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June 30, 2006
Watch Some Analog Lines
The short essay film I made last fall, which a lot of people think is the best work I've done yet, is finally available for viewing - but not through my site. The film is one of three finalists in the documentary category of the SXSWClick Short Film Festival. It's up for a jury prize (which includes an automatic slot in next year's SXSW Film Festival), but there's also an audience award up for grabs, and to that end all of the finalists have been made available for download in gorgeous Quicktime HD. You can watch it streaming online, download it to your iPod, etc.
And then feel free to vote! You can vote once a day for most of July, and while I really don't feel like staging a campaign or urging people to go out of their way to send those ballots in, I certainly won't complain if the mood strikes anyone to do so. I do feel like urging people to take a look at the film, though, because I'm really proud of it, and want people to see it.
So. Without further ado, go here and watch it. And watch the other films, too.
I've submitted Some Analog Lines a few other festivals over the past two months, so hopefully it'll be showing up some more in the future.
Posted by David Lowery at 4:38 PM | Comments (11)
June 28, 2006
30,000 Feet
I'm currently en route to California and my iPod has, coincidentally, shuffled over to 'Homesick' by The Cure.
Now I've landed, but I'll have to finish writing this later. I've got to go attempt to navigate these high strung roads...
And now, one day, two meetings, one teleconference, one dentist appointment (not mine) and one mad sprint with Jim across Westwood to catch This Film Is Not Yet Rated later, I've finally got something to write about. But I'll save that for tomorrow.
Posted by David Lowery at 1:53 PM | Comments (4)
June 25, 2006
Blue Tights
Prior to the day or so before I saw it, I wasn't anticipating Superman Returns all that much. Partially because the trailers didn't win me over, but primarily because I can't claim the personal connection to Superman that a lot of folks seem to have. I had some Man Of Steel pajamas when I was six or seven years old, and I know I saw the first and third films in the original series a handful of times - but all I remember from either of them are those iconographic images that have fused the character so firmly into pop culture.
But lo and behold, Bryan Singer has fulfilled the promise of those images, and placed them within the sort of truly heartfelt spectactle that generally makes me abandon all critical faculties. I could criticize the movie, and point out its few flaws, but why should I when I so sincerely enjoyed it? Sometimes, I just want to be a member of the audience. I like being the kind of person this sort of film is made for; I love being able to love every single minute of it.
Posted by David Lowery at 2:51 AM | Comments (4)
June 22, 2006
Army Of Shadows
The first page of the press notes for Melville's lost masterpiece reads:
"Critics, Writers and Editors, please note: Army Of Shadows has never before been released in the United States. Please do not refer to it in your publication as a revival, re-release or reissue."
I knew the film had been somewhat suppressed upon its release in 1969, but I never realized that it had never made it to these shores. That it's currently showing around the country suddenly seems not so much a special occasion as a cinematic landmark. The newly struck, completely restored 35mm prints really must be seen to be believed. It's the best thing you could see this summer.
I saw it for a second time myself yesterday and, having done so, I can now admit the rather embarrassing conditions under which I first experienced it, the week before last. It was myself, Brad, James and Tony. A scorching Saturday afternoon. We arrived at the Film Forum to find a line wrapping around the block. A line for an old French film that had already been playing for a month, on a Saturday afternoon - it was a glorious sight! On the downside, the matinee was sold out, and so we purchased tickets for the next show and went off to wile away the afternoon at the least expensive watering hole in the West Village.
Three hour later, we returned, tickets in hand and ever so slightly sloshed. The lights dimmed, the film began and here I must admit: I began to doze off. Never completely, and never for any great length of time; but the resulting experience was somewhat like turning the pages of a great novel and discovering that you don't remember a thing you've been reading. I'm not proud of this fact, but I think (hope?) every cinephile can probably admit to a similar experience.
Watching it again, then, was like playing an incredibly profound game of connect-the-dots. I remember every scene, but now I understood how they fit together. And what a picture those pieces form! I remember talking to Brad after that first (invalidated) screening, and agreeing with him that it wasn't as good as Le Samourai; but it is, in fact, quite a bit better. Of the Melville films I've seen, this is unquestionably the the best. he bitter sentimentality that seeps through his normally detached style - the result of his personal involvement in the French Resistance during his youth - is terribly affecting, and all the moreso on the big screen. This is a film to see and see again - preferably while sober and fully tuned to its quiet, overwhelming power.
Girish is hosting great discussion on what Christian Keathley calls "the cinephiliac moment." A moment, in other words, that transcends its own relative unremarkable qualities to find a fixed home in the memories of cineastes (the definition can and has been broken down further). Here's a new favorite moment of my own: there's a scene in Army Of Shadows where Gerbier (Lino Ventura) must return to France from London, via a parachute. After a cold, unrestful flight that seems to go on far too long, the co-pilot appears in the hold, tells Gerbier it's time for him to go and opens the hatch. Gerbier sits there, his feet dangling out over space, the wind rushing in his face; the co-pilot waits for just the right moment, and then tells him to jump.
And he sits there. He's given the go-ahead once more, and he pauses for a few seconds more - and in that moment, right before he takes the plunge, I found one of those points of pure connectivity that, for me, define a cinephiliac moment. I've made that same hesitation myself. I think anyone who's ever jumped out of an airplane has. There's just no way you can't.
I also saw Drawing Restraint 9 again, and want to amend a previous statement. What I love about Barney's films is not just the the attention to process, but the manner in which the process is marked by both primordial order and otherworldly consequence. There's something enormously satisfying about the levels of cause and effect in his films, and in the textures and forms that comprise them.
Also: where does he get all that vasline?
Posted by David Lowery at 5:11 PM | Comments (6)
A Plane Ticket For A Song
I've been waiting for Fiona Apple to come to town for six years, ever since she cancelled her When The Pawn tour the very morning that the tickets for the Dallas show went on sale. Finally, after what has essentially been a ten year absence (I don't count opening for that popular British band I don't like), she's playing two shows in Texas in early July - and of course, I'll be gone for both of them. I'm considering the possibility of flying back just to see her play; not because I'm obssessed or anything, but just because I'm so tired of waiting. I suppose it'll all come down to whether or not I have any money in two weks.
Brad recently released an amazing EP on his net label by an artist known as adcBicycle. The full album will be released by Noise Factory later this year, but for now you can download the first five tracks for free. It's along the electronic instrumental lines of Godspeed You Black Emperor, and it's very invigorating material to listen to while writing.
Or not writing, as circumstances may be: my self-imposed deadline for finishing this script about decomposition has been egregiously overlooked. I decided to go out back and make an experimental film instead. I'm still cleaning the dirt out of my ears.
Posted by David Lowery at 4:06 AM
June 20, 2006
Gone In A Flash
One of my favorite little things about shooting on film (aside from the obvious) is going through the footage and finding the spots at the head and tail of each shot where the motor and shutter weren't quite up to speed. There's usually a flash of white, but on either side of that are one or two frames of beautiful, light-drenched imagery. Sometimes there's just a gentle flare; sometimes it's a bizarre distortion; sometimes it's a blooming blossom of primary colors that would make Jeremy Blake jealous.
It's been exactly six months since we wrapped production (for the first time) on The Outlaw Son. Half a year of post production seems sort of ridiculous for what would technically be considered a short film, but considering that I didn't get the footage processed until February, and then shot some more, and then didn't seriously begin editing until April, I guess it's okay. More to the point: I gave myself the time I needed.
And it's very nearly finished. Brad and Isabelle are going to still be mixing the sound, and I'm finishing the final touches of color correction, but the cut itself is locked, and I'll be taking it with me to LA next week in case anyone there wants to look at it. I love, love love how it turned out. For the first time with one of my film's (not counting Some Analog Lines), I don't have any excuses to make; I think I could sincerely make an argument for everything in it. And I'm sure I'll have to, at some point, but thus far, everyone who's seen it has liked it. A lot of people have really like it, and a few people have loved it.
I don't know what I'll do with it. I've got plans for the collection of multiple cuts, but those won't be done for a while. As far as my own version goes, I'm wary of submitting it to many festivals, since it doesn't adhere one bit to the general guidelines of successful short films (primarily that it be under ten minutes in length). In fact, to avoid misconceptions, I'm not even calling it a short. If people ask me, I tell them it's a short feature film. There's definitely an audience out there for it, but as I wrote in the original grant application, I'd rather not go shooting in the dark in order for them to see it. There's probably a more appropriate approach; I'm just not sure what it is yet.
Anyway. My original intention with this post was to list some observations I made during the post-production of the film. I've written them all down, but posting them here feels like overkill (if anyone's interested, I'll put them in the comments below). Instead, I've added three more scenes the website, which I will be updating someday with more text and images and a list of the other filmmakers currently working on their own interpretations of the film (and possibly wondering what the hell I was thinking on a take-by-take basis).
So. All that having been said, make sure you tune in six months from now to see if my convictions have wavered (for once, I'm thinking they won't).
I noticed that the site looks absolutely atrocious on some monitors, with the text all squished and out of alignment; this is because I'm still essentially clueless about CSS formatting. I think I fixed it, to a certain extent, but if any of you tech-savvy readers want to take a look at the code and offer any hints or suggestions, please feel free to do so.
Congrats to Bryan on wrapping his new film; and to Matt on getting an acceptance letter for one of his.
Posted by David Lowery at 12:10 AM | Comments (8)
June 17, 2006
Drawing My Own Restraints
I finally saw the new Matthew Barney film today - and there was much rejoicing. Drawing Restraint 9 certainly bears aesthetic similarities to The Cremaster Cycle, but it is far more formally rigorous in its attention to process, and in that I think it probably falls into line with its eight predecessors (which I haven't actually seen). The series is about self-imposed restraints upon the creative process, which here seems to have been generalized to include the push-and-pull process by which society, history, industry and nature reach harmonization.
I think the thing which speaks to me the most about Barney's films is that almost ontological attention to procedure. The opening scene, which documents, step by step, the meticulous wrapping of two gifts, may well be the strongest sequence in the film; it's hypnotic, certainly, and it can easily be viewed as both a prelude to and a representation of the film's themes, but what I especially appreciate about it is the sense of respect with which Barney records the process. Within the context of his films, no element supersedes another in terms of importance; once one adjusts to this perspective, the wrapping of a gift is as powerful as an evisceration with flensing knives.
One thing I'm still contemplating: what does the fact that Barney is now working with computer generated petroleum jelly say about his own processes? In a slightly trivial sense, it almost borders on self parody. Incidentally, the special effects in the film are extremely impressive - if you have the stomach to watch them.
I've been enabling all sorts of restraints against my own creative process this week. This script just isn't writing itself the way I hoped it would. It's going to be the best film I've written in a long time - if I can just get it down on paper. I was at the sixty page mark on Monday, and, somehow, I'm still there.
Earlier this week, Chuck Tryon wrote about a documentary called What Remains, about the photography of Sally Mann, which I'm now obsessed with seeing. Actually, I'm more obsessed with going to the bookstore to buy Mann's book of the same name, because the series of photographs is about the emotional and physiological process of decomposition, and as such, it contains images of decomposing corpses at the Body Farm in Tennessee. The reason this is of such interest to me is that the script I'm working on deals in part with a photographer who, in the interest of chronicling the emotional and physiological process of decomposition, visits (you guessed it) the same institute to take (what I'm guessing are) very similar photographs. I need to get in the habit of doing research before I begin these writing projects, to makes sure reality doesn't impose too heavily on some of my ideas. I don't think Mann's work will effect my story, but it will certainly help me refine it.
Posted by David Lowery at 2:35 AM
June 16, 2006
A Scanner Darkly
Talking to the Onion A.V. Club about his long awaited (by me, at least) adaptation of Phillip K. Dick's A Scanner Darkly, Richard Linklater recently said that "I think usually in adaptations, you lose the comedic. People think drama drives story, but I thought the comedy was really the heart and soul."
I think he's right about the first part: comedy ain't easy, and fusing it seamlessly, naturalistically, with a dramatic narrative is an even greater challenge. I don't think he's necessarily wrong in his interpretation of Dick's novel, either; I never saw it as a comedy - quite the opposite, in fact - but everyone's entitled to their own own. The problem with his film, though, is that, rather than preserve the spirit of what he felt was the heart and soul of the novel, Linklater seems to have assumed it would be implicit in an adaptation that isn't necessarily extremely literal, but is extremely perfunctory in all the wrong places. His script hits all the necessary story notes, but it gives precedence to the more humorous sequences from the novel in which schizophrenic undercover agent Bob Arctor is hanging out with his druggie pals, Barris (Robert Downey, Jr.) and Luckman (Woody Harrelson), riding the highs and lows of addiction. Harrelson and Downey, Jr. take naturally (naturally) to their parts, and it's fun to watch them riff off each other; it is, indeed, funny, but these scenes don't participate in the overall story the way they need to, the way they do in the novel, because when they occur, Arctor - the central character - seems to disappear into the background for distressingly long periods of time.
Cue jokes about Keanu and his acting. I've always liked Reeves, when he's in the right roles, and I think he's actually quite good as Arctor, a narcotics agent who isn't quite aware he's reporting on himself. The problem is, essentially, that his character remains a single character; the paranoid schizophrenic element of Dick's novel never become a recognizable issue in the film until Arctor's condition is explicitly explained to him (and to us). When the script finally begins to indulge in some substantial voice over narration, the subjectivity is like a breath of fresh air - but it's too little, too late. All those sequences in which Barris and Luckman argue over whether a bicycle has eighteen gears or merely nine might have benefitted from a liberal dose Arctor's perspective.
I haven't reach many of Dick's novels, and I'm not a purist by any means; but I think that while Linklater certainly understands the point of the novel, he doesn't properly convey it. Thus, at the end, when Dick's afterword from the novel is put word for word on screen - an alphabetical elegy for all his friends, most of them dead, who suffered from drug additctions - it doesn't have the impact that it should. Audiences may feel like they should be moved, but they may not know why; those who've read the book will know why, and, like me, they'll likely consider the film a great opportunity, narrowly missed.
So now comes the curious part of this review in which, after explaining why I don't think it's the success that I was hoping for, I try to convince people to see it anyway. Seriously flawed though it may be, it's certainly not a bad film; it's certainly better than everything else that's been released thus far this summer, and I've always been of the opinion that an interesting failure from a great filmmakers is still a worthwhile experience. In a more specific sense, however, it's worth seeing for the animation - and even more specifically, for the way in which the use of animaton (which, unlike that in Waking Life, seems almost like a surrealy tranparency laid over the video footage) is justified by the scramble suits. These outifts, worn by undercover agents to obscure their very existence, hide their wearer behind an array of features, visages and countenances - a vague blur made up of, in Dick's words, "a million and a half physiognomic fraction-�representations of various people every conceivable eye color, hair color, shape and type of nose, formation of teeth, configuration of facial bone structure projected at any nanosecond and then switched to the next." The way this effect has been achieved in the film is, as any one of its characters might say, completely mind-blowing. The suit seen in the trailer was a work in progress; the finished version is worth the price of admission.
A few worthwhile links, concerning the film:
- The Wired article from a few months ago, which hints at the troubled history of the film's post-production.
- Producer Tommy Pallotta's blog, which has a great entry on the style manual used by the animators, and on the animation process itself.
- An unproduced adaptation of the novel, this one written by Charlie Kaufman. I haven't read the whole thing yet, but it seems he's kept the 70s sensibility of the novel intact - something Linklater wisely changed.
- A PDF version of a Res magazine article on the film.
It was in this article that I learned that a gentleman named Nick Derrington, who I've hung out with because he's a good friend of my good friend Clay Liford (he designed the poster for Clay's film, A Four Course Meal, and just last week did some awesome concept art for Mr. Liford's next film, which I'll keep mum about for the moment) was actually the lead animator on the scramble suits.
And on the subject of connections: while watching the scene from which the image above is pulled, I thought I recognized the voice of one of those doctors, but couldn't place the face. It wasn't until the credits were rolling that I realized it was Wilbur Penn, a local actor who impressed the hell out of us with his entirely improvised performance in GDMF. Seeing animated versions of people you know is weird, especially when you don't recognize them.
Posted by David Lowery at 2:45 AM
June 12, 2006
Catching Up
- The sixty-degree weather in Chicago last week made me fear returning to Texas, but something about the encompassing vacuum of dry heat here seemed welcoming. Feels like home, I guess.
- This Thursday, Bryan Poyser is holding a fundaiser for his new short film, Best Birthday Ever (which he sarts shooting the following day, I think). For fifteen bucks, you can see Bryan's Dear Pillow and Joe Swanberg's Kissing On The Mouth back to back, and be entered in a raffle to win prizes worth hundreds of dollars (i.e. film festival passes). Buy your tickets here; and while you're waiting for your credit card to get charged, you should head over to GreenCine and read David Hudson's comprehensive review of Joe's recent work.
- I meant to review Pixar's Cars over a month ago, when I first saw it, but it completely slipped my mind until it opened this week and all the reviews reminded me of exactly how unexceptional it is.
- While driving around Waukesha, looking for the school my parents dragged me to, kicking and screaming, for the first day of 1st Grade, I listened to an old episode of On The Media with a segment on the history of the Wilhelm Scream. It was only a few days earlier that Brad and I had been discussing where we might, for our own amusement, slip a Wilehelm into The Outlaw Son...
- I used to really love Neil LaBute - I even liked Possession to a certain extent - and I still watch In The Company Of Men once a year or so. I couldn't figure out why he, of all people, might want to direct a remake of The Wicker Man, but whatever his reasoning, the trailer is pretty scary. It opens on September 1st, and hopefully will set a good precedent for a genre-rific fall (Del Toro's Pan's Labyrinth and, of course, The Fountain are at the top of my current must-see lists).
- I didn't finish any of those scripts I was hoping to finish while I was in Milwaukee (although I did start on a third one). I'm going to spend the next week finishing them up, so I can hand one or two of them to Jim McMahon when he comes to town to prep Yen's film. Yes sir, seven days of non stop writing! You'll be able to chart my procrastination by the frequency of new posts here.
- As a parting gift, I bought my grandparents the best gift I could think of: a copy of The New World.
Posted by David Lowery at 4:21 PM | Comments (1)
June 11, 2006
The Road To Guantanamo
Michael Winterbottom has never made a bona fide documentary, but he's courted the format so intensely with some of his recent films that I'm hesitant to refer to them as docudramas, or works of traditional verité. Even those that are narratively fictive (Nine Songs, Tristram Shandy) deal liberally in fact, and in the case of In This World and, now, The Road To Guantanamo, he's taken an intentional step towards dramatic indistinction. His technique has always included aesthetics commonly associated with documentary filmmaking, and while a handheld camera should not by itself imply a greater degree of truthfulness, I think he's found a formula that makes the truth implicit in his shaky images. By throwing himself - literally - into the front lines of his subject matter, by making his dramas within their actual context, he achieves the sort of urgent authenticity a retrospective documentary could not quite achieve. The deeply ingrained riskiness of his films counters the fact that they are, in fact, staged; that, on a basic formal level, they are no different than any other film that bare the 'Based On A True Story' subtitle.
In the case of The Road To Guantanamo, however, the truth is so polarized, so politicized, that Winterbottom and co-director Mat Whitecross stray a bit closer to fact. The film, an account of the treatment of the Tipton Three leading up to and during their internment at Guantanamo Bay, is a work of visceral protest, and it backs up its statement as bluntly as it can by letting its subjects - Ruhal Ahmed, Asif Iqbal and Shafiq Rasul - tell the story in their own words. Interviews with them are both the source of and the backbone to the narrative, and their first person accounts provide the film with some defense against those who will claim that the film is biased dramaturgy. It may not be objective, but at least it's an accurate source.
Although I think, for that very reason, that it was a wise decision to include the interview footage, it has the odd effect of rendering the reenactments that make up the majority of the film less effective. They are often harrowing, and brilliantly executed, but there's no need to suspend disbelief - there's no disbelief to suspend - when the line between the real men and the actors playing them is so clearly established. As far as polemical purposes go, this isn't necessarily a problem; the film is properly infuriating, and does what Winterbottom intended it to do very well. But I'm not sure how much it has going for it beyond its immediacy and, subsequently, its historical value. In fact, as of this very moment, the film is already overshadowede by its own subject matter.
While I was watching The Road To Guantanamo, I kept thinking about Paul Greengrass' United 93, which blurs the same lines that Winterbottom does, but in different ways. I didn't write about United 93 when it came out because I wasn't sure there was much to be said; it's a great film, but its greatness is commemorative, self-encapsulated, and isn't sustained much longer than its own running time. What has stuck with me in the weeks since I saw it, though, are the sequences in ground control. While the drama in the skies was assumptive, everything in the control rooms can be traced to actual records; adding to the impact of these scenes is the fact that many of the actors in these scenes are playing themselves (in particular, Ben Sliney, the director of operations for the FAA on 9/11, emerges as a hero both of the film and the day itself). This casting is not merely meta data; it makes reality an intrinsic element to the film, in the same way that Winterbottom's technique brings such veracity to his pictures.
That veracity is somewhat mitigated in The Road To Guantanamo (imagine if United 93 had been punctuated by similar interviews). On the other hand, Greengrass' film had little to offer aside from its own experience, and The Road To Guantanamo subjugates experience in favor of application; it is designed to open eyes, to make an impact, to inspire an immediate need for change. And in that sense, in the here and now to which it is bound, it is Winterbottom's most important film. It leaves no question that there's something rotten in Guantanamo Bay, and when it's over, we're left to reflect not on the film but on the reality it represents.
And it works. Immediately after watching it, I got in my car, tuned on the ignition, and was met with the reports breaking across the BBC of the three Gitmo prisoners who hung themselves. I listened to the press statements of the US officials, and I questioned every single word.
Posted by David Lowery at 1:39 AM
June 10, 2006
On the plane this evening, I read Gabriel Garcia Marquez's Memories Of My Melancholy Whores while the woman sitting next to me perused the chapter on Sexual Morality in C.S. Lewis' Mere Christianity.
That's all I feel like writing for the time being.
Posted by David Lowery at 1:31 AM | Comments (2)
June 4, 2006
Heave Away
A rare instance of connectivity this weekend finds me with nothing much to report, except that I've been watching the first ten minutes of Beau Travail over and over again.
I miss my dog.
Posted by David Lowery at 6:12 PM | Comments (3)


