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SLEEPATHON is an overnight experience by LINDA MARY MONTANO for RAPID PULSE 2016 taking place at DEFIBRILLATOR GALLERY, 1463 W CHICAGO AVENUE, CHICAGO, USA, on SUNDAY 05 JUNE 2016.Read More
DESCRIPTION | Embracing a workshop format, participants will sleep together in the gallery as a work of art by Linda Mary Montano. Attempting to dissolve the boundaries between art and life, Montano continues to actively explore her art/life through shared experience, role adoption, and intricate life altering ceremonies. The SLEEPATHON is preceded by a GLANDATHON, an interactive laughathon/cryathon experience for everyone featuring exercises that focus on a single gland in the human body, encouraged by 3 minutes of Montano's videos.
LINDA MARY MONTANO: SEEKS 7 VOLUNTEER LOVE-ETTES FOR HER SUNDAY NIGHT INTERACTIVE LECTURE AT RAPID PULSE INTERNATIONAL FESTIVAL.I NEED 7 PEOPLE(NO EXPERIENCE NECESSARY)TO HELP LEAD AUDIENCE IN SOUND MAKING/GESTURES DURING MY LECTURE SUNDAY NIGHT….Read More
VVIIDEO LIST: RAPID PULSEVIDEO LIST RAPID PULSE1. AS PEOPLE ENTER: MOTHER TERESA 100TH BDAY2. INTRO AND DANCE: CHICKENARAMA3. GLAND 1: INTIMACY…PRIMAL SCENES4. GLAND 2: SECUIRTY…. BOB DYLAN5. GLAND 3: COURAGE:&nbs…Read More
LECTURE: RAPID PULSE ; INTERNATIONAL PERFORMANCE ART FESTIVAL, CHICAGOWhat a wonderful opportunity to participate in this festival and meet colleagues, artists/ lifeists. Let's give a standing ovation/applause to Giana and Joseph, the c…Read More
LINDA MARY MONTANO IS RE-BORN by LINDA WEINTRAUB VERSION ONELINDA MARY MONTANO is REBORNLinda WeintraubLinda Montano did not wait to die to be reborn. The story of her entry into grace coincided with her father's physical decline, illness, infirmity, and death.In 2004, I visited Linda, who had returned to the Hudson Valley, where I live, six years earlier. At the time, neither she nor I considered this a professional visit related to our respective art careers. We two Lindas were simply getting together as friends. But, in the subsequent years, our get-together was re-categorized as a "studio visit," our conversation was reclassified as an "interview," and the interactions I observed on that day endure as a culminating artwork of her distinguished career.Six years before, Linda yielded to the beckoning of internal voices beseeching her to return home to Saugerties to care for her aging father. The time had arrived for them both to prepare for the inevitability of his death. All I knew about Dad can be summarized as follows: Italian ancestry, Americanized, musician, businessman, devout Catholic.I entered the house midday. Outside it was hot, sunny, and noisy, but the curtained space inside was dark and unnaturally quiet. Mementos and stacks of papers were piled on every surface. The carpets were imprinted with the footsteps of former occupants, pillows were shaped by their bodies, and furniture was marked by their repeated gestures. I remember thinking that this must be how the past tense looks and feels.
By the time I walked back out into the summer glare, my impression had not only been revised, it was reversed. Linda and her father had not renounced themselves to the past. Indeed, they were not merely anticipating a future event: they were training for it. For six years and six months they had been making preparations to sanctify Dad's passage from life to death, which occurred six months after this visit.The first four years of this seven-year work of art might be described as a tender prelude. Linda drove her Dad to visit doctors, wrote his checks, played music with him, took photographs of him, and made videos with him, which is how an extensive and enchanting record of the mutuality of their daily activities came into being. They reveal an intimacy between daughter and Dad that transformed the common place into an inspired space. This prelude ended in 2001 when Dad suffered a stroke and Linda became his full-time caregiver. That is when her ministrations became eligible for inclusion in all future accountings of Linda Montano's art career.
During my visit, Dad awoke from a nap. Linda fetched him. He appeared in a wheel chair, neatly dressed, combed, and shaved. Linda maneuvered him into kitchen. I followed. She tied a bib around his neck, took a container of yogurt from the refrigerator, and spoon-fed him his mid-day snack. I imagined her performing such tedious tasks, day-by-day, month-by-month, year-after-year. But Linda was not dispirited, and Dad was not pitiable. The intimacy of their exchange transformed drudgery into delight. Each was a benefactor and each a beneficiary.
Linda explained that the piles of papers heaped everywhere were charts, statements, and records documenting Dad's diet, baths, sleeping patterns, and the condition of his teeth, bowels, and skin condition. Comments from nurses were notated alongside Linda's observations of his miniscule actions. But it would be wrong to assume that this was a sorrowful record of unremitting degeneration at the waning of a life. These documents also offered evidence of unleashing of Dad's creativity. The papers included the watercolors he had made, one each day, before and after he suffered a stroke. Although Dad had never before painted, he achieved the spare spontaneity of a Zen master's calligraphy. The marks left by each journey of his brush across the page transcended representation and expression. They are tiny, eloquent epiphanies.
After Dad finished his snack and his bib was removed, Linda wheeled him to a side table that was arrayed with brushes, paper, and paints. She dipped a brush in the paint, placed it in his trembling hand, and guided it to so that it was suspended over the bare sheet of 8 ½ x 11 paper she had laid before him. He did not move. Time came to a halt. She waited. We waited. Then, with intense concentration, his hand stirred and a single line of spare and stirring beauty gradually appeared on the page. He stopped. He was finished. No expression. No words. No gesture. He had poured all the capacities he had lost into this painted line.Dad's spirit was flourishing even as his body faltered. The watercolors are evidence of the extraordinary convergence of creative vitality at the brink of death. Linda believes they unleash the soulfulness he had cultivated during his life-long spiritual practice in the Catholic Church. "My father is Italian and Catholic, yet strangely his quality is Zen-like. He is half way between life and death. The payoff for his surrender is pure beauty. Beauty is a vibrational frequency, a brain wave."1
Dad finished. Linda glowed, not like a proud mother, but in the manner of someone who had just observed a miracle. "Bliss" and "ecstasy" are the words she chooses to describe this period in her life, and they were written on her face. She and her father were experiencing synchronous spiritual awakenings. Neither had waited to die to be reborn.Linda didn't apply the word "art" to her care-giving devotions until after Dad died. Now they comprise another formidable artwork in which her father is the subject, muse, inspiration, and collaborator. As such, my observations on that day are ripe for art analysis. Dad Art takes three forms. First, there are the watercolors that mark the creative finale of Dad and daughter's life together. Dad Art is also a film that combines pre and post-stroke footage, and serves as an enduring memorial of familial devotion. For the four years that preceded Dad's stroke, he and Linda videotaped each other having breakfast, watching TV, and making music. Linda explains that the camera enabled Dad to communicate as he declined. After his stroke, Linda retained her position behind the camera because, she said, it helped her manage her emotions. She couldn't watch him suffer. Thus, over the course of two-hours, viewers are invited to witness Dad being fed, bathed, driven to the hospital, and dying. The film then presents him dead and in the morgue. It ends with his burial. The shots are grainy, over or under exposed, uncomposed. She explains, "The film is really a memorial, not art cinema."Dad Art is also a three-hour, participatory staged event in which the film is projected while Linda sits at a piano and sings, in a sweet soprano voice, her father's favorite love songs from the thirties and forties. When I saw this work performed at the University of New Mexico in 2009, Montano led seven student volunteers, who were referred to as "secretaries," to chairs scattered across the stage. Audience members were invited to take a seat across from them to dictate letters to the dead and receive grief counseling. Their exchanges were inaudible to observers, but gestures and postures sufficed to convey their sorrow. However, communal grieving was not the finale of this work. As the film proceeded to Dad's death and burial, audience members and their secretaries danced together. Then they formed a procession outdoors where the papers on which their sorrows were inscribed were placed in a metal bowl and burned. An orange and red flag was waved. The healing was complete.Montano comments, "I felt that all my art had led up to the piece with my Dad. Everything I had ever done, everything I learned, everything I ever studied, was a prelude to being with my father in his last seven years. And now I'm undoing and re-seeing and fixing and healing." In order to establish Dad Art's culminating role in the trajectory of her long career, Montano differentiates it from her earlier Art / Life series because it does not invest life with aesthetic and symbolic significance. It certainly is not Art / Art because it is not an aesthetic object presented to the public as a commodity. Instead, she refers to Dad Art as Life / Art which "only happens within an atmosphere of prayer." Life / Art is sanctified by ritual. It transcends the material world. It even transcends art.Dad Art becomes transcendent by "unperforming" since performance art has been superseded by technologies that democratize the creation of images and events that were once the exclusive province of artists. Now, the public orchestrates its own flash mobs and produces its own selfies and YouTubes. Montano explains, "The real is not so much celebrated but narcissistically porned." Dad Art is an antidote to narcissistic porn. "We (artists) have to back off, back out, direct them, allow them. We have to find a new way to solve the riddles of dark and light." Montano's manner of addressing such riddles is a radical departure from mediated hype. She explains, "The soul is quite simple. It wants passionate gentleness."Because Dad Art cultivates true passion and compassion, Dad Art differs from the Art/Life Counseling projects Montano conducted during the preceding thirty years. She no longer felt the need to embody the persona of Mother Teresa of Calcutta, Bob Dylan, or Paul McMahon, or uses costumes and masks to assume their appearances, or mimics their gestures and lip synchs their music. She discards such disguises to confront "the challenge to be present and authentic." In Dad Art, Linda Montano performs as Linda Montano, not fictional others, or living others, or once alive others. She describes her new role as "Linda as ONE LOVE." 2Becoming, "one love" diverts Montano's artistic intention away from the security of supervision and into the precarious territory of surrender. "For the first time, I am not in control. I am fascinated by having to learn a new role as I've had to recycle my art statement from one of controlling time to one of relinquishing time. I have no idea when this performance will change. Time is gone from my art statement. I'm at the mercy of space because I'm committed to make Dad Art as long as I receive the message. I am here in obedience to the voices, to this teaching." 3While this work ostensibly documents a deep communion between father and daughter, it also reverses manifold cultural assumptions that obstruct the cultivation of "one love." As such[1], Dad Art offers ways to heal the ruptures that accompany the benefits of contemporary life styles. For example, serving the needs of another is typically considered to be demeaning; Dad Art reveals that being in service can be uplifting. Labor is commonly understood to be a regrettable necessity; here, labor is a conduit for rapture. Menial tasks cease being drudgery and offer the enrichment of ritual. Physical confinement becomes an occasion to journey spiritually. Psychological endurance offers the prospect of joyful discovery. Suffering ceases to be an affliction and becomes an instigator of creativity.Perhaps the ultimate revelation offered by Dad Art is that death can be embraced as an occasion for beauty. The cultural institutions that surround death in contemporary culture stifle this possibility. Loved ones are typically sent to a hospital or a nursing home where their care is allocated to a professional who is typically more skilled at giving drugs than loving. For all these reasons, few of us are there to receive the "vibrational frequency" as a life expires. Linda Montano and Dad anticipated this consecrated transaction. They primed themselves for it. Before his stroke Dad told his daughter, "I'm not going to die until you're perfect."Montano shared her personal assessment of this poignant work by offering the following words. They compare her collaboration with Taiwanese performance artist Tehching Hsieh in which the two artists literally "tied the knot" on July 4, 1983 when they were bound to each other by an eight-foot length of rope, and remained tied until July 3, 1984. The ties of bondage are juxtaposed with the ties of love."yes rope was tied by rope, …DAD ART was tied by love
