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Tile saw
I'm looking at having at least 4 Sundays worth of tile work to do at home, and likely 5 or 6. At $50/day it may well be cheaper to buy, and certainly would be cheaper if I buy and then sell on craigslist. I'm keeping my eyes open for something used, but may need to go new due to time constraints. Any reviews/suggestions?
How big is the tile you need to cut?
Any mosaic in the mix?
There are three basic styles of saw---
Overhead cutter with sliding tray
Table saw style with blade in the table
Bridge saw--overhead cutter on a long track---
12" can be cut on all of the above saws----
An overhead saw is the work horse of the industry---I have an MK-101---easiest for making tricky cuts.
Table saw style is the cheapest and slowest---and messiest--but will do for a small job. Splash guard must be removed for plunge cuts--I have one for back splashes but I hate it.
Bridge saws are great for straight cuts and large tile----QEP makes a nice cheap one---
They are lousy for cleaning up the inside of an L shaped cut--plunge cutting is not an option.
An angle grinder with a diamond blade will be needed if a bridge saw is your only saw.
I typically bring a bridge saw and the MK-101 to a job---the bridge saw makes the straight cuts and mitered edges and the MK-101 does the tricky complicated cuts.
Hope this helps a little.
Very helpful, thank you.
Right now, I'm thinking of either an MK-370 or 377 in addition to a diamond blade for my angle grinder. Think that would work?
For a better idea, the project is:
~400 square feet of 12" floor tile
-3'x4' shower stall, mosaic floor, 6" wall tile, probably something funky and decorative on the walls. I'm putting in a shower niche, so I'll have some more complicated cuts for that. I'll also have some deep cuts through the stone I'll be using for the threshold and the shelves in the shower niche (say 1" thick).
-About 25 lineal feet of kitchen backsplash. It might be 6" tile, it might be mosaic, the boss has yet to make up her mind on that one.
you could always do the layouts and figure out all your cuts and do them on one weekend.
but if it was me, I'd check CL for a tile saw, then if I did not find one, but one and CL it after.
The MK-looks like a workable tool----if you can only have one saw, an overhead one is the choice.
I have no experience with that model,so I can't help on the choice.
I've been using a borrowed MK-101 for a few days. Works great. The two you've listed look like they work similarly, just smaller motors. I've been cutting the tiles slow, to avoid chipping. Power doesn't seem to be an issue. I think those'd work fine. Fot the extra $50, I'd get the larger motor, I think.
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Well it has been awhile since I have been to a gun show so I thought I would give it a shot and see what was up. It was the craziest thing I have ever seen. Let me give you just a little recap of some of the GREAT deals I found today :rolleyes:.
1,000 rounds of Wolf .223 ammo..... cost.......$1,000.00. Yes that was the cost.
Gen 3 Glock 17 and 19 $649.00 each
Glock mags your choice $50.00 used $90.00 new
M&P's $600.00+
I'm not an AR guy so I can't tell you all the models and gazillion configurations but I know the prices were through the roof. The cheapest AR that I personally seen was $1,500.00 and at the top was a Colt at $3,000.00.
AK styles from $700.00 to $1,000.00.
I found a unique gun there as well for gun shows (in my area at least). I seen an AUG that a man had padlocked to his table on the backside closest to him and he only wanted........$3,999.00 for it :gah:. Man I was almost all over that but I was a dollar short on the price :yup:.
Now, not everyone had these crazy figures on their stuff but for the most part it was jacked up quite a bit. The sad part about all of this is there were actually a lot of people paying these inflated prices like it was the last day to ever buy a gun and there was going to be an apocalypse tomorrow. I kid you not some of the lines just to get in were probably 1/4 mile long (no lie, standing line). If I had to guess there had to be upwards of 1k people there. After listening to some of the people in the buildings and in the line I am coming to a conclusion that some of these people have no business owning guns. These are the types that hurt us more than help us in our cause. I'm glad I have what I need and am willing to wait for things I don't have yet until the prices and craziness slows down. If you come across a good deal out there jump on it and let's all help each other find those good deals. NO MORE GUN SHOWS for quite a while again.

subset: commoncrawl


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Istanbul is a must. It's the beating heart of Turkey where you find both ancient dishes and exciting modern interpretations. In the Grand Bazaar you find produce sourced from every region around the country. And there's a fantastic variety of street food, such as tripe soup, stuffed mussels, fish sandwiches, pide and gozleme. You can eat mezze dishes and drink raki in the meyhanes (sort of Turkish tapas bars), or soups and stews in the lokantas (sort of workmen's cafés) or buy creamy milk puddings in milk pudding shops! There are upmarket restaurants serving amazing seafood fresh from the Bosphorus or sophisticated and lavish Ottoman dishes. And nowadays there are loads of chic bars and cafés and contemporary restaurants doing their own interpretations of classic recipes.
Gaziantep is a city in the south-east of Turkey where the food is quite different from what you find in Istanbul as there are Arabic, Armenian, Kurdish and Anatolian influences. The city is famous for its shish kebabs and for its pastries. Antep baklava is usually made from locally grown pistachios, and the quality is outstanding. If you're an early riser you must sample offal kebabs, made from liver, heart or kidneys, which are a popular breakfast meal – especially in the bitter winters. The kebabs at Imam Cagdas are famous around Turkey but I also love the more humble Halil Usta kebab house. This is a local institution and the place is always packed. I've never eaten kebabs like them!
It's hard to pick another specific place, but almost anywhere along the coastline – whether it's the Bosphorus or Black Sea, the Aegean or Mediterranean – you'll find amazing fish and seafood. You can watch the fishermen bringing in their catch and then enjoy eating it at waterfront cafés and restaurants. I've got memories of wonderful chargrilled sardines, octopus and prawns, fried mussels, delicate sea urchins, red mullet, sole and one of my favourites, turbot.


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ED Magedson – Founder
Ripoff Report
Ashley FurnitureBad Axe, Michigan USA
Ashley Furniture Not honoring their warranty. Bad Axe Michigan
Does your business have a bad reputation?
Fix it the right way.
Corporate Advocacy Program™
We bought our roman shades from Ashley's furniture in Bad Axe,Michigan.
from the very beginning, they were Braking. They were supposed to have a life time warranty when we bought them.
we bought them in 6/2010. Every year at least 2 out of 4 brake. They fixed them each time until now. 3 out of 4 are broke and they refuse to fix them
wirhout a charge. The person that came out To look at them said there junk. I agree.
we won't be buying anything from that store ever again. Buyer beware!!!
This report was posted on Ripoff Report on 06/22/2014 01:44 PM and is a permanent record located here: http://www.ripoffreport.com/reports/ashley-furniture/bad-axe-michigan/ashley-furniture-not-honoring-their-warranty-bad-axe-michigan-1156654. The posting time indicated is Arizona local time. Arizona does not observe daylight savings so the post time may be Mountain or Pacific depending on the time of year.
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Koko Smartrainer - Koko Fitness
2 Recommendations
robparr's recommendation
The Koko Smartrainer is the most advanced and engaging exercise experience you'll ever have. It guides you. It paces your every movement. It chooses the right exercise, in the right sequence, at the right weight - specifically for you. Then Koko adapts exercises and weights as you grow stronger to give you the best results in the shortest time. This is the closest thing to having a world class trainer at your side at a fraction of the cost.
My Collections:
MichaelWood's recommendation
The Koko Smartrainer is a strength-training product that is powered by technology and offers more than 70 different exercises and 20 different exercise programs. The average strength gain for an 8-week programs is 23% and they guarantee results!
My Collections:


text:
From our friends at ODF
There will be three or four active timber sales and one private timber sale hauling down the South Fork Trask this summer. I am told there could be as many as 30 or 40 loaded log trucks coming out of that area each weekday.
The CB channel for that area is 17. Industrial traffic and state vehicles are supposed to call out their mile marker and direction (inbound or outbound) while on the road system. Please, if you have a CB, tune into channel 17 while on South Fork Trask. Non-industrial traffic is being encouraged to avoid this road weekdays.
If you have any questions about the timber sale activity in this area, please contact the Tillamook District at (503) 842-2545.
Stephanie A. Beall
Recreation Coordinator
Forest Grove District
Tillamook State Forest
State of Oregon: Oregon Department of Forestry - Tillamook State Forest
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Midnight Mansion HD: Episode 2
By ActionSoft
Open the Mac App Store to buy and download apps.
Midnight Mansion HD: Episode 2 continues where Midnight Mansion HD: Episode 1 left off. Enjoy the same great gameplay as Episode 1, but now with access to the following six all-new mansions:
Castle Doom
Chateau de Medusa
Cathedral Towers
House of Baron Garneau
The Great Escape
Spider Palace
In addition, this version gives you the ability to play custom mansions that other fans of the game have created. There are currently over 100 custom mansions available!
Please note: Midnight Mansion HD: Episode 2 is not the same as Midnight Mansion 2: The Haunted Hills, which is currently available only from www.actionsoft.com
What's New in Version 1.0.2
- House of Baron Garneau now works on hard difficulty.
- Added Gamepad support.
- Game now works on Japanese systems.
- Fixed slowdowns in some rooms.
- Fixed display issues on "tall" displays.
- Hint House is now playable on machines with case-sensitive formatted drives.
- Fixed various issues with reading signs (crashes, not displaying properly, etc.)
- "Sound Effects Off" checkbox now affects Game Over and Beat-The-Mansion music too.
- Fixed issues where game sometimes looked for Midnight Mansion HD Custom Mansions folder in the wrong place.
- Fixed open saved/suspended games so they work even if the original mansion is a .zip mansion.
- When saving a game while playing a mansion in .zip format, .zip is no longer part of the default filename for the saved game.
- Balanced sound effect volumes.
- Fixed the "screensaver activated when entering name for a high score" issue
- No dependencies on Episode 1. Fully self-contained.
- You must now launch Episode 1 separately to play mansions from Episode 1. Apple's policies do not allow "linking" of apps.
