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Tag: King
Stephen King again, or, 'We all Shine on…'
After last week's fairly innocuous return from yet another hiatus I realised that I had barely touched upon the issue of adaptation, mainly because the two things under discussion had little or nothing to do with each other.. Considering this is pretty much the USP (god, there's a hateful acronym) of this blog I decided that I would try and pick something for this week that was more…contentious. More controversial. Just, more to deal with, more to get my teeth into.
So to that end I decided to return to Stephen King. Regular readers will know that I've confessed in the past to having a bit of a soft spot for Mr King and not just for this but because I think he's a talented writer who, whilst enjoying eye-wateringly high sales, doesn't necessarily get the critical praise I think he deserves. Now, you can make whatever argument you like about how he's basically been writing the same story over and over, or how his output in recent years hasn't quite matched the level of his earlier work but with his writing at its best it remains some of the finest popular writing of the last 40 years.
One of his finest works The Shining was only King's third novel, published in 1977. His publishers attempted to talk King out of the novel as they thought he would get pegged as a horror writer, (yeah, those guys knew nothing) but King pushed on anyway and the book became one of his biggest successes. The success was not just from the critics but also from huge sales numbers helping establish the young Stephen King as a writer of serious talent and potential. The plot follows the struggling writer Jack Torrance who is facing a career and marriage fracturing under the pressure of two inherited traits from his father – alcoholism and an explosive temper. In an attempt to get away from it all Jack takes his wife (Wendy) and their son Danny to the remote Overlook Hotel after he seriously hurts Danny whilst drunk. Once the three are there things start to get a little strange, involving insanity, hallucinations and attempted murder. As well as this, King introduces the psychological themes that have come to dominate his work; in this novel the focus is Danny who, during the terror of their isolation, discovers his own powerful psychic powers.
As I've said, the book was King's first ever hardback bestseller and captured the public imagination. Surprisingly for such a serious and complex novel the adaptive process was incredibly swift with the film being released in 1980 directed by one of the finest directors in American cinema, Stanley Kubrick. The film was considered a masterpiece on release and has become one of the key pieces in Kubrick's wonderful oeuvre, winning numerous awards at the time and now firmly cemented onto critic's lists of the best movies of all time.
The film is, without a doubt, fantastic cinema. Jack Nicholson is mesmeric as Jack Torrance, a fragile man who explodes into violence and madness when confronted with the loneliness of the Overlook Hotel and, though Shelley Duvall was nominated for a Razzie, I don't think she is that bad at all. The film looks incredible as well – if there is one thing that Kubrick knows its aesthetics and how to make his shots look incredible. The film was one of the very first to use Steadicams, enabling the long, smooth tracking shots that showed off the set design and framing that Kubrick set up. The whole design of the film is gorgeous – especially the weird and creepy visual style of the hallucinations. Kubrick has always had a reputation for being a stickler and on the shoot for this film that side of his personality got a lot of time to mess around. This wasn't all positive though, as his meticulous nature meant that principal photography went on for nearly an entire year. Shelley Duvall bore much of the brunt of Kubrick's obsessive nature, frequently arguing with the director and becoming so affected by the stress she was ill for months at a time, at one point her illness becoming so serious she started losing her hair.
So a great book with bold and strongly drawn characters turned into classic cinema from a legendary director and with a legendary production to back it up? I must be getting ready to drown this in superlatives surely?
Well, no.
Simply because, whilst the film is great, and so is the book as an adaptation this really isn't very good. King himself has famously said that this version was the only adaptation of any of his work that he could remember hating despite previously saying that he didn't really care about adaptations. You can look up his reasoning if you like, but there are a number of different things that make this so different from the book. Firstly, Jack Nicholson is not really sympathetic as Jack Torrance; in his forward to the book King writes that he was struggling with alcoholism whilst writing the book and there was an element of autobiography to this part of Torrance as a character. Crucially King makes Jack Torrance a character that has not only experienced abuse and the dangers of alcoholism from his father, but is able to love his father just the same. This is a bold character choice, especially from King so early in his career. In the film however, the danger of alcoholism is played down. As well as this the film minimises the book's original supernatural elements – crucial to ensuring that when Jack eventually snaps and goes crazy he still remains a sympathetic character. In the film, not only is it clear from the moment we first see Jack Nicholson that he will go insane, he doesn't maintain the sympathy of the books lead character.
Whilst this may not be the best horror adaptation made of the book I am not sure that really matters. The film has become so much a part of the classic film canon it would feel churlish on my part to be overly critical – I would just feel guilty about it as both are great horror experiences. I think though, if I was forced to extract some moral, it would be that writers have a right to feel a little aggrieved sometimes. Great books don't just happen – it takes time, effort and crafting to produce something as singularly unique as The Shining. On the other hand everything I've said there is equally true of that great and singular horror film, The Shining.
Not quite the conclusion I was aiming for, but I hope its good enough to finish a blog on.
Morgan Freeman is not Irish, or, BEST! MOVIE! EVER!
There is a certain inbuilt snobbery in literature and it is really only a matter of time before you end up coming across it; whilst hardly as prevalent as it was a few years ago – it is still there. What I'm talking about is how genre defines how a book is perceived. If you want an example of how this works in practise, the works of a Mr Stephen King provide a good example. Personally I've always felt that King really has been a victim of his own success as a horror writer, because despite his success as a writer he seemed to be limited to critical acceptance within the sphere of horror alone.
