedents of installing art.  However, after looking into it and making a couple of inquiries, I realized that it would never happen. I don't own these images and I certainly wouldn't want to deal with the red tape (from artist to gallery to museum) about ownership and rights. Nonetheless, I do worry that with the fleeting nature of screen-scrolling, people aren't really looking. Good old fashion page-turning sounds nice to me – maybe one of these days. For now, I'll still be looking for content and posting it for my 137,507 "followersâ€.
Bio: Britton Bertran ran 40000 from 2005 to 2008. He currently is an Instructor at SAIC in the Arts Administration and Policy department and the Educational Programs Manager at Urban Gateways. An occasional guest-curator, he has organized exhibitions for the Hyde Park Art Center, the Loyola Museum of Art and several galleries. You can find him trying to be less cranky about the art world on twitter @br_tton. Stay tuned for a couple more guest posts where Britton will be waxing poetic on what's wrong with the Chicago art world circa 2013, while thinking out loud about how to fix it and another post about looking forward to 2014 (and maybe a top 10 list of sorts too.)
Above images:
- "KULTÚRA NAPJAINKBAN, dan perjovschi után szabadon" (via richardlivesus)
- "The Acrobatic Sculptures of the Rooftop Garden". Alexander Calder's "Man" being installed at SFMOMA
- MoMA staff dismantling Pablo Picasso's "Guernica†(1937) for shipment to Spain. Photo taken on September 8, 1981 by Mali Olatunji. Image © The Museum of Modern Art, New York
- "Monumental wall sculpture by Ellsworth Kelly installed on Dartmouth campus. This major site-specific work, titled Dartmouth Panels, was commissioned by longtime arts patrons Leon Black '73 and his wife Debra, who contributed $48 million towards the creation of the center.†(artdaily.org)
- "This piece is made of ceramics, a medium which Robert Arneson helped bring to a full-fledged, independent art form. Typically, large-scale works such as this would be made out of bronze or marble. Luckily for our installation crew, this piece is hollow, meaning it only weighs between 500-700 lbs. Heave-ho!" (SFMOMA)
- "This incredible sculpture by Turner Prize-winning artist Anthony Gormley, consisting of 40,000 clay figures, has been put on display at an empty Tudor manor house…. It took five days to place the humanoid characters into position across the ground floor of Barrington Court, a National Trust Property near Ilminster in Somerset. The installation 'Field for the British Isles', was originally created in 1993 and has been loaned to the property by the Arts Council Collection through its Trust New Art Programme.â€
- Felix Gonzalez-Torres, Untitled (Placebo), 1991. Installation process. Image courtesy of the Williams College Museum of Art; photo by Roman Iwasiwk (curatedobject.us)
- Dominique de Ménil supervise l'acrochage d'une toile de Barnett Newman en 1991. | Dominique de Ménil oversees the hanging of a Barnett Newman's painting in 1991. (Marc Riboud, circa 1991, 38 x 52 cm via Galerie Verdeau, via tongue depressors; via bruvu)
Gallery Weekend Chicago: South Side
October 20, 2013 · Print This Article
Last month, in the midst of the crazy Expo Chicago extravaganza, I had the pleasure of going on a tour with Gallery Weekend Chicago. GWC was founded by Chicago gallerist Monique Meloche in 2011 and offers annually a weekend of private gallery and museum tours. I went on the Sunday tour which took us down to the Washington Park and Hyde Park neighborhoods on the South Side and made stops at the Arts Incubator, the Smart Museum, the Renaissance Society, and the Logan Arts Center.
The Arts Incubator in Washington Park was the first stop of the day. This space, part of the University of Chicago's Arts & Public Life Initiative, was conceptualized by Theaster Gates, who is now director of the project. The Incubator is home to an artist residency program, a community arts education program for teens, as well as an exhibition and performance space.