rope tied by art, DAD ART tied by life
ROPE tied by public/MEDIA …DAD ART tied by private/prayer
Rope: tied by world………..DAD ART tied by DNA"
The Buddha said it all…we live, get old, maybe sick and eventually we all die. While doing so, we take our life and our impermanence very seriously, suffering when we suffer and wanting none of the complications. When it is good, we want that to stay. When bad, we run and hide. This is technically called clinging, greed, attachment. All bad. All cosmic migraines.
As artists, we are given a clean and clear art-slate, empty of the words, feelings and opinions of others…….waiting for our genius to explain/explore our unique journey. As I aged, I began "getting" the Buddha and said, "Yes, I'm getting old, sick and can see death!" And good life-artist that I am, I made art/performances/videos about what is happening to me, literally, as I speak.
This 4 minute, 4 day, 4 hour, 4 week, 4 month or 4 year workshop is a sharing of my process and invitation to others to play-life, play-impermanence, play- solution with me, as art. It is designed to be a quickie or a long term workshop-process, whatever is applicable to the site. There are 4 PHASES;
PHASE 1: OLD AGE: One of the bug-a-boos of old age is the nursing home….a place that we fear, shun, don't want to visit or be in. A place we can smell without visiting! My thesis is, if I do it to myself, if I place myself in a fake nursing home , now, I can deflect the trauma and also REHEARSE for the time I might have to go in one. If I play-act nursing home, then it will drain the event of its poison.
In this first workshop, we will watch my video, NURSE, NURSE https://youtu.be/EctbZtb79_k and then in a safe community of co-performers, we will experience the mental and physical actions/states of mind of someone in a nursing home. For example, being fed, being washed, being walked etc. We will do those things for each other, exchanging roles. GIVING/RECEIVING. In this cauldron of woken up triggers, we will take care of each other, process feelings and write so that the information can be helpful and not trauma-causing. All four workshops will be carefully tended this way. Therapeutic touch, here we come!!!!!!!!youtu.beNurse! Nurse! I find it valuable to both rehearse for the future and also to displace what might happen by getting it out of my system. Aging is a given. How…We will not only perform actions but also will be making nursing home sounds and pleadings and coughs and yells and calls to those walking down the "outside halls"; and we will be making wails of wanting and desperation and regret. We will rehearse and practice being un-masked, un-muted and heard so that a new courage can be born from the experience of our played out vulnerability. Practice makes perfect.
What would the Buddha say about old age? It is the attachment to the way things were; the firm muscles and un-cellulited thighs that creates suffering. Mourning the body's betrayal of itself via art, is a technique that the Buddha would approve of, I'm sure
PHASE TWO: SICKNESS: Sometimes we catch it…an illness that is, and get sick. Some people never do. For me, my life events are matter for my art……So when I "caught" cervical dystonia/torticollis, I went to the drawing board and made art, a video titled, DYSTONIA, like I always do when I don't know how to talk about what is happening, when I don't know how to feel. https://youtu.be/lj9OlegCsBc My neurologist who gives me the botox shots in my neck every three months, collaborated by letting his assistant film the process. My Yoga teacher's home-schooled son, Jonathon, read the pain "story"in this video. It is a fable which softens the horror of having a neurological chronic disease! Art is medicine and a way to distance from the clinging to the perfection of a body that never lies!
PHASE THREE: DEATH: Death, the last taboo. Our last performance. For a boomer westerner, death has always been an antiseptic and non-transparent muffling of the real. My husband was murdered, my mother faux-murdered by the AMA's radiation burns to her entire inner-abdomen, Jesus died on the cross, Dad was injured by an incompetent PT who caused him to have a hemorrhagic stroke which he wobbled around with for 3 final years! I couldn't escape the Grim Reaper and didn't understand how to be or feel about him/her. In 1978, I made a video of my reaction to MITCHELL'S DEATH, in 1997 I went to Benares and recorded the burning ghats. https://youtu.be/2vG10Mgtcwkin In 1997 I wrote a paper for a lecture that eventually became a video titled LIVING ART, DYING ART. I was always obsessed with death and thought of it as a metaphor for my unresolved emotional unhappiness, my wanting to die, my need to bow out. Making art about death instead of Steven Kinging myself via a tragic and bloody endgame, has kept me quite busy.
In this workshop, we will explore the real aspects of dying; living wills, power of attorney, green burials. But more importantly, each participant will write an obituary and lay in state, on view, in a self-designed way and with visual accoutrements that are conversant with their need, style, safety. Would that be fake silk flowers or butterfly wings? The obituary, which can be read to the person lying-in-state by another workshop participant or recorded on iPhone, can either ditto the life of the participant and be an actual "read" or the obituary can be a big lie and have total non-credibility but be healing in it's transformative illusion. That is, it can match their life, as-is, or it can be a look at their life as-they-would-like-it-to-have-been. Basically, an art-lie lifts the truth to a better and higher truth.Again, the Buddha applauds flowery visualization and stretchings of the truth, I'm sure.
PHASE FOUR: AN ANTIDOTE: The Buddha talks about clinging, and the mind as a dangerous trap and memory and greed and desire as the cause of suffering. His antidotes? Meditation/visualization/prayer/nature. But, as we all know, there are 49,834,635 techniques to move us out of the monster hall of mind-fame. My choice has been performance and video. In this last workshop, I will share STARVED SURVIVORS, https://youtu.be/NZcZWN2YFkI a video I made which flowed out of a day/night dream into real time. This video references fairy tale and stream of consciousness and the underground. In the past, that is the 1970's, I left my own life and it's true and bizarre and scary story by getting out of my "skin" and taking on different personas. LEARNING TO TALK, and MASKS were the results of this self-therapy. I have also found that writing copious fairy tales have also been a way to re-boot, re-calibrate, re-see and re-sell my tainted autobiography to myself so that my past life choices don't sting and hurt so much.We become re-deemable via the fairy-tale. We re-visit trauma and PTSD and fictionalize injustice and make the enemy pay. We re-purpose the neuro-chemistry of our brain, dragging sordid memories out of the depths of hell into bearable, creative dark. We look at situations, make up a struggle and then find fabulous solutions, much better than the life we are leading! And guess what????The mind loves this and gets out of the rut of it's obsessive self-hate and runs toward the filmy, hazy, get out of jail ………light.Buddha, thanks for playing with me.Love,Linda Mary Montano. Saugerties NY 2014
If you want to sponsor a series of four of these workshops, let me know.Tobe Carey edited all videos which are free on You Tube.
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THANKS LINDA AND CLAUDIA FOR INVITING THE SADHU MAN; Linda Mary Montano
"We believe in puppet theater as a wholesome and powerful language that can touch men and women and children alike, and we hope that our plays are true and are saying what has to be said, and that they add to your enjoyment and enlightment."
–Peter Schumann
I love Sadhus. Even as a child I found National Geographic photos of indigenous and holy people my favorite part of the magazine and later continued the passion by living for years in Ashrams, Zen Centers and also frequented Tibetan Buddhist Ceremonies, hoping to see the nuns and monks, hoping to be near them, hoping to learn from them, hoping to rub up against their robes so that some of their spiritual aroma would transfer to my strict Roman Catholic soul.
Why are Sadhus so wonderful? Is it because they seem connected differently, more naturally, more assuredly, more innocently to the Beyond? Are they from some planetary place that I have never visited? All I know is that I wanted out of Western Culture and catapulted myself into the Eastern world of authentic Oneness as often as possible, even surviving a trip to Benares, India and the burning ghats to film their version of old age, sickness and death. And yes, to watch Sadhus in non-magazine action. And another yes, they do things differently in India.
Even to this day I am on the lookout for Sadhus of Kumbha Mela intensity and May 13, 2016, I found one at TIME SPACE LIMITED, an art space founded/directed by Linda Mussmam, in NYC, 1973. Claudia Bruce joined Linda as co-director, 1976 and now, in their space in Hudson NY, they share their generous/prophetic vision of art/life via movies, live broadcasts, youth programs, art exhibitions, original theatre and special events.
The special event I attended brought Sadhu Peter Schumann of THE BREAD AND PUPPETT THEATRE to TSL and my internal/external drama began in their parking lot where my dream self kicked in with the mission, " You must find him and see him." I wanted him, I needed him , I was in search of him and when I entered the building, (I was the first audience member there), it was suggested that I visit the gallery and tour his beyond poetic prints, tour his beyond simple and intense woodcuts, tour his non-pretentious banners and books but I knew that I wanted to tour HIM! I really did want to honor the wishes of the beautiful and kind ticket taking man but I barged into the theatre itself and was standing two feet from Sadhu Peter who was sitting in row one, first seat, right at the door. Inner gasping, our faces met and there I was with the always smiling Buddha Art Man; the Sadhu whose mouth opened in repeated fish breathing gasps of eros every few minutes so that it could emit light-man; the disheveled white haired man-bun-man; the clear, dark complexioned unable to tell what planet he's from-man; the artist as Sadhu-Man. I wanted to measure his age to my age, both of us decidedly elders. I wanted to feel the aire around the genius of someone dedicated to a life of superb, seemingly simple but totally complex and satisfying SOUL ART. I wanted to be him.
He looked up, I looked down and he said, in greeting, "Good Morning!" Things couldn't get any better than that because it was 7PM and maybe he was committing a past life faux pas and saw me as a former /present lover who frequented his bed on a cold Vermont farm morning? Or maybe we had travelled to Indonesian temples together and met on a tour one morning in 1765 and he remembered that? I milked his ,"Good Morning" for symbols and synchronicities , finding none. But wait, maybe it was because my white haired braids and my age, 74, were a statement of radical inclusion and feminist rebellion against looking tidy and well kempt. Is that why he said, "Good Morning" at 7PM? That's it, maybe he likes me and seeing me he lost Time!
Sitting three seats in back of him during his rest from rehearsal, I realized that I had a job: To "never take my eyes off of Peter Schumann tonight." Following him like a detective-journalist I internally journaled how he glided and didn't walk; I journaled that he looked like someone who had relinquished his ego; I journaled his no-need for outer applause/honors; I journaled his ability to dress down in reaction to consumerist grandiosity; I internally journaled his child-like presentation of political sins astutely accomplished by his painting brilliantly in German Expressionistic manner, on refrigerator-size cardboard, a cast of four dozen good and bad larger than life personas/characters held together by masking tape, which was exposed on the back for all to see. Nothing hidden, nothing technological, nothing complicated but totally intense, deep and symbolically archetypical.
All was disguised museum quality but used in a "hidden" way to teach truths with not a nod to galleries or Artforum. Peter has been re-configuring medieval morality plays for over 50 years, holding a stance that is timeless and pure. His co-performers, about 10 of them, are talented, limber, equally luminous and able to make the difficult appear easy/effortless in their desire to expose current powers-gone-wrong. They sang and danced the grief of now very well.