Now, please don't misunderstand; I'm not saying that King is a bad writer, or even that genre is a bad thing, quite the opposite in fact. What I'm trying to say is that as a horror writer the mainstream critical acceptance of his work has been filtered through critics and a wider culture that has a certain notion of what horror writing is. You know what I mean – the idea, subtle though it may be that whilst King is a very good writer, horror is not quite 'proper' literature, the kind of stuff that wins awards and gets labelled as a 'classic' with the cool book jackets and the big sales figures. Now as I said, this attitude has receded in recent years but it used to be quite a big deal and for that reason I've always had a soft spot for Stephen King. It helps that if you strip away some of the preconceived notions about horror you'll find a writer who is imaginatively and thoughtfully trying to engage with the deepest problems of the human condition. 'The Shining' is about fatherhood, masculinity and the scars of growing up. 'Misery' when you remove the body horror and torture is about obsession and the burden of creation that artists have to go through, 'Carrie' is an insightful study of religion and the struggle of the protagonist's burgeoning femininity. I could go on, but I hope I've made the point that Stephen King is a much more interesting writer than he is given credit for – and whilst his recent work hasn't matched the power and depth of his earlier novels I've always felt that his writing that doesn't fit in the easy definition of the horror genre shows off his talent to the fullest degree, or rather that when he writes 'stories' rather than 'scary stories' King finds an audience wider than normal – the people who wouldn't pick up a horror novel if you paid them!
King's 1982 collection Different Seasons is an excellent example of his writing away from the rules of the horror genre and it features perhaps one of his most famous works – the novella, Rita Hayworth and the Shawshank Redemption. The text was adapted by King's pen-pal and close friend Frank Darabont and was released in 1994. It met with limited critical acclaim and a lukewarm commercial response when it just barely made back its budget. It also had the misfortune to be released in the same year as the mega smash 'Forrest Gump', so even though it was nominated for seven Oscars it failed to win any of them. Slowly, steadily this film has found a way into the hearts of cinema lovers and now regularly tops lists of best movies ever made.
The key to the film's success largely rests on two things –one, the fact that it was regularly run on movie channels and TV to good ratings and perhaps the better reason – it is just a great, well told story. Attempting to avoid any major spoilers I'll explain what the film is about – though it feels strange to be explaining about a film that is just so well-known, but here goes anyway. The story starts in 1947 where soft-spoken accountant Andy Dufresne (Tim Robbins) has been sentenced to two life sentences for killing his wife and her lover. The evidence against him is circumstantial at best but he is sent to Shawshank prison where he quickly becomes friends with Red (played by Morgan Freeman) and his gang. Andy tries to survive by indulging his passion for rock-shaping, (geology –it ROCKS…..sorry…) but he quickly finds life inside hellish and often brutal thanks to sadistic prisoners and violent guards. Using his knowledge to gain favour from the guards and from the pious but utterly corrupt warden, Warden Norton. Andy uses his skills to make the warden a lot of money, all the while trying to preserve his own sense of humanity and protesting his innocence. How the film ends is something I won't spoil here but it involves a huge emotional catharsis and some of the best visual imagery for a character's emotional journey I've ever come across. Fundamentally the film is an exploration of human goodness – how one man, in a terrible situation survives and finds a way to remain sane, to remain hopeful and to remain good. It is a hugely affecting piece of cinema, marrying old-fashioned good people with complex ambiguous situations. If you haven't seen it, it genuinely deserves the title of a modern classic. So, how does it compare as an adaptation?
Really good actually.
What helps is that King is a master of perspective, often at his best when writing in the first person. From a literary point of view, it is quite a restrictive technique, limiting what readers can see but the flip-side is that specificity allows clarity of what he is attempting to communicate. Freeman's character Ellis Boyd 'Red' Redding is the narrator and the clarity of his communication is all down to the quality of King's writing and his mastery of point of view; the closer King gets to Red's POV, the more clearly we can 'see' the world of the novella – and this helps it translate quite easily to the cinema screen as it is very easy to visualise everything described.
The plot is kept roughly the same apart from a few alterations – for example in the novella Red is actually a red-haired Irish man, something that cleared up that odd bit of dialogue in the movie and a few minor details are altered in the film that help keep the film focused where the book has a little more room to stretch out and explore it's themes a little more.
To sum up then, this is just a lovely slice of cinema and if anything I hope this has helped open a few more eyes to the range that Stephen King possess. What's telling is that often the film adaptations of his horror writing have either been very good, ('Carrie'), nothing like his original vision, ('The Shining') or really weak, like 'The Tommyknockers' or 'IT.' However, once King is allowed to back away from the expectations of his genre, one sees the depth and power of his imagination and in the movie version it translates excellently to the big screen.
Now I realize it may have sounded like I was being a little harsh on the idea of genre writing but that doesn't make any sense; I love genre writing and I am genuinely excited to see where talented writers like King will take things now that the more elitist notions about the quality of genre works is slowly receding, (largely down to the sheer excellence of writers like King and the acceptance of their works by large audiences.) However as a little side-note I'll finish by giving a recommendation for a genre series that King has been weaving throughout his career, the thoroughly excellent Dark Tower series – a sprawling and fantastic mythos that allows King to demonstrate the sheer range and power of his imagination. So, if you want to see why the idea of genre novels gaining wide critical acclaim is possible, you could do well to check out this series.
PS. I really *am* sorry about that geology pun…won't happen again…hopefully…
The Shawshank Redemption Film Review (filmamir.wordpress.com)
The Grand Stephen King Experiment: Different Seasons(1982) (tannerwillbanks.wordpress.com)
Morgan Freeman Gives You That I-Think-I-Can-Vibe (thewishfactor.wordpress.com)
The Shawshank Redemption – Shawshank Redemption Fans Want Morgan Freeman For Anniversary Event (contactmusic.com)


