text:
The Free Library > Humanities > Literature, writing, book reviews > French Forum > March 22, 2004
The Free Library > Social Sciences > Languages and linguistics > French Forum > March 22, 2004
The Free Library > Date > 2004 > March > 22 > French Forum
Exercises in exorcism: the paradoxes of form in Artaud's early works.
<a href="https://www.thefreelibrary.com/Exercises+in+exorcism%3a+the+paradoxes+of+form+in+Artaud%27s+early+works.-a0127436678
MLA style: "Exercises in exorcism: the paradoxes of form in Artaud's early works.." The Free Library. 2004 University of Pennsylvania Press 15 Jul. 2019 https://www.thefreelibrary.com/Exercises+in+exorcism%3a+the+paradoxes+of+form+in+Artaud%27s+early+works.-a0127436678
Chicago style: The Free Library. S.v. Exercises in exorcism: the paradoxes of form in Artaud's early works.." Retrieved Jul 15 2019 from https://www.thefreelibrary.com/Exercises+in+exorcism%3a+the+paradoxes+of+form+in+Artaud%27s+early+works.-a0127436678
APA style: Exercises in exorcism: the paradoxes of form in Artaud's early works.. (n.d.) >The Free Library. (2014). Retrieved Jul 15 2019 from https://www.thefreelibrary.com/Exercises+in+exorcism%3a+the+paradoxes+of+form+in+Artaud%27s+early+works.-a0127436678
He who has to be a creator has always to destroy.
This essay will consider four collections of Antonin Artaud's early literary works--L'Ombilic des limbes, Le Pese-nerfs, Fragments d'un journal d'enfer, and L'Art et la mort (1)--through a formal approach, performing a much-needed close reading in order both to come to a fuller understanding of them as literary productions and to expand upon our understanding of Artaud's larger project. I am taking my cue partly in response to a call issued by Alain and Odette Virmaux in 1997--a plea to bring Artaud's entire oeuvre into critical discussion, to not focus on the later, more well-known works to the exclusion of all else. (2) These early writings reveal much about Artaud's craft as a writer. They demonstrate a remarkable fusion of language, theme, imagery, and action. They execute Artaud's struggle with symbolic forms and literary devices via symbolic forms and literary devices. They enact, on all levels, Artaud's move from "literature" to the realm of the physical. As I will show, they begin the "desperate wrenching away" of the self (3) that Artaud grappled with throughout his life: they are exercises in exorcism.
These writings lead from the moment of Artaud's discovery of the central concern of both his life and his work (which occurs during the correspondence with Jacques Riviere) to his start in the practical theater. (4) These pieces have not received as much critical attention as have other works by Artaud. (5) Because of Artaud's wide-ranging significance, we often seem too impatient to read his individual works. The explicit formulations of his dramatic ideas (the manifestoes and writings about the Theater of Cruelty) have been explored extensively in theatrical terms; (6) and the letters and howls from his last years (Rodez, Ivry) have been investigated at length in terms of psychology, biography, madness, and modern society. (7) But the difficult hybrid texts I am tackling have been treated only in limited sources, perhaps testifying to a belief in their minor status in Artaud's oeuvre. It is my hope to establish them as crucial texts both in their own right and in our understanding of the full complexity--and even clarity--of Artaud's work.
It should be noted that these works, while scarcely treated elsewhere, or at all recently, (8) provided Derrida with much of the basis for "La parole soufflee," an essay that wrestles with Artaud's protest against exemplification and interpretation and the author's desire to respect that wish in the course of the (interpretive) essay. (9) Derrida argues, rightly, that Artaud was in "pursuit of a manifestation which would not be an expression but a pure creation of life" (10) and that Artaud's project, which was focused on nothing less than life, and only incidentally on art, could never be embodied in a work. But are these works to be read as "loss" or "matter without life" because of this? (11) Can we read them as more than betrayals of Artaud's ideal? These works, perhaps even more than many others by Artaud, can stand on their own once they have left his body. These internally conflicted entities continually enact the battle Artaud was waging in his life, they enable and necessitate Artaud's inexorable move toward the theater, (12) and yet they are, at the same time, exceptionally complex and well-crafted works of written language. It is with this is mind that I analyze L'Ombilic des limbes, Le Pese-nerfs, Fragments d'un journal d'enfer, and L'Art et la mort.
Reading these works closely, we can appreciate the fullness of Artaud's project in the way that the Virmaux have called for. Only at the end of this essay will I make suggestions as to how these readings can be explicitly linked to Artaud's later projects and his person. I will begin my analysis by setting forth the initial move of these works: the thematic and structural attack on existing forms. Secondly, I will read the works with a view to establishing their desired next move: the creation of a process of communication beyond language that would lead to unity and wholeness--a nerve-connection between bodies. The third move, then, is to the theater. I demonstrate this in a close reading of one of Artaud's most severely neglected works, "Paul les oiseaux, ou la place de l'amour." The fourth move is, finally, the transference of this process of rejection, creation, and physical embodiment. As Artaud conflates the authorial "I" of his writings with the mytho-historical figures he is describing, he begins to craft his self into his work, so that the project he pursues is not external to his life, but woven into "the web of my living soul." (13)
First move: Destruction
The first step these texts take is destruction. Like avant-garde manifestoes in their opening moves, these works renounce inherited forms. While they aim for the eradication of existing language--and the codified thinking that is intimately connected to it--the language that might replace it has not yet been found. These early works explode literary form: through their composition, arguments, and imagery, L'Ombilic, Le Pese-nerfs, Fragments, and L'Art et la mort wage a furious war against themselves.
The gesture of each of these four works is a structural attack; the staging of the conflict differs in each. L'Ombilic des limbes, the earliest of the collections, is the most compositionally jarring. Composed of twelve short pieces, it contains almost as many different literary forms. Three poems, two letters, a scenario, a play, an art review, and various mixtures of essays and personal statements interweave, keeping the reader careening through the collection, unsure of what genre of literary work is being presented. L'Art et la mort, the last of the works, utilizes a similar mixing of forms, but concentrates on prose hybrids that shift from direct address to fictional storytelling to personal letters often, as in L'Ombilic, attached to extremely long footnotes leading creeping lives of their own. Even within the individual sections of both collections, writing breaks out of traditional categories and refuses to produce simply a "review" or a "letter," or even a "narrative." Within L'Ombilic and L'Art et la mort, each piece, which is normally no more than a page or two long, shreds existing forms within itself, only to quickly give way to another piece that enacts the same conflict through a new combination of elements.
Le Pese-nerfs stages the attack differently. (14) Instead of combining the splinters of broken forms with each other, Le Pese-nerfs leaves the empty spaces that remain after this shattering on the page. Each shard of language stands out in high relief against the blank page behind it, the white backdrop intensifying its fragmentary nature and giving a visual representation of the iconoclastic gesture underlying the work as a whole. This forty-eight page collection of half as many pieces (the longest of which is five pages, the shortest, eleven words) contains no poems of recognizable form, although the language may be poetic, and no maxims, although the layout of the text evokes that genre. Moreover, the "content" persistently defies categorization: furious accusations, anguished personal examination, and detailed description of physical or mental states crowd the work. Each page, each measure of the "meter," demands new scrutiny from the reader.
Fragments d'un journal d'enfer continues in this vein, with short, complicated bits of writing paired together without, however, the blank spaces of Le Pese-nerfs. The effect of the published work resembles that of a writers' notebook--a chaotic assemblage of monstrous forms and aborted ideas. Both pieces utilize the short phrase or exhortation to great effect, promising, on a formal level, the digestibility of the maxim, even as the pieces' content breaks this promise by the difficulty and violence of the individual phrases' content.
The works explicitly and resolutely demand the demolition of "language" and "literature" through their subject matter. A key passage of Le Pese-nerfs exhorts: "Il ne faut pas trop laisser la litterature." (15) By pitting extant literary forms against each other, Artaud attempts to situate his work outside the realm of "literature," outside of existing forms of expression. While each collection focuses on the project from a different angle, the theme is the same. The preface to L'Ombilic, which defies the label of "preface," (16) exhorts: "we must get rid of literature," (17) and the point is driven home with even greater force in Le Pese-nerfs, with the declaration: "Toute l'ecriture est de la cochonnerie"--all writing is filth. (18) Le Pese-nerfs goes on to denounce authors who use literary language without considering that it can, in fact, shackle thought and trivialize experience--anyone, in short, who participates in the "literary scene," which is a "pigpen" (19):
Those for whom certain words have meaning,... those who are so
precise, those for whom emotion can be classified and who quibble
over some point of their hilarious classifications, those who still
believe in "terms," ... those who follow paths, who drop names, who
recommend books,
--these are the worst pigs of all. (20)
This call for the destruction of literary forms stems from the inadequacy of literary codes to convey living thought or experience; issues raised in the Riviere correspondence are re-examined in these works. "It is this contradiction between my inner facility and my exterior difficulty which creates the torment of which I am dying." (21) This torment is sometimes formulated in terms of heroic defiance and artistic autonomy, as in Fragments: "I do not work within the confines of any realm," (22) a statement succinctly summarizing the project of these four works. But more frequently, anger at existing forms drives Artaud to some of his most powerful denunciations of literature--and of himself. In Le Pese-nerfs, notice the blank space after "mes" (in the English, after "mental"):
Je suis imbecile, par suppresion de pensee, par mal-formation de
pensee, je suis vacant par stupefaction de ma langue.
Tous les termes que je choisis pour penser sont pour moi des TERMES
au sens propre du mot, de veritables terminaisons, des aboutissants
de mes mentales, de tous les etats que j'ai fait subir a ma pensee.
I am an idiot by the suppression of thought, by the malformation of
thought; I am vacant by the stupefaction of my tongue. (24)
All the terms in which I choose to think are for me TERMS in the
literal sense of the word, that is, true terminations, borders of my
mental of all the states to which I have subjected my thinking. (25)]
This empty space instead of a word (in the original manuscript, the sentence simply breaks off and continues on the line below) epitomizes the formal correlation between the argument and structure in these works. Terms are markers of the end of thought, and Artaud will not subject his mental ____ to that kind of delimitation or circumscription. The connection of "terms" and "terminations" brilliantly encapsulates the quarrel with language; a refusal to use a word where none would do gives concrete expression to the renunciation.
In these four works, imagery also attempts to defeat itself, to raze conventional written language, and it comes dangerously closer to self-destruction. In L'Ombilic, especially, poetic images work more powerfully than reasoned arguments could hope to. A recurrent image in the collections (it appears in over half the pieces in L'Ombilic) is "la langue," which refers both to the tongue as a part of the body and to language. (26) The double meaning of the word plays itself out in many ways; first, the old langue must be destroyed in order to make way for the new:
Quitte ta langue, Paolo Uccello, quitte ta langue, ma langue, ma
langue, merde, qui est-ce qui parle, ou es-tu? Outre, outre, Esprit,
Esprit, feu, (27) langue de feu, feu, feu, mange ta langue, vieux
chien, mange sa langue, mange, etc. J'arrache ma langue.
OUI. (28)
Leave your tongue, Paolo Uccello, leave your tongue, my tongue, my
tongue, shit, who is speaking, where are you? Beyond, beyond, Mind,
Mind, fire, tongues of fire, fire, eat your tongue, old dog, eat his
tongue, eat, etc. I tear out my tongue.
YES. (29)
Here, la langue is a "dead" ("feu") appendage to be destroyed. Yet it also embodies its opposite: on the level of signified, it is contradiction; on the level of signifier, it is force. It is the obsolete and the new at the same time.
In "Avec moi dieu-le-chien," a poem in L'Ombilic, la langue is power--or potential power--itself, a destructive, penetrative organ:
Avec moi dieu-le-chien, et sa langue
qui comme un trait perce la croute
de la double calotte en voute
de la terre qui le demange. (30)
With me god-the-hound, and his tongue
which like an arrow pierces the crust
of the double-vaulted dome
of the earth that itches him. (31)
The poem goes on to depict a world under violent attack:
Et voici la vierge-au-marteau,
pour broyer les caves de terre
dont le crane du chien stellaire
sent monter l'horrible niveau. (32)
And here is the virgin-with-the-hammer
to pound the caves of earth
which the skull of the stellar dog
feels hideously rise. (33)
The image of violation of the earth and sky presents with devastating force Artaud's need to crack open the inert realm of language--the realm that "itches him." Again and again, the works depict a penetration and disruption of the existing structures of the world. In a vision described in L'Ombilic, Artaud envisions a great storm, "conscious and teeming," bearing him along its course. Its center is "a kind of hard cosmic hammer ... which ... fall[s] like a brow in space." (34) This storm of thought and wind clears (erases) mental functions, and the power of it results in the climactic:
And all space trembled like a vagina being pillaged by the globe of
the burning sky. And something like the beak of a real dove pierced
the confused mass of states, all profound thinking at this moment
formed layers, resolved itself, became transparent and reduced. (35)
To eradicate the organized thinking of the world, to do away with institutions and modes of thought that prevent direct communication between personal experience and expression--this goal is repeatedly played out in the imagery of these works. Inevitably, the organ of destruction, la langue, becomes a phallus, linking mastery of thought and language with the ultimate virility--the power to destroy and create. This especially figures in the essays in L'Art et la mort on Abelard and Heloise--or, rather, the characters Artaud creates based on their famous epistolary exchange. Artaud connects the transcendence of language to a sexual act; the release from imperfect forms coincides with Abelard's orgasm, who, at least for a moment, is free:
L'esprit momifie se dechaine. La vie haut bandee leve la tete. (36)
Sera-ce enfin le grand degel? L'oiseau crevera-t-il l'embouchure des
langues, les seins vont-ils se ramifier et la petite bouche reprendre
sa place?... Oui, dans ma main il y a une rose, voici que ma langue
tourne sans rien. (37)
The mummified mind breaks loose. Life, highly constricted, lifts its
head. Has the great thaw come at last? Will the bird burst through
the gate of tongues, will the breasts branch out and the small mouth
resume its place?... Yes, in my hand there is a rose, and my tongue
shifts of itself. (38)
Will Abelard burst through "l'embouchure des langues"--the gate of tongues, or the mouth of language? When language is overcome, then the "small mouth [can] resume its place." For a moment, Abelard overcomes conventional restrictive language and begins to speak with his own voice, to speak beyond language, through pure physical force. But this freedom cannot last for long; Abelard is castrated (both physically and metaphorically, by the impossibility of transcendence), and when he is a eunuch, Artaud brings himself into the myth and identifies with him: "Poor man! Poor Antonin Artaud! For it is indeed he, this impotent wretch who scales the stars." (39) Artaud's personal inability (as formulated in the Riviere correspondence) to "create a thought that will hold," (40) to make thought and language coincide, surfaces, equating castration with the loss of the ability to master thought. La langue is both power and obstacle, and it resists any human effort to rise above the problem, as Abelard vainly attempts. Language demands either acceptance or destruction; the transcendence that Artaud longs for in this essay, and in others, is not a viable solution, not even metaphorically.
The most famous images of destruction in Artaud's works are found in Le Jet de sang, the last piece in L'Ombilic. The "well-ordered world" that the central figures, the lovers, rejoice in is quickly annihilated by cosmic devastation: hurricanes, plagues, and recurrent thunder and lightning throw the other typically bourgeois characters into wild disarray. The entire world order is upset, and the most outrageous act of rebellion occurs: a whore bites God on the wrist. The ultimate refusal to abide by established rules comes from the pariah of society, who violates the most immutable signifier of universal order: God himself.
Aftermath: Creation/Unification
Where does this destruction lead? The ruin left in these works' wake is not the ultimate goal. Alongside this violent upheaval runs the desire to remake the world. In Artaud's early writings, the need to destroy follows, in a recurrent paradox, the desperate need for unification. Even Le Jet de sang, despite its violent overturning of cosmic order, ends with the dead female lover reviving, jumping up, and exclaiming, "The virgin! So that's what he was looking for!" (41) Artaud's literary transgressions are always matched by cries for reunion with a oneness that has been lost.
The works discussed above express this need in many ways, sometimes explicitly, as in a letter in L'Ombilic, when the author asks a doctor to "reunite what is separated, to rebuild what is destroyed." (42) Other times, the interdependence of birth and death are expressed imagistically, as in "Dark Poet," where images of sterility and fertility intertwine, as with "breast of a virgin," "the sky sucks up its rain," and "the sky rushes into nostrils/like a nourishing blue milk." (43) Another piece pairs "women with pretty cunts" with their own "miniature corpses." (44) The most striking of these couplings occurs in Artaud's description of Andre Masson's painting "L'homme," in which the primary images are "a slender belly" and a burst grenade. (45) The truth Artaud sees in this painting is so profound that he ends the essay with: "I have described this painting with tears, for this painting touches me to the heart." (46) The painting depicts devastation and creation integrally linked, as Artaud describes it: "The belly evokes surgery and the Morgue, the construction yard, the public square." (47) Out of the exploded grenade spiral cells, eggs, germs. Masson's power to create new life from ruins realizes Artaud's poetic ambition.
Do these works discussed above create from the ashes, which Artaud perceived Masson's painting as doing, or do they only demolish and yearn for the new? Ideally, one would come to a new literary form through this process--the cries for destruction are precisely matched by calls for creation. But what is this new form--what are its boundaries, its delineations?
Is the new form destruction itself? New artistic movements typically renounce certain existing forms, but to rest in that moment of renunciation implies something beyond the explicit denial. (48) Vital precursors of Artaud, the dadaists, judged not only that existing forms were inadequate, but that "form" itself, as a concept, was unacceptable. Their activities proclaimed destruction--as a force, as a movement--the only valid goal. The new form is the destroying of old forms; the new form is action.
In many ways, Artaud's project at this stage bears a deep resemblance to that of the dadaists. The essence of the Zurich-based movement was activity, a kind of determined propulsion; it was not primarily concerned with literature, or art, or creating works. Similarly, Artaud's impulse is action, to break through inherited languages and established structures; it exists independently of any one form and goes beyond the realm of the artistic. But Artaud wishes, ultimately, to express (or create) himself; thus, he moves beyond destruction--and here he differs from the dadaists and comes closer to Alfred Jarry--and closer to creation. The Artaudian vision is of a day when actions would be manifestations of impulses, not channeled by rules or custom--direct, unmediated expressions of thought and life. Artaud searches for a language that would be the consummation of impulse and expression. If the impulse could become one with its manifestation, the form would be created.
This desire inspires the creation of the Nerve Meter.
Et je vous l'ai dit: pas d'oeuvres, pas de langue, pas de parole, pas
d'esprit, rien. Rien, sinon un beau Pese-Nerfs.
Une sorte de station incomprehensible et tout droite au milieu de
tout dans l'esprit. (49)
And I have already told you: no works, no language, no words, no
mind, nothing. Nothing but a fine Nerve Meter.
A kind of incomprehensible stopping place in the mind, right in the
middle of everything. (50)
This Nerve-Meter, located in "l'esprit," (51) would be a fusion of thought and action, form and content. It would be a direct transmission between people, between that part of them that Artaud refused to define with a word--a mental state, being, thought, spirit. It is not logical or even definable; it transcends understanding. The Meter would replace words, language, even "works." It would be exactly what Artaud's early and late writings both demand, a mode of communication bypassing language and simply connecting living bodies or states of being to each other. The Meter is life itself. Bodies acting upon bodies, shared emotion and experience: the Nerve Meter, and all of Artaud's literary works from this period, push his project out into a new realm: the theatrical.
The battle embodied: "Paul les oiseaux"
These four works each take steps toward the theater on several different levels. Already, Artaud's impulse is bursting out of all forms of pagebound literature, no matter how free a form he employs. (52) Artaud's vision of the Nerve Meter is the first step en route to his theatrical the ories--bodies must be in direct communication with other bodies, interchanging emotions and thoughts without the mediation of words. Physical immanence is essential to Artaud's project, and it is this budding realization that makes all of these works aspire to the theatrical.
Acceptance of the physical body did not come easily to Artaud, in his work or in his life. (53) By the time he was writing Le Pese-nerfs, he had recognized the place of the body in his work--it is excruciatingly present in this collection, and the imagined Nerve Meter is his most sophisticated description of how the human nervous system could be a communicating vessel. But to reach that point, a battle had to be fought between Mind and Body, a battle that is best expressed in the complex "Paul les oiseaux, ou la place de l'amour."
"Paul les oiseaux" was published in L'Ombilic des limbes, after having gone through at least two drafts and much revision for over a year. Artaud wrote in a letter that it was "a document for myself," a "landmark," and that its gaps ("lacunes") are precisely what express the essence of his project best. (54) "Paul les oiseaux" dramatizes the rift between Mind and Body. (55) The struggle between the two, each trying to gain ascendancy, translates into the struggle between literature and theater: literature, at this juncture, has been purely a mental phenomenon for Artaud; theater is necessarily physical. As the characters argue about the place of the mind and the body in life, the piece ricochets between narrative and playscript.
"Paul les oiseaux" is essay, personal narrative, play, poem, scenario. It moves from one form to another as the argument develops between the two principal characters, Paolo Uccello and Brunelleschi. As Artaud conceives them, Uccello, a painter, "represents the Mind" and Brunelleschi, the architect, "firmly rooted in this world," represents the body. (56) The situation, taken from a mostly fictional essay on Uccello by Marcel Schwob, (57) concerns Paolo's obsession with perspective in his painting, to the exclusion of the material world around him. His wife, Selvaggia, is dying of starvation, because Paolo has been too obsessed with his work to notice there is no food in the house. Brunelleschi, who desires Selvaggia, blames Uccello for her death, for having "killed life"--Selvaggia represents life itself. The painter and the architect are thus set in equal opposition to each other--"Where is the place of love?", a question echoing the subtitle of the piece, concerns both Paolo's abstract obsession with form and Brunelleschi's earthly lust for Selvaggia. Is the place of love--or life, as Selvaggia represents both--in the mind or in the body?
A debate between the two characters addresses the mental/physical and literary/dramatic schism on all levels. It begins in narrative prose with Paolo describing the argument, then breaks into dramatic dialogue to elucidate Brunelleschi's point of view:
ME--I am the mind. The Mind is above life.
BRUNELLESCHI--Oh! let us all die, let us do away with all problems.
Let vain word-winds also fade away.
Each breath is empty.
The mind is not outside our lungs.
You, the Birds, are also flesh and blood. (58)
Both Brunelleschi's argument and indomitable physical presence--implied by the theatrical arrangement on the page--have a great impact on Paolo. The break into dialogue disrupts the purely literary structure of the piece--the physical, as represented by the dramatic structure, intrudes on the mental. (Another version of "Paul les oiseaux" has Brunelleschi rip "the wholly mental tone of the drama open with a solid clenched fist." (59)) The theatrical--the physical--overpowers, for a moment, the literary and abstract. "This touches me to the quick," Paolo thinks in response to Brunelleschi's tirade, then:
ME--I can't hear anymore. I can't hear anymore. (60)
Paolo/Artaud cannot reconcile his mental and physical beings. Throughout this piece, the ideal world of abstraction that Paolo tries to inhabit is disrupted by Brunelleschi's physical presence and desires, and the text reflects this dialectic as it struggles between a purely pagebound literary experience and a theatrical scenario.
The first version of this piece was titled "Poeme Mental"; in the second draft, it is referred to as a "drame mental," reflecting its defiance of any conventional labels. Narrative prose and theatrical writing contentiously inhabit the same space--descriptions of mental states follow descriptions of set design; character's thoughts follow theatrical character notes. The authorial voice addresses the structure of the piece: "I saw this as a play, but it would take place solely in the mind. This is why I am so preoccupied about my characters being physically real." (61) The apparent paradox in this statement evokes a theatrical space in the reader's mind. Does the piece obliterate the necessity for a play to be staged? Yet physicality--or the need for it--matters very much in this piece, in violent conjunction with the work's deeply abstract preoccupations of perspective and identity. Paolo and Brunelleschi, abstractness and physicality--the oppositions war with each other, and neither wins. Paolo watches his wife die and indifferently paints the vanishing of her form; Brunelleschi, unable to control his physical self, ends the piece with a violent orgasm/explosion. For now, a stalemate reigns: the schism between mind and body, literature and theater, remains unresolved. But in this piece Artaud takes steps toward the acknowledgment of the body's--and theater's--ultimate place in his work.
