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Chapter 3: A Woman Can Actually do Something Other Than COOK!?*Mature
(Originally posted by Lord_Ganlon on Sun Jan 03, 2010)
Lynn nodded, and snagged the Magitech HUD Conrad had. "HEY!" Conrad exclaimed, even as Lynn began to fiddle with it. "What are you doing to that! That's a delicate piece of equipment!" Conrad said, reaching for it, only to get his fingers grasped and twisted.
"I know that, but I also know how to set it to analysis mode, and determine just what we're looking at with this arrow." She said, finally nodding her head when she was done, and slipped it on, and powered it up, and looked at the arrow. "Time release hallucinogenic, compounds indicate a mixture of benign and volatile chemicals, most natural, a couple man-made. Time to function varies from subject to subject, depending on the amount of the mixture the subject receives. Effects would appear to range from mild paranoia and visions, to full on mental breakdown, even death if the dosage is high enough and concentrated enough. The arrow itself is a yew base, though not local. We're looking at Elven Yew, most likely, judging from the minute fluxes in the wood grain that are similiar to teh wood working techniques of the Elves in their bows, arrows and poles. The arrowhead itself is a very low grade steel, with only enough of a carbon coat to pass it off as high grade. If anything, a traditional iron arrow would prove more effective then this." Lynn said, giving more then Click asked for, and once more fiddled with the headpiece, before returning it to Conrad.
Conrad was somewhat dumbfounded by Lynn, but when Click asked him to hold the former Governor of the two by his Arms, Conrad was only too happy to oblige. Pulling the man up, no gentleness involved, he locked Wessels arms behind him, and in a way, forced the man to rely solely on his legs, and his hopes the Conrad wouldn't jousle him too much, to keep himself standing. And the flames of pain from the shot leg only got worse with the weight being forced onto it.

subset: commoncrawl


text: Reading: What Works! Presentation by: Jennifer Melton, Language Arts Teacher Whitney Raney, Language Arts Teacher Sarah Nevitt, Library Media Specialist Stuart Pepper Middle School Brandenburg, Kentucky *Meade County* Background Information The School: Grades: 7 & 8 Location: A rural area, located approximately 15 minutes from Fort Knox and about 30 miles from Louisville. Student enrollment: averages 800. Staff includes: 1 principal, 2 assistant principals, 2 guidance counselors, 1 youth service center coordinator, 1 library media specialist, 46 certified teachers, 12 classified support staff, 2 secretarial and 3 custodial staff. Student Body Information The Demographics: • 91% White Ethnicity • 2% Black or African American Ethnicity • 3% Hispanic/Latino Ethnicity • <1% American Indian or Alaska Native Ethnicity • <1% Asian Ethnicity • 3% Two or more races Ethnicities • 10% Special Education Population • 47.95% Free and Reduced Lunch Population • 9% Gifted and Talented Population Student Course List The 6 Period Day: • Core subjects include: Math (Pre-Algebra or Algebra) , Language Arts, Science (7th grade); and Math (Pre-Algebra, Algebra, or Geometry), Language Arts, Social Studies (8th grade). • Additional Courses May Include: Health/P.E., Tech Ed, Chorus, Band, Art, Enrichment, CCR, Social Studies (7th), Independent Study Science (for high school credit), Mandarin Chinese, Yearbook [Courses may be on 9, 12, or 18 week rotations]. Meeting The Standards CATS KPREP testing/ Core Content 4.1 / Common Core State Standards PLC The Professional Learning Community Professional Resources: Antonetti, J. & Garver, J. (2012). Look 2 learning: A new focus for classroom walkthrough. Retrieved from http://colleaguesoncall.com/look2learning.html Babbage, K. J. (2002). Extreme teaching. Lanham, MD: Rowman & Littlefield Education. Barth, R., DuFour, R., DuFour, R., Eaker, R., Eason-Watkins, B., Fullan, M., …Stiggins, R. (2005). On common ground: The power of professional learning communities. Bloomington, IN: Solution Tree. DuFour, R., DuFour, R., Eaker, R., & Many, T. (2006). Learning by doing. Bloomington, IN: Solution Tree. Stiggins, R., Arter, J., Chappuis, J., & Chappuis, S. (2006). Classroom assessment for student learning: Doing it right—using it well. Portland, OR: Educational Testing Service. PLC Philosophy in Action within the school Learning Teams/Professional Reading and Conversations School Visits Classroom Observations PLC Philosophy in Action within Language Arts Department Common Planning Common Curriculum Common Testing Team Effort/Contributions Reading in a PLC Philosophy in Action School-wide Book-in-hand policy Accelerated Reader incentives Reading across the curriculum The Language Arts Department Plan of Action "The Big Idea" Pacing Calendar IA Plan – Interim Assessment weekly lesson plans * Learning Checks # Daily activities Pacing Calendar Learning Chunk #1 Reading Genres Prose fiction/nonfiction (RL 7.9, RI 7.2, RI7.3) Drama (RL 7.3, RL7.4, RL 7.5) Poetry(RL 7.4, RL7.5) Literary Elements (RL 7.2, RL 7.3, RL 7.6) Text Structure (RI 7.5) Main idea/details (RI 7.2/7.3) Fact/Opinion(RI7.10) Writing Informational Piece (W7.2) Organization (W7.2, 7.9 a-b) Sentences/paragraphs (W 7.3, W 7.4) Ideas (W7.4, W7.5) Language: Clauses-sentence structure -independent/ dependent clauses (L7.1) Dialogue (L7.2) Punctuation/Capitalization (L7.2, W7.3) Spelling(L7.2, L7.4) (commonly misspelled words) Learning Chunk #2 Reading Genres Prose fiction/ nonfiction (RL 7.9, RI 7.2 This is only part of the pacing calendar for the year. This helps us to focus on connecting standards/lessons/ Poetry(RL 7.4, RL7.5) Main idea/details (RI7.2/7.3) Literary Elements (RL 7.2, RL 7.3, RL 7.4) Context clues-root/prefix/ suffix/ synonyms/antonyms (L7.4) Writing Narrative-(poem/story) (W7.3) Language: Modifiers Adjectives (L 7.2) Commas (L 7.2) Context clues root/ prefix/ suffix/ synonyms/ antonyms (L7.4) Spelling-words with prefix/suffix (L7.2, L7.4) IA Plan MC Item Standard 1 RL4 Figurative language-personification 2 RL 1 Read closely determine meaning of word/formulate inferences 3 RL 1 Read closely determine meaning of word/phrase 4 RL 4 Poetic devices-symbolism 5 RL 4/L 5 6 RL 2 Theme 7 RL 4 Tone 8 RL 9 Genre-structure 9 RL 3 Elements of a story interact/affect other elements (plot) 10 RL 3 Elements of a story interact/affect other elements (setting) 11 RL 6 Point of view RL 9 Learning Target Connotation/ meaning of word 13 RI 5 Compare/contrast portrayal of time in fiction and historical account (poem/fiction excerpt) Organization structure 14 RI 1 Read closely and find answers 15 RI 1 Read closely and find answers 16 L2 Conventions-comma usage 17 L2 modifier 18 L2 Dialogue 19 RL 4 20 RL/RI 9 12 Figure of speech/simile Compare/contrast two passages-theme Interim Assessment Mirrored from KPREP structure Part B Variety of texts (The IA example is based on poetry, prose fiction, prose non-fiction) Pretest and Post test are the same. Sample Questions From "The Village Blacksmith" ____ 2. What conclusion can you draw about the blacksmith from the details in these lines (lines 13-14) from "The Village Blacksmith"? Week in, week out, from morn till night, / You can hear his bellows blow. a. He likes to work at night. b. He works hard. c. He gets up early. d. He ignores his family. ____ 4. What does the "Paradise" in the following lines (lines 31-32) symbolize? "It sounds to him like her mother's voice, /Singing in Paradise!" a. Earth b. in the clouds c. Heaven d. an island Sample Questions From The Long Winter ____ 8. This passage is best described as historical fiction because it a. Illustrates how family members along c. Has fictional elements like plot, get setting, and characters b. Includes realistic dialogue d. Describes events that happened during a real period in history ____12. How are the two passages, "The Village Blacksmith" and "The Long Winter" similar? a. They both have a young girl as the main character c. They both suggest that work is more difficult in summer b. They both show a family that believes in hard work d. Both are contemporary/realistic fiction Sample Questions Constructed Response & Extended Response 19. Constructed Response Identify a simile from the poem, "The Village Blacksmith." Explain what this figure of speech is comparing. 20. Extended Response A. Define theme. B. Determine a common theme for the reading passages "The Village Blacksmith" and "The Long Winter." Support and explain your response with two key events from the text that contributes to the theme. Weekly Lesson Plans Week 3 October 15-19 Reading Selection: IA Focus: RL/RI 7.5 genres-structure RL 7.3 elements of a story /poem RL 7.2theme W7.4 W7.5 L7.1 Reading: Poetry –"The Highwayman", "The Cremation of Sam McGee", Writing: Brainstorm ideas for poem/Journal Language: word choice (imagery) Day 1 FAB Four Review poetry terms/Lesson 7 Crosswalk book-figurative language Read "The Highwayman" Day 2 FAB Four Watch video "The Highwayman" Compare Contrast-media/written text Exit slip-compare contrast mood/tone/setting between the two forms (teacher choice) Day 3 FAB Four Listen to "The Cremation of Sam McGee" (Johnny Cash version) Watch Youtube movie Clock Partner Activity- move about room answering the questionscirculate to hear discussion Day 4 FAB Four Continue partner activity Day 5 FAB four(Explore Review) Weekly learning checkPoetry Orchard-Writing and Media Literacy 7 Poetree Cafe A Day in a SPMS Language Arts Classroom Class Structure – FAB FOUR (timed) – Lesson/Activity – Closure ***Following weekly lesson plans in packet Sample FAB Four A Dream Within A Dream by Edgar Allan Poe 1 Take this kiss upon the brow! And, in parting from you now, Thus much let me avowYou are not wrong, who deem 5 That my days have been a dream; Yet if hope has flown away In a night, or in a day, In a vision, or in none, Is it therefore the less gone? 10 All that we see or seem Is but a dream within a dream. I stand amid the roar Of a surf-tormented shore, And I hold within my hand 15 Grains of the golden sandHow few! yet how they creep Through my fingers to the deep, While I weep- while I weep! O God! can I not grasp 20 Them with a tighter clasp? O God! can I not save One from the pitiless wave? Is all that we see or seem But a dream within a dream? "A Dream Within A Dream" by Edgar Allan Poe 1. Identify the rhyme scheme of this poem. 2. What is an example of personification in the poem? 3. Identify repetition in the poem. 4. What is an example of an abstract term in the poem? Lesson Previously read aloud "The Highwayman" – Analyze poem View video to compare and contrast written form to media. TeacherTube - The Highwayman Think-pair-share – How does the music enhance the mood of the poem? – Did viewing the video change your perception of the setting? – Explain which version you liked best. Why? Closure Exit slip compare contrast mood/tone/setting between the two forms (teacher choice) CCR CCR is a college readiness transition course which focuses on a framework of content and concepts aligned with the revised Kentucky Core Academic Standards and aligned with college and career readiness standards. English Language Arts Transitional Courses CCR Key Components: • All students have CCR – English – reading – math • The PLC philosophy is maintained – common lesson plans – common assessment CCR Class Structure • CCR is structured into four units or modules over a nine week time period. • The modules incorporate lessons or activities that can be found in the English Language Arts Transitional Courses for EXPLORE. • Two skills are reviewed each week. CCR Class Structure • Daily journal • One to two activities on the targeted skill • Pre-test and Post-test


