text:
The Metaphysicals

The first issue to consider is how we begin to distinguish between the terms and conditions of poetic form within the dramatic text and within the isolated structure of the poem. Here we will encounter a phenomenon that is vitally important in our discriminations between text, context and meaning: 'deixis' and 'deictics'. Deixis, the Greek word for 'pointing' refers to the orientational features of a particular statement. The principal deictic features of a sentence will refer to the conditions of the speaker (first or third person pronoun) and will involve the use of locatives, the time, place and circumstances of the utterance (the use of second person pronouns, the indication of objects and concepts and their spatio-temporal relation to the speaker). In non-dramatic poetry deictics/deixis is particularly important because we will rarely encounter the actual circumstances, fictional or real, that brought the poem into existence, so we will need to construct these circumstances from the deictic evidence within the poem itself. Clearly in dramatic texts our need to use deictics is limited by the fact that we know who the speaker is, who the speaker is addressing and in what circumstances this exchange takes place. Even with the soliloquy, the closest dramatic counterpart to the non-dramatic lyric, we have a good deal of background information. So with the non-dramatic lyric we will construct an absent addressee from the addresser's discourse, and, more significantly, we will be obliged to resolve the distinction between the formal and stylistic allegiances of the text —it will have a great deal in common with other poems that deploy rhyme, metre and metaphoric strategies—and its more specific reference to particular circumstances and conditions.

We will start with The Flea', a lyric by John Donne, published in 1633, but written within a decade of Shakespeare's play.

The Flea

Mark but this flea, and mark in this, How little that which thou deny'st me is; Me it sucked first, and now sucks thee, And in this flea, our two bloods mingled be; Confess it, this cannot be said A sin, or shame, or loss of maidenhead, Yet this enjoys before it woo,

And pampered swells with one blood made of two, And this, alas, is more than we would do.

Oh stay, three lives in one flea spare, Where we almost, nay more than married are. This flea is you and I, and this Our marriage bed, and marriage temple is; Though parents grudge, and you, we are met, And cloistered in these living walls of jet. Though use make you apt to kill me, Let not to this, self murder added be, And sacrilege, three sins in killing three.

Cruel and sudden, hast thou since

Purpled thy nail, in blood and innocence?

In what could this flea guilty be,

Except in that drop which it sucked from thee?

Yet thou triumph'st, and say'st that thou

Find'st not thyself, nor me the weaker now;

'Tis true, then learn how false, fears be;

Just so much honour, when thou yield'st to me,

Will waste, as this flea's death took life from thee.

The most prominent and distinctive deictic features of this lyric are its interpersonal references—the density and almost obsessive emphasis upon personal pronouns, I, thee, you, we, and its use of very specific locative phrases, this flea, it sucked, now sucks. The locative phrases are temporal as well as spatial determinants in that they consistently relocate the immediate past and future in the present; everything done both by the flea and the addressee takes place within seconds of the speaking voice's response to them. By identifying the main deictic features of the poem we provide ourselves with a framework to chart the metaphoric strategies of the speaking presence. The two people—male addresser and female addressee—and the flea function as the three principal components of the vehicle. Stanza 1 maintains an allegiance to the metonymic rather than the metaphoric pole. The key phrase is 'our two bloods mingled be'. This statement of verifiable fact allows the speaker to propose a daring but somehow logical connection between one form of physical union, the flea bite, and another, the sexual act. In stanza 2 metaphor replaces metonymy with the flea proposed as at once a token and symbol of their relationship, 'marriage bed and marriage temple', 'living walls of jet', and, more disturbingly, as a kind of contractual joining of their fate, 'three sins in killing three'. In stanza 3, after the woman has succeeded in swatting his vehicle, the male voice has to reinterpret his own metaphoric propositions and return to a more metonymic pattern—the flea bite and the death of the flea are both physical acts which neither harm nor dishonour their perpetrators and nor, he argues, would the proposed sexual act.

Donne deliberately and self-consciously foregrounds the apparently spontaneous and improvisational nature of the utterance and in doing so he creates a paradox. The reader constructs the situation of the utterance by locating the temporal-spatial relation between the deictic features, and we should note that the speaker's imagined existence is given greater psychological plausibility by his almost desperate deployment of extravagant metaphor in the second stanza, the point at which the vehicle for his pseudo-logic is most seriously threatened. The paradox exists in the fact that it is entirely implausible to imagine that the deployment of such a complex structure of rhyme and metre is spontaneous. In The Literary Work of Art (1973), Roman Ingarden distinguishes between aesthetic objects which are iconic and non-linguistic, in the sense that their form incorporates elements of pre-representational experience (painting and sculpture, for instance), and the linguistic text which is a 'purely intentional object'.

In comparison with the ontically autonomous object, the intentional object is an 'illusion' that draws its illusionary existence and essence from the projecting intention...of the intentional act. The purely intentional object is not a 'substance'.. .Some of the elements assigned to it fool us with the outward appearance of a 'carrier'; they seem to play a role which according to their essence they are truly not capable of playing (122-3).

What Ingarden means by 'fooling us' is that in order to naturalise a poem we must suspend our awareness that there is likely to be an incongrous relation between the 'carrier' and the 'intentional act'. Human beings do of course attempt to seduce other human beings and are often given to reflect verbally upon their existential condition, but they do not, in normal circumstances, do so in rhyme and metre. When we naturalise poems we strip the intentional object of its textual 'essence' and demystify, or in basic terms explain, the intentional act. Donne seems to be fully aware of this paradoxical relation between the 'carrier' and the 'intentional act' because he contrives to deliberately subvert the process of demystification and naturalisation.

In our readings and our naturalisations of all poems there is an uneasy relationship between our interpretation of the 'carrier' and our creation of an 'intentional act'. To return to Jakobson's diagrams, we depend entirely upon the textual features of the message—deictics, metre, syntax, etc.—for our perception of context and contact. The former are properties of language whereas the latter are elements of an imagined non-linguistic situation. We can usually reconcile this somewhat paradoxical relation between the textual and the real by reminding ourselves that poetry demands that, in Coleridge's words, we suspend disbelief. But with Donne's poem every significant textual feature seems designed to remind us that text and world are irreconcilable.

In the second stanza we encounter an instance of grammatical deviation,

Though parents grudge, and you, we are met, And cloistered in these living walls of jet.

The second person pronoun and its conective, 'and you', are shifted outside the more conventional grouping of second and third person forms antecedent to the verb, 'though you and your parents grudge'. We might explain this as a mimetic effect, a paratactic slippage betraying the sense of pressure felt by the speaking presence as he attempts to rescue his linguistic strategies from the woman's act of rejection. In doing so we would have drawn upon the contact-code functions to explain one element of the message, but we would then have to remind ourselves that it is only through our explication of features within the message that we are able to construct the contact-code functions. To complicate matters even further the deviation occurs only within the syntactic (real) rather than in the metrical (textual) element of the double pattern; 'and you' fits easily into the iambic/ octosyllabic structure of the line (we can assume that 'we are' is, in contemporary fashion, elided as a single unstressed syllable). This tension between elements of the poem anchored to the contextual situation of the utterance and elements that function as constituents of the text is continuous and unremitting. We should, for example, consider the rhyme scheme.

The semantic-phonemic-syntactic syntheses are quite dazzling. On two occasions the locative term 'this' rhymes with the emphatic 'is', and there is an habitual almost urgent configuration of the speaker's projected ideal, 'be', and the pronouns that allow the reader to construct the situation of his utterance: 'sucks thee', 'mingled be'; 'kill me, added be', 'killing three'; 'fears be', 'to me', life from thee'. The pattern is complicated by the use of 'flea' as an internal counterpoint to 'be', 'thee' and 'me'. We might argue that the speaker's ingenious interpolation of the materiality of language, its phonic signifiers, with their semantic-syntactic functions is part of his rhetorical strategy—an attempt to persuade the woman, perhaps subliminally, that there is a natural correspondence between 'flea', 'thee', 'me' and 'be'. This argument would depend upon an interpretive conflation of textual and contextual features, and again its validity is by no means secure. When reading the poem we are continuously aware that its structure and the development of its argument is responsive to contextual circumstances and events: between stanzas 1 and 2 the woman attempts to swat the flea, between 2 and 3 she succeeds. But we are also aware that this foregrounding of the context-contact functions is matched by an equally prominent foregrounding of self-evidently textual features. The fact that each stanza consists of a very complex system of three couplets of eight and ten syllables terminated by a triplet of two octosyllabic lines and one pentameter disrupts our attempts to naturalise the rhyme scheme. On the one hand we are invited to admire the complexity and precision of the design; on the other we have again to confront the paradoxical relation between self-evident preplanning and our use of its effects to construct a speech act based upon and determined entirely by unpredictable non-linguistic circumstances. We might argue that the mixture of regular and irregular patterns—octosyllabic and decasyllabic lines in the same couplet—is a concession to the contextual element of improvisation and spontaneity, but at the same time we would have to acknowledge that such a concession is made through the foregrounding of the double pattern, and the double pattern is anything but improvised or spontaneous.

To summarise, we, as readers, are caught between two separate and often conflicting models of the communicative circuit. We have to situate ourselves, at least partly, in the position of the addressee, whose silent non-linguistic responses determine the structure of the message, but we also maintain a commanding position outside this dramatic communicative circuit and find ourselves faced with a conflict between the internal structure of the text and the inferred but very real circumstances that created the text. As I have stated, no poem is entirely immune from some potential for conflict between its concentration of linguistic features and its ability to construct its contextual circumstances, but it would be difficult to find another text which so selfconsciously and continuously foregrounds this conflict. In creating such effects Donne becomes the poetic counterpart to the Duke. The Duke could shift easily between the linguistic and circumstantial conditions of the poetic and non-poetic language; Donne asks us to consider this uneasy relationship as purposive elements of the same speech act. The consequent tension between the speaking presence within the text and our image of the controlling hand, the creator of the text, is a consistent feature of metaphysical poetry. Moreover, it operates as an element that can disrupt the protocols of linguistics and literary analysis.

Emile Benveniste (1971, 206-7) distinguished between two fundamental elements of linguistic representation, histoire and discours. Histoire, like history, involves an emphasis upon the story, the events, while any evidence of who the narrator is and of what his/ her opinion of these events might be slips into the background. But with discours we are as much aware of the means by which the story is told and the circumstances in which the telling occurs as we are of the events narrated. The most obvious point of distinction between these two concepts is the use of third and first person narratives in prose fiction, but with poetry, particularly regular poetry, the distinction becomes virtually useless as a framework for naturalisation. With 'The Flea' we might safely assume that the text functions as an example of discours, but whose discours is it? In one sense we need to construct the presence of the addresser who weaves complex metaphoric patterns out of events and circumstances, yet at the same time we are made aware that addresser and addressee are as much functions of the texts as are its metrical and syntactic design.

