text:
The Word on the Street: Public Reading and Reading in Public
A lecture given at Reading and its Objects, University of Sussex, 8th May 2017. [pdf]
Most of what literary critics like to describe, prescribe and circumscribe as reading has only a shingly kind of foothold in what most people most of the time think is happening when they do the thing they think of as reading. Symmetrically, most of what most people are doing when they perform the action, or undergo the experience, popularly understood as reading appears to be beneath the notice or beyond the ken of literary critics. What follows points to some striking and possibly formative changes in the landscape of noninstitutional reading that, like most forms of vernacular reading activity, appear to have gone unobserved within literary studies.
Reading is like thinking. We do it, purposively and systematically, without knowing exactly what it is we are doing or how we are doing it. Rather like thinking, most of our understanding of the process of reading is governed by fantasy-projection – things we assume we must be doing, or would like to think we may be doing, when we read. Like many fantasy-projections, this one is designed to ensure and secure the pleasing idea that reading is a rare and precious accomplishment, one that determines who and what we are. By looking at the kinds of radiation and diffraction which the act of reading has undergone over the last century or so, I want to be able plausibly to move the motion of a general ecology of reading, in being, in matter, in which we take part rather than necessarily making the pace.
Modern literature is acutely aware of the multiplication and dispersal of forms of reading across different kinds of scene and occasion. In large part, this is an uneasy response to the increasing prominence of advertising, though in fact this is itself part of a larger history of writing and reading in public, or visible proclamation, to which the modern word (dating in print from 1949) 'signage' economically refers. Signage, a word that seems to hint at alliance with terms like 'foliage', 'garbage' and 'verbiage' as well as more neutral terms like 'carriage', is the insistence of the visible letter in the public world. It is evoked by Dickens in the passage of Bleak House which reflects on what it must mean to be illiterate in a modern city:
It must be a strange state to be like Jo! To shuffle through the streets, unfamiliar with the shapes and in utter darkness as to the meaning, of those mysterious symbols, so abundant over the shops, and the corner of streets, and on the doors, and in the windows! To see people read, and to see people write, and to see the postmen deliver letters, and not to have the least idea of all that language – to be, to every scrap of it, stone blind and dumb! It must be very puzzling to see the good company going to the churches on Sundays, with their books in their hands, and to think (for perhaps Jo does think at odd times) what does it all mean, and if it means anything to anybody, how comes it that it means nothing to me? (Dickens 1972, 274)
Not to be able to make out meaning does not in the least mean not capable of meaning. Dickens recurs to the name of Jo for an example of a kind of elementary machine reading in Great Expectations, in which Joe Gargery's method of reading is to pick out delightedly the letters of his own name:
"Why, here's a J," said Joe, "and a O equal to anythink! Here's a J and a O, Pip, and a J-O, Joe." … "Give me," said Joe, "a good book, or a good newspaper, and sit me down afore a good fire, and I ask no better. Lord!" he continued, after rubbing his knees a little, "when you do come to a J and a O, and says you, 'Here, at last, is a J-O, Joe,' how interesting reading is!" (Dickens 2003, 45-6)
Dickens performs a somewhat similar action with the words 'I am' in the words that follow on little Jo's awareness of his unawareness, in a passage that in writing on Jo's behalf mimes the process whereby Jo is both subject of and subject to the words that read out loud his illegibility:
To be hustled, and jostled, and moved on; and really to feel that it would appear to be perfectly true that I have no business here, or there, or anywhere; and yet to be perplexed by the consideration that I am here somehow, too, and everybody overlooked me until I became the creature that I am! It must be a strange state, not merely to be told that I am scarcely human (as in the case of my offering myself for a witness), but to feel it of my own knowledge all my life! … His whole material and immaterial life is wonderfully strange; his death, the strangest thing of all. (Dickens 1972, 274)
Bleak House appeared in the same year in which commercial toilet paper was first marketed in Britain. This seems emblematic in a number of ways. First of all, Bleak House is a novel in which paper and waste are closely associated, with its many sacks of mouldering, yet also smoulderingly incendiary bags of official documents. But, more importantly, it is a novel that seems to testify to the cheapness of paper, and the ubiquity of surfaces on which to sign and signal, along with the growing autonomy of those processes from the human subjects they hustled and jostled and kept in various kinds of motion. Literary writing shared those surfaces, with the advertisements for many kinds of commodity that were crammed into the spare spaces surrounding the text in the serial parts of nineteenth-century fiction. But the space of reading was also exteriorised. As Walter Bagehot remarked of Dickens's writing in 1858:
London is like a newspaper. Everything is there, and everything is disconnected. There is every kind of person in some houses; but there is no more connection between the houses than between the neighbours in the lists of "births, marriages, and deaths". As we change from the broad leader to the squalid police report, we pass a corner and we are in a changed world. (Bagehot 1915, 3.84-5)
Bagehot sees London as pre-adapted to the 'essentially irregular and unsymmetrical' (Bagehot 1915, 3.79) constitution of Dickens's mind, which operates in 'graphic scraps' (Bagehot 1915, 3.80). The word 'graphic' aptly embodies the oscillation between iconicity and legibility of these outward and visible signs. Although 'graphic' refers as much to writing as to drawing, when The Graphic weekly newspaper first began to appear in 1869, the word referred to the fact that it was an illustrated paper, like the Daily Graphic that began publication in New York in 1873. The graphic space of London is both fragmented and impermanent; both businesses and the visible signs that announce them come and go overnight, as in the evocation in Sketches by Boz, of the draper's shop that suddenly springs into existence:
a handsome shop, fast approaching to a state of completion, and on the shutters were large bills, informing the public that it would shortly be opened with 'an extensive stock of linen-drapery and haberdashery.' It opened in due course; there was the name of the proprietor 'and Co.' in gilt letters, almost too dazzling to look at. (Dickens 1995, 81-2)
There is for Dickens often something hallucinatory and even ablexic about the appearance of written letters, which hover, as they do for the two Jo's, between the condition of apprehension and comprehension, both faster and slower than reading, as for example in his memory of the sign on the door of a coffee house to which he resorted as a young child:
in the door there was an oval glass-plate, with COFFEE-ROOM painted on it, addressed towards the street. If I ever find myself in a very different kind of coffee-room now, but where there is such an inscription on glass, and read it backward on the wrong side MOOR-EEFFOC (as I often used to do then, in a dismal reverie), a shock goes through my blood. (Forster 1876, 1.29)
Events are sometimes described in Dickens's writing in terms of the ways in which they might be rendered in newspapers or public notices, like play-bills, as in the account of the spat between tipsy ladies in Seven Dials in Sketches by Boz: 'The scuffle became general, and terminates, in minor play-bill phraseology, with "arrival of the policemen, interior of the station-house, and impressive dénouement" ' (Dickens 1995, 93). It is during the nineteenth century that the word 'notice' starts to refer commonly not only to information or intelligence generally but more particularly to the written object that gives notice – 'notice-board' is recorded in print from 1819. The word that mediates between the document and the displayed notice in Victorian fiction is the word 'bill', which means a public advertisement, the notice of an account due and an item of the paper currency with which a bill might be paid. Its power simultaneously to arrest and make restless the attention is suggested by an episode involving the swindler Captain Wragge in Wilkie Collins's No Name:
A sudden parting of the crowd, near the second-class carriages, attracted the captain's curiosity. He pushed his way in; and found a decently-dressed man – assisted by a porter and a policeman – attempting to pick up some printed bills scattered from a paper parcel, which his frenzied fellow-passengers had knocked out of his hand.
Offering his assistance in this emergency, with the polite alacrity which marked his character, Captain Wragge observed the three startling words, 'Fifty Pounds Reward', printed in capital letters on the bills which he assisted in recovering; and instantly secreted one of them, to be more closely examined at the first convenient opportunity. As he crumpled up the bill in the palm of his hand, his parti-coloured eyes fixed with hungry interest on the proprietor of the unlucky parcel. When a man happens not to be possessed of fifty pence in his own pocket, if his heart is in the right place, it bounds, if his mouth is properly constituted, it waters, at the sight of another man who carries about with him a printed offer of fifty pounds sterling, addressed to his fellow-creatures. (Collins 2004, 150)
The mode of reading involves a kind of modulation which is reversed in the scene from No Name, in which Captain Wragge first glimpses the words FIFTY POUNDS REWARD and then picks up the bill to read.
Every surface seems to become a support for inscriptions and items to be read. With the development of packaging from the early nineteenth century onwards and its growing convergence with information – advertisements and instructions for transmission or use, objects and their designations came more and more to be identified. Gerard Manley Hopkins provides a romantic gloss on this in his sonnet 'As kingfishers catch fire', which rapturously proclaims the capacity of natural objects to proclaim themselves. Each of them
finds tongue to fling out broad its name;
Each mortal thing does one thing and the same:
Deals out that being indoors each one dwells;
Selves—goes itself; myself it speaks and spells,
Crying What I do is me: for that I came. (Hopkins 1970, 90)
Lewis Carroll's two Alice books play with the growing tendency for every object in the world to bear a label, as in the jar promisingly labelled 'ORANGE MARMALADE' which Alice snatches from a shelf in her fall into the rabbit-hole, then tidily puts back on another shelf when it turns out to be empty, 'for fear of killing somebody' if she drops it (Carroll 1982, 18), or the bottle labelled 'DRINK ME' (Carroll 1982, 22). Labels and objects came closer together with increasing speed and density of transport. As David Trotter observes, travel by rail in particular seemed to turn travellers into parcels or postal objects. He quotes John Ruskin complaining in Modern Painters in 1856 that rail travel 'is merely "being sent" to a place, and very little different from becoming a parcel; the next step to it would of course be telegraphic transport' (Ruskin 1906, 311; Trotter 2013, 271)
Alice's rail journey in Through the Looking Glass plays with the exchanges of language, luggage and logic. It is concerned with the question of direction, a word that means both where you are going and the verbal act by which you are despatched:
'So young a child,' said the gentleman sitting opposite to her (he was dressed in white paper), 'ought to know which way she's going, even if she doesn't know her own name!'
A Goat, that was sitting next to the gentleman in white, shut his eyes and said in a loud voice, 'She ought to know her way to the ticket-office, even if she doesn't know her alphabet!'
There was a Beetle sitting next to the Goat (it was a very queer set of passengers altogether), and, as the rule seemed to be that they should all speak in turn, he went on with 'She'll have to go back from here as luggage!'
Alice couldn't see who was sitting beyond the Beetle, but a hoarse voice spoke next. 'Change engines –' it said, and there it choked and was obliged to leave off.
'It sounds like a horse,' Alice thought to herself. And an extremely small voice, close to her ear, said, 'You might make a joke on that—something about "horse" and "hoarse," you know.'
Then a very gentle voice in the distance said, 'She must be labelled "Lass, with care," you know – ' (Carroll 1982, 165-6)
This is the beginning of what Michel Serres has identified as the appropriation of space through sign-pollution: just as the tiger marks his territory as his own by urinating on it, so we take possession of the world by drowning it in our visual noise:
On each mountain rock, each tree leaf, each agricultural plot of land, you have advertisements; letters are written on each blade of grass; the big name brands draw their giant images on the immense glaciers of the Himalaya. Like the legendary cathedral, the landscape is swallowed by the tsunami of signs. All species have vanished and we remain alone in the world, among ourselves. (Serres 2011, 70)
The sensitivity to the iconicity of script in the nineteenth century is suggested by the fact that it was in this century that graphology, the reading of the psychological signatures of written signs, was formalised, in particular in the work of Adolphe Desbarrolles and Jean-Hippolyte Michon, whose Les Mystères de l'écriture appeared in 1872. Sherlock Holmes, so adept a reader of every kind of physical and physiological signature, is also a believer in what a previous era might have called the doctrine of signatures, now applied literally to the interpretation of the look of letters in the analysis of character through handwriting, as indicated in an interchange with Watson early in The Sign of Four:
"What do you make of this fellow's scribble?"
"It is legible and regular," I answered. "A man of business habits and some force of character."
Holmes shook his head.
"Look at his long letters," he said. "They hardly rise above the common herd. That d might be an a, and that l an e. Men of character always differentiate their long letters, however illegibly they may write. There is vacillation in his k's and self-esteem in his capitals. (Doyle 1981, 96)
The work of rapid association and transposition which this can effect is suggested by the stream of Leopold Bloom's reflections in Joyce's Ulysses on occasions for advertisements, prompted by seeing a sign reading 'Kino's 11/- Trousers' on the side of a rowboat on the Liffey:
Because life is a stream. All kinds of places are good for ads. That quack doctor for the clap used to be stuck up in all the greenhouses. Never see it now. Strictly confidential. Dr Hy Franks. Didn't cost him a red like Maginni the dancing master self advertisement. Got fellows to stick them up or stick them up himself for that matter on the q. t. running in to loosen a button. Flybynight. Just the place too. POST NO BILLS. POST 110 PILLS. Some chap with a dose burning him. (Joyce 2008, 146)
The experience of modern life can come to be seen as a state of incessant address, a word which contains primary ideas of alignment, erection or setting upright, as when one dresses a piece of stone. The authority of the Times New Roman typeface, commissioned in 1929 from Stanley Morison, derives in large part from its imitation of the script incised on Trajan's triumphal column in Rome. The history of public proclamations depends upon the more or less enforced elevation of the eyes to what lies, not passively beneath one's gaze, but in front or above. Banners and placards are held above the head. It is not surprising that such proclamations should aspire to the greatest altitude of all, in the sky. Skywriting appeared for the first time on Derby Day 1922, when an aeroplane traced the words DAILY MAIL in the sky over Epsom, the feat being repeated the following day over Hyde Park and St Paul's. Advertising had moved into airspace long before this, with messages inscribed on balloons and airships, but this was the first attempt to use the imaginary space of the sky as an inscriptive surface. The feat was performed by Major Jack Savage, who had been a pilot with the Royal Naval Air Service during the War, and, by 1924, his air-advertising business would be employing seventeen pilots working across five countries (Taylor 2016, 755). This scene is much less well-known nowadays than its recapitulation in the opening chapter of Virginia Woolf's Mrs Dalloway, in which an advertising aeroplane draws the gazes of pedestrians in London's West End:
Suddenly Mrs. Coates looked up into the sky. The sound of an aeroplane bored ominously into the ears of the crowd. There it was coming over the trees, letting out white smoke from behind, which curled and twisted, actually writing something! making letters in the sky! Every one looked up. (Woolf 1992, 16)
J. Hillis Miller articulates a common response to this scene, which sees the letters as furnishing a principle of continuity in an otherwise multiplied and unstable social world:
Such transitions seem to suggest that the solid existing things of the external world unify the minds of separate persons because, though each person is trapped in his or her own mind and in his or her own private responses to external objects, nevertheless these disparate minds can all have responses, however different they may be, to the same event, for example to an airplane's skywriting. To this extent at least we all dwell in one world. (Miller 1982, 180)
And yet, of course, the reverse is also true. Far from being among the 'sold existing things of the external world' that bind us into a common experience of the world, it was apparent to all that, as The Times assured its readers in 1922, 'aerial advertisements cannot be written in indelible smoke' ('Sky Writing By Aircraft', 1922, 5). The letters of the skywriting aeroplane are cryptic, intermittent and literally vapid, and brought to intelligibility only through the itself intermittent act of reading undertaken by its spectators:
Dropping dead down the aeroplane soared straight up, curved in a loop, raced, sank, rose, and whatever it did, wherever it went, out fluttered behind it a thick ruffled bar of white smoke which curled and wreathed upon the sky in letters. But what letters? A C was it? an E, then an L? Only for a moment did they lie still; then they moved and melted and were rubbed out up in the sky, and the aeroplane shot further away and again, in a fresh space of sky, began writing a K, an E, a Y perhaps?
"Glaxo," said Mrs. Coates in a strained, awe-stricken voice, gazing straight up, and her baby, lying stiff and white in her arms, gazed straight up.
"Kreemo," murmured Mrs. Bletchley, like a sleep-walker. (Woolf 1992, 16)
The letters written against the sky blur into it, just as the act of inscribing letters blurs into the other elements of the scene that this opening chapter of Mrs Dalloway assembles, notably the mysterious car moving through the London streets:
It had gone; it was behind the clouds. There was no sound. The clouds to which the letters E, G, or L had attached themselves moved freely, as if destined to cross from West to East on a mission of the greatest importance which would never be revealed, and yet certainly so it was – a mission of the greatest importance. (Woolf 1992, 17)
Mission, transmission, emission and omission melt smokily together, the process of making up and making out letters forming a sort of mobile, impermanent bond, gluey and fluid at once, like toffee perhaps, in the act of collective making-legible, collectivity and collegiality being etymological kin.
The message written on the sky in the inaugural act of skywriting DAILY MAIL was in fact a wholly phatic one, since the product it advertised was in fact a newspaper, which had already become the modern world's most insistent vehicle for advertising messages. In its reporting of the event, the Daily Mail bragged that it was 'the largest advertisement the world has ever known" ('Writing on the Sky' 1922, 8). The message is accordingly here the medium, less a sign than a signature, the purpose of which is to signify its own making. This is made clear by the admiring account of the Daily Mail stunt published in the Illustrated London News, which produced a drawing of an imaginary display of the letters 'ILN' inscribed in smoke above the Houses of Parliament, along with a diagram of how the feat would be achieved (North 1999, 82-3). The inscription on the sky has the self-signifying quality that Michel Serres defines in the 'here lies' of the epitaph:
"Here lies" someone or other, a bandit, shepherd or king, earth in earth, ashes in black darkness, an autonomous or transposed ancestor, rapidly invisible since dissolved. What do his name, his quality, his lived body, his title – all endlessly substitutable – matter? For what lies, in fact, is the here … The universality of being, scattered in space, densifies, compacts, or is formed here, in this singular or quasi-defective space. (Serres 2015, 192)
Our contemporary preoccupation with the spectacles of commodity means that most commentators on the skywriting passage in Mrs Dalloway neglect the menace that is associated with the aeroplane. Vincent Sherry, who observes the strong associations between the advertising aeroplane and the recently concluded war – one of the most engaged observers being the veteran Septimus Smith (Sherry 2003, 265) – is one of the exceptions, while Paul K. Saint-Amour goes further in seeing in the aeroplane's 'embodiment of illegible alterity' the demand for 'an imperiled aerial reading' (Saint-Amour 2015, 115). In the screenplay for Things to Come H.G. Wells imagines the message 'SURRENDER' being written by aeroplanes in the sky (Wells 1935, 91). There is a long poetic history of making out battles in heaven in the form of cloud-masses; the aeronautical correspondent of The Times not only imagined the deployment of skywriting for propaganda purposes in war in 1922, he (presumably he) went as far as to suggest that not only would one be able to read the signs of combat in the air from smoke and vapour trails, there would be mechanical battles in and over those very signs:
[T]here can be no doubt that in the near future, generously developed, it might easily rival the tape-machine and wireless telegraphy for the dissemination of news. If one machine can write one or two words at an altitude of ten thousand feet, to be read by millions of people simultaneously, there is no reason why sentences should not be produced rapidly by a fleet of these machines … From the spelling out of a single word, or a single sentence, it is easy to foresee the stage long messages will be written by cooperating machines. Already several experiments have been made with the Morse code, and the purposes to which, over sea or land in wartime, such a system of communication might be put are clearly apparent. One can imagine, too. the sort of aerial conflict that would arise when, if the operating machines were not successfully attacked, efforts would be made to blot out their messages with heavy smoke clouds. The writing of misleading orders would offer a fascinating occupation to the imaginative, and the possibilities of the use of smoke writing for propaganda purposes over the enemy's lines would be considerable. ('Sky-writing by Aircraft' 1922, 5)
Where proponents of the art of skywriting emphasised its vast reach and legibility, the distinctive feature of Woolf's rendering of the skywriting is the fact that it embodies meaning in emergence, construal rather than apparence. It recalls a number of other such literary acts of letter-by-letter making out. One is Malvolio's reading of the letter he is deceived into thinking is from Olivia:
MALVOLIO: [Takes up letter.] By my life, this is my lady's hand these be her very c's, her u's and her t's and thus makes she her great p's. It is, in contempt of question, her hand… [Reads.] To the unknown beloved, this, and my good wishes. Her very phrases! By your leave, wax. Soft – and the impressure her Lucrece, with which she uses to seal. 'Tis my lady. (Shakespeare 2.5.80; 2008, 242)
Another analogue is to be found in Bleak House, a novel that is full of forms of cryptic signature and spelling out, in the performance of writing by the illiterate but lexically-avaricious Krook:
Richard and Ada, and Miss Jellyby, and the little old lady had gone by him, and I was going when he touched me on the arm to stay me, and chalked the letter J upon the wall – in a very curious manner, beginning with the end of the letter and shaping it backward. It was a capital letter, not a printed one, but just such a letter as any clerk in Messrs Kenge and Carboy's office would have made.
'Can you read it?' he asked me with a keen glance.
'Surely,' said I. 'It's very plain.'
'What is it?'
'J.'
With another glance at me, and a glance at the door, he rubbed it out and turned an a in its place (not a capital letter this time), and said, 'What's that?'
I told him. He then rubbed that out and turned the letter r, and asked me the same question. He went on quickly until he had formed in the same curious manner, beginning at the ends and bottoms of the letters, the word JARNDYCE, without once leaving two letters on the wall together.
'What does that spell?' he asked me.
When I told him, he laughed. In the same odd way, yet with the same rapidity, he then produced singly, and rubbed out singly, the letters forming the words BLEAK HOUSE. These, in some astonishment, I also read; and he laughed again.
'Hi!' said the old man, laying aside the chalk, 'I have a turn for copying from memory, you see, miss, though I can neither read nor write.' (Dickens 1972, 106-7)
In an astonishing act of machine-writing and machine-reading, Krook writes out the name of the very novel he inhabits, using the very matter of letters of which he is made (and ultimately unmade). Krook's spelling-out alternates ostension and concealment, like the enigmatic words MENE, MENE, TEKEL, PARSIN inscribed on the wall during Belshazzar's Feast (Daniel 5.25). It is not so much signification as signalling, in the form in which it was adopted in Morse code and ouija boards alike. Public reading often involves this kind of cryptic insistence of the letter, which decomposes words into their written elements, making visible the material forms which must ordinarily be kept invisible, or rather unapparent, as they are 'read through' in the act of reading.
The fact that its central character is a canvasser of advertisements helps make Joyce's Ulysses as alive to the mobile materiality of writing as Bleak House, and nowhere more so than in the ambulant forms of the sandwichboard men advertising the stationer Hely's. As with the skywriting in Mrs Dalloway, the contingencies of city life threaten all the time to decompose the word that the marching men collectively compose:
A procession of whitesmocked sandwichmen marched slowly towards him along the gutter, scarlet sashes across their boards. Bargains. Like that priest they are this morning: we have sinned: we have suffered. He read the scarlet letters on their five tall white hats: H. E. L. Y. S. Wisdom Hely's. Y lagging behind drew a chunk of bread from under his foreboard, crammed it into his mouth and munched as he walked… He crossed Westmoreland street when apostrophe S had plodded by. (Joyce 2008, 147-8)
The apostrophe of public display always seems to involve some apotropaic averting (apostrophe and apotropaism both derive from ἀπό away + στρέϕειν to turn) in its address, some conspicuous yet cryptic elision or illegibility amid the apparence. If this is a reading which resists or repels immediate understanding, it also, by that very token invites it, the text becoming a riddle or rebus which draws readers in, or draws viewing subjects into the act of reading and so into the condition of readers. The Skywriting Corporation established in 1923 in America by Allan J. Cameron and Leroy Van Patten launched a skywriting campaign for Lucky Strike cigarettes, inditing the slogan 'L S M F T' (Lucky Strike Means Fine Tobacco) across American skies. Reading here is not something you do exactly, so much as something done to, through or with you; the medium works by means of you. Bloom recognises the animating itch of curiosity in his idea for a writing-based advertising spectacle:
I suggested to him about a transparent showcart with two smart girls sitting inside writing letters, copybooks, envelopes, blotting paper. I bet that would have caught on. Smart girls writing something catch the eye at once. Everyone dying to know what she's writing. Get twenty of them round you if you stare at nothing. (Joyce 2008, 147)
Cars and aeroplanes are not the only means of vehiculating the word. Almost every device for putting things and persons in motion, trains, automobiles, escalators, and elevators, suggested new modes of display, advice, warning and instruction. Words could either occupy and stabilise the reading eye during transit or, with the development of ticker-tape displays and kinetic neon signs, could impart motion to writing and reading, in what Michael North has called 'a literal cinematography', or 'logocinema' (North 2005, 73, 66) The first road signs were milestones, which often, like epitaphs, encouraged the traveller to pause and reflect. With the development of road-markings in the early twentieth century, accompanying and regulating the growth of motor vehicles, the lines on the road came more and more to make it rather than merely mark it out.
Robbie Moore suggests that the stock-market ticker-tape produced a new reading practice, one that, however, could never quite be practised in any reading present:
The reader of the ticker looked for the relations between ticks, seeking not a discrete piece of information but a direction, a pattern. It was a reading practice which yearned towards the future, a reading practice whose ultimate goal was not to understand the message sent, but to anticipate the message yet to be sent. (Moore 2016, 138)
The reading machinery of public displays is anticipated and mirrored by the device known as 'The Readies' invented by Bob Brown in the early 1930s. Brown anticipates the dematerialisation of the word in contemporary reading devices, with his reading machine, which is essentially a device for scrolling words in a line across the visual field of a reader. His hope was that words might eventually be 'recorded directly on the palpitating ether' (Brown 1930, 40).
The word "readies" suggests to me a moving type spectacle, reading at the speed-rate of the day with the aid of a machine, a method of enjoying literature in a manner as up-to-date as the lively talkies. In selecting the "The Readies' as title for what I have to say about modern reading and writing I hope to catch the reader in a receptive progressive mood. I ask him to forget for the moment the existing medievalism of the BOOK (God bless it, it's staggering on its last leg and about to fall) as a conveyer of reading matter. I request the reader to fix his mental eye for a moment on the ever-present future and contemplate a reading machine which will revitalize his interest in the Optical Art of Writing. (Brown 1930, 27)
Brown promised that his machine would not only make traditional kinds of reading easier and more convenient, but would also help in the development of a new kind of reading. This would be a reading which would be purged of the implication of soliloquy or subvocal sonority. The dedication of Brown's 1930 book The Readies is 'TO ALL EYE-WRITERS AND ALL READERS WHO WANT AN EYEFUL' (Brown 1930, n.p.), and Brown proposed a model of the unreeling tape to replace that of the interior monologue:
Why wasn't there a man-made machine like the running tape-of-thought device in the mind which would carry words endlessly to all reading eyes in one unbroken line, a reading machine as rapid and refreshing as thought, to take the place of the antiquated word-dribbling book? (Brown 1931, 168)
Brown's optical reading may be regarded as the obverse or even adversary of the epitaph-like close reading being developed in Cambridge as a remedy for the superficiality and automatism of mass media. For the kind of reading that was made both possible and necessary by Brown's Reading Machine starts to erode the idea of reading as an action consciously performed by a reader on an object. Rather, it resembles the automatic reading with which Gertrude Stein experimented when a psychology student at Harvard (Solomons and Stein 1896). 'I was almost a book myself', wrote Bob Brown (Brown 1931, 154). The avant-garde and experimental texts that Brown assembled as specimens for his reading machine seem in some sense closely entrained with the diffractive and distractive yet curiously insistent reading practices made common in the modern world. Indeed, Brown makes the connection explicit between his mooted reading machine, and the avant-garde experiences of text in motion it stimulated, and these newly-familiar reading experiences:
We are familiar with news and advertisements reeling off before our eyes in huge illuminated letters from the [t]ops of corner buildings, and smaller propaganda machines tick off tales of commercial prowess before our eyes in shop windows. All that is needed is to bring these electric street signs down to the ground, move the show-window reading device into the library, living and bed-rooms by reducing the size of the letter photographically and refining it to the need of an intimate, handy portable, rapid reading conveyor. (Brown 1930, 33)
One of the most important symptoms and outcomes of the intensification of public reading has been the increase in sensitivity to the effect of typefaces. In the first centuries of printing, the varieties of typeface were very limited and slow to evolve, meaning that their materiality had little chance to mingle with and inflect meaning and response. The explosion and prodigious variability of typographic form during the twentieth century, and especially in the era of word-processing, which made different fonts and faces easily available to writers as well as readers, has produced something like a psychotypographic complex among readers, allowing the look of letters has come to be ever more constitutive of their meaning, tonality and effect.
Perhaps the most important and intense psychotypographic force is wielded, not by any particular typeface, but by what is known, from the arrangement of the compositor's box, as the upper case. Majuscule, or capital letters were stored in the upper case because they were needed much less often than lower case letters, on a ratio of around 1 to 5, and their meaning derives in part from this relative rarity. Capitals break into the continuity of words, to signify the structural as well as semantic functions of language. They mark the beginnings of sentences, and therefore express the sense or force of sense, the haec, hic and nunc of signification, as well as signifying certain kinds of special importance, above all religious, but also political and social. That is, like Serres's here lies, they signify the fact of signification itself. When used on their own, capitals signify the imperative and the imperious, embodying urgency, prerogative and demand. Capitals are seldom cursive, and can usually be constructed through a combination of straight lines, vertical, horizontal and diagonal. As such, and given the fact that they are much easier to engrave than cursive letter-forms, they suggest the monumental, the impersonal and the mechanical. Only the most skilful or vainglorious pilot would ever attempt copperplate skywriting, or a seriffed font. Capitals suggest both the power needed to overcome the resistance of stone and the cruelty of that which may be incised into flesh, as in the capitals seared simultaneously into the text of Samuel Beckett's How It Is along and into the helpless posterior of Pim. The names of corporations and institutions are formed from acronymic sequences of capital letters. The force of capital letters actually resists and decomposes word formation, as suggested by the punitive or domineering function of certain capital letters, like Nathanial Hawthorne's scarlet A, Pauline Réage's subordinated O, Fritz Lang's and Ian Fleming's M, or the power encoded in words like H-bomb or G-spot. Where magical rituals employ writing, they will usually be in the form of capital letters, which allow and demand what we call 'spelling out'.
Because they signify this impersonal and mechanical power of signification, capitals have a particular attraction for those susceptible to word-magic, like psychotics, visionaries, stroke victims and poets. Most of us understand well enough that you should only open an email the subject-line of which is typed in capitals if you are an aficionado of death threats and paranoid ravings. In that the upper case signifies the abstractly public and perhaps machine-like dimensions of language – Lacan's 'big Other' (Lacan 1991, 236) – this represents the attempt to make private and public utterance, declaration and inscription, blend. The effacement of capitals, by contrast, and especially the demotion of the most commanding capital of all, the I, enacts a kindergarten imposture of informality, vulnerable sensitivity, expressive spontaneity and democratic nondomination.
The capital letter is an emblem of the capitality of the letter as such, the autonomous power of the glyphic that comes from its power to constitute and exceed its occasion, a capitalisation founded on decapitation. We live in an era of machine-reading, in which we have not only taught machines to read, but learned to read more and more of the mechanism of our own reading. The visual clamour of the world, whether on the street or in the wilderness, breaks in constantly on the Hieronymic seclusion of the reader, sunk in his book, myopically averting the world's advertisement, lions, scorpions, dancing girls. For now, in a world in which there is only code, the world itself appears to be engaged in the work of attention-theft, reading itself out loud:
Things are also symbols. There is more than chemistry in chemistry. Why does this element react or not in the presence of some other element? Why does it choose it in this way? What 'faculty' in it makes election? Large masses write, molecules read. And, even more then inert matter, living matter writes, reads, decides, chooses, reacts – one would have thought it long endowed with intentions. An hour of biochemistry will quickly persuade one of the refined shrewdness of proteins. (Serres 2003, 73; my translation)
In this perspective, our own modes of reading, and our reading of our own acts of reading, may seem more than ever a kind of dialect, constituting the 'mediation between the world and the world' (Serres 2003, 70; my translation), the way, or a way, for the world to read itself into being.
Bagehot, Walter (1915). The Works and Life of Walter Bagehot. Ed. Mrs Russell Barrington. 10 Vols. London: Longman's, Green and Co.
Brown, Bob (1930). The Readies. Bad Ems: Roving Eye Press.
————- (1931). Readies for Bob Brown's Machine. Cagnes-sur-Mer: Roving Eye Press.
Carroll, Lewis (1982). Alice's Adventures in Wonderland and Through the Looking Glass and What Alice Found There. Ed Roger Lancelyn Green. Oxford: Oxford University Press.
Collins, Wilkie (2004). No Name. Ed. Mark Ford: London: Penguin.
Dickens, Charles (1972). Bleak House. Ed. Norman Page. Bleak House. Harmondsworth: Penguin.
—————— (1995). Sketches by Boz. Ed. Dennis Walder. London: Penguin.
—————— (2003). Great Expectations. Ed. Charlotte Mitchell. London: Penguin.
Doyle, Arthur Conan (1981). The Penguin Complete Sherlock Holmes. London: Penguin.
Forster, John (1876). The Life of Charles Dickens. 2 Vols. London: Chapman and Hall.
Hopkins, Gerard Manley (1970). The Poems of Gerard Manley Hopkins. 4th edn. Ed. W.H. Gardner and N.H. MacKenzie. London: Oxford University Press.
Joyce, James (2008). Ulysses. Ed. Jeri Johnson. Oxford: Oxford University Press.
Lacan, Jacques (1991). The Seminar of Jacques Lacan. Book II: The Ego in Freud's Theory and in the Technique of Psychoanalysis 1954-55. Ed. Jacques-Alain Miller. Trans. Sylvana Tomaselli. New York: W.W. Norton
Miller, J. Hillis (1982). Fiction and Repetition: Seven English Novels. Cambridge MA: Harvard University Press.
Moore, Robbie (2016). 'Ticker Tape and the Superhuman Reader.' In Writing, Medium, Machine: Modern Technographies, ed. David Trotter and Sean Pryor (London: Open Humanities Press), 137-52
North, Michael (1999). Reading 1922: A Return to the Scene of the Modern. New York: Oxford University Press.
—————- (2005). Camera Works: Photography and the Twentieth-Century Word. Oxford: Oxford University Press.
Ruskin, John (1906). Modern Painters. Vol 3: Of Many Things. London: George Allen.
Shakespeare, William (2008). Twelfth Night, or What You Will. Ed. Keir Elam. London: Arden Shakespeare.
Saint-Amour, Paul K. (2015). Tense Future: Modernism, Total War, Encyclopedic Form. Oxford: Oxford University Press.
Serres, Michel (2011). Malfeasance: Appropriation through Pollution? Trans. Anne-Marie Feenberg-Dibon. Stanford: Stanford University Press.
————— (2003). L'Incandescent. Paris: Le Pommier.
————— (2015). Statues: The Second Book of Foundations. Trans. Randolph Burks. London: Bloomsbury.
Sherry, Vincent (2003). The Great War and the Language of Modernism. Oxford: Oxford University Press.
'Sky Writing By Aircraft: Wide Scope in War and Peace' (1922). The Times (18th August), 5.
Solomons, Leon M. and Gertrude Stein (1896). 'Normal Motor Automatism.' Psychological Review, 3, 492-512.
Taylor, James (2016). 'Written in the Skies: Advertising, Technology and Modernity in Britain since 1885.' Journal of British Studies, 55, 750-80
Trotter, David (2013). Literature in the First Media Age: Britain Between the Wars. Cambridge MA: Harvard University Press.
Wells, H.G. (1935). Things to Come. London: Cresset Press.
Woolf, Virginia (1992). Mrs Dalloway. Ed. G. Patton Wright. London: Vintage.
'Writing on the Sky.' (1922). Daily Mail (1st June), 7-8.