text:
The reason why I am firing them is their Visa Card, and the fact that it is incredibly unreliable outside of the State of California. The good news is that after spending over an hour on the phone with the SFCU and companies working for them, I now understand why. And as a result I would not recommend anyone who does a significant amount of travel to bank with the Stanford Federal Credit Union at this time.
The event that triggered this post was me picking up my rental car when arriving in Europe. A very friendly representative told me that unfortunately my visa card was declined when trying to charge a $700 deposit on the account. That was odd. The card usually operates as a debit card (with either signature or pin based transactions) and the account had well over $10k on the account. It was also odd as I had used the same card at the same agency 9 months before without problems.
I called SFCU Cardholder Services and a less friendly representative told me that the reason was that $700 was above my transaction limit. The limit could only be changed by the SFCU customer representatives, and they would not be in the office before Monday 9am. As it was Friday night, this meant 48+ hours without a car. We eventually booked the car with Isabelle's card two hours later.
About 12 hours later I received a voice mail from the SFCU that my card had been flagged for a suspicious transaction, and that unless I call them back, it would be blocked. I called the SFCU Cardholder Services again, and spoke to a representative who identified himself as "Alton" working in Tampa Florida. According to him, the initial transaction was not blocked because of the transaction limit, but because it was flagged as fraudulent. This made more sense. He was not able to explain why his colleague 12 hours earlier had told me something different.
I asked him if he had indication why it was flagged. He said that their default policy is to initially block any transactions outside your home state. It is declined, but can be be authorized if they contact me successfully which should happen in a matter of hours. The only exception is if the travel has been registered in their system in advance. Essentially this means unless you pre-register your travel, the SFCU Visa Card will not work reliably outside of California.
Alton connected me to Patt who identified herself as working for PSCU in St. Petersburg, Florida. Her job was verifying transactions, and what she said mostly matched with what Alton had told me.
I appreciate that the SFCU wants to manage fraud, but initially declining any transaction that is out-of-state essentially makes their Visa Card unusable for traveling. Given the the diverse and international Stanford community, this seems especially out of place.
This is also not the first time this has happened. Over the past years the SFCU has blocked transactions or threatened to block the card due to incorrect fraud alerts about half a dozen times. And I am not the only person having this problem (see this Yelp review). One remedy that the SFCU has suggested is to pre-register any out of state travel with them. This for me is not only impractical due to the amount I travel, but also due to stop-overs and route changes. I had my card flagged once for purchasing food at Denver Airport while changing planes.
The actual analysis and flagging seems to be done by Fair Isaac's Falcon Fraud Manager. From the SFCU's original email when introducing this service dated November 3rd, 2006:
To enhance security on your Stanford FCU QUAD and ATM cards, we have launched the Falcon Fraud Manager, which is a state-of-the-art system for detecting card. Unusual or suspicious transactions are those that do not fall under your pattern of debit card usage. For example, if you have not conducted debit card transactions in Germany within the last two months, and a transaction is conducted in Germany with your debit card number, this would be considered a suspicious transaction. The transaction would be blocked, and a Falcon Representative would attempt to contact you.
If the representative is unable to reach you within 24 hours or you are unable to reach the representative at 1-800-871-9159, your card will be permanently blocked and you will receive a new card.
Emphasis mine. So if you fly to India from SFO (which can easily take 24 hours door to door) and don't have a chance to call them back, they would permanently block your card. They may since have changed this policy, on their web site it now says "your card MAY be temporarily blocked until we validate the activity with you.". I am not sure I would take the chance.
I think at its core, the SFCU has a customer relationship problem. For me, their cards are their most important product. They have outsourced the important parts of this product (customer service, fraud detection) to a external company. I have spent a lot more time with representatives of their outsourcing partner that with the SFCU themselves. The SFCU staff may be friendly and competent, but I would not even know that. If you outsource your primary customer touchpoint, you have to manage that touchpoint very carefully or pay the consquences.
I asked the SFCU for comment on this post and will update if I hear from them.
And in the mean time, does anyone have a good suggestion for a card that works internationally?
Update: Lisa Uribe from the SFCU called me and said that they could register me as someone who travels frequently and that should reduce the number of times transactions get flagged for fraud. I had asked the SFCU previously if something like this could be done and at that time customer service representative (who was not Lisa) did not know of such an option. Lisa was very competent on the phone. Again it seems that SFCU staff is a lot better than the card services staff. However when I had trouble with my card, I usually did not end up talking to SFCU staff.


