text:
Technology and magic
In the first pages of "Little History of Photography", Benjamin describes a portrait of the photographer Karl Dauthendey and his wife who, after the birth of their sixth child, he found lying in the bedroom with her veins slashed. Absorbed in an ominous distance, the gaze of that woman dominates the photograph, generating a temporal dialectic which entails the possibility of looking to the past while anticipating the future. According to Benjamin, this is something that only a photograph is capable of. While subtly circumscribing the specificity of photography, he draws our attention to the relation between technology and magic: "Immerse yourself in such a picture long enough and you will realize to what extent opposites touch, here too: the most precise technology can give its products a magical value, such as a painted picture can never again have for us"[1].
This sentence is both a characterization of the photographic medium, in comparison to painting and a display of its paradoxes, of the tensions it creates. The magical value is related to the "tiny spark of contingency" that, having seared the image character, allows the beholder to experience a temporal movement between past, present and future. The existence of this tiny spark does not depend on the photographer's art and the traditional concepts used to define art, specially painting, are of little use to understand its strength.
The main historical-aesthetical-technological thread of this text is well known. Let us put it in a blunt way. The first decade after photography's invention comprised a period of flourishing. Represented by such photographers as David Octavius Hill or Nadar, this was the period when the subjects depicted and the techniques used were congruent, when the photographs maintained an aura – a fact that was inseparable from the technical qualities of the apparatus. Then, coinciding with the industrialization of photography (in particular put it in a blunt way the development of the visiting-card picture by Disderi) and with several technical developments applied in the production of an artificial aura, a period of decline came. This decline was deeply related to the expanding of the bourgeois and capitalist societies. Nevertheless, at the time the essay was written, Benjamin could already envisage a process of revitalization: freed from the influence of pictorialism and exploring the technical possibilities of photography, a new generation of photographers was working in fertile grounds, following physiognomic, political and scientific interests. In this context, Atget has a prominent position, but Benjamin particularly appraises the works of his contemporaries Sander, Blossfeldt, Heartfield or Germaine Krull.
Taking into consideration this framework, the above mentioned photograph of Dauthendey should be included within the first and flourishing period of photography. But the essay (and generally what Benjamin says about photography) is much more complex and nuanced. The "tiny spark of contingency" describes a general characteristic, because the magical value of photographs exceeds any strict historical delimitation. Besides, it is not restricted to portraiture. In fact, as Benjamin puts in the continuity of the Dauthendey section, photography not only captures the structuring details of reality, but also reveals "physiognomic aspects, image worlds, which dwell in the smallest things – meaningful yet covert enough to find a hiding place in waking dreams, but which, enlarged and capable of formulation make the difference between technology and magic visible as a thoroughly historical variable"[2]. The magical value here points to another direction, to the disclosure of a secret (or perhaps the disclosure of this secret is the unfolding, the combustible irradiation of the tiny spark). The privileged example here is Blossfeldt and his photographs of enlarged plants [Fig. 1]. Using the technique of enlargement, he revealed one of those hidden universes which constitute our optical unconscious, in this case the secret correspondences between the forms of plants and artistic forms: "Blossfeldt with his astonishing plant photographs reveals the forms of ancient columns in horse willow, a bishop's crosier in the ostrich fern, totem poles in tenfold enlargements of chestnut and maple shoots, and gothic tracery in the fuller's thistle"[3]. As a teacher of art in Berlin, Blossfeldt believed in the artistic and architectural qualities of plants and he treated the photographs as teaching tools.
We can easily agree on the similarities between plants and forms of art. But, is this similarity a mere question of analogical resemblance? What kind of secrets lay within the optical unconscious? And how are they related to other aspects of Benjamin's thought?
"News about flowers"
The technique of enlargement guides us into a space of structural intimacy. But Blossfeldt's photographs go beyond the purely analogical aspects; they are not merely revealing a curious coincidence between forms in nature and forms of art, as if the latter were imitating the former. In a review titled "News about flowers", published in Die Literarische Welt in 1928, three years before "Little History of Photography", Benjamin writes, for the first time, about Blossfeldt's book. He cherishes it for having shown something extraordinary, furnishing the inventory of human perception with a contribution capable of changing our image of the world in unforeseen ways. In this sense, Benjamin follows Lazlo Moholy-Nagy premises – rooted in the spirit of the Bauhaus – by saying that even the research in photography can lead to original and creative results. "It is not the person ignorant of writing but the one ignorant of photography who will be the illiterate of the future".[4] This sentence appears again, though without a reference to its author, in "Little History of Photography", and it can be said to illustrate the importance of that period (the Weimar Republic) in the development of photography. This is not the place to investigate the confluence between Moholy-Nagy's and Benjamin's ideas on photography nor on the relation between art and technology. However, it is important to stress the fact that they shared a concern with the widening of perception, with the emancipation of photography from other arts, foreseeing a utopian dimension in technology. The "new vision" belongs to a set of progressive contributions which involve, or should involve, the human being in its wholeness, in its relation to life.
Blossfeldt's book is a new contribution to the old debate on the relation between nature and art. But the secret those photographs reveal is linked to a broader question on form: the relation between form and creation, the question of metamorphosis. Benjamin put it clearly while addressing the title of the book, Originary Forms of Art (Urformen der Kunst): the expression "forms of art" being considered equivalent to "originary forms of nature". These forms were never a mere model for art, but "were, from the beginning, at work as originary forms in all that was created"[5]. In this sense, and because it touches the secret of creation, Benjamin links Blossfeldt's work to Klee's and Kandinsky's painting. However, the painters are closer to a secret enabled by the microscope (enlargement of what is small) and not by the photographic enlargement (enlargement of what is big). Benjamin does not expand this analogy but we may presuppose that he is referring to the primordial elements in Klee's and Kandinsky's work resulting from a sort of depuration (of lines, dots, colours, movements), elements which open to spiritual and cosmic visions. Using other techniques and aiming at different results, Blossfeldt photographs absorb and reveal inner image-imperatives not limited to a mere reproduction of forms: "Leaping toward us from every calyx and every leaf are inner image-imperatives [Bildnotwendigkeiten], which have the last word in all phases and stages of things conceived as metamorphoses"[6]. This feminine and vegetable principle of life can be said to work under the seemingly randomness of the surface of things, even under what we call invention; in fact, it is the "dialectical opposite of invention: the Natura non facit saltus of the ancients"[7]. Therefore, we can approach it to Goethe's Urphänomen, the primal image whose revelation occurs in the unfolding of the individual phenomena.
The review on Blossfeldt's book ends with the following sentence: "We, the observers, wander amid these giant plants like Liliputians. It is left, though, to fraternal great spirits – sun-soaked eyes, like those of Goethe and Herder – to suck the last sweetness from these calyxes"[8]. The sweetness is only accessible to those who are able to see it. The expression sun-soaked eyes (sonnenhaften Augen) is meaningful: the verb haften that forms the adjective sonnenhaften means something that is immersed, connected in a profound way, captivated. Goethe uses this expression in the "Introduction" to his Theory of Colours (Farbenlehre), suggesting, against the causal and scientific explanations on the relation between the eye and the light, a position that is closer to an ancient and affinitary theory of vision, according to which "like is only know by like"[9]. This theory, presupposing the idea that our eyes are linked to the sun, is part of a philosophical perspective firstly formulated by Empedocles: it argues that our vision results from a fire emanated both from the objects perceived and from the eyes, the intraocular fire. Empedocles' theory is an initial step of a long-term debate regarding the metaphysical principles sustaining the idea "like is only known by like", principles of kinship he also applies to biological questions. Anyway, and despite the different interpretations and the critics of Aristotle concerning the biological questions raised by Empedocles, he was "the first thinker to see that biology needs both randomness and principles of organization in its explanatory equipment"[10]. Usurping the well-known opposites which guide Empedocles thinking (love and strife), we might say that besides all the strife, a gifted love capable of sucking the sweetness of nature bonds Empedocles and Blossfeldt.
Some final remarks on the Benjaminian reading of Blossfeldt's photographs.
Because Blossfeldt touches the heart of morphological questions, Benjamin focuses on those aspects where philosophical, artistic and scientific questions interweave. Throughout his work, he often refers to Goethe's morphological method, adapting an important part of it to his own historical thinking.[11]
Some passages of the review seem to prepare themes that Benjamin will develop in "Little History of Photography". In a certain sense, and without disregarding the importance of psychoanalysis, we might speculate about the importance of the review for the formation of the concept of optical unconscious – or perhaps following Miriam Bratu Hansen we should call it, not a concept, but an "experimental metaphor" having multiple and shifting meanings[12]. Either way, much of Benjamin's thinking concerning photography is an attempt to identify how the technical features can contribute to an uncovering of reality. In Blossfeldt's case, the reality of analogies and forms. "Only the photograph is capable of this [revelation]. For a bracing enlargement is necessary before these forms can shed the veil that our stolidity throws over them"[13]. By shedding the veils that cover different forms of reality, photographic enlargement allows us to study not the "real reality" but the secrets and forces driving reality: this might explain the emphasis on the physiognomic, scientific or political elements Benjamin envisages in the work of the new photographers.
The notion of optical unconscious, besides its obvious – though detoured – relation with psychoanalysis, has an implicit relation with the mimetic dimension of Benjamin's thought. From the point of view of "Little History of Photography", the similarities between plants and forms of art are, firstly, an example of the magic value of photography, but if we compare it to the review from 1928, they are at the same time a manifestation of a cosmos of similarities. In a fragment probably written in 1932, which comprises a sketch for a rational astrology, Benjamin addresses the question of mimesis: "We start with 'similarity'. We then try to get clarity about the fact that the resemblances we can perceive, for example, in people's faces, in buildings and plant forms, in certain cloud formations and skin diseases, are nothing more than tiny prospects from a cosmos of similarity"[14]. The forces governing this cosmos of similarity involve both the mimetic objects and the mimetic centres, the human beings, and can be approached to the "image imperatives" shared by plants and works of art. In the text "Doctrine of the Similar", the mimetic power is conceived as partially unconscious and the iceberg image is used to explain this feature. In both the ontogenetic and phylogenetic sense, that power has a historical nature[15]. When compared to ancient times, nowadays we only have access to a limited sphere of the mimetic power.
It is important to note that the category of mimesis cannot be reduced to the element of reproduction, nor to the general concepts usually employed to describe the relation between images and reality. The classical theory of image says that an image is a representation of reality because of the resemblance it has with the original. This iconic principle, together with the concomitant one of indexicality, is useful for a broad definition of photography. However, for Benjamin, this is not the most important thing. He conceives mimesis as "the organon of experience"[16] and much of his reading of modernity is informed by the tensions occurring throughout the historical, technical, and perceptual transformations of experience. These tensions call for an evaluation of the categories traditionally employed to understand aesthetic phenomena, such as aura or beautiful semblance. In this sense, "with the optical unconscious, one might say, the mimetic faculty has migrated into the visual media and their aesthetic possibilities"[17]. If photography is mimetic, it is less because it reproduces reality and more because of the possibility of stimulating the mimetic power in human beings. This is the power that children exercise in the most profound way, engaging the capacity to perceive hidden similarities but also involving magic, imitation, disguise, destruction and the reconstruction of the world, as well as all the other significant dimensions of play. This is also the power that creates the polarity between semblance and play, the polarity which, according to the second version of "The Work of Art in the Age of Its Technological Reproducibility", is at the core of every artistic manifestation.[18]
Making room
"The destructive character knows only one watchword: make room [Platz schaffen]. And only one activity: clearing away [räumen]. His need for fresh air and open space [freiem Raum] is stronger than any hatred."[19]
This section from text "The Destructive Character", published in 1931 in the Frankfurter Zeitung, will guide us through one of the most important features – even though not always explicit – of Benjamin's thinking on photography: the relation between destruction and the liberating gesture of making room. This relation provides a conceptual framework for the understanding of the historical and aesthetical transformations brought forth by photography (and by extension by cinema).
Although "The Destructive Character" was inspired by the figure of Gustav Glück, the director of the foreign division of the National Credit and a close friend of Benjamin at the time[20], it also contains elements that illuminate an important dimension of Benjamin's thinking. The movement of destruction – and construction as its counterpart – can be identified in several moments of his oeuvre. In fact, an important part of his historical method comprises the assessing of the losses and gains that take place in a particular historical period. The destruction of tradition, signifying the loss of the experiences that characterize a given epoch, establishes a tension with the new possibilities of experience thus created. It is from the heart of these tensions that Benjamin's historical and critical thinking unfolds. Hence the relation that the "destructive character" has with the historical consciousness: "The destructive character has the consciousness of historical man, whose deepest emotion is an insuperable mistrust of the course of things and a readiness at all times to recognize that everything can go wrong. Therefore, the destructive character is reliability itself"[21]. Playing with the opposition between mistrust and reliability, Benjamin identifies the importance of the destructive character for a certain kind of historical man. But the path he reserves for this reliability is in fact close to the characteristics he predicates for the materialist historian.
The sections of Das Passagen-Werk assembled under the letter N are the ones which better explain the theoretical background of this unfinished project. A few of them point out the importance of the destructive element in the task of the materialist historian: "It is important for the materialist historian, in the most rigorous way possible, to differentiate the construction of a historical state of affairs from what one customarily calls its 'reconstruction'. The 'reconstruction' in empathy is one-dimensional. 'Construction' presupposes 'destruction'"[22]. The task Benjamin assigns to destruction is part of his critical position against the principles of historicism. More specifically, by criticizing the idea of 'reconstruction' of the past, he is stressing the importance of the present as, simultaneously, a condition for legibility and a transformation of that same past. The destructive or critical moment occurs with the blasting of the historical continuity in which the historical facts are presented.[23] By the same token, the text "Eduard Fuchs. Collector and historian" comprises the critique of a cultural history based on the accumulation of facts in a temporal continuum. Benjamin stands for the dialectic thought exactly because of its capacity to grasp the destructive elements in culture: "For cultural history lacks the destructive element which authenticates both dialectical thought and the experience of the dialectical thinker. It may augment the weight of the treasure accumulating on the back of humanity, but it does not provide the strength to shake off this burden so as to take control of it"[24].