The Incubator currently hosts five resident artists. They have access to all of the facilities at the Logan Arts Center, where we headed later in the day, and have studio space at the Incubator. The Space Between, an exhibition of these artists' work, was installed at both the Incubator and the Logan. The work addressed the social differences between these two spaces – one located in the University-centric Hyde Park, the other in the adjacent Washington Park neighborhood.
Despite the early hour of our arrival four of the five artists were kind enough to meet us at the Incubator to show us around their studios and the exhibtion: Avery Young, Cecil McDonald, Cauleen Smith, and Tomeka Reid. We were also joined by the curators Allison Glenn and Monika Szewczyk.
Cauleen Smith created two "space stations" for the exhibition – one in her studio at the Incubator and the other in the gallery at the Logan. The installation in her studio played off the aesthetic of a work space with filing cabinets, a work table and a temporary wall made from screens that she used to screenprint wallpaper for the other space station at the Logan. There were also shelves with plants and small artifacts that she made from materials found in the surrounding neighborhood: chunks of cement and fragments of a road sign.
Avery Young and Cecil McDonald have a shared studio space, the floor of which was laid out with Avery's work for Groun(d), a solo show now up at the Incubator.
In the main exhibition space Avery Young, Tomeka Reid, and Cecil McDonald spoke to us about their work.
After going to the Smart Museum and the Renaissance Society (both of which have amazing shows up right now – Suicide Narcissus at the Renaissance Society blew me away.) we ended the day at the Logan where Monika Szewczyk showed us the other half of The Space Between, featuring Cauleen Smith's other space station, photographs by Cecil McDonald, assemblage works by Avery Young, and sound pieces by LeRoy Bach.
Monika also gave us a tour of building and, by the way, the view from the 10th floor is pretty phenomenal.
Bailey Romaine is an artist and bibliophile based in Chicago.
"I've been for a walk on a winter's day…"
October 18, 2013 · Print This Article
Guest Post by Jacob Wick.
So far, the things that have made the most sense in Los Angeles to me have been the things that make no sense at all. I'm writing about Juliana Paciulli's recent solo show at Greene Exhibitions, "Are you talking to me?" and Andrew Choate's poetry, like this one from Stingray Clapping:
more nipple than fig
more fig than nipple
dress up as fig
for Halloween
dress up as
nipple for birthd
Choate sings his poetry, or singsongs it, more of a sprechstimme than a musical. I've never seen him read the poem I have placed above, but there's probably a tune it goes along with, and somebody always snickers at it, as I have seen them snicker in, now, several situations in Los Angeles. It's the same kind of snicker, or nervous laugh or outright laugh, perhaps if one is confident, that happens at a total failure of communication, when there is some kind of sudden – perhaps sudden, perhaps dramatic, possibly completely banal, like being hungover or otherwise exhausted – breakdown in a conversation or scene.
A scene perhaps like that in the title video of Paciulli's exhibition. A teenage girl, wearing a sagging black American flag as a cape, stands in typical suburban house – indeed a suburban house so typical it played Ferris Bueller's house in Ferris Bueller's Day Off - rehearsing De Niro's famous scene from Taxi Driver. She raises her gun; the shot centers on it: it is a yellow watergun (full disclosure: my yellow watergun; fuller discloser: John Paul Glover's yellow watergun), apparently empty, or mostly empty. The shot returns to the girl's face; she finishes the scene, pauses, says "oh, ok," and looks down and away. A housecat jumps over the flag/cape, which has apparently fallen off.
More forceful, adjacent to the sags another black flag, printed on bamboo twill, with a banana-yellow QUACK printed across its lower third. The flag might signify something, maybe national pride or Jasper Johns or Black Flag, a band I very unfortunately saw recently – a bunch of pathetic, ridiculous old men prancing around the stage like a bunch of assholes, which they certainly appeared to be – but the QUACK arrests its signification in the act, leaving the viewer speechless, in the strange afterimage of a short-circuit of meaning.
