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Nina Kurtela: Transformance
eksperimentalni film, 8'
Boris Greiner
Rije? 'Transformance' je kovanica složena od rije?i 'transform' što zna?i promijeniti i 'performance' što zna?i izvedba. Tu kovanicu u ovom slu?aju ne bih preveo kao 'promijeniti izvedbu' nego 'izvesti promjenu'. Me?utim, ve? na po?etku filma postaje jasno da autorica ne izvodi promjenu nego dokumentira situaciju u kojoj izvodi svoj 'performans' dok se oko nje doga?a promjena. Taj bi se performans, me?utim, mogao nazvati anti-performans zato što ona zapravo ništa ne izvodi nego tek zauzima poziciju na gradilištu na kojem se vrši prenamjena iz postoje?eg, derutnog skladišta za popravak tramvaja i autobusa u centar za suvremeni ples i to tijekom cijelog gra?evnog procesa, pri ?emu je vidljivo da smeta gradnji. (Smetnja se o?ito doga?a u dogovoru s organizatorima promjene, to jest naru?iteljima, jer su njeni izvo?a?i prili?no susretljivi prema obliku njena prisustva na gradilištu.) Autorica, dakle, svakodnevno izvodi svoj višemjese?ni performans sama sebe fotografiraju?i na istoj poziciji. Dobivene fotografije potom montira u eksperimentalni film koji je kona?nica njena autorske namjere.
Osnovne odrednice eksperimentalnog filma kao žanrovske kategorije bile bi nelinearnost, to jest izostanak uobi?ajene dramaturške linije; neuobi?ajene intervencije u proces proizvodnje naj?eš?e korištenjem temeljnog elementa – filmske trake - kao subjekta, što se, primjerice, riješava odre?ivanjem dužine kadra unaprijed zadanom dužinom trake, upotreba ve? snimljene trake kao aktera na objektu snimanja, te bojanje, pisanje ili struganje same trake. Ovo potonje je u posljednje vrijeme, s pojavom elektronskog medija, preuzela digitalna obrada snimke uklju?uju?i brojne efekte. Prednosti takve obrade su izvanredne opti?ke situacije a naj?eš?i problem jest izostanak smisla uslijed prevelikog oslanjanja na vizualnu atmosferu.
Ostavljaju?i po strani polemike oko održivosti samog naziva takve vrste filma (pritom se misli na možebitnu anakronost s obzirom da je do njega i došlo podrazumijevaju?i eksperimentiranje na samom nosa?u slikovne poruke), danas bi ga se moglo ozna?iti kao formu koju ipak karakterizira nekakav eksperiment, odnosno da ono što je osnovni ozna?itelj takvog filma ne pripada nikakvoj postoje?oj ili klasi?noj kategorizaciji. Da se ideja za takav film nalazi onkraj važe?ih žanrova ili preuzima oblik hibrida izme?u njih. Tome bi se, po mom mišljenju, mogle priklju?iti i razne konceptualne zamisli koje svoj finalan oblik ipak pronalaze u mediju filma ili se pak u bitnoj dimenziji za predstavljanje takve zamisli služe karakteristi?nim elementima filma.
Primjenjuju?i ovakve pretpostavke tog medija na film 'Transformance' vidljivo je da on odgovara nekolicini navedenih na?ela.
S jedne strane, u ovom je slu?aju medij filma iskorišten je za dokumentaciju procesa gradnje. S druge, u samu je akciju autorica i krenula s idejom da to bude film. Njena se intervencija sastoji u pozicioniranju sebe u središte kadra i fotografiranja autoknipsom. Da joj je ta dimenzija važna svjedo?i i naslovni plakat što ima isti kadar kao i cijeli film, s time da se umjesto nje sada na završenom podiju zgotovljene pozornice nalaze njene cipele i autoknips sa žicom.
Bez njena prisustva to ne samo da ne bi bio eksperimentalni film, nego niti dokumentarni, niti film uop?e, no svojim ?inom ona ne posvaja gra?evni proces koji se ionako doga?a, nego ga koristi kao scenografiju konceptualne zamisli koja za cilj ima proizvodnju filma. Taj je cilj, odnosno autorska ideja na nekoliko razina raš?lanjena i realizirana. U prvom redu, njen postupak demistificra proizvodnju – smjesta obznanjuje na koji je na?in do njega došlo, te da je ona i akter i snimatelj i montažer i redatelj. Sve su te uloge me?usobno isprepletene ali tako?er i aktivne s obzirom na osnovnu ideju 'promjene' i 'izvedbe'. Jer, osvojivši tu središnju poziciju kao performerica, ona ju kao redateljica smjesta degradira, svojom nepomi?noš?u zapravo postaje scenografija, a gra?evne aktivnosti iz drugog plana postaju sadržaj, ?ime film dobiva dokumentarni ton informiranja o dogo?enim promjenama.
Jednako tako je i uloga snimatelja performerska, no najavljuje, odnosno uklju?uje i formu montaže kao na?ela struktiruranja filma. Na teoretskoj razini nizanje sli?ica propituje jednu od klju?nih dimenzija, a to je vrijeme - medij filma uklju?uje vrijeme za razliku od medija fotografije koja ga isklju?uje i predstavlja prizor u zaustavljenom trenutku. Ta je suštinska razlika u ovom slu?aju optimalno simboli?ki iskorištena s obzirom na temu jer predstavlja gra?evni proces kojeg je (s obzirom na sporost promjene) najpreciznije i mogu?e ispratiti upravo brzim nizanjem (po nekoliko u sekundi) brojnih portreta pojedinih etapa. Jer je nemogu?e snimiti jedan višemjese?ni kadar i potom ga ubrzati. Stoga je ovakva forma filma istodobno i idealan alat za vizualizaciju prvog pojma naslovne kovanice.
Drugi, performativni dio tako?er je integriran u suštinu promjene zato što je i ina?e sveobuhvatnost promjene oko nas mogu?e opaziti tek ako postavimo nepromjenjivu to?ku. Ona tada postaje ogledalo promjene, kroz nju se reflektira okolina. Ona, dakle, nije svjedok nego medij putem kojeg mi, gledatelji, postajemo svjedoci. Ali ne samo svjedoci konkretnih zbivanja, nego posvješ?ivanja procesa promjene. Drugim rije?ima, ta to?ka postaje putokaz putem kojeg svjedo?imo uspostavi odnosa. Jer da nema malih, ne bi bilo ni velikih. Dakle, kao što uljez na gradilištu postulira gradilište tako i postojana autori?ina pozicija naglašava prolazak vremena.
Proširuju?i kadar izvan okvira filma, to jest koriste?i se informacijama koje gledaju?i film nismo dobili, osvijetljen postaje i osoban autori?in interes.
Derutno skladište, naime, postaje djelatno kazalište. Djelatno s obzirom na nju koja ?e ga kao izvedbena umjetnica koristiti za svoje eventualne budu?e nastupe.
I što, dakle, ona, na nekoj osobnoj (ali i univerzalno prispodobivoj) simboli?koj razini, radi tijekom svog performansa? Ona ?eka postavljanje konteksta svog budu?eg djelovanja, ?ime nas ponovo dovodi do po?etne kovanice jer objektivni transform prethodi njenom osobnom performu. Me?utim, svojim performansom tijekom transformacije prostora autorsku ulogu stavlja u službu ili okvir cijelog procesa što ponovo dokumentira spomenutim plakatom na kojem ostavlja samo tragove poput dokaza o predstavi izvedenoj i prije službenog otvorenja centra.
U prenesenom smislu ta dimenzija ilustrira i jednu od, rekao bih, inovativnijih dimenzija eksperimentalnog filma jer predstavlja sadržaj što se u formativnom smislu odvija pod njegovim na?elima ali uporište izmješta izvan njega samoga.
Nina Kurtela: Dvadeset i cetiri minute Idile
Evelina Turkovic
Audio rad Nine Kurtele koji emitiramo u ovoj Slici od zvuka je site-specific: autorica kao materijal koristi identifikacijski zvuk Tre?eg programa: kompoziciju "Idila" Blagoja Berse koju na ovoj frekvenciji možete ?uti svaki dan u 8 i 22 sata . Nina Kurtela produžuje njezino trajanje i prema tome jednostavnom postupku naziva svoj rad "Dvadeset i ?etiri minute Idile". Preciznim i doslovnim opisom onoga što je u?inila u naslovu autorica nazna?uje i dodatna zna?enja takva postupka: postavlja pitanje kako je mogu?e odrediti trajanje ne?ega što se doživljava kao idili?no raspoloženje na to?no 24' a ?ime asocira na naše svakodnevno normiranje svega pa tako i idili?na raspoloženja, na konzumeristi?ko doziranje svakoga doživljaja ili osje?aja, što opet implicira i instant umjetnu proizvodnju takvog nekog stanja. Pojam vremena u naslovu proširuje se i prema njegovu društveno povijesnom aspektu, vrijeme prošlo postavlja se u odnos prema vremenu sadašnjem, s promijenjenom estetikom zvuka koja bi se u njemu trebala ?uti.
"Projekt u trajanju "Sve" nenapisana je knjiga koju umjetnica Nina Kurtela nakon objavljivanja predaje u vlasništvo Knjižnicama grada Zagreba. Knjiga ?e se nalaziti u fondu Knjižnice Silvija Strahimira Kranj?evi?a, a ?lanovi knjižnice mo?i ?e je posuditi i sami u nju unositi sadržaj. Na taj na?in, knjiga bi mogla postati jedinstveni trag zajednice. Zapis kolektivne povjesti i mjesto osobnih distinkcija, ali jednako tako, ovisno o zainteresiranosti, smjelosti ili volji korisnika ostati tek potencijal praznih stranica. U trenutku kad umjetnica predaje knjigu knjižnici, ona nema više kontrolu nad knjigom, a pravnim aktom sklopljenim s Knjižnicama grada Zagreba odri?e se autorstva u korist podijeljenog autorstva onih koji sudjeluju u stvaranju njezina sadržaja."
Iz ovog opisa kustosice i voditeljice galerije Prozori Irene Beki? posljednjeg projekta Nine Kurtele mogu?e je vidjeti koje su umjetni?ine preokupacije i metode. Glavno interesno podru?je u ovom je slu?aju svakako pitanje zajednice: samo zajedni?kim djelovanjem publike ostvaruje se ovaj njezin projekt. Od publike se traži da postane aktivna, a ne više samo pasivan promatra? ili primatelj sadržaja koji oblikuje umjetnik. Oni koji su bili promatra?i imaju priliku popuniti prazne stranice umjetni?ine knjige i postati su-dionici projekta. Umjetni?ki projekt time postaje prostor otvorenih mogu?nosti, prostor ostvarivanja zajednice. Umjetnica poti?e proces, ali ga sama ne izvodi. Njezino odricanje od vlastita djelovanja i kontrole nad svojim radom dodatno je potvr?eno odricanjem i od samog autorstva: ona s ostalim sudionicima dijeli ?ak i status autora cijelog projekta. Time se odvajaju obi?no objedinjene uloge autora nekog djela. Što opet ukazuje na umjetni?ino promišljanje samih po?etnih uvjeta, postavki i procesa nastanka umjetni?kog djela. Ali, prije od svega, njezine vlastite uloge u cijelom tom procesu.
Ostala važna obilježja umjetni?ina rada naziru se isto tako u ovom projektu: uvijek je rije? o site-specific radovima (ona radi knjigu kada dolazi u galeriju koja djeluje u prostoru knjižnice...). Rije? je o projektima koji polaze od konkretnih zadatosti mjesta na kojem se djeluje, o projektima koji prelaze granice izme?u disciplina, ili se ostvaruju u njihovom preklapanju... Kao i u ovom posljednjem projektu ?esto je tema zajedništvo ili komunikacija. Umjetnica pri tome ponekad situacije ili ambijente iz svakodnevnog života skoro doslovno izmješta iz njihova uobi?ajena konteksta i unosi ih u galerijske prostore: u jednom svojem projektu Nina Kurtela u galeriji je uprizorila "Auto show", drugi puta joj je kao poticaj komunikacijskih procesa me?u lokalnim stanovništvom posužila u galerijskom prostoru instalirana praonica rublja, a tre?i puta situacija vlastite ro?endanske proslave. Su?eljavanjem javnog prostora i osobnog doga?aja, ili radnje koja se ina?e odvija u privatnosti stana, autorica je razvila još jednu svoju stalnu temu: neodredivost granice izme?u javnog i privatnog prostora. Je li ona, kada je nekoliko dana boravila zatvorena u staklenoj kutiji uli?nog izloga, bila u svojem privatnom prostoru ili na javnom mjestu. Je li tada njezino tijelo pripadalo njoj samoj ili je izlaganjem postalo i javna pojava?
Prazne bijele stranice knjige ukazuju i na autori?in poseban senzibilitet za prazne prostore ili ?ak sam prostor kao temu. Osjetljivost za prostor, ili za potencijal njegove praznine možda je mogu?e tuma?iti umjetni?inim plasenim iskustvom, ?ime se isto tako uspješno bavi. Jer tijelo koje se kre?e mora biti svjesno prostora oko sebe, na?ina na koji se u njemu pozicionira ili se prema njemu u svakome trenutku odnosi.
Isto tako, kao i projekt s praznom knjigom, mnogi projekti Nine Kurtele traju u vremenu ili se ?ak trajanjem ostvaruju. Na primjer, jedan od njezinih najopsežnijih zahvata je eksperimentalni film pod nazivom "Transformance". Film traje 8' i 15'', ali je zabilježio proces koji se doga?ao tijekom 6 mjeseci: transformaciju derutnog skladišta tramvaja i autobusa u suvremeni plesni centar. Ponovno je u igri prelazak izme?u medija: film je nastao spojem tisu?a fotografija, vremenski proces uprizoren je pojedina?nim bilješkama trenutaka. Autoricu u tom film vidimo neprekidno u središtu prizora, nepomi?no stoji uvijek na istom mjestu usred gradilišta, a oko nje sve se stalno mijenja. Autori?ino tijelo, iako posve stati?no, doživljava se kao ogledalo promjene, kao stalnu to?ku prema kojoj se ova odmjerava, koja omogu?uje vidljivost stalne promjene. Paradoks na relaciji aktivno i pasivno je o?it: performerica je u svojoj izvedbi pasivni element, ali svojom pasivnoš?u ona omogu?uje percepciju akivnog elementa u zabilježenom prizoru. Iako autorica tek svjedo?i promjeni, ona ipak, kako to primje?uje Boris Greiner, ne ostaje tek "svjedok nego medij putem kojeg mi, gledatelji, postajemo svjedoci. Ali ne samo svjedoci konkretnih zbivanja, nego osvještavanja procesa promjene. Drugim rije?ima, ta to?ka postaje putokaz kojim svjedo?imo uspostavi odnosa." Promjena okoliša u kojem autorica boravi služi uprizorenju prolaska vremena. Zapravo, osvještavanju njegove relativnosti ili možda nemjerljivosti. Isti problem polazište je audio rada koji je Nina Kurtela osmislila za Sliku od zvuka. Rad je ponovno site-specific: autorica kao materijal koristi identifikacijski zvuk Tre?eg programa: kompoziciju "Idila" Blagoja Berse koju na ovoj frekvenciji možete ?uti svaki dan u 8 ujutro i 22 sata nave?er. Nina Kurtela produžuje njezino trajanje i prema tome jednostavnom postupku naziva svoj rad "Dvadeset i ?etiri minute Idile". Preciznim i doslovnim opisom onoga što je u?inila u naslovu autorica nazna?uje i dodatna zna?enja takva postupka: postavlja pitanje kako je mogu?e odrediti trajanje ne?ega što se doživljava kao idili?no raspoloženje na to?no 24' a ?ime asocira na naše svakodnevno normiranje svega pa tako i idili?na osje?aja, na konzumeristi?ko doziranje svakoga doživljaja ili osje?aja, što opet implicira i instant umjetnu proizvodnju takvog nekog stanja. Pojam vremena u naslovu proširuje se i prema njegovu društveno povijesnom aspektu, vrijeme prošlo postavlja se u odnos prema vremenu sadašnjem, s promijenjenom estetikom zvuka koja bi se u njemu trebala ?uti.
The Ambivalent Visibility of Labour
Text by Andrej Mircev
Exposed to the optical unconsciousness of the camera, the choreography of still images developed in Transformance embodies the uncertain and fragile existence of both artists and workers in the age of biopolitical surveillance. The intricate relation between the seemingly passive gestus of the (female) performer and the hard working body of the male worker, is negotiated through an enduring action, in which the female body becomes the silent witness of the labour that will radically alter an old BVG public transport warehouse into Uferstudios, a contemporary dance center in Berlin. One of my first associations regarding Nina Kurtela's durational performance was the tradition of the so called Gastarbeiters, foreign/migrant workers coming from Yugoslavia or Turkey who, mainly in the 60s and 70s, used to work in West Germany, contributing to its economic miracle after the defeat in the Second World War. Yet the role of the Gastarbeiter (or maybe even ghostarbeiter?) is doubled: on the first level we really see workers on the construction site, while, on the other hand, we also follow Nina, as well as her "ghost performers", who, on the edge of visibility, enter our perception as subliminal, flickering images. The tension of these two regimes of visibility entails a process-oriented temporality, in which the real, material action of the workers is mirrored (and underscored) with Nina's immobilized choreography and the haunting performances of her absent friends.