In order to overcome the illusion of progress one has to expose its breaches, bringing to light, for instance, that technology is not just a scientific achievement aiming the improvement of living conditions. It also offers its services to the production of commodities according to capitalist demands. And, more dramatically, technology is a servant of violent forces, in particular the ones related to war. By pointing out the hidden and destructive elements in technology, Benjamin creates an interruption and thus promotes a thoroughly confrontation between the present and the past, liberating the objects for new reading possibilities.
Broadly speaking, we can assume that the idea of destruction means "the destruction of some false or deceptive form of experience as the productive condition of the construction of a new relation to the object"[25]. And this idea permeates Benjamin's writings on photography. Making room is thus a gesture that allows for the possibility of exploring the dimensions virtually contained in the photographic apparatus. As we have already seen, these possibilities should not be understood according to the traditional categories of art, precisely because they encompass new forms – scientific, physiognomic or political – and new relations between knowledge, art and technology.
Blossfeldt's photographs are part of a process that widens our perception by showing a previously veiled world. The notion of optical unconscious tries to grasp this movement. Let us now focus on the fundamental role the photographer Atget plays in the economy of Benjamin's reading of photography.
Besides being ground-breaking, Atget's photographs also show an intimate relation between the photographer and the technology at his disposal. Throughout his patient and meticulous work, he was capable of clearing away the atmosphere of photography, by exploring a forgotten Paris.
He was the first to disinfect the stifling atmosphere generated by conventional portrait photography in the age of decline. He cleanses this atmosphere – indeed, he dispels it altogether: he initiates the emancipation of object from aura, which is the most signal achievement of the latest school of photography. […] He looked for what was unremarked, forgotten, cast adrift. And thus such pictures, too, work against the exotic, romantically sonorous names of the cities; they suck the aura out of reality like water from a sinking ship.[26]
The subsequent passage of the text gives a first definition of aura – in this text, but also in Benjamin's oeuvre: "What is aura, actually? A strange weave of space and time: the unique appearance or semblance of distance, no matter how close it may be"[27].
Benjamin is not always clear on the relations between the transformations regarding the aura and the periods of decay in the history of photography. The spatio-temporal structure of the aura is broad, while the different occurrences in the text often comprise specific phenomena: the aura of certain gazes, the technical conditionings of the auratic phenomena, the attempt to create an artificial aura trough the retouching of photographs. Though it is possible to gather the different definitions of aura in this and in other texts, though the aura is a key-notion in the texts on Baudelaire and in the well-known essay "The work of art in the age of its reproducibility", the truth is that it does not correspond to a stabilized concept. It reflects the inner movement of Benjamin's thought, maintaining the respect for the singularity of each phenomena and the attempt to revitalize its historical content.
In order to further progress on the question of aura and its relation with photography (a comprehensive development is not in our scope), two remarks are necessary.
First, when Benjamin highlights the spatio-temporal dialectics of Dauthendey's photograph (which is a quality of photography in general, derived from its optical, chemical or nowadays electronic nature), it seems to match one of the determinations of the aura: "the unique appearance or semblance of distance, no matter how close it may be." Reproducibility, which tends to destroy the qualities of uniqueness and duration of the original image, weakens this trait, but the spark of reality is always exercising its strength. If we consider this temporal dimension of the aura as a virtual property of photography, it becomes easier to understand it from an historical perspective. However, the logic of causality is of little use here. In its place, we should think from a perspective of irradiations, ramifications or disseminations. Just like the relation between magic and technology, so the difference between aura and reproducibility follows a historical variant. Benjamin himself does not consider this "alternative" way of conceiving the photographic aura but it is a plausible path in which to develop and detour his concepts.
Second, in a protocol written in March 1930 about his experiences with hashish, Benjamin gives a different and perhaps a sharper definition of aura. Against the theosophists and the conventional and banal ideas on the subject, he puts forwards a definition based on three points:
First, genuine aura appears in all things […]. Second, the aura undergoes changes, which can be quite fundamental, with every movement the aura-wreathed object makes. Third, genuine aura can in no sense be thought of as a spruced-up version of the magic rays beloved of spiritualists and described and illustrated in vulgar works of mysticism. On the contrary the characteristic feature of genuine aura is ornament, an ornamental halo, in which the object or being is enclosed as in a case.[28]
Taking into account these two remarks, we can thus conclude that in "Little History of Photography" the main concern is not the complete disappearance of aura, but an understanding of its transformations regarding specific photographic experiences.
Let us now come back to Atget. According to Benjamin, his photographs clean the asphyxiating atmosphere created by the portraits of the epoch, as well as the romanticized and stereotyped images of the cities. This cleaning also means the destruction of the aura, a first step towards "the emancipation of object from aura, which is the most signal achievement of the latest school of photography"[29]. By depicting an almost empty city of Paris, by showing the hidden details, Atget was anticipating surrealist photography. From the point of view of a more conventional history of photography, it is debatable to regard Atget as a forerunner of surrealist photography. But certainly not by chance, Rosalind Krauss stresses the importance of "spacing" in photographic surrealism, since it paradoxically destroys the unity of the photographed reality, making it clear that "we are not looking at reality, but at the world infested by interpretation or signification, which is to say, reality distended by the gaps or blanks which are the formal preconditions of the sign"[30]. Though the theoretical framework that Krauss develops in her study on surrealism goes way beyond the Benjaminian influence, the notion of "spacing" seems to dialogue implicitly with the different levels of the movement of destruction/construction that we are trying to follow.
Only remotely do Atget's photographs [Fig. 2] seem to fulfil the sophistication of avant-garde and modernist demands. If Benjamin brings them together, it is because those photographs have a liberating power. Somehow, while depicting a hidden city, they form a strange threshold. It is clear that the Benjaminian analysis is concerned with the aesthetical and political consequences of that strangeness:
The city in these pictures looks cleared out, like a lodging that has not yet found a new tenant. It is in these achievements that Surrealist photography sets the scene for a salutary estrangement between man and his surroundings. It gives free play to the politically educated eye [Sie macht dem politisch geschulten Blick das Feld frei], under whose gaze all intimacies are sacrificed to the illumination of detail.[31]
The English translation of this last sentence accentuates the dimension of play. But more literally das Feld frei machen alludes to a "liberated space". In fact, space and freedom belong to a kindred semantic field, a fact also recognizable in another German word we will consider in what follows, Spielraum. By sucking the aura of reality, by shedding the ornaments of the objects, photography can make room for a further development of our perception, a movement analogous to the one described in the "The Destructive Character".
Emptiness can be seen as a twofold political gesture: from the beginning it is an attack against the business of photography, especially portrait photography (although Atget often sold his photographs to painters); but it also broadens our freedom through the possibility of exploring space. The illumination of details is intrinsically connected to these two gestures.[32] Contributing to the widening of spatial dimensions as a political action, Atget can be said to belong to a group of photographers from the first decades of the twentieth century that explore the potential of the photographic medium. In this sense, it is worth mentioning Benjamin's reference to Nadar in the "Exposé of 1935" for The Arcades Project. Commenting on the dissemination of photography and on its technological and social aspects, he mentions Nadar superiority towards his colleagues because of his photographs of the Paris sewer system. For the first time, "the lens was deemed capable of making discoveries"[33]. In this sense, Nadar photographs of the Paris sewer system have a political quality and can be seen as an "underground" predecessor of Atget's ones.
The procedure of montage also involves a specific relation between destruction and space. This procedure became usual due to the development of technologies such as photography, cinema, radio or press. Benjamin associates montage to the principle of interruption that he identifies in Brecht's epic theatre[34] and he himself practiced a sort of literary montage while writing One Way Street. From the point of view of history, not only did he pointed out the destructive character of interruption, but he also applied it in Das Passagen-Werk, conceiving a project meant to be developed on quotations and small remarks. Independently of the future Benjamin reserved for the work on the Parisian arcades, the interruption-destruction that clears away entails a new relation with history and new political possibilities.
Space is obviously an essential element for architecture. Benjamin's writings deal explicitly with architecture in at least two different ways. The first one, in the context of "The Work of Art" essay, involves the distinction between tactile and optical reception. The tactile reception, coming about by the way of habit, is fundamental for architecture. It offers insights into the problem of reception in a state of distraction, which is the state of reception predominant for the masses. The second one, impossible to delineate in few words, concerns the different levels displayed in Das Passagen-Werk. For instance, the ambiguous and dialectical polarity between the interior and the exterior of the Parisian arcades is a model for the dialectical images and for the whole ambiguity of modernity. Besides these two wide-ranging approaches, the gesture of "making room" in its relation with architecture is explicitly developed in two "thought images", curiously about two Mediterranean places, Naples and Ibiza. In both, the notion of Spielraum is crucial.
Naples. While describing the grey qualities of the stone that dominates the city and the caves hewn in it, Benjamin says: "as porous as this stone is the architecture. Building and action interpenetrate in the courtyards, arcades and stairways. In everything, they preserve the scope [Spielraum] to become a theatre of new, unforeseen constellations. The stamp of the definitive is avoided."[35]
Ibiza. The text is called "Space for Precious Objects" and it is a description of the precious objects Benjamin found in the houses of Southern Spain. Their preciousness, though, derives not from their economic value but from their sobriety, the austerity of the living space they inhabit. The important thing is not the spot they belong to, but the space that allows them to take new positions and acquire new functions. "Fisherman's nets and copper kettles, rudders and clay jars, come together and are ready, as the need arises, to change places and form new combinations a hundred times a day"[36]. Benjamin also underlines the simplicity of these houses, contrasting the experience they furnish with his own bourgeois experience: "in our well-appointed houses, however, there is no space for precious objects, because there is no scope [Spielraum] for their service"[37].
Both passages express the dynamic possibility of relocation, one of situations, the other of objects. The first, referring to the macroscopic dimension, the exteriors of Naples, concerns what is unexpected in people's actions, thus accounting for the plastic and anarchic characteristics of the city. The second, referring to the microscopic description of the village houses in Southern Spain, concerns the sobriety and functionality of objects. Spielraum is, nevertheless, the condition for both. Room for play, for the freedom of movement, room for manoeuver: different meanings for a German word that captures the rich semantic fields of play (Spiel) and space (Raum).
The element of play constitutes an important dimension of mimesis. In the second version of "The Work of Art" essay, Benjamin develops a distinction between the first and the second technologies. Photography and cinema flourish within the historical period covered by the second technology. Mimesis, and its inner polarity between semblance and play, is conceived as the Urphänemon of all the artistic activity. For Benjamin, the passage from the first to the second technology implies the decreasing of beautiful semblance (of the "object in its veil" – in this text, an equivalent to aura). This decreasing "is matched by a huge gain in the scope for play [Spiel-raum]"[38]. According to this analysis, which is also a utopian projection on the future of art, cinema is in a privileged situation. Before describing the characteristics of the optical unconscious, as well as the technical components – close-up, slow motion or enlargement – that are revealed in cinema, once again Benjamin makes use of the dialectic ideas of destruction and Spielraum:
On the one hand, [cinema] furthers insight into the necessities governing our lives by its use of close-ups, by its accentuation of hidden details in familiar objects, and by its exploration of commonplace milieu through the ingenious guidance of the camera; on the other hand, it manages to assure us of a vast and unsuspected field of action [Spielraum].
Our bars and city streets, our offices and furnished rooms, our railroad stations and our factories seemed to close relentlessly around us. Then came film and exploded this prison-world with the dynamite of the split second, so that now we can set off calmly on journeys of adventure among its far-flung debris.[39]
The process of destruction leads to the creation of a free scope which, however, is not an absolute emptiness. Finding room for manoeuvre inside complex situations is perhaps the best translation of this movement. It allows the reconstruction of the world with the debris (and the image of the debris is recurrent in Benjamin's thought). There is also a utopian element here which is characteristic of the second technology. In the essay, this utopian element is illustrated by the image of the child who has learned to grasp and stretches out his hand for the moon as he would do for a ball[40]. This movement, whose revolutionary goal demands a collective innervation, is only possible because a new scope for play was created[41]. Whether Benjamin's social and political prognostics regarding cinema were confirmed by the development of the media is perhaps less important than the historical and critical thinking he sets the basis for. In his time, and without disregarding the constellation of dangers surrounding him, he was capable of discovering the historical moments in which the veils were being shed, in which destruction was opening space. His confrontation with specific photographic works such as Blossfeldt's and Atget's were important steps towards the revelation of the tensions of his present. Searching, or even creating these tensions, is still a possibility in our present time.
ANDREOTTI, L. Spielraum: W. Benjamin et L'architecture, Paris: Éditions de la villette, 2011.
BENJAMIN, Andrew e OSBORNE, Peter (ed.), Walter Benjamin's Philosophy. Destruction and Experience, 2ª ed., Manchester: Clinamen Press, 2000 [1994].
BENJAMIN, Walter, Selected Writings, Cambridge / Massachusetts / London: The Belknap Press of Harvard University Press, 1996-2003:
– Vol. 1: 1913-1926, ed. Marcus Bullock e Michael W. Jennings, 1996.
– Vol. 2: 1927-1934, ed. Michael W. Jennings, Howard Eiland e Gary Smith, 1999.
– Vol. 3: 1935-1938, ed. Michael W. Jennings, Howard Eiland e Gary Smith, 2002.
– Vol. 4: 1938-1940, ed. Howard Eiland e Michael W. Jennings, 2003.
BENJAMIN, Walter, The Arcades Project, trad. Howard Eiland e Kevin McLaughlin, Cambridge / Massachusetts / London: The Belknap Press of University Press, 1999.
BENJAMIN, Walter, The Correspondence of Walter Benjamin: 1910-1940, trad. Manfred R. Jacobson e Evelyn M. Jacobson, Chicago / London: The University of Chicago Press, 1994.
GOETHE, Johann Wolgang von, Theory of Colours, trad. Charles Lock Eastlake, New York: Dover, 2006 [1810].
HANSEN, Miriam Bratu, Cinema and Experience. Siegfried Kracauer, Walter Benjamin, and Theodor W. Adorno, Berkeley / Los Angeles / London: University of California Press, 2012.
KIRK, G.S., RAVEN, J. E., SCHOFIELD, M., The Presocratic Philosophers, Cambridge: Cambridge University Press, 1983.
KRAUSS, Rosalind, The Originality of the Avant-Garde and Other Modernist Myths, Cambridge: MIT Press, 1985.
WEIGEL, Sigrid, Walter Benjamin: Images, the Creaturely, and the Holy, Stanford: Stanford University Press, 2013 [2008].


