text:
Multiple Iterations: A scene from David Cronenberg's 'Existenz' (1999).
[for part one, see here.]
POST-MODERN AFFECTIVITY
What is the relation of film to our contemporary age? We live in a world today in which our affects, namely, our thoughts and emotions, whether caused from within our without, no longer correspond to the classical unities of the past. No longer do we feel like unified subjects, no longer do we chase unified objects, or act in unified plots or in unified settings. Rather, these are all shattered, and recomposed in new transvidual composites, the logics of which we are only beginning to understand. We need a cinema that can give use affects to match those we experience in our times, and to help us imagine film-worlds which can help point the way, which can help us orient in our actual life-worlds.
Science-fiction films, films of madness, amnesia, horror, dreams, drug-states, and time-travel, all these films have lead the way. They have given us the films that best capture the affective states relevant to our postmodern times. And yet, they so often seem to need to justify the structures whereby they produce these affects with tropes such as high-tech machines that allow time travel, or magical portals, or 'it was just a dream'. These films have pushed the traditional plots to their breaking points, and yet, often feel the need to recapture what they have shown us within something that can reconnect with more traditional film-logics. But what if we made films that directly attempted to speak to the affects relevant to our age, without having to justify themselves via reasonings tied to the limitations of the 'real world'? Or what if we at least gave ourselves the option?
A film-world does not need to follow the limitations of the world, and it can impact this world even if it does not share these limitations. The history of film is full of examples of powerful films that dispense with aspects of the real world. Why not aim to produce affects directly, and structure films around them, rather than only producing them openly when we can justify a link to 'the real world'? The cinema of affects does not need to imagine it is inside the mind of a mad person to produce a cinema like madness, or to imagine there are time travel machines to produce a cinema like time-travel. For to live in the world today, to hope and dream and remember, is already a form of time travel, a form of madness, it feels like this, and we can think these sensations even without the scaffolding provided by plot devices like madness or time-travel machines. Which is not to denigrate such films, for they are those which speak to us now most powerfully. But we need to learn from these films, and not be limited by the aspects of them which are swiftly seeming out of sync with the needs of the times.
Some have decried the first stirrings of the cinema of affects, the loose character formations, dissociated settings, and plots ever more baroque, as precisely that which should be resisted. And yet often these films speak more truthfully to the needs of our age than those films of the so-called 'real world.' Isn't film supposed to speak to the world we live in, rather that of the past?
Take a film such as Christopher Nolan's Memento (2000). Is not the short-term memory loss of the protagonist not an incredibly apt metaphor for what it feels like to live in our post-modern age? And yet, rather than decry the death of memory, we need to wonder, why might it not be possible to find a love, a poetry, within such a world. The protagonist in Memento learns in the end to gain agency over his seeming powerlessness, but does so in a brutal manner. But might it not also be possible to find a way to love in such a situation as well? Rather than yearn for the past, might it not be possible to wonder if there might not be room for new forms of goodness and love in such a world? And might not film be able to begin to show us how this could be possible?
Too long film has been held hostage by the notion of the character, and the main character, or protagonist, in particular. This is not to say that film does not often become more powerful when it is focused by means of a unifying perspective, a single film-consciousness that serves as a tour guide through the film-world being portrayed. Alternately, a few such perspectives, or a series thereof, may serve as a focusing device. However, these tropes should be seen as means, not ends in themselves.
While a unifying perspective of some sort is often helpful in promoting identifications of various sorts, and for unifying the filmic experience, it is important to keep in mind that these functions do not need to necessarily be anchored to a character that resembles a person in the so-called 'real world'. Why does our protagonist always need to wear the same face? Be played by the same actor? Have the same voice? Use the same name? Live in the same house? Work at the same job? Have the same set of memories, or the same set of character traits or dispositions for dealing with the world?
A character in a film is not a person in real life. A character is a means for creating a unifying perspective in a film which can orient the viewer and potentially serve as a site for potential identifications of varying sorts. A character is a function, composed of a set of variables, such as a name, a face, a voice, a point of view, a set of actions, a set of memories, each of which can remain static or change over the course of a film. In traditional cinema, a unifying perspective is always tied to the same body, voice, set of dispositions, memories, etc. In the cinema of affects, however, these all may be varied, associated or dissociated, depending upon the film-world in question.
For example, imagine two characters lying in bed with each other, making love. When they cease, and begin to speak again, we realize that they have switched names. And as they rise from the bed, they put on each others clothes. They go to each others jobs, and seem to have switched roles in life. Why is this not a possibility for cinema? It speaks to us emotionally, and we can make sense of it intellectually in a wide variety of ways, even as we realize our world does not work like this. But this does not mean we cannot be powerfully transformed by having seen such a film.
The question shouldn't be if it is realistic that people can switch like this, but rather, what it makes us think or feel, and how this resonates with aspects of the world beyond the film. So-called 'realism,' the 'reality' that resonates with a dominant image of the world, is only useful to film to the extent that it serves the production of affects. For the goal of cinema is not to reproduce the world, but to affect us. This has always been the case, and while the cinema of affects may choose at times to harmonize with dominant notions of 'reality' when it serves its needs, it also must free itself from thinking it must follow so-called realism simply because it must.
Otherwordly and semi-worldly art and theory have been incredibly powerful throughout history. The history of religions and ideologies, arts and philosophies, all this is evidence enough. Why should film do any less? No painting has ever been true, nor any novel or film. The desire to make film true is the only way to make it lie.
Likewise, the only way to make a true film today is to make it deviate from the traditional notion of the character. For example, so many of the powerful films produced today have characters which are multiple sides of the same character, shattered in fragments. A film like Death by Hanging (1967), by Nagisa Oshima, is a clear precursor of this notion. Oshima fragments the general psyche of the post-war Japanese nation into an ensemble cast so he can play the parts off each other. A character has amnesia, the others try to restore his memory by teaching him about his past, they enact it, but find they eventually need his help, the scene degrades into parody, others from outside are recruited, but then reenacting violence leads to real violence. The whole troupe shifts locations as if transported through space and time into the streets of Tokyo, onto the top of a building, then back indoors where they started. Some now see a murdered woman, others don't, then some that didn't originally see her begin to. She starts out as a victim of murder, but then she wakes up, and begins to call the protagonist brother, but why then does she act as if she wants to make out with him? If one tries to make sense of the film as one of madness, it is impossible to tell exactly who is mad, or perhaps if what we are seeing is some sort of collective, transindividual madness. But why then would they all have such an odd hallucination? And why do so many of them act so strangely, hyperbolically, as if parodying themselves?
