text:
Private Chris Taylor (played by Charlie Sheen) volunteers to serve overseas in the Army, where he goes for battle in Vietnam in the movie Platoon.
SSgt. Bob Barnes - Tom Berenger
TriviaActor Keanu Reeves was offered the role of Chris Taylor in Platoon, but he turned it down.
To prepare them for their roles, all of actors in Platoon had to endure a 14 day boot camp in the Philippines where they lived the full life of military men even right down to getting the military haircuts.
Academy Awards:
Tom Berenger won for Best Actor In A Supporting Role for the role of Sgt. Barnes in Platoon.
Willem Dafoe won for Best Actor In A Supporting Role for the role of Sgt. Elias in Platoon.
Oliver Stone won for Best Director for Platoon.
Arnold Kopelson, Producer won for Best Picture for Platoon.
80's Film Facts:
The Movie Platoon was released to theatres on 12/19/1986 by Orion, and grossed $137,963,328 at the box office in the US.
More Popular 80's Movies:
80's Movies Platoon download free 80's film DVD movies cast of characters and plot descriptions.


text:
I would like to show you a weird case.
This is my problem:
1. I execute the Order Number matchcode, in VA03 transaction.
2. I select the tab "Sales document accodrding to customer PO number".
3. THe search help returns X number of records.
4. When I select one of them, the order number (vbeln) is not filled in VA03!!!!.
How can I solve this problem? Any idea???
Thank you very much in advance!!!
The trick is to double click on the "document" number (column on the right), not the Purchase order no. column on the left.
Then the sales order document is copied as document number in VA03.
Best Regards / Un cordial saludo
Franck Lumpe
Freelance SAP Logistics Consultant
Thank you very much!!! But...It doesn't works.
I'm debugging the standard program, and I think that the problem is this LSDSDF05 program or the table control.
Best regards,
María Azurmendi.
How strange.
Are you sure you are double-clicking on the blue column?
Works here
Maybe there is an OSS note, but Sales Matchcode are such a basic system function I doubt it.
What is your version level?
Thank you very much for your help!!
In the result, the order number column is not blue. I think that it is the problem. You are right.
Now, I'm looking for why order number (VBELN), is not blue in VMVA matchcode. (In VMVAA matchcode, the order number column is blue).
Best regards!!
we've solved this problem. We've implemented 1319466 and 1309185 OSS notes .
Best regards!!!

subset: commoncrawl


text:
Membership and Listserv
The Association for Latin American Art has nearly
three hundred members from universities,
museums and foundations in the United States,
Mexico, Argentina, Panama, Ecuador, Uruguay,
Bolivia, France, Spain, and the United Kingdom.
Its members are currently conducting research in
all major time periods and geographic regions of
Latin America. Membership benefits include access
to the association listserv, a member directory,
semiannual newsletters, and networking opportunities at the College Art Association Annual Conference.
Membership is based on the calendar year (January 1-December 31). To become a member, or to renew your membership, please complete the membership form.
Membership Categories:
Regular $30.00
Student $20.00
Retired $15.00
Sustaining $100.00
Institutional $50.00
Institutional Sustaining $500.00
Membership dues can be paid online via PayPal.
Or they can be paid with a check made payable to the Association for Latin American Art. Please send all checks and member information forms to the Secretary-Treasurer:
Ananda Cohen Suarez
History of Art Department
GM08 Goldwin Smith Hall
Cornell University
Ithaca, NY 14853-3201
Thank you for your support of the Association for Latin American Art.
The Association for Latin American Art maintains a listserve to facilitate discussion and to distribute announcements on events, publications, and exhibitions to members.
Non-members with items for the list are encouraged to contact Maya Stanfield-Mazzi (email@example.com) to be added or removed from the listserv.
Members in good standing may post messages directly to the list by writing to firstname.lastname@example.com.


text:
Skip to comments.Stray Pit Bull Saves Woman, Child From Attacker
Posted on 02/04/2011 9:27:57 AM PST by rottndog
click here to read article
Old Bull might have been a pit bull or a mix. We had a dog that was dying and he howled Old Bull in to take his place for when he died. Old Bull was a good dog, but had lived independent for years before. We once had company, and Bull peed on my leg and I guess marked me as one of his pack. It really got away with me as I didn't understand it at the time. I popped his butt a few times in front of the company. He later took off after putting up with the stuff around here for a while; we had female dogs who expected him to "be sensitive" to their sensibilities. He got fed up and I don't blame him. I later saw him a ways up the road; he wasn't mad at me, just wasn't going to put up with us women. He was dear.
Chet99 got put down? Who did he bite?
Pitbulls have been given a bad rap by too many chicken littles.
See THIS THREAD . Note comment #1.
There are three different breeds -
American Staffordshire Terriers (Amstaff for short) - the AKC version of Pitbulls
Pitbulls - UKC
Staffies - abbreviation for English Staffordshire Terrier, recognized by AKC and UKC
Staffies are not pitbulls. They are smaller 30-35 pounds. They are the ones who cannot have a pink nose. In the UK they were known as the "Nanny dog." But now they suffer from the same breed issues as pitbulls here.
Shelters in the US are 80% pitbull and pit mixes. Huge problem.
I take issue w/Lt. Jones calling the owners irresponsible. We had a canine Houdini. It took what seemed like ages to seal off his escape routes. Furthermore, I worked w/juvenile offenders who would release dogs (open the gate and come back later to burglarize), so it may not have been the responsibility of the owner.
The Creator put that dog in that place for a reason.
Thanks for the great story!
P.S. Once, we got in the car to attend a birthday party, and this gorgeous pit jumped into my lap, turned around and looked at me while grinning madly as if to say, "Hey! Party? Wow!"