I want to keep this post short seeing as how everyone is busy studying for final exams. I can't believe how quickly this term has passed. It only seems like yesterday that I was trying to be a tree, didn't know what a CAN was, and was a foreigner to the concept of studying on a Friday night.
But the term is over, and that means exams are coming, seemingly with an extra-large side of stress. We've had 'We Love Law Students' week with cookies, free massages and puppy therapy, which is such a wonderful effort by UBC Law's amazing staff and faculty to take care of us. Going off of that theme, I want to use this post not just to wish everyone a good exam season, but also as a reminder not to stress out too much. This is mainly directed at 1Ls, but if you are a 2L or 3L reading a mere mortal of a 1L's blog post, you are awesome and I am giving you a virtual hug.
Here are some of the phrases I've heard about law school/finals this past week or so: hell, stressful!, like being punched in the head every day, I wake up in the middle of the night because of stress, I can't sleep, there is no time to do well!, toxic levels of studying… and other phrases which demonstrate too well the versatility of a certain expletive. Even one of our professors commented that this year the level of 1L stress seems to be higher than normal. I have friends in medical school who are learning how not to accidentally kill people who stress less than some law students.
Your health > your marks | marks are NOT determinative/necessarily reflective of: intelligence, amount of hard work you've put in during the year, ambitions, or future success as a lawyer.
I may be the worst offender myself sometimes, but my best stress reduction technique is to keep things in perspective. If I feel overwhelmed, I stop and think: If I went to bed last night with a full stomach and a roof over my head, I'm better off than a massive portion of humanity, past and present, and my stresses are relatively minimal. So, take a breath and slow down. Try to balance your day of studying with breaks, physical activity, time with family, friends, pets, and don't let stress get the better of you. We're almost there!
This entry was posted in Uncategorized on April 8, 2013 by Negar J..
As I'm buckling down to write 1L final exams, I realize that a year ago around this time, I was gearing up for my summer before law school. Prospective students may be in a state of curiosity about how to prepare for 1L, as I was, so I decided to share some suggestions in case you feel inclined to do some pre-law preparation (if you don't, see number 5).
1. I didn't do any pre-law reading. I know of a couple peers who read Getting to Maybe: How to Excel on Law School Exams by Fischl and Paul. They said it was kind of helpful in getting a sense of what to expect from classes. My recommendation would be to get your non-law reading done this summer. You might find catching up with Game of Thrones installments more difficult once classes start.
2. Consider investing in a suit. Even if you see yourself as being more of a Vinny Gambini type of lawyer (reference: My Cousin Vinny. If you haven't seen this movie, you may want to add it to your docket), a suit will still be handy to have for networking events, formal dinners, or interviews.
3. Having a laptop might make life easier. In undergrad, I was a strict pen-and-paper note taker, but I find a laptop handy because I type faster than I write, and law professors impart a lot of knowledge in a short amount of time. Also, you have an option of writing exams on your laptop at UBC Law.
4. I would also encourage you to speak to our super-friendly UBC Law Student Ambassadors if you have questions as a prospective or admitted UBC Law student (click here).
5. Have fun! Do something interesting this summer! I worked my whole summer before law school, and while I don't regret it, I envied peers who went on fun escapades the summer before law school and had amazing stories to tell during Orientation Week.
This entry was posted in Uncategorized on April 2, 2013 by beverlyma.