Only as the fragmented shards of the Japanese national psyche dealing with the guilt and fear and recriminations and denail of the post-war period can the film begin to make sense. The film affects us powerfully, its statements sear our brains, its psychological probing calls postwar Japan to task to deal with its past, and yet, what we see cannot be unified with the so-called 'reality' of any individual character. For in fact, we are watching probably one of the earliest examples of a truly transindividual film. And no attempt is made to justify how it is that we are magically transported to different locations in space, whether this is reality or fantasy, or many other details whereby the film seems to deviate from so-called 'reality.' We never learn why the woman just appears inside the room with them after they first hurt her outside. And yet, the film is not in anyway incoherent. Rather, it follows an immanent logic so tight that it could not have been any other way. As transindividual fantasy, one which develops like an organism, the film is completely rigorous, and as such, it affects us'deeply.
How did we get here? Transvidual fantasy in Nagisa Oshima's 'Death by Hanging' (1967).
Such devices can be seen more frequently employed in contemporary film. For example, in David Lynch's Lost Highway (1997), two sides of a character change places in the middle of the film, such that one side of the character goes to sleep in a jail cell one night, and the other wakes up in the same cell the next morning. This could subvert the film, for it breaks the link of identification that films usually establish between spectators and a protagonist. But Lynch makes it work, because his film coheres according to a structural logic of its own that allows us to link up patterns between the characters, to derive meanings from the repetitions, mirrorings, echoings. It is not that reality is dispensed with, but rather, there is simply another reality, one with another set of rules. Thus each side of the protagonist chases a separate side of his wife, such that the film has a logic of its own, if one different from so-called 'reality.' But one with rules, nevertheless, rules which reveal themselves slowly to us as the film progresses. It is these immanent rules which determine the structure of the film, not the needs of a character, or a stereotypical plot.
If Lost Highway is a binary film, Lynch's Mulholland Drive (2001) is, in some senses a supra-individual film, for all that we see in the film is a shard of the consciousness of the main-character. Entire characters may be figments of her imagination, or reworked warpings of the world around her, according to a logic which slowly reveals itself to us as the film progresses. At no point in the film can we be sure that what we see is unfiltered reality, there are only scenes which seem more or less real than others. Characters that don't resemble each other at the start of the film slowly begin to resemble each other more as the film moves towards its primary climax.
Similarly, in David Cronenberg's Spider (2002), one crucial character slowly shifts to look like another as the film progresses, and it is by means of this shift that crucial information is revealed. In a film such as Oldboy (2004) or Cut (2004, included on the omnibus release Three Extremes) by Park Chan-Wook, it is likely that the entire film-world is as if the dream of a character not depicted in these films, which yet needs to be postulated in order to unify the character fragments who compose the 'characters' of the film. If Mulholland Drive is a supra-individual film in which some notion of a world beyond creeps through, this possibility seems to vanish in Park's films, and yet, these films retain their coherence because of the clarity of its mirrorings, plot-twists, and other structuring devices. While these may not be those of the so-called 'real' world, they increasingly feel more and more relevant as the world begins to look more and more like aspects of these films.
In another contemporary film such as Sion Sono's Noriko's Dinner Table (2005), two of the main characters are young girls who run away from home and begin to work for a firm that rents out actors to play family members for people with no families. Their father tries to find them, and comes to learn that they are now in this line of work, and that due to the dangerous nature of the people who run this organization, the only way to find a way to meet with them is to have a friend hire his daughters, and then show up in his place at the last minute. As his own daughters walk in, everyone pretends to stay in character, even as their real selves begin to leak through. When those who run the organization show up and try to break things up, things get bloody, and each person strains to play the role in the fiction they have created, and yet their original selves begin to merge with these characters, as well as their desire for new selves different from both of these. Without resorting to time-travel or amnesia, Sono has constructed a film in which there are multiple selves inside each self, fighting with each other, shattering the subject, even as these subjects are intertwined within group subjective dynamics. It becomes hard to tell individual from group subjects from parts of subjects. The film is incredibly powerful, and speaks to so many aspects of our times, such as the disintegration of the family, the attempt to develop new avatars, the need to find ways of connection in and despite our multiple selves. And it does so through and beyond traditional notions of character.
Some may say that such a film is terrible, for it destroys human subjectivity, reducing people to mere placeholders for emotions and thoughts and words which transect them. And yet, what if such a film is also exploring the potential for new forms of subjectivity? Might we simply be fearing change? Might there not be a way to make a film like Noriko's Dinner Table, not themed around horror, but rather, around love?
Perhaps the start of such an endeavor can be seen in a film such as In Love (2001), by Patty Chang. In this short two-channel video installation, one channel has Chang and her mother, the other Chang and her father. Each pair eats a raw onion together, from two sides, eventually kissing deeply as they devour the final parts of the onion. Both video-loops are played backwards, however, so that the onion emerges from their kissing mouths slowly, via reconstruction. The faces move from pained unity and uneasy intimacy, eyes burning with tears, to much safer isolation. The installation is intimate and powerful, and expresses the shared love and pain of a family, each member of which eventually becomes as many sides two onions, two channels, one experience shattered in twos and threes. The installation is nevertheless, quite short. What would a longer, more complex film of this sort look like? And might it not be necessary to fully dispense with the dynamics of development which a narrative, fictional or real or in-between, might bring?
Transvidual Affect: Patty Chang's 'In Love' (2001).
None of these films dispense with all structure to their characters. But neither are they constrained by the rules which would apply to so-called 'realist' cinema. In the cinema of affects, there are always rules, but immanent ones, ones not imposed upon the film from without, but rather, which rise from within a film's own structure. Some of these films may opt for more poetic, metaphorical, or intellectual linkages between aspects, while others opt for narratives, plots, developments, repetitions, mirrorings, similarities, etc. No matter what sort of unity a film opts form, we should judge a film not by its accordance with some pre-concieved notion of reality, but rather, what it makes us feel and think. Such is the criteria which governs decisions in a cinema of affects.
