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In 2009 The Museum of Modern Art acquired The Gilbert and Lila Silverman Fluxus Collection—a private collection devoted to the Fluxus art movement. Fluxus, with roots in experimental music, emerged in the United States and Europe in the early 1960s. With an emphasis on performance and play, Fluxus artists aimed to bring art and life together, collapsing the traditional divisions between mediums and undermining the authority of the artist through collaboration and audience participation. Along with artworks and the archives of The Gilbert and Lila Silverman Foundation, the acquisition includes the Silverman Reference Library, a collection of more than 1,500 artists' books, exhibition catalogues, periodicals, and scholarly works, all of which are now held in the Museum's library. These materials document the activities of artists integral to Fluxus and others on the periphery of the movement—precursors, contemporaries, and artists of succeeding generations whose artistic practices overlapped with Fluxus in group exhibitions, critical writing, and experimental magazines.
In this collection, which documents a range of avant-garde activities over several decades, networks of artists materialize in print. One conspicuous network is composed of women—the many female artists who helped shape Fluxus aesthetics and the numerous others associated with the group. Fluxus developed in the decade leading up to the women's movement, and the prevalence of female participants in its diverse activities was unprecedented. The women featured in this exhibition created various forms of intermedia art—falling somewhere between visual art, poetry, performance, and sound art; they acted as interpreters of works by others and hosted seminal concert series that enabled avant-garde movements to flourish. In doing so they contributed to the expanding parameters of artistic expression that characterized their era while redefining "women's work" for the female artist.
The exhibition is organized by Sheelagh Bevan with David Senior, The Museum of Modern Art Library.
Action & Performance in Print
Fluxus performance—concerned mainly with the interaction between human bodies and the objects and actions of everyday life—debuted in 1962 in a series of concerts across Europe organized by artist George Maciunas. The history of performance by Fluxus women as documented in the Silverman Reference Library is necessarily incomplete, giving only a partial view of the live, ephemeral, and durational work, which by its nature frustrates the limitations of print. The Library also touches on the roots of performance art and the contemporaneous existence of Nouveau Réalisme and Happenings—whose female participants' contributions were largely unacknowledged, if not anonymous.
[top of page] Ute Klophaus. Charlotte Moorman at the Galerie Parnass, Wuppertal, June 5, 1965. In 24 Stunden (Hansen & Hansen, 1965).
Moorman was the lone female participant in the twenty-four-hour Happening 24 Stunden (24 hours) in Wuppertal. The event's organizers added Klophaus to the list of participants in the catalogue, blurring the line between documentation and participation.
Yves Klein. Anthropométrie. 1960. Serigraph and photo documentation. In KWY, no. 11. (1963).
Klein's painting took on a performative element when he used nude women as "living paintbrushes," making his Anthropométrie (Anthropometry) paintings in front of a seated audience.
Niki de St. Phalle, 1961. In Nouveau Réalisme, 1960/1970 (Rotonda della Besana, Comune di Milano, 1970).
St. Phalle initiated her own form of action painting in her Tir (Shooting) series of paintings. To make the works the artist and, later, her audience shot rifles at canvases prepared with bags of paint.
Patty Mucha. In Store Days: Documents from The Store, 1961, and Ray Gun Theater, 1962, ed. Claes Oldenburg and Emmett Williams (Something Else Press, 1967).
Mucha, shown here performing with Claes Oldenburg, also collaborated in sewing costumes and constructing objects and sets for Oldenburg's Happenings and installations.
Charlotte Moorman. In 24 Stunden (Hansen & Hansen, 1965).
Moorman forged a unique career in the gray area between composer and performer created by the opportunities for individual interpretation in Fluxus compositions. She founded the Annual Avant Garde Festival (1963–80) in New York, bringing together Fluxus artists with experimental poets, artists, dancers, and musicians of all kinds.
Shigeko Kubota, Yoko Ono, Mieko Shiomi, and Alison Knowles all collaborated on performance-based works that often took common activities as their material. These Fluxus artists believed that the acts of preparing food, marrying, smiling, playing games, or rustling a newspaper were forms of "social music," making life itself a ready-made work of art. Solo performances by women were not always playful, however, and some took on more intimate or confrontational tones. Women involved in Fluxus have primarily characterized their experience in these events as liberating, as giving them a sense of artistic independence. However, the images of women in these early catalogues and magazines—all of which were edited by men—tell multiple, contradictory stories of artistic agency and vulnerability that feminists and art historians continue to debate.
[left] Yoko Ono. Cut Piece. 1965. In En Trance (Randers Kunstmuseum, 1990).
Ono, like Shigeko Kubota and Mieko Shiomi, was part of a community of Japanese experimental artists and musicians who found artistic independence in New York. In Cut Piece Ono signaled what was to become a life-long exploration of audience participation. In a gesture of interactive sacrifice she invited members of the public to cut her clothing with scissors.
[above] Shigeko Kubota. Vagina Painting. 1965. In VTRE, no. 7 (1966). Photographs by George Maciunas
In Vagina Painting, Kubota attached a red-paint-dipped brush to her underwear and moved her body to make marks on paper. The work, shown here in the official Fluxus newspaper VTRE, was later viewed as a proto-feminist statement, though Kubota herself denied this interpretation.
Lette Eisenhauer in Lick Piece, by Benjamin Patterson. 1964. In Happening & Fluxus: Materialen, ed. Hanns Sohm (Koelnischer Kunstverein, 1970). Photograph by P. Moore
Alison Knowles in Danger Music, by Dick Higgins. 1961. In Happenings, Fluxus, Pop Art, Nouveau Réalisme: eine Dokumentation, ed. Jürgen Becker and Wolf Vostell (Rowohlt, 1965).
Alison Knowles remained closely involved with Fluxus throughout the 1960s and '70s. She is shown here shaving the head of fellow Fluxus artist Dick Higgins, as she performs the final part of his five-word score: "Hat. Rags. Paper. Heave. Shave."
"Lady Mystica" in Composition for Lines and Composition for Alarm Clocks, by Bob Lens. 1964. In Fluxus in Holland: the Sixties, ed. Harry Ruhé (Galerie A/artKitchen Gallery, 2009).
Monique Smit in Sun in Your Head, by Wolf Vostell. 1964. Photo by Igno Cuypers. In Fluxus in Holland: the Sixties, ed. Harry Ruhé (Galerie A/artKitchen Gallery, 2009).
Billie Hutching and George Maciunas. Flux Wedding (Money for Food Press, 1978). Photographs by Hollis Melton
Both the social and subversive elements of Fluxus informed the artistic presentation of the marriage of poet Billie Hutching and Fluxus organizer George Maciunas. The bride and groom each wore women's gowns, then exchanged them at the altar. The photographs, marriage certificate, and guest registry were later published as a performance score.
Textual Scores and Instructions
For artists associated with Fluxus, the concepts, from music, of the score and the arrangement provided the structural basis of both performance and the methods of recording it. The Silverman Reference Library contains numerous scores and instructions for performances that expand on Fluxus artist George Brecht's notion that music "isn't just what you hear . . . but everything that happens." These texts by women combine thought, perception, and imagination as equal parts in a multisensory music that relies on the reader for realization.
Simone Forti. [Dance Constructions]. In An Anthology, 2nd ed., ed. La Monte Young (H. Friedrich, 1970).
In the first publication to compile scores by members of Fluxus, the dancer Forti contributed instructions that could be performed by nondancers, realizing one of the group's main tenets: anyone can create art.
[below] Alison Knowles. Journal of the Identical Lunch (Nova Broadcast Press, 1971).
This book documents Knowles's daily lunch of a tuna sandwich at the Riss Diner in New York, while devoting more space to the subsequent "arrangements" performed by friends and fellow artists. She later expanded the work in a series of screen-prints, now on view in the museum's Contemporary galleries, and will perform the work at MoMA in 2011.
Philip Corner. The Identical Lunch: Performances of a Score by Alison Knowles (Nova Broadcast Press, 1973).
Fluxus artist Philip Corner convinced Knowles to create a score from her daily meal, and later published his own book-length arrangement of the work.
Poesie et Cetera Americaine: Biennale Internationale des Jeunes Artistes (Musée d'art moderne de la ville de Paris, 1963).
Alison Knowles's Shuffling Piece (for audience) and Simone Forti's Instructions pour une danse were two of seven compositions performed simultaneously at the 1963 biennial for young artists in Paris. In the list of participants in the back of the program, les spectateurs (the spectators) were included along with the roster of artists.
Anna Lockwood et al. Womens Work (self-published, 1975).
This collection, edited by Alison Knowles and composer Annea Lockwood, was the first to bring together textual scores exclusively by women.
Yoko Ono. [Scores from Grapefruit]. In Yoko Ono: To See the Skies, ed. Jon Hendricks (Mazzotta, 1990).
Ono, an early advocate of the genre, has created, performed, and published event scores throughout her career. Her early collection Grapefruit (1964) was the first ever presentation of textual scores by a single artist in book form.
Mieko Shiomi. Spatial Poem (M. Shiomi, 1976).
Mieko Shiomi. Invitation to Spatial Poem no. 4. 1975
Shiomi demonstrated the collaborative aspect of Fluxus and the group's influence on developments in mail art in Spatial Poem (1965–75), a "global event" in which she enlisted artists through the mail to document their participation in her intimate action poems.
Esther Ferrer. Le Fil du Temps. In Esther Ferrer: Ekintzatik Objektura, Objektutik Ekintzara (Gipuzkoako Foru Aldundia, 1997).
One person sits on a chair. From the ceiling, a very fine thread starts falling. The person remains seated until the thread covers him/her completely.
Ferrer incorporates drawings and related installations into her texts. She often emphasizes the absurdity of life by including suicide as one possible outcome of her actions. An early member of the experimental music and performance group Zaj, based in Spain, Ferrer today remains committed to exploring the concept of performance in multiple mediums.
Katalin Ladik. Novi Sad (Projects). Wow, Special Zagreb Number, ed. Bosch + Bosch (1975).
Ladik's scores elicit reflections on and interventions into the physical environment of Novi Sad, Serbia. Ladik was the only female member of Bosch + Bosch, an art collective based in Subotica, Serbia, whose diverse activities touched on performance, Conceptual art, land art, sound art, and visual poetry.
Graphic notation—the use of symbols, images, and texts to transcribe music—emerged in the middle of the twentieth century, as composers began to investigate the borders between musical notation and visual art. For Fluxus artists, many of whom had been classically trained in the field, music served both as a mode of composition and a medium of sound and visual art. Producing works that employ combinations of drawing, calligraphy, texts, and collage, women created their own systems of notation. Other women artists in dialogue with the group worked closely with composers to interpret or enhance music through the traditional mediums of painting, sculpture, and photography. Male composers inserted the female body into new types of symphonic scores as a compositional element, but this objectification was countered by the prolific production of women—a small selection of which appears here.
Mieko Shiomi. As It Were Floating Granules (Japan Federation of Composers, 1976).
Shiomi was a cofounder of the Japanese experimental music collective Group Ongaku, with which she collaborated before and after her Fluxus years in New York. This six-part work—a chance composition for vocal groups and instrumentalists—employs a range of graphic notational systems and texts in English and Japanese.
Mieko Shiomi. Lyric Suite (Self-published, c. 1973).
This is one of six collages in Shiomi's visual music portfolio Lyric Suite. More than any other female member of Fluxus, Shiomi, in her work as composer, visual artist, and performer, repeatedly returns to music as a ground for experimentation.
Marian Zazeela. Lines. In Selected Writings, Copyright © La Monte Young and Marian Zazeela 1969 (Heiner Friedrich, 1969, Munich)
Zazeela's use of systems of abstract calligraphy in her work in the early 1960s is evidenced by the posters and cover art she designed for Young, a composer. As their close collaboration progressed, Zazeela inflected these inscriptions with color, expanding them into innovative light installations that formed an integral part of Young's musical performances.
Dora Maurer. Time Pieces. In Source, no. 11 (1972).
Maurer, a filmmaker and visual artist, used photography and a language of time to depict the underlying structure of music. This work appeared as part of an exhibition-in-print on contemporary approaches to music, published in the avant-garde music magazine Source.
Alison Knowles. Blue Ram. 1967. In Notations, by John Cage (Something Else Press, 1969).
Knowles helped to design and edit Cage's compilation of new musical scores. Her own contribution to the collection is a composition involving four performers, sound-making objects, and six illustrated cards.
Mary Bauermeister. Peng-cil. 1966. In Stimmung, für 6 Vokalisten, nr. 24, by Karlheinz Stockhausen (Universal Edition, 1969). Library copy
Bauermeister's Cologne atelier was a center of experimental music for the European and American avant-garde, some of whom became involved with Fluxus. Bauermeister's approach to painting inspired Karlheinz Stockhausen, the electronic-music composer, and their work was exhibited together in multimedia exhibitions. As part of the score for Stockhausen's musical play Originale (1961), Bauermeister painted onstage—a feat she later repeated alongside Fluxus artists at Charlotte Moorman's Annual Avant Garde Festival.
