What can we learn from photographs of Happenings?
In my childhood, a picture of my great-grandmother Märta Ehn's wedding in Delsbo, Sweden, hung in my parents' hallway. Or, rather, what I thought was my great-grandmother's wedding. I later learned the depicted event was a staged "bondbröllop", or peasant marriage, likely in 1902, during a period when Sweden saw a revival of interest in folk culture. The 16-year old Märta, my great-grandmother, played the part of the bride.
Although its provenance was invisible once hung in the hallway, this photo came from the archive; our family didn't know of its existence until, by chance, my uncle and grandmother saw it while visiting a museum in Sweden in 1985. Until this chance encounter, the museum archivists didn't know whom the photograph depicted.
Our family received a copy, which hung in the hallway of my parents' house, where I was able in subsequent years to misunderstand it, seeing in those traces of silver nitrate a depiction of something that had never actually happened. I can still recall my surprise at learning my mistake. The lesson that I learned from this experience was to look more closely—and not to presume.
Using photographs as documents of historical performances, whether a marriage or performance art, requires more than just a casual looking-over. A failure to ask methodological questions at the onset can result in naïve readings such as the one I made of the bondbröllop, in which, based on a few cues from the image, we populate the picture frame with preconceived notions and ideas, rather than actually learning something. This amounts to what Barthes called our unfortunate predisposition to see in photograph only the "sens obvie," [Barthes 1991: 45] the "obvious sense" that jumps out at us as if we were merely glancing down the street. In fact, more aptly, one might say that this sense jumps into the picture, as it has less to do with a particular photograph, and more to do with our own beliefs. If we are to avoid this "obvious", often erroneous, and always diminished interpretation of a photograph's meaning, we must in effect struggle against our tendency to come to conclusions too early.
But how to see as much as possible in a picture, how to see more than I already knew? This was a central question I confronted while researching Allan Kaprow's Happenings and Environments. This article presents my answers. In order to approach photographs as primary sources, and not simply as illustrations of our own preconceived ideas (as they are most commonly used), I draw upon theories in iconology and semiotics, which I enlarge by considering specific qualities of the photographic medium and the entanglement of the photographer in the performance itself. These can provide us with a theoretical backbone, and a series of provocative questions to hold the obvious at bay.
Transfer took place at Wesleyan University, during three cold February days in 1968. Student Andrew Glantz was hired to take photos. Along with the score, preparatory letters, and notes about the Happening-to-be, the Getty Research Institute Special Collections preserves two of Glantz's contact sheets of 12 images each and a collection of roughly 25 prints, some of which are of images visible on the contact sheets. I will show how these photographs, with help from questions inspired by semiotic and iconographic theory, can aid our historical insight about the performance, providing insights not available in the textual accounts.
By comparison to texts, which are produced comparably slowly and may be made before, during or after the performance in question, photographs typically capture only a brief moment while the show is underway. Such was the case with Transfer. Afterwards, as Transfer also typifies, pictures are most often used as illustrations to accompany textual descriptions. They rarely function as sources of information. Instead, they tend to be used, rhetorically, as arguments of presence, authenticity or tangibility (a function ironically close to Benjamin's "aura").
Using photographs as proof rests on what Charles Sanders Peirce would call their "indexical" aspect. To call them indexical is to say that they were produced through physical contact with the object to which they, as signs, refer. Indexes are signs which bear the direct mark of the thing for which they are meant to stand in. That is to say, photographs, footprints, thumbprints, fossils, and signatures all have indexical qualities. Indexes are one of Peirce's famous trio of index, icon and symbol (which, in this essay, I will use in his senses) [Peirce 1955: 107].
Indexicality, as Peirce explained, is not an absolute quality of real signs. It designates a spectrum, and it is worth noting that photographs can be considered indexical principally to the extent that they appear generally more indexical to a particular event than some other documents at hand. Accordingly, the first step is to evaluate indexical believability. For Transfer, it seems the images were not substantially altered after the time at which the negatives were exposed, with the exception of cropping and changes in contrast. I concluded this based on the material facts of printing techniques of analog photography in 1968, but also on the similarities I found between the contact sheets and the final prints, my knowledge of the documentation of Kaprow's other works, and my conversation with Glantz himself.
Large heap of metal barrels behind chemical plant. People pose among them for triumphal photo.
Barrels loaded onto trucks, driven to another site. Unloaded. Stacked neatly. Sprayed silver. People pose for triumphal photo.
Barrels loaded onto trucks, driven to new site. Stacked neatly. Sprayed white. Triumphal photo taken.
Barrels trucked to new site. Stacked. Sprayed black. Triumphal photo.
New site. Barrels stacked. Da-glo red. Triumphal photo.
New site. Barrels stacked. Da-glo green. Triumphal photo.
New site. Barrels stacked. Silver. Triumphal photo.
New site. Barrels stacked. White. Triumphal photo.
Back to chemical plant. Barrels dumped. Black. Triumphal photo.
While the photographs of the event depict a brief (and unrepeatable) moment at one particular place, the score for the Happening has a general and thus generative character. In reading the score, we can thus, for example, imagine two sequences of events that it describes, yet which are nonetheless different. In fact, two people performing the score would never make the same performance, as they would select different barrels, participants, paints, and sites. John Cage, famous champion of indeterminacy and briefly Kaprow's teacher, noted as much in the 1960s. This generativeness is in fact the most basic layer of "openness," designated by Umberto Eco in 1962 [Eco (1962) 2006: 22] as the inevitable fact of interpretation. Were we to use a photograph as a basis for reimagining the event, it would on the contrary be necessary to project our reconstructions beyond the temporal bounds of the image, as each image only contains a slim and specific extract of a fragment of Transfer.
The distinction between the general character of texts and the specific character of photographs is perhaps most acutely understood when one is attempting to secure permission to publish materials under copyright. Authors are free to paraphrase texts and draw citations from works free of cost in the United States under the statute of Fair Use. However, in reality this proves impractical with photographs, which, unlike texts, must in most instances be reproduced in full when cited. While texts can be paraphrased, photographs cannot be "translated" into a second yet nearly equivalent image. Doing so would not only prove formally difficult, but also sever the indexical connection to a particular time, place and scene, eliminating what is often seen as the most important aspect of a picture. For example, a picture of strangers posing as one's parents, mimicking a lost picture from years past, would usually not be as effective at awaking childhood nostalgia.
Despite (or perhaps because of) the specificity of photographs, we can fall into many interpretative traps. In some instances, this deceptiveness is consciously built in to an image by those who made it. Yet the pitfall that is the most difficult to avoid is the simple projection of our own assumptions, ideas and beliefs—the "obvious sense." The complete avoidance of this sense would be both impossible and counterproductive, but its presence is problematic. It is by knowing a thing that we can recognize its image; but we tend to recognize the known even when confronted with something new.
By serving as guides to remind us where, in images, we should look, helping us separate ourselves from too-easily projected categories, semiology and iconology enable us to notice more of images' content, perform better analyses, and synthesize a broader understanding.
In Peircian terms, making what Panofsky called a pre-iconographic description is thus to treat a photograph as a complex iconic sign. Icons are signs which we link to their referent by virtue of a natural resemblance. Seeing Peircian icons relies on our past experience of the objects to which they refer, and analytical effort is thus necessary when the scene depicted is unfamiliar. In Panofsky's example, an image may be made up of colors, which we subsequently recognize as a representation of a person (perhaps a deferential one, or perhaps a happy one) lifting a hat, simply by virtue of our ability to believe in the illusionistic picture plane. When we identify "a person with a hat," we can only do so because we are familiar with people, hats, and lifting.
A pre-iconographic (iconic) description extracts an (indexical) testimony to the presence of materials or actions, and in this case lends specificity to the scripts' common nouns. How many people are visible in the photograph? Was Kaprow one of them? What were they wearing? What props are visible? Were there spectators? What was the weather like? Which kinds of barrels were used? Did people stop for a snack? "Pre-iconography" reminds us to look at all the flat "forms" of silver nitrate, consider how they may be interpreted as icons, and ask questions that emerge from the very images. This process of "close reading" may result in peculiar discoveries, as our eyes stray to the forgotten corners of a print.
In one poor-quality photograph of Transfer, six people appear to be working around a conical stack built up out of approximately 50 metal oil drums, most of which are a dark color but several of which may be white. The six people, including Kaprow, who is visible second from the left, are unrolling two rolls of white material in which they have already wrapped two or three barrels. Kaprow is holding something that may be a roll of tape in his right hand. They appear to be applying this material to another barrel at the time of the photograph. All six figures are in movement. None look at the camera or acknowledge the photographer. They are working on what may be a parking lot or other flat surface. They are all wearing jackets, and one may be wearing a hat. The four figures on the left are relatively slim and wearing fitted pants, whereas the other two are harder to distinguish. In the background is a large, darkly-colored, windowless structure that may be a commercial building. Further away, a street lamp or telephone pole is visible, and beyond it a building and a few unrecognizable medium-sized objects on what may be the other side of a street. Shadows are cast towards the lower right-hand corner of the photograph, indicating that the photographer was looking partially into the sun. The sky is a uniform and light color. The black barrels are shiny. No other people are visible.
If we knew nothing about Transfer, we could already ascertain a great deal. The event involved cooperative work in order to construct a conical stack of oil drums, after which each barrel was subsequently wrapped in some light-colored material that was perhaps affixed with tape. It was cold. Kaprow participated with the others. At least six people participated, and a photographer, who appears to have documented this particular instant without calling for the performers to stop and pose for the camera. If there were spectators, they are not visible. In fact, the landscape is quite desolate, and the event took place in what may have been a remote and unpretentious location. Furthermore, the print bears the traces of its own path; the texture makes clear that this image was printed through a dot-matrix process commonly used for mass production, and that Kaprow received a copy.
The score (and most descriptions) omitted nearly all of these historical facts. Most puzzling is the wrapping of barrels in some unknown, rolled material, as this action can not be found in the score. Why did the Happeners divert from the plan? Was this unscripted action one of practical necessity, or an indication that the archival score is in fact not the final draft, or a last-minute, improvised aesthetic addition made by the group itself? The picture can raise this question, but it was only by interviewing Glantz that I found an answer, when he reported that one of the paint colors had failed to adhere as a result of the extreme cold. Furthermore, pre-iconographic description has uncovered a formal decision: the arrangement of the oil drums in a conical form.
Not only are photographs never instantaneous, but they can even show us movement beyond the bounds of the brief time they directly depict. Movement is pictured, and can also be interpolated or extrapolated. Shutter speeds are always measured in durations. For practical purposes, photographs tend to depict a period of time ranging from 1/30th to 1/1000th of a second. On the slower end, movements are indexically captured by blur. When observed under a loupe, many photographs can actually show us in which direction objects or people were moving during the brief period which the photograph shows.