It has been important, certainly since the turn of the 20th century, to ask what things – not just art, everything – mean. What does this abstract painting mean? What does this realist short story mean? What does this rock mean? I learned at the Santa Monica police station, from an incredibly chatty technician who gently rolled my finger on the scanner, that the print on my left index finger is of the sort that less than 1% of people have. I asked, laughing, but not really, I felt pretty serious about it – it was my first thought – "what does it mean?" She said, "oh, probably nothing." If I look it up online – I think it was a double loop or a Peacock's eye or maybe a tented arch, I wish I remembered or wrote it down, but I didn't – it might mean that I'm a perfectionist, that I'm indecisive or diplomatic, that I'm independent and inflexible, or that I am "fiery."
The trouble with asking what things mean is that they often mean nothing, and those things that don't mean nothing often could mean many things along a varying scale of possible validity. I once wrote a review, for a class in undergrad, of that Ann Hamilton piece that is a bunch of white shirts, seams opened and singed, on a table. I wrote that it "meant" something about the Triangle Shirtwaist Factory fire. You know: sewing machines, fire, melancholy, death, feminism. It's certainly possible that the piece meant something, and that that meaning had something to do with about the Triangle Shirtwaist Factory fire, but it's equally possible it meant something about self-image, about burning or singing the demand to appear a certain way, or even the privileging of appearance (it's on a table after all). I point this out not to champion a wry, pseudo-"ironic" approach, an approach that I find vapid and profoundly irritating – and completely dissociated from the actual function of irony, but that's another story – but rather to wonder if it is not more interesting, or exciting, or even relevant, to ask what things do, rather than what they mean. In the case of Choate and Paciulli, their work could mean a variety of things, doubtless some of which are fascinating, but what is most important – to me at least – is what they do: they short-circuit or gag the transmission of subjective information. In so doing, they resuscitate the possibility of gesture.
What is gesture? Giorgio Agamben, in his enigmatically unfinished "Notes on Gesture," refers to the ancient Roman philosopher Varro:
The third stage of action is, they say, that in which they faciunt "make" something: in this, on account the likeness among agere "to act" and gerere "to carry or carry on," a certain error is committed by those who think that it is only one thing. For a person can facere something and not agere it, as a poet facit "makes" a play and does not act it, and on the other hand an actor agit "acts" it and does not make it, and so a play fit "is made" by the poet, not acted, and agitur "is acted" by the actor, not made. On the other hand, the general [imperator], in that he is said to gerere "carry on" affairs, in this neither faciti "makes" nor agit "acts," but gerit "carries on," that is, supports, a meaning transferred from those who gerunt "carry" burdens, because they support them. (57)
The three categories of action are, then: to make or produce; to act or perform; to carry on or support. Agamben identifies gesture with support, with gerere, to carry or carry on. The error that apparently was being made in the first century BCE, that of confusing performing with supporting, is simply exacerbated in the twenty-first century CE, where that which is supporting simply disappears. We see the actor perform, and admire the poet who made, but we miss, or fail to focus on, the gesture that supports: the tone of voice, the rise and fall of an arm, a certain tenseness or relaxation. It is the gesture that finally closes the act of signification, and for Agamben, this carries tremendous weight. As that which supports or endures, the gesture "opens up the sphere of ethos as the more proper sphere of that which is human" (57). It is not – or should not be – the sphere of production, nor the sphere of praxis, that determines one's humanity, but rather the manner in which one supports or endures, one's gestures. It is in one's gestures that one's character appears.
