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Evaluation of environmental sustainability matrix of Deepgen tidal turbine
Title: Evaluation of environmental sustainability matrix of Deepgen tidal turbine
Rashedi, A.; Khanam, T.; Jeong, B.; Hussain, M.
University of Strathclyde, Charles Darwin University, University of Haripur
Marine Energy, Tidal
Receptor:
Human Dimensions, Life Cycle Assessment
Rashedi, A.; Khanam, T.; Jeong, B.; Hussain, M. ( 2022 ). Evaluation of environmental sustainability matrix of Deepgen tidal turbine. Ocean Engineering, 266(Part 4), 113031. https://doi.org/10.1016/j.oceaneng.2022.113031
Tidal energy is a reliable, consistent and abundant source of renewable energy. However, there are many concerns with different tidal energy devices relating to their environmental impacts over the lifetime. It is essential to address these issues by assessing the environmental impacts of these technologies throughout all phases of life cycle. In this context, a cradle to grave life cycle assessment (LCA) study is performed hereby on 1 MW Deepgen tidal turbine. ReCiPe LCA method has been used to evaluate 18 different environmental impacts; i.e., global warming in 100 years horizon, stratospheric ozone depletion, ionising radiation, ozone formation (human health), fine particulate matter formation, ozone formation (terrestrial ecosystems), terrestrial acidification, freshwater eutrophication, marine eutrophication, terrestrial ecotoxicity, freshwater ecotoxicity, marine ecotoxicity, human carcinogenic toxicity, human non-carcinogenic toxicity, land use, mineral resource scarcity, fossil resource scarcity and water consumption. According to the findings, steel, copper and glass fibre reinforced plastic (GFRP) carry the highest contributions across all impact categories. Steel contributes about 30%, on average, across all impact categories; copper contributes significantly to eutrophication and toxicity impacts while GFRP contributes significantly to marine eutrophication. Total global warming emission of the turbine stands at approximately 1 ktCO2 eq which establishes the turbine as a lower GHG impact carrying solution. Findings from the study will serve as a benchmark to deploy more tidal power turbines around the world.


BEIJING — China on Sunday accused the US of deliberately distorting the facts in a report on the Asian giant's defense policy, warning Washington it had "severely damaged" trust between the superpowers.
The Pentagon on Friday said Beijing had been building up military facilities on reefs and islets in a bid to assert its claims to the contested waters of the South China Sea.
China's military has also been using "coercive tactics" to foster tensions with its neighbors, but will ensure they do not snowball into outright conflict, according to the annual report to Congress.
Beijing hit back on Sunday in comments published in state media, with a defense ministry spokesman saying the Pentagon report had "deliberately distorted China's defense policies."
"It is the United States that has been flexing military muscles by frequently sending military aircraft and warships to the region," spokesman Yang Yujun said, according to the official news agency Xinhua.
"The US annual report on China's military and security developments has severely damaged mutual trust between the two sides."
Yang accused the US of being behind the "militarization in the South China Sea," parts of which are claimed by Vietnam, Taiwan, Brunei, Malaysia and the Philippines as well as China.
The South China Sea, an important shipping route thought to be home to vast energy deposits, has become a growing source of tension between Beijing and Washington as the US turns its focus on Asia.
Washington fears Beijing is seeking to impose military controls over the entire area, where China has built massive structures including radar systems and airstrips on reclaimed reefs and islets.
The Pentagon report estimated China has reclaimed 3,200 acres (1,300 hectares) of land around the Spratly Islands, also claimed by the Philippines, over the past two years.
Beijing has been angered by the growing US attention on Asia and US forays into the Sea, including sailing warships close to reclaimed islands.


M?a will be launch her new band at Coachella in the Sahara Tent on Friday at 11:05 a.m.
She has been working as DJ Mea for a almost decade, and ahas toured the the world flying the flag for electronic dance music in exotic locations everywhere and especially in Asia.
Born in Kansas City, she is based in L.A. where she built her own studio and developed her production skills. M?a produces music from down-tempo, rock, ambient, electro to dubstep using her own voice as an electronic instrument well as singing the songs.
Most recently she scored a movie clip and soundtrack single to the movie "Freelancer's" starring Robert Deniro, Forest Whitaker and 50 Cent. M?a has has made the transition from a DJ to dynamic recording artist and live performer. Singing first with edm DJ "IV Legend" M?a will be joined by her band who will propel her to new realms in electronic music.. M?a will be the only act playing at the festival between 11 & 12 a.m.


But when she gets assigned to interview the football team's beloved quarterback, she takes one look into Luke Carter's blue eyes and is a goner. Suddenly, she doesn't like her lowly rank so much. Then her dreamy, popular crush surprises her when he starts to act as if he likes her in return. But there's no way Luke Carter could possibly ever like a nobody like Carrie Paxton. Is there?
Sounds romantic, right?I really want to read this one! I like the whole concept of it, and it sounds right up my alley!
OH, I really want to read this one!
I need to check my settings on my e-mail because a lot have been getting bounced back. Anyway Sara CCed me the e-mail saying I was next so I will get it read asap after it gets here!
Cool book!! I would like to read it too when it comes out. Happy Holidays!!!!


Rose quartz has been used in love rituals and ceremonies for centuries, and remains the stone of the hopeless romantic. According to the myth, Cupid, the Roman god of desire, or Eros, the Greek god of love, bestowed the gift of love to humans in the form of a rose quartz.
Meditate with rose quartz crystal to bring love and compassion into your life. If you're feeling down on yourself, bring a rose quartz stone up to your heart so that it can connect to the heart chakra. Clear your mind. Sit with your emotions, both good and bad. Feel how whole and powerful you are.
Enjoy this Golden Rose Quartz Bracelet and start living the way you deserve!
Materials: Blossom Jade, Rose Quartz, Pink Cats Eye.


Laboratories and hospitals utilize high-tech and precise equipment to analyze and diagnose patients. These high-throughput machines are very precise and require consistent care to maintain their accuracy. One element of care is consistent decontamination to prevent false readings caused by pathogens such as bacteria or viruses.
With some products, this decontamination sequence can cause a lot of downtime, which means their analyzers aren't running tests. This delays results and increases costs of testing.
SMT's ultra-pure ClO₂ effectively minimizes downtown for diagnostic equipment such as chemistry, immunoassay, and hematology analyzers by decontaminating and stripping organic matter from internal fluidic lines. Because ClO₂ has no ionic charge, it quickly rinses from the system, usually in a single flush. Chlorine dioxide is also very effective at removing bioslime, reducing recontamination and increasing the time between decon cycles. Additionally, a neutral pH ensures the highest compatibility, minimizing effect on sensitive equipment. SMT has provided products and solutions to companies such as Roche Diagnostics, Ventana, Siemens Healthcare Diagnostics, and Beckman Coulter.
The water system and distribution loop included two 125-gallon water storage tanks plumbed in parallel. The tanks store RO/DI water that feeds the distribution loop. A system diagram is included in Figure 1. The storage tanks were full of water at the beginning of the decontamination process. Prior to starting the procedure, the DI tanks were removed from the system. Chlorine dioxide was generated directly in the storage tanks. During the generation period, water was recirculated through the loop, returning to the tanks. No make-up water from the RO unit was added to the tanks during the generation and recirculation period, and power to the in-line UV lights was disconnected.


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Дан Коэ (; , Бухарест, Румыния — , Кёльн, ФРГ) — румынский футболист, защитник. Выступал за сборную Румынии, участвовал в  Олимпийских играх 1964 и Чемпионате мира по футболу 1970.

Карьера
Начал карьеру в молодежном клубе ФК «Рапид» в 1959 году.
В 1961 году перешел в основной состав. В этом клубе он выступал в течение 10 лет, за это время провел 202 матча, в которых забил 9 голов.
В 1971 перешел в бельгийский «Антверпен», в котором провел еще 2 года. За это время отыграл 37 матчей.
Завершил профессиональную карьеру в ФК «Дунай Галац» в 1975 году. За этот клуб он отыграл 35 матчей, в которых забил 3 мяча.
Играл за национальную сборную Румынии. Участвовал в Олимпийских играх 1964 и Чемпионате мира по футболу 1970. Всего провел за сборную страны 41 матч, в которых забил 2 мяча.

