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ERIC Number: ED343862
Record Type: RIE
Publication Date: 1992-Feb
Pages: 20
Abstractor: N/A
Reference Count: N/A
A Quantitative Analysis of Student Teacher Supervision Models: Implications for the Role of University Supervisors.
Anderson, Debra J.
Teacher education institutions (N=197) were surveyed to determine what effect, if any, the reform movement has had on student teaching supervision, particularly on the role of university supervisors. In addition, institutions were asked about trends in and concerns about supervision. Findings indicate that: (1) the majority (86.8 percent) of institutions use a traditional model of student teaching supervision; (2) some institutions (16.8 percent) have changed their model of supervision in the past 5 years (changes were made to the traditional model, the clinical professor model, the teacher adjunct model, and the master teacher-apprentice model); (3) the role of university supervisors remains largely traditional; (4) the trends cited most often by respondents incorporate some of the ideas promoted by the Holmes Group, including professional development schools; and (5) teacher educators are concerned that program changes reflect improvement, not budgetary decisions. The questionnaire is included in the text. (IAH)
Publication Type: Speeches/Meeting Papers; Tests/Questionnaires
Education Level: N/A
Audience: N/A
Language: English
Sponsor: N/A
Authoring Institution: N/A
Identifiers: Reform Efforts
Note: Paper presented at the Annual Meeting of the Association of Teacher Educators (Orlando, FL, February 15-19, 1992).


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ERIC Number: ED347305
Record Type: RIE
Publication Date: 1991-Jul
Pages: 209
Abstractor: N/A
Reference Count: N/A
Illinois Plan for Industrial Technology Education: FY 91 Final Report.
Illinois State Univ., Normal.
A project to implement the Illinois Plan for Industrial Technology Education produced four major accomplishments: (1) 13 workshops were held on Communication Technology and Energy Utilization Technology; (2) workshop activity packets were produced in both subject areas; (3) a "Futuring Committee" was established that outlined a 10-year plan for enhancing industrial technology education in Illinois; and (4) four issues of the newsletter "Technology News Today" were published and disseminated. The project concluded that there is a strong need for more inservice training for technology education orientation-level teachers. Several recommendations emerged: university personnel should provide joint inservice training through regional university courses or summer retreats/weekends; hands-on workshops should be provided statewide; and exemplary teachers and programs should be highlighted. (The bulk of this document consists of four appendices: (1) workshop schedule, flyers, and evaluations; (2) third-party evaluation of orientation-level program; (3) Futuring Committee report; and (4) "Technology News Today," Volume 6, Numbers 1-4.) (NLA)
Publication Type: Reports - Research
Education Level: N/A
Audience: N/A
Language: English
Sponsor: Illinois State Board of Education, Springfield. Dept. of Adult, Vocational and Technical Education.
Authoring Institution: Illinois State Univ., Normal.
Identifiers: Illinois; Technology Education
Note: For related documents, see CE 061 515-518.

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ERIC Number: ED364311
Record Type: RIE
Publication Date: 1991
Pages: 206
Abstractor: N/A
Reference Count: N/A
ISBN: ISBN-1-879891-00-X
Field Advisor's Guide for the CDA Professional Preparation Program: A Companion to ESSENTIALS for Child Development Associates Working with Young Children.
Phillips, Carol Brunson
This guide for field advisors, which is part of the training materials used in the Child Development Associate (CDA) National Credentialing Program, outlines the 6-month CDA fieldwork portion of the 3-part credentialing program. The guide begins by describing the background, purpose, and curriculum design of the CDA Professional Preparation Program. The guide is divided into eight units: (1) introduction to the early childhood profession; (2) ways to study how children learn and grow; (3) ways to set up a safe and healthy learning environment; (4) ways to support children's social and emotional development; (5) steps to advance children's physical and intellectual competence; (6) keys to establish productive relationships with families; (7) synthesis of material learned by early childhood education (ECE) professionals working with preschoolers (PS), with infants and toddlers (IT), or in family day care (FDC); and (8) final assessment of ECE professionals as PS, IT, or FDC Child Development Associates. For each unit, the guide includes objectives, a description of the advisor's role, discussion topics for candidate conferences, instructions for verifying fieldwork assignments, activities for building the candidate's professional resource file, and a list of related resources. Evaluation sheets for observing candidates' fieldwork experiences are included. (MM)
Council for Early Childhood Professional Recognition, 1341 G Street, N.W., Suite 400, Washington, DC 20005-3105 ($15, plus $2.75 shipping and handling).
Publication Type: Guides - Classroom - Teacher
Education Level: N/A
Audience: Administrators; Practitioners
Language: English
Sponsor: N/A
Authoring Institution: Council for Early Childhood Professional Recognition, Washington, DC.
Identifiers: CDA; CDA Credential; Child Development Associate
Note: For a related document, see PS 021 521.


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ERIC Number: ED370790
Record Type: RIE
Publication Date: 1991-Jun
Pages: 129
Abstractor: N/A
Reference Count: N/A
Environmental Resource Guide: Air Quality. A Series of Classroom Activities for Grades 6-8.
Reed, Elizabeth W., Ed.
Many different types of air quality can be studied in middle school science classes using available supplies. This grade 6-8 activity guide was developed to provide opportunities for children to learn about the issue of air quality. Sixteen hands-on activities integrate the issue into middle school science classes. A chart categorizes the activities according to the following topics: acid rain, air pollutant gases, air pollution in general, biology, criteria pollutants, greenhouse effect, health and pollution, ozone, particulate matter, and physical science. Each activity contains: (1) objectives; (2) subjects; (3) time needed; (4) materials; (5) background; (6) follow-up; (7) extension ideas; and (8) resources. Additional resources include a glossary of 58 terms; fact sheets about air, weather and climate, natural air pollutants, criteria pollutants, acid deposition, ozone, indoor air, and emerging air quality issues; and information about the Air and Waste Management Association. (MDH)
Air & Water Management Association, One Gateway Center, Third Floor, Pittsburgh, PA 15222 ($30; available in French and Spanish also; volume discounts available).
Publication Type: Guides - Classroom - Teacher
Education Level: N/A
Audience: Teachers; Practitioners
Language: English
Sponsor: N/A
Authoring Institution: Environmental Protection Agency, Washington, DC.; Tennessee Valley Authority, Washington, DC.; Air and Waste Management Association, Pittsburgh, PA.
Identifiers: Air Quality; Environmental Issues; Environmental Problems; Pollutants


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Title: Legal pluralism in Kenya : a study of Tugen-Arror customary family law.
Author: Kwonyike, Joshua K.
ISNI:       0000 0001 3603 3275
Awarding Body: University of the West of England at Bristol
Current Institution: University of the West of England, Bristol
Date of Award: 2002
Availability of Full Text:
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This thesis looks at legal pluralisln in fatnily law. Its Inain concern can be divided into two: the extent of co-existence of indigenous customary family law in a Kenyan society on one hand, and state law (principles and rules) regulating family relations, on the other. This study was based on the Tugen-Arror ethnic community in the Rift Valley Province. One among the 43 ethnic groups found in Kenya; a country colonised by Britain from 1895 to 1963. This left a legal structure which is pluralistic in nature. Nothing confirms this more than the sources of law, the institutions and procedures that exist today. As indicated in this thesis, the sources of law in Kenya can be divided into two main categories: First and foremost, those referred in the thesis as 'inherited' or 'official' state laws which were at first introduced during the colonial rule and later through the post-colonial legal institutions. Secondly, those referred in here as 'indigenous' or 'customary law'. These are custolnary 'legal' norms representing the many ethnic communities in Kenya. The aim of the dissertation, therefore, concerns the implications of legal plurality, the co-existence of different legal principles, institutions and processes all interconnected with the various sources of law, on the general operation of customary family law in Kenya. This co-existence of diverse competing legal systen1s, institutions and processes creates an inevitable conflicting situation. This is nowhere better observed than in the rules and processes connected with customary family relations; particularly in marriage, brideprice, divorce and issues pertaining to parentchild relations (adoption, guardianship and fosterage). In the process of discussing these customary family related matters under the auspices of Tugen-Arror customary law, the different facets of customary and family rules, behaviours, relationships and likewise principles, rules and relations under state law are highlighted. The reason for doing so is to try and reveal the different aspects of Tugen-Arror customary practices that differ from those observed in other communities. The dissertation therefore, focuses mainly on the customary practices of the Tugen-Arror community, at a period of social, economic and political change exerted by forces unrelated to their traditional past, values and aspirations deeply entrenched and in which any social change taking place does so with the interest of the wider family at its core.
Supervisor: Not available Sponsor: Not available
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID:  DOI: Not available


text:
Thursday, February 21, 2008

Undergound Atlanta Surfacing

Under Ground Atlanta postcard

One time when I read about a whole forgotten city underneath Atlanta after work one time Anna and I drove all around down the empty streets. It was creepy. Like a forgotten town, with advertisement signs and all.

Not long after that, the city leaders gave Underground Atlanta a face lift, to attract tourism. It was mostly one bar after another. A lot of Dixieland.

I remember Dante’s Down The Hatch, Wits End* (*Bring Money), The Burning of Atlanta Bar, a saloon type bar with the famous radio personality Piano Red, and endless bars.

One time while walking around down in Underground Atlanta a sign out in front of one bar said it was featuring singer Jay Hunter. I have a cousin named Jay Hunter, I went in, and sure ‘nuff, there was Jay with a guitar singing. He sung much like Gordan Lightfoot.

A few years ago, when my friend Bluto came to town we visited Underground Atlanta and it is nothing like it was when we went often. It seemed to be mostly gift shops. Before it had a New Orleans Dixieland style about it.

The beat goes on, or does it?

Labels: , , ,

Blogger kenju said...

