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1 There is No Such Thing as Narrative Art PAUL BAROLSKY What can be shown cannot be said. Ludwig Wittgenstein 1. Although it is commonplace to speak of the spatial arts, painting and sculpture, as narrative arts a way of speaking which suggests the intimate relations between image and text pictorial artists obviously do not narrate stories in the same way that writers do. In a certain sense, they do not narrate at all. To speak of an artist as a teller of stories is a figure of speech, since painters and sculptors do not tell, they show. As some critics have observed, pictorial artists imply a narrative by referring to what has been said in words, but surely such allusions are not the same thing as a narrative in words. We can trace the comparison of painting and literature back to classical antiquity, to Homer who implicitly compares his own account of the shield of Achilles to the images rendered on that great work by Hephaistos. The idea of such similitude has been sustained over a period of nearly three millennia by the notion of painting as mute poetry or visible speech, and it is still very much alive. We must always remember, however, that the comparison of literature and painting is imperfect, since it is based on an analogy and is not an identity. The modern idea of the pictorial artist as storyteller nonetheless has important roots in Leon Battista Alberti s treatise, On Painting of 1435, in which the author, himself an artist and writer both, writes famously about painting as a historia. The word historia, which means a story, sugarion 18.2 fall 2010
2 gests something written. When Alberti says that a historia is a composition, he implicitly compares art to literature, since the word composition was traditionally used to describe literature. He further implicitly compares painting and literature when he says that in painting a historia the painter should seek the advice of poets and orators. Nevertheless, speaking of a historia as the representation of various bodies and things human beings, animals, and other subjects or objects he refers primarily to an image composed in space. He is not expressly concerned here with the passage of time, which is the province of literature. Of course to examine the spatial composition of a pictorial image takes time, but we are not talking here about the time it takes to read a story, but about the time that passes within the story itself. In Renaissance art, pictorial composition, the arrangement of figures in space, often conflicts sharply with an image s implicit associations with the temporal character of a literary narrative. This is so because the episodes of the story that a painter or sculptor presents are not always placed in an obviously identifiable sequence within the space defined by the painter. The figures of a single episode or series of episodes in a continuous narrative so-called are dispersed through space, above all, as a way of making the spatial composition harmonious and not necessarily or primarily as a means of making the allusion to a narrative obvious. Two hundred years after Alberti wrote about painting as a historia, Gotthold Ephraim Lessing underscored the fundamental difference between art, which is spatial, and literature, which is temporal, by emphasizing the intrinsic limits of both art forms. In his classic work, Laocoön, Lessing objected to a spatial art that aspires to suggest the passage of time. I do not wish to take up here Lessing s argument against spatial art that aspires to be temporal. I want, instead, to suggest that any spatial art that calls to mind a story unfolding in time must take license in some degree with the temporal narrative to which it refers, since the pictorial artist s principal concern is with the disposition of fig- 112 there is no such thing as narrative art
3 Paul Barolsky 113 ures across the picture plane or within its spatial illusion. It is important to keep in mind those cases where the chronological narrative is at odds with the pictorial composition, because these instances remind us of fundamental differences between literature and art that we can too easily forget or ignore. 2. in order to underscore the basic distinction between a pictorial image and a text, let us turn our attention to the canonical Renaissance historia of Jacob and Esau, which Ghiberti made for the Gates of Paradise at the very moment when Alberti wrote about painting as historia (Fig.1). This scene is widely appreciated as a tour de force of Renaissance perspective, which is an ideal vehicle for rendering the subject, since it provides a space, indeed a stage upon which the artist can arrange his figures or actors. The space in which the artist distributes his figures is the place where he suggests the relations of his image to a story. The Jacob and Esau panel is especially fascinating because its historia or story is not always fully obvious in the way of many so-called continuous narratives, where one can easily recognize the suggestion of a narrative through time. Whereas Ghiberti s pictorial composition of figures and architecture is beautifully and harmoniously conceived, the implicit temporal sequence of the story to which he alludes is radically interrupted or disrupted by pictorial considerations both planar and spatial. In the literature inspired by Ghiberti s image there is indeed a tension between the appreciation of the panel s harmonious composition and the full understanding of the narrative to which the scene alludes. Before we consider this disparity, let us note and locate the seven episodes from the Biblical narrative to which Ghiberti refers: (1) in the upper right hand corner of the panel, the Lord reveals his plan when he speaks to Rebecca who is pregnant with Esau and Jacob; (2) In the left middle