Награды
Рапид Бухарест
 Чемпионат Румынии
  Победитель (1): 1966–67
 Балканский кубок
  Победитель (2): 1963–64, 1965–66
 Кубок МССЖ
  Победитель (1): 1968

Ссылки

Футболисты Румынии
Игроки сборной Румынии по футболу
Игроки ФК «Антверпен»
Игроки ФК «Рапид» Бухарест
Беглецы из Румынии

redpajama_set_name: RedPajamaWikipedia


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Spelled
Spelled is by debut author Betsy Schow.
Fairy Tale Survival Rule #2: If you find yourself at the mercy of a wicked witch, sing a romantic ballad and wait for your Prince Charming to save the day.
Yeah, no thanks. Dorthea is completely princes out. Sure being the crown princess of Emerald has its perks- like Glenda Original ball gowns and Hans Christian Loutboutin heels. But a forced marriage to the brooding prince Kato is so not what Dorthea had in mind for her enchanted future.
Talk about unhappily every after.
Trying to fix her prince problem by wishing on a (cursed) star royally backfires, leaving the kingdom in chaos and her parents stuck in some place called "Kansas." Not it's up to Dorthea and her pixed off prince to find the mysterious Wizard of Oz and undo the curse... before it releases the wickedest witch of all and spells The End for the world of Story.
1. Schow uses elements of many fairytales, and pulls heavily from the Wizard of Oz, to create Spelled. The story has quite the magical adventure. To keep it interesting, Schow does not always make it clear who are friends and who are foes. I love that the cover and shoes that Dorthea wears pay respect both to the book and movie Wizard of Oz, because int the book they are silver and the movie, of course, they are the iconic ruby slippers.
2. I have to admit as was not a fan of Dorthea at first. She is epitome of a spoiled princess who does not realize how good she has it. Even after her wish curses all of Story, she does accept any responsibility for her actions. But she does start to question her role in the story, even wondering if she is not the heroine but rather the villain. She does prove to have courage and a kind heart in the end.
3. I would not say that Kato is your typical prince. He is not looking to save Dorthea, but rather thinks she has a purpose to serve. He and Dorthea understandable, dislike each other quiet a bit at first. I like that they are not love at first site couple. It takes them getting to know each other for them to develop feelings for each other.
4. Schow adds quiet the cast of supporting characters. From Rexi the kleptomaniac kitchen girl that becomes Dorthea and Kato's companion on the adventure to the Wizard of Is, who is in love with Dorthea and is more than he seems. The different characters definitely keep the story interesting. And of course, there is Griz, the wicked witch, that gives Dorthea the cursed star.
5. The story has a pretty great adventure, some pretty funny parts, and quite the ending. Schow has definitely left a big hint that this book will be a series.
To Read or Not to Read:
Posted by Layla at 08:39 No comments:
Midnight Thief
Midnight Thief by Livia Blackburne is the first book of a series of the same name.
Growing up on Forge's streets has taught Kyra how to stretch a coin. And when that's not enough, her uncanny ability to scale walls and bypass guards helps her to take what she needs.
But when the leader of the Assassins Guild offers Kyra a lucrative job, she hesitates. She knows how to get by on her own, and she's not sure she wants to play by his rules. But he's persistent- and darkly attractive- and Kyra can't quite resist his pull.
Tristam of Brancel is a young Palace knight on a mission. After his best friend is brutally murdered by Demon Riders, a clan of vicious warriors who ride bloodthristy wildcats, Tristam vows to take them down. But as his investigation deepens, he finds his efforts thwarted by a talented thief, one who sneaks past Palace defenses with uncanny ease.
When a fateful raid throws Kyra and Tristam together, the two enemies realize that their best chance at survival- and vengeance- might be to join forces. And as their loyalties are tested to the breaking point, they learn a startling secret about Kyra's past that threatens to reshape both their lives.
1. Blackburne's story was fantastic. It was engaging from beginning to end. She paints an interesting picture of the city of Forge, where there is quite the divide between the haves and the have nots. I also love that the story comes from the perspective of a person on each end of the spectrum.
2. Kyra is an interesting character. While she has no problem with being a thief, she definitely has issues with killing. She cares deeply for those close to her. She can be very impulsive at times, but is quite street smart, and talented.
3. Compared to Kyra, Tristam appears to be more even keeled. He knows his path, and is determined to do his duty. It is Kyra that has him questioning things around him, and even bringing out a little rebellion in his nature.
4. I like that while there is a subtle attraction between Kyra and Tristam, especially toward the end, the story does not revolve around their romance. It focus mostly on Kyra, her secrets and her past. I like the interesting twist that Blackburne has, and I am interested to see what happens in the next book.
Chris Weitz The New Order is the second book of The Young World trilogy.
Jefferson and Donna were sure the arrival of the military meant an end to this nightmare- a hellish two years full of enemy gangs, gunfire, and lost loved ones. But the cruel plans the government has for the remaining teens are beyond anything they could've imagined.
All Jefferson and Dona want is to have a future with each other, but fate has different plans, and they soon find themselves pulled apart. Jefferson returns to New York City with a cure for the Sickness, and a hope to unite all the tribes. And Donna finds herself in England, facing an unimaginable world.
With the help of new and familiar faces, their survival and the hope for a new world hang in a delicate balance. Can the two reunite and prevent an even greater disaster than the Sickness?
1. It took me a little longer to really get into this book than the first book, but once Weitz gets into the meat of the story, it gets hard to put down. I loved learning about the world outside of New York and how they handled the Sickness.
2. Love how Weitz gives Donna and Jefferson such distinct voices in their own chapters. In this book, other characters start getting their own chapters, and they are just as unique as the original characters. Although, it was a little rough reading Brainbox's chapters.
3. I loved that there were deeper agenda's going with both Donna's group in England and Jefferson's in New York. This gave the story some real depth, and really threw some surprise punches in there. Again, with the ending, Weitz has me dying for the next book.
The Heart of Betrayal
The Heart of Betrayal by Mary E. Pearson is the second book of her Remnant Chronicles.
Held captive in the barbarian kingdom of Venda, Lia and Rafe have little chance of escape. Desperate to save her life, Lia's estwhile assassin, Kaden, has told the Vendan Komizar that she has the gift, and the Komizar's interest in Lia is greater than anyone could have foreseen.
Meanwhile, nothing is straightforward: there's Rage, who lied to Lia, but has sacrifices his freedom to protect her; Kaden, who meant to assassinate her but has now saved her life;, and the Vendas, whom Lia always believed to be barbarians. Not that she lives amongst them, however, she realizes that may be far from the truth. Wrestling with her upbringing, her gift, and her sense of self, Lia must make powerful choices that will affect her country... and her own destiny.
1. Pearson has out done herself with the second book of the Remnant Chronicles. The books picks up pretty much where The Kiss of Deception left off. She does an amazing job of building Venda and the people of it. At the same time, she continues to bring to new dimensions to her already existing characters.
2. I love that Lia continues to explore her gift and grow in it in this book. She is also learning to play the political game so well in this book. Plus, I love the way she grows to care for the people of Venda.
3. I really enjoyed learning more about Kaden in this book. Pearson revealed his past, and why he is so loyal to the Komizar. Plus, I love the way he starts to question the motives of the Komizar and growing more into his own person.
4. I did feel like I did not love Rafe as much in this book. Not that he wasn't great, because, he was, but I felt like he was not fleshed out as much as Lia and Kaden in this book. Although, Pearson did explore how good he is at playing the role need to accomplish his goal, and what an excellent soldier he is.
5. Wow, the things that are learned about Venda, it's origins and the prophecies, and the secrets between Venda and Morrighan were quite shocking. Oh, and that ending, Pearson has me dying to know what will happen in the next book.

redpajama_set_name: RedPajamaCommonCrawl


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Home » More than $4B Spent on Pipelines This Year, Analyst Says
Marcellus / Shale Daily / Northeast / NGI All News Access
More than $4B Spent on Pipelines This Year, Analyst Says
TAGS canada / marcellus / northeast / pipeline
El Nino's Exit Opens The Door to More Atlantic Hurricanes This Year, Says NOAA
Mexico, LNG Projects Fed by Up to 17 Bcf/d of New U.S. Pipeline Capacity This Year, Says EIA
Big Seven Unconventional Plays to Produce More than 84 Bcf/d Next Month, Says EIA
The North American natural gas and oil industry, responding primarily to surging production coming out of shale plays, will spend a total of $4.3 billion on new onshore pipelines this year, according to new research by energy adviser Douglas-Westwood (DW).
The pipeline projects have been undertaken to increase operators' access to shale plays, relieve bottlenecks, satisfy growing demand and replace aging infrastructure, according to DW analyst Neha Rustagi.
"Between 2011 and 2012, the number of productive wells in U.S. shale oil plays increased from a few hundred to over 4,000. These developments have left many regions, such as the Northeast and the Bakken, with tremendous supply that is constrained by a lack of takeaway capacity. Where they have not yet been built; rail and trucks have become a riskier, more expensive substitute," Rustagi said.
"Pipeline infrastructure is similarly necessary in Canada to enable the transportation of oil from its vast landlocked reserves to both domestic and foreign markets. Output from Alberta's crude oil reserves, the third largest in the world, has been forecast to increase 26% from 2012 to 2015 and over 5,000 miles of pipeline have been proposed for construction in Canada by 2018. The North American oil, gas and natural gas liquids (NGLs) markets will remain dynamic in at least the near-term, making the timeliness of pipeline intelligence critical to strategy development."
In the final days of October, pipeline operators opened the taps on four projects to alleviate bottleneck constraints by providing more takeaway capacity from the Marcellus to markets in the Northeast, adding a total of 1.8 Bcf/d of capacity (see Shale Daily, Nov. 1).
Midstream companies are planning to spend about $40 billion, mostly over the next three to five years, on infrastructure projects in Ohio, Pennsylvania and West Virginia to serve the Marcellus and Utica shales, according to a comprehensive analysis by Marcellus Drilling News (see Shale Daily, Oct. 25).
DW recently launched a North American Onshore Pipelines Database Service that contains a comprehensive list of planned onshore transmission pipeline installation projects, selected historical projects, gathering lines and overview analysis.
Senior Editor | Dulles, VA
David Bradley joined the staff of NGI in June, 2007 following eight years of news reporting for Northern Virginia newspapers and more than a dozen years in the telecommunications industry. He received his bachelor's degree in Communications and English from James Madison University in Harrisonburg, VA., and his master's degree in Information Management from Marymount University in Arlington, VA.
david.bradley@naturalgasintel.com | @DBradleyNGI
Recent Articles by David Bradley
EIA Trims 2020 Natural Gas Price Forecast to $2.33; Relief Seen in 2021
Natural Gas to Trail Wind, Solar in New Electricity Generation This Year, EIA Says
Low Natural Gas Costs Hold Down Electricity Prices in 2019, Says EIA
FERC Continues With Two Vacancies -- For Now
Process to Fill Empty FERC Seats Reverts Back to Square One