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The Writings of Nichiren Daishonin
The essence of this analogy is as follows. Eighty thousand yojanas down, on the bottom of the ocean, lives a large turtle. He has neither limbs nor flippers. His belly is as hot as heated iron, but the shell on his back is as cold as the Snow Mountains. What this turtle yearns for day and night, morning and evening—the desire he utters at each moment—is to cool his belly and warm the shell on his back.
The red sandalwood tree is regarded as sacred and is like a sage among people. All other trees are regarded as ordinary trees and are like foolish people. The wood of this sandalwood tree has the power to cool the turtle's belly. The turtle longs with all his might to climb onto a sandalwood log and place his belly in a hollow there in order to cool it, while exposing the shell on his back to the sun in order to warm it. According to the laws of nature, however, he can rise to the ocean's surface once every thousand years. But even then it is difficult for him to find a sandalwood log. The ocean is vast, while the turtle is small, and floating logs are few. Even if he finds some floating logs, he seldom encounters one of sandalwood. And even when he is fortunate enough to find a sandalwood log, it rarely has a hollow the size of his belly. If [the hollow is too large and] he falls into it, he cannot warm the shell on his back, and no one will be there to pull him out. If the hollow is too small and he cannot place his belly in it, the waves will wash him away, and he will sink back to the ocean's floor.
Even when, against all odds, the turtle comes across a floating sandalwood log with a hollow of the right size, having only one eye, his vision is distorted, and he sees the log as drifting eastward when it is actually drifting westward. Thus the harder he swims in his hurry to climb onto the log, the farther away he goes. When it drifts eastward, he sees it as drifting westward, and in the same way, he mistakes south for north. Thus he always moves away from the log, never approaches it.
The ocean represents the sea of the sufferings of birth and death, and the turtle symbolizes us living beings. His limbless state indicates that we are poorly endowed with roots of goodness. The heat of his belly represents the eight hot hells of anger and resentment, and the cold of the shell on his back, the eight cold hells of covetousness and greed. His remaining at the bottom of the ocean for a thousand years means that we fall into the three evil paths and find it hard to emerge. His rising to the surface once every thousand years illustrates how difficult it is to find enlightenment.
by Donald Kuspit
The best abstract
painting seems "nothing short of miraculous," the French poet and
critic Yves Bonnefoy remarks, for it satisfies "the desire for the
immediate"(1)--for pure sensation, uncorrupted by consciousness of
meaning. Bonnefoy thinks that the experience of immediacy--of pure
presence, directly given, with no need for language to shape it into
comprehension (and mute its impact)--is an illusion. It is a private
myth--magical thinking--that has been given social credibility,
ironically by the need to escape social pressure. The "conventional
readings of the world" are not so much defeated as complicated by
the mirage of immediacy, he argues. They need a codicil explaining
why the belief in immediacy must be abandoned, however reluctantly.
Bonnefoy doesn't want to wait for the feeling of immediacy to fade
away, as it will inevitably do because it is inherently transient,
but discredits it as a subjective indulgence. Looking at it from the
disillusioning point of view of everyday reality, he implies that we
must distrust the spontaneity with which it appears, thus
undermining it before we can savor it, and reap its emotional
benefits. He has no interest in the way it enriches the feeling for
life, reminding us that there is life beyond everyday life. Bonnefoy
never imagines that the experience of immediacy cannot be
conventionalized--that it is not meant to be "read," and in fact
cannot be read in worldly terms. He seems to think that we should
have intellectual guilt every time we experience an abstract
painting as sheer immediacy--eternally present, as it were, and as
such suspended beyond time. We should "qualify" this "mystical"
experience--peculiarly "metaphysical" for all its physicality--by
analyzing it away, that is, use our minds to purge it as a lie and
Michael David's abstract paintings renew immediacy, indeed,
reconstitute, strengthen, and even apotheosize it. They raise it to
a feverishly fresh intensity with their remarkable touch, indicating
they are among the very best painterly abstractions made. To me they
make it transparently clear that immediacy may be an illusion to the
intellect but it is not one for the senses--for touch and sight,
mingled together inextricably in ecstatic perception. For them,
painterly immediacy is ultimate reality: pure sensuous intensity
transcendent of ordinary, habitual understanding of the world, which
is mediated by socially sanctioned language and banal meanings that
force sense experience into their procrustean bed.
David may be the most innovative master of immediate surface since
the Abstract Expressionists. He has acknowledged his debt to
Abstract Expressionism, but he has transformed it. Where the
Abstract Expressionist paintings of the forties and fifties seem
like modern cave paintings, as their crude, unfocused, often
meandering, turbulent painterliness suggests, and as such to
reinstate prehistory, David seems to turn the cave into a temple, as
his more considered, concentrated, indeed, dense, contemplative
painterliness indicates, so that his paintings have the aura of post
history. The sublime is gained with no loss of force--no sacrifice
of painterly dynamics. Indeed, there is a gain in the sense of
bodiliness: each of his works has a certain "body"--density of
presence--so that it seems to embody the sublime, not simply evoke
it. His paintings make the abstract sublime vividly concrete, as
though it could be grasped rather than existed as some numinous
The challenge of gestural abstract painting is to break through the
barrier of reflection--we put it up to keep ourselves at a certain
mental distance from the world, so that our immediate impressions of
it do not overwhelm us, and to sort them out and organize them into
coherent and practical patterns--by developing a dramatic immediacy
of surface. When the breakthrough occurs, as in David's
abstractions, it restores the lability of sensuous appetite natural
to the human body, but that the human mind has repressed for the
sake of worldly functioning. David's powerful, deeply felt, boldly
visceral gesturalism embodies this appetite in the act of arousing
it: his painterly immediacy has prereflective sensuous appeal, which
is why it seems preternaturally fresh--uniquely vital, however at
times, morbid. The blackness of Refuge (all works 2000) certainly
seems morbid, however many traces of bright color--mostly orange,
but also bits of red and yellow, as though the orange was
disintegrating into its components--erratically break through the
dark surface, which seems generally disintegrated. David tells me
that he sometimes uses as many as ten "rounds" of paint--the word is
telling, suggesting that for him painting is a kind of boxing, that
is, in Harold Rosenberg's famous words, the canvas has become an
arena of self-confrontation, indicating the amount of combative
energy he puts into it--to build up his surface. For all its
solidity, it has a fragile, fragmented look, in part because of the
beading of the wax emulsion with which he paints. But, if Rosenberg
is right, it also tells us something about David's sense of self.
Building up that looks like tearing down--construction that looks
like destruction --is in fact the emotional as well as physical
substance of David's painting. Plane of canvas is placed upon plane
of canvas, creating a three-tiered pyramidal architecture that has a
family resemblance to an Aztec temple--but an abandoned and ruined
one, as its stripped and above all blackened appearance suggests.
Nonetheless--and this is the essential paradox of David's
paintings--this fundamental, melancholy structure is kept alive by
the immediacy and vigor of the paint that at the same time signals
the decay and death which mark it. The tension between the physical
immediacy of the paint and its geometrical underpinning--between
gesture and structure, interpenetrating, so that structure seems
less fixed, as though in insecure process, and texture more fixed,
as though absolutized in amber--keeps the work dialectically alive.
And embedded in this immediacy, like an ironical beacon, is a black
cross, its arms lengthened until they blur into the painterly
ground. It arises like an epiphany from the mire of agitated
blackness--a dark epiphany, as it were, confirming the darkness of
the paint. The projection of the geometry--the painting is a relief,
even as the relief is a pure painting--thrusts the flat cross
forward, so that it confronts us, but it remains an abstract
vision--our ambiguous vision.
David's painting is a kind of negative icon, composed of crushed
gestures. I cannot help thinking of George Steiner's remark that
"our aesthetic forms explore the void, the blank freedom which come
of the retraction (Deus absconditus) of the messianic and
divine."(2) He argues that where art, in its "kinship...with the
calling on mystery in the matter of the world and of man"--the
mystery in matter itself, one might add--once "enact[ed] the
epiphany of a real presence," it now reveals the "encounter with a
'real absence'." Steiner thinks that this is what we see in Malevich
and Ad Reinhardt. We must add David to the list of these great
abstractionists, for he has shown us that real [material] presence
can also be real [spiritual] absence. Immediacy can be made to serve
the purposes of absence and loss as well as presence and givenness.
Because David's paintings convey both simultaneously, we are forced
to ask whether he means to suggest that there are hidden sparks of
life (vital colors) in the ashes of the dead symbol or whether he is
flatly stating--as the blunt, recessed flatness with which the cross
is given suggests--that it is irremediably dead. Is the cross a
phoenix or Lazarus in the process of rising from the grave (it is
"engraved" in the flatness, as though in a grave, perhaps an empty
one), or it is a ghost that however haunting confirms the triumph of
death? Is David struggling to restore the traditional symbol of
salvation or is he showing the permanent ruin that it has
become--confirming that it is also a symbol of suffering unto death?
Does his cross still have the miraculous power to absolve us of our
sins or is it a black mirage that mocks us, deepening our guilt?
Does it symbolize the depth of suffering--a new emotional dark
age--or is it a consoling omen of resurrection--a promise of purity,
a blessing in disguise? Is it a shadow with no substance, or is its
substance hidden in the painterly shadows? Refuge, clearly, is an
ironical title. Part of the greatness of David's painting is that it
can raise these existential questions--that it can suggest our
fundamental uncertainty about ourselves, indeed, our ambivalence
about being. David's black cross--his whole painting--is emotionally
profound as well as brilliantly conceived. In general, his paintings
are emotionally eschatological, that is, they articulate inescapable
emotional concerns. But everything is not tragic
bleakness--demiurgic blackness--in David's oeuvre. Mourning and
melancholy are overcome: gnostic illumination occurs in the subtle,
progressive transition (as I see it) from Population (Dark Blues)
through Population (Orange) to Population (Blue). Darkness is
transformed to light by its passage through color, which recedes
into seductive mist. Restoration, with its open white surface
through which strong, passionate color appears, and Brooke, with a
white surface that veils darkness--it is overcome, however much it
threatens to break through--confirm the momentum of the process,
which began with the almost completely closed black surface of
Refuge. Finally there is the marvel of 777, with its pure white
luminosity, completing the process of transfiguration--confirming
salvation, liberation from the fatalistic black, the dark, the
defeated. Death has lost its sting, and been replaced by eternal
light. The tension between light and dark has been resolved--the
victory belongs to the forces of light. (With the exception of
Population (Dark Blues) and Population (Orange), which are flat
field paintings, all these works have the same pyramidal structure
and painterly density as Refuge.)
Yet the tension generated by the breakthrough of underpainting--the
friction between surface and surface-within-surface--remains,
however subliminally, as the bits of unanointed structure that
appear near the bottom of 777 and the subliminal, impacted darkness
of Brooke suggest. Simply on the level of color relationships
David's paintings are astonishing feats of subtlety--a delicate
blending of incommensurate colors, making the spectrum freshly
sensuous, all the more so because of the gestural state of the
colors. Sensation has become transcendence in these works, physical
density confirms spiritual purity. At the same time, there is an
indwelling disturbance, signalled by the rupture in the surface,
through which the depth is glimpsed. Painterly magma erupts through
this fissure, almost covering it over: surface and depth reconcile
in the fluidity, healing their difference while acknowledging it.
Whether my gnostic interpretation is right or wrong--whether these
works are masterpieces of sacred paintings, as I think--they are all
aesthetic masterpieces. They restore immediacy to credibility after
it has become a decadent convention. What began to be worked by
Kandinsky and seemed overworked in Pollock, and finally exhausted by
expressionistic overuse, has been given not only a new lease on life
by David, but extended into new technical as well as emotional
territory. Flatness is "architected," as it were, so that it becomes
a platform for the painterliness that finesses it, even as that
painterliness is made more "forward" by it. David has regenerated
painterliness without making it seem precious, even as he refined it
so that it is no longer raw, primitive, headlong, naively
aggressive. The primordial effect of immediacy remains, even as
gesture seems deliberate as well as spontaneous. Indeed, the effect
of immediacy--the epiphany that is immediacy--is all the stronger,
when it occurs, because of the contradiction. For the tension
between spontaneity and deliberateness--instinctive power and
reflective control--makes the breakthrough into immediacy, the
demonstration of the immanence of immediacy, all the more moving and
convincing. It becomes a breakthrough into integrity, rather than a
pro forma exercise in painterly skill.
Thus, David's paintings concentrate in themselves the history of
modernist painting without selling its emotional possibilities
short, as happened when it deadended in post-painterly abstraction.
All one has to do is look at his works on paper, with their
evocative modulations of tone and surface--their perfection of
subtlety --to realize the truth of this. They are masterpieces of
unresolved tension--presence and absence compete in them, even as
they seem to converge--showing how intimate abstraction can be.
Clearly painting will never die, if David has anything to say about
(1)Yves Bonnefoy, "On Painting and Poetry, On Anxiety and Peace,"
The Lure and the Truth of Painting (Chicago and London: University
of Chicago Press, 1995), p. 171
(2)George Steiner, Real Presences (Chicago and London: University of
Chicago Press, 1991), p. 229
"A Desperate and Honest
Some Notes on New Works by Michael David
by Jerry Cullum
Michael David's
photographs engage in a difficult dialogue with both religion and
art history. He doesn't challenge belief in either case; he
challenges practice, and he asks hard questions.
David's engagement with issues of our bodies springs from the
rebellion of his own body in the form of debilitating illness
brought on by the tools of encaustic painting. Scarcely the first
man to be laid low by the materials of his trade, he used the
experience to address and identify with moments in great art.
Specifically, Manet's Dead Toreador struck him as a model from which
he could wrest a new, very personal meaning.
He went on to produce a species of self-representation based on deep
emotional identification. Eventually the dialogue with physical
suffering led to a confrontation with other emotional issues, by way
of other great moments in painting. David doesn't so much study a
painting as enter into its unarticulated and almost certainly not
consciously intended messages.
Through several intermediate steps, this led to his greatly
abstracted, monumental photographs. He literally strips down key
moments in Mantegna, Manet, and Caravaggio. Maintaining their drama
but not more than the essence of their figures' postures and
symbols, he manipulates their imagery for his own ends.
Those ends involve, he says, arousing compassion, in himself and in
his viewers. He sets out to confront topics of homophobia, racism,
and gender expectations (the role of women) through the
transformation of some of our best-known visual expressions of
religious or sexual suffering or ecstasy.
Suffering and ecstasy are precisely the polar opposites that David
blends in his photography as much as the master painters did in
their works on canvas. Cupid and Gabriel bring very different
pronouncements of the meaning of love and the generation of life;
but both bring challenges to the way life was lived before the
moment of the angelic proclamation or the arrival of the erotic
god's little arrows. By the time David is through with their
stories, the figures in his photographs are no longer retellings of
Roman mythology or of the Christian story of the incarnation of the
redeeming divinity, announced through the words of an angel. They're
possibilities of being, housed in our own contemporary imaginations.
Getting to this point of psychological intensity isn't a simple or
single-track road. David plays with several possibilities for each
posture, replacing a white Christ or Cupid or Narcissus or Archangel
Gabriel or dead or dreaming toreador with a naked black male, or a
distinctly muscular white female. Occasionally he relieves the
tension that all this generates with a comic gesture, such as the
twin angels giving the viewer their raised middle fingers. More
often he keeps up the emotional pressure, reducing situations to a
single dramatic encounter or solo performance against a backdrop of
pure black that recalls the charged darknesses of El Greco or Goya,
although David cites Bronzino and Caravaggio as his points of
He doesn't necessarily reproduce meaning altogether literally, but
finds those moments of discomfiting imagery that are better
represented by titles that come from other paintings. Most notable
in this regard are his crucifixions, in which his replacements for
Christ wear the wrist bindings in lieu of nails that some painters
reserved for the thieves crucified on either side of the central
figure. These works are called "Taking of the Christ," a title which
Caravaggio uses for a memorable scene of the betrayal of Jesus by
Judas in the Garden of Gethsemane. The melding of the two moments of
the Passion allows for multiple meanings. His nude black man or
white woman "take" the Christ in the sense of taking on the posture
and possibly the sense of betrayal and self-sacrifice involved in
the Crucifixion. (Deep re-imagining of and identification with the
sufferings of Jesus have, of course, long been part of Catholic
practice, so this reading isn't altogether without precedent.)
Whether they also declare their creatureliness by wearing the image
of a crucified thief depends on which paintings the viewer is
thinking of.
It would be a stretch to claim that all this psychology and
Christian theology is in David's mind when he composes these
photographs, but the point is that they allow the viewer to create
an independent dialogue with the art historical models from which
they come. We can take what we will from his Narcissus or his
Magdalene in ecstasy or his isolated scrap of the seven acts of
mercy. They ask only that we enter into the dialogue.
As with any works of art, that dialogue is deepened by the degree of
visual literacy the viewer brings to the photographs. The copying of
the sinuous geometry of Brancusi's bird sculpture by David's nude
model results in a striking image. The title Brancato's Brancusi
reminds us of something we might have missed in our admiration of
the photograph's formal purity. If for some reason the viewer were
ignorant of Brancusi's modernist achievement in sculpture, this
would still be a stunning picture.
The same goes for all of David's photographs. It is possible to
imagine a world in which someone would come to these works wholly
innocent of the tales of Mary Magdalene's replacement of sexual
ecstasy with contemplation of the inner force of divinity, or
Narcissus' fatal fascination with his own image. (Think of someone
raised in the Buddhist culture represented by the statues of the
enlightened Gautama that David has also transformed in this body of
work. It is possible, likewise, to imagine a viewer who knows the
story of annunciation, life, and redemptive suffering of Jesus
Christ, but not the story of suffering and redemption from suffering
that is the life of Gautama Buddha.)
What would an only partially informed viewer get from these
photographs? A great deal. However, it not only helps, it is almost
essential to know the original stories in order to understand the
meaning of Cupid's arrows or Gabriel's clustered bunch of lilies. It
is probably not necessary to know the original story to understand
the emotional force of David's wrapped or repeated Buddhas, but it
deepens our reaction to think of the Buddhist meanings of veils of
ignorance or revelations of the hidden inner light.
David's dead toreadors, his original inspiration and his only major
departure from the realms of religion and mythology, run a
surprising gamut. Again, the trappings of the costume are minimal
but essential for the metaphor; without them, it might be difficult
in some cases to know whether we are seeing, for example, Manet's
dead toreador or some variation on Holbein's dead Christ. As it is,
we know; and what we know is that David has confronted us with all
the possibilities, from graphically visible male genitalia to death
in the bullring devolved to an erotic dream. The horror and
helplessness of death mingled with the attraction felt by, for
example, Keats ("I have been half in love with easeful death")
collide in these images. This isn't a figure laid low by the
violence of the bull's horns; it's a figure in the posture of
collapse and/or sleep. It allows (or more accurately, they allow) us
to project a much wider range of reactions on the image.
In this case, David has archetypalized a historical moment as much
as Manet did, transforming into lasting transcendence an event that
would otherwise be ultimately of limited significance. Great art and
great literature have explored in depth the universality and the
specificity of death. We view it as individual tragedy and we find
it alarmingly alluring, and all of our reactions have been embodied
in works of art. As with the crucified black man and white woman (we
can fill in all the other possibilities), the power and beauty of an
image allow us to contemplate in tranquility topics with which we
may otherwise wrestle in our most anxious midnights.
David does all this with just a few formal tools. He wrests maximum
impact out of the musculature of the human body; his original
sources were baroquely contorted, to be sure, but he arranges his
models' postures to bring out the maximum impact of well-defined
abdominal muscles or gluteal lineages. His lighting would be accused
of excessive theatricality were he not merely replicating the
already existing theatricality of the paintings from which he
Eliminating the clutter of symbols that surround the figures
originally, however, turns these photographs into distinct dialogues
with modernist simplifications of form. Brancusi enters into the
dialogue quite appropriately, as a reminder that once the great
images of myth and religious discourse are extracted from their
original context, they can be seen as independent elements of art.
We lose parts of the story to gain clarity, just as modernist art
eliminated narrative and pictorial realism to gain fresh insight
into the ways of shape and process.
David began, we might remember, as an abstract artist. He loved the
confrontational quality of the cross from the beginning, but he
found its best expression in the world and canvases of Kasimir
Malevich and Piet Mondrian. He later confronted the issues raised by
stereotypical presentations of the female nude, and the collision of
abstract and figural issues informed his painting for the next
decade or more. He has continued to paint, and to explore
abstraction as well as figuration.
But photography has been less physically dangerous; incautious use
of the poisonous volatility of wax, after all, robbed him of seventy
per cent of the use of the nerves in his feet and thirty per cent of
the nerves in his right hand. The slowness of production involved in
painting even without these obstacles means that David has turned
increasingly to the large-format Polaroid image as a tool for visual
exploration. As he remarks, the Polaroid photograph's one-of-a-kind
quality is parallel to the act of painting, and the peculiarly black
surfaces of the film resonate emotionally.
The formal and material analogues mean that David's work, more so
than many painter-photographers, is all of a piece. At the same
time, he has approached his photographs as autonomous works, not as
studies or substitutes for painting.
And they lead us inevitably back to his primary concerns: the
creation of a compassionate dialogue within the self and with the
embedded customs and expectations of our culture. He shocks us in
order to make us think productively.
Transgression would be merely tiresome without some such deeper
conceptual agenda, and David's photographs remain, despite their
beauty, deeply transgressive. They violate the pieties of art and
religion alike, but they do so in order to reach the original
purposes of both enterprises.
That is their strength and their source of claims to permanence.
They are distinctly works of the early twenty-first century; it is
impossible to imagine them without the precedents set by, among many
others, Robert Mapplethorpe. But despite dealing with overlapping
sets of issues, David's photographs are also distinct expressions of
moral concerns (what he calls a "desperate and honest search") that
are not those of other present-day artists. This body of work is
about the human body, but also about the human soul, and the soul
confronted with history as well as with life's ongoing existential
Probably the saving sense of humor beneath the baroque emotional
confrontation is the most distinctly contemporary aspect of David's
work. As recently as a dozen years ago, we still felt compelled to
put on tones of respectful heaviness when contemplating the issues
of art and life. David theatricalizes them in a new way, maintaining
their ultimate seriousness but allowing moments of respite that
incorporate the best parts of postmodern irony into an exploration
as fraught with consequence as the deepest ventures of the age of
unquestioned and uninterrogated belief.
Both art historians and sensitive viewers have found similar
ambivalences and ambiguities in the works of Caravaggio, which also
sprang from an age in which beliefs and social customs were in a
state of upheaval. Acting intuitively, David has picked an
appropriate source of inspiration.
Michael David:
by Peter Frank
Every generation, painting dies –
and rises anew. Ever since the emergence of photography, observers
have regularly signaled the death knell of the western world's most
ubiquitous, most beloved, most western medium, painting. Their
prognostications are then countered as new artists reassert the
vitality of the practice, revealing whole new aspects of a
remarkably tenacious and many-faceted discipline and gaining whole
new audiences in thrall to the reanimation of a durable tradition.
However triumphant painters might be over and over again in this
cycle of negation and rebirth, they are the ones who most agonize
over the death of painting, who at any given moment are most ridden
by despair, and whose certainty is most undermined by feelings of
doubt and feelings inspired less by the naysayers outside the studio
than by their own struggles within.
The work of certain painters – some of our greatest – externalizes
this otherwise hidden struggle. The passion and mastery they display
bespeaks no easy confidence; rather, it embodies a heroic battle
waged in the studio. Like boxers, good painters battle against the
painting medium, and achieve their best work by fighting painting to
a draw (no pun intended). Great painters, however, strive not to
slay or knock out painting, but, like surgeons, to bring it back to
life. After all, these painters paint in great part out of fear that
if they don't, no one will, and painting, that great homely beast
loved and misunderstood by everyone, will die of neglect or worse.
In their eyes the beast is too far gone, but in their hands might
live one more day. Painting's fate is the painter's fate, and the
painter survives only as long as painting does.
For all his struggles with his chosen medium – struggles that have
literally poisoned him – Michael David is one of contemporary
painting's devotees and rescuers. Although he is far from alone in
his fidelity, his fervency, and his sustaining skills, David's
oeuvre is driven by an unusual level and a unique kind of intensity.
He approaches painting as part Byronic romantic, part ingenious
technician, part fundamentalist, part agent of change, part
storyteller, part architect, part philosopher, part madman. Painting
is not a calling or way of life for David, it is – simply and
ultimately – a place where he dwells, an abode from which he never
strays far, and on which he never ceases working. Whenever he turns
to materials or techniques foreign to traditional painterly
practice, he does so not to betray painting but to supplement and
amplify its qualities and abilities. For all its high gloss and lack
of actual tactility, for instance, David's employment of photography
is clearly a painterly endeavor -- the pictures assume the scale of
his paintings as well as their rich coloration and sensuous
granularity. Like the pictorialist photographers of a century ago,
David brings painting's look into photography – but this time he
arrogates photography to the painter's studio rather than the other
way around.
Likewise, building his already caked surfaces in mounded, often
pyramided layers -- (and occasionally strewing them with foreign
objects and materials (flowers, for example), which he then binds
into the painting-objects with yet more wax-infused paint – David
conjures his "Chorten" paintings out of substances so real, so
substantive, so obdurate, that a paintwork can wind up weighing
several hundred pounds. David's Chortens are as much sculptures –
certainly bas reliefs – as they are paintings, riddled with nooks
and folds, their myriad pits and creases attesting to the vulcanism,
the quasi-geologic drama, of their fabrication.
David asserts the physical profundity of pigment – suspended in oil
and wax alike – no less in his "Golem" paintings. Although these
compositions adhere more conventionally to the picture plane, they
have been formulated with an unsparing use of paint, their surfaces
gnarled and agitated like (if to a lesser extent than) the Chortens.
Such lush, aggressive employment of paint brims with sexy bravado,
but the macho fireworks quickly yield to the experiential presence –
indeed, the presentness – of paint itself.
These two series, Chorten and Golem, are current – and concurrent.
David continues to add to both series, and considers them ongoing
and of equal centrality to his activity as an artist. Moreover,
David considers his recent photographic work connected to the
Golems. Working in several "styles" at once like this may not be the
career-killing anti-strategy it once was, but it still gives pause
to those manifold art-world denizens more comfortable with
pigeonholes than with sensibilities. David demonstrates the risks he
is willing to take in painting; he would rather give it the
elbowroom to expand and reach maximum personal expression than force
it down a straight and narrow path.
This liberal methodology points to one of the most audaciously
complicating factors at work in David's art, especially at present:
subject matter. The basic focus of David's work is painting itself;
but "painting itself" includes the history of the medium not just as
it has been developed but as it has been practiced. Its traditions,
that is, the vast inheritance of the myriad painters of the world,
western and otherwise, have left us. And those traditions bear not
simply a history of technical and sensual accomplishment, but a
history of narrative and symbolic expression. Much of the world's
painting has propagandized for one source of influence or another;
much more has manifested religious sentiment; and more still has
embodied earthly power through unearthly vision. The history of
painting is inextricably part of the history of icons.
No painting (as the abstract expressionists insisted) is free of
subject matter, or even free of iconography. Even the formalists who
dominated the art world prior to David practiced modes of painting
imbued, despite their assertions, with meaning. Issues of
perception, physiological effect, psychological motivation and
viewer interpretation would not disappear at the command of "what
you see is what you see." David's generation of painters, the first
to be raised in a visually pervasive popular culture, recognized
this, and generated not simply a post-minimalist approach to
abstraction, but a return to the figure – indeed, a much-ballyhooed
(and much-exploited) "return to painting." David fed these "returns"
and owes his rapid emergence to them. But he always stood a little
apart from his contemporaries, unable to squeeze comfortably beneath
their simple, even simplistic declarations. He was neither
representational nor abstract, and his icons were at once entirely
obvious and thoroughly obscure. From the first, his painting had a
sculptural presence, and a graphic one; he always approached
painting as a task of making objects and pictures, things you had to
regard as images and simultaneously couldn't regard as just images
-- surfaces (and even supports) that called attention to themselves
and to the iconic notations they bore.
These notations were usually derived from religious or otherwise
spiritual symbology, and their presence in David's work often proved
controversial. The reiteration of the cruciform puzzled those who
expected only six-pointed star shapes from the Jewish artist, but it
was the use of the "swastika" of the Incas and the Dravidians – and
the Nazis – that caused the most consternation. He intended it both
as an ironic comment on the Punk use of the image at the time and
also as a signifier to question creativity (in its extreme as the
ultimate self-destructive force). Spiritual symbology wove in and
out of David's art until the end of the 1980s, when a visit to a
Degas exhibition proved critical. Seeing the show, he wrote, with "a
feminist friend of mine, we had a discussion on the numerous biased
uses of the female nude throughout art history. I realized my own
personal complex issues with women… and [the] utilization of the
female nude would provide me with an image as meaningful as the
cross." David made a series of photographs of a nude model with
which he began the Jackie series.
To this day, David has not abandoned abstraction; if anything, it
would seem as if the permission he has given himself to work overtly
with the figure. This self consent has given him freedom to continue
painting abstractly and to eliminate referential iconography from
the abstract paintings – not in order to realize a "pure"
abstraction, but to manifest the fact that there is no such thing as
pure abstraction, even the most self-referential, hermetic painted
object brims with metaphorical association. Shapes mean things.
Patterns mean things. Textures mean things. Colors mean things.
Abstract paintings can be as meaningful as flags, although, like
many of his colleagues, David keeps his inferences more obscure.
In fact, the most direct symbolism David now practices can be found
in his figurative works. Just as he turned to the figure to explore
gender issues, many of them personal, David has addressed similar
social issues – race, sexual preference, even physical beauty – in
his photographs. These concerns are equally present in his figural
painting (the Golems); however, the Golems are driven more by
interior passions and private pains. Like the large format Polaroids
and monumental chromogenic photographs, the figurative works embrace
art history, finding in the reiteration of museological icons a
comprehension of personal experience as well as painterly experience
(for an artist like David, of course, painterly experience is part
and parcel of the personal). Just as he has turned to Caravaggio and
Mantegna for the figures in his photographs, he turned to Manet for
the figures in his paintings; and just as Rothko, Reinhardt, and
Stella inform David's treatment of color and content in his Chortens,
Pollock and Hofmann, Beckmann and Soutine, Velazquez and Rembrandt,
and many other of David's painter forbearers, inform his treatment
of figure and ground, line and volume, atmosphere and perspective in
the increasingly rich and complex Golem series.
Until now the primary Golem, reiterated to the point of obsession,
has been Manet's fallen Toreador. David has not simply focused in on
this pivotal art-historical image and its rich mine of formal and
narrative meaning; he has claimed it as a cipher for himself. This
is not an act of mere arrogance, but one of self compassion. In the
fallen figure, unable to arise, David sees his own recent plight.
Still recovering from the substantial loss of mobility and
significant manual dexterity (sustained, ironically enough as a
result of his wax-heating technique), and likely never to regain
full use of his legs and feet, David regards Manet's bullfighter as
his avatar, wounded, perhaps mortally, in the effort to perfect his
Importantly, David does not regard his effort as wasted, any more
than the toreador would have considered his sacrifice inglorious.
Required to abandon painting at the outset of his recovery, David
turned to photography to continue exploring the images and issues of
painting; and once he was back on his feet, as it were, he resumed
painting. "Painting has become a dangerous place for me," David
testifies, "and is now a very slow and painstaking process." But,
even though he could (and more than his doctors think he should)
give his burgeoning photographic work his all, chose to return to
his first medium, encaustic paining. Painting is David's soul mate
and savior, as he is painting's. He has returned to its side,
humbled and renewed.
Many commentators are again predicting the death of painting; the
digital age supposedly marks the eventual end of such an
un-electronic discipline. But the ubiquity of the virtual only
serves to heighten our taste and need, for the actual – and there is
nothing more actual and also more virtual (even in its iconographic
and philosophic complexity), than painting. Painting is currently
being saved and sustained by a newly hungry audience that spends
hours before a hard, impassive monitor screen and needs something
juicy, intricate, and riddled with meaning to add depth to its
experience of life. With audiences thus primed, painters do not now
need to save painting; they need only practice it faithfully.
Michael David has proven his faith in and devotion to painting, to
its history, its facture, and its manufacture. His is the kind – the
kinds – of painting the new audience seeks.
Los Angeles
December 2006
© 2010 bill
lowe gallery |
site by visualiti