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Grimmfest 2020
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12th Mar2020
'IT: Chapter 2' Blu-ray Review
by Chris Thomas
Stars: Jessica Chastain, James McAvoy, Bill Hader, Isaiah Mustafa, Jay Ryan, James Ransone, Andy Bean, Bill Skarsgård | Written by Gary Dauberman | Directed by Andy Muschietti When I was about 10 I had a friend whose parents really didn't seem too bothered what he got up to. I remember thinking at the time how […]
Category : Movies, Reviews
Tags : Andy Bean, Andy Muschietti, Bill Hader, Bill Skarsgård, Gary Dauberman, Isaiah Mustafa, It Chapter 2, James McAvoy, James Ransone, Jay Ryan, Jessica Chastain, Review
06th Sep2019
'It Chapter 2' Review
07th Jun2019
'X-Men: Dark Phoenix' Review
by Jak-Luke Sharp
Stars: James McAvoy, Michael Fassbender, Jennifer Lawrence, Nicholas Hoult, Sophie Turner, Tye Sheridan, Alexandra Shipp, Evan Peters, Kodi Smit-McPhee, Jessica Chastain, Halston Sage | Written and Directed by Simon Kinberg X-Men: Dark Phoenix holds two distinct records on its quiet and understated release. Firstly, it stands as the directorial debut for franchise writer and producer […]
Tags : Alexandra Shipp, Evan Peters, Halston Sage, James McAvoy, Jennifer Lawrence, Jessica Chastain, Kodi Smit-Mcphee, Michael Fassbender, Nicholas Hoult, Review, Simon Kinberg, Sophie Turner, Tye Sheridan, X-Men: Dark Phoenix
17th Apr2019
Final trailer for 'X-Men: Dark Phoenix'
by Phil Wheat
Check out the [apparently] final trailer for the next instalment in the X-Men movie franchise, entitled X-Men: Dark Phoenix which features the characters Jean Grey (Sophie Turner), Scott Summers/Cyclops (Tye Sheridan), Erik Lehnsherr/Magneto (Michael Fassbender), Charles Xavier (James McAvoy), Beast (Nicholas Hoult), Quicksilver (Evan Peters) and actress Jessica Chastain, whose villainous character is described as […]
Category : Movies, News
Tags : Evan Peters, James McAvoy, Jessica Chastain, Michael Fassbender, Nicholas Hoult, Sophie Turner, Tye Sheridan, x-men, X-Men: Dark Phoenix
20th Nov2018
'The Tree of Life' Blu-ray Review (Criterion)
by Rupert Harvey
Stars: Brad Pitt, Jessica Chastain, Sean Penn, Hunter McCracken, Laramie Eppler, Tye Sheridan | Written and Directed by Terrence Malick Present day, and a late-middle-aged Jack O'Brien (Sean Penn) is stalking his plush modernist house in a state of numbness. He is materially successful, but he's still grieving for his brother, who died aged 19. […]
Tags : Blu-ray, Brad Pitt, Criterion, Criterion Collection, Hunter McCracken, Jessica Chastain, Laramie Eppler, Review, Sean Penn, Terrence Malick, The Tree of Life, Tye Sheridan
03rd Jan2018
Four more images from 'X-Men: Dark Phoenix'
Originally debuted in Entertainment Weekly, here's four new images from the next instalment in the X-Men movie franchise, entitled X-Men: Dark Phoenix which features the characters Jean Grey (Sophie Turner), Scott Summers/Cyclops (Tye Sheridan), Erik Lehnsherr/Magneto (Michael Fassbender), Charles Xavier (James McAvoy), and actress Jessica Chastain, whose villainous character is described as "an otherworldly shapeshifter […]
Tags : James McAvoy, Jessica Chastain, Michael Fassbender, Sophie Turner, Tye Sheridan, x-men, X-Men: Dark Phoenix
27th Dec2017
Four new images from 'X-Men: Dark Phoenix'
Coming courtesy of Empire latest issue, here's four new images from the next instalment in the X-Men movie franchise, entitled X-Men: Dark Phoenix featuring Jean Grey (Sophie Turner), Scott Summers/Cyclops (Tye Sheridan), Erik Lehnsherr/Magneto (Michael Fassbender), Charles Xavier (James McAvoy), and Jessica Chastain… After the X-Men team is dispatched to space for a rescue mission, […]
'The Huntsman: Winter's War' Review
by Paul Metcalf
Stars: Chris Hemsworth, Jessica Chastain, Charlize Theron, Emily Blunt, Nick Frost, Rob Brydon, Sheridan Smith, Alexandra Roach, Sope Dirisu, Sam Hazeldine, Sam Claflin | Written by Evan Spiliotopoulos, Craig Mazin | Directed by Cedric Nicolas-Troyan Looking back at Snow White and the Huntsman, I remember liking it but the movie itself was overshadowed by the […]
Tags : Alexandra Roach, Cedric Nicolas-Troyan, Charlize Theron, Chris Hemsworth, Craig Mazin, Emily Blunt, Evan Spiliotopoulos, Jessica Chastain, Nick Frost, Review, Rob Brydon, Sam Claflin, Sam Hazeldine, Sheridan Smith, Sope Dirisu, The Huntsman: Winter's War
25th Feb2016
New poster for 'The Huntsman: Winter's War'
Check out the brand new one-sheet poster for Universal Pictures' fantastical epic dark fairy tale, The Huntsman: Winter's War which stars Charlize Theron, Emily Blunt, Chris Hemsworth and Jessica Chastain. The fantastical world of Snow White and the Huntsman expands to reveal how the fates of The Huntsman Eric and Queen Ravenna are deeply and […]
Tags : Cedric Nicolas-Troyan, Charlize Theron, Chris Hemsworth, Emily Blunt, Jessica Chastain, Poster, The Huntsman, The Huntsman: Winter's War
21st Feb2016
'Crimson Peak' DVD Review
Stars: Mia Wasikowska, Jessica Chastain, Tom Hiddleston, Charlie Hunnam, Jim Beaver | Written and Directed by Guillermo del Toro For any horror fan, having a film described as "A Gothic ghost story directed by Guillermo del Toro" will sell it to them in an instant. While some may be disappointed when they discover this is […]
Tags : Charlie Hunnam, Crimson Peak, DVD, Guillermo del Toro, Jessica Chastain, Jim Beaver, Mia Wasikowska, Review, Tom Hiddleston
New trailer for 'The Huntsman: Winter's War'
Here's the latest trailer for Universal Pictures' fantastical epic dark fairy tale, The Huntsman: Winter's War which stars Charlize Theron, Emily Blunt, Chris Hemsworth and Jessica Chastain. The Huntsman: Winter's War is released in UK cinemas on April 8th 2016. The fantastical world of Snow White and the Huntsman expands to reveal how the fates of […]
Tags : Cedric Nicolas-Troyan, Charlize Theron, Chris Hemsworth, Emily Blunt, Jessica Chastain, The Huntsman, The Huntsman: Winter's War
Four characters posters for 'The Huntsman: Winter's War'
Here's your first look at four new character posters from Universal Pictures' action-packed dark fairytale directed by Cedric Nicolas-Troyan, The Huntsman: Winter's War, including: Charlize Theron as The Wicked Queen; Emily Blunt as The Ice Queen; Jessica Chastain as The Warrior; and as the titular Huntsman. Long before the evil Queen Ravenna (Theron) was thought […]
15th Oct2015
'Crimson Peak' Review
by Jack Kirby
Stars: Mia Wasikowska, Jessica Chastain, Tom Hiddleston, Charlie Hunnam, Jim Beaver | Written and Directed by Guillermo del Toro In Crimson Peak, Mia Wasikowska plays Edith, a young American writer living in the late 1800s with her industrialist father (Jim Beaver). He is approached by Tom Hiddleston's English gentleman Sir Thomas Sharpe to invest in […]
Tags : Charlie Hunnam, Crimson Peak, Guillermo del Toro, Jessica Chastain, Jim Beaver, Mia Wasikowska, Review, Tom Hiddleston
20th May2015
'A Most Violent Year' Review
Stars: Oscar Isaac, Jessica Chastain, David Oyelowo, Elyes Gabel, Lorna Pruce, Christopher Abbott, Matthew Maher, Albert Brooks, Jerry Adler, Quinn Meyers, Chester Jones, Ashley Williams, Glenn Fleshler, Jimmy Palumbo, Daisy Tahan | Written and Directed by J.C. Chandor There are some movies that you come away from knowing that you liked it, loved the way […]
Tags : A Most Violent Year, Albert Brooks, Ashley Williams, Chester Jones, christopher abbott, Daisy Tahan, David Oyelowo, DVD, Elyes Gabel, Glenn Fleshler, J.C. Chandor, Jerry Adler, Jessica Chastain, Jimmy Palumbo, Lorna Pruce, Matthew Maher, Oscar Isaac, Quinn Meyers, Review
'Interstellar' Review
by Ian Loring
Stars: Matthew McConaughey, Anne Hathaway, Jessica Chastain, Mackenzie Foy, Ellen Burstyn, John Lithgow, Timothée Chalamet, Francis X. McCarthy, Wes Bentley, William Devane, Michael Caine, Casey Affleck, David Gayasi | Written by Christopher Nolan, Jonathan Nolan | Directed by Christopher Nolan The prospect of reviewing Interstellar is an interesting one. The basic idea of reading a review […]
Tags : Anne Hathaway, Casey Affleck, Christopher Nolan, David Gayas, Ellen Burstyn, Francis X. McCarthy, Interstellar, Jessica Chastain, John Lithgow, Jonathan Nolan, Mackenzie Foy, Matthew McConaughey, Michael Caine, Review, Timothée Chalamet, Wes Bentley, William Devane
'Mama' Review
Stars: Jessica Chastain, Nikolaj Coster-Waldau, Megan Charpentier | Written by Neil Cross, Andrés Muschietti, Barbara Muschietti | Directed by Andrés Muschietti In preparation for watching Mama, I caught up with The Orphanage, the logic being that both come under the 'presented by Guillermo del Toro' horror label, are directed by Spanish filmmakers and both deal […]
Tags : Andrés Muschietti, DVD, Guillermo del Toro, Jessica Chastain, Mama, Megan Charpentier, Nikolaj Coster-Waldau, Review
'Zero Dark Thirty' Review
by Dan Clark
Stars: Jessica Chastain, Mark Strong, Joel Edgerton, Harold Perrineau, Jason Clarke, Kyle Chandler | Written by Mark Boal | Directed by Kathryn Bigelow Certain imperative moments in history have redefined the makings of generations. Their influence is so immense they forever shift political, social, and economical reasoning. Most recently we have seen this occur with […]
Tags : Harold Perrineau, Jason Clarke, Jessica Chastain, Joel Edgerton, Kathryn Bigelow, Kyle Chandler, Mark Strong, Review, Zero Dark Thirty
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The range of services offered by the car garage in Walsall you buy can be diverse. For instance, you might want to offer a car wash service. So get started with your car garage for sale in Walsall search, keeping this in mind.