4 114 there is no such thing as narrative art ground, Rebecca reclines in her bed at the time of her confinement before the birth of her twins, while four women in the foreground attend to her; (3) in the center middle ground of the scene, the older son, Esau, sells his birthright to his brother in exchange for pottage; (4) in the center foreground, Isaac asks Esau to hunt for game; (5) in the distance on the right side of the composition Esau goes off to hunt; (6) in the middle ground also at the right, Rebecca plots with Jacob the deception of Isaac; (7) in the lower right hand corner of the scene, Jacob, pretending to be the long-haired Esau by using the skin of a goat, receives the paternal blessing from the blind Isaac as Rebecca looks on. If you look closely at the panel with the Biblical story in mind, you will eventually find the allusions to these seven episodes. Understanding the way in which the panel relates to the Bible story requires the beholder to retell the story to himself. This act of recollection is itself a narrative. The figures that refer to this narrative are not a narrative in themselves. There is a striking feature of Ghiberti s composition that commands our attention its allusions to speech, to speaking and listening. When we focus on the various episodes of Ghiberti s panel we come to see that in all but one scene there is conversation of a particularly intense kind: God speaks momentously to Rebecca as he reveals His plan to her; Jacob and Esau are engaged in an impassioned exchange over the birthright of the latter; Isaac addresses Esau, urging him to hunt for game; Rebecca instructs Jacob in the manner of tricking Isaac; and, Isaac, in the act of blessing Jacob, necessarily speaks to his son again in a momentous exchange. In short, the panel absorbs us in a series of conversations. Only the isolated Esau going off to hunt is not engaged in such conversation. The confined Rebecca seems isolated, but as she gazes forward, she is seemingly listening to the women attending her, who are clearly engaged in conversation. We thus come to see that in Ghiberti s panel almost all of the figures are seemingly either speaking or listening. In the dramatically culminating scene of Isaac
5 Paul Barolsky 115 blessing Jacob (which is nonetheless off to one side) Rebecca, resting her head upon her hand, is profoundly attentive to Isaac s words. The depth of her attentiveness is, one might almost say, suggestive of the degree of attention that Ghiberti asks of us in the contemplation of his entire image and all of its details. Although Ghiberti s panel is rich in verbal implications, the point I wish to make here, indeed emphasize, is that commentators on this wonderful historia inevitably do not follow its visual references to the Biblical story in full. This is so because the composition of the work is more important than its allusions to narrative and, if anything, the harmonious arrangement of figures in space distracts viewers from the temporal sequence of the Biblical narrative. Commentators tend to seize upon some episodes of the panel, but not the full story to which the panel alludes, or they refer to it briefly in passing. In other words, viewers do not read the full story to which Ghiberti refers. This is so, I believe, because the artist is concerned, above all, with the arrangement of figures in space, a factor which easily leads the viewer away from the coherent sense of the narrative to which the panel is related. In short, the harmony of the spatial composition is rendered at the expense of the coherence of the temporal sequence. In his Commentaries, Ghiberti schematically remembers only parts of the narrative to which his panel refers. He mentions the birth of Jacob and Esau, the moment when Isaac sends Esau off to hunt, Rebecca s plot to deceive Isaac and, finally, the deception itself. He thus recalls four of the seven episodes from his own panel. He omits the exchange between God and Rebecca, the sale of Esau s birthright, and Esau s departure for the hunt. Like Ghiberti, his biographer Vasari also remembers only some of the episodes, in fact, the same scenes recalled by the artist. It is not impossible that Vasari recalls the same four scenes that Ghiberti mentions and not the other three because he has a copy of the Commentaries open as he writes. We know that Vasari read Ghiberti s book.
6 116 there is no such thing as narrative art Vasari is less interested in the chronological sequence of Ghiberti s story than he is in the beautiful rendering of the figures the life-like appearance of Ghiberti s Isaac, Jacob, and Rebecca of which he speaks, as well as the beautifully rendered dogs. Although he is a man of letters, as well as an artist, Vasari reminds us of Alberti s emphasis on the visible representation of figures as the principal feature of a historia. Ghiberti and Vasari also do not follow an obvious narrative in Ghiberti s panel, because the arrangement of the seven scenes in space does not lend itself to a predictable, easily discernible arrangement. Although the location of the conversation of God with Rebecca on a rooftop makes sense, for example, since the matriarch is speaking with God on high, the beginning of a story at the upper right hand corner of a composition is highly unusual in Renaissance art, indeed unexpected. It is not surprising therefore that both Ghiberti and Vasari do not even include it in their schematic descriptions, even though it refers to God s momentous announcement of His plan to Rebecca at the beginning of his story. We tend to apprehend Renaissance compositions moving from left to right, but in Ghiberti s panel, we jump in a surprising diagonal movement from the upper right hand corner to the left middle ground and foreground to the confinement of Rebecca attended by the four women. Moreover, there is a kind of oscillation here between our attention to the prominent women in the foreground in high relief, and our perception of Rebecca in the middle ground in low relief. The attending women, who do not even belong to the original Biblical story but embellish it, are so commanding in their graceful, almost dance-like motions that they play a dominant role in the visual field. They hold our attention and even distract us, if momentarily, from other episodes in the panel. It is not surprising that both Ghiberti and Vasari overlook the episode of Esau selling his birthright to Jacob in exchange for a bowl of pottage, which follows in the Biblical sequence. Why? Because the foreground figures of the panel,
7 Paul Barolsky 117 Isaac and Esau, when seen from straight ahead, partially obscure this scene of the sale of the birthright. One must see this central middle ground scene from an oblique angle in order to identify Jacob clearly as he extends a bowl of pottage to Esau, whose outstretched arm mirrors his brother s. As the younger brother is identifiable by the bowl of pottage that he offers to his brother, the older brother is easily identified by the prominent bow on the floor, since he is a hunter. In front of this scene, in the foreground and toward the center of the panel, we see a handsome youth responding to an old man. We recognize that the latter is Isaac. The former is Esau, since the older brother has with him two dogs essential to his identity as a hunter. There can thus be no confusion here of Esau with his younger twin Jacob. Esau s two dogs are nonetheless a witty allusion to both brothers at once, since one dog is shorthaired, corresponding to Jacob, while the other, closer to us, has long hair, corresponding to Esau. We are easily led from this central foreground scene immediately to the right