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Application architecture and process design essay
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Application architecture and process design essay
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White Horse District Klondike Derby
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Australia Law
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Vintage 8" Gingher Chrome Dressmaking Scissors, Made in BrazilOne side of the scissors is marked "for store use only"In great condition, still sharp, with a secure center screwScissors have a few scratches expected with use and vintage items(Box and sheath not included)***Shipping cost is an estimate, your actual shipping may be higher or lower as determined by your location.***
ISpyThriftandSalvage is not responsible for lost or damaged packages unless insurance upgrade has been agreed on prior to a purchase.-----This shop is not shipping internationally at this time. Sorry for any inconvenience.--- If the package is insured at your request and additional cost, you will be responsible for claiming the refund with USPS, I will email you the tracking info.If your item has been damaged in shipment, and If it was sent priority (sometimes I send priority even if you did not pay for the upgrade so check with me) the post office will pay for the damage up to $50.00 If your item was damaged, please :1. Save the original packaging.2. Contact me for shipping information.3. Contact post office if your item was sent priority.If it was not sent priority I am sorry but there is nothing more I can do. Shipping includes cost of physical packaging (boxes, bubble wrap, etc). But I do my best to reuse and recycle packaging as often as possible to keep the price of shipping low.If you are making more then one purchase at the time, email me for the combined shipping fees I will make necessary adjustment when and if it applies.*****************************************I reserve a right to cancel a transaction due to unexpected circumstances.Please feel free to email any questions !
Direct Checkout through Etsy are the preferred methods of payment.
Refunds and Exchanges ALL SALES ARE FINALWe do not issue refunds or credits. We due our best to accurately describe and photograph all items for best representation. All items are used vintage items according to Etsy policy. Any signs of wear on a item will be noted in the listing description. Please do not expect any item to look new, they are all antique or vintage and will show appropriate signs of age. If you have any questions, please ask prior to purchasing. If an item is damaged in shipping and is insured, we will work with you to resolve the issue and obtain any refund due from the carrier. I recommend insuring all items, since most items will be single listings.Please ask questions before you place your order if you're not sure about an item or if you would like more pictures emailed to you.If you have a problem with an order, please contact us and we will do our best to resolve the matter. I want you to have a good shopping experience!