Children's Class: £4 per session, due termly in advance.
Info: Please bring your own ukulele. All materials are provided.
Why join a Ukulele class at Eden Blue?
The lessons are as practically based as possible. All chords/scales learnt are applied to songs/tunes as early as possible.
Any theory taught is applied in a realistic and understandable way.
For experienced players who need to develop their understanding and skills, the teachers can give you the tools to be able to progress further down the path to greater musical expression and enjoyment.
Learn to play the ukulele!
These popular group ukulele sessions are perfect for anyone who loves to play the ukulele and would like to improve their skills, gain expert tuition and play alongside others. You will learn to play a wide selection of songs from pop, folk, world, jazz, blues and more! The group ukulele class usually performs at the Winter and Summer concert, accompanied by Eden Blue vocalists. All music lessons are tailored to suit the needs and wishes of the group. Students must bring their own ukulele to the class.
Bruce is a professional musician with over 30 years experience playing around Britain and the rest of the world. He has played with several Jazz, Blues, Soul, Funk, Folk and World music bands. Bruce has also made appearances on both radio and television. Bruce has taught at the Guildhall School of Music & Drama Summer School for the past 25 years and also teaches music at Chichester College.
Bruce has toured with many bands including a world tour with The Ukulele Orchestra of Great Britain. He has also recorded albums for various singer/songwriters and plays with different bands around the country.
Emmanuel has been playing the ukulele and mandolin for many years and is currently a member of the Eden Blue Folk Group. He provides students with the confidence and fundamental skills to play chords and basic tunes, helping you to develop your playing ability.


