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Dr Helen Hughes
Academic and research departmentsSchool of Literature and Languages.
Helen Hughes studied for her BA and PhD at University College London and joined the Department of Linguistic and International Studies at the University of Surrey in 1994. Since then she has taught in different departments at the University moving from the School of Arts to her current position as Senior Lecturer in Film Studies in the School of Literature and Languages in 2015.
Areas of specialism
University roles and responsibilities
- Deputy Chair of the Faculty of Arts and Social Sciences Ethics Committee
Affiliations and memberships
Research interests
Helen Hughes' research focuses on documentary film and German-language cinema with a special emphasis on representations of the environment. She has published journal articles and chapters on West German cinema, experimental film, Kafka adaptations, GDR and new Austrian documentary cinema, and eco docs. She co-edited Deutschland im Spiegel seiner Filme (2000) and translated Alexander Kluge's Cinema Stories (2007) with Martin Brady. She has published a monograph Green Documentary (2014). Recently she edited a collection of essays with Catalin Brylla entitled Documentary and Disability (2017) and she is currently working on a project on documentary and nuclear power funded by a British Academy small grant.
Postgraduate research supervision
I am currently co-supervisor for one project in the School of Literature and Languages:
Jessica Marsh - On the role and function of 'mal' in German televised programmes
I supervised two projects to completion as principle supervisor in the School of Arts:
Eun Hi Kim The path to oppositional practice from a dancer's perspective
Kate Lawrence Up, down and amongst : perceptions and productions of space in vertical dance practices
My publications
surrounding blanket of sand, sea, stones and crustaceans, and a flattened, gradated
platform viewable from the cliffs around as on the edge of life. This presentation will
explore these contrasting perspectives and atmospheres with reference to the speaker?s
own experiences of growing up on the Pembrokeshire coast, digging, exploring sand dune
complexes, climbing cliffs and perfecting her tan, as well as her attempts to map onto her
own experiences kindred representations in paintings, films and philosophy.
For example, Agnes Varda, documentary and fiction filmmaker and installation artist
introduced her most recent and reportedly her last film The Beaches of Agnes (2008) by
saying: ?If you opened people up, you would find landscapes; if you opened me up, you
would find beaches.? In her film Varda uses the beach as an adaptable performance space
to structure a wide-ranging account of her life and her life?s work in film: the playful, the
inventive, the surreal, and the melancholy.
In using the beach in the film, as well as in photographs and installations, Varda, taps into
the playful space of generations that have holidayed there. In The Production of Space
Henri Lefebvre claimed: ?The beach is the only place of enjoyment that the human species
has discovered in nature.? He also famously declared ?beneath the pavement, the beach?.
At the same time, however, Lefebvre laments the tendency for the ?true appropriation? of
this natural space to ?turn into its opposite ? total passivity on the beach, mere
contemplation of the spectacle of sea and sun.?
The northern European beach has provided a locus for the expression of deep melancholy,
particularly in Expressionist paintings such as Edvard Munch?s ?Evening. (Melancholia: On
the Beach)? or ?Young Woman on the Beach. (The Lonely One)?. Margaret Tate?s films,
particularly her Blue Black Permanent (1992), which expresses the memories of a
daughter, whose mother kills herself by swimming out to sea, capture the overwhelming
power of the Scottish coast, the dominance of the environment and the submergence of
the self within it.
This paper explores two European films Pripyat (Geyrhalter, Austria, 1999), and Into Eternity (Madsen, Finland, 2008), which both present measured, controlled and reasonable accounts of arguments around nuclear energy production and its future. In different ways they both demonstrate the debates about everyday life and risk as it is lived in the present as well as the necessity of integrating the nuclear question into the debate about the future. The paper will take the case of nuclear energy as a means to explore how each film establishes a localized network of relationships between agents involved in the argumentation strategies as they are developed in audiovisual forms, including landscapes, local inhabitants, workers, flora and fauna, experts, and policy makers.
Geyrhalter, N. (Director). (1999). Pripyat [Motion Picture]. Austria.
Latour, B. (1993). We have never been modern. (C. Porter, Trans.) Cambridge, Massachusetts: Harvard University Press.
Latour, B. (2004). Politics of nature: how to bring the sciences into democracy. (C. Porter, Trans.) Cambridge, Massachusetts; London, England: Harvard University Press.
Lovelock, J. (2006). The Revenge of Gaia: Why the Earth if Fighting Back - and How We Can Still Save Humanity. London: Allen Lane.
Madsen, M. (Director). (2008). Into Eternity: A Film for the Future [Motion Picture]. Denmark, Finland, Sweden, Italy.
Mercier, H., & Sperber, D. (2011). Why do humans reason? Arguments for an argumentative theory. Behavioral and Brain Sciences, 34, 57-11.
Paul Grice?s cooperative principle developed in his William James Lectures is one starting point for the understanding of conversation as a collective enterprise. Sperber and Wilson have developed the cooperative principle by discussing the problem posed for pragmatic accounts of linguistic communication by the problem of mutual knowledge. How do partners in conversation know what their conversational partner knows so that they know what to say? Sperber and Wilsons solution is to weaken the idea of mutual knowledge and to replace it with the ideas of mutual manifestness and a shared cognitive environment. In this paper I will argue that such philosophical problems posed by the phenomenon of conversation are explored in the abstraction and staging of dialogue. Josef Beuys?s Ja Ja Ja Ja Ja Ne Ne Ne Ne Ne is a conceptualization and staging of the essentials of conversation pointing to it as a collective activity that at times affirms and at times negates the unity of the speaker and hearer.
The idea of dialogue as an object which can be staged will be explored using Graham Harman?s development of Heidegger?s distinction between Dasein and Vorhandensein in his discussion of causation. Harman explains the burning candle as a unified object that changes within, rather than as one object ? the flame ? acting on another ? the candle. Similarly, it will be argued that the partners in dialogue represent the unity of conversation (although this representation is made problematic through the knowledge that the dialogue is scripted). The actors? role is to represent the spontaneous development of dialogue as an agent for unity and for change from within. Change within the unity of dialogue represents development for the parts within the whole as the object grows, ceases to exist, or becomes something else.
Josef Beuys?s ideas about the artist involved an understanding of art as a collective social activity and as an agent for change. His Ja Ja Ja Ja Ja Ne Ne Ne Ne Ne is understood as an exploration of the unity of the community as it develops and of the possible redefinition of the community as a whole rather than as a numbe
In the introduction it is argued that the essence of bureaucracy is the translation of pure formal structure into the organisation of society. Bureaucratization is the attempt to create a set of rules of procedure, a value-free, machine-like process. It is further argued that the linguisitc mechanism of the metatext is crucial to this enterprise. In order to maintain impersonality it is necessary for those working within the bureaucratic structure to be aware at all stages of procedure of how the system functions rather than what it is doing.
In chapter one Exempel, a short text by Thomas Bernhard is analyzed as the exemplary text amidst exemplary texts. It takes the contextual elements of the courtroom seen through the consciousness of a courtroom journalist to relate the story of a judge who shoots himself in order to set an example. The interpretation argues that the text becomes, as it were, a deterrent to itself. Chapter Two is an analysis of Der Kuss von Sentze by Adalbert Stifter which is seen as an exploration at a very early stage of the consequences and contradictions that can arise from placing human relationships in the framework of bureaucratic structures. This is particularly apparent in the prose style that attempts to eliminate emotional responses. Franz Kafka's In der Strafkolonie is discussed as a text that realizes in literary form Max Weber's image of the bureaucratic State, a machine made out of human beings, at the same time as it explores the way in which dialogue about the machine, in its concern with procedures rather than with the pain inflicted by teh machine, is a representation of the way in which perspectives are distorted by the institutionalization of the metatext. Oswald Wiener's die verbesserung von mitteleuropa, roman is an experimental novel that explores the limits of literary expression as well as bureaucratic forms of expression by creating and destroying various forms of structuring the text while discussing in theoretical terms the relationshipb etween language, society and the individual.