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Choosing the best spot for your new aboveground pool is a decision that you'll live with for many years. Moving an above the ground pool, once it is installed, is more work than originally installing it, so it's best to make sure that you'll never have to move the pool.
I'm an old inground pool builder, but I've installed many aboveground pools also. Although there's a lot less digging involved, preparing the ground does involve considerable work, with shovels or a Bobcat - to level the ground and prepare the underlying soil for a very heavy pool.
Aboveground Pools are Heavy
Did you know that just the water alone for an 18' round pool weighs over 60,000 lbs!?! A huge amount of weight to put on unstable soil, unlevel ground, or near sloping hillsides.
Unstable soil: The best support for a pool would be soils that are not too loose. Very sandy or silty soils, along the shore for instance, can slump or shift under the weight. Backfill makes a poor support under the pool, which is why you should always dig down the high side to make the ground level, instead of adding sand or soil to the low side to build it up.
Unlevel ground: The best spot for your pool may not be the most level spot on your property, but before you begin construction, absolutely level ground is very important. If the pool is off by even 1", that puts more weight on the low side, and this uneven weight distribution can sink the low side even further, or could lead to wall stress and buckling of the uprights.
Sloping Hillsides: Obviously you should avoid building next to a slope, because the weight of the pool will acccelerate the natural ground creep. The same applies to having a hillside behind the pool. If your backyard slopes up or slopes down, you should have at least 20 feet from the pool to the start of any slope.
Aboveground Pools are Big
Well, that's a relative statement - relative to the size of your backyard that is. People are often surprised at how big a 24' round pool is, for instance, once they install it in the backyard. If your lot is small-ish, your aboveground pool location may be affected by setbacks, easements or drainage patterns.
Setbacks: Every residential property has some type of restriction on how close you can build to the property line. It can be 5', 25' or 50' - you'd have to check with your local department of Building and Zoning to find out the setbacks on the side and the rear of the property. Ignore the setback completely, and a nasty neighbor may report you!
Easements: Most properties have some sort of easements that run along the sides or rear of the property for utilities that cross over your property. There are also many other types of easements, that a property could have; usually these are shown on the property plat, if they exist. Construction is normally prohibited on an easement, without proper permission from the easement holder.
Drainage: Again pools are big - and if your backyard is small, this can dramatically change the way that storm water runs off the property. You do not want water to get stuck up against your pool walls, and every installation needs to consider how to direct the water around the pool, by grading the land, installing drains, or raising the pool on compacted fill.
Safety - Maintenance - Convenience
As for any pool, location of the pool should consider safety and maintenance concerns for the family and neighbors. You want the pool to be safe, and you do not want to spend more time cleaning it than you have to. You also need good access to power and water, and your pool equipment, for convenience's sake.
Pool Safety: The pool should be located so that it's visible from the house, from as many windows as possible. The pool ladder should be lockable, or if you have a surrounding pool deck installed, this also needs to be fenced and gated. Locate the pool away from any trees, structures or equipment that could be used to climb over into the pool.
Pool Maintenance: Trees near the pool? I would advise against it, not only for the tree litter that you'll battle all year long, but for the damage that roots could cause to the floor and bottom rail of the pool. And, if you want a warmer pool with less man-made heat, find a spot that gets at least 6 hours of direct sun per day.
Pool Convenience: You'll often need to add water to the pool, or use the hose to clean the filter, so having one close by is nice. The pump will need power, and you may also need power for underwater lights or salt generators. Installing a GFCI outlet near the pool equipment is recommended, rather than stringing power cords across the yard. do not install a pool up against a fence, you want to be able to walk around the entire outside of the pool, for easier cleaning. You also may want the equipment and the pool itself at a convenient location from the house, so you do not have to walk 50 feet to get there.
~ To sum it all up - choose a sunny location, away from trees but close to power and water. It should be visible from the house, and not encroaching any setbacks or easements that may exist. The soil should be fairly solid and compact-able (or you can lay down a new base). Drainage is very important, especially if you have a hillside near the pool. And do not forget to measure - you should have enough room to easily walk around the entire outside of the pool.
When you've got the size and location selected, and after you've checked with your local building and zoning for any permits or safety equipment that may be required - you can visit our Aboveground Pool Builder, to select the best aboveground pool package for your location.
Larry Weinberg
SPP Pool Expert