This problem of identifying a speaking presence upon which we might base interpretive strategies is considered by Jacques Derrida, arguably the most incisive commentator on the fallacies of modern linguistics:

What was it that Saussure in particular reminded us of? That language [which consists only of differences] is not a function of the speaking subject'. This implies that the subject (self-identical or even conscious of self-identity, self-conscious) is inscribed in the language, that he is a 'function' of the language. He becomes a speaking subject only by conforming his speech, to the system of linguistic prescriptions taken as the system of differences.

What Derrida does not acknowledge is that in texts such as 'The Flea' there are effectively two speaking subjects: one is indeed a function of the language, but the other, a.k.a. John Donne, has manipulated the ability of language to designate its own contextual circumstances and has deliberately and self-consciously 'inscribed' his poetic persona in the language of the text.

The sense of uncertainty as to who exactly is in command of the text, poet or persona, underpins the most widely discussed exchange on the value of metaphysical technique. Samuel Johnson (1779, 40-3) dismissed metaphysical technique as 'heterogeneous ideas yoked by violence together'. In short their metaphors, or more commonly their conceits, drew too readily upon the paradigmatic axis, and consequently shifted the message, the poetic function, too far from the terms and conditions of linguistic exchange in the real world. T.S.Eliot (1921, 2024) praised this same method: 'A thought to Donne was an experience. It modified his sensibility'. Thought and experience, whose relation parallels the unification of language and its referent, are, according to Eliot, the constituents of the poetic function, and their bringing by violence together is what should distinguish poetic from non-poetic discourse. The disagreement between Johnson and Eliot can be explained in terms of the historical/cultural circumstances of their judgements— eighteenth-century rationalist versus twentieth-century expressionist views. As we shall see in the next chapter, eighteenth-century poets and critics regarded poetry as the aesthetic counterpart to the practical and utilitarian functions of non-literary discourse. Histoire and discours, events and perceptual response should be balanced, and their differences acknowledged, within the structure of the text. For Johnson, Donne and his contemporaries moved too far toward the extravagant employment of discours: 'wit, abstracted from its effects on the hearer...a combination of dissimilar images, or discovery of occult resemblances in things apparently unlike' (1779, 40-3). In short the text had created its own world, in which linguistic effects and the situation of the addresser and addressee had become detached from the situation of 'the hearer' or more accurately the reader. But for Eliot this same effect registered as the copresence, rather than the separation, of addresser and poet: '[The ordinary man] falls in love, or reads Spinoza, and these two experiences have nothing to do with each other, or with the noise of the typewriter or the smell of cooking; in the mind of the poet these experiences are always forming new wholes'. In Eliot's opinion the linguistic text should effectively contain and transform the contextual and referential functions of non-poetic language and experience. To summarise the Johnson-Eliot disagreement: the former favoured a balanced relation between the syntagm-paradigm configurations of poetry and non-poetic discourse while the latter held that the imaginative and unexpected use of the paradigm should create a world within the text. The validity of either of these judgements still remains open to question, but for the moment we should note that the metaphysicals, Donne in particular, represented the test case for two very distinct perceptions of how the functions of addresser, addressee, message, contact and context operate in relation to one another.

The Flea' corresponds with one of the primary characteristics of the metaphysical tradition in that in most cases the speaking presence will establish a fictive situation of immediacy. The metaphysical conceit, the metaphoric technique that maintains a single vehicle throughout the metaphoric excursions of the poem, is often founded upon what might be termed the deictics of verification. The selective axis that constitutes poetic metaphor will usually be linked directly to a person or a non-human object or concept that inhabits the situation in which the utterance occurs. For instance in Donne's 'The Sunne Rising' the speaker does not directly address his female companion; the notion of the addressee is split between the reader, the introspective reflections of the speaker himself and the fictive companion who functions both as a deictic element and the recipient of the speech act. The deictic configurations of the poem make it clear that the thoughts and ideas mediated occur in response to a particular morning on which the sun rises and the speaker's presence in a particular bedroom following a particular night of sexual activity. Again we confront a conflict between the notion of speaker/ poet who employs the fictive situation of the utterance as a function of its linguistic effect and the speaker within the text who is balancing the temporal immediacy of experience against his own mental condition. As Eliot said, a thought to Donne was an experience! But how do we judge the extent to which thought (the use of the paradigmatic axis) constrains experience (the syntagmatic, combinative axis) or vice versa?

At the other end of the metaphysical spectrum we will encounter the religious poems of Vaughan, Herbert and the holy sonnets of Donne himself. Here the range of metaphoric associations will, by virtue of the context of man speaking to or about God, be both reflective and speculative but the poem will still be anchored to a particular situation in which the speaker finds that he needs to address God directly, and it is usually the case that abstract concepts such as the nature of eternity or redemption will be drawn back into a chain of more concrete associations—the archetype for this pattern of linkages is Herbert's The Temple in which the objects that inhibit his daily life become correlatives for his perceived relationship with God. Like their 'amatory' counterparts, in which addresser and addressee are usually man and woman, the religious poems create an uncertain relationship between the communicative circuit occupied by poet and reader and that which governs the addresser-addressee function of the text itself. The following is Donne's most famous 'Holy Sonnet':

0 0

Post a comment


Content-Type: application/http; msgtype=response

WARC-Identified-Payload-Type: text/html

WARC-Type: response

text:
logo studio international
Published 09/09/2010 email E-MAIL print PRINT

Click on the pictures below to enlarge

Understanding the Expansion of Universe: An interview with Ernesto Neto

Internationally acclaimed for creating immersive installations with his ambient sculptures, the Brazilian artist Ernesto Neto completely transformed the upper floor of the Hayward Gallery in London

However, converting the entire gallery into a sensorial universe was not enough for Neto. Furthermore, the artist transformed the Southbank Cultural Centre socially into one of London’s main attractions this summer. Neto brought the social interaction found in the atmosphere of a Rio de Janeiro beach to the exhibition, asking people to take off their shoes and experience the habitat that he had created. From June to September more than 60,000 visitors were invited, as the artist explained, to play, lay down, swim and breath in his exhibition The Edges of the World.

According to Neto, The Edges of the World corresponds to a non-geographical space, a conceptual territory that embraces the consciousness of the human condition, an extension of our bodies, the relationship with the other and with the environment. He presented the exhibition as a living organism in which even its heartbeat could be heard.  The artwork Circleprototemple, a bright red, cosy dome equipped with a circular lounge, containing a bass drum that anyone could play, provoked the repercussion of the sounds of pounding in the gallery.  The audience could also climb the Horizon of Events 3, a set of stairs which lead to an overall view of the caves and jungle-like fabric structure, these in turn created a tunnel to the “H2O-SFLV”, a swimming pool sculpture on the terrace. In the centre of this complex urbanism that shapes the busy city of London, the artist gave the public an oasis in which they were enticed to slow down the manic rhythm of their daily routines and freely dive into calm waters.

Born in Rio de Janeiro in 1964, where he still lives, Ernesto Neto gave up the idea of being an astronomer in the mid 1980s and enrolled himself in the Visual Arts School “Parque Lage” in Rio. Following the historical roots of Brazilian contemporary art, he has produced artworks that join sensorial awareness with conceptual propositions. His work can be seen today in solo exhibitions and the collections of major museums such as the Museum of Modern Art in New York, the Centre Pompidou in Paris and the Museo Nacional Centro de Arte Reina Sofía in Madrid. He has also participated in important international shows, for example the 49th and 50th Venice Biennial, the 8th Havana Biennial and two editions of the São Paulo Biennial.

Caroline Menezes: You do more solo exhibitions outside of Brazil and your work is well received internationally. Do you think this is because your work carries a series of sensory stimuli, which would be a kind of universal language? Do you believe that there is something that can be called universal amongst everyone or that culture shapes what we are?

Ernesto Neto: It’s delusional to think that there is not something universal. We are also culture, but everyone has to go to the bathroom, everybody has to eat. For example, during a very important discussion you feel like taking a pee, but you cannot leave the meeting, so you are holding on desperately until you resolve the issue. You leave the meeting and have a moment of introspection. You feel the wonderful pleasure of relief alone. Then you return to the discussion with some new ideas. This is because you had a moment of introspection due to physiological reasons that ends up creating a small cultural revolution. Culturally, you became more developed, because your body had a moment of meditation with itself and also with the infinite. Therefore I think that the cultural relationship is linked to the universal space of our body. Now, of course, and for this exhibition, I thought a lot about this, that urbanism shapes people. Living in an urban structure such as London, Paris or São Paulo will significantly alter your modus operandi, your being, your manner. And this is a cultural happening, but also a physical happening. This urbanism that is all around you, however much culture it is and represents, turns into a habitat. Culture becomes our nature in some way. There's no means of wishing to separate culture from our body. I am interested in what we all have in common. For instance, I obviously bring some background baggage with me, freedom and a cultural seasoning that somehow also seduces, mainly the Westerners who are more tied up in the cultural structure. Regarding Europe, if I analyse it from a homoeopathic point of view that takes into account only the basic elements, I can say that my intention here is that my artworks should be perceived as places dedicated to nature. Thus, with them I attempt to make room for nature, which builds our surroundings. As for Brazil, with the same artworks, I seek to expand the scope of culture, which is something that needs to be valued in the Brazilian context.

CM: Do you think that with the same artwork it is possible to create a repercussion with these two issues?

EN: My artwork, in a material sense, features a representation of nature, of the natural space. But it is absolutely cultural, being entirely built with mathematical and topological characteristics, linked to weight and gravity; rational issues that involve a number of calculations.

CM: Since we're talking about materiality, you frequently use a transparent fabric, nylon, almost as a signature. Has this fabric fascinated you since the beginning of your art practice or did you choose it as a practical solution because it enabled you to do what you wanted in space?