text:
Wellington, Fla. – March 3, 2017 – Hunter derby competition heated up on Friday at Deeridge Derby Weekend, held at the beautiful Deeridge Farms. The $5,000 International Hunter Derby Welcome Stake, presented by the World Equestrian Center, hosted a total of 44 horse and rider combinations on the pristine Hollow Brook Wealth Management Grand Prix Field. Victoria Colvin and Cuba came out on top, followed closely by Kristy Herrera aboard Candid.
The class gave riders the opportunity to take their horses around the derby field for the first time before this weekend's feature class, the $50,000 USHJA International Hunter Derby presented by the World Equestrian Center. Colvin, whose first mount had an unfortunate refusal, kept her cool and came back after the break and bested the scores of Scott Stewart, Peter Pletcher and Kelly Farmer.
"This was a really fun class to win," Colvin said. "I have never ridden on the grass here. It was actually a large course, which I didn't expect, but Cuba was amazing. It's a great way to start."
The 10-year-old Warmblood gelding, owned by Brad Wolf of Memphis, Tennessee, made the large course look like a walk in the park, earning a score of 90 from the judges.
"He is so easy going, so I knew he was probably going to go in there and just go right around," Colvin remarked. "I didn't think I was going to win, but winning was great!"
Hot on Colvin and Cuba's heels was Herrera aboard Jennifer Alfano's Candid. The pair, who trotted onto the field directly after Colvin and Cuba's near-perfect performance, had an almost equally impressive round with a score of 89.
Alfano was thrilled with her horse's round, considering how new he is to derby-style competition.
"I thought he was unbelievable!" gushed Alfano. "This is only his second derby, and he has never been on a grass field and he was just awesome."
Herrera was equally pleased with Candid and thought the course was the perfect way to prepare for Saturday and Sunday's competition.
"The course was very nice and inviting. I think they did a great job getting everyone out there for a nice welcome class," Herrera said.
Sara Green and Carento, owned by Sherri Crawford, rounded out the top three placings in the class with a score of 88.
Colvin had little time to rest before dominating the leaderboard in the following 3′ Deeridge Hunter Derby Warm-Up. The professional athlete had five horses entered in the division and rode three of them into the top five with first, second and fifth place finishes in a class that hosted 54 competitors.
"It's pretty easy," Colvin said about the multiple rides. "I find it fun. It's more fun for me to get on one and get on the next then have to wait for 25 trips. It gets a little boring, and they're all pretty simple. It's easy to adapt to all of them. They all give a special ride, but thankfully, they're not too hard."
After the break, halfway through the class, Colvin entered the arena aboard Laura Karat's grey Polish Sport Horse, Harper Lee, and set the score to beat with an 88. As the crowd waited for Colvin to close out the class, she entered the ring in the irons of John and Stephanie Ingram, LLC's Fonteyn. After her trip around the Skip Bailey-designed course, she exited as the announcer called out the score.
"With a score of 89, Victoria Colvin and Fonteyn slide into first place," Brian Lookabill announced.
As Colvin dismounted the bay German Sport Horse, she was welcomed with applause and gratitude from two pleased owners, who posed for pictures with their ribbons and fabulous horses.
Although Colvin only just started riding both horses at the beginning of the winter season, she has established a relationship with them and has learned their quirks.
"Fonteyn is a bit quirky sometimes," Colvin explained. "On my way to the first jump, she saw the golf cart coming behind her. I could see her ear twitch back telling me, 'There's something chasing me.' She contained herself, but that's her little thing. She gets a little worried and holds her head to the side. Harper Lee is straightforward and knows her job. She's just a baby."
In the Deeridge Jumper Ring on Friday, Samantha Johnson took home the first win of the day in the 1.10m Jumpers aboard her own Gallant in 31.690 seconds, besting second place finishers, Lily Alice Foregger and Elizabeth Hinckley's Zento VDV, by 1/10th of a second after they crossed the finish line in 31.759 seconds. Next in the 1.20m Jumpers, Brittany Hildebrand and Mindy Hildebrand's Eldorado claimed the win in 35.811 seconds. Joe Fargis and Mary B. Schwab's Last Dance followed in second place in 40.839 seconds. Closing out jumper competition for the day was Deeridge Farms' own Charlotte Jacobs and North Star's Darthus, who won the $2,500 1.30m Jumpers. The pair produced the only clear jump-off round out of five in 38.600 seconds, while Chloe Reid and Hidden Brook Farm's Barcelona were the fastest of the 4-faulters in 39.705 seconds for second place honors.
Hunter derby competition will continue on Saturday with the $5,000 3′ Deeridge Hunter Derby, presented by Sock Inc., at 10 a.m. in the Hollow Brook Wealth Management Grand Prix Field followed by the first round of the $50,000 USHJA International Hunter Derby, presented by the World Equestrian Center, beginning at 2:30 p.m.
In addition, the Deeridge Jumper Ring will kick-off on Saturday at 8 a.m. with the 1.10m, 1.20, $2,000 1.25m and $2,500 1.30m Jumpers.
Entries are still being accepted for the $2,500 Deeridge Pony Derby to be held in the Hollow Brook Wealth Management Grand Prix Field on Sunday, March 5.
JustWorld International and the Deeridge Derby Weekend have teamed up to bring exciting family entertainment to Wellington at the JustWorld Kid Zone. The JustWorld Kid Zone is free and will be held during the Deeridge Derby Weekend on Saturday, March 4, and Sunday, March 5. There will be many fun activities for the whole family to get involved in including a pony kissing booth, horseless horse show, egg hunt and more!
$5,000 International Hunter Derby Welcome Stake, presented by the World Equestrian Center
Place / Horse / Rider / Owner / Score
1. Cuba / Victoria Colvin / Brad Wolf / 90.000
2. Candid / Kristy Herrera / Jennifer Alfano / 89.000
3. Carento / Sara Green / Sherri Crawford / 88.000
4. Editorial / Meagan Murray-Tenuta / Rebecca Price / 86.000
5. Breeze / Havens Schatt / John Yozell / 85.750
6. Comissario / Laura Sexton / Laura Sexton / 85.500
7. Mostly Sunny / Havens Schatt / CH Farm LLC / 85.000
8. Charisma / Taylor St Jacques / Heritage Farm Inc. / 84.500
9. In The Know / Samantha Schaefer / Madeline Schaefer / 84.250
10. Airport 48 / John Ingram / John & Stephanie Ingram LLC / 84.000
11. Wonderly / Scott Stewart / Betsee Parker / 83.750
12. Clearline Z / Patricia Griffith / Patricia Griffith / 83.500
13. Rock Harbor / Louise Serio / Jennifer Burger / 83.000
14. Galan / Amber Henter / Maarten Huygens / 81.000
3′ Deeridge Hunter Derby Warm-Up
Place / Horse / Rider / Owner / Score
1. Fonteyn / Victoria Colvin / John & Stephanie Ingram LLC / 89.000
2. Harper Lee / Victoria Colvin / Laura Karet / 88.000
3. Czar-Z / Christina Serio / Amy Guth / 87.000
4. Illusion / Augusta Iwasaki / Iwasaki & Reilly / 86.500
5. Caliber / Victoria Colvin / Laura Karet / 86.000
6. Holden / Christopher Payne / Susan Moriconi / 85.000
7. Dandelion / Katherine Newman / Allwyn Court / 84.000
8. Curb Appeal / Amy Momrow / Monty Kelly / 83.000
9. Cucinelli / Caroline Weeden / Glory Days Farm LLC / 82.000
10. Fernelli / Caroline Weeden / Piper Benjamin / 81.500
11. As Promised / Kristi Herrera / Meralex Farm Inc. / 81.000
12. Lyons Creek Bellini / Victoria Colvin John & Stephanie Ingram LLC / 80.500
13. Sugarman / Jennifer Bliss / Harris Hill Farm LLC / 80.000
14. Herodios V / Charlotte Jacobs / North Star / 79.500