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Marvel Studios President Kevin Feige is dishing on the highly anticipated "Avengers 4" in Vanity Fair's Holiday issue!
Of the fourth installment of the franchise, Feige revealed that it'll "bring things you've never seen in superhero films: a finale."
He added, "There will be two distinct periods: everything before 'Avengers 4' and everything after. I know it will not be in ways people are expecting."
Vanity Fair senior writer Joanna Robinson also got to visit the set of "Avengers," and witnessed the franchise's biggest stars engage in a competitive game of Words with Friends. Chris Hemsworth said, "I thought, could somebody take a photo of this? We're all aware that this is going to be the last time we get to hang out like this."
As for the future of Marvel, Feige shared, "Marvel is 22 movies in, and we've got another 20 movies on the docket that are completely different from anything that's come before—intentionally."
Read more at VanityFair.com. The Holiday issue is available on newsstands December 5.

subset: commoncrawl


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Yemen's Houthi Leader Calls US, Saudi Arabia, UAE 'Terrorist Breeders'
The chairman of Yemen's Supreme Revolutionary Committee on Thursday condemned the Saudi-led coalition's continued massacre of civilians in the Arabian Peninsula country and denounced the US, Saudi Arabia, and the United Arab Emirates as "terrorist breeders and war merchants".
"The Yemeni nation has made its voice heard in the world about its opposition to the aggression and its invitation to peace through the unilateral ceasefire that was announced in early August and ended yesterday on Wednesday," Mohammed Ali al-Houthi said in a statement.
"That the aggressor countries, (namely) the US, Saudi Arabia and the UAE and their allies, did not accept the ceasefire confirms that they are terrorist breeders and war merchants who have ruined Yemen and committed war crimes against this nation on a daily basis," he stated.
The Houthi leader further emphasized that the United States, Saudi Arabia, the UAE, Britain and all the aggressor countries are responsible for the deaths of civilians.
"The use of force against civilians by indiscriminate bombardment of residential areas is a testimony to the terrorist approach of the Saudi-led coalition against a defenseless nation," Houthi said.
Yemen's defenseless people have been under massive attacks by the coalition for more than three years but Riyadh has reached none of its objectives in Yemen so far.
Since March 2015, Saudi Arabia and some of its Arab allies have been carrying out deadly airstrikes against the Houthi Ansarullah movement in an attempt to restore power to fugitive former President Abd Rabbuh Mansour Hadi, a close ally of Riyadh.
The Yemeni Ministry of Human Rights announced in a statement on March 25 that the war had left 600,000 civilians dead and injured until then. The war and the accompanying blockade have also caused famine across Yemen.


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This aquafornia news has been archived and may contain content that is out of date.
Aquafornia news Napa Valley Register
The heavier than normal rains Napa Valley endured this winter will have beneficial after-effects for plants and animals like birds, fish and the endangered Calistoga popcorn flower. "Coming off several years of drought, there's really nothing but a positive from all this rain…," said Peter Tira of the California Department of Fish and Wildlife.


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NAYPYITAW • Myanmar's Nobel laureate Aung San Suu Kyi has said that her opposition party would ally with powerful ousted ruling party leader Thura Shwe Mann, as the country's political forces re-align in the biggest shake-up since the end of military rule.
President Thein Sein purged his rival Shwe Mann and his allies from the ruling Union Solidarity and Development Party (USDP) in dramatic fashion last week, just months before landmark elections.
"It is now clear who is the enemy and who is the ally," Ms Suu Kyi told reporters yesterday at the country's Parliament, when asked if Mr Shwe Mann's sacking had cost her an ally.
"The National League for Democracy (NLD) will work with the ally."
She did not detail how they would work together.
As chairman of the USDP, Mr Shwe Mann sought to build ties with Ms Suu Kyi, which sparked suspicion among some members of the ruling party and contributed to his sacking. The USDP is made up of many former military officers.
Mr Shwe Mann had antagonised the military by backing Ms Suu Kyi's campaign to reform the Constitution to limit the sway of the generals over Myanmar's politics.
She is banned from the presidency under a Constitution drafted by the military before it handed over power in 2011. The armed forces hold a veto over any charter changes.
Yesterday, Mr Shwe Mann denied he had divided the country in a speech to the joint chambers of Parliament. "I am not destroying party unity and stability," he said.
Security forces surrounded the USDP compound late last Wednesday, locking down the building as the President's allies met party leaders to oust Mr Shwe Mann's faction from the leadership committee. "As for the happenings of the middle of the night, this is not what you expect from a working democracy," Ms Suu Kyi said.
In response, Information Minister Ye Htut told reporters at a news conference that police had a duty to respond to a request for protection made during the evening by the USDP.
Ms Suu Kyi said the upheaval in the USDP was likely to benefit her NLD party, which would win more votes in the elections.
Her party was already expected to win the most seats in the November ballot, seen as a crucial test of the country's democratic reforms.
Concerns over the durability of those reforms were heightened last week by a media crackdown in the wake of Mr Shwe Mann's sacking. The scrapping of censorship in 2012 was one of boldest reforms of Mr Thein Sein's government.
Mr Ye Htut said yesterday that a radio station, Cherry FM, with links to Mr Shwe Mann had been taken off the air until after the Nov 8 elections, after it failed to convince the government that it would be impartial. Suspended on Saturday, Cherry FM is linked to Mr Shwe Mann's daughter-in-law.
Mr Shwe Mann still holds the position of Speaker of the House and opened Parliament for the last session before the vote yesterday.
He was under pressure to table a Bill that establishes the rules for constituents to recall Members of Parliament and could lead to his own impeachment. He faces a petition from his own constituents.
The Bill was not tabled, but a multi-party committee would submit the draft to Parliament no later than tomorrow, said USDP MP Win Oo.
Ms Suu Kyi called the Bill "ridiculous", as MPs could be recalled by just 1 per cent of constituents.
Mr Shwe Mann yesterday also denied that he had misused party funds, which he said he was accused of in a letter last week. He did not give further details.
Mr Shwe Mann's allies vowed to defend him in Parliament.
"Most of the USDP lawmakers in the Lower House are going to support Shwe Mann," said Mr Aung Lynn Hlaing, a USDP member, as he entered Parliament.
"Shwe Mann always represents us when we are ignored by the President. I think it's not right the way they did what they did in our party."
Tension between the rival camps rose after the USDP last week omitted from its list the majority of a group of around 150 officers who retired from military service to run as USDP candidates.
The USDP also sidelined two of the President's closest allies by leaving them off the candidate list.
Mr Shwe Mann's fall from grace bears echoes of the political purges under the junta, leading some to doubt he has a future in public life.
"We can be sure they will uproot him by hook or by crook,"said MP Thein Nyunt from the New National Democracy Party.
"So my best advice for him is 'resign from the Speaker's position if you want to prevent further perils for you and your family'."


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In this week's Print7 News, we look at what Brexit could mean for the print industry, find out who made world first investments at Drupa, and explore a move that is set to determine the future of a major paper player.
We also speak to Dave Willcox, product marketing manager at OKI, about the company's move into the luminous world of neon printing.
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Taco Salad
By Cherie
- Food for Life Brown Rice Tortillas (Black Rice Tortillas would probably work too but I haven't seen/tried them)
- Salad of your choice
- Meat topping of your choice: chicken breast, pulled pork, julienned steak or seasoned meat (ground beef or turkey browned with onion and olive oil, seasoned with oregano, cumin and garlic, salt, and jalapenos or a little diced poblano pepper if you like.)
- Salad dressing (Ranch works well) or put salsa on the seasoned meat in its place.
- Put any heat resistant, flat bottomed cup/bowl (like a 6 oz custard cup, about 3 1/5" across the bottom) upside down on a sturdy glass. Place rice tortilla in a 500 degree toaster oven. After a minute or so give it a flip. Be careful it will be hot. Have a plate ready and after it has toasted a bit slide it out (and put the next one in). Keep a watch on it, they burn easy. As soon as you are able to, put it on the inverted custard cup and start to shape it into a bowl by pressing down on the tortilla from four equal points about halfway from its edge and the bottom of the bowl. It'll keep springing back, just keep working it until it starts to hold the shape which it will do more as it cools. Then turn over onto plate. You will still be able to coax it along if it is still warm.
- Now fill with your choice of salad, top with meat or seasoned meat of your choice, cheese, sour cream, olives, whatever you wish and enjoy!
- You can tear off pieces of the "bowl" as you work your way down the salad. It will be a bit crisp on the outside and chewy on the inside.