text:
With the continued growth in world trade and the constant focus on terrorism, security has been a major focal point not only within the borders of the United States, but within the ports and manufacturing facilities of our largest trading partners. Consequently, the U.S. Customs and Border Protection (CBP) has led the way in working with other governments to establish standards for supply chain security in the global trade environment. Working directly with the World Customs Organization (WCO) and members of foreign Customs administrations, CBP has endeavored to establish dialogue and support for the security of goods within the ever-expanding global supply network. In fact, CBP has deployed their team members to foreign ports to work with the host country to identify and prohibit the loading of goods destined for the United States that are considered to be high-risk. It is this process - along with the combination of the Cargo Security Initiative (CSI) and the voluntary Customs-Trade Partnership Against Terrorism (C-TPAT) programs - that is working to increase the safety and security of the cargo entering the United States through our port systems.SAFE and SecureThe CBP has worked directly with the members of the WCO to establish a collaborative approach to global supply chain security and to develop a framework of standards. By working together, the members of the WCO and CBP have developed a system by which verification of a secure shipment of goods can be made throughout all points of custody, and a protocol has been firmly established between all member nations. The framework established between the CBP and WCO has been adopted by 173 nations and is referred to as the "Framework to Secure and Facilitate Global Trade" (SAFE Framework). The standards and protocols established within the SAFE Framework have become a foundation for security practices.
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The 10 + 2 Initiative
For the Importer:
Manufacturer (or supplier) name and address
Seller name and address
Buyer name and address
Ship-to name and address
Container stuffing location
Consolidator name and address
Importer of record number>
Consignee number
Country of origin of goods
HTS number (6 digit)
For the Carrier:
Vessel stow plan
Container status messages
The Customs-to-Business Pillar of the WCO Framework contains an Authorized Economic Operator (AEO) protocol, which provides member organizations with guidance as well as a system to provide benefits to those organizations that are security-focused. The U.S. C-TPAT program is an example of an AEO protocol wherein Customs organizations, with input from the trade organizations that make up the bulk of the users, can develop and implement a validation program that demonstrates that a minimum level of security standards for their supply chain are being met. This program allows C-TPAT members to obtain the corresponding benefits that are made available to the participating AEO member. Mutual Recognition StandardsWorking to develop a "mutual recognition" of standards based on the AEO protocols and compliance levels, which are part of the Customs-to-Customs Pillar of WCO Framework, will provide a clear benefit to members and reduce the need for member nations to provide multiple assessments. A "mutual recognition" program with fixed standard levels will allow member countries to validate and perform assessments of supply chain security actions and reduce the number of duplicate actions that may have been taken by a fellow member nation. This would help all of the nations by reducing the costs of validations and assessments and speed up the process of goods movement via known and validated shippers.The end result is that the U.S. CBP, in order to create a more secure trade environment and goods flow into the United States, has begun implementing initiatives overseas. These new practices now have them engaging with not only U.S. importers and the complexities of import (or exporters and export) supply chains, but also interacting on broad global initiatives with many foreign governments in order to provide a full context for global trade security. This expanded framework for cargo security is directly focused on identifying higher-risk cargo for inspection programs, and allowing lower-risk cargo to flow smoothly and efficiently. The outcome of these global actions is that global trade remains relatively safe. Participant nations and global traders understand the benefits that accompany the security initiatives as they increase supply chain velocity, provide a higher level of predictability, and lower the costs across trade lanes. By applying security initiatives with member companies and member nations, the CBP has made great progress to enhance security worldwide. Curtis Spencer is also a member of the 9th and 10th COAC Committee.


