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Biblioklept reviews of The Tree of Life here and here.
Tag: Terrence Malick
Trailer for Terrence Malick's first documentary, Voyage of Time: Life's Journey
Film Poster for Terrence Malick's Badlands — Tomer Hanuka
Trailer for Terrence Malick's new film Knight of Cups
Vorspiel/Landing (Malick)
Polish Film Poster for Days of Heaven — Wiktor Sadowski
"The water's gonna rise in flame" (Days of Heaven)
Sometimes I think Days of Heaven is my favorite film.
A Short Riff on Shane Carruth's Film Upstream Color
1. I managed to avoid reading anything about Shane Carruth's new film Upstream Color before I saw it.
I just knew that this was the guy who did Primer, this was his new film, and I wanted to see it because Primer was so strange and engaging.
2. Two immediate responses after viewing Upstream Color:
i). The desire to see Upstream Color again and
ii). The desire to read what other people thought about Upstream Color.
3. (My wife and I, reading the credits, pausing the credits, reassessing the film against the backdrop of the credits, arguing about the film, discussing the film, etc.).
4. I think it's better that if you have any interest at all in Upstream Color that you just see it cold [update/warning: the comments section of this post is full of spoilers]. But I know that 100 minutes is an investment of time, so maybe you'd like some kind of précis or at least description. So, a loose attempt, which surely will devolve into fragments and references:
Upstream Color is a sci-film, sort of.
Or maybe its a mystery film about ethics and biology.
Maybe a nature film, sort of.
Henry David Thoreau's Walden.
Shades of Philip K. Dick, David Cronenberg, Terence Malick, but also something utterly original.
Mind control.
Ambient music.
Sampling nature.
Creation: knitting, paper chains, music, seeds, life, children, etc.
A film that can and should be described as poetic.
It's a love story, too.
5. It occurs to me that there's a trailer for the film. I haven't seen it yet. Should we watch it?
6. Does that do it for you? I don't know how to do this anymore. Recommend things. I don't know, the trailer makes the film perhaps look more pretentious than it is. It isn't pretentious. It isn't even confusing—just perplexing, haunting, troubling.
7. (Wanted: Quinoa Valley Record Co., complete discography).
8. My take on Upstream Color, spoiler-free, supporting-detail-free:
The film is about agency, about drive, about how the characters (and, implicitly, us, we, the audience, who identify with the characters on the screen) may be driven by something beyond us, something controlling us like a parasite (internal) or from afar like a ventriloquist (external). That even when we do assert agency the effect, the fallout, the shape lays beyond us, upstream.
9. (This morning, my wife telling me about her dream, a nightmare that our young daughter had ingested hallucinogenic mushrooms, clearly a response to the film).
10. I haven't done a good job of really saying anything about the film. So, lazily:
I think Caleb Crain provides a perceptive and persuasive reading of the film in his essay "The Thoreau Poison." He reads the film through the American transcendentalists, particularly Thoreau, of course, but also Emerson and Hawthorne.
There's also a piece at Slate by Forrest Wickman that perhaps over-explicates but nonetheless offers perspective, including elements of Carruth's own take.
11. (I will avoid Carruth's explanation of the film until I've seen it a second time. Maybe I'll avoid his explanation forever).
12. A take on Upstream Color that I don't quite buy into (the take is my own): The film perhaps invites us to find metaphysical entities in two of its secondary characters, both of whom exert influence (creative and destructive) over the primary characters. Something something godlike, something something devillike.
I like that the film offers this simple duality and then crushes it, shows something far more complicated, suggests a cycle far more strange.
13. (White orchid. Blue orchid. Yellow orchid).
14. Upstream Color features minimal dialogue and nothing approaching traditional exposition, but we still learn about its characters, come to feel for them, feel their desires and traumas. The film is cerebral and philosophical, but it's also emotional, offering an aesthetic that sublimely overwhelms the viewer.
15. Carruth wrote, produced, directed, scored, photographed, cast and starred in Upstream Color. (I'm sure he did a lot of other stuff too). He also distributed the film himself. The entire filmmaking process was untouched by the Hollywood system. There's so much hope for film as an art form in this knowledge.
16. Parting thoughts: See Upstream Color. Resist imposing whatever film grammar you usually bring with you to the movies. Resist the temptation to see the film as a puzzle to figure out. See Upstream Color.
Terence Malick's Editor Billy Weber on the Art of Voiceover
A Riff on Paul Thomas Anderson's Film The Master (Including a Take on the Ending)
1. I finally saw Paul Thomas Anderson's 2012 film The Master last night. I'm going to riff on the film. Fair warning:this riff will contain spoilers—I'll talk about the film's final scene, for instance (and if you just want to read about the ending, scroll down to point 23, after the embedded video).
2. The first hour of The Master is probably the best thing PTA has done.
3. The Master begins on a beach somewhere in the South Pacific. These are the final days of WWII. Navy boy Freddie Quell (portrayed by Joaquin Phoenix), solitary from his fellows, pours from a can of the mystic moonshine he brews into a coconut he's hacked open with a machete. He then drinks the potion and mimes chopping off his hand with the machete. After this, he humps a woman made of sand and jerks off into the ocean.
4. The idyll of the Pacific beach contrasts strongly with Quell's tortured psyche—it's clear from the film's first few moments that he's borderline deranged, a sex-obsessed alcoholic who was damaged long before the war.
5. Quell is also a profoundly talented chemist (or alchemist) capable of brewing strange cocktails mixed from whatever's at hand. These potions intrigue Lancaster Dodd (henceforth Master, played by Philip Seymour Hoffman), who samples a flask and asks Quell to brew more. Quell says he'll make Master something different from that first batch, asking him, "How do you want to feel?"
6. "How do you want to feel?"
This question governs The Master, and the film is at its best when probing and plumbing these depths.
7. Back to my second statement: The first hour or so of The Master is probably the best thing PTA has done. Freddie Quell is an intriguing figure, a desperate madman who recapitulates the crimes of Oedipus where ever he goes.
He is The Misfit of Flannery O'Connor's story "A Good Man Is Hard to Find," trying to match faith to the phenomenal world.
He is Jonah, fleeing angry Yaweh, stowing away on a ship.
8. The first scenes of The Master borrow liberally from the Terrence Malick playbook:
The opening scene on the beach strongly recalls the opening of The Thin Red Line, and the subsequent scenes where Quell maybe murders a man and then must run feel like the opening minutes of Days of Heaven.
Like Malick, PTA lets the gorgeous cinematography convey meaning; dialog passes through the background of the film.
9. The dialog begins when Quell meets Master, charismatic leader of "The Cause." You know of course that Master is based on L. Ron Hubbard, founder of Scientology. It's worth pointing out that the film isn't really about Scientology, or cults, or charlatans—although these points are explored, for sure—it's really about the search for meaning, for stability. For some kind of peace.
10. The friendship—and friendship-as-dialog—between Master and Quell is by far the most compelling part of The Master, and the film's best scene is a long episode where Master initiates "Processing" with Quell—delving into the man's founding traumas to purify his spirit. I usually hate to laud actors, but Hoffman and Phoenix are sublime here, fully inhabiting the characters through the scenes deep emotional shifts.
The Master never surpasses this scene.
11. Indeed, the biggest failure of the film is that there's no moment in its back half that can respond to the Processing scene. The film's final scene attempts to mirror it in some ways, but the attempt lacks the weight. It's off balance.
12. I feel the need to preface what I'm about to write by saying very clearly:
Paul Thomas Anderson is an extremely gifted auteur, a filmmaker who has, moreso than perhaps any of his contemporaries, continued in the (anti-)tradition of the New Hollywood films of the seventies. I would rather watch a PTA film than a film by just about anybody.
The guy has a real problem sticking the ending. His films fail to cohere, to transcend the sum of their parts. This might be an editing issue or a plotting issue or something more commercially-driven, like running time. I don't know.
13. Exceptions to PTA not sticking the ending:
Punch Drunk Love, easily his most concise and focused film, a long short story from a filmmaker who works in sprawling novels.
Possibly Boogie Nights, which sags in the final third but is nevertheless buoyed by an energetic scene featuring Alfred Molina, a mixtape, some cocaine, and fireworks. (This scene is lifted from Robert Downey Sr.'s Putney Swope, by the way).
14. For the most part though, PTA's films swell outside of the margins that their own narratives establish in the beginning of each film (I'm not sure if this sentence makes sense—what I mean is that the films' endings fall apart w/r/t the films' beginnings).
In There Will Be Blood, PTA uses a stunning, violent, unforgettable final moment as a punchline to the film. It's probably what most of us remember, and it's certainly a great way to close the epic. Still: When I rewatch Blood, I start to become impatient with the film's meandering after its thrilling opening hour. I start to anticipate the horrific punchline.
15. The easiest example to point to of PTA's undisciplined sprawl is Magnolia. I can't think of a film with a stronger opening that so quickly devolves into Altmanesque chaos. Which is the point, yes, I get—but Magnolia, again, is a PTA film which can't live up to its first hour. (Again, PTA covers over the back end's sloppiness with a marvelous final scene).
16. So, to return to The Master: I went into the film with high expectations—hoping that this would be the film by PTA that coheres, that is more than just a collection of fantastic performances and amazing scenes. And for the first hour, I was enthralled: I cared deeply about Freddie Quell, found his strange passions heartbreaking, was moved by his bizarre relationship with Master.
And the film is great—it really is—but it's not as great as I wanted it to be. (Which, yes, I know, says nothing about the film and everything about me).
17. The film's seams start to show after the magical sea voyage from California to New York. The first few scenes in New York are fascinating (especially when Master is confronted by a skeptic at a party), but as the The Cause moves back West over land, PTA increasingly relies on montages and shorter scenes that seem like placeholders to cobble together the film's longer sections.
18. The last truly transcendent scene is where Master sings "I'll Go No More A-Roving," and it comes at almost exactly the half-way point of the film's 138 minute running time.
19. All kinds of interesting stuff happens after the "Roving" scene—and PTA seems content to raise more mysteries than he resolves, which I'm fine with—but a long montage showcasing the different Processing techniques of The Cause sucks the energy right out of the film.
20. What follows is a lot of meandering, a lot of unexplained—or worse, unexplored—moments between characters that shift focus away from the relationship between Master and Quell.
21. Maybe I want a longer edit of The Master.
22. Here's a 20 minute reel of cut footage:
23. And what about the ending of The Master? As I tried to convey in points 13-15, PTA usually closes with a very strong scene or image. With the exception of There Will Be Blood, I'd argue that the final moments of PTA's films generally depict moments of love, redemption, or reconciliation. The Master fits into this trend. How so?
24. Okay: So The Master is in some ways formally Oedipal.
Quell's crimes are two-fold: He kills a man who he says reminds him of his father and he has sex with his aunt. The film leaves open the possibility that both of these crimes—crimes he confesses to Master during Processing—are simply displacements for the more direct sins of killing his real father and fucking his real mother.
The Oedipal tensions that underwrite the film are strongly on display in the relationship between Master and Quell: Master is in love with Quell; Quell needs a father figure. All sorts of weird familial displacements ensue between Master's family members and Quell.
The Oedipal theme also evinces in the film's motif of breasts, bellies, and other pregnancy images. While not many of The Cause's ideas are expressed clearly in The Master, the idea that all founding traumas are recorded in/on the soul is made plain several times. Put another way, all people are subjected to traumas that exist in pre-Oedipal, pre-lingual, pre-conscious states.
Quell wants to return to the womb to correct or ameliorate or avoid these traumas. The impossibility of achieving this desire drives him to self-medicate with his homemade brews and to see sex in everything.