"This will be a location where the community can connect with Healthy Places," explained Emily Neischburg, Executive Director, during a mid-day lunch and snack break held for local residents on Thursday, April 16. "Our location will be a visible reminder of what we want to accomplish and a place where residents or visitors can develop some new ideas for an active, healthier lifestyle," she added.
A full open house coincided with the Lamar Merchants Spring Fling on Friday, April 17 which featured downtown sales, games and prizes for shoppers, plus open house events for two downtown businesses, Vendors Gallery and Diana Lynn Fashion.


Lomaira™ (phentermine hydrochloride USP) 8 mg tablets, CIV, is an FDA-approved prescription medicine that can be used for a short period of time (a few weeks) for weight reduction and should be used together with regular exercise and a reduced-calorie diet.
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12th April 2019 Jemma Green
Sparking Connections, Creating Change
Sticky Post By Jemma Green On 12th April 2019
Breaking the status quo / Partnerships / Making Connections
In the opening keynote we will be exploring how people create connections to find new ways of doing. How do you get out of your comfort zone to try something different? How can we break away from patterned thinking and the status quo? How can we open ourselves up as organisations towards different partnerships and audiences?
Join us to consider how rewiring our thinking and our organisations can have huge impact.
View more information on AMA conference 2019 and book your place.
Rinkoo Barpaga | Theatre-maker, Film Maker & Comedian
Rinkoo is a Deaf British born Theatre-Maker, who uses British and urban sign language.
Throughout his 15-year career he has been involved in media creation and has worked for the BBC, ITV, MTV as well as independent media productions.  He is also involved in stand-up comedy, which he developed in New York.
Rinkoo is currently a theatre-maker and has produced his one-man show, 'Made in India Britain' which was showcased at Birmingham Rep.
Tobi Kyeremateng | Cultural Producer | Black Ticket Project
Tobi is a Cultural Producer specialising in theatre, events & festivals and film. She has worked with organisations such as Bush Theatre, Apples and Snakes, Old Vic Theatre, Battersea Arts Centre and more.
In 2018, she founded Black Ticket Project – a temporary initiative creating access to theatre for Black young people with low arts engagement.
Richert Schnorr | Director of Digital Media for Communications and Marketing | New York Public Library
Richert Schnorr is the Director of Digital Media for Communications and Marketing at the New York Public Library. He oversees the Library's podcasting and video programs while contributing to social media campaigns and other digital products. He received his MFA at Parsons the New School for Design and has been with the Library since 2011
Dawinder Bansal | Producer and Artist
Dawinder Bansal is an award-winning British producer and artist. She has a track record of creating brand new stage shows and immersive art installations by weaving South Asian cultural heritage and contemporary stories into her work.
Read Dawinder's full biography.
Alan Lane | Artistic Director | Slung Low
Alan Lane is Artistic Director at Slung Low. Founded in 2000 Slung Low is an award-winning theatre company specialising in making epic productions in non-theatre spaces, often with large community performance companies at their heart.
Read Alan's full biography.
Sparking Connections, Creating Change June 17th, 2019Jemma Green


84 How do I handle my players killing things by catapulting a folding boat?
25 Can you become Ethereal in the Outer Planes?
16 What is the term for an accessible character that knows nothing?
14 What fuzzy hashing algorithms exist?
13 How do you simplify a log with an exponent in the base?


LOS ANGELES - The second-seeded USC men's tennis team defeated 32nd-ranked and conference-foe California, 4-1, in the second round of the NCAA Tournament on Sunday afternoon at Marks Tennis Stadium. With the win, the Trojans move into the Round of 16 to face Arkansas on Saturday, May 22, at the Michael D. Case Tennis Center in Tulsa, Okla. Times have yet to be determined.
The Golden Bears complete their season with a 8-17 overall record. USC improves to 21-3.
The Trojans took control early in the match with strong play at No. 2 and 3 doubles. Daniel Langre and Drew Hoskins, and Parker Collins and Ruben Torres each played outstanding matches to get past their opponents, 8-2 and 8-4, and secure the doubles point. The center court match was suspended just as USC's Adriano Biasella and Johan Berg were mounting a comeback against Cal's sixth-ranked duo of Patrick Briaud and BalazsVeress.
Jamil Al-Agba kicked-off singles play for the Trojans with a 6-1, 6-3 victory over the higher-ranked Veress at the No. 2 spot. Shortly after, Wayne Wong gave Cal its first and only point of the match with a 6-4, 6-4 decision over Biasella at No. 1.
The Bears pushed USC for the final two points. After earning a 6-3 win in the first set, Berg was forced to win the second set in a breaker, for a final 6-3, 7-6 victory. Langre, who claimed a 7-6 win in the breaker in the first set, blanked Briaud in the second set to give USC a 7-6, 6-0 match-clinching victory at court four.
NCAA Men's Tennis Second Round - Los Angeles, Calif.


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Crash in Ohio shows risk, thrill of wing walking
Pilot, performer who died loved jobs, friends say
By Amanda Lee Myers Associated Press,June 24, 2013, 12:00 a.m.
Jane Wicker and Charlie Schwenker were killed Saturday in a fiery plane crash in Dayton, Ohio. Investigators said Sunday that it was too early to rule anything out as the cause.Thanh V. Tran/Associated Press
CINCINNATI — Risking death every time they go to work, wing walkers need courage, poise, a healthy craving for adrenaline, and, most importantly, they need to be meticulously exacting with every step they take on the small planes that carry them past dazzled crowds at speeds up to 130 miles per hour.
Jane Wicker fit that bill, her friends and colleagues in the air show industry said Sunday.
Wicker, 44, and pilot Charlie Schwenker, 64, were killed Saturday in a fiery plane crash captured on video at a southwestern Ohio air show and witnessed by thousands. The cause of the crash is not yet known.
Jason Aguilera, the National Transportation Safety Board investigator leading the crash inquiry, said Sunday that it was too early to rule anything out and that the agency would issue its findings in six months to a year.
Wicker, a mother of two teenage boys and recently engaged, sat helplessly on the plane's wing as the aircraft suddenly turned and slammed into the ground, exploding on impact and stunning the crowd at the Vectren Air Show near Dayton.
The show closed shortly afterward but reopened Sunday, with a moment of silence for the victims.
The crash drew attention to the rarefied profession of wing walking, which began in the 1920s in the barnstorming era of air shows after World War I.
The practice fell off the middle of the 20th century but picked back up again in the 1970s. Still, there are only about a dozen wing walkers in the United States, said John Cudahy, president of the Leesburg, Va.-based International Council of Air Shows.
Teresa Stokes of Houston said she has been wing walking for the past 25 years and does a couple dozen shows every year.
The job mostly requires being in shape to climb around the plane while battling winds, she said.
''It's like running a marathon in a hurricane,'' Stokes said. ''When you're watching from the ground it looks pretty graceful, but up there, it's happening very fast and it's high energy and I'm really moving fast against hurricane-force winds.''
Stokes, an aerobatic pilot before becoming a wing walker, said she was attracted to performing stunts because of the thrill.
John King, pilot and president of the Flying Circus Airshow, where Wicker trained, said the most important qualities of wing walkers are ''strong nerves, a sense of adventure, and a level head.''
He said they tell people who are interested that it would take a year of training before they'll be allowed to walk on the wing of an airplane in flight.
He described Wicker, of Bristow, Va., and Schwenker, of Oakton, Va., as ''ultimate professionals.''
''I don't know of anyone who could have done any better than what they were doing,'' he said.
In one post on Wicker's website, the stuntwoman what she loved most about her job.
''There is nothing that feels more exhilarating or freer to me than the wind and sky rushing by me as the earth rolls around my head,'' says the post. ''I'm alive up there. To soar like a bird and touch the sky puts me in a place where I feel I totally belong. It's the only thing I've done that I've never questioned, never hesitated about and always felt was my destiny.''
She also answered a question she said she got frequently: What about the risk?
''I feel safer on the wing of my airplane than I do driving to the airport,'' she wrote. ''Why? Because I'm in control of those risks and not at the mercy of those other drivers.''
From 1975 to 2010, two wing walkers were killed, one in 1975 and another in 1993, Cudahy said. But since 2011, three wing walkers have died, including Wicker.


Dear Good Ears of Jazz, I made it back from Roswell with semi-sanity intact. It turns out that Bill Watrous couldn't make the hit because of health problems. This was too bad and his brilliant playing was really missed. Let's all share a few good thoughts and send them Bill's way for a quick recovery. The Roswell trip was a hit and run, fly in, drive a zillion miles through some expansive outback, arrive in a small beaten up town, plug into a relic Fender Twin Reverb with grounding problems, play through some standards with a rather large band for a somewhat small but devoted audience, get lost on the way back from the gig, sit in on a late night jam session, sleep in a Holiday Inn with a little too much air conditioning taking place, bust out early in the morning to various airport hops up and down making my way back to San Diego, and then ta-daaaaa—I'm back home safe and I once again realize how much I love living here. It's a deluxe feature getting to inhale this ocean air everyday and not for even a second do I take it for granted. Long live our luxurious Babylon!
Hall Sprague — bongos 8:30 PM Hanging in the beach zone playing the samba with two creative musos.