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Ruwita Oktober
Hi,im Ruwita,ima very fun,anthusiastic person,love to laugh and be my crazy self,can't realy say what type of voice i have,as i can realy change my voice drasticaly,from soft kiddies voice to an old lady,lol. I love that and playing around with the different voices i can do. Idealy i tink prospective clients would look into tht quality and that way i can not only help the client but also raise my experience,thank you.
English (North American), English, Afrikaans
North American, South African (Afrikaans)
Middle Aged, Young Adult
Special Skills
Audiobooks, Business, Cartoons, Documentaries, Educational, Internet, Jingles, Movie Trailers, Music, Podcasting, Radio, Telephone, Television, Videogames
Currently re-doing my matric through night school
Payment Terms
Hire Ruwita as a voice actor. Payment is made through Voices.com SurePay, an escrow service that guarantees your work is done to your satisfaction. Send payment securely by Visa, Mastercard or PayPal through Voices.com then download your files from the website.
Watch a video to see how to make a payment
Next Steps
To contact Ruwita Oktober about your project, request a quote today. We'll walk you through the process step-by-step. It's fast and easy.
This talent has not uploaded any demos yet.
Title of Your New Demo 7777 Listens
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text:
Chapter 3
"How do you know my name?" I ask. Is it just me or are the walls closing in? I must be getting parniod. I can't breathe. Oh God, what is happening?
I suddenly remember to breathe.
B is gaping at A. He's stunned. He keeps looking from A to me and back again. A is ignoring him.
"Let go of her, Aaron," A commands. There's no other way to describe how he said it. "You're probably hurting her."
B, I mean Aaron lets go of my wrists. I hadn't even noticed he was holding them. He stand up and walks towards A. I go to stand up but A raise a hand. I pause, then sit down again.
"I suppose we need to talk," A suggests.
"I suppose you're right," I reply cagily. "What's your name? Why are you even in my house?"
"I told you the old woman wouldn't say anything," Aaron sighs.
"What are you talking about?" I snap.
"Shut up, you two," A snaps. He sighs. He turns to face me. "Emilia, my name Joshep."
Aaron looks at Joshep warily. I wonder what he's thinking. His face looks troubled, but handsome somehow. I shake my head. Now is not the time to be thinking these types of things.
"Your grandmother, " continued Joshep, ignoring Aaron. "She let us stay here. She found us wandering around the forest, lost. I told what we were... doing here. She was a little shocked, but said she would help us. When she was on her deathbed, she said she would be giving this house to you."
Joshep faulters. His face is a mask of sorrow. I think he might've liked my grandmother. This is what she must have meant by inhabitants. No need for an exterminator after all. Joshep takes a deep breath.
"I understand if you want us to leave. But I wouldn't mind if we had some time to get ready to leave," he suggests.
I look at him. Joshep seems like a nice person. I don't want to be mean to him, but I have to tell him the truth.
"Um, Joshep, I wouldn't mind you staying, but the truth is I'm planning on selling the house, " I explain. I keep my face turned down. "I need the money. Univeristy doesn't come cheap and I want to take out as little a loan as possible."
"You can't!" Aaron shouted.
My head snaps up automatically. His voice sounded a bit scary. Very powerful. I look at him nervously.
"Why not?" I ask, hoping my voice sounds more confident than I feel.
"Because you just can't," he answers heatedlty.
I glare at him. He thinks he can boss me round, does he? He's only just met me and he's telling me what to do.
"Who the heck do you think you are? We've barely met and you've already broken something, kidnapped me in my own home and now you're bossing me around! This is my house and I'll do whatever I damn want to do with it," I rant.
Aaron gapes at me. I don't think he realised I have such a sharp tounge. I frown at him.
"Ok you two. Calm down," Joshep says uselessly. "Come Aaron. We need to get ready to leave."