Yeah, but it's okay to taunt his ghost with positive pit bull stories. I was going to ping him myself because I thought his ghostly head might explode over this one.
I hope Angela gets her Angel.
"There are three different breeds"
Thanks for the info. I didn't know American Staffordshire Terriers English Staffordshire Terriers were two distinct breeds.
The driver was looking for a mascot, and he purchased Bud, described as a Bull dog .
Great story. Here's a link to a pic of Bud, goggles and all.
Animal control has determined that the dog is blind and mistook the perp for the child.
rottndog, do you have any follow-up on this?
11johara28, do you have a link to this information? Or did you forget your "</sarc>" tag?
Heh heh. Lol.
What does that have to do with pit bulls? I assumed it was his constant posting of PBT stuff.
Thank you. I think that 11johara28 was trying to make a joke or something. A little gallows humor is okay sometimes, I guess, but we have to watch out for the Chet99 types.
"... that's half Pit Bull, quarter Rottweiler and quarter Great Pyrenees..."
I am trying to imagine what your doggie looks like... either the most handsome dog in the world or, uh, one that only a mommy could love.
Nothing. He wasn't zotted over pit bulls. But his zot sure did make all the pit bull owners happy.... ;-)
Since Pits were originally a baiting and fighting breed, there's some aggression in the bloodlines - animal not people aggression because the handlers were in the pit with the dogs. BUT a well bred dog from good lines that is properly socialized and trained is not a problem.
*I almost said poodle, but you can hunt ducks over a poodle. See here: Up Close Photo.
Excellent. Thanks for sharing.
Well, sorry to see someone get the boot, but he sure got on my nerves a few times with the Pit Bull stuff.
Angels get to pick their form.
Sorry. Meant to be humorous. Wife says I have no sense of humor. I think she just doesn't understand me. Will try to put that little sarcasm thingy next time.
'S okay. I've done it myself, and gotten juice-oozing flamed for it too.
Disclaimer: Opinions posted on Free Republic are those of the individual posters and do not necessarily represent the opinion of Free Republic or its management. All materials posted herein are protected by copyright law and the exemption for fair use of copyrighted works.


text:
Hyperjunk: Unpacking the Shortest Video Art Ever Sold
March 25, 2013 · Print This Article
In the past couple weeks a myriad of media outlets have been chomping at the bit to comment on the first sale of a piece of art made on the rapidly rising social media platform Vine. The work in question was made by Angela Washko and presented at the Moving Image Fair by Kyle Chayka and Marina Galperina in their Shortest Video Art Ever Sold (SVAES for short) booth produced in collaboration with Postmasters Gallery. The sale of the work has been quickly marked as an easy target for many critical articles for a variety of reasons, however I feel that most takes have missed some of the more salient issues that surround this sale. I sought out Chayka, Galperina, and Washko to discuss not only their intentions with the project but also to examine what exactly this sale might signal in terms of a potential future for new media art production and saleability.
Before continuing, I feel it's important for me to say that I have serious misgivings about what the gesture of this sale means for contemporary digital art. That being said, I feel like the media coverage of this event hasn't given the participants a proper due, or has often been delivered from a somewhat askew and reactionary perspective (which I also might be guilty of). Although what follows is not an attempt to "get the story straight,†I'll try to curb my personal trepidations in favor of unpacking the intentions of this project. Discussing the implications of this sale – albeit from my hesitant vantage point – come from an underlying respect for the curators to find ways of challenging media art and it's location within a contemporary market.
On first glance, SVAES presents itself as a very self-assured project in that it immediately places these works in the context of purchasing and ownership. As a markedly youthful project, SVAES revolves around showing Vine as a kind of media art shopping-network/sketchpad. The rapid adoption of this product by artists working online (from Ryder Ripps to Rollin Leonard) seemed of particular interest and importance for the curators. In our conversation over email, Chayka maintains that his and Galperina's intention was always aimed at being tongue-in-cheek. Through employing this trending technology, Chayka articulates how initially the idea of asking artists to use Vine was a way of creating a semi-satirical entry point for this type of work within a larger art market:
I don't think SVAES was trying to present any particular kind of aesthetic or enforce a style; it was just about giving artists an opportunity to try something different, more improvisatory. For many of the artists, video isn't even their primary medium. This is more like a quick, expressive sketch, a video doodle, which seems like what Vine is made for.
Much of the press around SVAES positions the booth not only as a – in my mind seemingly unnecessary – bridge between video art and netart (as Chayka articulates) but also as a way for fairs to start to include artists primarily working through the web. This kind of representation of a netart community points to the abnormality of netart to be shown within the art fair circuit (artists participating either lack typical gallery representation or have decided to work outside of/parallel to traditional art markets). A result of this representation – combined with the curatorial decisions of Chayka and Galperina – is that the booth acted not only as a segue for netartist to be considered within a video art context, but also served as one of the first representational outposts of this generation of artists within a bigger art market. There have been other efforts and offshoots, including LikeArtBasel, but the specific intentions combined with internal support from the Moving Image fair mark it in specifically unique ways. As a result, the SVAES project coyly suggests to the traditional art world a need for opening up traditional methods of distribution for the sake of staving off cultural obsolescence.
This attempt at expanding horizons was a particularly important gesture for Chayka, especially when considering how digital art inherently disrupts the standard channels of art collection and distribution. An important aspect of this disruption comes from the way that the curators dealt with asking artists to use this social media platform. Artists participating in SVAES withheld their videos from public consumption, only to be viewable at the Moving Image booth. If a work was purchased, however, the responsibility of distribution and hosting was put to the collector.:
The social media tie meant that until the piece was bought, you couldn't see it online — the artist couldn't publish it, no one could share it, it functionally only existed in the gallery space, it had scarcity. But then when it was bought it was put online instead of taken off, with the imprimatur of the collector. Collecting is at times a very public act, and people should be proud of the art they buy and the artists they support. Through the Vine format and the SVAES project, we mad a meaningful way for them to do that.