where the younger brother, disguised with the hair of a goat as his longhaired brother, receives the paternal blessing, But let us return to Esau in the center foreground. He listens to the aged Isaac, who requests that he go forth to hunt for wild game. But, once again, we must make an unexpected jump to the extreme right hand distance, where we behold Esau climbing a hill, bow on shoulder, as he goes off to hunt. To reach this episode, we must leap, surprisingly, over the scene of Rebecca and Jacob plotting the deception of Isaac. In order to match up the latter scene with the subsequent moment in the temporal sequence of the Bible we must next proceed in reverse before we find the bypassed episode of the plotting Rebecca with her son. In other words, since Ghiberti s primary goal is to represent figures in space and then compose them harmoniously in that space, the allusion to a narrative in time is not obvious and is full of surprises, if not ambiguities. Eventually, we work out the implicit sequence of episodes in accord with
8 the Biblical narrative, but this sequence goes against the grain of the spatial composition, which distracts us from the temporal order of the story to which Ghiberti refers. There are various aspects of the composition that attract our attention in ways that have nothing to do with advancing the narrative. Ghiberti s and Vasari s summary descriptions of the panel of Jacob and Esau conform to the sequence of details that we observe as we look across the panel from left to right, starting with the scene of confinement. Their accounts are not nearly so complex and subtle, however, as what the artist has in fact presented. For example, we can follow the sequence of figures in high relief from the four women of the confinement scene to the exchange between Isaac and Esau toward the center of the panel, finally, to the scene of the blessing at the right. In this sequence we have a condensed allusion to the Biblical narrative reduced to three scenes. But let us notice that when Esau responds to Isaac in the foreground, they are on an axis that runs in the opposite direction and deeper into space, from the center to the left, and thus back to Rebecca. This diagonal axis links Isaac to his wife shown in bed. Again figural composition is scarcely an agent of explicit narrative; in fact, it goes against the grain of a temporal sequence. The temporal implications of the four scenes mentioned by Ghiberti and Vasari are thus not obvious. The multiple representations of the main characters in Ghiberti s panel are scarcely part of an easily deciphered, continuous narrative; rather, they are, if anything, a discontinuous or disjunctive arrangement of figures when seen in relation to the temporal scheme of the Biblical story. But if we do not think about the narrative passage of time here and only of the disposition of figures within the panel s spatial illusion, we see that the story is, despite sharp disjunctions in the narrative, beautifully composed. This harmony of the composition is of greater import than the panel s lack of clarity in its narrative sequence through time. It is not surprising that two of the finest Ghiberti scholars, Richard Krautheimer and Trude Krautheimer- 118 there is no such thing as narrative art
9 Paul Barolsky 119 Hess, wrote of the narrative of Ghiberti s composition as torn apart. They might well have said instead that narrative was translated into something else: spatial composition. If we step back from our close formal analysis of Ghiberti s composition in relation to the Biblical narrative, we come to realize that what the artist does is to prompt the beholder s memory of the story of Jacob and Esau in Genesis 25 and with this textual sequence in mind, he can locate, though with some difficulty, the correspondences between the episodes in the panel and those in the Biblical text. In other words, we have the Biblical story in the first place and then we have Ghiberti s spatial composition that makes reference to the story, but does not exactly retell that story. We need to recognize and emphasize the fact that the beholder plays a crucial role in retelling the Biblical story to himself in order to grasp the temporal or narrative implications of Ghiberti s panel. The beholder, who retells the story, is the crucial narrator here, as he re-narrates the Biblical story. Although we can speak of Ghiberti s panel in Albertian terms as a historia, the panel is less a narrative than an indirect allusion to it. To speak of the implicit narrative of the figures represented in the panel is, I think, to oversimplify the translation of time into space. A brief look at a few modern interpretations of Ghiberti s image is very instructive for our understanding of the relationship of spatial composition to temporal narrative. In their classic monograph on Ghiberti, the Krautheimers discuss the Jacob and Esau panel in a cursory, almost random manner, with only casual interest in the totality of its allusions to the Bible. In brief scattered allusions to this panel throughout their book, they identify all of the episodes to which Ghiberti refers, barely noting the scene of the sale of Esau s birthright. This omission is not surprising, since as we have seen, that episode is partially concealed and thus easily overlooked. The Krautheimers do not pause to dwell on the overall scheme of Ghiberti s work and its allusion to the Bible story, from first moment to last. They are understand-
10 120 there is no such thing as narrative art ably much more interested in the overall grandeur of the framing architecture of the scene and the superb perspective of the panel to which this architecture is wed. Both aspects of the panel are closely related to Albertian ideals of harmony or might we say that Albertian ideals stem from the Ghibertian performance? Spatial and figural harmony do not conceal the complex disjunctions or ambiguities of Ghiberti s sustained allusion to the Biblical narrative the way in which Ghiberti translates a temporal sequence into a spatial composition. This is so because the panel, compelling the beholder to contemplate and admire its spatial harmony, does not invite an easy apprehension of a temporal, narrative sequence. In the first edition to his classic survey of Renaissance art, Frederick Hartt, like Ghiberti and Vasari, refers to only several episodes of Ghiberti s narrative not to the whole story. Moreover, he reads the panel not with the Bible in mind but with the supposition that San Antonino s summa was Ghiberti s source. He thus turns Esau going off to hunt at the right hand side of the panel into Jacob carrying a Cross, even though the object that Esau carries is unmistakably a bow, not a Cross. (It is not impossible that others seeing a man carrying a large piece of wood on his shoulder might similarly have misconstrued what Ghiberti pictured.) This error, subsequently corrected in later editions of Hartt s text, is a reminder of how fragile our associations of images and texts can be. Like the Krautheimers, Hartt is enthralled by the architecture of the panel. He is more concerned with specific episodes within the composition than he is with the sequence of the various scenes in a total narrative. As I have suggested, the disjunctive or ambiguous sequence of Ghiberti s figures discourages the viewer from focusing on the whole temporal sequence of the panel. Space and time here are, we might say, at odds. Most writers on the Ghiberti panel refer to some of the panel s episodes, as we have said, but they invariably do not try to follow the sequence of the artist s arrangement episode by episode, which is not, as we
