text:
by Jerome du Bois
Big good news and kudos all around, now that Liveleak has restored Fitna to its servers. Hat tips to Instapundit, lawhawk, and Hot Air. Liveleak's statement:
On the 28th of March LiveLeak.com was left with no other choice but to remove the film "fitna" from our servers following serious threats to our staff and their families. Since that time we have worked constantly on upgrading all security measures thus offering better protection for our staff and families. With these measures in place we have decided to once more make this video live on our site. We will not be pressured into censoring material which is legal and within our rules. We apologise for the removal and the delay in getting it back, but when you run a website you don't consider that some people would be insecure enough to threaten our lives simply because they do not like the content of a video we neither produced nor endorsed but merely hosted.
That phrase--
threaten our lives
--should chill anyone who cherishes any of our freedoms.
One of the groups who must be elided but cannot go unmentioned I'll call British Antiterrorism --all the stand-up, clear-eyed, and hardy people now guarding Liveleak's employees and families without being noticed or acknowledged, and all those patient souls now monitoring a whole new network of hinky jihadist moves. I'm sure that's one of the reasons the Liveleak people feel more confident: they're covered now; still, it can't be comfortable to be a constant target. Because these awful bad guys don't forget and don't forgive: after all, Liveleak unleashed Fitna on the world --so many stronger venues refused or folded long before they did, and you can't take that away from them-- and now the viral torrent is unstoppable. The jihadists, whose lives and souls are what the Brits call "the grime," gnaw constantly like rats on their own hatred, living through its festering. British Antiterrorism has a responsibility to protect its citizens; looks like they're doing just that, so bully for them.
The worldwide tension net of terror and counterterror just widened marginally but significantly, as new tendrils and connections recalibrated and rebalanced and everything that could access them vibrated with the changes. So the world tightens, and red arrows point up, and we live with it . . . .
Now for the local coda. We got another comment from, presumably, the same coward who emailed us the "scimitar" comment I quoted in the earlier post. This time I'm going to quote it in full, meager as it is, but before I do I want to call this coward out into the real world. We want your real name. Geert Wilders, the Liveleak people and their families, Robert Spencer, hundreds of thousands of patriotic military people, Catherine and I, and millions of others, are willing to use their real names to stand behind their words, but you aren't, so far, to us. So I call you a coward.
These creeps major in minor ellipticality, so I'll quote "kofiannan" in total. He or she posted this to the "Scimitar's Smile" piece:
Back in the day I'll bet Nazis were pretty cool if you were one of them.
But enough about paranoid nationalist history repeating itself, how have you been?
I've been fine, except for droning malarial mosquitos like you. And if you read your message in the light of Jonah Goldberg's Liberal Fascism, you will see that every progressive ever admired by the culturati today owes big dues to Mussolini and Hitler; they all thought both of those bastards were "pretty cool." It's not right-wing revisionism; it's called reading primary sources. It's called recognizing facts. And "paranoid nationalist history" sounds a lot like the theme of a Jeremiah Wright / Barack Obama speech to me. Or like Black Panther Shabazz pathetically blaming white people for his own self-twisted soul.
So step up, little person, silly person, so petty, barbarous, infantile and cruel; or shut up and step back; serious people are talking.
by Jerome du Bois
By now those following the strife around Fitna know that Liveleak took the film off of its servers after around 24 hours, after receiving serious threats to their employees. Here is their statement in full (HT Jihad Watch):
Following threats to our staff of a very serious nature, and some ill informed reports from certain corners of the British media that could directly lead to the harm of some of our staff, Liveleak.com has been left with no other choice but to remove Fitna from our servers.
This is a sad day for freedom of speech on the net but we have to place the safety and well being of our staff above all else. We would like to thank the thousands of people, from all backgrounds and religions, who gave us their support. They realised LiveLeak.com is a vehicle for many opinions and not just for the support of one.
Perhaps there is still hope that this situation may produce a discussion that could benefit and educate all of us as to how we can accept one anothers culture.
We stood for what we believe in, the ability to be heard, but in the end the price was too high.
Robert Spencer from Jihad Watch had some harsh words for the people who work at Liveleak, in a short post called "Whatever happened to 'Give me liberty or give me death'." He concludes:
"In the end the price was too high" could be the epitaph of the Free West.
I understand their concern for their employees --sure. The employees didn't sign up for this. But if Americans and Westerners and all people who are threatened by the global jihad and Islamic supremacism aren't willing to give their lives for this cause, then all is lost. Because the jihadists certainly are willing to give their lives for their cause. For them, no price is too high. . . .
Others have been more forgiving, saying that Liveleak held up the torch for a whole day, and a million million fires were ignited from that torch, so good for them.
I think about those threats. They wouldn't be ranting emails or taunting phone calls or even slashed tires. They would be something like a cell-phone video of the boss's wife grocery shopping, or the son leaving school, time-stamped so the victim knows exactly how close the jihadists are, and something else that must have given all of Liveleak's employees pause: just how organized the jihadists are. After all, not many people on earth knew exactly where Geert Wilders would place his film, including Wilders himself. Yet within a day of its posting the jihadists knew enough about key employees of Liveleak to apply precise and sophisticated pressure, pressure sufficient to convince Liveleak to fold --after one day.
These bastards are serious, dedicated, professional, wired, and lethally dangerous. I sympathize with the Liveleak people, but Robert Spencer is right. We cannot back down. We cannot be silenced.
My own piece on Fitna, just below, included a local perspective, and the unlikelihood that anyone in the local cultural scene would rush to ensure Fitna received wide exposure. I received a single short email, from a pseudonymous person who is probably one of the local Spoken Word Gang; I recognized the awful, clunky, semicoherent style. I don't know exactly who it is, but as it seems they have only one brain among them to share, they speak alike, with dated, droning sarcasm. In any case, it confirmed my speculation that these people don't want to seriously debate Islam. I will only quote the part relevant to what happened with Liveleak:
I have long feared Islamisation and I will do whatever you think is best to keep their scimitars off my childrens' necks.
This was sent on Friday, before Liveleak folded, and Catherine deleted the comment right away (though kept the email copy). Makes chilly rereading in light of the likely nature of the threats to Liveleak's people and their families.
The comment itself had nothing to do with the hassles of Geert Wilders and Fitna. It was all about the Spoken Word Gang's tiny enclave. Nothing's going on in the world but them. In the meantime, while they snicker and natter to six confederates in their koffee klatches about Dick Cheney and Joe Arpaio, Fitna has gone multiplatinum and is being debated in the highest government chambers worldwide. And Geert Wilders still lives on the run.
The scimitar's smile isn't funny.
Pim Fortuyn, Theo van Gogh, and Geert Wilders.
[I've been following the flickering in and out of Fitna for the last five days, and I'm glad to finally report that Geert Wilders has found a home for the film on LiveLeak. But the torrent has begun, and you can also see it at Hot Air, and at Jihad Watch. And Network Solutions can go suck rocks for water. At the film's conclusion, these words appear: "Stop Islamisation. Defend our freedom." Amen. God bless Geert Wilders.]
by Jerome du Bois
Three hundred and sixty years ago the citizens of the Netherlands welcomed my ancestors into their precincts. My ancestors were French Huguenots with their clothes on fire from Catholic Hounds of God on their trail. They found sanctuary in Holland. After getting their bearings and catching their breath for a few years, my people moved on to the New World of New York, but they brought some Dutch blood along with them, in the forms of husbands, wives and children. I owe them.
Three-plus years ago, right on Election Day, I posted "Seven Statements For Muslims," the first of seven postings about the shooting and stabbing murder of Dutch filmmaker and pro-freedom, anti-Islam activist Theo van Gogh, brought down by a Muslim punk. (I've posted a list at the end of this piece.) I don't know why the ghost of this irascible man haunts me, but he does; why not Daniel Pearl, or Nicholas Berg, or too many other innocent victims? Perhaps because Theo van Gogh was not likeable, even though he was a righteous gentile struggling to rise above himself.
The last piece I wrote about him, "Sorry, Theo, But Bat Boy Is In The Way," was a call for some playwright, or screenwriter (like Roger Simon, silent so far on Wilders), or filmmaker to step up and tell the story of the last twenty years in urban Holland, as the steadily rising Muslim inundation eventually, ineluctably rose above Holland's well-known tolerance and drowned Dutch society; someone to tell the story through the lives and martyrdoms of Pim Fortuyn and Theo van Gogh, and the continuing struggle of the obstinately honest Dutch Parliamentarian Geert Wilders. All three are connected; the death of one triggers decisions for the other two. Nobody has risen to that important occasion yet.