Contrasting the material dimension of labour and the imaginary production of the art work the performance and video tend to displace the fixed borders between production and reproduction, presence and representation, document and fiction. For my argument, however, this media strategy is not relevant so much in terms of a performance protocol, but because of the economic and political consequences. In other words, I shall not be concerned with the apparatus of Nina's piece, but with its implicit political meaning and some of the ambivalences it generates. It might be argued that these two aspects of the piece are interrelated, yet for the sake of clarity I shall analyse just one dimension. Although there has seldom been a period in which artistic labour has had full financial support, in the last few years we are, again, confronted with a situation in which artists have been exposed to the imperative of either commercialsing their endeavours and entering the spectacular worlds of commodity or dwelling on the margins of economic activity. On the other hand, contemporary artistic practice is strategically used for uneven development and, thus, it often becomes a medium of gentrification. In the case of Transformance it is (in my opinion) precisely this undecided position that can serve as a springboard to reflect on the political dimension of the piece.
The twofold regime of visibility and division of labour can be considered the point in which Nina stages the condition of precarity by displaying working bodies. Setting up a stage on which she, the workers and her ghost performers will be surveilled by a static camera that resembles the technique of CCTV, Nina forces the viewer to find him/herself identifying with the controlling/inspecting gaze. Due to this procedure, the exposure of labour becomes the generating event in which the fragile posture of the dancer is brought to a level equal to that of the workers. It is this equidistributed discernibility that enables the attention to be shifted from the signifying economy of the mediatized performance to political and class-related issues. What both groups have in common is their presence on a construction site that soon will be transformed into a contemporary dance and performing arts venue and will thereby attract more people to the shabby working class Wedding neighbourhood, changing it into an area of expensive housing. Having that in mind one could claim that the art work itself is an uncanny operation, since we could accuse the artist of documenting, thus, implicitly participating in, the act of gentrification. A series of concluding, unsettling questions here may thus arise: What is the relation between capital, labour and art in Transformance? Can art transverse its alignment with the power structures of capital? Does the visibility of work and workers increase or decrease our awareness of the economic, cultural and semiotic transformation of the site? How is this piece to be seen in terms of class and production relations? Is it supporting class differences or can it be seen as an attempt to subvert them? What about the artist? Is she just using precarious work to underline her position as a Gastarbeiter in Germany and gain extra profit? Is she demonstrating a kind of solidarity with the workers or are her deeds oriented towards their symbolic exploitation? And finally: does this engender appropriation or emancipation?
Loss witnessing
Text by Jadwiga Zimpel
In the rise of the symbolic economy, cities start to reinvent their multiple industrial spaces, believing that such a strategy will help them to create a competitive self-image – attractive enough to appeal to various forms of capital: financial, human and cultural. One of the most popular strategies of culture-based revitalization is the conversion of former production sites into art-consumption venues. The transformation of the former BVG warehouse into Uferstudios, documented in Nina Kurtela's work, serves as a perfect example.
Changing the function and perceived features of the industrial layer of a city fabric occurs in time. However the passage of time needed to reshape the space is much shorter than dure?e of its previous occupation. Such a disproportion makes the process of transformation almost invisible. While before and after win a new, different life – transformed by urban imagineers into marketable images of progress and nostalgia – the in-between "melts into air". Kurtela's Transformance, situated and unfolded inside the fragile in-between, saves it from such a destruction by representing its duration on video tape and recognizing it – both as a space for and metonymy of performance. The metonymic gesture of such a saving is important for cities not only in terms of aesthetics but also in terms of politics.
City space transformation is not merely a physical action. Informed by a neo-Marxist approach we already know that space does not function as a container for bodies and items.It is rather a product of social relations, a hybrid consisting of material and mental – of bricks and of memories. Thus transformation of physical and functional qualities of place leads also to reconfiguration of the feeling structure attached to it.
Kurtela's medially expanded presence at the former BVG warehouse constructs a liminal, fluid space serving as a stage not only for the performer but also for loss – to perform its drama. Inhabiting the in-between can be thus interpreted in terms of mourning. The stability of the artist's body in space recalls the figure of a witness, whose silent, attentive presence gives visibility to the process of transition from an industrial to a postindustrial state of mind. As we know, such a transit has its winners as well as its victims, its bright and its dark side. Dark here serves as the metaphor of time-based loss.
The political flavour of Kurtela's work stems also from an aesthetized routine used as a structure for performance. The concept of performing in 8 hour cycles makes "going to perform" very similar to "going to work". In this gesture Kurtela addresses the precarious condition of contemporary artists depending on elastic forms of employment, yet she surmounts it by establishing a work routine of her own. In addition, the artist's repetitive appearances at a construction site not only validate the former uses of the BVG warehouse but also reconstruct the connection between artist and physical worker that inspired the early work of Walter Benjamin.
Don Mitchell in his informative book exploring the concepts of contemporary cultural geography draws a connection between the capitalist process of landscape production and the Marxist concept of fetishization. This means that landscapes for purposes such as art consumption venues hide the labour needed for their construction. In the light of Mitchell's thought, Transformance can be read as bodily and media-supported criticism of the underlying logic of the processes in which urban space is reinvented in late capitalism.
Notes on Nina Kurtela's Transformance: The Time Machine, Cubism, and some beginner's Meta-Physics
By Kandis Williams of tanzCOLLECTED, Berlin 2013
In just the same way the thousands of successive positions of a runner are contracted into one sole symbolic attitude, which our eye perceives, which art reproduces, and which becomes for everyone the image of a man who runs.
-Henri Bergson
Nina Kurtela's work often deals with a primal confrontation between the various economic divisions of labor and artistic production. While I documented her 2012 "Interiors" for the X – Choregrafen, Tanz Im August festival in Berlin, I was struck by the cleverness of her performance. While other performers and organizers of the Festival were rushing to correct budgets and produce performances, Kurtela's performance marked a single flippant response to the urgency and narcissism of theatrical production. She slept in a free-standing display case on Kurfurstendamm. The piece was made up of re-actions, the choreographic score became the differences in the motivations of each viewer- some expecting to see a 'dance' and some expecting to see products and advertisings, all regarded the spot where she slept as a stage. This very simple action made transparent a single, pared-down role of the performer: that of being/object staged to be re-acted to by an audience.
Watching Transformance (2010), I was immediately cued in to the contrast between the clock-punching, bustling presence of construction workers and the more meandering occupation of the space by a few dancers and by Kurtela herself. When sitting down to write this essay I thought of focusing on this paradox, on the ways that these bodies are coded by their intended labors while moving within the frames captured by Kurtela's cable release. While very much could be unpacked within the piece about the dancer's Abhängigkeit on the stage, as well as the conventions of theater, and the impossibility of ephemerality in contemporary movement studies since Muybridge's Human Figures in Motion, what I found more complicated was the present effectiveness of time lapse video as a form born out of movement and audience. As every first year video student or Discovery Channel viewer knows, it has much to do with the display of duration; as a popular format, whether it is used for documenting movement/activity or decay/collapse- the time lapse has something deeper to do with the reconciliation of sensations private and internal with the nature of sensation itself. The desire is there somehow to show all the states of an object at once. By creating a work of choreography through such means, Kurtela's Transformance is more confrontational than its single-point-perspective shot would suggest. Calling to mind Paul Thek's Technological Reliquaries and Tehching Hsieh's One Year Performances, the sweeping the fast-motion shots of the city in Geofrey Reggio's Koyaanisqatsi, in Transformance the camera sees Kurtela moving in every dimension that she can control as one body while the time lapse photography simultaneously admits to the viewer that there is one dimension to which we are all beholden, the fourth dimension, time.
Re-watching George Pal's The Time Machine (1960), based on HG Wells' 1895 novel of the same title. A sound bite that went something like, "Why is it that we normally ignore the 4th dimension? You see we can move in the other three; upwards, forwards, backwards, even sideways - but when it comes to time we are prisoners," provided the lynchpin for the unpacking of Kurtela's performance outside the discourse on spectatorship and contemporary dance. Transformance in its simplicity shows us the stage being built and the audience implied in the construction of the space: this physical work will amount to a spatial construction that will then be filled with people watching performers, all gives a logic to the mise-en-scène. The presence of the dancer in the absence of this audience is indeed also an admission of the dancer as a both a product of and a site for the potential of display. This is a quiet and elusive way of representing the dancer's separation from the audience and the theater, of placing the dancer outside of spectatorship and convention; yet showing her resistant and persistently occupying a space where there is an unquestionable relationship that all bodies experience- the inescapability of ascent and descent inherited in age, atrophy, the directional movement within our own molecules towards death.
Transformance turns the theater into a hypercube of this experience, almost an equation of the square root of the mechanism of theater times or divided by the social construction of the places of spectacle by the physical dimension and structure of the stage itself. Within this hypercube, Kurtela creates a time machine in which to situate herself as a consequence of the theater, an objective within the fourth dimension. It is this sense of the dancer as an object that is static in time, of a form trained in it's own mechanics, the dancer as the embodiment of the body that is relayed in Kurtela's video. The flatness of the screen and its limitations in representing experience are also exploited through the painterly aspects of the time lapse.
Considering the 1956 short film "The Mystery of Picasso", in which director Henri-Georges Clouzot filmed the painter making several pictures that were then burned after the filming; within this early time lapse we see a blurred but natural technological extension of Cubism. It is this simultaneity possessed in Cubism that Transformance uses to express the duality of the contemporary dancer's position within the convention of theater. Through plotting out the construction of the stage at Uferstudios in Berlin over half a year, Transformance contains and illustrates the way the constant metaphysical properties of performance invoke the erection of physical spaces, charged and changing over time - time here can be eons or the half a year it takes to build a studio stage in Berlin, and the oscillation between these periods is made clear by the single performer as a testament and witness.
My mind drifted through the 7 minutes into the field that maybe was Uferstudios preconstruction and followed the dancer straight through the rabbit hole and into the many uses of such a space- that is into the multiple potentials of performance.
I took this from French philosopher Henri Bergson (1859-1941) who is credited with inspiring Cubism, from his book Creative Evolution 1907:
The universe endures. The more we study the nature of time, the more we shall comprehend that duration means invention, the creation of forms, the continual elaboration of the absolutely new...The same is even more obviously true of the objects cut out by our perception. The distinct outlines which we see in an object, and which give it its individuality, are only the design of a certain kind of influence that we might exert on a certain point of space: it is the plan of our eventual actions that is sent back to our eyes, as though by a mirror, when we see the surfaces and edges of things. Suppress this action, and with it consequently those main directions which by perception are traced out for it in the entanglement of the real, and the individuality of the body is re-absorbed in the universal interaction which, without doubt, is reality itself.
Kurtela's work acts like a Cubist portrait of the dancer in its seamless rendering of the experience of Time and the conditions it imposes upon objects. She overlaps states of change and by letting the dancer move through these states unaffected, and holding the ability to create snapshots of transformation and to re-organize both time and space - she invokes the metaphysical elements of dance itself. Transformance points to an often neglected element of dance, the video illustrates through layering the absences and constructions between performer, audience, and theater; the collective collapse of all three within Time- ceaselessly changing.
Performance of Duration, Transformation and Change
Text by Branka Bencic