Money must be durable and not likely to deteriorate rapidly with frequent handling. Bank notes, coins and cheques do not always pass this test to perfection. but they are certainly preferable to some perishable commodity.
Money must be light in weight. From this viewpoint paper money is far better than metal coins. Because f their weight, coins are limited to small change, where weight is no serious drawback.
Money must be small enough to be easily carried on the person, but not to cause accidental los. Very small gold or silver pieces were easily misplaced, on the other hand, large metallic coins presented real problems when bight amounts of money had to be transferred before bank money came into monetary use.
Money must be readily divisible into various denominations to facilitate making change, Paper money and coins accomplish this task very well.
It the value of money fluctuates violently, it will given rise to many economic and social problems, in that event money may lose its significance. Money should, therefore, be comparatively stable in value. The value of money is maintained best when the amount of money in circulation remains scarce. The proper limits to the volume of money are dictated by the needs of the economy and its stability depends largely on the central coordination and regulation.


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Q: bootstrap withword press integration I have looked online quite abit and cant seem to find an answer and hoping someone can point me in the right direction. I am a little familiar with wordpress loops but I have a bootstrap theme with several divs. Is it possible to have a div that calls the wordpress posts that expands once the user clicks? any information I find online is how to build bootstrap wordpress themes. So basically id like a post/news section that does not redirect and opens the content in the same div. I hope that makes sense.
Thank you

A: The question is a bit broad, but for instance:
1) To use bootstrap you have to add the js and css files using wp_enqueue_style() and wp_enqueue_scripts(), and hook this into the action wp_enqueue_scripts.
2) To manipulate how the post is shown it would mostly be done with CSS and javascript or jquery to hide or show html elements. Or you can find some suitable widget in jquery-ui or some other library. For the contents,  I think you have two alternatives:
I. to download the post content into the page so the content is there when you decide to show it or not based on user clicks (captured in the javascript).
II. Just download a reference to the post (like the post id) and have an ajax call download the content to be shown, also based, on user clicks.
This alternative is more complex you need to understand how ajax calls are made in worpdress and also add some security measures like a nonce that can be verified by the server. WP Ajax

A: I think you have to address this issues splitting your tasks in different aspects:

*

*In terms of design, you want to use or you are using Bootstrap.

*In terms of interaction, you can use CSS and Javascript to achieve that do you want.

*In terms of how WordPress delivery the info you have to use PHP and WordPress functions.

As far as I understand your question, you want to create kind of drop-down menu, where you have a list with your post titles and with the click interaction is going to show the content of the post.
Something like this
My advice:
- You have to understand how the WordPress loop works.
- Be familiar with the Bootstrap elements, in this case with Collapse (A combination of CSS and Jquery)
- Finally, my approach to any problem is created small tasks in this case:

*

*PHP - WORDPRESS: USE - the_title & the_content

*PHP - CSS - HTML (bootstrap): hide the_content

*Using Bootstrap create the interaction.
Let me know if I'm clear or I did not get your idea.

redpajama_set_name: RedPajamaStackExchange


text:
using System;

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    public class PoolAttribute : Attribute {

        public readonly string poolName;

        // TODO Try to use this again as soon Unity updates to newer mono
        //public PoolAttribute(string poolName = CodeGenerator.DEFAULT_POOL_NAME) {
        public PoolAttribute(string poolName = "Pool") {
            this.poolName = poolName;
        }
    }
}

redpajama_set_name: RedPajamaGithub


For those of you interested in 3mm scale modelling , a good place to start is to join the 3mm Society . You will find details of how to join along with the products on offer and support from local groups and meetings.
Above is a picture of meeting of the 3mm London Area Group held at the Model Railway Club HQ, Keen House.
Have you ever thought how the kits provided through the Society come to fruition?
Through Martin Finney a number of his etches have been provided in 3mm scale including LSWR T9 and Watercart tender,61xx, GWR 3000 gallon, 2721 pannier.
The etches are produced as sheets on a roll and then have to be identified,cut up and sorted into individual kit parts, then packed and labelled.
Castings for all the kits have to be procured too. Whitemetal or 3D printed?
So many decisions so much work, the work for the many done by the few.


This Regional medical center in east GA is currently seeking a board certified/board eligible Trauma Surgeon to join our team as we move towards ACS Trauma Level II designation. Candidates have the opportunity to be part of developing this program, along with the trauma Medical Director and other local trauma experts, to define ideal schedules and protocols consistent with the ACS guidelines. Candidates should be fellowship trained and BC/BE in both General Surgery AND Surgical Critical Care. This opportunity is affiliated with a well-established, well-known, and busy surgical practice that is also experiencing significant growth. Practice focuses on all aspects of general surgery and provides trauma call for Level III unit until Level II unit goes live.
The Hospital is offering a competitive compensation package to the incoming physician including salary, benefits and relocation, as applicable.
According to 2012 US Census estimates, the county population was 197,872 and is the principal community of Metropolitan Statistical Area, which as of 2010 had an estimated population of 556,877, making it the third-largest city and the second-largest metro area in the state after Atlanta. It is the 116th-largest city in the United States.
Nestled on the banks of the mighty Savannah River, the Garden City is a blend of Southern charm and city fun. Arts and culture. Shopping and fine cuisine. Dynamic recreation. In no time at all, you'll understand why our community is the best-kept secret along the Savannah River.