The film ends with Quell having sex with a stranger he picks up in a bar. They laugh heartily—another of the film's motifs—laughter as a measurement of joy, but also dejection, also hysteria, also fear, also irrationality, also no language, just laughter—they laugh heartily, and in a shot that foregrounds his sex partner's large breasts, Quell begins Processing her.
25. We then get the film's last line, delivered with laughter: "Stick it back in, it fell out."
The referent of the "it" is, on the surface level, Quell's penis, but it also serves as a substitution for Quell himself, who would like to return to a mother, to start again in a new life. (The scene, a riff on Quell's first Processing with Master, can also be read as the displaced sexual consummation between the two men).
The film's final image gives us Quell lying down next to the woman made of sand, her huge breasts erect, dominating the shot; he curls into her, peaceful, serene, fetal. The shot is deceptive: It suggests reconciliation or even redemption, but the memory of peace is just one fragment of Quell's terribly fragmented life. Significantly, the moment comes from the beginning of the film. If Quell is to be reborn and live again—as Master believes all people are—it is clear that he has not transcended his base animal urges.
When Quell awakes, he awakes to trauma.
26. Having riffed on the film's end, I think the film is probably better than I gave it credit for earlier. It's a cold Sunday. I think I'll watch The Master again.
New Malick Trailer
"This Never Happened" — A Clip from Malick's Badlands
Travel Scene, Malick's Days of Heaven
"Love Is Strange" (Badlands)
Sam Shepard Talks About Working with Terrence Malick on Days of Heaven
Biblioklept Interviews Stuart Kendall About His New Translation of Gilgamesh, Altered States of Consciousness, and Terrence Malick
Stuart Kendall is the author of several books, including The Ends of Art and Design, a work that examines the role of experience-events in the post-subjective world, and Georges Bataille, a critical biography of that influential author. Stuart also edited and contributed to Terrence Malick: Film and Philosophy. Stuart has produced and published numerous translations, including works by Bataille, Guy Debord, Paul Éluard, and Maurice Blanchot. His latest translation is a telling of Gilgamesh, one that casts the ancient epic poem in modernist poetry. Stuart has taught at several universities and colleges, including Boston University and the California College of the Arts, where he is currently Chair of Critical Studies. Stuart was kind enough to talk to me about Gilgamesh—and Malick—over a series of emails. You can read more about Stuart's work at his website. Gilgamesh is available now from Contra Mundum Press.
Biblioklept: Why Gilgamesh?
Stuart Kendall: Gilgamesh is the oldest extended tale that has come down to us and it speaks to us from a pivotal moment in the history of human experience. It is also a particularly rich text, as rich in its depths, ranging back in time prior to its composition, as it is in its reach, remaining relevant to our own drama. Gilgamesh dates to the Bronze Age but the roots of the story, the bones of it, reflect notions about human experience that may stretch back beyond the Neolithic era to the Paleolithic. The text, to my understanding, contains layer upon layer of cultural renewal and reinterpretation. These layers of renewal are reflected in the extended life of the text beyond Gilgamesh into the related texts of the ancient world, like the Hebrew scriptures, and beyond those writings into the fundamental attitudes and ideas of Western civilization, many of which have been profoundly wrongheaded, to put the matter lightly.
From another angle, in part due to the age of the text, Gilgamesh reaches beyond relevance to Western civilization into world religious history through motifs related to shamanism, a practice that many historians of religion suggest may be at the origin of every religious tradition.
Finally, Gilgamesh is perhaps first and foremost a document of ancient Mesopotamia, ancient Iraq. It is a text that can be traced into and through the fundamentally Judaic traditions of both Christianity and Islam. Our lifetimes have been scarred by the clash of these related worlds. An encounter with Gilgamesh cannot heal the breach caused by the tragic hubris and shortsightedness of some American politicians but it certainly can serve as one part of an on-going discussion about commonalities and differences in human experience bound as we are by time and place.
I hope it is clear that I don't think that Gilgamesh contains a positive record of something that we share, some universally valid message. Rather I view it as a product of a specific time and place, a distinct product of the process of history. But as such we can see the deeper past through it, trace our traditions to it, and measure ourselves against it in, I think, valuable ways.
Biblioklept: What motivated the project?
ST: This project was conceived in the classroom. I had been teaching Gilgamesh for a number of years, always to great interest, but also without finding a translation that both accurately and accessibly represented the text. Though there are a number of translations of Gilgamesh, they generally fall into two categories that I refer to as scholarly and popular. The scholarly translations are awkward to read since they assiduously and accurately represent areas of the text which are uncertain, either through the material decay of cuneiform tablets or through our failure to fully understanding the meaning of ancient terms. These translations also typically segregate different versions of the story — Sumerian, Akkadian, etc. — in different sections of a book, forcing a reader to flip back and forth to compare the different versions. While this is obviously the most accurate way to present the material, it is not the most expressive way to do so and students and I think other general readers often struggle with it. On the other hand, the more accessible translations of the text, like those by Herbert Mason, David Ferry or Stephen Mitchell, are often misleading, particularly in regard to the theology of the text. These translations, or versions more rightly, are also often too fluid. They emphasize the narrative flow of the story over the poetic or expressive devices at work within it and thereby offer a satisfying, but false, sense of continuity to the materials, as if it were a novel. They are if anything too accessible.
Semester after semester, I saw students respond positively to the text but always only up to a certain limit, depending upon the specific translation I assigned. Eventually I decided that I should do my own version, following a middle path between the scholarly and popular translations. About four years ago I began working on it, testing my draft in the classroom along the way. I've also had some friends who have tested the translation in their classes. While I don't think that the task of translation can ever be finished, I do think that this Gilgamesh is ready for readers.
Biblioklept: Translation seems like such a daunting task . . . how did you approach and execute it?
SK: The translation process for this project was of necessity very different from the process developed through my other translations. At this point I've translated ten or so books directly from French to English — rather diverse books by Bataille, Char, Blanchot, Eluard, Baudrillard, and Debord, among others — as well as a large number of articles and shorter pieces. By diverse I mean that these writings have included essays, poems, lectures, letters, notes, and aphorisms across a wide range of fields from belles lettres,broadly speaking, to visual studies, cultural criticism, philosophy, and theology, all generally rooted in an avant-garde orientation to cultural change. The diversity of these texts is thus disciplinary, formal, and stylistic, as well as presenting challenging thoughts. I emphasize this diversity because it is part of what attracted me to Gilgamesh, since Gilgamesh is a text which itself includes a wide range of contents: psychological, philosophical, and religious. One of my main goals was to reveal some of this diversity in the work: this is after all a book in which gods speak. We live in a time in which the gods are silent. Entering into an alternate theological imagination presents an enormous challenge for readers, and, as a translator, I hope that I have done what I could to be helpful toward this end.
In terms of actual process, since I am not an Assyriologist by training or profession, I have had to rely upon the rigorous scholarship of leaders in the field, Andrew George foremost among them, for the core content of the work. George's two-volume The Babylonian Gilgamesh Epic (published by Oxford) is the current standard edition of the ancient Gilgamesh materials. But there are a number of other scholarly translations of the work, in whole and in part, in its various ancient versions, that have been instructive, particularly by marking points of contrast. Beyond those materials, specifically tied to Gilgamesh there are histories of the period, cultural, religious and otherwise. And beyond that, a number of far more wide-ranging works within what I would call the history of consciousness, often of psychoanalytical inspiration — Weston La Barre's The Ghost Dance, Norman O. Brown's Love's Body, Eshleman's Juniper Fuse — books that frame human experience in the most intricate yet capacious way, have been helpful.
Comparing all of the available scholarly translations of Gilgamesh, across all of the ancient versions of the text, including the stories that migrated beyond Gilgamesh proper, like the flood story in the Hebrew Bible, allowed me to develop a basic ur-text from which to develop my version. As suggested above, the distinctions between the scholarly translations were often more instructive than the points of agreement between them. Where scholarly consensus exists, I tend to follow it. Where the scholars disagree, I fall back on my readings in history and the history of consciousness for guideposts in my interpretation.
Once I had developed the basic text, I worked with it, inspired by the formal language of twentieth century American poetry, particularly the modernist language of Pound and Williams and the postmodern projective and open verse of Olson, Duncan, Eshleman and others. The point was to carry the experience of Gilgamesh into the language of our century without compromising that experience or that language by making either one overly familiar.
I think it is important to emphasize the fact that my method was essentially the same as that of other translators who have produced popular versions of the text, like David Ferry and Stephen Mitchell, neither of whom are Assyriologists by training. I hope that readers find my Gilgamesh to be more rigorous than those versions and more imaginative than the scholarly translation.
Biblioklept: I've read various translations of Gilgamesh—all prose—at different times in my life, and I've always appreciated it as an adventure story with a mythological scope. I still remember the first time I read Gilgamesh; I was in the 10th grade and the relationship between Enkidu and Gilgamesh struck me as fascinating and strange (and seemed overtly homoerotic too, of course).
One of my favorite moments in your new translation is the first meeting of the pair, when Enkidu interrupts Gilgamesh's lord's rights to ravish a new bride in Uruk. The scene is energetic, violent, and sexual; it's almost figuratively a wedding, or a replacement for Gilgamesh's taking of the bride—it even ends in a kiss.
The depiction of Gilgamesh and Enkidu's relationship is clearly important to how the narrative illustrates human consciousness. Why does their friendship (and rivalry, and love) continue to fascinate (and perhaps inform) readers?
SK: Undoubtedly some of the fascination follows from the enigmatic nature of the relationship, particularly for modern readers. The relationship is familiar, since we all have friends, but also ambiguous. Why are these two characters friends? What is the nature of their friendship? In the earliest extant versions of the tale, the two aren't friends. Enkidu is Gilgamesh's servant. In later versions of the story, and in the Standard Version, they are friends. The change can be explained in part as a means of lending additional drama to Enkidu's death and also, thereafter, Gilgamesh's quest for immortality. It is one thing for your servant to die and another for your closest friend to die. The bond between the two is obscure. They are in many ways opposites. I see them as complementary characters, Enkidu being as close to the animals as Gilgamesh is to the gods, Enkidu from the wild, Gilgamesh from the city, etc. Together they form a kind of complete composite of human experience, like two sides of one character. William Blake's notion, from The Marriage of Heaven and Hell, that opposition is true friendship, certainly applies to Gilgamesh and Enkidu. The larger symbolic affiliations – Enkidu with the animals, Gilgamesh with the gods – are significant in almost all of their encounters both with one another and with the other characters in the major episodes in the narrative, like Humbaba and Ishtar.