Transformance by Nina Kurtela is a documentation of a five months-long durational performance, structured as time-lapses out of hundreds of still photographs. The artist positions herself/her body in the center of the image that depicts an empty warehouse in the process of undergoing reconstruction, establishing the daily routine of witnessing transformations of the architectural space in Berlin. Everything is under construction. There are construction works in progress. The space is undergoing a transformation, a change. It is undergoing change of purpose, from being BVG Berlin's public transport garage and workshop to a space for contemporary dance. In this way a change is both about a new architectural form and its new function, purpose, meaning and social context.
Having established the daily routine of being-in-the-space, Nina Kurtela witnesses the months-long process of the transformation and change of this architectural space.
Transformance poses questions on the possibilities of space and the production of meaning. In the transformation of the social and economic landscape, a new spatial context is establishing the role of art in detecting the time and space we live in.
Those months-long visits undertaken by Nina Kurtela and her presence in the time-lapse video Transformance can trigger different relations to articulate social and spatial phenomena, which are revealed as the meeting point of the subject and the transformations of the social and physical environment.
Models of representation of a space are constructed based on different fragments – layers of immediate environment, daily routines, everyday experiences, traces from the past, bits of culture and society, which establish perspectives on processes of thinking and perception. "Contemporary performance in the domain of culture", points out Miško Šuvakovi?, "is a performative work of an artist that intervenes in the field of culture." A performance as an art-related event presupposes performing in real time, in front of an audience, and is subsequently available by the way of documentation, while a video-performance is meant for the camera. Transformance is performed without an audience and it is mediated by a dense sequence consisting of hundreds of photographs structured into a time-lapse video. In this way documentation, structure and organization of an artistic action of limited duration such as a performance is shaped as a form of its representation that reflects and makes visible the process of development of an artwork. Transformance by Nina Kurtela in this way is not understood only as a documentation of a performative action, but also as a video-performance, a performance staged for and in front of the camera.
It has been said that the relationships between art, technology and identity have not been explored in any other artistic medium with such consistency and continuity as in the medium of video. Placing her own body, own figure and exploring technical and semantic possibilities of montage and manipulation, by interventions into the flow of time and the time-space complex, she leads us to witness an interest in social aspects and transformative processes in the immediate every day surroundings that are taking place on the edges of real and hybrid space and time, transcending and manipulating real, fixed and imaginary boundaries. Time that takes shape in such a time-space pastiche construction is a time of simulation, a hybrid time. As a result of a crisis of representation, reorganization and rearrangement of the feelings of time and space, possibilities of technical and digital manipulation can underscore the uncertain position of the subject, the isolation and unstable character of identity, drawing attention to concepts of transformation and change.
Although the protagonist is present, the main event is performed by the medium itself, underscoring the constructed character of media performance, making visible transformations in and changes to the surrounding environment, interior and mise-en-scene. In this way the basic artistic process has been made bare, and at the same time and at the same level the phases of construction of the artwork and the de/construction of interior architecture are revealed.
The construction of the scene is becoming the main narrative that emphasizes the montage – collage construction of the artwork, reveals the manipulation by the media and mediated, manipulated and constructed reality of the event, that the artist herself is continuously witnessing. The possibilities of digital technology and postproduction process are underscoring the constructed character of the event, condensing a five months long process of the artist inhabiting the space into a several minutes long performance video that even by jumps, cuts and glitches of the image stresses the continuity of the performance while we witness the construction and transformation of the event site, an interior environment under construction. The historical trajectory of techniques and manipulation in montage procedures from avant-garde cinema to contemporary computer animation has the goal of constituting a new temporal dimension and new spatial relations, making them bare and making process of transformation becoming visible and taking shape in front of our eyes.
Nina Kurtela: Autoshow - Car Show
Text by Suncica Ostojic
In the 18th century the concept of fetish referred to an object of adoration or supernatural powers among the primitive, as they were called, religions. At the end of the 19th century this sense of religious exaltation was resemanticised to cover sexual fixations, and fetishism began to mean a male sexual pattern in which a given inanimate object or indeed a part of the body became an object of arousal. In Freudian psychoanalytical theory it becomes a substitute for the mother's want of a penis, by displacement from the mother-child-phallus sexual relation. The position of object of admiration or object of desire in the paradigms of the technological society can be ascribed to the cars. Ferrari, Lexus, Maybach, Lamborghini and Rolls-Royce are all objects that confer power, sex appeal and identity on subjects. Some theories say that identity is not actually a property of a person as such but is set up outside. The subject is formed vis-à-vis others and vis-à-vis its own self, marking its economic, social, class and family position with objects. By surrounding ourselves with object-signifiers, we establish an identity that is an alienating position.
Desire, unlike need, can never be satisfied, claims Lacanian psychoanalytic theory, according to which desire is an attitude towards absence and not object, it is the "desire for the desire of the Other", and it is this that Nina Kurtela embodies as the fetishisation of means of transportation in the project Car Show/Autoshow in the Croatian Artists Centre, HDLU. Cars quastatus symbols represent their owner, and so the artistic car-objects of Nina Kurtela represent her as artist. Hence the title turns into a pun: the real exhibition of cars and the auto-show as a self- showing, a self-exhibition.
At the opening, the host/compère unveiled to us the silhouette of an upmarket car in life size wrapped in silver silk, slowly turning on a metal stand.
Underneath the smooth silk, the upholstered shell of a real car in Neo- Pop Art aesthetics was revealed. In her painting and prints, this artist deals with the recycling of old materials, and in this case she has taken a diagrammatic floral ornament and uses it as a motif on her own paintings, as well as appliquéing it to the upholstery and glass, thus transforming a wreck of a car into a highly aestheticised objectification of painting, into a fancy designer's object that generates the desire for possession. Nina Kurtela deprives the car of all functionality while turning it into a pointless object of desire that instead of lights has mirrors, and instead of the three-dimensional symbol on the bonnet has a glass on a base, filled with caviar. Caviar, another symbol of prestige and high society, is also part of the resounding name of the car itself, which as a whole goes: Cooper Caviar GTX.
Autoshow is not exhausted just in the star of the evening - the fetishised object under the spots. The whole project is also a happening. The performance features, which include the work of the compère of the show, responsible for the professional zip of the whole representation, the game show prizes like eating caviar with no hands, the stereotyped hostesses that make sure the visitors properly fill out their bingo cards (and pose sensually with the car), the waiters serving drinks, the TV cameras and the audience - in which there happened to be the stars of the domestic soap Forbidden Love Petra Kurtela (the artist's sister) and Mario Valentic - turned round together with the car in a glamour entertainment the ludic element of which in the end managed to be unpretentious. All of these characters by their active participation and interaction constituted Kurtela's social installation.
Using to the uttermost the patterns and strategies of showbiz the artist creates a show in which she presents the construction of status via a large mechanical appendix to or accompaniment of someone's physical body, which many people in this society have to pay off in five year easy payment plans, however much some of them are hard put to make ends meet. This caricatured simulation shot through with wit is nevertheless not a moralising pamphlet discussing what can be termed true worth as against something that is classified as a false value. By creating a complete replica of an autoshow at the centre of which is an emasculated and non- functioning car, the artist generates in a social situation a dualism, appropriately meting out the irony, at several levels at that, and then again leaving enough room for humour, fun, kidding about, easy enjoyment, jolliness and looking on the bright side, which all comes from accumulating and identifying with objects. According to the logic of consumerism, while the show is still on, the car can be bought at a discount price of 169,000 kuna, while after the show is over it will end up in the small ads.
Party mood in the literal sense of the word, processuality and a relational attitude to the audience were what characterised the previous work of Nina Kurtela in the Krizic Roban Gallery, where she sidestepped the unease of having her first solo show by putting on a birthday party. But in the monumental Barrel Gallery of the Meštrovic Pavilion, Nina Kurtela to a still greater extent turns art into adventure, into spectacle that ostensibly ducks out of contemplation and generates an apparently a no-hang-ups social situation, however much below it all there is a carefully considered script. A project that is so financially and organisationally demanding, and which is also actually the dissertation of young Nina Kurtela, is with its ambition, high level of production, cogency and articulateness a phenomenon in the generation to which it belongs.
Nina Kurtela: Laundromat
Text by Olga Majcen Linn, curator
Doing the laundry is one of the most ordinary and profane activities in human life, on par with cleaning the apartment or servicing the car. However boring it may seem, someone has to do it. In most countries, laundromats are ubiquitous and there exists a certain culture developed around them. While doing laundry you can also have a coffee or a nice brunch on Saturday (washday), you can meet a friend or even some stranger and have a relaxing conversation. The laundromat is more connected to the youth/single culture, because "family people" usually already own their own washers and dryers.
In Croatia there are no laundromats whatsoever. Actually there is one, close to the student's dormitory, where pricing is far from cheap. Why is that the case, and how would our life change if there was one in the center of Zagreb are the questions that artist Nina Kurtela is trying to answer by bringing laundromat in the form of art installation to the gallery space.
The art audience and everyone else are offered washing and drying machines, detergents, drying racks and irons so they can do their cleaning outside their home. From the beginning, the project was a success. A lot of people without a machine decided to use the gallery laundromat. There was a queue almost every day formed around the machines. There were also a few problems – gallery power was sometimes not strong enough to support the infrastructure; machines sometimes appeared to have a will of their own, and technically knowledgeable people from real laundromats would have been a great help to have there instead of the gallery crew.
The aesthetic dimension of the piece is there – the beauty of the machines is accompanied with brightly colored accessories (pegs, laundry baskets, drying racks). However the artistic concept puts this piece into a category of social sculpture. A lucid transformation occurs when the gallery space has a specific function besides being an art space and the gallery crew become maintainers of the laundromat. This taps into far more crucial and interesting questions. For example the question of the necessity of art contrasts to the social function of space. Can the art be transformed into necessity; can art provide the means of providing services for people?
An interesting artistic strategy employed by Nina Kurtela in most of her gallery projects is reinventing the space into something else outside of the art context, something connected to everyday life. For example, in Gallery Bacva she used for promotion of her artistic car - Cooper Caviar GTX, so the whole gallery was staged as a car salon, and the opening as the promotion of a new long expected car model. Gallery Krizic Roban was the space in which the artist used to celebrate her own birthday, crossing the line between private and public event and inviting everyone (art audience) to become part of her private life, and vice versa, inviting everyone from her private life (boyfriend, sister, friends, parents) to become part of her exhibition. The exhibition that happened was made of presents she received from her friends and polaroid photos taken at the birthday party. Gallery VN went through a dramatic transformation and also successfully became a place of happening, but this time the event lasted more then the opening day. With a mixed audience of launders and art patrons, "why is that art?" became the most frequently asked question, being posed mostly by ordinary people outside art circles.
Some social conclusions concerning the project are connected to the economy of course. As we said in the beginning, laundromats are often associated with youth and single culture. Croatia, (like Italy for example) is one of those countries known for the fact that offsprings live much longer with their parents, something that has persisted since Socialism. Most live with parents while single, and sometimes even after marriage. That's why laundromats were not all that necessary. When young singles live with their parents, they don't need to find washing machines outside their apartment. Only recently did the social behavior of young people start to change, and this trend is to establish your own family later, and live by yourself by in the mean time. The audience at Nina Kurtela's experiment has shown that Zagreb needs at least one laundromat.