I'm pretty sure that Peter always offers art communion after his "experiences." I imagined big hunks of Italian Bread when they announced , please come and receive a piece of bread after the show, but no, it was a very small piece of dark, probably 87 grain, non gluten free sourdough eucharist, slathered with intense aioli….a sacred reminder that ART IS GOOD CHURCH.
I left too high to find him, too frightened that I might say the wrong thing and break my mood, too ecstatic to get close to Peter. I had smelled the Sadhu and he smelled good.
Linda Mary Montano 2016"Our glorious civilization glorifies itself with what it calls high art. Puppeteers have no soul-searching trouble in that respect. What we produce has no ambition to be high art. Low art is what we make and what we want. Not the Fine Arts–the Coarse Arts are what we use." -Peter Schumann, lecture to art students at SUNY Purchase, 1987
HOPE PERFORMANCE: LINDA MARY MONTANO WITH NICOLAS DUMIT ESTEVEZhttp://hemisphericinstitute.org/hemi/en/hidvl-profiles/item/2640-nicolas-hopeRead More
"Art / Life Counseling" with Linda Mary MontanoBlog Response by Mel DayI had an extraordinary experience with Linda Mary Montano's "Art / Life Counseling," a performance piece. (Yes, the same artist who tied herself to another artist for a year.)Montano had broken her hand and so was unable to perform in person. In her stead was an installation that included a large mirror and a wooden dresser in front of it with a note on top inviting viewers to call for Art/Life Counseling. Since Montano is based in New York, she required her visitor / clients to call before 4pm.We were all busy setting up and running around to panels and performances yet I somehow arrived at the gallery space earlier than I expected on Friday. I found myself alone with the Montano's piece, staring into the mirror: without giving myself an opportunity to think it through, I took out my phone and dialed her number. Cold-call counseling—and potentially intense personal self-disclosure—seemed risky, to say the least, and yet the possibilities of such an encounter were too intriguing to pass up.What happened next transpired over exactly 18 minutes. Montano picked up my call immediately. After an exchange of greetings, I expressed how sorry I was she had broken her hand. I asked if she had been inundated with calls and was surprised to hear that she hadn't. (We determined the time difference played a role as the gallery space typically filled up in the evenings.) She then asked me the following four questions:1.What are the 5 most important events in your life?2.What is your "issue?" The "thing" that keeps coming up for you (or something along those lines!)3.When did this start? What is your earliest memory of this "thing/issue?"4.What was your response? How did you handle it?Then she asked me to repeat after her, word for word, her response—our peaceful pact—to this thing / issue. (Perhaps I'll reveal her response in a future blog post. For now, I'm keeping it to myself to protect its power.)Then she sang me a song.I sat there in the hall in Roble a combination of mesmerized, fascinated, slightly embarrassed and uncomfortable—partly because I had my phone on speaker as I had forgotten my earphones—and utterly enchanted.I said thank you. We said goodbye.After we'd hung up, I wandered around Roble for awhile, startled and disoriented, as if finding my sea legs. I'd felt something shift during our call. Does this sound trite? Yet I would even go so far as to call the encounter transformative. An unexpected, clarifying, restorative soundness settled over me.I seek out this transformative and heightened human exchange with others in my own art / life, but it often seems beyond my grasp (a little too much to ask?), and is all too rare, in my own and others' work / lives. Human communication, let alone restorative transformation, is fraught with hurdles and gets so very, very messy.I was astonished at how seemingly simple and powerful it was just then, with Linda.I wanted to send her a thank you note. Here it is.—You can also read the published piece online:
INTIMACY AT JILL McDERMID'S ROSEKILLLINDA MARY MONTANO/ INTIMACYARAMA : MEMORIES OF UNDISSOCIATIVE ONENESS PERFORMANCEARAMA1. SEND ME YOUR NAME, email@example.com SAYING: I WANT TO BE INTIMATE FOR 3 HOURS WITH YOU AT ROSEKILL MEMORIA…Read More
MEET ME AT THE MET; MONTANOMEET ME AT THE MET – A not-PerformanceIt's over. Seven months, seven visits to NYC to meet at the Met non-performatively.THE CONCEPT:The Met is filled with treasures and icons and found beauty and forced from other cultures treasures and the history of the known universes tools and masks and ritual richness. The concept is: Performance is over and porned out and finished and tired and irrelevant and un-necessary. There is no future in it and the only way to go is backwards. The Met is retro-ically relevant and fresh and new and brilliant and tremendous in its anonymous wonders. That's the ticket, the Met is anonymous, and everyone who made anything that is now in the Met is dead (not really), and the artists from thousands of years ago who did make things that are in the Met didn't want to be extraordinary or famous but made healing objects and paintings and sculptures and doorposts and lintels and jewelry for the sake of beauty, for the sake of making, for the sake of transforming self and community. The Met is about the other, about the tribe and about art for the people. I needed to go there and learn from the Met.MEET ME AT THE MET:became an opportunity, not a performance. An opportunity to come together in secret, to hide in the overflow ordinariness of THE THRONGS OF PEOPLE, an opportunity to NOT PERFORM although it is akin to asking a General surgeon to meet in an emergency room on a busy Saturday night and tell the surgeon, "Don't lift a scalpel!" For when you gather creative artists and friends in the name of no-performance, although the glee of not having to do anything but exhibit co-facetime is freeing, we DID show our happy joy to each other. And I must admit that we PLAYED a bit, roamed around the room assigned for that day, found our FAVORITE thing there, gathered the group around us and as I stated earlier, we, in sotto voce, non-performatively/fictictionally, told why WE made or curated our favorite object, painting or sculpture and in talking in Haiku-fashion about that painting or sculpture or ritual cup, we brought not only each other alive with our fantasy stories but gave the art in the Met, a new context and new reason to be seen. It was innocent and fun. No money or ARTFORUM review necessary.Seven times we did this, meeting in the red room for January, that is, the one that is colored red on the Met Map ( Asian Art); and we met in the orange room in February ( Egyptian Art) and so on. Friends and new friends came and we sometimes exchanged phone numbers of our doctors/ comforted the new widow/ prayed as a healing team for successful eye surgery for another. It was not performance but covert life, meeting underground and incognito. Without applause.MISSING:I wont miss that bus ride.But I will miss the woman at Gate 34, the Island woman who works at POA, and is always there on Sundays, blessing all with her beauty/concern/availability.I will miss walking the 40 blocks to 81 Street, through Central Park.I will miss smelling horses.I will miss face and fun time and no muss, non-durated for 2 hours time with friends.I will miss the easy endurance of this not-performance.There might be another 7 years of something.I don't know until I know.But I do know that the inner Met-show will go on.Do you miss me?LINDA MARY MONTANO,Artist Teacher, Saugerties NY, 2016
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NEW YORK -- Ryan Dempster is too busy watching "Swamp People" to see the stories about him being possible trade bait. He's pitching too well, though, to know that he might be in another uniform by the end of the month. Dempster extended his scoreless innings streak to 27 in his first start in three weeks, Starlin Castro hit a three-run homer and the Chicago Cubs beat the New York Mets 7-0 Sunday. "I don't really notice a lot of the rumors," Dempster said. "I just handle what I can handle and that's going out there and pitching and doing my job. Wherever the cards fall they fall." Dempster (4-3) was activated from the disabled list then pitched five innings of four-hit ball in his first outing since June 15, when he experienced tightness in a back muscle. His lengthy string of zeros is the Cubs' best for a starter since Ken Holtzman went 27 innings in 1971. The Cubs made it as comfortable as possible for Dempster, scoring four runs before he even threw a pitch. Alfonso Soriano had an RBI single, Jeff Baker a run-scoring double with a jam shot to the opposite field and Geovany Soto drove in two runs with a single against Jonathon Niese. Niese (7-4) had only given up four or more runs in a game five times -- 16 starts -- this season entering Sunday. "They came out swinging," Mets manager Terry Collins said. "He was trying to get ahead (and) they were hammering the first pitch." The Cubs finished the first half in the midst of a modest surge, winning nine of 13 to improve to a disappointing 33-52 in Theo Epstein's first year in charge. It's their worst record before the break since 2006 when they were 34-54. The team has been a little up and down but everybody hustles right now," Castro said. "Let's see in the second half everybody pull a little bit together and win more games." The Mets had a chance to move a season high-tying eight games above .500 but continued a recent trend of trading wins and losses. They go into the All-Star break 46-40, their best first half since 2010 when they were 48-40. New York finished a homestand against last place teams, Philadelphia and Chicago, 3-3. Not that the Mets didn't have had their chances Sunday. They put runners in scoring position in each of first three innings and also in the sixth but came up empty. Dempster put his streak in jeopardy by allowing a one-out triple to Scott Hairston in the second but he got Jordany Valdespin to line out to second and Josh Thole to groundout to shortstop. Niese and Ruben Tejada opened the third with singles but the Nos. 2-3-4 hitters couldn't capitalize. After Tejada's hit, Dempster retired nine in a row before being lifted. "He was way more efficient than we thought," Cubs manager Dale Sveum said. " Everything went well. He feels great." The right-hander was scheduled to start the Cubs' first game after the All-Star break on Friday but Sveum said Dempster will start Saturday instead to better fit his throwing program. Paul Maholm will move up from Saturday. Dempster has won four in a row after an 18-start winless streak dating back to Aug. 11. He struck out four and walked none. Maholm came on in relief for the first time. He made 201 consecutive starts until he entered in the sixth and gave up two hits. But the Mets failed again with runners on. Ike Davis popped to shortstop and Lucas Duda grounded into a double play. Manuel Corpas, James Russell and Shawn Camp finished the eight-hitter. Niese had settled in after the first, allowing only one hit until Luis Valbuena singled with one out in the seventh. Reed Johnson singled with two outs and Castro hit the first pitch for a three-run homer, his seventh long ball this year. "A little tough the last couple of weeks, but today something good happened," Castro said. Niese allowed seven runs and nine hits in seven innings. Notes To make room for Dempster on the Cubs roster, Chris Volstad was optioned to Triple-A Iowa. Volstad is 0-7 this season. ... Mets prospects RHP Zach Wheeler and 3B Wilmer Flores were scheduled to play in the MLB Futures Game in Kansas City Sunday. ... Valdespin started in center field for first time in his career. ... Game took a crisp 2 hours, 8 minutes. ... Collins said Johan Santana will not start Friday. He'll go Sunday or Monday instead. "We're going to let Johan's ankle have an extra day or so," Collins said. "He's fine. Don't misread anything."
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Welcome to the Home Page for the Economic Development Department
Looking for an extraordinary community?
New Lenox, located southwest of Chicago, is a progressive, village located near Interstates 55, 57, 80, and 355.
The village offers extraordinary greenfield opportunities for development in the heart of the southwest suburbs. From corporate headquarters to healthcare to entrepreneurial ventures to retail and restaurants, New Lenox blends a pro-growth approach with a personal touch.
New Lenox is a leader in Illinois in:
- Education. Our schools are ranked not only near the top in Illinois, but the nation, according to Newsweek.
- Healthcare. Silver Cross Hospital, a hospital which has received an "A" for patient safety ten consecutive times, provides access to world-class healthcare in New Lenox.
- Safety. We were the first community and are still the only community in Chicagoland that is designated as a Safe Community by the World Health Organization.
In New Lenox, you will find plenty of opportunity. We're here to help with:
Site Selection
Entitlement Process
Robin Ellis
Asst. Village Admin/ Community Development Director