The potentially homoerotic element of their relationship is of course highly contentious. For some readers, such a notion is very appealing. For others, it is repellent. I myself am reluctant to project contemporary social or sexual norms into the ancient text. There are countries in the world today where men kiss men or women kiss women without sexual connotation. Something has been lost in our contemporary discourse of physical experience and human relationship if we must treat or imagine every physical relationship as being of one kind. On this point, characters do have sex in the book. Gilgamesh clearly has sex with the young brides of Uruk and Enkidu has sex with Shamhat. But Enkidu and Gilgamesh don't have sex. I think we go too far if we speculate as to whether or not the authors of the ancient text what readers to imagine the relationship to be sexual. The two characters are however obviously very close friends whose bond makes us reflect on the proximity of opposites and the role of opposition in friendship as well as illustrating issues in the fundamental duality of human character.
Biblioklept: How might Gilgamesh challenge contemporary readers' attitudes and beliefs about human consciousness?
SK: Gilgamesh challenges contemporary readers in a number of ways. It challenges Jewish and Christian readers with an alternate, and very different, version of the flood story from the Hebrew Bible. It also challenges Christian readers with an alternate version of life after death. The Christian notion of heaven is entirely absent from Gilgamesh. In its place, one finds a pagan notion of a barren world of shades, where priests and kings are powerless and food and drink are tasteless. This vision — conveyed in a dream, or rather a nightmare — is not a vision of Hell or of some other kind of eternal punishment. It isn't pleasant at all, but it isn't torture. It is more like non-life and that is the horror of it. The pleasures and the pains of earthly life are absent after death and that is a terrifying notion. Gilgamesh, in other words, gives us a worldview that fears death as the loss of this world and that vision goes against the dogma that this world is in some way fallen, that our true reward is to be found in some alternate reality called heaven. There are many similarly challenging themes and motifs throughout the book.
In part notions like these are so deeply disturbing because they cut to the core of our perspective on reality. As part of a thoroughly pagan text, Gilgamesh consistently encounters gods in the things and people around him. But he also fears some of those same things as much as he savors others. The text provides rich details about objects and animals. It shows people looking at and enjoying other people. It is a book of sensual celebration as much as it is a journey into despair and the two are related, as I suggested just now: death is to be feared because life is so very full.
As a drama of consciousness, then, Gilgamesh is a strange book. It is intensely physical in the sense of describing things in the world, in the same moment as it is highly symbolic. The characters are themselves symbolic and they travel through a symbolic landscape. They are recognizably human, though, and the tale is so moving, I think, because of the drama of consciousness grappling with these different registers of experience. Put a little differently, it is not hard to see that the characters are anything but fixed. They undergo changes large and small and they suffer those changes. Here I am thinking in particular of the journey to kill Humbaba, the protector of the forest. On each night of the journey, Enkidu performs a kind of shaman ritual, preparing a bed for Gilgamesh. And each night Gilgamesh has a new nightmare which Enkidu, again as a shaman, interprets for him. The immediate effect upon the reader is to elevate our foreboding about their journey to confront Humbaba. But in another way the repeated nightmares – and these aren't the only ones in the book – testify to the porousness of consciousness within the world. The characters' moods alternate between dream, denial and delirium through the book. For heroes, they spend a great deal of time in abject fear of the animate cosmos.
This is a startling portrait for scientifically minded contemporary readers, confident in a stable view of subjects and objects in the world. Gilgamesh shakes that confidence.
Pierre Klossowski once remarked that consciousness is never absolute. Our mind, in other words, isn't like a light that is either on or off. It is more like a light on a dimmer switch subject to the fluctuations of an unexpected power surge. Gilgamesh is, in some ways, a guide to living with and through altered states of consciousness.
Biblioklept: I've read your essay on Terrence Malick's Days of Heaven, a favorite film of mine. In the essay, you discuss the film's disruptive, destabilizing properties. Aspects of your analysis seem equally applicable to Malick's most recent film, The Tree of Life, a film that deeply divided audiences.
In your previous answer, you discuss how Gilgamesh potentially threatens to destabilize the reader's sense of a world anchored in fixed, absolute meaning. Do Malick's films operate in the same way? Why was The Tree of Life such an affront to so many people's sense of narrative propriety?
SK: I'm glad you brought this up. Malick's films are deeply fascinating to me and, yes, I do see a certain continuity of concern, if not necessarily technique, between Malick's films and Gilgamesh. The continuity of concern between these two types of cultural production is what attracts me to both of them, though obviously they are world's apart.
In the essay on Malick's Days of Heaven that you mention, "The Tragic Indiscernability of Days of Heaven," I attempted to show that Malick's film style, particularly in that film, might be compared to Greek tragedy in a formal way, since both Malick's film and Greek tragedy overdetermine language and images with religious, political, and philosophical meaning. They do so not to integrate those different types of meaning but rather to demonstrate the extent to which these different types of meaning might be incompatible with one another. The viewer is put in the awkward position of having to choose between different registers of meaning, essentially different interpretations of the object, sometimes moment by moment, or viewing by viewing. There's that remark from Kierkegaard, that what looks like politics and imagines itself to be political will one day unmask itself as a religious movement. But in the case of Days of Heaven and tragedy, what looks like politics one day, might look more like religion the next, since it is both simultaneously and therefore also unstable.
I don't believe one can make the same kind of claims about The Tree of Life however. The Tree of Life is a very demanding film, in part because it asks theological questions in visual terms. In a way, the film might be the direct contrary of Days of Heaven. While Days of Heaven is saturated with meaning, overdetermined, The Tree of Life is underdetermined. The viewer must constantly ask whether its images are in fact evidence of the existence of god or not. Are they, in other words, meaningful, or not. For a believer, The Tree of Life is challenging because it does not correspond to common visions of faith, even though many believers do I think recognize self-organizing systems — like a flock of birds in flight — as evidence for the existence of their god.
But The Tree of Life is challenging at the most basic level as well. In the first part of the film, the viewer is given very little narrative information. We see the parents being told that their child has died but it is far from explicit: the mother, played by Jessica Chastain, reads a telegram to herself and reacts to it. The father, played by Brad Pitt, is told over the phone while standing near an airplane. He can barely hear the call; we certainly can't. In order to construct the narrative, the viewer has to look very deeply into the film. And once the meaning is clear, it still isn't clear, since the entire film explores the problem of meaning in this way. There is a lot more to say about this film, obviously, particularly about the final section of the film.
Returning to Gilgamesh, I think it is important to observe that Gilgamesh is very different from both of these films even though it does share many of the same concerns. For one thing, rather than being the work of a single author — or even cultural group — Gilgamesh, I think, is best understood as a palimpsest of materials aggregated by several ancient cultures over fifteen hundred to two thousand years. Roughly contemporary works with a similar ambition include Joyce's Finnegans Wake, Pound's Cantos, and Olson's Maximus Poems. In film, Jean-Luc Godard's Histoire(s) du Cinéma offers some similarities; it is certainly a visual palimpsest, even though it only spans the 100 year history of cinema. All of these works as well are distinct from Gilgamesh because they are the products of individual authors, though Pound, Olson, and Godard all do incorporate many different types of "found" materials. As a palimpsest, Gilgamesh is far more heterogeneous than most readers, I think, give it credit for being. The tale offers several different responses to the problem of death, for example, at different points, each without referencing the others. Another example can be seen in the three different methods of obtaining immortality shoved together at the end, none of which reference the others or suggest that the series might not continue indefinitely.
The point I'm trying to make here is that Malick's films are highly crafted, whether overdetermined or underdetermined. They are built in such a way as to give their viewer a fairly specific task. Gilgamesh, on the other hand, is overdetermined in a completely different way, in part due to the historical circumstances of its collation, composition being perhaps too strong a word for it. The challenge for readers of Gilgamesh is to get into the perspective or perspectives that originated the narratives it contains. It is much closer to the perspective expressed by Kierkegaard in the quote I referenced above. A good example of this is the encounter with Ishtar. Ishtar is the goddess of fertility, love, and war, essentially a nature goddess, and she is the patroness of the city where Gilgamesh is king. In the story, she offers herself to Gilgamesh in marriage, promising fecundity for the city. In one ancient worldview, it is the function of the king to "marry" the goddess of nature and thereby ensure the abundance of the land and safety of the people. Gilgamesh however has different ideas. He does not trust Ishtar — and how can you trust nature? Instead, he forms a community with his male companion, Enkidu. The two of them fight Ishtar together and, successful in their conquest, have a feast. The story is clear as a story. The allegory is clear as an allegory (that has been catastrophic for our civilization). But the conflict between the two historical perspectives — sacred marriage vs. community of men — is masked by the successful integration of the text.
Where Malick uses instability and overdetermination to create an aesthetic object that raises questions or creates problems for his viewer, Gilgamesh, as an object, uses integration as a mask for heterogeneous cultural and historical materials. The reader of Gilgamesh has to do the work of peeling the layers of the text apart (without hope of finding a stable, original, core meaning). That in mind, the casual reader of Gilgamesh might not realize how very complex and multi-layered it really is, whereas the complexity of Malick's films is self-evident. Put differently, it is easy to see why Gilgamesh is quite popular among casual readers and Malick off-putting to casual viewers.
Biblioklept: Do you have another translation project on the horizon? What are you writing now?
SK: I've been working on some translations of René Char's later poetry, some of which is forthcoming in Plume among other places. I'm also finishing a short book on Andy Goldsworthy and another, on Georges Bataille, Gregory Bateson, sustainability and the sacred. Both of these later projects fall under the general heading of the ecological imagination.
Biblioklept: Can you elaborate on "the ecological imagination"?
SK: I've been using the phrase ecological imagination as a way of evoking the history of our human awareness of and interaction with our environment. Ecology is environment or habitat, but more generally also the situation or system that supports life. I emphasize imagination here rather than "thought" because the notion of thought too quickly enters into the history of rationality or even ideas, whereas imagination retains a strong connection with the imaginary, which can include the untrue. As Nietzsche insists, untruth is often a necessary part of life. Gilgamesh is part of this ecological imagination project as well, an early panel reflecting our disconnection from nature, whereas the more contemporary panels — on Goldsworthy, Bataille and Bateson — are concerned with recent attempts to reestablish some kind of physical connection to our world.
Biblioklept: Have you ever stolen a book?
SK: I stole a copy of Shelley's complete poetry, an Oxford edition paperback, from a public library when I was a teenager. At the time, the book seemed essential to me. The edition itself is undistinguished and, frankly, a minor annoyance to me now. I don't enjoy reading it but I also don't enjoy Shelley enough to replace it with a better edition. On a few other occasions I've walked away with a cheap paperback or two, though never from a bookstore. Books have nevertheless been my abiding passion in life, the only material possessions that really excite me.