The proposed, and eventual, collector had the choice of reposting the video back to Vine or to keep the work within private circulation. The sale of a work implicates the collector in deciding whether or not to allow the work to return to its native networked environment. This curatorial decision is where – in my opinion – the art in SVAES lives.
The unfortunate result of this artistic gesture is that it inadvertently undermines the work of the individual artist. In other words, Washko's work – and other SVAES pieces – becomes a foil for a curatorial critique of the art market. Washko's Vine is rendered somewhat irrelevant as soon as it is sold since the work no longer becomes about the artists and their piece, but more about the curators and the collector; at least this shift is where we find ourselves after the purchase has been complete. This process is not exclusive to SVAES as a model/format, but I wonder if the execution of this project is just highlighting an already standardized procedure within contemporary art sales in the form of an intentional gesture. If this is the case, maybe I'm not giving enough credit to SVAES. Even if this were so, the agendas involved in SVAES speak more directly to collection, distribution, or the way the net is expanding these horizons, and not to the content of each piece.
This is particularly worth noting given the content of Washko's piece, entitled Tits on Tits on Ikea. The work, a shortened alternative of a longer video, was in part made "as a reaction to all of the [already existing] homemade porn vines,†while also following in a line of feminist investigation/criticism that informs Washko's practice. To undercut this content seems to work against the artist's intentions of reflecting on this platform and the performative possibilities of short-form networked-video. When asked about the altered status of the work, Washko shared her ambivalent feelings about the overall process:
The thing that is important to [the Moving Image Fair] is that this so-called groundbreaking "Vine-art sale" happened within a framework they own. So it feels especially shitty when I'm not getting any love from them and also taking all of the heat for this project in several extremely spiteful articles, which I must admit are fun to deconstruct and respond directly to. I am thankful for having a very supportive community who are talking to me a lot about this experience as I try to process it, because it's been really weird… this unexpected media response to this piece was really hard for me in a way, because this was a work I wasn't ready to talk about yet.
Washko continued to explain how the sale of her vine went to a collector who has previously supported her work (Myriam Vanneschi), and that the $200 sale was a particularly personal gesture of a sustained artist-collector relationship. More importantly, the pointed backlash against Washko as an artists (as opposed to Vine as a product, or the Moving Image Fair as a cultural institution), strikes a disturbing chord since SVAES as a projects wants to critique institutions and not makers. Perhaps the vehement misrepresentation of the work and of SVAES speaks to the problems of presenting and selling work that embraces the sketching quality of Vine that Chayka discusses above. In my mind, relying on social networking as the primary platform of creative production is in itself a pressing problem within online art communities, and should be viewed as one of the primary sources of skepticism put toward this medium. Washko, however, discusses how this reliance is now part and parcel for how artwork is being made online:
We are already reliant on facebook/twitter/whatever to distribute work because the gallery system doesn't support this kind of work and we realize that we have access to like-minded artists across the globe, and we can support each other by helping to find contexts where this work will be supported for each other. I think it is surely problematic to reinforce the value of these branded, evil(!) channels, however it is hard to deny the benefits they have to broadening audiences and finding better contexts for work.Â
Perhaps the underlying problem here is that artists working online (at least in America) have decided to choose either gallery representation or social media; both formats necessitating a sidelining of personal politics in favor of reaching a larger and more lucrative audience. For those that choose social media in favor of traditional gallery representation, the artist is left in a particularly vulnerable position since their personal web presences acts as a stand-in for institutional safeguarding (i.e., a museum or curator can take the brunt of criticism and not the individual artist). The sacrifice is becoming more and more daunting as issues of digital ownership and intellectual property online are quickly mounting an End User License Agreement event horizon. The problematic that Washnko describes is perhaps the central location of where my reservation against SVAES lies. When an artist makes work specifically for the context of any given social platform – whether by choice or by invitation – the work unintentionally becomes a supporter of that brand. Perhaps the most troubling thing is the willingness on the part of the artist or curator to submit themselves to the whim of a more dominant cultural identity like Facebook.
This is particularly the case when a work made with social media does not address the material specifics of that platform. At the opening comments at the Tumblr Art Symposium held at 319 Scholes, Christiane Paul addressed how few artists working in social media actually use the infrastructure or material of that media as a resource of creativity (a telling differentiation between the current generation of netartists and their predecessors). Paul quipped (and I'm paraphrasing here), "Are we really talking about Tumblr Art, or merely talking about art on Tumblr?†To that end, if artists online are willing to be making work using social media platforms, then how is that work reflecting on the platform on which they are distributing? More importantly are we even at the point now where questions like this are still relevant? Although SVAES is moving toward this critical position by questioning distribution, access, and ownership, in doing so it renders the content of each individual work as negligible and ultimately subservient to being just another vine in a digital bramble.
Week in Review
March 24, 2013 · Print This Article
The week started off with a bang courtesy of Chris Krauss' interview with Duncan MacKenzie and Anthea Black. If you haven't listened to that yet, TUNE IN.  What's the T reports (among other things) the MCA has some great events coming up just as the Fireside Bowl had some great events in its past, Michelle OBama has bangs, and  — responding at last to the bar's painted window advertisement BANDS WANTED: an advertisement that has been up for a decade at least — art kids YOU KNOW are playing at the Mutiny. Read all about that (and more) here. Reminding you just how beautiful our world is, Paul Germanos posted some more incredible photographs that document art events, artists and art works from February in a post called : CHICAGO ART IN PICTURES.