While Artaud had come to realize the importance of physical presence to his project by the writing of Le Pese-nerfs, it wasn't until over a year later that he started to express his impulse in the theatrical realm. (62) But another form of expression that took the body into account was being erected during this period of upheaval, one that took a lifetime to perfect. In these early works, Artaud's self and art begin to fuse, and a new persona emerges. Several pieces from these collections reveal the creation and re-creation of Antonin Artaud.
In this period, Artaud began to identify with mytho-historical characters. (63) The piece on Paolo Uccello exemplifies this tendency: Uccello was a real painter of the early Renaissance, genuinely preoccupied with form, to the detriment, many critics say, of his art. But Schwob's essay on Uccello in Vies imaginaires takes this one trait and explodes it into a fantastic myth: Uccello lets his wife die because of his obsession with perspective; his friends try to convince him to give it up; his final work is an indecipherable series of intersecting lines. Artaud uses this extrapolation and goes even further, creating a Uccello obsessed with perspective because he was obsessed with the mind, scorning the concrete reality of things. His friend, the architect Brunelleschi, becomes his antithesis, a creator of tangible structures, solely concerned with the body. The character of Uccello is now historical and mythic: historically grounded, fictionally augmented. And this is the character with whom Artaud chooses to identify.
"I am lodged in the myth," Artaud writes, "I really am Paul the Birds" (CW, 150). The power gained by this identification is manifold. Artaud enjoys the position of objective observer on his life:
At times I am in life and at other times I am above life. I am like a
character in a play who has the power to look upon himself, being
pure abstraction at times, simply a mental creation, and at other
times the investor and animator of this man created in the mind. (64)
He can live his life and look at it; he is both creator and created. Artaud yearns to observe himself from an outsider's perspective, while still retaining his ability to act. The character he invents is both Uccello and Artaud; he coalesces the torments and concerns of both in one figure. He writes that "Paolo Uccello continues the ticklish process of this desperate wrenching away of himself," as he himself does the same in writing the line. (65) Artaud wrenches himself from an individual view of his existence, bringing himself into the mythic character--"At times he is the creator, at other times the contents." (66) On a meta-fictional, meta-personal level, Artaud is creating a character by identification, invention, and self-examination. It is both universalist and solipsistic, inclusive and exclusive. Artaud's concerns are Uccello's concerns, and vice-versa. He creates a persona with both mytho-historic resonance and highly personal significance.
Artaud participates in the formulation of his own myth by associating an existing one with himself. He continues this process of identification in other works on Uccello, Abelard, the Roman emperor Heliogabalus, even Jesus Christ. Each of these men, with one foot in history and one in mythology, provides an ideal site of identification for Artaud. To identify with such a character would be to root himself in a real person, and also in the whole legacy that comes with that person through time--his aura, his legendary significance. By attaching himself to such figures, Artaud attaches wider consequences to his personal identity and project.
Identification with these characters also provides him with a way into the problem he was constantly working. An early draft of the Uccello essay is followed by a prose monologue, "Une prose pour l'homme au crane en citron" ("Letter to a Lemon-Headed Man"). It describes how Artaud is "obsessed by the theme of Paolo Uccello," and how the "whole theme has passed into [him]." (67) Language, expression, and personal anguish still haunt him on every level, but he now explores it through the lens of Uccello's story: "The theme has become my mouthpiece." (68) He attributes to Uccello the same problem he himself suffers: "the mental agony of a man and the divergence of his thought." (69) Through this character, Artaud will continue to explore his own mind, but he needs to "fuse" Uccello and his personal mythology in order to tackle the problem with the desired objectivity.
"What is important in such an attempt?" Artaud asks. "The exaggerated material should be true." (70) Alfred Jarry's insistence on a fictional character's superiority to a real one echoes loudly here: that which we imagine has more value than that which is given. (71) In this process of remaking the self, identifying with another is the first step away from whatever identity nature has provided. "We can do anything in the mind," Artaud writes--even create a new self. (72) Both Artaud and Jarry, at different points in their careers, renounced their given identities and denied the concrete facts of their parentage. Jarry baldly stated: "Our father could not have played a role in the creation of our person," and Artaud claimed later that he was "born out of my works and not out of a mother." (73) The new self that emerged was their own invention, a fusion of physical life and self-created mythology.
Artaud acknowledged a familial line of his own choosing. Jarry, Rimbaud, Nerval, Lautreamont--these are the figures to whom he consistently linked himself. All these men called for a self in the service of an art. Rimbaud stated it the most explicitly, exhorting the poet to shape himself into a visionary: "Je est un autre." Nerval had already proclaimed "Je suis l'autre," and Isidore Ducasse simply wrote this new self, this "autre," directly into his assumed name, becoming the Comte de Lautreamont. (74) Artaud chose as his ancestors men whose artistic projects involved a total participation and recreation of the self.
"Je n'ai plus qu'une occupation--me refaire," (75) Artaud writes in Le Pese-nerfs--remaking himself is the only project. The figures he returns to again and again--Lautreamont, Rimbaud, Nerval, Jarry--all passed the line where art and life could remain separate. They each had fused, or attempted to fuse, their selves with their artistic projects. This same quality is what excites Artaud about the mytho-historical figures with whom he merged--their legends are inseparable from a particular quality, a trait that defined them and their course of actions. Uccello's obsession with perspective, Abelard's passion, Heliogabalus's hedonism--each figure was propelled by a force that shaped his life and his myth according to its demands. By identifying himself with these characters, Artaud solidifies his own obsessions and creates his own mythic persona.
In the Riviere correspondence, Artaud equates the success of his poetry with the success of his life. The equation tightens when he begins to erase the lines between the two. "I cannot conceive of a work that is detached from life," he writes in L'Ombilic, "I do not like detached creation." (76) His mental concerns fuse with his physical body: "Nothing touches me, nothing interests me except what addresses itself directly to my flesh." (77) As the body becomes inextricably involved with the mind in his literary works, Artaud's impulse begins to manifest itself in more physical realms. He moves out of literary forms into theater, and into life.
These four works are Artaud's last major literary efforts until the essays of Le theatre et son double, which he would begin in 1931. It is as if he had exhausted literature with these works--for now, he could go no further in this medium. He was bringing his project into the living body, and the dramatic was the only possible mode. The impulse that was propelling him needed to break out of traditional literary forms and manifest itself in other realms. This burgeoning theatricality comes to life in Artaud's Theatre Alfred Jarry in 1926, while the persona--the character--that he begins to construct for himself in these works continues to develop. As he brings his project into the flesh, Artaud simultaneously brings his flesh--his very identity--into his project. At this stage Artaud is becoming, on many levels, a man of the theater.
(1) L'Ombilic des limbes, July 1925: Le Pese-nerfs, August 1925; Fragments d'un journal en enfer, Spring 1926; L'Art et la mort, April 1929 (but all pieces written between 1925 and 1927).
(2) "Mais la focalisation obligee sur ces textes-la [a Ivry, la conference du Vieux-Colombier, etc.] doit-elle conduire a faire l'impasse sur la totalite des oeuvres anterieures, comme si c'etaient des ecrits de jeunesse assez secondaires?" Alain and Odette Virmaux, "Dieu Merci, Artaud n'est plus a la mode!" Europe: revue litteraire mensuelle (Jan/Feb 1997): 209.
(3) Collected Works of Antonin Artaud, trans. Victor Corti (London: Calder and Boyars, 1968) 52. (hereafter CW).
(4) In the Theatre Alfred Jarry, 1926-1929.
(5) The uncertain place that L'Ombilic des limbes, Le Pese-nerfs, Fragments d'un journal d'enfer, and L'Art et la mort have held in the Artaudian canon surely stems, in part, from their unclassifiability within the established critical discourse on Artaud: they are not (explicitly) works on the theater, and they are not the seemingly unmediated irruptions that his last poems are.
(6) Most American criticism revolves around the Theater of Cruelty and its influence (with an emerging field of cinema and visual art studies), while French criticism leans toward the later, post-asylum works. Book-length explorations of Artaud's theatrical concepts include: Henri Gouhier, Antonin Artaud et l'essence du theatre (Paris: Vrin, 1974); Eric Sellin, The Dramatic Concepts of Antonin Artaud (Chicago: University of Chicago Press, 1968); Alain Virmaux, Antonin Artaud et le theatre (Paris: Seghers, 1970); and Antonin Artaud and the Modern Theater, ed. Gene A. Plunka (London: AUP, 1994) (which continues this vein of analysis in the context of modern theater).
(7) Two of the most notable investigations are Gilles Deleuze and Felix Guattari, Anti-Oedipus (trans. Helen R. Lane et al., Minneapolis: University Minnesota Press, 1983) and Michel Foucault, Madness and Civilization (trans. Richard Howard, New York: Vintage Books, 1988). The Tel Quel group has also generally focused heavily on this aspect of Artaud's legacy, especially using Artaud's later works.
(8) Another treatment of these works comes, almost incidentally, in Maurice Blanchot, "Artaud," La Nouvelle Revue Francaise (November 1956, no. 47). The following authors have addressed these works in their book-length studies of Artaud: Albert Bermel, Artaud's Theatre of Cruelty (New York: Taplinger Publishing, 1977); Julia F. Costich, Antonin Artaud (Boston: Twayne Publishers, 1978); and Naomi Greene, Antonin Artaud: Poet Without Words (New York: Simon and Schuster, 1970). A fine, if brief, discussion of them can be found in Camille Dumoulie's Antonin Artaud (Paris: Seuil, 1996), discussed below.
(9) Derrida writes about the difficulty of writing about Artaud in a recent essay, "Artaud, Oui ..." Europe: revue litteraire mensuelle (Jan-Feb. 2002): 23-38.
(10) Jacques Derrida, "La parole soufflee"; translations from Writing and Difference (trans. Alan Bass, Chicago: University of Chicago Press, 1978) 175.
(11) Derrida, "La parole soufflee," 177.
(12) Derrida: "The adventure of the Poem is the last anguish to be suppressed before the adventure of the Theater." ("La parole soufflee," 185)
(13) CW, 18.
(14) Le Pese-nerfs was published first by itself in 1925, then in an edition with Fragments d'un journal d'enfer in 1927.
(15) Le Pese-nerfs suivi des fragments d'un journal d'enfer (ed. Andre Masson, Marseille: Cahiers du Sud, 1927) 12.
(16) "And this is no more the preface to a book than the poems which are scattered here and there, or the enumeration of all the rages of ill-being." Translated by Helen Weaver in Selected Writings, ed. Susan Sontag (New York: Farrar, Straus and Giroux, 1976) 59. (hereafter SW).
(17) SW, 59.
(18) Le Pese-nerfs, 33, my trans.
(21) L'Art et la mort, CW, 93.
(23) Le Pese-nerfs, 27.
(24) "[M]a langue"--the original French implies both "tongue" and "language"; see below.
(26) It also connotes "argot." Another reading, then, could interpret his renunciation of language as a renunciation of a particular type of language; of a specialized form; of jargon.
(27) "Feu" also means "late" or "deceased"; thus, "dead spirit" and "dead language" are explicitly targeted.
(28) (Euvres completes d'Antonin Artaud, v. 1-26 (Paris: Gallimard, 1961), I, 54. (hereafter OC).
(29) SW, 61. Throughout these early works, Helen Weaver translates "langue" as "tongue," perhaps relying on the sometimes use of "tongue" as "language" in English to convey the double meaning. The Collected Works employs, at different times, both translations of the word.
(30) OC, I, 52.
(34) SW, 59-60. (OC 1, 63).
(36) "Bander" also refers to having an erection.
(37) OC, I, 134.
(38) SW, 130. See Collected Works translation with a different emphasis: "mouths of speech," "and now my tongue is silent" (CW, I, 98).
(39) SW, 134.
(43) SW, 67-8.
(45) "Grenade" also refers to "pomegranate," an extremely suggestive double entendre.
(48) A creative renunciation that again calls to mind Nietzsche: "That I have to be struggle and becoming and goal and conflict of goals: ah, he who divines my will surely divines, too, along what crooked paths it has to go!" Thus Spoke Zarathustra, trans. R. J. Hollingdale (Middlesex, England: Penguin Books, 1961) 138.
(51) A translation of "esprit" in English is clearly a compromise--esprit being approximately a combination of "spirit" and "mind."
(52) During this period he begins writing dramatic scenarios and finishes his first play, Le jet de sang.
(53) See "La parole soufflee," passim.
(54) OC, I, 108, my trans.
(55) As Camille Dumoulie has written, "le drame de sa vie: 'separation.' Antonin Artaud (Paris: Seuil, 1996) 12. Dumoulie treats Artaud's writings on Paolo Uccello in some detail in this chapter.
(57) Marcel Schwob, "Paolo Uccello," in Vies imaginaires (Paris: Le Livre Contemporain, 1929); discussed further below.
(58) CW, 149.
(62) Namely, in the Theatre Alfred Jarry, founded in 1926.
(63) Dumoulie: this period introduces "la convocation de figures mythiques dans lesquelles investir son drame personnel" (16).
(71) See "Twelve Theatrical Topics" in Selected Works of Alfred Jarry, eds. Roger Shattuck and Simon Watson Taylor (New York: Grove Press, 1965).
(74) For an excellent analysis of these "precursors," see Ronald Hayman's Artaud and After (Oxford: Oxford University Press, 1977).
COPYRIGHT 2004 University of Pennsylvania Press
Jannarone, Kimberly
Eclipsing desire: masculine anxiety and the surrealist muse.
Transposing a meadow's silence (Ponge and Guillevic).
Criticism and interpretation