11 Paul Barolsky 121 have observed, so easy to do. Indeed, there is to date no full account in the scholarly literature of how the Biblical chronology is transformed in Ghiberti s panel into compositional harmony. I have saved for last one of the fundamental differences between a pictorial image and a text. When we read a work of literature, we read word by word, line by line, across and down the page. Our activity is precisely prescribed. When we look at a pictorial image, however, our eye is led in various directions by the forms of things, by the shapes of buildings, the grouping of figures, the degree of relief of the figures, or the perspective construction, and we encounter a multiplicity of ways of seeing the image as we gaze upon it and look in the different directions in which it guides us. We can take in the entire Ghiberti image from a distance, but we can also in a more open-ended way follow the artist s lead as he directs us, detail by detail, in various directions. For example, we might follow the figures in high relief across the foreground of Ghiberti s panel, from the birth of Jacob to the scene of Isaac addressing Esau to the passage where Isaac blesses Jacob, as we have already said, or we might pursue the vertically aligned images of Rebecca at the right from the scene where God speaks to her through her plot with Jacob below, finally, to her thoughtful contemplation in the scene where her favorite son receives the paternal blessing, or we may contemplate the three scenes framed by arches: Rebecca confined, the sale of the birthright, and the plot to deceive Isaac. The beholder of a pictorial image is not constrained by a specific format in the same way that a reader is. The beholder is led through space in various directions. He is led now here, now there, whereas the reader s eye is always led across the page in the same way word by word from left to right, from the top of the page to the bottom. This is a huge and fundamental difference between reading a narrative and looking at its transformation into a spatial composition a difference so obvious, so transparent, that it is easily taken for granted or ignored.
12 122 there is no such thing as narrative art I do not think that anything I have said here is going to change the way commentators discuss what they call narrative art. In the first place, the millennia-old comparison of art and literature is deeply ingrained in our thinking and encourages us to speak of art and literature in the same breath. The sibling rivalry between the spatial arts and the temporal art of literature encourages us to compare rather than contrast the one with the other. Moreover, we are inclined to speak of an image in relation to words because our own medium is verbal, and so we often mistakenly speak of reading an image, which is, as I have suggested already, scarcely what we do. I think that rather than refer to Ghiberti as a narrator, we might pause to reflect upon our habits of mind and see more clearly that he was a kind of translator of literary narratives into something other than a story. For he translated the temporal sequence of the Biblical story into a spatial composition in which we are more likely to admire various details in space and their seemingly endless interconnections than to ponder the totality of its narrative allusions and dwell on its various disruptions or ruptures. As Lessing said, there is an essential difference between images, which are spatial, and texts, which are temporal. That difference explains, I believe, why commentators ignore or write so briefly about the sequence of Ghiberti s panel in its totality. It explains why Ghiberti s references to the Bible have been perceived as torn apart, even though his image is visibly so harmonious. The proper appreciation of Ghiberti s art rests on the understanding of his composition as essentially spatial. For all of his conspicuous allusions to words, to speaking and listening, his art is not verbal. Ghiberti s panel is explicitly spatial and only temporal by implication. The difference between narrative and image is based on fundamental differences between space and time, between literary composition and pictorial composition a distinction too easily overlooked when we dwell excessively on the similarities between art and literature. What is at stake in insisting on this
13 Paul Barolsky 123 distinction is the very integrity of a mute spatial image, which is what it is, and what it is, is not a narrative! When we attempt to put words to such mute images as Ghiberti s, we ourselves become narrators. But that is another story. note I am grateful to the following individuals for offering critical comments and encouragement: Brooke Allen, Deborah Barolsky, Ruth Barolsky, Anne Barriault, Jenny Clay, Roy Tommy Eriksen, Jessica Feldman, Alastair Fowler, Karen Goodchild, Norman Land, Fred Licht, Steven Ostrow, Susannah Rutherglen, and William Wallace. I should note that Amy Bloch has also recently pointed out the association of the longhaired dog in Ghiberti s panel with Esau in a forthcoming essay, Ghiberti s Dogs.
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text:
Cyclist's Britain in a Box Book
by Duncan Petersen
This is Britain's only town and country cycling guide on pocketable cards.
Here's a great new twist to the cycling guide: instead of a book, a box filled with 50 cycling cards.
Each has a different route fully described and illustrated.
Pocket a card, leave the box on your bookshelf and enjoy your day out.
Many routes link in with convenient public transport around Britain's main cities and towns: out to one station, cycle to another, and then return.
This joins "Walker's Britain in a Box", which has sold 35,000 copies since April 2009, as well as "Walker's London and the South East" and "Walker's Yorkshire Dales and South Pennines".