Nam June Paik. Symphony no. 5. 1965. In Happenings, Fluxus, Pop Art, Nouveau Réalisme: eine Dokumentation, ed. Jürgen Becker and Wolf Vostell (Rowohlt, 1965).
Mieko Shiomi. Selections from Fluxus Suite: A Musical Dictionary of 80 People around Fluxus
(? Records, 2002).
Shiomi composed musical portraits of eighty figures associated with Fluxus. These selections represent Jean Brown, Esther Ferrer, Alice Hutchins, Alison Knowles, Shigeko Kubota, Barbara Moore, Charlotte Moorman, Pauline Oliveros, Yoko Ono, Takako Saito, Carolee Schneemann, Mieko Shiomi, and Marian Zazeela.
Forms of Writing
For women artists associated with Fluxus, language was a site of aesthetic inquiry and play. The textual elements of many Fluxus artworks led to their inclusion in literary collections and underground magazines at a time when American art magazines did not devote much space to the group. In the little magazines of the 1960s and 1970s, work by Fluxus writers is presented beside work by the Beats, new poets of San Francisco, New York, and England, and visual poets from around the world, some of whom were also exploring the use of sound, images, and new technology in language arts.
Bici Hendricks. Language Box, Box Language (Black Thumb Press, 1966).
Nye Ffarrabas, known then as Bici Hendricks, has described her book as a game without rules, invoking the "serious play" of children, who need no instructions to use a sandbox but simply start digging. The reader initiates his or her own process of creative synthesis, choosing to manipulate, arrange, define, or ignore the words printed on each side of the cards.
Seng Ts'an. Hsin hsin ming. Calligraphy by Takako Saito, translated by George Brecht, Albrecht Fabri, and Robert Filliou (Lebeer Hossmann, 1980).
The collaborative nature of Fluxus and its members' shared interest in Zen Buddhism found a linguistic outlet in this polyglot translation of Seng Ts'an's seventh-century writings on Chinese Buddhism, for which Saito provided the calligraphy in k'ai shu style.
Tamara Janković. Šesta Dimenzija 16 and Šesta Dimenzija 17. In Signal, no. 1 (1970).
Janković was a member of the Belgrade-based Signalist group of experimental poets in the early 1970s and was on the editorial board for the group's magazine, Signal. Her use, here, of numbers, letters, and the Pierre Cardin logo reflects the Signalist goal to explore symbols and imagery in new poetry that transcends national languages.
Carolee Schneemann. Meat Joy Notes as Prologue. In Some/thing 1, no. 2 (1965).
Schneemann created a new, bilingual work from her notes to her stage performance Meat Joy with this playful technique: "The French text was made from a dictionary and a picture book, Look and Learn, then collaged and superimposed on the English, along with the sound of a ticking clock."
Mary Beach. Concrete poem. In The San Francisco Earthquake 1, no. 3 (1968).
Beach's calligraphs, Concrete poems, and experimental prose circulated along with works by Carol Bergé, Diane di Prima, and Diane Wakoski in the network of publications in which Fluxus, Beat poetry, and other underground writing converged.
Lourdes Castro and Emilio Villa. Visual Poem (Untitled)In Da-a/u dela, no. 1 (1966).
To this collaboration with Villa, an Italian experimental poet, Castro contributed male and female silhouettes whose ambiguous embrace invites the reader to interpret Villa's symbols above. Castro was a coeditor of the artists' magazine KWY, which published poetic and visual works by Fluxus artists.
Yvonne Rainer. Three Distributions. In Aspen, no. 8 (1970-71).
Rainer, a dancer and filmmaker, transcribed movement using text, graphic diagrams, and images of bodies in her contribution to the Fluxus issue of Aspen.
Mediating the Body
Fluxus performers staged their bodies in social, interactive spaces, drawing attention to everyday tasks, movements, and objects. Women artists who made explicit and erotic uses of their bodies in their work sometimes sensed disapproval from the group. Shigeko Kubota recalls that her fellow Fluxus artists were visibly displeased by the graphic nature of Vagina Painting (1965), while Carolee Schneemann became alienated from Fluxus organizer George Maciunas following the productions of her sensual stage show Meat Joy (1964). Fluxus women and those on the periphery of the movement continued to investigate the body in different mediums, exploiting the immediacy of performance and the more distanced confrontations enabled by visual art, the book arts, and video. These exhibition catalogues and artists' books document some of these uses of the naked female form.
Shigeko Kubota. Nude Descending a Staircase. 1975–76. In Shigeko Kubota: Video Sculptures, ed. Zdenek Felix (Museum Folkwang Essen, 1981).
Following her early Fluxus performances and objects, Kubota began the pioneering career in video art and installation in which she continues to investigate the landscapes of the body and the natural world. In this homage to her mentor Marcel Duchamp, Kubota deconstructs the moving body of filmmaker Sheila McClaughlin to produce a new iteration of Duchamp's painting of the same title.
Carolee Schneemann. Meat Joy (1964) and Fluxus (1990). In Ubi Fluxus Ibi Motus: 1990–1962, ed. Achille Bonito Oliva (Mazzotta, 1990).
Fluxus can be lots of fun when the boys let you on their boat / sometimes they throw you off the boat. / . . .
/ if you dont wear underpants or show your pussy you get pushed / over the side.
Schneemann's explorations of eros in her maverick stage performances pioneered the American genre called body art. In this catalogue for a 1990 Fluxus exhibition, Schneemann paired sensuous imagery from Meat Joy with a retrospective statement about the group.
Friederike Pezold. Die Schwarz-Weisse Göttin und ihre Neue Leibhaftige Zeichensprache (Staatliche Kunsthalle, 1977).
Pezold's early artists' books, published by Reflection Press (run by Fluxus participant Albrecht d.), address issues of women in art in the early 1970s. In later performance, film, writings, and visual art Pezold reduced the female body to abstract hieroglyphics and often recomposed these elements in photographic installations and video sculptures.
Dorothy Iannone. The Story of Bern, or Showing Colors (Dieter Roth and D. Iannone, 1970).
Iannone takes as her subject the interrelations of love, sex, and spirituality. Although she is not viewed as a full member of the group, Iannone contributed to Fluxus publications and formed part of a social circle that included artists Emmett Williams and Dieter Roth. At a 1969 exhibition in Bern, her explicit imagery of male and female genitalia was censored. Roth withdrew his works from the show in protest and the gallery's director, Harald Szeemann, resigned. Iannone processed the experience in this artist's book, which illustrates the scandal in detail.
Helen Chadwick. Of Mutability (London Institute of Contemporary Arts, 1986). Library copy
Chadwick was part of the vibrant Fluxus community in England in the early 1970s. In these blue photocopied collages Chadwick refers to Edmund Spenser's Renaissance verses on the forces of flux and entropy inherent to the universe, depicting her own body within an amniotic environment of decaying organic matter.
Charlotte Moorman. Flyer for Opera Sextronique. In The World of Charlotte Moorman Archive Catalog, ed. Barbara Moore (Bound & Unbound, 2000). Library copy
Moorman used her body as a "living sculpture," often performing in various states of undress and costume. After removing her bikini top at a 1967 performance of Opera Sextronique in New York—one of her many collaborations with Nam June Paik—she was arrested, charged, and given a suspended sentence for lewdness, becoming known in the media as "the topless cellist."
Kate Millet. Sexual Politics (Doubleday, 1970).
Fluxus artist Kate Millet combined cultural and literary criticism in a work that became an important text for the developing fields of women's studies and feminist theory.
Book-making
The emergence of artists' books toward the end of the 1960s is inextricably linked to Fluxus and the Museum Library. Members of the group contributed to the early production of printed matter, which helped to set the stage for later developments in the genre. The women artists featured here created—and continue to create—conceptual, poetic, and narrative works, books as sculptural installations and as objects, and are also printers, publishers, editors, book dealers, and archivists. When the Silverman Reference Library was acquired, copies of some of its works were already in different sections of the Library—many in the
Franklin Furnace Artists' Books Collection—revealing intersections among collecting practices that speak to the influence of Fluxus on the contemporary book arts and the institutions dedicated to preserving the book as a work of art.
Alison Knowles. The Big Book. In Décollage, no. 6 (1967).
Knowles's walk-through installation The Big Book included objects and images of daily living—a saucepan, a telephone, a toilet—within a three-dimensional framework of eight-foot "pages." Knowles's work is performative in function, inviting bodies to experience the space in time, through their own, indeterminate "readings."
Peter Moore. The Big Book, by Alison Knowles. c. 1967. Franklin Furnace Artist Files. © Estate of Peter Moore / VAGA, New York
Takako Saito. Die Chinesisch Tusch Zeichnungen auf dem Düsseldorf Wasser (Noodle Edition, 1985).
A prolific artist of sculptural book forms and book objects, Saito suggests the melancholy of self-exile through the daily detritus of used coffee filters, connecting her Asian origins to the country in which she lives by combining Chinese ink with German water.
Helen Chadwick and David Mayor. Door to Door (Beau Geste Press, 1973).
In Croydon, two doors face each other across a lawn.
The contesting pagination in Chadwick and Mayor's conceptual photobook draws the reader simultaneously backward and forward through the book. Chadwick's figure, captured from near and far, parallels this spatial disorientation by seeming to magically move from one distant doorway to another.
Barbara Moore. Cookpot (ReFlux Editions, 1985). Reproduction of cover image supplied by B. Moore, 2010.
Individual personalities and practices inflect each contributor's notion of what constitutes cooking in Moore's collection of recipes by friends and fellow artists. Carolee Schneemann, for example, prescribes multiple roles for one cantaloupe: dried beads for children, food for cats, material for a facial, and, finally,
a high-protein breakfast.
Simone Forti. Angel (Self-published, 1978). Franklin Furnace Artists' Books Collection
Forti's book of short prose poems and photographs produces a nonlinear narrative of thought and memory that reflects the artist's changing engagement with her work and life.
Lourdes Castro. D'Ombres (G. Schraenen, 1974). Franklin Furnace Artists' Books Collection
Using a combination of colored sheets, vellum, and transparent covers, Castro used photographs from her Théâtre d'Ombres project as the basis for this screenprinted artist's book. Her silhouetted figure, almost indistinguishable from the shadowy objects around her, suggests both presence and absence.
As she moves through the book, Castro's form "comes to life" even as it appears to dematerialize in front of the reader's eyes.
Citations (from top) and Additional Texts
Charlotte Moorman at 24 Stunden, a Happening at Galerie Parnass, Wuppertal, 1965. In 24 Stunden (Hansen & Hansen, 1965). Photograph by Ute Klophaus
24 Stunden. Hansen & Hansen, 1965
Happenings, Fluxus, Pop art, Nouveau Réalisme: eine Dokumentation, ed. Jürgen Becker and Wolf Vostell (Rowohlt, 1965)
Store Days: Documents from The Store, 1961, and Ray Gun Theater, 1962, ed. Claes Oldenburg and Emmett Williams (Something Else Press, 1967)
Shigeko Kubota. Vagina Painting. 1965. In VTRE, no. 7 (1966). Photographs by George Maciunas
Yoko Ono: En Trance, tilrettelagt af Jon Hendricks og Birgit Hessellund (Randers Kunstmuseum, 1990)
An Anthology, 2nd ed., ed. La Monte Young (H. Friedrich, 1970)
Alison Knowles. Journal of the Identical Lunch (Nova Broadcast Press, 1971)
Womens Work, ed. Anna Lockwood and Alison Knowles (Self-published, 1975)
Mieko Shiomi. Spatial Poem (Self-published, 1976)
Esther Ferrer: Ekintzatik Objektura, Objektutik Ekintzara. Gipuzkoako Foru Aldundia, 1997. Promotional postcard
Mieko Shiomi. As It Were Floating Granules (Japan Federation of Composers, 1976)
Karlheinz Stockhausen. Stimmung, für 6 Vokalisten, nr. 24 (Universal Edition, 1969)
Bici Hendricks. Language Box, Box Language (Black Thumb Press, 1966)
Seng Ts'an. Hsin hsin ming. Calligraphy by Takako Saito, translated by George Brecht, Albrecht Fabri, and Robert Filliou (Lebeer Hossmann, 1980)
Tamara Janković. Šesta Dimenzija 16. In Signal, no. 1 (1970)
Mary Beach. Concrete poem. In The San Francisco Earthquake 1, no. 3 (1968)
Lourdes Castro and Emilio Villa. Visual Poem (Untitled). In Da-a/u dela, no. 1 (1966)
Shigeko Kubota: Video Sculptures, ed. Zdenek Felix (Museum Folkwang Essen, 1981)
Friederike Pezold. Eine Frau Reflektiert die Situation der Frau : Viva Vagina (Reflection Press, 1973)
Dorothy Iannone. The Story of Bern, or Showing Colors (Dieter Roth and D. Iannone, 1970)
Flyer for Opera Sextronique. In The World of Charlotte Moorman Archive Catalog, ed. Barbara Moore (Bound & Unbound, 2000).
Yoko Ono. Grapefruit: a Book of Instructions. Simon and Schuster, 1970
Takako Saito. Die Chinesisch Tusch Zeichnungen auf dem Düsseldorf Wasser (Noodle Edition, 1985)
Helen Chadwick and David Mayor. Door to Door (Beau Geste Press, 1973)
Simone Forti. Angel (Self-published, 1978)
Fluxus, etc.: the Gilbert and Lila Silverman Collection, ed. Jon Hendricks. Bloomfield Hills, Mich.: Cranbrook Academy of Art Museum, 1981.
Hannah Higgins. Fluxus experience. Berkeley: University of California Press, c2002.
Ubi Fluxus Ibi Motus, 1990-1962, ed. Achille Bonita Oliva. Milano: Mazzotta, 1990.
Women & Fluxus: Toward a feminist archive of Fluxus, ed. Midori Yoshimoto. Special issue of Women & Performance: a journal of feminist theory, vol. 19, no. 3 (2009).
Midori Yoshimoto. Into Performance: Japanese Women Artists in New York. New Brunswick, NJ: Rutgers Univ. Press, 2005.
All material in this exhibition is held by The Museum of Modern Art Library. Contact [email protected] for an appointment.
Special thanks to Jon Hendricks, Barbara Moore, Mieko Shiomi, Ute Klophaus and Armin Hundertmark.
Also thanks to Rebecca Roberts, Sara Bodinson, David Hart, Julianna Goodman, Chiara Bernasconi, Jessica Nutting, Roberto Rivera, Robert Kastler, Thomas Griesel, Charlie Kalinowski, Milan Hughston and the entire MoMA Library staff.