text:
Q: If (myVar != "undefined") I wanted to check whether an item in localWebstorage was not yet given a value. I tried doing this by:
    //Change localStorage.intervalSetting from 'Undefined' to 'Never'
    function initialIntervalSetting() {
        var getValue = localStorage.intervalSetting;
        if (typeof getValue === undefined) {
            localStorage.intervalSetting = "option1";
            alert("Changed the localWebstorage item from undefined to "option1");
        }
        else {
            alert("JavaScript thinks that the item is not undefined");
        }
    }

This does not work, HOWEVER.. The question was asked here:
How to check for "undefined" in JavaScript? and someone answered:
        if (typeof getValue != "undefined") {
            localStorage.intervalSetting = "option1";
        }

They suggested replacing === with !=
For some reason, this works- How???
Shouldn't (getValue != "undefined") return false because != means NOT EQUAL??

A: In your code you compared typeof getValue with the literal type undefined. Since typeof actually gives you a string, you should compare this value to the string "undefined".
Either
if (typeof getValue !== "undefined")

Or
if (getValue !== undefined)

will do the trick.

A: I recommend using a "truthy" check. This will check if the object is null or undefined. You can do this by just checking your getValue.
if(getValue) {
    // not undefined
}

Another SO post for reference: Understanding JavaScript Truthy and Falsy

redpajama_set_name: RedPajamaStackExchange


text:
using CrystalResonanceDesktop.Data;
using CrystalResonanceDesktop.Data.Control;
using CrystalResonanceDesktop.Utility;
using DxSharp;
using DxSharp.Data;
using DxSharp.Data.Enum;
using DxSharp.Storage;
using DxSharp.Utility;
using System;
using System.Collections.Generic;
using System.Drawing;
using System.IO;
using System.Linq;
using System.Threading.Tasks;
using static CrystalResonanceDesktop.Data.Control.ButtonControl;

namespace CrystalResonanceDesktop.Scenes
{
	public class GameMusicSelect : IScene
	{
		public SwipeableListControl<Control> SongList { get; set; }

		private Task LoadTask { get; set; }
		private Exception LoadTaskException { get; set; }

		private bool IsInitialized { get; set; }

		private void Initialize()
		{
			var core = SystemCore.Instance;
			var scenes = SceneStorage.Instance;
			var fonts = FontStorage.Instance;

			// 曲リストのコントロール 初期化
			SongList = new SwipeableListControl<Control>(
				new Point(0, 0),
				30,
				Color.White,
				new Size((int)(core.WindowSize.Width * (49 / 64d)), core.WindowSize.Height),
				System.Windows.Forms.Orientation.Vertical);

			// Songディレクトリ下のサブディレクトリを取得
			if (!Directory.Exists("Song/"))
				Directory.CreateDirectory("Song/");
			var dirs = new List<string>(Directory.GetDirectories("Song/"));

			// 非同期読み込み
			LoadTask = Task.Run(async () =>
			{
				try
				{
					foreach (var index in Enumerable.Range(0, dirs.Count))
					{
						var score = await MusicScore.DeserializeAsync($"{dirs[index]}/score.json");

						var button = new ButtonControl(
							new Point(0, 0),
							new Size(700, 60),
							$"{score.SongTitle}  (BPM: {score.BPM})",
							new ButtonStyle(
								fonts.Item("メイリオ20"),
								new ButtonStyleStatus(Color.FromArgb(160, 255, 255, 255), Color.FromArgb(30, Color.White), Color.FromArgb(180, 255, 255, 255)),
								new ButtonStyleStatus(Color.FromArgb(200, 255, 255, 255), Color.FromArgb(30, Color.White), Color.FromArgb(220, 255, 255, 255)),
								new ButtonStyleStatus(Color.FromArgb(255, 255, 255, 255), Color.FromArgb(30, Color.White), Color.FromArgb(255, 255, 255, 255))));

						button.Click += (s, e) =>
						{
							var main = (GameMain)scenes.FindByName("GameMain");

							main.Manager = new MusicManager();
							main.Manager.Score = score;

							scenes.TargetScene = scenes.FindByName("GameMain");
							IsInitialized = false;
						};

						SongList.Items.Add(button);
					}

				}
				catch (Exception e)
				{
					LoadTaskException = e;
				}
			});
		}

		public void Update()
		{
			var input = Input.Instance;
			var scenes = SceneStorage.Instance;

			if (!IsInitialized)
			{
				IsInitialized = true;

				Initialize();
			}

			if (LoadTaskException != null)
				throw new Exception("Task内で例外が発生しました", LoadTaskException);

			if (input.GetKey(KeyType.Escape).InputTime == 1)
			{
				scenes.TargetScene = scenes.FindByName("Title");
				IsInitialized = false;
			}