"Notes on Gesture" tracks the disappearance or capture of gesture from the late 19th century to the present. Beginning with Gilles de la Tourette's catalogue of irregular gestures, which became the basis for what is now called Tourette's disease; to Tourette's catalogue of normal gestures, which he describes with pre-cinematic relish. According to Agamben, after numerous cases being reported in the late 19th century, cases Tourette's disease "practically cease to be reported" from the beginning of the twentieth century until Oliver Sacks reportedly noticed several apparent cases of Tourette's while walking down a New York street in 1971. Agamben suggests, somewhat amusingly – a nervous laugh, a snicker – that this could perhaps "in the meantime ataxia, tics, and dystonia had become the norm and that at some point everybody had lost control of their gestures and was walking and gesticulating frantically" (51). The reemergence of Tourette's in the 70s signals not a sudden gaining of control of gesture, but perhaps the moment when the obsession over gesture – as one obsesses over anything one has lost, as any lost thing becomes transfigured into "destiny" – reached some kind of mark.
In any case, the desire to reclaim gesture or the nostalgia for gesture propels cinema. Extending Deleuze's term "movement-image," which implies that cinematic images are themselves in movement, Agamben writes:
Every image, in fact, is animated by an antimomic polarity: on the one hand, images are the reification and obliteration of a gesture (it is the imago as death mask or symbol); on the other hand, they preserve the dynamis intact (as in Muybridge's snapshots or in any sports photograph). The former corresponds to the recollection seized by voluntary memory, while the latter corresponds to the image flashing in the epiphany of involuntary memory. And while the former lives in magical isolation, the latter always refers beyond itself to a whole of which is it a part. Even the Mona Lisa, even Las Meninas could be seen not as immovable and eternal forms, but as fragments of a gesture of as stills of a lost film wherein only they would regain their true meaning. And that is so because a certain kind of litigatio, a paralyzing power who spell we need to break, is continuously at work in every image…
Cinema seizes and redeploys gesture, and as such "belongs essentially to the realm of ethics and politics" (55). For cinema suggests or imposes character, characters, ethos. For if it is through cinema, as Agamben so eloquently writes, that we dream of gesture; the question then becomes how to "introduce into this dream the element of awakening" (56). How do we, how can we, pinch ourselves back into awareness of our own gestures?
For Agamben, the key is to forget, or to remember, or to forget to forget, to forget to remember. Gesture appears involuntarily, in moments when we lose our track, when we are gagged, "indicating first of all something that could be put in your mouth to hinder speech, as well as in the sense of the actor's improvisation meant to compensate a loss of memory or an inability to speak" (59). Perhaps this is what Cage dreamed of when he asked for silence. When we are gagged, when we forget suddenly or witness a forgetting – for the gag is more than the actor forgetting, it is everyone in the theater witnessing that forgetting, participating in it – we witness gesture as pure means, dissociated from production or praxis.
And if cinema is the tool by which we dream of gesture, then Hollywood is the capital of dreams, of dreams suggested or imposed; and if we consider gesture to be the sphere of politics, as Agamben does, or if we consider gesture to be the support or character of ideology, as I do – or both, for that is perhaps two ways of saying the same thing – then Los Angeles becomes perhaps the ideal place to think about gesture, or to focus on work that brings forward the possibility of gesture, work that stops us from explaining what it means and forces to encounter what it does.
Jacob Wick is a conceptual artist based in Los Angeles. For more information, visit jacobwick.info.
Process Notes: Part 1 with Michal Samama
October 17, 2013 · Print This Article
 Guest post by Hannah Verrill
Michal Samama is a performance artist and choreographer from Israel. She recently came to Chicago by way of New York to begin her MFA in studio art at The School of The Art Institute of Chicago. She is now focusing on the research and creation of movement based solo performances and multidisciplinary collaborations. A couple of weeks ago I spent time in the studio with Michal as she prepared for an upcoming performance at Northwestern University. The following dialogue ensued:
Hannah Verrill: I'm thinking about a solo performance practice, and if it is distinct in the sense that you as the maker can never fully step outside of the work in order to witness it. I am curious about how you come to 'know' the work that you are making as you are making it. Do you use video as a reflective surface to see what you are making?