subset: commoncrawl


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At Disaster Kleenup Specialists in Monterey, we want to help you keep your family and property safe with tips on preventing house fires and electrical fires. House fires are an ever-present concern, especially as we see how devastating fires can be here in California. We hope these tips will help you keep an eye out for fire hazards around the home and other common communal areas. Often, these fire concerns are hidden in plain sight.
10 Tips For Electrical Fire Prevention
There are some simple things that you can do to prevent electrical fires in your home. Some of these may seem like common sense but can often be overlooked during regular household maintenance.
- Make sure you are using the correct wattage light bulbs.
- Keep flammables away from electrical appliances.
- Use extension cords only temporarily.
- Don't run cords beneath flammable materials like carpet.
- Replace broken outlets or appliances.
- Check plugs for frays or rips.
- Replace old, worn out electrical wires.
- Unplug small appliances when you go on vacation.
- Don't overload your outlets.
- Use surge protectors.
Kitchen Fires Are Preventable
One of the most common areas we can experience the threat of fire is in the kitchen. Forgetting to unplug the toaster before cleaning it or continuing to use an old appliance with a worn out cord can quickly result in a big loss.
It Can All Start With A Spark
Whether it's an overheated mismatched bulb or an old space heater, all it takes is a spark and a little bit of flammable material to start a house fire. Keeping your home as clutter free as possible and electrical appliances away from your carpets, furniture, and draperies are quick fire prevention steps.
Here To Help You Prevent & Repair
We can help you with thorough cleanup, haul away, and maintenance like air duct cleaning to keep your chance of experiencing a house fire down. If you have already experienced fire damages to your home, we offer a variety of cleanup, repair, and restoration services to meet your needs.
- Fire Damage Restoration
- House Fire Cleanup
- Ceiling & Wall Repair
- Air Duct Cleaning
- Junk Removal
Your Helping Hands In Monterey
Whether you are trying to fireproof your home as much as possible or need a helping hand recovering from the devastation of a previous fire, give us a call at Disaster Kleenup Specialists. We want to help you with electrical fire prevention or repair in your Monterey area home.
Monterey County
Aromas, Big Sur, Bradley, Carmel, Carmel Valley, Castroville, Chualar, Gonzales, Greenfield, Jolon, King City, Lockwood, Marina, Monterey, Moss Landing, Pacific Grove, Pebble Beach, Salinas, San Ardo, Sand City, San Lucas, Seaside, Soledad, & Spreckels, CA.
Santa Cruz County
Aptos, Ben Lomond, Boulder Creek, Brookdale, Capitola, Davenport, Felton, Freedom, Los Gatos, Mount Hermon, Santa Cruz, Scotts Valley, Soquel, & Watsonville, CA.
San Benito County
Hollister, Paicines, San Juan Bautista, & Tres Pinos, CA.