EN: When I started using this material I wanted to express the weight of a ball and the way to achieve this would be to have a surface that would become deformed with the actual weight of the ball. When I created the first sculpture in fabric, a triangle stretched with a kind of wire, this tension, this minimum surface area, this space tensor, was the focus point. And from then on I was working in many different ways without really knowing where I was going. I wanted to put things together and I wanted them to become a sculptural moment, the idea of a moment has always fascinated me. This is happening here and now and from the moment that you disassemble the work of art it stops happening. There was a sculpture called the Barra-bola (bar-ball) that was a rubber ball and an iron bar crushing the rubber ball against the wall. There you have art, but at that moment when you separate the two, art is no more. So this notion of art occurring and “unoccurring” was what attracted me – an unexpected space that contains a drama within itself.

CM: Your work is always so “organically” connected to the exhibition space. What is the process of assembling your work like and what is essential to project these environments that you have created?

EN: All my works are created on the floor plan. Many times I even forget to look at the photograph of the space. To visit the place is essential, to be able to seize the spirit, the temperature, the social relationships of the place, the relationship with the curator, of the people you meet. Therefore it is not only a relationship with architecture, as if it were something cold. It is a relationship with the architecture without a doubt, but also a relationship with the social structure of the place.

CM: What specific element of the architecture and social movement of the Hayward Gallery caught your attention? And what do you think that you bring to the exhibition space from your own cultural context?

EN: In the original architecture of the Hayward Gallery, the way people move about is very tightly controlled. This was exciting for me as I could only operate within this circuit. Having previously visited the gallery in the summer was very important to someone like me who lives in Rio de Janeiro because there you have the matter of the beach, which is an essential part of my life as it is for all Cariocas1. I believe that being a Carioca involves a very unique relationship of social interactivity. It means trying to solve problems with swing and rhythm, as if dancing. It signifies not getting into a headlock with the problem but rather trying to bend, accommodate it. The problem comes and you embrace it. One time in Oslo, someone said to me: “I understand your work socially, but I do not understand it politically.” I replied that he was saying this because he did not know what samba was. In samba, the musicians build a space of utopia, where you speak of problems, but not protesting. It is not like European or American music. You dance rock and roll with your shoulder, arm and mouth while samba is danced with the hips, the gaze is on the horizon. You dance as if you were seducing the other, but it is with the look, subtly. Hence I believe this has a lot to do with Rio de Janeiro. The beach in Rio is a social place where a crowd comes together without there being a crisis. You see a lot of people on the lawns of the London Southbank in summer, but there is no sea, they are not almost naked, or wearing bikinis. In the park you keep your shoes on, but on the Rio’s sand this is impossible.

CM: Do you think then that this exhibition reflects a small part of the social characteristics of the beach, this open space shared by different individuals?

EN: What I like a lot about this exhibition is that it became a public place in the extreme. We are no longer tackling a space like that of the white cube. We were dealing with the white screen, then we toiled with the white cube, now we work with the institutional space. People need to go somewhere, they want culture, they want to relate. At the Tate, and at MoMA there are a frightening number of people. It is not just a question of the art that is inside. It is a question of the place that houses the art, which besides being a public place that holds the artistic expression also has a canteen and a shop as well, that has an entire programme that is very appealing. And of these people, one can even say that only 10 per cent will actually understand the artwork, which is already great.

CM: Maybe more than that, more than 10 per cent, right?

EN: It may be more than that. I’m being conservative in my position to justify it. For example, this exhibition has a desire to occupy the space as if it were a habitat. That is why it has room for sitting down, lying, swimming, and more than that, breathing. All the artwork there is realistic. It is a tensor space, a structure of balance that is reality, not illusion. I want to create a place of fantasy for the abstraction of the world in which we live. There has been a politicization of art at the beginning of this century, quite objective, which is extremely understandable. Now, I am not interested in giving people what they watch on all-day television. Reality is crazier than art. Wasn’t there a man in Austria who locked up his children? Do you know history to be as radical as this? And what are you going to look for? Samuel Beckett? I think we need everything. In my case, I create a space for people to breathe in. I think people deserve that. There is a deep desire for freedom and a profound incompetence at being free. Who is truly free in this world?

There is this beastly capitalism saying that you will only be free if you have money and everyone knows that this is not true. Those who have money are all tied up trying to protect their money. Of course, we will have to work, we will have to go after what we want, we will have to earn money, we will have to put up with the boss. It is good that other artists exist who will have to beat society in order to wake her. So when you see, for example, people being very aggressive with my work, you notice that there is a subversive side where some people feel attacked. In the exhibition there are signs “Be Gentle or Do Not Touch” because the public, on the first day, were extremely violent and broke things. The name of this exhibition was originally going to be “A Delicadeza do mundo” (The Delicacy of the world). Then they told me that “delicacy” in English has to do with food and that it would not work, but the subject is the delicacy, sweetness, sensuality as one thing touches another.

CM: Maybe some people cannot stand all this delicacy, this insight?

EN: Delicacy bothers. This is the issue, you have to act as if you have something the other person wants and you do not even know what it is. You imagine a person who works full-time at a company wondering how to deceive his work companion. Imagine the guy who works eight hours a day for the arms industry, thinking about how to kill better, cheaper, more easily and more cleanly. I try to create places that are not spaces of resistance, but rather, are areas of insight for people, places where people manage somehow to alienate themselves from the daily life and interact with another existential possibility, but that each person will have a different interpretation. I am not a saint; I do not think that it is going to save the world. My goal is to embrace people, take care of people, carry them as if I were carrying a baby. The space in which I work is pre-language space. It is an area for understanding the physical world, texture, weight, colour, temperature, joy, sadness. It is the space of affective relationships with the world.

1. Carioca – word of indigenous origin used to describe natives or inhabitants of Rio de Janeiro city since the beginning of the Portuguese colonization there in the 16th century.

studio international logo
Copyright © 1893–2019 Studio International Foundation.

The title Studio International is the property of the
Studio International Foundation and, together with
the content, are bound by copyright. All rights reserved.
studio international cover 1894
Home About Studio
Archive Yearbooks
Interviews Contributors
Video Cybernetic Serendipity
CyberArt Contact us
twitter facebook RSS feed instagram

Studio International is published by:
the Studio International Foundation, PO Box 1545,
New York, NY 10021-0043, USA

warcinfo:
isPartOf: CC-MAIN-2019-18
publisher: Common Crawl
description: Wide crawl of the web for April 2019
operator: Common Crawl Admin (info@commoncrawl.org)
hostname: ip-10-169-175-90.ec2.internal
software: Apache Nutch 1.15 (modified, https://github.com/commoncrawl/nutch/)
robots: checked via crawler-commons 1.1-SNAPSHOT (https://github.com/crawler-commons/crawler-commons)
format: WARC File Format 1.1
conformsTo: http://iipc.github.io/warc-specifications/specifications/warc-format/warc-1.1/


text:
Home Tattoos

Tattoo are the most loved and always in trend topic to talk. The world is getting more strange and amazing. People love to have tattoos which are the most stunning thing to draw on various body parts. If you are a tattoo freak person and want to get a tattoo on your body then this amazing market of stunstupefy.com will show the best picked stunningly amazing tattoos.

No posts to display

Recent Posts

rose tattoos on wrist

Rose Tattoos On Wrist: An Elegant Touch to Your Wrist

Rose Tattoos On Wrist - This is the mark which can explain what you are, known as a tattoo. Rose is the most beautiful flower...

Latest Posts

Most Popular


WARC-Identified-Payload-Type: application/xhtml+xml

text:
New 2019 Subaru Inventory For Sale near Chicago, IL

2019 Subaru Ascent
View 2 Qualifying Vehicles
2019 Subaru Ascent SUV

$339/Month Lease Offer Details and Disclaimers

Now through April 30, 2019 Lease a new 2019 Ascent for $339/Month on a 36-Month Lease (Standard 8-passenger model, code KCA-01). $2,999 due at lease signing. $0 security deposit. Offer only valid 4/2/2019 through 4/30/2019

Show Only

Sorry, no items matching your request were found.

Reset Search

New 2019 Subaru Outback, Crosstrek, Forester, Legacy & Impreza in Tinley Park, IL near Chicago, Orland Park, Homer Glen and Calumet City, IL

Check out our full line of new cars from International Subaru-Orland Park. We carry all of the most popular Subaru models including the Outback, Forester, Legacy, Crosstrek, BRZ and Impreza along with the new 2019 Subaru Ascent. With many different options and accessories, we are sure that we can provide the new Subaru near Chicago, IL that you have always dreamed of.

More about our New Subaru Cars & SUV Inventory in Tinley Park, IL

We have all of the style and trim options available for your new Subaru. Whether you are looking for a coupe, sedan, SUV, truck or hatchback International Subaru has what you are looking for. If a used car is what you are after make sure you check out our Chicago area used Subaru car page to see all of the available pre-owned vehicles in our inventory. Come visit us at our Tinley Park, IL, location. Click for Directions.

Buy a New Subaru today from International Subaru-Orland Park

International Subaru - Great New Buying Experience Across Chicagoland. Conveniently located at 8031 W 159th Street, Tinley Park, Illinois, offers large selection of New Subaru cars and SUVs.

* Although every reasonable effort has been made to ensure the accuracy of the information contained on this site, absolute accuracy cannot be guaranteed. This site, and all information and materials appearing on it, are presented to the user "as is" without warranty of any kind, either express or implied, including but not limited to the implied warranties of merchantability, fitness for a particular purpose, title or non-infringement. All vehicles are subject to prior sale. Price does not include applicable tax, title, and license. Not responsible for typographical errors.

; ;


text:
Sublime Comporta Country Retreat & SPASublime Comporta Country Retreat & SPA

Undulating umbrella pines and cork trees, sand dunes, vineyards, rice fields and over 60km of pristine, white-sand beaches – This is Comporta.

VeriSign Secured, McAfee Secure, W3C CSS compliant
GuestCentric - Hotel website & booking technology

This site uses cookies to improve your browsing experience and provide you the best service possible. Continuing browsing the site you consent to their use.

View more


text:
December 15th Class (Christmas)

December 15th Class (Christmas)

Join Jackie at the Foundry Art Centre on Sunday, December 15th from 1-3pm to learn the basics of decorating beautiful sugar cookies with royal icing.

Class is adult beginner level (no experience with royal icing or edible decorating required) with enough to keep more experienced decorators busy as well.

Each class will provide you with everything needed to create 6 edible masterpieces plus boxes to transport them safely home - all you need to do is get there!

Key details:

  • $40 per person.

  • Pre-registration required.

  • 18 and up please! (16+ considered based on skill set)

Specific class examples to be posted soon. Designs subject to change. No refunds given for cancellations.