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News from the Bench
Discover what's going on at CST, receive our latest application notes and tips, read our science features, and learn about our products.
Our U.S. Offices Are Closed
Our U.S. offices are closed in observance of Memorial Day. We will reopen on Tuesday, May 30th.
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To Purchase # 7076S
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Here is the September 2015 issue of Pratiyogita Darpan with the following highlights:
ISRO launches PSLV-C28 with British satellites
India, Singapore sign key agreement to boost martime co-operation
US-Cuba relation restored
Wimbeldon Championship - 2015
Socio Economic and caste census 2011
26 African Nations sign TFTA
IDFC gets banking license
MNREGA : World's largest Public Works scheme
And many more....
Don't know how to download? Click here.
Details of the file:
Issue : September 2015
Language : Hindi
File type: pdf compressed to zip format
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text:
BA Classical Studies / Overview
Year of entry: 2017
- Degree awarded
- Duration
- 3 years
- Typical A-level offer
Grades ABB-BBB, not including Gen Studs. A-level subjects will normally include at least one essay-based subject (ie. where at least 60% of the assessed material is essay work).
- Typical International Baccalaureate offer
32 points overall (core points accepted). 6,5,5 at Higher Level. See A-levels for subject entry requirements.
- Number of places/applicants
Approx 30 places / 180 applicants
- How to apply
- Apply through UCAS
Apply through UCAS
- UCAS course code
- UCAS institution code
Course overview
- You are fascinated by the myths and legends of the classical world
- You want to study classical literature throughout your degree
- You are looking to develop independent research skills
Classics and Ancient History
Tuition fees for home/EU students commencing their studies in September 2017 will be £9,250 per annum. Future inflationary increases will be applied to each subsequent year of the course, subject to government regulations on fee increases. Tuition fees for international students will be £17,000 per annum. For general information please see the undergraduate finance pages.
Contact details
- Academic department
- School of Arts, Languages and Cultures
- Contact name
- Katie Cowey
- Telephone
- +44 (0)161 306 1252
- Facsimile
- +44 (0)161 275 3098
- email@example.com
- Website
- http://www.alc.manchester.ac.uk/subjects/classicsancienthistory/
- Academic department overview
See: About us
Related courses
Courses in related subject areas
Use the links below to view lists of courses in related subject areas.