Michal Samama: Now I find myself using video, but it didn't start that way.  I became so interested in the images, in creating images and then of course changing the images, transforming them into other images. So in a way I feel that I have to see it. I guess I started to use video at some point, but before video I was using the mirror.  Over the past few years I've also started to take photos of my body and my movement in the studio. I have tried to direct my body to a specific image but at the same time to be in the movement, or the position, or the expression while taking the photo. Those moments that I've captured have helped me to develop the visual aspect of the performance.
So it starts from a visual image that I have, that I imagine, and then I start to explore it, to transform it, to do this whole research in the studio.  Video can tell me if the image or sometimes also the timing is right. My question is what is that 'right'? What is the right image? What is the right timing?
HV: For me, time is something where video and live don't match up. I can be watching a video of performance and something feels distinctly too long, but if I were with that body in space I could be having a completely different temporal experience of that same action occurring.Â
MS: It's interesting because when I look at the video, and again, it's a tool, it always seems for me that I don't take enough time. That in live I push myself too fast, that it actually needs to be slower.
HV:Â Right, and video helps you see that or know that.
MS: Yes, even though it can be very boring to watch this stillness, but the way I sense the timing of my body through video is usually that I need to slow down and take more time. It's something I'm trying to work on right now, but it can be very scary for me not to just move on and go to the next image.
So when it comes to performing in front of an audience there is this internal thing going on.  This other layer, the negotiation between the way I build or shape the external image with what's going on inside, and there is the encounter with the audience.
I remember the moment when I started look out. I think there's a difference between this external artificial gaze into the audience versus really looking. Of course it's a solo, like I am the performer and you are looking at me, but then I'm looking back at you and maybe you feel awkward or embarrassed, but maybe you are thinking about your next doctor's appointment or your surgery.
HV: Would you say that there's a kind of feedback loop in place? A set of information that you receive from your audience by way of their presence, in a specific sense, that comes to influence how you are performing?
MS: Yes, or you could think of it as a dialogue. It's about questioning this idea of me as the performer being the authority. Or it's also about questioning what is your (the audience's) role here. I started to think more of this idea of performance as a collective event or social event. This is what is unique for performance. It puts into a laboratory this idea of the social event.
I do remember one work from a few years ago when this question came up of if I wanted to take my gaze out into the audience or still be in this internal dance-y gaze, and at that point I chose not to.  I was too afraid or I didn't know what to do with it. But now it's different, and I've started to make it more and more what I do. I'm interested in this kind of transformation of images happening during the performance. Part of the transformation of course is the homework that I worked on in the studio—the choreography—but of course part of it is like what you're saying, the feedback. So in the end there are many more transformations than what I initially thought of because of the presence of the audience.
HV: I wonder if you could talk about the process you're engaged in currently with this upcoming performance.Â
MS: In some ways this is the most difficult process to speak of because it is happening right now. I'm working on this piece for a conference and the name of the piece is What Am I Paying You For? With the last few pieces I was more and more into this negotiation between the abstract of the body and the concrete of the body, and the idea of looking closely at body parts, zooming in on body parts. But of course in performance you can't really do it. I mean that's what I'm trying to do, but there is always the body as a whole.
HV: Right, and the space that the body is in.
MS: The space, and the sound, and everything. But the space and the sound are there in video, but in video we try to ignore it.
HV: But with video, with an actual zoom or various editing functions we can actually direct or focus attention. I mean, with performance we can too, but it's very different.Â
MS: Yes, you can zoom in with a camera and show just this part, but how do I do it when my whole body is there, when the audience is there? So I went into the studio taking this bag with me, with all of my materials in it. The rule that I set up for myself recently is that I don't do this theatrical thing of having a set stage, and then I perform, and then someone cleans it up. I do it all myself as part of the performance, I guess to kind of blur this line between performance, life, when does it begin when does it end. So I said OK, I'll just go to the space with the materials in my bag, but then I thought well this is not interesting enough. And then I decided to put the bag on my head.  I'm naked also. So now I think that seventy percent of the performance is with the bag balanced on my head.