Last Tuesday, guest blogger Jane Jerardi teamed up with Hannah Verrill to interview, film and edit a conversation with La Ribot, a performer, choreographer and visual artist:
"La Ribot recently came to Chicago to present the US premiere of "Laughing Hole†and the video "mariachi 17″ as part of the IN>TIME 13 Festival .  Appearing for six hours at the Chicago Cultural Center, "Laughing Hole†traveled to Los Angeles where it appeared at LACMA in early March.  Prior to the "Laughing Hole†performance, La Ribot sat down with local artists Hannah Verrill and Jane Jerardi to talk about her work.  The video interview captures excerpts of her conversation with Hannah, with Jane behind the camera."Â
West Coast Correspondent, Sarah Margolis-Pineo, published an interview with Arnold J. Kemp, "a Portland-based visual and performing artist who is recognized for using glitter and a Duchampian sense of humor to explore issues related to identity and subjectivity." When asked about where the work in Kemp's latest show, WHEN WILL MY LOVE BE RIGHT, came from, Kemp replied:
"I come at things like a sculptor who is trying to make paintings. When I moved to Portland, I was very involved in making paintings that had a sense of humor. Sometimes they'd be all black paintings—Vampires—named for the idea that vampires don't have reflections when they look into mirrors. Another series were these glittering pink and black paintings that completely resembled the disco-era. But with this new work, I think it started with wanting to make something that people could really see my hand in. So, I don't know precisely how I arrived at it, but I was messing around in the studio with aluminum foil and what emerged were these mask-like objects. I have a history of drawing and creating things that resemble masks, but what was interesting about the aluminum foil, is that it really conveys the movement of my hand manipulating the material. I never thought to exhibit the objects themselves; instead, I used the quickest, easiest, and dumbest way of rendering them into an image, which was to use a scanner. With this series [of Aluminums], I began to play with framing—the frame around the image—as a way to emphasize the idea of painting."
Thea Liberty Nichols posted a great interview with Christy LeMaster, "the powerhouse behind the Nightingale, a Chicago microcinema dedicated to screening experimental film." LeMaster talks about how she started the microcinema five years ago, how she approaches curation and how the organization is transitioning. As Nichols puts it"
"[The Nightingale] a welcoming and unpretentious space thanks to her generosity and openness. The Nightingale engages in inclusive conversation surrounding the production, distribution and consumption of new work, but at the heart of everything it does, beats the fans, makers, viewers, colleagues and friends it's cultivated. LeMaster's ingenuity, sweat equity and contagious enthusiasm has kept the place humming for the past several years, and now—poised to celebrate a milestone anniversary— she was kind enough to recount the Nightingale's gradual growth in scale and scope; discuss the film she's currently making; and give us a teaser regarding the new website she's developing, a project which will vault the community built in her brick and mortar space into the ether of the internet with the hopes of connecting and supporting even more filmmakers, cinemas and cinephiles."
Stephanie Burke posted her TOP 5
and, never forget, Mr. Holland's wise words about delightenment.
Delight #4: Le Fabuleux Destin d'Amélie Poulain
March 24, 2013 · Print This Article
by Richard Holland
If law school resulted in no other tangible change to my life/personality it truly cast in stone my craving for escapist entertainment. I've seen crime scene pictures galore, I've done legal aid work, I work with BAS, I've seen enough horror. I like my entertainment light and happy, more or less. Also, I am a complete sucker for magical realism, I admit it, I'm out of the closet, you wanna make something of it. Any of you who got excited about Harry Potter, I dare you to scoff.
I saw this movie, shortly after it's release on the airplane back from Paris. The friend we were visiting there, Adam Jolles (now the Chair of Art History at Florida State University), between spats with his dramatic, angry and lovely French girlfriend, raved about how much he enjoyed the movie and I must see it. So when I saw it available as an option on the flight, I figured why not.
What ensued was as over the top charming a movie as one could endure without slipping into diabetic shock. Directed by Jean-Pierre Jeunet. Written by Jeunet with Guillaume Laurant, I had seen Jeunet's work before with the unique films Delicatessen and City of Lost Children (far darker films, but completely enjoyable, they are definitely on the "Brazil†pile).
The film's protagonist is Amelie (Audrey Tautou doing an excellent personification of every straight art-boy's dream girl) a shy, introverted waitress in Paris. Her simple life is set into upheaval by her fateful discovery of a treasure trove hidden in her apartment by a boy many years ago. After secretly returning the box to the now middle-aged man and unexpectedly changing his life, she has an epiphany and dedicates herself to elaborate attempts to aid others by giving fate a nudge (not all positive, she tortures a cruel grocer in a masterful way). At the same time she stumbles upon and finds her perfect match in a man who collects discarded photos from photo booths in Paris, who is just as much an odd-duck as she is. Wacky misadventures, misunderstandings, and tangents worthy of a Shakespeare comedy ensue.
If that wasn't enough the Yann Tiersen soundtrack is amazing.
It is cute, yes, sappy, probably, but if you are feeling like the world is a dark evil place, no one gives a shit, everyone hates you, etc. this film can't help but generating some happy feelings.
Top 5 Weekend Picks! (3/22-3/24)
March 22, 2013 · Print This Article
1. MIRROR BOX, THE JETTISONED and AFTER THE FALL at the International Museum of Surgical Science
Work by Ellen Garvens, Joanne Tilley, Yoni Goldstein, Meredith Zielke, and Thomas Joseph.
The International Museum of Surgical Science is located at 1524 N Lake Shore Dr. Reception Friday, 5-8pm.
2. Appetite for Destruction at Fulton Street Collective
Work by lionvsgorilla.