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Michelle Obama has been crowned a fashion queen by Britain's Sunday Times style magazine. The first lady topped the publication's best-dressed list and to promote the issue, a stamp image of Obama in a crown and posing as royalty has been released.
The first-class postage stamp portrait is traditionally that of the British Queen, but FLOTUS has regal status in her own country as she's currently gracing the cover of the US fashion bible Vogue wearing a blue and purple Reed Krakoff dress.
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|Message view
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|Gordon Smith <gosm...@adobe.com>
|Re: Falcon location
|Wed, 15 Aug 2012 05:44:41 GMT
A large majority of people replying to this thread favor SDK, Falcon, TLF, BlazeDS, etc. being quasi-independent sub projects within the overall Flex project, so that's what Carol is planning for. Sent from my iPad On Aug 14, 2012, at 10:23 PM, "Om" <email@example.com> wrote: > On Tue, Aug 14, 2012 at 3:58 PM, Gordon Smith <firstname.lastname@example.com> wrote: > >>> Falcon is a new version of the Actionscript compiler. >> >> Falcon is a reimplementation of mxmlc and compc. The AS support is very >> good. (It will ship as FB 4.7.) The MXML support is incomplete but Falcon >> can compile the framework test file Checkinapp.mxml. >> >>> Does it support mxml as well? Or would that be a separate top level >> project? >> >> See above. >> >>> What do we call the compiler that is currently inside trunk? >> >> I call it "the legacy compiler". >> >>> If falcon gets a new top level project, shouldnt the current compiler >> get its own top level project? >> >> I don't have an opinion on that. I hope the old compiler dies as soon as >> possible. >> >>> Does Falcon work with exisiting flex sdk? >> >> It 's intended to eventually, but it's not yet ready to compile and run >> all SDK SWCs and tests yet. >> >>> If I create new components inside incubator/flex/SDK/trunk/, should I >> worry about who Falcon will work with it? How would I set up my project in >> that case? >> >> Unless you want to contribute to Falcon, you shouldn't worry about it. At >> some point, if it becomes a suitable replacement for the legacy compiler, >> we will switch over and everything should just work the same. >> >>> Should I have copies of my new components in both >> incubator/flex/SDK/trunk/ and incubator/flex/Falcon/trunk/ to run both >> Mustella tests and Falcon's tests? >> >> No; incubator/flex/Falcon/trunk will be only for Falcon's Java code. No >> framework components will live there. >> >>> Does Falcon share any code with Falcon JS? >> >> Yes, it shares a front end (lexer/parser/symbol table). FalconJS and >> Falcon have different back ends (code generators). FalconJS is not ready >> for donation. >> >>> If yes, how might we want to change the repo structure if/when FalconJS >> is contributed to Apache Flex? >> >> We can figure that out when FalconJS is ready, but I think making it a >> sibling of Falcon would be best. It could share Falcon's front end just by >> putting Falcon's JAR on its classpath. >> >> - Gordon >> >> > Thanks Gordon! > > From what I read, it looks like Falcon is a new feature that will be added > to Apache Flex. I believe it should be under /flex/trunk/modules/falcon. > And since it might be highly unstable, we should probably create a 'falcon' > branch to do this in. Especially since you want to replace > /flex/trunk/modules/asc and /flex/trunk/modules/compile with the falcon > compiler. > > I think this structure follows what we have been discussing in the > branching strategy threads. > > Elsewhere, you said: > > If Flex has independent subprojects like SDK, Falcon, TLF, etc., how would >> we tie them all together to do testing? With environment variables that say >> "use this branch of the SDK, this branch of Falcon, this branch of TLF, >> etc."? >> > > Keeping it under /flex/trunk/modules/falcon would solve this problem too, > right? > > Eventually we should throwaway the /flex/trunk/modules/asc/ (legacy > compiler) and rename falcon to asc as well. > > As I see it, Falcon is a codename for a new version of the compiler. We > are mixing functional names like "asc" and "compiler" with codenames like > "falcon". What happens when we want to build a new version of actionscript > compiler after falcon? We dont want to have that existing alongside with > another codename as well. > > Thanks, > Om
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Ask Health Experts and Get Answers to Your Health Question ASAP
Critical Care physician
she is almose drinking enough water i think
she is 57 kilo's how many litres should she drink in a day? I have been telling her she needs to drink about 2 litres or just over.
Not quite sure what you mean when you say concentrated urine
Please press ACCEPT if this answer has been helpful.
is there certain drinks, or foods that are helpfull to stay hydrated or any that is best to hydrate the body
she urinates pretty much every hour, would this relate to any of the conditions you have mentioned?
so just 1 last thing, how much water consumption is adequate for a 57 kilo female