Add To Cart


text:
San Antonio: 210.222.9400
Austin: 512-813-5031
Houston: 281.440.5153

Landscape Design and Installation Company for Sale

Sold Sold
Pictures are stock images and are not indicative of the actual business.

Purchase Price

*Annual Cash Flow $122,882

Annual Revenue $438,379

Sunbelt Listing ID: N1678-DQ

Landscape design and installation company is for sale, specializing in custom landscapes for both residential and commercial clients for over 30 years. Award winning services provided through out the Southeast Houston metropolitan area, include, waterfalls, decks and patios, quality lighting, drainage and sprinkler systems. Architecturally designed for individual style, landscape designs promote a more relaxing atmosphere while adding value to the property. Presented by Sunbelt Business Brokers – Houston; a member of the Sunbelt Network, the largest organization of business brokers and M&A professionals world wide. Call Daivd Quintanilla at 281.440.5153 for complete details.

State: Texas

Listing Agent: David Quintanilla

Real Estate: Included

City: Houston

Phone: 281-440-5153

Industry: Construction and Engineering, Retail and Personal Service, Miscellaneous,

* Cash flow is defined as net profit plus taxes, interest, depreciation, amortization, and owner's compensation. See earnings detail from Seller.


text:
Busy Spring for Girl Scouts

Girls from the Big Walnut area Girl Scout troops made 100 flower bouquets and handmade cards then delivered them to each resident at Country View nursing home. Thanks to Molly’s Flowers for supplying the flowers at a reduced cost.

Girls also participated in the Sunbury Memorial Day ceremonies by being involved in the flag ceremony and joining the parade to the cemetery to lay flowers on veterans’ graves.

Junior Troop 2596 coordinated a Mother’s Day Chocolate Fondue event for girls and their moms. Troop 1262 coordinated a Father’s Day Candy Bar Bouquet Workshop where participants created professional-style candy bar bouquets in a personally-decorated mugs for their dads and grandpas.

Big Walnut Service Unit leader Kim Murnieks served as a delegate at the national Girl Scouts convention in Salt Lake City, Utah.

Junior Troop 2596 coordinated a float in the Sunbury Independence Day Parade and older girls walked and rode bikes. Some troops walked with Big Walnut Friends Who Share to distribute flags along the parade route.

For more information about Big Walnut Girl Scouts, email bwgirlscouts@gmail.com or follow us on facebook, twitter and instagram at < https://www.facebook.com/groups/BigWalnutGirlScouts/, < https://twitter.com/BigWalnutGirls > and < https://instagram.com/bigwalnutgirls/ >.


text:
← Back

Human tests reveal that our mattresses are "ridiculously" comfortable

  • 26 May 2015
  • By Alphonse Reddy

Here is why we are India's "ridiculously" comfortable mattress.

We were shocked that none of the best rated mattress in the market are tested with real humans before releasing into the market. Given the importance of a sleep and the role a mattress plays, it was shocking. We wanted to change that. We wanted to make sure that the mattress is not only comfortable, but also suitable for Indian climatic conditions.

I have been sleeping on a different prototype mattress every 2 weeks for the last 6 months. Personally, I feel that my back has gone for a toss and feel that it may take some time before it recovers. After internal tests and experiments, we zeroed in on a total of four models (lets call them models A,B, C and D) that we wanted to test with real humans.

  • Model A: Memory foam and Pocket spring
  • Model B: Memory foam, Rubberised Coir and PU Foam
  • Model C: Latex foam and PU Foam
  • Model D: Latex foam

During summer, we coaxed our friends, family and a few friendly customers from Hyderabad and Bangalore to test the 4 different models. We had a total of 27 volunteers. Our younger ones (not counted in the 27) were a 6 month old baby and a 7 year old girl. Our oldest tester was a 65-70 year old lady with acute arthritis and age related back issues. Bulk of our customers were young couples, in the age group of 30-45 of all different shapes and sizes. Some of them had an active life style of working out, going out for a job etc., but most of them had a sedentary life style.

We made sure that all the four models look as identical as possible and the customers were never told what they were sleeping on.

So, we had four models to test and 27 testers and we had a goal to find that one good mattress that suits most people.

We started testing in the first week of March. By the end of March, we pretty much ruled out the two models (models A and B). Most customers felt that memory foam mattress hardened in air conditioned environments (colder climates) or was getting too hot during summers. The model with springs was either too soft or too hard. None of our customers felt really comfortable on a spring mattress. So, we decided to rule out those two models. It was a huge marketing risk as spring mattresses and memory foam mattresses are the two most heavily promoted mattresses in the market. However, we decided to trust real customer feedback than what the fancy marketing brochures tell us.

The feed back on the latex models (models C and D) started to look good. From a price point of view, model C and D were very different. So, we went for another round of testing by exchanging C and D. In total, all the volunteers tried models C (combination of Latex and PU Foam) and D (Full Latex Model) for at least a 2 week period. Here are the key highlights -

  • People on the heavier side preferred the full latex model (model D), especially so with the women
  • There was mild co-relation between mode of sleeping (side, back or tummy sleepers) and the mattress. Side sleepers were mildly uncomfortable with model C, which also happens to be a firmer variation.
  • There was a mild co-relation between gender and the model. Females preferred model D (full latex mattress) and Males were in-different
  • There was a strong co-relation between age and choice of the model. Younger people/couples prefered the full latex model (model D), where as older people tended to prefer the latex and PU foam combination (model C)
  • Model C was also preferred by people used to sleeping on the floor.

The results were tending towards being conclusive, although we wish we could test with more customers. There is no one perfect and best quality mattress that suits everyone. Over all, we had 20 extremely satisfied customers out of 27 testers. They felt that the mattresses were significantly better than what was available and one of them went to the extent of saying that our mattresses are "ridiculously" comfortable!

So, that's the story behind why we have two mattresses on offer and why they are "ridiculously" comfortable.

Disclaimer: A few humans including myself were subjected to mild to moderate pain during this testing.

Latest Posts

Sunday Phone
Sunday Chat


text:
Saint Mary's Church, Astbury, Cheshire, England in Springtime

Follow Sunlit Uplands by E-Mail

Tuesday, July 14, 2015

Prince Harry Announces that Orlando Will Host Next Invictus Games

Prince Harry, Patron of the Invictus Games Foundation, announces that the second Invictus Games have been awarded to Orlando. The 2016 Games will take place from 8 – 12 May at the ESPN Wide World of Sports Complex.

Following the success of the inaugural Invictus Games in London in 2014 Prince Harry always hoped that they would be just the beginning of the Invictus story...

Find out more about the Invictus Games here: http://www.invictusgamesfoundation.org/

No comments:


text:
Two new Sunnen catalogs describe tools/accessories for engine rebuilding and automotive honing
MARCH 2014 - Sunnen Products Company has just released two new tooling/accessory catalogs for engine honing and rebuilding. The honing catalog includes tooling, abrasives, gaging, fixturing, lubricants and accessories for honing of engine blocks and components, while the engine rebuilding edition includes non-honing tools/accessories such as seat cutters, grinding wheels, pilots, surfacing tools and thermal cleaning equipment.

The catalogs cover tooling and abrasives for Sunnen’s current machines, such as the SV-10 and popular new SV-20 honing systems, as well as out-of-production machines like the classic VGS-20 and SGM-1500 Valve Guide and Seat machines. The catalogs are free and can be ordered on the Sunnen catalog page ( or by calling Sunnen customer service at (800) 325.3670.

Sunnen has been a global leader in engine building equipment since 1924, and an improved version of one of the first Sunnen products - the 1928 portable cylinder hone – is still widely used for engine rebuilding and industrial applications.

Find A Sales Rep
Select your state to find a rep near you.
Ask The Expert
Select a category from the dropdown list and then click the "ask" button to continue.


text:
Accountants in Sutton in Ashfield : Sunny Accountants, Nottinghamshire

Download Your FREE eBook ‘54 Ways To Claim Tax Deductions For Expenses’

Click here

Save yourself around 8 hours a month with a FREE subscription to the world’s #1 online accounting software, worth £300 per year!

We either take care of everything or train you how to use it.

For more information click here.

Contact form

Why choose us?

  • We specialize in small and micro businesses
  • We are a Chartered firm with highly qualified advisers
  • We strive to be your business partner, not just a number cruncher
  • Fixed fees
  • Competitive pricing
  • Free lifetime subscription to QuickBooks Online (worth £300 per year)

Submit an enquiry

Our services

We know that every business is different, so that's why we will tailor our services based on your requirements.

About Us

Karl Watts established Sunny Accountancy Services in 2012 after becoming disillusioned with the impersonal, distant relationship he was forced to adopt with his clients whilst working for a large, national Chartered Accountancy firm.

Read more


text:
obituary header
Welcome to the memorial page for

Joan Simpson

November 1, 1936 ~ December 14, 2015 (age 79)
CHATTANOOGA  Funeral for Joan Kay Simpson will be at 2 p.m. Thursday, Dec. 17, 2015, at Centenary United Methodist Church with the Rev. Dr. Norma Quinn, senior pastor, officiating.

Burial will follow in Sunset Memorial Gardens under direction of Becker-Rabon Funeral Home.

Joan Kay Simpson of Chattanooga, passed away Monday, Dec. 14, 2015, in Lawton.

She was born Nov. 1, 1936, to J.D. "Jiggs" and Deva Pyron, of Dill City, Okla. Joan began her life as a country girl with many friends. At an early age, she developed a talent and a love for music. Joan graduated from high school at Dill City in 1954 and continued her education on a scholarship in music at Southwestern Oklahoma State University. She graduated with honors in 1957 with a degree in Music Education.

Joan married Garth "Jack" Berry, originally of Cordell, on May 24, 1957. They began their teaching careers in Geronimo, where Jack was a coach and Joan taught music. Later, the couple moved and taught at Oakwood. Joan and Jack had two sons: Brett and Blake. The family moved to Lawton, then later moved to El Reno, where Joan assisted in the family business. Later, the family returned to the Lawton area, where Joan assisted teachers at the Douglas Learning Center. After almost 32 years of marriage, Joan's husband, Jack, passed away on March 26, 1989.

After a period of grieving, she was reacquainted with an old friend that again brightened her life. Joan was pleased to marry Darrell Simpson of Frederick on July 16, 1992. This marriage expanded her family by a son, Danny, and a daughter, Tera. The couple lived in Frederick, where Darrell was a senior vice president of a bank. Later, the couple retired to the community of Chattanooga, where they were engaged in banking and agriculture.The couple had been married 23 years.