BibMe Free Bibliography & Citation Maker - MLA Chicago, APA Harvard. Concord armor at war series pdf.
The internal combustion engine armour plate continuous track were key innovations leading to the invention of the modern tank. If you are a teacher searching for educational material, please visit PBS LearningMedia for a wide range of free digital resources spanning preschool through 12th grade.
1st Marine Division' s infantry armor moves through Chinese lines during their breakout from the Chosin Reservoir; UN landing at Incheon harbor starting point of the Battle of Incheon; Korean refugees in. At the risk of sounding bitchy starting a flame war I have a few gripes with the reenacting hobby that I feel need airing. I absolutely love reenacting after sixteen years in the hobby I' m not going to be leaving it any time soon, but as with everything I feel that there' s always room for improvement. 22: 51 Chevron presented us some time ago a conversion kit, that allows us to transform the Tamiya' s 1/ 12 Tyrrell P34 1/ 12 scale in its 1977 homonym. Korean War In South Korea: ( 한국전쟁 6· 25 전쟁) In North Korea: ( 조국해방전쟁) ; Part of the Cold War the inter- Korean conflict: Clockwise from top: A column of the U.
Building the Tyrrell 1977 six wheeler - Tamiya & Chevron transkit 1/ 12 scale ( Updated with new pictures) By Mario Covalski | 01. The tank is the 20th century realization of an ancient concept: that of providing troops with mobile protection and firepower.
A tank is an armoured fighting vehicle designed for front- line combat, with heavy firepower, strong armour, tracks and a powerful engine providing good battlefield maneuverability. The first tanks were designed to overcome the deadlock of trench warfare in the 1910s; they are a mainstay of modern ground forces and a key part of combined arms combat.
Modern tanks are versatile mobile land. The Panther is a German medium tank deployed during World War II on the Eastern and Western Fronts in Europe from mid- 1943 to the war' s end in 1945.
It had the ordnance inventory designation of Sd. It was designated as the Panzerkampfwagen V Panther until 27 February 1944, when Hitler ordered that the Roman numeral " V" be deleted.
Contemporary English language reports sometimes refer.
Building the Leopard 2A7 R/ C from the Tamiya kit 1/ 16 scale. By Mario Covalski | 01.
00: 06 The goal of this short tutorial is to share with the reader the construction of the 1/ 16 RC Leopard 2A7, based on the Tamiya 2A6 and trying to copy the Meng 1/ 35 kit, which is.
If you are a teacher searching for educational material, please visit PBS LearningMedia for a wide range of free digital resources spanning preschool through 12th grade. BibMe Free Bibliography & Citation Maker - MLA, APA, Chicago, Harvard.
At the risk of sounding bitchy or starting a flame war, I have a few gripes with the reenacting hobby that I feel need airing.
I absolutely love reenacting, and after sixteen years in the hobby I' m not going to be leaving it any time soon, but as with everything, I feel that there' s always room for improvement.


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David Hunter, former alderman and mayor Waverley Council
Born in 1872, David Hunter left his home in Forfar, Scotland at the age of sixteen and set off for Australia to seek his fortune.
Hunter stayed on board his ship until Townsville. The ship was carrying the carillon for the cathedral in Townsville, and it is thought he had some connection to it.
He found work with a fellow-Scot, a Mr McMenamin, importing bananas from Fiji. In time, McMenamin sent him to Brisbane to manage the business there.
Hunter eventually left for Sydney, where he established his own wholesale fruit business with great success. He was ever grateful to McMenamin, and they stayed in touch throughout their lives.
He moved to Waverley around 1902 and married Margaret Neill in 1913. They had three sons and a daughter and lived in 'Forfar', at 44 Denham St, Bondi. He was first elected to Waverley Council in 1917 and dedicated himself to improving conditions for residents and visitors alike.
In the early 1920s he travelled extensively with his wife through the UK, US and Hawaii, visiting the great seaside attractions that were springing up around the world as 'going to the beach' grew in popularity. He returned determined to see something similar built at Bondi.
Throughout his time on council, Hunter was the driving force in having surf lifesaving clubs built at North Bondi and Bronte. He laid the foundation stone for the Bronte Surf Lifesaving Clubhouse in February 1931.
He had been elected Mayor in December 1928. The following year the Eastern Suburbs and South Sydney News opined 'there is little doubt that it would be impossible to find a better representative of (Bondi's) requirements, or who has its interest more at heart.'
He was also influential in the Bondi Improvement Scheme, which culminated in the opening of the Bondi Pavilion in 1929. As Mayor, Hunter cut the ribbon on the scheme, aided by his daughter Mary, known as 'The Little Mayoress'. (Hunter's wife, Margaret had died in 1928). His name is on a foundation stone on the inside front door of the pavilion.
Hunter was also Mayor during the early years of the Depression of the 1930s. Waverley Council hired hundreds of unemployed men to work on road, park and seawall building. David Hunter was instrumental in the building of the cliff walk from Bondi to Bronte. It was named in his honour and his name is chiselled into the rocks at the Bondi end.
For these and other achievements, David Hunter was appointed MBE by King George V in June 1939. He died in December that year, having been ill with cancer of the leg for some time. The Sun newspaper reported that he was to have received his MBE decoration on the day he died.
He was buried at Waverley Cemetery in a family allotment. The ashes of his son, Alexander, who died in 1943, are also interred there, and several family names have been added since.
Hunter Park at Bondi Beach (proclaimed in 1904) and Hunter Street at Dover Heights are both named for him. One of the wards of Waverley Council, Hunter ward, is also named in his honour.
Sources: Waverley Council. Waverley Library Local Studies. Mrs Shirley Welbourn (granddaughter in law). The Sun Sat 16 Dec 1939
Images: Waverley Library Local Studies
Waverley Council acknowledges the Bidjigal and Gadigal, who traditionally occupied the Sydney Coast, and we pay our respects to all Aboriginal and Torres Strait Islander Elders past, present and emerging.
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It's sad when the consequences of one's choices, especially someone we love, leads them down a path of self-destruction. Of course, it's not up to you to continue throwing it in their face and reminding them of it. However, letting their hardship interfere with your happiness only leads to further self-destruction—yours. And when you allow their hardship to drag you down, you remove yourself from the ability of ever truly helping them. For when you jump in bed alongside of them, which includes pity and guilt, you essentially have tucked them in very tightly, as well as yourself. This has negative ripple effects on your health and general life satisfaction.