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Surreal Sparks: The Legacy of Meret Oppenheim
Kathleen Buehler
Special issue. SWITZERLAND–RUSSIA: ON THE CROSSROADS OF CULTURES
THE GREAT SWISS ARTIST, POET AND THINKER MERET OPPENHEIM WOULD HAVE CELEBRATED HER HUNDREDTH BIRTHDAY ON 6 OCTOBER 2013. IF THIS WERE NOT SUFFICIENT REASON TO BRING OUT OUR COLLECTIONS AND TAKE ANOTHER INTENSE LOOK AT THEM AFTER THE MAJOR RETROSPECTIVE EXHIBITION IN 2006, TODAY THE QUESTION IS - WHAT STATUS CAN HER ART CLAIM AGAINST THE BACKGROUND OF RECENT ARTISTIC OUTPUT FROM SWITZERLAND?
Taking an interest in Meret Oppenheim means studying a fascinating personality and a diverse oeuvre, which has lost nothing of its vitality and depth today. Everything that makes an impact in contemporary art - whether inter- or transdisciplinary approaches, or thematic variety and the freedom to select an individually suitable form and materiality as well as the optimal medium without adhering to any form of stylistic uniformity - has had its way paved by Oppenheim's work. The artist did not remain faithful to any one style or movement but was true to herself; she was bold enough always to address a new theme using a fresh pictorial language. Such intellectual flexibility and artistic self-determination appear exemplary, but this does not mean that she actually set out to be a role model. She was regarded as an inspiration to many women artists because of her own career and her publicly recognised emancipation from the historical movement of Surrealism, which was recounted in numerous interviews. Yet, by contrast, many reviewers perceived her and the "Fur Cup" either as a "one-day wonder" or merely as "Little Meret", a Surrealist muse. But this is a one-dimensional impression and, after numerous exhibitions, one that is impossible to uphold.
The Impact of an Unswerving Character
Wider public perception and an increasing appreciation of Oppenheim's creative oeuvre developed in the late 1960s and 1970s. This international rediscovery was initiated by a retrospective in Stockholm's Moderna Museet in 1967, which was followed by a touring exhibition in 1974-75. The solo exhibitions provided impressive evidence of the work's wealth and force of renewal: its unity in diversity and constancy in change. In addition, the art of the 1970s made access to Meret Oppenheim's encoded art easier. According to Harald Szeemann, 1970s art was becoming increasingly content-oriented, so that in 1972 he was able to herald documenta 5 under the motto "Individual Mythologies". At that time Oppenheim was not invited to participate in the exhibition in Kassel, but in 1982 she was included in documenta 7 by Rudi Fuchs. Therefore Meret Oppenheim was one of the few female artists of her generation to experience international recognition during her lifetime.
The city of Bern was only a limited source of creative inspiration. Oppenheim had kept a studio there since 1954 and she lived in the city from 1967 onwards. In the 1950s she had needed some time to find her way into the circle of Bern-based artists. There was some rich artistic stimulation in the 1960s thanks to the varied programme of exhibitions at the Kunsthalle organised by Harald Szeemann. This environment provided Oppenheim with many artistic stimuli and enabled her to explore international tendencies. Although there was exchange among the artists, Oppenheim's late oeuvre was noticed and taken seriously only on the periphery. Not a single work was sold, for example, at her first (and for some time only) solo exhibition in 1968 - a year after her retrospective in the Moderna Museet in Stockholm - in the Galerie Martin Krebs in Bern. Here, the old prejudices against female artists were obviously at work. Subsequently, in the 1970s when discussion of feminine art burgeoned, Meret Oppenheim participated with a keen mind and an extremely decisive attitude. She championed Carl Jung's ideal of androgynous creativity, whereby male and female aspects are both at work: she believed that these needed to be integrated by every person to the same extent, regardless of gender. Due to her consistently practised socio-critical and emancipatory attitude, she became a figure of feminist identification in the context of the women's movement, and a model for the younger generation of artists.
Meret Oppenheim's interests are clear from the topics she took up repeatedly in her works. She was concerned with the connections and boundaries between nature and culture, with the relations between the sexes, and with contradictions and comparisons between dream and reality. Her works are characterized by polarity, which she analyses or, wherever fitting, combines to create a new unity.
Charismatic Work
In many texts Oppenheim's charisma and cultural-political significance as a public figure overshadow any investigation of her works. Regarding the outstanding features of her creative work, apart from those characteristics already mentioned, what stands out is her diversity of styles, which many interpreters link to her non-conformist personality. In her painting and drawing there are realistic figurative representations resembling "veristic Surrealism" and, parallel to them, organic abstractions. But there are also mixed forms, like the oil painting dating from 1934 titled "La nuit, son volume et ce qui lui est dan-gereux", or the mysterious lunette "Three Black Pears" (1935-36). In these early examples, one cannot be certain whether geometrical or organic bodies are being drawn realistically or whether one is seeing the poetic depiction of abstract themes. Besides these examples oscillating between figuration and abstraction, there are also material pictures such as "Building" (1935), the drawing of which was produced by sticking straw onto the surface. Generally, it may be said that free combinations of realistic-figurative painting style, material collage and geometrical-organic abstraction emerge increasingly in the later work, with an obvious reflection of Pop Art in the 1960s and 1970s.
Viewed critically, one could also interpret the wealth of styles as an inability to develop a personal signature, or as artistic "uncertainty" and a relativising attitude. For Bice Curiger however, the author of the first monograph on Oppenheim, it is this very artistic openness that demonstrates the contemporary relevance of the work, especially as she sees it primarily as an insistence upon freedom of expression. Thus as early as 1975, in conversation with Valie Export, Oppenheim stressed: "The idea appears in the garb of its form."1 It remains open as to how Oppenheim senses this agreement between form and content; it is only clear that, in each case, she accepts the shape as being suitable and trusts in the correctness of her idea. She has free access to the full armoury of possibilities of visual expression and, to retain this, she accepts some simplicity of pictorial vocabulary as well as of composition. This simplicity is due to the certainty of the imagination of an image, which is based on the fact that Oppenheim reproduces inner images in a way as true as possible to their appearance in her mind. Her works are characterized by loyalty to her own visions rather than to notions of how art should look. Therefore we cannot read their artistic development from the works themselves.
Instead, a tendency towards "objectifying alienation"2 is characteristic of Meret Oppenheim's paintings and objects, according to the author Helmut Heissenbuttel. This transforms an act into an object, but leaves it visible to the extent that one can always recognize it and remove it from the new context again in one's mind. There is a re-formulation of the context into which the objects and pictorial motifs are embedded, as well as their reference to the world or to everyday reality. Heissenbuttel emphasises that in this way "nothing is actively assembled, but the fragments of a brave, new, strange world" come together. The artist produces a new relationship "between those things that are logically and in reality unrelated, and in the output of this relationship a new reality and logic emerges".3 In many of her works Oppenheim contrasts contradictory positions such as male and female, eros and logos, feeling and understanding, or nature and culture. Here, her foremost interest is not in weighing opposites against each other or in devaluing them, but in the dissolution of these contrasts in a third something, just as this played a part in her thematizing of the androgynous.4
Oppenheim and Surrealism