			// 更新
			SongList.Update();
		}

		public void Draw()
		{
			// 曲リスト
			SongList.Draw();
		}
	}
}

redpajama_set_name: RedPajamaGithub


text:
Governor Cuomo Announces "The Amazing Spider-Man 2" to Be the Largest Movie Production Shot in New York
Music, Movies & Entertainment, Local News, Press Releases
Production Estimated to Result in 3,500 Jobs and Casting of 11,000 Extras across the State - Biggest Stage Footprint Ever in New York; Scenes to be Filmed Both Upstate and Downstate.
Photo by: https://http://www.longisland.com/site_media/images/article/New_York.jpg
Albany, NY - March 13, 2013 - Governor Andrew M. Cuomo today announced that "The Amazing Spider-Man 2" will be the largest movie production to be filmed in New York and is expected to result in 3,500 jobs and the casting of 11,000 extras. The production will have the biggest stage footprint ever seen in New York with massive sets being constructed at three facilities in Long Island and Brooklyn. Scenes will be shot both upstate and downstate.
"There is no better place to film the next adventure of Peter Parker than right here in the Empire State," Governor Cuomo said. "New York has the resources, talent and locations to help make 'The Amazing Spider-Man 2' a blockbuster hit. This production will also help generate new jobs and economic activity both upstate and downstate which is great news for our local communities and fans of the franchise."
Gary Martin, President, Production Administration, Columbia TriStar Motion Picture Group, said, "From Rochester to Manhattan, this is the first time an entire Spider-Man production will be shot in The Empire State. We are thrilled with the extraordinarily skilled craftspeople, crew and facilities that exist throughout the region and all of the local businesses whose work will help make this project possible. By shooting the film in New York, we are able to streamline our production needs and realize enormous benefits and efficiencies as a result of the state's motion picture tax incentive program. Plain and simple, this is a win-win for the state and our production."
"The Amazing Spider-Man 2" production expects to require 3,500 new hires, one-third of whom will be from Long Island, and 11,000 extras, one-fourth to one-third of whom will be from Long Island. Upstate, the production expects to hire approximately 250 crew members and a few hundred extras.
The production is so large that it will use space at two separate stage facilities on Long Island, Grumman Studios and Gold Coast Studios, as well as the Marcy Armory in Brooklyn. The production expects to shoot for 150 days, including 50 days in Bethpage and 10 to 15 days in Rochester. This Friday, the production will be scouting locations in Rochester for scenes, one of which will be a car chase.
Filming "The Amazing Spider-Man 2" in New York will generate millions of dollars in economic activity across the state. For example, the production will require 3,000 hotel room nights in Rochester as well as 3,000 hotel room nights in Bethpage and Plainview on Long Island. In addition, the production is using several Long Island-based businesses for purchasing food and equipment, including spending approximately $279,000 for container rentals from Mobile on Demand Storage of NY, Inc. in East Patchogue, $130,000 in crane rentals from Pride Equipment Corporation in Islip, $32,000 for beverages from U.S. Coffee in Hicksville, $19,000 for auto parts from Quick Auto Parts in Hicksville, and $16,000 for food from Bagelboss in Hicksville.
Many movie productions, including "The Amazing Spider-Man 2," have touted New York State's film tax credit program as a major incentive when choosing New York as the location to film. Since the film tax credit program started in 2004, it has leveraged an estimated $12.1 billion worth of direct spending and has been a huge job generator for New York.
In 2012 alone, it is estimated that the 134 projects that have applied for the program will result in $2.2 billion in spending in New York. The State is now being billed as "Hollywood East."
Since Governor Cuomo took office, the program has averaged 134 applications per year, nearly double the average of 72 per year over the life of the program prior to January 2011. In this year's budget, Governor Cuomo has proposed a 5-year extension of the program and other changes to increase transparency and accountability.
Governor's Press Office
NYC Press Office: 212.681.4640
Albany Press Office: 518.474.8418
press.office@exec.ny.gov
Subject: LongIsland.com - Your Name sent you Article details of "Governor Cuomo Announces "The Amazing Spider-Man 2" to Be the Largest Movie Production Shot in New York"

redpajama_set_name: RedPajamaCommonCrawl


A 16-year-old female was reported missing. She is 4ft. 8in. tall with brown hair and blue eyes. 9:14 p.m.
Officers spoke with a subject on station regarding a protection order violation. 10:35 a.m.
A report of a truck stuck on the Beal Avenue railroad tracks was unfounded. 10:40 a.m.
A report of a vehicle with no license plates in the 1600 block of Marion Road. was received. 11:23 a.m.
Officers took a two-vehicle crash report in the 100 block of S. Sandusky Avenue. 11:24 a.m.
A report of a junk vehicle was investigated in the 1500 block of E. Mansfield Street. A junk vehicle notice was served at McFarland Trailer Court. 3:20 p.m.
Officers attempted to serve income tax summons in the 200 block of W. Lucas Street. 3:45 p.m.
Officers attempted to serve a summons for a property maintenance violation on Garnet Court. 4:22 p.m.
A false alarm was investigated in the 1100 block of Hillcrest Drive. 4:25 p.m.
One summons was issued for a property maintenance violation at the Police Department. 4:57 p.m.
A city income tax summons was served in the 400 block of E. Charles St. 5:20 p.m.
A city income tax summons was served in the 600 block of Hopley Avenue. 5:26 p.m.
Officers attempted to serve a city income tax summons in the 1400 block of E. Southern Avenue. 5:39 p.m.
A city income tax summons was served at Indian Creek Apartments. 5:44 p.m.
A report of an erratic driver on Marion Road. was investigated. 5:52 p.m.
Officers attempted to serve a city income tax summons in the 1000 block of Tiffin Street. 6:59 p.m.
A verbal traffic warning was given in the N. Lane Street area. 7:09 p.m.
Officers attempted to serve a city income tax summons in the 1400 block of Cullen Court. 7:16 p.m.
Officers served 2 city income tax summonses at Indian Creek Apartments. 7:21 p.m.
Officers attempted to serve a city income tax summons in the 800 block of S. Spring Street. 7:37 p.m.
Officers attempted to serve a city income tax summons in the 300 block of W. Center Street. 7:41 p.m.
A report of a semi with a dragging bumper on Washington Square was investigated. The driver was stopped at N. Sandusky and Songer and secured the bumper of the trailer. 7:49 p.m.
Officers served a city income tax summons in the 900 block of Rogers Street. 7:51 p.m.
Officers served a city income tax summons in the 900 block of Maple Street. 8:12 p.m.
A 16-year-old male was reported missing. He is 5 foot, 3 inches tall, 100 pounds with brown hair and brown eyes. 8:16 p.m.
Officers responded to an alarm in the 200 block of Woodlawn Avenue. It was unfounded. 8:23 p.m.
Officers responded to a crash in the 700 block of N. Sandusky Avenue. A maroon van and small grey car had a collision in the drive-thru at Arby's. 8:55 p.m.
Two daughters were reported missing/runaway. One was located and returned to their parent. A 16-year-old female was reported missing. She is 4 feet, 8 inches tall with brown hair and blue eyes. 9:14 p.m.
Officers mediated a domestic issue in the 300 block of Lawn Street. 9:58 p.m.
A report of a possible burglary in the 400 block of W. Warren Street. was investigated. A resident had been evicted and was in the process of moving out. 10:06 p.m.
Officers mediated a domestic issue in the 300 block of Lawn Avenue. 10:57 p.m.
Officers checked on a subject they located near the Riley Reservoir and a 24-year-old was arrested on a warrant out of Crawford County, drug paraphernalia, possession of drugs and identity fraud. He was taken to the Crawford County Justice Center to be held. 2:28 a.m.
Officers are investigating a breaking and entering and vandalism to a home in the 500 block of S. Poplar Street and have subjects in custody related to the matter. 6:04 a.m.
A report of furniture in the street on Plants Way was checked and the officer cleared the roadway. 4:40 a.m.


Action Man, as the title of the song describes, is an original instrumental music that gives you this "Time is running out" feeling and you feel like you have to act fast. In my own intentions, this song is intended to be a sound track of a Chase Scene in an action movie.
The song is the fifth song in my first album "Record 1".


text:
Gallery Event: In-conversation and film screening with Giles Duley and James Brabazon
Tuesday 7 October, 19.00
Open to all. Free for Members (£3.50 non-members)
Please join us for a discussion and Q&A between British practicing documentary photographer and photojournalist Giles Duley and award-winning frontline journalist and documentary filmmaker, James Brabazon. Following this will be a screening of the film Which Way is the Frontline from Here?
Duley was photographing in Afghanistan when he had a life-altering accident when stepping on a pressure plate whilst on patrol with the US Army. He is now back working.
© Giles Duley, Afghanistan
"For me, documentary photography has always come with great responsibility. Not just to tell the story honestly and with empathy, but also to make sure the right people hear it."
– Giles Duley
After 10 years as an editorial photographer in the fashion and music industries in both the US and Europe, Duley now focuses his work on humanitarian projects. Although documenting challenging, and at times, horrific situations, Duley captures the strength of those who fight their adversity rather than succumb. His photographs draw the viewer to the subject, creating intimacy and empathy for lives differing from ours only in circumstance.
Brabazon was a close friend of Tim Hetherington and produced the film 'Which Way is the Frontline from Here?'. The documentary tells Hetherington's story as a documentary photographer who put his life at risk for his work. Brabazon and Hetherington met in London while Brabazon was preparing to film his documentary Liberia: An Uncivil War and has since worked on a number of film and documentary projects, all surrounding conflicted countries.
"What took me into that war wasn't particularly noble. It was about being a young man and having a rite of passage and having an 'Experience' with a capital 'E.' But I think what takes people into war and what keeps them there are usually two very different things. After seeing that man die, and other men and children die, I felt that actually I had a real responsibility to tell their story."
– James Brabazon
Brabazon has produced 21 films in Channel 4's Unreported World series and also made six documentaries for Channel 4's Dispatches series.