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Issue 44: Bad Faith
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The Intellectual Situation
The New Reading Environment
Society as Checkpoint
Greg Afinogenov
Bad Atrocity Writing
Bruce Robbins
Fiction and Drama
Sick Puppy
Lucinda Rosenfeld
Laurie Stone
Some of the People, All of the Time
Notes on Trap
Jesse McCarthy
Something Fishy About Smolensk
Agata Popeda
Homecomings
Navtej Singh Dhillon
Corruptions and Duplicates of Form
A. S. Hamrah
Truth Construction
Anna Altman
You Might Call It Wealth
Andrew Elrod
Ghost World
Rachel Ossip
George Soros on George Soros
I work a lot with affect.
Published in Issue 32 : Bad Faith
Publication date Fall 2018
David Levine, Photo Cube Girl. 2018, archival pigment print. 30 × 31¼".
I. ISN'T SHE LOVELY
A big white space with objects and images in it. Maybe an art gallery, or an escape room, or a waiting room, or purgatory.
A figure in a white jumpsuit, vox, sits on a bench beside a wooden push broom, looking at a black-and-white image of a woman, lost in thought.
vox She's like the Mona Lisa. So mysterious. What could her expression mean? Smart, but not too smart. European, but not too much so. Beguiling, but not — she looks like Natalie Wood. Maybe she is Natalie Wood. Or maybe she only looks like Natalie Wood, which is the smartest thing of all. Like that bit in L.A. Confidential when he's like, "A hooker cut to look like Lana Turner is still a hooker," and Kevin Spacey's like, "That is Lana Turner, you idiot." Who knows, right? Could be anyone. A face in the crowd.
She was the insert in every Lucite photo cube sold in the Seventies. My parents didn't even bother to take her out. I thought she was a relative.
Imagine: she was in tens of thousands of American homes and then poof! Vanished. She took her finger out of her mouth, turned around, and walked away. No one ever saw her again. Like the city just swallowed her up. Unsearchable. The same anonymity that made her the perfect stock-photo relative let her just melt back into the population. Peeled off her skin, left it in the Port Authority, and started a new life.
In Invasion of the Body Snatchers — the remake — the discarded bodies dry out like tumbleweeds. They toss them in the back of these red garbage trucks. Which must mean that the sanitation workers are the first to become pod people, right? Like, they unionized.
That's actually the moral of the first version. Aliens descend on an idyllic California town and replace the nice, upstanding, conservative citizens with communists: planned economy, coordinated activity, hive mind, the works. Kevin McCarthy is like, "They're threatening our individual liberties . . . They're already here!" But it's too late. And I've gotta say, everything really works under the pod-person regime. The aliens really demonstrate a complex grasp of municipal logistics when they're shipping those pods out to the rest of the nation on . . . Greyhound.
But in the remake — the one with the garbage trucks — they set it in San Francisco, and instead of communism it becomes an allegory for the collapse of the left. In one scene, you see a rainbow coalition of onlookers coldly surveilling a hit-and-run victim in the street, and nothing about their gender, ethnicity, or sexual orientation provokes in them the slightest bit of empathy. The camera just pans across their faces, blank, impassive, each hiding a terrible secret.
Looks suspiciously at museumgoers.
In these body-snatching movies, the duplicates always come back cold, or deadened. "That's not my wife. She's different somehow . . . Changed." No one ever comes back kinder, gentler, more loving and sophisticated. Shit, I'd swap for a new Me if I was an upgrade. Old Me wouldn't know, right? They'd just melt it, or garbage-truck it, or something.
In the next remake the body snatchers will all be funded by the Koch brothers, and the humans will be subsidized by George Soros, and they'll all be like, "Who infiltrated whom? And how can we tell, since we're all just spineless mouthpieces to begin with?" And then — SURPRISE! — the actors all turn out to be CGI, and they jump out of the screen and eat you, but only because you're tripping on opioids provided by the Sacklers, but you're in their cultural pavilion so you neither notice nor care. It's like no one notices how fucked up a rhino looks in the grasslands and floodplains; you only notice it out of context, against a blank wall, or, you know, a palace. Hence the famous Dürer engraving. It's like the gonzo anthropologist Roger Caillois said: "The fundamental problem is one of distinction. Distinctions between foreground and background, the real and the imaginary. Among distinctions, there is assuredly none more clear-cut than that between the organism and its surroundings; so it is worthwhile both to observe and to consider as pathology all the facts that come under the heading of mimicry."
Notices a large black-and-white print of a Phasma gigas, an enormous stick insect, partially camouflaged against leaves and stems.
David Levine, Phasma. 2018, archival pigment print. 63 × 41″.
II. MAINTENANCE
vox OK, I'm not really a maintenance worker. I'm an artist. But I interviewed a lot of maintenance workers for this piece! Just kidding; I didn't interview any. I'm just improvising; I took some classes at the Upright Citizens Brigade. Just kidding! I'm not even an artist. I'm actually a reperformer hired by an artist for a reenactment of Mierle Laderman Ukeles's Maintenance Art. Just kidding. It's not even art. I'm a scab! Nonunion labor cleverly disguised as an art project; "David Levine" is a legal fiction. KIDDING! Actually I am art, I'm animatronic and extremely expensive. Actually I'm a hologram; I'm made of light. Actually I'm made of space. Actually I'm made of worms. Actually I'm an actor, transposéd from the theater to "the space of the gallery." I work a lot with affect.
I mean I was. Kinda. I trained. In LA. Never got any parts, but I studied a lot! At the Lee Strasberg Theatre and Film Institute in West Hollywood. "Institute" — there's not even a hallway. I know, I know, I got taken for a ride. But Lee Strasberg — "Father of the Method"! Living the role!
It was a total con. No one Method acts anymore. It was like the light from a distant star that only reaches you long after it's dead. I should have been training for motion capture, or voice-over, but it was all like, Brando this and bleed-for-it that. So 20th century.
Meanwhile, I was working part-time at a TV studio in Burbank, trying to keep the audience engaged during live tapings of sitcoms and talk shows. Give out pizza, throw T-shirts, crack jokes; anything to keep 'em entertained. It was exhausting. My employer thought my heart wasn't in it so they made me wear an EKG.
So I get it. There's that whole story with Olivier and Hoffman on the shoot for Marathon Man and Hoffman is making himself literally sick with Method acting and Olivier's like, "My dear boy, have you tried ACTING?" And everyone's always like "Hahahaha," but I get it. The Method impulse. The impulse to show that you care. To make emotional labor a vocation. I mean, if anyone can "just act," it's not an art. Also, if anyone can just act, everyone might be acting all the time, which would be . . . troubling.
The problem was that I could never really feel it the way my teachers wanted me to. I mean, shit, I couldn't feel it the way my headshot photographer wanted me to. I know, right? Are there even photographers anymore, really? When you think about it? Aren't there only just . . . cameras? Anyway, my last session with him, I wasn't making the right expression, so he kept saying to me, "You're an honest [man/woman/person], you're an honest [man/woman/person]," and I was like, "What?" And I figure — he was prominent. He used to shoot everyone. He knew my type. He knew what qualities a face like mine was supposed to represent.
Offers profile.
And he kept being like, "You're an honest [man/woman/person], you're an honest [man/woman/person]." Pushing me to this thing. And I just couldn't give him what he wanted. I think by the end of it I just looked constipated.
Tries to make an honest face. Fails. Tries again.
To spectator:
You try it. Try to look honest.
Awaits result.
I was like, "Fuck this." I went back to the Strasberg institute all prepared to be like, "What am I acting for if you can't make me honest?" And the professor was fielding two calls. I'll never forget this. On one ear, she's talking to a cryonics institute. Cryonics. She's going to have her head cut off and frozen because she can't afford the full-body preservation. But on the other, she's talking to a sesquicentennial art exhibition about licensing her consciousness so they can download it into an animatronic portrait bust of the curator's domestic partner for their next survey in 2033.
Yeah, I'd be a better actor too if I could just zoop! from body to body . . .
vox notices various antique busts on plinths arrayed around the room. They're all in pretty bad shape. Examines one whose features have worn down.
Roman, Nero (?). 30 B.C.E. – 50 C.E., Marble. 105/8 × 613/16 × 71⁄8″. Brooklyn Museum, Gift of Julius J. Ivanitsky in memory of his parents, Jacob and Ida Ivanitsky, 79.119.1.
She's gonna end up looking like that.
So pale, so vague. Like the details are fading into the background.
Looks at title card.
Nero question mark. "Nero (?)" Or maybe it's just some kid. We just don't know. From "Nero" to "Unknown Boy," and then someday it'll just be a rock, and then anything. Urchins become wheels, jellyfish become crystals, gourds become breasts, brains become stones, sycamores grow arms . . .
Notices a large framed print of a turn-of-the-century postcard: a photo of a man turning into a tree, face covered over with thistles, arms morphing into enormous branches. vox stares.
Turns to another bust.
Look at her nose. Iconoclasm. Like, they just chopped it off, they just chopped it off, they figured a god lived in it and if you chopped off the nose or trepanned it or cut off its ears it wouldn't smell you, it wouldn't hear you, it wouldn't think, and then it would be dead and gone. Someone literally hacked her profile.
That look in its eyes. Accusatory. Like it's trying to warn you, communicate the last thing it saw before it turned to stone, before they chopped off its head. Like optography. Like it took a picture with its eye, and if you could only figure out how to develop it, how to print it you'd know, you'd avoid your fate. But right now it's just looking at you like, "You're next."
Notices, on another plinth, a mount without a head on it.
Um, I'm actually supposed to meet some people here. Are you . . . ?
Looks at audience member. Whispers:
Getpeople?
Pause. Sniffs the air. Nothing. Shifts to another artwork, a diptych of frontispieces.
Oh, this one's interesting! Dale Carnegie. How to Win Friends and Influence People. My parents used to have this one, too. Supposedly about how to succeed, but really about how to conform. Be less of a misfit. Sand off your rough edges.
David Levine, Carnegies. 2018, archival pigment print. 20 × 30″.
Looks at the antique busts with dawning recognition:
Like those guys! Okaaay! Oh-kay! Production Distribution Circulation Production Distribution Circulation. An escape room cleverly disguised as an art gallery!
And if I figure out what the artworks mean I get to leave?
Stares hard at another object or image in the room. Pause.
These things are way more fun with a group.
Returns to the "How to Win Friends and Influence People" diptych. One image is the frontispiece to the 1936 edition and reads "Twelve things this book will help you achieve." The other, the frontispiece to a later edition, reads "Eight things this book will help you achieve."
OK. They lost four things but gained . . . ten million readers. They cut:
— Enable you to win new clients, new customers
— Increase your earning power
— Make you a better salesman, a better executive
So all the business stuff. Makes sense; you want to expand your audience beyond just salarymen . . .
Looks carefully.
—  . . . keep your human contacts smooth and pleasant . . . ???
OK so after Hollywood I went to New York. It was like the establishing shot of every working-girl movie of the Eighties: the tumultuous sea of human heads filled me with a delicious novelty of emotion. A body, like capital, wants to be free.
I didn't know anyone. Thank God for Craigslist! I heard about this art opening; tiny studio in Murray Hill with a cot in the corner. The exhibition was in the freezer. The curator — tenant? — talked about going back to blending in. "The New World Order of Blankness." New normal. Took me aside when I was leaving and said, "She'll get back to you." Swear to God. "She'll get back to you — with extras." And I thought he meant cheese. Or a pickle on the side. And he meant honest-to-god extras. Like movie extras.