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Deity: Displays the name of the deity along with a notation of any other pantheons they belong to.
Patron City: Center of worship of the deity.
Description: A brief description of the deity's duties.
Symbol: Symbol commonly used to denote the deity.
Relationships: Relationships with other deities.
Comments: Interesting side notes concerning the deity.
Also Known As…: Other names the deity is known by along with a notation of the pantheon(s) they belong to.


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Man hurt in blast that leveled Texas house is dead
A man injured in an explosion that leveled a North Texas home that is part of an affordable housing program has died at a hospital.
Christian Community Action president and CEO Ron Batts says 55-year-old Scott Deahl died Sunday night. Batts' nonprofit group owns the home and rents it out to families who are struggling financially.
Deahl lived at the home in Lewisville, about 20 miles northwest of Dallas.
Two firefighters who were standing on the street near the home were also injured in Friday's explosion. One was hospitalized with chest pains and expected to recover; the other was treated and released that day.
Authorities are trying to determine what caused the blast inside the home. Firefighters initially went to the home that morning after a gas leak was reported.


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Where to Eat and Drink in Williamsburg When St. Anselm Quotes a 2-Hour Wait
Wildly popular Williamsburg restaurant St. Anselm gets legendary waits for a reason. In a neighborhood largely defined by rowdy bars and high-low casual places to eat, a restaurant nailing simple but carefully executed food with a gracefully tousled Brooklyn vibe is a welcome thing. In his 2011 restaurant review, Times critic Sam Sifton called St. Anselm "Keens for the millennial set," as accurate a tagline as any.
Not that this helps you when you come by for dinner and are quoted a two hour wait for your table. So where should you go instead? The neighborhood's most acclaimed quasi-fancy spots—Diner, Brooklyn Star, and Maison Premiere—can offer equally long lead times. Here are some alternatives.
The Closest Call
A short walk from St. Anselm you'll find Allswell, a gastropub with great drinks and small plates and a solid steak and burger. On Fridays and Saturdays, waits can go just as long as any of the restaurants listed above, but on quieter nights you may have better luck scoring a surprise table, or just as nice, a seat at the bar. It's worth trying your luck, but maybe call before you head over.
Low-Key Alternatives
Williamsburg south of Metropolitan has a number of reasonably priced, rather tasty restaurants that often lack the crowds of their northern neighbors. I still can't figure out why Zizi Limona is never mobbed considering the quality and depth of its new Middle Eastern cooking and its warm, friendly dining room. Over on Driggs, Bistro Petit is a cute place that actually deserves to be called cozy. Its surprisingly successful Korean-French menu includes a braised lamb shank that may remind you of a dish you could find at St. Anselm, even if the lighter treatment takes you elsewhere.
If your long-wait disappointment has you in the mood for simpler comfort food instead, fried chicken shack Pies & Thighs serves the fried chicken and biscuits to win you over. Or head over to Blue Collar for a no-frills burger. It's not a sit-down-and-linger kind of place, but we dig it anyway.
Bars While You Wait
If you elect to hold out for your St. Anselm table, do so in one of the neighborhood's many, many bars. Want some food to tide you over? Get a liver and bacon sandwich at Post Office, where the American whiskey list goes on and on. Hit up The Commodore for some of the city's best nachos. Or visit Radegast, a refreshingly civilized beer hall with a sausage grill and a mustard bar—I've started many a night in Williamsburg there with a crisp lager or one of the menu's more exciting Belgians.
Nearby bars where food isn't a priority are even easier. For some casual go-to bars, I asked north Brooklyn resident and Williamsburg bar fan Niki for her picks. Here they are:
"For a killer beer selection, look no further (or farther) than St. Anselm sister bar and next-door neighbor Spuyten Duyvil. There are only about six brews on tap, but the international line-up of bottles is massive, supplemented by a thoughtful collection of wines for the hop-weary or averse. If you're looking for cocktails, though, I'd head straight for Larry Lawrence, a cavernous wood- and brick-lined joint where the drinks are stiff and your chances of grabbing an actual seat are astronomically high for the neighborhood. Plus there's a kooky see-through outdoor balcony spotlit on the upper level to scratch your
voyeuristic people-watching itch.
"But if you're the impatient type, there's also no shortage of activity-packed bars in the area to get you through your wait. If the name or the signage doesn't clue you in, it won't take long after stepping into Full Circle Bar to realize that you've stumbled into skeeball heaven. They've also got a full bar and remarkably good selection of canned beers (I'm talking the good, IBU-heavy stuff). But on warmer evenings, my go-to is Lucky Dog, where you''ll find a shuffleboard table and a massive (for Brooklyn) backyard filled with so many puppies. It's a dog-lover's goldmine, and the drinks aren't half bad to boot."
What Else?
What are your go-to bars and restaurants in this part of Williamsburg where you can actually get through the door? Let us know in the comments.