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Image Cropping
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- This interface is accessed by uploading an image file. See Upload File for more.
Interface Overview
This Interface is where you will crop image files you upload to C2C.
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Visit Paradise Park Farm while staying in Koh Samui and sample one of Thailand's little corners of heaven.
Situated on 20 acres of land in the verdant tropical forest on top of Koh Samui's highest mountain, Khao Pom, Paradise Park Farm couples all the excitement of an animal park with the lush surroundings of a relaxing retreat.
If you have always wanted to see wildlife up close in their natural surroundings then this experience will be right up our street. The spacious park offers something for all the family to enjoy and plenty to keep even the most active and inquisitive children occupied, while you take the time to relax.
Or perhaps you're a big kid a heart yourself? If that's the case, Paradise Park Farm has plenty of fun sights and activities to keep the grown-ups just as entertained, as well as dining at the traditional Thai restaurant, that also serves delicious European cuisine.
This really is one of the most beautiful locations to unwind, sunbathe and take in the sights all at the same time. You'll be left speechless by the spectacular views across the ocean from the luxury of the pool that is situated right on top of the mountain.
You will experience much cooler and comfortable temperatures in the park than on the rest of Koh Samui, while you are way up high in the tropical forests that the Paradise Park Farm has lovingly preserved.
You can rest assured there will be hundreds of amazing photo opportunities for you to treasure, including having your children pose alongside tame and sociable monkeys or feeding hundreds of different species of colourful tropical birds. You will also be greeted by some more familiar animals like rabbits and deer and maybe you'll meet the friendly pair of bilingual parrots, Molly & Marcha, who can speak to you in both Thai and English!
If you have some Baht burning a hole in your pocket, the well stocked souvenir shop has a tantalising array or gifts, keepsakes, t-shits, toys and many more items to help you remember all the fun you had on your visit.
With an excellent on site restaurant, 2 bars, pleasant walking trails with rest areas, a children's playground, jungle & river walks, waterfalls and beautiful gardens, Paradise Park Farm is truly an all-day affair for the whole family.
So book your breath-taking tour of Paradise Park Farm with Samuipedia and we'll make sure you have the time of your life. Paradise Park Farm is open from 08:30 to 18:00, 7 days a week.
Where You Can Find Paradise Park Farm
Programs to Visit Paradise Park Farm
Program A
- Hotel Transfer
- Full Insurance
09:00 & 13:30 – Hotel transfers to Paradise Park Farm are available twice daily
13:30 & 18:00 – Transfers back to your hotel are available twice a day also
Program A Plus
- Hotel Transfer
- Full Insurance
- Thai Lunch (Set Menu)
09:00 & 13:30 – Hotel transfers to Paradise Park Farm are available twice daily
13:30 & 18:00 – Transfers back to your hotel are available twice a day also
Program B
- Hotel Transfer
- Full Insurance
- Thai Lunch (Set Menu)
- Temple of Mummified Monk
- Elephant Trekking
- Magic Garden (Secret Buddha Garden)
09:00-10:00 - Hotel transfer
10:00-10:30 - Visit Wat Khunaram and see the mummified monk
11:00-11:20 - Go elephant trekking at Baan Chang
11:30-11:45 - Visit the Magic Garden (Secret Buddha Garden)
12:15-13:00 - Enjoy a tasty set menu Thai lunch
13:00-17:00 - Relax & explore Paradise Park Farm
17:00 - Transfer back to your hotel
Program C
- Hotel Transfer
- Full Insurance
- Thai Lunch (Set Menu)
- Magic Garden (Secret Buddha Garden)
09:00-10:00 13:30-14:30 - Hotel transfer
10:00-10:30 14:30-15:00 - Visit the Magic Garden (Secret Buddha Garden) & Nam Tim waterfall
10:30-12:30 15:00-17:00 - Visit Paradise Park Farm
12:30-13:30 17:00-18:00 - Lunch or dinner at Paradise Park Farm mountain restaurant
13:30 18:00 - Transfer back to your hotel
What to Bring
- Camera
- Good walking shoes for the jungle
- Swimming clothes
- Towel
- Suncream
- Hat & sunglasses
- Spending money for drinks, snacks, ice creams & souvenirs


text: I have fifteen years of Sales and Customer Service experience as well as three years in management. I'm an extremely outgoing,motivated, self driven individual. I can adapt to any Industry and thrive on a challenge. I feel with my personality and experience I would be an asset to your team!


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Secure, Reliable, Fast, Fast and Fast!
Simply the best way to synchronize or backup between Macs
Accessing Your ChronoAgent Mac Across the Internet
SIGN UP FOR A NoIP.COM ACCOUNT
1. INTRODUCTION [top]
This guide was written to assist in connecting to your ChronoAgent Mac across the Internet from your iOS device running InterConneX or Mac running ChronoSync. If you have questions regarding ChronoSync, ChronoAgent, InterConneX, or anything else mentioned in this guide, please contact email@example.com.
2. DYNAMIC IP ADDRESS SERVICE [top]
To access your ChronoAgent Mac across the Internet, you need to know its IP address. This is a unique number, similar to a phone number. Unfortunately, many internet service providers utilize dynamic IP address assignment. This means that from one internet session to the next, the IP address of your ChronoAgent Mac may change. The solution is to have a consistent mechanism to allow you to find your ChronoAgent Mac. We recommend using one of the free Dynamic IP Address Services available.
The Dynamic IP Address Service allows you to create a unique name by which you can locate your ChronoAgent Mac across the internet. This works by using ChronoAgent's built-in Dynamic DNS client that periodically checks for changes in the IP address and updates the record that associates the unique name you create with your ChronoAgent Mac's IP address. NoIP.com isn't the only dynamic IP address service provider, but the service they do provide is free, unlike many other alternatives, so we're using them in this guide as an example. If you decide not to use NoIP.com, the steps provided here for configuring the NoIP daemon will be similar when using other Dynamic DNS services/software.
SIGN UP FOR A NoIP.COM ACCOUNT [top]
- From the ChronoAgent Mac, go to http://www.noip.com and create a free account by clicking "Sign-up".
- During the Sign Up process, go ahead and create a hostname as directed.
- When signing up for a NoIP account, there are two different types of accounts - free and paid. With free, you have to keep the account alive whereas with paid, you don't have to worry so much about expiration. This guide uses the free account, but you can update to paid if you get everything working to your satisfaction.
- Once finished, you'll be sent an email containing a link to authenticate your account.
3. CHRONOAGENT SETUP [top]
Make sure ChronoAgent is installed, configured and running on the Mac you want to access across the internet. The following screencast will walk you through this:
There are a few additional options to configure:
- Security. Open ChronoAgent to the Advanced Panel and make sure the Settings popup is set to 'Security.' Encrypt communications by enabling "Require all connections to be secure."
- Router Configuration. Now change the 'Settings' popup to 'WAN Access'. In the 'Router' section, enable the "Allow agent to automatically configure the router to accept incoming connections", but leave the WAN port field blank. Click 'Test Router' and the port will be automatically chosen.
- Dynamic DNS Configuration. In the 'Service Discovery' section, enable the 'Dynamic DNS service' checkbox and choose 'No-IP' from the popup. If you're using a different service, choose it from the popup list. Fill out your user credentials and Dynamic DNS hostname, then click 'Test DDNS'. If all goes well, you should see a 'The DDNS settings are valid' message.
- Status Panel. Switch to the Status Panel of ChronoAgent, then start the ChronoAgent service by toggling the OFF/ON switch. You should see a 'WAN Details' section. The port and URL hostname are what you'll be using to connect to the ChronoAgent Mac from ChronoSync or InterConneX.
4. CONNECTING FROM INTERCONNEX [top]
These instructions are based on the following video with a few modified steps:
- Connecting to the ChronoAgent Mac. When you go to choose an available ChronoAgent, choose Internet Address.
- Enter port and hostname. Enter the NoIP hostname and ChronoAgent port, then switch Accessed on WAN to ON.
- Connect to ChronoAgent Mac. Tap Test Reachability and you should see the following message.
- Proceed with the rest of the steps as shown in the video.
5. CONNECTING FROM CHRONOSYNC [top]
These instructions are based on the following video with one modified step:
- Connect to ChronoAgent Mac.
- Enable Advanced Options. In the Advanced Panel of the connection profile, enable "Attempt reconnect on drops" to have ChronoSync attempt to reconnect automatically upon connection loss and "Force all data to Be encrypted" to encrypt all data transmitted across the Internet.
6. WHEN THINGS GO WRONG [top]
If you follow this guide to access a ChronoAgent across the internet, things should work without issue. However, we live in an imperfect world and sometimes things just don't work out as expected. If you encounter any problems following this tutorial, contact our technical support team and just ask! We don't mind — we're here to help!