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Get into the holiday spirit with a hands-on opportunity to make your own set of letterpress & screen printed cards. Learn the basics of these two separate printing styles while you create your own unique designs by mixing and matching letterpress seasonal sentiments, set in antique lead typefaces, and screen printed wintery and holiday images. During the workshop you will print 24 cards just in time to send your loved ones a handmade message. Expect to get your hands a little inky! No experience is necessary. All materials and supplies are included $95
I will be teaching this class collaboratively with Susan Porteous of Green Bird Press. Both Susan and I are Workhouse Studio Artists and are excited to share their enthusiasm for printmaking with you.


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M+ Rover 2016-17
- M+ Rover 2016-17
- M+ Rover 2016-17
- M+ Rover 2016-17
- M+ Rover 2016-17
- M+ Rover 2016-17
- M+ Rover 2016-17
- M+ Rover 2016-17
- M+ Rover 2016-17
- M+ Rover 2016-17
- M+ Rover 2016-17
M+ Rover 2016–17: Travelling Creative Studio
M+ Rover: Travelling Creative Studio is the first major free school outreach programme organised by M+ since 2016. The 8 metre-long customised trailer is a pop-up creative studio that tours to secondary schools and community spaces during the academic year, from February to June 2017. Schools receive an original M+ teaching pack, which expands upon the creative spirit of M+ Rover.
M+ Rover is like a space expedition to an unknown planet, taking students into uncharted creative territory. The programme emphasises participatory art practice; students and artists collaborate. This experience of contemporary visual culture encourages interpersonal interactions, dialogue, and exploration of the possibilities of the creative process.
M+ Rover features an exhibition that evolves as it travels from school to school; students contribute to the ever-changing and evolving show. The exhibition is open to all students on the activity day; participating students can also visit community spaces with M+ Rover and initiate a dialogue with the public.
Each year, M+ commissions cultural practitioners—artists, architects, designers, photographers, and filmmakers—to participate in the programme. In 2017, we are collaborating with local illustrator and comic writer Rainbow Leung. For more information about M+ Rover 2015–16, please click here.
Since 2012, the M+ Learning and Interpretation team has devised a number of educational initiatives for the Mobile M+ exhibition series that targeted teachers, students, teenagers, families, and those with special needs. This year, the team launched two programmes—M+ Summer Camp 2016 and M+ Rover 2015–16. For information on previous programmes and learning materials, please click here.
Applications for M+ Rover 2017-18 open in September 2017. A teachers' briefing session will be held on 29 September 2017 for secondary school teachers interested in learning more about the programme. As places are limited, please register in advance. Find out more here.
REGISTRATION NOW For BRIEFING SESSION
Programme Details
February to June 2017
Target Participants:
Secondary students
Participating secondary schools and various communities in Hong Kong
Cantonese or English
Free of charge
Resource Pack:
M+ provides a resource pack introducing the participating artist and his or her work to secondary school teachers to prepare students before the M+ Rover visit. After the visit, this pack can help initiate discussions and related activities, serving to enhance the student experience. This resource pack collection is enriched as M+ Rover commissions different artists each year. Teachers at non-participating schools may use the pack for research and lesson planning.
Email: firstname.lastname@example.com
Fax: 3755 0105
Enquiries: 2200 0041
See also
M+ Rover 2015-16
17.03.2016 to 16.07.2016


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The Foreign Minister was the Solarian League's cabinet member in charge of diplomatic relations with other star nations. The Minister's deputy was the Permanent Senior Undersecretary for Foreign Affairs, who was the de facto head of the League's diplomacy. (SI2)
Known Foreign Ministers Edit
- Marcelito Roelas y Valiente (1921 PD)


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Graphic Artists outsource your projects to WorldZOO
The beautiful graphics are done; now you need programming, content management system, App development, shopping cart help, and more. WorldZOO has been working with graphic artist for nearly 10 years. We often take their completed graphic designs and makes them into beautifully coded live working Websites. Often our graphic artist partners need shopping carts, databases, and other technological components to their client Websites. WorldZOO provides outstanding programming and Web development work to compliment design. Sounds interesting? Feel free to chat directly with our Founder Alex about the possibilities by emailing email@example.com.
WorldZOO delivers high caliber work on time and on budget allowing us to focus on what we do best. We really enjoy working with their team. Julia V, Principal / Graphic Artist


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The French based automaker Renault is planning to develop a crossover based on the Laguna model which might hit the market in 3 years.
According to the British automotive journalists at autocar.co.uk, Renault is taking into consideration making a new model, which will come as a crossover based on the popular Laguna. Our source is also telling us that the new Laguna might be styled into a new direction pretty soon, but this decision will be taken in the next three months. If the Renault officials will give the green light on the Laguna crossover, the new model might hit the market in 3 years, but it will be radically different from the current car.
"If the next-generation Laguna is the same as the current one, then there's no way it will be a success in the UK. We are still thinking of a new kind of a car, possibly a crossover", as the Renault UK boss Thierry Sybord, told autocar.co.uk.
Sadly we don't have any extra details on the Laguna crossover which might hit the market in the nearby future, but the French officials will definitely tease it ahead of its debut. As a reminder, the Renault Laguna is a large family car made by Renault, being launched in 1993. The second generation of the vehicle came in 200 and the third generation went on sale in October 2007.