I was there in the 70's, when I went to Atlanta with mr. kenju on a business trip. I remember a bar with a wonderful old, old mahogany bar and a marble top, with columns and a mirror behind it. It was just a terrific old piece, and they toldme it was originally from an old pharmacy and soda fountain.

9:04 PM
Blogger ET said...

If it is the one I think it is/was, it was our favorite. It is where Piano Red performed.

3:28 AM
Blogger Jean said...

My friends in the early nineteen sixties who were native Atlantans said they used to go to underground as teenagers when it was known as 'The Viadocks' (viaducts) and shoot rats.

6:34 AM
Blogger ET said...

That reminds me, when I worked for the Atlanta PO at the Federal Annex I parked under the Viaducts, aka Underground Atlanta - in fact, I was once mugged at knife point down there in the dark. What did I expect for free parking? I smell a posting!

7:08 AM

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Friday, November 25, 2016

The faithful can also pray for CMTV and hope it will not continue to compromise on doctrine and theology.

by Church Militant  •  •  November 22, 2016

The purpose of the Jubilee Year of Mercy was, as Pope Francis made clear, to emphasize confession.The Holy Father desired to make the sacrament of penance as widely available as possible to the faithful, ensuring the laity could access confession in as many venues as possible in order to experience the loving mercy of God.
It is only in this light that Pope Francis' decision in 2015 to extend the ability to be absolved of the sin of abortion to the faithful who frequent SSPX chapels can be understood. It is in the same light that the Holy Father's decision to extend this ability indefinitely must be seen.
For the Jubilee Year I had also granted that those faithful who, for various reasons, attend churches officiated by the priests of the Priestly Fraternity of Saint Pius X, can validly and licitly receive the sacramental absolution of their sins. For the pastoral benefit of these faithful, and trusting in the good will of their priests to strive with God's help for the recovery of full communion in the Catholic Church, I have personally decided to extend this faculty beyond the Jubilee Year, until further provisions are made, lest anyone ever be deprived of the sacramental sign of reconciliation through the Church's pardon. (emphasis added) ("Misericordia et Misera")
It's important to note that the Pope has not granted SSPX clergy permanent faculties to absolve sins. Rather, the Holy Father has declared that the faithful who access the sacrament through SSPX clergy may be absolved — an important distinction.
Any priest — even defrocked or excommunicated priests — have on-the-spot faculties to absolve sins in the state of emergency, e.g., in the case of one on the verge of death. That fact does not normalize the priest's status, nor does it grant him permanent faculties to hear confessions.
The Holy Father's grant extends to the faithful who seek confession from an SSPX priest, ensuring their absolution is valid. It does not explicitly grant permanent faculties to the SSPX priests.
The Pope's generous move has changed nothing about the objective state of the SSPX: All SSPX clergy remain suspended a divinis, and therefore are forbidden according to Church law from offering the sacraments. Each time they do so, they do so in disobedience to the Holy See, and commit a mortal sin.
The Holy See wants the SSPX to accept Vatican Council II with an irrational premise to create a new, non traditional conclusion which is a break with Tradition. The SSPX is morally not obliged to do so.Church Militant TV has compromised and accepted Vatican Council II intepreted with hypthothetical cases being explicit in the present times. Then they infer like th Holy See that LG 16, LG 8, UR 3 etc are explicit exceptions to the traditional interpretation of the dogma extra ecclesiam nulla salus.
They should know by now( after numerous reports informing them which they have ot refuted)  that Vatican Council II can be interpreted with LG 16 etc being hypothethetical . Then the Council  is not a break with the old ecclesiology.However this would not be politically in-correct with the Archdiocese of Detroit and so Michael Voris avoids it . There is no' trapping of lies by the CMTV on this issue.
The last official word on the status of the SSPX remains — that of Pope Benedict XVI, who said in his 2009 motu proprio "Ecclesiae Unitatem":
[It] is clear that the doctrinal questions remain, and until they are clarified the Society has no canonical status in the Church, and its ministers cannot legitimately exercise any ministry in the Church.

Lionel:Pope Benedict means that the SSPX must interpret Vatican Council II with Rahnerian theology which is based on assuming hypothetical cases are objective in the present times(2016).It is  with this new theology that has created a new doctrine that the SSPX has to accept offically.Then only it can get canonical recognistion and approval of the Jewish Left,just like CMTV has the approval of the Left.
Although some refer to the SSPX as being in a "canonically irregular" situation, the more accurate wording is that they have "no canonical status" — just as couples living in an "irregular marriage" are in fact not married at all in the eyes of the Church.
Lionel:Like the Franciscan Sisters of the Immaculate the SSPX should go ahead and accept Vatican Council II without Ragnerian theology. Then they can watch how the Holy See rejects this interpretation of Vatican Council II.
In their general chapter statement of 2012 the SSPX affirmed the dogma extra ecclesiam nulla salus with no exceptions. This is the traditional teaching of the Catholic Church. It has been rejected by the present magisterium; by ecclesiastical masonry.
Pope Benedict also made clear the differences to be resolved are primarily doctrinal in nature, not disciplinary.
Lionel: False.The issue is still doctrinal.The two popes are liberals.
 Many of the questions revolve around the SSPX's rejection of certain documents of Vatican II, as well as the group's attitude towards the Novus Ordo Mass, which the SSPX has said the faithful should not attend — even going so far as to claim it would be better for the faithful to stay home than fulfill their Sunday obligation at a Novus Ordo Mass.
Until these serious issues are resolved, a personal prelature remains only a distant possibility. The faithful can only pray that the SSPX will indeed return to the bosom of Holy Mother Church one day and enjoy all the graces of full communion with Rome.
The faithful can also pray for CMTV and hope it will not continue to compromise doctrine and theology.
-Lionel Andrades

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Friday, September 11, 2009

You can fool most of the people ...

The torrent of propaganda pouring from the media on "climate change" is having its effect. A survey from Cardiff University shows that, compared with six years ago, the "hard-line" core of people who do not accept that human activity has had any impact on global warming remains fixed at about 20 percent.

Although the sample was relatively small and geographically limited, questioning 551 people of all ages and backgrounds from Norfolk and Hampshire, there is some small comfort that 29 percent of those questioned thought the evidence on global warming had been exaggerated – double the number who held the same opinion in 2003.

Many others also thought the evidence linking human activity and global warming was "unreliable" or "conflicting". Furthermore, 39 percent "thought leading experts still questioned the causes of climate change" and 33 percent thought there was too much conflicting evidence.

But only 25 percent thought evidence for climate change was unreliable; only 23 percent thought climate change was due to natural temperature fluctuations and, amazingly, only five percent thought the media were too alarmist.

It is that last statistic that is most worrying. Any rational overview of its output would quickly affirm that the media is one of the prime generators of climate alarmism. But then we are dealing with a population where, as a recent poll showed, 77 percent were proud of the BBC.

However sophisticated people might think they are, their opinions and what passes for thinking are still heavily shaped by the media. Despite the cornucopia of information from the internet, where original sources can be found and the error-strewn MSM can be challenged, the bulk of people imbibe the pap they are fed, and largely believe it.

Not for nothing is the United Nations seeking to enlist the global media "in order to build momentum towards the critical climate change negotiations" at the Copenhagen this December.

By all past evidence, their money will be well spent. As a certain man once said, "If you tell a lie big enough and keep repeating it, people will eventually come to believe it." What he didn't realise is that, even in a free society, people will keep believing it, even when evidence to the contrary is freely available. People believe what they want to believe, but mostly because they do not care enough to want to dispute it, or because that is what they are told to believe and they are unable to think for themselves.

And that is how these thieves manage to rob us blind.


text:
I started collage in September of 97. I wasn't quite sure why, or for what, but my first interest was philosophy. Unfortunately it was about the only thing I could get a near respectable grade in. My parents were throwing a bit of money my way for the education and I could not afford it on my own so trying for a degree in a philosophical field was not an option in my parent's eyes. Either way, I would go between Columbus State Community Collage and Ohio State, when I had the money, taking one philosophy class a quarter to help out my GPA and to keep me remotely interested. Towards the end of my collage career I had obtained a new interest in collage...meeting women.

Despite my interest, I was not good at this either. For a While I was asking maybe one woman every two weeks. Not only was I getting a lot of rejections, but they were all bad. If there is one thing I can do well it's take a hint, so when a woman says, "sure I'll go out with you, but I work a lot" I call once or twice to confirm she'll say "sorry, I'm working, bye" and give up. I got that rejection twice, and this isn't a psycho thing, there were, of course, secondary signals. There were many rain checks with no number exchange; a woman who hardly even knew me said she didn't want to damage the friendship. These were rejections for invites to coffee or dinner. What I would have given for a good "no, and now you go over there." At that point I realized that 90 percent of the reason I had asked the last few women out was just to get a decent rejection.

A few weeks and a few bad rejections later, I started a logic series philosophy class. In one day the professor had me. Marrium Bowers, considerably older than me, she wasn't a super model by any means, but her mannerisms, the way she thought and spoke; by God she was as insane as I was (I remember thinking). After class, I was speaking to a couple of acquaintances from the class I think the first thing I said was "I love that woman"...of course it was in jest and followed with laughter, but the strong attraction was there. Throughout the Quarter the attraction grew with her saying things like "this class' purpose is to learn how to make other people feel inferior." Once someone in the class persistently asked what the difference between rhetoric and logic was, her reply was "they are completely different things, that's like me going on a naval vessel and asking where the wings are. you know what he would tell me? He would call me an idiot and tell me to get off his boat." I spoke to her after class about every day...after that class it was just adorable how frustrated she felt. Once during class I started a discussion about how immoral I felt my current place of employment, Jillian's, was. later that week some friends of hers took her there and she seemed to feel bad about it because I said "shame on you." We got closer toward the last third of the quarter and I reached a point that continuing to do class assignments could only lower my grade. It's amazing how a huge crush on your professor can improve your grade, and I earned every bit of it buy my attraction allotted her my undivided attention. I still attended class because I knew I had to ask her out when the quarter ended. Plus, I figured if nothing else she would give me a wonderful rejection. Hell, it wouldn't surprise me if she drew up a venn diagram on why we couldn't go out.