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Trial Date Set for Marine in Prostitute's Murder
A trial date has been set for a Marine accused of killing a prostitute who was visiting Hawaii last May. The U.S. Marine Corps announced Master Sergeant Nathaniel Cosby's trial is scheduled for the week of April 21st. He's charged with murder in the death of Ivanice "Ivy" Harris. Harris, a Las Vegas resident, was in Honolulu celebrating her 29th birthday. Honolulu police say Cosby was seen on surveillance footage meeting Harris outside a Waikiki bar and the two were seen kissing in the elevator of a hotel. Cosby was later seen pulling a large bag and loading it into the back of a sport utility vehicle. Harris' body was found in the brush on the side of the road near Yokohama Bay.

subset: commoncrawl


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After a politically charged debate that sparked questions about government transparency and the city's banking practices, the Hermosa Beach City Council narrowly signed off on a deal with Bank of America to hold more than $1 million in public funds.
Bank of America, which has a branch on Pier Avenue in Hermosa Beach, is the city's longtime banking partner. The new five-year investment deal, with an option to extend for two years, was approved on a 3-2 vote Tuesday. Councilman Kit Bobko and Michael DiVirgilio, arguing the deal was negotiated without public review or scrutiny, voted no.
"We can have a transparent and completely open process, but it did not happen here," Bobko said. "This is a horrible problem."
The banking deal was proposed and negotiated over several months by City Treasurer David Cohn, who ousted longtime Treasurer John Workman after a bitter race in November. Workman, who had overseen the city's finances for 18 years, died just three days after the election. He was 73.
In a staff report, Cohn said he reached out to 19 banks for proposals. The newly negotiated deal will save the city nearly $50,000 in annual service fees and rebates, Cohn said.
"It's not necessarily the lowest bidder, it's about the best deal and who will offer the best services," Cohn said on Tuesday.
Cohn could not be reached for comment after the meeting. Voice mails and an email were not returned.
The city maintains an annual average deposit balance of about $1.2 million, according to documents contained in Cohn's proposal. That money comes from a variety of sources, including funds generated by the city's parking meters.
In protesting the deal, Bobko and DiVirgilio argued to extend the deadline for submissions to allow at least two more banks the opportunity to compete.
When the city is seeking new vendors for crucial services, like trash hauling, a "request for proposal" document is issued to solicit services and start the bidding process. An RFP was not issued for the city's banking services, although one was not required by state law.
DiVirgilio first requested that the city issue an RFP in May to solicit banks, a standard recommended by the Government Finance Officers Association. A council majority blocked that request, however.
"The bottom line is that the standard, professional way to hire vendors is to do it through a predictable `request for proposal' process," DiVirgilio said on Wednesday after the vote. "Our council did not want to do that six months ago and did want to do it last night."
A vice president from Citibank, Janice Webb, said the bank was interested in submitting a proposal but did not do so because it was unaware of the bidding contest. An offer also was not submitted by Chase, which is opening a new branch in the city.
"There was no public engagement, no public notice," DiVirgilio said. "We're setting a really low standard for how we notice the public."
Indeed, Webb said she only became aware of the Hermosa Beach bidding contest by reading a news report in a local paper. Cities typically issue a request for proposal when soliciting banking services, Webb said.
"Hermosa Beach is legendary for being open and issuing RFPs," Webb said, adding she was surprised about the council's decision on Tuesday. "But I guess they have their reasons."
In past years, banking deals did not require approval by the Hermosa Beach City Council. The city's elected treasurer alone was charged with choosing and hammering out a deal with a bank.
Mayor Jeff Duclos defended the treasurer's proposal and downplayed accusations from Bobko and DiVirgilio that a public review process wasn't followed, allowing for the deal to be negotiated in the dark.
"The city treasurer has been working overtime since taking this position to improve our financial operations," Duclos said. "He believed the city's banking practices needed to be reviewed and revised. He campaigned on that. Voters agreed and voted him in office. He was not required to follow any protocol because there has never been one."
Follow Douglas Morino on Twitter at http://twitter.com/douglasmorino


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I'm having difficulty narrowing down my search on Theme Forest for this style of theme.
I want to post a picture of individual people and their bio next to them alongside dozens others on the same page with the ability of letting visitors vote on which one they like the most.
Are there any themes that are like this?


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Johannes Brahms - Requiem
Plus a guest performance by Wilson High School's "Singing Sergeants"
Sun., April 2, 2017
Support Schola Cantorum
Welcome - Schola Cantorum of Waynesboro VA.
Listen to "There is Song"
Commissioned by the Schola Cantorum of Waynesboro, Virginia
Dr. Jesse E. Hopkins, Artistic Director and Conductor,
on the occasion of their 20th anniversary.
Daniel E. Gawthrop, composer
Jane Greiner, text
Schola Cantorum of Waynesboro is a choral ensemble of approximately 55 singers who are selected by audition and drawn from Waynesboro and surrounding cities and counties. The ensemble's repertory is selected from significant and major works from the Renaissance through the 21st century, including American composers and ethnic-inspired compositions. Through its performances, Schola Cantorum strives to promote the art of choral singing and to provide a compelling experience for devotées of choral music. Moreover, Schola Cantorum encourages and supports aspiring and talented school musicians through collaborations, occasional workshops, and scholarships to college-bound high school seniors.
Copyright © 2015 Schola Cantorum of Waynesboro VA
Design by: Summit Web Design
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Support Schola Cantorum by shopping at Amazon!
Click on the Amazon Banner OR Click Here


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79What meditation can give you
Expand Messages
- Jan 10, 2002************************
Swami J's Newsletter
January 10, 2002
Dear Friends,
For thousands of years the science of meditation has been practiced
and studied by aspirants who sought to make their lives more serene,
creative, and fulfilling.
Meditation will give you the capacity to improve your health, your
relationships, and the skillfulness of all your activities.
This is because meditation can give you something that no other
technique can accomplish. It introduces you to yourself on all
levels, and finally leads you to the center of consciousness within,
from where consciousness flows.*
In loving service,
Swami J
* Swami Rama, Himalayan Institute Hospital 2002 Calendar


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- Design Center
- Deployment Center
- Community
- Resources
- Blog
- OpenText Analytics
The BIRT Runtime contains three different packages: the Report Engine, the exploded Sample Viewer WAR, and the Sample Viewer WAR. Your choice of package will depend on your deployment scenario. You can find this download on the Eclipse website
In this section you will find information on using these options.
This section provides an overview of the BIRT architecture, the BIRT components, the Eclipse components upon which BIRT relies, and the relationships that tie them all together. This guide includes the following topics:
This section provides an overview of the BIRT Report Object Model (ROM) and the primary elements that comprise the model. ROM defines the rules for constructing a valid report design. ROM, therefore, is the model for the BIRT report design, template, or library. This guide includes the following topics:
Beyond the BIRT Report Designer packages, BIRT provides a number of other separate packages as downloadable archive files on the Eclipse web site. Some of these packages are stand-alone modules, others require an existing Eclipse or BIRT environment, and still others provide additional functionality to report developers and application developers. This section describes the steps required to install the BIRT packages shown in the following list:
One way to view a BIRT design on the web is to deploy the BIRT Sample Viewer to an application server, such as Apache Tomcat, IBM WebSphere, JBoss, or BEA WebLogic. This section provides information about deploying the BIRT Sample viewer using the compressed or exploded WAR. This guide includes the following topics:
BIRT provides a comprehensive public API that developers can use to create custom BIRT based applications. The public API consists of the classes and interfaces in the following package hierarchies:
This section will give a general overview of these APIs. For more detail, see the BIRT Java Docs section below. Learn More
A BIRT based application uses the BIRT report engine API to generate BIRT output files from BIRT design (.rptdesign) files. Typically, the application produces the output as a formatted file or stream, in HTML or PDF format. Alternatively, the application creates an output document (.rptdocument) file that contains the report content in binary form and renders the output to one of the supported output formats later.
This section describes the fundamental requirements of a BIRT based application and describes the BIRT API classes and interfaces that you use in the application. This section also provides detailed information about the tasks that a BIRT based application performs. This section will cover many of the most important classes. For more detail, see the BIRT Java Docs section below. Learn More
This section describes the basic requirements of a charting application and demonstrates how to use the BIRT charting API to create a new chart and modify an existing chart definition. The BIRT chart engine provides the BIRT charting API. Classes and interfaces in this API support:
You'll also learn how to customize an existing chart and create a new chart within a BIRT application. This section will cover many of the most important classes. For more detail, see the BIRT Java Docs section below. Learn More
For more information about Java Docs, see the API Reference documentation page.