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My family and are pet stayed at the Staybridge for three months, while waiting for are house to be built. We had the most memorable stay! The staff was so down to earth, caring and helped make us feel at home and a part of the community. The GM can be seen at 7am or 7pm, I thought at first she lived there, however as I got to know her,I found out she was devolved to make sure the hotel was running perfectly! And it is! The entire team at this hotel has what it takes to insure a positive memorable experience! This is a clean, well run, friendly hotel, that my family will never forget! We even cried when it was time to check out. Thank are new neighbors, Staybridge Suites! We will never forget your kindness!
- Official Description (provided by the hotel):
- The Staybridge Suites Quantico offers 83 guest Suites and is proud to feature complimentary wireless and hard-wired high speed internet access, Large High Definition LCD Flat Screen TV's, full size refrigerators, dishwashers, stove top cooking, fully stocked dishes silverware glasses, microwaves, hairdryers, coffeemakers and iron and ironing boards in all rooms. The property offers an indoor pool, as well as an on-site fitness center. For all your office needs, please visit our business center which offers as an added amenity complimentary printer and fax service. The hotel offers complimentary deluxe full breakfast daily. ... more less
- Reservation Options:
- TripAdvisor is proud to partner with IHG, Booking.com, Orbitz, Hotels.com, Expedia, TripOnline SA, Travelocity, Cancelon, Cheap Tickets, Hotwire, getaroom.com and HotelQuickly so you can book your Staybridge Suites Stafford reservations with confidence. We help millions of travelers each month to find the perfect hotel for both vacation and business trips, always with the best discounts and special offers.
- Also Known As:
- Staybridge Suites Stafford Hotel Stafford


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We understand learning an instrument can be a daunting task, especially when trying it out with a young child. That's why we offer rentals and rent-to-own programs so you can trust in the fact that you are helping grow the learner's musical education. Without being saddled by cost if things don't work out.
For more information please call: 1-800-755-4071.
Or to request more info, fill out our form.


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Brochures Research & Insights
Towards 2017: Better Work Phase III Strategy
Promoting Good Working Conditions Across the International Garment Industry Sixty million workers across the developing world rely on the garment industry for their livelihoods. Of these, eighty percent are female, many of whom have migrated from rural areas and are entering the formal workforce for the first time. While factories are a valuable source of […]
Improving Working Conditions & Competitiveness in Global Supply Chains
Better Work is a unique partnership programme between the International Labour Organization (ILO) and the International Finance Corporation (IFC) that aims to improve both compliance with labour standards and competitiveness in global supply chains.
Better Work External Training Course Description Package for 2013
Better Work offers training for all levels in the factory: Management Supervisors Workers This course description package provides detailed information about Better Work's specialized training courses created specifically for managers, supervisors and workers in the garment industry. For information on upcoming course offerings in Better Work countries, please visit our country programme websites.
Better Work and International Buyers
Multinational corporations are increasingly concerned about labour standards in their supply chains. Poor labour law enforcement capacity in countries where suppliers are located has resulted in multinational buyers themselves auditing working conditions in factories, often duplicating the same auditing efforts against different codes of conduct. This is expensive, inefficient and frustrating for everyone involved.
Better Work and Government
Better Work supports enterprises in improving their labour practices based on core ILO labour standards and national labour law. In addition to helping enterprises compete in global markets where many buyers demand that suppliers comply with labour standards, Better Work also contributes to social dialogue and strengthening labour administration in its country programmes.


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This image is for illustrative purposes only. The colors shown are accurate within the constraints of lighting, photography and the color accuracy of your monitor.
The MacRae Wilson Side Table is available in the New York, NY area from Lee Jofa New.
Previous Search Results
Additional Information:
Description Wilson Side Table
Specifications Shown in ebony. Also available in fruitwood and walnut.
Brand MacRae
Designer Robert Brown
Collection New Styles
Type Tables
Height 24"24INH
Diameter 21 1/2"21 1/2INH21 1/2INH
See an error on this page? Please report it so that we may correct it.
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This item has been discontinued by the manufacturer, or please describe the issue:


text: Waterfront living at its finest, This property offers exceptional value offering all that Sarasota is famous for, at an extremely reasonable price – This will not last long. This home has direct access to the bay and has sailboat water right at your back door. It is just minutes from the famous intracoastal water way, offering some of the best boating available in the USA. There are no fixed bridges between this property and the Gulf of Mexico, making this location a boaters dream home even fit for sail boats. 3 bedrooms, 2 bathrooms and is just minutes from Siesta Key Beach, the #1 beach in the USA. This home has lots of potential with a large living space and a wood burning fireplace, which is hard to come by in Florida. There is a very large bonus room right off the kitchen and has beautiful french doors that lead to an outdoor living space equipped with a hot tub/spa. Large lot with space for a pool. The location of this property is amazing. It is centrally located perfectly. It is close enough to the beaches, the malls, restaurants, downtown living, etc. Make an appointment to come see this property before its gone!!


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Features & Specs
This super-compact, go anywhere smartphone stand makes shooting and viewing a snap on any surface. Built to keep your phone upright in any situation, simply stash this lightweight rig in your pocket and GO.
- Universal smartphone compatibility, with or without a case
- Quick, in-and-out access to phone via spring loaded grip
- Lightweight, portable design folds to fit perfectly in your pocket and can attach to any key ring or camera bag (lanyard not included)
- Machined aluminum mini-ballhead provides precise composition control
- Rubber foot grips stabilize phone on uneven surfaces
- Rubber mount pads securely hold phone at any angle
Designed for:Large Phone, Small Phone
Dimensions and Weight:
|Product Dimensions:
|3.4 x 1.8 x 8.5 cm (1.34 x 0.71 x 3.35 in)
|46 g (0.10 lbs)
|Packaged Weight:
|68 g (0.15 lbs)
|325 g (0.72 lbs)
Connection Point:
1/4"-20 standard tripod mount
ABS Plastic, Aluminum, Nylon, Silicone, Stainless Steel, Steel, TPE, Zinc-Aluminum
Hello, I want to purchase Micro Stand with Tripod, but there is no option to ship it to Ukraine. So...can you sent it to Ukraine, it is possible? ^^ Waiting for you response Thank you
email firstname.lastname@example.com or email@example.com I can help you.
Date published: 2017-06-24
I tried my google nexus 6p in this holder yesterday and it didn't fit. You claim it opens to accomodate a large cell phone of up to 91mm. My phone is 77.8mm. What gives here?
I think you may have ordered the Griptight Regular verses the Griptight One. Makes sense because the regular opens up to 72 mm max and the Griptight One 91mm. Contact Joby at firstname.lastname@example.com or call 707-827-4064
Date published: 2017-06-15
Can this attach to a small GorillaPod should I need to use what i have instead of the solid leg tripod.
I think your asking if the GripTight can detach from the Micro stand "solid tripod" and attach to another Tripod? If so, yes it can.
Date published: 2017-06-15
56 to 91 mm phone size? I've just brought one brand new and it will only hold up to 80 mm. I can just about squeeze my iPhone 7 plus, however in doing so it bends the holding parts and doesn't hold it stable for my liking.
Contact Joby at email@example.com, we will replace Griptight Mount It should hold between 56 to 91 mm.
Date published: 2017-05-16
Can this hold the phone in the portrait orientation?
Kind of... I have this item. I found if you don't extend the top grip it will sit on the bottom fingers, but with not much security from falling to the left or the right. So you need to use caution when swiping. I use it to read and found this works (with care). Its almost leaning up on the stand about an inch off the table. The bottom fingers have the rubber grip so there is some stability. Hope this helps!
Date published: 2017-03-30
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Item Note:
This product has been discontinued but may be available as a Open Box item.
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An 8-channel mixer with integrated FX, 15" PAs, dynamic mics, cables, and speaker stands.
This live sound package includes:
1 Mackie ProFX8 Professional Compact Mixer (see SKU#500316)
2 Harbinger APS15 15" Powered PA Speakers (see SKU#609806)
2 Audio-Technica M4000S Handheld Dynamic Microphones (see SKU#271310)
4 Gear One XLR Microphone Cables - 20' each (see SKU#339877)
2 Musician's Gear All-Steel Tripod Speaker Stands (see SKU#J01627)
An excellent starter setup with a little extra punch for live sets. Order now!