- €9.99
- Category: Games
- Updated: 16 January 2012
- Version: 1.0.2
- Size: 48.7 MB
- Language: English
- Developer: Vern Jensen
- © 2012, ActionSoft
Compatibility: OS X 10.6.6 or later


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Alton Daily Telegraph (Newspaper) - November 12, 1890, Alton, Illinois ALTON DAILY TELEGRAPH. VOLUME 30. ALTON, ILL., WEDNESDAY EVENING, NOVEMBER 12. 1800. NO. ISG rn FE mud A T«rrib'e Railway Disaster Occurs in England. THE FATAL ERROR OF A SIGNAL MAN PAPETBRIBS, (BOX PAPER] FINE LINEN STATIONERY MT* Put up in wb'le enveloper, IO sheets assorted, of our best stock, with IO envelopes to match. Only 10c per Envelope. Alto: One quire boxes, containing t4 Sheets of Paper aud 24 Envelopes to* rn a* cb. Only 25c per box tnt" These Select and put up especially for OUR tar shades * Superior Writing Papers, made and TRADE, include the following popu- WHITE, CREAM, P E A C H, RIMKUS E IRISH HON I), ENGLISH PARCHMENT. 'ELITE LENOX L1NENE. far* Our Urge qusntity purchased of these SELECT Goods, enables us to maintain our LOW DOWN and POPULAR price*, although all Papcteries have advanced from 15 to 25 per cent. «r* 'Jive these Goods a trial and you will find that they arc considerable less in pries than you have been paying, consistent with quality. O. J. Degrenhart, JOI and 103 Third st., Alton, III. IF YOU NEED A Spacial I'turnf.r Train Whit* nasals* at ta* ll<»lr of Filly Mila* aa llaa, Cra.hr* lain a (iumli Train— Th* Del,ii, Cair hr* Kira and Sis Porswaa Ara Slowly (toastrd lo Drat*—Iforrl-hi* Night* Witnasaad by Survivor*. Lommv, Nov. 19.— New* ba* bean Wived bare of a terrible accident on t Great Western railway at Norton Pita, j Warren station, atar Taunton, Tneadajr j morning. A heavily laden goods train crashed into a special passenger train from Plymouth, which wa* conveying to london the passe tiger* from the Cape of Good Hope, who had arrived by the | Mea mer Norbam Castle. Ten persons ara reported kilted and sight injured, several •eriou-iy The utmost anxiety prevails ; among iho-e who hail retail vee or friends on the Norbam Castle to ascertain th# 1 name* of the vie. im* Up to the press ut time, however, it bas been impossible to obtain anything more than the most meagre particulars. The railroad cum-( party promptly dispatched relief traiua with a large number of physicians on board to th* seen*. Th# Crash Was Tarries. lacer advice* from the seen* of the wreck elate that lbs special train front Plymouth to london was matin up of four Ioassnger coachs*, containing fifty pas Hingers. It was pitch dark and a drenching rain was falling wbsn st 9 o'clock tbs • ireia1, running al the rate of 80 mile* an hour, daahed by the little Somersetshire village and iato destruction. The signal man on duty had forgotten that th* heavily iadeu Great Western goo-is train was a anding on the iip-track to permit of the down mail passing on its way In safety, as it did. Th# danger signet* were not displayed to the engineer of the on coming special, and with all th* impact aud ' nome rn turn of its freight and ire men toil* speeo the doomed train hurled itself upon the good# train In Ila path The force of the collision wa# such that ut th* moment of contact til* first coach of lh® special was literally smashed into matchw.Kxi Slowly Ii urn ad I* Deal*. AI mo*! immediately after th* eoiltsloa spark* from th# engine furnace com mu niched to the debris and the horror of Are wa* added to tile terrors of the catastrophe lie fore anything could be done towsrd rescuing them, six of the oecii (tauts of lh* firs*, coach, who had escaped in lite awful crash, were slowly burned to death in the pnhwuoe of fellow human bring* who wer.i powerless to release them from the Amia* which gradually enveloped and slowly consumed their bod ie*. O.i# of th* passenger* who had loan killed at th* moment tho trains n*irv» together, prevented a ghosty spectacle, bis head having been severed from bis laxly as cleanly aa though it had bosn ion* by tbs guillotine. b-fotv they would permit the oper a to go on. The manager of the theater sr as otiliged to come to th* front and announce the dismissal of Martel in order to prevent a riot. ________ TIII! mull MID. ■enthusiastic Marlin Socialists. BEHUN, Nov. IS.—The Socialists of Berlin to the number of 8,<K>) assembled Tuesday to tender an ovation to Herr Tabberf, an eminent member of the patty who wa# released from prison by reason of tho expiration of hi* term of sentenoe. A great dval of enthusiasm was manifested when the late prisoner road* bi* ap (war a ne* before his friend*. Arrest in Virginia of a Desperate Train Robber. HIS BOLO WORK IN NORTH DAKOTA. Armenian* Kohl the Kurds. Emxxhoum, No*. Ii-nVO hundred armed Armenians, ooucentrated st Mad«>r on Ituwian territory, Bnnday mads a raid on several Kurdish villages, killing live pernous. Th# band was attacked and dispersed by Cos-ack*. The polio* bere have made a large seisure of Martini rifles aud ammunition intended for Armenian*. Count*** Von lliaiuarek Rn H KULIN, Nov. DL —Bo tiber la* on the Bel. gian railways appear to be on the Increase. In addition to that of the Baroness Rothschild last wa, k, the thieve-, have Ju-t obtained possession id a case of jewelry belonging to the Connies* Wilhelm von Mismate<, while see wa* paasiug through Belgium on ber way to K iglan I Swept by Parlous Gales. I/iMxix, Nov. IS—'J he Welsh and Irish coasts ar* being swept by a furious gale, sod great quantities of wreckage are being washed ashore. The rain falls incessantly and tbs mountain streams sr* r*ging torrents. In the Festireiog dis tr et numbers of working mens'cottage* have bleu carried away. With (he A«*lstsae« af a Parte-e ll# Girns Through a Northers Part Sr Trwla sari Vera re* A host *4,000 - (Wilber st* Kaleldw *f Gee el th* Nuterlea* Untie Harrows Gsag st th# Jackass, MI#*.. Pvalteatlary—Other Wished**#. ( MicAOti, Nov. IS -Governrn -ut inspector William Watkins, Jr., arrived in the city with a tall, athletic young iii sn of easy demeans* end graceful earring *. Ile looker! anything btu what be la alleged to ie—the most desperate train robber of th# age. William A. Nvwlierry, tire terror of many a rail* a I route in the we-t, boa been run down and captor#.! after a cha## lasting ae vers I monthly the offl cr In whose charge be now is. Haturday evening, June 7 lad. as the Northern Pa clllc train was pulling out of New Salem, lu North Dakota, en route to Portland, Or* , two masked men soddenly appeared in the engine cab from Melt side, and com* pc led the engineer to run bls train several miles, and then Uncoupling th* baggage and mail ear, to run on again, ad the lime, however, in charge of the masked men. COAL. Tho Famous Gillespie Soft COAL delivered at five minutes notice in any ot the city. Barns lo a Clear Gray Ash, no Clinkers or Cinders. Best Soft Coal In the West. HARD COAL Mock Pays Metter Than Reata London, Nov. it-Mr. Olphert, who is about to An Uh the clearance of th* tenants from his estate in Donegal,' proposes, It I# stated, to let out thj land for pa#* in rage purposes. This is said to be th# general p dicy of th# Irish landlords, the aiock paying better than rants form*ll/ did. KflVet of Oar Election# la (t«»#ti LONDO*. Nov. It-The Daily New*' St. Petersburg dispatch say : The defeat of the high tariff party in America baa had a depressing . ffret upon the ultra protect Ion let* of Roast* who had expected to carry evurything in their favor bafor* the tariff revision committee. A Typical tow buy. I he rob her y being . ffect rd sail come W.t'W secured, th* train wa# coup'el together again and allowed to go ob. Inspector Watkins wa# assigned to the ca*#, I and tracked Newberry all th* way to Virginia, where be arrested him last Friday. He mads no re-i»tance, and consent#! lo lea re without legal ate pa lie ie year* old, and a typical cow-I boy of the elegant type. He wsa known under the name# of A. A Heart and A. J. Barker. Although it is I claimed that he baa killed several men, ba will not be prnueruted, aa the govern-nieat ha*. It is believed, sufficient evi ■ deuce to keep him bebiod th* bara for Ufa. His partner, Hailey, wa* arrested in the Black Hills and Oct. 14 Was aentenerd lo tbe penitentiary for eight year*. Inspector Welkin* w.ll take Newberry to Fargo. Iii all sizes, Delivered at Lowest Market I'rlccH. Quality (JiiHiirpaHscd, CUK NOW. BEFORE TNE BIG MUNCE. Dorsey & Mann 310 Belle street. TPI VK PH OX FC H4 AND 31. ti I I THE OMAHA FOR BINNING COAL, COKE OR WOOD. A FRIGHTFUL PLUNGE. I welling tie,,. llimtK't t end. liixixii, Nov. LL—Bancroft, the ae*or, ha* offered to give (rt.OJO to the fuud j which I# being raised by Gen. Booth, of the .Salvation Army, for th# redemption of the niK»ia**, providing ninety nine other I aubtcrip* iou i of att equal amount are mads OTHER FOREIGN NEWS. — A BOTTLE OF — Lotion for Chapped Hands, Good Cough Syrup, Perfumed Cosinoline, A Good Healing Salve, Nice Soap or Perfumery, * o OO TO o MARSH S DRUG STORE A I'm!ley That Wouldn't Work. I>ivpoji, Nov. UL—A cablegram from Mslbonra# says that tbs labor anions ar* au» (lending their entrano* leas la some instances, and in other ca*** reducing them. Th# object is to attract the free laborers into the anion*. Before th# strike th* policy of th# union* aH* to keep their numbers down by high admission fees, and other Hilo isnt regulations Th# Wharf laborers' union, who*# sd mission fee was IS, talked before lh* strike of reielug it to KIO. Now they have suspended the fee altogether, Tbe free laborer#, however, .do sot seem sexton# to avail themselves of the privilege.. ITS NO SECRET. KleettSM Keen la the Argentine Repahile Pa ma, Non, It -Advice# raoeived hers by cable are to tim effect that serious rlection trouble* have taken place in the city of Rosario, in the Argentine Republic. Party feeling ran so high that frequent fig nu occurred between th* sap-porter* of the various candidate*, the situation Anally becoming so serbian that th# municipal authorities were unable to maintain order Th# troops wars than called upoo, and order wa# eventually re-•tored, but not until several persons heil been killed and many wounded. THE SNELL MURDER RECALLED. Aa Open Letter Which Cwatalae finis Klgw I flea*! Statements. Chicago. Nor. in-Mr*. Albert J, Buell, Jr., ha* written an open letter In which ahu more than broadly insinugtas thai a certain member of tbs family wa# concern# | j" the murder of her father-in-law, Sh* declare* that th* bol* bored in the safe of Boe 11 wa# bored from the ia-lde, that th* mod valuable palier missing wa# old Mr. Snell's will, and that sh* brieve* that one of Mr. Snell*# Im Hats wounded on# of hi* assailant*. Shu make# very pertinent and dam aging #tatemeat# attorn a wound In Mr. A. J. Bt one'# leg, about th* fact tkat the safe combination was open, and other, as abr claims, significant thing*. What lh* Kells* gay. At the same time not muck attention la paid to Mrs. huell's •tatemsnt* bf thew* who have moat carefully investigated tbe a*«e. inspector George Hubbard was chief of police at tbs time of the murder and says that Mrs. Buell is mistaken in many of ber assertion*. At th* tim# of the murder, bs says, ha received letter# from many people Every mem lier of lh* family fell uad«r the iuip<cion of thin letter writers. Every caw or even seeming clew was rigidly traced down. No member of the family bad anything to do with the matter Kl-Chief of Detect-Iv.