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The Quantumrun Global 1000 is an annual ranking of 1,000 corporations from around the world based on their likelihood to stay in business until 2030.
Quantumrun Data Access
The Quantumrun Data Store currently features access to three ranking reports:
*2017 Quantumrun Global 1000
*2017 Quantumrun US 500
*2017 Quantumrun Silicon Valley 100
Recognized as the leading source for assessing company longevity, these lists support decision makers with:
*Long-term strategic planning
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Depending on the report you purchase, these business forecasting reports measure the long-term viability of hundreds to thousands of companies by analyzing 17 to 26 key variables that are themselves determined using over 80 data points.
Each report purchase includes detailed report findings (PDF), as well as the data set it was built upon (Microsoft Excel spreadsheet). Both will be downloaded as a folder inside a ZIP file. A preview of the data points included in your purchase is available in the sample download links below.
(Questions concerning the content or purchase of these reports can be directed to: contact (at) quantumrun (dot) com.)
Quantumrun Global 1000
Quantumrun US 500
The Quantumrun US 500 is an annual ranking of 500 corporations from the United States of America based on their likelihood to stay in business until 2030.
Quantumrun Silicon Valley 100
The Quantumrun Silicon Valley 100 is an annual ranking of 100 Californian, Silicon Valley-associated corporations based on their likelihood to stay in business until 2030.


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West Ham midfielder Matt Taylor has admitted he is desperate to make a return for the Hammers against Derby at Upton Park this weekend as Ladbrokes report a free bets offer on the UK football.
Ladbrokes have been in touch to tell us they will offer free bets worth £50 to all SqueakyBumTime visitors to spend on any match on the UK coupon this weekend. A free £50 on Derby at 8/1 could net you £400! Claim your exclusive £50 free bet offer here!
The former Bolton player has been beset by calf problems this season, and has so far played a limited role in West Ham's push for promotion back up to the Premier League. However a goalscoring return for the reserves in mid-week would likely have caught the attention of Hammers boss Sam Allerdyce.
The Hammers currently lie in second place in the Championship, five points behind league leaders Southampton, and Taylor admits he may have to be patient and sit out the tie against Derby before working his way back into a winning side.
"It was nice to get through 70 minutes and to score but more than anything it was nice to be back out on the pitch," Taylor told the club's official website.
"It has been frustrating being injured but hopefully I can get a chance and get myself back into the team. I respect the manager's decision and I've always been that way. That's what the manager is paid to do.
"He makes the decisions and he picks the team and that's his prerogative. All I can do is be ready and hopefully, when I'm called upon, I can keep the shirt." He added.
West Ham go into the game against Derby hoping to narrow the gap on Southampton at the top of the table, but know they won't have it easy against opponents that are hoping to push their own case for a play-off spot at the very least.
Nigel Clough's side sit just three points behind current holders of the final play-off spot Hull in 6th place, and will be hoping that new loan signing Tamas Priskin can make an immediate impact at Upton Park.


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Silent Summer (Stiller Sommer)
|Silent Summer (Stiller Sommer)
|About a woman who loses her voice, but finds new dimensions to herself and her husband's lives.
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We always love working with Edita and Demiko! I remember the first time she came into the studio to plan for her Newborn Session! We just clicked, and I knew it would be a lasting relationship. We're so honored to be able to photograph their family as it grows and changes. Now Miko is like 15 months old! The last time we saw him was for his first Baby Plan Session last Fall, and he was just as sweet then. Now he's perfecting his new skill: walking, and he has the sweetest little giggle. He also has a lot more of that gorgeous hair! Honestly, I'm a little jealous of it.
We're so glad that Edita wanted to do the Mama & Me Mini Session to capture her relationship with her first-born, since there's another one on the way! (Which by the way, we're THRILLED that their little family continues to grow!) We believe that it's so important to document these milestones in you and your children's lives. As time goes by, both mother and son will look back on these photos with joy- for what was to come, as well as the memory of their last moments as a family of three. Throughout their entire session Miko was giving us huge grins and absolutely cracking up at his Dad, Steve. Which is a sound we'll never, ever get sick of!
Anyway, we want to wish Edita a very Happy Mother's Day! She is such a genuine person and a wonderful Mama who will always hold a special place in our hearts.
1 Comments
May 10, 2017 2:14:59 AM
Rose - Awwe....look at my beautiful niece and handsome great nephew! So precious! Happy Mother's Day DeeDee! Can't wait to see another beautiful addition to the family!


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Secret Crafter.....distressing
One Stop Craft.....Metallic
Allsorts.....An image of a circle of butterflies is the inspiration for this weeks challenge.
love this butterfly
hugs from Daniele x
Absolutely elegant and very gorgeous!
WOW this is stunning.
Wow this is amazing!! Itis so intricate and just great for the challenge.
Thanks for joinging us this week at oscc and hope you join in again.
Hugs Shelley xx
Love this mirror and all the metal (there was a very similar one in Craft stamper ages ago) Keep saying I will make one
Love Dawn xx
Wow such an amazing mirror card!
Thanks for joining us at One Stop Craft Challenge this week! :)
Very artistic and absolutely beautiful! Love it!
OH-MY-GOODNESS!! Jaw droppingly GORGEOUS!!!!


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Iniesta denies new agreement with Barcelona
Andres Iniesta has refuted claims made by Barcelona president Josep Maria Bartomeu that a new agreement between the two sides has been reached.
The club president made comments to Mundo Deportivo that a new contract with the Spain midfielder, whose deal expires after this season, had been agreed to in principle and they hoped to have it signed in the next few weeks.
Barca 23/10 to beat Espanyol -3 handicap
"We already have a principle of agreement to renew and we hope to finalise it in the coming weeks," Bartomeu told Mundo Deportivo when asked about Iniesta's future.
"We are waiting these days to continue talking but Iniesta is a player that we want to retire here, and to retire when he thinks he wants to retire.
"The idea is to have an indefinite contract where he automatically renews from year to year until he thinks he can retire or change."
However, Iniesta, returning from international duty with Spain, responded to reporters at a Barcelona airport with a blunt "no" when asked whether a new deal had been agreed upon.
Iniesta a su llegada al aeropuerto de Barcelona;— Ignacio Miguélez (@IgnacioMiguelez) September 6, 2017
-¿Puedes confirmar el principio de acuerdo de renovación anunciado por Bartomeu?
The 33-year-old Iniesta has been linked to an exit from Barcelona since the end of last season, with talk of a move to Serie A rumoured.
Bartomeu has also stated star Lionel Messi's contract has been signed, blaming scheduling problems for the lack of an official announcement.


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East Alton man facing Glen Carbon storage unit theft charge
GLEN CARBON — An East Alton man is facing three burglary charges after allegedly selling items missing from a storage unit.
Stacy M. Radcliff, 47, is accused of entering three storage units in the 5200 block of Chain of Rocks Road, Glen Carbon. Edwardsville Police said they opened the case May 13 when the renter of a secured storage unit reported that several items were missing, including a four-wheeler, a push-behind blower, several pressure washers, a stereo, wood tables and a motocross motorcycle.
Police received a tip that some of the items may be at an address in the 4400 block of Zika Lane in Edwardsville. The resident there allegedly told police he bought a Kawasaki four-wheeler and a motor scooter from Radcliff for $800 and said he had been doing some work at Radcliff's residence.
Edwardsville Police said there was an outstanding warrant for Radcliff's arrest and they contacted him. Police said he told them he had had a code to enter the secured storage area but he denied taking anything. Instead, he claimed he was helping a woman move items she had bought at an auction.
Radcliff also denied police permission to search his cell phone. Officers obtained a search warrant and allegedly found messages about the pricing and sale of items reported stolen from the storage unit.
Radcliff was jailed in lieu of $75,000 and later released.