FILM-OBJECTS
Cinema does not only have unifying perspectives. It also has entities, film-objects. These entities may be parts of unifying perspectives, or they may be relatively autonomous. Objects may be relatively inert, in which case, they are rarely distinct from settings, or they may be profound, filled with meaning, like HItchcock's objects, spiritual objects, magical objects, desired objects. Characters desire objects, fight for objects, destroy objects and desire each other as objects. Objects may warp cinematic space, draw us to them, repel us, force actions on characters, create events. Objects are the exterior reflections of characters, and the concretization of the tensions in settings.
An actor picks up a knife, with intent to kill. The perspective that the character provides us with makes the act of picking up a knife feel real to us, and we can identify with his world by seeing through his eyes. The character is dynamic, the knife relatively passive, and yet it is also as if, in some sense, the knife transforms the actor, and a change comes over him.
Now, imagine the same scene, we see the actor, and then the camera closes in on the knife. But as the camera pulls back, we see that the actor has changed into a different actor now that the knife is in hand. Rather than assume that characters retain the same body over time, the knife has changed the body of the character, from a pre-murderer into a murderer. Why not express this change in this way? What prevent us from doing this? Ini the real world it is not possible to change body as one changes life-mode, but why constrain ourselves? Here the function of the character may include continuity of action, but not of body/actor.
Another possibility, often used in the films of Cronenberg, is to have an object slowly mutate from scene to scene, as if it were nearly alive or possessed by a force from beyond. Maya Deren presents perhaps one of the earliest examples of this by means of the mutation between knife, shard of mirror, and key in Meshes of the Afternoon (1943). We see something similar yet more nuanced happen in Cronenberg's Videodrome (1983), as the protagonist's gun-hand mutates each time we see it.
Things may not be what they seem: a labyrinthine play of mirrors provides structure to Christopher Nolan's 2006 film 'The Prestige.'
Such progressive mutation is part of the very fabric of the world in his later film Existenz. In Existenz (1999), there are multiple iterations of characters, scenes, actions, objects. This film as video-game about a video-game tracks the serial aspects of our contemporary world like few others. Here the video-game system which serves as the central conceit of the film serves as a device whereby to explore forms of fragmentation that speak to our contemporary life world. One could imagine such a film without the video-game device, and we should not think this would make the film better or worse, merely different. But we should also realize that if we extract the ways in which such a film deals with iteration as such, this becomes yet one more tool to be used in cinema, whether or not we justify by means of plots devices such as extremely powerful video-game consoles.
No longer should we have to ask whether or not a cinematic technique is allowed, but rather, what it produces. Why not have all the objects in a film evolve in this manner, or reflect aspects of the character? Why not change the objects in a film to reflect aspects of the action? We see some aspects of this in the manner in which directors since the begining of color film have coded some characters with a particular color of clothing, or matched the clothing of a character with that of an object in a room or aspect of a setting. Why not extract these tools and consider them all fair game? Whether or not we tie them to plot devices like time-travel or dreams is up to us, but we should acknowledge the power that mutating, multiple objects have on us today. In a time of iPhones and iPads, of objects that seem to feel and think, does it surprise us that our film-objects have become uncanny, multiple, powerful, labile?
One critic's depiction of the time loops that structure Shane Carruth's 2004 film 'Primer.'
A plot is a series of events, and events are transformations in situations. A film begins, and a situation is laid out for us, composed of parts like setting, character, desires, etc. Minor actions may occur, but an event transforms the balance of entities and forces in a film-situation. A character shifts from being good to bad, the world is rocked by an earthquake, a murder occurs, the situation changes. These are events, and we string them together into plots.
And yet, in postwar film, we see how plots may not only be linear, but rather, may be a crystal of event-parts. Time-travel films, films of madness, science-fiction, films of the amnesiac, these films scramble the linearity of traditional plots. An amnesiac exists with no past, then slowly begins to remember, just like in our postmodern age we are so overloaded with narratives and information it is as if history has disappeared. We constantly need to reconstruct it from fragments, like the amnesiac. And in a world in which the past seems mutable, and the future composed in relation to such a past, doesn't time-travel speak to the way we feel living in the present, wondering how to change who we are so as to harmonize our now seemingly multiple pasts, presents, and futures?
By means of films of time-travel and amnesia, as well as films with similar temporal structures composed of loops and other figures beyond the straight line, we have staged what it feels like to live in our postmodern age. Seeing our uncanny double stealing our memories speaks to us more vividly, in the age of Facebook, than a cowboy shooting a bad-guy on a dusty plain. We need twisted plots in which we meet our own clones, and our clones are more real than we are, and then these clones produce clones which turn out to be amnesiacs. In a hall of mirrors, which Deleuze calls the crystal-image, before and after becomes relative, and time ceases to be linear, but is more like a knot, gem, or four dimensional sculpture.
Only these sorts of films feel real to us today. This is not to wish for simpler times, for even clones can fall in love, or have radical politics. Evolution does not go backwards, nor should it. Just as uni-cellular organisms learned to work together to produce more complex life forms, humans can work together to produce transvidual entities, like language, or Wikipedia. And increasingly, this is becoming the rule, transindividuality is a radical series of new potentials for our future, even if it can also go radically wrong. Like all futures, there is great potential for good or bad. And we must learn new forms of love and solidarity for fragmented times. We live in an age in which we are all time-travelers, schizos, amnesiacs, space-travellers, if metaphorically. The question is not about going back, but learning how to make the new world livable, ethical, and just.
For as the digital age has fragmented everything it has touched, unleashing potentials for radical good and bad, so cinema must respond by finding new languages of fragmentation which speak to the needs of the times. Why must a plot follow a main character? Why not follow instead the permutations of a unifying phrase? We long to see dynamics and change, this is how a plot hooks us, we learn a situation, then we become curious to see how it will develop its potential for change. But we need not follow the old plots based on traditional characters overcoming traditional obstacles.
The time-travel machine from 'Primer': Strands of time emerge in many directions, or, does the same device simply ingress in multiple moments in time?
Take once again a film such as Mullholland Drive. The pull of curiosity that keeps us glued to this film is not the overcoming of some pre-established obstacle, but rather, to learn how the film will eventually cohere from the set of fragments which have been presented to us. What a better way to hook to the desire of a spectator to a film? Curiosity about the structure can supplant the traditional form of narrative plot. And just because the characters blur and fade into each other doesn't mean we don't care about them. The scene in the middle of the film, in which the singer on the stage collapses, is one of the most powerful in the film, and yet, we see this character for only this scene. We need to understand the power which such suspended moments, outside linear plot, can present to us.