Let me preface this whole article with this: I wish Marc Savard a speedy and full recovery and for him to get back into the Bruins lineup as soon as possible.
I will freely admit, against popular opinion, that I do not think Matt Cooke's hit upon Marc Savard is dirty. I have watched the video far too many times now. I will say that walks that line closely, but the impact was shoulder to head. I will also freely admit that it was extremely dangerous and avoidable. In Cooke's defense, he is paid to make that hit. He wasn't brought in for an amazing scoring ability. He is a grinder. In his defensive zone, he is required to remove that player from the puck. Marc Savard was in the follow through of his shot and was in a prime position to get hurt on the back check. I am NOT insinuating that Savard was at fault. Just that his head was in a prime location for a hit. Now, I didn't think it was dirty then at the time of the incident and I still don't think it is now. When I watched the video the first time, I looked at the elbow, and I looked at the skates. I would point out that skates were on the ice, the elbow was low, and the elbow did not move until after impact. The NHL supposedly looks at those 2 details specifically when these hits occur. This is only what I saw, and everyone sees it differently, and I am certainly open to hearing your opinions (rationally, please). I would say it's a rare moment in time when Don Cherry, Barry Melrose and I see that same thing, even more rare that we agree on the legality of something. It is easy to get caught up in the result of the hit. There is no reason to not be upset with the resulting injury but in the eyes of the Discipline Commandoes at the NHL offices there really is nothing that they can do. This group really botched the Richards/Booth incident, which was a far more brutal hit. Colin Campbell removed himself from that incident however, due to the fact that his son plays for Florida (and the smartest thing he did for that situation).
So here we are, an ugly incident with a serious injury. Some suggest a lengthy suspension using the "repeat offender" status. How exactly is that a repeat offender issue when no penalty was called on the play? I completely understand how the Bruins and their fans feel about this and it's horrible. Penguins fans know this feeling too. During the last playoff run, Sergei Gonchar took a knee on knee hit from Alexander Ovechkin, and yes, we too cried foul at the time. Ovie's hit was also borderline legal. At the time, I could see the argument that the Caps were trying to make, but it didn't change how I felt about losing our most important PP quarterback. The hardest part is separating the hit from the result. That is the hardest part that the league is having with this. By definition, the hit is clean and the injury is unfortunate. If Matt Cooke scores 50 goals a year, we are aren't even having this discussion other than fans jobbing the Penguins for being "above the law". Colin Campbell did, in fact, suspend Ovechkin this season for his knee on knee antics and thus setting up a "repeat offender" status for him moving forward. Ovie's hit on Gleason was penalized. Cooke's was not.
While a possible suspension is still looming for Cooke, I will leave you with this video collection to view, watch it and then ask yourself this: This guy is laying out the same hits all the time and has done it routinely enough, yet gets marketed to no end, he is referred to as a "passionate player". Matt Cooke makes hits, he is a "cheap shot" artist.
"Hitting people in the head w/ ur shoulder is part of NHL hockey. We're big boys. Discuss.." @JLUPUL via Twitter yesterday.
I would be willing to bet he isn't the only one thinking that.


IBM's "roadmap" – its stated lofty intent to deliver US$20 per share in earnings come hell or high water by 2015 is clearly in trouble. IBM has just abandoned its roadmap.
The way I see it, soon, IBM will suffer yet another near-death experience.
The way some corporations operate, it is a marvel how they haven't collapsed already.
Huge dinosaurs roamed the earth at one time, but they weren't nimble and fast, they survived based on sheer might and size – their brains were tiny – and soon they too all perished.
Indeed I often wonder how some corporations can survive the passage of time.
Take Ericsson for example; though official appointed "regional supplier" for its leadership and management development programs, internal problems mired within Ericsson has prevented the Swedish corporation from awarding me any business so far.
I am only "regional supplier" in name only.
People at the helm of institutionally short-termist corporations often fail to grasp the endless damage they inflict on themselves and their corporations by the way they interact with others.
Often, the self-flagellation is not their personal fault. They are just pawns and cogs in mammoth, bloated bureaucracy the machinations of which they have little control.
The first victims are often those they should be nice to.
Ginni Rometty, Chairman and CEO of IBM has not been able to articulate a convincing reason why the colossal corporate behemoth she heads has to abandon its roadmap. Meanwhile, typical of IBM culture, deadwood and hangers-on continue to rely on internal relationships and networking to cruise in the organization. I am reminded of the Malcolm Muggeridge saying that only dead fish swim with the stream. Look at IBM today, all the good, talented people are gone, most of those who are still there survive by riding the coattails of their "godfathers" and hiding in the highly matrix organization, just as they have been doing for years.
Serena Marriott, Ericsson's Head of Learning & Development – South East Asia & Oceania, has so far not been able to come up with a cohesive explanation of how their internal complications have transformed Ericsson into a failed corporation in the eyes of their external business partners and stakeholders like me. When I expressed my dissatisfaction all she said was "I have already made our APAC Head of Sourcing, Rocky Varbaro aware of your feedback and you are welcome to contact my manager, the global Head of Learning & Development, should you feel the need. I will forward your mail to him. His name is Bradley Samargya." What an easy way to problem-solve – just pass the buck! Is this how some people continue to stay secure in their jobs?
All multinationals – oh, by the way, now they all want to be known as "globally integrated corporations" – claim to be big advocates of transparency.
How many actually walk the talk?
Transparency describes the extent to which a corporation's actions are observable by outsiders. From the perspective of those not in the corporation's inner sanctum, transparency is simply the perceived quality of intentionally shared information from the corporation.
There must be increased transparency and accountability, not just for overstuffed corporations like IBM and Ericsson but for everyone. Cover-ups and lies should not be part of your life. What a terrible burden it must be to live a lie. The world is a small place, imagine what happens when an IBMer meets Ginni Rometty face to face, what can she say that is not gibberish, what can she say without sounding condescending? Imagine when I see Serena Marriott in person – has she, with a job title longer than her name, what it takes to look me in the eye and admit that her corporation's internal quagmire has caused her to fail her business associates in a most dismal way?
Has it ever occurred to leaders to put themselves in the shoes of the other parties?
Corporate leaders must be called to answer for broken promises. They didn't get fancy job titles to impress their neighbors' three-year-old kids.


text:
How are Japanese words spelt in English? [closed]
As it currently stands, this question is not a good fit for our Q&A format. We expect answers to be supported by facts, references, or expertise, but this question will likely solicit debate, arguments, polling, or extended discussion. If you feel that this question can be improved and possibly reopened, visit the help center for guidance.
When they are writing material in English, I sometimes see native speakers of Japanese misspell English words that were derived from Japanese.
For example, I've seen "tunami" written instead of "tsunami", and "ninjya" instead of "ninja". I've also seen "geisya" instead of "geisha", and "Kyusyu" instead of "Kyushu".
My suspicion is that they know how these words are spelt and pronounced in Japanese, and that they convert it into the latin alphabet in a way that is different to how the word is spelt in English.
For example, with "tsunami", they've taken the first syllable, つ, and rather than converting it to "tsu", they converted it to "tu". Possibly because in certain ways of writing Japanese using the latin alphabet (romaji), the way that つ would be written is "tu".
Are there general rules about how English words that are derived from Japanese words are spelt? For example, are they generally spelt in a way similar to Hepburn romanization, except often without the macrons?
Even if the rules don't apply 100% of the time, rules that apply 90% of the time, with just a few exceptions may be preferable to some than memorizing all such words by rote.
An exception here is for wasei-eigo words such as "salaryman". When converting made up English into English, the English words that were used in the wasei-eigo are used ("salary" + "man", rather than "sararyman")
Any possible answers that a person who is not a linguist can easily understand?
Meta: I previously asked this on English Language Learners, but it was closed there (currently with one re-open vote), and in this comment on Japanese Language & Usage (not my fault!), it was suggested I ask on English Language & Usage.
orthography loanwords
Andrew GrimmAndrew Grimm
After looking at your other questions, and rereading this one, it is still unclear to me what you want. The ostensible answer is 'There exist transliteration methods (e.g. Hepburn)' and that's enough. But You already know that so you must be asking something else. Are you asking why Japanese make mistakes in using some of these systems? That's because people aren't perfect. Are you asking for general rules that explain these mistakes? Well, that's a tall order requiring a list of mistakes which could be many. Or are you asking something else? What exactly are you asking?
– Mitch
Hmm... that would seem to require someone proficient in Japanese transliteration. Also, to justify it, one would need to get a list of Japanese loan words and see how many used whichever transliteration method.
Research is hard, let's go closevoting!
– Andrew Grimm
In Japan, two ways of phonemicizing Japanese characters / words into English Alphabet have stood side by side. One is 'Hepburn method' invented by James Curtis Hepburn (1815-1911), medical doctor and missionary who came to Japan in 1859 and influenced on westernization of Japan greatly. The other is the 'Kunrei Romanization method' proclaimed and promoted by the Ministry of Education in 1954. Major differences between two methods are Hepburn method (called Hebon style in Japan) transcribes Japanese sound し、ち、つ、じゃ、じゅ as 'shi, chi, tsu, ja,' while Kunrei method spell them as 'si, ti, tu, jya.'
– Yoichi Oishi ♦
Cont. while Kunrei method spell them as 'si, ti, tu, jya.' After the government's proclamation of Kunrei method, kunrei Romanization had been predominantly used. However, after the World war II, Hepburn method seems to have been used more often than Kunrei method, which became obsolete these days. The confusion of 'tsunami' and 'tunami' and 'ninja' and 'ninjya' as you point out all comes from the coexistence of two Romanization method in Japan.
Browse other questions tagged orthography loanwords or ask your own question.
Does 'Yo' in 'yo mama joke' actually refer to "Your" mother? Why couldn't it simply be (stupid / fat / ugly) "mama joke"?
How should foreign words (with foreign characters) be written in English text?
Why do some non-English words become English words?
Why are there so few English words that begin with the letter X?
Transforming words as in CAE tests (Cambridge Advanced English)
One-letter words in English language
Can foreign words be reduced into English morphemes?
What is the first known Japanese loan word that entered the English language?
Why is the Turkish president's surname is spelt in English as Erdogan, with g?
When did spelling "-ic" words "-ick" start/stop being popular?