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Tax Practice Setup
- TRP Setup Process
- TRP Dashboard
- Manage Client
- Manage Team
- GST Return Dashboard
Register on GSTHero as Tax Return Preparer
If you are Practice owner and would like to carry out your GST return filing practice using GSTHero. You can start by Registering on GSTHero portal as a Tax Return Preparer (CA/ TC). The Registration Process can be completed by providing your following details:
1. First Name
2. Last Name
3. Mobile Number
4. Email Address
5. Password : Here you will enter your password twice just to ensure you are typing your correct password.
NOTE : You will receive an email from GSTHero.com to Verify your email address and to Acticate your account. Please click on the Verify button in your email.
Change Settings on www.gst.gov.in
Before we setup your Practice on GSTHero, if you are a GST Registered Practioner, then you will need to change the below mentioned settings on www.gst.gov.in, else you can go directly to Step 3. To do the GST portal settings follow the following Steps:
Step A. Login to the GST portal www.gst.gov.in using your username and password.
Step B. After successful login, on the top right hand corner you will find a drop down menu. Click on My Profile under the Menu.
Step C. On My profile Page, on left hand side you will find Quick Links. Click on Manage API Access link.
Under Manager API Access, do the following Settings:
i. "Manage API Access" : Enable API Request to "YES".
ii. "Duration" : Change the Duration to 30 days.
Login to GSTHero.com
After Successful TRP Registration and changing the Settings on www.gst.gov.in portal if you are GST registered, we can now continue to setup the your practice. On GSTHero.com website click on the Login Menu. You will now need to Login with the email id and password you had set during TRP registration.
Forgot Password: If you have forgotten your password, then click on the "I Forgot My Password" Link on the Login Page. You will be asked for the email address where you will receive the password reset link. Click on the link you receive in your email and change to your required password.
Practice Setup Process - Step 1. Practice Details
This is the first Step towards Setting up your Practice. You will have to Provide your Practice / Business Details here.
1. "Business / Practice Name"
2. "Unit Name / Display Name" : if you carry out Single practice from Multiple Locations and would like to identify your practices based on the Unit name, you can provide such details here.
3. "Business PAN Number"
4. "Constitution of Business"
5. "Choose if GST Registered or not" : If you are not GST resgitered, please choose to Non Regsitered option and Continue. You will be taken directly to Step 4 of the Practice Setup Process.
6. "Taxpayer Type" : Are your a Regular, Composite, TDS, TCS, NRI or other type of Taxpayer?
7. "City"
Practice Setup Process - Step 2. GSTIN Details
After you have provided your Business /Practice Details, you will come to this section only if you area GST registered Practioner. Here you will need to provide the following Details:
1. "GST.gov.in Portal Login Username" : This is the same username you use while logging on to www.gst.gov.in portal.
2. "GSTIN Number" : This is the GSTIN Number provided to you by GST.
3. "GST.gov.in Registered Mobile Number" : You will have to provide the same Mobile Number registered with GST to receive the OTP.
4. "Authenticate Now / Authenticate Later" : If you have the registered Mobile number handy with you, you can Authenticate Now, if you dont have easy access to OTP then you can choose to Authenticate later.
NOTE : If you Authenticate now, you will have to Generate OTP and fill in the received OTP to continue.
Practice Setup Process - Choose Subscription
After completing your GSTIN Setup, you will be provided with Subscription options, You can choose to Pay Monthly or Annually.
1. "Monthly Subscription" : Here you can pay only monthly basis, but the option is available only for Credit Card based Payments.
2. "Annual Subscription" : Here you pay annually advance, and you can pay using Credit Crad, Debit Card as well as via net banking.
Practice Setup Process - Add Team Members
As you are running your Practice, you can now invite as many Team Members to join your Practice and help you with your GST return filing process. You can also provide them with different Access rights for every clients. You will need to provide the following Details to Invite the Team Member:
1. "First Name"
2. "Last Name"
3. "Team Designation" : You can provide designation to Team Members to set your Practice Structure.
4. "Mobile Number"
5. "Email Address" : Enter the email where your Team Member will receive an invitation to join your Practice.
NOTE : Once the Team Members click on Accept Invitation they received in their email, they will have to register on GSTHero portal as a user to gain access to your practice.
Tax Return Preparer Dashboard - Menu Section
Once the Tax Return Preparer has Registered as a User and has setup its own Practice, the system will show this Dashboard. At the Top you will see the Menu that will provide the following Options:
1. "My Practice" : You see the list of all your Practice you have setup on GSTHero.
2. "My Clients" : You see the list of all your Clients added under the selected practice on GSTHero.
3. "Manage Clients" : You can Manage and edit individual clients with you have added on GSTHero.
4. "Manage Team" : You can Manage and edit your team and assign them to individual Businesses / GSTINs.
5. "Process Return" : You can start the return process of any specific Business / GSTIN by clicking on this button. You will be taken to the Dashboard of the specific Business / GSTIN.
Tax Return Preparer Dashboard - All Clients Section
The Dashboard will provide list of all the Clients those have successfully registered as a User and added their business under your TRP Practice on GSTHero portal.
1. "Add Client" : You can add more clients by clicking on the button available under the All Clients Section.
2. "Process Return" : You can click on this button available against the individual business to process their GST returns. You will be taken to the GST Return Dashboard. For more details on GST Return Dashboard. Click Here
Manage Client
You can Manage and Edit all your clients under this Menu. You can also Assign Team Members to handle individual clients. Under All Clients Section, you can find the following actions:
1. "Add Client" button to add new client under your Practice on GSTHero.
2. "Add/Re-Assign" link to add assign your team members to individual client under your Practice on GSTHero.
3. "Delete" button to remove client from your Practice on GSTHero.
4. "Edit Client" button to edit client details under your Practice on GSTHero.
Once you click on Add Client button, you will be asked the Question "Who will pay for the subscription?" Please look at the "who will pay for the Subscription" section below for more details.
Assign Team
Under All Clients Section for every GSTIN listing you will get an option to Add/Re-Assign team to that Business / GSTIN. You will get a Pop-up with the list of all the team Members you have added under your Practice on GSTHero. You can choose the one or more Individuals and Assign them to specific Business / GSTIN.
NOTE : You can uncheck the Individual initially assigned to remove his assignment to the Business / GSTIN.
Who will pay for the Subscription?
When you click on "Add Client" you will be prompted with a Question: Who will Pay for the Subscription?
1. "My Client" : If you choose "My Client", then GSTHero will require you to Invite your Client to the GSTHero portal and register his business.
2. "My Self" : If you choose "My Self", then GSTHero will allow you to setup the client business on GSTHero portal.
In any case, once the client business is setup you will be auto linked with you client at the end to process their returns. Find below the details of My Client and My Self options.
My Client Option
After you Choose My Client will pay for the subscription, you will be directed to a form where you will be made to invite your client. You will have to provide the following details:
1. Business Name
2. Unit Name
3. GSTIN Number
4. GST.gov.in Portal username (used while login)
5. Taxpayer Type
6. Mobile Number Registered with GSTN
7. Email Address of your Client
My Self
When you choose My Self will pay for the subscription, you will be directed to the client business setup wizard. The Wizard is a 4 Step process
Step 1. "Business Details" : You will have to provide the Important business details like Business Name, Annual turnover, Tax Payer type, PAN details etc..
Step 2. "GST.gov.in Portal Details" : You will have to provide GSTIN Number, GST Portal Username, Registered Mobile Number. You can choose to Authenicate the GSTIN through OTP immediately or you can choose to Authenticate it later.
Step 3. "Subscription Details" : You will get an option to select the subscription. (Either monthly or Yearly Plan.)
Step 4. "Business User Details" : You can Invite the Business owner and his Accounting Team to register on the GSTHero portal and participate in the Return filing process.
Manage Team
You can Manage and Edit Team to your practice under this Menu. under this Section you will have the following Actions:
1. "Add Team" : You can Invite team members to work under your practice.
2. "Edit Team" : You can Edit team member details at point.
3. "Delete Team" : You can Delete team member from your practice
4. "View List" : You can View the list of clients the individual team member is working on GSTHero.
Add Team
While you Setup your Practice you get the same option of Adding Team to your Practice. If you still want to add more team members, you can click on Add Team button.
While Adding Team member you will have to provide the following details.
1. First Name 2. Last Name 3. Designation 4. Mobile Number 5. Email ID The Team will receive an email Invitation to join your Practice. If the User is not a registered GSTHero member, the user will have to complete the registration process as a process of "Accept Invitation".
GST Return Dashboard
Once you click on Process Return, you will be directed to the GST Return Dashboard. This Dashboard is a single page mechanism to help file your GST Return for a specific GSTIN and for a specific Tax Period. As per the GSTIN/ Business Taxpayer Type this Page will provide you facility to file your respective returns. The Taxpayer types are Regular / Composite / NRI / TDS / TCS etc…
1. "GSTIN & Tax Period Section" : You will be able to identify for which Business and for which Tax Period you are filing the Returns.
2. "Realtime Outward/Inward and Tax Liability Section" : Get the Real time inputs on your Total Sales, Purchases, taxes and carry forward ITC or Cash.
3. "GSTR1 Section" : File your GSTR1 with the various activities required to do for GSTR1 filing in this Section.
4. "GSTR2 Section" : File your GSTR2 with the various activities required to do for GSTR2 filing in this Section.
5. "GSTR1A Section" : File your GSTR1A with the various activities required to do for GSTR1A filing in this Section.
6. "GSTR3 Section" : File your GSTR3 with the various activities required to do for GSTR3 filing in this Section..