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Startups and Students: A match made in heaven? Why graduates should make the jump
Jack Holmes makes the case for joining a startup as a graduate - '...if you like beer, the Internet and lots of parties joining a startup could be for you... ...startup life isn't for everybody and many prefer the security and routine that comes with working for a traditional company. For those who get hooked however, you'll never go back'.
Take a minute to consider whether that corporate training scheme is really the best option. If you like beer, the Internet and lots of parties joining a startup could be for you.
Popular media will have you think it's a relatively bleak time to be a student. Soaring tuition fees, lack of prospects, high unemployment among graduates are commonplace in the headlines. Some truth can be found in these stories, however for students with a bit of gumption, a bit of get up and go, who aren't afraid to explore paths not taken by the masses. Great rewards can be found. Whoever said a corporate training scheme was the best way to go? A job at IBM, Microsoft and the like used to part of my ambitions. Today the thought of working for those corporate giants strikes dread within me. Yes
I've caught the startup bug and so should you.
There are a bunch of reasons why you'd work at a startup:
You're an integral part of the company. Within the corporate world as an intern or fresh graduate it's really difficult to make a big impression. You can shout all you like and the small team around you may listen, but getting to the actual decision makers takes time. You have to navigate the political minefield of corporations and the biggest challenge is finding people who actually care. Too many of their employees turn up at 9 and go home at 5:30. During the day they'll do as little work as possible, anything new or different is shied away from. Change means effort and unfortunately not many people like putting in the extra effort.
Startups reflect completely the opposite. Turning up and doing as little as possible, not creating new opportunities or challenging the way things are done will get you nowhere. A world where your opinion counts as much as the CEO's is the type of environment where you can make a real contribution from day one. Bringing a level of responsibility you'd never be offered in a corporate and the feeling that the company is relying on you to make the right decision and not mess things up. At some point, or multiple points you're going to mess up or make a bad decision and because you're in a startup this matters. The biggest thing you'll learn at a startup however is not to be scared of this. Failing is part of startup life and joining a startup will teach you to fail fast and fail often. The only thing to be scared of about failure is not learning from your mistakes. Learning is the one thing you'll do most in a startup, and you'll do a lot of it, very fast. Personally I've learnt more from working at a startup for six months than in my degree.
Culture is the single biggest concern you should have when choosing your employer. Too many students are obsessed with the pay and the brand reputation of the company. Sure being able to say you work for Apple may impress a few people in the pub but neither of these matters. More important is that you find a group of people who you can put up with all day, and most nights. If you can find a group of people you can have a laugh and a beer with you'll work with them just fine. Startup culture involves a lot of beer, takeaways and hard work. It's fun, you'll meet some great people and know where all the best takeaways are but you'll also be working long hours. Startup work is more of a way of life than a job. Being a student and working for a startup actually merge quite well together.
Pay is a hot topic in the world of interning let alone at companies with no spare money around. Organisations such as Intern Aware will lead you to believe not paying interns is just as terrible as shooting them. This is of course absolute rubbish. I've done my share of internships from small companies to global brands. Some have been paid, some pay expenses only and the one I did with a major cellular network didn't pay a penny.
How dare they demand I work for them with no pay, I was doing the same job at the same quality as people earning proper salaries. In truth that internship cost me around £500 in fuel and buying lunch. I could have spent less by using public transport and bringing my own lunch. However that internship introduced me to the world of digital products. I met some awesome people who built digital products and I learnt that was what I wanted to do. I'm sure if you ask someone who doesn't know what they want to do with their life: "For £500 if I told you what job will make you want to get out of bed every morning and not go to sleep till 3am each day would you pay?" I happen to think most people would.
In essence getting paid should be a bonus. If you're willing to do the job for free you know that you've found a great job. I was never expecting to be paid, with very limited experience, no connections and no reputation you are a risk. Therefore to make that risk worth wile you wont get paid as much as someone with experience. Although it doesn't take long to get that experience, which if your current company aren't, someone will be willing to pay for.
How to get a startup job
Job hunting in tech startups is quite different any other industry. Forget everything you've been taught at university about assessment centers and preparing for interview questions like "what makes you a team player" or other pathetic interview questions. Chances are you'll meet up for a beer or coffee, chat about what you're into and what interests you. You'll probably meet the team and if they all like you then you're in. Don't be expecting any fluffy inductions you'll be in at the deep end and doing real work from your first day.
Steps to getting a job at a startup.
First off you need an online presence, you can't expect to get a job in the internet if you don't use it yourself. Twitter, blog, LinkedIn are the basics anybody looking to break into the space require. If you don't have these, go set them up. Now.
Next get yourself known within the industry. Go to the big conferences, a few have popped up in London this year. Yes tickets are pricey but there are ways around that. Student tickets are often available at discounted rates or for free. Alternatively these events usually have volunteer positions. In exchange for a few hours helping setup, do registration or direct people to the toilets you'll get a free ticket to the event. Small events are constantly happening, use meetup and lanyard to track when these events are happening and who else is going. Pick the people you want to meet and make sure you have a great conversation with at least those people. Don't forget to tell them you're looking for work.
Networking is the fastest and most effective method of getting into a startup. Going out and meeting people, talking about what you're doing and looking for will get you so much further than a pleasantly worded covering letter. Brian Wong CEO of Kiip once said the application form on his site is a trick, they don't hire anyone from those applications. It's the people who get out, meet up with the team and get their introductions that way.
Working at a startup is great fun and hard work. Take the student life style and input real hard work everyday. Startup life isn't for everybody and many prefer the security and routine that comes with working for a traditional company. For those who get hooked however, you'll never go back.