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1 Min Read
TORONTO (Reuters) - Canada has no plans to change its rules that limit foreign ownership of uranium miners, the country's minister of natural resources said on Monday.
"We don't have any plans to change the rule, which is a maximum of 49 percent foreign ownership in the development of uranium, and that's a longstanding policy," Natural Resources Minister Joe Oliver told reporters on Monday.
Reporting by Rod Nickel; Writing by Jeffrey Hodgson; Editing by Vicki Allen


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GPS navigation software has greatly improved drivers' orientation on the road, and navigation apps, including the app of Israel's Waze Ltd., have greatly improved traffic reports. Researchers from the social networks IT security group at Ben Gurion University of the Negev have found that location-based social networks, especially Waze, can help prevent traffic accidents.
Waze is an application which provides, in addition to navigation, information about traffic congestion, police cars, traffic accidents, and safety hazards on the road. The information is distributed via a social network format: application members supply the relevant information. According to Waze, it has 28 million registered members worldwide, including four million in Israel.
Waze can help prevent accidents, study finds - Globes
Current Status: Published (4)
Seeded on Fri Jan 4, 2013 4:25 AM
keyboard shortcuts: V vote up article J next comment K previous comment


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A free class on vermicomposting, "Opening a Can of Worms," will be presented at 10 a.m. July 15 at the Hernando County Cooperative Extension Service satellite office in the Forest Oaks Government Center, 7479 Forest Oaks Blvd.
The speaker is Florida Yards and Neighborhoods program coordinator John Korycki, who will discuss vermicomposting, composting using worms. Those attending will learn the basics on how to get started on this simple way to create rich, dark home compost.
Seating is limited. There is no cost to attend. For information, call 754-4433.
Season tickets for shows are 8 for $104
The cost is $104 for eight shows, which will be presented at the Brookridge Club House at 8150 Hampton St. Show dates include the following:
• Oct. 9, the Mark and Clark Show
• Nov. 13, Jimmy Keys
• Dec. 11, Joey Dee and the Starliters
• Jan. 8, BeeHive
• Feb. 12, Greg Bonham
• March 12, Yesterday Beatles show
• April 9, Rodi Alexander and Mark Freidman
• May 14, Vic Thompkins Band.
Season tickets are limited. Those who order tickets will be able to pick them up between 9 a.m. and noon on either Aug. 14 or Sept. 18 at the clubhouse.
For tickets or information, call Barbara at 597-4620.
Coast Guard Auxiliary instructs boaters
The Coast Guard Auxiliary will offer the following at its facility at 4340 Calienta St.
• "Who We Are" presentation, 7 p.m. July 28. Free. The auxiliary, the uniformed civilian volunteer component of the Coast Guard, conducts safety patrols and search and rescue missions, assists the Coast Guard with homeland security duties, and teaches boating safety classes and other community services. New members are wanted. To reserve a seat, call Ray at 596-8542.
• "America's Boating Course," from 7 to 9:30 p.m. Aug. 12-14. This three-day basic course is an informative overview of boating safety, and it includes all information to qualify for the Florida boating safety ID card. The cost is $30, which includes a text. To reserve a seat or for information, call John at 573-8155.
• Free vessel safety checks are available and can be done at the auxiliary, at a boat ramp, or wherever the boat is kept. To schedule an appointment, call Jackie at 666-7239.
Visit the local auxiliary's Web site at http://a0701508.uscgaux.info/.
Democratic Club holds bake sale, then meets
The Hernando County Democratic Club will host a bake sale from 10 a.m. to 1 p.m. Saturday at the headquarters at 13430 Chambord St. (between Sunshine Grove Road and Coastal Boulevard).
The sale will include pies, cakes, breads and other treats. In celebration of America's birthday, free hot dogs and lemonade will be served. After the sale will be a club meeting. For information, call Harvey at 686-0686.
Planning and zoning needs new members
The Hernando County Commission is accepting applications from individuals interested in filling a vacancy on the Hernando County Planning and Zoning Commission; the term is through Dec. 31, 2009.
The Planning and Zoning Commission is an advisory board on rezonings and other land use issues, and makes recommendations to county commissioners.
Those interested in this volunteer, nonpaid position must be Hernando County residents and registered voters.
Applications are available in the County Administrator's office, Room 460 at the Hernando County Government Center, 20 N Main St., Brooksville. Completed applications must be returned to the office no later than 5 p.m. July 22.
For information, call 754-4002.
Host families sought for exchange students
The International Cultural Exchange Service is seeking local host families for exchange students from 20 countries who will be coming to the area for the upcoming school year.
Students are from 15 to 18 years old, speak English, are carefully interviewed and selected by their home countries and are sponsored by ICES, a nonprofit organization.
The purpose of the program is to allow the students to learn about this country through living as a part of a family, attending high school, and sharing their own culture and language with their newly adopted family.
Those interested in being a host family can select the student of their choice from extensive student applications, family photos and biographical essays.
The students arrive five days before the beginning of the school year and return five days after the end of the school year.
Each ICES student is fully insured, brings his or her own spending money and expects to bear his or her share of household responsibilities. For information, call regional administrator Joan Soderqvist toll-free at 1-866-637-4073.
Tae kwon do lessons open to all ages
The Hernando County Recreation Department is accepting registration for a summer session of tae kwon do, which will be from 6 to 8:30 p.m. Fridays, starting this week, at Kennedy Park, 895 Kennedy Blvd.
The program is open to ages 6 through adult. The instructor will be master Sam Kinard.
The first lesson is free. The cost is $30 for the first month and $40 for additional months. For information, call 754-4031.
Know someone great? Share the information
Brooksville is accepting nominations for this year's Great Brooksvillian, who will be honored at a ceremony during the Founders Week celebration in October.
The annual Great Brooksvillian program recognizes individuals who have made significant, positive contributions to the history, culture or economy of the community. A plaque at Brooksville City Hall commemorates the honorees, and a plaque is presented to each honoree.
The deadline to submit nominations for the award is 5 p.m. Friday. For information, call 544-5407 or send e-mail to firstname.lastname@example.com.


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When only the best will do, for the kids as well
The Sun-Herald
Page Tools
The Vaughan family's next trip features accommodation on outback stations.
Photo: Louise Kennerley
Related articles
Destination: Northern Territory Australia
Theme: Travelling With Kids
Plan carefully and the family holiday can be five-star, writes Jane E. Fraser.
When it comes to travelling with children, Stephanie Vaughan is a bona fide expert.
The Sydney mother-of-three travels with her family several times a year and has tried everything from casual beach holidays in Port Douglas to adventures on exotic islands.
She wouldn't dream of leaving home without the whole family: husband Stuart, Cathy, 11, Matthew, 8, and Harry, 6.
"I won't travel without the kids, because I believe they are only young for such a short time and I'd rather spend it with them," she says.
The family are considering a five-star tour of outback Australia with several other families and are considering hiring a private plane to cut down the travel time.
The group plans to take in Uluru, Broome, the Gulf and maybe the Top End, staying on outback stations that provide quality accommodation.
The effort that Stephanie is prepared to invest to create such a trip reflects her view that good holidays take a lot of planning.
She plans most holidays 12 months in advance to secure accommodation and sometimes frequent flyer seats.
"Once upon a time no one travelled with kids, or if they did they went to destinations like Terrigal, but that was the extent of it. We did five-star travel before we had kids and we want to keep doing it. We like nice food and somewhere nice to stay."
One of the Vaughans' most luxurious trips was to the exclusive Turtle Island in Fiji, where each child had their own nanny.
"It doesn't get much better than that," says Stephanie. "It's the most stupidly expensive holiday we ever had, but we felt it was worth it because we took the opportunity to renew our wedding vows as a family.
"It was wonderfully romantic and a special memory. We had time together as a couple but we also did things all together, such as boat trips, days on a private beach and snorkelling."
However, the Vaughans don't always travel in such luxury.
"We've done everything from the budget-conscious to the lavishly ridiculous," says Stephanie.
One of their regular haunts was to the Sheraton Mirage in Port Douglas.
"It's a bit tired now but when we were doing it, our kids were very young and there was a good creche and a kids' club," she says. "We would book a babysitter at night and spend the days with the kids and the nights in the restaurants. Once we hired a helicopter to take us to the reef."
Another successful form of holiday has been farmstays and country B&Bs.
"It's great because they have baby animals and the kids can just get on the back of the tractor and go off for a hayride," says Stephanie.
She believes there is a big difference between places that say they welcome kids and those that genuinely do. In her view, Fiji is perfect for families because the Fijians love children, while other places are "not at all family friendly".
One place at which she felt her children were not welcome was an upmarket hotel in the Blue Mountains. "I remember having a terrible time getting the chef to puree something for the baby, because he 'didn't puree food'," Stephanie says. "Yes, they had cots and highchairs, but they didn't really encourage children."
Stephanie believes the success of family holidays comes down to the attention to detail. "You've got to work out what the priorities are for your family," she says. "In our case, because we have so many bad sleepers, we won't sleep in the same room as the children, so we have to have an apartment or interconnecting rooms."
She believes it also comes down to having realistic expectations. "There's no point expecting young children to go on a tour of the castles of England that's just ridiculous," she says.
If you are planning a trip or have a travel tale to tell, email us at email@example.com.