Peirce's other kinds of signs –icons and symbols– can also picture movement. Consider (as an icon) a picture of rain falling, Yves Klein's famous jump into the void (were it not staged), or a view of Transfer in which a barrel hangs in mid air. Or (as symbol) an image of a 100-meter dash about to begin. If the photograph has not been reworked, it is only in the case of symbolic representations that no movement necessarily occurred; the 100-meter dash may have been cancelled at the last second, but the barrel certainly fell down (and, likely, with a crash).
The limit case of multiple photographs is a film. The very fact that films successfully appear to us as "moving pictures" shows the efficacy of the unconscious ability to interpolate motion between two images. Multiple photographs, which with luck appear in chronological order, can help us reconstruct movements between distinct performance states. In some instances, actual speeds can be calculated. We can also attempt to find a more generalized logic to the event itself, uncovering the manner in which objects or events related to one another and changed over time.
The contact sheets which Glantz printed show two photographs of most triumphal poses. Despite the fact that the images are small, details are lost, and their state of preservation leaves something to be desired, we can nonetheless compare them. Between each pair of nearly-identical views, the aperture and shutter speed are unchanged, suggesting that the purpose of taking multiple exposures was not to ward off under- or over-exposure, but rather to provide an aesthetic choice. Glantz (who was apparently holding the camera by hand) didn't move substantially between the two, but those who posed did, showing that at least 15 seconds lapsed between photos, as seen in these images of the seventh triumph (between which one person actually leaves the composition in order for another person to step in). The general gesture made by each member of the group, however, remains unchanged. This consistency suggests another element of compositional process not described in the score: the group was acting as a coordinated unit, selecting a common pose for all performers, and only one pose per site. It remains unclear if the pose was designed collectively, by Kaprow, or by other individuals or sub-groups.
In only one triumph was there no coordination: the first one, in the dump where the barrels were collected. Here, many people, including Kaprow, changed their gestures between the two images. The photographs thus suggest that this group coordination –and the goal of varying poses– developed during the Happening itself.
We can always find time in still photography. In some instances, such as the two views of triumph seven, we can forensically reconstruct speeds or rhythms, and, in others, such as triumph one, we can describe the logic at play behind the transformation between two states. Through this comparative approach, it is clear that only one triumphal pose was chosen for each performance site, and that the unity of this pose, which increased as the Happening went on, was worked out during the performance itself. Like our discovery of unscored material during pre-iconographic description, this comparative analysis has turned up new information about the way in which the script was brought to life.
On top of this literal layer of pre-iconographic description comes that of analytical iconography. What Panofsky calls "iconographic analysis" [Panofsky (1939) 1972: 11] is the process of uncovering conventions within picture-making, and requires that we seek generalizations that hold for a wider range of pictorial evidence. Iconography must be constituted comparatively.
Panofsky sees iconography as the search for "motifs," representations that have a life-span across multiple works and multiple times. In Peirce's terms, these are symbolic signs, but built out of icons and thus iconic as well. Symbols, by contrast to indexes and icons, have a conventional or historical association to their referents. This makes them quite culturally specific. For example, spitting on someone's head can be a symbolic act; such a gesture in England would be an insult, but in Greece would be a wish of good luck.
Panofsky notes that "formal analysis" [Panofsky (1939) 1972: 14] also engages this symbolic level to an extent. Formal analysis is the uncovering of formal (which is to say, pre-pre-iconographic) relationships between icons on a picture plane, often relationships which can exist on the physical, two-dimensional surface of a painting even as they fail to exist in the illusionistic space that a tableau depicts.
Formal analysis provides a different result with photographs than with paintings. Paintings are highly deliberate, and iconographic analysis can thus in theory uncover a wide variety of conventions that ruled the painter's decision process. Production of photographs, by comparison, has a larger share of contingency; they are produced to a greater degree despite the intentions of those behind the camera, who acts more as a curator and less as a composer, and their indexicality is greater than paintings. That is to say, it has historically been harder to paint an illusionistic scene with accidental character than to snap a picture without knowing what it depicts. Applying analytical iconography to photographs thus reveals not only symbolic conventions about image composition, but also symbolic gestures that have anthropological value, and, in the case of performances, broad formal choices that took place during the event.
The image of triumph seven shows a clear formal analogy between the stacked barrels and the building in the background. The overall shape of the barrels mimics the nearby building, a lying-down "L" that also corresponds to the physical distribution of the performers' bodies. Happeners must have chosen this coordinated stance in correspondence with variables in the physical site, as several other triumphs contain similar formal echoes, in which objects found in the surroundings were used to determine how the barrels were stacked and how the people posed. This "formal analysis" tells us little about Glantz's compositional beliefs, but is intriguing testimony to the integration of environmental variables into the realization of the script.
In triumph three, the environment is again used to determine compositional choices, but this time through symbolic engagement, rather than a formal analogy. Happeners stood, their backs to the camera, atop a skyline-like configuration of barrels, painted white and stacked as many as four high in uneven, tight-packed walls. All persons, identically posed, saluted in the direction of the furled-out American flag, visible in the distance beyond the barrels, a bronze statue (whose rear they faced), and a tree. Several unstacked barrels, also painted white, lay in a line on their sides on the ground nearby.
Three Peircian symbols can be identified: The American flag flies face-forward in the background (a sign of the nation), the Happeners are saluting (a sign of military deference), and the Happeners and statue are visible from behind (a sign of indifference to the cameraman). Each of these symbols has a conventional and malleable meaning. Are the Happeners showing their deference to the statue, or mocking it? Why have they taken this picture from the back, as opposed to from the front? Does this image tell us about the group's collective beliefs about the nation and patriotism? The photograph documents a clear thematic engagement, even if answering these questions fully requires a broader study of the meaning of these gestures at this particular time and place.
If the triumphal poses are particularly clear objects of analysis, it is because moments of clarity-for-the-camera were scripted into the score of Transfer. Even when photography isn't required by the composition itself, the presence of a photographer and photo-documentation shape performances. The camera, like any aspect of a performance environment, is a thing to which performers respond. Images preserve the event, and making images serves as a constant reminder that the performance actions are embedded in –and possibly important for– history. Later, when performances are remembered, it is often through photographs that their meanings and value are perceived, shaping their reception in the popular and specialized press.
Our understanding of how the act of recording participates in creating that which it records changed dramatically over the twentieth century, as we transitioned from what historians of science Lorraine Daston and Peter Galison [Daston and Galison 2007] have termed the era of "mechanical objectivity" into that of "haptic objectivity." Believing in mechanical objectivity –an idea of Peirce's time– meant believing that images produced by cameras are objective visual documents, and that they represent the "external" world better than our understanding ever could. Haptic objectivity, on the other hand, reflects a newfound appreciation of the extent to which the process of making images also plays a role in determining the final form of the images themselves. This was a broad-based shift; a lab physicist using an electron microscopes and John Collier might both echo Hans Belting in stating that "photography was once the Vera Icon of the modern," [Belting 2001: 215] to the extent that we once presumed photographs to be mechanically objective documents. Now, we believe that this sort of unmediated appearance is impossible, not only because photographers make compositional choices when producing images, but also as a result of the fact that the photographer's very presence, much like measurement by a physicist, alters that which they are seeking to document. This entanglement doesn't mean photos aren't documents. What it does mean is that documents, including photographs, were never outside of history looking in, but must always be evaluated as entangled and partial.
To what extent did the images made of Transfer change the performance?
Beginning with Self-Service in June, 1966, Kaprow often explicitly called for photographs in his Happenings. The camera tended to appear at –and simultaneously define– the highpoints. For example, in Transfer, the apparent purpose of three days of labor was the production of the nine triumphal poses, which is also the only point in the script when documentation is called for. As a thought experiment, imagine that the score instead instructed for the photographer to document the unloading of barrels from the trucks. Would this have led the performers to self-consciously organize during that part of the process, presenting themselves to the camera in factory-style lines, as opposed to showing greater organization during the triumphal poses? It seems highly likely, in any case, that the triumphal pictures are not mere records of a performance that would have happened even without the photographer. That the performance was to be documented at that particular juncture also resulted in shaping performers' comportment by signaling to the group that this was the moment at which they should present themselves (indeed, collectively organize themselves) visually.
Glantz's photographs doubly reflect the belief that the triumphal poses are the most important visual moment of the performance. While the Happeners, excepting for the first pose, organized themselves for the camera, Glantz, in turn, centered and focused his compositions in each case squarely on the group. The distance from which he took the photograph tended to increase as the days went by. In the first photograph, in which no common pose was established, Glantz stood quite close, but by the time of the seventh and eighth triumphs, the performers and sculpture came to occupy only roughly the center eighth of the picture plane. Whereas the first image thus has a somewhat personal feel, the increasing distance lends the group greater visual cohesion as a single block within a larger field. This increasing distance may thus reflect a growing willingness –of Glantz's and of the Happeners– to play along with the idea that the triumphal photographs are meant to be something grand, an action which the group undertakes in a wide landscape.
By contrast to the triumphal images, when Glantz took candid pictures, none of the workers interrupted their tasks in order to smile at the camera. Most people work alone, or in pairs. With no poses to unite them, it seems harder to generalize about these views of performance-in-action. But this absence is itself information; it shows that the group apparently acted together most markedly during the poses staged for the camera, and that, at other times, individuals were more dispersed. Since the first action still, depicting the off-script wrapping of the barrels, is the only exception to this dispersion, we might speculate that group coordination and unity occurred when the script failed, and decisions (as to which pose to take, or how to make paint stick) had to be made.
As a result of the entanglement of photography, it is difficult to imagine its impact in this performance. Nonetheless, the very presence of the photographer contributed to a heightened organization during the pose, and thus participated in the development of sequentially more grandiose triumphs, and the peculiar alternation between performers generally acting as individuals or small groups (while working) and as a group (while posing).
What about the subsequent use of these photographs? Tracing their history backwards shows that their circulation has been far from straightforward. The most recent reproduction which I have encountered I found on artnet.com in 2012. There, a rephotograph depicted a series of five prints offered for sale. Each individual print visible in this online image was itself printed on paper measuring 44 x 42 inches. One bid was made, but the reserve was not met. The estimate was 50,000-60,000 dollars. Of the five, two are triumphs, and three are candid portraits of students working, of which two show painting and one shows stacking. All five views can also be found in the Getty archives, although their prints are much smaller. Each print has a small piece of paper with a title and Kaprow's signature.
Although the prints are large, they are of rather poor quality, and strange pieces of text appear on the silver-nitrate paper just outside the frames. This is because these blow-ups are in fact rephotographs, produced by the Galerie Inge Baecker in Bochum for Kaprow's first show there in 1970. Suspecting that it would be advisable to familiarize the gallery visitors with Kaprow's earlier Happenings, Baecker arranged for a selection of such documentation to be hung on the walls.