Now Geert Wilders, who has been fighting Muslim suffocation from the inside for almost two decades, has assembled a fifteen-minute video collage showing the vivid, direct, and current connection between dozens of the Koran's suras' verses, and Islamic terrorist acts. The short film is called Fitna, which means "strife" in Arabic. And I'm glad I don't have to give a mano a mano account of the hassles Wilders encountered, since December 2007, trying to broadcast or webcast the film. That fight is over. Fitna is out there right now. Damn good news, though the film itself is grimly graphic; but it also shows that words certainly do have power --evil people fill their mouths with such blasphemies against decency to justify murdering innocents, and then hold up their helpless heads for all the world to see. Other words, written in marker on signboard: "Freedom Go To Hell," and one held under a hijab that sends a chill up one's spine:
Get Ready For The Real Holocaust.
I'm glad Fitna is out there in the world, though it will increase the pressure on Geert Wilders, who already lives like a mobile prisoner or a Witness Under Protection, with armed guards at constantly changing undisclosed locations; he sees his wife, a business executive, only once or twice a month. Why is there no hue and cry about this man's tormentors walking, biking, driving freely around Amsterdam, going to mosque, eating at restaurants, sending money to fellow terrorists, shopping for dubious devices --while Geert Wilders has to duckwalk in Kevlar every time he's out in the open? He's been forced to do this for three-plus years, since Bouyeri assassinated van Gogh and threatened Wilders in print. The Dutch situation is inside out, and a warning bell; in fact, Wilders himself embodies that bell, that canary in the mine, that scapegoat.
Fitna is difficult to watch, but like the ammonia in smelling salts it sharpens your attention and brings tears to your eyes.
While the video was in limbo Catherine and I speculated about the possible venues for it in Phoenix, should Wilders's efforts be thwarted on other fronts. We certainly don't have the bandwith to stream the thing, but there are other options . . .
Two-part question: Locally, were there people or institutions with both (1) the bandwidth or technology and (2) the political sympathy to host Fitna? The answers were (1) plenty and (2) none.
Examples: Tech-savvy curators like John Spiak at ASU and Mike Goodwin at Mesa, or those whizbangs at the Herberger Intermedia lab could certainly come up with something --project it on an outside wall at Nelson Fine Arts, preceded by a screening of van Gogh's Submission. Or get Joe Baker behind it as an essential exercise in Community Engagement, which it damned sure is. I know, I sound ironic, though I'm not kidding. Or you'd think gay activist and part-time ASU professor Gregory Sale would want people to know about those Moroccan-Dutch Muslims who carry signs saying "Throw Gays From Tall Buildings." But . . . In your dreams, people.
Downtown, Kimber Lanning could screen it or stream it at Modified, or Michael Hudson at his newest hole, or Bob Nelson from Anthology; Trunk Space; Perihelion; Spirit of the Senses (?!) or the Phoenix New Times could arrange a benefit. The Arizona Republic online could host it. Or one of the eleventy-two new curators at the Phoenix Art Museum could rub a couple of brain cells together and assemble a van Gogh film night, culminating in the Wilders film and subsequent lively discussion. They have all had plenty of lead time.
But forget it: not now, not in Phoenix, not in the present political climate, which stinks of Cowardice and Fear. I always marvel when people who live here refer to the Valley as "conservative." It hasn't been that way --that strong, that principled-- for many years. Most of our cultural "leaders" are politically-correct dhimmis skimming their way through their lives, skipping around significance whenever it raises its adamantine head.
Just imagine if we had to depend on these bent bozos to find out about Fitna. Yes, reflect on that scenario for a moment, reader, and then thank human ingenuity and the USA for the internet, where you're gettting this information now. And thank Geert Wilders for his continuing daily sacrifice, which is an outrage in a civilized society.
As I was putting this post together, Catherine and I talked about it, as always; and, as usual, I asked her to consider a possible title; she often comes up with multilayered, deeply intuitive titles. But the image that came to her this time was not about the title, but this trio of men. It was the nursery rhyme, written by a man named Eugene Field in Denver in 1889, called "Winken, Blinken, and Nod."
Winken, Blinken, and Nod one night
Sailed off in a wooden shoe--
Sailed off on a river of crystal light,
Into a sea of dew.
"Where are you going, and what do you wish?"
The old moon asked the three.
"We have come to fish for the herring fish
That live in the beautiful sea;
Nets of silver and gold have we!"
Said Winken, Blinken, and Nod.
The old moon laughed and sang a song,
As they rocked in the wooden shoe,
And the wind that sped them all night long
Ruffled the waves of dew.
The little stars were the herring fish
That lived in the beautiful sea --
"Now cast your nets wherever you wish --
Never afeard are we";
So cried the stars to the fisherman three:
Winken, Blinken, and Nod.
All night long their nets they threw
To the stars in the twinkling foam --
Then down from the skies came the wooden shoe
Bringing the fisherman home;
'Twas all so pretty a sail it seemed
As if it could not be,
And some folks thought 'twas a dream they'd dreamed
Of sailing that beautiful sea --
But I shall name you the fishermen three:
Winken, Blinken, and Nod.
Winken and Blinken are two little eyes,
And Nod is a little head,
And the wooden shoes that sailed the skies
Is the wee one's trundle-bed.
So shut your eyes while mother sings
Of wonderful sights that be,
And you shall see the beautiful things
As you rock in the misty sea,
Where the old shoe rocked the fisherman three:
Winken, Blinken, and Nod.
Winken and Blinken have sailed away on the wooden Ark to Heaven, and now Nod cannot afford to nod off. And he isn't; he's standing tall, unweary and unwavering. There will be, there already are, new eyes opening all over the world, unblinking and unwinking, flung open by the unstoppable drive for truth, reason, and freedom.
I'm glad to end this piece with three adventurers sailing the sea of stars, and with images evoking the gathering of stars into golden and silver nets from the twinkling foam surrounding them in their humble, sturdy vessel, the wooden shoe. Wherever Geert Wilders may set off from here, I'm pretty sure he has a guardian spirit on each shoulder to supplement the sadly necessary security crew.
[Postings on Theo van Gogh: Seven Statements for Muslims. Theo Rests His Case. Theo van Gogh Calls on Yasser Arafat. Theo van Gogh Calls on Mohammed Bouyeri. More About Muslims Loving Knives. One More For Theo van Gogh. Sorry, Theo, But Bat Boy Is In The Way.]
I said, "You know, they refused Jesus, too."
He said, "You're not him."
--Dylan, "115th Dream"
by Jerome du Bois
Last week we received a short email from a man who signed with his real name; that was unusual. In fact, even though I won't reveal his name, I wouldn't be writing this piece if he hadn't done that. His message:
I recently moved to downtown Phoenix, and thought I would do a little online research into the going-ons of the area, and I came across your blog.
Frankly, I don't know what to say. You disgust me.
[his first name]
My first reaction was, What would Barack Obama do?
I'm kidding, reader. You know that. So why bring up Barack Obama? Because this post is about him, that Jack of Spades. You'll see.
My first reaction was, Cheers, eh? I'll give you cheers, you bastard. And Catherine called attention to the jaunty tone. "He's having fun," she said. "For him it's fun to hate."
As long-time bloggers we're used to such contextless drive-bys; most of the time, though, they're sent by Anonymous or Pseudonymous. This guy not only had a name, he had a website. I would describe him as a global-music musician. So I read about him for awhile, and then wrote back. Here's some of it:
We disgust you, do we? Undoubtedly because we stand for human dignity and mutual respect. But it's okay for you to come along and, without any context or justification or example or even introduction, to say that you find us disgusting, and we're supposed to just take it? Just sit there and accept it?
And you are . . . ? We've never heard of you. So your message is really empty, isn't it? Why write to us in the first place when you must know that we couldn't care less about your opinion, since you are a complete stranger, with no weight, no reputation, no credibility to carry before you, no people we respect behind you; no credentials? Why write to us when you must know that you mean nothing, nothing, nothing to us?
And I mentioned how he was probably fronting points for Kimber Lanning and Kevin Vaughan-Brubaker and that crowd. But Catherine told me that he was just poking us with a sharp stick, solely for the sake of provocation. She was right, and that's why I won't give him the satisfaction of using his name. His reply:
Wow, you are hilarious.
I've never heard of any of the names you mentioned so I have no idea why you want to associate me with them.
Have fun blogging about me. Anyone worth anything wouldn't bother putting any credence into what you say anyways [sic] considering your blog is full of racist, xenophobic, fear-mongering bullshit.
Ah, now we get down to it, don't we? But not really. In the time-honored fashion of liberal fascism--you know, "the progressive community"-- the guy provides a list of adjectives --boilerplate liberal labels-- with absolutely no supporting arguments, and expects to be taken seriously. Just like, for example, a black preacher who says the USA is run by rich white guys; guys who invented AIDS to infect innocent black victims. Anyone worth anything wouldn't bother putting any credence into what that old fool says, right? He's got chickens roosting where his brain ought to be, yeah? Oh . . .