@ye_bi_su made a pilgrimage to Uji, Kyoto Prefecture for Episode 6.
@nagatoyukito made a pilgrimage (post 1, post 2) to Kyoto and Uji for Episode 1.
@ktism1228s made a pilgrimage to the Nagoya Congress Center in Nagoya, Aichi Precture for the Season 1 OP.
In front of Keihan Uji Station (京阪宇治駅), this electronic message board warns not to enter the sandbar islands in the Uji River, due to high discharge volume from upstream Amagase Dam (天ヶ瀬ダム) during the typhoon.
Agata Jinja sandō (県神社参道). The modern street takes its name from what was once the approach path to the shrine.
You can never have enough lens flare and ghosting.
@Roan_Inish made a pilgrimage to Shinkawa, Tsukuda, Tsukishima and Sendagaya, Tokyo Metropolis for Episode 6.
Fast food restaurant used as third place.
I'm making an assumption that most, if not all of these street scenes with bookstores are from Kanda (神田), Chiyoda Ward.
@sky_dj_ made a pilgrimage to Karatsu, Saga Prefecture for the OP, ED and Episode 1 through Episode 5.
Shenxiangzi hotpot, Baishiqiao shop (深巷子老灶火锅 白石桥店). This is about an 800 meter walk from the stadium.
Hole-in-the-wall around the corner from my apartment makes a mean jianbing.
@SSEBTBM883 made a pilgrimage to Chūō Ward and Minami Ward, Sapporo, Hokkaidō Prefecture for Episode 1 through Episode 6.
Asahi Shimbun published an interview with the art director for Kimi no Na wa.
Yomiuri Shimbun published an article about pop culture tourism to Maeda-Minami Station in Kita-Akita, Akita Prefecture for Kimi no Na wa. The rail operator printed an additional run of 2000 commemorative tickets after the first 1000 sold out.
Gifu Shimbun published an article about the economic boost, estimated at 25.3 billion yen, from pop culture tourism to Gifu Prefecture induced by Kimi no Na wa., Koe no Katachi and children's film Rudorufu to Ippaiattena.
Cinemas by Shochiku published an illustrated article about pop culture tourism to Hida, Gifu Prefecture for Kimi no Na wa.
RocketNews24 (article) and Anime News Network (article) published stories about a Kimi no Na wa. walking tour offered by travel agency H.I.S.
AbemaTIMES published a very detailed article explaining seichijunrei phenomena, extensively quoting Hokkaido University professor Okamoto Ryosuke and using examples from Kimi no Na wa. and Shin Godzilla.
Netorabo published an article about the 2016 Oarai Ankou Matsuri. The festival in the coastal Ibaraki city has been held since 1998, but saw attendance numbers explode (get it?) following the broadcast of Girls und Panzer.
@fragments_sue published a photo essay from the 2016 Yuwaku Bonbori Matsuri in Yuwaku Onsen, Kanazawa, Ishikawa Prefecture. This event began as a fictional festival in Hanasakau Iroha.
@Bf109K1 made a pilgrimage to Kure, Hiroshima Prefecture for Kono Sekai no Katasumi ni (In This Corner of the World).
@rimatai made a pilgrimage to Zama, Kanagawa Prefecture for Long Riders!
@fureshima made a pilgrimage to Ōme, Tokyo Metropolis for Stella no Mahō.
@Roan_Inish made a pilgrimage to Mitaka Station in Mitaka, Tokyo Metropolis for Watashi ga Motete Dōsunda.
@SSEBTBM883 made a pilgrimage to Kobe, Hyōgo Prefecture for Keijo!!!!!!!!
@ktism1228s made a pilgrimage to Ōgaki, Gifu Prefecture for Koe no Katachi.
@touyoko_com made a pilgrimage to Saku, Koumi and Iida, Nagano Prefecture for Kimi no Na wa.
@lilysis08mai made a pilgrimage to Hida, Gifu Prefecture for Kimi no Na wa.
@SSEBTBM883 made a pilgrimage (updated post) to Tomakomai, Hokkaido Prefecture for Boku Dake ga Inai Machi.
@MatsuYan made a pilgrimage (post 1, post 2) to Kanazawa Ward, Yokohama, Kanagawa Prefecture for Shōjotachi wa Kōya o Mezasu.
@mikkatatsu made a pilgrimage to the Sunflower Sapporo, a cruise ship that travels between Ōarai, Ibaraki Prefecture and Tamakomai, Hokkaidō Prefecture, for Girls und Panzer Gekijōban.
@mikehattsu made a pilgrimage (post 1, post 2, post 3) , post 4, post 5, post 6, post 7) to Nerima Ward, Tokyo Metropolis for Shigatsu wa Kimi no Uso.
@bFhe2zUu1VPqZ8l made a pilgrimage (post 1, post 2, post 3) to Toyosato, Shiga Prefecture for K-On!
@mikehattsu made a pilgrimage (post 1, post 2) to Sangūbashi, Shibuya Ward, Tokyo Metropolis for Byōsoku Go Senchimētoru (5 Centimeters Per Second).
Just in case you were wondering about the car Taki-sensei is driving in episode 6 of Hibike! Euphonium: It's a Citroen Ami 8 Berline (https://en.wikipedia.org/wiki/Citro%C3%ABn_Ami). Judging by the interior design probably the initial version from around 1969/1970.
Thanks! Saw that on Twitter. Not really a key detail for my scope, but certainly very interesting.
Do you have any idea why they don't use the real Metro logo in that shot from Sangatsu? I'm sure you've posted a million screenshots that use the real JR logo.
Anime tend to err on the side of caution/CYA with using real trademarks. If they don't have any kind of agreement or cooperation relationship with the owner, they'll often do that. I'll look closely at the end credits when I have a minute. Since JR is mentioned by name in the dialog, that could mean they got approval for that.
I could be remembering a million JR screenshots from other shows… but because of that, I feel like I've never seen a fake one?


Would like to suggest following improvements on Power Archiver's Virtual Drive handlings.
Some users, like me, may be using external drives.
On top, I myself, am using a program called Bestcrypt, that creates password protected containers and which can be handled like any other drive, but require their own driveletters.
One shd go into Diskmgt to reset everything and assign the driveletters the way there were and shd be.
Vote to have the UNMOUNT voice in the context menu…tonight I spent half an hour to understand why I could not unmount a volume created by PA…before coming to the forum.
It's just crazy to have to launch PA again to unmount virtual drives!!
Check in 11.03 via web update - you will be able to skip few steps by launching unmount tool from PA Starter (you will still have to select what to unmount for now)… so it should save some time. Keep in mind that until PAVD.EXE is updated (monday), unmount will not go directly to unmount but to PAVD main screen.
It is still not as useful as right click> Unmount> D:, but it will definetly help. We dont have time for anything else in minor releases, expect more improvements in PA 2010 :-).


text:
This Is Anfield • Liverpool FC News •
Steven Gerrard: A player-coach role would have kept me at Liverpool
Steven Gerrard says he would have been "tailor-made" for a role among Liverpool's coaching staff alongside being a "squad player".
Gerrard left Liverpool to join MLS side LA Galaxy in the summer after his contract expired at Anfield, citing a desire to continue playing week-in-week-out.
He admits though that physically he couldn't play every game, now aged 35.
"Ability-wise, I could still play but physically I couldn't play every game at my age," Gerrard says in an interview with the MailOnline. "I didn't enjoy being sub last season. I didn't enjoy not knowing if I would be in the XI or not."
"I didn't enjoy when Liverpool were in the Champions League, the idea that I might have to miss matches. I struggled to get my head around it.
"Maybe that was selfish of me but I had gone a long time playing every single game.
However, there is one way which Gerrard says he would have accepted a reduced playing role in order to remain at Liverpool – by joining the coaching staff, much like how Ryan Giggs did at Man United. It's something which he admits himself is contradictory, and couldn't have been foreseen.
"I might be contradicting myself here but what would have kept me at Liverpool into this season was the chance of shadowing Brendan Rodgers and his staff as well as playing," he sad.
"Those ideas were only mentioned to me after I had announced I was leaving."
Of course, nobody at the club would have foreseen Liverpool sacking their assistant manager and first-team coach six months before it happened.
"Liverpool replaced coaches Colin Pascoe and Mike Marsh in the summer, so they were looking for a new No 2, or No 3 or No 4. I would have been tailor-made to fill one of these roles, as well as making myself available as a squad player.
"I could have been a good squad player, a good sub, as well as getting management experience that money can't buy."
Gerrard says he was surprised no such role was spoken about when he sat down with Ian Ayre.
"I was surprised a role wasn't mentioned when chief executive Ian Ayre sat down with my agent but maybe it might happen one day.
"I'd have stayed on as a squad player if I'd had the chance to learn more about management or coaching. I left with all the doors still open, but yes, I could still have been at Liverpool now."
Gerrard also speaks of his admiration for Rodgers, suggesting the current Liverpool boss would be the ideal man to replace Roy Hodgson as England boss.
"His man management is brilliant," he praises, saying Rodgers' possession-based methods would work well on an international stage.
"If you want someone who would get the team playing and the players would enjoy working with, it would be Brendan."
Tags Steven Gerrard


Haga, Y., R. Nordlander, P. O. Sjoquist and L. Ryd'en. Influence of coronary venous retroinfusion and vasodilatation on regional myocardial blood flow measurement with microspheres. An analysis of 'microsphere loss' from ischaemic and reperfused porcine hearts. Acta Physiol Scand. 153:13-20, 1995.
The influence of coronary venous retroinfusion and a vasoselective calcium antagonist felodipine on the microsphere loss in a porcine model of myocardial ischaemia and reperfusion was studied. Sixteen open-chest pigs underwent 45 min of myocardial ischaemia induced by occlusion of the left anterior descending coronary artery followed by 4 h of reperfusion. Either felodipine (felo-retro group, 7 nmol kg-1, n = 6) or the corresponding amount of vehicle (vehicle-retro group, n = 5) was infused retrogradely into the coronary veins over 30 min, starting 5 min before reperfusion. In a third group, the same amount of felodipine was administered intravenously (felo-iv group, n = 5). Myocardial regional blood flow was measured with radiolabelled microspheres (phi = 15 microns) injected before ischaemia to investigate a possible loss during ischaemia. In the felo-retro group, the apparent blood flow in the ischaemic areas, expressed as a percentage of the corresponding values in the non-ischaemic areas (%-flow), were 73 +/- 15, 73 +/- 11 and 75 +/- 19 in the subendocardial, midmyocardial and subepicardial layers, respectively. The corresponding percentage flows were 64 +/- 11, 70 +/- 11 and 62 +/- 9 in the vehicle-retro group and 75 +/- 18, 77 +/- 15 and 76 +/- 11 in the felo-iv group. The differences between the groups were not statistically significant. It is concluded that in this open-chest preparation microsphere loss observed in the ischaemic and reperfused myocardium is not increased by coronary venous retroinfusion or by a concomitantly administered vasodilative agent like felodipine.


text:
George Speak (7 November 1890 – 10 March 1953) was an English professional footballer who played as a full-back.