There we were, the day before the final which she knew I wouldn't take, and I'm just waiting for the class to empty which naturally took forever because people were trying to catch up. I started helping them just to get them out of there...the nervousness was borderline unbearable. Finally every one is gone and I am walking her out... I ramble out something that was supposed to be "would you like to get some coffee with me?" she says "you know, I have some senior papers to grade right now, but I'll take a rain check." as she bolted up the stairs. What the hell is that? I mean I had stuck around more than a month after I had to, and then until the last student had left the last day and that was the best rejection she could provide. Could she have not expected it? Further evidence to the theory that women have lost touch with the art of rejection. I guess the humor in it relieved any hurt, and that's good, but I would have felt much better if she would not have tried to spare my feelings, which sounds pretty odd but makes perfect sense to me. I hope to speak to her again sometime but I fear it is too late...lost opportunity.

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In Western Civilization, at least following the introduction of the automobile and the traffic light, the color green means yes or go, presumably by analogy with green traffic lights. Its opposite in this context is red. To green light a project is to give it the go-ahead.

Green can also mean inexperienced or untrained. This probably comes from green wood, which is flexible and doesn't burn very well because it is young and not yet dried out. Greenhorn is a variation on this, which generally refers to an immigrant, and is generally considered insulting.

A color charge carried by some quarks and some gluons.
It's antithesis is anti-green. Meaning that:

green + anti-green = white (or color neutral)

see Quantum Chromodynamics

Illinois prison slang for a low level guard. So called because of their green shirts, any guard below the rank of Lieutenant is a green. Anyone with the rank of Lieutenant or above is a white.

The Green is yet another drug slang term for marijuana, at least in the Upper Midwest. I heard it for the first time the other day from a buddy of mine. Green also is the color of the live marijuana plant, and used as a symbol of the herb. For example, on April 20, one might wear a green shirt to school as a covert act of rebellion.

Back to Marijuana Metanode, Pot Jargon Metanode, or Drug Slang Metanode.

In the Sci-Fi movie The Fifth Element, green meant cool, kewl, great, excellent, etc. Spouted often and quickly by Ruby Rhod, as played by an over-the-top Chris Tucker. The scene where he asks his groupies/yes men "What kind of green?" is particularly funny, as they fall over each other trying to come up with types and shades of green to show Ruby just how great his show was.

An independent film written, directed, starring, and with music composed by Karl T. Hirsch available on video but never shown in theatres due to Hirsch's extremely low budget for the film. The film follows the experiences of four 20somethings in Phoenix, Arizona while they trip on one hallucinogen or another. Their trips consist primarily of them looking back on their own lives and figuring out what went wrong. Eventually, each one comes to a realisation about him- or herself. The film is 88 minutes long. It was in production for quite a few years (again, because of the low budget) and IMDb says it was released in 2000.

Personally, I really don't like this flick. It's not that there isn't meaning behind it or that anything crucial really suffered all that much from the low budget but I thought the conclusions the characters come to about themselves were pretty predictable. I'm surprised it would take them until their mid-20s to realise the things I did a few minutes into each one's trip/flashback sequence. The movie seemed a lot longer than 88 minutes for me.

the actors:
Matt Gallagher as Ralph Huges
Karl T. Hirsch as David Stone
Dana Millican as Joanna Miller
Hyrum Patterson as Eric

Green(golf term)

A patch of tightly mown grass on which the "hole" resides for any particular golf hole. Often undulating, sometimes huge, sometimes tiny, usually surrounded by sand traps (bunkers).

Green - Midori - Verde - Grün - Vert

Thanks to the ever loveable Kermit The Frog we all know that 'it's not easy being green'. However I plan to delve into the positive aspects of being green. Lets see how many I can come up with ;)

  1. Camouflage:
    Being green makes guerilla warfare all the more effective. So once you've been painted green, hide in the bushes, and lie in wait for your friends. They're bound to be happy to see you when you ambush them as they come home late at night. Stick a realistic looking water pistol in their faces for added effect.

Ok.... So camouflage is the only good thing about being green I can think of right now. But I'll be sure to add to this node, when I become aware of more positive aspects of being green. But in reality.... It's not easy being green. I never really did like green.

When used as a noun, often capitalized, an environmental activist of one flavor or another. Usually used derogatorily by Big Oil or some other business interest-oriented group or another.

Green: R.E.M.
Warner Bros. Records, 1988 (released November 1, 1988)
Producers: Scott Litt, R.E.M.
Engineers: Scott Litt, Jay Healy
Recording: Ardent Studios (Memphis, TN, US)
Additional musicians: Bucky Baxter (steel guitar), Jane Scarpantoni (cello), Keith LeBlanc (percussion)

  1. Pop Song '89
  2. Get Up
  3. You Are The Everything
  4. Stand
  5. World Leader Pretend
  6. The Wrong Child
  7. Orange Crush
  8. Turn You Inside-Out
  9. Hairshirt
  10. I Remember California
  11. 11 (UNTITLED)

R.E.M.'s major label debut, it follows the overtly political nature of their previous album Document with an equally political album, released on election day in the United States.1 However, it is not just a political album, but focuses on themes of love (!) and disillusionment. One gets the sense of a band trying to move beyond what was their accepted sound, and move into more complex music, while trying not to reject what made them popular in the first place--lyrical imagism and jangly guitars.

Green goes beyond the anger of Document into a sadder world--"World Leader Pretend" is a quieter meditation than, say, "Disturbance at the Heron House" or "Welcome to the Occupation." The only truely "hard" songs are "Orange Crush" (about Agent Orange, used in Vietnam, in which Michael Stipe's father fought), "Turn You Inside-Out" (about a cult of personality mindset), and "I Remember California" (a bitter commentary of hippie nostalgia in the 1980s greed culture).

Meanwhile, there are unexpected songs of tenderness, such as "You Are the Everything" and the untitled final song2, which repeats the often-used themes of loneliness and travel, common to R.E.M.'s songs since 1984's Reckoning. And then there's the poignant song "The Wrong Child" about a child who is an outcast (perhaps retarded or autistic) and can only make friends in his imagination.

But it is also one of R.E.M's most upbeat records, with songs like "Get Up" and "Stand"--fun pop songs with dubious meanings, and the surrealist lyrics and folk melody of "Hairshirt"--the band wouldnt' sound this upbeat again until... um...

Finally, while the album is called Green, the cover is orange. What's up with that? you say? Well, it simple/complex. The color orange echoes the title of "Orange Crush"--and thus refers to that wonderful chemical intended to deforest Vietnam and thus give the guerrillas no place to hide. A certain irony, of course. Frankly, the orange color also looks like a smog-filled sky, particularly in Los Angeles, which echoes "I Remember California." It also emphasizes the enviornmentalist cause of the band.

1. This fact is alluded to on the song "Pop Song '89."

2. The drum beat is actually played by guitarist Peter Buck. It was so simple, but so un-drummerlike, according to drummer Bill Berry, that when it was played live, Buck would sometimes have to take over the drums, and switch the guitar to another member of the band.

Green (?), a. [Compar. Greener (); superl. Greenest.] [OE. grene, AS. gr?ne; akin to D. groen, OS. gr?ni, OHG. gruoni, G. gr?n, Dan. & Sw. gr?n, Icel. gr?nn; fr. the root of E. grow. See Grow.]

Having the color of grass when fresh and growing; resembling that color of the solar spectrum which is between the yellow and the blue; verdant; emerald.

Having a sickly color; wan.

To look so green and pale. Shak.

Full of life aud vigor; fresh and vigorous; new; recent; as, a green manhood; a green wound.

As valid against such an old and beneficent government as against . . . the greenest usurpation. Burke.

Not ripe; immature; not fully grown or ripened; as, green fruit, corn, vegetables, etc.

Not roasted; half raw.

We say the meat is green when half roasted. L. Watts.

Immature in age or experience; young; raw; not trained; awkward; as, green in years or judgment.

I might be angry with the officious zeal which supposes that its green conceptions can instruct my gray hairs. Sir W. Scott.

Not seasoned; not dry; containing its natural juices; as, green wood, timber, etc.