But let's back up before the jump. This world-music musician, who grew up in Phoenix, who worked on the music part of an art project for Gregory Sale when he was in high school downtown, and who just moved back to Phoenix and took up residence downtown, claims not to know Kimber Lanning, the foremost promoter and go-to person for all alt-world-local music in downtown Phoenix for ten years.
It reminds me of Barack Obama vainly trying to sashay between the lightning bolts of his pastor Jeremiah Wright's anti-American, anti-white sermons for twenty years. Just didn't hear that stuff. (Wait: maybe a little bit, according to yesterday's speech.)
I find neither person believeable. Of course it's possible that the musician had never heard of those people I mentioned; it's just highly unlikely, and I'm going to bet on the odds about this. And on the links of the global musician's website, at the very top, as a banner, what do I see? A full-color endorsement of Barack Obama.
Others created the image of the race card, so I'll play the metaphors I'm dealt. Barack Obama is neither an Ace nor a King; not yet, anyway. He's not the Jack of Diamonds because Rezko clouds his transparency; he's not the Jack of Clubs because he's against the war; he can't be the Jack of Hearts because, though superficially charming, he isn't warm. He's the Jack of Spades because he's only showing one side to us: the black side. As far as I know, he never rhapsodizes about his white mother's heritage, though yesterday he coldly brought his white grandmother's private life into the public eye, violated her confidence and insulted her dignity.
As he gazes off to the left, not looking us in the eye, the Jack of Spades pretends he's a black man while pretending that his campaign has outraced race. But's he's neither black nor white. Like millions of people for hundreds of years, he's part one ethnic group and part another ethnic group. Humans have been creating blended progency for a long time now. Obama has to project the black side to obscure the fact that, racially speaking, he's nothing special; flip over the Jack of Spades and he looks like every other card in the deck.
It's becoming increasingly obvious that Barack Obama came to Chicago as a kind of multiculti blur, and decided to sharpen his political profile by developing relationships in Chicago's black community; and given his progressive background (radical anthropologist atheist mother), he selected Trinity United, whose pastor was steeped in radical politics and black liberation theology.
And for twenty years, apparently, he never once challenged Jeremiah Wright, much less challenged him over and over again until he either changed the guy's mind or gave up and left the church. But he didn't do anything like that. He has been satisfied, as he tells us, to "strongly disagree," to "denounce," some of Wright's positions. But he's disagreeing and denouncing to us, not the offender in question. Unless Obama wasn't offended until millions of potential voters became offended. That's my view. Politically, Obama and Wright are two of a kind.
Tellingly, at least to me, nobody in Obama's camp got ahead of this story before it broke wide. It cannot be that they thought it wouldn't come out; they must have believed that it wouldn't be that incendiary. Or maybe they thought saying "He's not the pastor anymore" would settle the issue. Given the strong negative popular reactions to both Wright's awful statements and Obama's lame explications, these handlers sorely misunderstood the American public. That doesn't bode well for his Presidential chances, which is good news to me, because he's bad news for America, freedom, and truth. His character is as thin as a playing card.
As for our erstwhile musician, I think he came back to town, hooked up with some old friends, met some new ones, and in the course of conversation heard about The Tears Of Things. Since we have absolutely nothing in common with this guy, he had no reason to contact us except to provoke us. Which he did, but the only reason I'm responding is because of the Obama connection.
As for the spade reference --that's just a sharp stick to poke fools with.
I deleted a comment from a persistent paleface local yokel, but on second thought I'm going to use it, without attribution, as an example of the humorless frown behind the masks of these pomo correctos who are supposed to have mastered irony. First he quotes my last sentence--
As for the spade reference --that's just a sharp stick to poke fools with.
then adds:
Ha-ha-ha! Nothing's funnier than racial slurs!
That's it. End of message. The guy is thicker than lead. Typical white fool comes out running right into the sharp stick. I'm just amazed that anyone rose to such obvious bait.
I should have known this piece would be a tar baby.
by Jerome du Bois
It would be funny except heroes are dying.
I'm talking about the chorus of artists, curators, collectors and art writers all straining in unison to make Sandow Birk significant, relevant, and talented. There's money and political cachet in it, after all. I'm sure he was a big hit this weekend. I guess singing in tune distracts these operators from what the eye sees: despite the 4' by 8' scale of The Depravities of War prints, Birk doesn't take advantage of the opportunity for creating more detail. These things are crude and lazy. The press release swoons:
Using Callots Miseries and Misfortunes of War as a starting point and casting their epic compositions in both America and in the ravaged landscape of Iraq, Birks prints depict the course of war and its after effects [sic]. Scaled up and utilizing the woodcut printmaking process to full graphic effect, the images are at once familiar and contemporary, while recognizable as drawing from traditions of art history. The project consists of 15 monumental woodcut prints, each measuring 48 x 96.
"Full graphic effect" my ass. I'll be using the helpful folks at Hui Press, who know how to present graphics online, to detail examples of how bad a draftsman Birk really is, even "scaled up." The scaling up only magnifies the disappointment. (Look at his fires, his smoke, his clouds, for example. Clunky city.) And they shouldn't have brought up Callot. The reader should take some time examining the Hui Press suite, and then pop up this Temptation of Saint Anthony. Obviously, Birk is closer to Crumb than Callot. Or Goya. Or Doré.
No, I didn't see these things in person. I don't need to. What I did see awhile ago, out in Mesa, was Birk's big to-do about Dante's Divine Comedy. Catherine and I spent about forty-five minutes closely examining how his big dramatic paintings fall apart as you step closer, with buildings made up simply of little square dabs of paint. They reminded us of Andreas Gursky's photos, which we had seen before; like Birk's buildings and landscapes, they pixilate embarrassingly the closer the viewer gets. Those things definitely have a restricted viewing distance. Why make them so big, then? Because big sells. Rich people and museums have big walls to fill and other people to impress. (The prints at the Mesa exhibition showed that Birk is capable of some detail --though not modeling-- which makes these new prints all the more technically lackadaisical.)
More important, though, and not funny at all, is the subject matter --the Iraq War-- and here we see that the same crew is singing off the same page. I don't think it's inaccurate to say that most of the art people downtown and in the Valley are political liberals, and I know some are liberal fascists. In Catherine's words, All-American Anti-American Success Stories. I predict you won't hear a negative word about this show, only raves. Again from the press release (courtesy of Hearsight), which was probably written by "curator" Lara Taubman ("A Warlike People," "Holy Land"), still plowing her tiresome rut:
Images depict the attacks on the mosque in Fallouja, the torturing of detainees at Abu Ghraib prison, and insurgent bombings of vehicles along Baghdads notorious Airport Road. As in current events, the initial invasion soon degenerates into guerilla warfare and chaos, popular uprisings, scenes of abuse, and eventually to the returning of wounded veterans and would-be celebrations of heroism. Like his predecessors, Birks prints draw on art history and current events in a polemical series that critiques the eternal and universally senseless practice of war and military injustice.
Notice there are no terrorists in Iraq. Only "insurgents," and "popular uprisings," and words like "degenerates" and "would-be," perpetuating the liberal side, liberal spin, liberal lies. We've heard this drone before. Was "A Warlike People" about the Polynesians? the Maori? the Yanomamo? Nigerian Muslims? the Janjaweed? the Taliban? Of course not. It was about the bad old USA of course, and the white men that blah blah blah.
A rut is only a grave that's open at both ends.
But enough about Taubman, who didn't have much to "curate" here, except maybe which pieces to put where. (And this show isn't even the main gig for these prints. That's someplace back East. You look it up.)
Let's look more closely at the details of some of these prints, and then turn to what Birk left out of his one-sided, anti-American narrative.
The title page shows some of the elements I want to point out. On both sides you can see fire and smoke, both of which look stiff and heavy, as if cut from tin. The sky features only long lazy lines, except for a toylike helicopter. Look at the grouping in the lower left. The repeated vertical shade lines remind one of Bill Mauldin's WWII cartoons. Finally, notice the kneeling Iraqis. Throughout the series there isn't a single Iraqi who isn't kneeling, bowing, raising their arms, running away, cowering, or having an American weapon aimed at them. Not one stand-up, honorable Iraqi. That's beyond shameful. Not to mention a single good American, of course. No binding of wounds here, only scattered body parts. Not a single good thing has happened in Iraq since the American invasion, according to Sandow Birk. Millions agree. I'm not one of them.