-# John Bonfield seem# to think that Mr#. Snell has been brooding over tbe matter and that her letter I# a woman * attempt to satisfy a grudge which abe baa against soma one. Mr. Bion* says tbe charges ar* ridiculous ((•liberate Bolete* J," j»«hsoa. tin* at the Kub# Hansel Gang. J Arx*'»ji, Miss , Nov. 19.—Joe Jackson, tbs noted train roblwr, and one of the notorious Rob# Burrows gang, committed suicide in the penitentiary heir by jumping from a flight of steps to a br ck p*veuie it fifty feet balow. He wa# to ( have bren arraigned with Huh* Smith, another of th* gang, for robbing th* mails at th* Buckatunna train robbery a few months ago The United M stew sent nu officer to lh* cell after bim, but be bad no sooner opened th* door than Jackson, with a drawn knife, ran up the Stet*. Ha wa* told ne could nut escape. "I know thai." be replied, "bat I can kill myself, which I am going to do. aud and this matter I w.ll never be mr reigned lo this court for my crim##," "Look Get! Hare I Cols.** Th# fAioer* reasoned with him for an hour and a half without shaking him from kl* horrible purpose. They then went up th* clepe, but Jackson held them at bay with th* knife, tailing them would kill tbs Aret man who laid hands on him I ba penitentiary official*, seeing that bs wa* determine I. got n bed to catch him on when bs iu*d« the fatal leap. "O, that will do so good." ha coolly marked. "I will jump over IL" Then without amotion ha said to tbow below 1Loufco«if lier* I come." And, making a dive Kith hi* beati down ward, he struck th# pavement, fifty fat balow, landing un the back of his heil arui shoulders His skull was crushed and af tarty lag uncos sc toasty so hoar ha died COM FLETE ever Drought lo Alton. That our STOCK ia tho MOST_______ Wa nail show you Something Now aa often aa you coll in: CARPETS: Tapestry, Body BriiHseln Ingrain, Art Squares, Rag or Hemp. IN CURTAINS: Dado or Plain, Lace or Portier. IN RIJOS: Fur Moquette, Smyrna & Oriental. Linoleums, Oil Cloths, Wire and Cocoa Mats. Kaglan.r# li.ju.t ( easies System. Loudon. Nor. lX-It is stated that Aubrey. th Liberal member far Horncaatlat prop'.mea to Introduce in th* coming sci •ion of parliament a (..ensure to give fairer pension* to satiated men discharged after horn raid# service, and to reduce the average of pension* to on m mi aal mi*, s offi cern. At present th# total of pensions to 118,000 soldier# aud sailor* doe# amount loth* total paid to retired ernU, admirals and other officer* BOI Raaia.I^ t* 10 anf* Fin. at in House DeooraMoos. Tho wh.lfatr rol wah'Z ""#«»«■/ * our USLM. Strike mm Ike Hallways. I> >x tx iv, Nor. IX—The employes of the various railways in toot land and th* North of Kagiaod have for some 11 nm p*#* born endeavoring to anear* aa ii Vance of wages, i*at th* compania# have not seen their way dear to granting the request. Matter* have now coms to a ort*4*, ami it I# announced that unto#* tbs demand for nu ad v»nce of 8 shillings per week is acceded to s general strike will at once Im Mrd*mi — A. J. HOWELL TMI. Kl lf KST HH ATK k. HOB M«rw«s4 (to- Hang im sa', ftrtsts. Lomicx, Nor. Ii- Tbs «ut* of the late Mar wood. for a number of years public cl re ut loos r in great Britain and Im laud, ta honestly paying fit) shilling* in tbs pound. Mar wood accumulated a comfortable fortune in hts pecqliar trite, but became somewhat involved previous to his death, and creditors put his astate la bankruptcy, fearing that it was Insolvent, which proved not to be th* casa Violated (be Letter? Lew. Nr.w Qhljcaxs, Nov, IX —J. Pinckney Claith, business manager of Th* Daily Stoles, wa* Monday arraigned before United States Com in is# loner Wright for violating th* anti lottery postal law in mailing hi# palier with a lottery advertisement in it Tbs advm-tommt was not S direct advertisement of th* lot bul. b#d * •°**<kh advertisement telling where tuple* of The Beata with tbe lottery ad vert is# me ut* in it coaid ba procured. I ha States publishes two edit lo aa, one with th* lottery advertisement, which pw* Dr express, aud one without It,which it sends by mail. In th# latter it adver Used tho former Mr. Bmlth was bald tu •SOO bail to answer. An Old ('•missilery Bird. J Err KBaoK GITT, Mo, Nov. M.-Augnat Mayer was received at tbe pent eatery Monday on a two J aam' sentence from St. Genevieve county, for obtaining property uudsr face* pretences He la TU years old, and has now commenced serving blaster •nth term in the Missouri penitentiary He int cam* here in ISM, and with tbe exception of a year that he spent in jail In Illinois, ba ha* never been out of this penitentiary but a few month# at a tim* alae#. Ha is a monumental liar, and rarely ever tell# (ive same story twice. He ha# been sentenced every tim* for working some kind of a confidence game, aud even while in th* prison bas plied hi* vocation on verdant guards and amateur detectives with gnat success Radiant Home, VKI a* aamtiMt a* . _ -_ . _ _ HIK Hh#T UA BD GOAL RASK IU (digit. Supe nor. MK B9SirgyggT..COGB *T<>\ I. ti Aug Mkt KACH.# W VUKAS] KO JToK VIV tVk iU Th# Peer Is Katy. Ix>x ram, Nov IX—The condition of the poor cl me# of Italy coatiauo* to be deplorable. IX*# tit ut too prevails la many quarters, and a i who t an strange to do •oar. leaving tbs country in the hope of bettering ibsiuasivat, buttering that they anonol he worse off in any country than they are ta their native land Bix thou-•aud persona have emigrate Ut Pineries during th* psst tu days. U-fuavti I* iMnpUSt lh* l ulus. Bath LXU km Pi, Nor ( —Th# grievance committee of th* Ueothrrbnnd of Railroad Brakeman, whom members are in (Joy cd na the Lehigh Valley railroad, called on Goners! Eastern Superintend end Goodwin Monday to lay before him a number of grievances they wish th have (rimed ted Mi i p<» rl Ute rn ie at Good win, wh«-u Informed by lh* commute* of (heir being ms a I ber* of th* brotherhood, refused t" recons tb m ss members (hereof, and told them (hat had Guy com* sa am ploy ae of the road ba would listen to (heir griev anis* Murdered by His Ken Heed. Lex i xurox, Ky., Nov. IX-Tueeday morning before brook fiat Dr. R Gorman, a retired physician and prominent citisen of this county, went out to his barn yard to see about feeding stock. His negro farm hand, VV iii Wii*w, was at th* baru. Tbe doctor did not com# in for break f*»t and th* rook went to th* barn to tell him the meat was ready, but when ab# g,* there she saw th* doctor lying dead w ith a bullet hoi# in his eixwt, and Wilson mu nlog over th* bill Wilson has not yet been caught. H. A. HOFFMANN, IOO and lot s, SECOND ST Had la (Nails# tbe GI raster. Par#, Nov. Ii.—During a performance of * Faust" al Dunkirk a ire men,Ions tumult arose m tho sudMaea, due to i e abd ug French hatred of th* Germans. Having mi ideal/ mid# tbadhoovcry lhat the director, Martel, was a German tho tefotil* demanded his Immediate dismiss*! Double Tragedy la Baa Krai*!***. Ba* Fua Si IWX), Nov. It—Augustine OI ag mg. a aho# black in th* Baldwin botel, 0,1 *0l"« home reproached his wife fur •aeonial lag with bad woos**. A quarrel •hatted when ho shot tho woman in tho neck He then cut bis own threat with * r»*.r. Otagues la auld to i,*#* bren toxmsted at tee Umr. Both wilt ju-otettey A Chicago Sa trig*. Chic AOD, Nov. IX-Michael Mal Ii van of th* well known firm of J. Ii. Bu I ll van it Bro , decorators and painters, MI North Clark st root, shot h nisei ( through th* head Tuesday morning, causing Insteut death. Th* suic-ni* was committed at his home at 910 Webster avenue, snout T AJ o'clock. Mr Buliivsu ha I been sick for a long lint* aud very despondent. He leave* a wife and Bv* childre a. die. A Costly Cg far Ids C*i?**r, New OMA a Kl, Nor IX—Th* Time* Democrat-.' San Antonio, Tega,, #^,*1 aays In Judge King** court * Jury gave a Verdict against turn .-vomit,ri *mi ii rail ('UMI company iii f**,* m ■ s Briggs for ISO dug damage* Bi .gr* *uU (or |6ii,(G0 for the ion, ut a Mg white in tho -obipuny', employ Kallway Maw Arrested. SCHA MT OU, Pi, NOV It-William Health, lh* «ugloser, and IV)mas Kerns, th* cmdueior, who war* r**ponsib:* for th* terrible wreck on lh# New Yo k Ontario aud Western -<vad on W#.Jn»*.i*y l»at, wert* arrested a., arraigned in this city M unday on a chaig* of criminal nag* H gen to. Th* accusal men war* ne id Iii te.IL Combined Coal lr HA* BV xxv MIIDKUN -THE OHLY KKKKKCT— and Wood Cooking Stovo M&dt. I MCK VKMKNT. PITTS & HAMILL, J* FALL SUITS. I AM MOW ((CADY TU n^UMitlU h .'Kin MAM IM ALTUM WITH SUPERIOR SUIT OF CLOTHES, ll IDX PH-»M UKTMK ;K ELK CT (CD IAPCCI ALLY PUB J pall WBIAR. CV IM TH* MOrtT fiTYUfiH M AUNKit, gf. With. Perfect Pit, AMD At Figures that will Please ail H. O. Cr. Moritz. J ulius H. Raible Rectifier, Importer and Wholesale Dealer in WINES AND LIQUORS. Havirig removed my buaioeu* to my uew building between Pina and Belle Streeff, I ahaii devote to Hic ay Ne- HS Fourth, entire atteuUoo WHOLESALE SALES Of all kind* jf Wine* and Liquors, where all DEALERS their Interval to Pure*bure their Supjiliea at to will fl" ! I* Strictly Wholesale Prices. The Largest and Most Select Stock o.' Fine WINES and LIQUORS gsrsrssar-"™-^ iullUS ii Raihlp 1:6 Four,h'b8t' julius ll. ndlUie,BeHe andPiasa sis FALL GOODS! •agar Trust Ma«*i**ra Bl*. XLV MN Y. Nut IX-Gvb. Hanry H BI«K.-uin, Henry a lUtvm v*r and R Y. >v hit* bar# nan NpiHtinlr-l r*cviv#r« ut th* sugar trnt bu (alg* al MS Gig K ta, At-cl am, Mich., N«v, 19 VtiiiiiD p. I rvbiss, agt-d nu, wa# found l .rgiiig by tb* IH-I'k In ins barn on his farm u«-sr this cl y. Ile left * note stating that si! bt# debt* we rn paid aiA that Ire wanted neither besra* nor minister at bis totter ai. I he bi# lop of Lincoln, K igixnd, has de-riaitid biiiitelf in favor of thorteniog the bouts of labor for woiklngmsn AND AMOTH** LOT OW CLOTHS, WORCESTERS CASSIMERE, JI "T EXGKlVkG KOK If A. LL, VV I-; AR. AUO A nut UM* Off Cloth for Overcoats VO* VALL AMD WI MTK*. HW " * — ***' *w*-a^ VY * *W a rn« E. L. BORCKMANN. ;
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text:
Bhatt, Chetan (2006) The fetish of the margins: religious absolutism, anti-racism and postcolonial silence. New Formations, 59 . pp. 98-115. ISSN 0950-2378
|Item Type:
|Official URL:
|Additional Information:
|© 2006 Lawrence and Wishart. This article appears in a special issue entitled 'Postcolonial studies after Iraq'.