Fulton Street Collective is located at 2000 W. Fulton Market. Reception Saturday, 8pm.
3. Homeward Bound at Fulton Market Gallery
Work by Stacey Holloway.
Fulton Market Gallery is located at 310 N. Peoria St. Reception Friday, 6-9pm.
4. Body Doubles at Gallery 400
Work by Joshua Albers, Daniel Bennett, Lauren Edwards and Kera MacKenzie.
Gallery 400 is located at 400 S. Peoria St. Reception Friday, 5-8pm.
5. Atalanta & The Lion at HAUSER Gallery
Work by Meryl Bennett, Anita Brathwaite, Gracie Hagen, Julia Haw, Meredith and Anna, and Brittany Southworth LaFlamme.
HAUSER Gallery is located at 230 W. Superior St. Reception Saturday, 6-9pm.
Whistling in the dark with the Nightingale
March 21, 2013 · Print This Article
Christy LeMaster is the powerhouse behind the Nightingale, a Chicago microcinema dedicated to screening experimental film. It's a welcoming and unpretentious space thanks to her generosity and openness. The Nightingale engages in inclusive conversation surrounding the production, distribution and consumption of new work, but at the heart of everything it does, beats the fans, makers, viewers, colleagues and friends it's cultivated. LeMaster's ingenuity, sweat equity and contagious enthusiasm has kept the place humming for the past several years, and now— poised to celebrate a milestone anniversary— she was kind enough to recount the Nightingale's gradual growth in scale and scope; discuss the film she's currently making; and give us a teaser regarding the new website she's developing, a project which will vault the community built in her brick and mortar space into the ether of the internet with the hopes of connecting and supporting even more filmmakers, cinemas and cinephiles.
TLN: April 5 marks the five-year anniversary of the Nightingale. Can you recap the activities and structure of your space over the last few years and let us in on what's next?
CL: You say "5 years", and it seems like it's been so much longer; and at the same time, it feels like it's happened at light speed. When I started the Nightingale it seemed like access was the issue; there was more work being made than was screened, and seeing one's work in front of an audience should be the bedrock of artistic development. The city just seemed hungry for it. When I first began talking about starting a microcinema, people just rushed in to help. So I decided to do as many screenings as I could, and to not be overly precious about the idea of curation. There seemed to be a need for a community screening room as well as an experimental cinema; we got requests to be an auxiliary venue for other arts organizations; to screen social-issue documentaries; to host youth-media showcases; and to feature work from all the city's art schools. And so the momentum became its own practical logic: What do we need right now? What do we have that we can use? Who is coming to town? What is the rest of her work like? Those sorts of questions often propelled me forward more often than "What should we be showing?" Luckily, generous and gifted people keep showing up to help. Patrick Friel has been presenting every month for years; Jon Cates and Nick Briz brought us UpgradeChicago for awhile; My dear friends Doug and Chloe McLaren have been managing tech concerns and special event details for years; Sally Lawton showed up a year ago asking to help out with screenings, and is now involved in every aspect of the place. It all happened pretty organically. I would ask for help as needed and people helped. The place runs entirely on a gift economy and volunteer labor. With exception of special events and multi-artist shorts programs, we always pay artists out of the door and spend the rest until it's gone. For the most part we break even.
When I started, I gave the project a sunset date of five years so I could re-assess if I was happy doing the work and if the space was still needed. And here we are. I think it is still useful to do, but I am being pulled by other projects. So I am handing off. The main bulk of the work will be managed by five programmers/keyholders: Patrick Friel, Emily Kuehn, Jesse Malmed, Chloe McLaren, and Doug McLaren. They will all have autonomous use of the space. We have structured the new system around transparency. We have put all of the tools for running the space online, and gathered a group of volunteer staff to assist the programmers. And we are taking this moment to refresh the space in lots of other ways too. We will soon launch a kickstarter to get a new projector. We are overhauling the website and changing the look of the space. I am excited for the transition. It seems really natural. I can't wait to see what happens next. I hope to still organize programs occasionally and think about the space in a more macro way.
TLN: The Nightingale has managed to transcend its programming by acting as an informal hub of community building. I know intentional communities, post-nuclear family structures and Utopias are all part of your research interests, can you tell us more about how they relate to the activities of your micro-cinema and your own arts practice?
CL: Early on, I decided on a few small details that have become our rituals— we make pretty tickets for every screening, we always have a raffle, we host a big potluck every year and film a trailer.
I'm really interested in issues around interdependence. I think in the wake of the implosion of the nuclear family, we're all sort of floating into new models of how to take care of each other. I heard a woman say once, "co-dependence is no joke in a world without interdependence," and that's really led my interest. It was always more important that the Nightingale be accessible instead off curatorially perfect. And for a long time I didn't think I had an art practice, I just thought I had projects. But over the last couple years I've started to see that all of my projects are concerned with the same issues— how do people establish interdependence outside of traditional means; heteronormative relationships, institutions of church or work? I think a lot of us arts organizers in Chicago are remaking a small corner of the world in a vision that we value. Utopia is social critique. We aren't interested any more, it seems, in removing ourselves from society entirely, but a lot of people we know are working very hard to rebuild small parts of society from the ground up. The Nightingale is my vision of an interdependent cinema, and a lot of my other projects are concerned with the same dynamics. I'm working on a movie about utopias where I invite different arts organizations in Chicago to re-enact an intentional or utopian community from American history; I'm researching sacred harp choirs because of how they use performance as collaborative practice. I've been thinking about how to be a good collaborator for 10 years, and I'm only now applying it pragmatically.
TLN: Your network of colleagues and collaborators extends well beyond the city of Chicago, which makes you the perfect person to take on the build out of Splitbeam, an online resource you dreamt up and secured funding to implement. Tell us more about the project, its function and its design.