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Fethullah Gülen: A Life of Hizmet -- A Review (Jon Pahl)
FETHULLAH GÜLEN: A Life of Hizmet. By John Pahl. Clifton, NJ: Blue Dome Press, 2019. Xix + 419 pages.
Several years ago I became acquainted with a Turkish-originated movement that sponsored interfaith dialogue. The members of the group, most of whom are Turkish are also Muslims. I later discovered that this group was part of a movement known as Hizmet, which is Turkish for service. I've come to know and respect that members of this movement, at least those whom I've encountered. They are faithful Muslims who embrace service to others and interfaith dialog and partnerships. Since these are core values for me as a person, it seemed appropriate to build on the relationships that were developing. Since this is a book that tells the story of the founder of Hizmet, it should not come as a surprise that what I share here will be sympathetic to the movement and its founder.
This book, which was provided to me as a gift from one of the local Hizmet leaders, tells the life-story of the Turkish spiritual leader Fethullah Gülen. Gülen, who has been deemed a terrorist by the current Turkish government and its autocratic president, is now living in exile in rural Pennsylvania. Although I've not met Imam Gülen, I have come to know people affiliated with the movement, and they don't seem like terrorists to me. In fact, they are good people who embrace non-violence, tolerance, education, and service to humanity. These seem to be good qualities to have in an age of violence and hatred. While I've come to know members of the movement and had some knowledge of its founder, I really didn't know too much about him. I expect I'm not alone. Hence, the importance of this biography written by Jon Pahl, a Lutheran professor of church history.
Jon Pahl teaches at United Lutheran Seminary and holds the Ph.D. from the University of Chicago. A well-regarded historian of Christianity, Pahl writes as a sympathetic biographer. By that I mean, he, like me, was introduced to the movement by a local branch of the movement that was engaged in interfaith work. Like me, Pahl had his introduction to the movement through a Hizmet sponsored event. His was an Iftar dinner and mine was an Abrahamic dinner sponsored by the movement and held at a local Christian college. It is from that vantage point that Pahl had access to leaders of the movement and to Gülen himself.
While sympathetic to the movement and its founder, he understands the importance of keeping some distance from the subject. Here's a bit of wisdom concerning historians and biographers. As one who is a historian, I can say that we try to be as objective as possible, but we do have our biases. Having a positive experience with the movement will color one's interpretation. Nevertheless, Pahl is not a direct participant, so he brings an outsider's perspective to the conversation. That is important, especially since the founder and the movement have been tarred with the label of terrorist. I should also note that the publisher, Blue Dome Press, is affiliated with the movement. As far as I can tell this press, like many Christian denominational presses, provided the author the freedom to write what he believed was the truth about Gülen and Hizmet.
As a biographer, Pahl takes us on a journey from Gülen's birth in a village in northeast Turkey, where his father was an imam, through his introduction to Sufism, and on toward a life of leadership within the Turkish religious community. We discover, if we didn't already know, that when Turkey was founded as a republic, it was founded with a highly secularized constitution that required religion to be kept private. To make sure the republic remained thoroughly secular, the military used its power to enforce this vision. As one might expect, due to the country's secular vision, Gülen, as a religious leader, he spent much of his life evading arrest or spending time in prison for his religious activities. Although there was a period in the 1980s and 1990s where there was a thaw, taking an overtly public religious role in Turkey was always dangerous. Nevertheless, Gülen remained committed to his calling as a religious teacher and leader. Over time he developed a reputation for being a powerful preacher who also lived an austere life. He became known for advocating for adherence to a form of Islam that was rooted in Sufism and was open and embracing of others. With this vision in mind, he rose to prominence in the country, serving as an imam in major communities such as Izmir and Istanbul.
There are principles that emerge from his life and movement that are key, and the book is organized around these principles, showing how they emerged from his reading of the Quran and his adherence to the life and teachings of Muhammad. These five include: 1) nonviolence; 2) principled pluralism (which is expressed through engagement in interfaith dialogue); 3) engaged empathy (which expresses itself in service to others); 4) commitment to education and literacy, especially the sciences; and finally 5) a commitment to a model of social enterprise that Gülen believed would empower people in Turkey and elsewhere. It should be noted that his vision of social entrepreneurship is similar to the principles espoused by Nobel laureate Muhammad Yunus. That is, he embraced capitalism with a difference, one that is rooted in theology. Each of these emphases is illustrated at different points in Gülen's life and as the movement expanded beyond Turkey to a global presence. All of this emerged out of Gülen's study of the Quran and the life of Muhammad. In other words, he believes that this is what true Islam looks like.
Gülen comes off in the book as a charismatic figure, who is defined by humility. You can understand why some might find him troubling. He has inspired great loyalty. Yet, like the Dalai Lama and Pope Francis, he has used this charisma and loyalty for the good. A biography like this is important because it brings to life both the person, whose vision led to the creation of the movement and the nature of the movement itself. Because Gülen and his movement have been deemed dangerous by the Turkish government it is important to get the facts straight.
While this is certainly a sympathetic biography, it's not hagiography. Pahl doesn't focus on Gülen's faults, but he doesn't shy away from them either. He notes the dangers posed by a personality cult, which the imam could inspire had he so desired. Thus, Pahl notes the ways in which Gülen has tried to remain separate from any such reality. Although the book is published by a Hizmet-related entity (remember that social enterprise is part of the vision), Pahl comes to the subject as a historian of religion. He brings that sense of commitment to getting the facts straight, which one would expect of a historian.
So, why read this book? The further subtitle of the book phrases this question a bit differently, and in the form of a statement, suggesting where Pahl wants to take the reader: "why a Muslim scholar in Pennsylvania matters to the world." As he lays out his answer to the question of why we ought to pay attention to this man, Pahl suggests that the movement offers a vision of Islam that runs counter to popular stereotypes and which offers a pathway for Islam to remain true to its core values even as it takes its place within the modern world. This is important at a time when culture wars are raging. It also reminds us that Islam is not monolithic (any more than Christianity, Judaism, Hinduism, or Buddhism to name but a few major religions). It is also a reminder that Sufism, which is the more mystical version, may play an important role going forward in terms of interfaith conversations and partnerships. It speaks also to the importance of service, helping us understand that service to humanity is deeply rooted in Islam. It also suggests that Islam is capable of supporting democratic institutions. It is worth noting that even as the current president of Turkey turns increasingly autocratic, he has tried to solidify his power by attacking advocates of democracy who root their vision in their understanding of Islam. For those of us who value interfaith relationships, the commitment of this figure and this movement is important.
As one who is deeply engaged in interfaith work, and who has become friends with members of this movement, I can only say, please read this carefully. It may help create new opportunities for partnering in service to humanity with persons of deep faith who happen to be Muslim. It is important to read this book because there have been efforts on the part of some in this country to help extradite Fethullah Gülen back to Turkey. Considering that many in this movement who have remained in Turkey have lost their jobs (they tend to be highly educated and well-positioned in society) as well as being imprisoned for their participation in the movement, it is important to be informed so we can advocate for those who face persecution. As for Gülen, most likely he would be imprisoned or worse. Why read the book, as the subtitle suggests, because this movement matters to the welfare of the world. So take and read. You will be rewarded by this well-written, accessible, thought-provoking, and informative biography of one of the more important religious leaders of our day.