|Library of Congress subject classification:
|H Social Sciences > HT Communities. Classes. Races
J Political Science > JV Colonies and colonization. Emigration and immigration. International migration
B Philosophy. Psychology. Religion > BL Religion
H Social Sciences > HM Sociology
|Research centres and groups > Centre for the Study of Human Rights
Departments > Sociology
|Date Deposited:
|26 Apr 2010 11:16
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text:
Date of Stay: May, 2014
Truly amazing campground, we will definitely come back. We had a site right next to the river. It was gorgeous. I can't even begin to describe what a great weekend we had. We stayed five days and it was just spectacular! Full hookups, amazing location, great trails nearby, and cleanest bathrooms and showers possible. We had a blast! We didn't have a dinghy and was still be able to have a wonderful time including going to Leavenworth on the $4 shuttle! Got awesome wines, cheese, salami from downtown to come back and relax by the river. We were super glad we stayed here because it was so nice!
Date of Stay: April, 2014
Loved this site! Our second time here, we will always come back. It is right next to the ocean and there is no way you can get closer. Super affordable and it is so nice to walk up and down the ocean! Only downside is the restrooms and shower. Our first year here we got card keys to the new restrooms and showers on the other side of the resort. So if u don't mind a walk, it ain't bad. The restrooms you are "assigned" to when staying at the oceanfront sites is really dirty and we didn't use it at all. Overall, we still loved the site though!
Date of Stay: March, 2013
Very nicely maintained RV park, nice and quiet, and clean restrooms/showers. Lots of bird feeders and nice trail around. Very convenient place to stay at on our way to the ocean from Seattle.
Date of Stay: March, 2013
Nice rv park right on hood canal. Enjoyed having campfires with a view. It was nice and quiet despite being close to highway. Very clean bathrooms!


text:
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PAID VALUE EXPIRES ON May 29, 2022
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text:
Finding waste pipes under a slab
I have a plumbing project where I need to locate the path of the waste line under concrete in a basement. The path doesn't seem to follow a logical course to the clean-out and I'm trying to avoid breaking up and entire concrete tiled floor. Use of a metal detector seems to have yielded no result as I assume either wire in the floor or scrap meal are making erroneous readings. In this situation might anyone have a viable solution to determine a close approximation of where and how this pipe may have been run. Basically I have two rest rooms that are old construction and not vented with the need to enlarge one bath and add a tub. I need to run the waste for the tub and add a vent stack. The area where the wall is to be removed to expand one rest room should have the waste line under it unless it took and extremely weird route. The area is large so again I rather not break the entire floor. Is there any readily available device one might rent with perhaps a probe down the waste line that sends signal or such to locate the position or some other method to efficiently ascertain location????
thanks Eva
call or visit your local township office, they should have original plans for the home, permits issued, septic pipe's locations, etc.
"Is there any readily available device one might rent with perhaps a probe down the waste line that
sends signal or such to locate the position?" yes, there is. call around to tool rental stores, plumbing supply, etc.
When using a snake in the past to clean the pipes in concrete, I can hear the cable moving through the pipe and get a really good idea how its layed out.
plumbing ellusive pipe
Thanks for the suggestion , however the building was built in 1847 and the town in question didn't keep records back at the turn of the century when the plumbing was installed ie: why vents were never run since no code for such existed then and why I need add them now. Not until the 1960's was any permit ever pulled for any work and there is little if any documentation even from that time. It was a grange hall and 99% of any original work and renovations were done without permits or any records what so ever. The current inspectors sort of scratch their head and are tickled that the updates are being made but sadly no one on the town level has been much help. The contractors names are often written inside walls and such we have opened, but these people named thus far are long dead. The iron exposed is non conventional, far heavier then the typical type I have always seen, some commercial grade from way back and is in amazing good shape where exposed. I am rather awe struck the system works so well without a single vent, but it does incredibly well. The hub wall thickness by the lead is almost an inch thick at the face where usually what I see is like 1/2 inch. Place is full of strange stuff. Several pieces were also used for lolly columns and I have never seen stuff like this it has to be like schedule 160. Since it was a public assembly building someone way back must have wrangled a donation from some industrial company for materials.
the ellusive pipe
Thanks for the suggestion about the snake I'll give it a go. Thus far no local tool rental place has any devise for locating pipes but I am told the local gas utility does. I think I need to make a new friend at that company if the snake procedure fails to reveal the answer. I "think" they might have run a partition over the path of where this thing runs after more examination last evening. We found another clean out in a very strange place inside a wall via an access panel 30 feet away. I am really hoping that isn't the case. The clean out plug (threaded) is pretty fused and I'm a tad hesitant to go beating on it for fear of opening another can of worms and the location doesn't lend to getting a wrench on the plug. Old buildings can often drive one nuts, I'm almost ready to hold a séance to see if the long dead plumber will be inspired to knock on the floor where this thing is. Oy!
thanks Eva
If the Snake method soesn't work...
I may be off base - but I think that some plumbers may have equipement that they can send something in the pipe that emits a signal, then they use a detector to find it.
drain your hot water heater into the nearest point of the house drain and sweep the concrete with a laser thermometer and can of spray paint.read the floor before you start draining to get the overall temp....any rise seen will be the pipe out
I've located many underground electrical conduits using an underground locator.
This device has two parts, a transmitter and a receiver. The receiver looks alot like a metal detector, and is swept over the ground until a signal is received.
There are actually 2 types of transmitters. One connects to a wire contained inside the conduit, and the other is a small bullet-shaped device that is fastened to the end of a fishtape, and shoved down the pipe.
Once the pipe is located, and the approximate center is determined, the receiver can be angled at about a 45 and moved outward until the signal is strongest. This will give an approximate depth of the pipe.
Most electric utilities have these, and alot of larger electrical contractors as well. A well-equipped rental place will have them also.
Traceing Sewer Pipe
AS HAS A TRANSPONDER TO TRACK PIPE LOCATION AND DEPTH :thumbsup:
the ellusive pipe
The rental places are closed of course for the holiday weekend so Monday morning I'll renew the search once again. Most the local rental facilities are rather poor equipped as I myself seem to own more tools then they have. I'll broaden the call range to a larger radius.
On a pleasant note I needed to cut through a slate very steep pitch roof for the vent stack and set the roof flange and that went quite easily. I used a hole saw intended for ceramic tile to cut for a diverter which was a 5 inch hole saw, they had from 4 to 6 inch available for like 30.00 apx. Gentle pressure and the saw went right through the slate with a perfect cut without chipping or cracking the slate at all. I then used a 4 inch conventional hole saw for the wood roof sheathing holding the drill on a level horiizon to the roof itself and sawed through the sheathing also quite easily. . Set the flange with some roof calk and used a small masonry drill for a couple of screws to secure it and it went just dandy. There were several plumbers before they called to run the stack and no one wanted to get into the slate. Perhaps most thought to use a different type saw or sawzall or something and had bad experiences with slate So i figured I'd mention it in case anyone else ran into a similar situation. Those ceramic saws are basically carborundum fused to the cutting edge and a pilot bit to center them. Very simple to do this, the biggest pain was getting on the roof which a good ladder a repelling harness and some high tensile rope for safety was all easy as pie.
Once I find the darn waste line and tie in I'm home free. I do thank everyone for all the suggestions and I'll try some and let you all know what the solution ends up being. Having moved to a more rural area is a tad of an eye opener in finding specialty tools, I'm use to the NYC giant phone book where one can find almost anything.
Happy holidays Eva
Most plumbing companies have locating equipment. In fact, there are companies out there that that is all they do. (Underground Detective is one here in Cincinnati). Sounds like you're on the right track though. Good luck!
the ellusive pipe
Well nobody around here will rent or lend one of the detectors apparently because of the value of them. I went to the gas company and they said they no longer use them, they bury a wire spiral around pipes now that they send a signal on yada yada and that was a stone wall. I tried the DPW and was told they can';t lend out or use equipment for non dpw use. Called every pluming place in the phone book and no luck.
So here's the plan now. I have found someone with a laser themograph thingie and were going to put a inflatable ball stop in the cleanout area just before the street and fill the pipe with water. Then put a submersable heat coil in the toilet flange side after filling the pipe with water and try the suggestion someone made to detect a heat rise in the floor. Wish me luck. it's the little silly things like this that always turn into the real pains in the tail.
At least aspirin is cheap and readily available locally.
Thanks again everyone for input.
Im in a similar boat in my basement, let us know how it works out!
ellusive pipes
Will do JROOT
I have someone this week helping me with the thermoscope routine so we'll see what happens fingers are crossed. Happy new years everyone.