The source material for these blow-ups, which we might suspect by the Ben Day dot matrixes they present, was Days Off: A Calendar of Happenings, printed by Wood & Jones for the Junior Council of the Museum of Modern Art in New York earlier in 1970. This "calendar," which looked like a large block of paper bound at the top, only included a selection of actual calendar dates. These were dates on which Happenings had occurred, and, for each of them, a page or two was made up, including a largely printed date (with no year), score text and, more prominently, photographic documentation. Transfer is depicted on nine pages, each of which shows one triumphal photograph, and some of which have views of the process as well. The fact that the Baecker prints were made from this source material resulted in their looking somewhat like glorified microfiche reproductions, as each blow-up of a photograph also contains bits of oddly cropped text and, sometimes, other photographs hanging off the edges of the paper. Perhaps Kaprow appreciated this sort of historicizing use, as he later sent a copy of Days Off to the Centro de Arte y Comunicación in Buenos Aires as his participation in a show in 1973.
The images for Days Off had been chosen by Kaprow, and we can see his process in the way he hastily marked up the contact sheets that Glantz had sent him. Peculiarly, many of the views that Kaprow selected were candid, despite the fact that Glantz recalls that he was hired only to produce the triumphal pictures, and that it was his choice to take extra photographs of the process as well.
While each of these uses the same images, based on the selection that Kaprow made from Glantz's contact sheets, the function varies substantially. Glantz's contact sheets served the purpose of allowing for Kaprow to select which images would represent the event (and, simultaneously, for Glantz to sell Kaprow the requested prints). The images in Days Off, by comparison, were part of a document offered for sale to a museum-going crowd likely familiar with Happenings. Kaprow saw the calendar as disposable, and intended it to function as an incitation to engage in Happenings and play. The blow-ups of Days Off, in turn, were used with the aim of contextualizing Kaprow's current work for a new, German audience. They did so in a grander manner than the calendar would have, as they are made out of better quality paper, are of a larger size, and were signed. Somewhat ironically, the artnet.com images, which are in fact the most removed from the performance indexically, depict these blow-ups as auratic objects by emphasizing this signature. The images visible online are in fact photographs of C-prints of photographs of an offset print that was itself based on a print made by Glantz from a grainy Kodak Tri-X negative, which was since destroyed in a flood. Condition assessment photos of signed photos of discardable photos of documentary photos.
All of these uses testify to how photographs can circulate, and show that one and the same photograph can be invested with a variety of meanings in different contexts. Each emerges from wider, historically evolving beliefs about the possible uses of images. Days Off testified to Kaprow's desire that the images lead to creative ideas and leisure time; the blow-ups used the images as precedent to confer historical weight to Kaprow's early 1970s work; the online pictures serve to remind us that the cult of the author and the art market are alive and well; and my own use attempts to show how these images can be used to bring us closer to an understanding of the performance in which they were produced.
Seeing intrinsic meaning requires studying a wide range of images, from between which such a comprehension, aided by more general historical knowledge, may emerge. [Ibid.: 5] Although it can be methodologically helpful to perform the thought experiment of drawing conclusions from photographs alone, one usually has other documents to work with as well. In the case of Transfer, for example, the easiest (and most general) approach is through the score, which appears to have been carried out more or less faithfully. One might also interview participants, read other writings by Kaprow and others, or do geographical research by locating the actual performance sites. The wider body of historical artifacts pertaining to the period, including films, literature, politics, and technological changes, might also be enlightening. All of what we have learned through our analyses of photographs of a performance can then be brought together with this wider range of materials, contributing to a larger, synthetic project of understanding a habitus.
Panofsky likens habitus with philosophy, by which he means that they are on the same, generative level, regulating the production of paintings by setting the framing conditions, much like Michel Foucault's "episteme" or Thomas Kuhn's "paradigm" designate a kind of robust, structuring belief. Judging from their book What is Philosophy, Gilles Deleuze and Félix Guattari would not have appreciated this use of the word "philosophy," preferring to define it as a kind of complex, inter-textual web, and not a unitary position of origin. Nonetheless, I would like to suggest that you can find a kind of philosophical web in performance events like Transfer, and that work on description, analysis and synthesis of photographic documentation is one way to improve our vision of such an interconnected weave. The mere existence of a philosophical web embedded in the history of performances and ideas doesn't guarantee it's value. But its examination can be used for one's own growth, as a historian and as a philosopher—which is to say, as Kaprow would have appreciated, as a thinker in general.
Asking semiotic questions to photographs uncovers historical information not present elsewhere. In the case of Transfer, the photographs show that paper was, off-script, taped to the barrels, that the barrels were arranged with a compositional logic responding to the environment, that the poses were collective and possibly collectively chosen, in a way that evolved during the performance itself, that the rhythm of the performance was varied, and that Happeners engaged symbolic gestures and places. Questions of production and reception in turn highlighted the role of photography in forming the triumphal poses, as well as the alternation between individual actions and group unity, and the rhetorical uses which these photographs have served.
History is a theoretical entity, built from a body of documentation that we believe lends us some knowledge about a past which we never experienced. Asking questions to photographs, considering their contents as indexes, icons, and symbols, and remembering the entanglement of photography's production with the performance underway, can help us to develop a more nuanced and broad historical idea, based on observations and analyses that ultimately allow for an informed, synthetic understanding. Perhaps, as Kaprow would have appreciated, this attention can also bring us towards a more philosophical approach to life.
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Kaprow, Allan. Days Off: A Calendar of Happenings. New York, NY (The Junior Council of the Museum of Modern Art) 1970.
Kelley, Jeff. Childsplay: The Art of Allan Kaprow. Berkeley, CA (University of California Press) 2004.
Panofsky, Erwin. Studies in Iconology: Humanistic Themes in the Art of the Renaissance. Boulder, CO (Westview Press)  1972.
Peirce, Charles S. The Philosophical Writings of Peirce. Justus Buchler (ed.). New York, NY (Dover Publications) 1955.
Rodenbeck, Judith F. Radical Prototypes: Allan Kaprow and the Invention of Happenings. Cambridge, MA (The MIT Press) 2011.
Zentralarchiv des internationalen Kunsthandels (ed.) Allan Kaprow in Deutschland. Vol. 19. Nürnberg (Verlag für moderne Kunst) 2011.
This article was written during a year-long Fulbright Grant in Germany. I thank the Fulbright Commission for their support, as well as Andrew Glantz for allowing me to reproduce the photographs of Transfer, and the Getty Research Institute for preserving them.
 Peter Moore photographed many of Kaprow's earlier performances, but what Kelley has called the era of Happenings "on the road" [Kelley 2004: 87] comprised a period in which most performances were documented by a different photographer, often a student, and at times multiple photographers. Glantz was at the time in his first year of what would eventually be a 5-year MA program in Teaching of Art. He now designs and builds sculptural furniture in Scottsdale, Arizona, where he and his wife have lived since 2002. I thank him for sharing his memories of this event with me.
 For example, Jeff Kelley bases his history of Transfer almost wholly from an interview with Allan Kaprow [Kelley 2004: 130].
 The "obvious sense," upon closer examination, might also be problematically found in interpretations of a glance down the street as well as a glance at a photograph, and its troubling presence in the interpretation of pictures is thus a consequence of its more pervasive presence in interpretation in general.
 Qualifying a sign as an index (or icon, or symbol) is a relative judgment, in which we essentially take a particular sign to be more indexical than another, as a result of our beliefs or understandings about how it was produced. Rather than having an absolutely indexical, iconic, or symbolic character, independent of an observer, signs are of value only through an observer's understanding of them.
 Even though digital photography allows for a wider range of manipulations, the vast majority of images produced during contemporary performances –especially those which are subsequently not used for publication or promotional display– undergo little modification after the fact and thus might be treated as I will treat Glantz's images. In the very worst case, in which historians believe a photograph to be completely constructed and thus to have lost most of its indexical value, it still functions as a historical document in the manner that a painting does.
 "Allan Kaprow Papers" [Getty Research Institute, n.d.], Box 14, Folder 1.
 In fact, it was published by Kaprow himself in Days Off: A Calendar of Happenings in 1970. It seems likely that this print is a proof sent to Kaprow by the publisher.
 As most photographers will know, the general rule of thumb about the longest duration for which a shutter can be open without causing blur visible to the naked eye is (in seconds) equal to one divided by the focal length of the lens (in millimeters).
 Composition was the paragon of abilities within the French Academy, and in this case the self-consciousness of painterly activity is obvious. But even later, non-illusionistic examples, such as Jackson Pollock's drips, were seen to be some form of expression of the painter's inner self, partly because it is extremely difficult to make a mark with one's body without knowing generally where it is going.
 Visual anthropologists employ methods similar to Panofsky's. John Collier, for example, divides the process of learning from photographs into description, analysis and synthesis [Collier 1967: 203-237]. Collier works under the assumption that the anthropologist is also the photographer, who can then document in a more representative manner. This is usually not possible in performance studies. One method that Collier suggests, which might be of use for performance historians, is "photo-elicitation," or the systematic use of photographs during interviews. Such use can unlock valuable memories.
 This statue is part of a war memorial hidden behind the barrels. The memorial, whose central piece is the sculpture by M. H. Mossman, was erected in 1874 in memory of soldiers from Middletown, Connecticut who perished during the American Civil War.
 Panofsky notes that because the recognition of objects and events in a painting depends on our life experience, it might be "corrected" if we inform ourselves with a "history of style." [Panofsky 1972: 11] Similarly, a "history of gesture" would allow us to see symbolic meanings beyond the bounds of our own period.
 Philip Auslander writes that use of photographs as testimony to an event is a question of "belief." [Auslander 2006: 7] This is because we are incapable of seeing indexicality, but only of supposing it based on our knowledge of how the photographic medium works. Similar problems of believability apply to all historical documents that we assert belong to some event that we did not ourselves witness. It is through everyday experience and the subsequent development of abstract ideas such as causation and history that we learn the bounds of this belief.
 Judith Rodenbeck has suggested that photography functioned as a central theme for Kaprow during this period, noting that he used other materials, such as aluminum foil, to produce Peircian indexes as well. [Rodenbeck 2011].
 "Suite of Five Photographs from 'Transfer (for Christo)' by Allan Kaprow on Artnet Auctions," accessed February 26, 2014, http://www.artnet.com/auctions/artists/allan-kaprow/suite-of-five-photographs-from-transfer-for-christo.
 Inge Baecker, interview by Eric Morrill, February 16, 2014. These photographs can be seen in a recently published photograph of Kaprow's first Bochum opening in Baecker's gallery's first location, a spacious underground garage belonging to her parents. Zentralarchiv des internationalen Kunsthandels (ed.) 2011.
 Days Off, by presenting the scores with photographic documentation, is an intermediary step between the earlier, text-only scores that Kaprow published through Great Bear Pamphlets and the later Activity Booklets, in which scores were accompanied with staged, illustrative photographs.
 On the first page of Days Off, Kaprow instructed purchasers that "This is a calendar of past events… Each day is a page, or more, that can be taken off and thrown away. … As the calendar is discarded like the Happenings, the gossip may remain in action." [Getty Research Institute, n.d., "Allan Kaprow Papers," Box 15].