That night, on the subway back home, I saw a dude who was totally deflated. Like poured skin. I got closer. It was an inflatable. Like they used for crowd scenes in movies before they learned to do it with digital. I was like, "Who left their inflatable person on the Coney Island–bound F? And what are they trying to tell me?"
The next morning Gina called.
III. GINA
vox She had a WeWork downtown where she took meetings. Her own, other people's. She literally took other people's meetings. She'd stand there and wait for people to get off the elevator and she'd look at them like, "??" and they'd be like, "!!!" And she'd sit them down and give them free cucumber water and they'd sign everything over before they knew what's what. Getpeople.org. Background casting. The crowd extras in movies. What a scam.
She had a stable of like five hundred people, and they'd just shift costumes from shoot to shoot: people on their way to work in the Fifties, draft-card burners in the Sixties, clubgoers in the Seventies, people on their way to work in the Eighties, prisoners, prisoners, prisoners . . . Always the same people, just in different clothes. "A Secret Dramaturgy," Gina called it, "A Dramaturgy of the Apparatus."
I loved it. So much freer than acting. Being, but in a guise. I had these tiny earbuds and I'd listen to audio books while the camera passed over me. My body became a shield to hide behind.
It reminded me of when I was a little kid. I had this imaginary friend named Bonbo, and I'd always place him in front of me, obscuring my presence. My parents would ask where I was and I'd say ("Shining" voice), "He's behind me." Freaked them out. But it made me feel so safe.
Gina would send us out for all kinds of stuff, not just movie crowd scenes but product launches, live events. Marketing teams would hire her to pack the house and cheer at movie premieres. Like a claque. Sometimes two of us would be sitting next to each other and we'd hold hands. Even if we didn't know each other. Even if we didn't like each other. We felt nothing, but it was more reassuring than the alternative.
Sorry — you know about the claque?
IV. CLAQUE
vox It's a 19th-century term, but it has its origins in antiquity. It started with Nero . . .
Startled, looks at bust of "Nero (?)."
. . . who trained five thousand of his soldiers to applaud for him after his harp recitals and dramatic performances. The Augustiani, they were called. And of course, once they clapped, everyone else would start clapping, too. Applause, like laughter, is infectious. Also, people don't like to be crucified; who wants to be the first person to stop clapping for Nero? Aleksandr Solzhenitsyn tells the story of a round of applause for Stalin that lasted eleven minutes. People would fake seizures to get carried out.
But think about it in a market context: in Paris, capital of the 19th century, theater is Netflix, theater is the movies. Applause is the equivalent of a "like" button, a metric that can make or break you. Not only can producers, writers, and actors buy applause; they have to — from roving gangs of hooligans who are like, "Nice premiere you got there. Shame if a cascade of boos were to happen to it." These gangs of roving applauders are called claques, after the verb claquer — to clap.
Sometimes there's a conflict. Sometimes one actress has hired a claque to cheer for her while her rival has hired a different claque to boo her. Fisticuffs break out in the pit. The claque is so unruly, their responses so obviously canned, that unpaid audiences stop responding altogether, like when you refuse to react to your friend's favorite song because they're sitting there staring at you like, "????" The actual audiences, the paying audiences, become more and more alienated from this spectacle of call-and-response and stop showing up altogether.
Cornered, the theaters do the only thing they can: they start their own, proprietary claques, which at least they control. Under the watchful eye of a chef de claque, tactics become subtler, the claquers harder to spot. "Actors in the audience."
Specializations emerge. There are rieurs, who excel at laughing, pleurers, who are virtuosi of crying, and the classic applauders, who can work in at least three different clapping styles.
Instead of gathering them in one spot, the chef de claque distributes them around the theater. They watch for his signals, an invisible orchestra. At his cue they emit a muffled sob here, an amused guffaw there, and the response spreads through the audience like plague. The chef cues the claque, the claque cues the crowd: a model for civic engagement is born.
V. GRASSROOTS FOR HIRE
vox Gina got asked to do a political rally. Some foreign government wanted positive buzz for a barely elected human-rights abuser during the UN General Assembly. The whole thing was arranged through front companies. Very lucrative. So Gina sent a "diverse" bunch of us over there with signs and T-shirts: "We love so-and-so!" "Finally, so-and-so!" I didn't even know his name. I was listening to Paula Hawkins's Girl on the Train. Really engaging.
A week later, she got called to do a protest. We went out to a suburb to picket a business owned by a child molester. At least, our signs said he was a child molester. We were hired by his competitor, so . . . (Shrugs.)
I actually don't remember being at that one, but the photographic evidence says I was. And that was the main point. A lot of the time the protest was just a pretext, a photo op; we were there to be captured by the news cameras. The real action happened in images the next day.
You learn so much about yourself from photographs. I remember the first time I saw a surveillance photo of myself, I was like, "I was in Grand Central?" I remember passing through Grand Central, but I don't remember being in it. It was like, in spite of my solipsism, I was part of society after all.
VI. JUBELPERSER
vox There was a moment. It didn't last long; there was — just a moment! I was . . . it was summer. It was summer. It was dusk. The chestnut trees were fragrant in the early evening breeze. Around seven-thirty. It stays light forever in Berlin. West Berlin, 1967. Protesters lining the Bismarckstrasse. Students mostly. Shah pulls up. Shah of Iran. Mohammad Reza Pahlavi. Motorcade. Big sequence. Chanting, chanting. Guest of the West German government. State visit. The opera house. Protest because why wouldn't you? The government's only twenty years removed from Nazism — it's your parents — cars pull up, Shah and his wife get out. The Jubelperser are cheering. Well-dressed Iranians, suit-and-tie. Obviously part of Pahlavi's entourage, but why not, right? Gotta have some counterprotest. Something supportive for the cameras. Cheers go up, whee!, protesters shout, protesters shout, Shah goes in. More protest, more cheers, more shouts.
The Iranians start swinging. They take their signs and just start battering people with them. Cops on horseback? Nothing. Do nothing. Jubelperser? Prügelperser, am I right?
Turns into a full-blown riot. Not just the Iranians; the cops are actually beating the students. And at some point a student protester named Benno Ohnesorg — ohne Sorge, without a care; isn't that sad? — Ohnesorg gets shot. By a cop. In the back of the head. And that sets the stage for twenty-odd years of rioting, domestic terrorism, kidnapping, student protests, the student left. RAF. Baader-Meinhof. 2. Juni.
But here's the thing. Those well-meaning Iranians were part of the Shah's secret service. And the cop who shot Ohnesorg? An East German spy. I'm not saying it's a conspiracy. I'm saying it's multiple, uncoordinated conspiracies. That's what makes history. Cops who aren't cops. Iranians not Iranians. Boys becoming men. Men becoming wolves. Who knows how many interests were represented in that crowd?
It's like in Edgar Allan Poe's "Man of the Crowd." The guy, our narrator, is recovering from a long illness. Hanging out in London in a coffeehouse, doing whatever — creating the public sphere, looking out a window. Sees a guy. Can't figure him out. Like, can't type him. Clerk? Businessman? Cardsharper?
So he takes initiative and goes outside, spots the guy and starts to follow him through rush hour on the high street. Then he follows him through these insanely packed side streets and then the guy takes a turn and . . . the crowd peters out. Suddenly, Poe says, he gets nervous, tentative: "He walked more slowly and with less object than before — more hesitatingly. He crossed and re-crossed the way repeatedly, without apparent aim."
But then the guy sees a crowd again and the description's like orgasm: "His chin fell upon his breast, while his eyes rolled wildly from under his knit brows, in every direction, upon those who hemmed him in." They do this all night: guy chases crowds, guy loses crowds, narrator follows him all over London all night long until they're right back where they started: coffeehouse, 7 am, morning rush hour. The little guy's all revved, but our narrator gives up: This man, he says, "is the type and genius of deep crime. He refuses to be alone. He is the man of the crowd."
And my point is, you're the guy who followed him around all night. So what does that make you?
VII. BROADWAY DANNY ROSE
vox "Wherever there's a person of interest, there's a person who's interested." That's what Gina said. After she got wrapped up in the political stuff shit got weird. For one thing, she moved her office to Midtown.
With Gina time was always passing in reverse: the more history moved in one direction — downtown, gig economy, freelancing — the more she moved in the other — Midtown, five-year lease, and suddenly we were all on salary. With benefits. It was like she was pulling us through the century with a dolly zoom. The office was like something out of the Fifties: dingy linoleum, window overlooking an air shaft, frosted glass door with her name stenciled on it. Above the Carnegie Deli.
Maybe she was right. Maybe it was less conspicuous than downtown. I don't know. At any rate it worked, and it was easier for us to fan out into the city from there.
We were everywhere. Political rallies. Political protests. Smaller, weirder shit: city council meetings, gallery openings, high school reunions . . . disaster prep.
Half the time we didn't know who we were working for. Gina'd sign these NDAs, or sometimes she'd be subcontracted by a PR firm when their client wanted to hide the expense.
But the weirdest thing was the lectures. Once we got uptown, Gina started reading us chapters from her PhD thesis. She'd either dropped out of art school to do a PhD, or dropped out of a PhD to do art school. Something. We'd have to sit there at these secondhand school desks, surrounded by actors' headshots staring down at us like ghosts. "Zelig as Tardeian Subject." I didn't understand a word of it. None of us did. It was like an AA meeting in there. She said it was an Ethics, a Discipline. No one asked if we wanted to devote our lives to a Discipline because we were on salary and health insurance. That is the discipline. Like, "Sure, I'll join your cult. Beats the exhilarating freedom and autonomy of TaskRabbit."
(I had this idea once for "The Manchurian TaskRabbit." You see her carrying dry cleaning across the street, and you think she's working on someone else's behalf, but she's actually doing her own errands!)
Gina would go on and on. In a lecture entitled "Street Photography and Conceptual Performance," she talked about how the camera brought out everyone's inner performer. Not in the sense of mugging for the camera, and not in that Warhol sense either. Gina said the camera was actually a magnifying loupe, passing over the things of this world. And as it passed over people it drew demons out of them like a magnet. For a moment the camera pulled these qualities forward and made them dance. It bent you, like the Eye of God. And when it passed on, you snapped back into shape and resumed your rounds.
"The Person of Interest in these photos isn't the subject," Gina said. "The subject is simply the one being made to dance, by dint of being in the camera's eye. "The Person of Interest is the photographer, because they're unseen, and therefore unaccountable."
And then to prove a point she sent me out into Grand Central wearing Google Glass, a Fitbit, a police-issue body cam, and a shoe phone and told me to be inconspicuous. "Vanish," she'd say. "Be the medium through which the world passes." OK. And then when she aggregated the data the only blank spot on the map was me. It was beautiful. It was . . . sublime.