A film is nothing more than a collection of film-elements composed so as to create a whole. Film-elements unify to form film-situations, and these are modified by film-events which link up to form film-plots. But these plots need not be linear, they can be looped and twisted via strands of time, moving forwards or backwards or something more or in-between, creating spatio-temporal short circuits in a wide variety of ways, blasting events open as they are criss-crossed multiple times by plot lines and become multiple. And as characters, objects, and settings multiply and mirror each other, short-circuits are produced, in which the very continuity of any object, character, or setting can be seen as a repetition laden with difference in a film which is fundamentally crystalline, providing multiple pathways in time, of which linearity is only one option amongst many.
Or perhaps we could even say that the same entities, objects, time-travelers and time-travel machines, perhaps stand still, and ingress in multiple moments of time, dipping into multiple strands of time like one would dip a toe into a stream? Might repetition from one perspective be multiplication from another? Many scientists have argued that perhaps there is only one photon, one light particle, in the universe, which simply bounces between many moments of spacetime. Why should film not be as strange as our realities?
And even as objects, characters, and settings may repeat, why not even events, with or without a justificatory device such as time travel? Bergman first did this in Persona (1966), when we see the same discussion from two different perspectives. In 'the real world' this cannot happen, but in the film world it not only can happen, but in this film, it must happen, for we see the conversation from two different sides, the two sides whose uneasy difference-in-sameness, sameness-in-difference, is precisely that which is investigated by the film. And in Bergman's film, we are never quite sure at which point the film actually veers off into memory, fantasy, or dream, for in fact, the point of departure is multiple. The film does not suffer from this, but rather, is infinitely stronger. For this very multiplicity is precisely the film-world which Bergman wishes to create, and which gives the film its power, that speaks to the increasingly multiply fantasmatic nature of our times. Our lack of ability to pin-point, as viewers, the boundaries between dream, fantasy, and reality in this film, all this mirrors the inability of these characters to distinguish themselves from each other. The film is a complete, interdependent gesture, and yet, it moves beyond the limitations of traditional film. Persona is a clear precursor to a contemporary cinema of affects.
Or, take a film in which there are even three takes on an event. Kurosawa's Rashomon (1950) presents us with three takes on the same incompossible set of events. Unlike Persona, we cannot simply see the film as two views of the same events, for these events cannot exist in the same world together. For Deleuze, a film like this is one of the earliest examples in film of what he calls the powers of the false. And beyond this, we can even imagine a film which is little more than a series of modifications of the same event (ie: the interruption of dinner, in The Discreet Charm of the Bourgeosie, 1972), such as we see in many of Bunuels later films.
Are these films any less powerful for being tangential to the so-called real world? For what could be more true to the reality of the period right after WWII than people who had seen the same reality, but seem to have read its meaning so radically differently? Rashomon expresses the disjuncture within reality that was part of the post-WWII age. And what expresses the futility of routine in the age of industrial capitalism, with its creepy mechanizations, better than Bunuel's absurd comedies? Life under mechanization is like a dinner party that can never come to fruition, even as it repeats its failure once and again. Comparing industrial production to dinner, this is metaphor, the very stuff of artistic creation. It is what transforms the world into film-world, and creates affects. Of course, Bunuel's film may be about much more than dinner, or industry, and here we see the polyvalent capacities of metaphor. But either way, we see how a plot can be non-linear yet potentially speak more powerfully to us than linear plots could.
Or take a more contemporary film, such as Sean Caruth's time-travel film Primer (2004). As multiple characters start to travel backwards in time, producing a doubles of themselves each time, the world begins to proliferate with doubles which emerge from the future, with knowoledge of what is to come, trying to change the past. In an age in which we can see copies of ourselves recorded on digital film or video from so many different points in our lives, always looking different than we remember, might this film be more real than 'reality'? And yet, this film is ultimately about more than just time travel, for it pursues the dissolution of trust between the protagonists in and through the use of time-travel, a world like the multiplicitous world of the present, in which selves multiply faster than we can keep track.
We see a related trope in The Prestige (2006), Christopher Nolan's mind-bending film which may or may not involve a machine that makes copies of people, or people who simply learn very skillfully to disguise themselves as one another. Which is it? The film pushes indeterminacy to the limit, as doubles proliferate. Pairs, series, lines, solids of reflections and refractions.
But is this not closer to what it feels like to be alive today? For are there not so many people like us in the world, our doubles and triples? Variations on a series of themes? Might it not be possible to find someone else with nearly the same Facebook profile as you, who likes the same music, the same books, the same politics? The world multiplies permutations on a series of themes. And in today's multi-mediascape, might we not encounter our doubles or triples at some point? Can we trust them? And can my favorite novels trust the favorite movies of my close friend that I've known for years?
Even clones can have trouble recognizing themselves: three faces of the same, Sam Rockwell in Duncan Jones' 2010 film 'Moon.'
Or take a film like Moon (2009), by Duncan Jones. This film is able to produce intense feelings between two characters who slowly come to realize they are each other's clones. The plot of the film is wound around a repeating cycle of birth and death lived by new clones in succession, until two of the clones accidentally end up in the same place at the same time, figure out that despite the changes one has gone through that they are ultimately multiple iterations of the same person, such that one of them then tries to get out of this loop. What type of plot could be more real than this in today's postmodern times?
Such a film is more truthful, more real, than anything contrived plot of a film up for an Oscar this year, a film with a plot just like the others. Such films are the real clones, zombies that drain our potential for what's realer than real. As Slavoj Zizek has argued, what is truly real is the fantasies which determine the ways we imagine our relation to the world. On such a level, films like Moon or Primer are infinitely more real than a film like The King's Speech (2010). Such films pretend to depict so-called 'reality', and yet what they really depict is tired old genre conventions repackaged in new clothes. And yet, if reality is not these genre conventions, and never was, why do we cling to them so strongly? These are yesterday's fantasies, we need those which speak today. While nostalgia has it's place, if we want to understand the future and present, we need more films like Primer and Moon, not The King's Speech.
To the cinema of affects, therefore, rather than ask whether or not the plot of a film is realistic, we should ask, what affects does it send into the world? How does a film make us feel, make us think? We do not need to have easy answers for these questions. But a good film will make us feel and think much, and we limit ourselves unnecessarily by relying upon the outdated unities of character, plot, object and setting to do this.