Arsenal have completed the transfer deadline day signing of Spain international full-back Nacho Monreal from Malaga.
Monreal, 26, has signed a long-term deal for an undisclosed fee - believed to be around £8.5 million - at the north London club, after Arsene Wenger decided to push through the transfer late in the window.
Monreal flew to England on Thursday to complete a medical and agree personal terms, and could be available for the Gunners' Saturday home fixture against Stoke City - subject to the completion of formal league paperwork.
He will not be available for Arsenal's forthcoming Champions League tie with Bayern Munich, however, having already played in the group stages of the competition for Malaga.
"We are delighted that Nacho Monreal has agreed to join us," Wenger said. "We have been monitoring him for some time now and are really pleased that we've been able to agree this move today.
"Monreal is a strong left-sided defender with good experience at both club and international level. He is a technically gifted player, a good crosser in the final third and strong in the air.
"Monreal will add quality to our squad and of course, to our defensive unit.
"We all look forward to him playing for us."
The club's need for reinforcements at the left-back position was heightened after Kieron Gibbs was ruled out for three weeks with a thigh injury.


There are eleven Strange Apparatus, ancient machines, each corresponding to a different color, found behind unique "fake" walls in dungeons around Vana'diel. Trading them an Infinity Core and a special chip corresponding to the specific apparatus's color will yield the creation (via "matter emulation") of various items.
Two of the remaining three Strange Apparatus can be accessed, but are non-responsive. They are found in King Ranperre's Tomb (E-7 map 2, Carmine) and Fei'Yin (G-6 map 1, Cyan). The final Apparatus, found in Ranguemont Pass (E-4, Unlit), is completely non-functional.
Infinity Cores are very common drops in Dynamis areas.
Gaudylox (Northern San d'Oria) Closed Firesday.
Blabbivix (Port Bastok) Closed Windsday.
Scavnix (Windurst Walls) Closed Lightsday.
All three merchants keep business hours of 11:00 to 22:00.
Each colored chip costs exactly 21,000 gil. This price is not modified by fame or any other factor.
Colored chips can also be obtained from the Qu'Bia Arena Level 60 BCNM Demolition Squad.
Trading a chip not matching the color of the apparatus will result in the spawning of an NM Elemental that matches the element of the Strange Apparatus' given color.
The level of this elemental is unknown, and drops matching elemental clusters and an Infinity Core.
It is believed that the day that the Strange Apparatus is traded to affects the reward. Trading on a day matching the Apparatus's element is said to yield more of the common rewards (Cermet, Adaman, etc.), while trading on a day opposite to its element yields more Rune equipment (Arrows, Bangles, etc.). Results have yet to be fully confirmed, see talk page.
Checking the Strange Apparatus without trading will result in the apparatus reciting instructions, followed by a request for a password. (This password is entered as if you were typing a message.) Entering the correct password will grant you "Doctor" Status, which removes the most common item (Elemental Clusters) from the list of available rewards. This makes Strange Apparatus use more profitable.
) will tell you how to calculate the password for a given Strange Apparatus. Once you have listened to his explanation, a dialogue option will appear wherein he will calculate your password for you.
Example: "Playername"'s first three letters are P (15), L (11), and A (00).
Next, choose the code for the area you are going to be trading to an Apparatus in, listed on the chart above. Add the area code's value to each "digit" of the first three letters. Lined up next to each other, these create the first six digits of the password.
Example: "Playername" will be going to the Apparatus in Ordelle's Caves, which is code 03. 15 + 03 = 18; 11 + 03 = 14; 00 + 03 = 03. Therefore, the first six digits of the password are "181403".
Finally, the last two digits of the password are created by adding together the three pairs of numbers above, then adding the area code to the resulting sum a second time.
Example: 18 + 14 + 03 = 35; 35 + 03 = 38. This will make Playername's password for Ordelle's Caves "18140338".
Simply follow the same procedure at Fei'Yin as you would for obtaining Doctor Status in order to obtain Administrator Status. Note that you must have also retained your active Doctor Status in order to be able to attempt it.
♪Omega whistle, you must have all five Ancient Melody Key Items.
† with thanks to Rajang of Carbuncle.
†† with thanks to Teven of Lakshmi.