Transparent sleeve is provided if it rains - read the card through the transparent plastic sleeve.
Cycle routes linked with charming places to stay: The cards offer carefully selected places to stay linked with the routes.
Cycle routes for everyone: A happy mix of routes around Britain's loveliest towns and countryside.
Routes range from half a day to three days, and are aimed at recreational as well as seasoned cyclists.
- Format: Book
- Pages: illustrated cards
- Publisher: Duncan Petersen Publishing
- Publication Date: 07/04/2011
- Category: Cycling
Free Home Delivery
on all orders
Pick up orders
from local bookshops
Also by Duncan Petersen

subset: commoncrawl


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File:UnNews Controversial racially charged series of Survivor claims yet another victim.MP3
From Uncyclopedia, the content-free encyclopedia
UnNews_Controversial_racially_charged_series_of_Survivor_claims_yet_another_victim.MP3 (file size: 940 KB, MIME type: audio/mp3)
edit Licensing
|Licensed under absolutely nothing. Have a fucking field day. Abuse this for your own sick pleasures.
|I am content releasing my work completely to the public without conservative, territorial, and possessive need to claim some sort of stake in it. I do not need thousands of cleverly written loophole-"some rights reserved" licenses, nor do I need to debate about the superiority of any of them, rather, I toss the entire equation out the window and render it effectively useless. I fully realise that a man in El Salvador could profit wildly from my efforts and gain the millions of dollars I never did, and could theoretically hunt down every copy and burn it, leaving him as the sole distributor; however, this does not offend me, rather, I allow all to be shared, taking the risk and fully knowing the potential repercussions, rather than let the menace that is copyright conquer yet another soul.
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Benny owner of Mutt Motorcycles has made custom choppers for the past eighteen years, catering to variety of people. He originally saw a market for a custom 125cc bike's and then delved into other models that are truly incredible!
"Our motorcycle is style and simplicity combined. And with that in mind, we bring you the Mutt."
Benny launched Mutt Motorcycles and remains a Birmingham based motorcycle company customising bikes for individual clients. Mutt Motorcycles aspire to keep the class and style of the motorbike, whilst maintaining the simplicity, developed their bikes here in England within their rural workshops.
We went into the original workshop in the Stourbridge, England for a look at their latest work. Whilst visiting our friend and model Zac Ruin came to the shop to show us the work he'd been doing on his custom chopper, which was still under construction. This was a great opportunity to show the guys our latest collection "Caffeine & Gasoline" and chat about bikes, coffee and other things we're not allowed to write in a blog post!


text:
Not sure about Kindles...
I'm the type of person that likes books...
And I like a lot of unusual books, such as Marx and Lenin works mainly for University that don't seem to be supplied as kindle books.
Are they worth it?
You are Here: Home > Forums >< Entertainment >< Technology and computers
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- 22-04-2012 23:55
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- 23-04-2012 00:01
Kindles are definitely worth it. I thought I wouldn't like them but I got one for my Birthday and now I would read it in preference to any Hardback and almost all Paperbacks (although it is nice to feel a real book sometimes).
Also, as it only takes less than 60 seconds to download a book, if you suddenly realise you need something to read on a train/plane journey, you can have it downloaded in the time it takes to put on a coat and get out the door.
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(Original post by CUFCDan)
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- 23-04-2012 08:01
And I like a lot of unusual books, such as Marx and Lenin works mainly for University that don't seem to be supplied as kindle books.
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- 23-04-2012 08:14
Made my decision for me.
God bless you young squire.
Also thanks to the other poster. A lot have said they're glad they got one despite previous reservations.
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- 23-04-2012 08:15
Personally I love owning the actual books, keeping them pristine etc (similar for games, I vastly prefer CD + box over digital download) - so for me the kindle isn't as appealing. I just listen to audiobooks or podcasts when on the go.
However dad has one, and I've been re-reading the Hunger Games on it whilst living with him on placement, and it's pretty handy. Comfortable too, since you can read it one-handed, which lets you lounge around on the sofa a bit more comfortably.
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- 23-04-2012 08:18
I've more than got my money's worth out of my kindle. There are lots of books unavailable on it that I'll need for university (mainly legal guides or textbooks), but otherwise the number of ebooks available is astronomical.
I don't think you appreciate how much easier they are to read until you've got one. You can sit or lie in pretty much any position, and you still just need one hand to hold it and turn the pages. It's lighter than most paperbacks, which makes it easier to handle, and the amount of weight it saves you when you're travelling is significant.
I find there's much less glare on the screen than you get from a book too; not so important on most days in England I guess, but when the sun's out you definitely notice it.
Within a decade bookshelves will have been replaced with virtual projections of the sleeves of the books on your hard disk, so I find even the sentimental reasons for not picking one up to be pretty lacking.
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- 23-04-2012 11:16
I just ordered the Kindle Touch for £109 (absolute con - so much cheaper in the states. **** you Amazon).
A lot of the books I want/need for Uni aren't on there, but that's not so bad I guess. I'll get a **** load of use out of it over the summer, and a lot of things that I want to read (like Mill's On Liberty are completely free - although I actually have the book...)
What got me is that I can annotate and leave notes on it anyway, which will be good to go back to and add ideas.
I prefer books, I actually have hundreds and I buy 5 or 6 every month, but sometimes lugging them around is a pain and when I go to work I can't take them with me.