Green brier Bot., a thorny climbing shrub (Emilaz rotundifolia) having a yellowish green stem and thick leaves, with small clusters of flowers, common in the United States; -- called also cat brier. -- Green con Zool., the pollock. -- Green crab Zool., an edible, shore crab (Carcinus menas) of Europe and America; -- in New England locally named joe-rocker. -- Green crop, a crop used for food while in a growing or unripe state, as distingushed from a grain crop, root crop, etc. -- Green diallage. Min. (a) Diallage, a variety of pyroxene. (b) Smaragdite. -- Green dragon Bot., a North American herbaceous plant (Arisaema Dracontium), resembling the Indian turnip; -- called also dragon root. -- Green earth Min., a variety of glauconite, found in cavities in amygdaloid and other eruptive rock, and used as a pigment by artists; -- called also mountain green. -- Green ebony. (a) A south American tree (Jacaranda ovalifolia), having a greenish wood, used for rulers, turned and inlaid work, and in dyeing. (b) The West Indian green ebony. See Ebony. -- Green fire (Pyrotech.), a composition which burns with a green flame. It consists of sulphur and potassium chlorate, with some salt of barium (usually the nitrate), to which the color of the flame is due. -- Green fly Zool., any green species of plant lice or aphids, esp. those that infest greenhouse plants. -- Green gage, Bot. See Greengage, in the Vocabulary. -- Green gland Zool., one of a pair of large green glands in Crustacea, supposed to serve as kidneys. They have their outlets at the bases of the larger antennae. -- Green hand, a novice. [Colloq.] -- Green heart Bot., the wood of a lauraceous tree found in the West Indies and in South America, used for shipbuilding or turnery. The green heart of Jamaica and Guiana is the Nectandra Rodiei, that of Martinique is the Colubrina ferruginosa. -- Green iron ore (Min.) dufrenite. -- Green laver Bot., an edible seaweed (Ulva latissima); -- called also green sloke. -- Green lead ore (Min.), pyromorphite. -- Green linnet Zool., the greenfinch. -- Green looper Zool., the cankerworm. -- Green marble (Min.), serpentine. -- Green mineral, a carbonate of copper, used as a pigment. See Greengill. -- Green monkey Zool. a West African long-tailed monkey (Cercopithecus callitrichus), very commonly tamed, and trained to perform tricks. It was introduced into the West Indies early in the last century, and has become very abundant there. -- Green salt of Magnus (Old Chem.), a dark green crystalline salt, consisting of ammonia united with certain chlorides of platinum. -- Green sand (Founding) molding sand used for a mold while slightly damp, and not dried before the cast is made. -- Green sea (Naut.), a wave that breaks in a solid mass on a vessel's deck. -- Green sickness Med., chlorosis. -- Green snake Zool., one of two harmless American snakes (Cyclophis vernalis, and C. aestivus). They are bright green in color. -- Green turtle Zool., an edible marine turtle. See Turtle. -- Green vitriol. (a) Chem. Sulphate of iron; a light green crystalline substance, very extensively used in the preparation of inks, dyes, mordants, etc. (b) (Min.) Same as copperas, melanterite and sulphate of iron. -- Green ware, articles of pottery molded and shaped, but not yet baked. -- Green woodpecker Zool., a common European woodpecker (Picus viridis); -- called also yaffle.

© Webster 1913.

Green (gren), n.

The color of growing plants; the color of the solar spectrum intermediate between the yellow and the blue.

A grassy plain or plat; a piece of ground covered with verdant herbage; as, the village green.

O'er the smooth enameled green. Milton.

Fresh leaves or branches of trees or other plants; wreaths; -- usually in the plural.

In that soft season when descending showers Call forth the greens, and wake the rising flowers. Pope.

pl. Leaves and stems of young plants, as spinach, beets, etc., which in their green state are boiled for food.

Any substance or pigment of a green color.

Alkali green Chem., an alkali salt of a sulphonic acid derivative of a complex aniline dye, resembling emerald green; -- called also Helvetia green.-- Berlin green. Chem. See under Berlin. -- Brilliant green Chem., a complex aniline dye, resembling emerald green in composition. -- Brunswick green an oxychloride of copper. -- Chrome green. See under Chrome. -- Emerald green. Chem. (a) A complex basic derivative of aniline produced as a metallic, green crystalline substance, and used for dyeing silk, wool, and mordanted vegetable fiber a brilliant green; -- called also aldehyde green, acid green, malachite green, Victoria green, solid green, etc. It is usually found as a double chloride, with zinc chloride, or as an oxalate. (b) See Paris green (below). -- Gaignet's green Chem. a green pigment employed by the French artist, Adrian Gusgnet, and consisting essentially of a basic hydrate of chromium. -- Methyl green Chem., an artificial rosaniline dyestuff, obtained as a green substance having a brilliant yellow luster; -- called also light-green. -- Mineral green. See under Mineral. -- Mountain green. See Green earth, under Green, a. -- Paris green Chem., a poisonous green powder, consisting of a mixture of several double salts of the acetate and arsenite of copper. It has found very extensive use as a pigment for wall paper, artificial flowers, etc., but particularly as an exterminator of insects, as the potato bug; -- called also Schweinfurth green, imperial green, Vienna green, emerald qreen, and mitis green. -- Scheele's green (Chem.), a green pigment, consisting essentially of a hydrous arsenite of copper; -- called also Swedish green. It may enter into various pigments called parrot green, pickel green, Brunswick green, nereid green, or emerald green.

© Webster 1913.

Green, v. t. [imp. & p. p. Greened (great): p. pr. & vb. n. Greening.]

To make green.

Great spring before Greened all the year. Thomson.

<-- THe Greening of America [Reich] -->

© Webster 1913.

Green, v. i.

To become or grow green.

By greening slope and singing flood. Whittier.

© Webster 1913.

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text:
Scene 1
The opening scene was at some place called the Bath, a huge collection of receiving pools like a water slide. Only I believed somehow that it was a place built specifically for the 92 Olympics. There were all these kids there, hanging out at an abandoned pool, and out of the pool I surface, in a body much foxier than my own, clad only in a simple bathing suit that Olympic swimmers would wear. This scares the hell out of the college age kids who see me, since they were having a party and dancing. I walked right up to some guy and started dancing with him against his will. It was like I was a harbinger for the creatures I would soon be fearing, regular mortals who would at once turn on me, like the svelte woman emerging from the shower of a vacant room in the movie The Shining.

Scene 2
There is a major evacuation. Stores and public buildings are looted, people leaving in a hurry. Paper flyers flutter in the halls of dance clubs and grocery stores. There are no cars on the roads. We are all escaping some kind of invasion, not from aliens but from people we know are out to kill us. I am in a black Expedition with a family on the run, when suddenly black smoke starts coming in through the A/C vents. We have to pull over, and I make a wrong turn and end up going the wrong way down an uphill on-ramp. We must have been towing something, because we almost blocked the highway we were on. I popped the hood, but since I have no knowledge of mechanics, I have no idea what is wrong. But I leave the family there and try to find the body shop I work at in real life, thinking maybe I can find another car and drive back in it before whoever is pursuing us finds the family on the side of the road.

The shop is not the one in real life, but this massive warehouse with what seems like miles and miles of parking lot. Even in what is familiar, I do not want anyone to see me. I am sneaking around inside, where instead of cars there is just piles and piles of junk, lamps, picture frames, boxes, like an enormous attic. I can hear my real life boss, Tom, echoing from somewhere outside, talking to an unfamiliar audience. The focus now as time passes has shifted from returning to rescue the family to my own safety. All I can think about is not being found.

I hear a car pull up in the front of the building I am in. It's my real-life co-worker Randy, who is driving a bright red tiny car that I do not recognize, meaning that since he and I do work at a body shop, I have no idea what the make or model is. It is clear that when he steps out of it, he has no idea that Tom is one of them, that he is in any danger. His expression is just as blank and vacuous as it is when he walks into the office from parking his car every morning.

I cannot see him come into contact with Tom, but their conversation seems to echo into the warehouse, where I am trying to be very still and am sweating like mad. Randy doesn't understand where all the people are, or what has happened. The sound wavers in and out and then I hear Tom say, "Where do you think that car you're driving came from?"

I pull from this dream with all the strength I can find sober lucidity, away from the terror and fear of being found by those who are pursuing me, for somehow I know that if I am found, I will be unable to escape death. In my bed, my body fights the dream on a muscular level. It's like my mind had the only muscles that worked to pull me out of the dream, that it did not want to be in this dream anymore and had taken as much as it could. Normally in dreams like this, my subconscious seems to want to hang out in the dream as much as possible, to see what happens. Even in this case, it seemed that I was fighting my subconscious because I didn't want to stick around anymore. I had seen enough. I didn't want to find out what happened to Randy or what was undoubtedly going to happen to me. When I woke, I turned on all the lights in every room of my apartment until the dark feelings that my dream would be a reality and that I wouldn't be able to escape it began to fade. My eyes are crusted with sleepies, so I must have been in very deep REM sleep.

I am eager for the dawn, to go to work and confirm that Randy and Tom and the body shop are all still there. I will try to make myself some toaster waffles and resume a normal morning ritual, maybe even get a shower, even though as I write this, a shower seems like another trap.

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Spoken Alexandria

Spoken Alexandria (which seems to be a sister site to Telltale Weekly) has a podcast feed (XML here) of free audio books. I’ve blogged about this project before and I think it is fantastic – DRM-free, open audiobooks. They charge for them but the goal is that when any audiobook makes enough money to pay […]

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Mike Edel / Towers and Trees The Roxy Theatre, Victoria BC, April 11

Mike Edel / Towers and TreesThe Roxy Theatre, Victoria BC, April 11
Photo: Kim Jay
About six weeks ago, Mike Edel and Adrian Chalifour, vocalist and guitarist of opening act Towers and Trees, spent the day madly cycling around Victoria, delivering tickets to last night's performance at the Roxy theatre to anyone willing to purchase one via bike. That's not to mention the fact that it was pouring rain that day. Arrangements were made via Twitter and social media channels, and despite the lousy weather, Edel and Chalifour delivered.
That commitment to ticket dispersal is a perfect metaphor for the energy of their show at the Roxy Theatre last night. Both Mike Edel and Towers and Trees performed spectacularly.
Despite the high-energy performances, the crowd remained subdued. A few brave souls took to standing and dancing, but security quickly escorted them back to their seats.  It's clear the Roxy is not the stand-and-dance kind of venue, which actually worked with Edel and Towers and Trees and their heartfelt acoustic-based songs, but definitely made the performance feel formal.
Towers and Trees opened the evening with great energy. Their sound and lyrics evoked images of the West Coast of Canada. At about the middle of the set, most of the band departed the stage, leaving Chalifour to perform a couple of solo songs. The band then reunited for a high-energy finish, blasting through "Montreal" from their debut album Broken Record and setting the stage for Mike Edel.