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While Alpine soils show increasing, yet unnoticed trends of degradation, their importance and value to society as a whole, but also to ecosystem and landscape stability is often overlooked. This project aims to make soil degradation of Alpine grasslands more visible in combining the citizen observatory approach with a Smartphone App for photo documentation by hikers, mountain bikers and skiers. Data evaluation will be used to extrapolate trends of soil degradation in space and time as well as being the starting point of more detailed ground truth and/or remote sensing investigations. In addition, this project could be a pioneer for a Smartphone App generally suitable for environmental monitoring (e.g. loss in biodiversity or expansion of neophytes).


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Bloodywood Releases Official Music Video for "Endurant"
Hunt for Hunter Release Official Music Video for "Let it Out"
Blacktop Mojo Release Official Music Video for "Prodigal"
Align the Tide Release Official Music Video for "Dead Religion"
September Mourning Release Official Music Video for New Single "Glass Animals"
Farewell to Fear Release Official Music Video for "Your Cure"
Andrew Douglas (Recreating Eden) Releases Official Music Video for Cover of Pat Benatar's "Love is a Battlefield"
The Clay People Release Official Music Video for GenRx (featuring Chris Wyse of Hollywood Vampires, Ace Frehley and The Cult)
100 Watt Vipers Release Official Music Video for "The Bell Tolls Heavy"
Grayson Erhard Releases Official Music Video for "Introvert" Off of 'Earthship' EP
Joyous Wolf Release Official Music Video for Cover of "Mississippi Queen"
Burden Of The Sky Releases Official Music Video for "The Puppeteer"
Silent Theory Release Official Music Video for "Before the Storm"
Grayson Erhard Releases 'Earthship' EP
Black Light Discipline Release Official Music Video for Cover of Alan Walker's Hit Single "Faded"
Era9 Releases Official Music Video for "Black Widow (Tick Tock)"
Season of Ghosts Release New LP & Official Music Video for "A Leap Of Faith"
3 Headed Snake Releases Official Music Video for "Wisdom Screams"