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The Church Has Left the Building Day
Published on Aug 28th, 2012|
New Date!! Please join us on OCTOBER 21st for our annual day of service. We will meet at church at 10am as usual, share a blessing and offering, and then fan out all over Bristol for a couple of hours to serve our community. Possible service areas include the Veteran's Home, area nursing homes, downtown Bristol (washing storefront windows) and even going to a local laundromat to help pay for laundry. Do you have ideas about how we can serve? Let us know!


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Rafael - a rich guy whose luck suddenly turned upside down after losing everything. When he needed to get his life back on track, he met Isak - the instant rich girl from the province. Rafael becomes her business adviser and uses her to become rich again only to find out that she'll change him more than he expected
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Alan Homan is back once again as the coach of Cumberland Regional High School boys basketball.
He replaced John Valore, who left after one season to go to Camden. Homan has coached between the boys and girls program as an assistant and head coach on and off for 30 years, and will be challenged with a team returning only two starters.
"What I want us to do is go out, play hard on defense and attack on offense," Homan said. "I want them to enjoy playing the game."
Two key returning players are Dwayne Parker and Joe Ordille.
"Dwayne is athletic. He can handle the ball a little bit and shoot it, and he plays very hard," Homan said. "Joe has a nice outside jump shot and has the ability to penetrate and get to the basket."
The Colts also got a transfer from the recently-closed Sacred Heart in senior guard Chris Burch. Homan said that Burch will be the quarterback of their defense.
Burch spent his freshman and sophomore seasons at Cumberland before transferring to Sacred Heart.
The seniors have had five different coaches and four different systems in their four years at Cumberland, which makes it difficult for them to find any consistency.
"For them to come out and embrace me as a coach in an entirely different system, and play hard and just buy in right away says something about them," Homan said.
"The one thing I know about this team is that we have excellent people as far as character, so all of them have terrific attitudes and they're working really hard.
Contact John Russo:
League: Tri-County Conference Diamond
Group: South Jersey Group III
Coach: Alan Homan
2012-13 record: 4-22
2013-14 prediction: Rebuilding - Colts look to improve upon last season with another new coach.
Key players: Dwayne Parker Sr., 6-2, F; Joe Ordille Sr., 5-10, G; Chris Burch Sr., 6-3, G.


text:
This property is no longer available.Search for Available Property.
3.51 acres in Marinette County, Wisconsin
Up north cottage or year around home, 3.51 acre, wooded double boat dock, walk way & double boat dock, open concept, 2 story fieldstone fireplace, front porch, composite for worry free, SS appliances, master suites on main & 2nd floor w/6x8 closets, master bath, 2nd floor glass & tile w/dual showers. Tongue & groove pine, plaster ceilings. SF per/seller.
Hwy 141 north Crivitz, east (R) Cty X Middle Inlet, right Lake Rd, right on North Brook private gravel road to property with sign on right.
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Contact the Seller for more information.
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NOTE: The information contained herein is provided as general information only and has been obtained from sources deemed reliable. It is provided without any guaranty, warranty or representation, expressed or implied, made by Lands of America, or any related entity, as to the accuracy or completeness of the information. The information is presented subject to errors, omissions, change of price or conditions, prior sale or withdrawal without notice. Prospective purchasers should make their own investigations, projections and conclusions concerning the information.


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Currently 2.00/512345 Rating: 2.0/5 (Total votes: 2)
Rating: 2.0/5 (Total votes: 2)
Players guide the Warriors of Light as they set out on a quest to restore the crystals to their former luster. Its side view battles, choice and promotion of character classes, and sprawling world explored with fantastic vehicles quickly became standards of the series. This game set the stage for all FINAL FANTASY games to come.
This edition also contains the bonus dungeons added to later editions of the game--the Soul of Chaos and the Labyrinth of Time.
What's New in This Release:
· Indonesian, Korean, and Thai language support added.
What's New in 1.0.3:
· Fixed an issue found by playing the application with iOS4.3.
» show more


text:
- Description
The illuminated reticle of the Explore 8x50 Viewfinder with its scale markings and open center not only helps you center objects precisely, but gives a reference of the exact field of view in degrees. The deep red illumination is continuously variable to provide the desired brightness. The Explore Scientific 8x50 produces a wide 6° field of view and allows precision focus of both main objective and eyepiece illuminated reticle. A precision polished roof prism produces images that are right-side-up, left-to-right correct. In other words, things are not upside-down and backwards like most viewfinders.
Explore Scientific Illuminated 8x50 Finder Scope
The illuminated reticle is truly designed for finding objects with its open center (so you don't mask the object you are centering with cross hairs) and scale markings for 1.5°, 3°, and 4.5° (the edge of the field of view is the 6° boundary). The 60° apparent field, long eye-relief eyepiece produces a bright 6.25mm exit pupil and will allow you to find faint galaxies, comets, and nebulae. All optics are fully-multicoated to insure maximum contrast and are part of a Dual-Ring, Six-Point, Bracket with Quick Release Shoe. At long last... A finderscope that doesn't treat its owner like we're not capable of finding what we're looking for!