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264 card set (Near Mint to Mint condition)
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The Catlin Group Limited's Arctic Survey has released findings in London, which show that Arctic Ocean sea ice is thinning rapidly and the region will most likely be largely ice-free during the summer months within a decade.
The Catlin Arctic Survey was completed earlier this year. It has provided the latest record of Arctic ice thickness, and was the only survey capturing surface measurements of the Arctic sea ice during winter and spring 2009.
The survey team collected data "by manual drilling and observations on a 450-kilometer [282 mile] route across the northern part of the Beaufort Sea," Catlin explained in a press bulletin. The survey area was "comprised almost exclusively of first-year ice. This is a significant finding because the region has traditionally contained older, thicker multi-year ice. The average thickness of the ice floes measured by the Catlin Arctic Survey ice team was 1.8 meters [about 6 feet], a depth considered too thin to survive the summer's ice melt."
These findings were analyzed by the Polar Ocean Physics Group at the University of Cambridge, led by Professor Peter Wadhams, one of the world's leading experts on sea ice cover in the North Pole region. "With a larger part of the region now first-year ice, it is clearly more vulnerable," he stated. "The area is now more likely to become open water each summer, bringing forward the potential date when the summer sea ice will be completely gone."
The Catlin Arctic Survey data "supports the new consensus view — based on seasonal variation of ice extent and thickness, changes in temperatures, winds and especially ice composition — that the Arctic will be ice-free in summer within about 20 years, and that much of the decrease will occur within 10 years," Wadhams continued. "That means you'll be able to treat the Arctic as if it were essentially an open sea in the summer and have transport across the Arctic Ocean."
According to the scientists who have studied the data, the techniques used by the explorers to take measurements on the surface of the ice have the potential to help ice modelers to refine predictions about the future survival or decline of the ice.
Catlin Arctic Survey expedition leader Pen Hadow commented: "This is the kind of scientific work we always wanted to support by getting to places in the Arctic which are otherwise nearly impossible to reach for research purposes. It's what modern exploration should be doing. Our on-the-ice techniques are helping scientists to understand better what is going on in this fragile ecosystem."
The results were presented yesterday in London. Dr. Martin Sommerkorn of the WWF International Arctic Program, which partnered with the Catlin Arctic Survey, noted: "The Arctic sea ice holds a central position in our Earth's climate system. Take it out of the equation and we are left with a dramatically warmer world.
"Such a loss of Arctic sea ice cover has recently been assessed6 to set in motion powerful climate feedbacks which will have an impact far beyond the Arctic itself — self perpetuating cycles, amplifying and accelerating the consequences of global warming. This could lead to flooding affecting one-quarter of the world's population, substantial increases in greenhouse gas emissions from massive carbon pools and extreme global weather changes," he added.
"Today's findings provide yet another urgent call for action to world leaders ahead of the UN climate summit in Copenhagen this December to rapidly and effectively curb global greenhouse gas emissions, with rich countries committing to reduce emissions by 40per cent by 2020.
Stephen Catlin, chief executive of Catlin Group Limited, pointed out that the "measurements of the Arctic sea ice taken by the Catlin Arctic Survey team have now been verified and interpreted by researchers at the University of Cambridge. Their conclusions are important, and we hope that these findings will help stimulate debate at the UN climate summit in Copenhagen. "
For further information, and to access the data from the survey, go to: http://www.catlinarcticsurvey.com.
Source: Catlin Group – www.catlin.com
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Scientists who engineer microbes to efficiently produce biofuels from plants and algae are busy reporting breakthroughs that could wean us from fossil fuels — offering a glimmer of hope to consumers eyeing gas prices skyrocket.
In one breakthrough, a microbe has been genetically engineered to produce isobutanol, a gasoline-like fuel, directly from cellulose.
"That's the first time cellulose has directly been used to produce four-carbon alcohols," James Liao, vice chair of chemical and biomolecluar engineering at the University of California, Los Angeles, told me today.
Cellulose feedstock
Cellulose such as switchgrass and the leaves and stalks of corn, is a more abundant and cheaper feedstock for biofuel production than corn and sugarcane, but is difficult to breakdown to the sugars that microbes convert into alcohol fuels.
For example, some strains of the microbe Clostridium produce butanol, but they don't do so directly from cellulose. It first has to be broken down into sugars. Other species of Clostridium digest cellulose, but don't produce butanol, Liao explained.
"We designed a new pathway" that allows Colstridium to produce isobutanol directly from cellulose and transferred that pathway into the Clostridium celluloyticum, Liao said. This strain naturally digests cellulose. Their genetic manipulation allows it to produce isobutanol as well.
In addition, isobutanol is a higher grade of alcohol than ethanol, which is primarily produced today from corn. Most cars on the road can run on blends of gasoline with up to 10 percent ethanol.
"Unlike ethanol, isobutanol can be blended at any ratio of gasoline and should eliminate the need for dedicated infrastructure in tanks or vehicles," Liao added in a press release about the breakthrough. "Plus, it may be possible to use isobutanol directly in current engines without modification."
The research was published online in the journal Applied and Environmemental Microbiology.
Butanol production
The promise of butanol as a biofuel is spurring several researchers to genetically optimize microbes to produce it. Researchers at the University of California at Berkeley reported March 2 a genetically engineered strain of E. coli that produces n-butanol at rate that is 10 times better than competing systems.
The researchers are interested in using E. coli, which doesn't naturally produce butanol, because it is easier to work with and scale up the process for industrial production of biofuel.
Unlike the new microbe, however, the E. coli currently uses straight sugar to produce the fuel. More research will be required to figure out how to get the sugar from biomass, Michelle Chang, the Berkeley chemist leading the research effort, told me.
Liao's group at UCLA is also at work on engineering E. coli to produce n-butanol and have achieved 15 to grams per liter from sugar. Their paper will be published online later this week.
Fuel from proteins
In addition, Liao's team published research on Sunday in the journal Nature Biotechnology describing a method for producing biofuels where "we use proteins instead of cellulose, sugars, or lipids," he told me.
To do this, the team changed the metabolic pathways in E. coli so that they efficiently remove nitrogen from groups of amino acids — the building blocks of proteins — to produce alcohols, which are converted to biofuels.
The team argues that proteins are attractive molecules to turn into fuels because proteins are produced as byproducts from current industrial processes and because they can be made more abundant than carbohydrates from sugars and cellulose and lipids from vegetable oil.
Until now, however, no one knew how to turn them into fuel.
"Microorganisms tend to use proteins to build their own proteins instead of converting them to other compounds," Yi-xin Huo, a UCLA postdoctoral researcher and lead author of the study, said in a news release.
Liao's team created an artificial metabolic system to dump reduced nitrogen out of cells and tricked the cells to degrade proteins without utilizing them for growth. Proteins contain both ammonia and carbon; Liao's team took away the ammonia and recycled it back for the growth of the algae they worked with.
"Today, nitrogen fertilizers used in agriculture and biofuel production have become a major threat to many of the world's ecosystems, and the nitrogen-containing residuals in biofuel production can eventually turn into nitrous oxide, which is about 300 times worse than CO2 as a greenhouse gas," Liao added in the news release.
"Our strategy effectively recycles nitrogen back to the biofuel production process, thus approaching nitrogen neutrality."
The researchers are now working on scaling up the technology.
More stories on biofuels:
- Bacteria turned into biofuel factories
- W2 begins to construct biobutanol reactor
- Bacteria rebuilt to make oil
- Mutant bacteria + polyester = more biofuel
- The race to replace gasoline
- Yeast is rising as a biofuel booster
- Scientists look to tobacco as a potential biofuel
John Roach is a contributing writer for msnbc.com. Connect with the Cosmic Log community by hitting the "like" button on the Cosmic Log Facebook page or following msnbc.com's science editor, Alan Boyle, on Twitter (@b0yle).
© 2013 msnbc.com. Reprints