Many college and university students take programming courses. These are extremely valuable to any person who plans to land a job in the every-growing IT industry. However, they are not easy at all. Even if you are eager to learn and really passionate about the course, you may have difficulties. Similarly, if you are overloaded with assignments, you might not have enough time to devote to this particular discipline despite its importance. What's the solution? You can get programming homework help from an experienced professional online. Let's find out how this works.
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Where do I sign up for online programming help? You just have to fill out a form on the service provider's website. You will have to place all of your requirements and any instructions which the professional has to follow. It is crucial to submit the assignment in full without omitting even the smallest detail. Otherwise, you may not get the desired end result and this will increase the time for completing the work.
You have to choose the time for the receipt of the ready work carefully. You would want to check everything and to run tests before revealing the project to your professor. You have to be well prepared to answer questions too. You should also pay close attention to the rates charged and to any fees which you have to pay. You have to know exactly how much the completion of the assignment will cost you.
Now you know where and how to get computer science homework help on the web.


High above the resort town of Zermatt lies the Monte Rosa SAC Lodge, sustainably built with the latest technologies. The building intends to serve as a model for the successful linkage of architecture with sustainability and modern technology. The complex five-story wooden building is encased in a shining aluminium shell. The south façade includes a photovoltaic array that produces electricity. The building is able to supply almost 90 per cent of its own energy.


I think the exhibition has an impressive context by the way its is reflecting the transitional consciousness of Chinese heritage, philosophy, social psychology, ideology integration with today' s China based on the views of recent Chinese artists. To me, China is one of the most stunning country in the world by its rich culture, hardworking personalities, creative, artistic, crafting skills and its advanced technology. This exhibition was almost a brief summary of these rich content of the culture and the reflection for the future vision of the land. The inner worlds of the artists' work in this exhibition are imaging the local background based on their country however being transformed in an incredible rich platform by using the advanced technological methods of today' s globalized world. Nevertheless, it recalls thoughts of no globalization could be strong without based on a strong localization. The real difference in the fast paced world can only be created as a nation if only the transition formed by the sociological memory and the cultural history.
Looks great, wish I was there. Thanks for the post!
Reblogged this on Music Vision Sound.


text:
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The Kleiers are expanding their real estate influence to a new drama called "Hot Property," according to the Hollywood Reporter. ABC Family is currently...
Gumley Haft Kleier becomes Kleier Residential
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Last Stanhope unit gets third new listing agent, higher price
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A sprawling 16th-floor cond-op at Extell Development's 995 Fifth Avenue, the last remaining sponsor unit at the historic building, has returned to the market with...
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DeeCee Style is a man's world, with a modern American edge. You'll find classic jeans, boots and shirts - a little bit of Easy Rider meets Pharell Williams.
It's a man's world in here and this man certainly knows how to handle his life. Classic jeans, boots and shirts, all with a modern American edge, a little bit of Easy Rider meets Pharell Williams, topped with classics like Church shoes, Belstaff jackets and Barbour coats. Forget about the cologne, real men smell of fuel.