The rest of the time she'd send us out to that strip around 53rd and Fifth, the one all the street photographers covered in the '60s, and have us drift through people's B-roll and tourist selfies and do the most discreet and subtle photobombing. "We're making a story," Gina would say. "And this story will be inlaid, entwined, and established over decades. And someday, some enterprising researcher will ask, 'How? How is this guy in this person's photo at three in the afternoon here, but in the background of this unrelated woman's photo at seven in the evening there?' And they will be overtaken by a sense of dread, and ask, 'Am I the only person who's noticed this?' And thus will we bind their perceptions to our mastery of chance."
A hatch swings open, startling vox. In a hidden alcove, at eye level, sits another sculpture, modern this time. With trepidation, vox goes over to inspect. Reads the wall label.
"Laura Ziegler. American."
"Ceramic, glaze, wood stain."
Beat.
"Seated sculpture of David Levine."
"1974??"
Laura Ziegler (American, born 1927), David Levine. 1974, Ceramic, glaze, wood stain.11½ × 6½ × 7″. Brooklyn Museum, Gift of Mr. and Mrs. Solomon K. Gross, 74.209. © Laura Ziegler
Runs over to a sledgehammer sitting upright on a low pedestal, intending either to liberate the sculpture or smash it. Pulls. Sledgehammer doesn't budge. Pulls again.
Notices label text next to the sledgehammer.
"Steel, fiberglass, 2018."
To no one in particular:
It's still a sledgehammer!
VIII. ETHEREUM
vox "From the mid-19th through the 20th century," Gina said, "the crowd was considered irrational, unruly, a force whose rage was to be tamed, channeled, and feared. Mass movements, fascism, strikes, and riots. 'To the crowd in its nakedness,' wrote Canetti, 'everything seems a Bastille.'
"But today, we celebrate this horde: we speak of 'the wisdom of crowds,' 'multitudes,' 'crowdsourcing.' Blockbuster exhibitions, blockbuster protests. Everyone wants in! The only thing to spoil their sheeplike fun . . . is you.
"You are the backstops, the anchors," she'd say. "Pylons in the sea. Secret individuals. While the rest of them watch the tennis match, heads swinging this way and that, you stare straight ahead, nodes of tactical insincerity, temporary autonomy, strategic tears in the fabric of society. Bulwarks against fascism."
I don't think she gave a shit about fascism. I don't think she was interested in crowds at all. Crowds were a pretext. What she wanted was to populate the world with people like her, people with a void inside. A world of detectives and corrupted Agent Smiths. It wasn't megalomania, or not only . . . I think she felt safe knowing there were beings out there who wouldn't make demands of her; who couldn't make demands, because they weren't programmed to. "Who doesn't want privacy?" she asked me once. "Who doesn't want to remain unmoved?"
She was fragile, in a way.
Returns to photo.
You know that's her, right? In the picture? I was shitting you about the photo cube. I mean, I wasn't shitting you: she was the photo-cube model, that's how she got her start.
That's where she developed her . . . taste for anonymity.
Whatever. She's dead. Or immaterial. Maybe she got her wish.
We were everywhere — we were doing children's funerals — but it wasn't enough. "Our bodies," Gina said, "our bodies are slowing us down. We should be saturating the world. Like information." It was like looking at porn with a magnifying glass; how much detail do you need?
I said — I really surprised myself — I said, "Gina, we've changed laws. We've made and wrecked businesses. We've altered lives. What more do you want?"
And she looked at me with this funny expression and said, "Sublimation."
She stopped leaving the office, stopped going out, stopped taking gigs. Delegated everything to her assistant, André. Paced around the office in a filthy nightshirt, Kleenex boxes on her feet, mumbling about "precipitation cycles" and "the aether"; "the Great Centrifuge." She'd send André out to the public library for old books, leather-bound things . . . I mean, I hope they were leather.
"Gina," I asked, "are you OK?"
She looked up from one of these volumes like she'd never seen me before. Like she couldn't see me. "You're the most anonymous person here," she said. "You're going to be the one."
I had become a metonym for a person.
There's a passage in Marx where he talks about the shift from material to immaterial value. There was a time, he writes, when ten gold coins actually represented their weight in gold. That is, if you put a ten-gram block of gold on one side of the scale, and ten one-gram gold coins on the other, the scale balances. Each individual coin is genuinely one tenth the value of a block of gold. You with me?
But then that coin goes out into the world. It passes from me to you to you, representing, in each transaction, its customary value. But the longer a coin circulates, the less it weighs; friction, nicks, and scratches make it weigh less than one gram; the scales wouldn't balance anymore. But it still operates as one gram of gold. That is still its worth. "What remains," Marx writes, "is magni nominis umbra; the body of the coin is now merely a shadow. The coin becomes increasingly ideal as a result of practice, its golden substance being reduced to a mere pseudo-existence, a pseudo-sovereign."
That's me, the pseudo-sovereign. The village bicycle.
Looks back at the busts.
You circulate too much, you lose all your . . .
IX. TOWER
vox She didn't come out of her office for weeks, but the light was always on. We'd hear weird scratching sounds from behind the frosted glass. A stray chuckle, or a foul odor creeping out from under the door. We just sat around the front room, listening to audiobooks and defacing headshots.
When the door finally opened I expected her to look like Medusa but she looked beautiful. Fresh. But different somehow . . . Changed.
She gave us an address and said to meet her there.
It was an atrium. Public-private space. A rally. I'd never seen this many extras. Hundreds, thousands of us. Where did she even get them? Gina buzzed among us, nervously shuffling us around to reflect American diversity. Young/Old; Short/Tall; Black/Yellow/Brown.
"Like America," she said. "Where everyone hangs out and communicates."
She gave us signs and branded T-shirts to wear and instructed us to cheer when this person appeared. Until then, she said we were to perform "breathless anticipation."
André walked up to me and slapped me hard. "No earbuds," he barked. "This one's real."
A swarm of photographers arrived; we gave them the usual hearty thumbs-up. But then the activity slowed. Like the air pressure was dropping. The air turned green and my ears popped. Gina started a chant, but this one had a strange cadence, it was difficult to phone in. She came up to me and hissed, "You're holding the sign upside down. He won't like that."
I started to correct it, but Gina's eyes rolled back in her head. "Make some noise!" she moaned. "HE'S ALREADY HERE!!!" A fake cheer went up, and as it passed through me it became a real cheer. My eyes rolled wildly from under my brows, in every direction, upon those who hemmed me in. I was in the teenage girl beside me, in the South Asian widower to my left, in the trio of white bros across the atrium.
Space devoured me, pursued me, encircled me, digested me in a gigantic phagocytosis. It replaced me. I became a living photograph, a reproduction of three-dimensional space, complete with solids and voids. I looked down and couldn't see me. I became similar. Not similar to anything, just . . . similar. I was dark space, where things cannot be put.
I looked down at the podium. The speaker had the head of an enormous bird of prey. It turned 360 degrees, opened its mouth, and light came pouring out. It knocked me to the opposite side of my senses. The light tore me apart. I was a kaleidoscope equipped with consciousness. The Thing pointed at us extras, and gave us names:
DAVID DENNISON, MELVINREDDICK42, CATHERINE FULTON007.
Plants became stones, rocks became brains, stalactites became breasts, the marble walls a tapestry, adorned with figures from medieval times.
ALICE_DONOVAN, ANLEE, RACHELUSEDOM.
Like the Phyllia we extras foraged among ourselves, chewing idly on each other's arms, mistaking each other for food.
MATTSKIBER_97, SHUDU, LILIQUELA.
The speaker's head sprouted crab legs from its ears and stalks for eyes. With every name he grew larger and Gina diminished, a sorcerer caught in her own trap, until she just hung there in the air like a drop of water, tiny, like the sibyl at Cumae. "Kill me," she wheezed. "Please kill me."
ADRIANA_GAVRILO, JOHN BARRON.
It pointed at me.
The Thing bursts out of you like a grown-up, and you're dead.
It was dusk. In the city. Summer. It was warm. Empty. Must have been a weekend. Quiet. I wandered up Fifth Avenue. Past where Winogrand took that picture, then past where Friedlander took that picture, past the window Holly Golightly stared into.
The avenue was empty. It was summer, everyone was on vacation. Lone persons would approach from the other direction, casting long shadows as the sun set, and as they'd pass me they'd raise their hats, and I was like, "Hats? It's the 21st century." It was gaslighting, I'm sure of it. Someone hired those people.
In a derelict phone booth on 59th and Fifth I saw a casting notice for a show called Imposters: "The series follows Maddie, a con artist, who gets involved in relationships with men — and women! — before leaving them used and robbed of everything — including their hearts. Seeking background of all types. Must bring wardrobe. Nonunion."
I made my way to the corner and turned into Central Park to hide among the trees. I thought I was a tree. It felt nice. It felt safe.
I don't know what happened to the others. Sublimated, I guess.
This wasn't my body.
X. GOODBYE
vox There's this line in Easy Rider, the Dennis Hopper movie, and everyone thinks the line is when Captain America is like, "We blew it," and the audience is like, "Blew what?? Blew what??" and the unspoken answer's like, "America!" But the line is actually when they visit the commune to see what those crazy youth are up to and Dennis Hopper's character wanders up to a bunch of weed smokers like, Hey, man . . . I came to rap with you a little. And without looking up one of them asks: "Who sent you?" THAT'S THE LINE. Someone sent him. He's an agent. Of the Man. And he doesn't even know. He belongs to someone, so he can't belong.
Who sent me?
I'm not artwork. You can't look at me like that. I'm not smarter than you. I'm not here to elucidate anything.
I came from the aether. I traveled on mist and rumor and condensed here, in this white cube.
And now, I'm ready to attend the Bowie exhibition.
Looks down at self.
A maintenance person? Maybe. A fashionista? Perhaps. "The Jumpsuit: suitable for Hard Hat riots or a riotously good time." And what could be more appropriate to the Bowie show? So stylish. He could become anyone! "The Chameleon."
It's funny we celebrate Bowie for being able to turn into anyone, but among like, basic people, that's always a prompt to intense mistrust. It's like, "Al over there. Always changing personalities. Probably drowns cats." But with Bowie we're like, "Awesome!"
But isn't that just a question of style?
Or maybe we just confuse chameleons with peacocks. I mean, they're both forms of camouflage, right? But where the peacock either obscures its tender little potbelly with all that dazzling plumage, or makes itself look enormous and terrifying and covered with eyes . . . the chameleon just blends in.
Looks again at the image of the Phasma gigas.
You can trust a peacock. You always know where they are. A phasma, though . . . (Gestures at self.) Suitable for any occasion, right?
I'm gonna go to that Bowie show. I'm gonna stand right next to you and you're not even going to remember I was there.
vox 2 appears in an identical jumpsuit. They face each other.
vox 2 Gina. It's sold out.
vox (Sloughing off skin, leaving.) Not a problem.
David Levine, Elm Troll. 2018, archival pigment print. 50 × 31″.
Originally performed by a rotating cast of actors for the exhibition David Levine: Some of the People, All of the Time, commissioned by the Brooklyn Museum and the Onassis Foundation in spring 2018.
More from Issue 32
Issue 32 Bad Faith
There is no humane border regime, just as there is no humane abortion ban.
Trap is likely the only literature that will capture the structure of feeling of the period in which it was produced.
Smolensk is part of the heavy mythology of the borderlands.
Architecture functions as the remnant, what's left when the dust has settled; or architecture can be the weapon, the means by…
In the history of economic thought, "the long run" has been a bludgeon to wield in a policy fight.