Let's skip through the rest of series, pointing out one or two things here and there. In Preparation check out the flat parachutes, stick figures in the middle background, stuffed-cotton sky, and wooden smoke. Same sky and smoke in Insurrection. Invasion shows better smoke --a hint of Rockwell Kent-- but the whole lower half is almost completely uninflected and washed-out, and there's no sense of perspective: we are supposed to be looking down into a vast desert valley, after all, following the trail of greased lightning. Oh, but nothing but lone and level sands don't stretch really nowhere, with again a few toy tanks pulling what looks like snowbanks behind them. Degradation --wonderful titles, no?-- shows once again a white-lozenge-filled sky, some of it inexplicably reflected in the lower foreground. Again, in the middle left background, Birk shows prisoners sitting cross-legged, but their heads are simple circles, and the guards behind them mere shadows. Lazy, lazy, lazy! When he shows groups, as in Insurrection and Repercussion, the figures blur into one another. Patriots signing up to fight appear in the print titled Obsession, the tenth print in the series and the first one to show a reference to 9/11 --in the background. The very technique itself, though, crude, casual, sketchy and cartoonish, is a dreadful and disdainful insult to the unforgiveable horror of that day.
So now we're into the subject matter. Running through the series again, one can focus on the dead Iraqis on the ground with the Americans just casually standing around; three prints on the subject of Abu Ghraib and torture; defenseless, sometimes naked, Iraqis, surrounded and bullied by strutting, arrogant, blank-faced troopers. Everything burning everywhere, except for Saddam's execution and the sterile committee room at the end of the series.
In Birk's world, there is no Taliban, no Osama bin Laden, no Flight 93, no devastated Pentagon, no vanishing Towers, no murderous 19 Saudis and Egyptians; no assassination of Daniel Pearl, no London or Madrid bombings; no mass graves in Iraq; no poisoned Kurds. No ten-year war between Iraq and Iran. No stonings, no women-killing for what amounts to sport. No evil Islamists, no Caliphate Dream. Sayyad Qutb, who he?
In Birk's world, Theo van Gogh is still offending people; hundreds of beheadings never happened: miraculously the blade passed harmlessly through all those defenseless necks. Looking through these fifteen giant images, we see not a hint that there were such people as Uday and Kusay Hussein; there were no rape rooms, no street abductions, no unexplained disappearances, no giant shredders, no throwing people off of buildings, no cutting out tongues, no starvation, no manipulation of the electric grid, no corruption, no hell on Earth in Iraq. In Sandow Birk's world.
And Hector Ruiz's, too, yeah? and Lara Taubman and the Hui Press people and everyone else who signs off on these obscenities. Who buys these prints, too. I condemn them all; these moral cowards need to change their ways; they need to change their souls. To find them first, though. I say it.
Strong words, yes. But I'm standing up, as best I can, for even stronger people. People five, ten, fifteen, twenty years younger than the cynical art players who both hate and benefit from America's incomparable system. I'm standing up for those who went to rescue other human beings from monsters, who risk their lives for strangers (and us) while we sleep safely in our beds. These privileged downtown Phoenix assholes sipping wine, smiling smugly and nodding knowingly at each other while pocketing profits from printed lies? They've got burnt holes for souls, every damned one of them; they've got nothing, nothing at all to bring forth and compare to such sheer clear honesty and clarity, and eternal shining honor, as our military holds high every day over there.
by Catherine King
The verbal faux pas from Obama campaigner Samantha Power reminds me exactly of that good ol' puppy dog Randy Kinkel in our post about community engagement. Be all big and tough with your word shots, until you have to own up to them, and then it's "Oh, I SO didn't mean that. What was I saying? I love you guys! (Please don't hurt me. I'll do anything you want.)"
Anybody else nauseated, besides Jerome and me?
Two views of A New Path, by Ilan Averbuch of New York, situated on the Valley Metro Light Rail Line just East of Central Avenue on Camelback Road, on the South side.
by Jerome du Bois
Looking back, I see that my main objection to the public art I've criticized in this Valley centers on the artists' egos eclipsing any sensitive response to the actual location of the sculpture's realization. So here we have yet another misnamed, misplaced, displaced, noplace piece, which could have been made anywhere, and parts of which already have been. Some of these elements go back twenty years in the artist's repertoire, in three different sites, and somebody tell me what they have to do with Phoenix, the Valley, the desert . . . the future? It's a rough rehash, a drudgy trudge along an old, threadbare path. This thing is his thing, not our thing; it's got nothing to do with us. And that's what makes me mad.
I obtained a publicity pdf about this piece. The main blurb reads,
Design Team Artist Ilan Averbuch, will work with stone and other desert based materials to create a landmark sculpture at the entrance to the light rails station on Camelback. The work is highly expressive in its forms, lit at night and has smaller interrelated elements within the station platform.
--Major landmark sculpture acts as "gateway" to downtown Phoenix.
-- Artwork generates dialogue about the relationship between architecture and the amorphic forms of the sculpture.
First, there's nothing "desert based" about the artist's materials, except perhaps the tree in the ancillary bench piece nearer the station. But this circle and its "matchbook people," as Catherine dubbed them, could have been made anywhere; they are as geographically nonspecific as the outlined couple in Julian Opie's aphasic LED piece down at the Phoenix Art Museum. This stonegate is merely another riff in Averbuch's schtick, as if we must have a recognizable Averbuch in Phoenix, like a concrete feather in our cowboy hat.
The work is not "highly expressive in its forms" at all. Rough-hewn blocks form the simplest expression, and the circle of stones, both horizontal and vertical, has been created millions of times, by countless callused hands, since before we learned to call ourselves homo sapiens sapiens. Usually there's fire in the center, or the stone circle creates a threshold, the physical pause of a gateway between two very different worlds; here there's nothing so dramatic.
Look at those top-heavy blockheads swaying and bobbing their awkward cartoonish selves across the threshold of the "New Path." Throughout history, thresholds have been portentous, a signal of significant transitions, of wrenching transformations. No longer. There's just as good as here, same-same-same, stuttering steel parentheses. Who will be the first to call them "whimsical"? even though they're clunky?
Isn't this the Light Rail? This thing looks as heavy as anything Sisyphus faced. What ever happened to the shiny fast future --here we are, there we go, glendalephoenixmesa in a blur? And though I'm only on the very edge of pop culture, I almost immediately thought of the movie Stargate, and its television clones, and how this clunker falls far short of the intricate carvings of those uncanny stonemetal circles. Contemporary artists often seem to think, erroneously, that their works are immune from comparison to popular culture, as if people separated their judgments of objects according to whether the creator had an MFA or not. But of course people don't do that. I'm saying the gates of the various Stargates expose this "New Path" as lazy and tedious, and many riders on the Rail will be making the same comparison.
At Central and Camelback the Line, depending on its direction of travel, makes major turns South (Eastbound) and/or West (Westbound). As a "gateway to downtown Phoenix," a city almost cringingly anxious about being seen as cutting-edge, this sculpture seems far too crude; it looks like it was put together as a joke by New Deal steelworkers from leftover construction scraps: "Workers Heading Home." All that's missing are the lunchboxes.
If they wanted to stick with raw forms and rusting steel, the selection committee would have been wiser to commission something by Pete Deise --some kind of giant bursting metal desert flower, something with curve and verve, uplift and spin, and interesting from every angle; this is where the Line swings, right? (I was surprised that Mr. Deise was not selected for a single installation along the Line. Less than half the selected artists are locals. You can find the list of artists and artworks here. Just scroll down.)
I don't know who was on the selection committee, and I'm not going to bother to find out. I don't really need more people mad at me. But Ilan Averbuch, like Janet Echelman, did not respond to Phoenix; he just recycled some old ideas, and that was good enough for the folks downtown.
And when some art expert said to them--
Artwork generates dialogue about the relationship between architecture and the amorphic forms of the sculpture
--maybe they just nodded in agreement. But it's an incoherent, trumped-up sentence. "Amorphic" is a synonym for "amorphous," which means "formless," so the phrase would read "the formless forms of the sculpture." And of the course the sculpture has well-defined forms; I could have described it easily without the photos. Finally, when I compare "A New Path" with its surroundings, I see an orderly layout of urban bustle, useful and functional --and right in the middle there's this clutter of fake folk profundity, but it's about another place, maybe even another time. It doesn't belong there.
PS. And can we please call our city Phoenix ? I've noticed a dismaying tendency among local so-called culture writers to jigger up some hip name: The 'Nix, CenPho, P-Town, Pho-Town. Phoenix is an ancient and noble name, a name that embodies a legend about the deepest dream of humanity: resurrection. It is an image, not of hope, but of hope realized. It's a beautiful name.