CL: It turns out that the experimental cinema community is pretty small; Splitbeam is an idea that I had over the last years at the Nightingale— I wanted a resource where I could see what other microcinemas were doing, and right now experimental moving image makers are working on a sort of punk-rock model where you book your own shows; we're not really relying on media to travel independently of the artist very often. Splitbeam is a web directory of microcinemas, independent and alternative cinemas, and it houses a modular, open distribution that is meant to take some of the administrative burden off of curators and artists. I am lucky to be working on it with my good friends Nick Briz and Michael Castelle; Nick is doing the front-end design and Michael is handling the database, and I am taking on the research and organization. We received a generous grant from the Propeller Fund and used it to hire Sonnenzimmer to create a visual concept for the site. We're going to work on it hard this summer and hope to launch in the Fall of 2013.
Interview conducted over email March 2013.


text:
In the headlines: UK wind power smashes monthly record and NYC GHG emissions have dropped 19% since 2005
- Date
- 06 January 2014
Clean Revolution news stories you may have missed:
- "Innovative business can be a force for positive change" - Kevin Moss, BT, December 17
- 15 US states urge Obama to recognize their successful carbon reduction efforts, December 17
- Big UK businesses including BT, Coke and Kingfisher join forces with NGOs to propel Net Positive movement, December 17
- Washington D.C. Metro to convert to low carbon LED lighting, December 16
- New index says Norway, Sweden and France are best providers of sustainable energy in the world, December 16
- If you're on twitter join over 47,000 other people from around the world and follow @climategroup for the latest daily news and quick facts.
Five events taking place through January will shape how the world talks about climate change in 2014 and beyond. Responding to Climate Change, January 2.
The Earth's climate is far more sensitive to carbon dioxide emissions than previously thought, heightening the likelihood of a 4C temperature rise by 2100, new Australian-led research of cloud systems has found. The study, published in Nature, provides new understanding on the role of cloud formation in climate sensitivity – one of the key uncertainties in predictions of climate change. The Guardian, December 31.
Asia – Pacific
According to the Australian Energy Market Operator (AEMO), all new electricity generation capacity in Australia will be from renewable energy. It will mostly be from wind energy, while 13% of that is expected to be from large-scale solar PV, and 3% from biomass. After years of hearing very little about Australia's transition from fossil fuels, there has been Sydney's plan to go 100% renewable by 2030 and a lot of big news in 2013. But the next several years will be even bigger. According to an IEEE article about the coming growth of renewables in Australia: "There are nearly 15 800 megawatts of proposed wind generation projects, according to the AEMO. More than 780 MW of the wind power is expected to come online in 2014-2015." Clean Technica, December 31.
China's ambition to become the world's largest solar power generator has been boosted with news that Trina Solar plans to build a one gigawatt plant in the Xinjiang region. The company made the announcement on Monday, with work expected to commence early this year. Nuclear power plants typically have a capacity of 1GW, while the vast Three Gorges Dam is rated at 22GW. According to state news agency Xinhua, China installed 10GW of solar photovoltaic in 2013, including the world's highest solar plant, a 10 megawatt plant in Tibet. Responding to Climate Change, January 2.
China, the world's biggest emitter of greenhouse gases, will assign credit ratings to companies in industries with heavy pollution or overcapacity based on their efforts to protect the environment. The rating will provide a reference to banks for reviewing credit for the companies and to authorities for arranging subsidies, the Ministry of Environmental Protection said yesterday in a statement on its website. Companies will be ranked on a four-level color-coded scale, with green representing the best and red the worst. Bloomberg News, January 2.
The share of renewable energy among EU member states rose to 14.4% in 2012, compared to 13.1% in 2011, according to the European renewable energy barometer EurObserv'ER. EU countries have a 20% target for the share of clean energy by 2020. The latest figures say that in 2012, the 27 member states increased their renewables consumption by 1.3 percentage points. Blue & Green Tomorrow, December 24.
Kerala can meet over 95 per cent of its energy demand using renewable energy sources by the year 2050, according to a report released the other day. The Energy Report - Kerala, prepared by WWF-India and the World Institute of Sustainable Energy (WISE) Pune, is a state-specific report that provides a vision for a 100-per cent renewable and sustainable energy supply in another three decades…The estimation of solar power potential in Kerala, as per the report, is around 44,456 MW. Out of this, 31,145 MW alone can be got from rooftops of households and commercial establishments. The New Indian Express, January 1.
Vestas is to supply Powerica with 51.8MW for two onshore wind projects in India. The contract covers the delivery, installation and commissioning of 26 turbines to the Jangi and Charbara projects in Gujarat. The first 21.8MW is expected to go live in July of this year, followed by a further 30MW in March 2015. Renews, January 2.
North America
New York City's greenhouse gas emissions have dropped by 19 percent since 2005, outgoing Mayor Michael Bloomberg said on Monday, putting the city nearly two-thirds of the way to meeting the goal that Bloomberg set five years ago. Bloomberg announced the progress report as he prepares to leave the mayor's office on Wednesday after 12 years in office. Reuters, December 30.
A judge in the United States has for the first time ruled that solar power supplied without subsidies is more cost effective than natural gas, in a move that could result in 20 solar farms being constructed in Minnesota, while also sending shockwaves through the US energy sector. Xcel Energy, one of the state's biggest utilities, is expecting to add 500MW of new capacity to the grid by the end of the decade, and requested proposals from developers to identify the most suitable sources for the additional capacity. BusinessGreen, January 6.