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A charming little memento, this porcelain accent dish reminds any mom is glistening gold, 'You Make Mom Jeans Look Good'.
3.5" W x 3" L
Arrives in Giftbox
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EvaScarletModel Female Los Angeles, California, US
My Website: Official Website of Actress Elizabeth SekoraMy MM URL: http://www.modelmayhem.com/elizabethsekora
Mayhem # 656962
About Me
My name is Elizabeth Sekora, and I am an actress and classically trained operatic soprano with 27 years of performance experience.
After living and performing for nearly 8 years in Las Vegas, I finally made my way out here to LA in 2011. Now that I'm here, I'm very interested in collaborating with more LA photographers, as well as continuing to meet lots of oddly creative people who are working passionately on lots of oddly creative things...
Have you worked with EvaScarlet? Add Credits for EvaScarlet! >>
Credit Notes
Haoyuan Ren #534181
Francesco Cura #301166
Juhn Kwon #1257880
Michael Falco #418076
Harold Pasion #708096
Jason Ing #864937
Mario Santos #721431
Scott Doctor #592665
Nicole Fuchs #367314
James Tanksley #396381
Skip Nelson #785486
Kelli Andino #794486
Cherian Thomas #773669
Kristi Lostak
Jason Lockhart
Kevin Becker
Aisha Riggs
Adrian Gutierrez
Douglas King
April Marks
Angie Simpson
Robert John Kley
To all photographers and MMers...
Liz Sekora is an absolute joy to work with and she is the ultimate professional. Not only is she beautiful but she makes everyone she works with better. Thank you Liz for all the hard work and for putting up with my idiosyncrasies. You rock and anyone would be lucky to work with you!
-Mario Santos
Liz was an absolute pleasure to work with. Full of life and ideas, it was easy for us to conceptualize and then realize what we wanted to have the end result be. I highly recommend working with her.
-Michael Falco
I have had the priviledge to work with Elizabeth on two different occasions. Liz brings a professional attitude to the set and a determination to get the job done. She takes direction well and works hard to make sure that we got the shots that I wanted. Her training as a singer and performer accentuates her modeling ability. I highly recommend her.
Skip Nelson
The CinCity Project
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Lees Summit MO Real Estate & Commercial for Sale
9 Properties Found
The median home value in Lees Summit, MO is $240,000.
This is
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The national median home value is $185,800.
The average price of homes sold in Lees Summit, MO is $240,000.
Approximately 71.59% of Lees Summit homes are owned,
compared to 22.66% rented, while
5.75% are vacant.
Lees Summit real estate listings include condos, townhomes, and single family homes for sale.
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Courtesy: Integrity Group Real Estate
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Executive setting in brick professional building. 2 office spaces or one office and one conference room. Open area perfect for classroom, bull pen, or cubicles. Large kitchen and private parking lot. Priced to lease "as-is."
Courtesy: Realty Assests LLC
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Beautifully maintained Business complex with convenient parking located one block south of McDonalds at Chipman and 350 Highway. Owner will tenant finish for 5 year lease with all cost included at $18,00 per square foot. No pass thrus or CAM's
Courtesy: Pride of America Realty
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Endless possibilities with this completely rehabbed property. All the hard stuff has been done including roof, HVAC, electrical, plumbing, windows, water and sewer line. 2 blocks from downtown. Money making potential here. Zoned TNZ so it could be converted to complete commercial in future. Perfect for the small business owner that wants a storefront from home! Owner/Agent
Courtesy: Midwest Property Resources LLC
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Extremely Limited & Desirable Zoning, PRO-Planned Residential Office (confirm zoning/use w/City). Endless Possibilities w/ This Prime Location Property on Direct Route to Downtown LS. Place your Office Here for Easy Access, & Great Visibility! Current use is SF home, but has been Office in Past. Int. Open Layout M/Options Great Reception Area, Two Large Rooms for Private Offices, one with Private bath. Full Kitchen, 2 Car Garage could be storage or converted to office. Full basement. Some TLC needed
Courtesy: Integrity Group Real Estate
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Excellent office building w/ convenient location &excellent highway access. Stable tenants occupy half the building leaving 3200+ for an owner occupant or for lease. Great condition including updated paint, carpet, trim, bathrooms, and numerous new HVAC units. Ample parking for any need. Perfect for medical, insurance, accountant, and more. Lease option is $15 per sq ft gross lease.
Courtesy: Keller Williams Legacy Partner
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Executive Suites. Full Service Lease. Occupied by the owner who has his Law Firm in one of the offices. Two offices available, together or individually. VERY NICE office space with shared amenities. Flexible owner. Great price!!
Courtesy: ERA McClain Brothers
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Wide Open Retial Space in Historic Downtown Lee's Summit. Located in the Central Business District.
Courtesy: Integrity Group Real Estate
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Incredible opportunity in the heart of downtown Lees Summit. Twenty or more parking spaces on this property. 5720 sq ft to remodel into office or retail.
Courtesy: Home Sweet Home Realty
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3 buildings, one great price! 5,000+ sq ft building, 1.200 sq ft second building, 4 stall storage/workshop! You move in, they move out! Cheaper than any strip mall rent w/offsetting rental income! Own a piece of 7 Hwy frontage blocks N of 7 Hwy/Colbern Rd. 38 spaced in lot w/more by storage building. 1.3 acres! High visibility, unincorporated Jackson Co, means NO CITY SALES TAX, no city smoking ordinance, no city licenses. Frontage 149.6', Depth 282'.
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Poll: Finland: Uke or Seme? Vote Now!
Author has written 29 stories for Prince of Tennis, Hetalia - Axis Powers, Criminal Minds, Harry Potter, Losers, Avengers, K, and Attack on Titan/進撃の巨人.
Name: Thantos
Age: 18
Gender: I'm named after a GOD... what do you think?
Hair color: brown
Eye color: depends what contacts i feel like wearing
Nationality: British
Favorite Color: black and purple
Favorite Genre: horror, suspense, angst, tragedy, etc... romance can be good too...
Favorite Music: anything that's not crap (er i mean rap) and american pop shutters
I'm gay, I like yaoi, and I'm married to the greatest guy in the world. I like Prince of Tennis because I think Eiji's HOT (don't like me saying an anime characters hot, get over it), I like Yu Yu Hakusho because Hiei and Jin are SEXY AS HELL, I like MAR because Phantom and Roland are perfect for each other, and Death Note because Light and L are the best freakin' pairing ever.
I write as I feel and if it's too hard to handle that's not my problem. I like writing fanfiction because it saves the hastle of creating your own characters and yaoi needs to be more apparent.
Famous Quotes That are Awesome
A brilliant writer once said, "My inspiration is what I feel. When I've lost inspiration, I've lost everything. To feel is to live. Without Inspiration I am nothing, but a hollow shell."
Freud once said, "There are no accidents, only impulsive actions that were not planned."
Edgar Allen Poe once said, "I became insane with horrible, long intervals of horrible sanity."
Thomas Gibson (as Hotchner) once said, "I believe we all have the ability to kill, it's only more apparent in some."
Ron White said, "We're all gay, some of us are just more proud about it." (Like me XD)
TheEvilMuffinToaster once put on her profile, "When life gives you lemons, shut up so I can read them."
Thomas Gibson (as Aaron Hotchner) once said, "Sometimes there are no words, no clever quotes to neatly sum up what's happened that day. Sometimes you do everything right, everything exactly right, and still you feel like you failed. Did it need to end that way? Could something have been done to prevent the tragedy in the first place? Eighty-nine murders at the pig farm, the deaths of Mason and Lucas Turner make 91 lives snuffed out. Kelly Shane will go home and try to recover, to reconnect with her family but she'll never be a child again. William Hightower, who gave his leg for his country, gave the rest of himself to avenge his sister's murder. That makes 93 lives forever altered, not counting family and friends in a small town in Sarnia, Ontario, who thought monsters didn't exist until they learned that they spent their lives with one. And what about my team? How many more times will they be able to look into the abyss? How many more times before they won't ever recover the pieces of themselves that this job takes? Like I said, sometimes there are no words, no clever quotes to sum up what's happened that day. Sometimes, the day just... ends."
Derek Morgan, "Ok, buddy, make a wish."
Spencer Reid once said, "I don't believe that intelligence can be accurately quantified, but I do have an IQ of 187, an eidetic memory and can read 20,000 words per minute. [gets a weird look] Yes, I'm a genius."
A wise man once said (my dad), "You have good friends, the kinds that will bail you out of jail, and then you have great friends; the kind that sit beside you in a jail cell say, 'Fuck we messed up, but damn did you see that explosion?' However, a true friends the kinda person you can sit down with in comfortable silence and read a good book with."
Requests List:
1. AustriaXSwitzerland
2. RussiaXCanada
4. RussiaXLithuania
5. FranceXCanada
6. PolandXLithuania
All rated M stories will take a little longer than should be, even I agree with that. It's not my fault I'm a guy that likes it and reacts as such!