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O chefe de estado é o rei Carlos III da Grã-Bretanha e Irlanda do Norte, representado pelo governador geral australiano, que é nomeado pelo rei depois de aconselhadaopelo primeiro-ministro. Embora as atribuições do governador geral costumem ser meramente simbólicas e cerimoniais, agindo sempre de acordo com a recomendação dos ministros e do governo, ele exerce um importante papel dentro da organização da política australiana. Cabe ao governador geral a escolha do primeiro-ministro se as eleições resultarem num parlamento onde nenhum partido consiga a maioria e nem a construção de uma coligação. Também é seu dever demitir um primeiro-ministro ou demais ministros que tenham perdido a confiança do parlamento ou que tenham atuado ilegalmente. Além disso o governador geral tem o poder de recusar um pedido do primeiro ministro para dissolver o parlamento. Em essência, o papel político do governador geral como chefe de estado é proteger a constituição e facilitar o trabalho do parlamento e do governo.

O governo emana de um Parlamento eleito por sufrágio universal. O Parlamento Federal é composto pelo Senado e pela Câmara dos Representantes. O actual primeiro-ministro é Anthony Albanese, líder do Partido Trabalhista Australiano.

O Senado é composto de 76 membros, com representação igual para todos os estados, como no Senado dos Estados Unidos. Um estado elege doze senadores, mas um território (como o Território do Norte ou o Território da Capital Australiana) pode eleger somente dois senadores. A Câmara dos Representantes, cujo modelo é a Câmara dos Comuns no Grã-Bretanha é composta de 148 membros. A representação dos estados nesta Câmara é determinada pelo tamanho da sua população, mas cada distrito eleitoral tem somente um membro.

O Senado tem o poder de modificar os projectos de lei da Câmara dos Representantes, que inclui assuntos fiscais. Em 1975, houve um crise constitucional, quando o Senado não aprovou o orçamento do governo trabalhista de Gough Whitlam. A paralisia legislativa resultou na demissão do primeiro-ministro pelo governador-geral, Sir John Kerr.

Este ato controverso pelo representante da Rainha, contribuiu para o apoio crescente a favor da república, mas no referendo de 1999, houve divisões entre os republicanos sobre a questão da escolha do presidente, e no final acabou prevalecendo a rejeição da república como forma de governo.

Ver também
 Parlamento da Austrália

Ligações externas
 Parlamento da Austrália


Celia and I were tipped off by a golfer that sometimes wintering Golden Plovers come up to Minchinhampton Common from the Severn Estuary towards dusk, particularly when a high tide there limits their feeding. So, as it was a crisp sunny evening we parked at the Old Lodge and within 30 minutes a flock of at least 15 flew in to feed on the short grass between the Lodge and the Reservoir. They didn't seem to mind too much dog walkers, or golfers or even us. Sorry very poor image as only had my phone with me, in addition to binoculars! But nice to see nonetheless.


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Tony Live!
Viva Duets
Collaborator of the Month
Songwriter of the Month – 2016
Bennett & Brubeck -The White House Sessions Live 1962
Life is a Gift
Zen of Bennett
About His Collaborators
The Interactive Tony Bennett Discography
The Year of Tony Bennett
An Appreciation of the Art and Music of Tony Bennett
January 9, 2021 By Suzanne Leave a Comment
Song of the Day: Fascinating Rhythm
The song of the day for Sunday, January 20, 2021, is "Fascinating Rhythm."
Written by George and Ira Gershwin in 1924 for the Broadway musical Lady Be Good, "Fascinating Rhythm" was introduced by Cliff Edwards and Fred and Adele Astaire. The Astaires also recorded the song in 1926 with Gershwin on the piano. "Fascinating Rhythm" was and still is, a jazz number. For that reason, it has never been out of favor with jazz artists, both vocal and instrumental.
About This Version
Tony Bennett recorded this version of "Fascinating Rhythm" in 1958 with The Count Basie Big Band for the 1959 album In Person.
Fascinatin' Rhythm
Listen to Fascinatin' Rhythm on Spotify. Tony Bennett · Song · 1959.
"Fascinating Rhythm," as well as In Person, is available from Apple Music.
Bennett first recorded "Fascinating Rhythm" on the Leslie label. Long thought to be lost, a copy of the record was found and was included in the 2011 Complete Collection Box Set.
Fascinatin' Rhythm – 2011 Remaster
Listen to Fascinatin' Rhythm – 2011 Remaster on Spotify. Tony Bennett · Song · 2012.
Filed Under: Song of the Day Tagged With: Count Basie, George Gershwin, Ira Gershwin, Ralph Sharon, The Count Basie Big Band, Tony Bennett
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With school out for summer, many San Diego families will be spending more time at the pool. Whether swimming in the backyard, at a friend's house, or at a public pool, it is imperative for parents to take steps to prevent drowning, which remains the leading cause of unintentional death for children under the age of four.
Children between the ages of 1 and 3 represent 64 percent of reported non-fatal drowning incidents (2012-2014) and 65 percent of fatal drowning incidents (2010-2012).
Every year between 2010 and 2012, approximately 382 children younger than 15 fatally drowned in pools or spas, with 76 percent (290) of the victims being younger than 5.
Approximately 5,400 children younger than 15 were treated between 2012 and 2014 in emergency rooms for pool- or spa-related submersion injuries every year, with 77 percent of the victims being younger than 5.
Residential pool and spas dominated incidents involving victims younger than 5 years old, with 87 percent of the reported fatalities occurring at residential locations. Approximately 49 percent of the injuries and 75 percent of the fatalities involving children younger than 15 years also occurred at a residence.
Of the reported pool fatalities for children younger than age 15, about 55 percent (212 annual average) occurred in in-ground pools; 18 percent of pool fatalities occurred in above-ground pools; and only 7 percent of reported pool fatalities occurred in portable pools.
To improve pool safety, the CPSC encourages parents and children to take its Pool Safety Pledge. Parents must commit to designate a water watcher every single time children in their care are in or near the water, learn CPR, teach their children to swim, and properly secure pools with fences. Meanwhile, children must promise to never swim alone and stay away from drains in the pool or hot tub.