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New standards for benchmarking company performance, which are officially launched in Australia this week, are being endorsed by local property developers and financiers who claim they will improve standards and can be used for marketing to buyers and investors.
B Corporation is a US-based not-for-profit movement designed to help companies boost their environmental, governance, employee and employment standards alongside their bottom line.
Bart Houlahan, co-founder of the eight-year-old movement, said nearly 900 companies have adopted the standards in the US, including clothing company Patagonia and cleaning group Method Products, and that it has expanded into Canada and South America. "It redefines success in business," Mr Houlahan said.
Some sceptics dismiss the movement as preachy, impractical and potentially setting ideologically driven ethical standards that are admirable but costly and divisive.
But hard-head fund managers from some of Australia's biggest institutional funds, such as Cbus and Australian Super, increasingly take broader considerations into account than operating profit.
It also provides another global performance benchmark that is useful for overseas investors and customers.
Chris Rock, a financier and chief executive of Impact Investment Group, which buys and develops "best in class environmental standards" buildings, said it has positive marketing advantages that could eventually be useful for overseas funding or projects.
Mr Rock's group targets sophisticated and wholesale investors seeking secure, long-term income and potential for capital growth embracing what it considers to be cutting-edge environmental and social initiatives.
"This also enables us to be potential thought leaders," he added.
Good for business
Recent deals include the $32 million acquisition of the global headquarters of Roy Morgan Research, at 401 Collins Street, which was sold on an initial net yield of about 8 per cent.
James Tutton, a director of developer Neometro, has embraced the standard because he believes "good design is good business".
Mr Tutton said: "One of the big misnomers is that quality design costs you a lot more. We try to build into our projects strong community and social aspects."
He believes there is a "lot of rubbish" currently being built, particularly among the central business district high rises, that will provide lousy accommodation and be an eyesore for the next century.
It is currently developing projects in Melbourne inner suburbs of Fitzroy and South Yarra.
Previous clients include Ross Barnett, an executive officer with the Ethnic Communities Council, who claims he was looking for a strong design and environmental ethic.
Once a company is certified the investors and customers can hold the company accountable to B Corporation's performance criteria.
The movement intends to eventually have the quadruple-bottom line legally recognised.
Those that use the standard also claim it makes them more attractive to young employees and can be used as a public relations and marketing standard for selling their products.
While describing itself as a "standard", it is voluntary and the broad criteria means delivery can vary between companies and products.
"Every company would undergo an impact assessment on their environmental, social and community work and make recommendations where needed," a spokesman said.
In the US companies pay between $500 and $25,000 for certification, depending on size.
The Australian Financial Review


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eLearning Strategies Symposium 2013
eLearning Strategies Symposium
Thursday, December 5, 2013 at 8:00 AM - Saturday, December 7, 2013 at 2:00 PM (PST)
Who's Going
San Francisco, California
London, United Kingdom
Florence, Italy
Event Details
The eLearning Strategies Symposium, a joint partnership of Computer-Using Educators and the California Learning Resource Network, is designed to bring together K-12 educators, policymakers, and industry to discuss and share eLearning's progress, direction, curriculum, policy, teaching and learning strategies, and professional development.
The second annual eLearning Strategies Symposium will be held in Southern California on December 6th and 7th, 2013. Information at www.elearns.org .
When & Where
Costa Mesa Hilton
3050 Bristol Street
Costa Mesa,
Thursday, December 5, 2013 at 8:00 AM - Saturday, December 7, 2013 at 2:00 PM (PST)
Add to my calendar
eLearning Strategies Symposium
CUE • CUE is a nonprofit educational association founded in 1978. CUE's goal is to advance student achievement through technology in all disciplines from pre-school through college. www.cue.org
SCOE • The Stanislaus County Office of Education


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USPFC Mobile Site
The Long-Overdue Video Library
MTV Historical Build-Out
USPFC Steve Perry
Interactive Desktop Games
Classic Memory Game
Old School
Word Search
Puzzles, and Song Title
The Library
On Tour
Site Map
May 27, 2014:
Steve Perry performed publicly on Sunday, May 25 for the first time since the '90s in an unusual setting when he made a surprise appearance at a concert by alternative rock band Eels during their show at the Fitzgerald Theater in St. Paul, MN.
Together, Steve and Eels delivered faithful renditions of Journey's hits 'Open Arms,' and 'Lovin', Touchin', Squeezin', the latter of which prompted a hearty sing-along from those in attendance. Whether they appreciated that they were witnessing a historic event of sorts or not, the audience ate up every moment of Steve's appearance on s
...In Washington, DC
June 1, 2014:
For the second time in a week, Steve Perry joined Eels onstage. This time it was at Washington, D.C.'s historic Lincoln Theatre, with Steve now sitting in on four songs. The video is below.
In this latest performance, Steve is rather chatty with the crowd, introducing Eels' track 'It's a Motherf—er' by solemnly stating, "There is a song that really spoke to me. It is a song about profound loss. I recently lost someone who is the love of my life and I revisited that song. It meant even more to me."
The overall atmosphere lightens from there, however. Perry shared with those gathered how the perhaps unlikely collaboration between himself and Eels came to fruition:
"For years we have been friends," Perry says, motioning to Eels leader E. "And for years, we have played croquet, we have gone to dinners, we hang out. 'Why don't you come out sometime and sing?' I haven't done it in a long time…I want to thank the Eels for getting my ass out and singing with them."
He then covered Sam Cooke's 'Only Sixteen' before moving on to the same two Journey classics as last week, 'Open Arms' and 'Lovin,' Touchin,' Squeezin'.'
Joining Alternative Band Eeels Onstage in Minneapolis, MN
CBS News-May 29, 2014
The Eels on Steve Perry: We didn't know if he would show
Wall Street Journal (blog)-by John Jurgensen-May 28, 2014
The Story Behind Steve Perry's Return to Stage
Fox News-May 28, 2014
Steve Perry wows crowd after 19 year absence from stage
Radio.com News-May 27, 2014
Watch Steve Perry Hit The Stage For The First Time in 20 Year
Blog-Edmonton Journal (blog)-May 27, 2014
Steve Perry hits the stage for first time in 19 years (with video)
ABC News - May 27, 2014
Ex-Journey Frontman Steve Perry Back on Stage...
RollingStone.com-May 29, 2014
Steve Perry 'Showed Up Unannounced to Rehearsals,' Eels Vocalist
Highly Cited-Billboard-May 29, 2014
How Eels Got Steve Perry to Sing Live Again: 'It Was Such a ...
In-Depth-SFGate-May 28, 2014
Eels on Perry: We didn't know if he would show
Hollywood Reporter - May 27, 2014
Steve Perry Performs For the First Time Since 1995 in Surprise Appearance ...
People Magazine -
May 27, 2014
Ex-Journey Frontman Steve Perry Sings Live for the First Time in Over 20 Years ...
STEVE PERRY wsg/EELS PERFORM IN L.A.
...The Orpheum Theatre, Los Angeles.
June 11, 2014:
The interesting thing about this guy is he walked away from it all 20 years ago," observed Eels leader Mark Oliver "E" Everett, addressing the crowd from the stage. "And then in Minneapolis, he came back to sing with us. Then he walked away again, and six days later, in Washington, D.C., he came back again. And then he walked away again. Ladies and gentlemen, for the first time anywhere in 12 days — and the first time in L.A. in 20 years — please welcome Steve Perry!"
"It's been so goddamn long," said Perry to the audience. "I gotta thank the Eels for inviting me out here — the best band that any singer could want. I met E because of a friend of mine, Patty [Jenkins, director of Monster]. She burnt me a CD of Daisies of the Galaxy, and I told Patty, 'Someday I want to sing that song.' " Then Perry and Eels performed the band's tune "It's a Motherf—er."
Congratulations to the San Francisco Giants
2014 NLCS Champions
2014 NLDS Champions
NLCS Game 5
October 7, 2014:
From Unlimited Classic Rock.
Whatever's keeping Steve Perry from buckling down in the studio and finishing a new solo album doesn't seem to be abating anytime soon, but fans of the former Journey singer can at least take heart knowing that eventually, we'll be able to cobble together a live record out of his surprise appearances at public events.
Perry, a huge baseball fan and avowed supporter of his hometown San Francisco Giants, has made a habit in recent years of showing up at the team's games and leading the crowd during runs through the evergreen Journey hit 'Don't Stop Believin" — and he did it again on Oct. 6, surfacing in the stands during the 7th-inning stretch.
Continue reading ...
The Ultimate Lead Singer & 40,000 Member Chorus, Bring Home "Lights"...!
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NLCS Game 4
October 15, 2014:
Steve Perry continues to help fire up San Francisco Giants fans during his hometown team's 2014 playoff run.
Last week, during a home game against the Washington Nationals, the golden-voiced singer led the crowd in a sing-along of his old band's classic anthem "Don't Stop Believin'" from the stands at San Francisco's AT&T Park, and was at it again this week as the Giants try to move past the St. Louis Cardinals to get to the World Series.
On Tuesday, Perry was seen belting out the song as the Giants were on route to a 5-4 victory to take a two-games-to-one lead in the National League Championship Series. Then, last night, Steve appeared again in the stands, this time singing along with the crowd as "Lights," Journey's ode to the Bay City, played over the PA system. The Giants went on to beat the Cardinals again, 6-to-4, and now need just one more win to punch their ticket to the World Series, where they would face off against this year's American League champs, the Kansas City Royals.
Steve Leads SanFran Giants & Fans in Post-Season of Luv!
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Giants' Good Luck Charm Gets it Done! DSB.
NLDS Game 3
NLDS Game 4
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Steve leads 43,000 through a DSB 7th Inning Stretch!
Steve fires up the crowd with YES! YES! YES!
...before PLAYBALL!!
November 14, 2013:
Have you ever wanted to hang out with Steve Perry and have a chat over a cup of coffee? Now is your chance to do just that AND contribute to important cancer care and research.
Steve Perry is donating his time and several autographed items for auctions to benefit City of Hope, one of the countries best cancer hospitals.
December 8, 2013:
Rock icon Steve Perry generously donated an opportunity to have coffee with him and personalized, signed guitars in auctions to benefit City of Hope.
In total, Steve raised more than $127,000 for the meet & greet opportunity and autographed guitars!
January 22, 2014:
Well a big Hello to everyone. Yes it's that time again and this year it's the big 55.
{ ha }
Kinda not feeling too up about my birthday but I just was told about some very kind and loving posts that really are helping me, thank you!
One coffee birthday morning, I was telling Kellie that my body was aching and this getting old thing is getting ruff.
She looked at me and smiled and said, "Honey … I would Love to get Old."
Well that kinda puts it in perspective.
A drummer friend of mine, Steve Ferrone, was going to be inducted into the Guitar Center Walk of Fame, and he had told me that Hamish Stuart {one of my favorite lead voices of all time who was in The Average White Band} was going to fly here from Scotland and that I should come down to rehearsal and meet him. Well I was not going to miss that. Then he said that Questlove was not only going to be playing drums too, he was going to do the induction. Holy S*#T I thought……… So I went to rehearsals and in the middle of a run though Steve stopped the band cause he was not happy with the Background vocals of "Person To Person."
I knew what part they were missing but kept my mouth shut……….
Well…….. At least for a bit.
Then after they ran though all the tunes……. Questlove showed up and in the middle of the next run through of "Person To Person," I had a musical Tourettes moment and jumped up to a mike and sang the part I felt was missing.
They all turned around and said…... AHHHH HAAHH!!
At the end of the song Steve Ferrone said in his heavy English accent, "Dats Zit, Your In Dha Band, You've passed the au-di-tion."
Then they gave me 2 more tunes to sing BGz and play cowbell on.
Walking out on that stage was a great thrill ……. I loved it so very much……
There was soooo much feel and pocket between Steve and Questlove and the band.
Just about as much feel and pocket that one Portagee boy could ever feel at one time……. SOOOOO GOOD.
Thanks again for all my birthday well wishes and the Love that you all have sent my way……"You are the Faithful Ones"
Thank You.
Steve Perry
Thanks, June...You're the best!
January 22, 2013:
I'd like to thank everyone for their well wishes for my birthday. There is so much I'd like to share with you, but that will have to happen at another time.
My birthday present this year was meeting June Foray. She's a cartoon voice over legend – I love all of her work! She was and is the voice of Rocky the flying squirrel and many other female voices on The Rocky & Bullwinkle Show, and she also did many voices for Disney, Hanna-Barbera and Warner Brothers cartoons, too! When I was a kid, she was my hero. Her characters were gentle and loving voices – voices I so needed in my childhood. It's safe to say that her work got me through many tough times as a kid.
June 6, 2013:
As I said in my last birthday message January 2013, "There's so much more I'd like to share with you but that will have to come at another time"........
Well, I guess the time is now!.......In May of 2011, I was with Patty Jenkins in an editing room as she was putting the final editing touches on what was to be the closing segment of a Lifetime Channel breast cancer special called "Five." As the opening scenes camera panned across an outside hospital patio, a narrator's voice commented on their lives and their types of cancer. The camera came across this girl sitting there laughing….. I saw her smile.
Read Steve's entire message
September 6, 2012:
Universal Publishing Signs Steve Perry Deal
by Tim Ingham @ MusicWeek
Don't Stop Believin' hitmaker Steve Perry has signed an exclusive publishing administration agreement with Universal Music Publishing Group for the world outside of the US and Canada.
The deal includes all songs written or co-written by Perry throughout his career, including as lead singer of Journey and his solo work.
"One of the greatest voices in the history of rock also wrote or co-wrote some of rocks greatest songs. We couldn't be prouder that he has chosen to bring those songs to UMPG. We look forward to working with him on both his iconic catalog and his new songs," said Zach Horowitz, Chairman & CEO, Universal Music Publishing Group.
Steve Perry said, "I so look forward to being a part of the Universal Music Publishing Group. I know they really get what songs are about and they still believe in the magic of music."
Read the entire article
Steve Perry
...Search the
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Last updated: 2/9/2016
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Street Talk
"I feel like Bogart in a crazy movie
Bogie 'n me, we never beg
Label: Columbia / Released: 1984
Street Talk
Lyrics and Liner
Street Talk
at the
: An exclusive interview with Steve Perry, Song Hits, October 1984
Steve Perry, Running Alone On A New Journey
, Circus Magazine, 1984
Street Credibility
, Kerrang August 1984
Steve Perry Goes Solo
ROCK! Magazine Interview, August 1984
Street Talk - Steve Perry's Eye View
16 Magazine, August 1984
Review Previously Featured Albums:
Raised On Radio
Trial By Fire
Journey's Greatest Hits Live
For The Love of Strange Medicine
Steve Perry's Greatest Hits + 5
The Essential Journey
Live in Houston DVD
Street Talk
Journey's Greatest Hits
Dream After Dream
October Album Feature:
This & That...
Games! Games! Games!
Memory Game,
Puzzles, and
Word Search
Name That Song...
"Please come talk to me
Tell me what's on your mind..."
Fan Club
BAND's LIVE PERFORMANCE CHRONICLED ON TWO-DISC DVD
"Lights," "Stay Awhile," "Open Arms," "Who's Cryin' Now," "Don't Stop Believin'," "Wheel In The Sky,""Lovin', Touchin', Squeezin'," "Stone In Love," "Anyway You Want It," "Where Were You," "Keep On Runnin'," "Escape," "Mother Father," "Line Of Fire," "Dead Or Alive"
Produced by Steve Perry
The DVD and CD have both been remixed and remastered in Stereo and 5.1 Surround Sound. CD contains bonus live track (not filmed),"The Party's Over, (Hopelessly In Love)"
Steve Perry (lead vocals); Neal Schon (lead guitar, vocals); onathan Cain (keyboards, vocals); Ross Valory (bass, vocals);
Steve Smith (drums).
USPFC Site Search:
Visitors since 4/18/01:
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text:
Painting: Escape #2/
The latest shots of one of the 36x36" canvases I'm working on. I'm calling it ESCAPE just to be able to keep track of what is what. It's up on the mantle just to see how it looks on a wall. I just realized that some of the photos are upside down, but who knows what will actualy be up when this is finished? It's work in process for Flora Bowley's e-workshop Bloom True. If you are following with your scorecard, this is the canvas that had the squares once (that's history now). Here's the layer under this one. It's a long, evolving process. You build up in layers. You see what takes form as you work and go with what you like.