Meret Oppenheim developed an ambivalent attitude to Surrealism in her later years. She had been disappointed by the spiritual stagnation of the circle around Andre Breton after World War II, and didn't wish to share its political views. A year before her death, she wrote about this process of distancing: "I despise labels. Above all, I reject the term 'surrealist' because it has not had the same meaning since the Second World War as it did earlier. I believe what Breton wrote about poetry and art in his first manifesto in 1924 were some of the most beautiful words ever to have been written on the subject. By contrast, I feel quite sick when I think of all the things making reference to Surrealism today."5
Surrealism expert Werner Spies sees the disconnection of Oppenheim's work from the movement as a separation from the sphere to which it ultimately owes its impact and significance. But why should the fame derived from the "Fur Cup" be dubious in any way? It is understandable that Oppenheim still felt too young after her creative crisis to be reduced solely to her pre-war production and the effect of her youthful body as seen in Man Ray's famous photographs, and this is important for the further development of her work. According to Spies, however, she remains "an important figure of the heroic period of Surrealism". But the famous "Fur Cup", for Spies, is an impressive example of surrealist fetishism: the functional idea is torpedoed by its covering of fur, the useful value of the object is attacked, and the contemporary design of the cup is subjected to irony. Here, form does not follow function but questions it.
The very style of Meret Oppenheim's objects with their unique deviations from original usage - resembling quirks of nature or rarities - concretizes the logic of cabinets of art and wonders. The objects "Gingerbread Monster Chair", "Box with Little Animals", "Gloves" with their red veins on the outer skin, or the embroidered and painted "Evening Dress with Bra-Strap Necklace" are precious rarities. Due to their meticulous decoration and crafted designs their effect is one of collector's objects in the sense of a cabinet of wonders. The way of thinking behind this nostalgic view betrays an interest in symbolic or magical ideas. In this, with reference to those cabinets customary in the Renaissance and the Baroque, there is a manifestation of doubt in man's belief in progress and rational explicability, which is celebrated by Surrealism. This effect, nurtured by the fantastic and the alienating, relies on a constant overcoming of expectations. Like Marcel Duchamp with his contemporaneous ready-mades, Oppenheim's objects are overwhelmingly simple and - apart from the later editions - consist of unique works. Any series would have led to a style or "look", and would have undermined the wealth of associations they still arouse today. Entirely in the spirit of Surrealism, therefore, Meret Oppenheim represents an attack on the concept of usefulness, doubt in a belief in technical progress, and belief in freedom as a form of existence. She rebels against a bourgeois style of life - above all with respect to the classic understanding of female roles - and exhibits a fundamentally rebellious attitude.
Outwardly, Oppenheim also retained links with the historic movement, as she participated in most international Surrealism exhibitions in the years 1933 to 1961, as well as publishing works in surrealist magazines and other publications. Despite the artist's statements of rejection, surrealist ideas remain the decisive precondition to Oppenheim's work. Thus the unmistakable nature of personal experience and artistic expression are among the passionately represented convictions in the work of Meret Oppenheim as well as in Surrealism. Surrealism also cultivated a pluralism of styles and did not lead to a binding stylistic means in itself. The central aims of the movement are rather spiritual in nature and, like Oppenheim's work, consist of an attitude rather than, for example, formal-artistic rules. Surrealist art is not a matter of transparent art, easily accessed by the intellect; Surrealism cultivated a tendency towards the enigmatic and the hermetic. Its representatives, like Oppenheim, defend themselves vehemently against any explanation or flattening of the irrationality that they conjure up.
The Genealogy of Sparks
In 1929 Walter Benjamin paid tribute to the Surrealism of the First Manifesto (1924) as an important European intellectual tendency, precisely because of its radical concept of freedom and its ideas based on practice: "the sphere of poetry was here explored from within by a closely knit circle of people pushing the 'poetic life' to the utmost limits of possibility".6 Surrealism, wrote Benjamin, is not about literature or theories, but about experiences that amount to the profane by contrast to religious enlightenment, a "materialistic, anthropological inspiration", which renewed European thought. Surrealism centred around "winning over the forces of ecstasy for the revolution" by means of surrealist aesthetics, which operate in a dialectical way and lead us to recognise "the everyday as impenetrable" and "the impenetrable as everyday".7
In Benjamin's statements, the reference to practice emerges through this very radicalisation of the poetic. Today, as in the 1920s -as formulated in the words of the lyric poet Durs Grunbein - "the dream [lends] poetic density to existence".8
In an age of disappearing scientific certainties, when no single universal truth continues to dominate; in an age of shrinking security in the working world, in economics and politics, when the self-confidence of the individual is thus torpedoed even more, as shown by sociologist Richard Sennett in his study of "flexible human beings", once again the dream is becoming the sphere in which a counter world is designed, one in which society and reality must measure themselves against different concepts of the cosmos. In this interim sphere between the remains of the day and proclamations of desire, we can formulate such things as utopian or socio-critical ideas in addition to the customary, utilitarian principles that dominate our everyday world, just as the subconscious is dominated and eroded by the consumer industries.
Letter interview with Valie Export, reprinted in: exhibition catalogue, Bern 2006, pp. 136-38.
Helmut Heissenbuttel, 'Grosser Klappentext fur Meret Oppenheim' (1975), in: Bice Curiger, "Meret Oppenheim. Spuren durchstandener Freiheit", Zurich 2002 (2nd edition, 1982), p. 127.
On this, see the multiplex analysis of the manifold forms of the androgynous in Oppenheim's life and work by Josef Helfenstein, 'Androgynitat als Bildthema und Personlichkeitsmodell. Zu einem Grundmotiv im Werk von Meret Oppenheim', in: "Meret Oppenheim. Legat an das Kunstmuseum Bern", ed. Josef Helfenstein, Kunstmuseum Bern 1987, pp. 13-30.
Francois Grundbacher, 'Entretien avec Meret Oppenheim', in: "Beaux-Arts", No. 18, November 1984, p. 32.
Walter Benjamin, 'Der Surrealismus. Die letzte Momentaufnahme der europaischen Intelligenz' (1929), in: "Angelus Novus, Ausgewahlte Schriften", vol. 2, Frankfurt a. M. 1988 (4th edition, 2011), p. 201.
Ibid., p. 212 f.
Durs Grunbein, 'Aus derTraum (Kartei)', in: "100 Notizen - 100 Gedanken, Nr. 65: Durs Grunbein", published on the occasion of documenta 13 in Kassel, Ostfildern 2012, p. 31.
GLOVE. 1985
EDITION NO. 85/150. EDITION FOR PARKETT MAGAZINE 4 (1985).
Painted suede goatskin, piped and decorated with silkscreen. 22x8.5 cm. Kunstmuseum Bern, donated by Ruth von Buren © 2012, RUSSIAN AUTHORS' SOCIETY, Moscow
BUILDING. 1935
Black velvet paper on plywood, straws 50x50 cm. Hermann und Margrit Rupf-Stiftung, Kunstmuseum Bern © 2012, RUSSIAN AUTHORS' SOCIETY, Moscow
THREE BLACK PEARS. 1935-1936
Oil on canvas 39.5x55.8 cm. Kunstmuseum Bern, Hermann and Margrit Rupf-Foundation © 2012, RUSSIAN AUTHORS' SOCIETY, Moscow
EVENING DRESS WITH BRA-STRAP NECKLACE. 1968
Mannequin torso, glass-bead necklace, oil paint, bits of glass. Height 145 cm. Collection Pictet & Cie, Geneva © 2012, RUSSIAN AUTHORS' SOCIETY, Moscow
OBJECT (LE DEJEUNER EN FOURRURE). 1936
Fur-covered cup, saucer and spoon; cup – 10.9 cm diameter;
saucer – 23.7 cm diameter;
spoon – 20.2 cm long;
overall height 7.3 cm
New York, Museum of Modern Art (MoMA) © 2013. Digital image, The Museum of Modern Art, New York/Scala, Florence
BOX WITH LITTLE ANIMALS. 1963
Small box with sliding cover, interior painted in oil, Italian bowtie pasta 25 x 15 x 9.9 cm. Kunstmuseum Bern, Verein der Freunde © 2012, RUSSIAN AUTHORS' SOCIETY, Moscow
GINGERBREAD MONSTER CHAIR. 1967
Velvet on maple wood with wool pillows by Lilly Keller 92,8x44x38,7 cm. Kunstmuseum Bern,bequest of the artist © 2012, RUSSIAN AUTHORS' SOCIETY, Moscow