Edel started the set off solo, and on "Julia," the second song from his new album India, Seattle, he was joined by his band. Part of what made Edel so endearing was his articulate and charming banter throughout the performance. He shared extended stories about jokes he's shared with his father, including his dad's current favourite: "What do the titanic and the Leafs have in common? They both sink when they hit the ice." At times the show felt almost like a brief stand up comedy set.
He also offered poetic insight on making a record, and delved into his inspiration for many songs on India, Seattle, including an incredibly relatable (if you grew up in the prairies, anyway) story about his inspiration for "The Closer," a song about a rural baseball team's closing pitcher and a perfect game gone wrong.
Throughout the show, friends joined Edel on stage: Vince Vaccaro lent his voice and tambourine skills for a few songs, including the climactic anthem "The Country Where I Came From" released as a single from the album The Last of Our Mountains, and the New Pornographers' Kathryn Calder performed "East Shore West Shore" from India, Seattle with Edel. Calder is also releasing a new solo record shortly and the two quipped about sharing a release date.
Edel's West Coast charm and the way he weaves his personal experiences into his songs really made his performance outstanding. His music is relatable, and live, Edel often feels like an old friend.


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Celebrity News

Alexa Ray Joel Is All Grown Up! See Billy Joel and Christie Brinkley's Daughter Today

Billy Joel and Christie Brinkley’s daughter Alexa Ray Joel looked nearly unrecognizable while performing at Café Carlyle in NYC this week.

The 28-year-old looked flawless and all grown up in a busty, lace-covered corset and long skirt.

"Alexa has never had any plastic surgery other than a rhinoplasty, which she has admitted to," her rep told Us Weekly. "She's simply matured into a beautiful young woman."


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Celebrity News

Beyoncé Wants Women to Own Their Sexuality… and Hopes Her Music Will Help

Singer Beyoncé believes women should embrace their sexuality! The superstar graces the May cover of OUT magazine and talked about how she not only wants to inspire women, but also those minorities and LGBT communities facing oppression.

The 32-year-old singer told OUT, “There is unbelievable power in ownership, and women should own their sexuality. There is a double standard when it comes to sexuality that still persists. Men are free and women are not. That is crazy. The old lessons of submissiveness and fragility made us victims. Women are so much more than that. You can be a businesswoman, a mother, an artist, and a feminist -- whatever you want to be -- and still be a sexual being. It's not mutually exclusive.”

Beyoncé surprised fans in December by releasing her latest album that included 14 new songs and 17 videos and featured some of her most provocative visuals yet.

Although she has received some criticism for the music’s blatant sexuality, the singer said, “I needed to free myself from the pressures and expectations of what I thought I should say or be, and just speak from the heart. Being that I am a woman in a male-dominated society, the feminist mentality rang true to me and became a way to personalize that struggle.”

She hopes, however, that the message of her music will "empower" people so they can stand up for themselves.

“What I'm really referring to, and hoping for, is human rights and equality, not just that between a woman and a man. So I'm very happy if my words can ever inspire or empower someone who considers themselves an oppressed minority. We are all the same and we all want the same things: the right to be happy, to be just who we want to be and to love who we want to love.”

Read more of Beyoncé’s interview at OUT.com!


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Experimentation lab

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Gametitle-FO3 MZ
Gametitle-FO3 MZ

The experimentation lab is a location on board Mothership Zeta. It appears to be the origin of the ships abominations.

Based on the name of this area, the captive recordings found, the odd machinery, and the number of abominations in holding cells at the end, it is probable that the aliens are creating the abominations here as part of some scientific experiment on human anatomy.

The experimentation lab is located between the weapons lab and the biological research areas of Mothership Zeta. It mostly contains harmless alien workers who will simply run from you, a few hostile weapon-using aliens, and abominations.

This level is easily navigated and completed. For the most part you will be heading northwest and west. Eventually you enter a room with a generator. The forcefield impeding your way to biological research will dissipate if you destroy the generator. You may then continue westward to biological research.

A healing archway is located in the room to the left, just before you enter the generator room.

Notable lootEdit

Related questsEdit

  • This is one of many areas of the ship that will not be accessible after the player has completed the main (This Galaxy Ain't Big Enough...) quest.
  • The collected order of recordings is reverse i.e. 20, 10, 9.
  • It's possible to lock yourself in one of the side rooms by opening the door using the door controls, going through, and using it to close the doors. If you try to re-open the doors, you'll get a message "This object is activated from somewhere else". Somewhere else being on the other side of the door.

Experimentation lab appears only in the Fallout 3 add-on Mothership Zeta.

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HomePath Financing for Fannie Mae Foreclosure Property Buyers

To be successful at real estate investing, savvy investors adopt a few standard, well-proven strategies and avoid a few basic mistakes. The first one is quite well-known to all: Buy only under priced properties on favorable terms. The second step for success is to buy a property in an appreciating market environment. Third is to buy a property that may be in need of TLC and repairs, as they are often sold for much less than prevailing market rate for similar type properties.

Employing any or all the above mentioned strategies can yield significant returns for active real estate investors over the long run. Even an average property buyer can enjoy similar success by following in their footsteps. In the current real estate environment, such an opportunity can be found in Fannie Mae’s HomePath program.

If a borrower defaults on their mortgage payments, Fannie Mae forecloses according to the state laws that govern the procedures. Such foreclosed properties are currently at their historically highest point. Hundreds of thousands of Fannie Mae foreclosed properties are listed for sale on their website. As Fannie Mae is overburdened by this huge inventory, they are more keen than ever to dispose (sell) them off to buyers and investors at a suitable price.

To facilitate a quick sale, most of these properties are designated for financing eligibility under the Fannie Mae “HomePath” Mortgage Program. The flexible and less stringent requirements of this loan program are designed to give buyers an incentive to purchase and lenders to finance them. Compared to other conventional loan programs, the HomePath properties can be financed without the need for higher down payment or rigid documentation requirements.

The following are the two major incentives lenders are offered for financing buyers of Fannie Mae foreclosures. They are:

  • After the underwriting and closing, the original lender can sell off the loan to Fannie Mae. This allows the lender to unload these mortgages from their own portfolios.
  • As the number of loans they finance increase, Fannie Mae offers further incentives to the lender to earn increasing amount of fees for origination and servicing the loans.

A buyer of Fannie Mae foreclosures is given incentives under the HomePath financing program. They are:

  • Unlike the traditional mortgage loan programs, the requirement for a brand new appraisal is waived. The offer price will be used to set the property value. This in itself saves on average of $500 for the buyer.
  • Similar to FHA, VA and USDA loan programs, the need for down payment is minimal. A buyer can purchase a house with as little as 3.5%.
  • In spite of the low down payment requirement, a borrower is not required to carry any mortgage insurance. This greatly reduces the initial funds required prior to closing, while also reducing the ongoing monthly payments down the line.
  • Fannie Mae HomePath allows for extremely flexible credit requirements. High credit scores and blemish free credit history is not mandatory. Borrowers with less than stellar credit reports can qualify without much hassle.

Adjustments may be made by the lender either to the down payment requirements or the interest rate depending on the overall financial profile of the borrower.

Investment Strategies for Buying Fannie Mae Foreclosures

Strategy I – As there is a huge overhang of unsold foreclosures in the market these days, the opportunity to buy a property at the right price and terms is significant right now. To reduce the outstanding unsold residential homes and condos, Fannie Mae would consider all bids deemed reasonable. Find your ideal foreclosure listing and begin the price negotiations.

Strategy II – Forecasting is always a risky endeavor. The same applies to predictions related to housing price appreciation, but one can reasonably expect the prices to rise considering the rapid decline in housing prices over the last five years. Now may be as good a time for buying a property with reasonable expectation of value appreciation.

Strategy III – A number of Fannie Mae homes may need repair work to bring them to habitable condition. These repairs and renovation work can be completed using the funds from HomePath Renovation Mortgage program.

All the above strategies can be effectively used when applied to Fannie Mae (FNMA) foreclosures.


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Fantendo - Nintendo Fanon Wiki

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Fantendo - Nintendo Fanon Wiki

Peach (Super Smash Bros. Golden Eclipse)

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Peach SSB4
SSB Mario Series
Availability Default
Series Super Mario Bros.
First Appearance Super Mario Bros. (1985)
Home Stage Peach's Castle
Final Smash Peach Blossom

Princess Peach (casually Peach, formerly Princess Toadstool outside of Japan prior to Super Mario 64) is a main character in the Mario series, and the princess of Mushroom Kingdom. Peach first appeared in Super Mario Bros. and was created by Shigeru Miyamoto to be the damsel-in-distress throughout most Mario games. She resides in her castle along with many Toads. Her kingdom is often attacked by the Koopa Troop, a group led by Bowser. She is the love interest of Mario.

Peach has an affinity for the colour pink, which accents her feminine personality and kind temperament. Peach's feminine nature and role as the damsel are often represented with her heart abilities and princess emblems. Peach's initial design was said to represent her stubborn, yet cute, appearance.

Since her debut, Peach has appeared in instalments related to the Mario game series for over three decades. Peach is occasionally a supporting character in mainstream games, and almost always playable in spin-off instalments and sports games. Her most prominent appearance to date is as the heroine of Super Princess Peach.
Source: Mario Wiki

- : Joy Vibe - Peach charges at her opponent, then whirls about with a swirl of hearts. (7%)

> : Peach Bomber-  Peach lunges her body forward to deliver a powerful hip bash. Upon impact, she rebounds away from the victim, allowing for hit-and-run tactics. (10%)

^ : Peach Parasol -  Peach jumps upward and then opens her parasol, jabbing those above her in the process. It can then be used as a directional glide but can also be opened or closed at will. (3% (first hit), 1% (middle hits), 4% (last hit), 3% (open))

v : Vegetable -  Vegetable is a projectile Peach can pluck from the ground as she does in Super Mario Bros. 2. She can then throw it as a weapon. Its face determines how much damage it will do; the rarer the expression, the stronger the turnip. Along with turnips, Peach can sometimes pull out Mr. Saturns and Bob-ombs. (Varies)

F : Peach Blossom -  Peach performs a mystic dance, causing all of her enemies to fall asleep. The closer they are to her when she activates it, the longer they'll slumber. Three giant peaches appear, each healing 20%. (30%/20%/10% (hit 1), 0% (hits 2-3))

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Welcome to The Casual Pint of Farragut!