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Save creative ideas from around the web with the official Pinterest browser button for Chrome.
Just click the Pinterest button next time you find something interesting that you want to save for later. Collect recipes from your favorite food blogs, articles you want to read later, ideas for your home and more!
Links get saved as visual bookmarks, which are way easier to recognize and organize than the the same old text bookmarks your browser gives you.
New for version 1.3: Hover over any image and Pin right from there.

subset: commoncrawl


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Tom and Ray in the Radio Hall of Fame
|Over her years at NPR, Susan has developed a deep-rooted fear of cosmic radiation--hence the electromagnetically shielded dinner gown.
|Okay, who said "free lunch"?! Our man Bugsy has been known to travel thousands of miles for a gratis burger and fries--much less a gala soiree of chicken cordon bleu, prime rib and Moet & Chandon.


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Welcome back to Fantasy Island my NFL peeps. How did you do last week? Oh, really? Congratulations. I bet you were nervous when you started Eli Manning and he threw 3 first half interceptions. As strange as things have been … Continue reading
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Falcons RB Michael Turner arrested on DUI charges
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Simon McIntosh-Smith Follow @simonmcs
Recent News
OpenCL IEEE/ACM SuperComputing 2013 (SC'13)To find all the OpenCL-related material from SC'13, including the slides and examples from the tutorial, and the slides from the birds of a feather session, take a look here.
New EPSRC project to develop next generation CFD libraries for many-core platformsI'm delighted to announce that I have recently won a new EPSRC project with Prof. Mike Giles of Oxford University. This new project, called OPS, will run for three years, and will develop future-proof, massively-parallel libraries for multi-block applications. This project also includes Prof. Christian Allen, University of Bristol, Prof. Neil Sandham, University of Southampton, and Prof. David Emerson, STFC. I am recruiting now, with project start in October 2013. The job ad with further details about the project is online here.
Heterogeneous Computing keynote and tutorial at HiPEAC 2013I'm giving the opening keynote as part of the LPGPU workshop on Power-Efficient GPU and Many-core Computing (PEGPUM) workshop at HiPEAC 2013 in Berlin (Jan 22-25).
UK Many Core developer conference (UKMAC) in Bristol, December 2012I chaired the 4th UK many-core developer conference (UKMAC 2012) here in Bristol on Dec 5th 2012. All of the talks are now available online as both slides and high quality video.
The Micro group runs two Birds of a Feather sessions at IEEE/ACM SuperComputing 2012Micro group staff are running two BOFs at SC'12 in Salt Lake City during November 2012. The first is on Energy Efficient Computing
National HPC resource procurements: ArcherI've been working with EPSRC and NERC as a member of the four person project working group to support the £43m Archer procurement. Archer will be the next national supercomputer resource, replacing HECToR towards the end of 2013. Archer will be several PetaFLOPS in performance and be by far the largest supercomputer in the UK when it is installed. It has recently been announced that Cray won this procurement, and the new system will be sited at the Edinburgh Parallel Computing Centre (EPCC).
BBSRC project to fund development of many-core accelerated molecular docking codeAlong with Dr Richard Sessions in Bristol's Biochemistry, we have won a BBSRC grant of ~£150K [BB/K004050/1] to further develop the BUDE molecular docking code. This code already scales across hundreds of GPUs, and is starting early trials with academic and industrial partners. Dr Amaurys Ibarra is the PDRA on this project, starting September 2012.
UoBristol shared infrastructure funding supports new many-core porting roleIn a recent internal competition we won 9 months funding to support the porting of HPC codes developed within the e-Infrastructure South consortium to the Emerald GPU supercomputer. Dan Curran, a recent CS graduate and GPU porting expert, was appointed in July 2012 and is currently working with Prof. Chris Allen to enhance his CFD code so that it can exploit heterogeneous many-core systems, such as GPU accelerated servers.
e-Infrastructure South consortium wins £3.8m to fund HPC Centre of InnovationBristol along with Oxford, Southampton and UCL as formed the e-Infrastructure South consortium. This group won £3.8m in early 2012 to establish a new shared HPC resource. As part of this we have commissioned Emerald, a £1.1m GPU supercomputer, the largest in the UK. For more information on Emerald and other consortium infrastructure, visit the consortium webpages. We plan on making some time on Emerald available to other serious GPU users who'd like to try testing their codes at scale - Emerald has 372 Nvidia M2090 GPUs, along with two high speed interconnects, one using Infiniband, and the other a Gnodal 10GbE network.
Heterogeneous Computing keynote and tutorial at HiPEAC 2012I'm giving the opening keynote as part of the MULTIPROG track at HiPEAC 2012 in Paris (Jan 23-25), as well as co-running a 1-day tutorial on Heterogeneous Computing at the same event (with AMD).
Knowledge Transfer Partnership with Cresset LtdThis project is taking the technologies developed at the University of Bristol for exploiting many-core architectures such as GPUs for molecular (drug) docking and apply them to Cresset's molecular similarity software, FieldScreen. For a brief description of the project, see this blog.
Energy Efficient High Performance Computing website launched with ARM at SC'11 Birds of a Feather sessionThe University of Bristol's Microelectronics Research Group, in partnership with ARM, launched a new community initiative for Energy Efficient HPC with the creation of EEHPC.com. EEHPC.com was announced at an Energy Efficient HPC birds of a feather session at IEEE/ACM SuperComputing 2011 (Nov 15th, Seattle), the first time ARM has officially taken part in the SuperComputing conference. All the talks from the BoF are available from the EEHPC downloads section. Researchers in energy efficient HPC are encouraged to promote their research using this site.
OpenCL Tutorial at SC'11"OpenCL: a hands-on introduction" all-day workshop at IEEE/ACM SuperComputing 2011 (Nov 13th, Seattle) with Tim Mattson (Intel) and Benedict Gaster (AMD). We had roughly 85 particpiants join us for this tutorial.
HPC Software Project: making HPC easy to use for computational chemistryAt the end of 2011 we started a new EPSRC-funded HPC software development project (EP/I030395/1). This project is in collaboration with Adrian Mulholland in the School of Chemistry, and includes two RAs: Dr Christopher Woods and Dr Ben Long. This team is developing a new software library to support massively scalable computational chemistry codes across very large scale systems in a fault-tolerant and energy-aware fashion. The library will be applied to several grand challenge problems in biomolecular simulation. For more information on this project, which is now entering the beta testing stage with early partners, please see the project website.
- Head of Microelectronics Research Group
- Senior Lecturer in High Performance Computing and Architectures
- Member of the EPSRC Archer national supercomputer design team
- Member of the Partnership for Advanced Computing in Europe (PRACE) prototype selection panel for PRACE-1IP (WP9) and PRACE-2IP (WP11), January 2012, allocating a budget of over €2M.
- Invited member of the Scientific Committee for the EPSRC-funded Network on Numerical Algorithms and High Performance Computing, led by Prof Nick Higham at Manchester University.
- Member of the executive board for the EPSRC CCP on Algorithms and Software for Emerging Architectures (ASEArch)
- Chair of the Many-core and Reconfigurable Supercomputing Conference (MRSC)
- Member of EPSRC's new Research Infrastructure Strategic Advisory Team (since 2011)
- Member of EPSRC's resource allocation panel (RAP) for HECToR, the UK's national supercomputer resource
- Member of the programme committee for IEEE/ACM SuperComputing (2012, 2010)
- Part of the International Exascale Software Project since April 2010
- Technical expert in the European Exascale Software Initiative (EESI) since November 2010
- Member of the programme committee for the International Supercomputing Conference
- Member of the programme committee for the Programmability Issues for Heterogeneous Multicores (MULTIPROG) workshop since 2011, part of HiPEAC
- Member of the programme committee for the International Conference on Energy-Aware High Performance Computing since 2010.
- Member of the University of Bristol's HPC executive and technical advisory board
Fifteen years semiconductor industry experience in many-core microprocessor architecture design at Inmos, STMicroelectronics, Pixelfusion and ClearSpeed
- As a founder at ClearSpeed I had various senior technical roles between 2002 and 2008 including VP of Applications and Director of Architecture. I co-developed the architecture of our record-breaking many-core processors, including the 192 core CSX700, 96 core CSX600, and 64 core CS301 prototype
- At Pixelfusion I was a microprocessor architect and low-level GPU driver developer for our innovative 1,536-core graphics processor, the F150. This was the first true GPGPU and also included the world's fastest Rambus implementation at the time (4 channels delivering 6.4 GBytes/s, a lot in 2000!) and the first commercial implementation of an Arc core. It also pioneered using redundant cores to tolerate manufacturing defects in many-core devices.
- Graduated as valedictorian with a first class degree in Computer Science from Cardiff University
Recent funding
- EPSRC project "Future-proof massively-parallel execution of multi-block applications" with Prof. Mike Giles, University of Oxford, Prof. Christian Allen, University of Bristol, Prof. Neil Sandham, University of Southampton, and Prof. David Emerson, STFC. Starting October 2013, ~£900K.
- BBSRC HPC software tools project to develop BUDE molecular docking software on GPU systems. [BB/K004050/1]. Began Sep 2012, £150K.
- Industrial CASE PhD studentship with Imagination Technologies Ltd. James Price started Jan 2013. ~£75K.
- €1.6M Framework 7 funding for the European Exascale Software Initiative 2 (EESI-2). I am chairing the Energy Efficient Computing task (WG5.3), began September 2012.
- £32k University of Bristol EPSRC Institutional Funding Award for 9 month RA post to port HPC codes to the e-Infrastructure South Consortium's computing resources, specifically the "Emerald" GPU cluster (largest of its kind in the UK). Started July 2012.
- AWE summer internship project to investigate energy efficient HPC, benchmarking applications on the Mont Blanc prototype machines and contributing to the OpenCL, CUDA and OpenACC versions of the Cloverleaf wavefront benchmark. £7k.
- e-Infrastructure South Consortium – Centre for Innovation. [EPSRC EP/K000136/1 & EP/K000144/1]. New regional HPC centre, a consortium of four HPC-intensive universities: Oxford, Bristol, Southampton and UCL. Will create the largest GPU cluster in the UK, and the largest Fermi-based GPU cluster in Europe, to be installed by the end of March 2012, as well as a 12,000 core x86 cluster. ~£3.52M.
- University of Bristol, Faculty of Engineering capital award to purchase a GPU computing teaching cluster, ~£31K.
- Applying many-core Graphics Processors (GPUs) to Molecular Similarity Problems [TSB KTP with Cresset BioMolecular Discovery Ltd]. Beginning Feb 2012, ~£100K.
- Adaptive Multi-Resolution Massively-Multicore Hybrid Dynamics. [EPSRC EP/I030395/1]. Began September 2011, ~£480K.
- Industrial CASE PhD studentship with NAG Ltd. Rob Hunt started Nov 2009. ~£74K.
Research interests
- New algorithms for novel architectures
- Energy efficient computing
- Heterogeneous, many-core processor architectures, including GPUs, Fusion, MIC, ...
- Scaling applications to run on millions of cores (Exascale computing), including fault-tolerant algorithm design
- Microprocessor 2020
Workshops and Tutorials
- "OpenCL: a hands-on introduction" all-day workshop at IEEE/ACM SuperComputing 2011 (Nov 13th, Seattle) with Tim Mattson (Intel) and Benedict Gaster (AMD). We had roughly 85 participants join us for this tutorial.
- "Introduction to OpenCL" workshop on behalf of EPSRC for users of the UK's national supercomputing resource, HECToR. This was run for the first time in May 2011 and again, in Manchester on November the 24th and 25th, 2011. All the lecture and practical material for this two day workshop is freely available online on my website here. I encourage you to use this for your own purposes, but please retain the appropriate attribution and also drop me a line to let me know!
- I'm also planning an "Advanced OpenCL" workshop for a later date.
- COMSM0109: Advanced Computer Architecture with David May. This course enables you to really understand how processors work and how best to exploit modern processor features from software.
- COMSM2400: High Performance Computing. This course takes you through the theory and hands-on practise of high performance computing, focusing on parallel processing models, and applying these to the latest cutting edge computer architectures.
- COMS12900: HiTec Enterprise (Unit director) - first year introductory course to innovation and entrepreneurship. This course will equip you with highly marketable skills that will prove valuable through your remaining time in Bristol, and beyond.
- COMSM0306: Individual project business plan (Unit director) - fourth year course. Advanced topics on how real companies work, innovation, entrepreneurship and transferrable skills. This is one of the top courses of its kind anywhere in the world (we know, we did the benchmarking), and will make you extremely marketable. The skills you learn here will be incredibly valuable throughout your entire career, no matter what kind of roles you choose.
PhD Students
- James Price - investigating performance portability for heterogeneous many-core architectures. This is a CASE DTA conversion studentship with Imagination Technologies Ltd
- Rob Hunt - investigating new mathematical algorithms for massive parallelism. This is a CASE PhD studentship with the Numerical Algorithms Group (NAG)


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Sooners sweep Longhorns
- Details
- Source: Sooners Illustrated
(by Bob Przybylo) NORMAN -- It was an accurate thing to say two months ago that Oklahoma was all offense and no defense. The Sooners best bet was to outscore their opponents and hope for the best. But Saturday was another illustration of just how far the team has come defensively...Read more


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Northern Arizona University is pleased to announce the Emergency Textbook Loan program, which is administered
by the LEADS Center. The purpose of this program is to assist students with unmet financial needs in obtaining required textbook(s) for schooling. Textbooks must be returned at the end of the term in which they were loaned. Please review the information
below and contact email@example.com with any
Which books are
New, used, and rentals are available for this program from the NAU bookstore only. Clickers, course packs and other suggested materials may be covered. This program does NOT support anything purchased online or outside the on-campus bookstore.
How many books may
a student obtain?
Students are
only allowed to borrow six books per semester. There is a limited amount
of funding available each academic year. Applications will be considered on a first
come-first serve basis.
Students are
approved for the Book Loan Program based on a combination of factors that
include but are not limited to: 1) eligibility, 2) financial need, 3) date complete
application was submitted and 4) past borrower history.
Notification of Award/Denial: Applications are accepted 7 days prior to the start of term. The priority application deadline is the drop with a "W" date (approximately 9 days after the start of the semester); and the final application deadline is the administrative drop deadline (21st day into the semester).
Returning Textbooks: All textbooks must be returned to the LEADS Center on or before the last day of finals. If a student is tardy in returning their textbook, they may be ineligible to participate in the book loan program in future semesters.


