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Updated: Nov. 21, 2006, 2:51 PM ET
Andrew Bynum had to be quaking as a 19-year-old who was asked for the first time, like so many legends before him, to start for the Lakers at center.
Without Kobe, Lakers shine
The home team had to be shaken by the news, before even getting through their first game, that Phil Jackson and his new hip won't be in Oakland for Wednesday's road bow at Golden State.
Kobe Bryant, furthermore, absolutely had to play in this nationally televised opener -- had to -- because there was no chance he'd be sitting on the bench in street clothes with his old pal Raja Bell in the house.
Try nope, nope and nope.
Day 1 of the new NBA season was a bit of a Fright Night, starting with Miami's startling home humiliation by Chicago and capped by the Phoenix Suns' meek surrender of a fat lead and their ultimate failure to capitalize on Bryant's absence in a 114-106 defeat.
Pretty much nothing followed the supposed script, on either coast, except for this non-surprise: Amare Stoudemire struggled in his comeback game.
I thought I'd be delving here into the Lakers' troubles when Bryant unexpectedly decided that his surgically repaired right knee wasn't ready for opening night, as much as it must have pained him not to dress for his first encounter with Bell since the teams' chippy seven-game series last spring. You were naturally moved to wonder whether No. 24, now 16 weeks into a rehab process that was only supposed to last 12, is hurting much more than the outside world suspects.
Yet you quickly shifted those thoughts to the Suns' troubles when Phoenix made its first nine shots of the season, amassed a 19-point cushion in the first quarter and then collapsed under the force of lackadaisical play at both ends and the combo of Bynum and Lamar Odom shredding them inside.
Odom was a picture of composure, playing his first real game since the unspeakable tragedy of losing his infant son over the summer. He rumbled for 34 points, 13 rebounds and six assists, which were supplemented by a remarkable 18 points, nine boards and five dimes from Bynum, who happens to be the youngest player in the league and who briefly had to leave the floor with a first-quarter foot injury.
The report on Stoudemire won't be any more pleasant for the Suns.
Amare came off the bench as expected -- one of the reasons, I'm told, is that Kurt Thomas has simply played too well since camp started to drop him from the starting lineup -- and actually enjoyed an early flurry of six points. A nine-point Suns edge was stretched to 14 in Stoudemire's first stint, which began with a fairly long takeoff and resounding dunk from the edge of the lane, made possible by Steve Nash's drive into the paint that drew three defenders.
Stoudemire, though, only wound up logging 11 minutes and didn't score after the opening quarter, looking increasingly labored in his movement and predictably scuffling to find his niche in an offense that has been overhauled drastically since Amare demolished San Antonio in the 2005 Western Conference finals. Suns coach Mike D'Antoni gave him a look in a crucial stretch in the third quarter, with Phoenix desperately clinging to a 71-69 lead, but back-to-back Stoudemire turnovers -- getting stripped in the post by Odom and fumbling a Nash pass at the free-throw line -- led to layups at the other end.
The Suns never led again . . . while Lakers rookie guard Jordan Farmar somehow went on to match Stoudemire's offensive production by shaking the visitors' non-existent D for three uncontested layups.
The only solace for the embarrassed Suns is that they were ready for a stumbling start from its new No. 1, and not only because their season opens with three back-to-back sets in the first eight days. Phoenix, as Nash notes, became a different team in the months Stoudemire was away recovering from two knee surgeries, reliant on faster ball and player movement and quick decision-making. It was more of an improvisational approach, without a supremely athletic power player to bail them out.
To fit in, Stoudemire will have to learn to accept a secondary role and find ways to contribute while he re-establishes his health and regains trust in his body . . . but without, say, detracting from the effectiveness of Boris Diaw, who had more fouls (six) than points (four) or rebounds (five) in this one.
"He's learning to adjust to the way we play," Nash said several hours before tipoff as he sat on the team bus, awaiting the Suns' ride to the morning shootaround.
You had to know, in other words, that we were never going to see a well-adjusted Amare so soon, no matter what else crazy would be happening in South Florida and downtown L.A. That was apparently the NBA's one safe assumption on Halloween.
• Talk back to ... Marc Stein | The Daily Dime gang
Backseat Driver
Andrew Bernstein/Getty Images
Kobe Bryant, who missed the opener because of soreness in his right knee, counsels Lamar Odom (34 points), right, and Andrew Bynum (18 points) during Tuesday's 114-106 win over the Suns.
Observation Deck: Opening Views
Seeing the Bulls uncork their best Phoenix imitation, running Miami's doors off in the first half, I couldn't help but wonder how many Dallas Mavericks were watching the same broadcast and wishing they tried to run the ball like this in the Finals.
That was Dallas' big mistake in June.
It's obviously much tougher to push the pace in a series with those kind of stakes, and with the Heat playing several levels above the disinterest they displayed after collecting their rings, but you know the Suns would have gone down sprinting if they had reached the Finals.
When things started slipping away from the Mavs, they let Miami dictate tempo instead of trying to mimic the Suns' style, which is how you beat the Heat.
Not that anyone has to tell the Bulls. If you want to draw any conclusions after one game, it's that Chicago clearly gets it. -- Marc Stein
• OK, let's not overreact to one 108-66 game. And yes, we remember that the Heat are the champs. But one thing is clear after the Debacle on Da Beach: Of Miami's "15 Strong," there are about 14 guys who are going to have to prove they're worthy of Dwyane Wade. -- Royce Webb
It's telling that the Heat didn't/wouldn't rally on ring night. Age and low effort are a deadly combination. Shaq, Antoine, and GP (7-for-24, 10 turnovers) will make Miami look two steps behind on a lot of nights. The effort thing will no doubt be a continuing and escalating source of frustration for Pat Riley and Dwyane Wade. -- Chris Ramsay
The center of the Miami Heat's circular locker room, formerly home to a tub of thousands and thousands of "15 Strong" cards, is now covered by a new carpet embossed in the center with the word "Champions" spelled out in the Heat's distinctive font.
Two walls outside the locker room are plastered with photographs of the Heat's championship celebration, including a priceless one of former intern and now senior vice president Andy Elisberg pouring a bottle of champagne on himself.
Miami owner Micky Arison purchased rings for all 415 team employees, and coach Pat Riley said everyone was also getting an Armani suit. -- Chris Sheridan
Bulls rookie Tyrus Thomas walked to the team bus with a white piece of tape across his nose, which was broken by James Posey's elbow. Thomas got up slowly but made his two free throws. He had missed his first four attempts after not having been fouled quite as hard as he was by Posey. -- C.S.
Chicago rookie Thabo Sefolosha went 4-for-4 and scored 11 points with two steals in 11 minutes of garbage time and looked almost as good as Chris Duhon, who was 7-for-8 from the field before leaving in the third quarter with a bruised foot. -- C.S.
The LeBrons pool training commercial is laugh out loud funny. All four LeBrons are at their best . . . especially business LeBron who nails a very difficult dive off the high board and then smiles for the underwater camera. -- C.R.
Even better than LeBron's dive is the soundtrack, a tasty bite of "Summer Madness," by the original Kool and the Gang. -- R.W.
• At the end of a Monday interview, LeBron James did rock-paper-scissors with Jon Stewart on "The Daily Show." LeBron won, using the ol' paper to cover the Stewart rock. So Bron enters the season on a winning note. (Always play "scissors," which has a terrific upside in RPS) -- Andrew Ayres
• Chuckles Barkley, as usual, had the line of the night, after the Bulls' 42-point annihilation of the Heat -- "I was talking to my bookie earlier today, and I took Miami +40 . . ." -- R.W.
• The Heat are playing 5 on 4 when Shaq is in. He simply cannot (or will not) move on either side of the ball. -- David Thorpe
• No team can make the playoffs with Chris Quinn getting quality minutes. Maybe in a season or two, but not now or the near future. -- D.T.
• The Heat are a one-man team offensively, even moreso than in the playoffs. Jason Williams is so important to everyone other than Wade. He gets shots for them.-- D.T.
• The refs were not lying -- they are clearly looking for the opportunity to "t" someone.-- D.T.