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You seem to be missing my point.

I am not saying that people always deface signs to be helpful.Ā I think the FACT of their defacement or removal is a helpful data point.

If you choose to focus on it in a different way, that is your choice.

mediumreality.com

On Jul 29, 2011 10:31 AM, "Al Sweigart" <email@example.com> wrote:
> The tagging I've seen haven't really been helpful commentary so much
 > as just passive aggressive snarky comments or the sign just gets torn
> down. Either way, it doesn't really facilitate communication and
> discourages people from putting up signs in the first place. It's not
 > like the wiki, where you can have a separate talk page and undoing
> edits are trivial.
>
> Anyway, my offer still stands. I'll donate a dollar a day to
> Noisebridge each day the printed signs go without being defaced or
 > torn down. I'll occasionally replace signs and start paying again if
> they get tagged up.
>
> I'm up for meeting with Liz and Daravinne for brainstorming. There's a
> wiki page up too: nburl.net/signage
 >
> -Al
>
> On Fri, Jul 29, 2011 at 10:10 AM, Danny O'Brien <email@example.com> wrote:
>> On Fri, Jul 29, 2011 at 10:06 AM, rachel lyra hospodar
 >> <firstname.lastname@example.com> wrote:
>>> I think if a sign gets removed or defaced it's often an excellent piece of
>>> feedback from the community about the quality, intentions, or placement of
 >>> the sign.Ā Signs I've made have been removed. I try to be pragmatic about it
>>> and take the fact of their removal to be something I can improve against.
>>>
>>> I think we need better signage for a lot of reasons... including exit
 >>> signs.Ā Anyone want to start a signage working group with me?
>>>
>>
>> I think the best place for this would be on the social engineering list.
>> https://www.noisebridge.net/mailman/listinfo/socialengineering
 >>
>> Me, Liz and Daravinne can't make it to this week's tuesday meeting (or
>> the social engineering meeting before it, so maybe meet up before then
>> to brainstorm on it?)
>>
 >> d.
>>
>>> mediumreality.com
>>>
>>> On Jul 29, 2011 10:02 AM, "Danny O'Brien" <firstname.lastname@example.com> wrote:
 >>>> On Fri, Jul 29, 2011 at 9:04 AM, Al Sweigart <firstname.lastname@example.com> wrote:
>>>>> One of the efforts I want to do to make the space less intimidating to
 >>>>> new people is to improve the signage around the space to make it more
>>>>> obvious what things are at NB, where those things are, and provide
>>>>> answers for "what is this thing?" (protip: If the thing is glowing
 >>>>> and/or slimy, don't touch it.)
>>>>>
>>>>> A lot of the signs have been getting tagged up recently (if you have a
>>>>> problem or suggestion with the wording, feel free to email me
 >>>>> privately or email the list), so to encourage preserving the signs,
>>>>> I'm going to donate $1 each day the signs go without being defaced or
>>>>> torn down. (If anyone can help with a part of that dollar, it'd be
 >>>>> great. $365 a year adds up.)
>>>>>
>>>>
>>>> Hey Al, I think Daravinne and Liz are already working on improving the
>>>> signing (as is somebody I don't know from taste bridge), you might
 >>>> want to work with them on this. There's some talk about getting a
>>>> laminator as well.
>>>>
>>>> I think the "tagging" comes from a general encouragement in the last
 >>>> batch of signs to note changes or improvements, and I personally think
>>>> it's a good way to get direct commentary; though in general I also
>>>> think putting an email and contact on the signs is also good. Liz's
 >>>> kitchen signs got taken down specifically because someone is working
>>>> on better versions of them, based on the written improvements. Our
>>>> signs are generally just not very good or clear (or just
 >>>> overpowering), and I think requires more thought than simply
>>>> attempting not to deface or remove ones that aren't working.
>>>>
>>>> d.
>>>>
 >>>>
>>>>
>>>>> -Al
>>>>>
>>>>> p.s. I put fresh black and color cartridges in the white HP inkjet
>>>>> printer, but print in color sparingly cause it's expensive (i.e.
 >>>>> overpriced by monopolistic bastards).
>>>>> _______________________________________________
>>>>> Noisebridge-discuss mailing list
>>>>> firstname.lastname@example.com
 >>>>> https://www.noisebridge.net/mailman/listinfo/noisebridge-discuss
>>>>>
>>>>>
>>>> _______________________________________________
 >>>> Noisebridge-discuss mailing list
>>>> email@example.com
>>>> https://www.noisebridge.net/mailman/listinfo/noisebridge-discuss
 >>>
>>


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Thor (2011)
13 wallpapers
Against his father Odin's will, The Mighty Thor -a powerful but arrogant warrior god -recklessly reignites an ancient war. Thor is cast down to Earth and forced to live among humans as punishment. Once here, Thor learns what it takes to be a true hero when the most dangerous villain of his world sends the darkest forces of Asgard to invade Earth.Starring: Chris Hemsworth, Natalie Portman, Tom Hiddleston, Anthony Hopkins, Stellan Skarsgård, Kat Dennings
Links: Posters, Official website (US), Paramount Pictures, Marvel Entertainment, IMDb
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Remember last year when I was all hot and bothered about the arts patronage opportunities afforded by the Kickstarter platform? Well, it happened. With help from my friend Tim Rosenberg, I put together a consortium to commission a work for solo alto saxophone. It's totally done now, YAY!!!!!1!!!!1!!!! The piece is called alone together and will be premiered by Tim at the NASA biennial in a couple weeks.
I just sent an email to my Kickstarter backers with a PDF of the score, and hard copies are going in the mail today. Right after I finished sending the PDF out, I checked my usual web comics and found this gem on Married to the Sea:
This was today's comic! I swear I didn't plan that.


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A slew of photos exposing the upcoming 'The Mummy: Tomb of the Dragon Emperor' has surfaced online and they give out a look into Jet Li, Michelle Yeoh and Maria Bello's characters.
"The Mummy" fans have gotten the chance to get a better look into the characters to be featured in the forthcoming "The Mummy: Tomb of the Dragon Emperor" as a batch of new stills from the action horror film has reached the virtual world. The brand new photos allegedly have been outed by Universal Pictures.
The first three stills expose three stars from the movie posing as their characters. The first one shows Jet Li being Emperor Han. He can be seen saddled up on a horse and suited in a full battle armor. The second pictured Michelle Yeoh as sorceress Zi Yuan wearing colorful Chinese one-piece dress, cheongsam, and the third let out Maria Bello's character Evelyn O'Connell. The fourth still gives a glimpse into the terra cotta army.
On the Universal's movie itself, "Tomb of the Dragon Emperor" is the third installment of action fantasy film starring Brendan Fraser as the famed explorer Rick O'Connell. This time, years after his last adventure in Egypt, O'Connell is back on a journey to the mainland China to battle the resurrected Qin Emperor mummy who seeks to dominate the world. Directed again by Rob Cohen and supported also by Luke Ford, the film is slated for August 1 release.