Explore Scientific Product Number: VFEI0850
- Additional Information
Additional Information
SKU ES-VFEI0850-01 Manufacturer Explore Scientific Warranty Lifetime Warranty
- Reviews
Customer Reviews 7 item(s)
- Explore Scientific 8x50 finderf
This is a great finder. Easy to use due to the erecting prism (when moving the telescope to the left the stars move to the right). I really like the cross hair patern. However, I had to fabricate a "base" out of 3/8" aluminum plate to get it to "mate" with the Orion dovetail base that mounts on my C-11HD. Most my friend can saw, drill, counter-sink and tap 3/8" aluminum..
1= Houston, We Have a Problem & 5= It's Out of This World
- good finder
I obtained mine with my 127 mm Explorer triplet OTA. The quality was fine and having a correct image orientation makes use easier. The illuminator is a little cheap and I replaced it with a Stellarvue; likewise the brackets had very little wriggle-room, so I put on a pair with more spacing between their inner surface and the finder - more room for adjustment. So it took at little tinkering, but I still prefer it over the competition.
1= Houston, We Have a Problem & 5= It's Out of This World
- A much better finder then OEM for my scope
I recently purchased a new Celestron 11 Edge HD and used the finder that came with it a few times before I added this finder that was bundled with the E.S. 102mm TED Guide/Astro scope. I thought the finder would be redundent with my existing unit.
What A Difference! The Celestron finder can stay in its box now as this E.S. finder made a surprisingly large improvement in my overall scope-use satisfaction.
Yes, you really do need to focus at least once to get a sharp image - that seemed like a strange complaint above. The reticle seems to be fine quality for a finder too - If I wanted to measure double star separation I would by a reticle eyepiece for the big scope that costs more than the whole finder assembly does. I also do not understand the battery complaint as it seems dead easy to change them.
I have already recommended it to a friend who also just got a new HD scope - and was complaining about the stock finder.
1= Houston, We Have a Problem & 5= It's Out of This World
- Good, but not perfect.
Chris Partsenidis review above is basically spot on (if a bit too negative except that I suspect he needs to adjust the focus. It can be WAY out as shipped and need adjustment. I experienced the same problems as he described with supplied illuminator. It's low quality for sure. It also doesn't permit much actual intensity adjustment. I replaced it with a Rigel Systems PulseGuide Illuminator (also purchased from OPT.
1= Houston, We Have a Problem & 5= It's Out of This World
- Very good equipment
I found this finder clear and sharp. The target display is crisp and useful with the centering circle. Built to a high standard, and looks great on my Planewave. The lumination device failed, but was immediately replaced. Good service and a good product. No complaints.
1= Houston, We Have a Problem & 5= It's Out of This World
- Disappointed purchase
I was contemplating for 2 months whether I should purchase this product or not and finally did. For some reason, I thought Explore Scientific products to be that of high quality, especially when you pay this much for a viewfinder.
First impressions were good, however that didn't last long. I switched on the illumination and discovered that the rotary switch was extremely cheap quality, causing the red light to go on-off almost every time I tried adjusting it.
Replacing the small batteries for the red led can be quite challenging inside the small tube they sit in. Due to the size of the batteries, you need to place them on top of the tube and let go - they ended up the wrong side up many times, so I had to tip them out and try again.
Viewing from the finderscope was challenging and very disappointing. The illuminated reticle is as shown in the product description, however you can't see the full pattern clearly. When you center your eyes, you can clearly see upto the 3 degrees mark, from there, it gets blurry. You need to move your eye a bit to the left or right to see the edge of the pattern clear, but then you loose focus of the center pattern - it was very disappointing.
While trying to view through the finderscope, I notice the unwanting kidney bean effect :(
Having centered my eye, when looking to the far left of right of the field, it would all go black.
This product was certainly not worth its money and I would not recommended it to anyone. Unfortunately, I couldn't find any reviews on in and made the purchase.
1= Houston, We Have a Problem & 5= It's Out of This World
- Great finder
Excellent definition, great FOV, the reticle is outstanding. Mine is silver/black. The focus method is really easy and secure. The illumination is adjustable.
1= Houston, We Have a Problem & 5= It's Out of This World
- Included Items
Included Items
- Explore Scientific Illuminated 8x50 Finder Scope
- Dust Caps
- Dual-Ring, Six-Point, Bracket
- Questions & Answers
Product QuestionsI want to use this finder on the Orion Skyquest XX12G go to telescope, but the shoe and bracket don't match, they are different width; is there an adapter I can buy?Question by: Arturo Gonzalez on May 2, 2017 6:04:00 PMHi Arturo,
You can use one of these finder brackets to fit your scope: https://www.optcorp.com/tpo-50mm-finderscope-bracket-and-base-only-fs50bkt.html
Thank you,
760-400-0235Answer by: Sean League (Admin) on May 2, 2017 6:15:00 PMQuestion by: geoffoto on Jan 9, 2015 2:27:20 PMQuestion by: Arturo Gonzalez on Apr 6, 2017 5:14:00 PMYes, but you may need to drill one or more holes in the tube to use the base. Here is the link: https://www.optcorp.com/explore-scientific-finder-base-fndrbaseblk.html.Answer by: Chris Hendren (Admin) on May 5, 2017 10:37:00 AMQuestion by: Luis Barneo on Jul 10, 2015 11:38:00 AMHello Luis,
Unfortunately, Explore Scientific only sells the finder with the bracket we do have finders like a Stellarvue
straight through finder which doesn't come with brackets but at the same price. If you have any other question, please feel free to contact
me at my e-mail at email@example.com by: Steve Thornton (Admin) on Jul 10, 2015 1:42:00 PM
- Support / Downloads


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This is going to be a broad ranging email so stay with me. In general, my Spiceworks implimentation has been a little bit "wonky" since I updated to 4.6.49368. I hope that wasn't too technical.