Located in the Farragut Kroger Marketplace center in the heart of Farragut!

Casual Pint

The Casual Pint of Farragut is your gateway to great craft beer from the USA and beyond! We specialize in serving your craft beer needs in a fun, casual & relaxed atmosphere. You’ll be served by one of our beertenders who will assist you in finding just the right beverage to taste in store or at home.image

Our shelves are packed with over 300 varieties of craft beer from porters & stouts, ambers, wheat beers, lambic beers, ciders, and more from near and far.  Take some time to enjoy our cozy location with complimentary WiFi, friendly staff and nice neighbors.  Learn about craft beer and expand your horizons.  Remember, The Casual Pint is where Beer Lovers Meet!2014-11-19 17.17.14

We also have a private gathering place, The Brew Master Room, where you can gather with friends, have a meeting, honor a colleague while enjoying great craft beer.  We have five taps in the room for your enjoyment. We will assist you in arranging catering for your event.

Here’s what we offer:

Pints: 16oz beer in a pint glass from one of our 22 craft beers or cider on tap!

Flights: Try four or six  sampler glasses with a choice of a different beer or cider in each glass.  A great way to try different beverages from our tap wall.

Growlers: 64oz of great craft beer for your enjoyment at home, on the lake or in the great outdoors!  You cannot drink from growlers on premise at our store.

Packaged Beer: We have hundreds of chilled beers in our cooler that you can select for on site consumption, or create a ‘mix-a-six’ to take home.  We also have six packs on our shelves for purchase as well.  Any way you look at it, craft beer brings joy to those who drink it!

Gift Card: You can purchase a gift card and load any amount of money onto the card.  It is redeemable at any Casual Pint.

Merchandise:  We have clothing and hats and specialty beer related items for your enjoyment.  They make great gifts anytime!

Please like us on Facebook and keep up with all our events and specials!

2014-11-19 17.14.57

Mon-Thurs: 12pm-10pm
Fri-Sat: 12pm-12am
Sun: 12pm-8pm

Happy Hour  4pm-6pm Mon-Fri

Sign Up to be notified about announcements & specials!

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Shea Nut Butter

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Shea Nut Butter

July, 2009

Shea nuts are obtained from the shea tree that is indigenous to many parts of Africa. The shea nut is the seed of the fruit of the shea tree. The fruit portion is typically removed to retrieve the hard-shelled nut. Shea nut is a very oil-rich seed.

When the U.S. Congress passed the Food Allergen Labeling & Consumer Protection Act in 2004, they appropriately designated tree nuts as among the most commonly allergenic foods in the U.S. However, Congress failed to provide a list of tree nuts when they passed this law. Later in October 2006, the U.S. Food & Drug Administration provided a list of tree nuts in an attempt to clarify the uncertainty left by Congress. That list included shea nuts.

Should shea nuts or shea nut products be a concern to consumers with tree nut or peanut allergy?

Certainly, shea nuts are tree nuts. However, shea nuts as such are not eaten in most parts of the world (we are uncertain if they are eaten locally in Africa). The primary article of commerce is shea nut butter, also known as shea nut oil. Shea nut butter is a cold-pressed oil that is refined, bleached, and deodorized. Shea nut butter is used in foods primarily in confectionery products as a cocoa butter substitute. Shea nut butter is also used in various cosmetic applications where the primary exposure would be skin contact. Shea nut oil or shea nut butter is primarily the fat fraction of this nut.

Does shea nut butter posed any risk to tree nut- or peanut-allergic consumers?

An exhaustive search of the worldwide clinical literature provided no evidence to indicate that any allergic reactions have ever been reported to shea nut butter. Allergic reactions to shea nuts have not been described either, although they are not widely eaten.

Recent research indicates that shea nut butter does not contain any detectable protein residues and does not contain detectable residues of proteins from peanut or various known allergenic tree nuts (walnut, almond, pecan, hazelnut). Since allergens are proteins, this research indicates the absence of detectable allergens in shea nut butter.

Thus, refined shea nut butter does not pose any known or likely allergenic risk to consumers including individuals with pre-existing peanut or tree nut allergies. Products containing refined shea butter can be safely used by all consumers.


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Friday, October 13, 2006

On Clogs, Or: How I Learned to Stop Worrying and Love My Inner Lesbian (Sort Of)

I remember being in San Francisco a couple years ago and being quietly horrified at the ubiquity of clogs there. These supremely ugly, clunky shoes were being worn by actual pretty women. To me they seem like the Doc Martens of today, but for hippieish yuppies instead of punks. You know: vaguely subversive in their mannishness, but can look cute with a skirt on the right person. I have always hated them.

But recently I was in Target, and I fear something must be wrong with me, like I have caught fashion rabies or something, because I tried on a pair of (gasp) clogs, and (horror of horrors!) I actually liked them. They felt like I was slipping my feet into a loving, cushy space between couch cushions. Amazing, actually. I wasn't quite sure about the versatility of this shoe, and also I am a bit worried about becoming one of those sensible-shoe Brooklyn girls, and so I held fast to my $22.99. But are these -- high-heeled I must add! -- clogs perhaps maybe an acceptable purchase? What could I wear them with? Please advise. Cherokee Betsie wedge clog.

I also recently heard a very pregnant woman at work extolling the virtues of her Clarks clogs, which she nevertheless changed out of once she got to work, I believe. Hers looked nicely beaten up, very basic,and pretty great with a longish white skirt. They had the same shape as these, but without all the detailing:

Clarks "Troy" clogs, $88.95.

But we can't get too bingey on this subject, because I still abhor most clogs. But here's a totally fantastic version I want to get right now:

It's the Via Spiga "Awin" clog, $169. I suppose it's not a coinkydink that it's not so much on the clogginess....

Michael Kors, too, does some good actual clogs (usually with sheepskin) as well as decidedly noncloggy clogs, such as these "Sun" clogs, $178.95. Want!

Irregular Choice gets their crazy on, as usual. Low Cloggie, ridiculous at any price, but especially for $173.95.

Fuck. I sort of love clogs now. Just look at the cuteness of these Frye ones! I want 'em! Look at the fuzzy lining! Frye Ella buckle clog, $119.95.

I also must admit to a sheepish love of the Dr. Scholl's cardigan clogs, $61.95.

I got sort of bingey there, didn't I? Sheeeeit. Well just, for the love of God, do not let me catch sight of you in these:

Dansko hand-painted clog, a travesty at $219.95. (I'm sorry. I didn't mean to hurt your eyes there.)

Finally, I leave you with this, a cat in a pair of (apparently giant) clogs in Amsterdam.

Tamron Lohan said...

Dude. My mom wears clogs. Nuff said.

Anonymous said...

Fashion rabies!!!! Hilarious!

Jessica said...

I am sorry to burst your bubble, but there is nothing you can do to possibly make clogs sexy. They are just that type of shoe.

J Seacrest said...

Word is bond, Jessica.

Mary-Kate Hopkinson said...

You people are thinking INSIDE the box! Come on, those Frye clogs are hot.

ambika said...

I have a pair similar to the Frye clogs that I wear with everything. They're comfy, they make me tall & I love them. Danskos (ubiquitous in the Northwest) can suck a fat one, tho.

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Goodbye to sheer tights? Kate bares it all on the red carpet with a thigh-high slit

Photography by Samir Hussein/WireImage

View every look Kate Middleton has worn since her engagement »

Last night, Will and Kate departed from their usual routine of charity events and public appearances to attend a meeting of the Thirty Club at Claridge’s Hotel―an exclusive group of media and advertising elites who have apparently been courting the prince for some time now. And, because there must be significance to everything the royals do, Will decided to finally be the guest of honour due to it being the year of his thirtieth birthday. However, as per usual, all eyes were on Kate, and here’s why:

1. That thigh-high slit, obviously! While there were no Angelina moments to be had, Kate’s cream-coloured Roland Mouret gown (from Fall 2009) shows that she’s been watching other red carpets for inspiration. It’s also the second time she’s worn Mourat―the first was when she boarded that plane en route to Canada.

2. Those shoes! Just last week Nicholas Kirkwood chirped Kate’s safe sense of style. These five-inch embellished Jimmy Choo heels (which she also wore to last year’s BAFTA Awards) certainly command attention.

3. No tights! The open-toed shoes and high slit meant this was the first time we’ve seen Kate’s legs sans sheer tights. Do you think she had to get special clearance from the Queen to go barelegged? Will we see more tights-less moments this summer? Fingers are crossed.


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Brad Paisley Keeps Italian Restaurant Open

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brad paisleyCountry music’s golden boy, Brad Paisley  decided to go for an impromptu meal at Patsy’s last Monday. He and his crew members accompanied by a few family members decided to gorge on the delicacies at the popular Italian eatery located on West 56th street of Manhattan. The restaurant was on the verging of closing owing to the late hours but decided to humor the musician instead and kept it open until Brad and his friends had their fill.