redpajama_set_name: RedPajamaCommonCrawl


text:
Houston Brookfield Properties outlines preliminary expansion plans for ...
Houston Cafe Express expanding Houston presence with location ...
Houston Conroe ISD sets 2023-24 school calendar
Houston Life sciences companies lead wave of relocations ...
Houston Local fiber optic internet company Tachus takes ...
Oak Ridge North approves groundwater permit renewal
By Andrew Christman | 3:50 PM Oct 15, 2019 CDT
The Oak Ridge North City Council met for a regular meeting Oct. 14.
The Oak Ridge North City Council unanimously approved a renewal of its permit with Lonestar Groundwater Conservation District for 2020 during its Oct. 14 meeting.
The renewed permit allows the city to withdraw 108,437,366 gallons of groundwater annually and was recommended by public works director Joe Sherwin.
According to Sherwin, the permit accommodates the 30% groundwater reduction to which the city is committed while maintaining the city's ability to produce 70% of its annual need without having to rely on the San Jacinto River Authority for delivery of surface water.
"There's going to be hiccups in our groundwater, and there's going to be hiccups in our surface water," Sherwin said. "It gives us a source of redundancy without paying immediately for the surface water. It is not going to hurt us because we are going to be ready for that."
If the city uses more than its allotted amount of groundwater, it will be subject to higher rates and potential fines.
By Andrew Christman
Andrew joined Community Impact Newspaper in early 2019 after moving from Indiana. He is a 2015 graduate from Indiana State University, where he received degrees in English and journalism. He has written for a number of small town publications throughout his career as a reporter.


Repair your broken or damaged dock connector. This service will fix your iPhone 4S if you are experiencing the following problems: the iPhone will not sync to your computer, the pins in the dock connector are bent or broken, or a small amount of liquid came in contact with the dock.
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This service is for you if your iPhone 4S Dock connector is damaged. If you are unable to charge your iPhone 4S , sync it to your computer, or if the pins in the dock connector are bent or broken, this dock connector repair service will get your iPhone up and running. Simply add this item to your cart and choose one of our many shipping options to get your iPhone on the road to repair!