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Syrian Driver Killed in Dubai as Thick Fog Disrupts Traffic
A Syrian truck driver died Sunday after his vehicle overturned in the thick fog, which blanketed the Emirati city of Dubai, reported the Gulf News.
Dubai police said the 40-year-old Syrian was driving too fast on the slip road leading to the Emirates Ring Road in Sih Shuaib at 7 a.m. (UAE local time) when slow moving traffic ahead suddenly emerged from the fog. He was forced to swerve and the truck overturned, killing the driver instantly.
The weather also caused disruptions at Dubai airport with three flights having to be diverted to Muscat and Bahrain because of the low visibility, said the paper.
The runways were closed at 5 a.m. when visibility was reduced to 100 meters and reopened almost five hours later when the visibility increased to 1.5 km.
An airport spokesman said the three diverted flights arrived in Dubai when the runways reopened but the delays also affected their return journeys.
The police and civil defense have not reported any road accidents due to the weather conditions. However, motorists were seen driving carefully, according to the paper -- Albawaba.com


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What does a small town in Maine, three dead eagles, and the NRA have in common? No; no one was shooting eagles in Maine, but they may as well have been.
On a cold January day, the residents of Wilton Lake, Maine, saw a majestic bald eagle plummet to the ground. They rushed it to a wildlife rehabilitation center. "X-rays showed a metal fragment in its intestinal tract," said Diane Winn of Avian Haven in Maine. She also mentioned the blood tests showed lead levels were off the charts.
"The source of the metal is unknown, but it appears to be a piece of spent ammunition," continued Winn. "As scavengers, birds can ingest pieces of lead from a carcass left in the field."
Despite heroic efforts, the eagle died three days later, the small town's third dead eagle in just two weeks.
This tragedy was no isolated incident -- more than 20 million wild American birds die each year from ingesting toxic lead ammunition. Environmental and wildlife activists have been pushing to stop the use of lead in ammunition, and they're asking for support.
The NRA, however, has been fighting to keep poisonous lead ammunition on the shelves -- spreading misinformation and attacking activists, scientists, and even zoos. Now the NRA's launching its biggest attack yet, pushing deceptive federal legislation that would make it nearly impossible to stop toxic lead from killing our wildlife.
This deadly piece of legislation has already passed the House, but it can still be stopped in the Senate. Organizations, such as the Sierra Club, have already fought back once before and won. Last fall, supporters stood up to the NRA -- and California passed the nation's first ban on lead ammunition.
This extremist SHARE Act would strip the EPA of its ability to keep lead ammunition and fishing tackle out of the environment. And it couldn't come at a worse time -- last year, a record number of California condors were treated for lead poisoning.
The science on lead is straightforward -- despite what the NRA and ammunition manufacturers want everyone to believe.
Lead is a deadly neurotoxin and it's been eliminated from our gasoline, paint, and toys. But right now, over 3,000 tons of lead from bullets is being shot into the wild every year -- while another 4,000 tons from fishing tackle are lost in ponds and streams. Birds of prey often ingest these lead fragments -- either when they are left behind on the ground or when feeding on other animals that were killed with lead bullets.
Despite the propaganda, there are plenty of effective alternatives to lead ammunition. Hunters in Arizona have embraced safer copper ammunition -- even the U.S. military is making the switch.
"Enough is enough -- it is time to get the lead out," say Ashley Allison of the Sierra Club.
TAKE ACTION: Click here to tell your senator: Stand up to the NRA and oppose the SHARE Act to protect our wildlife from toxic lead ammunition!
Stay up to date on the latest in green activism. Amanda Carlucci has her finger on the pulse of the green movement. Click here to subscribe to her column (it's anonymous and free). You CAN make a difference. Be a part of the movement.


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Skydiving.com now has a network skydiving location serving Crook and Logan County in Colorado. Call Skydiving.com at 1-800-617-7948 for details, free information and specials on skydiving in Crook, CO today!
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Jan 28, 2011 12:00 PM
At Outblush, we're no strangers to the genius of L'Occitane. Their potions and creams seem to work miracles on our skin and scalps. We also love that they've got plenty of sets for sale so we can blissfully sample several types of creams all with one purchase. Our current obsession is the Limited Edition Hand Cream Bouquet ($48, on sale). It contains six travel size tubes of their best selling hand creams. And though we love them all, we'll begrudgingly hand a few over to mom, sis, and bff to sample and store in their purses. Just cause we're nice like that!
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text: Aug 24, 2013 19:43 Isaac effectsto lingerfor years Isaac effectsto lingerfor years Advocate story Comments For those of us who've hunted McElroy Swamp for its deer, rabbits, squirrels and ducks, the prospects of facing this year and the next, and the next with many fewer whitetail deer is disheartening at best. At worst is the prospect that what Hurricane Isaac wrought is what will face us the next however many years we have until our state begins to realize that the land between Baton Rouge and New Orleans, mostly south and east from Ascension Parish to Lake Pontchartrain, is sinking and sinking fast. If it's not, then how could a storm like Isaac cause this much habitat destruction over such a broad area. Every one of the Florida Parishes, save East Baton Rouge Parish, had extensive flooding problems. Every parish affected by tides in Lake Maurepas suffered untold ecological damage. In McElroy Swamp, the water lingered long after it should have: Isaac came in late August and floodwaters south of La. 22 near Sorrento didn't begin to recede until late September, and are not yet down to pre-Isaac levels. Although the actions taken by the Louisiana Wildlife and Fisheries Commission to severely reduce deer-hunting days throughout this Maurepas Basin, that, for now, is a one-year bandage on what could be a decades-long wound. While not to discount all the folks who suffered property damage in the Maurepas Basin, the prospects of long-term habitat degradation calls for something more than a short-term solution when it comes to the prospects of restoring deer and rabbit populations to an area that soaks up tens of thousands of outdoor recreation hours annually between the state's two major population centers. Isaac's storm surge, estimated 5-6 feet in the Maurepas Basin and up to 14 feet south of Lake Pontchartrain and east of the Mississippi River, remained high for an extended period. The combination of those two factors brought an estimate of as much as 90 percent mortality on the young-of-the-year whitetail deer. That means we'll see no young deer next year throughout this area. What it means in future years is anyone's guess, but it's likely that deer herds throughout the Maurepas Basin will face reduced food sources for the next year, possibly beyond, and that will further reduce near-future recovery prospects for deer and rabbits. Nutritious food sources lead to more fertile doe deer and that leads to more and healthier fawn production. It's likely that plants deer and rabbits use for food, plants that sat underwater for as long as three weeks, will take longer than a year to regenerate enough to supply nutrients to re-energize deer herds to pre-Isaac levels any time soon. So while deer hunters face reduction of as many as 63 days in Isaac-affected areas this year, it's a sure bet that these restrictions will be around for at least the 2013-2014 season. And that's only if another Isaac, or something much worse, doesn't come calling next summer. Get The Advocate in your inbox Subscribe


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Publisher of free mobile travel guides to Banff, Lake Louise and the Canadian Rockies. Up-to-date information is now conveniently available to travelers from anywhere at anytime on their cell phone, Blackberry, PDA or i-Phone.
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|Trad, Sport, 3 pitches, 200'
|YDS: 5.10+ French: 6b+ Ewbanks: 21 UIAA: VII+ ZA: 20 British: E3 5b [details]
|Bob D & Bruno Haché, 8/07
|New Route:
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|Orphaned on Sep 20, 2007
|2016 Seasonal Raptor Closures - Eagle Rock remains closed MORE INFO >>>
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By percious
From: Bear Creek, CO
Oct 18, 2007
rating: 5.10d 6b+ 21 VII+ 21 E3 5b
Interesting 2nd pitch! The bolts are well placed. It looks like a key hold might come out. (There is a loose, triangular block above the roof that creates a good hand-hold.) I wonder if this would go at a lesser grade if someone cleaned the crack above the roof?
I think this one could go trad if you were ambitious. Maybe some day.
By Jay Eggleston
From: Denver
Aug 4, 2013
rating: 5.10d 6b+ 21 VII+ 21 E3 5b
|You certainly need to know how to stem to be successful on the 2nd pitch. The 1st pitch looks difficult, but good holds appear when you need them.