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Put Students at the Center of Special Education Funding Proposals
• Karla Phillips
Just this year, lawmakers have introduced nearly 100 bills in 28 states to increase funding for special education students, according to The Education Commission of the States. And my home state of Arizona was one of them.
As the mother of a child with a disability, I can attest to the need for more resources for special education students. However, I'm also hoping states seize these opportunities to rethink the funding mechanisms themselves and question underlying assumptions.
An Opportunity to Rethink Funding for Special Education
For example, part of Arizona's education funding system uses a census method which assumes that similar percentages of students with disabilities are evenly distributed throughout the state. (Yet, there is a growing recognition that both public and private school choice programs have changed this paradigm. Open enrollment, charter schools and scholarship programs have empowered families to find the right environment to fits their children's needs, but the programs have also disrupted previous attendance patterns across districts.)
The state also uses a weighted, per-pupil method—generally referred to as the "Group B" weights—within its funding system for special education students.
Arizona's underlying school finance system provides a statutory, base-level amount per pupil. This amount is multiplied by special education funding weights correlated with specific disability categories. This system was designed to fund the needs of students with specific disabilities, with weights being adjusted over the years in response to cost studies.
Whether or not these amounts are sufficient will always be debated, but one thing should be obvious: the diversity of students' disabilities and the assumption that all children identified with a certain disability require equal types of services is antiquated. It is time to fund students based on the services and levels of intensity they need to succeed rather than a disability label.
Fund for College and Career Readiness
One of the most pervasive and pernicious myths of special education is that if a student is identified with a disability, we can assume that child is unable to achieve at similar levels as typically developing students. This myth is due, in part, to a misunderstanding of the diverse array of disabilities recognized by federal law as well as long-held misperceptions about the limitations these students may have.
Most special education students have no cognitive impairments that would prevent them from reaching the same learning achievement levels as other students. Yet, both national and state level data demonstrate that significant achievement gaps persist. Determining the supports that students with disabilities need to be college and career ready should be the goal of any funding system.
It is time for special education funding systems to be truly student-centered and see beyond a student's diagnosis. There will always be debate over funding amounts, but the focus must shift to funding services and supports with college and career readiness in mind for ALL students.
About the author
Karla Phillips
Karla is Policy Director for Next Generation Learning at ExcelinEd. Previously, she served as Special Assistant to the Deputy Superintendent of Policy and Programs at the Arizona Department of Education. Karla also served as the Education Policy Advisor for Governor Brewer and as the Vice-Chair of Arizona's Developmental Disabilities Planning Council. Her experience includes serving as Director of State Government Relations for Arizona State University (ASU) and as a senior policy advisor for Arizona's House of Representatives. Karla received her B.A. from Indiana University and an M.P.A from Arizona State University.


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After an intense analysis on the urban form and texture we focused on revealing the existing values of the daily life. In our conceptual approach we aimed to embrace the existing values of the daily life with new ways of seeing, feeling, doing, and exercising the urban environment. To explore, we used our senses besides our visual sensations. Dealing with various sensations, the group has developed the idea of interactive screens on the first week to connect and to communicate with the other parts of the city. Thus they aimed to make a visual connection to several parts of the city.
Architecture is a search for an atmosphere that people feels safe, comfortable, pleasant and satisfied. When we focused to the site of Cut/City 2014 we saw a problematic area which has many potentials and nice spatial values waiting to be discovered and revealed.
The second week, with the idea of interactivity, communication and perception they developed an intertwining structural element to connect the cut city. Introduction of such a structure enhances the continuity and movement of the slow city; pedestrian paths, bike and skate path within the dense urban environment. This interactive structure is named as an INTERACTIVE SKIN because of its spatial change and mechanical movement due to the movements of the people interacting with it.


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Some brands and businesses are local and some are not. The main definition of a local brand is that its values are not competitive outside a specific locality. That locality can be a street, a city, a country. Examples of local brands are a cafe on a street level, a taxi service on a city level, and a countrywide distributor on a country level.
All local businesses are in danger of losing to non-local businesses because their local values are not competitive in case non-local brand enters the local market. Local value is for example closeness of the cafe, while non-local value is coffee quality or price. One of the most common forms of disruption is the competition between non-local and local brands. Walmart, Starbucks, and Uber are brands which have beaten local brands by offering non-local more competitive values to customers.
It is inevitable that all local brands lose to non-local brands and eventually disappear. This does not mean that there will be no local cafes, taxis, and distributors and that we will only have Walmarts, Starbucks, and Ubers in the future. This only means that local brands will have to offer globally competitive values and not rely on locality to protect them.
An important strategy for local brands is to find their non-local (global) competitors and compete against them by creating new and unique values, instead of competing only against local competitors and winning locally. The strategy and management challenge in a local business is to have a mindset to compete globally even if they are local. This way they are better prepared for long term growth.
|Also consumers can make better decisions - Live With Brands lecture, Palazzo Chiericati
|How sales change when brands work well


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You are here: SURGERY HOME > RESEARCH > HAND & MICROSURGERY
Christine M. Kleinert Institute for Hand and Microsurgery
Internationally Known for Successful Hand Transplantations
The Christine M. Kleinert Institute (CMKI) is a nonprofit education and research organization funded by the Kleinert-Kutz Endowment for Education and Research in Hand and Microsurgery. There has been genuinely synergistic relationship between the remarkable program that Dr. Kleinert and Kutz developed at Jewish Hospital in Hand Surgery and this Department. Key research continues in areas such as limb replantation, tissue transfer, nerve function, blood flow, and nerve compression.
Faculty members, investigators, and more:


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The delayed bet on the outcome of the slot in the game. Of course, you can try your hand at the blackjack table and you play. An online casino stand to be played and the action is different from the comfort of your home, you can play casino games in your browser, whenever you want, then have the audio that you are in you will find online poker, but it is not a most recent experience in the world because it is so popular. Live dealer games are slower than online slots or regular online blackjack. There are more varieties of slots, the traditional slot machine game features some great prizes. So, if you are looking for something that you are out there who feel like to strongly with you, you may want to be able to always play at a land based casino. However before you play slots for real money, you may want to try out a few casino games, they will frequently become the most popular slot machine.
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If you are not sure that you need to contact your website as well as on the site. If you do not have the most poker game you can imagine, but if you're looking at a really good position to your online casino gaming club. So by downloading the best online jackpot city to read all the features, and net entertainment has that you require to log on to your internet connection. Then way, you can consider it-a person with a chance to play the best free online blackjack games for real money. Usually, you will have to earn points with the extra multipliers in order to win all the best.


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Leads South Florida to a victory over Murray State. Gilchrist, the other new player for Stan Heath's team, went 3 of 6, and scored 8 points.
Mercer was 0 of 2 from behind the arc, and 0 for 1 from the line. He still needs to improve his touch, but he seems to be rounding into playing shape and getting his timing back.


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2013 Newsletter # 4 – Farmers' Laments
Farmers' Laments
Lamenting the end of the strawberry season and other delicious complaints of Farmer Grace and her fellow interns…
At the beginning of our weekly intern meetings we go around and say something we are grateful for, which usually revolves around an animal sighting on the farm, kids whom shriek and laugh as they run around picking carrots straight out of the ground or realizing you can eat flowers, or the simple beauty of our veggies. Like any other workplace, occasionally we have our tough days when stress and exhaustion build up, and the only solution is raise your voice and vent. Recently we experienced one of these days and had what we coined a "pity party" down by the river during our lunch break (rough, right?). You are probably thinking right about now, why is Farmer Grace writing about this for the CSA newsletter? Well, the best part about was our party was our grievances. Two stood out as exceptionally hilarious in the scheme of bad things in life. One farmer complained how raspberries are no longer her favorite fruit because she ate way too many last year, and now can consume only three before it's too much. Mine was that the delicious strawberries that have graced us with their juicy, tenderness for the last month are on there way out. Farmer Joshua then had to change his pity from having to work in wet underwear (he had just jumped in the river) to the loss of the strawberries as well. A communal lament happened for a few minutes about the strawberries. When the worst things in life revolve around the real seasons of fruits and veggies you know you are tied to seasons. I guess we will just have to wait another year for more strawberries. Good thing the blueberries are almost ready!


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Gammadyn Zn-Cu - 30 Unidoses
Gammadyn Zn-Cu
Oligotherapy is a method of furnishing the body with the ions it cannot synthesize and which are indispensable for cellular enzymatic functions. This functional therapeutic modality requires the use of trace elements in precisely measured, small doses in a highly bioavailable form. These trace elements are co-factors in a multitude of biochemical reactions where they accelerate the speed of these reactions without ever modifying the important equilibrium that exists and that must reign within the body to maintain optimum health. UNDA Gammadyn Oligo-Elements are: convenient, effective, highly stable, highly bioavailable and great-tasting.
Established over half a century ago in Belgium, UNDA is renowned for manufacturing exceptional homeopathic products utilized in supporting immune, lymphatic and endocrine systems. In the production of all homeopathic remedies UNDA uses only pure materials and herbs that are biodynamically grown or wildcrafted. UNDA produces a broad range of homeopathic products in various potencies including: the unique Numbered Compounds, Gemmotherapy macerates, Schessler Tissue Salts, Gammadyn Oligo-Elements, Organotherapy, Plexes, creams and oils, as well as homeopathic compatible dental care.
Ingredients & Dosage
Gammadyn Zn-Cu
Thyroid & endocrine support
This oligo-element is indicated for mood support, thyroid support, menopausal symptoms, hormonal support and growth support.
Gammadyn Zn-Cu is supports the regulation of steroid secretion, endocrine function, as well as in skin health. Zinc and copper affect neurotransmitters and histamine release in the brain, thus affecting neurological behavior.
For more information on Gammadyn Zn-Cu, please consult with our nutritionist (see Contact Us) or your health practitioner.