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Related Publications
- Related by Author
- Related by Topic
Research and Jewish Education
By Barry Chazan
Hebrew University of Jerusalem, Magnes Press (Jerusalem), 1983
Topic: Methodology, Education, Scholarship, Academic Research
Name of Publication: Studies in Jewish Education
Editor: Chazan, Barry
Volume/Issue: Vol.1
Page Number(s): 9-19
Genre: Book Chapter
Coverage: North America
Language: English
Copyright Information: Download for personal use, freely distribute link
Bibliographic Information:
Chazan, Barry. Research and Jewish Education. Studies in Jewish Education. Hebrew University of Jerusalem,Magnes Press (Jerusalem). 1983: 9-19. http://www.bjpa.org/Publications/details.cfm?PublicationID=4412
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text:
Unemployment will jump by up to 14,000 around Heathrow if the airport closes, says a report for the Mayor.
If Heathrow was replaced with a South East "super-hub" airport, closed down in 2029 and the site bulldozed for a major residential development, the number of the jobless in the area would be 38,000 by 2050 — 58 per cent higher than today's figure.
The study said Heathrow's closure would immediately cost 71,000 local jobs, falling to 33,500 by 2050 as employment is created in new town centres and other commercial sites, according to the report by Oxford Economics and Ramboll.
But the area, which includes Hounslow, Hillingdon, Ealing, Slough and Spelthorne, would still suffer a £7 billion-a-year blow to its economy. The working age population would rise 45 per cent to more than one million, while total local employment would go up by just 13 per cent to 713,000. The area would become a major commuter district, with 103,000 more people travelling from it than coming in every day by 2050 — compared to a net influx of 10,000 now.
Rob Gray, of campaign group Back Heathrow, said: "The Mayor's own analysis shows his proposal would destroy jobs in London. Tens of thousands of people would be forced out of work and the number of unemployed would soar. Londoners need Heathrow to grow quietly not fall silent."
But Daniel Moylan, the Mayor's aviation chief, said the study had not looked at the wider picture for London of the impact of a new hub airport and the closure of Heathrow.
"This move would generate tens of thousands of new jobs for London," he said. He argued that the jobs effect even in west London would be "positive" over time, along with public health and environmental improvements.
The study, commissioned by Transport for London, said under a second scenario, in which Heathrow was closed but not developed for housing, there would be 77,000 fewer jobs than if the development took place.
The Independent Police Complaints Commission is taking Scotland Yard to court over its refusal to provide the results of an investigation into claims that innocent Muslims were stopped under counter-terror laws at Heathrow and St Pancras because of their appearance.
The IPCC is dealing with 19 complaints. A Scotland Yard spokeswoman said it had offered "as much information about the investigations as we can in the circumstances".
- More about:
- Airports
- Air Transport
- Employment
- Heathrow Airport
- Independent Police Complaints Commission
- Law
- London
- Population
- West London


text:
Volume 2. No. 1. Summer 2008
I – The Distribution of the Sensible
'Me too, I'm a painter!'[1]
The current issue evolved from the two-day conference Aesthetics and Politics: With and Around Jacques Rancière co-organized by Sophie Berrebi and Marie-Aude Baronian at the University of Amsterdam on 20 and 21 June 2006. A transcript of the keynote lecture 'Aesthetic Separation, Aesthetic Community: Scenes from the Aesthetic Regime of Art' delivered by Rancière to the conference on 20 June is published here for the first time. Also published are the papers by Stephen Wright and Jonathan Lahey Dronsfield presented during the final panel of the conference which focused on the question of contemporary art as is a transcript of the exchange with Rancière which followed. Published here for the first time in English is a translation of an interview conducted with Rancière by Marie-Aude Baronian and Mireille Rosello in the months following the conference, and which appears here in a translation by Gregory Eliott under the title 'Jacques Rancière and Indisciplinarity'. Why is Rancière's thought important to ethical and political questions of contemporary art practice and research? How does the term 'indisciplinarity' help us advance understanding of possible approaches to artistic research? Does artistic research understood in this way contribute to a politics of emancipation?
Rancière's most celebrated contribution to recent aesthetic and political debates is his focus on what he terms le partage du sensible. Le partage du sensible has variously been translated as the 'partition of the perceptible' the 'division,' 'sharing' and, more persistently, the 'distribution of the sensible':
The distribution of the sensible reveals who can have a share in what is common to the community based on what they do and on the time and space in which this activity is performed… it defines what is visible or not in a common space, endowed with a common language, etc. There is thus an 'aesthetics' at the core of politics that has nothing to do with Benjamin's discussion of the 'aestheticization of politics' specific to the 'age of the masses'… It is a delimitation of spaces and times, of the visible and the invisible, of speech and noise, that simultaneously determines the place and the stakes of politics as a form of experience. Politics revolves around what is seen and what can be said about it, around who has the ability to see and the talent to speak, around the properties of spaces and the possibilities of time.[2]
Furthermore, for Rancière, the 'distribution of the sensible' is tied not simply to the declention of aesthetic regimes, but to the very concept of democracy, and thus to a political 'redistribution': 'Democracy, in fact, cannot be merely defined as a political system, one among many, characterized simply by another division of power. It is more profoundly defined as a certain sharing of the perceptible, a certain redistribution of its sites.'[3] Herein lies the centrality of the concept to a politics of emancipation as demonstrated in his reading of nineteenth-century workers' literary journals – 'the thinking of those not "destined" to think' - as a 'redistribution of knowledge and truth'.[4] Thus it is in both its operation of a symbolic violence and an emancipatory potentiality that we find the meaning of the 'distribution of the sensible' as it works through Rancière's pronouncements on aesthetics and politics. As Rancière explains, the sense of 'cutting' and of 'redistribution' is central to the definition of the term:
I understand by this phrase the cutting up [decoupage] of the perceptual world that anticipates, through its sensible evidence, the distribution of shares and social parties… And this redistribution itself presupposes a cutting up of what is visible and what is not, of what can be heard and what cannot, of what is noise and what is speech.[5]
The centrality of the concept of 'the distribution of the sensible' to his thinking is maintained by Rancière in his Afterword to The Philosopher and His Poor (2004): 'This dividing line has been the object of my constant study… the vital thread tying together all of my research.'[6] Given its importance to Rancière's research, some account of the context of this term is perhaps useful by way of introduction.
The (re)distribution of the sensible, for example, is implicit in The Ignorant Schoolmaster: Five Lessons in Intellectual Emancipation (1991). This book offers Rancière's account of the eccentric educational practices of the exiled lecturer in French literature at the University of Louvain, Joseph Jacotot, who in 1818 proposed that it was possible to teach what one did not know oneself. Jacoto realized a system of 'intellectual emancipation' based on the method of 'universal teaching' which rejected dominant repressive educational practices based upon the 'explication' of facts to ignorant students by knowing masters. As Rancière suggests: 'It is the explicator who needs the incapable and not the other way around; it is he who constitutes the incapable as such. To explain something to someone is first of all to show him he cannot understand it by himself.'[7] It is through a recognition of education's part in producing and preserving an unequal distribution of the sensible that we are able to read an educational experiment to overturn a pedagogic system founded upon explication as a project of both intellectual and political emancipation:
We know, in fact, that explication is not only the stultifying weapon of pedagogues but the very bond of the social order. Whoever says order says distribution into ranks. Putting into ranks presupposes explication, the distributory, justificatory fiction of an inequality that has no other reason for being. The day-to-day work of explication is only the small change of the dominant explication that characterizes society.[8]
It is an understanding of the connection between distribution and domination which accounts, in part, for Rancière's insistence elsewhere on the articulation of the 'regimes' of art. And it is in this context of violence and domination implied in political and aesthetic regimes and regimes of knowledge, that we must recognize that Rancière's terms build upon their use in the writings of Foucault and Deleuze.