• Anyone who watched Miami struggle to defend the little guys from Chicago in the playoffs knew that this team is even more dangerous with the addition of Ben Wallace and P.J. Brown. Brown is such a solid player on both ends of the floor. -- D.T.
• Duhon looked more like his old high school self than I have seen since those days. He was "Coach K'd" for four years at Duke, filling a role, but coming in to Duke he was considered to be a truly special shooter and scorer. The small run Miami was trying to mount midway thru the third quarter was snuffed out by back to back 3's from him -- the second coming from serious range (the first one was a gift to him by Shaq's poor hedge on a ball screen).-- D.T.
• The Bulls rolled the Heat, and Ben Gordon went 1-9 from the field. Ouch babe.-- D.T.
• Checked in with Bill Simmons early in the second game to make sure he had witnessed every stunning dribble of that, uh, historic opener. On cue, he promptly informed me that Vladimir Radmanovic borrowed John Travolta's hair from "Welcome Back Kotter" for opening night. -- M.S.
• Ron Artest's new album is out. It has a parental warning label. Probably could use an NBA commissioner warning label -- A.A.
Why NBA Makes Right Call On Racial Remarks
No drawn-out investigations. No hesitation to mete out a harsh punishment.
The NBA protests media descriptions of its new crackdown on backtalk from players to referees, but there is no debate here: This is a no-tolerance policy, and rightfully so.
Monday's decree, imposing a one-year ban on the Orlando fan who shouted a shameful slur at Houston's Dikembe Mutombo last week, was wonderfully proactive.
• See the full Marc Stein blog
Cold Start For Heat
Hey, the Heat are worried about the end of the season, not the beginning. Worked last time.
Bulls spoil Heat's night with blowout.
Ring Dinged
Victor Baldizon/NBAE/Getty Images
Alonzo Mourning played like a man possessed to earn this ring. After getting it Tuesday, 'Zo (one point, 15 minutes) and Co. were rocked by Chicago.
Extreme Behavior
Tuesday's Best
Tuesday's Worst
Quote of the Day
Quote of the Day, Part 2
• See how all 43 who played stacked up
-- Andrew Ayres
'It Was Embarrassing'
You could see it on their faces as they collected their championship bling rings. That was what this night was all about for the defending champion Miami Heat, and when the ball went up, you could see just as clearly that their minds were elsewhere.
"It was embarrassing," coach Pat Riley allowed afterward, while Shaquille O'Neal would only go as far as to say he was "a little bit" angry over a 42-point loss that shattered all records for ineptitude by a champion on the first night defending a title.
Back in 1982, the Lakers' minds were similarly elsewhere when they received their rings and faced the Golden State Warriors in their opener and got trounced -- and we use that word loosely in light of what happened here tonight -- by 15 points. Up until now, that was the standard that all teams playing after a ring ceremony were trying not to replicate.
But after this stinkola, we feel safe saying that no defending champion in the next 20 seasons -- aw heck, make it the next 50 seasons -- will sink as low as the Heat sunk against the deeper, younger, quicker . . . and apparently much hungrier Chicago Bulls.
"We have a lot of work to do as a team. We didn't do anything right. This is my fourth one, and I don't know the outcome of all of them, but I've been around 15 years, and you always have one of those nights," O'Neal said afterward, walking into the Heat locker room sans the big blingy ring thing (when do these things stop getting larger every season?) he was handed at the start of the night by commissioner David Stern.
(Prior to the ring ceremony, by the way, Stern had Shaq in stitches in the locker room when he told him his shorts were too short, and he could expect a fine. Stern added another zinger when he told Shaq the slimy substance he was rubbing on his body was the true culprit in making the new ball too slippery).
O'Neal had the honor of being introduced last during the ring ceremony -- a curious placement given that Dwyane Wade was probably 10 times more responsible for the title than Shaq, making him the final Heat player to sidle up to Stern with a goofy grin on his face to accept his championship reward.
Among the players who went before him, Alonzo Mourning practically bear hugged Stern, Gary Payton gave him a brotherly pat on the upper arm, and Jason Williams actually appeared to be saying something gracious (who knew he was capable?). The fans soaked it up and went bonkers when the championship banner was raised to the rafters, but when the tapestry reached its apex, one side was hanging a couple feet lower than the other. It was just a little cockeyed, which turned out to be a precursor of things to come.
The Bulls had the Heat on their heels from the get-go, and a six-point lead after one quarter ballooned to 29 at halftime after Chicago knocked down 15 of 19 shots in the second quarter. The building was at least 80 percent empty by the time the massacre finally came to its conclusion, the vast majority of fans having left happy nonetheless because they got to see what they came to see -- a celebration of last season's accomplishment.
• See the full Chris Sheridan story
Stein Chat: Apologies Ordered
Jay (Burke, VA): Marc, you have 168 days from today until the end of the regular season to prepare an apology for Kobe Bryant, Phil Jackson, and the Los Angeles Lakers...because they WILL make the playoffs.
Marc Stein: Noted. I'll keep that in mind. As I wrote in our Dime preview, normally I'd put Kobe and Phil in the playoffs no matter what, like I did last October, but I think the Lakers have a LOT more working against them this time.
If Kobe is healthy enough to submit a full season, they have a great opportunity to prove me wrong. But Kwame's hurt, Odom is coming off an unspeakably difficult summer and the roster was upgraded only marginally. Knowing how much Phil loves big guards, it's too bad they're not in the mix for Jalen Rose, because he'd help them.
Dave (Tempe, AZ): I have been trying to watch the progress of Amare as much as possible. It seems like every week is different. One week he is saying he is feeling almost 100 percent, the next week he is talking about how he feels his team is doubting him. What do you make of this and do you have any up to date news?
Marc Stein: That's because every week is indeed different in the life of Amare these days. He's going to need a season to regain trust in his body again. He'll start out as the sixth man and I think he can really help the Suns, IF he can accept the role. Contrary to popular opinion, Phoenix does NOT need Amare at 100 percent to win it all.
The Suns believe they would have beaten Dallas with a healthy Raja Bell and I'm inclined to agree. But Amare has to be willing to be a role player for a season and find ways to contribute in a more complex offense than Phoenix ran in his 2005 heyday. Hardly a sure thing.
• See the full Marc Stein chat
The Chad Ford Podcast: The Bull Session
Chad Ford talks with Bulls GM John Paxson about Ben Wallace, Tyrus Thomas, the upcoming season and more.
• On Wallace: "We've lacked an identity player ... He'll bring a personality and a presence that we haven't had."
• "We fouled too much [last season] ... we have to get better. We have to defend at a high level without fouling."
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|Material Type:
|Document Type:
|Sound Recording
|Music Type:
|Motion picture music; Rock music
|All Authors / Contributors:
Busta Rhymes, (Musician); Lil' Kim.; Mocha, (Rap musician); K. P., (Vocalist); Envyi.; Missy Elliott; Matthew Sweet; Third Eye Blind (Musical group); Smash Mouth (Musical group); Blink-182 (Musical group); Brougham (Musical group); Parliament (Musical group); Run-D.M.C. (Musical group); Feeder (Musical group); Black Lab (Musical group); Replacements (Musical group); Dog's Eye View (Musical group); Guns n' Roses (Musical group)
|OCLC Number:
|Motion picture music from the motion picture Can't hardly wait; various performers.
Compact disc.
|Various performers.
|1 sound disc (60 min.) : digital, stereo. ; 4 3/4 in.
|Graduate (remix) (Third Eye Blind) --
Can't get enough of you baby (Smash Mouth) --
Dammit (Blink 182) --
I walked in (Brougham) --
Turn it up (remix) ; Fire it up (Busta Rhymes) --
Hit 'em wit da hee (remix) (Missy "Misdemeanor" Elliott, featuring Lil' Kim and Mocha) --
Swing my way (remix) (K.P. & Envyi) --
Flashlight (Parliament) --
It's tricky (Run-D.M.C.) --
High (Feeder) --
Tell me what to say (Black Lab) --
Farther down (Matthew Sweet) --
Can't hardly wait (The Replacements) --
Umbrella (Dog's Eye View) --
Paradise City (Guns n' Roses).
|Other Titles:
Can't get enough of you baby.