redpajama_set_name: RedPajamaCommonCrawl


France has long been a nation of horsemen. Historically, French horses have made their mark as warriors in battle, as part of the workforce on the farms, in the forests and on the roads, transporting commodities, in modern day competition, and, notably, in one of the most highly regarded schools of the equestrian art, the Cadre Noir. There are many native breeds, such as the strong, heavy Percheron, the fast moving and elegant French trotters, and the tough little Merens, of which the French are justifiably very proud. Make no mistake, horses are important to France, and if you are planning to buy an equestrian property in France you should find plenty of choice.
How are the conditions for horses in France?
It depends very much on where you live in France. The climate in the north is similar to that of the UK, as is the quality of grass and size of paddocks. The south, being much hotter, tends to be more of a challenge for ex-pat British horses, as the available grazing is often less with the grass often drying up and burning to gold in the summer months, meaning that you may have to feed hay in the summer as well as in the winter (Weather in France). Flies, mosquitoes and ticks can be real headache in the hotter regions too, and British horses seem to find these much harder to deal with than their French cousins. Generally speaking, horses are respected and cared for in France, unlike in some countries, although as with the UK there are sad cases of neglect or abuse occasionally.
It is an unfortunate fact for horse lovers that horses are considered as edible in France. You will still see horse meat in the boucheries and supermarkets, although the younger generations of French are beginning to eschew this type of meat. The good news is that France has tightened up its laws with regard to slaughter, and pregnant mares are no longer sent for slaughter within the country.
The majority of horses in France are kept for pleasure or competition these days, and the horsey products market is booming, with specialist shops, mail order companies and products for the equestrian sold in special sectors of the large sports outlets. There seems to be less variety of horse feeds available in France, however, although you will recognise some brands that are also on sale in England. To avoid a sudden change of diet it would be a good idea to bring a stock of your usual feed so that you can make the changes gradually if it is not available to buy near your new home.
So, you have decided to move to France and are beginning the search for the ideal equestrian property. Obviously, there are many different types of equestrian property on the market, and not all will be suitable for your needs. It is important to make a clear list of your criteria at the very start, so you avoid the time wasting and soul destroying trail around properties that are no use to you. Do you want to breed horses? Are you planning on running a competition yard or a riding school? Or perhaps you just want to keep a couple of horses and a donkey as pets or for your own occasional use? All of these activities call for different types of property, and if you are using an agent to find the property for you be very clear about your requirements.
The next thing to bear in mind is location. France is a vast and diverse country, and if you have ever travelled the length and breadth of it you will be aware of just how different the various regions and departments can be. There are horses and equestrian properties all over the country, but some parts of France are more suited to horses than others, so if you have no set idea of where you need to be located it makes sense to choose a place that offers the best conditions for horses and the greatest number of possible properties.
Normandy (Upper-Normandy Property Guide, Lower-Normandy Property Guide), Brittany (Brittany Property Guide), Nord Pas de Calais (Nord-Pas-de-Calais Property Guide) and Picardy (Picardy Property Guide) are all regions in the north of France, and are quite possibly among the best areas to look for equestrian property. The climate here suits horses, being similar (if a little warmer in the summer) than the south of England, and the rainfall is sufficient to ensure good grazing. As you drive around these regions you will see fields and fields of horses, notice many signs advertising riding centres, stud farms, pony trekking and posters detailing equestrian competitions to be held in the locality.
The central regions of France, which include the Centre Val de Loire (Central Loire Valley Property Guide), eastern parts of the Pays de la Loire (Pays de la Loire Property Guide) and the Limousin (Limousin Property Guide) could also be an excellent destination for the equestrian. These regions are blessed with a slightly warmer climate than the northern parts, but still have sufficient rainfall to encourage grass to grow well. Limousin in particular could be of interest to anyone looking for an equestrian property, as the region is sparsely populated, has vast areas of farmland and pasture and offers country and landed property at very reasonable prices. The Auvergne (Auvergne Property Guide) is another centrally located region, although it can be mountainous and thus not so ideal for horses.
Why not consider adapting a small farm?
You might wish to consider buying a small farm rather than a fully developed equestrian property. Often these types of places have good barns and sometimes stables already in place, and you may find there is little to do to adapt it for keeping horses. Of course, if you are planning a stud farm or competition yard you will need to budget for the extra work needed to create foaling boxes, stallion enclosures and schooling arenas, but it can still be cheaper to adapt a farm than to purchase a developed business property.
The eastern regions of France vary massively in terms of terrain and climate, with the best horsey areas including Champagne-Ardennes (Champagne-Ardenne Property Guide), Franche-Comté (Franche-Comte Property Guide) and Burgundy (Burgundy Property Guide). These regions have rich grasslands, high rainfall and pleasantly warm summers, offering good conditions for horses. Property in Burgundy can be more expensive though, so keep a close eye on the budget if you are hoping to buy in this area. Of course, if money is no obstacle Burgundy offers some of the most beautiful equestrian properties to be found in the country, with elegant manor houses, well kept pastures and state of the art facilities.
There are, of course, horses and equestrian properties in the more mountainous eastern regions, including in the Alps (Alps property), but they tend to be more suited to those wishing to establish pony trekking establishments or who deal in specialised mountain breeds. Winters can be harsh in the mountains, although summers are delightful, so if you are planning on buying here try to be sure you have considered all seasons before choosing your property.
Western France tends to be more about the coast than the countryside, but don't let this put you off because the Atlantic beaches can provide some of the most exhilarating riding experiences ever, and there is the added benefit of seawater treatments for your horses legs... and all for free! Inland, in regions such as Poitou-Charentes (Poitou-Charentes Property Guide), you will find excellent equestrian property at temptingly low prices, as this is a region of farmland, of wide open spaces and villages where almost every house has a paddock and a barn. This type of property can be ideal for the private owner who keeps one or two horses for pleasure.
The southern regions of France stretch from the Atlantic Ocean and Pyrénéan Mountains in the west across the hills and plains of the Languedoc (Languedoc-Roussillon Property Guide, Languedoc-Roussillon Property - an insider's guide), through the marshy Camargue, the lovely countryside of inland Provence and to the Riviera beaches of the Côte d'Azur (Provence-Alpes-Côte d'Azur Property Guide, French Riviera Property - an insider's guide). In addition, there are the southern Alps (Alpes de Haute Provence Property Guide) and the gorges of the Ardèche (Ardèche Property Guide).
Inland Provence offers some good country properties which can be suitable for keeping horses, but you need to bear in mind that the climate is very Mediterranean here and grass tends to be at a premium. Property prices here are also high, as the area is very high profile and popular. Often, viewing equestrian properties here can come as something of a shock to British buyers, as horses are frequently kept in small enclosures with little access to grass, or indeed, live most of their non-working hours in stables. And the problem with finding suitable equestrian property in the hilly or mountainous areas is that land tends to be tiered or terraced, as flat grazing can be difficult to find.
If flat land is what you are after, consider the Camargue. The region is known for its horses, and certainly you will see many of these tough, beautiful "white" horses roaming the land or being used to round up that other famous resident of the Camargue, the black bull. Horses are highly prized in the Camargue, and there is an abundance of flat, open land, but there is a downside. The marshy land of the Camargue is a rich breeding ground for mosquitoes and other biting flies, all, of which can serve to make the unwary British horse very uncomfortable.
How long is a piece of string? Prices range from just over 23,000 Euros, which will buy you a barn (needing total renovation) with grazing land in the Creuse department of Limousin, to several million Euros for a top notch, fully developed equestrian property complete with an historical chateau. The middle ground is probably where most people will be looking, however, and in most regions it is certainly possible to find a property with land, stables, barns and possibly even an arena, for prices from 300,000-700,000 Euros.
France... a good place for horses?
On balance, France is an excellent choice if you are seeking to buy an equestrian property. In most parts of the country, properties with land are cheaper than equivalent properties in the UK, not least because there is more land available that has not been built up into housing estates. The climate is mainly temperate, which suits horses, and because France is a nation to whom horses are important, you will find that you also have access to excellent specialist horse veterinary surgeons as well as to the day to day equipment and goods that you will require. Whether you are looking for a cottage with a paddock, a farm to convert or a specially developed equestrian property, you should find something to suit in France.


Singapore sees the best rapidly ageing citizenry in Asia alongside South Korea and Taiwan.
This blueprint from Allianz Global Wealth Address shows that old age annex arrangement is accepted to be acceleration alike added in the aing decades.
"Along with South Korea and Taiwan, Singapore is one of the best rapidly ageing countries in Asia," the address noted.
In 2018, the Lion City's old age annex arrangement was recorded at 19%. According to the study, it may ability up to 36.3% by 2030 and 60.6% by 2050.Singapore, calm with South Korea, and Taiwan may see its old-age annex arrangement access from their accepted levels from 20% to over 60% by the average of the century, the address said.
Old-age annex arrangement refers to the arrangement of bodies of retirement age to the working-age population.


text:
Colorado Woman, 49, Has Been Missing Since Mother's Day — Here's What We Know So Far
Suzanne Morphew
Where is Suzanne Morphew, 49? The Colorado mom went missing on Mother's Day, and the cause of that disappearance remains unclear. Here's what we know about the developing case.
1. She Was Reported Missing on Mother's Day
Investigators with the Chaffee County Sheriff's Office said they got a report about Morphew's disappearance on May 10. A neighbor reported her missing. Morphew went out for a bike ride, but hadn't returned.
A search ensued, involving search and rescue officials and tracking dogs from the Department of Corrections. Nothing turned up, even though investigators looked into the early morning of the 11th. The search picked up again in the early morning hours, with help from the Chaffee County Tac Team and DOC. Again, no result.
Deputies ask that anyone with information call the designated tip line at 719-312-7530. The family is putting up a reward of $200,000.
2. Morphew's Bike Was Reportedly Found
KKTV reporter Robbie Reynold told Inside Edition that a family friend said that authorities found Morphew's bike. Sheriff's deputies didn't elaborate on the state of the vehicle.
"I had one person describe her to me as happy and active," Reynold said. "I mean, was at the gym all the time, was biking all the time, was hiking all the time."
3. Home Held by Investigators
Investigators with the Colorado Bureau of Investigation said Tuesday that they were holding Morphew's home as part of the investigation. Authorities would not confirm if it was being searched, according to KDVR at the time. Her family was not allowed in the residence.
4. Her Husband Made a Plea for Her Return
The missing woman's husband Barry Morphew appeared in a video asking for help finding her.
"If anyone is out there that can hear this, that has you, please, we'll do whatever it takes to bring you back," he said. "We love you. We miss you. Your girls need you. No questions asked. However much they want, I will do whatever it takes to get you back."
5. "Bury That Kind of Thought"
Investigators have not announced any suspects in the case. Bob Morphew, Barry Morphew's uncle who lives in Indiana, told Fox 21 News that is Suzanne "one of the sweetest people you would ever want to meet." He said he felt helpless, and wanted the family reunited. The elder Morphew rebuffed the idea that his nephew played a role in the disappearance, saying that "I think they can bury that kind of thought."
"They're a loving couple and I've never seen any kind of unhappiness with each other or produced by either one of them," he said. "What you saw on that video from Barry the other day that's exactly Barry and that's exactly how he feels. He loves her and he wants her back, he wasn't putting on. I think anybody that ever knew them at any point in their married life would tell you that they were as loving of a couple as you would find anywhere."
[Image via Chaffee County Sheriff's Office]