HV: So you came to the studio with your bag of materials. How is it that you decided to put the bag on your head? Is that an impulse or is that an example of an imagined image? How did that happen?
MS: So that maybe was not an image, I mean when I did it I felt that maybe it could be an interesting image. Putting the bag on my head immediately calls in a set of associations, connotations – I would like to play, at the same time, with the balance, the physical 'risk' or challenge but also with the associations, mine and those of the audience, sometimes they can also be risky especially when it comes to nudity… so I am on my knees, trying to balance the bag on my head, but I'm also a naked women on her knees. You have to decide what to look at or what draws your attention. But I guess initially that gesture came from my desire to put myself in an uncomfortable or risky situation.
HV: It's also a precarious situation because the bag could fall. Does the bag fall?
MS: It can, and in that sense there is a really different quality to rehearsal and performance, because things happen in performance because of the anxiety or excitement. New things can happen. For example I was working in an earlier piece with rocks, holding seven rocks. During the first performance one of the rocks fell and it had never happened to me before, and it never happened after. Just that first performance. And yesterday my husband came to the studio to see this current piece for the first time, and I'm there standing with the bag on my head and I felt the weight of it on my neck and the tension in a way that I had never felt before in rehearsal.
HV: Going back to the internal experience of the performer, and then there is the external image that you are creating with your body and various materials. It occurs to me that the external image aside, you wouldn't know what's risky or vulnerable without feeling it, that it's a felt thing. It's not exactly conceptual, but rather it seems as though it would need to feel legitimately risky for you.Â
MS: There is something very clear about the images, but then the risk is in the movement. Otherwise it would be just like a photo. A static image.
HV: Does risk and vulnerability enter into the audience's experience of your work?
MS: Â We spoke about the gaze and how at a certain point in my work my gaze started to be directed out into the audience, and that is something I am working on, going more and more towards the audience and really bringing them into the situation.
But the whole idea of audience participation is such a cliché now. It's a question of how to work with it.  With my body I try to ask: what are the possibilities of the body, what can the body be and how do we read each image that can be created with the body, or with the movement? In working with audience, I want to give them a chance to respond in different ways, or to offer something that is a little disturbing maybe. I think no matter what you are always asking something from the audience, sometimes you are asking them to be very passive. In my performances I think in a subtle way I try to ask them to be active. What I don't want to do is to give instructions, this is not my way, I like that the way is more hidden. To give more space, to create the space for negotiations.
HV: And choice making as well, your audience can choose how and to what degree to participate. But you're not letting them off the hook either.Â
MS: Yes.  This may be a solo, but don't be mistaken, you are here and you are apart of it.
For me, because I grew up on a kibbutz, I have these collective issues, and there is no solution for that, no answer. It is just apart of what I am thinking through, or working through; this idea of performance as a collective experience, and creating space for individual responses. It's your choice, and it's a moment between us, and intimacy is a big word but I feel like there can be a kind of intimacy, something can happen there.
For example when I did the orange thing again at Judson Church, the first person was trying to take the orange from me, so it became this fight. And then almost with everyone else they were imitating this. So there's this kind of peer pressure, or how we follow what our peer just did.
HV: It makes me think about what you were speaking to earlier, about how the presence or the feedback from the audience is a way to make the work improvisational to a degree. It occurs to me that you cannot rehearse this aspect of the work, the interaction between you and your viewer(s). So you are leaving space for your viewer to enter into the work, and also to determine the work, perhaps even make the work with you.Â
MS: That's the thing. I'm not so much into this idea of a closed production. It's not just this thing where you come, and you see something, and you stay out of it. It's more like a social experiment. Of course I'm leading it and bringing the materials, the proposal. I'm proposing something, and then it can change. Parts of the work are very choreographed—there is a choreography in place—but still it is changing all the time. There is an ongoing influence between you and I.
Hannah Verrill is an artist living and making work in Chicago, Illinois.