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FOLK New England
Preserving the ongoing cultural legacy of folk music
The BROADSIDE
About the "BROADSIDE" OF BOSTON
Read The Broadside
You are here: Home / Betsy Siggins / Betsy Siggins receives first Passim Lifetime Achievement Award from Joan Baez
Betsy Siggins receives first Passim Lifetime Achievement Award from Joan Baez
December 17, 2019 By Brian Quinn
At Passim's 60th anniversary show, an evening of memories and music
By Stuart Munro Globe correspondent,Updated November 15, 2019, 6:20 p.m.
A concert celebrating the 60th anniversary of what the evening's host, WGBH's Brian O'Donovan, called "the little club that could" — first as Club 47, and then in its present incarnation as Club Passim — was bound to include plenty of talk about those 60 years. That was an integral part of Thursday evening's show before a packed house at the Shubert Theatre, and it was almost as entertaining as the music.
Dar Williams called the venue "the gold standard" for folk music, and recounted how she managed to wangle her first gig there — as it happened, opening for one of the evening's other performers, Patty Griffin. Josh Ritter spoke of knowing about the place when he lived thousands of miles away in his native Idaho before eventually relocating to the area, and Rose Cousins recalled the long drive from Halifax, Nova Scotia, to play there. The inimitable Peter Wolf shared tales of how his apartment, a block away from Club 47, became what he called a "clubhouse" for blues legends like Muddy Waters, Junior Wells, and Howlin' Wolf, who had come to town to play the Harvard Square spot.
The sentiment expressed again and again over the course of the evening was that Passim had not only given every one of those artists the opportunity to start their musical careers, but had supported and nurtured those careers and fostered a community of like-minded artists and listeners, while encouraging those who could to outgrow that little space and go on to bigger things, as many of the evening's performers have done. That enduring character was embodied by Club 47 founding member Betsy Siggins, who came onstage to receive the first Passim Lifetime Achievement Award from Joan Baez, her longtime friend and another woman who was there from the beginning. Of course, along with the reminiscing and the expressions of gratitude and love, the performers came to give musical voice to what Passim has meant over those six decades, and in that regard they delivered in spades, each coming up with something special to suit the occasion.
Williams reprised the first song she had played when she first set foot on the Passim stage in 1992, "The Babysitter's Here." Ritter said that he always wanted to have something new to offer whenever he played there, so he stayed true to form and performed a new one before bringing out a string quartet for three songs, including a delightfully dreamy "Lights."
With his Midnight Travelers, Wolf took things in a different direction ("He's going to rock the roof off the joint!" exclaimed O'Donovan), prowling the stage as ever and paying tribute to the blues side of the equation with "Homework." Then he pulled another change-up, going from Muddy to Monroe via a marvelous acoustic mashup of bluegrass standard "When My Blue Moon Turns to Gold Again" and the J. Geils Band's "Love Stinks" that saw band member Duke Levine running the frets of a mandolin instead of a guitar.
Griffin offered a smoking throwback sound with her ode to Screamin' Jay Hawkins, "Hourglass," and she commented on current affairs with her song about her family's immigration tale, "Boys From Tralee" (one of several song choices during the evening that nodded to the progressive legacy of Passim). But her closing version of raucous gospel song "Move Up" arguably provided the highlight of the evening; as she launched into the song, Baez joined her — not to sing, but to bust dance moves all over the stage. That was the capstone to a worthy celebration of Passim's
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The mission of Folk New England is to foster appreciation and preservation of the indigenous folk music of the New England area through collection, preservation, and dissemination of both primary and secondary sources. We work with individuals, families, musicians, scholars, students, and ordinary folk to increase and perpetuate the collection and understanding of the diverse common musical heritage of the region.
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My first meal in China was at one of the best Sichuan (Szechwan) restaurant in Beijing, Yu Xin. Straight off the plane, Eric and Christina wasted no time in tossing my stomach into the fire, literally. The spiciness of real Sichuan cuisine comes from mala, a spicy sauce of Chinese chilies and assorted seasonings like sesame oil and Sichuan peppercorns. The word "ma" refers to numbness, the word "la" to the spiciness, so mala spells out its effect: it burns and numbs at the same time. The numbness actually allows you to eat more of it than you would otherwise.
The first dish that came out was a meat dish, but it was unclear from its appearance what the dish contained other than diced chilies. I had to send my chopsticks burrowing deep into the mountain of chilies to find a chunk of chicken. By the end of the meal I'd lost all feeling in my mouth, but that didn't wipe the big grin off my jetlagged face. The problem with eating lots of mala is that all other types of food taste bland in comparison.
The toughest restaurant to get a table at in all of China? Kentucky Fried Chicken (ken da ji). Far more popular than McDonald's. It's so popular that another chain of restaurants knocked off KFC's logo, colors, and mascot. Yes, there's another restaurant with a Chinese-looking colonel and the white lettering on red background, but that restaurant doesn't serve fried chicken at all. I didn't have time to walk into one to see what they served, but its existence seemed appropriate in a place where respect for copyrights is about as scarce as toilet paper in public bathrooms.
The hottest new American export to the Chinese dining scene since my last visit? Starbucks ("xing ba ke" in Chinese, xing meaning "star" and ba ke simply being a phonetic rendering of bucks). There's one in the Forbidden City. We stayed with Joannie's friend Arthur and his wife in Guangzhou. We asked him what he liked to do for fun, when he wasn't cranking out sneakers for Nike (he worked at a supplier to the Swoosh). He said his favorite event of the month was every other week, when he and his wife would drive 45 minutes to an hour into the heart of the city to get Starbucks.
In China people actually don't use soy sauce much. Soy sauce and egg rolls and General Tso's chicken, they're all largely staples of the Americanized version of Chinese food. In China, they prefer vinegar use it instead of soy sauce as seasoning, for example, for dumplings.
My visit two weeks ago to Beijing was another culinary adventure. Christina and Eric are among the more passionate foodies in my circle of friends, and the week's worth of activities they organized for everyone leading up to their wedding included visits to many of their favorite restaurants.
That was music to my mouth. I don't look forward to the cuisine in every country I visit (many of the stops on my E. European visit earlier this year left much to be desired from a dining perspective), but China is a culinary mecca. On my visits there, I look forward to eating as much as or more than sightseeing.
Our first lunch was at Lei Garden, a fairly new restaurant to Beijing. I don't believe it was there last year when I visited, but it's the newest branch of a high-end Cantonese restaurant chain that first achieved renown in Singapore. For those who love Chinese food but don't possess the most adventurous of palates, this is the perfect restaurant. The restaurant, tucked away on the third floor of a somewhat sober business building, is elegant and polished, and the service is top-notch. As for the food, when I found out we were returning to Lei Garden for the rehearsal dinner, I delivered a celebratory chest bump to the next guy I saw in the street, sending him scampering away in fear.
For one of our dinners, we visited the Qianmen branch of Quan Ju De (English website), the famous Beijing (Peking) duck restaurant. Roasted over a fruitwood flame, the duck arrives with a crispy skin and tender, juicy meat. Carved tableside and served in a wrap with scallion and plum sauce, it's a dish I can never pass on. Quan Ju De has the reputation of being the top roast duck purveyor in Beijing, though there are whispers of declining quality and worthy challengers. If you're only in town for a quick vacation, though, it's the safe choice.
Our dinner the next night was at Qiao Jiang Nan. What I remember most about our meal here, in a private banquet room, was that all the waitresses were wearing one-piece tennis outfits, much like the one Nicole Vaidisova is sporting here. I realize this seems like an excuse to reuse this picture of Nicole, but this is honestly the first photo of this type of outfit I could find. At any rate, I felt like we were eating at the clubhouse at Wimbledon.
Perhaps my favorite meal of the trip was at Ding Ding Xiang, a Mongolian hotpot restaurant which bills itself as "Hotpot Paradise." It's not boasting if it's true. It instantly moves onto my list of restaurants and dishes that will haunt me forever. My second day back from China, I actually did have a dream about eating there again, and when I woke up I nearly cried at the cold slap of reality. At Ding Ding Xiang, everyone gets their own personal hotpot, set on top of a flame. Each diner can select one of several different broths to serve as the base of their hotpot. Christina helped Jed and I out and chose the mushroom stock.
I saw abalone on the menu and had to order it, despite it being the priciest of the dishes. I adore abalone. The waiter actually brought it out for our perusal, and it was still moving! I'd never seen one live before. We also ordered lamb, a whole slew of mushrooms, spinach and other greens, and a whole lot more. The presentation was gorgeous, and the hotpot was simply the most delicious I've ever had, and I've had more than my fair share over the years. I'll be dreaming about that meal for years to come, and it is unequivocally my top restaurant recommendation from this visit to Beijing. The next time I visit, it will be my first stop upon leaving the airport.
As for changes from my visit last year, the Starbucks in the Forbidden City is no longer there. Our guide told us the Congress over there gave it the boot. All the other branches of Starbucks remain a huge hit, however, and Kentucky Fried Chicken is still the king of the fast food restaurants in China. I did not eat there this trip, but I am also not one of those foodie or travel snobs who turns their nose up in disgust at the mere sight of a KFC or McDonald's.
I think it's somewhat of a waste to spend a meal at McDonald's or KFC when abroad, especially when most of what they serve is available back home. But, even as an American, I don't flog myself every time I spot a branch abroad, and I no longer recoil in horror if someone has to duck in under the Golden Arches for the taste of something familiar. The typical travel snob who holds everything foreign on a pedestal can't ignore that most American fast food franchises abroad stay in business primarily through the traffic from locals. I find it interesting to gauge foreign perceptions of American restaurants and culture, and fast food restaurants are an easy barometer.
It's also been many years since I've harbored any illusions that any popular travel destinations are hermetically sealed time machines, completely devoid of other tourists or influences from home. Wherever I go, I see American movies, travelers, books, music, and yes, more than a few frappuccinos and Big Macs. If a complete absence of anything American is the only way you'll be satisfied, then consider that your presence abroad is probably ruining some other travel snob's vacation.
One last food story. I've always been a fairly adventurous, open-minded eater. My mom forced me to clean my plate, to sample something from every dish. Whether it was innate or trained, my broad palate has been with me for as long as I remember. It's a high risk, high reward dining strategy. At times, as with drunken shrimp in Hong Kong, it ends with gustatory ecstasy. At other times, as with some bad (though tasty at the time of consumption) ceviche in Quito, it has sent me to the hospital.
Last year during my visit to Beijing, a bunch of us went for a stroll down a well-known food alley near the Wangfujing neighborhood of Beijing. There, we stumbled upon more than one street vendor hawking some creatures I'd never thought of as food before. They were impaled on kabobs. The mere sight of them was fearsome, but after an initial bout of revulsion, I tried to summon my stomach, so to speak. More than few people from our travel party were there, and an audience usually amplifies my dining bravado. I asked the vendor how much for a kabob, and he said they were 10RMB, or just over $1.
I took a deep breath. Okay, I'd eaten a fried grasshopper before, surely this was not much different. I could do this, and I'd have a story to share for years to come. After all, they were deep fried, right? The vendor reached out for one of the kabobs, for another customer, and that's when the true nature of what I'd be attempting became clear.
These creatures' legs started waving wildly, even as they were impaled on the kabobs.
"I thought they were fried!?" I gasped in Chinese.
"No!" said the vendor, recoiling in horror. "Much better alive. Fresh!"
I couldn't do it. We walked away, but not before I grabbed some video of these unique creatures, both pre and post skewering. These creatures should be familiar to most people (view either the 320 x 240 high quality or the 640 x 480 medium quality Quicktime clip, both about 3.5MB), though perhaps not as a snack.
I'll eat most things, but not everything. I don't know who has the unfortunate job of having to prepare these creatures nor how they do it. I don't know how they ensure you aren't injured or even poisoned when biting one of these while they're still alive. You can ask for them deep fried, but even on my return trip this year I couldn't pull the trigger.
After my initial encounter, just as we turned to leave, a young boy of perhaps 7 or 8 years old walked by with his father. The boy had a kabob of these and had chewed the head off of one.
His t-shirt read: "You are what you eat."


You are unable to see social media interactions under the Interactions facet of a ticket in the Fiori Client. However, social media interactions can be seen in the Interactions facet in the HTML5 Client.
Go to the Interactions facet.
Social media interactions are not displayed.
Under the Interactions facet of a ticket in the Fiori Client, you will see e-mail, SMS, chat, portal and phone call interactions only. There is a separate facet called Social Interactions where social media interactions are displayed.
Click the Next button until the Questions tab.
Select the Service element > Customer Care > Service Request Management.
Under the Social Channels for Service section, enable the question: Do you want to enable Social Channel in Fiori Client?
Please note if there are no social media interactions in the ticket, the Social Interactions facet will not be visible.


This item is a Pedal Kit to complement a Thrustmaster T-Series Steering Wheel. The T3PA has three pedals consisting of throttle, brake and clutch. The internal structure of the pedals consists of 100 percent metal and ensures maximum stability.
The pedals are fully adjustable. So you can adjust the distance setting in three positions with all three pedals, and adjust the angle setting in two positions. The accelerator pedal also allows the height adjustment to be adjusted in two positions.
The pedals have different pressure settings. The accelerator has about 2.5 kg of resistance, while the clutch is about 5 kg. The pedal kit includes a rubber cone for a Brake Mod, which allows you to adjust the pressure setting of the brake pedal yourself.
So the pressure setting on the brake pedal without the rubber cone at a resistance of about 10 kg. The pressure setting of the brake can then be adjusted with the said rubber cone to 15 to 25 kg itself.
The rubber cone or the "Brake Mod" is therefore a conical stop made of highly compressed industrial rubber and fits directly under the brake pedal. This creates a realistic driving experience with highly progressive resistance at the end of the pedal travel. The adjustable position of the rubber cone therefore also sets the resistance.
The pedal set also provides perfect stability thanks to the wide-structured footrest and its weight of 3.46 kg. In addition, the pedal set includes a screw thread, which is specially designed for cockpit installation. The Thrustmaster T3PA Pedal Set is compatible with all Thrustmaster T-Series Steering Wheels.
More links for "T3PA Add-On Pedal Set (PC/XBOX ONE/PS4/PS3 4060056)"
1080° Force Feedback base featuring an industrial-class brushless motor and epic feedback make the T300 the ultimate racing wheel!