Some films may continue to use devices such as cloning and time-travel, and be strong because of this, but some films may eventually dispense with these devices completely. Either way, so long as the film is structured around the affects it creates, rather than correspondence with outside criteria, it is an example of the cinema of affects.
The zone: a world radically remade, from Tarkovsky's 'Stalker' (1979).
What is a setting in a film? A background upon which unifying perspectives and functions and events and plots intertwine and unfold. Why does a character have to open a door and end up in the next room? Film has freed us from this need. Why not end up in the same room as one started in? Or in a forest? Just as we need to realize that plot and character are artificial unities when it comes to film, so it is with setting. Why does the same room need to always have the same furniture? Why not change it to fit the mood of the scene or the characters?
This is not to say such shifts are necessary. But they are possible, and whether or not we develop a plot device to justify such shifts (the character is insane, the character is dreaming) is up to us. A film which uses such shifts continually may be called magical realist or dreamlike, a film which never uses them may be called traditional, and those in between, that use such shifts highly selectively and in relation to highly constrained criteria might be called fantastic (ie: a quantum fluctuation machine creates transportation between locations, but only the machine is able to do this). These three forms are all modalities of filmic creation. For a cinema of affects, these are all tools in the toolbox, tools which may be used depending upon their ability to create affects.
Of these, films of the fantastic, ones which take aspects of the dominant so-called 'reality' and warp them or modify them in various ways have perhaps the greatest potential for the cinema of affects. For example, in a film like Tarkovsky's Stalker (1979), we see an ordinary industrial wasteland transformed into an alien landscape, simply by means of camera angles, and the strange tale told by the character known as the Stalker. His belief is transferred to the other characters, so that it becomes difficult to tell whether this strange landscape truly has powers in the film-world, whether there is a mass dream or hallucination of sorts, or whether the Stalker is able to influence the minds of the others by the sheer power of his belief. Either way, the setting feels completely. A set of weeds become incredibly dangerous, full of hidden powers, such that rituals are needed to cross them without disaster occuring. An ordinary doorway in a room in an abandoned building becomes the site for the deepest wishes and fears of the main characters to come true.
Or take a film like Kubrick's The Shining (1980), in which one can open a door and see a forbidden sexual act from the past. Such a spatialization of time transforms setting as much as it transforms plot. For example, as Deleuze has argued, we see such a device employed in Resnais' Last Year at Marienbad (1961), in which the multi-doored hotel room spatializes time, each room holding what Deleuze calls separate 'sheets of the past,' even as the characters seem to jump between points of the present which never seem to line up with each other into a coherent flow.
When setting is loosed from the stabilities of the so-called 'real world', vision is liberated with it. The cinema of affects shatters the world to bits. And so it aims to suspend us before what it presents to us, to suspend its viewers judgment, so that they cannot know upon first viewing what it is they see and hear. In so many films by Tarkovsky, for example, we only learn what it is we see early on in the film once we have gotten to the end, for it is only at the end of his films that we begin to understand the lenses through which we are supposed to understand the opening segments of his films. And thus, we find that while we see and hear in the early parts of his films, he teaches us what it is to see without seeing, hear without hearing, or rather, to see and hear without knowing WHAT one sees or hears. Where does one divide between parts and wholes, foregrounds and backgrounds? Which aspects will be significant later? Nature in Tarkovsky's films seems to pulse with hidden powers, powers to give birth to the racically new, and unleash within us a second sight, a multiple-sight of radical becoming. Tarkovsky is the prophet of a radically secular religiousity of the visible world. More than anyother filmmaker, Tarkovsky has taught us how to see differently, and most powerfully, to see nature differently. Never has an earthly landscape seemed more alien than that depicted in the opening scenes of Solaris (1972). And after the first viewing, never has nature seemed to be more than it was, a vision beyond vision, a vision made radically multiple, its productivity lurking between the strands of reeds, blades of grass, a holiness beyond any religion, a holiness of this world. Tarkovsky releases more than any other filmmaker the power of the film-world to transform everything. His settings are allegories for the radical power of film.
A cinema of affects must learn from this, it must seeks to suspend knowledge for potential, to show viewers the potential for worldmaking within each and every shot, within ever bit of sound and vision. As Tarkovsky has said, we must feel the pulsing of time in every shot, and if we read this through Deleuze, we can say that we need to be able to see the power of pure difference within each shot, for difference and becoming (not to be confused with more tame forms of time) are two sides of the same. Tarkovsky presents us with a pedagogy and a prophecy in his films, in which each aspect of each image has the potential to give birth to film-aspects and film-worlds to come.
So it often is with the films of Lynch. Time invades the very atoms on the screen, for you never know where it will make a cut in reality from the future, which aspects will become meaningful in retrospect, often not due to one reversal, but perhaps many. Or what of Memento, in which every ten minutes our relation to the past reworks? Or a film like Nolan's The Prestige (2006), in which there are so many plot reversals, that each time we thought we understood how to read the past, things are once again reshuffled, until we learn to navigate the plot, as well as the relations between objects and characters, in a mode of radical suspension which opens us onto the power of a radical futurity in the present. All of these powers of film need to serve as raw materials for a cinema of affects.
-more to come!-
~ by chris on April 25, 2011.
Tags: deleuze, film, media theory, video games, zizek


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What This Mother Thinks This Generation of Children Are Missing Out On
August 21, 2019 - 9:22 am
PHILADELPHIA (1210 WPHT)- In an era when some consider education to be the top priority, one parent thinks there is not enough free time for children to grow.
In an interview with The Rich Zeoli Show, author and mother Kim Brooks explained what she feels kids are missing out on in this day and age.
"Kids have less free time, they have less time to play, they have less time to do things sort of independently, to form friendships on their own, to form relationships," said Brooks, author of Small Animals: Parenthood in the Age of Fear.
"I think that's taking a toll."
Brooks expressed her concern with the pressure put on children to get into a good college or university.
"In a winner-takes-all society, you want your kid to be a winner," Brooks said.
"I remember when I was in high school, you started thinking about college your freshman, maybe your sophomore year of high school," Brooks recalled. "I have two kids now, and I feel like people are already talking about it when they are in first grade."