The stormy weather that has battered the UK in recent months has driven a surge in renewable energy generation, with new figures showing that a raft of wind power records were broken during December. Data released yesterday by trade association RenewableUK confirmed that both the amount of wind power generated and the percentage of UK power sourced from wind hit a record high in December, as a result of both high winds and an increase in overall capacity over the course of the year. BusinessGreen, January 3.
Britain needs to face up to a radical change in weather conditions that could be the result of global warming, and spend much more on flood defences, Sir David King, the government's special envoy on climate change, has said. Amid the worst floods for decades, King said the UK must do more to manage the problem, potentially doubling spending to £1bn a year by 2020, as extreme weather events are likely to become more frequent. BusinessGreen, January 6.
Ford has confirmed it will use the Consumer Electronics Show (CES) in Las Vegas to unveil an innovative new concept car that promises to use its own rooftop solar panel to power the vehicle. A number of manufacturers have sought to integrate solar cells into car chassis in the past to run the vehicles' electronics, but Ford claims to have delivered a "first-of-its-kind" hybrid that uses solar power to drive the motor. BusinessGreen, January 3.
China's LED lighting market will more than double to US$7.4 billion in 2017 from US$3.1 billion, as ongoing urbanization, local energy savings targets, and price cuts make the technology more appealing, according to Lux Research. DigiTimes, January 3.
Want more? For daily news follow us on Twitter. To receive our news round-up, sign up for our free Newsletter.


text: 10 September 2012 archive See all show photos SO what will it be this time, Mr Browne? The designer has already mined everything the outer reaches of the galaxy to the morbid afterlife for inspiration, so it's hard to guess where he will find spark of creativity. Whatever it is, though, one can rest assured that it will be a great deal of fun, which is always a welcome break from Fashion Week's moments of self-seriousness. Browne turned to the Bauhaus movement for his spring/summer 2013 show, which is apropos seeing as his garments can often feel like architectural experiments with shape and form. Upon entering the hall in the New York Public Library where he shows each season, the crowds were greeted by a line of boys in his signature shrunken suits wearing silver turbans atop their heads. They moved to the side to make way for a small corps of ballerinas before the farcical parade of models - each with a spherical top-knot perched on her head - entered and took her place atop a spinning disc. Oh, but how to describe it all? As always, the root is in classic menswear - the suit is the foundation of all things Browne-ian - but it's the bizarre and wonderful elements he layers on top of it that make it so beguiling. This season's silhouette had a roundness on top and a lanky, curvilinear feel below. Exaggeratedly large grey plaid came on bulbous blazers with sloping shoulders protruding pockets. The tops were often cut in an arch in the back and drooping forward in front, giving the clothing the illusion of moving or falling forward. There was a long, tapered skirt, or one that swooshed out like a nightshade and was edged with floral appliqués. There was a gown made of an amorphous, overlapping grouping of puzzle pieces, including a hat that covered their wearer's eyes - in blue and orange floral print, a black tweedy dress bisected by a flouncy, limp peplum, and a column gown that looked as though nautical rope had been wrapped around the model until it ended in a Pierre Cardin-esque intergalactic disk at the hem, being held up, as if on a dog leash. What it all means, who's to say? Browne's Rabelaisian aesthetic is worthy of applause. New York's fashion scene is a constant war of wooing either uptown socialites or downtown scene-sters. Brown, on the other hand, is out to attract the criminally insane, the exceedingly wealthy, or a mixture of the two. Max Berlinger Continue reading Back to top


text:
Charlotte, N.C. -- Gregg Williams has coordinated defenses for a long time in the NFL. He has never seen anything like the collection of quarterbacks right now in the NFC South.
The addition of Cam Newton to the trio of Drew Bees, Josh Freeman and Matt Ryan gives the division an unrivaled quartet of franchise quarterbacks.
Brees is a former Super Bowl MVP and the clear benchmark for the division's young guns.
Ryan is a Pro Bowl player and is off to the most successful start by a quarterback in Falcons history.
Freeman was a Pro Bowl alternate a year ago and is setting team records for comeback wins.
And all Newton has done is become the first NFL quarterback to pass for more than 400 yards in his first two starts.
"It's exciting but nerve-wracking for a defense, knowing you have to be on you're 'A' game every single week, because you have very good playmakers at that position," Williams said.
The NFC South quartet might lack the name recognition of their counterparts in the NFC East, but you won't find too many scouts who'd trade Brees, Freeman, Newton and Ryan for Michael Vick, Eli Manning, Tony Romo and Rex Grossman.
For one, they're younger. At 32, Brees is the elder statesman. Ryan, a first-round pick in 2008, is 26. Freeman, a first-rounder in 2009, is 23. Newton is the baby of the bunch, having turned 22 in May.
And through four games, they're already outperforming their more heralded peers. The NFC South is the only division with three of the top 10 passers in the league. Brees is second with 1,410 yards and Newton third with 1,386. Ryan is 10th with 1,135.
Considering Brees' superior conditioning and the likelihood he signs a long-term contract extension, today's showdown with Newton could be the start of an historic run of quarterback shootouts for the next half-decade.
"They're all young, and they're all going to be here for a long time," Saints Coach Sean Payton said. "The division is as competitive as it's ever been."
The Saints certainly have never seen anything like this. The only other comparable time was the late 1980s and early 1990s, when the NFC West featured Joe Montana or Steve Young, Jim Everett, Bobby Hebert and Chris Miller. Each eventually played in the Pro Bowl. Young and Montana, of course, are Hall of Famers.
But the current crop in the NFC South might be even better across the board.
Brees, of course, is a future Hall of Famer. His numbers and accomplishments speak for themselves. It didn't take long after his arrival in New Orleans five years ago for the rest of the NFC South to quickly follow suit.