II - A Dissensual Community of Equals
In The Birth of the Clinic Foucault writes of the structure of nosology in the 'perspective distribution which enables us to see in paralysis a symptom, in syncope an episode, and in apoplexy an organic and functional attack…'[9] In the chapter 'Strata or Historical Formations: the Visible and the Articulable (Knowledge)' in his study Foucault, Deleuze expands upon the concept of 'strata' in terms similar to those employed by Rancière above:
An 'age' does not pre-exist the statements which express it, nor the visibilities which fill it. These are the two essential aspects: on the one hand each stratum or historical formulation implies a distribution of the visible and the articulable which acts upon itself; on the other, from one stratum to the next there is a variation in the distribution, because the visibility itself changes in style, while the statements themselves change their system… A way of saying and seeing, discursive practices and forms of self-evidence: each stratum is a combination of the two, and in the move from one stratum to the next they vary in terms of composition and combination.[10]
How Rancière's take on the 'distribution of the sensible' might differ from that of Foucault and Deleuze, whilst nonetheless building on their formulations, lies in the emancipatory capacity and potential he finds in individuals and collectives to redistribute knowledge and assume a 'community of equals'. Rancière's insistence on a 'community of equals' based on an 'equality of intelligence' holds important implications for undertaking and understanding the potential of 'artistic research', the equal undertaking of which by artist and audience alike is a key aspect of the artist's emancipatory lesson:
We know our 'equality' with Racine thanks to the fruit of Racine's work. His genius lies in having worked by the principle of the equality of intelligence, in having not believed himself superior to those he was speaking to, in having even worked for those who predicted that he would fade like a season. It is left to us to verify that equality, to conquer that power through our own work. This does not mean making tragedies equal to Racine's; it means, rather, employing as much attention, as much artistic research as he, to recounting how we feel and to making others feel it, despite the arbitrariness of language or the resistance of all matter to the work of our hands. The artist's emancipatory lesson, opposed on every count to the professor's stultifying lesson, is this: each one of us is an artist to the extent that he carries out a double process; he is not content to be a mere journeyman but wants to make all work a means of expression, and he is not content to feel something but tries to impart it to others. The artist needs equality as the explicator needs inequality… We can thus dream of a society of the emancipated that would be a society of artists.[11]
Rancière's conclusions appear to echo Joseph Beuys's famous utopian proclamation: 'Jedermann ist ein Künstler' ['Everyone is an artist.'] To which Gustav Metzger once curtly replied: 'Himmler auch?' ['Himmler also?'] However, like Metzger, Rancière is resistant to unwieldy utopian thinking: '… there is no such thing as a possible society. There is only the society that exists.'[12] Turning away from artistic utopias, Rancière's emancipatory project celebrates the productive yet uncertain ground of 'artistic research' - productive in that it celebrates equality of intellect, uncertain in its claims to 'scientific validity' as a discipline, woven into an emancipatory refusal to claim intellectual superiority over others.[13] Rancière's position chimes with the ethos attributed to the inter-relationship of art and research, with 'the uncertain and open that is included in the and which binds together these two orientations.'[14]
Equally important in the present context however is the connection between Rancière's lessons in emancipation and recent formulations on artistic research by Mika Hannula and others which claim: '[It is] possible to follow the interests of emancipatory knowledge in artistic research. In this case, the goal is the study of some phenomenon, raising awareness of some societal or social injustice.'[15]
Social injustice, or in Rancière's terms 'the incommensurability of wrong,'[16] plays a vital part in his philosophy, but it is to the implications for questions of community of such concepts as 'the distribution of the sensible' and the related concept of 'aesthetic regime,' which Rancière turns in his text, 'Aesthetic Separation, Aesthetic Community: Scenes from the Aesthetic Regime of Art,' with reference among others, to the work of the artist collective, Urban Encampment. 'Aesthetic Separation, Aesthetic Community' begins with a reflection on a line from Mallarme - 'Apart, we are together'. Mallarmé's paradox invites Rancière to reflect on the problem of community in a way that has echoes of the thought of Agamben and Nancy:
The paradoxical relation between the 'apart' and the 'together' is also a paradoxical relation between the present and the future. The art work is the people to come and it is the monument of its expectation, the monument of its absence. The artistic 'dissensual community' has a double body: it is a combination of means for producing an effect out of itself: creating a new community between human beings, a new political people… To the extent that it is a dissensual community, an aesthetic community is a community structured by disconnection.[17]
Such communal dissensus and structural disconnection runs through the problematic of political, ethical and aesthetic efficiency. As Rancière writes: 'Aesthetic efficiency means a paradoxical kind of efficiency that is produced by the very break of any determined link between cause and effect.'[18]
III - Indisciplinarity
In the interview published here for the first time in English (in a translation by the noted Althusser scholar and translator, Gregory Elliott), Rancière is asked, 'Would it be right to suggest that your work is not so much inter-disciplinary as a-disciplinary?' His reply holds many implications for those undertaking artistic research:
Neither. It is 'indisciplinary'. It is not only a matter of going besides the disciplines but of breaking them. My problem has always been to escape the division between disciplines, because what interests me is the question of the distribution of territories, which is always a way of deciding who is qualified to speak about what. The apportionment of disciplines refers to the more fundamental apportionment that separates those regarded as qualified to think from those regarded as unqualified; those who do the science and those who are regarded as its objects.[19]
Rancière's refusal to accept disqualification from any discourse is a political proposition as it is founded upon on the supposition of an existing 'community of equals', as he argues elsewhere: 'Equality is actually the condition required for being able to think politics.'[20] In this sense, Rancière's 'indisciplinary' appears to have an affinity with what Mika Hannula and others have called, in the context of artistic practice and research, 'methodological diversity' and the 'democracy of experiences'. The 'democracy of experiences' is the precondition of a non-hierarchical research environment whereby 'art is free to criticize science, philosophy to criticize religion, religion to criticize science, and so on. It would also mean that there are no first philosophies or metaphysics that can not, in principle, be touched by empirical criticism'.[21] However, Rancière's 'indisciplinarity' is not to be understood as advocating a kind of lassaiz faire, ill-disciplined or expedient appropriation of methodologies nor as an ethical embodiment of cultural pluralism in the field of communication. It is fundamentally more disruptive and destructive a term than any ethical embrace of diversity. As such, it is perhaps closer to a position Kathrin Busch has asserted more recently: 'Art functions as a disturbance of established knowledge structures, so as to reveal their innate power structures and restrictions. It also becomes the site of the production of a different knowledge… knowledge that is equally ambivalent, incommensurable, and singular.'[22] Nonetheless, the position Rancière outlines in the interview concurs with these recent articulations on the position of artistic research, particularly in his conclusion: 'there is no historical necessity, nothing irremediable in this landscape of our intellectual objects and forms.'[23] This recognition and Rancière's refusal to search for a metapolitics attuned to mathematical universality (a la Alain Badiou) which might secure for art and ethics a position equivalent to a truth indifferent to the political contingencies of a distribution of the sensible are also perhaps echoed in Tuomas Nevanlinna's concept of the divisible truths of artistic research:
… indivisible, mathematical, truth is not 'partitioned' into different versions but remains the same… Then there is another mode of truth. This truth is associated with the emergence of things that may be called works. Works cannot exist unless they become divided into multiple voices at the very moment of reception… Divisioning, partitioning is the necessary condition for its truth, not an obstacle to it.[24]
Division and singularity, equality and antagonism, community and incommensurability: the preconditions of artistic truth and politics alike.
IV – The Visible and the Invisible - The Flesh of Art
It could be argued that any journal issue is largely a 'dissensual community' of images and texts, of saying and seeing, but the theme of the distribution of the sensible - or more accurately here, the distribution of the visible (of the visible and the invisible) - and 'indisciplinarity' are consistently (both consciously and unconsciously) at work throughout the essays, exchanges, artworks and interviews which feature in this issue. Each in their way engage in a practice which interrogates the role, function and limits of the visible and the political, ethical and aesthetic efficacy of the invisible.
The co-efficiency of visibility and invisibility of an ostensibly critical arts practice is central to Stephen Wright's 'Behind Police Lines: Art Visible and Invisible', which draws upon Foucault and Rancière, in particular the latter's writings on the police (the police in question here also being the 'art police'), as a context within which to approach the ostensible paradox of envisioning an invisible art practice:
Envisaging an art without artwork, without authorship and without spectatorship has an immediate consequence: art ceases to be visible as such. For practices whose self-understanding stems from the visual arts tradition – not to mention for the normative institutions governing it – the problem cannot just be overlooked: if it is not visible, art eludes all control, prescription and regulation – in short, all 'police'. In a Foucauldian perspective, one might argue that the key issue in policing art is the question of visibility.[25]
The visible and the invisible is also central to the subsequent heated exchange with Rancière, Wright and Jonathan Dronsfield, who in turn disputes Rancière's statement that art must have 'a readable political signification'. In contrast to both Wright and Rancière, Dronsfield's paper 'Nowhere is aesthetics contra ethics: Rancière the other side of Lyotard' argues:
… the aesthetic regime, one which welcomes any material whatsoever into the field of art, negates any pragmatic criterion for isolating this singularity: no criterial principle exists for differentiating the aesthetic sphere from what it is not. The artwork is its differentiation – and thus a question about its own finitude.[26]
Echoing Badiou's 'inaesthetics' perhaps, Dronsfield adds: 'Artworks… are absolutely indifferent to our responses to them.' In the interest of extending contributions to the debate on Rancière's reading of aesthetics and politics, we have included as an end piece Sophie Berrebi's essay 'Jacques Rancière: Aesthetics is Politics', which originally appeared in Dutch in the magazine, Metropolis M, and which appears here in English for the first time.
The theme of the political efficiency of visibility or invisibility which punctuates the exchange between Wright, Dronsfield and Rancière is also at stake in the Lithuanian philosopher Audrone Žukauskaitė's essay on gender and national identity in recent Lithuanian art, an essay which draws upon Lacanian psychoanalysis and Peggy Phelan's concept of 'active vanishing' and asks 'what is this mysterious x, persisting at the core of national identity?', and 'How to invent new forms of visibility?'
Regimes of image production are the focus of Sean Snyder's Optics. Compression. Propaganda. - 'a series of ongoing experiments with the malleability of images and the mechanics of their production'. The Archives of the corporation Carl Zeiss AG – who manufacture 'instruments for visualization' - acts as a primary research context for the development of this project which develops Snyder's interest in both 'analog regimes of image production' and the visibility or readability of compressed digital images, their potential to host encrypted data and the political paranoia thereby produced.
Visibility and invisibility is part of the dialectical method of Michael Rakowitz's, 'The invisible enemy should not exist' in which 'The artefacts stolen form the National Museum of Iraq, Baghdad in the aftermath of the US invasion of April 2003 are reconstructed to scale using the packaging of Middle Eastern foodstuffs and local Arabic newspapers, moments of cultural visibility found in the US'. The visible trace of contemporary everyday life of Arabic communities in the US in these reconstructions of museum artefacts pillaged in Iraq, performs a double archaeology of knowledge, in that the visible objects and their catalogue entries testify not only to the invisibility of the missing historical artefacts themselves (and the resultant risk to Iraq of not only western-dominated economic, political but also of historical 'reconstruction') but to the political invisibility of diasporic communities.
Rancière's concept of 'indisciplinarity' was one of the contexts which prompted an interview with Jörg Heiser who works as a writer, editor, curator, doctoral researcher and songwriter. The interview focuses upon the context of his recently curated exhibition Romantic Conceptualism, which brought together a number of significant conceptual art works produced over the last 40 years, and his new book, All of a Sudden: Things that Matter in Contemporary Art, which opens with a discussion of the importance of slapstick as a method in contemporary art.
Indisciplinarity and invisibility are pertinent also to the work of Chris Evans who consistently resists any consensus on the social function of public art and legitimate territories of ostensibly critical art, dissenting even from its visibility and identity as critical art as such; in effect, it forms a 'dissensual community', to borrow Rancière's terms, within the institutional and economic contexts it inhabits, a characteristic which Dan Kidner describes more succinctly as 'socially awkward'. Presented here is the trailer and film script for Evan's recent film The Freedom of Negative Expression which revolves around an estranged telephone dialogue between Philip, a bourgeois Nihilist artist, and Gillian, a former member of the British Constructivists (evidently Gillian Wise) interrupted by the Overture from Wagner's Faust. In the voice of The Nihilist, we encounter the language of Rancière albeit in ironic mode as he discusses the bourgeois 'regime of culture'. In the end, the exchange of views between the British Constructivist and the Nihilist performs an intertwining with Merleau-Ponty's reflection: 'Everything really does come down to a matter of thinking the negative rigorously.[27]
In her series of portraits and installations with smell, Clara Ursitti has consistently worked at the limits of the visible and the invisible and the paradoxes therein for questions of aesthetics. Most recently she has embarked upon a new series of work which evolved out of two research contexts; research into the inter-special communication between humans and dolphins, which draws upon research funded by the US military, and also her research project for the ACE Helen Chadwick Fellowship at the British School in Rome and at the Crossmodal Research Laboratory at the University of Oxford. Oxford/Rome presents a selection of images taken during this period of research. The interview published here was conducted during the context of her participation in Communication Suite, an exhibition at the Medical School of the University of Glasgow (8 July – 1 August 2008) curated by Christine Borland. Ursitti's pursuit of a non-visual aesthetics across the phenomenology of olfactory perception (of smells, scents and bodily secretions), her practice at the limits of human and non-human communication, and her negotiation of the interplay of scientific and artistic research, presses home repeatedly upon the flesh of art.