Sainte-Foy-la-Grande is a commune in the Gironde department in Nouvelle-Aquitaine in southwestern France.
Louis Pierre Gratiolet, anatomist and zoologist, was born here in 1815.
Paul Broca, surgeon and anthropologist.
Jacques Dejean, classical violinist, died here in 2013.
Élie Reclus, ethnographer, was born here.
Élisée Reclus, geographer and anarchist, was born here.
Onésime Reclus, his older brother and also a notable geographer, lived here for many years.
Élie Faure, physician, art critic, writer, essayist, was born here in 1873.
Gaston Aumoitte, croquet-player and olympic gold-medal winner, died here in 1957.
Pierre Larthomas (1915-2000), theatre theorist.
Wikimedia Commons has media related to Sainte-Foy-la-Grande.
This page was last edited on 1 July 2018, at 17:48 (UTC).


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'Dancing With the Stars' Cameraman Was 78 – The Hollywood Reporter
Hector Ramirez, a cameraman with 20 Primetime Emmy Awards who spent greater than a decade on Dancing With the Stars and labored on the Oscars and the Grammys, Elvis Presley and David Copperfield specials and Frank Sinatra, Sting and Cher concert events, has died. He was 78.
Ramirez died Wednesday in his house in Granada Hills after a battle with esophageal most cancers, his spouse, Alma Ramirez, advised The Hollywood Reporter.
From 2005-15, Ramirez dealt with a Steadicam on the primary 21 seasons of Dancing With the Stars — he collected 5 Emmys for that present and a mirror ball trophy given to him by producers — and for America's Received Expertise.
The Colombian native additionally shot the Kennedy Heart Honors, the Grammys, the Tonys, the Emmys (Primetime and Daytime), the Golden Globes, the Unbiased Spirit Awards, the SAG Awards, AFI Life Achievement Award specials, the MTV Video Music Awards, the Children' Selection Awards and the Folks's Selection Awards.
Ramirez was on the group that shared an Emmy in 2000 for the stay telecast of Fail Protected for CBS that was produced by George Clooney, who additionally starred, and he was behind a digicam for the 2001 Tremendous Bowl halftime present that featured NSYNC, Britney Spears, Mary J. Blige and Aerosmith.
He labored The US Competition and We Are the World concert events and reveals from The Seashore Boys, Fleetwood Mac, Paul Simon, Barbra Streisand, The Eagles, Garth Brooks, Elton John, Justin Timberlake and Morrissey, to call however a couple of. He was a cameraman on This Is Spinal Faucet (1984), too.
His spouse famous that he obtained 74 Emmy nominations, one Daytime Emmy and one Lifetime Achievement Award (in 2019) from the Society of Digital camera Operators along with his Primetime trophies. A lot of his honors are displayed in a (very crowded) cupboard at house.
Hector Ramirez's trophy cupboard
Courtesy of Alma Ramirez
Born in Bogota on Aug. 26, 1944, Ramirez got here to the U.S. when he was 11 and lived together with his household in Queens, the place he went to Martin Van Buren Excessive Faculty.
After a yr at Glendale Metropolis School, he attended the Don Martin Faculty of Radio and Tv Arts & Sciences in Hollywood and obtained his first-class FCC license, which was a requisite to work at a broadcast station, touchdown at Spanish-language KLXA Channel 40 in 1968.
His curiosity in changing into a TV cameraman was impressed by his buddy Noel Newman, who was an ABC cameraman on The Hollywood Palace.
In 1973, Ramirez was employed at CBS Tv Metropolis and shot such sitcoms as All within the Household, The Jeffersons, Maude, Three's Firm and One Day at a Time and selection reveals hosted by Carol Burnett, Sonny & Cher and Tony Orlando & Daybreak.
He was the primary information cameraman to movie President Nixon's return to San Clemente, California, after he resigned, his spouse stated. He left CBS in 1981 to freelance.
Ramirez additionally partied with Prince Albert in Monaco and educated a lens on Lily Tomlin, George Carlin, Sammy Davis Jr., Perry Como, Bob Hope, Patti LaBelle, Neil Diamond, Chris Rock and Prince Albert and for Whose Line Is It Anyway?, American Idol and So You Suppose You Can Dance.
Along with his spouse — they met at CBS, the place she was a manufacturing supervisor, and married in July 1975 — survivors embody son Dana, granddaughter Alaya, three brothers and a sister.
'Shrinking' Creators on Harrison Ford, Remedy and 'The Muppets' – The Hollywood Reporter


RONAN – Jewel Elizabeth Stonehocker, 85, of Ronan, passed away on Saturday, March 26 at St. Luke Community Hospital of natural causes. Friends may pay their respects on Wednesday, March 30 from 4 to 7 p.m. at the Shrider-Thompson Funeral Chapel. Funeral services will be held Thursday, March 31 at the Ronan Alliance Church at 11 a.m. Interment will follow at the Ronan Cemetery. Shrider-Thompson Funeral and Cremation Services is assisting with arrangements. A complete obituary will appear later.


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Hillphoenix
Hillphoenix's mission is to provide fresh, innovative customer-centric solutions that help their customers stay relevant and competitively differentiated. This vision inspires Hillphoenix to become the recognized global leader in creative, flexible and responsible innovations in food retail and commercial refrigeration. The leading North American manufacturer of CO2 equipment, Hillphoenix has expanded its natural refrigerant capabilities with the addition of NXTCold Ultra-low charge Ammonia Systems. Hillphoenix designs and manufactures food retail display cases, commercial and industrial refrigeration systems, provides training services through The Hillphoenix Learning Center and Energy Services through The AMS Group. Hillphoenix Inc., a Dover Company, is based in Conyers (Ga).
The ebm-papst Group, a family-run company headquartered in Mulfingen, Germany, is the world's leading manufacturer of fans and motors. Since the technology company was founded in 1963, it has continuously set the global industry standard. With over 20,000 products in its range, ebm-papst provides the best energy-efficient, intelligent solution for virtually every ventilation or drive engineering task.
In fiscal year 2018/19, industry leader ebm-papst generated revenues of 2.18 billion euros. It employs over 15,000 people at 28 production sites (e.g. in Germany, China and the US) and in 48 sales offices worldwide. Fans and motors from the world market leader are used in most industries, including ventilation, air conditioning and refrigeration, household appliances, heating, automotive and drive engineering.
EPRI
The Electric Power Research Institute (EPRI) conducts research, development, and demonstration projects for the benefit of the public in the United States and internationally. As an independent, nonprofit organization for public interest energy and environmental research, EPRI is focused on electricity generation, delivery, and use in collaboration with the electricity sector, its stakeholders and others to enhance the quality of life by making electric power safe, reliable, affordable, and environmentally responsible.


In the past few days, the Braves have made a couple roster moves that change the entire dynamic of the bullpen.
The first was the return of Daniel Winkler. A Rule 5 pick from the Rockies, Winkler was a former organization pitcher of the year but had been sidelined due to Tommy John Surgery. Winkler was one of the bright spots early in the 2016 season, as he looked absolutely lights out for the Atlanta bullpen in a couple outings. Unfortunately, his campaign would not last long. He fractured his elbow in his third outing. This was a serious injury, but luckily no ligament damage was done. Winkler was originally a starter in the Colorado farm system, but between injuries and his strikeout stuff, he will stick in the bullpen. Atlanta fans saw a small sample size, but it showed just how good Winkler could be.
AJ Minter is also a former Tommy John Surgery patient who could end up having elite late inning stuff. Though drafted just last season, Minter is the best bullpen prospect the Braves have. Though he hit a bit of a speed bump in AAA, he has seemingly turned the corner and still has just a 2.14 career minor league ERA. Minter could be the closer of the future for the Braves, but for now, the Braves should be happy that they have the best lefty reliever duo since the rebuild began between him and Sam Freeman. The days of Ian Krol and Eric O'Flaherty are (hopefully) over.
Both of these guys are untested in the big leagues, but the bullpen added a ton of talent in recent days. The only weak link remaining seems to be Jim Johnson, who has proven in the past he could easily turn things around. The rest of the season is basically tryouts for the Braves youngsters, and we should see Akeel Morris and Jason Hursh when rosters expand.
Basically, the Braves now have two guys with incredible strikeout stuff. It is now up to them to turn that into production at the big league level.
Do not overlook this Minter promotion. He really could be the Braves' next Kimbrel. The Braves bullpen has been horrendous to watch all season long, but now is the time to pay attention to every pitch.


If I install any of the new software on my Windows 8 machine I get the message "Error: C000009A, Software Installation failed" after completing half of the installation process. I tried with different softwares and also even with the applications, am getting same error message.
!!!! Steps you need to take to resolve your problem are......!!!!
--> Go to the start and click on the run app.
--> Or else press Ctrl and R simultaneously.
--> Then type appwiz.cpl on the name space bar.
--> After that in the left side you will get the installed updates.
--> In that uncheck the Internet Explorer and go back to the desktop.
--> Follow the previous process of opening run app and type LPKSETUP.
--> Now unceck all the options available inside it.
There are the various requirements of the installation of the software on your system.
1. You must have the administrative previlages to install any software.
2. The software must be compatible with the windows.
1. Make sure you are having the administrative previlages.
2. If you do not have ask your administrtor to install the software for you.
4. You have the enough free space on your c drive.