The Falcons were the first to join the arms race, selecting Ryan with the No. 3 overall pick in the 2008 draft. Tampa Bay took Freeman a year later with the No. 17 pick. And last April, Carolina made Newton the top overall selection.
"When I took the job and sat down with Marty Hurney, our general manager, one of the things we talked about was that this has become a passing league and more so a franchise quarterback league," Carolina Coach Ron Rivera said. "If you don't have a franchise quarterback, you're going to struggle, which led to us going out and investigating and eventually drafting Cam Newton. We look at our division, there are three franchise quarterbacks (other than Newton). We have more quality quarterbacks in our division right now than anybody else does."
Newton guided the Panthers to a franchise-record 543 total yards against the normally stingy Chicago Bears last week. He has accounted for all nine of the Panthers' touchdowns, either by running (four) or passing (five).
Freeman already is being mentioned as the greatest offensive player in Tampa Bucs history. Granted, it's a short list. Still, Freeman's precociousness is apparent. He threw for 3,451 yards, 25 touchdowns and only six interceptions in his sophomore season. He also rushed for more yards than any quarterback other than Vick. In a 24-17 win against the Colts on Monday night, he guided the Bucs to 466 yards, the most in team history in a home game and the sixth most overall in its annals.
Ryan has guided the Falcons to 14 comeback wins in the fourth quarter or overtime, earning the nickname "Matty Ice." He had a 62-yard touchdown pass on his first NFL throw and hasn't looked back. In three seasons, he has led the Falcons to two division titles and a 33-13 record, which tied him with Dan Marino for the most wins by a quarterback in his first three seasons since the 1970 league merger.
"It's amazing when you think about it that the four teams in this division with the quarterbacks are going to be around together and compete against each other," Rivera said. "This could quickly turn into one of the better divisions in the league. But it's just a matter of time. Our guy is developing, and the young man in Tampa Bay has continued to develop, as well as in Atlanta. Drew is really the only established guy right now, but the other guys are young, they're still growing, and they're still trying to find their way in this league. It's interesting and at the same time it's kind of scary because we have to compete against three of them, so it has become that type of league."
Scary if you're a defensive coordinator, sure. But it's pure joy for quarterback fans.
Jeff Duncan can be reached at email@example.com or 504.826.3404.


text:
Skydiving.com now has a network skydiving location serving Forest Hills and Pike County in Kentucky. Call Skydiving.com at 1-800-617-7948 for details, free information and specials on skydiving in Forest Hills, KY today!
Popular Tags for Skydiving Forest Hills:
Skydiving Forest Hills, Skydiving in Forest Hills, Sky Diving Forest Hills, Skydive Forest Hills KY, Skydiving 41527, Forest Hills Skydiving, Skydiving Forest Hills Kentucky, Skydiving near Forest Hills, Skydiving in Forest Hills Kentucky, Forest Hills Sky Diving, Skydive 41527, Skydiving Forest Hills KY, Skydive Forest Hills, Skydiving Pike County, Skydive in 41527, Skydiving KY, Sky Diving Forest Hills KY, Forest Hills, Kentucky
Sign up for our newsletter and receive updatesand specials on skydiving across America!


text:
Student notes
These can be produced and distributed to students under Part VB of the Copyright Act and the licence with the Copyright Agency Limited (CAL).
Note the following points:
- they can be in print or CD format (or any other electronic media format such as a DVD or flash/USB drive etc.)
- distribution and access must be restricted to University staff and students
- the limits on copying set down in Part VB must be observed
- you must acknowledge the author or creator of the work
- you can recover the costs of producing student notes but the University must not make a profit from the sale
- there are no special marking requirements for printed student notes but there are marking requirements for notes distributed on CD
What can I include in student notes?
You can include material when:
- copyright is owned by the University
- copyright has expired
- you have the copyright owner's permission to use their work
- you have a licence to use the work such as a Creative Commons licence
- the material is being copied under Part VB
How much copyright material can I include in student notes?
You can include the following:
|Published books -
both hard copy & electronic format
|1 chapter if the work is divided into chapters or 10 % of the pages;
10% of the words in an electronic document if the work is not paginated.
Remember, there is a limit of one chapter or extract of 10% from a book for each unit of study. If you have already included one chapter from a book in a set of student notes for a unit of study, you cannot include another chapter from the same book in a second student notes for the same unit of study or ask the Library to make another chapter available online via eReadings. This limit is set out in the Copyright Act.
|Periodical articles - print & electronic
|One article from an issue of a periodical; more if they are on the same specific subject.
Some database vendors allow their material to be included in student notes but others do not permit articles to be incorporated in printed student notes (also known as course packs).
Contact the Director of Copyright Services or your Faculty Liaison Librarian for information on database contract conditions. Remember that links to articles can be made via Library's eReadings system or your eLearning site.
|Artistic works accompanying text
|Artistic works such as images, illustrations, maps, photographs, diagrams & graphs can be copied along with the text they illustrate.
|Artistic works - stand alone - both print & electronic format
|Hard copy artworks & images can be reproduced if they have not been separately published.
If they have been separately published & cannot be purchased in a reasonable period of time, they can be reproduced.
Images already in electronic form can be copied without further investigation.
|A website is an electronic document, so 10% of the words can be reproduced. However it is difficult to apply this limit to a hierarchy of web pages. Since it is unlikely that you will be able to copy an entire website, it is better to provide the URL to your students so they can access the live site directly.
Producing student notes in CD format (or any other electronic media format)
The limits on copying set out above apply, but there are some additional requirements in relation to marking the CDs before distribution to students.
- The cover of the CD must indicate that the material is provided for use by University of Sydney students only.
- The Part VB Warning Notice must appear as the first item to be seen every time the CD is opened for use. The wording of the notice must not be altered.