This seemed to be a pre-celebration of sorts as the crew ate and laughed heartily enjoying their time at the Italian joint. Chopped Italian salad , meatballs and thick dumplings known as gnocchi  was the food of their choice. Brad Paisley has been nominated for a couple of CMT awards for  collaborating on the song “Remind Me” with Carrie Underwood.

This is not the first time that the country singer’s name has cropped up in connection with food though. Paisley had, in fact, helped boost the food donations for Maryland Food Bank this February. People donating online had been given a chance of winning Brad Paisley and Band Perry concert tickets. A great way of espousing a noble cause indeed!

Brad is also due to perform at Chicago’s Wrigley Field this Saturday. The Windy City fans are in for a treat for sure. But the hungry singer might just decide to keep another restaurant open until the wee hours of morning as he gets set to wolf down a deep dish pizza this time! What do you think? Any possibility of history repeating itself here?

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Will wait n watch if he does it agn
Brad Paisley Keeps Italian Restaurant Open


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Thursday, September 06, 2007

from Yahoo news:

WASHINGTON (Reuters) - A newly discovered virus may be killing bees or may be making some bees vulnerable enough to disappear, U.S. researchers reported on Thursday.

While the virus probably does not alone account for what scientists call colony collapse disorder, or CCD, it could help explain what is happening to bees across the United States, they said.

The virus, called Israeli acute paralysis virus, or IAPV, was discovered in Israel in 2004 and is new to science.

CCD hit an estimated 23 percent of all beekeeping operations in the United States during the winter of 2006-7. "These beekeepers lost an average of 45 percent of their operations," the researchers wrote in their report, published in the journal Science.

Beekeepers do not find bees dead -- they simply find the hives nearly empty, with the queens alone and workers gone.

Honeybees originally imported from Europe are used to pollinate $14.6 billion worth of fruits, nuts and other U.S. crops annually. Bees also have disappeared from hives in Brazil and across Europe.

A team led by Dr. Ian Lipkin, an expert in the spread of infectious diseases at Columbia University in New York, ground up bee samples from across the United States and compared them to non-affected bees from Pennsylvania and Hawaii. They also looked at bees imported from Australia and samples of a bee product called royal jelly from China.

They then sequenced the genomes -- the entire collection of DNA -- and looked for genes from bacteria, viruses and parasites. They found five major bacterial groups, four lineages of fungi and seven types of viruses.

"We found a remarkably high viral burden in bee populations -- both those that have CCD and not," biologist Edward Holmes of Pennsylvania State University told reporters in a telephone briefing.

Only one was always associated with CCD -- IAPV.

"Whether it is a causative agent or a very good marker is the next major question that we need to address," said Diana Cox-Foster, an entomology professor at Penn State. A marker might mean that something else that was making the bees disappear also helped them become infected with the virus.

Jeffery Pettis of the U.S. Department of Agriculture's Bee Research Laboratory in Maryland said IAPV was only one of several leads that must still be followed.

"I hope no one goes away with the idea that we have actually solved the problem," Pettis told the briefing.

"I still believe that multiple factors must be involved in CCD." Perhaps interactions among parasites, viruses and nutrition could be involve, he said.

IAPV can by transmitted by the varroa mite, a parasite known to affect U.S. bees.

Lipkin said in a telephone interview the next step is to infect healthy bees with IAPV and see if their colonies then collapse, as seen in CCD.

Cox-Foster said the team was also looking at other possible causes of CCD, although some leads were being pursued more urgently than others.

"We have very little evidence that the radiation from cellphones could impact bees," she said.

She said tests also have shown that genetically modified crops have no ill effects on bees, although chemical pesticides could be adding stress.

As for why the bees disappear, Cox-Foster said they may deliberately avoid returning to the hive when they begin to feel ill, perhaps to protect their sisters and the queen.

I have a tremendous fear of bees, wasps, hornets - anything that wants to sting me. I'm not allergic, just really really phobic.

so you'd think that I'd be delighted at the recent bee shortage. Not so.

I'm totally not a biologist, but I do know that no bees = no flowers, which doesn't just mean no daisies, no roses, no lovely gardens, but also no vegetables, no fruits, no grains, no trees, no nothing that bashes its way out of the ground and grows up from the dirt.

so, I am grateful that scientists are looking into it, phobia be damned.

nonetheless, I'm skeptical of their findings that humankind's interference is statistically irrelevant. I hope their research continues and figures out effective ways to combat bee death/disappearance.

I trust science, but not scientists.

Am I gonna get blamed for this???
only if you're a varroa mite.
I Blame The Varroa Mites.

mleh. well, the radiation from cell phones thing did seem a trifle farfetched, not that i really have clue one when it comes to this shit. maybe it's one of those tipping point things, a confluence of stuff including human interference in various ways. sucks, anyway.
"I trust science, but not scientists."

Um, nice little people-free universe you've got going there.
all right, s, cut the woman some slack; she speaks in generalities, I assume. I mean, I -assume-, but I know her pretty well by now (rootie, also).

I would've put it as: there's a lot of corporate/government interest in which science reports are given credibility, or are funded in the first place.

Hey, my dad's a scientist, and I trust him. Dunno if he has much to say about the bees, tho'.
there's a lot of corporate/government interest in which science reports are given credibility, or are funded in the first place.

yes. that's what I meant.
I mean, anyone can publish a study and make it say whatever they want.

lies, damned lies, statistics, blah blah blah.

Um, nice little people-free universe you've got going there.

well, it's quiet, but spacious. and has a lovely view... ;)
Ren- it is your fault, well that part of it that's not my fault that is. I'm sure that as a
1) White
2) Man who is
3) 6'4", 265 lbs with
4) A college education in Chemical Engineering and Chemistry which makes me a
5) SCIENTIST! who used his white educated patriarchal privilege to become
6) The Uber Capitalist instead of an altruistic socialist

I am more to blame than you are.

I AM THE PATRIARCHY! You are just one of my tools.

But all of this causes me to ponder: What about the birds? It's all about the bees. Doesn't anybody give a damn about the birds anymore?
My husband AND father are both scientists, they say it's radon and cow farts.
SD's having a slow day at work, y'all.
SD: Oh yeah, I'll be a quiet tool now...

and nope, not a scientist...not me.
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text:
Vana'diel Bestiary: Scavenger Crab (Fished)

Found in:Kuftal Tunnel
Level:60 - 62
  • Found by Fishing
  • Aggro
  • Not Linking
  • Detects by Sound
  • Based on Water
  • Weak against Ice
  • Weak against Lightning
  • Strong against Water
Stolen Items:
Updated: Sun Mar 23 04:45:49 2008

Scavenger Crab (Fished) Picture

Send a correction

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these drop coffer keys
# Nov 23 2006 at 12:53 AM Rating: Decent
63 posts
I can also confirm that these drop coffer keys. Got one while leveling my BST using canal pugils v scavenger crabs.
75 BST, 35 RDM, 45 WHM,
37 THF, 35 BLM, 31 NIN
"Short" Elvaan 7B
The World Kujata
# Mar 26 2006 at 4:49 AM Rating: Decent
60 posts
Yes they are also a fished mob. I fish one of them up in Kuftav Tunnel they con DC to me at 64 BST
info verified
# Feb 09 2006 at 12:43 AM Rating: Decent
21 posts
I can verify, these are Not fished mobs, and they Do drop Toraimarai Coffer Keys.
# Jan 22 2005 at 11:45 PM Rating: Decent
986 posts
these arent fish'd..they were walking around in toraimorai canal
Name: Groundzero
Server: Kujata
Race: Elvaan
Allegiance: Sandoria 10 - Windurst 5
Job: 75 Summoner/37 Whitemage

The target of a projectile, such as a missile or bomb.
The site directly below, directly above, or at the point of detonation of a nuclear weapon
# Dec 31 2004 at 8:34 PM Rating: Decent
1,853 posts
These Also Drop Toraimarai Coffer keys, insanely good drop rate too, 3 in 20 min O.O lol only the ones in the canal too, i sent this in but i dont think theyve got the email yet
~~~~~! Final Fantasy 11 !~~~~~
DigiDude - Rank 10 Windurst
75 Summoner/75 Dancer/71 Puppetmaster
Server: Pandemonium (RAWR!)
~~~~~! Retired For Now !~~~~~
VT to me
# Nov 14 2004 at 6:58 AM Rating: Decent
3,640 posts
my duo partner and I were xping off these tonight as lvl 56 bsts. every single one cons VT at lvl 56. must be around 60ish
EP at 75
# Oct 29 2004 at 2:55 PM Rating: Decent
89 posts
Saw a bst use this as a pet in Toraimnal Canal yesterday was EP to me at 75
# Oct 13 2004 at 3:43 AM Rating: Decent
235 posts
I also saw this in Boyahda Tree. Conned EP while I was in the high 60's.
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Monday, 29 August 2011

Touching the Film Object? Notes on the 'Haptic' in Videographical Film Studies

A video collage by Catherine Grant.

TOUCHING THE FILM OBJECT? offers a brief audiovisual exploration of issues of sensuous proximity, contiguity or contact in experiencing or studying films - what theorist Laura U. Marks called 'hapticity'. It quotes from Marks' 2004 essay 'Haptic Visuality: Touching with the Eyes' and meditates upon a slowed sequence from a video copy of Ingmar Bergman's 1966 film Persona (its cinematography by Sven Nykvist). The music is excerpted from Robert Lippok and Beatrice Martini's 2009 collaboration 'Branches' (available at the Free Music Archive under a Creative Commons Attribution-Noncommercial 3.0 Unported License).