Dr Percy Garvin DIAS is the Associate Professor of Business Education, & Information Systems, Business Statistics and Operations Management Department (ISOM) of the Hong Kong University of Science Technology (HKUST). He is also the Director of Center for Business Education. He was accredited as the Expert Level Instructor (top 10% of instructors globally) by Cisco Networking Academy, and the winner of Michael G Gale Gold Medal for Distinguished Teaching in 2017, 4 times winner of the Franklin Prize for Teaching Excellence (2000-2014), & University Teaching Innovation Award in 2004 by the HKUST.


text:
Law Office Originalism
49 Pages Posted: 16 Oct 2020 Last revised: 2 Mar 2021
See all articles by Lorianne Updike Toler
Lorianne Updike Toler
Information Society Project, Yale Law School
Originalism as practiced by Supreme Court Justices has long been described as "law office history," or cherry picking shallow historical evidence to achieve pre-determined, political results. However, none has provided a systematic review of these claims, including the Supreme Court's historical methodology and its purchase power to cabin judicial will. This empirical study—which canvases the entire universe of the Court's 299 references to the Constitutional Convention—is the first to supply that deficiency. To test both normative historical methodology and Originalism's constraint function, this study hypothesizes that 1) the Court's historical methodology is generally bad, 2) that Originalist Justices' historical methodology was no better; and 3) that Justices' engagement in better historical methodology would result in significant political deviations.
Results of this study show that the Court references the Convention without having looked at the primary record or, indeed, any source nearly half of the time, over-relies on non-historical secondary sources for context, and fails to cite to both primary and secondary sources in all but a small minority of its references. In all this, the first hypothesis was confirmed: the Court is a poor historian according to history's standards. Likewise, based on a comparison of eight Justices—three Originalist Justices, three with non-Originalist jurisprudential commitments, and two "index" Justices—to all Justices since 1935, Originalist Justices proved they were no better at historical methodology than their peers, confirming the second hypothesis. Finally, through adding an interactive variable of political deviation to the previous test, the third hypothesis was rejected in large part: deeper historical methodology did not result in consistent significant political deviations.
Originalism may thus appropriately be deemed "law office history." However, using deeper historical methodology did result in significant political deviations for the two "index" Justices who lacked previous interpretive commitments, and a non-significant deviating trend for all other Justices but Justice Thomas, who deviated not at all. These results suggest that it is better history, not better theory, which constrains judicial will. Herein lies history's promise for the Court: better historical methodology grounded in primary sources can have the power to constrain Justices, perhaps providing hope for a methodology with bite. To capitalize on its constraint function, this article concludes by making multiple practical suggestions for improving the historical methodology for the Supreme Court bench and bar.
Keywords: Constitutional history, constitutional convention, Supreme Court history, empirical studies, law office history, Originalism, historical methodology
Updike Toler, Lorianne, Law Office Originalism (August 3, 2020). Available at SSRN: https://ssrn.com/abstract=3659611 or http://dx.doi.org/10.2139/ssrn.3659611
Lorianne Updike Toler (Contact Author)
Information Society Project, Yale Law School ( email )


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did You meet that problem with the viewer?
I use TC OAOR and I'v got an error 'Error when calling a method of VIEWER2D_CONTROL Message no. SBDS323'. I use option in-place to view document from HTTP content server repository (IBM Filenet). When I deactivate this option the document is open in viewer in new window - TC SDV is working - so I know that document exist and is stored in repository.
I use GUI 720 w patch level 2 and ECL Viewer 6 with patch level 7. ERP: SAP R/3 Enterprise (4.7).
Solution: install ECL Viewer 7.0 - available since March 2011.


any critique is appreciated, as well as suggestions.
8 x 8 what? Inches? Meters?
So basically what you are trying to say is that only D-Class personnel can handle/look at it?
access to SCP-3057 is restricted to all clearance levels with the exception of Class-D personnel.
And this sentence says that no one can hold it/be in contact with it.
In the event that a person comes into any contact with SCP-3057 they are to be immediately taken for mental evaluation.
It is to be noted that the effects of SCP-3057 depend on how long a subject has opened or read it, with twelve (12) Class-Ds currently affected by SCP-3057's effects.
And now for my final review.
Overall your idea seems bland. Its a book that takes away people's ability to comprehend language. There needs to be more written for me to get a better understanding of what this SCP can do. Please Finish your draft, and send it to me over private message, and i will review it in greater detail.
I'm fairly new to the whole making SCP's thing, so what I think is likely not going to be how professionals write at all.
1. Considering the SCP's rather dangerous effects, wouldn't it be important to note what happened to people who read it prior to contaiment?
2. Have there been attempts to re-teach anyone exposed how to read/understand languages?
3. In one of the expirement logs it's stated that the D class has a tumor in his throat, why is that not mentioned in the main description?
SCP-3057 is to be contained in a secure 8 x 8 metal locker at Site-██, access to SCP-3057 is restricted to all clearance levels with the exception of Class-D personnel.
This shouldn't be one sentence with a comma, it should be two sentences.
Also, you don't need to specify the measurements unless something anomalous happens if the locker is not 8 by 8 of whatever measurment you were thinking of. Just put it in a secure containment locker.
SCP-3057 appears to be an average copy of The Oxford English Dictionary, weighing one (1) lbs and measuring at 7" x 2" in size.
The Foundation uses SI units, not Imperial. Here you want kilograms (or grams) and metres (or centimetres).
So this is a dictionary that causes weird language stuff. That might be interesting, if executed in an interesting way, but here you just sort of present it. If you want to continue with this article expand on the concept more, tighten up your tone, look up existing language problems and make weirder/more interesting things happen.
Try to make it sound more official and more clinical in tone.
Dr linux, this is not helpful feedback at all.
What do they need to do to make it sound more 'official'? What's letting them down in terms of clinical tone? You need to give examples from the author's work, so they understand what you're talking about.
Please read the criticism policy to find out more of what you should be doing, if you choose to give feedback.
1.7 metres in width and 1.9 metres in length.
Is it me or is that a bit too square-ish? maybe 2.1 x 1.7 or 1.5. Also, how many pages?
The inability to speak any human languages, this effect tends to be permanent. With attempts to speak resulting in injury.
After said effects occur, most subjects afflicted will show confusion, suprise, and worry. With attempts to speak resulting in severe injury to the trachea.
That's repetetive, move the trachea part up to the effects. And what exactly causes the injury? I'm a bit confused.


text:
Bang Bang or Bang Bang Bang or similar may refer to:

Food
Bang bang chicken, a Chinese dish
Bang bang shrimp, a Chinese dish

People
 Abdul Razzaq (cricketer) (born 1979), nicknamed Bang Bang Razzaq
 Bang Bang (Dubliner) (1906–1981), eccentric elderly gentleman in Dublin known for playing cowboy in the streets
 Bang-Bang Club, four photographers active in South Africa during the Apartheid period
 Keith "Bang Bang" McCurdy (born 1985), a celebrity tattoo artist

Technology
 Bang–bang control, a controller that switches abruptly between two states
 Bang-bang robot, or pick and place robot
 Bang bang, Australian slang for a coffee knockbox

Film, TV and entertainment
 Bang Bang (TV channel), Albanian TV channel
 "Bang-Bang" (CSI), 2006 episode of CSI: Crime Scene Investigation
 Bang Bang (telenovela), 2005 Brazilian TV series
Bang Bang (2011 film), independent film by Byron Q
Bang Bang!, 2014 Bollywood film
Bang Bang! (play), comedy by John Cleese
Bang, Bang, It's Reeves and Mortimer, UK comedy sketch series starring Vic and Bob
 Bang Bang, a character from The Hitchhiker's Guide to the Galaxy by Douglas Adams
 Bang Bang, character in the film The Brothers Bloom
 Bang Bang, fictional band in the film Brothers of the Head
 Mobile Legends: Bang Bang, multiplayer online battle arena mobile game
 Bang! Bang! Bangkok!, TV series that aired on S4C Digidol at 11:30pm on 29 March 2003

Music
 Bang Bang Recordings, a record label created solely to release the album Five Minutes with Arctic Monkeys

Albums
 Bang Bang (Dal Shabet album)
 Bang Bang (Dispatch album)
 Bang Bang (Kelly Willis album)
 Bang Bang Bang (Nitty Gritty Dirt Band album), and the title song
 Bang Bang Bang (Bad Boys Blue album)
 Bang! Bang! Bang! Bang! Bang! Bang! Bang!, by Brimstone Howl

Songs
 "Bang Bang" (BA Robertson song)
 "Bang Bang" (Danger Danger song)
 "Bang Bang" (DJ Fresh song)
 "Bang Bang" (Green Day song)
 "Bang Bang" (Iggy Pop song), covered by David Bowie
 "Bang Bang" (Jessie J, Ariana Grande and Nicki Minaj song)
 "Bang Bang" (Kardinal Offishall song)
 "Bang Bang" (Lartiste song)
 "Bang Bang" (Melanie Fiona song)
 "Bang Bang" (Rita Ora and Imanbek song)
 "Bang Bang" (Squeeze song)
 "Bang Bang" (will.i.am song)
 "Bang Bang (My Baby Shot Me Down)", a song by Cher, later covered by Nancy Sinatra and Bonzo Dog Doo-Dah Band; also, Vanilla Fudge 1967
 "Bang Bang", by Dr. Dre from 2001
 "Bang Bang", by the Joe Cuba Sextet, also covered by jazz artist David Sanborn
 "Bang Bang", by K'naan from Troubadour
 "Bang Bang", by Lady Sovereign from Jigsaw
 "Bang! Bang!", by Le Tigre from From the Desk of Mr. Lady
 "Bang! Bang!", by Liz Phair from Funstyle
 "Bang Bang", by Lynyrd Skynyrd from God & Guns
 "Bang Bang", by Reks from REBELutionary
 "Bang Bang", by Story of the Year from Wolves
 "Bang Bang", by Thanh Lan
 "Bang Bang", by Young Buck from Straight Outta Cashville
 "Bang Bang (Balls of Fire)", a song by Kix from Midnite Dynamite
 "Bang, Bang (Stick 'Em Up)", a song by The Bar-Kays from Too Hot to Stop
 "Bang Bang Bang" (Big Bang song)
 "Bang Bang Bang" (Mark Ronson song)
 "Bang Bang", by Nancy Sinatra
 "Bang Bang Bang" (Selena Gomez & the Scene song)
 "Bang Bang Bang", a song by Christina Perri from lovestrong