Japanese knotweed excavation and removal occurs when there is normally not enough time to treat it with a systemic herbicide. Under these circumstances, excavation and removal is the ideal solution. Once the site has been excavated, it can be issued with a certificate confirming the site to be clear of Japanese knotweed.
We will need to dig an area of up to three metres deep and seven metres wide in all directions. In exceptional circumstances, a total area of 675 cubic metres may need to be excavated out. We take these measures to ensure there is no cross-site contamination and eliminate the chances of regrowth.
Where possible, we designate a clean hard-standing road into and out of the site. If not possible, we use hard standing where the trucks are going to be filled up with contaminated soil. We also wash the wheels of the trucks off before they leave the site. These measures are taken to prevent the Japanese knotweed from spreading.
We cordon off the site so that only our trained team members can access the area. This helps to further prevent any cross-contamination. Our team members are also required to clean boots and tools before moving to other areas.
We then remove the contaminated soil from the site. Any hard standing that has been laid where vehicles have been filled up is also removed from the site and wheels and tracks are then washed.
All waste is taken to a licenced landfill site. Waste carrier notes are received from the driver and the licenced landfill site. This ensures that waste is disposed of correctly and within Hazardous Waste guidelines.
Making the site safe is a high priority for us. We backfill the excavated area as soon as possible to prevent any accidents.
A large proportion of a Japanese knotweed plant is underground. We can dramatically reduce the amount of contaminated soil that is taken off-site by removing the underground stems, shoots and roots from the soil. Doing this reduces the cost of waste removal, and therefore makes the method Japanese knotweed excavation and removal as cost-effective as possible.
If you are under time constraints and would like to receive more information on how we can move your project along with Japanese Knotweed excavation and removal, please contact us, we will be happy to help.


[Press Release] The 1940's pin-up style of the DC Bombshell line expands its offerings in the June PREVIEWS as fans have the opportunity to pre-order the exclusive Poison Ivy and Batgirl DC Bombshell tapestry blankets. Both are scheduled for release in comic book specialty shops in July 2015.
The pin-up artwork of Ant Lucia's DC Bombshells makes these tapestry blankets from The NorthWest Company a true work of art! Each blanket measures 46″x60″, is made of soft acrylic, and shows the beautiful but deadly Poison Ivy or the high-flying Batgirl in their Bombshell costumes. Use these item codes to pre-order the blanket of your choice.
These exclusive DC Bombshells tapestry blankets are available to order from the June PREVIEWS catalog found in comic shops. Find a comic shop at www.comicshoplocator.com to order yours today.
ABOUT DIAMOND COMIC DISTRIBUTORS (DCD)—Diamond is at the nexus of comics and pop culture. Based in Baltimore, MD, DCD is the world's largest distributor of English-language comic books, graphic novels, and related pop-culture merchandise, serving thousands of retailers worldwide. For more information, visit Diamond at www.diamondcomics.com.
© 2015 Diamond Comic Distributors, Inc. All rights reserved. Diamond, the Diamond logo, and PREVIEWS are either registered trademarks or trademarks of Diamond Comic Distributors in the United States and/or other countries. All other trademarks are the property of their respective copyright owners.


A rendering shows proposed downtown Oak Park streetscape improvements along Lake Street near Forest Avenue.
Due to delays in acquiring the required easements for improvements, Oak Park officials announced a Lake Street streetscape project has been postponed until 2020.
The plan is scheduled to include new sidewalks, curbs, lighting, landscaping and other decorative elements along Lake Street between Harlem and Euclid avenues. Construction was expected to begin in March and wrap up by November.
The update came as part of village manager Cara Pavlicek's weekly report Jan. 25, with Pavlicek saying business owners favored pushing all of the work to next year rather than separating projects across 2019 and 2020.
Village officials say the project is currently estimated to cost $14.95 million, which includes $3 million in federal funds to assist the streetscape plan.
Anne Pezalla, owner of Lively Athletics at 109 N. Oak Park Ave., also serves as vice president of the Hemingway District Business Association. Pezalla said the village was proactive in informing local businesses about the delay.
Pezalla said she and other business owners favored moving the project until 2020, which should give each district time to prepare for the months of construction the project entails.
Pezalla had previously spoken to the village board about her concerns that the project would greatly impact local businesses financially, and asked the village to assist local businesses who may be affected.
Pezalla said both the HDBA and Downtown Oak Park are working to pitch a "construction rewards program," which would mimic Downtown Oak Park's Holiday Reward program, as a way to bring shoppers to the area while the project is underway.
"We haven't heard whether or not the budget will be approved for that, but we would love to see that happen," Pezalla said.
According to Pavlicek, the project is to include work that is being bid by the Illinois Department of Transportation, various village water and sewer improvements and the resurfacing of Lake Street from Euclid Avenue to Austin Boulevard.


text:
Q: How do I pass template context information when using HttpResponseRedirect in Django? I have a form that redirects to the same page after a user enters information (so that they can continue entering information).  If the form submission is successful, I'm returning
HttpResponseRedirect(request.path)

which works fine.  However, I'd also like to display some messages to the user in this case (e.g., "Your data has been saved" at the top of the screen).  If I weren't redirecting, I'd just return these messages in the context dictionary.  With the redirect, however, I can't do this.
So how can I pass template context information when using HttpResponseRedirect?
What I'm trying to do seems like it would be incredibly common, so please excuse me if I'm missing something obvious.

A: You can't. HttpResponseRedirect sends a client-side redirect (HTTP status code 302) to the browser, and then the browser re-requests another page.
You can set a URL query string on the redirect, though that will be visible to the user and anyone intercepting HTTP requests (i.e. proxies), and is therefore not suitable for sensitive information.

A: For the sake of completion and future reference, you can now use the messages framework. After you install it:
views.py
from django.contrib import messages

def view(request):
  # your code
  messages.success(request, "Your data has been saved!")
  HttpResponseRedirect(request.path)

template.html
{% if messages %}

  {% for message in messages %}

{{ message }}

  {% endfor %}

{% endif %}

A: The best way would probably be to use a coded querystring on the redirect URL... its an old school approach.
You could do something like
/page/?m=1, /page/?m=2, etc
You would then parse that variable with request.GET in the view code and show the appropriate message.

A: From your views.py you hast have to put a key/value-pair into the session and then read it from the HTML template.
For example:
views.py
# your code here
request.session['vote'] = 1
return HttpResponseRedirect(request.path)

your_template.html
{% ifequal request.session.vote 1 %}

{% endifequal  %}

A: if you are using auth and have a logged in user you could:
http://docs.djangoproject.com/en/dev/topics/auth/#django.contrib.auth.models.User.message_set.create
GET params are also hackable.  The querystring, as mentioned in other answers, could be used.
I think the most preferred way would be to use the sessions framework.  That way you can load up whatever you want in the context and get
{{ request.session.foo }}

foo could be the message or you could do:
{% ifequal request.session.foo 1 %} Nice work! {% else %} Almost! {% endifequal %}

and other fun stuff.
http://docs.djangoproject.com/en/dev/topics/http/sessions/#using-sessions-in-views

A: The only way I know of to pass any data with a redirect is to add GET parameters to the URL you're passing in.  To avoid XSS hacks you'd want to pass a specific constant like:
[current path you're passing in]?message=saved
And then process the message=saved parameter in the handler for the path you passed in.
A somewhat more complicated way would be not passing the data in the redirect, and instead using something like http://code.google.com/p/django-notify/ to store session-based data that is displayed to the user following the redirect.

A: You add ?saved=1 to the query string and check for it with something like:
saved = request.GET.get('saved', False)

redpajama_set_name: RedPajamaStackExchange


A site outline breaks down the parts of your work into a clear hierarchy of doable tasks. It is helpful in organizing your thoughts and presenting the material in a logical form. If your outline is good, your site content will be easier and much faster to write.
To do the job right, a site map gets built before work begins on the first page.
Here is a guide to help you understand the planning process. Even the planning process has a plan!
• Theme: Be very clear about your site's theme. You should be able to state it in 4 words or less, e.g. "How to make wine", "Dog training" or "Internet dating services reviewed".
• Brainstorm: List all the ideas that you want to include in your site.
• Organize: Group related ideas together.
• Order: Arrange material in subsections from general to specific or from abstract to concrete.
• Label: Create main and sub headings.
Suppose you want to build a site for beginner runners about training for a 5K run. Let's take a look at how the site might be ordered logically into categories and headings.
During this part of the process, you simply write down all the topics you think you will cover on your site.