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Brazil holds first vote under 'Clean Record' law
Brazil's nationwide municipal elections Sunday may have been most notable for who won't be taking office.
A newly effective "Clean Record" good-governance law bars people convicted of a wide range of crimes from serving in political office. This was the first full nationwide election held under the measure since it was upheld by Brazil's Supreme Court.
Observers say the bill is a watershed in Brazilian politics, long dominated by strongmen who milk the system for personal gain and that of their cronies, and who often resort to shady tactics to hold onto power.
"It's a radical change of culture, vision and moral compass," said Jorge Sanchez, president of the anti-corruption watchdog group Amarribo Brasil. "It's the beginning of a long, slow process, but one that I'm confident will change the political landscape here in five to 10 years so that it's upstanding people and not the tainted ones who will start to naturally gravitate toward politics."
Under the measure, those convicted of charges such as fraud, drug trafficking, money-laundering, sexual assault and murder are barred from running for public office for eight years. Previously, those with criminal records were only ineligible if their cases could no longer be appealed to a higher court, a glacial process in Brazil's overstrained justice system, where appeals can run on for decades.
"We've seen cases in years back where people with known links to organized crime, drug traffickers and other criminal groups get into politics as a way of shielding themselves from prosecution, and that of course is very detrimental to the whole system," said Ricardo Ismael, a political science researcher at Rio's PUC Catholic University.
The law was the fruit of a rare show of grassroots organizing. Supporters flooded lawmakers with some 4 million emails as well as a 1.3 million-signature petition. The mobilization was so effective that even those legislators who spoke against the measure ended up voting for it, and it passed the Senate unanimously in 2010.
Voters lining up in Rio's beachside neighborhood of Ipanema to choose their mayor welcomed the law, but some held back their judgment of its effectiveness, saying they'd have to see it work before believing it was really going to change the culture.
"It's about time," said Vinicius da Mata Oliveira, a retiree. "My whole life I've been seeing people run for office that I wouldn't trust to take care of my dog. The country is changing for the better; this is an essential part of that change."
Waiting next to him, Fernando de Aguiar Fonseca said he'd need to see dirty candidates not being allowed to take office before he'd really believe the law was here to stay.
"Some laws here don't `stick'," he said. "I want to see them thrown out. I want to see these guys whose families have power, who have friends and connections and important patrons in politics, not be allowed to take office. Then I'll say, yes, things are changing."
Already, kinks have emerged.
Out of the roughly 480,000 candidates running for mayor or city council in 5,565 cities and towns across Brazil, 2,969 are being examined by Brazil's top electoral court in connection with the Clean Record law. The volume of red-flagged candidacies is so high that the court has processed only 764 of them to date - and it has not released a list of the candidates it has barred from taking office even if they win their races.
A spokeswoman for the court said that the list will be released in the coming days and that the court hopes to get through all the cases by December, before the newly elected officials take office. If the court disqualifies a winning candidate, the second-place finisher would take office instead.
The two biggest races Sunday were for mayors of Rio de Janeiro and of Sao Paulo, South America's biggest metropolis.
In Rio, Mayor Eduardo Paes won in the first round, with 65 percent of the vote. In Sao Paulo, two-time presidential candidate and former governor Jose Serra will face former education minister Fernando Haddad in a run-off Oct. 28.
The Clean Record law is part of a broader crackdown on corruption that has swept Brazil. The Supreme Court is deliberating on a cash-for-votes case with defendants that include dozens of legislators as well as the former chief of staff for hugely popular former President Luiz Inacio Lula da Silva. Current President Dilma Rousseff is seen as being tough on corruption. She's forced out seven of her ministers who have faced allegations.
Associated Press writers Bradley Brooks in Sao Paulo and Juliana Barbassa in Rio de Janeiro contributed to this report.


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Hurricane Isaac Escort Requirements for Oversize Vehicles, Trucks and Loads
WHEREAS, the Louisiana Homeland Security and Emergency Assistance and Disaster Act, R.S. 29:721, et seq., confers upon the Governor of the State of Louisiana emergency powers to deal with emergencies and disasters, including those caused by fire, flood, earthquake or other natural or man-made causes, to ensure that preparations of this state are adequate to deal with such emergencies or disasters, and to preserve the lives and property of the citizens of the State of Louisiana;
WHEREAS, pursuant to Proclamation No. 92 BJ 2012, issued August 26, 2012, a state of emergency was declared for Hurricane Isaac and is currently in effect;
WHEREAS, the safety and welfare of the citizens of the affected areas of Louisiana require that the movements of operators of certain oversize vehicles traveling on the public highways of the State of Louisiana for the purpose of emergency services and disaster relief efforts be expedited, but still be monitored for safe movement;
NOW THEREFORE I, BOBBY JINDAL, Governor of the State of Louisiana, by virtue of the authority vested by the Constitution and laws of the State of Louisiana, do hereby order and direct as follows:
SECTION 1: Permitted oversize vehicles which exceed sixteen feet in width and whose operators are unable to procure the escort services of Louisiana State Police because of the excessive workload carried by Louisiana State Police troopers after Hurricanes Isaac may procure the services of two Louisiana state certified escorts to travel non-Interstate, state-maintained highways in lieu of the required State Police escorts. These vehicles may travel only between sunrise and sunset and must adhere to any route
requirements imposed by their DOTD-issued permits.
SECTION 2: Permitted oversize vehicles which exceed ninety feet in length, but are less than one hundred feet in length, which transport utility poles and whose operators are unable to procure the escort services of Louisiana State Police because of the excessive workload carried by State Police troopers after Hurricanes Isaac may procure the services of one Louisiana state certified escort. These vehicles may travel twenty-four hours a day in order to address disaster recovery.
SECTION 3: Nothing in this Order shall be construed to relieve any vehicle or carrier, or owner or driver of any vehicle from compliance with any restrictions other than those specified, or from any statute, rule, order, or other legal requirement not specifically waived herein.
SECTION 4: This Order is effective upon signature unless amended, modified, terminated, or rescinded by the Governor, or terminated by operation of law.
IN WITNESSWHEREOF, I have set my hand officially and caused to be affixed the Great Seal of Louisiana, at the Capitol, in the city of Baton Rouge, on this 28th day of August, 2012.
Bobby Jindal
Tom Schedler
Secretary of State


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Forums: Index → Support Requests
Welcome to Wikia Community Central Support Requests, a forum where you may seek help from the Wikia community. Review the guidelines for help on how to post topics. See the General Discussion forum if you want to discuss something that isn't a support question. See the Admin Central forums if you have questions about wiki administration or setup.
Community content is available under CC-BY-SA unless otherwise noted.


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Museum Collections Centre
The Museums Collections Centre in Nechells has brought together 80 per cent of Birmingham Museums and Art Gallery's stored collections under one roof.
The 1.5 hectare site, close to Duddeston Station, holds hundreds of thousands of objects. Among the collections are steam engines, sculptures, an entire collection of Austin, Rover and MG motor cars, a red phone box and even a Sinclair C5.
The contrasting mix of objects and the behind-the-scenes atmosphere at the collections centre make it an intriguing place to explore.
Part of the collections held at this centre are Designated Collections of national importance.
Venue Type:
Museum, Archive
At the moment the Museums Collection Centre is only open to the public on open days. Check the What's On page for the latest listings.
see website for details
Additional info
At the moment the Museums Collection Centre is only open to the public on open days. Check the What's On page for the latest listings.
Guided tours of the Museum Collections Centre are available for groups. For further details including costs call Julia Kirby on 0121 303 2836 or email email@example.com.
Part of Birmingham Museums and Galleries' science collection, which is a Designated Collection of national importance, is held at this venue.
Please contact the Museum Collections Centre for more information if you wish to see a specific item.
Collection details
Science and Technology
Key artists and exhibits
- Designated Collection
Museum Collections Centre
25 Dollman St
Museum Collections Centre
What's On page with Open Day listings
- About
- | Collections
- | Map


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Here is a list of their children:
- Narcissus "Nare" Girkin: Born March, 1867, in Illinois. She married Mr. W.S. Perryman.
- Joe H Girkin: Born March, 1869, in Illinois. He was a Baxter County Assessor and married Edna Pierce.
- Martha "Mattie" Girkin Born September, 1870, in Illinois. She married William.W. King.
- Charlie Girkin Born April, 1874, in Illinois. He married Jennie Kazar..
Today, their graves are only large pieces of unmarked limestone.
Family knowledge is the only thing that marks their resting place today.
Their graves are below.According to Of Grave Importance, cemetery book of Baxter County, the oldest grave in the cemetery is of an A. W. Cooper, who was buried in 1864 and was reported to have been killed by "Bushwackers."
Family knowledge is the only thing that marks their resting place today.
Their graves are below.According to Of Grave Importance, cemetery book of Baxter County, the oldest grave in the cemetery is of an A. W. Cooper, who was buried in 1864 and was reported to have been killed by "Bushwackers."
Next, we went on Highway 178 and went to Lakeview which was once called Amos. We pulled down the road pass the Lakeview City Hall and drove by the entrance of the Amos Cemetery. Dad want to see if the old Amos church/school house was still standing.
This what we found. It is located down the hill from the cemetery about 100 yards. Trees and brush are closing in on the old building. If you look closely, you can see the bell tower. Also, there is an addition to the front part of the building.
Here's the front view. Notice the broken tree limbs from the recent ice storm.
This is the Methodist Church that held the funeral of my great grandfather William Franklin McNeil and great grandmother Mary "Mollie" Girkin McNeil. This is also the school house that all the McNeil children, such as Eunice McNeil Anderson, went to. As you look through the door, you will notice a sheetrock hallway. This part is the addition made on to the building for extra classrooms in the early 1960's. Looking on in the background is the stage area with a hole in the back wall for the stove pipe. The building is completely stripped of every artifact and ornament. The floor is 70% gone and the area is sadly filled with trash.
Here is the view from the stage.
We then walked back to the Amos Cemetery to take a view of some of the family tombstones.
Great, Great Grandmother & Grandfather. Their foot markers are below.
My Great Grandmother & Grandfather's resting place.
This is the almost forgotten stone marker of W. Frank & Mollie McNeil's small children who passed away: Susan Geneva McNeil & Ralph Herman McNeil.
These three tombstones are some of the prettiest I've seen in a long time. They belong to two great, great aunts and my great, great uncle, Steve Wayland.
Great, Great Aunt Emma Elizebeth Wayland
Great, Great, Great Aunt Aseneth M. Wayland
Great, Great, Great Uncle Stephen J. Wayland. He is the brother to Thompson Henderson Wayland buried in the Norfork Cemetery.
These are the tombstones of Uncle William W. King & Aunt Mattie E. Girkin King. Aunt Mat was grandma Mollie McNeil's sister. The Kings lived on Trimble Flat in the late 1800's -1900's.
Later on we decided to travel on to Bull Shoals and visit Newton Flat Cemetery and then headed on to the Flippin Cemetery. While at Flippin Cemetery, I happened to find a long, lost aunt, Judy Francis "Fannie" Anderson Gibson. She was born in Gainesboro, Tennessee, and came to the Ozarks on a steamboat and landed on McBee's Landing.