In his college days, Stepehen took up skydiving and competed on the UC Davis team.
While working for the U.S. Fish and Wildlife Service, we sold our former home in Boston and were fortunate to buy a house outside of St. Helena that just happened to come with an already-planted vineyard.
While visiting family in San Francisco, we came up to the Napa Valley on one of our trips. We really enjoyed a bottle of Villa Mount Eden 1974 Cabernet Sauvignon and promptly bought our very first case of stellar Cabernet and shipped it back East.
Both being very small vintners, we reached out to Rick Jones of Jones Family Vineyards for advice on how best to market our Cabernet.
The people we meet who purchase our wine and then become friends rather than just customers.
Shipping our wine to members who live all over the U.S. and working with distributors.
We farm our vineyard using sustainable practices, including a no-till cover crop under the Napa Green program. We also participate and donate our wine to a number of health-related charities in the Napa Valley and around the country.
Even a winery as small as we are – 200 cases a year – can be successful in the Napa Valley.
I would be retired for the second time and doing more traveling and wine tasting in the Napa Valley and other wine regions!
My father, Teddy Roosevelt and Aldo Leupold . Aldo is considered the father of wildlife management and environmental ethics.
Be prepared to work hard both in growing grapes - after all, it's farming - and marketing your wine. A great wine rating is not the silver bullet!
In my carefree college days, I took up skydiving and competed for the UC Davis skydiving team.
Even a winery as small as we are can be successful in the Napa Valley.


Saxophone and Clarinet Lessons for Kids and Adults in Seattle!
Our private saxophone and clarinet lessons generally start from age 8 onwards. Earlier than age 8, a student typically does not have the lung capacity and strength to handle these instruments. Our saxophone and clarinet instructors are proficient on both instruments so a student can start with clarinet lessons if they wish and switch to saxophone lessons without having to change instructors. Our saxophone and clarinet instructors actively perform in all types of bands and ensembles and as soloists. Saxophone lessons and clarinet lessons are offered in 30 minute, 45 minute and 1 hour lengths.


Welcome to Houston Alteration Shop, the professionals in tailoring, alterations, and Ameritalia Exclusive Clothier. Click here to find out more today.
Online shoe shop based in Dublin stocking a wide range of specialist shoes and boots. They stock the latest converse all star trainers and shoes.
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Stunning underwear collection, bras and knickers, beautiful corsets and bustiers, luxury swimwear, elegant gowns. In our gorgeous nightwear each night can be exceptional .
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Bikini Catalog contains a wealth of information about Bikini with our comprehensive list of Bikini articles.
Insist on your favorite designer perfume. Aren't you worth it?
If you're looking for a second opinion on outfitting your wardrobe, the Fabulous Fashion Sense is the place for you. Our writers have a keen sense of what works and what doesn't in the world of fashion.
Swimsuits For All has a large selection of designer skirtini swimwear. Now is the time to get your summer swimwear.
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Total records: 300 - Items 1-25 out of 300 displayed.


The Diversity Awards Program rewards and recognizes outstanding commitment to diversity at the University of Arkansas.
Coordinated by the Employee Development Program, awards are given to employees annually and announced at the Employee Awards Banquet in October. Nominations are solicited and an independent judging committee determines the winners. The deadline for nominations is August 1.
Completion of the Diversity Certificate Program is a factor used in judging.


Inspire learn teach accept with this wall decal. This is perfect in any learning facility including schools for all age children.
Suggested space fit: School,Home, Nursery, Playroom, Kindergarten, Play Centre.


In 1931 Ottorino Respighi began composing the music for his most ambitious theatre work: Belkis, regina di Saba. The ballet describes the journey of Belkis, the Queen of Sheba, to Solomon, the King of Israel, with whom she was in love. She travels with a large caravan including elephants, camels, slaves and many valuable treasures, through the desert. Kimura has arranged this colourful Oriental suite for wind band.


If you're not from Washington State, you might only know of Adam Smith for sponsoring HR 4192 – Due Process and Military Detention Amendments Act, a laudable act, to be sure. While it was hardly major news in March when he introduced the bill, news of his sponsorship piggy-backed on the momentous occasion of US District Judge Katherine Forrest's ruling that, "that Section 1021 of NDAA was facially unconstitutional — a rare finding — because of the potential that it could violate the 1st Amendment" (LA Times, May 18, 2012). Smith gets his mention way down at the bottom (similarly in coverage elsewhere, as well). Sadly, his attempt to protect citizens from indefinite military detention without due process failed 182-238.
Breaking news re: the 2012 National Defense Authorization Act that President Obama signed under cover of the New Year festivities in hopes that a hungover populace would maybe not notice. This might just put a wrinkle in the 2013 NDAA that goes up for a vote in the House today (Thursday, May 17, 2012).
So, here it is, Saturday morning, and I'm scanning the headlines through Google Reader while downing my second cup of java. There's lots of news in which to be interested, of course. Most of it I can just click on and, voila, there it is. Now and again I'll bump into a paywall. That's okay (or maybe it isn't?). The publishers need to make a buck somehow, right?
Forget free speech. What does clicking "Like" on Facebook even mean?


Bernie Sanders on ISIS: "This Is A War For The Soul Of Islam"
CANDY CROWLEY, CNN: Senator Sanders, I think it's fair to say and describe you as a dove, but you have also warned that you think ISIS is a dangerous and lethal operation and needs to be stopped. Tell me as you look at what's happening now, and that is that while the air assaults continue and have some effect on their targets, they don't seem to be slowing ISIS in any way. What's your next move?
SEN. BERNIE SANDERS (I), VERMONT: Well, Candy, I think the main point being made is of course ISIS is a brutal, awful, dangerous army and they have got to be defeated. But, Candy, this is not just an American problem. This is an international crisis. This is a regional crisis. And I think the people of America are getting sick and tired of the world and the region, Saudi Arabia and the other countries saying hey, we don't have to do anything about it. The American taxpayer, the American soldiers will do all the work for us.
Most people don't know is that Saudi Arabia is the fourth largest defense spender in the world, more than the U.K., more than France. They have an army which is probably seven times larger than ISIS. They have a major air force. Their country is run by a royal family worth hundreds of billions of dollars.
CROWLEY: Sure. But they have shown no sign at all that they want to go in and neither have the Jordanians although they seem a little more interested or the Turks. And so I'm just wondering since everyone agrees there needs to be ground forces of some sort that are effective, whether if those Arab nations don't step forward as you want them to do and come in on the ground, does the U.S. then pull out its air strikes? I mean, how would -- how do you handle that?
SANDERS: Well, here's -- the question that question that we have got to ask is why are the nations in the region not more actively involved? Why don't they see this as a crisis situation?
Here's the danger, Candy. If the Middle East people perceive this is the United States versus ISIS, the West versus East, Christianity versus Islam, we're going to lose that war. This is a war for the soul of Islam and the Muslim nations must be deeply involved. And to the degree that developed countries are involved, it should be the U.K., France, Germany, other countries as well.
SANDERS: ...which is falling apart. The need to create jobs in America. We can't do it alone. It has to be an international and a regional coalition.