Joan loved music. She played the piano for many occasions including churches in Frederick, Lawton, and Chattanooga for over 50 years. Joan enjoyed the company of many family members who came to visit and then those they traveled to. Joan also enjoyed the many friends she accumulated through the years and continued to contact.

Joan was preceded in death by her parents: J.D. "Jiggs" and Deva Pyron; her husband, Garth "Jack" Berry; and brother-in-law, Dean Stallings.

She is survived by her husband, Darrell Simpson, of the home; four children: Brett Berry and wife Mary, of Bryan, Texas; Blake Berry and wife Sandra, of Cordell; Danny Simpson and wife RaeNell, of Montgomery, Texas; Tera Shuart and husband Scott, of Blackwell; a sister, Jeri Stallings, of Canyon, Texas; seven grandchildren: Chad Berry with his wife Lindsey, Jordan Berry, Hesston Berry, Haley Berry, Jordan Weekley with her husband Kyle, Jacob Shuart, and Abby Simpson with Liz; and three great-grandchildren.

 Service Information

Sunset Memorial Gardens
8900 NW Cache Rd
Lawton, OK

© 2019 Sunset Memorial Gardens. All Rights Reserved. | Privacy Policy | Terms of Service


text:
Gripwell Ratchet Tie Down - 3.6m, 454kg, 4 Pack, , scaau_hi-res

Gripwell Ratchet Tie Down - 3.6m, 454kg, 4 Pack

Item No. 213434
$69.99 Now $39.99
End Date 29/04/19
39.99 AUD

Special Offer

Add to cart options

Product Actions

Page does not contain any content.
Delivery Available

Yes, this item is available for delivery.

Metro: Arrives in 2 - 5 business days after dispatch.
Regional: Arrives in 3 - 10 business days after dispatch.

FREE 30 MIN Click & Collect:
Search for stores
SCA HERVEY BAY (PIALBA) (Your store) In Stock
 Show nearby stores  Show more stores  Show fewer stores  Hide store list Change my store

Please Note: Due to public holidays, deliveries may take additional time from estimates displayed above.

Time frames shown are subject to change, cut-off times are based off of AEST. See Full Shipping Terms

Additional Information


text:
Get Prices & Dates

Silversea - Receive up to $300 shipboard credit and more!

Receive up to $300 shipboard credit on select Caribbean voyages! Plus save 10% with Early Booking Bonus!

Yes, it’s warm. Yes, it’s a paradise. And yes, you can go there on a cruise. You already know that the Caribbean is
like that. That’s why you want something more. Something small, something curated, bespoke. Such are the
small things that make a big difference, and turn the Caribbean into YOUR Caribbean.

Booking Window: Now - June 30, 2019
Traveling Window: November 1 onwards

Fares from $3,200

Terms, conditions and restrictions apply; pricing, availability, and other details subject to change and/ or apply to US or Canadian residents. Please confirm details and booking information with your travel advisor.
Terms and Conditions: 10% Early Booking Bonus Offer valid on new, individual bookings made between May 1, 2019 and June 30, 2019 on voyages departing from November 1, 2019 onwards. Guests will receive 10% savings on the Silver Privilege fare for select voyages if full payment is received no later than June 30, 2019; full payment includes the cruise fare and any outstanding balances on the booking (air, hotels, transfers and land programs). Offer not valid for Full World Cruise. Bookings made before or after the promotional period will not qualify for the savings. Caribbean - Air Offer All Package Fares are available in US/Canadian dollars, per guest, based on double-occupancy in a Vista suite and include Free Roundtrip Economy Class flights. Fares are capacity controlled and subject to change at any time without notice. Promotional Free Economy Class is offered from select U.S. and Canadian gateways. Promotional air offer is only applicable to specified voyages. Silversea reserves the right to select the air carrier, routing and departure airport from each gateway city. Airline baggage fees are not included. This will be available for booking at an additional charge. Deviations to air travel dates are accepted at a charge of USD 150 / CAD 200 per request plus all additional air costs. In the event Economy Class air is not available (determined at Silversea’s sole discretion) or for guests not utilizing the promotional air offer or for non-US/Canadian guests, a non-use Air credit in the amount of USD 500 / CAD 750 per person may be applied. Offer applies to new bookings made between 1 April, 2019 through 31 May, 2019. Bookings made before or after the promotional period will not qualify for the savings. In case of succeeding voyages made by the same customer (combo or multiple bookings) the non-use credit can be only applied once. Other restrictions apply. Ships’ registry: Bahamas. Exclusive shipboard credit offer of up to $200 per suite applies to select Antarctica voyages booked by an Affluent Traveler advisor.

Contact our travel experts for more details

More about Silversea


text:
Tag Archives for " eco web hosting "

Eco Web Hosting – Is There Such A Thing

The idea that hosting one’s website can be eco-friendly is a pretty foreign one. I mean, don’t hosting companies operate huge energy guzzling server farms with significant cooling requirements? The answer is of course yes. Websites are indeed hosted on data servers that require a lot of energy to ensure 100% uptime and most importantly, […]

Continue reading


text:
Suzanne Guelli

I am an independent graphic designer in the Philadelphia area. I have been creating original designs that inspire and inform for over two decades.

A University of the Arts graduate, I worked for two respected Philadelphia firms for ten years before launching my own business. Projects include annual reports, branding and logo design, stationery packages, brochures, websites and invitations.

I manage projects from conception through production, working closely with clients, writers and photographers. This partnership is the driving force behind creating truly awesome results.

Let’s collaborate:


text:
Here is Amazon's 8.9-inch Kindle Fire HD

Amazon debuts 8.9-inch Kindle Fire HD | The Verge

After making an informal debut in a televised ad late last night, Amazon's larger Kindle Fire has finally been unveiled

Features 8.9-inch 1920x1200, 254ppi display, aminated touch sensor for better visuals and 25% less glare, OMAP 4470 processor from Texas Instruments, stereo speakers, HD front-facing camera, 16GB of local storage, improved Wi-Fi networking by adding a dual-band 2.4GHz/5GHz receiver, 4G LTE. All for $499. $299 without 4G LTE.

Some voices heard:

"Apparently brand new "best in class" exchange client - no details though - x-ray for movies seems cool, audio-text multi-media books are interesting - lots of nice sounding features so far."

" Looks like a really good tablet"

"waiting for the price and other specs like BT connectivity etc. - double wifi is nice but I don't think my wifi has even been an issue, wondering if this KF HD will finally become a Kindle that actually does m-commerce, the KF was more of amazon commerce and not really a m-commerce like iPad etc."

"Apparently both 7 and 9 are going to be running ICS fork - glad they jumped to ICS at least and maps from Nokia."

"$299 for 9" with 16GB - this is amazing price - good competition to iPad and N7 "

"$499 with 3G/4G"

"Amazon says that the Kindle is not a gadget, it's a service. I think that is a good way doing it."

What do you think?

No comments :

Post a Comment


text:
* Summer SALE * Kalamkari cotton saree with an attractive border and Swan pallu [Green] - cotton(23052C)

Sale price Rs. 1,000.00 Regular price Rs. 1,800.00

We currently have 2 in stock.

This cotton saree has a striking kalamkari block print pattern and a vibrant pallu, with beautifully contrasted blouse piece. Best designer creation from the artisans of rural South India.

  • Has a Combination of Screen prints and block prints
  • Vegetable natural Dyes are used for printing. Chemical free
  • This material is very comfortable and perfect for daily use
  • Instruction for care: Dry clean first time to set colors. Later handwash in mild detergent (Ezee)/Machine wash with Delicate setting
  • Dimensions: (L x B) 550 cms x 110 cms for saree and 90 cms for Blouse
  • Material: Cotton
  • Weight: 280 gms


text:
Wander through our holiday gardens, awe at our various Christmas trees, and enjoy festive treats  & warm drinks. Fun for the whole family! Entertainment includes photos with Santa, cookie decorating, holiday crafts, and special guests: singers from Silver Strand Elementary!

Enjoy complimentary tastings by:

Please RSVP here!

Event Details

  • Date: Tuesday, November 27, 2018
  • Time: 6-9 PM
  • Location: Loews Coronado Bay Resort
  • Address: 4000 Coronado Bay Rd., Coronado, CA 92118
  • Parking: Plenty of free parking!
  • Cost: FREE
  • Tickets: Click HERE!


text:
Clearview 8'-9'' x 4'-3'' Chatsworth

Clearview 8'-9" x 4'-3" Chatsworth

Select required accessories from the dropdowns.
Full accessory information lower down page
High Shelf:
Extra Roof Window:
Side Vents:
Victorian Openers:
4'3 Combination Shed:
6'6 Combination Shed:
Combi Shed Windows:
use code 15off at checkout
*orders £250+  *Excludes Swallow
Free Installation!

The 8x4 is 2 bays long (away from door). Photo's Show an 8x16 which is 8 bays long (away from door)

Payment Options.
1- Choose to pay the full balance with your order via our secure checkout.
2- Pay 20% deposit only to us with the balance payable to Clearview on installation. Choose the "Wooden Deposit" option when you get to the payment options page in the checkout process.  Nothing to pay at this moment.

*Delivered and installed in 4-6 weeks throughout the whole of mainland UK up to Stirling Scotland for free! Orders north of Stirling will attract a small surcharge (please contact us).

New 2019 addition to the excellent Clearview range.
Clearview Chatsworth 8x4 wooden greenhouses are handcrafted in the UK to an exceptional standard and then delivered and installed direct to your garden for an easy, no hassle experience that only leaves you with the choice of what to grow in your beautiful new greenhouse!

Only quality redwood pine timber is good enough for Clearview, this has smaller and fewer knots with a tighter grain for better stability. Treated in next generation Tanalith E which provides 15 years of protection with stainless steel fixings throughout to stop any corrosion.

With a contemporary glass to floor design, the
 Chatsworth is strongly made with braces on every eave and apex bars, silicone sealed long pane Toughened Glass as standard, large double doors with lockable aluminium door handle, aluminium window casement stays and 25mm thick damp proof barrier around the bottom. The 8x4 Chatsworth has one roof vent as standard.

Can be purchased in tanalised timber finish, or a very affordable quality paint finish in 7 attractive colours. See all options lower down page.

Our View
Glass to floor model in the fantastic Clearview range of quality greenhouses, modern look and top workmanship. Delivered and installed!