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Undergraduate Degrees, Majors and Concentrations
MGMT4540 - Recruitment and Retention
Fall 2020
The primary emphasis of this course is to focus on the recruitment process including job analysis and design, realistic job preview, job selection, orientation, and managing retention of employees. Within the context of each of these human resource areas will be an assessment of legal requirements, legislative laws and regulations related to staffing. The use of experiential exercises, outside readings, internet tools, lectures/videos on non-textbook material, related to recruitment will be utilized as a basis for the class. While this course examines human resources recruitment and retention from a domestic and global perspective, we will limit our focus on certain parts of the world due to time constraints of the length of the class. Prequisites: MGMT3600 and 60 credits
3 Credits
3 Credits
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We are very happy to announce that east-tec Eraser, the latest version of our flagship security and privacy utility, is now available from the East-Tec Store. east-tec Eraser has now over 17 years of experience in protecting your sensitive data and privacy, and securely erasing all evidence of your Internet and PC activity!
This year we worked very hard on implementing as many customer-feedback based new features in east-tec Eraser as possible, as well as improving the intuitiveness of the program. Let me give you a short tour of what's new, hoping that you'll be satisfied with what east-tec Eraser has to offer you.Read More


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SUNNYVALE, Calif., -- November 20, 2002 -- Artisan Components, Inc., (Nasdaq: ARTI), a leading provider of semiconductor intellectual property (IP), today announced the immediate availability of simulation views for the industry's first suite of library products optimized for Taiwan Semiconductor Manufacturing Company's (TSMC's) Nexsys™ 90-nanometer (CLN90G) process technology. As part of Artisan's Free Library Program, licensed customers can download these products from Artisan's website at no charge.
Artisan's suite of library products, developed under terms of an on-going agreement between Artisan and TSMC, include Artisan's SAGE-X™ Standard Cell Library, memory generators for single- and dual-port SRAM, single- and two-port register files and diffusion programmable ROM. The products are fully compliant with TSMC's 90-nanometer design rules, characterized using TSMC's latest electrical models and include support for Artisan's extensive set of simulation views and physical design models of the industry's leading EDA tools.
"The delivery of these 90-nanometer library products is a result of our long-term relationship with Artisan and the commitment both companies have for providing quality SoC enabling technologies," said Dr. Genda Hu, vice president, TSMC Corporate Marketing. "Offering designers the ability to begin their design implementations today allows them to immediately exploit the advantages of TSMC's Nexsys 90-nanometer technology for SoC."
"This milestone leverages the years of cooperation between Artisan and TSMC in providing customers with early access to design solutions in advanced technologies like the Nexsys 90-nanometer process," said Mark Templeton, president and CEO of Artisan Components. "Extensive customer feedback from designs in 0.15- and 0.13-micron technologies has resulted in Artisan 90-nanometer products with a wide range of new features focused on design for manufacturability in deep sub-micron technologies."
New Product Features
Artisan's new memory generators include an enhanced version of Artisan's Flex-Repair™ redundancy technology, optional error correction circuits (ECC) to perform soft error repair and memory built-in-self-test (BIST) support. Developed in close cooperation with leading suppliers of design-for-test (DFT) solutions, Artisan's memory solutions are designed with an "open-standard" interface to allow easy interoperability with either proprietary or leading third-party embedded memory test solutions.
Artisan's SAGE-X Cell Library, a standard in the industry across technology nodes from 0.25-to 0.13-micron, offers customers a migration path to 90-nanometer technology. The CLN90G library has both standard and low leakage configurations, allowing users to optimize their design for speed and leakage power simultaneously. In addition, the SAGE-X Library provides a robust solution for signal integrity issues.
Product Availability
Simulation views for Artisan's memory generators and the standard configuration of SAGE-X Standard Cell Library are available immediately. Simulation views for the SAGE-X Standard Cell Library configured for low leakage are expected to be available at the end of Q4 2002. Complete views for all these products are expected to be available in the first quarter of 2003. Under Artisan's Foundry Library Program, these library products can be downloaded by licensed customers free-of-charge from Artisan's web site at http://www.artisan.com. TSMC library users should contact Artisan directly for more information via e-mail at firstname.lastname@example.com or via telephone at 877-ARTILIB (877-278-4542).
Safe Harbor Statement
This press release contains forward-looking statements, including, without limitation, statements regarding the impact of Artisan's library products on designers' ability to exploit the advantages of TSMC's Nexsys 90-nanometer technology, the migration of designs to 90 nanometer technology, the availability of Artisan library products for TSMC's 90-nanometer process and the success of TSMC customer designs. These statements are subject to various risks and uncertainties, including, but not limited to technical or other difficulties that delay or prevent the availability of the 90-nanometer library products; technical or other difficulties inherent in the design and manufacture of semiconductors; and market acceptance of our 90-nanometer library products. We refer you also to the documents that Artisan files from time-to-time with the Securities and Exchange Commission, in particular the section entitled "Factors Affecting Future Operating Results" in Artisan's annual report on Form 10-K and its quarterly reports on Forms 10-Q. Artisan assumes no obligation to update the forward-looking statements or other statements contained herein.
About Artisan Components
Artisan Components, Inc. is a leading semiconductor intellectual property (IP) provider. The company's design platforms are licensed to over 1000 companies worldwide. Artisan's design platforms provide IC designers with a common interface to a range of process technologies from the world's leading foundries. Built on Artisan's Process-Perfect™ memory generators, standard cell and I/O libraries, Artisan's design platforms include a comprehensive set of views and models supporting leading design tools and methodologies. Artisan's worldwide network of EDA, IP and design service partners extend the Artisan standard to a complete set of system level design and integration solutions. Artisan is headquartered in Sunnyvale, California. More information about Artisan Components, including free library access can be found at: http://www.artisan.com.


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Singer Robin Thicke took his adorable son Julian, 3, to the movies in Hollywood, CA on Sunday (July 14). Julian's mother is Robin's wife Actress Paula Patton.
Robin Thicke and son Julian
Posted by Alisa on Monday, July 15, 2013
Disclaimer: I do not own any of the images shown on the site. I do not claim credit for any of the pictures unless otherwise noted. Images on this blog are copyrighted to their respectful owner. If an image appears on alisacelebkids that belongs to you, and you wish for it to be taken down, please E-mail me and I will promptly remove it.


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In a recent webinar, Warranty in Practice – Can a company use warranty to help drive sales?, I talked about the cultural roots of "warranty," its underlying polices, the laws affecting it, and how in modern times it has evolved from a cost-center to a sales tool. The presentation also touched on ways to use warranty to help increase sales. Here are a few more thoughts on the topic. Continue reading
Tag Archives: simplicity
by Paul Wojcicki | April 28, 2015 · 10:25 am
Some thoughts on how to use warranty to drive sales
Filed under Best Practices, Customer Experience, Warranty
Tagged as advertising, Amazon, automobiles, automotive, car, clarity, communications, competition, consumer, contracts, customer, customer experience, customer satisfaction, customer service, drive sales, Facebook, Global Warranty And Service Contract Association, increased sales, J Crew, Kindle, Kindle Fire, M-ize, new car, plain language, profit, repeat business, sales, simplicity, social media, tweet, Twitter, understanding, W. Edwards Deming, warranty litigation, warranty maturity model, warranty program, word-of-mouth