References

1890 births
1953 deaths
People from Blackburn
English footballers
Association football fullbacks
Clitheroe F.C. players
Darwen F.C. players
West Bromwich Albion F.C. players
Grimsby Town F.C. players
Gainsborough Trinity F.C. players
West Ham United F.C. players
Preston North End F.C. players
Leeds United F.C. players
English Football League players

redpajama_set_name: RedPajamaWikipedia


text:
The Last Animals
The Last Animals follows the conservationists, scientists and activists battling poachers and criminal networks to save elephants and rhinos from extinction.
Winner of best international feature at the North West Fest Film Festival, The Last Animals is a story about an extraordinary group of people who go to incredible lengths to save the planet's last animals. The documentary follows the conservationists, scientists and activists battling poachers and criminal Networks to protect elephants and rhinos from extinction. From Africa's front lines to behind the scenes of Asian markets to the United States, the film takes an intense look at the global response to this slaughter and the desperate measures to genetically rescue the Northern White rhinos who are on the edge of extinction.
The film has also won best documentary at San Diego International Film Festival and Anchorage International Film Festival.
'Testimonials cover a wide range, including England's Prince William who helps to bring it all into perspective.' Seattle Times
'Concern for animals aside, this is a portrait of capitalism at its most destructive, and rhinos and elephants are not the only creatures it will leave you fearful for.' Eye for Film
'Filmic, often elegiac, and hopefully galvanising.' Screen International
Anchorage International Film Festival 2017, Best Documentary Feature
NORTHWESTFEST International Documentary & Media Arts Festival 2017, winner of best international feature
San Diego International Film Festival 2017, winner of the festival award for best documentary
Tribeca Film Festival 2017, winner of the Disruptive Innovation Award


text:
Brittany Craft
Get Full CD Album
or Listen on
The genuine sincerity & sweetness in Brittany Craft's music resonates powerfully with the passion of pure faith. From her humble beginnings growing up in Oklahoma, the young singer quickly displayed a remarkable connection to music and understood the joy & unity it could bring to those that listened. Being raised in a military family afforded her the experience to travel the world and add incredible new perspective to her life thereafter; Brittany was inspired by the beauty that the Lord had bestowed upon the people & places she would visit, and began to write her first songs as she blossomed into an artist.
Over the years to follow, Brittany would go on to refine her talents through dedication and education. She immersed herself in the art from all aspects, learning how to play guitar and piano at a professional level and soon graduated from college with an official degree in Church Music. Brittany continued to expand her skillset even further by learning how to play drums and violin, finding impressive new ways to challenge herself creatively and add more dimension, emotion, & depth, to the songs she was writing.
Finding authentic purpose through the faith-based material she was creating, the ability to spread His message to people listening around the globe through her music filled Brittany's soul with inspiration. While she was writing her own original songs, she was also connecting to Christianity in compelling new ways that were both comforting and a confirmation that she was indeed, on the path she was meant to be on in becoming a professional musician. With an innate ability to express herself beautifully through music and her devotion to the word of God, Brittany began to take her career & music to the next level; she's now been invited to lead worship in colleges & churches for nearly fifteen full years, proudly serving & sharing her stunning vocals to the congregations through the choir. With the connection between her music and faith being as strong as her natural talent and passion – Brittany found the place where she truly belonged as an artist in a Contemporary Christian style, combining hope, love, & devout faith, into heartfelt acoustic & piano-based songs that everyone can enjoy, and be sincerely moved by.
Amazing opportunities have opened up for Brittany since she decided she wanted to pursue her music career full-on. She sang in a choir at the Gospel Music Association's Dove Awards for the past two years, bringing her angelic & graceful vocals to the stage to back-up the incredible talents of Casting Crowns and Brittany's own favorite singer of all-time, the renowned singer/songwriter Steven Curtis Chapman. She would go on to perform two additional times onstage in the choir supporting Chapman, appearing on massive stages at the Kennedy Center and the legendary Carnegie Hall for the very first time.
It certainly won't be her last. Now based in Atlanta, GA, Brittany Craft has just released her debut album Welcome Home – a gorgeous set of songs that wonderfully proclaim her faith through music and boldly shares it with the world awaiting. Over the course of ten new tunes that reveal the heart & unshakable faith of an artist that believes in every word she sings & every note she plays – Welcome Home represents the culmination of the journey & experiences Brittany's had throughout her life. Through emotionally powerful, empowering & uplifting melodies, and endearing vocals that echo the strength of her convictions, she's fast becoming a favorite with fans & critics alike. As she steps into the spotlight officially in 2018 – with God at her side every step of the way, she's becoming the artist she's always been meant to be. Join Brittany this year as she connects to her spirituality, faith, music, and YOU!
© 2019. Brittany Craft. All Rights Reserved.


Natural Chitin provides a beautiful shine. Aloe Vera* lends moisture, while the freshly aromatic essential oils of Bergamot* and Chamomile* calm the scalp.
This LESS IS MORE Mascobadogel is made from natural active agents. This gel pampers your hair and gives your style form and a strong hold, through the power of Highland Honey* and Mascobado Cane Sugar*.
A very easy site to use and nice quick service. Will definitely shop here again.
Alltid kul när man får en trevlig shoppingupplevelse. Första gången jag handlar från er och gör det gärna igen!


text:
Study finds if personality traits can be improved without personal motivation
Dallas [US], December 8 (ANI): According to a study conducted by SMU psychology professor Nathan Hudson, improving someone's emotional stability without their commitment is not likely to happen.
The research has been published in the 'Journal of Research in Personality'.
A growing body of studies suggested that personality traits can be changed through intervention. As a recent study by Hudson noted, personality traits are linked to a wide range of life outcomes, such as relationship quality and occupation success.
The goal of his recent research was to test two theories; that successful personality intervention may require that the participants choose which traits they change and that they be actively invested in changing the target traits.
He found that conscientiousness - the ability to be responsible, hard-working and organized - could be improved even if participants were not motivated to change. Completing a series of tasks over a regulated period was found to change habits and therefore improve conscientiousness.
But emotional stability was a different matter: study participants only got better at handling difficult situations if they chose to work on their emotional stability. Otherwise, tasks they were given over four weeks proved to be ineffective.
"This provides promising evidence that schools, companies, or other organizations could ask people to make relatively minor changes that could help improve their lives by making them more organized and responsible over time," Hudson said.
"In contrast, it appears that emotional stability might require a bit more investment from the people who partake in an intervention," Hudson added.
Hudson stressed that this research isn't about trying to control people.
"The idea of personality trait change - especially other people trying to change an individual's personality - can sound scary. But whether we recognize it or not, society is filled with interventions designed to try to change our personality traits," he said.
"For instance, elementary school is a giant intervention designed to help children become more intelligent, yes, but also kinder and more sociable, responsible and hardworking," he said.
Previous research by Hudson and other psychologists had shown that people who actively worked to change aspects of their personality were, in many cases, successful in achieving the results they desired.
But before now, it wasn't clear if a person could have successful results if they didn't choose which personality trait they were looking to change and weren't invested in making that change.
Hudson conducted two separate studies to answer that question. Each lasted four months.
In the first, 175 college students were randomly assigned to change either conscientiousness or emotional stability. They were then given their choice of tasks to improve that personality trait. For instance, those who were selected to work on being more conscientious were given challenges like "organize and clean your desks" or "make a list of tasks you would like to complete."The second trial had more than 400 college students at several universities choose which trait they wanted to work on. Yet, unbeknownst to them, half of the participants were randomly assigned to receive challenges targeting a characteristic that they didn't choose.
In both studies, the students' personality traits were measured before and after tasks were assigned using the 44-item Big Five Inventory test that is standard among psychologists.
Hudson found that students who completed more tasks for conscientiousness-building tasks saw an improvement, even when they were not aware of why they were assigned the tasks. But for those who did not choose to work on emotional stability, the challenges were entirely inert - or even made that trait worse.
Hudson suspected that the reason people must be motivated to change emotional stability is that this trait dealt with negative emotions.
"For many people, it can be difficult to 'just stop feeling angry' or 'just stop being stressed,'" he said.
"My hunch is that indirect strategies for changing someone's emotions, such as writing in a journal or thinking about positive things, can only really work when people want to use those techniques to change their emotions," he added.
Conscientiousness, on the other hand, can be easily faked and increased over time through mechanical acts, like cleaning your room or using a calendar.
"Motivation is largely irrelevant to interventions targeting conscientiousness, as long as participants adhere to the intervention," Hudson concluded. (ANI)


Size: about 17~19mm inner diameter, 23~24mm wide; about 12pcs/box; box: 13x9.3x3cm.
Charming rings add a new definition to fashion and elegance. They are ideal for gift giving, counter sales or stocking your own jewelry box. There is no doubt that you will love these unique jewelry.


Look through the listings of Member singles that have joined Anime Lovers Dating that are tagged with Interracial. Dating other members that have similar interests is a great way to come up with ideas to do once you are dating. Signup for a 100% Free Account to Go out Today!
29yo from Austin, send me a message to get to know more about me.


text:
Cherneski Coaching Coaching Professionals for Lifetime Success
Set The Intention, Make the Change
Unofficial Bio
Relaunchers
Valerie's Voice
Valerie has come full circle in the last twelve years. After attending law school and then practising with, and being mentored by, some of Canada's most successful lawyers, she was continually drawn to the "people issues" in her work – she cared about the internal struggles of her clients, whether they were executives battling labour disputes or safeguarding corporate interests in various ways. She was also passionate about the lives of her colleagues and friends – intrigued by decision making processes on integrating professional careers with the various, moving parts outside of work.
It became clear to Valerie that coaching would be the right move for her. It would allow her to remain present and challenged in the corporate world by focusing her business on professionals. It would also allow her to fulfill the calling she had since her days as a psychology student, peer counselor and support group facilitator. Now, she combines her interests and experience to focus on professionals at a particular place in life that is so rich with opportunity, but also fatigue, stress, guilt and all out 'busyness' – the intersection of career, children, and self.
Valerie is no stranger to competing pressures and difficult decisions. She has lived in four different cities and two countries in the last ten years. She has managed the full spectrum of childcare support while her and her husband worked in cities without family. She built her business in New York City with toddlers and a new life to create at the same time. She did it again in yet another new city in 2012 and used the move to fine tune her transition skills and practice resilience along the way.
Valerie understands the highs and lows experienced by her clients – the frustrations of needing to just make it through the day, to then making it through the evening routine, and to having nothing left at the end of it, except the couch, computer, and dishes.
But Valerie has seen the transitions and struggles in her life as opportunities; opportunities to master each stage as a chapter in her book. As she coaches her clients to surpass their own expectations, and take stock of their lives, she continues to strive for her own personal growth. She counts the recovery from injuries to running a marathon in 2013 as growth that she would never have imagined in the past.
She now runs her business with clients and connections from these former cities and wouldn't have it any other way. On the tough days, she leans into people she trusts for support, breathes deeply before shifting gears to the next shift, and reminds herself of what matters most in her current chapter. It's not perfect, nor perfectly balanced. But when it's thought-out and intentional, it can actually make each day and each challenge fun to face. And that's her goal for each client: to set an intention, make the change, and find the fun along the way.
Bouncing Back and Heading Strong into this New Year
Is Age Just a State of Mind?
A Strong Relaunch Starts With Knowing What Matters To You
Preparing Your Partner for Your Relaunch
By entering your information, you are giving us permission to add you to our email list. You will be able to unsubscribe at any time.
Connect with Valerie
© 2017 Cherneski Coaching. All Rights Reserved.
P.O. Box 271, Westmount, Quebec, H3Z 2T2
valerie@cherneskicoaching.com