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Also known as "Jack the Dripper", Pollock created works of great complexity and sensitivity using a working technique that traditional critics considered absurd and uncontrolled. However, looking at the detail of "Fathom-five" at the right reveals to the viewer the clarity and design of Pollock's work. Seen either up-close or from a distance, Pollock's works are impressive, especially considering the speed of his work and the tools he used such as sticks and paint stirrers. Jackson Pollock expressed ideas and emotions with the pure elements of art: color, shape, texture, and line. He used rhythm, unity & variety, emphasis/focal point, and scale as the primary principles of his designs. "Fathom-five" expresses in a very abstracted, perhaps non-objective, manner the depths of the ocean five fathoms below the surface. Perhaps symbolically, Pollock communicates the depth of human thought and the subconscious - or the hidden depths of meaning that can be expressed by an artist to an astutely observant viewer.
Can you "fathom" Pollock? Visit the Pollock site below for more of his works, biography, and commentary/criticism.
Can you "fathom" Pollock? Visit the Pollock site below for more of his works, biography, and commentary/criticism.
Links to the World of Art
Analyzing the (often) confusing world of Modern Art (see page 538 in text for bio on Pollock)...
How on earth can a viewer of art begin to understand a work such as "Fathom-five"? Titles can provide clues - as is the case for this painting. But often such clues can be either incomplete or misleading. It is important to learn a bit about an artist, a culture, or a time period before dismissing a work as "meaningless". Perhaps the artist is more interested in "form" than in "content". Perhaps "form" is the "content" when artists are experimenting with the elements and principles of art. Artists may work intuitively as Pollock did and then title a painting at a later date. Maybe an artist is able to learn about himself/herself through experimenting - just as a writer does when scribbling in a diary or journal. In Pollock's "Action Painting", a veritable burst of energy seems to emanate from the canvas. Perhaps that energy was part of the content of the work. It is certainly the factor that communicates itself most strongly to viewers almost 50 years after the work was created. Energy, confusion, complexity, subconscious thoughts not yet evident to the artist himself - could these be the "content" of some of the works that so confuse and intimidate viewers? It seems that the times of most radical change in human history have elicited the most radical and problematic works of art. The Atomic Age, Pollock, the other Abstract Expressionists all exploded onto the world scene in the late 1940's. Art is the mirror of life - sometimes even when the art image is unrecognizable!
Welcome to Art Appreciation Class!
In the 21st century what will "ART" be? How will people and cultures make art and relate to it? What will artists be like? Will we all be artists? Let's begin to ask some in-depth questions about art in general and certain works and artists in particular. The first few chapters of the text relate to generalities about art that are essential to an understanding and appreciation of art. Visit this website often and pay attention to the videos and links you will see during the course.
I hope that you will enjoy learning about art and making some art during this term.
I hope that you will enjoy learning about art and making some art during this term.


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In a true CrossFit competition you never know what you're going to get into,
especially when it's in the region of the world it was originated… Northern California.
You do know what kind of weather you're going to get… cold, wet and raining.
Both did not disappoint this past weekend at the 2011 "Courage Games" hosted by fitness icon Josh Courage.
As I rolled into Coyote Park at 0600 Saturday morning with my lifelong friend Chris LaLanne of LaLanne Fitness drinking a coffee and laying back with the heater on high, I don't think I realized I was about to spend the day in 40 degree weather doing WODS in the rain. So I will start by thanking my wife… for watching me spend the day doing WODS in the rain. Actually I am pretty sure she had fun you can probably hear it on the video. She's the one YELLING and encouraging me to go HARDER. So I did. I placed 4th out of 25 behind the winner and Top CrossFit Gamer Neil Maddux. It was a true test of speed, strength and skill 3 qualities you must own if your training for the CrossFit Games. The conditions were horrible which made things more exciting and changing clothes, eating snacks and warming up all became a process that takes total effort. Fortunately for me I was at home… I actually had more people cheering me on than some local guys. Thanks to my family Chris and Maribel LaLanne who had all 3 of their Team's compete, place and win 1st, 2nd and 3rd for TOTAL DOMINATION. Chris runs his BOX like we do… family first, competitive nature and a FUN atmosphere. Even when things get uncomfortable we found ways to laugh and so we all should. This weekend we will be flying out to Texas to test our skills against the Southwest Throwdown.
Individual WOD #1:
a) 1.3 mile run
b) Ground to Overhead Anyhow procession
Men - 155#, 165#, 175#, 185#, 195#, 205#, 215#, 225#
Women - 65#, 75#, 85#, 95#, 105#, 115#, 125#, 135#
Individual WOD #2
10 KB Swings 53#/35#
40 Air Squats
20 KB Swings 53#/35#
30 Push Ups (hands off deck)
30 KB Swings 53#/35#
20 Burpees
Individual WOD #3
15 Deadlifts 275#/185#
10 Barrier Hurdles
30 Double Unders
20 meters out and back Overhead Lunge 45#/25#
Transfer your bar (275#/185#) 20 meters (anyhow)
20 Deadlifts 225#/135#
Sprint to Barrier
8 Barrier Hurdles
30 Double Unders
1A 1B Total 1 WOD 2 WOD 3 Total
Neal Maddox 495 0 495 209 241 945
Dusty Sulon 497 0 497 242 255 994
Peter Nguyen 487 0 487 227 290 1004
Luke Kayyem 504 0 504 223 294 1021
Chris Michelmore 473 0 473 240 311 1024


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Picture of Cheetah Girl Adrienne
Bailon and her boyfriend, reality TV star Rob Kardashian.
The lastest news:
Former Cheetah Girl Adrienne Bailon says, "You do some crazy things when you're in love." Her butt has a nice tattoo of Rob's name. There were some pics of it on this site but I thought it would be best to remove them For the little kids ya know. They were not good for the Disney crowd. he's "working on" getting the tattoo lasered off. It can be a long process or I guess you could say a pain in the ass!!! HARHAR HAR.....
"I know it sounds weird, but once those things become a part of your body, you almost forget that they're there," she says. "I honestly forget unless someone brings it up to me."
Picture of Rob Kardashian's tattoo
which has the name of his girlfriend Adrienne Bailon.
Picture of Disney's Cheetah Girls star
Adrienne Bailon.


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Chairman & Founder
The Awards Story
The 1985 Charles S. Roberts Awards were presented at L.A. Origins '86 at the Los Angeles Airport Hilton Hotel. Many veterans of Origins regard this as the best Origins convention ever.
Best Pre-Twentieth Century Game
Best Twentieth Century Game
Best Fantasy or Science-Fiction Board Game
Best Adventure Game for the Home Computer
Best Graphic Presentation in an Adventure Game
Best Professional Boardgaming Magazine
Best Amateur Magazine
Hall of Fame
& = Awarded Best in that Category
Diverse Talents, Inc. acquired Fire & Movement magazine from Steve Jackson games in 1985 and went on to host the 1986 L.A. Origins game convention. 1985 was also the first year that a Japanese designed game (Pacific Fleet) was released to the English language market (it was distributed by Quarterdeck Games).


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1 Nov 12:12 2006
Updated: fontconfig-2.4.1-2
Jan Nieuwenhuizen <janneke-list <at> xs4all.nl>
I've made a new version of fontconfig available. This is a bugfix release. Changes * Remove /etc/hints. * Doc in main package. * Remove curr from hints. * Add manual pages. * Remove old symlink in postinstall script. For a brief description of this package, and a listing of the files it contains, see http://cygwin.com/packages/fontconfig . The project web page has more details: http://www.fontconfig.org . To update your installation, click on the "Install Cygwin now" link on the http://cygwin.com/ web page. This downloads setup.exe to your system. Then, run setup and answer all of the questions. Jan Nieuwenhuizen *** CYGWIN-ANNOUNCE UNSUBSCRIBE INFO *** If you want to unsubscribe from the cygwin-announce mailing list, look at the "List-Unsubscribe: " tag in the email header of this message. Send email to the address specified there. It will be in the format: cygwin-announce-unsubscribe-you=yourdomain.com <at> cygwin.com(Continue reading)


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Guests call The Beach House "A dream of a place... a little bit of paradise." Others claim it, we're Plymouth's only B&B at the ocean's edge. Casual elegance, an unforgettable view...sunrises, sailboats, seals and sand. You really can see forever!
Enjoy the romance of an award-winning romantic Victorian inn. Antiques, fireplaces, a/c, water views, gourmet breakfast. "THE place to stay on 6A" says BOSTON Magazine. AAA 3 diamond
The Hampton Inn & Suites Plymouth MA will provide an oasis from the hustle & bustle of city life. Just a short drive South of Boston,relax in our mini-suites , enjoy our glass enclosed heated pool & whirlpool. Dine and shop at a variety of restaurant
This elegant AAA Four Diamond sea captain's estate is the perfect choice for a romantic getaway. Featuring 16 luxurious rooms with 4 poster beds, fireplaces, whirlpools, TV/DVDs full breakfast and 2 acres of lawns, fountains and gardens with pool.
This exquisite 9 roomed bed and breakfast inn is located in mid Cape Cod. All rooms and suites have private bath, some have fireplace/massage tub/private balcony. Walk to restaurants, beach, shops and museums. Only 10 minutes to island ferries.
Unique Historic Inn by a sandy beach . Central to Boston and Cape Cod. Modern amenities with yesteryear's comforts. Walk the beach enjoy the garden or visit museums. It's all within reach and your hostess will guide each personal preference. Full BF
Year-round,green cert full service country inn,restaurant&lounge, centrally located,with baths,free WIFI,TV's,phones, A/C,canopy beds,antiques,heated indoor pool&Jacuzzi, sun deck,gardens,Computer Rm. Rates $90-$160 incl room,bkfst & Din for 2 people
KAYAK On beautiful 375 Acre Herring Pond AT WATERS EDGE Down a winding road, on a quiet cove, discover a great beach house. This storybook waterfront setting is a perfect escape from the ordinary.
Select your destination in Nantucket Massachusetts. Browse thousands of listings for accommodations, adventures, tours and travel services.