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Organization in the Real Food Kitchen: Making Room for Bulk Storageby Stephanie Langford
When you think of storing bulk food, what comes to mind? Do you wonder where you will ever keep it? Do you dismiss the idea because your kitchen storage is already on the small side? Do you envision hefty, 25... Read More
Organization in the Real Food Kitchen: Knowing and Using What's in Your Freezerby Stephanie Langford
Today's post is written by my friend Nola, who happens to currently have a more organized freezer than I do! I asked for tips for freezer organization a while back and Nola had sent me enough good stuff to make... Read More
Organization in the Real Food Kitchen: Planning to Make Food Preparation Happenby Stephanie Langford
**Have you been enjoying this series on Organization in the Real Food Kitchen? Catch up on any posts that you may have missed in my Getting Organized category.** Image by shannahsin In the days before I began cooking real, traditional,... Read More
Organization in the Real Food Kitchen: Ferments Everywhereby Stephanie Langford
"Hi, my name is Stephanie and I have a problem. I'm addicted to fermenting, culturing and soaking foods and they're taking over my kitchen! Help!" Having a lot of cultured, soaked, sprouted and lacto-fermented foods around is a wonderful problem... Read More
Organization in the Real Food Kitchen: Notes from a Small Kitchenby Stephanie Langford
Did you miss the earlier posts in this kitchen organization series? Catch up here: Menu Planning, Favorite Recipe Lists, Recipe Binder and Creating a Homemaking Binder. Stay tuned for more posts on topics like bulk storage, pantry and freezer organization,... Read More
Organization in the Real Food Kitchen: My Recipe Binderby Stephanie Langford
We've talked about some ways to streamline our meal planning, as well as how to use lists of your favorite recipes for ease of planning and quick reference. Here is the last step of the recent meal planning/recipe overhaul that... Read More
Organization in the Real Food Kitchen: Favorite Recipes Listsby Stephanie Langford
My poor hubby. He really dislikes piles, and yet he married a gal who's just a little bit "out of sight, out of mind". Thus, I'm a piler. All through the Christmas holidays, there was one particular pile that continued... Read More
Organization in the Real Food Kitchen: Menu Planningby Stephanie Langford
Of all of the things that I spend time planning, the one that I feel probably has the biggest payoff in saving me time, frustration and even money would have to be menu planning! I've been menu planning faithfully for... Read More
Explore the Keeper of the Home CollectionHomemade/DIY Real Food Healthy Living For Women Keeping the Home Family Life Do It Yourself Natural Remedies Recipes
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Acrobat files, and require the free
reader software.
Florida Circumnavigational Saltwater Paddling Trail
Segment 20
Hobe Sound/Ft. Pierce
Download a
Printer-Friendly Guide
(PDF 20 kb)
Emergency contact information:
Martin County Sheriff's Department: 772-220-7000
St. Lucie County Sheriff's Department: 772-462-7300
Florida Fish and Wildlife Conservation
Commission 24-hour wildlife emergency/boating under the influence
hotline: 1-888-404-3922
Begin: Jonathan
Dickinson State Park
End: Ft. Pierce
Distance: 44.5
Special Considerations:
Special precautions should be taken in the narrow portions of the
Intracoastal Waterway (ICW) regarding boat traffic; be wary of large
boats and their wakes. Boat wakes often rebound off sea walls. Boat
traffic is higher on weekends and holidays. Do not tie kayaks to docks
along the ICW as boat wakes may cause swamping or damage; always lift
them out of the water. Lack of camping opportunities and the erosion of
some spoil islands are the reasons for the 20-plus miles that need to be
covered each day. Staying at the Jupiter Waterfront Inn instead of
Jonathan Dickinson State Park can shave off about 7 miles from the day
one total.
In 1696, Quaker merchant
Jonathan Dickinson became shipwrecked along the coast near Peck Lake. He
and his crew were captured by Jobe or Hobe (Hoe-Bay) Indians, later
released, and they walked to St. Augustine. In his book God's
Protecting Providence, Dickinson writes of first setting foot on the
coast: "the wilderness country looked very dismal, having no trees, but
only sand hills covered with shrubby palmetto, the stalks of which were
prickly, that there was no walking amongst them."
Later, Dickinson's group
was marched south by the native inhabitants to their main village along
Jupiter Inlet. "After we had traveled about five miles along the deep
sand, the sun being extremely hot, we came to an inlet," Dickinson
wrote. "On the other side was the Indian town, being little wigwams made
of small poles stuck in the ground, which they bended one to another,
making an arch, and covered them with thatch of small palmetto-leaves."
The shipwreck survivors learned to bury themselves in sand to avoid the
mosquito hordes while the Indians often used bear grease and fish oil.
Eventually, they were released, whereupon they walked north to St.
Much has changed in this
part of Florida since Dickinson's day. The Jobe and other area Indians
became extinct, and the human population growth in the area has
skyrocketed. But thanks to the efforts of state and local officials and
private citizens, several premier parks provide a glimpse into
seventeenth century Florida.
This segment features
four state parks: Jonathan Dickinson, St. Lucie Inlet Preserve,
Seabranch Preserve and Ft. Pierce Inlet. All are accessible from the ICW
and are good spots to explore natural Florida. Only Jonathan Dickinson,
at the beginning, has a regular family campground. Ft. Pierce Inlet has
a primitive youth/group campsite. To learn more, log onto
http://www.floridastateparks.org/ For Martin County park
information, log onto
http://www.martin.fl.us/GOVT/depts/prd/ and for St. Lucie
County, log onto:
Two Florida aquatic
preserves are part of this segment. The Loxahatchee River-Lake Worth
Creek and Jensen Beach to Jupiter Inlet Indian River. Both preserves
consist of seagrass beds, marshes, mangroves, oyster bars and tidal
flats—vital nursery habitats for a variety of fish and marine creatures.
To learn more, log onto
Leave No Trace guidelines
should be followed for all primitive camping. To learn more about Leave
No Trace guidelines, log onto
1. Jonathan Dickinson State Park to Spoil
Island MC3, 23.5 miles, (Other option reduce distance)
From the park boat ramp, proceed almost five miles down river to
the ICW. Since the ICW makes a sharp bend here, keep heading east to
Jupiter Inlet and make a sharp turn north. The inlet marks the beginning
of the 155-mile Indian River Lagoon. See segment 19 text for information
about Jonathan Dickinson
State Park and points of
interest along the Jupiter Inlet. If beginning at the Jupiter Waterfront
Inn along the ICW, it will be about 16.5 miles to Spoil Island MC3.
Numerous points of interest in this stretch will help to break up
the day's paddling. Coral
Park is a short ways north
of Jupiter Inlet along the east side of the ICW. This natural area
provides walking access to the beach side and to the Blowing Rocks
Preserve, managed by the Nature Conservancy, just to the north. The
beach here boasts uniquely shaped Anastasia limestone outcroppings that
consist of coquina shells, other seashells and sand.
Continuing north on the ICW, you'll enter the 1000-acre Hobe
Sound National Wildlife Refuge, home to over 70 endangered species. You
can access the refuge's nature center on the west side of the ICW and
learn more about the area's wildlife and ecology.
About 5 miles farther north,
Lake Park
features a quarter-mile boardwalk with impressive interpretive panels
about the area's history and environment. In summer, you may spot the
elusive mangrove cuckoo or hear its sweet song.
St. Lucie Inlet State Park
on the eastern side of the ICW also features a long boardwalk, this one
to a 2.7-mile public beach. A winding tidal creek through the park is
also an inviting kayak trail. St. Lucie was named for an early
blockhouse built by Spaniards in 1565. They were searching for survivors
of a lost Spanish treasure fleet and built the blockhouse when the
area's Native Americans proved to be hostile. Failing to convert the
Indians to Christianity, constant attacks prompted the Spanish to
abandon the area within two years.
Spoil Island MC3 is large
with high and dry camping and some shade. Best access is on the south
and west sides.
2. Spoil
Island MC3 to Ft. Pierce, 21 miles
The Indian River is up to
two miles wide in this stretch, so it is easy to avoid the sometimes
busy boat channel. Only a mile and a half from the island along the east
side of the waterway is the Gilbert's Bar House of Refuge Museum on
Hutchinson Island. This fascinating historical site is worth a stop. The
building, located on a rock outcropping that provides a commanding view
of the Atlantic shore, is the last of ten houses built along this once
remote East Florida coast in the 1800s to provide comfort and shelter to
shipwreck survivors. It fulfilled its mission on several occasions.
Besides taking a museum
tour, you may want to walk the beach here as it is lined with Anastasia
limestone outcroppings similar to those found at the Blowing Rocks
Preserve to the south. Recent hurricanes uncovered Native American
artifacts near the museum that date back several thousand years. It is
also fascinating to note that black bears once frequented Hutchinson
Island and were shot and eaten by early pioneers.
Take advantage of the
parks near Jensen Beach for water and restroom breaks because few
opportunities exist until Ft. Pierce. Just north of the Hutchinson
Island nuclear power plant, several local park preserves along the
eastern shore offer a scenic unspoiled view and rest stop opportunities,
but no facilities. Wetlands in these parks are being restored by ditch
removal and re-flooding with salt water. Some small spoil islands in the
area, once open for primitive camping, have disappeared due to storms
and erosion.
Ft. Pierce Inlet State
Park has a primitive youth/group campsite, but for regular primitive
camping, you'll need to proceed north of the inlet to a recommended
spoil island (see segment 21).
Last updated:
July 18, 2014
2012 State of Florida
Exit Disclaimer
Privacy Statement


text:
Price: £421.00
Long Low Sideboard
Part No.: sbll
Fabulous long low Sideboard, especially good for an alcove or to sit a TV on. The image here is "in the white" (completely untreated), but any of Wye Pine colours be chosen. This Sideboard does come with wooden knobs, (not shown) but we can leave the doors un drilled, allowing different handles to be fixed. To each front side there is fluting detail. Each Cupboard is a separate cupboard with a shelf in each. Doors have detailing and are flush fitting. The Sideboard is delivered in three pieces for access, but the top is one solid piece. Pine tongue and groove to the back of the Sideboard.
Please see the colour swatches
Selling unit: 620x2090x450
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text:
In the IPO world, it seems to be the year of private equity. Many of the top-performing companies that hit the market have been "boomerangs," meaning they were part of going-private transactions previously.
Just take a look at this sample:
|Pinnacle Foods
|Bright Horizons Family Solutions
|SeaWorld Entertainment
|Boise Cascade Co.
Of course, the trend should be no surprise. From 2000 to 2007, there was a huge burst of going-private transactions, led by firms like KKR (KKR), Blackstone Group (BX), Apollo Global Management (APO) and Carlyle Group (CG).
But for those firms to actually make money, they need to either take their portfolio companies public or sell them. This has another interesting name: harvesting.
With the equities markets in bull mode, the preferred option has been IPOs. After all, the average return of an IPO for 2013 is 20%, while the gain has been a sizzling 29% for those companies with market caps over $1 billion.
The wave has been about more than just a strong market, though. For the most part, private equity firms have become more operational with their portfolio companies. In fact, they didn't really have a choice. With the financial crisis in 2008, there was an urgent need to restructure many companies, which often meant greatly reducing the cost structures.
Plus, another benefit has been rock-bottom interest rates. Private equity firms have been able to refinance their existing debt, which has meant even lower costs.
Toss in the uptick in the economy — which translates to growth on the top-line as well — and it should be no surprise that private equity-backed deals are hot.
Still, investors should be a bit wary. When top dealmakers are eager to unload assets, some skepticism is warranted. For example, Apollo's CEO Leon Black recently said:
"We think it's a fabulous environment to be selling. We're selling everything that's not nailed down. And if we're not selling, we're refinancing."
That's hardly something you want to hear … especially when you're the buyer of IPOs.
Of course, Wall Street never seems to lack enthusiasm and speed for the most part. Thus, there is a healthy pipeline of major private equity deals ready to tap the markets, such as HD Supply and CDW.
But investors will reach a breaking point eventually … and maybe pretty soon. Just a few concerns include rising interest rates, volatility in the equities markets and continued weakness in Europe and even China.
The bottom line is that IPOs are a risky game, and booms generally do not last long. So if you see a private equity deal, you still need to do your homework. Things may start to get tougher quickly.
Tom Taulli runs the InvestorPlace blog IPO Playbook. He is also the author of High-Profit IPO Strategies, All About Commodities and All About Short Selling. Follow him on Twitter at @ttaulli. As of this writing, he did not hold a position in any of the aforementioned securities.