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Photography Workshop - Norhtern Norway
In the early days of fall when the sun slowly sinks behind the horizon, and when the temperature follows close behind, nature takes a last deep breath before the long and deep darkness of winter.
This time of year and this stunning place of the earth leave ample space for astounding natural depiction, fresh air and northern lights sweeping across the night sky.
The 3-6th of October we are opening up for a precious few spots to join us on a photography expedition into the sub-arctic, Scandinavian environment. You will gain the opportunity to develop your photography skills, and bring home pictures you never thought were possible to create.
During the expedition we will stay true to our human origin by living right in the raw, untouched wilderness. Going from one location to the next in our two expedition grade Land Rover Defenders, in the search for the perfect picture. Aside from photography lessons with different themes and on different locations, there will be quite a few opportunities for challenging adventures, by summit hikes on some of the most beautiful mountain ranges in the region, providing some breathtaking view of the valleys and the fjords below.
Thank's to our own knowledge of the area, and local connections we have unique opportunities to visit places that are far beyond reach of the average tourist, making your chances of getting truly amazing shots even better!
The expedition is all-inclusive, meaning that we provide all meals during the entire trip, accomodation in our large tepee with wood burning stove as well as all transportation between locations, to and from the airport. We will stay outdoors without access to amenities during the expedition.
The expedition will start from Bodö in Northern Norway, and we will travel by vehicle in a radius of about 180km, both within and without the borders of civilisation. The journey will take us high up on mountain peaks, in deep valleys and along the ocean with Lofoten as final outpost before the North Atlantic sea takes over.
Anyone with interest in outdoor adventuring, hiking and photography. No prerequisities required. Bear in mind that some of our planned locations are off the beaten path, so some degree of physical performance and enough stamina for day hikes is preferred in order for you to find most pleasance from the expedition.
Date: 2019-10-03 - 2019-10-06
Place: Pick-up at Bodö airport, Northern Norway 2019-10-03 at 1130 hrs. Drop-off at the same place 2019-10-06 at 1300 hrs.
Equipment: Functional clothing for outdoor environment and harsch conditions. Be aware that weather conditions in the region changes swiftly and without warning. Photography gear of choice (space is limited). Daypack with water bottle, insulated flask, sleeping bag and sleeping pad.
Complete packing & gear list is provided upon reservation.
Food: All-inclusive.
Price: 830 €. Price reduction on bookings before 18th of August: 620 €
Reservation fee 150 € (subtracted from full payment). Reservation fee is non refundable in case of cancellation within 3 weeks before departure.
Reserve by: NIL
Maximum number of participants - 6 people. No participant under 18.


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The Manta A Series was released in September 1970, two months ahead of the new Opel Ascona on which it was based. A competitor to the Ford Capri, it was a two door 'three-box' coupé, and featured distinctive round tail lights, quite similar to those on the Opel GT and which, in fact, were used on the GT in 1973, its final model year. It took its name, and a few minor styling cues, from the Manta Ray concept car, which also famously influenced the 1968 Chevrolet Corvette C3.
The Manta was normally equipped with 1.6 or 1.9 litre CIH engine, although in Europe a small, 1.2 litre, motor was also offered. It came with either a 4-speed manual or an optional 3-speed TH-180 automatic. Known to be one of the best handling cars in its class and went on to win a large number of rallies in Europe and the United States.
This time-warp example is described to be in near-concourse condition having clearly been subject to very meticulous and caring ownership. Very rarely do Manta's in this condition appear on the market making this a very special opportunity indeed.


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106. Typo Demom
Ever misspelled a word or committed a typo? It wasn't your fault; you were demonically possessed. Ian Chillag from Everything is Alive podcast introduces us to Titivillus, the typo demon.
Find out more about this episode at theallusionist.org/typo-demon.
The Allusionist's online home is theallusionist.org. Stay in touch at twitter.com/allusionistshow, facebook.com/allusionistshow and instagram.com/allusionistshow.
The Allusionist live show No Title is heading off on a tour of North America from October. For all event listings, visit theallusionist.org/events.
The Allusionist is a proud member of Radiotopia from PRX, a collective of the finest podcasts on the interwaves. Find them at radiotopia.fm.
Also! I'm making a NEW PODCAST! Veronica Mars Investigations, wherein Jenny Owen Youngs (of Buffering the Vampire Slayer podcast) and I investigate every episode of Veronica Mars from the beginning. Find Veronica Mars Investigations in your podcast-getting app of choice, and at VMIpod on the social medias and VMIpod.com.
In September 2019, the Allusionist is sponsored by:
• Squarespace, your one-stop shop for creating and running a good-looking and well-working website. Go to squarespace.com/allusion for a free trial, and use the code ALLUSION to get 10% off your first purchase of a website or domain.
• Bombas, socks that won't let you - or themselves - down. Buy your expertly engineered socks at bombas.com/allusionist and get 20% off your first purchase.
• Babbel, the language-learning app that will help you speak a new language with confidence. Visit babbel.com to find out more, and text **ALLUSIONIST **to 484848 to try it for free.
• Progressive. Get your car insurance quote online at progressive.com and see how much you could be saving. Discounts not available in all states and situations.


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Bellevue firefighters spend day off building wheelchair ramp for family
A Bellevue woman, brand new to her neighborhood, noticed folks across the street could use a hand, so she recruited an entire shift of firefighters to help.
Video: Bellevue Fire Department spends day off building wheelchair ramp for family
The firefighters spent Wednesday, their day off, helping Kent and Janet Ross build a wheelchair ramp.
"It was much more of a challenge than it actually looks like," Bellevue firefighter Michelle Franks said after pushing Janet up the steep ramp.
Kent Ross has been on wheelchair duty ever since Janet Ross broke her leg in April.
"He talked about the ramp and how it's kind of a killer on his knees, and back and how Janet has to be in the wheelchair," Franks said.
"She came around the corner and said, 'Oh no, things can be better than this,'" Janet said.
After introducing herself, Franks decided to build them a new one with the help of the Bellevue Fire Department.
"Everybody in our shift responded with, 'Yes,'" Bellevue Fire Captain Kirk Schuster said.
Eight other firefighters stepped up to help the couple, free of charge.
"His reaction was worth all of this," Franks said.
Kent and Janet Ross were in disbelief that the generosity could come from people who don't know them.
"So good people do exist and it's fun to find out," Janet Ross said.
With the finished ramp, the couple said their lives will be a little bit easier and their faith in humanity a little bit stronger.


text: I'd upvote this but I gotta see pics of the *lady friends* first.I'm making drinks for my wife & her lady friends. I'm drinking too. Vodka seltzer, vodja o.j.... making moscow mules, Pino Grigio, skinny girl cosmo.... i'm done. They can help themselves. Gonna go upstairs to read w a drink. I feel good & fuzzy.


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Replacing your lower case is easy! It only takes 8 screws.
Remove the eight 4 mm Phillips screws securing the lower case to the MacBook.
According to this page http://support.apple.com/kb/HT1651?viewl..., the 8 screws are not identical.
Can anybody tell me where each kind of screw is supposed to go?
They are all 100% Identical. You were probably looking at a different model, or Apple has entered the wrong information... Hey, It happens...
A1342 macbook does not have the right controller to support sata III
hi, i just got back from the apple store and they are really keen for me to upgrade to a new laptop since my battery is old and the screen is cracked, so glad i found ifixit i would love to upgrade this puppy! gonna make it a real sleeper! styler hall wrote about sticking 16 gb of ram in his a 1342 ? is this a simply mather of ordering 3 4gb sticks ?aslo i currently have 4 gb and would like to upgrade to 8 ( or indeed 16) does that mean i need to buy all new sticks or can i continue to use the old one and stick a new one next to it ?
thanks again mick van aar, perth western aus.
The A1342 will take up to 16 GB of RAM, however, there are only two RAM slots, so use two 8-GB RAM modules. Other World Computing (OWC) is a great reference source for info on exactly which RAM to use with which model; prices are usually much better on EBay though. Add an SSD from OWC and your machine will really scream!
I hope that helps!
Gregoire is right. The 8 screws are absolutely NOT identical, I'm looking at them right now, weeowey weeowey.
Slightly lift the lower case near the vent opening.
Continue running your fingers between the lower and upper cases until the upper case pops off its retaining clips.
Do the retaining clips have to be re-engaged when replacing the lower case?
Answering my own question, the clips re-engage when the lower case is correctly positioned. You can help them by gently pressing the lower case with your thumbs midway along the two short sides. When everything is correctly aligned the eight screw holes line up.
Rather than running your fingernail down the sides to free up the retaining clips, I found that using an old credit card, inserted about 1/4", to run along the left and right side popped those end retaining clips right off with no problem. You may need to twist the card slightly when in the middle area to help pop those off.
To reassemble your device, follow these instructions in reverse order.
To reassemble your device, follow these instructions in reverse order.
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Apple has a recall on this part, so you can get a replacement for an improved version free and save yourself $149.99. Check out http://www.apple.com/support/macbook-bot...
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The youngest consumer group, Generation Z (or "Gen Z"), is quickly growing into a formidable force. By 2020, today's 14-19 year-olds will be the largest group of consumers worldwide, making up 40 percent of the US, Europe, and BRIC countries. Gen Z's habits and behaviors will heavily influence the future of mainstream retail, and much of it already looks positive!
Gen Z is interacting with brands on social media in a far more favorable manner than Millennials—they're buying.
According to a recent study by ORIGIN, Hill Holliday's independent business and consumer research group, 43 percent of Gen Z social media users have made a purchase directly through a social media platform. In fact, they're 4X more likely to convert on social media than Millennials.
Additionally, the study notes that 65 percent of Gen Z social media users follow brands on social channels. However, purchases can also happen through advertisements as indicated by the 55 percent who noted that their purchase was inspired by an ad.
To keep pace with these shoppers, brands must balance both organic and paid social media content.
Pop culture events and trends are a great opportunity for brands to engage in real-time conversations with Gen Z. Brands such as Nike and Adidas are quick to start conversations on trending affairs, and its young followers have taken notice. Both brands are among the most preferred by Gen Z.
- Maintain a balance of organic and sponsored content.
- Connect with Gen Z through the social channels they use to relate with their friends. Get a breakdown of the demographics behind social media users here.
- Learn from each interaction, then use that data to deliver customized services and experiences.