[Laura] Marks derives [the concept of] haptic visuality, from the art historian Alöis Riegel’s “distinction between haptic and optical images.” ([The Skin of the Film,] 162). But how does cinema appeal to senses it cannot technically represent, such as smell and touch, that is, what does haptic visuality ‘look like’? Marks defines haptic visuality as containing some of the following formal and textual qualities: grainy, unclear images; sensuous imagery that evokes memory of the senses (i.e. water, nature); the depiction of characters in acute states of sensory activity (smelling, sniffing, tasting, etc.); close-to-the-body camera positions and panning across the surface of objects; changes in focus, under- and overexposure, decaying film and video imagery; optical printing; scratching on the emulsion; densely textured images, effects and formats such as Pixelvision [...]; and alternating between film/video. The haptic image is in a sense, ‘less complete’, requiring the viewer to contemplate the image as a material presence rather than an easily identifiable representational cog in a narrative wheel [...]. [Donato Totaro, 'Deleuzian Film Analysis: The Skin of the Film', Off Screen, June 2002]
[W]hen our eyes move across a richly textured surface, occasionally pausing but not really focusing, making us wonder what we are actually seeing, they are functioning like organs of touch. Video, with its low contrast ratio, capacity for electronic and digital manipulation, and susceptibility to decay, is an ideal haptic medium, its graininess a lure for the roving gaze Marks describes.
     Film, however, may also invite a haptic look by speeding up or slowing down imagery, enlarging grain, or deliberately enhancing already deteriorating nitrate. [Melinda Barlow, '[Review of] Touch: Sensuous Theory and Multisensory Media', Canadian Journal of Film Studies, Fall 2003]
Haptic criticism keeps its surface rich and textured, so it can interact with things in unexpected ways. It has to be humble, willing to alter itself according to what it is in contact with. It has to give up ideas when they stop touching the other’s surface. [Laura U. Marks, 'Haptic Visuality: Touching with the Eyes', Framework" the Finnish Art Review, No. 2, 2004, pp. 79-82, 80]
Marks's notion of haptic visuality as a *non-instrumental* way of seeing is important for visual theory as well as for work on the senses more broadly. [Melanie Swalwell, 'The Senses and Memory in Intercultural Cinema', Film Philosophy, Vol. 6 No. 32, October 2002]
As a longtime devotee of observing from a scholarly distance, I had never been grabbed before -- or, indeed, 'clasped' or 'fastened' (the original meanings of the Ancient Greek verb haptein) -- by Laura Marks' notion of 'haptic visuality'. But after I had made some video essays about films, the desire to explore hapticity and its workings took hold. This is how the above video/text collages and the below notes came into being.

While I still believe that Marks' concept could benefit from a more thorough thinking through in relation to audiovisuality, hapticity -- a grasp of what can be sensed of an object in close contact with it -- seems to me now to be very helpful in conceiving what can take place in the process of creating videographic film studies. It can also help us more fully to understand videographic studies as objects to be experienced themselves.

In the old days, the only people who really got to touch films were those who worked on them, particularly film editors. As Annette Michelson (1990) and others have argued, the democratization of the 'heady delights' of editing (Michelson, 1990: 22) was brought about by the introduction of video technology in the 1970s and 80s. Now, with the relatively wide availability of digital technology, we can even more easily share 'the euphoria one feels at the editing table [...] a sharpening cognitive focus and [...] a ludic sovereignty, grounded in that deep gratification of a fantasy of infantile omnipotence " [Michelson, 1990: 23].

But, are there other ways in which 'touching film' is just a fantasy? In videographic film studies, do videographers actually touch or handle the real matter of the film? Or are we only ever able to touch upon the film experience? Our film experiences? Do video essays only make objects of, or objectify, our film experiences, our insuperable memories of them, our own cinematic projections?

These questions may not flag up significantly new limitations. Film critical video essays do seem to work, it seems to me, in the same 'intersubjective' zone as that of written film criticism. As Andrew Klevan and Alex Clayton argue of this zone, 'we are immersed in the film as the critic sees it, hence brought to share a deeply involved perspective' (2011: 9).

Yet, in videographical criticism, is there not a different intersubjective relation, a more transitional one, to the physicality or materiality of the objective elements of films that the video essays reproduce? Like written essays, video essays may well '"stir our recall"' (Klevan and Clayton, 2011: 9) of a film moment or sequence, but they usually do this by confronting us with a replay of the actual sequence, too. How might this difference count?

If nothing else, this confrontation with, or, to put it more gently, this inevitable re-immersion in the film experience, ought to make videographic critics pursue humility in their analytical observations with an even greater focus, make them especially 'willing to alter [their analyses] according to what [they come into] contact with [...] give up ideas when they stop touching the other’s surface' (Marks, 2004: 80).

A further, built-in, random element in non-linear digital video editing -- the fact that this process frequently confronts the editor with graphic matter from the film (e.g. thumbnails) that s/he may not specifically have chosen to dwell on -- may also encourage a particularly humble, usefully (at times) non-instrumental form of looking that Swalwell (2002) detects in Marks' notion of hapticity.
      As Marks writes, 'Whether criticism is haptic, in touch with its object, is a matter of the point at which the words lift off' (2004: 80). Haptic criticism must be what happens, then, when the words don't lift off the surface of the film object, if they (or any of the other film-analytical elements conveyed through montage or other non-linear editing techniques and tools) remain on the surface of the film object, as they often do in videographic film studies. In addition to this, video essays on films may often be an especially 'superficial' form of criticism, frequently using slow motion or zoom-in effects to allow those experiencing them to close in on the grain or detail of the film image.

      With so many words, or other filmanalytical strategies, simultaneously available to be sensed on the surface of the image and, in terms of sound strategies (such as voiceovers or other added elements), seeming to emanate from it, videographical film studies may be curiously haptic objects, then. It is useful to remember that the art historical concept of haptic visuality emerged from the scholarly and artistic traditions of formalism, which made procedures such as defamiliarization central to their practice. Defamiliarization -- the uncanny distancing effect of an altered perspective on (such as a hyper-proximity to) an otherwise familiar object -- may be one of the greatest benefits of the particular hapticity of videographical film criticism.

      Finally, does TOUCHING THE FILM OBJECT? practice what it preaches? Or, does it only practice one of the things it preaches? It isn't, primarily, a piece of haptic film criticism produced in close contact with the film. Instead, it's a film-theory object which 'grabs' from it, transforms what it grabs, and lifts off, or not, from there.

      Persona doesn't exactly disappear, though, either from the literal or metaphorical frames of the collage. Like many of Ingmar Bergman's works, this 1966 film treats (and inhabits) the perilous zone of borderlines between one person and another, its characters act out extreme forms of projective identification and introjection. Indeed, Persona explores some of the real psychological dangers of 'hapticity', of not being able to separate, or to see others detachedly - 'optically'. Some of those perils still find themselves evoked in the elements I selected for inclusion.

      But, by selecting one sequence from others, by slowing it, and by replacing the film's soundtrack, the video collage does mitigate those dangers. It suspends them in order to close in on a visual track which simultaneously presents a 'haptic image' (the blurry, interchanging faces - made more haptic, possibly, by the slowed motion and zoom in) and an 'optical', or more clearly defined one (the Rückenfigur-esque image of the boy, who is himself pictured having a haptic experience). The combination of these images may well hint at Laura Marks' (and my) ideal critical frame. Marks writes,
        'I take advantage of this moment to beseech those who are newly encountering haptic thinking to keep alive the dialectic with the optical! [...]The goal of haptic and sensuous criticism is to enhance our human capacities, rather than entirely replacing critical distance with haptic intimacy. I suggest we embrace and cultivate all our perceptual and cognitive and feeling capacities, keeping in mind the meanings that motivate them' (Marks, 2004: 82).
        Selected online bibliography:

        Offline bibliography:
        • Christian Keathley, 'La Camera-Stylo: Notes on Video Criticism and Cinephilia', in Clayton, Alex and Klevan, Andrew (eds.), The Language and Style of Film Criticism. London: Routledge, 2011
        • Andrew Klevan and Alex Clayton, 'Introduction', in Clayton and Klevan (eds.), The Language and Style of Film Criticism. London: Routledge, 2011
        • Marks, Laura U. The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses. London: Duke University Press, 2000
        • Marks, Laura U. Touch: Sensuous Theory and Multisensory Media. London: University of Minnesota Press, 2002
        • Merleau-Ponty, Maurice. Phenomenology of Perception. trans. by Colin Smith. New York: Humanities Press, 1962
        • Michelson,  Annette, 'The Kinetic Icon in the work of Mourning: Prolegomena for the Analysis of a Textual System,' October 52 (spring 1990)
        • Sobchack, Vivian. The Address of the Eye. A Phenomenology of Film Experience. Princeton: Princeton University Press, 1992
        • Sobchack, Vivian. ‘The Scene of the Screen: Envisioning Cinematic and Electronic “Presence”’, in Materialities of Communication, edited by Hans Ulrich Gumbrechts and K. Ludwig Pfeiffer, 83-106. Stanford: Stanford University Press, 1994
        • Sobchack, Vivian. ‘Phenomenology and the Film Experience’, in Viewing Positions: Ways of Seeing Film, edited by Linda Williams, 36-58. New Brunswick: New Jersey, 1997
        • Sobchack, Vivian. Carnal Thoughts: Embodiment and Moving Image Culture. Berkeley: University of California Press, 2004
        • Winnicott, D.W, 'The Location of Cultural Experience', Playing and Reality. London: Routledge, 2005
        TOUCHING THE FILM OBJECT? was made according to principles of Fair Use (or Fair Dealing), primarily with scholarly and critical aims, and was published under a Creative Commons Attribution-Noncommercial 3.0 Unported License in August 2011.

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What is Under Scarlett Johansson's Skin?

Now that The Avengers is in post-production, Scarlett Johansson - widely recognized as one of the sexiest women in Hollywood - is working on Under the Skin.

Recently, several photographs appeared online, showing the actress in-character, and on set in Glasgow.

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