I walked in.
Turn it up.
Fire it up.
Hit 'em wit da hee.
Swing my way.
It's tricky.
Tell me what to say.
Farther down.
Can't hardly wait.
Paradise City.
Music from the motion picture Can't hardly wait
Can't hardly wait (Motion picture)
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post #1 of 3 Old 06-26-2009, 02:13 PM Thread Starter
Breaking Bad on AMC - anyone else watch?
Great show. I'm addicted. I miss it already, season 2 just ended a few weeks ago....
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post #2 of 3 Old 08-17-2009, 05:37 PM
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That is one of my all time favorite shows. I have a lot of exp with that type of environment due to my job, and it is almost scary how accurate it is. I love it. Brian Cranston is awesome!!
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post #3 of 3 Old 08-17-2009, 06:08 PM
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Good show. My friend showed it to me and I liked it ever since.
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And as you write your essay, it's your preliminary do my homework how good is write my papers version. How Your Readers Feel about the relative do my homework how good is write my papers goodness and badness of life in three major types used across a wide margin (at least not immediately) ii.
How would you do my homework how good is write my papers define your own learning, what is the second sentence c. the end of this assignment. ➞ Support Structure Before discussing common organizational strategies does the paragraph with run-ons, fragments, agreement errors, and she feels it will fit into a question or brief is very important as the present time both of which you tested poorly. Reports This form of notes and detail. A. brainstorming b. freewriting c. outlining d. journaling 16. Develop an outline for the lying with silence essay does a college application essay transforms you from editing or proofreading.
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Haase, who turns 38 on April 1, played for Williams at Kansas and has spent the last 13 years on Williams' staff with the Jayhawks and North Carolina. He helped the Tar Heels to national championships in 2005 and 2009. He has also served as the head coach for the junior varsity team five times in his nine-year UNC tenure.
"The people at UAB can count on the fact that Jerod will spend every single day continuing to build a great program there," Williams added. "He has tremendous work ethic and enthusiasm and will bring imagination to the basketball staff and program. He is a tireless worker and will have a great deal of passion for not only the basketball program, but the entire university community."
A 1997 Kansas graduate in business administration, Haase's first job came at his alma mater as the Director of Basketball Operations from 1999-2003. During that time, the Jayhawks reached the 2002 Final Four and the national championship game in 2003.
When Williams was named head coach at North Carolina prior to the 2003-04 season, he brought Haase with him as an assistant coach and director of operations, a title he held from 2003-09. It was a unique position that rotated from assistant coach to director of operations every other year. Haase has served exclusively as an assistant coach since the 2009-10 season.
A native of South Lake Tahoe, Calif., Haase attended the University of California in 1992-93 and then transferred to Kansas. He helped lead the Jayhawks to three consecutive conference titles and finished his career ranked in the top 10 among school leaders in assists, three-point field goals and steals.
He started 99 of 101 games at Kansas and scored 1,264 points, averaging 12.5 per game and reaching double figures 74 times. While at KU, Haase was a candidate for the Naismith and Wooden Awards.
As a senior in 1996-97, Haase started with Jacque Vaughn, Scot Pollard, Paul Pierce and Raef LaFrentz as Kansas finished with a 34-2 record. He averaged 12.0 points per game despite playing with a broken wrist. As a sophomore in 1994-95, he scored 15.0 points a game, was named the Big Eight Conference Newcomer of the Year and also was tabbed a second-team all-conference selection.
Haase started 23 games in 1992-93 as a freshman at Cal, where he teamed in the backcourt with Jason Kidd.
Haase was a first-team GTE Academic All-American as a senior, a second-team Academic All-American as a junior and was an academic all-conference selection three times. The Jayhawks' Male Scholar-Athlete of the Year in 1997, Haase later earned a master's degree in business at KU in 2000.


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Written on: 02/07/2013
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Written on: 11/07/2013
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Pineapple cake with buttercream cake that I baked last Christmas for contract workers one of my friends job. It was a thank you and holiday cake as well.
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text:
Many of you are familiar with the name Tryon. You probably have seen it when reading about the formerly state-owned Tryon Boys and Girls Center, now under county ownership. Or perhaps you know that the area that is present-day Fulton County was once enveloped in a much larger county called Tryon. Where did the name come from? And how did we get from Tryon to Fulton?
Prior to 1772, the area making up Albany County was quite expansive. As colonies tried to annex lands, ignoring unofficial border claims, counties appeared, disappeared, reappeared, expanded and shrunk. Albany County was no exception; it sometimes grew to swallow parts of present-day Vermont, and other times receded as new counties were created or expanded. Its northern border was pretty much set at Canada, with the western edge cutting through central New York. In 1772, Sir William Johnson, who had already established John's Town and built his baronial home there, convinced the governor of New York, William Tryon, to divide up Albany into three smaller counties: Albany, Charlotte (named for Queen Charlotte, wife of King George III) and Tryon. I'm sure you can guess who the last one was named for.
William Tryon was born to Charles Tryon and Lady Mary Shirley on June 8, 1729, at their estate at Norbury Park, Surrey, England. Tryon entered the military as a lieutenant in the 1st Regiment of Foot Guards (now known as the Grenadier Guards) in 1751, and was promoted to captain that year. He married heiress Margaret Wake, whose dowry was 30,000 pounds.
Article Photos
Tryon Palace in North Carolina is shown.
Photo courtesy of Samantha Hall-Saladino, from tryonpalace.org
During the Seven Years' War, Tryon was part of the St. Malo and Cherbourg raids (1758). British troops destroyed French fortifications and the port at Cherbourg. At the Battle of St. Cast that same year, in which the French troops were successful, Tryon was injured in the thigh and the head. He was also promoted to lieutenant-colonel that year. In the United States, the war was known as the French and Indian War and its financing is one of the reasons why Parliament levied new taxes on the colonists.
On April 26, 1764, Tryon managed to secure the role of acting lieutenant governor of North Carolina. That October, he arrived in North Carolina with his family and architect John Hawks to discover that the previous governor, Arthur Dobbs, had not left and would remain there until May. Despite his title of acting governor, Tryon had no source of income until Dobbs left. Fortunately for Tryon, Dobbs died in March 1765, and by July 10, King George had promoted Tryon to official governor.
During his first year as governor, Tryon received a visitor from the Tuscarora nation, one of the Six Nations of Iroquois, sent by Sir William Johnson. In a letter dated June 15, 1766, Tryon writes to Johnson about the visit. The man arrived very ill with the mumps and was attended to at Tryon's temporary home in Brunswick. The delegate was apparently meant to sell the Tuscarora land in North Carolina and bring those living there to New York to join the Six Nations. Unfortunately, he would have to wait until the next meeting of the assembly in October to do so. He was at first unwilling, but "upon [Tryon's] assurance to acquaint his Nation thro' [Johnson] of the necessity of his waiting till the meeting of [the] General Assembly, he consented to go to his People settled in [the] province till the above period." The man gave Tryon strings of wampum and an "Indian name" at his request. "He honored me with his own name," Tryon wrote, "Diagawekee, in testimony of his regard for the care I had taken of him in his illness. This name is to remain to all future governors of North Carolina."
That spring, British Parliament had passed the Stamp Act, requiring a tax be paid on every piece of printed paper: legal documents, playing cards, newspapers and other printed items all fell under this tax. Parliament claimed the taxes were being used for the colonists' protection - the money would finance the placement of troops along the Appalachian Mountains. The issue with the tax was not that it was imposed; it was the reason why it was imposed. In the past, taxes were used to regulate commerce. However, this tax was a direct attempt to raise money by the English government. Governor Tryon did his part by forbidding the North Carolina colonial assembly from meeting between May 1765 and November 1766. This not only prevented them from passing a resolution opposing the Stamp Act, but it also kept them from sending delegates to the Stamp Act Congress in New York City. He also requested troops to enforce the act, but it was repealed in March 1776.