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'The Catholic Guy' speaks to the 'Sun' after recording episode in Phoenix
Joyce Coronel
[quote_box_right]
Did you miss the live Tweets?
@thecatholicsun was reporting live via Twitter when @catholicguyshow aired live from @CCArizona Dec. 10. Download the archived live Tweets.
[/quote_box_right]
Sirius Radio's Lino Rulli was in Phoenix Dec. 10 as part of his five-city tour of the U.S. promoting his daily two-hour program "The Catholic Guy." Rulli, who also serves as personal media advisor to Cardinal Timothy Dolan, has hosted the light-hearted radio show for nine years. He has a bachelor's degree in communication and a master's in theology.
The Catholic Sun: How did you get started in radio?
Lino Rulli: TV was always my love and then I just was getting radio offers. The fact that this is what I do now either says God has a sense of humor or says that usually if God's got the plan, it's better to follow that than my own plan.
Sun: Cardinal Dolan has been in the headlines lately. What can you tell our readers about how you advise him these days?
Lino Rulli: My job is to give him that outside perspective. Here's what it looks like, here's what my buddies at the bar would say, here's what my friends who are atheists are saying. So my job is to tell — and I think this is really healthy for people in the Church to have — in a way an outsider, which is what I am, the outsider, saying, "Hey, I'm not playing Church politics, I'm telling you this is how things are playing outside and here's what I would suggest."
Sun: You're an outsider?
Lino Rulli: I'm totally an outsider. The reason the show is called "The Catholic Guy," the reason I do what I do is not for people who are already inside. It's for the rest of us. They have busy lives and you know your own parish priest, maybe you know that guy's name, but maybe you haven't belonged to the parish long or don't belong to a parish. My job is how to make that connection.
Sun: A lot of Catholics don't know they can have a personal relationship with Christ. Are you trying to evangelize them?
Lino Rulli: By taking the show on the road this week, the one thing that I heard more than anything, … "You're just real. You're very relatable." So what that means is the show is me talking about my life, whether it be what I like for sports, I like gambling on football, I like going to the bar with my buddies, I like going to church on Sunday. They go, "Wait a second, so you can do all these things?" … My job isn't to preach. My job is to say, "OK, here's the thing. I go to confession. Now here's my funny story or a story about how it's benefitted my life."
Sun: How do you prepare for your show?
Lino Rulli: The show is really about my life and the way I look at the world and so my show prep is looking at the world the way a stand-up comedian would and sort of examining it. What's interesting about this? What's funny about this? What could be the take-away, with a religious point of view on all of these things?
Sun: Do you ever examine serious topics or politics?
Lino Rulli: No, I'm the afternoon-drive guy. … I'm going to make you laugh. I'm going to say some stupid things but it will be in the context of Catholicism. It will also give you a little bit of something. You might learn, but that's not necessarily my goal either. … It's entertainment with a point of view that happens to be mine.
Sun: Tell us a little about your life.
Lino Rulli: I'm single and actually we just got engaged. … For the first three years we played "The Catholic Guy Dating Game" … when I turned 40 I thought, "OK, maybe I'm supposed to be doing something different" and we'd have different people in the diocese, different religious orders would call in and come on the air with me and try to persuade me to join their religious life. So it's a way to promote what they're doing but in a way that's not boring.
Sun: Did you ask your fiancé to marry you on the air?
Lino Rulli: I didn't but I definitely should have! We were in Rome about six weeks ago. We had a chance to speak with the pope.
We were mostly joking around. I said, "We're getting married next year and I'm going to be a big cross in her life." He looked at her and he's like, "You're going to prison, huh?" So, and then I was just like, "Since I'm going to be a big cross in her life, maybe we can pray together for her." And he was laughing but he also did it. He's like, "OK, let's pray for her now."
Previous articleStopping to smell the roses yields dual benefit
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Joyce Coronel is a regular contributor to The Catholic Sun and author of "A Martyr's Crown."


NGO2 BambooShoot is dedicated to assisting girls in rural communities gain access to higher learning to narrow the gender gap in Cambodia.
NGO2 is an acronym for "Nongovernmental Organization for the Next Generation Organization". It was co-founded by Cambodian National Sophal Sea and an American resident Betsy Bradly in 2010. Since 2008 Mr. Sea had been informally assisting rural kids obtain continuing education. The vision for these early students was to provide a platform for the next generation of students onward. The founding of NGO2 in 2010 meant Sophal could impact a larger number of students moving forward.
As the program has grown and evolved its focus has narrowed to concentrate on the empowerment of girls. NGO2 dedicates its resources to girls from grades 10 - 12 from rural villages who would otherwise fall through the cracks. Secondary school is not usually available or affordable in these communities which means girls generally do not have the opportunity to further their education past primary school. Female students from rural villages are personally selected to join the NGO2 program based on their previous scholastic performance, display of leadership skills and exam results.
Those that pass the qualifications also need to navigate the obstacle of parental consent as the girls need to move from their rural homes to the dorms at Angkor High School in Siem Reap to continue their studies. Cultural norms and concern for their safety make this decision often difficult for parents of girls. The adversities these female students have to overcome to obtain higher education, mean they come with a greater dedication to their studies and a desire to continue onto University.
At the dorm they are provided housing, food, uniforms, school supplies and guidance. They are required to keep their grades in good standing and be involved in social – eco responsible projects as a way to give-back. Mentorship is very important at this stage of their education and we look for NGO2 alumni, local female business leaders and organizations to provide this leadership. As the boundaries of female job opportunities change in Cambodia we see value in showing our girls what is possible as they continue with their studies.
Education, Empowerment, Mentorship and Fellowship are all key foundations to reducing the gender gap here in Cambodia and providing stability of families to escape poverty. To date 215 girls have been impacted by the support and continued education through NGO2. Many have gone onto University as well as onto careers as police officers, nurses, business owners and professionals.


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Transferred intent (or transferred , or transferred malice, in English law) is a legal doctrine that holds that, when the intention to harm one individual inadvertently causes a second person to be hurt instead, the perpetrator is still held responsible. To be held legally responsible, a court typically must demonstrate that the perpetrator had criminal intent (), that is, that they knew or should have known that another would be harmed by their actions and wanted this harm to occur. For example, if a murderer intends to kill John, but accidentally kills George instead, the intent is transferred from John to George, and the killer is held to have had criminal intent.

Transferred intent also applies to tort law, in which there are generally five areas where transferred intent is applicable: battery, assault, false imprisonment, trespass to land, and trespass to chattels.  Generally, any intent to cause any one of these five torts which results in the completion of any of the five tortious acts will be considered an intentional act, even if the actual target of the tort is one other than the intended target of the original tort.

See cases of Carnes v. Thompson, 48 S.W.2d 903 (Mo. 1932) and Bunyan v. Jordan (1937), 57 C.L.R. 1, 37 S.R.N.S.W. 119 for examples.

Discussion

In the United States
In US criminal law, transferred intent is sometimes explained by stating that "the intent follows the bullet". That is, the intent to kill person A by gunshot would still apply even if the bullet kills an unintended victim, person B (see mens rea). Thus, the intent is transferred between victims.  However, intent only transfers between harms of a similar nature. For example, if the defendant shoots at "Person A" intending to kill "A" but the bullet misses and instead hits a vase, causing it to break, the defendant is not deemed to have intended to break the vase. This is because destruction of property is a kind of harm different from that contemplated by defendant. Vice versa, an attempt to wreck a car, but causing instead a person to be hurt or killed, can only be sentenced for recklessly causing death, i.e. involuntary manslaughter. The rationale underlying this distinction is that the defendant has only one intent. If the law were to deem that the defendant intended to destroy property, it would be placing on him an intent he never had—he would now have both the intent to kill and the intent to destroy property. In contrast, where the defendant intends to kill one person but ends up killing another, there is still only one intent — the intent to kill. However, if the crime includes aggravating factors based on the victim's identity (such as a police officer, witness, or protected class), then the factors must be proven to have actually occurred in order to impose an enhanced sentence. For instance, if the defendant intends to kill a police officer in a jurisdiction where that is punishable by death, but instead kills a civilian, the death penalty may not be imposed unless there was another aggravating factor that actually occurred.

The principle underlying the Unborn Victims of Violence Act of 2004 in the United States applies only to offenses over which the U.S. government has jurisdiction, namely crimes committed on federal properties, against certain federal officials and employees, and by members of the military, but treats the fetus as a separate person for the purposes of all levels of assault including murder and attempted murder:

In the United Kingdom
In the UK the transferred malice doctrine is not without controversy. The House of Lords in Attorney General's Reference  No  3  of  1994 reversed the Court of Appeal decision (reported at (1996) 2 WLR 412), holding that the doctrine of transferred malice could not apply to convict an accused of murder when the defendant had stabbed a pregnant woman in the face, back and abdomen. Some days after she was released from hospital in an apparently stable condition, she went into labour and gave birth to a premature child, who died four months later. The child had been wounded in the original attack but the more substantial cause of death was her prematurity. It was argued that the fetus was part of the mother so that any intention to cause grievous bodily harm (GBH) to the mother was also an intent aimed at the fetus. Lord Mustill criticised the doctrine as having no sound intellectual basis, saying that it was related to the original concept of malice, i.e. that a wrongful act displayed a malevolence which could be attached to any adverse consequence, and this had long been out of date. Nevertheless, it would sometimes provide a justification to convict when that was a common sense outcome and so could sensibly be retained. The present case was not a simple "transfer" from mother to uterine child, but sought to create an intention to cause injury to the child after birth. This would be a double transfer: first from the mother to the fetus, and then from the fetus to the child when it was born. Then one would have to apply the fiction which converts an intention to commit GBH into the mens rea of murder. That was too much. But the accused could be convicted of manslaughter.

In R v Gnango, the Supreme Court controversially held that under the doctrines of joint enterprise and transferred malice D2 is guilty of V's murder if D1 and D2 voluntarily engage in fighting each other, each intending to kill or cause grievous bodily harm to the other and each foreseeing that the other has the reciprocal intention, and if D1 mistakenly kills V in the course of the fight.

References

Dillof, Transferred Intent: An Inquiry into the Nature of Criminal Culpability, (1998) Vol 1, Buffalo Criminal Law Review, 501.
Husak, Transferred Intent, (1996) Vol. 10 Notre Dame Journal of Law, Ethics and Public Policy, 65.

Tort law
Criminal law
Intention

redpajama_set_name: RedPajamaWikipedia


Our Chat with Brec Bassinger!
Tiger Beat: Hi Brec! When is your birthday?
Tiger Beat: And where are you from?
Brec: My hometown is Saginaw, Texas.
Tiger Beat: Football is really big in Texas! Have you heard about girls playing football before in Texas?
Brec: Yeah, actually, in my middle school, there were two girls who were on the football team. They were kind of ridiculed, and it was really hard to see that happen, because they just wanted to play football. It wasn't accepted all the time.
Tiger Beat: Were you friends with them?
Brec: I wasn't best friends with them, but we were acquaintances. We went to school with each other for years.
Tiger Beat: Did they get to play in the games, or were they mostly on the bench?
Brec: They weren't the star players, but they definitely got to play. It was really cool seeing them out there doing something they love.
Tiger Beat: Do you think they opened doors for other girls?
Tiger Beat: That's amazing! Thanks, Brec, talk to you again on the 17th, the same day the first episode of Bella & the Bulldogs airs (at 8 p.m.!). We can't wait. Will you give us some behind-the-scenes secrets?
Thanks for sending us your questions, everyone! We'll be talking to Brec again January 17, the day of her show! Keep your questions coming. Don't forget – you can get caught up with the latest "Bella and the Bulldogs" news right here!