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Product Information
A fabulous versatile saddlepad and a real performer.
One of NuuMed's most popular designs. Made in a quality 5oz quilt with Nuumed's lightweight half wool lining for added protection over the key pressure points while allowing the rider close leg contact. Generous sizing.
The wool is knitted onto a cotton yarn giving you all the wool you need with no skin attached. Wool has the ability to absorb up to 30% of its own weight in moisture allowing you to keep your horse dry & comfortable. The natural fibres of the wool are less likely to cause skin reactions or allergies. Machine washable. Comes with short D-ring straps as standard.


text:
The yen weakened past 85 per US dollar for the first time since April 2011 as
Mr Abe also named former prime minister
The yen slid against all its major counterparts as minutes of the Bank of Japan's November meeting showed a board member suggested open-ended asset purchases.
"Any comments from the Abe administration that imply additional pressure for monetary easing will be a selling catalyst for the yen," said Junichi Ishikawa, an analyst at IG Markets in Tokyo.
Mr Abe agreed on December 25 with the New Komeito Party on a policy package that includes a 2 per cent inflation target.
His Liberal Democratic Party, which swept to power in lower house elections on December 16, has called for "bold monetary easing" by the BoJ to spur inflation and growth. "Abe is proving that his strong words during the campaign were not just rhetoric," Brown Brothers Harriman & Co currency strategists, led by Marc Chandler in New York, wrote in a note.
Mr Abe has called for "unlimited easing" to reach the goal for the consumer price increase, and for increased spending on public works.
An unnamed BoJ board member said that an option would be to "clearly present" in a policy statement that the central bank would continue monetary easing, including asset purchases, "without setting any time frame" until 1 per cent inflation is achieved, the minutes showed.
The BoJ's ¥76 trillion ($US865 billion) program that buys securities ranging from government bonds to stock funds will expire at the end of 2013.
With Japan's economy repeatedly lapsing into contraction in recent years, burdened by an export-driven growth model and a shrinking population, the country has been unable to escape entrenched deflation.
Consumer prices excluding fresh food haven't advanced 2 per cent for any year since 1997, when a national sales tax was increased.
The yen has tumbled 13 per cent this year, the biggest drop among the 10 developed-market currencies tracked by Bloomberg correlation-weighted indexes.
Bloomberg, Bloomberg


text:
AN MP has pledged to help struggling doctor's surgeries in Frinton and Walton after being contacted by more than 900 concerned residents.
Local MP Douglas Carswell has been inundated with appeals for help from patients.
Frinton's Caradoc surgery and Walton's Vicarage Lane facility are both short staffed and are struggling to recruit new doctors.
Surgery bosses and town councillors have been in discussions for several weeks to try to save the services.
Now Mr Carswell has also asked for a meeting with NHS bosses in a bid to force improvement for patients.
He said: "Over 900 people have recently contacted me expressing concerns about primary care provision in both Frinton and Walton. Things are clearly not good enough.
"What really troubles me is the thought that some people, especially older, more vulnerable folk, might not be getting the care that they need.
Mr Carswell says it is vital to make the area more attractive to new doctors to ease the staffing shortage and vowed to explore avenues of doing so.


text:
On Travel Channel
Original Aired On 06/13/2012
Episode: South
Adam heads to this deli on a Monday to sample their Asian flank steak sandwich.
Truly one of the best sand witches iv ever had.
Awesome... Driving back home from PCB ... Decided to stop there after Adam.... so glad I got the Asian flank .... So so good!!!.... The workers were very efficient ... Loved the place!!!!
Happened to be traveling through Nashville on a Monday, so swung by. It is off the beaten path but absolutely worth the effort. The (Monday only) Asian Flank Steak is a delicious sandwich, with all the flavors combining perfectly. My order regret is that I didn't have a travel partner with whom to sample another dish!
After hearing some great things about this little deli I decide to give it a try. I brought 5 other and we stopped in on a busy, Friday evening. It wasn't fancy but very clean. A few tables and a walk up counter and everything is made to order right in front of you. The menu changes daily and is placed on a chalk board overhead. The Turkey Avocado Bacon wasn't offered this day so we had to try other sandwiches. We ordered the French Dip, Roast Beef and Cheddar, Chicken Curry, Grilled Chicken Portabella and a bowl of beef chili. The French dip was very tender with a great flavor, served with plenty of dip, the rolls the beef and cheddar was served on was fresh with tomato and lettuce. The start of out entrees was the GCB the chicken was seasoned perfectly placed on a grilled portabella mushroom with tomatoes and lettuce with mayo. This was a perfectly done!!! I would order again. The chili was very good and an unexpected treats. This place I well worth the few minutes off the beaten path to try. Rodney Hoffman The SOKY FOOD CRITIC
Pound-for-pound the best sandwiches in the city. Be sure to check out their daily specials, including the much-loved Monday special: Asian flank steak. [Eater 18 Member]
Get the Benton's bacon!
Go to Mitchell's Deli and get the Turkey w/Avocado. You won't be disappointed.
Bold statement time: Mitchell Deli is one of the best places to eat in all of Nashville.
Amazing sandwiches. I had the banh mi, which was not traditional but v delicious. Free jukebox!
The name of Mitchell Deli is, "Mitchell Deli." Note the lack of the apostrophe and the lack of a S.
The Banh Mi is the best sandwich in the world.
One of the best (and only) places to get a bagel and lox around here. The fresh bagels they use from their neighbors, Bagel Face Bakery, are the best bagels in Nashville.
The Turkey Apple Brie sandwich is amazing, but add avocado for a true taste sensation!
Check out Mitchell Delicatessen as seen on Adam Richman's Best Sandwich