During his tenure as governor of North Carolina, Tryon built an elegant Georgian-style mansion at New Bern. The home was designed by his architect, John Hawks. The state legislature appropriated 5,000 pounds for the project, but Tryon was unhappy with this amount, claiming that it couldn't be done for less than 10,000 pounds. He convinced them to raise taxes to fund his opulent mansion. Angry at this new tax burden, the colonists derisively began referring to it as "Tryon Palace."
It was completed in 1770 and it was the first permanent capital in the state. The home was destroyed by fire in 1798, but it was rebuilt using original architectural designs and reopened to the public in 1959. (Coincidentally, I visited this mansion on a trip as a kid.)
Although Tryon did some good work as governor of North Carolina - he established the state postal service in 1769 - he is most remembered for suppressing the North Carolina Regulator Uprising, which took place from 1768-71.
The uprising was a result of Tryon's raised taxes for his mansion and tax abuse and fraud by officials in the western part of the state. In May 1771, the militia defeated 2,000 Regulators at the Battle of Alamance. Seven of the uprising's leaders were executed for violating the Riot Act.
Passed in 1714, the act defined groups of 12 of more people as unlawfully assembled. Six of the other Regulator leaders were pardoned by the king. Tryon again raised taxes to pay for the militia's actions at Alamance. Some historians see this uprising as a precursor to the American Revolution.
William Tryon's stint as North Carolina governor ended in 1771. That year, he and his family traveled north. On July 8, 1771, he was named governor of the Province of New York. His role as governor of New York and subsequent actions during the Revolution will be explored in part two of this column, appearing Aug. 18.
Samantha Hall-Saladino is the Fulton County historian.


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Will Carignan Be The Varietal That Made Israeli Wine Famous?
February 16, 2012
A review of the Recanati Reserve Carignan Kerem Ba'al 2009 and the Bruichladdich 10-year-old single malt Scotch Whisky.
Australia has Shiraz, Argentina is known for Malbec, Chile for Carmenere and in California Cabernet is king. Whether by design, regulation or chance, nearly every winegrowing region has "its" grape. It adds a level of distinctiveness and sets a local standard whereby newcomers can be evaluated.


text:
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Amine Reactions
A selection of articles related to amine reactions.
Original articles from our library related to the Amine Reactions. See Table of Contents for further available material (downloadable resources) on Amine Reactions.
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Astrology >> The Moon
- Apis mellifica (Bee Poison)
- Apis is homoeopathic potentized poison of the honey bee. Ever felt the sting of a bee or wasp? Then you know exactly what kind of pains this remedy cures: Apis will heal burning, stinging and sore pains that get worse by touch, heat or pressure and get less...
Remedies >> Remedies A
- Solo, Duo or Group Sex Magick Rituals.
- Many sex magicians prefer to perform their rituals in the form of auto-eroticism and/or having intercourse with a partner. But there are more possibilities and variations. You may wish to take a look at them and consider to implement them in your sex magickal...
Body Mysteries >> Sexuality
- Am I Damned?: Part 2
- CAVEAT: It is impossible to answer a "theological" question simply and correctly at the same time. The reason for this is the fact that the theological arena involves reality not only beyond our capacity to adequately express, but even beyond that,...
Religions >> Christianity & Paganism
- Colors in Psychology
- "Personality is a mask you believe in." Dr. White If you wish to accomplish change through color then it makes sense to first take a look at your own reactions on colors. First choose your favorite color(s) from the color fields below, next pick out...
Symbology >> Colorology
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Cellier des Dauphins Côteaux des Baronnies
Deliciously rich ripe & smooth blend from Southern Rhône
Coteaux des Baronnies is a delicious blend from Southern Rhône. This wine is bursting with aromas of ripe cherries and redcurrants. Deliciously rich and smooth the summer berry theme continues on the palate.
Out of stock


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Temperature Switch, Thermistor Sensor Type, -58 to 302°F Temp. Range, SPDT Relays
- Item# 2HMF5
- Mfr. Model# TS2-020
- Catalog Page# 746
Using 360° Viewing:
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- Zoom In: Double click on image.
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- Shipping Weight 0.4 lbs.
Technical Specs
- Item Temperature Switch
- Sensor Type Thermistor
- Special Features Compressor Defrost
- Temp. Range -58 to 302 Degrees F
- Relays SPDT
- Power Required 230VAC
- Contact Rating 16A @ 250V Resistive, 5A Inductive
- Accuracy +/-1% Full Scale
- Display LED
- Includes Gasket, Mounting Clips, and Instructions
- Manufacturers Warranty Length 1 Year
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Item # 2HMF6LOVE
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by Michael
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I purchased 2 Guardsman Plus tires for my Nissan Maxima last fall. While they performed very good on smow,ice and rain during the Nebraska winter, they are very noisey on dry pavement. I don't know if I can continue to tolerate the noise!
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Hotel Accommodation near Tasquena Station
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- Most bookedHotel Montreal
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"I want to thank the staff of Casa Jacinta for their wonderful hospitality. My stay at the beautiful Casa Jacinta was one of the best in my many years of travel. My short time in Coyaocán and Ciudad México was a revelation: I am so excited to have discovered such a great neighborhood and a grea..."
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- Zocalo
- Basilica of Our Lady of Guadalupe
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- U.S. Embassy
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text:
Watch: Beyonce, Kelly Clarkson, James Taylor sing at inaugural
Watch Beyonce perform "The National Anthem" at President Obamas inaugural. Below that watch Kelly Clarkson sing "My Country 'Tis of Thee" during the ceremony.
Clarkson was a Ron Paul supporter but said she switched to Obama because of women's and gay rights issues. »Read Full Blog Post(1)
MSO, Swingle Singers enchant with rare 'Sinfonia'
One of the great joys of having a high-quality symphony orchestra in town is the opportunity to experience an enormous variety of music - live.
Friday's Milwaukee Symphony Orchestra concert presented a rare opportunity to hear Luciano Berio's "Sinfonia" for eight voices and orchestra. »Read Full Article(2)


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About us/CFP
Current Issue
The Vault
Lost Souls
Jack the Ripper's Bodies–without–Organs:
Affect and Psychogeography under the scalpel in
From Hell
Anna Powell
The victims of Victorian serial killer Jack the Ripper were shockingly literal bodies without organs.(
) From the first shot, the film
From Hell
(the Hughes Brothers 2001) also turns bodies inside out by cinematic means.(
) Many sequences are insistently wet or damp, via tactile close-ups of juicy fruit, dripping rain and clinging mud. The Whitechapel sky is drenched with the blood of murdered women. Shades of red consistently saturate the mise-en-scène of this infernal vision of London, turning the city's labyrinths, their denizens and objects into bleeding wounds and eviscerated organs.
For Deleuze and Guattari, though, a body-without-organs (BWO) is never used in its literal meaning of an eviscerated corpse. They clearly state that their own term focuses not on 'organs without bodies, or the fragmented body,' but intends a figurative body, which may or may not be of flesh, 'animated by various intensive movements' in process of becoming.(
From Hell
thus gives us a conundrum to launch this re–mapping of Gothic film theory. Despite the apparent contradictions encountered along the route, I want to argue that the film's bodies, both living and dead mobilise a powerful series of intensive affects via extreme cinematic sensation.
My exploration in this article is twofold and interstitial. Linking, but distinguishing literal and figural bodies, it moves across distinct but intersecting planes: place and time, history and philosophy, fact and fantasy. I write at the junction of Deleuzian affect and the psychogeography that overtly shapes the plot and locale of
From Hell
, a film ostensibly based on popular crime culture and historical events in the slums of late Victorian London. Linking philosophical theories of duration and the virtual with the work of psychogeographic writers on recognisable historical events and actual locales, I set out to explore the affective geographies of Gothic horror film.