"I don't like to blame parents. I am a parent. I don't think it's their fault, I think it's sort of the way we do childhood now...Kids have less free time, they have less time to play, they have less time to do things sort of independently, to form friendships on their own, to form relationships, and I think that's taking a toll."
Brooks acknowledged the importance of math, science, and reading.
"But I think a lot of the time, they come at the expense of these other things that are equally important," Brooks added.
"We've sort of adopted this viewpoint that children learn things when they have an adult hovering over them...That's not what human history and research shows."
Listen to the full interview with Kim Brooks below.
Why Parents Can't Leave Kids in the Car in the "Age of Fear"
Kim Brooks

redpajama_set_name: RedPajamaCommonCrawl


Dr. Damon Williams, senior vice president for programs, training and youth development for the Boys and Girls Clubs of America, visited campus on January 27 to talk to students, faculty and staff about living out a commitment to diversity in the 21st century. He centered his talk around the twin pillars of change that he feels are necessary in order to make this commitment (strength and love) and vouched for the importance of building both individual and institutional diversity strategies. Ultimately, his hope is that we can help to train a new generation of leaders who are fully prepared to live, lead and serve in a diverse, global and interconnected world.
In addition to his leadership role within the Boys and Girls Clubs of America, Williams has served as associate vice chancellor, vice provost, chief diversity officer and member of the educational leadership and policy analysis faculty at the University of Wisconsin-Madison. He has authored two books, "Strategic Diversity Leadership: Activating Change and Transformation in Higher Education" and "The Chief Diversity Officer: Strategy, Structure, and Change Management," the latter being co-authored with Dr. Katrina Wade-Golden. Both of these publications provide a sophisticated and nuanced approach to assist leaders with the overall process of leading diversity-themed change and developing sound diversity infrastructures and strategies.


'Beauty and the Beast' Screenwriter to Write Prince Charming Solo Movie!
Disney's live-action Prince Charming film just took a massive leap forward. Beauty and the Beast screenwriter Stephen Chbosky will pen the script and may also direct.
Little is known about this one, including whether the Prince Charming in question will be Cinderella's or Snow White's. If it is Cinderella's, then this may be a spin-off of 2015's hit live-action Cinderella, in which Prince Charming was played by Robb Stark himself, Richard Madden. It'd be nice to see Madden return to the role, but it'd be even nicer to see Lily James back on the big screen.
Besides Beauty and the Beast, Chbosky's got some serious writing cred under his belt. He penned the beloved The Perks of Being a Wallflower and then wrote the screenplay for its movie adaptation and then directed that movie, which was also beloved. He adapted his latest film, Wonder, from R.J. Palacio's novel of the same name. That's being released this weekend, and already has a solid 81% on Rotten Tomatoes. This guy's got writing chops!
Stay tuned for more coverage on how Disney will continue to reimagine everyone's beloved fairy tales. Hopefully Chbosky's got some interesting ideas for Prince Charming. Maybe he'll even give him a more convincing name!


The Trim Bin alleviates trimming fatigue and increases yield. Turn any chair into a comfortable work station. Ergonomic design reduces back shoulder and wrist fatigue. High walls keep your work contained and make clean up easy. The bottom of the Trim Bin is a 150 micron stainless screen for sifting high-grade pollen.


I'm writing this as Hurricane Irma – Cat 5 and the most powerful Atlantic storm yet – is wreaking havoc on its way through the northern Caribbean towards The Bahamas in general and Abaco in particular. The tracking path is changing daily, and it remains unclear whether Abaco may escape with a hefty side-swipe as the storm moves north through Florida. With 2 more storms already forming behind Irma, there's no better time to post an excellent Live Tracker I have recently come across.
You get a small realtime live image of Irma; large scale modelling of the predicted path that adapts with the ever-changing situation; and frequent updates. Try it and see.
As Hurricane Matthew swept its way north, leaving a trail of devastation and (in Haiti) deaths in its wake, the storm was inevitably going to hit the Bahamas badly. With 48 hours to go until it reached the northern Bahamas, Abaco was fairly and squarely in the very centre of the predicted path. Then, at the last moment, there was a slight veer to the west and it became clear that the brunt of Matthew's progress was going to be borne by New Providence, followed by Grand Bahama.
As it turned out, Abaco experienced a very turbulent few hours of punishing wind and massive waves, but early reports suggest environmental damage only; even the usual power and comms outages were sorted out fairly rapidly. Nonetheless, this was the severest weather since Hurricane Sandy in October 2012.
HOW DOES A HURRICANE GET ITS NAME?
What's in a name? Plenty if you're a hurricane. It defines you, it gives you a personality and if you're bad enough, your name gets retired.
According to Environment Canada, hurricanes were named by the year in which they occurred followed by a letter (for example 1946a, 1946b) until 1950. After 1950, hurricanes started getting female names. Male names arrived in 1979. Using names proved to be a more efficient way to communicate storms both in writing and in broadcast, as it limited confusion.
An international committee of the World Meteorological Organization chooses the actual names under a strict procedure. Six different lists of names are used in rotation. The names chosen are short and reflect the languages prevalent in the Caribbean, and Central and North America. Namely: English, Spanish and French.
Each list has 21 names — one for each letter of the alphabet except Q, U, X, Y, and Z, since those letters start few names. These lists are recycled every six years and names are replaced when a hurricane name is retired. Retiring a hurricane name is done if the storm does significant damage or causes loss of life. The World Meteorological Organization will look at the request to retire a name and makes the decision.
"Retire" is not completely accurate since the name can be reused again — but not for at least 10 years to allow for legal actions and insurance claims to run their course. In 2004, Canada got Hurricane Juan retired. It was the first time Canada had asked for a name to be stricken from the list. Juan was a Category 2 hurricane described as the most powerful storm to hit Nova Scotia and Prince Edward Island in over a century. It caused millions of dollars in damage and claimed six lives (two directly) in Nova Scotia.
If a storm season blows through all 21 names, forecasters switch to the 24-letter Greek alphabet. This happened for the first time in 2005, which saw 28 named storms.
RELIABLE CONCH WEATHER FORECASTS AT FORT MYERS FL.
Hurricanes. Extreme weather events that can strike anywhere in the world's vulnerable zones. But where are these to be found? And in those zones, is there any historical evidence demonstrating that particular areas of the world are more vulnerable than others? A recent post on the very informative ABACO SCIENTIST website includes a comprehensive map of all hurricanes recorded since 1851. This map gives a clear picture of the hot-spots and danger areas.