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Pulse Nursing are looking for a Registered Mental Health Nurse (RMN) in Lancashire or the adjacent areas, for short-term assignments and ad-hoc shifts.
At Pulse we take into consideration the need for a healthy work/life balance and therefore, where possible, offer you the flexibility needed to accomodate your current situation. Working for Pulse can also allow you to maintain your current set of skills if you are looking to change post or are wanting a break from working full-time.
The RMN we recruit must have a minimum of six months experience as a Registered Mental Health Nurse, we are currently on the look out for a candidate working within one or more of the following settings:
In order to register, you will be required to meet our compliance standards, these include satisfactory employment references and a DBS check.
In return we at Pulse offer the following benefits:
If you feel you meet the above criteria and would like to be considered for this role please apply online and a member of our team will be in touch soon
*Terms and conditions apply.
Pulse is an employment agency/employment business (as defined by the Conduct of Employment Agencies and Employment Businesses Regulations 2003) and is acting on behalf of its client in relation to this vacancy.


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Poderi Luigi Einaudi - A historic family residence becomes the perfect setting for a holiday, where relaxation and a spectacular location combine with a refined ambiance and the pleasure of a warm welcome.
The current Poderi Luigi Einaudi was the Einaudi family's holiday lo...
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Chapter Eleven, Part One: Dude, Where's My TARDIS?Mature
"So this is it, hrm?" the Master quips, running his open palm across the outside hull door's entry panel and locking it. "We're here. I suppose the other two idiots have gone to make camp or something. Lightweights. Theta, do you want to… what's the matter with –you-?" he asks, cocking his head and staring at the Doctor.
The other man's body is glued to the line of the continental shuttle, his jacket and grey shirted form fitted to the metal like a thrown doll. He's obviously leaning.
The jacket seems... muted somehow- almost as if it's sucking up the light.
The Doctor rubs his head and looks up; his boy-face scrunched into an old man's lines of pain. His eyes hang unseeing and open on the path ahead. His hands quiver uselessly at the ends of his forearms, like wretched grey stumps dangling water-rotted roots beneath the skin of some fetid pond.
Suddenly he straightens, and his chest is rising and falling like nothing else. High on life. The look of illness and confusion is gone. He reaches up and adjusts his coat and bowtie, throwing out his elbows with his usual swagger, then says, "What? Damn thing is malfunctioning again. I'll have to tune them with better equipment when we get back. Shall we?"
The Master knows better than to argue with him. This is not what he signed on for. What is worse, this is not the man he signed up -with.- Best to go along and see what comes of it, play the moderator once the answer presents itself. And if it's who he thinks it is, well… he won't allow it to go far enough to sting. When the hell did he become the Doctor?


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Green Mao Jian
Origin: Hunan Province
Our special organic Green Mao Jian Tea (毛尖花), is an unusual mountain-grown tea from western Hunan Province. The tea is named for the abundance of tiny hairs covering the leaves when they are picked in the spring and for the sharply pointed shape of the leaves once rolled in the finishing process.
Green Mao Jian Tea is one of the most delicate green teas we have seen. Steeped normally, it produces a lovely pale green brew with meadow notes and light forest scents. A stronger brew may be obtained using more tea leaves, warmer water and a longer steep time. Even then, this tea is not bitter. An excellent tea for those who want to enjoy a green tea without the punch that so many ordinary greens carry.
Our Green Mao Jian Tea is pure whole leaf organic Chinese tea, Fair Trade certified and sublimely drinkable. A marvelous tea to accompany you throughout a busy morning and into the early afternoon, a tea both for the dedicated tea consumer and one for the casual tea drinker as well.
Please see our Brewing Guidelines for more information.


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Did he ?
Well we might perhaps never know.
Did Jesus a cold ever get?
Did his ear with pain ever ache?
Did the dry air give him allergies?
with a fever all night did he quake?
Was he ever a petulant child?
or perhaps in his teens rebel?
admonished for being so mischievous
or in all activities did he excel?
Was he in his youth undecided?
Was his future already pre-ordained?
Did he stumble into manhood quietly
knowing one day he would be slain?
Did he harbor a childhood crush?
and other youthful pursuits engage?
Did he ever other vocations try?
Did he have any friends his own age?
Did he know his death eventually
would spawn such an industry?
While it would bring hope to others
and forever change destinies
When Gods in human forms inhabit
Don't they inherit our qualities?
Perhaps tis price they have to pay
to walk so humbly amongst humanity


text:
1) Remember those Phoenix From The Flames recreations? Well, here's Alessandro Del Piero doing something similar with his first-ever goal (for Padova) all from looking at the footage on his mobile phone.
2) John Barnes kills some time at the mic with a rendition of the Sugar Hill Gang's Rappers' Delight. He has form, of course, alongside the mighty New Order and his Liverpool colleagues. Meanwhile, he's not the only Liverpool legend getting in on the hip-hop scene and while there's no rapping, there is some excitable commentary alongside this cracking Futsal goal scored by Corinthians against Atlético Erechim.
3) Could all this be the start of a worrying trend? More music as NFL's Peyton and Eli Manning try their hand at hip hop.
4) Disappointed by a gutter ball? You know nothing, this bowler was denied a perfect 300 game by a mechanical error.
5) Strong legs and quick-thinking on offer in this brilliant Aussie rugby league try.
6) It ain't over 'til it's over: X Games rider Meghan Rutledge celebrates impending moto-x win on final jump. Crashes. Loses. Cries.
Our favourites from last week's blog
1) Lovely piece of self-deprecating humour from NBC to promote their Premier League coverage – "Hi, I'm the new coach of the Tottenham Hotspurs and I'd like to talk to the Queen please ..."
2) The internet's gleeful fascination with Michael Jordan continues, here he is hitting the target with his eyes closed and from a bunker.
3) "If you are, indeed, human ..." Dennis Pennis meets Alan Hansen.
4) Definitely human but apparently fearless, here's Filip Polc at the most absurd cycling downhill race in the world, 2011's Valparaiso Downtown in Chile, followed by more bikes but with engines, going down mountains, at the equally terrifying GoPro: Himalayan 4,500km Adventure.
5) Interview hell for Aggers as Brian Johnston arranges for Fred Trueman and Jack Bannister to put him through the ringer, bonus points when he vigorously repeats an expletive aimed at Johnston at the end.
6) Finally, and in the final minute, USK Piesendorf's goalie Hannes Leo scores an 88-yard goal against Berndorf in the Austrian Cup, an absolutely winning moment especially compared to this, the ultimate, double fail of goalie and striker in an El Salvador v Haiti game.
Spotters' badges: joostice, santeff, SolomonGrundy, TheWorldTraveller, BlackCaeser, LeeWall, Ocelot79, boomsopolis.
Guardian YouTube channel playlists
You can follow Classic YouTube on our individual Guardian YouTube playlists, including football and other sports. You can find all of the Guardian's YouTube playlists here.