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Pride and Prejudice Summary – A Love Story of Darcy and Elizabeth
Pride and Prejudice Summary Part 1
Pride – Darcy
Prejudice – Elizabeth Bennet
Pride and Prejudice was written by Jane Austen in 1813. One of the most popular novel Pride and Prejudice by Jane Austen. Jane Austen was born in 16 December 1775 and died 18 July 1817 (aged 41). The main characters of this novel is Elizabeth Bennet. Pride and Prejudice theme is love.
Pride and Prejudice Summary: In early nineteenth century England, the Elizabeth Bennet family is excited to hear that Netherfield Par, a large neighboring estate, has been leased to a wealthy single gentleman named Mr. Bingley. Mrs. Bennet is especially happy, for she thinks of little except marrying off her five daughters. The Bennet girls – Jane, Elizabeth (Lizzie), Mary, Catherine (Kitty), and Lydia – attend a party to welcome the good-natured Bingley. He is immediately taken with Jane. But Bingley's friend, the wealthy and handsome Mr. Darcy, seems to feel prejudiced towards the relatively lower-class Bennets.
Pride and Prejudice Summary: This greatly wounds Lizzie's pride in her warm and loving family. Bingley's sister, the haughty Caroline, invites Jane to Nether field Park for dinner. Mrs. Bennet says it looks like rain so she insists Jane go by horseback, not carriage. Her hosts will have to let her stay overnight rather than send her home in the rain. Jane later sends a note home stating she is ill from the drenching rain and will be staying. Mrs. Bennet is delighted, but Lizzie knows her sister must truly be ill and walks to Netherfield to see her.
Pride and Prejudice Summary Part 2
Caroline is disdainful of Lizzie, yet both Bingley and Darcy compliment Lizzie on her wit and beauty and seem to enjoy her company. Finally Mrs. Bannet arrives with Kitty and Lydia. Lizzie is embarrassed when Mrs. Bannet fawns over Bingley and openly dislikes Darcy, while the younger sisters giggle and demand that Bingley host a ball at Netherfield. Since women are barred by law from inheriting money or property, Mr. Collins – Mr. Bennet's cousin and nearest male relative – will inherit Longbourn after Mr. Bennet's demise.
Pride and Prejudice Summary: He can then evict the Bennets if he chooses, which is Mrs. Bennet's greatest fear. So, Collins decides to marry one of the Bennet girls. That will keep Longbourn in their family and give him a wife. But he is rather ridiculous figure, a clergyman terribly proud of having the patronage (financial support) of lady Catherine de Bourgh because his church is on her estate. Collins chooses Jane to marry. Mrs. Bennet immediately tells him Jane is "practically engaged" to Bingley.
Pride and Prejudice Summary Part 3
In the village of Meryton, the Bennet girls are delighted by handsome young soldiers – including Mr. Wickham. But when Wickham sees Darcy, the two men barely nod, which is quite rude and very curious. Lizzie becomes fond of Wickham. He has known Darcy since they were young and says their animosity was caused by Darcy's family cutting him off from support for unstated reasons, forcing him to join the military. Lizzie feels this is further evidence of Darcy's cold nature.
Pride and Prejudice Summary: Jane says Bingley would not have Darcy as a friend if that were so. At the Netherfield Park ball, Wickham never shows. The attraction between Lizzie and Darcy is undeniable. However Darcy's opinion of the Bennets falls further when Collins makes an embarrassing show of trying to meet Darcy since he is Lady Catherine's nephew. Then, Lizzie's sister Mary attempts to sing except she has no talent. Lastly, Mrs. Bennet gets tipsy and announces that her daughter will soon marry Bingley.
The next day, Collins proposes to Lizzie. She refuses but he thinks her parents will persuade her. Her mother insists she marry Collins, but her father insists that she not marry him. Collins withdraws his proposal. Lizzie learns that Wickham did not attend the ball out of dislike for Darcy. Jane is crushed to learn that Bingley and Caroline have suddenly gone to London indefinitely to visit Georgiana Darcy, Darcy's sister. Lizzie sees this as a ploy to separate Bingley from the socially inferior Bennets. Mr. Collins ends up marrying Lizzie's friend Charlotte Lucas.
Pride and Prejudice Summary Part 4
She is kind but also plain and poor. Lizzie is shocked, knowing Charlotte is only doing this for practical reasons. Charlotte says not everyone has the option of marrying for love. Mrs. Bennet's brother and his wife, the Gardiners, invite Jane to visit them in London. Charlotte invites Lizzie to her cottage at Rosings Park, Lady Catherine's estate. Charlotte and Collins are not close, but they are amiable and content. Lady Catherine proves to be condescending and snobbish and looks down on Lizzie as a social inferior, just as her nephew Darcy does.
Pride and Prejudice Summary: Her daughter, Miss de Bourgh, is weak and sickly and irritable – yet Lady Catherine accepts Darcy to marry Miss de Bourgh. Lizzie is quite able to hold her own with Lady Catherine in conversation. Lizzie and Darcy also flirt and have sharp and clever exchanges. Lizzie learns that Darcy did interfere with Jane and Bingley's courtship. To her surprise, he gives Lizzie a declaration of love, but also says he loves her against his better judgment due to her inferior station. Lizzie is hurt and angry and says Darcy is the last man in the world she would ever marry.
Pride and Prejudice Summary Part 5
Lizzie receives a letter from Darcy with a change of heart. He says he was wrong to be prejudiced towards Jane and Bingley. He despises Wickham as a gambler who tried to elope with Darcy's sister Georgiana when she was just fifteen – intending to marry her for her fortune. Lizzie realizes she has been prejudiced against Darcy and his wealth. Their pride has hurt both of them. Lydia begins talking endlessly about Wickham who is leaving with his regiment. Then the wife of the regiment's colonel invites Lydia to go the seaside town of Brighton with them, and she does. Lizzie goes with the Gardiners on a summer holiday.
Pride and Prejudice Summary: They stop at Pemberley, Darcy's estate, where the family tours the house to see its many art treasures. Lizzie is startled when Darcy appears and is very polite to her, even inviting her uncle to go fishing. Darcy introduces his sister Georgiana to the visitors. Bingley arrives, too eager to speak to Lizzie about Jane. The Gardiners can see that Darcy is actually a kind gentleman but feel Wickham cannot be trusted. There is shocking news: Lydia has run off with Wickham.
Pride and Prejudice Summary Part 6
If Wickham does not marry her – highly unlikely, since Lydia has no fortune – she will have little hope of ever making a respectable marriage. Neither will her sisters. But Lydia and Wickham do marry. When they visit Longbourn, Lydia gloats about being married when her sisters are not. Then she lets it slip that Darcy was at her wedding. It was Darcy who paid off Wickham's gambling debts and gave him a huge sum to marry Lydia. That saved her reputation – and her family's. Lizzie realizes that Darcy has actually done all this for her.
Pride and Prejudice Summary: Bingley finally proposes to Jane and she accepts. Lady Catherine demands to know whether Lizzie is engaged to Darcy, because he is supposed to marry Miss de Bourgh. Lizzie says she is not engaged but will not promise that she won't accept him, should her propose. Lizzy and Darcy declare their love for each other at last. They marry and live happily at Pemberley.
Pride and Prejudice Characters
Mr. Darcy, George Wickham, Lydia Bennet, Mary Bennet, Mr. Gardiner, Elizabeth Bennet, Lady Catherine de Bourgh, Mrs. Bennet, Kitty Bennet, Charles Bingley, Mr. Bennet, Caroline Bingley, Georgiana Darcy, Mr. William Collins, Jane Bennet, Charlotte Lucas, Mrs. Gardiner.
I hope you will have understood the complete "Pride and Prejudice Summary" of the Romance Novel. Romantic novel free online read, Download or buy Pride and Prejudice PDF.
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But the idea of transformation has always been something that I romanticize in a work. I'm cautious of it but I also need it to connect my thoughts with the process of making. That's really important.
Nari Ward
In spite of his six-foot-plus height, you might easily overlook James Welling in a crowded room. With his shaggy gray hair and tortoiseshell glasses, he looks every bit the UCLA tenured professor that he is. Indeed, Welling in person is a gentle, fairly unassuming guy with an easy demeanor. Yet he has played a seminal role over the last two decades in redefining the way we look at art.
Welling is among a handful of artists who have brought photography from the outer edges, where it lived as a kind of happy stepchild, to the center of the contemporary dialogue. A pair of museum retrospectives recently highlighted Welling's contribution: James Welling Photographs, 1974–1999 originated at the Wexner Center for the Arts in Columbus, Ohio, in 2000 and traveled to the Museum of Contemporary Art in Los Angeles, and in 2002 the Palais des Beaux Arts in Brussels, Belgium, hosted a sweeping, 160-work retrospective.
Remarkably, Welling consistently produces 180-degree changes throughout his oeuvre. His images range from impromptu studio shots of drapery to tabletop landscapes of aluminum foil, from pure geometric abstractions to straight-on images of trains. Just as radically, while most photographers work in a single format, Welling has moved assuredly through formats and processes—from Polaroid to 6×7, from black-and-white 35mm to color photograms. Throughout, his work exhibits a formal precision and clarity that is nothing short of breathtaking.
A full-time Southern California resident, Welling grew up in New York and comes back often to visit family and friends. It was during one of these trips that he graciously found a few moments to sit down and answer some questions. He's represented here by Gorney Bravin + Lee Gallery, where he recently exhibited photographs from his Los Angeles series, and they were kind enough to turn over their back room to us for this interview.
James Welling It's a rainy Wednesday in New York.
Deven Golden And I'm going to start with a little background. You've talked about leaving Carnegie Mellon, where you had grown sick of painting and sculpture, and heading out to California Institute of the Arts in 1971. And yet even at CalArts you never studied—
JW Photography.
DG What were you studying in art school?
JW I took a drawing class with Gandy Brodie, who was a visiting professor my first year. Gandy was a second-generation Abstract Expressionist, an amazing teacher who'd studied with Hans Hofmann, worked for Martha Graham and knew Pollock. The next year I worked with two younger post-Minimalists, John Stevenson and Robert Tharsing. I started doing impermanent sculptures and painting gray monochromes.
DG And then CalArts?
JW I began to do video there.
DG PortaPaks?
JW Yes. And some performances. I became friends with Jack Goldstein, Matt Mullican, David Salle, Barbara Bloom, Susan Lacy. Paul McCarthy was there too. John Baldessari was my mentor. Occasionally I would borrow a camera to take pictures, but only to document the impermanent stuff that I was doing.
DG We're about the same age, and I clearly remember that photography was not considered a fine art in the early '70s. It was respected but ghettoized. The only time you'd see photography in art venues was as documentation for performances and installations, and sometimes it was just 35mm contact sheets of a performance. You actually became part of the shift of photography entering the mainstream of fine arts. Were you aware of this? I mean, everyone you were hanging out with was definitely in the art world.
JW I knew some photographers at CalArts, like Marsha Resnick and Ben Lifson, but when I did something with photographs it was to make a "piece" not a "picture." As I was leaving CalArts, I discovered Paul Strand's Mexico Portfolio in the library. That changed my life. So I began to wonder whether modernist photography could be fused with conceptual practice. That was my big insight around '76 or '77.
DG That seems to be what you're still doing. You are regarded as being very exacting and precise in your process, which belies your conceptual beginnings. But the traditional photographers, like the F64 Group, who historically inform your work would choose a film format as if it were a manifesto and continue to work in that vein. You, however, choose a different process and format for every body of work—a conceptual take on formal photography. You're investigating both the image and the process that describes the image. But which comes first? Do you settle on the subject and then find the format, or do you select the format and look for the subject, or is there a process where you find them together?
JW It starts with subject matter. I'm already working with some camera format from a previous body of work and either that format works or it doesn't work for the new series. For economic and technical reasons, when I began to take photography seriously I started shooting 4×5. Paradoxically, the large format seemed easier to work with than 35mm. But to answer your question with a specific example, when I began shooting railroads in 1987, 4×5 wasn't appropriate because I needed more flexibility: needed to walk and shoot quickly. So I used a Pentax 6×7. With the Light Source pictures, I used the Pentax but printed the images as inkjets. So there are a number of variables I work with. I see the subject through the shape of the camera format, and then I consider the process that manifests it: gelatin silver print, Iris print, Cibachrome, dye transfer.
DG You say it so matter-of-factly, but few photographers work that way. It seems that you stick to your early conceptual roots; you're an artist who makes his work with photography. Your photographs are documents as much as they are photographs, in that they're recording an event as much as an image—for instance, the early work when you were shooting setups, like Waterfall, with its velvet drapery and phyllo dough. There is almost a remove there: the photograph is secondary to the act itself.
JW When I arranged the drapery and then photographed it, I was documenting a private performance. But you can extend that idea and say that that's the case for all photographs. A photograph records both the thing in front of the camera and the conditions of its making. That's why certain Cartier-Bresson or Atget images have their special character. A photograph is also a document of the state of mind of the photographer. And if you were to extend the idea of the set-up photograph beyond just physically setting up the picture, I would argue that the photographer wills the picture into being.
DG So your work is a documentation of your behavior, and the photographs become about what you're looking at. By extension, then, there's nothing for viewers to ascribe a narrative to other than their own reaction to what they're looking at, which is what you were looking at. There's no other player, no other subject: it's just the picture, the view and the viewer. I'm wondering how conscious you are of setting that up and what you are looking to push. People think of your work as very formal and cool, but I've been getting other feelings from looking at it.
JW Charlotte Rampling gave an interview in which she talks about how she has no idea what's she's doing with her face or her body when she's acting. There's that sense that she's completely outside herself. I often feel that way when I make a photograph. I prefer photographing emotional things. Maybe they don't appear emotional at first glance… On the other hand, I do like to control things, and that's probably the formal aspect that you mention.
DG Let's talk about "at first glance." Your most recent photographs, the urban landscapes taken in Los Angeles, have an uncanny effect: there's an image that one sees immediately, and then there's a second image one picks up afterward. For instance, I first see a flat stone fence, and then I suddenly realize that I'm looking at a bicycle behind the fence. What strikes me as odd about a lot of your work is that the focal point seems akin to your peripheral vision; it's in the margins that impact you without your full realization. There's something strangely distanced about foregrounding that information, but it also brings something out almost from underneath consciousness, because it's peripheral, and yet you've brought it to the center. You're saying, This is something I'm noticing without realizing I'm noticing it.
JW I want to record things in the photograph that unfold over time. The ideal work for me is a photograph that takes the viewer through several stages of understanding in untangling it. Experience is layered, so the goal is a layered photograph that could work on a couple of levels of meaning, not simultaneously but sequentially. You think about it, you walk away from the picture, you come back to it. Things that are interesting to consider visually reveal themselves over time. I have a photograph called Baffle, which is a nice wordplay on the subject. I photographed a grid over an elevator light, which is technically called a baffle. But it's also baffling to make visual sense of. The picture you mentioned earlier, Bike, has a baffle in front of it too: it's a honeycombed wall that allows you to see through it. It's like the structure of the photographic negative itself, where molecules of silver cast shadows on paper to form an image.
DG Your work has a very deadpan quality. It often seems to be about absolutely nothing, very unassuming or innocuous. Some of the railroad situations look as if they could have been taken by a railway enthusiast. It's only after a little while that I begin to see. At first, I'm not quite sure what I'm being presented with. And then, as I look at it, there's this seeping activity in my consciousness, and that's when it develops its other aspects. I want to talk about this word baffle, because you perhaps unintentionally set up a maze by changing format, subject, process… With many photographers, one may feel comfortable looking at their work because they have preset parameters. You, on the other hand, are a changeup pitcher. Someone would have to be very, very tuned into your work to recognize right off the bat that a new body of work is from you.
JW Nicholas Logsdale told me that the worst thing one collector can say when looking at another's collection in "What's that?" Everyone has a recognizable style, a signature. It's difficult when an artist changes his or her work a lot.
DG And you've thrown the whole process into it, not just the subject matter.
JW What I like about photography, the thing that fascinates me, is that I can move from one body of work to another. A friend of mine, Andrew Perchuk, challenged me to go back and photograph Los Angeles again—my last Los Angeles pictures were made in 1978. So here I was taking pictures of Los Angeles but at the same time I was also trying to make photographs that talk about that sense of foreboding from last winter right before the invasion of Iraq.
DG That goes back to the idea that the photograph is about the conditions of its making and the person taking the photograph. You're standing not just in Los Angeles but in America at a certain period in our history. I do seem to walk away with something very much like melancholy in spite of the coolness of the work. And in my conversation with Betsy about your last show she actually used the word foreboding too. The fact that you were having those thoughts while you were photographing the urban landscape raises the question of how information is embedded into an image that is as banal as a wall and a water dispenser. Your work is so layered, so processed, so formal—and yet these things do get embedded in the work. It reminds me of Hitchcock's images, where absolutely nothing is going on and yet—
JW There's a bomb ticking.
DG It's not anything you see, but you know that something's about to happen.
JW I wanted to capture the texture of foreboding. I would take a photograph of a big van and see it embodying the fear that Ashcroft and company has instilled in us. The process was just putting the camera in my car: I'd see something; I'd stop and take a photograph. There was no plan whatsoever, just an 8×10 camera and a 12-inch lens.
DG It's interesting, because I can think of almost no political art that is successful. There's something about attempting to make an overt political statement that makes the work dependent on linear narrative and that destroys what makes the work art. You came at it as you come at everything else, which is from a peripheral stance. You have the thought, you leave it at that, and then you go out and look at the world. I think again of those 35mm contact sheets—they become a record of, not a performance, but an existence. Which goes back to some of the earlier historical photographers that you're interested in, like Walker Evans, who didn't separate themselves from their environment; they were simply part of what they were documenting. When we look at their work, we feel that they have somehow embedded the essence of their era in the way they look at the world. But it struck me as odd, the more I thought about it, that your work was doing that on this very quiet level.
JW There are a lot of currents in the Los Angeles photographs. I felt that I was having a dialogue with the New Topographic photographers—Stephen Shore, Joe Deal, Cathy Opie—as well as portraying that anxiety.
DG One thing that strikes me about your work is that it's almost always all ground and no figure. About 15 years ago Thomas McEvilley gave a long lecture in Chicago where he was talking about how the times have a big effect on the figure/ground relationship: chaotic times produced weak figure/ground relationships; strong, clear political times caused there to be very sharp figure/ground relationships. He went from cave paintings up to Schnabel; it was an amazing lecture. It struck me as having a real truth to it. Now here's your work, where the figure/ground relationship is almost nil, and yet at the same time it's always about you, the photographer, being the figure—you're the focal point and then by extension so is the viewer of the work.
JW Right. In my abstract photographs there's virtually no figure. They're all ground.
DG The abstract work highlights this approach, but these days you are doing representational and abstract work simultaneously. Are you thinking about setting them in opposition? Or is it just that you have two ongoing bodies of work and you mix them together?
JW Lately I have been working on both types of work concurrently. I've discovered that one doesn't have to erase the other. In the past I'd do a few years of abstract work and then switch over to documentary stuff. In 1998 I began two simultaneous projects, one abstract—New Abstractions—and one representational, New Landscapes. With the New Landscapes I began showing the black border of the negative as part of the image, something I'd never done before. I began to realize that the edge of the negative represents the shadow of the camera, the opaqueness of matter. It casts a shadow on the negative, so it's a photogram as well. With the New Abstractions I was working with photograms, and the black shapes in those pictures were directly related to the black edge of the negative in the New Landscapes. Since 1998 I've become sensitized to the idea of the photogram as a shadow of the world coexisting with the optical image made by the camera lens.
DG The work is about the viewer—you're the first viewer, and the subsequent viewers are the people in the gallery. I think of the viewer as an actor in your case because the work is so mute that it requires the viewer to also be a participant. You were the first participant in the creation of the work, and the viewer is the second. It's so clearly a projection; there's a reflective quality. And it seems to me that the photographs from the Los Angeles series act as a mirror, while, say, the photograms from the 1993 Degradé series are more like a two-way mirror. It's a double reflection—you see yourself, but you see through it at the same time. This idea of the reflective, flat quality of the photograph—it's almost as if you're taking photographs from two sides of the same mirror and they come out differently, but they are emotionally similar.
JW That's a good way of characterizing them. I'm so involved in their making that it's hard for me to be exterior in that sense. I mean, it's the viewer's job to sort out those distinctions.
DG I agree. I am just curious because you've clearly thought so much about how you make your work and where you're going with it.
JW Yeah, but I don't know where I'm going with it next. I work intuitively. I don't know every move in advance.
DG Well, you start out doing it, but then you realize what you are doing. My interest is in how concept and process, the physical act and the conceptual act, come together. Art is a thought process, a nonlinear way of thinking about things. And when you write it down, as this interview is going to be written down, it becomes linear. It's difficult to experience in text because in your photograph there's no place to come into it and there's no place to leave it. It's wherever. That's why it has that strange, overwhelming peripheral quality, even the abstract work. There's this inner vision. You've made this tightrope walk between what it was you were thinking about at the time and how you're going to express that without creating a literal narrative. I think that's unique, a very heightened aspect of this way of thinking.
JW That you think what I'm doing is unusual indicates just how radically the concept of photography has changed in the last 80 years. Everyone is familiar with the New Objectivity of the 1920s, but between that moment and today is an incredibly rich vein of work that is pretty much discredited and forgotten about. Subjective Photography of the 1950s is a repressed memory today. It's hard to grapple with a lot of that work—it's messy, and some of it wasn't very good. But the history of photography didn't begin with Ed Ruscha and the Bechers.
DG It feels like you've dispensed with the outer subject; you're not looking for people to photograph in order to document the experience of our time; you're documenting yourexperience of the time. It's not a diary, it's more of an abstracted journal of what you're existing in, a journey through the process rather than something set up beforehand. That's one of the more intriguing things about the work and one of the harder things to put your finger on when you're looking at it.
JW With the Los Angeles pictures I felt like I didn't need to be anywhere in particular to make a work that expresses this sense of foreboding. I'll find something while walking down the street and that will be it. So to some extent I have gotten rid of the subject out in front of the camera. And that goes back to some of my earliest work, where I got rid of the figure and it's just all ground.
DG Aren't you the figure?
JW Well, we're all figures.
DG But it's a radical act to make the artist the figure in the work for real. Not a setup, not an actor, but just plainly the subject.
JW Maybe that's what photography does: it underlines the photographer. That's the Barthesian "this has been." Well, "this has been" for the photographer as well. The photographer is the hidden placeholder in that Barthesian equation. I'm not so crazy about that idea that photographs are always about the past. What is compelling about photography is that you have to work to decipher it. We were talking earlier about the active state of looking: the fact that this photograph was taken in the past is a given, like gravity, but viewing and untangling the ambiguity of photographic meaning is what I find compelling about photographs, not the embedded directionality of time.
DG I've always tried to give viewers some authority to interact with the work by reminding them that the artist is just the first viewer, albeit empowered, because he or she has gone into the creation of the view. Artists go out of their way to find something they need or want to look at and then find a way to save it so that it can be looked at. But the next viewer is looking at that view as well, and the looking is always active. The object existed when you photographed it, it exists into the future, it exists out of time. But we can't help but view it in our own time and think of it in terms of where we're standing now. Which is so key in your work: Where am I standing now?
JW Yes.
—Deven Golden is a writer and independent curator living in Brooklyn. He is a contributing editor of Artcritical.com.
Originally published in
Featuring interviews with John Waters, Shirley Jaffe, James Welling, Nuruddin Farah, Alma Guillermoprieto, Olu Oguibe, Hanif Kureishi, Ra'anan Alexandrowicz, and Howe Gelb.
But the idea of transformation has always been something that I romanticize in a work. I'm cautious of it but I also need it to connect my thoughts with the process of making. That's really important.
Nari Ward