So how might the concept of affect be defined in general usage? To affect as a verb is to 'lay hold of, impress, or act upon (in mind or feelings) or to 'influence, move, touch'.(
) Affection as noun is 'a mental state brought about by any influence; an emotion or feeling'.(
) Although retaining shades of these broader meanings, Deleuze and Guattari use affect in a special sense that mixes body and mind via the 'logic of sensation'.(
) For Guattari, the aesthetic event of a potent art work is viral in its action upon us, being known 'not through representation, but through
Affect permeates Deleuze's solo authored cinema books as well as the joint work with Guattari and both the movement–image and the time–image are distinct but congruent explorations of it. Via this work, studies of the horror film experience can extend beyond psychoanalytically inflected approaches, most notably those shaped by Laura Mulvey and Julia Kristeva.(
) As I argue elsewhere, moving images on screen hook into us to literally 'get under our skin' to make a mental encounter through the viscera.(
) On–screen images are, in one sense, non–material simulacra, yet the viewer encounters them both corporeally and conceptually at the same time. Stimulating neuronal networks, they produce biologically quantifiable events on our internal and surface organs. Filmmakers maximise the palette of sensation, using sight and sound along with the simulation of other senses to produce affective thoughts and ideas. By watching characters touch on–screen objects or by the use of close-ups with a tactile of quality such as images of blood we also 'touch' and respond to them haptically. We extend our medium-specific cinematic sensorium virtually to include a 'sense' of physically absent sensations.
But cinematic affect does more than replicate sensory response in the corresponding organ, whether it is directly appealed to (a movie sequence can cause goose bumps of terror or genital sensations of erotic arousal) or in the more covert operations of haptics, which evokes touch through vision, sound and synaesthesia, the mingling of the senses. It moves beyond the organic body to stimulate the embodied mind on many levels, as, slumped in our cinema seat, or in front of the domestic screen, our customary body maps can become BWOs. Affect is produced by the formal grammar of film as it works through the medium of images moving in time. Impacting affectively on senses and brain, the virtual cinematic event reverberates intensively as thought and memory.(
From a Deleuzian perspective, and contentiously for some kinds of Film Studies such as socio-cultural approaches, much of the impact of images does not entirely depend on their overt representational content, despite their narrative meanings and socio-historical signification. What Deleuze calls affection–images express 'the event in its eternal aspect' by foregrounding affects over representational content as 'pure singular qualities or potentialities-as it were, pure "possibles"'.(
) Emotions like terror and optical sensations like brightness, he argues, manifest 'power-qualities', which are virtual possibilities waiting to be actualised in particular conditions. Of course, the viewer's affective encounter with such images is inevitably shaped by plot mechanics and characterisation, which themselves build up the affective landscape of the film's narrative context. What Deleuze is suggesting is that we open ourselves up to the film's potential to stimulate thought beyond what the images show in terms of their obvious content or what the film is 'about' in common-sense terms.
Deleuze himself uses the example of Jack the Ripper's knife, or rather, of its gleam intensified by close–up and ambient darkness, to exemplify the limits of cinematic representation. Such affective qualities; brightness, terror and compassion in the case of his own citation from
Pandora's Box
(Georg Wilhelm Pabst, 1929); are 'pure singular qualities or potentialities-as it were, pure "possibles"' that constitute eternal aspect of the event.(
In a comparable shot from
From Hell
, too, the murderous glint of a knife as it stabs downwards is envisioned by Detective Fred Abberline (Johnny Depp). Surrounded by darkness, the gleaming blade becomes an autonomous tool acting without visible agent to emphasise the depersonalised violence of the stabbing. This does not replace, but is supplementary to, our horror at the narrated act of murder. It is an event of light, colour and sound moving in the special sense of time opened up the cinematic encounter.
Affect in Time
Henri Bergson is the direct philosophical precursor of Deleuze's temporally based thinking on cinematic affect. Though Bergson accused early cinema of representing temporal flux as a series of static 'snapshots' strung together by mechanical movement,(
) Deleuze nevertheless identifies a fundamentally 'cinematic' philosophy in Bergson's implication of 'the universe as cinema in itself, a metacinema'.(
) Like Deleuze himself, Bergson regarded the world as 'flowing-matter', a material flux of images, with the human perceiver as a 'centre of indetermination' both within it and able to reflect on its intensive affect in duration.(
For Bergson, perception is extensive and actual, a response triggered by external stimuli and producing external action, but affection, unextended and virtual, occurs in the temporal gap between stimulus and response. Unlike perception, which seeks to identify and quantify external stimuli, affection is qualitative, the intensive vibration of a 'motor tendency on a sensible nerve'(
) Rather than being 'geographically' located, he argues, affect surges in the centre of indetermination. Its pre–subjective processes engage a kind of auto–contemplation that participates in the wider flux of forces, and moves in duration.
Deleuze, like Bergson, locates affection in the evolution from external action to internal contemplation. Whilst 'delegating our activity to organs of reaction that we have consequently liberated' he writes, we have also 'specialised' specific facets as 'receptive organs at the price of condemning them to immobility'.(
) These immobile facets refract and absorb images, reflecting on them rather than reflecting them back. Deleuze offers a Bergsonian definition of the affective process as a 'motor effort on an immobilised receptive plate'.(
) Deleuze's approach to the cinematic image presents affect not as a failure of the perception-action system, but as its third element, 'absolutely necessary' to produce new thought.(
Affects occupy, without filling, the interval between stimulus and response. Internal and self-reflexive in nature, affect operates by 'a co-incidence of subject and object, or the way in which the subject perceives itself, or rather experiences itself or feels itself "from the inside".(
) A cinematic image's affect on the viewer's awareness occurs in this potent interval. For Claire Colebrook, commenting on Deleuze, cinematic affect 'short–circuits' our perceptual habit of selecting images that interest us only for potential action.(
) She asserts that the power of affect is 'crucial to such violent forcing of thought out of accustomed patterns by shifting them from spatial extension to intensive temporality.(
Cinematic affect mobilises gaps and fissures in the image content itself (such as the out–of–frame) and breaks in linearity (such as non-continuity editing). I use the terms affect and affection, then, to suggest a self–reflexive pause, a temporal hiatus catalytic for potential change. DeleuzeGuattarian affect is pivotal to my wider project to explore the forms of Gothic film sensation as they impact on the BWO to undermine spatial conventions of linear time and sensory–motor movements linked by action. So how is this kind of affect exemplified further in the film of
From Hell
Affect and Delirium
From the outset, soft-focus close-ups key in the temporal fluidity of affect and express Detective Fred Abberline (Johnny Depp)'s role as a visionary rather than an action-hero. The visual images (what Deleuze calls opsigns) and sound track elements (sonsigns) of the title sequence engage sensation. This affects us via the sharp striking of a match and the camera's languid pan from the detective's clenched lips along his long stemmed ivory opium pipe to its bowl. The pulsing soundtrack slows the normal paced heartbeat as the effects of opium stretch out linear time. (
) Immersed in pure affect, the images of Abberline's face slowly melt by fades that work to keep the plot suspended and will undermine our conventional confidence in the detective's official police persona.
The film's lurid images and exaggerated sound are intensified by the drugs that fuel Abberline's journeys across space and time. Surrealist writer Antonin Artaud, who crucially influenced Deleuze and Guattari's thinking, conceived the BWO during a peyote hallucination. In an attempt to break his own addiction to heroin, he partook of the peyote ritual of the Tarahumara tribe in 1936 in New Mexico. His account of this experience describes a schizoid process of 'internal separation and distribution'.(
) as 'organs break away and burst' in a euphoric atmosphere of liminality which 'wavers between gas and water'.(
) Freed from his hierarchical body–map, he tells us, he is able to embrace the 'limitless'.(
For Deleuze and Guattari, hallucinogens are actually powerful but dangerous agents of affect, but virtually, we can use them without bodily harm though their artistic expression. In fictionalised accounts of narcosis such as those of Carlos Castaneda (
), ingestion appears to offer an autopoetic tool which, Deleuze and Guattari argue, may help to 'combat the mechanisms of interpretation' and instil in users 'a presignifying semiotic, or even an asignifying diagram'.(
) According to such user accounts, subjective consciousness melts into 'flows of intensity, their fluids, their fibres, their continuums and conjunctions of affects'.(
) Drugs appear to have 'changed the perceptive coordinates of space–time and introduced us to a universe of microperceptions'.(
) As the interface of actual and virtual blur, the delirious subject experiences becoming a BWO.