There is only one true God. He is the Creator, Sustainer, and Owner of all things. God is omniscient, omnipresent, and omnipotent. He is perfectly holy and without blemish. God reveals Himself, as the Trinity, in three persons: Father, Son, and Holy Spirit. All three persons make up the Godhead, as one eternal being.
Genesis 1:1-2, 26, 27; Psalm 24:1; 50:10-12; 2 Corinthians 13:14; Hebrews 1:10; 1 Peter: 1:16; 1 John 5:7.
God the Father reigns eternally from His throne in heaven. He is worthy to be praised. God is love, but he is also a righteous judge. God is truth, and He never lies. He is light and has no darkness in Him at all.
Exodus 6:2-3; 15:11-13; Numbers 23:19; Deuteronomy 6:4; 1 Chronicles 29:10; Psalm 7:11; 47:8; Isaiah 65:16; John 3:33; 4:24; 1 Peter: 1:17; 1 John 1:5; 4:8.
Jesus Christ is the Son of God. He is God in the flesh. Christ was born of the virgin Mary who became pregnant by the Holy Spirit. Jesus completed God's will on the earth. He is the only Mediator between God and man. He was sinless, and was crucified on a cross, which was the propitiation for the sins of mankind. Jesus was raised from the dead and appeared to the twelve disciples and many others after his resurrection. Jesus is fully divine as God and fully human.
Psalm 2:7; Isaiah 9:6; Matthew 1:18; Luke 24:24-35; John 1:1-4, 14; 4:34; 10:30; 17:4; 20:19; Romans 3:25; 1 Corinthians 15:1-6; 2 Corinthians 5:21; Ephesians 1:20; Colossians 2:19; 1 Timothy 2:15; Hebrews 4:15; 12:22; 1 Peter 2:22; 3:22; 1 John 2:1-2.
The Holy Spirit is fully divine as God. He is one of the three persons of the Trinity. He is omnipresent. He indwells every believer from the time of their conversion. He convicts mankind of sin and is an active part of the regeneration of a believer and follower of Christ. He seals and confirms every true believer's salvation until the day of redemption. He is the Helper and guide of every believer. He teaches believers, comforts them, and provides them power to be witnesses.
Psalm 51:11; 139:7-10; Isaiah 61:1-3; John 3:3-7; 14:26; 16:7-11; Acts 1:8; 2:38; 1 Corinthians 3:16; Ephesians 1:13-14; 4:30; 5:18; Titus 3:5.
The Holy Bible, both Old and New Testaments, is the divinely inspired Word of God. It is the living, enduring Word of God that lasts forever. It was written by men moved by the Holy Spirit. It is inerrant, infallible, completely true, and reliable. Nothing should be added or taken away from it. All of its prophecies have been fulfilled in the past or will be fulfilled in the future. It is useful for teaching, rebuking, correcting, and training in righteousness. It reveals God's plan of salvation and the principles by which God will judge mankind. It alone, is the ultimate authority of the Christian faith and is the standard by which everything else should be tested. The Holy Bible points to and testifies of Jesus Christ, the Word in the flesh.
Deuteronomy 4:1-2; Psalm 119:89, 140; Isaiah 40:8; Matthew 5:17-18; Luke 21:33; 24:44-46; John 1:14; 5:39; 17:17; 2 Timothy 3:15, 16-17; Hebrews 1:1; 4:12; 1 Peter 1:23-25; 2 Peter 1:20-21.
God created mankind in His own image. Man was created from dust of the ground, and God breathed the breath of life into him. From the male, God created the female. God commanded mankind to reproduce, fill the earth, and rule over it. In the beginning, man was given free will by God, with a choice to obey Him or disobey Him. Through the disobedience of the first man and woman, Adam and Eve, sin entered the world and brought about death. Since then, all mankind has been born into sin, and all have sinned and fallen short of God's glory. Man is totally depraved and morally corrupt.
Genesis 1:26-28; 2:7, 16-17, 18-22; Psalm 8:3-6; 51:5; Romans 1:19-25; 3:10-12, 23; 5:12,19; 7:18; 8:8; Ephesians 2:1-2.
Salvation is a free gift of God available for anyone who places their faith and trust in Jesus Christ as their Lord and Savior. Christ has secured eternal redemption for every believer by His own blood. Personal faith in Jesus Christ is the only way by which someone can be saved. This salvation is also referred to as eternal life. The believer is saved by the grace of God, and not by his or her good works. However, true faith will produce good works as evidence in the believer's life while he or she is living for Christ. The general process of salvation is the conviction of sin, repentance and turning away from sin, placing faith and trust in Jesus Christ as Lord and Savior, confessing that faith, and living a surrendered life for Christ.
John 14:6; Matthew 4:17; 19:28-30; John 1:12; 3:16; 16:8; Acts 2:21; 3:19; 4:12; Romans 4:20-25; 5:1-2, 6-11; 14:8; Galatians 2:19-21; Ephesians 2:8-9; Philippians 1:21; Colossians 1:10; 1 Thessalonians 4:1-11; Titus 2:11-14; Hebrews 9:12; James 2:14-26.
According to the New Testament, the church as the general body of Christ, was founded by Jesus Christ himself, and Christ is the head of the church.
A New Testament church is a local group of believers who come together for faith, encouragement, fellowship, worship, prayer, and observing the Lord's Supper and baptism. It operates under the Lordship of Christ. Its biblical officers are pastors, also called elders or overseers, and deacons. Although both men and women are used by God for service in the church, the office of pastor is to be held by men only as shown in the Bible.
The two ordinances of Jesus Christ are baptism and the Lord's Supper. Baptism for believers is the complete immersion of a believer in water in the name of the God the Father, the Son, and the Holy Spirit. It is the outward act that symbolizes the believer's inward faith and trust in the death, burial, and resurrection of Jesus Christ, the death of the old life of sin, and the resurrection of the new life in Jesus Christ. Baptism is a requirement for becoming a member of the church.
The Lord's Supper is an ordinance that symbolizes the remembrance and proclamation of Jesus' death and the expectation of His second coming. This ordinance is taken by believers only and is administered by eating the elements of bread and wine, which symbolize Christ's body and blood.
Matthew 3:13-17; 16:18; 22:19-21; 26:26-29; 28:19-20; Mark 1:9-11; Luke 22:19-20; Acts 2:41-42; 5:29; 8:35-39; 16:30-33; Romans 6:3-5; 1 Corinthians 10:21; 11:23-32; 2 Corinthians 5:17; Ephesians 5:23; Colossians 1:18; 2:12; 1 Timothy 3:1-15; 5:1-4; Titus 1:5-9; Hebrews 10:24-25.
God will bring this world to an end according to his timing and by his own method. Jesus Christ will make His glorious return to the earth as He promised. No one knows or can predict the day that He will return. The dead believers in Christ will be raised, and Christ will justly judge every individual person. Those who do not know Jesus and did not believe and trust in Him will be sent to hell, a literal place of eternal punishment. The believers in Christ will receive resurrected, heavenly bodies. The believers will be rewarded and live eternally in heaven with the Lord.
Matthew 16:27; 24:27, 36, 44; 25:31-46; Luke 12:40; 17:22-37; John 3:36; 5:22, 29; 14:1-3; Acts 17:31; Romans 2:6-8; 14:10; 1 Corinthians 15:35-58; 2 Corinthians 5:1-10; Philippians 3:18-21; 1 Thessalonians 4:13-18; 2 Thessalonians 1:7-12; 2 Timothy 4:1,8; Titus 2:13; Hebrews 9:27-28; 2 Peter 3:7-14; 1 John 3:2; Revelation 1:18; 20:1-22:13.
We affirm the Baptist Faith & Message 2000.


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The Orchestra Program is an important feature of Opportunity Music Project's curriculum. The program creates a community atmosphere where students and their parents come together as a group, develop friendships, and celebrate music making together.
The Orchestra Program is a unique chance for students to develop skills through group music making, which can be applied to all areas of life. The orchestra structure is built on communication and mentorship, fostering a sense of shared responsibility, perseverance, and a desire to support each other. Learning to play in a group requires students to hone their skills on their instruments, listen carefully to one another, communicate, and work collaboratively towards a final goal.
The Orchestra Program provides exciting performance experiences that further develop the bond and camaraderie of our young musicians. Some recent examples include performances at Carnegie Hall's Weill Institute, Harvard Graduate School of Education, and Mount Sinai Hospital.
Our students have successfully auditioned for and have been accepted into some of New York City's top youth orchestras and training programs. This includes Juilliard's Music Advancement Program, the InterSchool Orchestra, and Laguardia High School.
The program has three levels: Beginning Orchestra, Intermediate Orchestra, and Honors Orchestra.
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Peacefully surrounded by her loving family & in the loving care of all at the Mercy University Hospital Cork. Beloved wife of the late James David & much loved mother of Eithne, Michael, Susan & Jimmy. Sadly missed & lovingly remembered by her loving family, grandchildren, great-grandchildren, daughter-in-law Anna, son-in-law Michael, nephews, nieces, relatives & a large circle of friends.