Roof Windows:  1 Standard
Toughened Glass:  Safety & Looks
Delivered & Installed:  Hassle Free
Quality Paint Finishes:  Enhanced looks
Large Double Doors:  Inward opening
Tanalised Redwood Pine:  High Grade
Aluminium Handle:  Lockable
10 Year Manufacturers Warranty:  Frame
25mm Damp Proof Barrier:  Keeps Wood Above Standing Water
Stainless Steel Fixings:  No Rust
Quality Glazing Finish:  Silicone Finish
Eave & Apex Bracing:  Extra Strength

A: 2663mm (8ft 9")

B: 1291mm (4ft 3")

C: 2460mm (8ft 1")

D: 1690mm (5ft 7")

E: 1910mm (6ft 3")

F: 1245mm (4ft 1")

 mm exact : inches approx

Clearview are a family run business in Rotherham Yorkshire who have a ethos of quality and customer service.
All products are hand crafted using top grade timber from forestry's managed to FSC and PEFC standards.

Our View
Offering premium quality greenhouses at an unbeatable price point the Clearview brand are going from strength to strength!

    Clearview greenhouses are delivered and installed at the same time by Clearview. A firm and level base area will need to be ready such as slabs, concrete, decking, sleepers or similar.

     Nobody delivers faster than South West Greenhouses!

    Our goal is that all orders are processed the same day as we take your completed order (or Clearview's next working day)
    We don't "sit" on them as some suppliers do, this means that you get your greenhouse in the quickest delivery time possible.

    Free delivery to the whole of mainland UK as far North as Stirling Scotland, contact us for pricing for delivery to north of Stirling stating greenhouse required and your postcode and we will try to get you the best possible price we can.

    Expected delivery time for Clearview greenhouses

    3-5 Weeks for all buildings

     Scroll down for options information

    Tanalised  Chelsea Green  Joe's Cream  Matt's Garden
    Tia's White O'Malley Grey Dek's Blue Duchess Choice

    Choose to have your greenhouse in natural finish Tanalised Redwood Pine or painted in one of 7 attractive colours
    Clearview do all their own painting using a laborious process and high quality paints that when finished leave a durable, lustrous colour.
    Using a patented knotting inhibitor and a first coat primer, then follows 2 top coats of microporous opaque paints which allow the timber to breathe and move naturally. This high-quality finish gives extra protection against UV degradation, weathering, mould and fungal attack.

    See a large photo of a Clearview real-life colour board here

    High Shelf
    Add a High Level Shelf to your greenhouse for extra storage.
    Perfect for all those pots and tools you can choose to add one shelf which runs the whole length of your greenhouse or choose two so you can have one each side.

    Can be painted to match your chosen frame colour.
    Extra Staging
    Add a full length of slatted staging to your greenhouse, strong design perfect for all your potting and work.
    Choose 1 side or add 2 for a full length down both sides.

    Can be painted to match your frame.
    Roof Window
    Extra windows can be added in your roof to aid ventilation.
    Drop down box will show the maximum that can be added to this greenhouse.
    Supplied as standard with manual casement stay.

    Automatic openers are available, these will open and close your window dependant on temperature. Choose one for every window you want automatic.

    Choose painted option with a painted frame.

    Side Vents
    Ventilation is important for every greenhouse to increase airflow and to control the inside temperature.

    Choose to add these low level opening side/rear windows. (we will confirm position of windows with you). Supplied as standard with a casement stay.
    Drop down box will show the maximum that can be added to this greenhouse.

    Choose painted option with a painted frame.
    Victorian Openers
    These quality heavy Victorian style openers will add an extra touch of class to your greenhouse, manually operated by turning the handle.

    Opener will replace standard casement stay.

    Can be fitted to roof vents and side vents
    Don't waste all that water that you can get off your greenhouse roof, add the quality PVC Gutter System to your order.
    The gutter is added to both sides of the greenhouse and runs along the full length with downpipes.

    Available in black or white.

    Combination Shed
    Add a combination shed on to the end of your greenhouse to enhance your growing experience. Store your tools, pots and equipment.

    Supplied with a fully fitted floor on a 25mm damp barrier,  2 narrow shelves and a fitted fixed window.

    Door is standard on the inside of the greenhouse, an extra door can be added to the rear if you want access straight from your garden.

    Extra fixed and opening windows are available.

    Available in two length's of 4ft or 6ft.

    Similar Greenhouses

       Wooden Greenhouses       Clearview Greenhouses       Clearview Chatsworth greenhouses

    Customer Reviews

    Be the first to Write a Review for this item!


text:
Call Basement Systems Quote Now!

Simply give us a call for the best Basement Systems price available!

Looking for a little more Basement Systems info, tips and tricks, and best practices? Click a tab above!

Check back regularly here for Basement Systems and home improvement tips and tricks to make sure you get the most out of your next Basement Systems!

We will help you to figure out the strategy

You will need to be kept informed regarding Basement Systems in Kistler, WV. We will be sure you understand what should be expected. You will not encounter any sort of unexpected situations whenever you work with Swift Basement Systems. The first step is to call us today at 800-630-5750 to set up your task. We will resolve your questions and concerns and schedule the first meeting. Our team can arrive at the scheduled time with the needed materials, and can work with you through the entire project.

When you want Basement Systems in Kistler, Wyoming, consider Swift Basement Systems

When you find yourself planning a project for Basement Systems in Kistler, WV, there are many great reasons to consider Swift Basement Systems. Our supplies are of the very best quality, our money saving strategies are helpful and effective, and our customer support ratings are unparalleled. We're there to serve you with the greatest practical knowledge and competence in the market. Contact 800-630-5750 to connect with Swift Basement Systems and review all of your needs concerning Basement Systems in Kistler.

Zip Codes Near Kistler, WV
25628, 41642, 25623, 25839, 25107, 24603, 25661, 25508, 25685, 25636, 25901, 25672, 25902, 25061, 24818, 41534, 25511, 25859, 41560, 24896, 41528, 25694, 25635, 41553, 24612, 25051, 24868, 24627, 25820, 24870, 25624, 25057, 41204, 25847, 41544, 25606, 24829, 41663, 25161, 25526, 24813, 25836, 25913, 25676, 24825, 24606, 25969, 25523, 25162, 24855, 25878, 25921, 25022, 25816, 25160, 25054, 25865, 25060, 24641, 25560, 24881


text:
Call Brick Repair Quote Now!

Simply give us a call for the best Brick Repair price available!

Looking for a little more Brick Repair info, tips and tricks, and best practices? Click a tab above!

Check back regularly here for Brick Repair and home improvement tips and tricks to make sure you get the most out of your next Brick Repair!

Understanding the strategy

With regards to Brick Repair in Bar Mills, ME, you've got to be informed to come up with the very best decisions. We will never inspire you to make unwise judgments, as we know what we'll be doing, and we make sure you understand what to be expecting from the process. We will take the unexpected surprises from the picture by supplying adequate and detailed advice. You can start by discussing your task with our customer service representatives when you dial 844-222-4922. We'll answer all of your important questions and set up the initial meeting. Our company is going to arrive at the arranged time with the appropriate equipment, and can work with you during the entire undertaking.

When you require Brick Repair in Bar Mills, Wyoming, go with Swift Brick Repair

If you find yourself setting up a job for Brick Repair in Bar Mills, ME, you'll find great reasons to call Swift Brick Repair. We've got the highest client satisfaction ratings, the highest quality resources, and the most useful and productive money saving practices. We appreciate your requirements and goals, and we are ready to assist you using our practical experience. Contact 844-222-4922 to connect with Swift Brick Repair and consider your goals concerning Brick Repair in Bar Mills.

Zip Codes Near Bar Mills, ME
4004, 04207, 04006, 04066, 04072, 04170, 04017, 04127, 04000, 04125, 04306, 04342, 04519, 04520, 04305, 04157, 04507, 04300, 04014, 04179, 04207, 04133, 04553, 04307, 04207, 04074, 04205, 04110, 04213, 04272, 04212, 04312, 04005, 04154, 04553, 04163, 04105, 04551, 04305, 04102, 04207, 04035, 04211, 04500, 04503, 04512, 04110, 04502, 04346, 04051, 04550, 04030, 04311, 04130, 04300, 04153, 04170, 04178, 04519, 04184, 04340


text:
“Democratizing AI for Individuals & Organizations” Featured Session at SXSW 2018 [Video]

“Just like a child, AI is growing up, and we need to learn how to be good parents.” – Joanne Chen

In Democratizing AI for Individuals & Organizations at SXSW 2018, Partner at Foundation Capital Joanne Chen moderates a thoughtful conversation with Director of Stanford’s Artificial Intelligence Lab and Chief Scientist of AI/ML at Google Cloud Dr. Fei-Fei Li and CEO of Shift7 and former VP at Google Megan Smith, centered around shepherding the next phase of development in AI technology by focusing on inclusionary practices.

“As an educator, I focus a lot on how we diversify tomorrow’s AI technologists, and that is a critical part democratization for me.” – Dr. Fei-Fei Li

The conversation focuses on the idea that if we as a community are able to break down barriers to entry for communities of potential creators of AI, the technologies that we create will be more inclusive. The speakers discuss education programs for underrepresented social groups and ways of debugging machine-learned biases from AI, as well as a myriad of other issues relating to realizing the full potential of AI in the future.

“AI is good at describing the world as it is today with all of its biases, but it does not know how the world should be.” – Joanne Chen

Watch the video above for the full session, including information on Dr. Fei-Fei Li’s non-profit AI4ALL, which works to increase diversity and inclusion in the field of Artificial Intelligence. Learn from a diverse group of visionaries at SXSW — browse more 2018 Keynotes, Featured Sessions, Red Carpets, and Q&As on our YouTube Channel.

Follow us on Facebook, Twitter, Instagram, and SXSW News for the latest SXSW coverage, recaps, announcements, and stay tuned for information on SXSW 2018.