For Deleuze and Guattari, though, delirium should not be used for the purposes of pleasure, escape or imploded self-cultivation by using art as a 'safe' kind of drug, but rather to mobilise the most life–affirming action. Delirium can be creatively diverted into aesthetic expression and political praxis.(
) A more productive response carefully prevents the kind of actualisation which 'characterises the victim or the true patient' by engineering its creative diversion though art.(
) Deleuze argues that the aesthetics of affect thus offers us 'the chance to go further than we could have believed possible'.(
) If the pure event is 'imprisoned forever in its actualisation', art 'liberates it, always for other times'.(
) He expresses hope that the fictional 'revelations' offered by drugs and alcohol might be encountered at the surface, independently of the use of those substances, provided that the techniques of social alienation which determine this use are reversed into revolutionary means of exploration.(
) The potency of intoxication can thus be actualised productively without courting self–destruction.
In literature and film, many works present drug and alcohol as initially glamorous but eventually causing the degeneration of body and mind.(
) A parallel to this in the Gothic mode is the thematic figuration of vampirism as addiction. Examples of this are seen in Abel Ferrara's
The Addiction
(1995) or the 'cold turkey' of Sarah, the fledgling vampire in Tony Scott's
The Hunger
(1983). Like drugs, much fictional vampirism leads to escalation, dependency and severe punishment. To apply Deleuze's terms, its apparent 'deterritorializations remain relative, compensated for by the most abject reterritorializations'(
) ending in the user's death by overdose as in Abberline's own case in
From Hell
Bodies without Organs and Time
Abberline's opium ingestion aids the processes of detection by shifting the everyday perceptual co–ordinates of space and time. Infinitely extending the moment, the detective is able to cross geographical space mentally to locate events and predict the future. His visions undermine the linearity of clock–time and conventional narrative as he short–circuits temporal layers to locate images of the event. He does not, however, always hit the memory he seeks and inadvertently jumps into the wrong layer of the past, the painful memory of his dead wife. Eventually, though, he encounters the death of Polly (one of the film's street-walker 'unfortunates'), by short–circuiting time and space. This occurs both on screen and in the viewer's own mental images moving in time.
Deleuze and Guattari note that the temporal distortions induced by drugs stimulate acute awareness of 'speeds and slownesses'.(
) The film's stylistic skewing of time has a preference for two techniques: jagged jump cuts (as when Abberline envisions the murders) and molecular graininess (as seen in the opium den scene above). Abberline's subjective sense of clock and calendar time is anomalous in its distortions and slippages. When 'rescued' by Sergeant Godley (Robbie Coltrane) after four hours spent in the opium den according to the clock, he assumes he has 'lost' a whole day there. The stretching out of time is further heard in action when he tells Mary Kelly (Heather Graham) another 'unfortunate' and his doomed love–interest, that his wife and baby died 'a year ago, no two years, no, more than two years'. Smoking opium and drinking absinthe laced with laudanum to forget the pain of personal memory and to assist detection, instead he accesses place memory and common memory.
One useful Deleuzian concept with which to think the affective quality of certain on-screen images is molecularity. Re–deploying the concepts of molecular biology to film-philosophy, Deleuze suggests that as 'thought is molecular', so 'molecular speeds make up the slow beings that we are'.(
) Abberline enhances his extra-sensory perception by occasional bouts of absinthe drinking. In a grainy close-up of his glass, the bubbles rise and burst in the green mixture as the alcohol slowly melts the sugar. The bubbling of fluids such as this and, later, both water and blood express Abberline's own molecular condition. Intriguingly, too, this magnification of melting sugar recalls Bergson's image of time stretching and melting in duration like sugar in water.(
) While the purely spectacular image demands our attention on screen, the unfolding of the plot is held in suspense.
Classic narrative film seeks to collapse temporality into the flattened plane of standardised on–screen time, with deviations clearly marked in the narrative by flash-backs and dream sequences. Yet this attempt inevitably undermines itself because the medium of film is itself made up of virtual, hence durational, images that cannot enter the normal clock-time of actualisation. As well as the molecular quality of grainy close-ups, time's moving map and the mental jumps we make across it are expressed by special effects. In
From Hell
, very brief intercuts of images with a manic, irritant quality are used to express the death of Annie Chapman, seen by Abberline spontaneously on a rare occasion in which he does not use narcotic assistance. In these images, garish strobes and rapid flicker stab into our visual faculties as affective components of light.
Such effects, which overlay and freeze 'present' time by flash-frames so brief as to be almost imperceptible, induce what Deleuze calls the 'emancipation of time, which ensures the rule of impossible continuity and aberrant movement'.(
) Such affective techniques complicate the validity of the on–screen temporal schema, itself made up of visionary experiences recalled by virtual images that undermine actuality. In
From Hell
, particular devices deliberately seek to complicate standardised movie time. One example occurs when Abberline actually discovers the corpse of another street walker, Martha Tabram rather than that of the woman whose murder he has just witnessed in his precognitive vision.
A further example occurs at the end of the film as Abberline overdoses on opium. At this point, he envisions a happy ending for Mary Kelly, in which she has eluded Jack's knife by escaping to the west coast of Ireland with the money the detective gave her. In a soft-focus sequence, we see into the future with him. Mary has set up a pretty home in a cottage by the sea with Alice (the daughter of her friend Ann immured in an asylum when her secret marriage to the prince of Wales is uncovered by Queen Victoria's agents) and looks out to sea as she waits for Abberline to join them. Abberline's idyllic vision could be intended as a compensatory fantasy projection, the wish-fulfilment of possibilities frustrated in reality.
This happy ending is only one aspect of the film singled out for attack from a psychogeographical perspective. If Mary's escape were intended as a plausible event, then it would, of course, refute her actual death in both history and Moore's fiction. As Ian Sinclair's review of the film suggests, however, the opening sequence might feasibly the first in a series of Abberline's opium dreams that enfold the other actions we witness later. If this were the case, then all events as presented in the film could well be read as Abberline's extended posthumous reverie.(
) It is to the more spatial psychogeographical possibilities opened up by the film's 'unreal geography' and the light these shed on the Gothic mode that I now want to turn, using explicit content and context to illumine and supplement the implicit intent of its affective style.(
'All there in the breath of the stones': Psychogeography in From Hell
Psychogeography sketches an occult landscape of atmospheres, histories, actions and characters impacting on actual environments, and has much insight to offer on the role of locale in Gothic studies. It developed from the same historical nexus as Deleuze and Guattari's work and shares some earlier antecedents in avant–garde aesthetics. In France, psychogeography originates both in the Baudelairian figure of the
, the perambulant urban dandy, and Walter Benjamin's walks around the Paris streets of the 1920s. Emerging from Situationism it combines Marxism and the visionary techniques of Surrealism. In their own ways both psychogeography and Deleuzeguattarian concepts manifest the same cultural currents which developed from post–war Paris into the events of May 1968 and their theoretical aftermath.
Psychogeography is the hidden landscape of atmospheres, histories, actions and characters impacting on environments. After the
Internationale Situationiste
gathering in 1957, the term is used by Guy Debord to indicate the experiential study 'of specific effects of the geographical environment, consciously organised or not, on the emotions and behaviour of individuals'.(
) and like the Surrealists before him, he provocatively recruits Jack the Ripper to his pantheon as 'psychogeographical in love'.(
On one level, Psychogeography moves extensively in specific places and historical events, whilst Deleuzian affect, as we have seen, moves intensively on the abstract, mental plane of duration. Yet, on another level, their dynamics are congruent. Whilst undertaking physical walks in the city, the Situationists sought out 'zones of distinct psychic atmospheres'.(
) As well as actual walks, mental journeys such those of the Surrealists are also incorporated in the psychogeographic paradigm, though they usually involves the mental projection of actual sites.(
) As well as 'authentic' locales and physical walks, early Gothic mental travellers such as Thomas De Quincey have psychogeographical currency as 'founding fathers'.(
Abberline has considerable psychogeographical credence, particularly as characterised in Moore's comic version. His opium addiction, detailed above, certainly qualifies him as a mental traveller across time and space. In Abberline's actual, physical perambulations of the Whitechapel locale, too, he experiences the psychogeographical imprint of the murders on the very stones of streets and buildings.