The source is NASA and the article may be found HERE. I reproduce the map and explanation, with acknowledgement to John Nelson and IDV Solutions. Each blue link in the explanation below will take you to a new source of hurricane information, so the article is a valuable resource as a gateway to further hurricane knowledge.
This useful and inexpensive universal weather forecasting implement flashed through on my Facebook page, unattributed. Since this gadget will hold true for any place for all time, it deserves a wider audience. Kudos to the originator, and I hope (s)he has patented the idea and will become wealthy and huge in meteorology (if not already).
Daily Posts on HOME PAGE between 23 Aug and 31 Aug 2011, during which I stopped adding to this page. In due course all that material will be moved to its own sub-page here as an archive.
Updated 25 Aug 09.30 GMT Hurricane Irene at Abaco Click me!
HURRICANE IRENE APPROACHES ABACO 24 AUG P.M.
Hurricane Irene at Abaco – projected path Aug 25 a.m. (Google Info) – Click Me!


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Premium Home Chevron icon It indicates an expandable section or menu, or sometimes previous / next navigation options. Finance
Bitcoin king Mike Novogratz has made another play to open up crypto trading — this time partnering with Bloomberg on a new index
Dakin Campbell
Mike Novogratz speaks at the SALT conference in 2015.
Reuters/Rick Wilking
This story is available exclusively to Insider subscribers. Become an Insider and start reading now.
The former Goldman Sachs trader and bitcoin king Mike Novogratz is partnering with Bloomberg LP to start an index for the crypto industry.
The fund, launched Wednesday under the name Bloomberg Galaxy Crypto Index, is made up of 10 of the most liquid cryptocurrencies.
The biggest name in cryptocurrencies is partnering with one of the finance industry's old guard.
The former Goldman Sachs trader and bitcoin king Mike Novogratz has joined with Bloomberg LP to start an index for the industry, according to a Wednesday statement from the two firms.
Launched on Wednesday under the name Bloomberg Galaxy Crypto Index, it's made up of the 10 most liquid cryptocurrencies, subject to exchange and size thresholds. Constituent coins are capped at 30% of the total and can't be less than 1%, Novogratz said in a Tuesday interview. The index will be rebalanced monthly.
Today, both bitcoin and ether, the token used on Ethereum's network, make up 30% of the index, followed by XRP, the token created by Ripple, at 14%.
"We wanted an institutional player for the whole ecosystem, and I think it's important for the crypto ecosystem,'' Novogratz said. "You're starting to see more institutional participation, and what they're looking for is this architecture — here's an index that will feel like the S&P 500 in a few months, that people can benchmark themselves against."
The launch completes a roughly five-month process begun by Novogratz. Bloomberg and Galaxy Digital Capital Management, the asset-management arm of Novogratz's cryptocurrency merchant bank, have set up a licensing agreement to share in any future revenue. The index will be owned and administered by Bloomberg, which will determine what coins go in and out at each rebalancing and act as the calculation agent.
The index looks at the broad market and chooses coins based on their market capitalization, using a rules-based methodology. Bloomberg also conducted a bottoms-up, coin-by-coin due-diligence process, Novogratz said, adding that Galaxy Digital Capital Management consulted on the methodology and guidelines.
Novogratz last year founded Galaxy Digital LP, the parent company, as a merchant bank with trading, asset-management, and principal investing businesses. His crypto journey started in late 2015, according to Bloomberg News, when he invested in ether and then left for a vacation in India. By the time he returned, the value of his holdings had soared, and he was hooked.
Novogratz is betting that price volatility and regulatory crackdowns on crypto won't be enough to stop the spread of a decentralized medium of exchange or store of value.
"This is just one more building block in the foundation, which will get, at one point, pension funds and family offices and sovereign-wealth funds all participating in the crypto economy,'' he said. "We're excited to be part of it.''
Others have tried something similar. Earlier this year, the cryptocurrency-trading platform Coinbase announced the launch of a fund to allow investors to put money into a basket or index of four of the largest cryptocurrencies. Bitwise Asset Management also operates a crypto index fund holding 10 cryptocurrencies. Both indexes are also market-cap weighted.
Even the Chicago-based high-frequency trader Hehmeyer Trading has jumped on the crypto-index bandwagon, launching one earlier this year.
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SEE ALSO: 'Put your money where your mouth is': Winklevoss twin challenges bitcoin hater Bill Gates
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More: crypto


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Paris Hilton apologises to Nicole Richie
Our friends at Softpedia announced that Paris Hilton has written an apology letter to her ex-friend and co-star of 'The Simple Life' reality-show, Nicole Richie.
It appears Hilton was persuaded by some of her close friends to put behind their conflicts and to write her a note. A source close to the blonde revealed: "Paris just wanted to call things a day after friends stepped in and told her she was being petty".
Yesterday, it was announced that Richie and Hilton's TV show, 'The Simple Life', has been canceled by Fox. According to a statement released on Wednesday, the network declared that the main reason they canceled the fourth season of the show was because of their stacked schedule.
And it appears the show will be replaced by the new run of Simon Cowell's TV talent show 'American Idol Stateside'.
But, according to National Enquirer, the real reason for dumping the show was because the heiress of the Hilton empire refuses to talk with her co-star, Nicole Richie.
"It's no big secret that Nicole and I are no longer friends," Hilton said in April. "I will not go into the details of what happened. All I will say is that Nicole knows what she did, and that's all I am ever going to say about it."
The Contender – Mora and Manfredo rematch
Nick Lachey New Cheating Allegations


June Walker | Help! I am self-employed. NOW what do I do?
I recently began working for the US Dept of Commerce on a contract basis, so I have no taxes withheld and receive no benefits. I've never been a contractor before, and thus never had to pay my own taxes, so I'm wondering if there are any self-help resources out there for me, preferably any software that will do it for me??
A word processing program cannot make you a writer. A calculator can't make you a mathematician. A software program cannot be your bookkeeper or accountant.
Switching from employee to self-employed status is daunting because nobody tells you where to start to get information — and you need a lot of information.
I recommend you start by reading a short article, such as: Is it a deductible business expense?
And then read my post Estimated Tax Payments.