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Several countries' studies have suggested that a mutated and very aggressive form of the listeria bacteria is raging in an M.V.Wool fish plant located near Harku, just outside of Tallinn. According to the latest info, 26 people across Europe have already contracted the bacteria, six of whom have died — among them nine people in Estonia, two of whom have died, according to a longer story to air on ETV investigative program Pealtnägija on Wednesday night.
Genetic analysis ordered by the Veterinary and Food Board (VTA) revealed that the aggressive and contagiousST1247 strain of listeria can be traced back to the factory owned by M.V.Wool, Estonia's largest fish producer. Bacteria from this specific strain have been found both in the plant's production building as well as from people that have fallen ill.
VTA deputy director general Olev Kalda said that the fish plant is under the watchful eye of inspectors, and each product batch to leave the plant is currently being thoroughly inspected.
"Clearly some fairly innocuous listeria monocytogenes ended up at that business, possibly three or four years ago, but it's possible that as a result of insufficient [cleaning] measures, this mutation occurred there and it developed into a persister strain, i.e. a strain unique only to that specific place," Kalda explained.
M.V.Wool factory owner and board chairman Mati Vetevool has categorically denied that the dangerous bacteria came from their factory, pointing the finger instead at Norwegian and Finnish farms from which he claims the bacteria ended up in their plant.
"I absolutely do not agree that this bacteria is our bacteria," Vetevool said. "It comes in from the fish farm; it hasn't developed here. We can also end up stuck with a strain originating from a fish farm. Every night, our fish plant is thoroughly washed, and we destroy absolutely all bacteria in the cleaning process. It's not possible that we are poisoning anyone. Nothing of the sort is possible — this is simply sheer libel."
According to Kalda, however, Vetevool's story doesn't add up.
"The studies show that this specific strain has been found only in products to be produced by this company, it has been found in this company's environment — i.e. in its production facilities, on its production equipment — but it, as I mentioned, did not enter this company in this form, with this current strain of DNA," the VTA official said.