Tibet Lhasa tour and trekking operators from Nepal .A quick Tibet tour from Kathmandu to Lhasa and back. Includes a tour of Potatola Palace in 4 night 5 days: former residence of the Dalai Lama with 1,000 rooms, 10,000 shrines and 20,000 religious statues; and Drepung Monastery, the largest in Tibet with numerous statues, ancient scriptures, scroll paintings and other cultural relics during your visit in Tibet. We are happy to work with you to create the perfect Tibet tour trek itinerary for your memorable holidays in Tibet counseling.
We begin our sightseeing tour that includes Potala Palace, the greatest monumental structure in Tibet, and it was once the center for both spiritual and temporal power of Tibet. You will be attracted deeply by rooms, halls, chapels, and furnishings of Potala Palace. And the stories that took place there will convulse you absolutely.
This morning we make sightseeing tour of the Drepung Monastery which was once Tibet's richest Monastery, with four colleges and 10,000 monks in its heyday in the 17th century. A group of white buildings stands on the hillside and out against the majestic Mt. Gambo Utse, here you can get a wonderful view of the Lhasa City and surrounding scenery. The next sightseeing spot is Sera Monastery. It is famous for its warrior monks, Dob-Doa. After that, we will visit Norbulingka which was once the summer palace of the Dalai Lamas. It contains several palaces, chapels, and buildings. Finally we drive back to the hotel for dinner & overnight stay.
Land Transportation by Toyota Jeep, an English speaking Tibitan Guide, Tibet permits, Chinese Visa.


Do you have a trading plan? How many times did you break your trading rules?
Why did I not follow my trading plan? If I did, I would not have ruined my trading account. Why can't I control myself and follow the rules?
If you have a trading edge, you need the willpower to follow your rules to realize the profits.
If you are looking for a trading edge, you still need self-control to follow your trading rules. If not, you will never get enough data to separate the wheat from the chaff.
The lack of self-control plagues many traders. And it's a huge problem. It blocks you from achieving consistent trading results. A single episode of willpower depletion can bankrupt your trading account.
You might think that self-control is an innate ability. You either have it or you don't.
But Roy Baumeister disagrees. According to this leading researcher on willpower, you can improve your self-control ability. His research offers incredible insights for improving self-control.
Willpower is a muscle that tires.
It is also a muscle that you can train.
Willpower is tied to goal-setting.
External factors help increase willpower.
Self-control might not be enough.
Every trade requires you to follow your trading rules and control your emotions. Every trade consumes willpower.
This means that with each trade, your willpower drops. It follows that the more trades you take, the more likely you will lose control and start flouting rules.
If you need a reason to stop over-trading, this is it. Aim to take one trade with complete control, and not a dozen trades with no rhyme or reason.
Decision fatigue sets in when you are required to make too many decisions. Your willpower falters and your trading decision suffers.
Don't let too many decisions creep into your trading process.
Boot up your trading computer. Decide what market to trade today. Decide which time frame to look at. Open up three charts. Try to decide which chart to pay attention to. Decide if you should pay attention to the RSI, the MACD or the moving average. Choose among the ten trading strategies you learnt over the past week.
By the time you start to trade, you've already used up much of your willpower unknowingly.
To avoid decision fatigue, adopt a minimalist trading approach.
Focus on trading one market with one chart (time frame). Use price action.
That's what I do. And that's why I can devote my full effort to finding good trading setups.
With a healthy lifestyle, you can improve and hone your willpower. But there is no overnight hack for this.
Learn more way to strengthen your willpower here.
A clear link exists between willpower and glucose – read this paper.
Self-control failures are more likely when you have low glucose or cannot use them well.
Glucose might be bad for weight-loss, but you need them for self-control. Traders who are on an extreme low-sugar diet will find it harder to exert self-control.
When you trade, remember this biological link.
Willpower – is it all in your mind? No. Some are in your blood (sugar).
The goals you set are critical.
If you set conflicting goals, you are using your willpower against yourself. In other words, you are setting yourself up for failure.
They are conflicting because your trading rules cannot guarantee a daily stream of income. In your pursuit of daily profit, you ignore your trading rules. When you follow your trading rules, you fail to extract a profit on some days.
Conflicting goals are not sustainable. They do not encourage self-control.
On the other hand, complementary goals enhance willpower.
As you aim to go for lunchtime yoga sessions, you need to end your trading by lunchtime. This means limiting your trading to the morning. It helps you to trade less by avoiding the low volatility lunchtime price action.
Go ahead and plan your own complementary goals based on your circumstances.
Peer pressure works. The idea that you are being scrutinized helps to enhance willpower.
Why do you go to work everyday? That's because you are held accountable. You know that your boss checks on you.
Why do you deviate from your trading plan? Perhaps because no one is holding you accountable.
Ensure true accountability with a trading buddy.
Need help finding a trading buddy? Try searching for trading groups on Meetup.com, or start your own.
If peer pressure works, why not peers pressure?
Start a trading journal on a forum. Get a whole community of traders scrutinizing you as you trade and record.
You will get all sorts of feedback from online traders – both constructive and nonsensical. Paying attention to the wrong feedback is frustrating and a waste of time.
Remember the aim of your trading journal. It's to improve your trading willpower. It's to absorb helpful trading ideas. It is not to prove that you are profitable or an excellent trader. Ignore caustic and unhelpful remarks.
Will you be tempted by the delicious fat-laden burger? Yes? Then don't walk into the burger joint in the first place.
The point is your willpower will fail. And when that happens, you need a backup plan.
In trading, you can use a similar strategy. Anticipate failure of your trading willpower, and devise a strategy to deal with it.
If you tend to risk too much in your trading, then limit the amount you deposit in your trading account to begin with. Do not deposit your entire risk capital into your account. Deposit just enough for your trading strategy to work.
In the same vein, withdraw your profits systematically. It helps to protect your hard-earned profits from a lack of trading willpower.
Consciously repeat the right acts, and form a habit. Once an act becomes a habit, you no longer need willpower to perform it.
For instance, I have a habit of setting a stop-loss order and a target order once I enter a trade. This act does not consume my willpower.
Identify simple acts within your trading process. Then, make a conscious effort to develop them into habits, one at a time.
The best traders build their habits around risk management. For instance, setting stop-loss, avoiding setups that are too risky, and limiting daily losses. Once you get into the habit of controlling risk, your trading consistency goes up.
A new trader looks for answers outside; a seasoned trader solves problems inside.
A desire to improve willpower is a mark of a seasoned trader.
Want to fuel that desire? Check out these books and videos.


text:
Q: What is "Memory Page out Rate" Could somebody please tell me what is "Memory Page Out Rate".
I have seen this in "HP Open View" server monitoring tool and tried googling it.
Would appreciate if some expert can clarify.
If page out rate is too high as 200+ per second, can it crash the server?
Thanks in advance

A: This link may help:
http://publib.boulder.ibm.com/infocenter/tivihelp/v15r1/index.jsp?topic=/com.ibm.itm.doc/main_unix65.htm
"Page Out Rate (KB per Second) The number of kilobytes that the virtual memory manager pages out per second averaged over the previous 30-second interval. Note: the value -1 indicates Not Available, -2 indicates Not Collected, 2147483648 indicates Value_Exceeds_Minimum, and -2147483647 indicates Value_Exceeds_Maximum."
A page-out rate of 200kb/s could be fine on some systems and service affecting on others. It all depends on how fast your disks/san can keep up.
To be honest you'd be better off asking this question in one of these more suitable sites, SO is for programming related questions, not sysadmin queries:
https://stackoverflow.com/questions/321618/where-can-i-ask-questions-that-arent-programming-questions

A: What you are referring to is the GBL_MEM_PAGEOUT variable of HP OVPM.
To my understanding it means that some process allocated memory and never de-allocated it, and that process is not currently active.
So basically it should be as low as possible.
However, according to the HP OVPM Metrics document, the definition is this:

GBL_MEM_PAGEOUT
  PLATFORMS: HP-UX AIX NCR Sinix DEC SunOS Win3X/95
HP-UX AIX NCR Sinix DEC
  The total number of page outs to the disk
  during the interval. This includes pages paged out to paging space and
  to the file system.
HP-UX
  This metric is available on HP-UX 11.0 and beyond.
AIX
  This is the same as the "page outs" value from the "vmstat -s"
  command. Remember that "vmstat -s" reports cumulative counts.
This metric cannot be compared to the "po" value from the "vmstat"
  command. The "po" value only reports the number of pages paged out to
  paging space.
To determine the count (that is, GBL_MEM_PAGEOUT) for the current
  interval, subtract the previous value from the current value. To
  determine the rate (that is, GBL_MEM_PAGEOUT_RATE) for the current
  interval, subtract the previous value from the current value and then
  divide by the length of the interval. Keep in mind that whenever any
  comparisons are made with other tools, both tools must be interval
  synchronized with each other in order to be valid.
HP-UX SunOS
  The total number of page outs to the disk during the
  interval. This includes pages paged out to paging space and to the
  file system.
Win3x/95
  The total number of page outs to the disk during the interval
  (Windows 95 only).