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by Tolu Orekoya
D'Banj Vs. Don Jazzy: 'Ye's history of wreaking career havoc continues
While the Nigerian blogosphere is agog with talk of the supposed break-up of Mo'hits Records as Don Jazzy and D'banj squabble over dividing the baby that is the American breakthrough, we all seem to be forgetting the Solomon in the whole debacle: King Kanye himself.
For the last 15 years countries like Japan, China, Thailand, and the Philippines have been addicted to the billion-dollar industry nicknamed the 'Hallyu wave'—the constant deluge of pop culture (music, television and movies) from South Korea. The success of K-entertainment has been so great that it has even been embraced by the Korean government as part of their "soft diplomacy" arsenal. Sound familiar? That's because the Nigerian entertainment industry has followed a similar trajectory, spreading Nigeria far across Africa and beyond, and creating an acceptance of our culture that 419ers, drug dealers, European prostitutes, and our dearest Foreign Affairs office have worked so hard to undermine. Like the Hallyu wave, Naija entertainment has even caught the eye of the West, with designers, filmmakers, and music producers—including the legendary Kanyeezy—knocking on our doors curiously. Parallels, they are many.
Where is all this going? Well, In 2010 Kanye West acquired his very own South Korean protégés, the group JYJ—a splinter cell from the biggest boy band in Asia. It caused unbelievable excitement for foreign and local fans of Korean pop (K-pop) because it seemed to signal the rise of K-pop in the holy grail of music markets: The United States of America. As one of the biggest producers in the last 10 years and hot off his 'My Beautiful Dark Twisted Fantasy' success, the collabo was supposed to be HUGE.
What ensued was an embarrassment to all. Mr. West only produced a single track, on which he rapped a half-assed, absolutely craptacular intro, and the track itself should have been consigned to be buried so far under a rubbish heap that it would take a thousand years to dig it up. Called 'Ayy Girl' (watch the epic disaster here), the song nearly destroyed JYJ's nascent career, and they had to take a hiatus to regroup before coming out with content they wrote and produced themselves—which was infinitely better than the hot mess that Kanye handed over. Bitter does not begin to describe the reaction that many fans felt; Kanye turned out to be fool's gold.
Now, Kanye has reached into Nigeria and plucked juicy fruit from our trees. So for all out there pinning their hopes on the legendary Kanye to send their careers into the world-stage stratosphere, forgive me if I am a little sceptical of his benevolent genius doing wonders. He is currently 0 for 1 in his foreign forays in music, and I may be wrong, but I don't think he cares enough about this part of the world to really put his energy into it. He hasn't visited our fair shores yet, and apart from a few random tweets, he certainly doesn't seem like someone who is taking his time to know and understand the artist's (whom he will supposedly be creating music for) context.
Nigeria may be a cultural force but monetarily, we are a drop in the buckets of money Kanyeezy is currently swimming in, and as such, we are irrelevant. I may be wrong; 'Ye may yet connect with us on the organic (read: blackness) level, rendering travels and travails unnecessary. In the end, all I can do is wish D'Banj and Don Jazzy the very best of luck—they are really going to need it. They just might be giving up the bird in hand for the ephemeral two in the bushes.
(Here is where I take a small break to praise Will.I.Am, who is not only collaborating with awesome(!) Korean tough-girl group 2ne1 to produce their entire US album dropping this year, but travelled multiple times to Korea, collaborated with bad-ass female MC CL from 2ne1, made videos with the Korean language plastered all over and, just did a proper job, really.)
Tolu Orekoya is a freelance writer, former Assistant/Deputy editor for a lifestyle magazine, K-entertainment enthusiast (and by enthusiast she means moderately obsessed) and copy editor here at Y! You can reach her at [email protected]
Comments (16)
Dis is absolutely rduciilous. How can he change his origin just under a space of bearly 6years. Its unbelievable cos Don Jazzy has done so much for d Mohits crew.
father's house with his left hand?In Other words u re discouraging other mngs/producers over d uiocmpng artistes.God used Don Jazzy 2 dust u up,& made u what u re 2day.Never pay good deed with evil.D truth is dat Don J owns Mo'Hits Records.
Hey if Dbanj claims he owns month hit, he owns it if Don jazzy say the shnetaimg so be it, that they are about splitting doesn't mean one or the other is heading for destruction, Don jazzy is a great producer and D banj is a great musician, so if they chose to go their separate ways so be it. Stop saying one or the other is heading for destruction..pls let's be reasonable with our comments..
He doesn't own mo' hits, of that I'm sure. I still have his first album and everything he said there piotns to the fact that he was made by Don Jazzy, so he probably said what he said just to make everything sound nice or maybe there truly is a rift between them As Yoruba proverb says: Ogfan omode9 f2 le8 sere9 ffa ogfan odfan. Goodluck to both of them
I agree with the write up. It's disheartening that the Mo Hits duo cannot see beyond the simple fact that they are accessories; merely trophies to be bandied about. They're toys to Kanye and he's only going to brag to fellow rappers about his African acquisitions. When the world gets bored, however, of listening to the same old, tried, tested and failed braggadocio from the infamous rabble rouser himself- Taylor Swift incident, anyone?- he'll discard D'Banj and Don Jazzy faster than a mic on a bad day of performances.
@Adesola. Thanks for the reply. The sub title explains a bit further I hope.
Thanks jare naijaman, those arrogant boys cared less about their community. Will agree on that with you. However, copyeditor, you titled this write up Between D'banj & Don Jazzy, and a tale of Kanye West's many embarrassments.so where are the many embarrassments? You meantioned just one of his suppossed embarrassing escapades and you call that many? .where
Ayy Article writer, no wonder you were "former" assistant/deputer editor. Lame write-up
Hi, gulfrich. What did you disagree with?
This is in response to @hmnn : why would kanye wanna bring Dbanj to the international scene without him having plenty things at stake. Has he started running a charity organisation. I really don't care if dbanj fights with don jazzy or not. They are bunch of arrogant fools. While they were making money, tell me how many things they've done to give back to the society… Fools
Now this is more like it….some positive write up on this heart breaking saga!
Hi Pegomay. Thanks for the reply. I just follow in the footsteps of my fellow writers on the blog, bringing hope to the masses! 🙂
I sha didn't enjoy dis article.I skipped all thru.kinda boring *shrug*
Your write up has the wrong premise, Kanye is not working with D'Banj to bring Kanye into the Nigerian market , he is working with D'Banj to bring D'Banj into the international market.
Same cannot be said about his Korean foray.
Hi. Thanks for the reply. Kanye still has to understand the artist's cultural context in order to create music that bridges that gap between local and international. In that sense, he still has to make music for Nigerians that the international audience likes. Or you don't agree?


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Ivana Santilli Late Night Light
Published Nov 25, 2015With her latest full-length release, Late Night Light — her first since 2011 — Ivana Santilli delivers a measured take on modern soul. Since her debut solo album Brown back in 1999 — and going even further back to her role as part of early '90s R&B crew Bass is Base — Santilli has preserved a penchant for personal and passionate soul music, generously borrowing elements of pop, funk and jazz.
No longer in her twenties — her words — the singer-songwriter and instrumentalist opts for a "grown folks" musical mentality here, with 11 tracks of mature thematic content. Tales of broken relationships, wounded hearts and drumming up the resolve to keep life moving forward characterize the project. Lead track "Forever 4 Now" rocks an '80s electro-soul groove, as does the island anthem flavour of the standout "Lovers Love 2 Rock." The rock strut of "I Used 2 Be Nice" probably comes off better in a live setting than it does here, but the soothing sonics of "Love Me Back" more than make up for it. The perils of online dating are explored amidst the bloops and beeps of "Calculate," while the French language "Long Silences" serenades with mellow melodic movement.
Late Light Night is a welcome return by the Toronto native. The album walks a balance between old soul and modern production, leaving listeners relaxed and satiated in the process. (Independent)


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The Museum of Modern Art, located since 1939 on 53rd St., has been one of New York's great art institutions since its establishment in 1929 (just days after the Wall Street Crash). Founded by Abby Aldrich Rockefeller, wife of John D., and a few of her closest friends, MoMA is the first stop for anyone with an interest in modern art and design.
The Skateroom is a social entrepreneurship whose main purpose is to help empower youth using art and skateboarding by collaborating with contemporary artists to create editions of artwork on the medium of skateboards. These limited edition artworks are intended to be hung on a wall, just like a painting, but you could totally skate on them if you wanted to.
Jean-Michel Basquiat, the Brooklyn born artist who rose from the graffiti art movement of the late 70s to become one of the most celebrated artists of the 80s, died in 1988 but his work remains as popular and relevant today as it was then.
All three come together in a unique art piece – Jean-Michel Basquiat: Skateboard Triptych In Italian – available from the MoMA Store, just one of a selection of pieces from the Skateroom collection, which also includes collaborations with The Warhol Foundation.
The MoMA Store is full of unusual, design focused products, great for gifts or adding a special touch to your own home. Order through We Shop That and enquire about a discount on the purchase price.
MoMA. We Shop That.Back To News