Andrew Sunley Smith's practice might equally be said to engage with the flesh of experience in the context of migration (the artist himself has recently migrated from Australia to Scotland). Sunley Smith's works for Migratory Projects renders visible the marks and traces of migration and, more forcefully perhaps, in his Drive Out Cinema domestic objects are spot-lit as they are dragged by an unseen automobile along unlit single-track roads, their resultant disfiguration and destruction a visceral metaphor of the violence of economic and geographic dispossession and displacement. It is not simply the aesthetic which provides a key touchstone for the Migratory Projects, however, but the 'co-efficiency' of art, and during his exhibition Migratory Projects at CCA, Sunley Smith organized the symposium 'The New Co-Efficiency in Art' (17 October 2006, CCA, Glasgow). As an aesthetic term, 'co-efficiency' heralds from Marcel Duchamp's essay 'The Creative Act' (1957), which has provided one of the contexts for the development of Nicolas Bourriaud's Relational Aesthetics. The term is also employed in the present issue by both Rancière and Stephen Wright. The need to further unpack this term and its relation to contemporary artistic practice and research and to his own practice-based PhD in Australia provided the context for the interview. The selection from his Micro Gestures series presented here traces the modifications he performed to a Ford F100 carrier to transform it into an ecologically run autonomous system.
Brian O'Connell 'Ghostly Media: What Would an Invoking Medium Look Like?' is a direct reply to Jan Verwoert's article, 'Living with Ghosts: From Appropriation to Invocation in Contemporary Art', which appeared in the previous issue of Art and Research, in that it an attempts to visualize the spectres which haunt Verwoert's text.[28]
Sarah-Neel Smith's review 'Nightcomers at the 2007 Istanbul Biennial: revolution or counter-revolution?' considers the economic and political context of interventionist public art strategies and their legacy as 'hit and run gentrification'.
I have no wish to explicate these works further for the important reason that it is crucial to recognize that the critique of such practices lies at the heart of Rancière's emancipatory project.
V - The Décor of Democracy
'All means and methods of knowing are valid: reasoning, intuition, disgust, enthusiasm, lamentation. A vision of the world propped on concepts is no more legitimate than another which proceeds from tears, arguments, or sighs – modalities equally probing and equally vain.'[29]
Although on first inspection there appears to be a congruence between the thought of Rancière and commentators on artistic research such as Nevanlinna and Hannula, et al., it is perhaps necessary to recognize that this congruence also leads to a division with respect to the definitions of democracy. In answer to their question: 'How is it possible, even in principle, to claim that the two terms "art" and "research" go together, not to mention to claim that "artistic research" forms a practice that is viable and coherent?'[30] Hannula et al., as indicated above, build their vision of artistic research on the twin metaphors of a 'democracy of experience' and 'methodological diversity,' and regard any kind of hierarchies of knowledge as intrinsically anti-democratic. As a coherent alternative to scientific hierarchies of knowledge, which might effectively exclude the contribution of artistic experience as a ground for legitimate contribution to knowledge, they advance a form of democratic pluralism as a hallmark of artistic research:
The democracy of experiences is defined as a view where no area of experience is in principle outside the critical reach of any other area of experience… The idea in the democracy of experiences… is quite simple: art (or artistic experience) can criticize science (or scientific experience), not to mention the possibilities of intra-artistic or intra-scientific criticism. In this sense, experiential democracy is co-terminus with the multi-directionality of criticism. In this way, we get a new interpretation of the criterion of (scientific) openness… it is in principle possible to question and criticize any and all forms or areas of experience from the point of view of any other area of experience…. Doing research is in itself a way of producing intersubjectivity with regard to an area of experience that has been void of ways of communicating in a shared language.[31]
The methodological indifference operative here is foregrounded as an ethical guarantee of a democratic universality. However, it might be considered optimistic to claim that maintaining a fidelity to the democracy of experience in one's approach to the conduct of artistic research is in itself productive of an equality which is the groundwork of political democracy per se, as Hannula et al. imply. And here a division opens up which revolves around democracy and indifference. Far from a 'democracy of experiences' based upon 'tolerance and multi-directionality of critique' and 'a mutual understanding based on a common foundation'[32] for Rancière, democracy – and politics itself, defined as 'who has the ability to see and the talent to speak,' – is born of division: 'For politics, that fact that the people are internally divided is not, actually, a scandal to be deplored. It is the primary condition of the exercize of politics.'[33] Rancière's reading of the dissensus of democracy is tied to his reading of the aesthetic of literary indifference he finds in the style of Flaubert. Flaubert's literary indifference, Rancière argues, is not analogous to democratic indifference but produces a 'conflict between forms of equality'. Rancière writes:
At the heart of Madame Bovary there is a struggle between two forms of equality. In one sense, Emma Bovary is the heroine of a certain aesthetic democracy. She wants to bring art into her life, both into her love life and into the décor of her house. The novel is constructed as a constant polemic against a farm girl's desire to bring art into life. It contrasts 'art in life' (this will later be called the aestheticization of daily life) with a form of art that is in books and only in books. Nonetheless, neither art in books nor art in life is synonymous with democracy as a form of dissensus over 'the given' of public life. Neither the former nor the latter, moreover, is equivalent to the indifference inherent in the reign of commodities and the reign of money.[34]
For Rancière, Flaubert's literary indifference assumes a 'microscopic equality' effectively blind to 'social inequality' and political injustice, summed up for Rancière when Flaubert claims to be 'less interested in someone dressed in rags than in the lice that are feeding on him'.[35] As such, Flaubert's aesthetic indifference amounts to a décor of democracy forever divorced from any coherent form of 'political subjectivization' articulated around an ineradicable wrong. One concern here is that the emphasis upon 'experiential democracy' and 'diversity' in research methodologies is engaged, in the last analysis, in an aestheticization of equality which fails to take into account 'the incommensurables of the equality of speaking beings and the distribution of social bodies'.[36]
Although the democratic pluralism expounded by Hannula et al. may be as distant from an aestheticization of equality as it is from advancing a model of consensus or deliberative democracy[37],the ethico-political third way proposed for artistic research as a democracy of experiences lacks a significant engagement with democracy as dissensus, (falling back as it does on the vague assertion that if individuals display antagonism or wilfully misunderstand one another in the public sphere, it is simply 'because they are not ready or complete'[38]). In short, Rancière's work demands that any attempt to claim the methodological and experiential pluralism of artistic research as inherently democratic consider the dimension of dissensus inherent to democratic politics, or the 'agonistic pluralism' which Chantal Mouffe contends is central to the project of radical democracy.[39]
In conclusion, if we attend to the 'distribution of the sensible' and to an equal 'redistribution' which renounces categorical destinations in its adoption of methodological 'indisciplinarity', we unfold the full implications of Rancière's emancipatory project not only for the conduct of artistic research, but for the practice and politics of art:
Aesthetic experience has a political effect to the extent that the loss of destination that it presupposes disturbs the way in which bodies fit their functions and destinations. What it produces is no rhetoric persuasion about what has to be done. Nor is it the framing of a collective body. It is a multiplication of connections and disconnections that reframe the relation between bodies, the world where they live and the way in which they are 'equipped' for fitting it. It is a multiplicity of folds and gaps in the fabric of common experience that change the cartography of the perceptible, the thinkable and the feasible. As such, it allows for new modes of political construction of common objects and new possibilities of collective enunciation.[40]
Ross Birrell
Summer 2008
[1] Jacques Rancière, The Ignorant Schoolmaster: Five Lessons in Intellectual Emancipation, translated by Kirstin Ross (Stanford, Cal.: University of Stanford, 1991), p. 65.
[2] Jacques Rancière, The Politics of Aesthetics: The Distribution of the Sensible, translated by Gabriel Rockhill (London: Continuum, 2004), p. 12-3. See also Jacques Rancière, Disagreement: Politics and Philosophy, translated by Julie Rose (Minneapolis: University of Minnesota, 1999), p. 57-8.
[3] Jacques Rancière, The Flesh of Words: The Politics of Writing, translated by Charlotte Mandell (Stanford, Cal.: Stanford University Press, 2004), p. 104.
[4] Jacques Rancière, The Nights of Labour: The Workers' Dream in Nineteenth-Century France, translated by John Drury (Philadelphia: Temple University Press, 1989), p. xii; p. 22.
[5] Jacques Rancière, The Philosopher and His Poor, translated by John Drury, Corinne Oster, and Andrew Parker, edited by Andrew Parker (Durham, NC: Duke University Press, 2004), p. 225.
[6] Rancière, The Philosopher and His Poor, p. 225-7.
[7] Rancière, The Ignorant Schoolmaster, p. 6. The challenge to orthodox teaching methods mounted by Jacotot in nineteenth-century Belgium and recounted by Rancière as a political fable and intervention into debates on education reform in 1980s France, remains as a challenge to current pedagogic procedures and also holds lessons for any engaged in the widespread project of 'knowledge transfer'. See for example the recent debate on the front page of Education Guardian surrounding methodologies of language teaching following the publication of Jonathan Solity's Michael Thomas: The Learning Revolution (London: Hodder Arnold, 2008). Anthea Lipsett, 'My message: "Anybody can learn"', The Guardian, Education Guardian (Tuesday 02.09.08), p. 1-2. Solity's book (erroneously titled The Language Revolution by Lipsett) profiles the ostensibly emancipatory methods of Michael Thomas in language teaching who proclaimed: "I wanted to demonstrate that anybody can learn. I didn't devise my system to teach languages quickly – I did it to change the world." (p. 2) Despite the emancipatory rhetoric of this remark, Thomas's methods in fact amount to a reversal of Jacotot's in that they maintained, according to Solity, 'all learning was down to the quality of the teaching, and the teacher rather that the student'. (p. 2)
[8] Rancière, The Ignorant Schoolmaster, p. 117.
[9] Michel Foucault, The Birth of the Clinic: An Archaeology of Medical Perception,translated by A. M. Sheridan Smith (New York: Vintage, 1973), p. 6. [My emphasis].
[10] Gilles Deleuze, Foucault, translated by Seán Hand (London: Athlone Press, 1988), p. 48.
[11] Rancière, The Ignorant Schoolmaster, p. 70-1.
[12]Rancière, The Ignorant Schoolmaster, p. 75.
[13] As Mika Hannula concludes: 'this uncertainty in artistic research is something that must be endured and accepted.' Mika Hannula 'The Responsibility and Freedom of Interpretation' in Satu Kiljunen and Mika Hannula (eds), Artistic Research (Helsinki: Academy of Fine Arts, 2002), p. 83.