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Home › Forums › Gear Forums › Gear (General) › moment vs lasar photon vs ?
In warm weather I hang and when it is cool and the bugs are gone I tarp but I'm looking for a light tent for above tree line, buggy conditions, winter use, and going with more traditional groups. I like the moment for it's two stake set up. I like the photon for the double wall but wonder about ventilation issues. Anybody have experience with these two tents?
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Rickettsia are a group of bacteria that have no cell wall and can only replicate within another living cell. The various types of the bacteria cause diseases such as typhus, Rickettsialpox and Rocky Mountain Spotted Fever. They are generally passed along by insect bites, primarily ticks.


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Musto Intl. Youth Match Racing to showcase sailing's future stars
by Jennifer Crooks on 26 Nov 2012
Musto International Youth Match Racing Championship 2010, Sydney (AUS) © Andrea Francolini Photography
The Cruising Yacht Club of Australia's Ashlen Rooklyn and the Royal New Zealand Yacht Club's Chris Steele are set to begin a new chapter of their intriguing rivalry as two of sailing's most promising young stars battle it out at the 2012 Musto International Youth Match Racing Championship, from 27 November to 30 November 2012.
Ashlen Rooklyn will start the Musto International Youth Match Racing Championship as the short priced favourite - having the home turf advantage and being the highest ranked skipper.
Rooklyn, with his crew of Henry Kernot and Jack Breslin, will represent the host club, the Cruising Yacht Club of Australia, in the Musto International Youth Match Racing Championship that commences tomorrow, Tuesday 27 November and continues until Friday 30 November 2012.
Over the past 12 months, Rooklyn has been developing his skills as a skipper and this has been showcased in several podium placings including winning the Club Marine NSW Youth Match Racing Championships in August this year and his second consecutive win in in the Australian Open Match Racing Championship in October.
Rooklyn was the mainsheet hand for the CYCA team that won the Australian Youth Match Racing Championship (September 2012) and placed second to Chris Steele (RNZYS) at the New Caledonian Match Race earlier this month.
Steele, is the second highest ranked skipper of this regatta (with an ISAF ranking of 97), and is one of three teams from Royal New Zealand Yacht Squadron. Scott Barnes and Claudia Pierce will lead the other two RNZYS teams, with Pierce skippering an all-girl crew.
Sam Gilmour, son of match racing legend Peter Gilmour, is the third highest ranked skipper. He has had a big year of match racing: winning the World University Match Racing Championship in Nice, France in September, following on from his disappointment in the Governor's Cup where he just missed out on the quarter finals following a countback.
Harry Price will lead the other CYCA team with Dylan Gore representing the Royal Yacht Club of Tasmania.
Other international teams competing include Royal Port Nicholson Yacht Club, New Zealand with skipper Sam Mackay; Cercle Nautique Caledonien with skipper Lucas Chatonnier, New Caledonia and Royal Swedish Yacht Club with skipper Hampus Appelgren, who has been training with the youth squad at the Royal New Zealand Yacht Squadron.
'I would like to welcome all the crews to the Cruising Yacht Club of Australia and look forward to the close match racing that this regatta will showcase over the next four days,' said CYCA Commodore Howard Piggott.
'I would also like to thank Musto Australasia for their sponsorship of this regatta,' Commodore Piggott added.
Duncan Curnow, managing director, Musto Australasia said 'Musto Australasia is immensely proud to be involved with such a prestigious regatta. The calibre of the competition and the talent on display showcasing tomorrow's future sailing stars.
'We look forward to four furious days of action and would like to wish all competitors the very best of luck,' Curnow added.
Racing commences on Tuesday 27 November at 1000hrs in the vicinity of Rushcutters Bay on the CYCA's Elliott 6's with the Bureau Meteorology forecasting south to south easterly winds about 10 knots tending east to north east later. There may be patchy fog in the morning that will clear and competitors need to be prepared for the chance of rain in the afternoon.
Race results will be updated throughout the course of the regatta on the
Cruising Yacht Club of Australia website
If you want to link to this article then please use this URL: www.sail-world.com/104118
Related Articles
Musto International Youth Match Racing Championship - Tied at the top
At the Musto Intl. Youth Match Racing Champs, Ashlen Rooklyn and Chris Steele are tied at the top of the leaderboard.
At the Musto International Youth Match Racing Championship, Ashlen Rooklyn and Chris Steele, representing the Cruising Yacht Club of Australia and Royal New Zealand Yacht Squadron, are tied at the top of the leaderboard. 'It was a glamour day,' Rooklyn said this afternoon after stepping onto the CYCA dock at the completion of Flight Seven of Round Robin One.
Posted on 28 Nov 2012
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Greek Mythology ActivitiesBy Scholastic
Recommended Age: 10 to 18
Availability: Out of Stock
Price: $12.99
- Product Sku: SC951788
- Dimensions: 8 3/8 x 10 7/8
WARNING: CHOKING HAZARD. Small parts. Not for Children under 3 years.
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New York's Uproar Over Citi Bike Program - The Daily Show with Jon Stewart
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Born and Raised - A Short Film About Brook MacDonald's Road to Victory at Val d'Isere
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That's a 29er?! Chris Doney Jumping, Trials Riding, and Backflipping His Charge Cooker
sweet video!
that was RAD!!!
Nice video. Congrats to BMC for filming ALL the riders!
Sweet vid, such an awesome vibe and start to Enduro and EWS, just wikid!
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Author has written 5 stories for Avatar: Last Airbender, and Naruto.
Hey, everyone! I'm Brita, and I try my best to write and post it here, although I'm not the fastest. I'm a crazy shipper, and therefore, I have to outlet my love for couples into my writing. Don't expect anything but romance from my writing. . .
Works in Progress (updated 7/19/2011):
Fearless: Okay, a very long wait for the last chapter, but the next one will be up in no time compared to the others. I'm working on Chapter 6 as of right now, while chapter 5 is being beta-ed. Hopefully these quicker updated will make up for the wait for the last one. Thanks for your patience!
Accumulated Affection: I have a few ideas, s there may be an update soonish. But right now most of my NaruHina focus is on Fearless and my AU fic (not published yet)
At Odds: it will be finished, sometime, but i don't know when. Updates will be slow, so save yourself from checking and just add it to your story alerts.
AU NaruHina Fic: Haven't figured out a title for it yet. I have all of it in my head, but only a bit of the first chapter written.
For the Way you Look at Me (Rewrite): So this fic has gotten a fair amount of attention, despite the terribleness of it all. I'm working (slowly) on a rewrite of this piece.


text:
Mickey Mouse's House Of Lies
The House of the Mouse, a dynasty so grand,
With characters and parks in almost every land.
From the humblest of squeaks the kingdom began,
Now it's all in the palm of his white-gloved hand.
Walt Disney is claimed to be his creator,
But in truth it was Mick who was the great innovator.
It was the mouse in the house 'neath the refrigerator,
Who had the idea for drawing cartoon theater.
Hour upon hour, young Mick would write,
He'd draw and he'd sketch all through the night.
He'd write joke after joke until the first morning's light,
Then he'd give them to Walt for his oversight.
"I'll be your agent," Walt Disney would say,
"Trust me, my Mick" and I'll pave the way,
But then in the attic poor Mick he would stay,
Not realizing that Walt would this mouse betray.
Millions and millions Walt Disney make,
He even made off with the mouse's take.
So I write now these words for that little guy's sake,
As I sit drinking whiskey at old Mickey's wake.


text:
COLUMN-Allergan's latest tactic to fend off Pershing: Frankel
(The opinions expressed here are those of Alison Frankel, a columnist for Reuters.)
By Alison Frankel
NEW YORK (Reuters) - Is there any Allergan shareholder who isn't aware that William Ackman's hedge fund, Pershing Square Capital, and the Canadian pharmaceutical company Valeant slipped through a loophole in the securities laws when they teamed up on a hostile bid for the Botox maker?
Or that Allergan believes the loophole is actually a violation of the law and Pershing is engaged in insider trading?
If so, I'd like to know the name of the remote Pacific atoll where you've apparently been luxuriating without the Internet, newspapers and television for the past few months.
This cleverly lawyered deal has been chronicled (including by me) with the sort of play-by-play analysis that's usually reserved for NFL playoff games or middle-school romances.
Yet according to Allergan's new bid for a preliminary injunction, filed Monday night in federal court in Santa Ana, California, Allergan shareholders have been operating at a critical disadvantage: They haven't fully understood the risk that Pershing and Valeant were breaking the law.
Allergan's lawyers at Latham & Watkins and Wachtell, Lipton, Rosen & Katz argue not only that Pershing shouldn't be permitted to vote its nearly 10 percent stake when Allergan shareholders convene on Dec. 18 to consider the ouster of six Allergan board members, but also that Pershing should also be enjoined from voting the proxies it collects in the formal proxy fight the hedge fund launched on Sept. 29.
Shareholders, according to Allergan, can't make a well-reasoned decision about replacing directors until Pershing discloses its supposed insider trading. Continued...


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Framed Art Print
Racing Sausages Beneath a Waxing Gibbousby Brew Crew Jess
Choose from a variety of frame styles, colors and sizes to complement your favorite Society6 gallery, or fine art print - made ready to hang. Fine-crafted from solid woods, premium shatterproof acrylic protects the face of the art print, while an acid free dust cover on the back provides a custom finish. All framed art prints include wall hanging hardware.
Miller Park Sausages / Seen at Brewers home games - They exist, but they are actually people in costumes who are accomplished sprinters, which is a requirement to try and make it to the finish line.
Illustration 3/21/13
by J. Lemont