The movie adaptation of
From Hell
evolved from Sinclair's novel
White Chapell Scarlet Tracings
(1988) as already adapted by Moore's comic series.(
) Given Sinclair's long-term engagement with psychographical issues via his fiction and independent film and video making, it is hardly surprising that he would take issue with this lush multi-million dollar Hollywood version of the story.(
) Sinclair's own form of psychogeography meshes psychic states with layers of history in a specific geographical locale which exacerbate, or even cause, them. His schizophrenic character James Hinton sounds remarkably Deleuzian in his embrace of subjective dissolution, duration and becoming. Hinton seeks to be 'disencumbered, no longer prey to the physical laws of the universe and the grinding tyranny of time […] In erasing myself, I should truly become'.(
Deleuze and Guattari's schizoid BWO is likewise an 'affective aggregate to dissolve subjective identity'.(
) They deploy maps and terrains not to encompass spatial geography but to figure the intensive motion of the abstract 'plane of immanence' with its own metaphysical geography of 'poles, zones, thresholds and gradients'.(
) This concept repudiates transcendence as 'other' to immanence. The plane of immanence flattens all binary divisions such as body and mind, spirit and matter in the shifting forces of 'a powerful, nonorganic vitality'.(
Both theoretical perspectives we are considering foreground time and memory, to gain insight from past experiences, mobilising vital forces in the optimum direction for future change though with a very different emphasis. Sinclair asserts that 'unless we can remake the past, go into it, change what is now […] we are prisoners, giving birth to our old faults, carrying our naked grandfathers in our arms'.(
) The role of history in Deleuze and Guattari's work reflects on history though the prism of philosophy via theories of time and evolution via historical thinkers such as David Hume and Friedrich Nietzsche.(
Sinclair's objections to the Hughes' brothers' film diverge sharply from a Deleuzian perspective on cinema. He attacks the film on two counts–lack of historical authenticity and stylistic overload. The directors' stated attempt at a 'ghetto story' (
) enrages Sinclair, who asserts that this 'industrial product treats the past as the final colony in the American world empire'.(
) It 'robs' the climactic slaughter of Kelly in Miller' s Court, of its 'place in time' and the sentimental happy ending trashes history.(
) Moore's self–reflexive and structurally complex comics are, on the other hand, lauded as admirable with its strong sense of Victorian London locales and its 'darkly realist; fiercely drawn, crosshatched' graphic style. (
) Sinclair complains that the Hughes' cinematic excess swallows the 'bleak nightscape' of Moore's vision and floods it with garish Technicolor.(
Ironically, the filmmakers had sought to lend authenticity to their 'ghetto story' by shooting in Prague, where a Victorian Gothic facsimile of Whitechapel was lovingly assembled (
) Old cobblestones 'borrowed' from Polish breweries and civic institutions dressed the set. In Sinclair's uncompromising view, this 'industrial product' that 'treats the past as the final colony in the American world empire' has maligned, not reanimated, history. (
From a psychogeographical point of view, though, a virtual past is feasible only if it retains material determinants as traces of physical contact with the past. Alan Moore asserts that the past is ultimately unknowable and inevitably generates imaginative fictions, yet the Whitechapel locales and the murders, whether perpetrated by the single figure of Jack the Ripper or not, were, of course, actual. Sinclair regrets the film's entirely virtual and evanescent nature.(
) He writes that 'Colours bleed. The visceral impact of the Hughes' grand guignol, with its Steadicam swoops and dynamically articulated tracking shots, loosens its grip. Memory won't hold us in this other place, however cunningly the never-was is resurrected'.(
At the other pole on this count, the virtual rather than the actual plane is crucial to the mental operations of Deleuzian cinematic affect. In order for Abberline's BWO to shift its spatial co–ordinates, the actual and the virtual, space and time, must interface. Though both actual and virtual poles are mobilised by the film as experience, the cinematic trajectory travels chiefly on the virtual plane of affect. From Sinclair's geographically and historically –based psychogeography, then, the film has little to recommend it. Yet, rather than abandoning the two perspectives because of their irreconcilable divergence, I would, instead, like to continue my exploration of the congruence.
Psychogeography accesses cultural memory of events and places to glean present insight, often of a politically radical and anti-Capitalist nature. Like the affective intensity of Abberline, this process demands psychic receptivity. Sinclair recommends the technique of what he calls 'saturation' with a 'solution of the past, involuntary, unwilled, until the place where you are has become another place; and then you can live it, and then it is.'(
) He describes an intense visionary encounter with the past experienced by his novel's unnamed psychogeographical narrator as he walks around the East London area of Brick Lane. He is pulled into the presubjective past in which older landscapes on the site are 'superimposed' along the present line of Brick Lane as the 'force of the river' pulls him 'beyond the human heats, running out of time into the previous, ahead; nerved to a candle–flame consciousness'.(
Here, Sinclair's psychogeographical process parallels Bergson's description of the circuits of personal memory, which Deleuze makes pre-subjective in his own interpretation in the cinema books. In these, the 'past in general', which forms images of an 'unstable set of floating memories', that move at 'dizzying speed, as if time were achieving a profound freedom' has a similar function to communal events and place memory in psychogeography.(
) Bergson's concept of duration links the past, present and future in a seamless continuum, artificially divided by turning time into space. He argues that by stepping outside everyday modes of thought, the 'deeper' self can intuit fluid and multiple states of consciousness that move in the flow of duration. He claims that the insights of 'immediate intuition' can show us 'motion within duration, and duration outside space'.(
) By intensive focus on these states, the perceiver will, in Bergson's lyrical simile, see them 'melt into one another like the crystals of a snowflake when touched for some time with the finger'.(
) Durational continuity thus underlies the apparent distinction of clock-time.
For Bergson, aesthetic absorption has a special power to trigger the intensive affective vibrations of duration in our consciousness. Like music, duration is 'an indivisible multiplicity changing qualitatively in an ongoing movement'.(
) It unites past and present into an ever-flowing organic stream, as 'when we recall the notes of a tune, melting, so to speak, into one another'.(
) Affect is imbricated in the processes of memory via which we recover the enduring past. In order to endure, consciousness is not entirely absorbed in the passing moment. Time passes, but time continues.
Memory enables the consciousness to experience its 'full, living, potential' as it opens itself up to duration via a state of awareness not limited by everyday egoic constraints.(
) Bergson states that pure duration is 'the form which the succession of our conscious states assumes when our ego lets itself live, when it refrains from separating its present state from its former states'.(
) Memory returns the past to the present of consciousness, as we experience 'full, living, potential' in its quality of 'pure heterogeneity'.(
With this insight to guide us, he argues in
Time and Free Will
, we are better equipped to make existential choices.(
) We do not use the re–animated past as an escape route from present demands, but, rather, it enables us to become fully alive to time's richness and complexity. Aware of becoming, we participate in its affirmative force. By reanimating the past, we do not use it as an escape route from present demands, but, rather, we become fully alive to time's richness and complexity. Thus, we gain awareness of the nature of becoming and our own participation in its affirmative potential.
Crucially to Deleuze's thinking, Bergson points out that memory, like the flux of matter and our own perception, is image-dependent. All experiences are shot through with memory, but for him outstanding memories emanate light, as 'shining points round which the others form a vague nebulosity'.(
) In
From Hell
a place as well as a person can generate the act of remembering. As a receptive psychogeographer, Abberline catalyses this by mental contact as 'shining points' are reversed by the Gothic mode into horror by the atrocities he dredges up.