text:
Yuen H.wrote a review of The North Face Arctic Parka - Women's on January 30, 2013
Super Warm
Familiarity: I've used it several times
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Edit exth data on azw4, EARN 10 DOLLARS FOR HELP!
View Single Post
Junior Member
Posts: 6
Karma: 10
Join Date: Jul 2012
Device: ipad
Edit exth data on azw4, EARN 10 DOLLARS FOR HELP!
I have been vigorously trying to edit the exth data I have on my .azw4 ebook. Out of all the programs I tried, they only read and not edit the actual data. The one that came close was the java program " Mobi Meta Editor" that is the only program that read it. I dont mind editing in the hex editor but what kind of value does it display? I know it is not hex because I can not find it with my hex editor. Can some one give me a hand, I just need to edit two values.
I need to edit value 406 and 407.
Any one that gives me direction that works I would donate 10 dollars.
I am on the verge of my head exploding with frustration on this matter and I can not let it go. TIA
View Public Profile
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text:
A digital camera is an asset to almost any small business. You can use digital images to enhance your marketing, add professionalism to your Web site, and to improve the efficiency and effectiveness of everyday business activities.
Would your business benefit from investing in a digital camera? To find out, consider some of the following applications for these professions.
Fast photos for same day posting — Digital cameras enable you to take and print pictures of properties in just minutes. Post these pictures in your store front, Web site, newsletter, postcards, or send them over email. When printing, remember to use an inkjet color printer and photo–quality paper.
Tip: Use special modes — Some digital cameras have special effects, such as panorama mode, which can be used to capture the entire breadth of a property, and movie mode, which can capture short video clips to be posted on a Web site.
Improve your marketing — Capture digital images of your work and print them directly to postcards or brochures. Consider using "before and after" pictures for dramatic effect.
Post images on your Web site — Send digital images directly to your computer (via a USB cable) and post them on your site.
Special modes — Look for a digital camera with a panorama mode to capture broader sweeps of your work.
Improve your marketing — Capture digital images and print them directly to postcards, brochures, or menus.
Newsletters — Many professionals use email newsletters to notify clients (or potential clients) about their latest services. Digital images can be included in a newsletter to improve the overall presentation and to showcase your offerings (exotic destinations for travel agents, for event planners, a large corporate banquet, or, for restaurant owners, new dishes).
For fast photos and archiving — With a digital camera, you can capture quick, on–site images and email them directly from a laptop computer to your home office. Digital images can then become part of a permanent case file.
Improve your marketing — Print your own brochures or postcards with before–and–after images of patients.
Post images on your Web site — Many medical professionals have a Web site that lists basic information, such as street address or phone number. Improve the effectiveness of your site by including digital images of your work.


text:
Firm Profile: Summary, 2012
Total Lobbying Income: $3,640,000
|Subsidiary (Lobbied For)
|Blue Cross/Blue Shield
|Health Care Service Corp
|Misc Health
NOTE: All lobbying expenditures on this page come from the Senate Office of Public Records. Data for the most recent year was downloaded on April 20, 2015.
Feel free to distribute or cite this material, but please credit the Center for Responsive Politics. For permission to reprint for commercial uses, such as textbooks, contact the Center: firstname.lastname@example.com


text: DFDepressed FanDepressed Fan All Sixers, all the time Yankees Opening Day Roster STORYCOMMENTS (1) Sean Serritella on Mar 29 at 15:24 Reply +/- Great blog you have here. Let's exchange links. YankeesDaily Expand/Contract all comments Leave a comment Comments (You may use HTML tags for style) Home Facebook Twitter Design by Brian Ward ©2013 NEW COMMENTS Tweet


text:
In Wednesday's Lotto main draw the winning numbers were 11, 12, 15, 29, 37 and 43. The bonus ball was 45.
No ticket matched all six numbers which means Saturday's draw is a rollover.
The set of balls used was number seven and the machine used was Amethyst.
In the Lotto Extra draw, the winning numbers were 10, 25, 35, 43, 45, and 49.
Again there was no winning ticket, making Saturday a rollover week.
The set of balls used was number 2 and the machine used was Moonstone.
The Thunderball numbers were 2, 3, 7, 10 and 24 and the Thunderball was


text:
Career Transitions
For many people, a job is more than an income – it's an important part of who we are. So a career transition of any sort is one of the most unsettling experiences you can face in your life.
-Paul Clitheroe
We include this quote not to scare any of you going through a career transition, but just to reassure you that you are not the only one who finds a life change scary.
The subheadings under Career Transitions include factors to consider within your career transition and also a description of a lifetime model of career development that will reassure you that everyone goes through changes and development in their career over the course of their lifespan.
With the continued development of technology, the face of
industries and the workforce are changing. Staying with one company
and in one job for an entire life is no longer the norm. Some
positions may become obsolete while new positions, previously
unheard of, arise. These changes all point to the fact that we will
all have to face career transition and be willing to adapt.


text:
This content has been marked as final. Show 8 replies
1. Re: What is it actually?597644 Oct 5, 2007 1:49 PM (in response to Yawei Zhang)Oracle uses the term "hub" to generically refer to a central master data repository. ERP solutions have lots of master data, and lots of transactions data.
If we look at a transaction where a single passenger books a flight from Atlanta to Chicago there is lots of master data:
Details about the specific plane are master data.
The passenger is master data.
Event more granular attributes like seat 12E, Atlanta and Chicago can be considered master data depending on how they will be managed throughout the process.
For companies who run a Global Single Instance of the E-Business Suite - all their master data is in one place. Since we now advocate customers use Siebel for CRM and Agile for PLM, E-Business Suite no longer uniquely houses all master data – so "hubs" are a necessary part of Oracle's application strategy going forward.
In a very simple form, the Oracle Master Data Management "hub" for customer data will ensure that customer data created in Siebel is consistent with the customer data in the E-Business Suite. Oracle Customer Data Hubs include Oracle CDH and Siebel UCM – they effectively do the same thing, but there are compelling reasons for a customer to implement one or the other based on their landscape and business drivers.
The Oracle Product Data Hub will synchronize data from PLM to E-Business Suite and any other systems that need it.
If you have additional questions or need direct or indirect deal support, feel free to shoot me an email.
Dan Gage | Global MDM Solution Architect | +1.803.397.6408
Oracle Product and Industries Business Unit
FMW / Master Data Management
2. Re: What is it actually?Yawei Zhang Oct 8, 2007 9:05 AM (in response to 597644)Thanks a lot!
Before I worked for Schlumberger, everyone knows their hubs, there's a lot of informaiton in it, like a website.
3. Re: What is it actually?620902 Feb 1, 2008 7:12 AM (in response to Yawei Zhang)Hubs are also called repositories in some MDM (master data management)products.
MDM products like the ones from i2, SAP, IBM have multiple repositories (hubs):material, customer, employee,product etc....
Hence CDI, PIM are business scenarios implemented via MDM.
4. Re: What is it actually?696029 Apr 13, 2009 9:28 PM (in response to 597644)Can you plz let me know why/when companies need PDH? They already have Master Item and other related forms in Oracle Inventory responsibiity but still they are going for PDH and I don't know the clear reason for it.
Thanks a lot!
5. Re: What is it actually?Sandeep Gandhi, Consultant Jan 5, 2010 6:01 PM (in response to 696029)When you define a product, there are a lot of attributes that you want to capture.
Oracle Inventory lets you capture only a small number of such attributes.
PDH lets you have a lot more functionality.
You can define your own attributes, define value sets for each of them.
You can have advanced search capability.
You can control read/write access to the attributes
etc. etc.
6. Re: What is it actually?597001 Jun 11, 2010 11:50 AM (in response to 696029)Apart from the above mentioned capablities of Product Information Management, now-a-days Organizations want to have a "Single Source of Truth" for their items. This is because they are operating in multiple verticals with numerous boundary systems like ERP, PLM, Legacy etc.. Getting product data from all systems and simultaneously synchronizing it to various spoke systems to get near real-time data is a challenge. PIMDH acts as a central repository for all the item information coming from disparate systems.
7. Re: What is it actually?user7043909 Jul 30, 2010 7:09 PM (in response to Yawei Zhang)Where can I get more information about Product Data Hub?
8. Re: What is it actually?597001 Aug 4, 2010 4:46 AM (in response to user7043909)Please refer the *12.1.2*implentation and user guide
Additionally try to search in Metalink, following are some useful information on PIMDH.
How To Determine the Product Lifecycle Management (PLM) Patchset and Rollup Patch Version *[ID 414470.1]*
11i10 Oracle Product Lifecycle Management Documentation *[ID 306132.1]*
About the Oracle Product Lifecycle Management Family (Family Pack E) *[ID 309187.1]*
About Product Information Management in Oracle Product Lifecycle Management Family Pack E *[ID 309192.1]*
About Oracle Product Information Management Data Hub Family Pack E *[ID 309183.1]*
How Do I Get the Product Information Management Data Librarian Responsibility Patch (4379383) Mentioned In Note 309187.1 *[ID 331992.1]*
Migration Of PLM Configuration Setups From One Instance To The Another *[ID 846335.1]*
Product Lifecycle Management/ Product Information Management APIs *[ID 730164.1]*
Setting Up Oracle Data Integrator Artifacts and Webservices for Oracle Product Information Management *[ID 888696.1]*
List Of Licensed Application Modules For Product Information Management *[ID 341921.1]*
R12 Oracle Product Information Management Product Specific Roadmap *[ID 406178.1]*
FAQs on PIM AIA 2.5 *[ID 888344.1]*
E1: PIM: How to find documentation on PIM *[ID 652675.1]*
Using Business Events in PLM and PIM Data Librarian *[ID 372814.1]*


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"There's no scale down in quality, especially the next-gen versions," Morin said, discussing some of the negative reaction to recent trailers with us at Eurogamer Expo this afternoon. "It's pretty much the opposite. What we showed at E3 2012 in a lot of respects was less good. I think it's in the details. So no, there's no scale down."
Nevertheless, Morin doesn't appear to be worried about Grand Theft Auto 5's technical achievements lessening the impact of Watch Dogs.
"I don't build games with that in mind," he said. "To me, I make a game. I don't make a technical... I think that the level of fidelity that the city has in Watch Dogs is pretty much unprecedented.