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The U.S. Department of Agriculture will redouble its efforts to shore up small and mid-sized farms and ranches with a bevy of new and enhanced programs and money, Agriculture Secretary Tom Vilsack told reporters on March 10.
The agency's wide range of efforts will include improved access to existing USDA resources as well as additional support for hoop houses and expanded collection of market news information, Vilsack announced.
In addition, the government is also increasing the amount available in a microloan program from $35,000 to $50,000 and making changes to a farm storage facility loan program that fledgling producers rely on for cold storage, bins and barns, the secretary said.
"Obviously there were concerns following the publication of the Census of Agriculture about the eroding middle in farming," Vilsack said in a conference call with reporters. He noted that the census shows a "tremendous growth potential" for small and mid-sized farms.
The efforts come as the latest Census of Agriculture shows declines in the number of all farms except those with 1,000 acres of more. The number of farms earning less than $250,000 a year declined from 2007, while those earning more increased, according to a preliminary summary of the census released last month.
Vilsack made his comments to the media after outlining the efforts in a speech to a National Farmers Union convention in Santa Fe, N.M. His initiative was well received at the convention, NFU president Roger Johnson said.
"This focus on small and mid-sized farmers is in many ways a focus on our members," Johnson said. "Our members historically have largely been from this segment of farming and ranching operations."
The USDA's sweeping effort on behalf of small and mid-sized operations will include various measures to improve farmers' access to capital, additional risk management tools, more help in finding market opportunities and additional training for farmers to achieve best-practices certification so they can comply with the Food Safety Modernization Act, Vilsack said.
The recently approved farm bill also provides resources for small and mid-sized farms, including $100 million for a beginning farmer program, $63 million in value-added producer grants and $30 million to promote farmers markets and local food, the agency explained in a news release.
In addition, President Barack Obama's proposed budget would provide nearly $50 million in resources for small and mid-sized farmers and ranchers, including an additional $11 million for the value-added grants program, according to the agency.
U.S. Department of Agriculture: http://www.usda.gov/wps/portal/usda/usdahome


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"Everybody has problems. Nobody goes through life unscathed, and I think if you write about those things, you're going to touch people," says Stephen Sondheim in SIX BY SONDHEIM, an intimate and candid look at the life and art of the legendary composer-lyricist. Since his Broadway debut at age 27 as the lyricist for "West Side Story," Sondheim has redefined musical theatre over the course of a six-decade career through such groundbreaking works as "Company," "Sweeney Todd" and "Sunday in the Park with George."
Directed by Tony Award-winner and frequent Sondheim collaborator James Lapine, SIX BY SONDHEIM is a highly personal profile of a great American artist as revealed through the creation and performance of six of his iconic songs. Told primarily in Sondheim's own words, this feature documentary weaves together dozens of interviews with the composer, rarely seen archival material spanning more than half a century (including newly discovered footage of Ethel Merman performing "Gypsy") and re-stagings of three songs produced especially for the film. Executive produced by James Lapine and Frank Rich, the exclusive HBO presentation debuts MONDAY, DEC. 9 (9:00-10:30 p.m. ET/PT).
Other HBO playdates: Dec. 9 (5:25 a.m.), 12 (9:30 a.m., 6:30 p.m.), 15 (11:45 a.m.), 17 (12:30 a.m.), 20 (10:45 a.m.) and 28 (2:00 p.m.)
HBO2 playdates: Dec. 11 (8:00 p.m.), 23 (10:15 a.m.) and 26 (6:05 p.m.)
HBO Documentary Films presents a weekly series this fall, debuting provocative new specials every Monday through Dec. 9. Other upcoming films include: "Whoopi Goldberg Presents Moms Mabley" (Nov. 18); "Toxic Hot Seat" (Nov. 25); and "The Battle of amfAR" (Dec. 2).
The re-stagings in SIX BY SONDHEIM showcase performances by Broadway and Hollywood stars such as Audra McDonald ("Porgy and Bess"), Darren Criss ("Glee"), Jeremy Jordan ("Newsies") and America Ferrera ("Ugly Betty"), interspersed with archival performances of Sondheim standards by stars like Bernadette Peters, Mandy Patinkin, Dean Jones, Yvonne de Carlo and Larry Kert. Blending theatrical and rare interview footage with Sondheim's candid anecdotes, the film features the songs "Something's Coming," "Opening Doors," "Send in the Clowns," "I'm Still Here," "Being Alive" and "Sunday."
The documentary reveals how art and life have been intertwined for Sondheim since childhood, when his mother's friendship with the family of the legendary librettist and lyricist Oscar Hammerstein II would introduce the young Sondheim to a surrogate father and artistic mentor, ultimately starting him on the path to a career in the theater.
The six songs spotlighted:
"Something's Coming": Sondheim got his break writing lyrics for Broadway's "West Side Story," collaborating with composer Leonard Bernstein. As Sondheim explains, they created an opening number that would give Larry Kert, a young performer, the confidence to hold the stage in his first starring Broadway role. Though Sondheim treasured his collaboration with Bernstein, he regarded lyric writing as a stop on the way to his true goal of writing both music and lyrics.
"Opening Doors": Sondheim calls this song from "Merrily We Roll Along" - about three young writers trying to break into show business - his most directly autobiographical song. "I was trying to recapture what I was like when I was 25 and 30 years old," he says. Jeremy Jordan, Darren Criss, America Ferrera, Jackie Hoffman, Laura Osnes and Sondheim perform "Opening Doors" in a new segment directed by James Lapine.
"Send in the Clowns": Written for Glynis Johns' breathy voice, it became his biggest hit song, taking off two years following the opening of "A Little Night Music," after both Judy Collins and Frank Sinatra covered it. Audra McDonald and Will Swenson perform "Send in the Clowns" in a new segment directed by Autumn de Wilde.
"I'm Still Here": Sondheim wrote this tour de force for movie star Yvonne de Carlo during the pre-Broadway Boston tryout of "Follies" as a last-minute replacement for the song "Can That Boy Foxtrot!" As he explains, the lyrics were inspired by the life of resilient Hollywood legend Joan Crawford. Jarvis Cocker of the rock band Pulp performs "I'm Still Here" in a new segment directed by Todd Haynes.
"Being Alive": While writing "Company," a show about "the difficulties and joys of marriage," Sondheim, a self-described loner "out of habit" since childhood, asked his married friends for comments about their relationships. Dean Jones, the star of the original Broadway production, performs "Being Alive" in an excerpt from the classic documentary "Company: Original Cast Album," directed by D.A. Pennebaker.
"Sunday": The song closest to Sondheim's heart comes from "Sunday in the Park with George," inspired by Georges Seurat's painting "A Sunday Afternoon on the Island of La Grande Jatte." He says that for him part of the profound quality of the Seurat work stems from the fact that the figures depicted don't know they've been immortalized. Sondheim gave his song an "almost funereal" beat that becomes a triumphant march and builds to the word "forever."
Stephen Sondheim has written music and lyrics for more than 20 shows. He won a Pulitzer Prize in Drama for "Sunday in the Park with George" in 1985, and has received multiple Tony Awards, including a special Tony Award for Lifetime Achievement in Theatre in 2008. In 1990, he won an Oscar(R) for Best Music, Original Song for "Sooner or Later (I Always Get My Man)," from "Dick Tracy."
Director James Lapine has collaborated with Stephen Sondheim on several acclaimed shows, writing the book for and directing "Sunday in the Park with George," "Into the Woods," "Passion" and "Sondheim on Sondheim." He has received three Tony Awards, five Drama Desk Awards and the Pulitzer Prize. Lapine executive produces SIX BY SONDHEIM along with New York magazine's Frank Rich, a former chief theatre critic for the New York Times and currently an executive producer of the Emmy(R)-winning HBO comedy series "Veep."
For more information, visit: Facebook: facebook.com/hbodocs; Twitter: @HBODocs #SixBySondheim.
SIX BY SONDHEIM is directed by James Lapine; executive producers, James Lapine and Frank Rich; produced by Liz Stanton; edited by Miky Wolf. For HBO: senior producer, Nancy Abraham; executive producer, Sheila Nevins.


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New concept posters for "Let Me In", Matt Reeves remake of the Swedish vampire film "Let The Right One In". Not a whole lot to latch on to at this point considering they haven't even cast the roles yet, but they're semi-interesting if you're invested in how this will turn out.
"Gatekeeper" is a "zomcom" (their words) starring Lea Thompson, Judge Reinhold and Ron Perlman. It has a great cast, but their selling point is sure to make you cringe, "Shaun of the Dead" for American audiences... because you know, us stupid Americans can't watch a movie with British accents (?)
Platinum Dunes will be revealing something big for "A Nightmare on Elm St." at comic-con this year. In his blog, producer Brad Fuller also calls you an "idiot" if you don't think anyone else can play Freddy Krueger. Make your own judgements about his limited vocabulary.
The first images from Thomas Jane's directorial debut "Dark Country" have surfaced. The film is about a couple who decides to get married in Vegas, but along the way they run into an accident victim who quickly turns their vacation into a nightmare.
Stephen King's "The Cell", which we last heard was NOT being made by Eli Roth, is being adapted into a 4 hour mini-series.


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Minimally Invasive Surgery
The Division of Minimally Invasive Surgery is a multi-specialty group of dedicated surgeons who use state-of-the-art technology and techniques to perform minimally invasive or keyhole surgery.
Offering reduced pain and decreased hospital stays
We use advanced surgical techniques and the newest generation in minimally invasive technology to achieve excellence and safety.
Our techniques can be applied to a broad range of surgical procedures.
Major advantages to minimally invasive surgery include reduced post-operative pain, decreased hospital length of stay, and earlier return to pre-operative function.
These techniques have allowed us to perform new, complex, and conventional procedures without the major risks associated with a large open incision.
Our goal is to provide surgical excellence and care to all our patients.
Contact us
Minimally Invasive Surgery
500 University Drive
P.O. Box 850, H070
Hershey, PA 17033
Phone: 717-531-8887