In simple words, it was a March Friday, a Spring Friday, a Good Friday. It was at 2:46 pm, on a Good Spring Friday people were supposed to be busy doing their jobs in full swing so as to have a Good Friday Celebration, moreover in spring- the king of seasons, the harbinger of rebirth, renewal and regrowth. Such a jovial environment- each and every fellow could have enjoyed in Japan, couldn't they? But, to human surprise and shock, no-one had ever imagined how heartless the mother nature could turn and shatter and sweep away the sweet smiles on the lips, the great hopes in the hearts and the beautiful plans in the minds in a jiffy instead of showering motherly LOVE as a Special Spring Gift. Hence, the Friday next to doom's day to the localities in Japan was UNFORGETTABLE. It was a HORRIBLE GOOD SPRING FRIDAY to the Japanese!
Nature's wrath over spring blooms!


text:
Sir Samuel Ferguson
Sir Samuel Ferguson in the Ireland of his Day by Mary Catharine Guinness, W. Blackwood and Sons, Edinburgh and London, 1896
(1810–86). Irish poet and scholar Samuel Ferguson helped to popularize Irish folklore for a mainstream 19th-century audience. His poetry greatly influenced William Butler Yeats, who believed that Ferguson was "the greatest poet Ireland [had] produced."
Ferguson was born on March 10, 1810, in Belfast, Ireland (now Northern Ireland). While studying law at Trinity College in Dublin, he began writing poetry. He published his first poem, "Forging of the Anchor," in 1832. Six years later Ferguson was called to the bar. His legal practice prevented him from writing any significant verse until 1845, when he published both the ballad "The Vengeance of the Welshman of Tirawley" and the elegy "Thomas Davis" to great acclaim.
Although Ferguson was quite successful as a lawyer, he devoted much time to the study of old legends of Ireland. In 1864 he published a book of verse entitled Lays of the Western Gael, which contained poems about the deeds of legendary Irish heroes. The book was highly praised and earned Ferguson an honorary doctorate from Dublin University.
Among Ferguson's other works are Congal (1872), an ambitious epic poem about a brave, but doomed, Irish king, and Ogham Inscriptions in Ireland, Wales, and Scotland (1887), a scholarly study of ancient writings. Ferguson was knighted in 1878 and elected president of the Royal Irish Academy in 1881. He died in Howth, County Dublin, Ireland, on Aug. 9, 1886.


Armed Services YMCA Fort Leonard Wood (FLW) is currently hosting its 2nd annual online auction. This auction has a wide variety of items up for bid. Autographed sports memorabilia, travel accommodations, and gift cards are just a few of the items available!
The travel section of the auction is especially impressive! There are 13 travel experiences in the category to bid on.
To better serve the soldiers and families of Fort Leonard Wood, the Armed Services YCMA branch there has moved its operations back on post. The new location will allow all current programs to continue and will allow additional programs to begin. Located in building 493 on Replacement Ave., the new facility is now up and running. The Fort Leonard Wood community is invited to stop by and see the new space.
Dixon, Mo. —April 13, The Armed Services YMCA has held their annual Fabulous Fakes Benefit Luncheon. The luncheon was held at the Pershing Community Center on Fort Leonard Wood for an excited crowd. The YMCA raises funds for 30 programs each month reaching over 10,000 participants in 2011. Additional funding is given to the Raytheon Award, Women's Day, summer camps for children and also Family Camp Weekend.
Each of the volunteer groups paraded around the room in the Parade of the Stars. Participating groups were: Flo's from the 50s Diner-MSCoE, T-Birds and Pink Ladies-Balfour Beatty Communities, Mayberry F.L.W. (Andy Griffith Show)-Garrison Command, Sakura, the Geisha-Security Bank, Scuba Steve-Lynch's Furniture, Top Model- The International Group, LMFAO- 3rd Chemical Brigade, Bombs Away- Fort Wood Hotels, Jersey Shore- Mid MO Credit Union, "Curl A Girl"- The Body Blasters, Edward Scissorhands- Headlines Salon, MP Angels- MP Spouses, Prom Queens- Repeat Boutique and Reporter Connie Chung.
After the parade, groups mingled around the room selling raffle tickets in an effort to raise money for the Y as well as arresting individuals and sending them to "jail".
The People's Choice awards for the Best Fakes went to LMFAO of the 3rd Chemical Brigade. Bombs Away came in 2nd with MP Angels hot on their tails.
Fabulous Fakes and the YMCA raised over $6,000 during the luncheon to help support families to attend their Annual Family Camp Weekend.
The 3rd Chemical Brigade duck raced its way to the grand prize — a $1,000 savings bond — and also took home the inaugural People's Choice Award and Trophy in Saturday's Armed Services YMCA Duck Race.


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M. Tinaz Titiz | An Example?
You are here: M. Tinaz Titiz / English / Systems Engineering / An Example?
"A company cannot profit enough to survive, to grow; its costs increase and it loses away its market to its rivals.
The companyÂ's advisor firm has analyzed the cost factors and has suggested measures to reduce them. As a consequence, the company has disemployed some of its staff, has diminished unnecessary expenses. However, no significant economy could be realized; moreover, production was cut down.