text:
"The Osbourne's are disgusted and appalled that WBC would use Ozzy's music to represent such hateful and despicable beliefs. We have absolutely no affiliation with the WBC and are deeply sorry to the Snyder family." – The Osbourne family reacting to the Phelps family singing a parody of Crazy Train on the steps of the Supreme Court yesterday.
Ozzy Osbourne Vs. Westboro
Posted on 07 Oct 2010 at 1:44pm


text:
Bruschetta of Cottage Cheese and Olive Tomato Caponata
- French bread, baguette,
- 8 slices cut on bias (2 oz. total)
- 1 Tbsp Calamata olives, pitted roughly chopped
- 1/2 cup tomato, seeded and diced
- 3 Tbsp onion, diced
- 1/2 Tbsp garlic, diced
- 1 Tbsp olive oil
- 1 Tbsp capers
- 1 Tbsp parsley, chopped fine
- 1/2 Tbsp bread crumbs
- Salt and pepper, to taste
- 1/3 cup Kemps Cottage Cheese
- Lightly toast slices of baguette in a 425F oven for 4-5 minutes or until golden brown.
- Lightly toss remaining ingredients in a mixing bowl and season with salt and pepper.
- Top each piece of toast with about 1 tablespoon of the tomato mixture.
Serves 2
Serving Suggestion: Makes a great appetizer when served with a tossed salad and finished with cracked black pepper. (Caponata: A Sicilian dish that is generally served as a salad, side dish or relish.)
Per Serving: 55 Calories; 4 g Fat; 3g Protein; 3g Carbohydrate; 3mg Cholesterol; 15mg Calcium; 0g Saturated Fat; 0mg Sodium
How Did This Recipe Work Out for You?
Please return to http://www.kemps.com/recipes/bruschetta-of-cottage-cheese-and-olive-tomato-caponata/ to rate and review this recipe. Your comments and suggestions are appreciated by others.


text:
Emily Murgatroyd | July 27, 2007
By Emily Murgatroyd • Friday, July 27, 2007 - 11:35
What do you do if you are an oil-industry sweetheart of a 'news group' and you need to challenge climate science? Be smug and use sarcasm of course. Newsbusters.org wrote a criticism within a criticism, taking to task the New York Times' 2 reviews of a new film on global warming's effects on polar bears, called 'Arctic Tale'.Apparently 2 glowing reviews of the movie in less than a week was enough to get columnist Noel Sheppard at NewsBusters a little hot under the collar.
Clearly studies such as the Arctic Climate Impact Assessment Study, chaired by Robert Corell, a senior fellow at the American Meteorological society or a 40 member panel of the World Conservation Union, comprised of scientists from 5 countries including the United States, who have extensively studied the negative impact of global warming on polar bear populations, should not be trusted.
But in typical denier rhetoric, he avoids any use of scientific evidence to frame the context of his diatribe and instead focuses on his distaste for Queen Latifah's 'dorky' narrative (and that negates the science how?) and the fact that it's co-written by Al Gore's daughter Kristin Gore (because we all know how crazy Al Gore is). In a real blow to the science community he compared Al Gore to 'a thick 2-4 inch layer of blubber and chides the film for its 'eco-feminism' tendencies. I'm still not seeing the science here - but perhaps my 'liberal' tendencies may be to blame.
Noel Sheppard is no stranger to blasting polar bears. In April he posted on the 'Stranded Polar Bear Global Warming Hoax' that Australia's ABC channel 'exposed'. Isn't that the same network who is still reeling from their decision to air Martin Durkin's 'Great Global Warming Swindle' - a 'documentary' riddled with inaccuracies and out of date science? (See our recent post on how mad the Queen is!) He quotes the National Post though - so at least he's getting more than one source.
I know that I have stooped, somewhat, to my own level of tongue and cheek blogging here but seriously - when the best argument that you have against science is to criticize the structure of a movie, your argument stands on thinner ice than the polar bears.
Steve L replied on Permalink
And I heard that Gore's son has been caught with mary jane, so that makes it even less likely that AGW is real. Unless it's because of all the pot those hippie 'environmental scientists' are burning.
Kevin Grandia replied on Permalink
gore jr. smokes
Pot = global warming isn't happening.
Steve, you have no idea (or maybe you do) about how many battles I had in the blogosphere over this exact contention!
Steve L replied on Permalink
Well, that's sad. I didn't know. But can't you just scream "ad hominem" at them and leave it at that?
Steve L replied on Permalink
better reply
If only it were that easy to stop anthropogenic global warming!
Kevin Grandia replied on Permalink
… it is that easy. Have you been reading the other post we did on newsbusters yesterday?
Steve L replied on Permalink
Hi. I feel like I should point out that you don't need scare quotes around 'ecofeminism'. It is a real field of inquiry. I don't remember much about it and I'm not interested enough to read up on wikipedia right now, but I believe it has something to do with the notion that the nature has been associated with the feminine ("mother nature"), and that humanity ("mankind") as associated with the masculine generally devalues or abuses the feminine.
"Maybe in order to understand mankind, we have to look at the word itself: "Mankind". Basically, it's made up of two separate words - "mank" and "ind". What do these words mean ? It's a mystery, and that's why so is mankind." – Jack Handy
Emily Murgatroyd replied on Permalink
Thanks pointing that
Thanks pointing that out Steve. I get confused sometimes. Because, you know, I'm a liberal and all.
running misdirection
Oil Co.s have huge amunts of money to spend running mis - information. Statistical analysis, not inference, will tell you that AGW is real. For those that think Al Gore is cracked, I suggest you start listening to Sen. Inhofe (and Dick Cheyney) - if you want to see what cracked (and dangerous) really is. Inhofe is a great case in point: his State (Oklahoma) is the pricing point for WTI (West Texas Intermediate) at Cushing Oklahoma…and has taken campaign money from the Coal industry and Koch Industries (oil co, refiner and trader)… follow the money and vested [email protected]
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Company I - Cedar Fork Rifles / North Carolina Grays
"Deeds - Not Words", Selective Overview of the Cedar Fork Rifles, 1860-1893)
"Organization of the North Carolina Grays": The Raleigh
newspaper, June 5, 1861"
"For No God - but for Country!" Letters of the Beavers Boys
Drawing and information about the Cedar Fork Rifles flag.
"A History of the Flag of Company I, 6th N.C.T." by Fannie Lyon Lowe, the flags maker.
Roster of the Cedar Fork Rifles
Photographic Images of the Cedar Fork Rifles
"Chatham Soliders, Chatham Masons"- article
Cedar Fork Rifles reenactment unit.
6th North Carolina State Troops
Letters of John J. English, Co. E, 6th N.C.S.T.
Diary of Bartlett Yancey Malone, Company H
"Sketch of the Sixth Regiment N. C. State Troops" by Capt. N.W. Ray, Company D
Biography of Robert Stubblefield, Company H, 6th N.C.S.T.
Col. Godwin's fiery report on the unit's conduct at Gettysburg.
Back to the main page.


text:
RENO — Agassi Prep boys basketball coach Trevor Diggs knows his team has been toughened by numerous close games this season. So when Battle Mountain made a run at the Stars on Friday, Diggs wasn't worried.
OK, maybe he was a little.
"As a coach, you always worry," Diggs said. "But we've been in battles all year. These guys hung together and hung strong."
Deishuan Booker scored a game-high 20 points, and the Stars overcame a poor stretch in the third quarter to claim a 61-52 victory over Battle Mountain in the semifinals of the Division III state tournament at North Valleys High.
Agassi Prep (25-1), which has won 18 straight games, will go after its first state title since 2011 when it meets Incline (23-6) at 4:15 p.m. today at UNR's Lawlor Events Center. Incline defeated The Meadows 98-89.
Dennis Walker added 18 points and 16 rebounds for Agassi Prep, and Kobe Williams supplied 14 points, including a 7-for-10 effort from the free-throw line in the final 2:31.
The Stars were 10-for-14 from the line in the fourth quarter after missing 12 of their first 18 free throws.
Battle Mountain (18-11) struggled to contain Walker down low, and the Stars fed him to start the third quarter. Walker had a three-point play to open the quarter, and his bucket after a nice spin move gave Agassi Prep a 30-18 lead one minute into the third.
"That's part of coaching," Diggs said. "When you see something, you want to milk it."
But Dominic Valles triggered a 12-3 Longhorns run in the next five minutes that cut Agassi Prep's lead to 33-30 and gave Diggs a bit of sweat.
As it turned out, Diggs had nothing to be concerned about. Agassi Prep answered with a 14-5 spurt and went up 47-35 after Walker's putback with 4:53 to play.
"I know what to expect from my guys," Diggs said. "I didn't expect them to fold. They came out with the resiliency they always had."
■ Incline 98, The Meadows 89 — At North Valleys, Eric Hirsberg had a game-high 27 points, but the Mustangs (23-8) were unable to rally from a 22-point second-half deficit and fell in the semifinals.
Brian Fridman posted 26 points and 13 rebounds, and Ethan Fridman supplied 23 points for The Meadows, which trailed 68-46 midway through the third before closing the quarter on a 14-2 run.
The Meadows got as close as 76-72 with 4:31 remaining on a 3-pointer by Brian Fridman, but Jack Clouthier hit a 3-pointer to start a 9-0 Highlanders run.
"That team is relentless," Mustangs coach Gary Hannig said. "Every time we went on a little bit of a run, they hit a big shot."
Clouthier led Incline with 26 points, including six of his team's 13 3-pointers. Oren Porter and Alex Zissis each scored 19 for the Highlanders.
■ Incline 50, Lincoln County 42 — At North Valleys, Savannah Harr had 12 points and six rebounds, but the Lynx (14-5) went cold from the floor in the second half and lost to the Highlanders in the semifinals.
Incline (24-3) takes on Pershing County at 2:30 p.m. today at Lawlor Events Center in the title game.
Lincoln County led 29-25 early in the third before Incline closed the quarter on an 11-1 run to take a 36-30 advantage into the fourth. The Lynx closed to within 36-35 on a 3-pointer by Harr with 6:53 remaining in regulation, but Incline answered with a 9-0 spurt.
Jaycee Wadsworth finished with 11 points and 10 rebounds for Lincoln County. Kaylee Teel added eight points and eight boards, and Kayla Mathews pulled down 12 rebounds for the Lynx.
■ Pershing County 61, Needles 37 — At North Valleys, Brenna Chavez finished with 12 points as Needles (20-9) was unable to stay with the three-time defending state champions.
Needles trailed 27-22 at halftime before Pershing County (26-3) pulled away in the second half.
Daryn Plumage added seven points for Needles.
Hannah McCurley had 22 points to lead Pershing County, and teammate Melissa Gonzalez scored 19.
Contact reporter David Schoen at firstname.lastname@example.com or 702-387-5203. Follow him on Twitter @DavidSchoenLVRJ.