Places
 Bang Bang Jump Up, a hill in Queensland, Australia

See also
 Bam Bam (disambiguation)
 Bang (disambiguation)
 Bang Bang You're Dead (disambiguation)
 Chitty Chitty Bang Bang (disambiguation)
 Kiss Kiss Bang Bang (disambiguation)

redpajama_set_name: RedPajamaWikipedia


3/2 house near the intramural fields. Quick access to Lamar or straight shot down 51st to Duval or IH35. Just minutes to local shopping, coffee shops and bars.
I was searching for a Property and found this listing (MLS® #1417589). Please send me more information regarding 5205 Leralynn St, Austin, TX, 78751. Thank you!
I'd like to request a showing of 5205 Leralynn St, Austin, TX, 78751 (MLS® #1417589). Thank you!


text:
Q: Why these syntactically identical functions produce different results? function foo1() {
    return {
        bar: "hello"
    };
}

function foo2() {
    return
    {
        bar: "hello"
    };
}

console.log(foo1());
console.log(foo2());

Can I get an explanation why the two functions print out different results even though the code looks the same?

A: Automatic semicolon insertion
Quoting the specification,

When a continue, break, return, throw, or yield token is encountered and a LineTerminator is encountered before the next token, a semicolon is automatically inserted after the continue, break, return, throw, or yield token.

So the code will become like this
function foo2() {
    return;          // Note the `;` after `return`
    {
        bar: "hello"
    };
}

The return statement terminates and then there is an object after that, which is basically unreachable code. Since the return statement doesn't return anything explicitly, undefined will be returned.

redpajama_set_name: RedPajamaStackExchange


text:
DAINA HIGGINS
awning paintings 2019
paintings 2007 - 2011
seurat series 2002-2006
past statements
contact / sales
Daina Higgins - biography
Daina Higgins was born and raised in the Clintonville neighborhood of Columbus, Ohio. Her early art experiences were at the Columbus College of Art and Design, where she attended Saturday morning classes for seven consecutive years. During this time she attended Fort Hayes, an arts alternative high school located in downtown Columbus. In 1997 she received the Silas H. Rhodes Merit Scholarship from the School of Visual Arts in New York. She moved to New York, and graduated in 2001 with her BFA.
Out of a small studio in her Brooklyn apartment, she began making small paintings using a spray paint and stencil technique she dreamt up while looking at Georges Seurat's drawings. In 2003 the Rebecca Ibel Gallery exhibited these paintings. In 2005 Higgins also joined the Elizabeth Harris Gallery, receiving critical acclaim for her 2006 solo exhibition in the New York Times.
In 2007, Higgins enrolled as an MFA student at Queens College CUNY. During the two years of graduate school, she was included in the Queens International 4, a biennial exhibition at the Queens Museum of Art in Flushing, and in 2009 she won the prestigious Joan Mitchell Foundation MFA Grant. Higgins also traveled to California to open a two-person show with Liat Yossifor at the University of LaVerne's Harris Art Gallery.
Numerous publications have documented her paintings, including ArtNews, The New York Sun, The Village Voice, The Columbus Dispatch, and The New York Times. In 2006 Roberta Smith reviewed her exhibition at Elizabeth Harris Gallery, ending her review with "[she]…creates a poetic awareness of the passage of light, moving through the world, bouncing off things and making visual experience fleetingly possible."
In 2010 Higgins moved to Philadelphia, where she bought a house and studio which she has been renovating. In November of 2017, she installed "Main Street", a series of three-dimensional paintings, inside storefront gallery Studio Hada in the Mantua neighborhood of Philadelphia. In 2017, Higgins also installed four paintings on permanent view in the Pennsylvania Convention Center (outside of Hall E).
© 2019 All Rights Reserved - Daina Higgins
An icompendium Site


Two seconds flat. Are you getting this? THE MAGIC BULLET DID A LOAD OF LAUNDRY IN TWO SECONDS!
Another job to be done. And another test for THE MAGIC BULLET.
Is THE MAGIC BULLET up for the task?
With the bags neatly folded!
Remember from the last post that I became wildly attracted to an item in Costco and it ended up in the back of my truck?
Well now it is in my kitchen.
a veritable plethora of cups!
Now I have bladey things.
There was a big thing in the box.
It presents me with danger, also.
does any job in 10 seconds!
Any job in 10 seconds or less?
I chose the small cup option.
The small cup, itself, is quite dangerous.
Four seconds, flat! I am excited.
Out the door early. Quick peek to make sure there is plenty of room in Susie Q, it's going to be a long day.
Good thing I have a lonnng bed.
I am not lonnng on gas, though. Better keep an eye on that. And no…I have not checked the gas mileage…not gonna, either.
A quick stop at Red Star to check the Tuesday night class pots. Lookin' good.
damp box! Do you see that dry spot on the rim of the cup on the right?
uh, its upside down, OK?
by Mary Fisher! Isn't it great? You could own this!
Good use of a tree, aye, Kanada?
On my last couple of visits, I have found my self wildly attracted to the Magic Bullet!
"ANY JOB IN 10 SECONDS"!
put more stuff in my truck!
…oh, I mean deeper into the center of Independence.
My choice on a hot, muggy, Missouri afternoon.
The Italian cuisine here is tremendous!
If you have cats…put a Pizza Hut carry out box on the floor and you will have a "cat on a box". Guaranteed.
even more stuff in the back of the truck.
to check on the price of a "pork chop". Ha! Who knows what I am referring to? Ha! Probably nobody.
I need help unloading this truck! Oh, look! We gotta…helper!
End note: Did you notice that you were shown the arm, hand, and foot of Sara's companion…but never her face?
…ewww, I ate this one a few days ago and left it …ewww on the floor by my chair and …ewww it is drying up and engulfing the …ewww spoon! Should I keep it as a pet? Should I rescue the spoon?
pink and grey and butter color…and gold and silver luster!
New cupholder. 99 cents… Geez!
…she did take me up to Smithville Lake. And back even!


About President Rolihlahla Nelson Mandela, Nobel Laureate Nobel Laureate Nelson Mandela (fondly known by his amaXhosa clan name, 'Madiba'), served 27 years in an Apartheid Prison on Robben Island, emerging to become South Africa's first democratically elected president in 1994... Mandela was incarcerated for more than twenty-seven years, during which his reputation as a potent symbol of resistance to the anti-apartheid movement grew steadily. Released from prison in 1990, Mandela won the Nobel Peace Prize in 1993 and was inaugurated as the first democratically elected president of South Africa in 1994. Nelson Mandela passed away in December 2013.
Nelson Mandela was awarded the Nobel Peace Prize along with Frederick William de Kirk for "their work for the peaceful termination of the apartheid regime, and for laying the foundations for a new democratic South Africa". These are no small words of praise.... Acceptance Speech of the President of the African National Congress, Nelson Mandela, at the Nobel Peace Prize Award Ceremony: Oslo, Norway. December 10, 1993.
Home Speeches by Nelson Mandela : Statement by Nelson Mandela on the announcement of the award of the Nobel Peace Prize. 15 October 1993. Today's announcement that I have been named to receive this most prestigious award for peace was a deeply humbling experience.


14.1hh dapple grey 4 year old mare! Broken to ride and drive last time and turned away to mature into herself! Been brought back in this last few days got her going again!
Nice bit of movement on her! Rides well in the school, obviously green but willing! Snaffle mouthed.
Good in traffic. Really thick set pony! Be a lovely mare for the drives! No vices. Not for a novice as green!
Lado! Here we have a lovely ride and drive gelding, 7 years old! Broken to ride and drive and coming on nicely!
Super flashy driving pony, will go up front or behind. Approx 14.2hh. Good to catch, box, shoe! Lado lives in or out.
done more driving then riding, when ridden in a snaffle! Fully shod! Lado will have a nice good jog to him, not an old slug, with a bit of step!
14.3hh-15hh Irish mare, stunning girl with the sweetest nature. 100% ride and drive.
Schools nicely in all three paces and loves to Jump. Drives well and good in all traffic.
Perfect to handle on the ground. 100% to catch load carrier. Lives in or out. Sweet natured. Passported and wormed.
Here we have Sunshine who is full up 14.3h 12 year old mare. Full registered Part bred Welsh. She is very smart and nicely marked got nice bit of feather and bone. Sunshine is very quiet to handle on ground good to shoe, catch, box and load. She will live in or out and has amazing manners.
Sunshine is bombproof ride and drive she's an ideal novice ride under saddle walk/trot/canter. Good to hack out alone or in company. She is easy to harness up drives out in the heaviest of traffic never strong or silly, safe and genuine and will stand at junction and traffic lights good as gold. She drives in two or four wheel carts and has nice bit of action to her. She has brand new set of shoe ready to go.
First to see will buy. Px welcome.
Black filly coming 6 years old standing at 15hh, 3 white socks and blaze. Newly broken to ride and drive, mainly been driven.
Great on the road and in all traffic. She's got nice bone and lovely silky feather. Would make one hell of a wagon cob.
Shod, worked to date and recently had her teeth done.
Archie. Ride and drive, 13.2hh ish. 7 years old gelding. Passported and chipped. This little pony is one million percent, sweetest little man you could wish for.
Sad sale due to kids having no interest. Perfect for any Novice. 5* home only. Can't find ponies like him, so won't be giving him away!
Contact for any more info. No time wasters. Other pics available.
Mary, 3 year old mare standing at 15hh. Dam is daughter of Stoneriggs JR, sire is heavy cob. Mary is broken to ride and drive, she just needs bringing on.
She's seen all types of traffic and is proving very sensible. She has hacked out around town and on the beach.
Well mannered and good to handle, shoe, etc... Passport, chipped and in work. No time wasters or texts.