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AMIA provides an opportunity for a diverse array of professionals, students, and friends of the field, to meet, share information and work together. For newcomers to this vibrant, dynamic, and committed community, networking with other AMIA members and industry professionals is an invaluable introduction.
AMIA Forums
1313 N. Vine Street, Hollywood, CA 90028 • Phone 323.463.1500 • Fax 323.463.1506 • Email: firstname.lastname@example.com


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Women's Basketball Defeats NWBL USA Elite Team, 61-45
Nov. 4, 2001
AMHERST, Mass. - Junior Nekole Smith (Ann Arbor, Mich.) scored 15 points to lead the University of Massachusetts women's basketball team to a 61-45 victory over the National Women's Basketball Leage Travel Elite team in exhibition play at the Mullins Center this afternoon.
In 16 minutes of play, Smith shot 7-for-13 from the field and pulled down seven rebounds. The exhibition contest marked her first game back for the Minutewomen since sitting out the entire 2000-2001 season with a dislocated knee. Freshman Katie Nelson (Ellicot City, Md.) was perfect on four attempts from three-point range and 5-for-7 from the field for 14 points in the first game of her career as a Minutewoman.
Junior Jennifer Butler (Brooklyn, N.Y.) posted a double-double, scoring 10 points (4-15) and grabbing 13 rebounds. Sophomore Paige Harris (Rochester, Mich. picked up right where she left off last year, scoring six points on two-for-three shooting from behind the arc. She led the team in three-point field goals a year ago with 44.
Kristen McCoy led the NWBL USA Elite team with 14 points on 6-for-8 shooting from the floor. She also had a game-high four steals for the Elite Travel team.
The Minutewomen return to action on Friday, Nov. 16, when they take on Holy Cross at the Hart Center in Worcester, Mass. at 7:00 p.m.
Featured Links
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A Peace of My Mind is a collection of poems written by Kenyetta A. Riley, an African American poet from Mississippis, who currently resides in Atlanta, Georgia.
The book contains her poetic views on life, love, death, and everything in between. In A Peace Of My Mind, she bridges imagery and passion to bring the reader into the narrative of her life and experiences.
This book is a must read for anyone that enjoys abstract poetry and prose.
Please read and enjoy.
"Breathe-in experience, breathe-out poetry." - Muriel Rukeyser
Comment posted.
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Court of Kings Published June 28, 2011


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Watch beautiful music performed in a magnificent setting this weekend.
As part of the Mighty 5 Tour, Utah Symphony will perform at the O.C. Tanner Amphitheatre in Springdale, UT (near Zion National Park) at 8 p.m. on Aug. 16. Take a road trip, and enjoy the symphony in red rock country.
We're giving away two tickets each to three different winners.
To enter, leave a comment below letting us know what you love most about Zion National Park.
We'll pick winners on Thursday, Aug. 14. Make sure you leave your email in the designated field or in the comment itself, so we can get in touch with you. Lodging and transportation will not be provided.


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The Groton Cultural Council seeks to support a wide variety of arts programming in the community to serve all the citizens from toddlers to seniors. In the past we have contributed to musical events, humanities programs, lectures, art shows, history exhibits, and environmental activities, among many others.
Please note that the Groton Cultural Council's mailing address has changed:
Groton Cultural Council
173 Main Street
Groton, MA 01450
Groton Cultural CouncilMary Jennings
62 Blossom LaneGroton, MA 01450
primary 9784485381
secondary 9788773799
fax 9784485381
email firstname.lastname@example.com
Facebook http://Groton Cultural Council
Applications for field trips are accepted. (Formerly known as PASS applications.)
LCC Program Guidelines (PDF)
The postmark deadline for applications is October 15
1. Local artists/programs
2. Benefit Groton residents
3. Low administrative costs
4. Have a broad appeal
Groton Cultural Council
173 Main Street
Groton, MA 01450
1. All applicants must have a local partner with letter of endorsement and proof of collaboration and interest.
2. Grants should follow the funding priorities.
3. Please know that the Groton Cultural Council only receives the minimum amount of grant money from the Massachusetts Cultural Council and generally has not more than $5,000 per cycle to award. The Council likes to spread the "wealth" and rarely awards more that $600 per application.
©2001-2016. Massachusetts Cultural Council. All rights reserved.
Contact MCC| Term & Conditions | Privacy Policy
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The 165-pound wrestler from Caney, Kan., went 3-0 at the HAAC Quad in Marshall, Mo., taking on the conferences best.
Price pinned Dakota Britt of Graceland and pinned Connor Kenyon of Benedictine for his first two wins of the day and then defeated James Smith of nationally ranked Missouri Valley in a 5-2 decision.
Price and the rest of his teammates will next take on one of the premier wrestling programs in the country, as they travel to Iowa City, Iowa to take on the University of Iowa in a dual this Friday, Nov. 22.


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Celebrating at my final conference of 2011
Getting to attend conferences to give training on Intel(R) Software Products is one of the perks of my job. And last week I got to exercise that perk when I had the opportunity to attend part of the Grace Hopper Celebration of Women in Computing conference. I presented a poster on our Intel® Parallel Studio […] Read more


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The New York City Subway is huge. It has 468 stations across 24 lines! It is the forth busiest and quickest rail network in the world. Pretty impressive! Due to its sheer size, it can be tricky to get from one place to another without consulting a map first. Because of this, we have put together a handy NYC Subway map that you can save, print out or access on your mobile phone.
Click on NYC Subway Map below to see zoomed in version.
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Port Townsend Food Co-op, 414 Kearney St., Port Townsend, WA, 98368Open Every Day 8am-9pm Phone: (360) 385-2883
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The protesters broke into a regional administrative building in the mining city of Donetsk on Sunday as well as security services offices in nearby Luhansk, where police said they had seized weapons.
(CNN) - Pro-Russian protesters have seized state buildings in several east Ukrainian cities, prompting accusations from Kiev that Moscow is trying to "dismember" the country and carry out a replay of Crimea.
The protesters broke into a regional administrative building in the mining city of Donetsk on Sunday as well as security services offices in nearby Luhansk, where police said they had seized weapons.
A self-proclaimed legislature, representing what it called the Donetsk People's Republic, then announced that it would hold a referendum by May 11 on whether the area should join Russia, Russian state-run news agency ITAR-Tass reported. The report could not immediately be independently verified. The Russian news agency also said the Donetsk group asked Russian President Vladimir Putin to send a "temporary peacekeeping contingent."
In a televised message, acting Ukrainian President Oleksandr Turchynov accused Russia of starting a second wave of a special operation against Ukraine intended to overthrow the Kiev government.
Protesters also seized the regional administrative building in Kharkov. Interior Minister Arsen Avakov, in the city, said on his Facebook page Monday that the building had been cleared and that public employees had returned to work. All three cities lie close to Ukraine's border with Russia.
Mainly Russian-speaking eastern Ukraine has seen a sharp rise in tensions since a new pro-European government took charge in Kiev after the overthrow of pro-Moscow President Viktor Yanukovych in February. Donetsk, Yanukovych's hometown, has seen several pro-Russian rallies in the last few weeks.
Moscow has branded the new government illegitimate and last month annexed Ukraine's Crimea region, citing threats to its Russian-speaking majority -- a move that has sparked the biggest rift in East-West relations since the end of the Cold War.
Moscow had no immediate word about the comments.


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Losing My Religion (LONG!!!)
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Join Date
: Sep 2010
: 79
I'm fairly certain that I'm not going to devolve into an amoral savage simply because I've stopped believing in a deity.
Are you saying that we shouldn't hold people responsible for their actions? Seriously?
Noooooo, you misunderstood what i tried to say, Q. Possibly my fault, i didn't say everything with enough accuracy. I didn't mean he has to turn into an "amoral savage", don't be an extremist, come on... I meant that he should become an anti-religious people, just critizising every step they do. Also, religion is not based in a deity, not all of them, as i said, there are religions that are based in thinking about things that surround them, more like a phylosohpical way to live.
About the other thing... people are responsible of their actions, YES, but YOU ARE ALSO RESPONSIBLE OF YOURS, i think you should look at yourself first, not just once, or twice, always. You wouldn't have the need of critizising people if you were entirely perfect. The problem is that we all want the universe to be like we want, but we aren't like we should. We think the whole universe just works because of us, not literally, in a methaphorical way.
Also, i think the problem is NOT religion, most religions are based in a more intelligent phylosophy than what we just read. No offense for those that believe that the first 2 people in the world were Adam and Eve.. But, these things are stories, but what is hidden within them is what we don't see. When you see 2 friends fighting for something, you only see the fight and say, ¡Oh, my God!! (lol) but only some people see that is within that fight, feelings.... When we argue, we think we are so reasonable, we never look at ourselves correctly... Believe me, it is very hard for people to change their minds when they think something is as they think.
Well that was kinda an example...
Hope i am not misunderstood again.
Last edited by Kelvin; 11-11-2011 at
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Yes. While Blackboard currently does not automatically create, syndicate, or aggregate RSS feeds, it is possible to have the contents of one or more RSS feeds automatically appear within your course. Feed2JS is one free utility that allows for the contents of an XML file to be converted into javascript that can be embedded into Blackboard to display feed content.
Using Feed2JS simply copy & paste the URL of the XML file you'd like to post the contents of to Blackboard and then fellow the steps to generate the javascript code for your feed. Then, navigate to the location in the course where you'd like to have the contents of the feed displayed. Add a new item. Give the item a name and then in the HTML view of the text box, copy & paste the javascript generated by Feed2JS.
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