[14] Sven-Olov Wallenstein 'Art and Research' in Kiljunen and Hannula (eds), Artistic Research p. 45.
[15] Mika Hannula –Juha Suoranta – Tere Vadén, Artistic Research – Theories, Methods and Practices, (Helsinki: Academy of Fine Arts, 2005) p. 67.
[16] Rancière, Disagreement, p. 21.
[17] Jacques Rancière, 'Aesthetic Separation, Aesthetic Community: Scenes from the Aesthetic Regime of Art'. www.artandresearch.org.uk/v2n1/ranciere.html.
[18] Rancière, 'Aesthetic Separation, Aesthetic Community'. www.artandresearch.org.uk/v2n1/ranciere.html
[19] 'Jacques Rancière and Indisciplinarity: An Interview'. www.artandresearch.org.uk/v2n1/jrinterview.html.
[20] Rancière, The Politics of Aesthetics, p. 52.
[21] Hannula, et al., Artistic Research, p. 31.
[22] Kathrin Bush, 'Artistic Research and the Poetics of Knowledge', in A Portrait of the Artist as a Researcher, edited by Dieter Lesage and Kathrin Busch, AS Mediatijdschrift / Visual Culture Quarterly, No. 179 - 2007 (Antwerp: Belgium, 2007), p. 41. The reference is of course to Jacques Rancière, The Names of History: On the Poetics of Knowledge, translated by Hassan Melehy (Minneapolis: University of Minnesota, 1994).
[23] 'Jacques Rancière and Indisciplinarity: An Interview'. www.artandresearch.org.uk/v2n1/jrinterview.html.
[24] Tuomas Nevanlinna, 'Is "Artistic Research" a Meaningful Concept?' in Kiljunen and Hannula (eds), Artistic Research, p. 64.
[25] Stephen Wright, 'Behind Police Lines: Art Visible and Invisible'. www.artandresearch.org.uk/v2n1/wright.html
[26] Jonathan Lahey Dronsfield, 'Nowhere is aesthetics contra ethics: Rancière the other side of Lyotard'. www.artandresearch.org.uk/v2n1/dronsfield.html
[27] Maurice Merleau-Ponty, The Visible and the Invisible, edited by Claude Lefort, translated by Alphonso Lingis (Evanston: Northwestern University Press, 1968), p. 63.
[28] Jan Verwoert, 'Living with Ghosts: From Appropriation to Invocation in Contemporary Art', Art and Research: A Journal of Ideas, Contexts and Methods, Volume 1. No. 2. (Summer 2007). http://www.artandresearch.org.uk/v1n2/pdfs/verwoert.pdf
[29] E. M. Cioran, 'The Décor of Knowledge', A Short History of Decay, translated by Richard Howard (London: Quartet, 1990), p. 146.
[30] Hannula, et al., Artistic Research, p. 25.
[31] Hannula, et al., Artistic Research, p. 30-32.
[32] Hannula, et al., Artistic Research, p. 34; p. 55.
[33] Rancière, Disagreement, p. 87.
[34] Rancière, The Politics of Aesthetics, p. 56.
[35] Rancière, The Politics of Aesthetics,p. 56.
[36] Rancière, Disagreement, p. 39.
[37] They write: 'our view of ethical encounters and cross-cultural communication is dialectical and Hegelian rather than idealized and Habermasian'. Hannula, et al., Artistic Research, p. 54.
[38] Hannula, et al., Artistic Research, p. 54.
[39] As Mouffe writes: 'One of the keys to the thesis of agonistic pluralism is that, far form jeopardizing democracy, agonistic confrontation is in fact its very condition of existence.' Chantal Mouffe, The Democratic Paradox (London: Verso, 2000), p. 103.
[40] Rancière, 'Aesthetic Separation, Aesthetic Community'. www.artandresearch.org.uk/v2n1/ranciere.html.


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Britain needs one million farmers, say campaigners
9th April, 2010
City workers and allotment farmers needed to reverse dwindling farm workforce
Britain's dwindling farm workforce is driving the UK towards monoculture farming and destroying our biodiversity, say campaigners.
A report last year, 'New Blood', from the Royal Agricultural Society of England (RASE) said the industry needed 60,000 new farmers over the next decade.
However, organisers of the Oxford Real Farming Conference, set up earlier this year to challenge conventional thinking on farming, say this figure is inadequate.
'The current thinking is that farming needs to be cheap and monocultured and therefore as simple as possible,' said conference co-organiser Colin Tudge. 'We now have a situation where fewer than one per cent of the population works on the land: that's a precarious position.'
Tudge and fellow organiser Graham Harvey, author of The Killing of the Countryside, are running a debate on the issue at the Real Food Festival next month. They say Britain needs polycultures and diverse cropping patterns adapted to local conditions.
'Farms should be mixed and must therefore be labour intensive — because well-balanced farms are complex and need very high standards of husbandry,' they said.
Tudge said the new supply of farmers was likely to come from city dwellers and hobby allotment farmers who could gradually move on to becoming smallholders.
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355 SBC Build Questions / Help
Hello Rodders new to the forums So I am looking to build a 355ci SBC
I acquired a long block from the salvage yard I believe it is a 880 casting says Hecho en mexico, been at the machine shop for a few months now so not quite sure. I know that it is a 4bolt main hyd roller 1 piece main seal with the swirl port heads (meh), had it all cleaned up and pressure tested its good to go. So before I can have some Machine work done need to get some piston, have them mic bore hone. This will be built for a DD no Bottle no Drag and never spin past 5500 just a Very Torquy Tough Engine
I plan on reusing the stock crank and rods as there in good shape, hoping I can get it all internal ballanced with the pistons ect.. now lets talk pistons "FLAT TOPS"
KB Pistons KB120-030 4.30 I know about there bigger then "normal" ring gap
Flat top, with two valve reliefs + 7cc
Compression Distance 1.561 in.
Piston Ring Thickness 5/64 in. x 5/64 in. x 3/16 in.
So a little bit of math if I a doing it correctly 3.48 / 2 = 1.74 + 5.7 = 7.44 + 1.561= 9.001 so if the deck height is truly 9.025 although it can vary.. Basically I would like the pistons .005 in the hole or should be 0 deck?
And now will be the Head selection...and that been cast into stone on my decision for me a true aftermarket Vortec head RHS / EQ / Dart? with 170-180cc intake runners keep the velocity high for torque? I know they advertise them as 64cc chambers and can vary from 68cc to 62cc just have to stick the valves in and use a beaker and check... I am not sure on how accurate summitracing compression calculator is but it gives me 10:1 with a .040 4.030 gasket with true 64cc. Might Be pushing it with iron heads and pump gas..heard you can be okay due to vortec's fastburn combustion, good squish, octane, timing and nice shinny combustion chambers, Did I mention this will be going in a 5000+lbs Sedan?
I am not highly educated on cam selection I have very basic knowledge about them but know how they work. (Going to have alot of suggestions) about this I want to keep the hyd roller I was thinking of GM's ramjet 350 / HT383 cam as I seen on GMPP its got a great torque curve nice and flat
GM Ramjet / HT383 Cam
Will this cam even work with a 10:1 engine.. works very well in the ramjet with 9.4:1
So the main questions is the pistons good .005 in the hole at TDC with .040 head gasket and real "64cc combustion chambers" and would that cam work with a 10:1 compression if my setup is correct? or could i even squish it more with a .030 gasket?, It might have been answered here before but spent a good time digging around and could not find anything, esp about the cam, only in L31 stock truck engines.
Want to get this done within the next 2 months so the machine shop does not think I flaked out, so I can order the Pistons and have them do all the machining to get the short block out and on the engine stand
Input would be greatly appreciated, thanks again!
10:1 static CR could work with your cam, but you are pressing the limits for pump gas. Anything that helps keep the engine from "lugging" will help deter detonation, low gears, high stall torque converter, light weight vehicle, etc. A cool running engine also can tolerate more compression. Computer controlled fuel injection also lets you get away with higher CR because the computer will retard the timing if it senses detonation, but you don't say whether you're going to be running carb or FI (or I missed it). You do state that this build is going into a 5000+ lb sedan, which is HEAVY, and there is my concern.
My suggestion would be to change your piston choice from the KB120 flat top piston to the KB193 . This is a 12cc D-cup (reverse dome) piston that will still give you a good quench just like the flat-top piston. Using the KB193 will drop your static compression ratio a little over .5, from just over 10:1 to 9.5:1. The difference in HP would only be about 6-7 HP due to the CR difference, but you will gain more by being able to make sure you tune for max power than you will lose from the CR difference. This gives you some leeway for the motor running a little hot, a hard grade, or even a bad tank of gas.
The other thing I would change in your build is NOT to zero deck the block. I would have the machine shop deck the block just enough to get a flat, true surface and adjust the quench with head gasket thickness. That leaves the decks as thick as possible, less prone to warping/cracking. Instead of decking to .005 in the hole or zero deck with a .040" thick head gasket, maybe deck the block to 9.015. That would leave the KB piston (with 1.561 compression height) .014" in the hole. Combine this with a GM 10105117 composition head gasket (used in the Ramjet 350) that is .028" installed thickness. .014" + .028" = .042" quench with a thicker deck. The 10105117 gasket is $15.99 at Jegs
This build duplicates the 350 Ramjet longblock with pistons that will give slightly more CR, but better quench characteristics, than the dished pistons used in the Ramjet, and better breathing heads.
My apologies folks as for the car weight it is 3600-3800lbs I was not sure the info sticker in the door is old and fadded, not sure where I got 5000+lbs from But good'ole google helped me with that.
And for the top end, Yes it will be Fuel Injected (TBI Holley 670cfm) with megasquirt ECU and Ignition control with a Ford EDIS 8 (36 -1 crank triggered) with hotter after market coils so it will be quite precise ignition control, just curious about the wasted spark messing with the O2 readings
I plan on putting a beefed up 700r4 with lockup
As for the heads I was almost sold on the Summit/Dart Heads..Then after a few photos and digging around I hear there not real vortec's and if you look on Summit the intake runner looks really funky and on 1 post fella said he had to grind the tar out of it to gasket match, and saying it nothing like a Vortec runner.. sure a good number of us want to do a bit of cleaning up on some iron heads, but that sounds ridiculous
Just save my pennys and buy some RHS Vortecs
From the Scoggin-Dickey Parts Center listing for the 10105117 head gasket:
And Summit says:
"Notes: Not for use on engines having larger than a 4.000 in. cylinder bore."
This discussion really raises questions due to different specs noted on the internet, so to hopefully get info we can count on I contacted Pace Performance about the gaskets. They took my contact info and said their product advisor would be better able to answer my question. This is the email I just received from them:
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