A seasoned business executive, Bob brings many years of C level management with world-class companies such as GE, NORTEL, Commodore Computers and Acklands.
For the past 25 years-after a successful career-Bob has been directing business advisory activities for his own organization, Robert H Lane and Associates Inc. which provides innovative, creative problem solving and operational assistance to senior management.
Clients include domestic and international groups involved in manufacturing, distribution, utility services, construction of commercial building, providers of communication & computers services, technology start-ups and Government agencies.
Recent projects focused upon: 1) The role and deployment of 'smart meters' for residential-commercial electrical energy management and 2) The development and deployment of both residential and commercial intelligence associated with: lighting; heating & cooling energy management systems; security; and communication platforms for the future.
He is a graduate of the University of Toronto (BA Trinity) and Ivey School of Business (MBA). Presently, he serves on the advisory boards of several North American companies. Included is his role and involvement as the chairman of Crew Inc.
NEDCO Canada: As chairman & CEO, Bob grew the operations to be 1stin Canada. 'Then orchestrated its sale to United Westburne, when Nedco's parent company decided to focus on telecom manufacturing.


Team 17 Games announced a new partnership today to publish a game by Villa Gorilla, Yoku's Island Express. The only way to describe this game is as a pinball platformer, reminiscent of early Sonic and pinball games.
Yoku the Dung Beetle has arrived on Mokumana Island to relieve the resident pterodactyl postmaster of his duties. He's ready for the easy life, soaking up the sun and delivering parcels on a tropical paradise!
However, he'll quickly discover that an ancient Island deity is trapped in a restless sleep, and a host of colourful, quirky islanders are plagued by quakes and storms brought forth by its nightmares. It's all down to Yoku to traverse the island using a unique blend of pinball mechanics and open world exploration, in an amazing quest to help those in need!
With Team17 we've found a publishing partner that cherishes innovation and style – something we recognized way back when we played Alien Breed on our Amigas. We feel that their commitment to quality and fun gameplay is a perfect match for us, and we are incredibly excited to be working with Debbie and the team to finish and release Yoku's Island Express.
Yoku's Island Express has such a beautiful, distinct style with a unique twist on the platform genre. It's a true gem, we're looking forward to working with the very talented Villa Gorilla and welcome them to our growing games label family.
Yoku's Island Express will release on Nintendo Switch in 2018.


The British Army Recruit Battery (BARB) test determines the scope of army roles you will be able to apply to. Prepare for your BARB test with JobTestPrep, improve your score and get the army role you want.
The BARB test is the very first aptitude test you will have to take at the Army Development and Selection Centre. The test measures your mental ability to understand information and solve problems. You will be required to answer the questions as quickly and accurately as possible. The test is carried using a touchscreen computer, and should take about 30 minutes. Afterwards, the computer automatically generates your General Trainability Index (GTI) score, based on the number of correct answers and time taken. The GTI score determines which army jobs are suitable for you. The higher you score, the more roles you will be able to choose from.
This tests your logical abilities. You will be given statements about a certain relationship between two individuals. Then, you will be asked to make a deduction on the basis of that statement.
In this test, you will be presented with four pairs of upper and lowercase letters. In order to assess your perceptual speed, your job is to identify how many pairs contain the same letter as quickly as possible.
In this test, you will be given combinations of three numbers. In each question, you will have to decide which is furthest away from the middle number – the lower number, or the higher one?
Here you will be presented with three words. Two of them will be similar in some way, and your job is to decide which word is the odd one out.
This tests your ability to mentally rotate objects. You will be given two pairs of shapes. Then, you will have to decide the number of pairs in which the two shapes are essentially the same, by mentally rotating and comparing them.
Below are five sample questions from our BARB practice database. Can you figure out the answers?
How many pairs contain the same letter (lower and uppercase)?
Find the lowest and highest numbers. Figure out which one of them is furthest from the third, middle number.
How many of these two pairs (columns) contain the same shape?
To pass the BARB test, you need a GTI score of at least 26 points. The maximum points required for a role is 60. You should try your best to get the highest score you can in order to receive a variety of job opportunities.
To succeed in the BARB test, you will have to find the balance between answering the questions in a methodical and accurate way, and working as quickly as possible. This could only be achieved by practice. Practise for your BARB test with our tailor-made pack including question types found in the actual test.
What other aptitude tests do I have to take?
The BARB test is one of three aptitude tests you will undergo during your assessment at the Army Development and Selection Centre. You should note that the BARB test is the most important one, determining your GTI score and the roles available to you.
Once you have passed the BARB, your next two tests are the Literacy and Numeracy tests. Applicants eligible for consideration for a technical role will also be required to take the Technical Selection Test.
We offer a many differed and varied PrepPacks™ to help you out on your journey to success. Browse the site, get in touch and we are sure that we will be able to help you. Good luck!


I would like to purchase two of the skechers sizing mats for children. This is for a 5013c called First Blessing Shoe Give-A-Way. We will give a way over 1500 shoes across Texas this year.
I would also like to purchase two of the skechers sizing mats for children. How could I order them?
Hi Marilyn, Thank you for reaching out! The size chart to measure your feet is available to print for free online at the link: http://sh.skechers.com/skechers/new-site/kids-size-chart.pdf. Hope this helps!
Do you have any of the floor size mats available for purchase? I work a non-profit company that distributes shoes to school children in other countries?
Hi Kris, Thank you for reaching out! Please email detailed information to customersocial@skechers.com so we can connect you with the appropriate team for further assistance.
I don't know if Sketchers stopped making wide for children but I can't find any Wide width kid's sketchers anywhere! (Amazon, Sketchers website, JcPenney, Sketchers outlet store…) My daughter loves sketchers for the style and we have bought them in the past because they seem comfortable for short periods until the sides of her feet hurt. This article says they have wide for kids, and I just printed their sizing chart which mentions getting wide for her but it's disappointing to not find any!
Hi Brittany, Sorry to hear about this situation. Please email detailed information to customersocial@skechers.com so we can connect you with a customer service specialist who may further review this matter. Thanks!


text:
Le Nikon D100 est un appareil photographique reflex numérique semi-professionnel fabriqué par Nikon. C'est le premier reflex numérique de la marque à bénéficier d'une diffusion relativement étendue grâce à un prix plus abordable que les modèles strictement professionnels comme le D1. Il sera remplacé par le D200, qui sera lui-même remplacé par le D300.

Galerie

Notes et références

Liens externes
 D100 - Nikon France
  D100 - Nikon USA
  Nikon D100 Review - Phil Askey, DPReview,

Appareil photographique numérique
D100
Produit lancé en 2002

ja:D100


Using a process known as 'Hot Water Extraction', our technicians use pressurized jets that reach deep into carpet fibers to get at grime. The water these machines use is heated to 140° Farenheit, killing microorganisms that live in carpet that cause odors. Afterwards, a vacuum hose then pulls most of the liquid back into the machine. Our process is safe for children.
Ask about our Rug cleaning service.


text:
Q: RoR with JavaScript disabled Is there any fallback mechanisms in Ruby on Rails 3.2 and 4.0 when someone has JavaScript disabled?
How would an application react, specifically when using ajax request. Would it fallback to normal requests?
I ask this because I need a website which also can handle requests from text browsers for disabled people.
What are some strategies if there is no default fallback.

A: See this post. Stop loading the page if Javascript is disabled
In general I can't really think about any fallback mechanism here - note that huge part of requests done by rails are in fact ajax requests, as it is impossible to send PUT or DELETE over (Instead of delete request, rails send ajax post request with data: {"_method"="delete"}).
In short, for me disabling JS will break the page heavily, I'm gona test it today.

A: I'm not well experienced with RoR, but I suspect this is more a question of how you design your front-end architecture. My limited understanding is that RoR didn't provide any javascript "out of the box"; it's default state is to create views that produce flat HTML, which you can dress up how you like with JS and CSS.
Your HTML should be written such that the user should be able to get to all the content they are most interested in, without having to rely on JavaScript to do it. This means you should only use JS to augment the experience. In the language of common front-end practice, do progressive enhancement.

A: After some research I found the answer:
Ruby on Rails uses unobtrusive javascript to accomplish this. Any Ajax request will then gracefully "degrade" to a normal POST or GET request if javascript is disabled. The only action that will not be working out of the box is delete since it is the only request that is not fully supported by all browsers natively and needs js.
Find out more about that in that railscast: http://www.youtube.com/watch?v=t_MBLfrKTiE