When I upgraded from 4.5 to 4.6, my performance went straight in the toilet. I tried some of the suggestions to speed up SW but nothing helped. I also saw one instance of a new asset overwriting the record of an existing asset and the inventory scanner was having problems picking up Win7 devices. In the end, I moved to an early version of 4.7 (4.7.51538). My performance is better but the scanning problems persisted and a new issue emerged. When I query for certain records, not all, I get "An Application Error Occurred" message. If I browse to the same record, I get "Unable to load summary, please try again." In the log file I get an entry like this:
ActionView::TemplateError (expected numeric or date) on line #58 of E:/PROGRA~1/SPICEW~1/pkg/gems/spiceworks_views-4.7.51900/asset/general_summary/_warranties.html.erb:
55: %><%=techlink('49',:ad_parms=>{'model'=> @device.model || 'null',
56: 'desc' => ad_warranty.description,
57: 'days' => "#{ad_warranty.end_date - Time.now.to_date}",
58: 'age' => "#{Date.today - @device.warranty_collection.ship_date}",
59: 'type' => @device.device_type || 'null'})%><%
60: when 'hewlettpackard'
61: %><%=techlink('51',:ad_parms=>{'model'=> @device.model || 'null',
I have shut off my AV and reinstalled to 4.7.51900 and since that time, I have seen it again overwrite an existing record with a new asset and my problem with not being able to display certain assets has not gone away. I have seen suggestions to completely uninstall, reinstall and restore from backup. If I do this, can I restore from 4.5 directly to 4.7.519 in case 4.6 corrupted my DB in some way?
Jun 21, 2010 at 1:16 UTC
Keep IT Simple Technology Group is an IT service provider.
Sounds to me like this issue goes beyond the community.
To avoid DB problems send your logs to spiceworks.
This topic was created during version 4.7.
The latest version is 7.5.00101.
1 Reply
Jun 21, 2010 at 1:16 UTC
Keep IT Simple Technology Group is an IT service provider.
Sounds to me like this issue goes beyond the community.
To avoid DB problems send your logs to spiceworks.
This discussion has been inactive for over a year.
You may get a better answer to your question by starting a new discussion.


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I just noticed that the last couple of Dell PowerEdge servers that I have purchased with Windows 2003 preinstalled have come with the first disk pre-partitioned at 12 GB.
Does anyone know the reason for this?
Has anyone run into any problems with this setup?
Any other thoughts?
6 Replies
Aug 28, 2008 at 7:20 UTC
I inherited an SBS server setup this way. Horrible restriction. I curse Dell weekly for this. If I were you I would reformat and set a more appropriate size. Hard Drive space is always cheaper than time. I personally don't use the Dell images. There's nothing generally wrong with them, but that way I know everything that goes into making my servers operational.
Aug 29, 2008 at 8:58 UTC
IT Journey, LLC is an IT service provider.
The partition size is something you have to choose when you are configuring the server (before you purchase it). It is a question in the Dell configurator.
If you don't choose anything, it will default to 12GB for Windows 2003 R2 and 20GB for SBS2003.
Aug 29, 2008 at 9:15 UTC
I use my rep to order things, I guess he just goes with the default config.
I guess I will have to start specifying to use the full drive from now on.
Anyone know the logic behind the 12G and 20G partitions?
Aug 29, 2008 at 10:10 UTC
IT Journey, LLC is an IT service provider.
It is probably based on the Microsoft recommended/required disk space for each of the operating systems. SBS only requires 16GB but they give it 20GB, so they are more than likely leaving a little buffer based on some average space needs they have seen for AV, backup software, etc.
Sep 2, 2008 at 10:27 UTC
That seems to be it. The MS specs for Server 2003 says it requires a 12 GB partition.
I ended up reformatting and reinstalling Server on the two machines on Friday. Better to just get it done before I start using the servers rather than getting frustrated at some point down the road and having to purchase some partitioning software.
Jan 31, 2013 at 1:32 UTC
And a lot of us pay dearly for this default. Wonder if there is a class action here :)
This discussion has been inactive for over a year.
You may get a better answer to your question by starting a new discussion.


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Cheese Pita
Be the first to review
READY IN: 50mins
Recipe by Wilkinson JPS
Although this is called Cheese Pita, it is actually made with phyllo. My kids just call it cheese pie.
See Discussion:
Ingredients Nutrition
- 1 lb phyllo dough (1 pkg.)
- 1 lb cream cheese, or
- 1 lb ricotta cheese
- 3 eggs, beaten
- 1 teaspoon salt
- 1⁄2 lb butter, melted
Directions See How It's Made
- thaw phyllo.
- preheat oven to 350 degrees.
- lay thawed phyllo on a flat surface and cover with damp tea towel.
- mix cheese, eggs and salt - set aside.
- on an 11" x 17" greased baking pan lay phyllo to cover.
- brush with melted butter.
- repeat until there are six layers.
- spread cheese filling evenly over phyllo, leaving about 1/2" around the edges.
- cover with phyllo brushed with butter.
- repeat until there are eight layers.
- tuck in egdes.
- brush top lightly with butter.
- bake until top browns, approximately 30 minutes.


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