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WWW Wednesday is a weekly meme hosted by the Taking on a World of Words blog.
The Three Ws are:
What are you currently reading?
What did you recently finish reading?
What do you think you'll read next?
What I'm Currently Reading
The Wall of Winnipeg and Me by Mariana Zapata
This book has been sitting on my Kindle carousel for a while now, and decided to give to a go. The book is a little slow to start, but I'm very much enjoying it now. Aiden (the hero) is kind of a cross between JJ Watt and Sheldon Cooper, being a big, muscular dude with little to no social skills. After reading this, I may have to go back and give Kulti another try.
What I recently finished
Last week, I decided to read the Martian by Andy Weir, because I was trying to expand me reading horizons (I've pretty much only been reading romance for a few years now). I got about 40% in the book and gave up. While I really liked Mark Watney, I didn't like him enough to deal with all the science and math in this book, which was really long. I also had a hard time accepting his complete lack of fear about being trapped on a planet by himself. So I gave up. I do want to see the movie though.
What I plan to read next
I've been patiently waiting for a copy of Outrage: The Five Reasons OJ Simpson Got Away with Murder by Vincent Bugliosi to become available from the library. Other than that, I have no clue what I'll read next. It will likely be a romance.
What's on your list?
Happy reading.


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Nov 27, 2019 |
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