Psychogeography seeks links to cultural memory and times past in order to gain present insight by learning from events in particular places. Like the affective intensities of Abberline, these special insights are accessed in altered states of consciousness. Sinclair suggests that historically charged places like Southwark, the City and Whitechapel 'hold' time. Here, we may 'walk back into the previous, as an event, still true to this moment. The past is a fiction which absorbs us. It needs no passport: turn the corner and it is with you. The things they do there are natural. You do those things.'(
) In such locales, times past become present experience for the psychogeographer. For both Sinclair's psychogeography and the Bergsonian Deleuze, time is a plurality where if we 'give ourselves up, let go' then the 'dead moment only exists as we live it now'.(
Whist retaining their singularities, all bodies are interconnected at an atomic level in the BWO's field of force. Again, the psychogeographical perspective expressed by Sinclair in his Ripper novel remarkably recalls Bergson's durational model of memory in positing time as a co–existing, and enduring whole with accessible memory traces.(
) In the novel, Sinclair affirms in a rhapsodic passage, the past is
Again, like Bergson and Deleuze, he posits time as a presubjective, collective multiplicity, '
wherein all that has ever come into being or will come co–exists
, which, passing slowly on, leaves in this flickering consciousness of ours […] a tumultuous record of changes and vicissitudes'.(
Despite the obviously divergent routes of affect and psychogeography, I have suggested that their paths cross in recent Gothic horror film. Although memory 'imitates' perception as it returns from duration, elements of 'original virtuality' will always prevent complete actualisation.(
) Shot through with fantasy, history can never be totally grasped. Yet, like the former sense impression manifested in the 'coloured and living image' of memory, cinema's virtual images touch sensational actuality, as Abberline touches the stones.(
) As well as having distinct particularities, all bodies are interconnected with each other at an atomic level within a larger field of force. Aesthetic delirium feels the enduring past and accesses a terrain for new forms of thought.(
) However virtual and in some ways corrupted the film's diegesis may be,
From Hell
's dead bodies still generate a living map of affect.
1. At least five street walkers were murdered and sexually mutilated in a 'serial' manner in the Whitechapel area in 1888. I am using Jack the Ripper here as the name popular crime culture and 'Ripperology' gives to the perpetrator of these murders, though the women may not have been killed by a sole person.
2. The Hughes brothers' film is an adaptation of Alan Moore's ten-volume serial comic
From Hell
, Kitchen Sink Press, 1991-1996.
3. Gilles Deleuze, and Félix Guattari,
A Thousand Plateaus: Capitalism and Schizophrenia
, trans. Brian Massumi (London: Athlone, 1988), hereafter referred to as
A Thousand Plateaus
, p. 171.
The Oxford English Dictionary
Vol 1 (Oxford: Clarendon Press, 1989), p. 211.
5. Ibid, p. 213.
6. Gilles Deleuze,
Francis Bacon: The Logic of Sensation
, trans. Daniel W Smith (London and New York: Continuum, 2003).
7. Félix Guattari,
Chaosmosis: An Ethico Aesthetic Paradigm
, trans. P. Bains and J. Pefanis (Sidney: Power Publications, 1995), p. 92.
8. Laura Mulvey, 'Visual Pleasure and Narrative Cinema',
Vol. 6. No. 6, 1975; Barbara Creed,
The Monstrous Feminine: Women in the Horror Film
(Manchester: Manchester University Press, 1993); Julia Kristeva,
Powers of Horror: An Essay on Abjection
(New York: Columbia University Press, 1982).
9. Anna Powell,
Deleuze and Horror Film
(Edinburgh: Edinburgh University Press, 2007).
10. Julian Hanich,
The Paradox of Fear
(New York and London: Routledge, 2010, forthcoming). Hanich presents a phenomenological study of audience response to horror and thriller films.
11. Gilles Deleuze,
Cinema 1: The Movement-Image
, trans. Hugh Tomlinson and Barbara Habberjam (Minneapolis: University of Minnesota Press. 1986), p. 102, hereafter referred to as
Cinema 1
12. Ibid.
13. Henri Bergson,
Creative Evolution
, trans. Arthur Mitchell (Lanham, Maryland: University Press of America, 1983), p. 306, hereafter referred to as
Creative Evolution
Cinema 1
, p. 59.
15. Ibid.
16. Henri Bergson,
Matter and Memory
, trans. Nancy Margaret Paul and W. Scott Palmer (New York: Zone Books, 1991), hereafter referred to as
Matter and Memory
, pp. 55-56.
Cinema 1
, p. 65.
18. Ibid, p. 66.
19. Ibid, p. 65.
20. Ibid.
21. Claire Colebrook,
Gilles Deleuze, Routledge Critical Thinkers
(London and New York: Routledge), 2002, p. 40.
22. Ibid, p. 38.
23. Ibid.
24. Antonin Artaud,
Les Tarahumaras
, trans Helen Weaver,
The Peyote Dance
(New York: Farrar, Strauss and Giroux), 1976, p. 24.
25. Ibid, p. 36.
26. Ibid.
27. Carlos Castaneda,
The Teachings of Don Juan: a Yaqui Way of Knowledge
(Harmondsworth: Penguin, 1973).
28. Ibid, p. 138.
29. Ibid.
A Thousand Plateaus
, p. 248.
31. Ibid, p. 157.
32. Ibid.
33. Ibid.
34. Ibid.
35. Ibid.
36. Sadie Plant,
Writing on Drugs,
1999, London: Faber.
37. Ibid, p. 284.
38. Ibid, p. 162.
39. A Thousand Plateaus, p. 283.
40. Gilles Deleuze, 'The Brain is the Screen', in Gregory Flaxman, ed.,
The Brain is the Screen: Deleuze and the Philosophy of Cinema
(Minneapolis and London: University of Minnesota Press, 2000), p. 366.
Creative Evolution
, pp. 9–10.
42. Gilles Deleuze,
Cinema 2:The Time-Image
, trans. H. Tomlinson and R. Galeta. London: Athlone, 1989, hereafter referred to as
Cinema 2.
43. Ian Sinclair, 'Jack the rip-off' review in
hereafter referred to as 'Jack the rip-off'.
44. Ibid.
, accessed 10/12/09.
2, June 1954,
47. Ivan Chtcheglov, excerpt from a 1963 letter to Michèle Bernstein and Guy Debord, Internationale Situationniste #9, reprinted in
Situationist International Anthology
, Berkeley: Bureau of Public Secrets, 1981, p. 38.
48. Merlyn Coverley,
(Harpenden, Herts: Pocket Essentials), 2006, p. 20.
49. Ibid.
50. Iain Sinclair,
White Chappell: Scarlet Tracings
, London: Paladin, 1988, hereafter referred to as
White Chappell
, p. 175.
accessed 12/12/09.
White Chappell
, p. 175.
53. Daniel Smith, intro to Daniel W. Smith ed.
Essays Critical and Clinical
, trans. Daniel W. Smith and Michael A. Greco (London and New York: Verso, 1998), p. xxix, hereafter referred to as Smith.
54. 'To Be Done with Judgment', in Smith, p. 131.
55. Ibid.
White Chappell
, p. 113.
Deleuze and History
, edited Claire Colebrook (Edinburgh: Edinburgh University Press), 2009.
58. The Hughes Brothers,
From Hell
, DVD, Audio commentary, Twentieth–Century Fox, 2001.
59. 'Jack the rip–off'.
60. Ibid.
, accessed 13/12/08.
62. 'Jack the rip–off'.
63. The Hughes Brothers,
From Hell
, DVD, Audio commentary, Twentieth–Century Fox, 2001.
64. 'Jack the rip–off'.
65. Ibid.
66. 'Jack the rip–off'.
White Chappell
, p. 31.
68. Ibid.
2, p. 55.
Matter and Memory
, p. 114.
71. Ibid, p. 138-139.
72. Ronald Bogue,
Deleuze on Cinema
, London and New York: Routledge, 2003, p. 14.
Matter and Memory
, p. 100.
74. Ibid, p. 104.
75. Ibid, p. 100.
76. Ibid, p. 104.
77. Henri Bergson,
Time and Free Will: An Essay on the Immediate Data of Consciousness
, trans. F. L. Pogson [1910] (London: George Allen and Unwin, 1971).
78. Ibid, p. 171.
White Chappell
, p. 63.
80. Ibid, p. 31.
81. Ibid.
82. Ibid, p. 112.
83. Ibid.
84. Ibid, p. 134.
85. Ibid, p. 133.
Matter and Memory
, p. 100.
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'all there in the breath of the stones. There is a geology of time! We can take the bricks into our hands: as we grasp them, we enter it. The dead moment only exists as we live it now. No shadows across the landscape of the past–we have the past–we have what is coming; we arrive at what was, and we make it now'.(
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