Democratizing AI for Individuals & Organizations – Photo by Hubert Vestil

Super Sponsors

Capital One logo
Mercedes-Benz logo
Bud Light logo
Uber Eats logo
Austin Chronicle logo

Stay Tuned

Sign up to receive the latest announcements, tips, networking invitations and more.


text:
Sypom 2200mAh 35C 4S 14.8V LiPo battery with XT60 connector for rc helicopter

  • Sale
  • Regular price $30.18

Model No: SYP2200/35-4S
Capacity: 2200mAh
Voltage: 14.8V
Dimensions: 104.0 x 34 x 33mm
Weight: 234.0g
Continuous: 35C
Burst: 70C
Seriously, quality is important to us
The quality of our Sypom batteries is one of our top priorities. All batteries come with a QR code that allows our factory to monitor each step of the production process. Batteries that are found to be unsatisfactory are scanned and traced back to the manufacturing stages to identify where the problem occurred. This allows us to monitor our quality while constantly improving in order to offer our customers the best battery possible.
Additionally, our battery's voltage, amps, and wattage are triple checked before they leave our Santa Ana, CA office to ensure all customers receive a top-tier quality battery.
If you are unhappy with your Sypom battery, our live customer service team is available M-F 9-5 to quickly resolve your issue (
Get in touch!
Send us a message with any questions and we will get back to you within 24 hours.


text:
The T3 Virtual Exhibit Hall offers a single location for advisory firms to find the best technology solutions on the market today and compare their features. When it’s time for your next software upgrade, the Virtual Exhibit Hall is the only place where you find real reviews from real users so you can make a more informed technology purchase decision.

Every technology provider you’ll find in the Virtual Exhibit Hall has been verified with the T3 Standard of Excellence.

You can search for a specific feature based on your unique needs to help you find the best fit for your firm. Due diligence that used to require hours of information requests demos, and calls can now be in a matter of minutes.

If you find a technology solution you like, you can contact them directly from the Virtual Exhibit Hall. It’s all designed to be fast and seamless so you can make more informed decisions, more quickly.

Search Now

If you are a technology provider, we want your experience to be as simple and fast as it is for the advisors who want to use your solution. You can get started now by filling out a simple form to tell us about your firm, what you offer, and how we can contact you for more information.

Get Started Now


text:
Some years ago, on a visit back to Edmonton, where I grew up, I hosted a “Soviet dinner” for a group of 1970s-era Soviet-Jewish émigrés. When the invites went out, I got a lot of jokes asking about sosiski and kartochka (wieners and potatoes). Even though my guests had been Canadian citizens for nearly three decades, their mouths watered at the memory of these simple childhood meals.

This is not how Jewish food nostalgia is supposed to work. For most Jews, the first bite of pork is a transgressive, often formative, moment. But for Soviet Jews, pork-laden sosiski were an everyday food. Such memories precisely mark the difference between Soviet Jews and other Jewish communities: When immigration to North America began en masse in the 1990s, the pork-eating Soviet-Jew became one of the defining disappointments around the integration (or lack thereof) between the two communities.

If you’re a North American Jew of a certain vintage whose relatives came from Russia a century ago, Russian staples like borscht, herring, cabbage rolls, and rye bread are “Jewish food.” As a Soviet-born, Russian-speaking Jew of a more recent vintage, I grew up eating the same food, but calling it Jewish sounds wrong to me; it’s firmly part of my Soviet-Russian heritage. When I want to make iconic dishes like borscht or half-sour pickles, I turn to my Russian and Soviet cookbooks; it would never occur to me to look in a Jewish cookbook, though I own many. That kind of Russian food, to me, isn’t specifically Jewish.

At the same time, Soviet Jews who came to North America in recent decades grew up eating staples of the Soviet table that earlier generations of immigrants never knew, even though our great-grandparents came from the same shtetls.

How did this happen? After 70 years of Communism, Soviet food emerged as a separate branch of Russian (and Ukrainian) food, which developed after the earlier generations of immigrants had already left. What showed up on Soviet Jews’ tables was a uniquely historic product of Soviet food policies, broadly applied to all citizens, plus anti-Jewish policies, which successfully erased all religious knowledge from the community. (There were exceptions, but the average Soviet Jew was divorced from any sense of Jewish culinary rules.)

In the early decades of the Soviet experiment, Yiddish culture flourished, encouraged by the authorities. In her book Soviet & Kosher, Jewish Studies professor Anna Shternshis describes the first postrevolution generation as a transitionary one, where cultural elements such as Yiddish theater and songs were explicitly used to advance Soviet ideals and reject the outdated religious elements of Judaism. Many Jews optimistically embraced the new worldview, happily shedding their parents’ religiosity. The war further weakened those ties: Those Jews who were not evacuated or drafted were killed by the Nazis, especially in the Ukrainian parts of the country. Add in Stalin’s growing anti-Semitism, and within a few short years, both Yiddish culture and shtetl life had disappeared, leaving behind assimilated, urban Jews whose chief sense of Jewish identity was defined by anti-Semitism. These Jews ate the same food as their neighbors—often cooked in shared komunalka kitchens—and stood in the same tedious grocery lines. Later, these same Jews immigrated to North America, kolbasa and all. Unique among Jewish communities, we did not separate ourselves from our non-Jewish neighbors by our diet.

On the food front, the Soviets were keen to foster a national identity and sweep away lingering traces of bourgeois decadence, so it’s no surprise that the contents of the worker’s stomach came under scrutiny. It’s difficult to summarize the extent to which the government regulated all aspects of Soviet food and agriculture or the impact of chronic shortages on how dishes changed and developed. Highlights include the government-produced Book of Tasty and Healthy Food (dubbed the “totalitarian Joy of Cooking” by cookbook author Anya von Bremzen), the ubiquitous, state-run stolovayas (cafeterias), with things like mandated fish Thursdays, and GOST (“government standard”), the strict technical standards that were applied to stolovayas and food factories alike. Over the course of the Soviet era, some traditionally Russian dishes were renamed to hide their czarist roots (so “meatballs à la Cossack” became “meatballs with rice”), while others were adapted because the ingredients simply didn’t exist (Salat Olivier replacing its orange crawfish decorations with carrots being among the most famous examples).

As an added twist, the Soviet vision of world domination meant that even while food became highly standardized, it was also surprisingly cosmopolitan, as the definition of a proper Soviet meal expanded into the corners of the empire. Hence the sweet-sour flavors typical of Georgia sat comfortably beside heavy, sour cream-covered Siberian pilmeni (aka Russian pierogis) in Soviet cafeterias. That legacy remains today: Many Russian restaurants serve what is actually a blend of classically Russian, Ukrainian, Jewish, Caucasian, and Central Asian cuisines. Call it the original fusion cuisine.

Given all this, one imagines a Jewish mother, faced with the endless hustling involved in feeding her family, would not have the luxury of considering kashrut, even if she still remembered the laws. If, when you finally got to the front of the line, you were handed doktorskaya kolbasa (bologna), which goes so very well on buttered black bread, then so be it. Another image comes to mind, of the communal, outdoor drinking stations where everyone shared a single cup (don’t worry, it was rinsed between uses). It’s a perfect symbol of collective idealism that leaves no room for differentiating oneself by dietary preference.

As ever with the USSR, there is the matter of taxonomy—people and food alike defy simple labels. Soviet-Jewish émigrés hail from what are now 15 countries, and we are not all Ashkenazi. Most accurately, we’re a clumsy mouthful of “Russian-speaking Jews of Soviet extraction.” The same applies to our food, which covers the span of the empire, with a few unique, Soviet creations thrown in. For simplicity, let’s call us Soviet Jews, eating Soviet-Jewish food.

So what do you find on a Soviet-Jewish table? The list includes countless zakuski (appetizers), salads, soups, entrees, and desserts. The familiar herring, smoked fish, pickles, buckwheat, our version of ptcha (aka kholodetz) and such of previous generations all crowd onto our tables, too. Though by no means exhaustive, here are some of my favorite dishes commonly found in Soviet-Jewish kitchens across North America.

Selyodka pod shuba
Shuba means fur coat, so it’s literally “herring under fur coat.” Picture a platter of herring, layered with onions, potatoes, hard-boiled eggs, shredded carrots, and shredded beets, slathered with mayonnaise. A uniquely Soviet invention. Best served with vodka.

Salat Olivier
A kind of Russian potato salad, Olivier easily takes itself from everyday Tupperware to a crystal holiday bowl. It was created in the 1860s with considerably finer ingredients, but after its encounter with Soviet food shortages, Olivier emerged as a much-loved mayonnaise-based concoction of boiled meat, peas, potatoes, eggs, and pickles (hold the non-crawfish carrots).

Another czarist legacy shoved through the Soviet wringer, vinegret is a bright purple salad of boiled vegetables (beets, potatoes, carrots), pickles, and sauerkraut. It’s a transliteration of the French term for salad dressing and a reminder of the French influence on the Russian court.

A traditional Georgian beef soup, with tomatoes, walnuts, kmehli-suneli (Georgian spice blend), tamarind, and rice. In the best Russian soup tradition, it’s a meal unto itself with plenty of leftovers and was a stolovaya staple.

An enduringly popular sour soup (and a personal favorite), it can be made with either fish or meat, along with cabbage, tomatoes, pickles, capers, and olives.

No weekly meal rotation is complete without these oval ground-meat patties, gloriously fried, and typically served with buckwheat. A favorite of children everywhere.

The national pride of Uzbekistan and Tajikistan, a rice pilaf with lamb, carrots, onions, cumin, and paprika that still evokes sighs of pleasure from many Soviet-Jewish émigrés. Worth noting that Bukharian Jews have their own beloved and slightly different version.

But are these foods really Jewish, just because Soviet-Jewish émigrés eat them? In the absence of Soviet-Jewish holiday traditions, they’re all fair game. We eat matzo ball soup and gefilte fish, but those are traditions adopted here in North America, alongside learning to light Shabbat candles or make latkes. Other families serve shuba to give Shabbat a festive feel or create a vegetarian Passover Olivier. Many dishes are adaptable to newly embraced kashrut traditions. (Luckily, mayonnaise, that beloved Soviet workhorse, is pareve, resolving many potential salad-related crises.)

It’s liberating not to worry about honoring my grandmothers’ nonexistent Shabbat tables. So yes, pizza Shabbat is a thing at my house. But it also leaves me hanging around the fringes of Jewish-food discussions, wondering where my culinary heritage fits in—where the Soviet stops and the Jewish begins.

If the history of earlier immigration waves is any indication, then the answer to “What is Soviet-Jewish food?” lies ahead. Like a lot of dishes we think of as Jewish, what makes it Jewish is that Jews ate it, or adapted it for Jewish ritual law and that it will take on a tinge of nostalgia for our children and grandchildren.