--and no, his name doesn't begin with an L.
Picture a time in America's distant past, when bicycle racing was the most popular sport in the U.S. (and the world), and while Europeans were into it, Americans and Australians were not that far behind. It was a time, between 1880 and 1920, when racing was practically America's national sport.
Into this milieu rode Marshall "Major" Taylor. A teenager in 1891, Major received a bicycle from a friend's parents and saw its potential: For fun, for helping him find and keep work, for helping make a name for himself.
This week, for African-American History Month, Found by Bike explores the history and legend of this great African-American athlete, probably the greatest bicycle racer this nation has ever produced. Taylor became world champion at the beginning of the 20th century. He set world speed records and was the first African-American to become a world class athlete in what was at the time a very popular major American sport.
Taylor's career as a racer started when he was about 13 years old. With his bike, he earned money delivering newspapers. When he wasn't working, he was practicing tricks and stunts and caught the eye of someone at a local bike shop in his hometown of Indianapolis, Indiana. The shop's owner, Tom Hay, hired him to wear a military uniform and do some of the stunts he practiced in his spare time. The uniform became the reason for his nickname, which seems to have stuck, for that is the name by which we know him today.
His first race took place when Hay entered Taylor into a 10-mile road race -- something the teenager had never heard of before. The legend is that Hay whispered to him at the starting line, "I know you can't go all the way. Just ride up the road a little way, it will please the crowd, and you can come back as soon as you get tired."
The race was in a handicap format: Taylor would get a 15-minute head start on the rest of the field of amateurs. As author Todd Balf relates in his book Major, "It was the hare-and-hound format with a twist -- a black boy and a pursuing white mob."
Thus started an illustrious career that was the stuff of legend: A David and Goliath story of a son or grandson (it has never been fully documented) of slaves vs. the rest of the world. A young black man making his way in an American society when most professional sports were played white men. Or looked at a different way: Taylor was a small, young phenom taking on his more experienced, larger, stronger racing brethren.
As he entered more and more amateur races and won, he was noticed by Louis "Birdie" Munger, a washed-up ex-bike racer with ambitious plans to manufacture racing bikes. The time seemed right to catch the bicycle racing craze that was sweeping the nation from the San Francisco Bay Area to Manhattan and Detroit south to Dixie and having a hardworking young racer on his payroll would allow him to showcase his sleek racing bikes.
Munger saw in Major Taylor a hunger and drive to be the best (something Munger could relate to). He became Taylor's mentor and friend.
Taylor moved at age 17 to Worcester, Massachusetts to work for and train with Munger, but came back to Indianapolis to race. Eventually Indy's Capital City Track banned him from racing there -- it wouldn't do to have a young black man racing and bettering his more experienced white counterparts.
He continued to hone his craft with races around the midwest and northeast, despite his being banned by the League of American Wheelmen, which was the race sanctioning organization at the time. (The LAW eventually moved away from the race business entirely, then changed its name to the League of American Bicyclists, the name it has today).
After turning pro, Taylor finished his first professional race -- a Six Day Race at Madison Square Garden. This form of racing originated in England around 1881, eventually was banned there, and made its way to the U.S. where several venues hosted these week-long events.
The format of these races tested the athletes' endurance, their ability to ride continually, and even their ability to stay awake as they raced around a cinder track for six days. It was continuous, nonstop riding. When these races were first introduced, racers rode solo. Eventually the format was modified to two-person teams.
Think of it: Bike racing on a track was race promoter's dream: The format was truly spectator-friendly. The audience could sit and watch the racers go around, and around, and around. The promoters loved it because it held an audience captive. Spectators liked it because they could gamble on the outcome; besides, there were always spectacular crashes and even some deaths.
These races were like a latter-day Super Bowl -- with all the attendant hype. Despite crashing from exhaustion and wanting to quit, Taylor finished this, his first pro race, placing eighth.
The business of bicycle racing is a brutal one; racers rode for themselves but would make quick alliances with other participants on the track; they would break those alliances up when a more advantageous relationship rose.
For most of his career, Taylor had to go it alone without the help of race allies. Perhaps this was why his races were strategic, utilizing his strengths as a sprinter and his keen ability to survey the race landscape and get out of jams. Racist attitudes on the part of his fellow riders played no small part in the events he entered. Yet he persevered, rising to the top as world champion in 1899.
Of his moment on top of the world, Taylor wrote in his autobiography, The Fastest Bicycle Rider in the World, "It was the first time I had triumphed on foreign soil, and I was thrilled as I heard the band strike up The Star-Spangled Banner.
"My national anthem took on a new meaning for me from that moment. I never felt so proud to be an American before, and indeed, I felt even more American at that moment than I ever felt in America."
The spirit of Major Taylor lives on in a number of bike clubs around the country dedicated to preserving his name for future bike riders (and who knows? Maybe even for bike superstars in the making) to learn about this piece of American bike racing history.
Major Taylor told his story near the end of his life in his autobiography and kept numerous scrapbooks documenting his career as one of the greatest American bike racers. These scrapbooks open an important window on American sports history as well as provide a personal story of American society as the country moved into the 20th century. Several of Taylor's scrapbooks are online through the University of Pittsburgh's Archives Service Center.
There are several books on Taylor's life, in addition to Balf's. Two of them are Major Taylor, Champion Cyclist, by Lesa Cline-Ransome and Major Taylor: The Extraordinary Career of a Champion Bicycle Racer, by Andrew Ritchie. Unfortunately, his autobiography is out of print, so is very hard to find except in libraries.
An organization, The Major Taylor Association, was founded with the mission of conducting good works in his name and educating people about his life and legacy. Taylor's name lives on in the many bike clubs around the country as well.


text:
Skye fly plans backed by Council
Highland Councillors have given their backing to the business case for bringing air services to the Isle of Skye and are to continue lobbying the Scottish Government and its agencies at the highest level.
Following assessment of the business case at the Isle of Skye and Raasay Committee, members of the Council's Planning, Development and Infrastructure Committee had the opportunity to discuss the wider economic and social benefits of having an airport on Skye and examined the short-term action plan to take forward some key development activities.
The Committee agreed up to £30,000 over the next 2 years to take forward the activities that have been identified that will unblock the delivery of air services.
Within hours of the decision local campaigners FlySkye issued their own statement via social media. They said: "At long last!
"We all knew the airport would bring economic benefits to the island and surrounding mainland districts and have been saying that since the very beginning of the campaign to restore regular flights between our airstrip at Ashaig, near Broadford, with the Central Belt, for over 4 years.
"However, we are all going to have to be patient for even longer. Another 2 years may not seem very long in local government terms, but to a small, local business it is a very long time.
"Let's keep up the pressure"
The Skye Air Services Business Case 2016 Report was commissioned through HITRANS (Regional Transport Partnership) as a collaborative study involving Highland Council and Highlands and Islands Enterprise (HIE).
The report sets out a broad assessment of the wider socio-economic benefits of reintroducing scheduled air services to Skye. There are estimated to be significant financial benefits over 30 years totalling in the region of £36m to £46m, depending on the aircraft capacity introduced. The benefit:cost ratio is estimated to be around 2:21 which means that for every £1 spent in investment, there would be £2.21 of benefit to the area.
Chair of the Committee, Councillor Audrey Sinclair said: "Good transport links, including regional air connectivity, are vital to the economic success of communities in the Highlands and Islands. The report presented to the committee showed the airport would be of benefit to local businesses. Also people want to come and visit our beautiful region and we want to make it as easy as possible for them to access all that we have to offer.
"Due to the location of the airstrip it won't only bring benefits to the Isle of Skye but Lochalshm Wester Ross, the wider west coast of the Highlands will also benefit.
"The Council, in partnership with HITRANS and Highlands and Islands Enterprise, will continue to lobby Transport Scotland and the Scottish Government to establish how the proposed development strategy for the airport may be progressed."
The report confirms that a new airport on Skye could open in around two years.


text:
More Early Stocks in Motion
Avaya misses estimates and lowers guidance.
Mike Marino
Apr 20, 2005 8:34 AM EDT
(AV)
said the it earned $36 million, or 7 cents a share, for the second quarter ended March 31, down sharply from $125 million, or 27 cents a share, a year ago. Revenue for the quarter was $1.22 billion. According to Thomson First Call, analysts expected earnings of 17 cents a share on revenue of $1.29 billion.
Looking forward, Avaya does not expect to meet its prior fiscal 2005 forecast. It also said its board authorized a share repurchase of up to $500 million over the next two years. The stock was down $1.89, or 17.68%, to $8.80 in after-hours trading.
Borders Group
( BGP) revised sales and earnings guidance for the first quarter. The company said it now expects a loss of 6 cents to 7 cents versus a previous forecast of break-even to earnings of 2 cents a share. Borders also stated that on a quarter-to-date basis same store sales at its superstores have declined by 0.8% and by 3% at Waldenbooks. The stock was unchanged at $25.88.
(MTB) - Get Report
announced that it has increased its quarterly dividend by 5 cents, or 12.5%, to 45 cents. The higher dividend will be payable June 30 to shareholders of record as of June 1. The stock was unchanged at $102.14.
Cymer Inc.
(CYMI)
said it earned $5.4 million, or 14 cents a share, for the first quarter ended March 31, down from $7.2 million, or 19 cents a share, a year ago. Revenue for the quarter was $84.8 million. Analysts expected earnings of 8 cents a share on revenue of $80.2 million. The stock was up 80 cents, or 3.14%, to $26.28 in after-hours trading.
(JNPR) - Get Report
said it earned $75.4 million, or 13 cents a share, for first quarter ended March 31, versus $33.5 million, or 8 cents a share a year ago. Revenue for the quarter was $449.1 million. Excluding certain items, the company earned 16 cents a share. Analysts expected earnings of 15 cents a share on revenue of $440 million. The stock was up 89 cents, or 4.23%, to $22.16 in after-hours trading.
(BTH)
said it lowered its 2006 earnings forecast to $2.20 to $2.25 a share, down from its previous outlook of $2.35 to $2.40 a share. The company cited weakness in its North American direct selling markets. The stock was unchanged at $31.43.
(LLTC)
said it earned $121.6 million, or 39 cents a share, for the third quarter ended April 3, versus $85.5 million, or 27 cents a share a year ago. Revenue for the quarter was $290.7 million. Analysts expected profits of 32 cents a share on revenue of $250.6 million, according to Thomson First Call. The stock was down 56 cents, or 1.47%, to $37.56 in after-hours trading.
StocksInvesting


I was doon at the castle with the dugs tonight for a quick constitutional. Later than usual, as me and Marion had been out for a meal earlier, it being my beloved's birthday today.
There was a relatively faint musical throbbing coming from somewhere - a bit like when a youth at the end of the road has his car stereo on at 11, with all his windies shut. At the back of Bothwell Castle of course, there's nothing except inaccessible forest and the Clyde, so it wasn't a nedmobile.
Lugs flapping and eardrums straining I eventually picked up a bit of a recognisable tune by the popular beat combo U2, albeit it was fading in and out with the breeze. Ah - they're playing at Hampden tonight. But that's miles away. It can't be that, surely? Interest piqued, I found this "As the Crow Flies" thing, which, if believed, has the castle just over 6 miles from the stadium. So, based on nothing other than the scientific truism that "it's a lot closer than I thought" I can state, without fear of let or hindrance, that I have heard The Edge playing live.
If I liked U2 I'd probably be quite pleased by tonight's discovery.