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Re: [Pali] Translation problem # 3 SN XII.23
Expand Messages
- Dear Rene,
I will respond below.
rsalm wrote:
>1. avijjaa and upanisaa are nouns, both feminine. The ending of the first word has been elided, as is normal in compounds, and it must be determined from the context if 'upanisaa' is either (a) nom. sg. fem; (b) nom. pl. fem.; or (c) nom. pl. masc. agreeing with sa'nkhaaraa (in a bahubbiihi).Exactly. Context is key here. It makes it easier to see this point by
looking to the rest of this passage in which my previous example of
"sa.laayatanuupaniso phasso" occurred, because it gives an immediate
clue that something is clearly different than the usual declension of
"upanisaa." Another clue comes with "upaadaanuupaniso bhavo," etc.
avijjuupanisaa sa'nkhaaraa, sa'nkhaaruupanisa.m vi~n~naa.na.m,
vi~n~naa.nuupanisa.m naamaruupa.m, naamaruupuupanisa.m sa.laayatana.m,
sa.laayatanuupaniso phasso, phassuupanisaa vedanaa, vedanuupanisaa
ta.nhaa, ta.nhuupanisa.m upaadaana.m, upaadaanuupaniso bhavo,
bhavuupanisaa jaati, jaatuupanisa.m dukkha.m, dukkhuupanisaa saddhaa,
saddhuupanisa.m paamojja.m, paamojjuupanisaa piiti, piituupanisaa
passaddhi, passaddhuupanisa.m sukha.m, sukhuupaniso samaadhi,
samaadhuupanisa.m yathaabhuuta~naa.nadassana.m,
yathaabhuuta~naa.nadassanuupanisaa nibbidaa, nibbiduupaniso viraago,
viraaguupanisaa vimutti, vimuttuupanisa.m khaye~naa.na.m
>2. The compound is a kammadhaaraya (Kd). A Kd requires that both components be in the same case and that one qualify the other. Both conditions are met here. The cpd. is nominative, and 'avijjaa' modifies 'upanisaa': to the question "What kind of cause?" the answer is, "The cause of ignorance." Though the Kd is sometimes referred to as an "adjectival compound" (Budh/2.40), it can be made up of two nouns, as we have here. Perniola (164) gives four kinds of such Kd. This kind would be a nominal Kd of "apposition."Right again. Though instead of "the cause of ignorance," a better
translation would be either "cause which is ignorance" or "ignorance as
cause" because "the cause of ignorance" sounds too much like a tappurisa
with a genitive case relation between the nouns. In relation to types of
Kammadhaaraya compounds, you might appreciate this "Compound reference
sheet" that I have compiled from conversations here in this group.
In this sheet you will see the four kinds of Kd. of which you speak
above, namely:
*1) adj+substantive(noun)*
*2)* *adjective (or adverb)+adjective(or participle)*
*3)* *substantive+adj *
*4) substantive+substantive*
1) Black-bird: a bird that is black
2) Soft-spoken
3) Ice-cold: cold like ice
4) Girl-friend: friend who is a girl
1) Akaalamegho: untimely cloud
2) Sammaapaṭipanna: rightly disposed, rightly seen (as in right view)
3) Paa.nasama: lit: 'The same as life', hence: 'dear as life'.
4) Raajisi: "king-sage" (there is elistion of the –an)
>3. In this case, the compound has been turned into an adjective and modifies 'sa'nkhaaraa.' This is what makes it a bahubbiihi (Bh). In a Bh, something essential for the meaning is found outside the compound itself. As Warder puts it (137), "The Bh class of compounds consists of those whose meanings are subordinate to the meanings of words other than the members of the compounds themselves." In this case, the relation between ignorance and cause is united only in the term 'sa'nkhaaraa.' It is sa'nkhaaraa which have ignorance as cause.Exactly. We are not talking primarily about "ignorance as cause," the
main focus of the phrase is the subject 'sa"nkhaaraa' which is then
qualified with the bahubbiihi of 'avijjuupanisaa.'
>This furnishes the translation of the clause: "Thus, indeed, monks, [it is] sa'nkhaaraa [which have] ignorance as cause." Rett and Ole have both given us a shorter and smoother version: "Thus, indeed, monks, sa'nkhaaraa have ignorance as cause." The ending of upanisaa is (c) above, agreeing with sa'nkhaaraa (m. pl.)Right again.
>This makes sense and I accept it. The rest of this post is a discussion, somewhat academic and a bit involved.I'll have to let others respond to this as I have not had a lot of
>One thing that I find interesting is that (at least on the face of it) Bh's are clauses, not complete statements. To give some examples (Pern/169): paapiccho bhikkhu = 'a monk who has evil desires'; tarunavacchaa gaavi = 'a cow that has a young calf'; antimasariiro puriso = 'a man that carries the last body.' These trnaslations (as given by Perniola) are not complete statements (sentences) but clauses. But this doesn't seem to bother him. He goes one step further and converts a clause into a complete statement (sentence) when the context demands. I notice this in his example that we discussed on an earlier thread (don't worry-I won't get into this one again): Perniola considers 'manopubba'ngamaa dhammaa manosetthaa' also as a Kd à Bd. He translates it literally: "factors that have the mind as the first and as the best." Again, this is not a complete thought, only a clause. But then Perniola immediately interprets it: "i.e., mind is the first and the best of all factors." This is a complete statement.
>So, apparently, the translator of Bh's has two choices as determined by context. One is to treat the complex as a clause, e.g.: paapiccho bhikkhu adhaama.m deseti, "The monk who has evil desires preaches untruth." The other alternative is to treat it as a complete statement: bhikkhave, paapiccho bhikkhu vadaami, "monks, the monk has evil desires, I say." I wonder if this is correct.
experience translating bahubbiihi compounds.
>Yes, this is an important point that we have discussed before. If
>Perniola (169) writes that a tappurisa compound (Tp) can also be turned into a bahubbiihi. (In a Tp, the independent components of the compound are not in the same case.) He gives a couple of examples: (i) Gotamo samaggaaraamo (samagga, 'mutual accord') = 'Gotama whose delight is in mutual accord' (instr. Tp); (ii) a.t.thika-sa'nkhaalika.m sariira.m (a.t.thi, 'bone') = 'the body with its chain of bones' (gen. Tp). We notice here, as before, that these are not literally complete statements. From the discussion above, I presume that these compounds also can also be interpreted as complete statements, e.g.: Bhikkhave, Gotamo samaggaaraamo, "Monks, Gotama delights in mutual accord"; a.t.thika-sa'nkhaalika.m sariira.m, "The body is a chain of bones." I wonder also if this is correct.
>We know that certain compounds can be interepreted in various ways. As I understand 'a.ngulimaala,' for example, this compound can function (a) as a dvanda: ("fingers + garland"); (b) as a Kd ("fingers-garland," answering the question "what kind of garland"); or (c) as a Bh (as the name of a particular person during the time of the Buddha). Context and terminations usually tell us which is meant. I suppose that if both Kd and Tp compounds can be interpreted as Bh and as complete statements, then some interesting grammatical intersections exist. But I haven't studied this enough to know.
terminations are unclear, often context is everything, and even then,
sometimes different options seem possible, i.e., tappurisa and/or
kammadhaaraya. As Rett has pointed out before, having some understanding
of the doctrinal peculiarities of Buddhism is helpful for many cases of
this type, but in other cases it is hard to know what was intended
without knowing the way of thinking of the person who created the word.
This is where, as you put it, "interesting grammatical intersections
exist," and probably interesting grammatical debates as well.
All: I'll give my usual disclaimer for appreciating any corrections (by
Rett, Dr. Pind or others) of what I've said above, but I don't think
I've made any comments that fall off the Pali beaten path.
Rene: Please let me know how you find this "Compound Reference Sheet,"
if you have the time to look at it, and I'll do some updating on it
today to incorporate this latest discussion.
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Signs or symptoms, Causes, and Remedy of Gastritis
Gastritis is the inflammation in the lining of the belly which can be triggered by a amount of circumstances. The stomach consists of a layer of mucus that aids to protect the abdomen walls or lining from the acid and other fluids that are utilized to digest foods. When this layer of mucus gets to be damaged or weakened, the belly wall or lining is then uncovered to the acid which brings about it to become inflamed.Gastritis can be either acute or chronic. Acute gastritis is when the inflammation of the belly lining happens abruptly and is extreme. Continual gastritis is when the situation develops progressively and an specific may possibly have continual gastritis for many years without having experiencing any signs.
Signs of Gastritis
When an person develops acute gastritis they are most likely to experience a sudden burning soreness in the place of the upper abdomen along with nausea. Folks who have continual gastritis could not expertise any apparent signs at all or have signs and symptoms that start to arise gradually as a dull aching ache, a loss of appetite, or a feeling of fullness right after taking just a handful of bites of meals.Gastritis might also lead to bodyweight loss, vomiting, bloating, and belching. In unusual cases, bleeding may take place in the stomach that will be apparent in vomit or right after a bowel motion with stools that appear black and tarry.
Causes Associated with Gastritis
The most common lead to of chronic gastritis is the Helicobacter pylori bacterium or H.pylori. H.pylori is an very widespread bacterium that is passed from individual to individual and it is believed that about fifty percent of the whole population is infected with H.pylori even so, this bacterium typically does not cause any difficulties or issues in the vast majority of men and women.It is not identified why this bacterium brings about problems in some men and women but not other people. It is believed that people may be more susceptible to H.pyloribecause of to inheritance or way of life components such as smoking and extreme amounts of tension.Equally acute and persistent gastritis can take place because of to the regular utilization of pain relievers called NSAIDs or nonsteroidal anti-inflammatory drugs. Common over-the-counter NSAIDs include "Advil", "Motrin", and "Aleve".Utilizing these medicines only occasionally will minimize the probabilities of creating gastritis. The excessive usage of alcohol can also cause gastritis and is commonly related with acute cases. Severe burns, main surgical procedure, important sickness, and traumatic injuries are also related with the growth of gastritis in some individuals.
Treatment method of Gastritis
Therapy for gastritis is dependent on the kind of gastritis and its lead to. In some instances this kind of as gastritis that is triggered by alcohol or NSAIDs, when these substances are eradicated the gastritis may possibly go away on its individual. When the result in of the gastritis is infection by the H.pylori bacterium, the affected person is treated with antibiotics in purchase to destroy the bacterium.All situations of gastritis are generally treated with antacid medicines to reduce the belly acid in combination with any drugs prescribed to treat the underlying trigger. Although numerous types of gastritis can be managed with around-the-counter treatments, if you are encountering any serious signs or symptoms or any bleeding - no make any difference how modest the volume - when vomiting or in stools, it is essential that you make contact with your medical professional as quickly as possible for a health care evaluation.\nRelated Sites :
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