The Soviet table doesn’t yet definitively signal “Jewish.” It’s a product of a distinct time and place from which we’ve fled, but whose flavors are impossible to reject. It’s natural to turn to familiar Soviet stalwarts when cooking for celebrations and holidays. It’s especially so for the first generation now raising our North American-born children. The tastes of childhood are comforting and safe in a way that our history and family stories often aren’t. Our children gobble up piroshki (Russian hand pies) long before they hear about repressions and gulags. The dishes also tell an important part of our story—not just about the way Soviet policies still shape our grocery lists, but of survival and the efforts of our mothers and grandmothers to keep their families alive and fed, whether that was finding tushenka (tinned meat) or waiting for hours at the bakery to get a coveted Kiev cake. For better or worse, Soviet food is our Jewish heritage.

Like this article? Sign up for our Daily Digest to get Tablet Magazine’s new content in your inbox each morning.


text:
Space Scheduling

Main page content

SYSTEM TRANSITION UW Tacoma is currently in the midst of a scheduling system transition. We are moving from the UUF System to 25Live, a web-based scheduling system that is being used by all three University of Washington campuses. This process is multi-year and will be released in various stages.

Scheduling space at UW Tacoma is done online through a reservation request system, called 25Live. Requests are governed by processes set by the Use of University Facilities (UUF) Committee, University of Washington UUF policies and state law. There are options to schedule space for meetings and events. Most spaces require a space scheduler to approve use of the space, but there are several self-reservable spaces as well. Please review the important information below to learn more about scheduling space on campus.

Not sure who in your office or unit has 25Live access? Click here for a list of approved users

Need to access the previous UUF system? You can do so by clicking here. Please note that the UUF-system is read-only, so you can access previous submission details, but you cannot edit or submit new requests.


text:
Free Mini Course: Have Your Cake and Eat it Too! How to Get Out of Debt AND Enjoy the Journey!

Request your free simple, 4-step guide to help you get on track and see positive results in just a few weeks!

Your information will not be used for any other purposes. completing the form also enrolls you to receive the tailor made budgets e-newsletter

Tailor Made Teens is a program specifically designed for teens to teach them how to manage their money.

Statistically speaking, over 85% of teens say they little to nothing about managing money and approximately 40% of high school seniors say they are unsure or unprepared to manage their own banking and personal finances.

Certified Financial Coach, Ericka Young, has put together this program specifically to address these alarming issues so that our children understand how to manage their personal finances and how to make sound financial decisions.

This book contains everything a teen needs to have a balanced approach to money management.

Request your FREE copy today!

First Name *
Last Name *
Email *


text:
Tallahassee Police released court documents Saturday night describing how a man kidnapped 26-year-old Elisa Thompson from her work and killed her at his house.

Reginald Gibson, the man police say abducted and murdered Thompson, is in custody. He is facing 10 charges related to her kidnapping, a burglary and the kidnapping of another woman.

Thompson was reported missing early Friday morning. She hadn't picked her child up from school. The father of her child tried calling her to no avail. Her family hadn't heard from her either, according to court documents.

She was found later that day dead in the back of her car, which was abandoned in a parking lot at 2810 Sharer Road, located off North Monroe near Interstate 10.

More: Man arrested in kidnapping, death of woman whose body police found in car

Thompson worked at a call center located off Mahan Drive north of I-10. On Thursday, She took her lunch break at about 12:45 p.m., according to court records. Two witnesses told officers they saw her get in her Nissan Rogue to eat lunch, something she often did.

A man, later identified as 31-year-old Gibson, approached her driver's side and started talking to her. Thompson slid over to the passenger seat, Gibson got in the car and drove away.

Gibson was seen on home security footage at about 6 p.m. burglarizing the house of another woman with whom he has a child. The footage shows Gibson get out of a Nissan Rogue, wipe off a cell phone on his sweater, then throw it into the woman's backyard. The cell phone was later determined to be Thompson's. He broke into the house and then left.

The woman whose house police said Gibson burglarized worked at the same call center as Thompson, according to court documents. Gibson also is accused of kidnapping the woman and her child from the parking lot of the child's daycare facility on Tuesday and holding them captive in his home for about three hours. The woman suffered non-life threatening injuries during the incident.

Friday afternoon, police received a call that Gibson was at the apartment complex where Thompson lived, according to court documents. The caller told the 911 operator that Gibson had a knife. The caller also said Gibson had "made an admission about the murder of a female" and where he left a Nissan Rogue in a parking lot, according to court records.

Officers responded to the apartment complex to arrest Gibson at about 5:30 p.m. He ignored verbal commands and reached for his pocket, according to court documents. He told police to shoot him. A Taser was used to detain Gibson. He threw a knife from his pocket on the ground. It was locked open and appeared to have blood on it.

At about 6 p.m. Friday, police found Thompson's car. Her body was in the cargo area. She had "suffered obvious trauma from a sharp instrument," according to court records.

When investigators searched Gibson's home, they found blood on a pillow on his bed, on the mattress and the wall. A man who lived with Gibson said Gibson had washed his bed comforter within the last 24 hours.

Contact Ashley White at or on Twitter @AshleyyDi.

Read or Share this story:


text:
Tennis Rolls - A Guyanese Favourite

>> Saturday, 9 October 2010

Each nation the world over has its own signature bread. The same is true for the Caribbean. We have various bread-rolls with their one-of-a-kind flavour and texture. Trinidad & Tabago has Hops Bread, Jamaica has Coco Bread, Barbados has Salt Bread and Guyana has Tennis Rolls. The Eastern Caribbean islands - St. Lucia, St. Vincent & The Grenadines, Dominica etc. each has their own bread too.

These breads, as simple as they may seem, the recipes are not easy to come by and replicating them at home is more difficult than you think. Sure you come close, but there are certain dynamics and methods employed in a commerical bakery that results in a precision that is not always achievable in the home kitchen. Read this week's column about me trying to make Tennis Rolls and for an analyzed result. The recipe for the Tennis Rolls are at the bottom of the column.

Tennis Roll and Cheese along with a cold glass of cream soda and milk is a combo that is still relished today in Guyana. We used to eat this snack in the afternoons when we'd return home from school.

This week on About.Com - the most difficult thing about cooking with salt fish (salted cod), is not knowing how to de-salt the fish. Find out how it is done here and the importance of not removing all of the salt from the fish.

Post a Comment

Related Posts with Thumbnails

  © Blogger template by 2009 Modified by Cynthia Nelson

Back to TOP


text:
Call Us Today On 01535603009 (24/7)
Email: smile@tayloreddentalcare.com

Call Us Today On

Comfortable, Natural Looking Dentures

Are You Suffering With Your Dentures?

Do You Have Sore Gums & Ulcers?

Would You Like To Eat What You Like Again?

If your answer to the above questions is ‘yes’ then Taylored Dental care can help. If you are ready to start going to restaurants and pubs with your family and friends, and if you’re ready to start feeling good about yourself again, then keep reading.

Many people cope well with dentures, but just as many people find them difficult to tolerate. They make them feel  embarrassed and it can often be a struggle to eat. The good news is there are several options open to you depending on if you are missing one or all of your teeth.

“I’m Able To Continue Playing The Trumpet”

Says Denture Wearer Martin

Free Denture Success Information Kit

Comfortable – Natural Looking Denture Success KitWhy not let us send you a FREE DENTURE SUCCESS INFORMATION KIT to get comfortable – natural looking dentures and really take hold of the rest of your life with both hands to restore your preferred diet, bite apples and chew steak again!

You can avoid embarrassing moments, achieve your desired Denture Success …and DISCOVER a new approach to comfortable – natural looking dentures that you can live with for life.

Fill Out The Form Below For Your FREE Comfortable – Natural Looking Denture Success Kit

  • Your Kit Includes An Audio CD
  • Comfortable, Natural Looking Dentures Information Kit
  • Denture Crisis Quiz
  • Free ‘Chew Steak Challenge’ certificate worth £50 to spend in a Steak House (implants only)
  • New guide just released Amazing Facts About Fixing Your Denture Crisis
  • VOUCHER for a FREE Denture Audit.

Free Denture Success Kit

Free Denture Success Kit

Read terms and conditions here

We hate spam and will never rent or sell your details to anybody

Julie’s New Dentures Are Much Better And More Comfortable Than Before

Helen Had Forgotten What It Was Like To See A Mouth Full Of Teeth

Request FREE Smile Analysis

“Meet Graham Your Dentist”

Your FREE Taylored Smile Analysis Which Includes:

Meeting up with Graham, at our practice or if you are nervous we can arrange to meet at our local coffee shop.

You can relax with a hot drink while you chat about how, and in what ways Taylored Dental can help to improve your smile.

Included in your smile analysis:

  1. Address your concerns and desires
  2. Discuss treatment options suitable for you
  3. See Before & after photos and patient testimonials
  4. Offer of interest – free finance options
  5. Opportunity to book your clinical assessment

4.8 Average Rating On Facebook from over 70 reviews

Read terms and conditions here

We hate spam and will never rent or sell your details to anybody

Straight Teeth Braces

Straight Teeth Braces
Unhappy With Your Twisted, Over Lapping Or Crooked Teeth?

Find Out More

Meet The Team

Meet The Team
Meet Your ‘Calm And Caring’ Dentistry Team At Taylored Dental

Find Out More

Dental Implants

Dental Implants
Embarrassed By Missing Teeth Or Are Troubled By Your Dentures?

Find Out More

Free Consulation

Free Consulation
Interested In A Treatment? Come & See Us For A Free Smile Analysis

Find Out More

See What Our Patients Say…

Taylored Dental Care - Keighley

98 Cavendish Street, Keighley, BD21 3DE

Call Us On 01535603009 (24/7)

Dentistry For Busy People

Monday 9.00 am – 6.00 pm

Tuesday 9.00 am – 6.00 pm

Wednesday 9.00 am – 6.00 pm

Thursday 9.00 am – 6.00 pm

Friday 9.00 am – 1.00 pm

How To Find Us

Follow Us On Facebook

Each Month We Survey Our Patients & The Latest Results Are…

95% Said Yes, They Would Recommend Us!

77% Said Yes Their Treatment Was Indeed PAIN FREE!

Taylored Dental Care – Keighley. 98 Cavendish Street, Keighley, BD21 3DE

Tel: 01535603009 (24/7)   Email: smile@tayloreddentalcare.com

Dr Carl Taylor GDC No. 80685. Taylored Dental Care is a Private Dental Practice. Website last updated: April 2018

General Dental Council’s (GDC)   Complaints Procedure   Staff GDC Information

Would you like to know more about how your information is protected and accessed? Please click on the relevant links below

Privacy Notice Information For Patients Cookie Policy