text:
Boyd Photo NashvillePhotographer Male LYLES, Tennessee, US
My MM URL: http://www.modelmayhem.com/boydphotography
Mayhem # 532074
About Me
Hello, My name is John and thanks for visiting my profile!
With 15 years of experience in many forms of photography work, I enjoy stepping outside the box so that I can bring forth an unrestricted view of the subject I am working with. I have been described by others as "classic and zany" to "brilliant and quirky". My style of work will bring creative, eye catching appeal to any project we are working on.
This is my day job so rest assured you will get professional results when working with me.
Runner up:
"Best overall photographer" at the First Semi-Annual "Portland Fashion Speed Shoot", April 12, 2008 with images published in Style Is So You magazine.
4x winner of the "Concept Shot Of The Day"
http://www.modelmayhem.com/p.php?thread_id=260236 LIGHTS March 8, 2008
http://www.modelmayhem.com/po.php?thread_id=269955 HORIZONTAL March 31, 2008
http://www.modelmayhem.com/po.php?thread_id=297411 GRAFFITI June 2, 2008
http://www.modelmayhem.com/po.php?threa … 874&page=1 STRIPES June 23, 2008
This is the current cover of Style Is So You Magazine
This is one of several pics Published in Style Is So You Magazine
From a shoot I did for Style Is So You Magazine
Lilly Lynn MM# 180308
Hezzy MM# 479963
Sarah Fredericksen MM# 582550
Kamillah MM# 344269
Mindee Jo MM# 365331
You will be required to sign a model release form. If you are under age your parent or guardian must sign for you.
Have you worked with Boyd Photo Nashville? Add Credits for Boyd Photo Nashville! >>
Credit Notes
Have worked with:
Lightcraft Photoworks Photographer
Study in Light Photographer
Leannas Reflections Photographer
S A Martin Photography Photographer
LucyLovette Model
Valentina Rizzo Model
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HSS Eye Gazing Party - 40's & Over
The Houston Social Source
Thursday, October 17, 2013 from 6:00 PM to 9:00 PM (PDT)
Who's Going
San Francisco, California
London, United Kingdom
Florence, Italy
Event Details
HSS Eye Gazing Party - 40's & Over
October 17th - 6:00 - 9:00 PM
Dionisio Winery Downtown
2110 Jefferson St., Suite 119
Houston, Texas 77003
The eyes are the window to the soul. Simply put, two minutes of eye contact is the champagne of ice-breakers.Come join us for the FIRST EVER Eye Gazing Speed Dating event in Houston.
Each speed date will be 2 minutes in length and you will let your eyes be the judge of who your special someone could be!
No verbal communication just silent gazing into that potential person's eyes! You've tried many different ways to meet your own personal special match, why not let your eyes get a silent glimpse of who that person is on the inside. This is a hot event in Europe and the Bay Area and has brought many people together in to successful relationships or even professional relationships!
$20 in advance
$25 at the Door
We will match you after the event with those of you who have selected one another!
Speaking of champagne, enjoy a round of complimentary wine and apps at this intimate new venue downtown. Parking is in the lot or on the street. To RSVP email email@example.com or call 713 630 0546 or go to https://TheHoustonSocialSource.com
When & Where
Dionisio Winery Downtown
2110 Jefferson Street
Thursday, October 17, 2013 from 6:00 PM to 9:00 PM (PDT)
Add to my calendar
The Houston Social Source


text:
In a shocking turn, minimalist Phoebe Philo presented a bold new aesthetic for Céline next spring.
Precedent and principle would dictate this minimalist approach.
His minimalist performance was so haunting—and his Oscar track record so skimpy—that I figured he was a lock.
In retrospect, the choice of such a frenzied subject for such a minimalist style seems an unfortunate fit.
Of recent years we would meet upstairs in Howard Street, in a room that was minimalist, and filled with glowing oatmeal light.
A drawing from 1970 by Donald Judd – the minimalist master of the hard, clean line, going messy on paper.
The minimalist goal is to compel Iran to surrender its nuclear ambitions and submit fully to international monitoring.
Indeed, that rule is a central tenet of anything that deserves to be called "minimalist" judging.
In jeans and a plain white T-shirt, he describes his style as minimalist.
In certain respects, Somewhere is a considerably more austere and minimalist version of Lost in Translation.


text:
Two separate but related developments may affect the air operations of many nations. China is scaling up development of indigenous surface-to-air missiles, with an eye toward bolstering its air-defense capabilities and becoming an important, low-cost supplier to the market. Russia, Belarus and China are developing a new generation of VHF-band radars that track stealth aircraft.
Access our growing collection of digital resources from thought leaders around the industry.
Click to view more Aviation, Aerospace and Defense special topics.
Your source for 2016 media kits, editorial planners rates and specs for AW&ST, ATW, B&CA and more!
Daily analysis on technology advances impacting the global aviation, aerospace & defense industries.
Sponsored Introduction Continue on to (or wait seconds) ×


text:
A giant deep-sea crab that wandered into the nets of a Cornish fisherman is probably the largest ever found in British waters, according to experts.
The rare box crab, who's been called Spud because of his potato-like body, measures 99cm long.
The previous holder was 119cm long but experts say Spud's missing a claw that would see him smash the record.
Until his missing claw grows back, Spud's being cared for at the Blue Reef Aquarium in Cornwall.
Box crabs are usually found three kilometres underwater, but Spud was caught at a depth of just 110 metres 80 miles west of The Scillies.
The crabs can grow up to 200cm long, but they're rarely seen in fishermen's nets because they prefer deeper waters.
It's hoped Spud will soon be well enough to go on display at the aquarium, but until then he's being fed up on a diet of rotten starfish.
Eyes on stalks
Aquarium spokesman Matt Slater said Spud was one of the oddest crabs he'd ever seen.
"It looks like something from another planet and has caused quite a stir among all the staff here," he said.
"It has weird eyes on stalks which look like bicycle handlebars and a strange pair of backward facing pincers."


text:
Shakespeare Electronic Conference, Vol. 3, No. 311. Sunday, 8 November 1992.
Date: Sunday, Nov. 8, 1992, 22:33:24 EST
Subject: Stockholder's Response to Engler on Doubling
Comment: SHK 3.0309 Stockholder's Response to Engler on Doubling
It seems to me that Volumnia's 'manliness' is very much a part of
Coriolanus. Indeed, Volumnia played both father and mother to her
warrior son is very proud of that idea. To argue that her double gender
role would be accentuated by the fact that a man plays the woman's part
seems to me a bit extreme.


text:
"Wallace & Gromit: The Curse of the Were-Rabbit" debuted as the top weekend movie with $16.1 million
The clay-animated family film "Wallace & Gromit: The Curse of the Were-Rabbit" becomes this weekend top movie, earning $16.1 million during the three days beginning October 7. The new release successfully tops last week's champ, the airplane thriller "Flightplan," which slips to No. 2 with $10.8 million, ahead of the new wide release "In Her Shoes," which debuts at No. 3 with $10 million.
Elsewhere, the sports gambling drama "Two for the Money" debuts in 4th place with $8.4 million, followed behind by "The Gospel" at No. 5 with $8.0 million. Securing the 6th place at this weekend box office is "Tim Burton's Corpse Bride," with $6.5 million. Taking in $5.7 million, "Waiting" secures the 7th place, while "A History of Violence," wins the 8th rank with $5.1 million. Rounding out this weekend's Top 10 is "Serenity" at 9th with $4.9 million and "Into the Blue" at 10th with $4.8 million.


text:
A 2005 TEC Award Nominee.
The Millennia HV-3D-8 is a microphone preamplifier of superb sonic character, technical specification, and mechanical workmanship. It offers 8 double-balanced, extremely wide dynamic range stereo microphone preamplifiers intended for demanding acoustic recording. It combines precisely matched, discrete bipolar transistors with a laser trimmed, DC-coupled, FET-based output driver stage. Unlike standard mic preamplifiers, the HV-3D never unbalances or rebalances the original signal, thus maintaining the highest degree of signal integrity.
Unlike preamps using vacuum tubes, IC function modules, and audio transformers (all of which can lend their own audio coloration) the Millennia HV-3D is precisely optimized to capture the subtlest detail of the music and ambience. With +23 dBu native input headroom, it requires no input pads, attenuators, or switch points as found on common textbook preamp designs - thus avoiding yet another source of sonic degradation. Moreover, with its +32 dBu output headroom, ultra-high dynamic stability and linearity are assured.
- High-speed transformerless design
- 23dB input and 32dB output headroom
- No pads (attenuators) required
- Entirely balanced audio path
- Laser trimmed FET-based output
- THD+N less than 5 PPM (.0005%)
- Matched discrete transistor octet front end
- Precision components throughout
- Gold audio connectors and switches
- Standard 36-step gain control (1.5dB per step)
- Stereo gain matched to .08dB
- OFC audio wiring, silver Teflon power wiring
- Ultra-clean toroidal power supply
- Welded 16-gauge chassis
- Unsurpassed ambience retrieval


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Did you actually run the package file?It's supposed to be done before startx.
Code:sh 100.14.11-pkg1.run
i downloaded a BT live cd one week ago, since this time i'm trying to install unsuccessfully my nvidia geforce 7300 drivers on toshiba satellite notebook, i found the latest drivers (100.14.11-pkg1.run) on nvidia website.
i have this problem:
(EE) NVIDIA(0): The NVIDIA kernel module does not appear to
(EE) NVIDIA(0): be receiving interrupts generated by the NVIDIA graphics
(EE) NVIDIA(0): device PCI:x:x:x. Please see the COMMON PROBLEMS
(EE) NVIDIA(0): section in the README for additional information.
(EE) NVIDIA(0): Failed to initialize the NVIDIA graphics device!
(EE) Screen(s) found, but none have a usable configuration.
Fatal server error:
no screens found
XIO: fatal IO error 104 (connection reset by peer) on X server ":0.0"
after 0 requests (0 known processed) with 0 events remaining
on nvidia website there is this solution:
pci=noacpi don't use ACPI for PCI IRQ routing
pci=biosirq use PCI BIOS calls to retrieve the IRQ routing table
noapic don't use I/O APICs present in the system
acpi=off disable ACPI
i tried "startx pci=aoacpi pci=biosirq noapic acpi=off" without quotes but the problem is still here.
please anyone can help me...
Did you actually run the package file?It's supposed to be done before startx.
Code:sh 100.14.11-pkg1.run