If you like what you read there, I encourage you to buy a copy of my book, Self-employed TAX Solutions featured in BusinessWeek. The book answers many of the most common self-employed questions in the same easy-to-understand style you'll find in my columns.
Solutions will give you a basic understanding of what it means to be self-employed. This understanding will give you the confidence to know which step to take next.


anyone ever try S-189 for a schwarzbier?
Re: S-189 for a schwarzbier?
No, but I thought about it a few times. Sorry, I know that does not help.
I have it going in a few beers right now, Maibock, Baltic, and um a Pliney.
It does have that particular flavor. I can taste it in a Baltic, so I think you could in a Schwarz as well.
I bet you would like it. I am thinking it is pretty good with malty-ness. If you do try it, please report back.
yes. last summer. I liked it a lot - pitched the dry yeast into a vienna lager, then re-pitched that slurry into the schwarz. took it from 1.046 to 1.010. compared very well to a Kostritzer in informal tastings. i would recommend giving it a try and seeing if you like it.
for my autumn 2010 schwarz, i used dry W-34/70. just looking back at my notes, I did not like that beer as much, it went from 1.054 to 1.015, which is not quite as good attenuation, although it might have been better if the OG had been lower.
Thanks guys. Pinnah, what is the "particular flavor" you are talking about?
Redzim, what temps did you ferment at?
The last time I used this strain I wasn't particularly crazy with the results, though I have had fair luck with it in the past.
Chilled to 48F, pitched yeast, kept stable at 49-50F for 11 days, raised to 62F for 3 more days. Then crash cooled and kegged. Lagered in keg 4 weeks before serving.
pinnah, what is the "particular flavor" you are talking about?
Not sure how to describe it. I think it may be more of a smell, now that I think about it.
Yep, the smell of S-189. Not unpleasant or anything, just the same smell in beers that I have used it in.
You know, like all Rouge beers have that one particular rouge character?
Glad Red was able to speak to some experience in a Schwarzbier.
I chill to 50, then ferment between 52-54. Three weeks for me.
Is this for your own home venture or the Yellowhammer? ie, would you get a brick?
I have made five lagers with it now. It's not as malt forward as I would want for many lagers. It should do for a schwarzbier. I find it dry and crisp favoring the hops. I hope my traditional bock comes out good. I should taste it. It's six weeks old now. It seems the malt moved forward a little at six weeks with the premium American lager I made first with it. The Vienna is not yet that old but it's about how I wanted it, well balanced. It sure drops out better than any other lager yeast I've used. Other than two bocks all the beers I've made were12-13P and at FG in 7 days or so then lagering in about 10 days. Fermented 48-53F and rested at room temp for three or four days. It's from the same place as WLP885.
I'm moving on to WLP830 now for swarzbier and a dunkel, probably another pilsner too.
I bought a couple bricks and wanted to play around with it as "back up" yeast. I am using a german ale yeast for my schwarzbier right now.
No help there. I am using WY2124.
I don't think I will be using s-189 again. W 34/70 is just so much better at so many styles than W 195.


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BP Teams Up With Tesla to Venture Into Battery Storage For Windfarm
Started by Vlad Kovalenko , April 10 2018
bp/tesla/windfarm
BP has teamed up with Tesla to build its first battery storage project at one of its U.S. windfarms as part of a strategy to expand its renewable energy business. Tesla will supply the 212 megawatt/840 megawatt hour battery at BP's Titan 1 windfarm in South Dakota in the second half of this year. It operates 12 other windfarms in the United States. BP estimates renewables could account for around 10 percent of global energy demand by 2035, up from 4 percent currently.
Sean webber + 2
I would love to invest in this. Can anyone tell me how to do so?
Selvedina + 45
27 minutes ago, Sean webber said:
Personally, I wouldn't invest in much of anything right now. The market is responding to headlines and tweets and it only works for day traders who get in and out. But when it comes to Tesla, I'm not sure. I'd wait for a bigger dip before I bought it.
Thank you I really have know idea even how to invest. Just tired of watching everyone get paid but me.
I'm not an investing expert myself but even those who are would have a hard time to give advise about Tesla. This stock has defied logic for a very long time, but investors are now losing patience. If it dips enough ... in the long term, I'm sure it's a winner.
Well I am happy to see BP is slowly waking up and doing a deal with my favorite company! Hopefully, Tesla can wake up other oil majors as well.
Stormysaga + 62
I think most oil companies will be doing something different 10-20 years from now and most car manufacturers will be producing mostly EVs. Some companies will probably move too slow and die.
TraderTate + 181
11 hours ago, Sean webber said:
It means investing in either Tesla at large or BP. Tesla, as Selvedina so accurately put it, has defied the market with its stock price for a long time, but presently it's feeling a bit of heat. It's an expensive stock to buy, too. But if you've never played the stock market before, now isn't the best time to jump in. It's incredibly volatile.


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Home Politics Congress Mitch McConnell: Reparations for slavery are unnecessary because Obama was elected POTUS
Mitch McConnell: Reparations for slavery are unnecessary because Obama was elected POTUS
Will Bishop
According to Senate Majority Leader Mitch McConnell (R-KY), reparations for the horrific sin of slavery in the United States are unnecessary because Barack Obama was elected president.
At a press conference Tuesday, McConnell had this to say about the issue of reparations:
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"I don't think reparations for something that happened 150 years ago for whom none of us currently living are responsible is a good idea."
And then McConnell decided he would list all of the ways this country has already addressed slavery:
"We've tried to deal with our original sin of slavery by fighting a civil war, by passing landmark civil rights legislation. We've elected an African American president. I think we're always a work in progress in this country, but no one currently alive was responsible for that, and I don't think we should be trying to figure out how to compensate for it."
McConnell: "I don't think reparations for something that happened 150 yrs ago for whom none of us currently living are responsible is a good idea. We've tried to deal with our original sin of slavery by fighting a civil war …We've elected an African American president."
Via ABC pic.twitter.com/yGQLpeyHGz
— Kyle Griffin (@kylegriffin1) June 18, 2019
As HuffPost reports, there's an important hearing Wednesday in the House of Representatives:
The House Judiciary Subcommittee on the Constitution, Civil Rights and Civil Liberties is slated to hold a hearing on reparations featuring testimonies from actor Danny Glover and author Ta-Nehisi Coates, who thrust the matter back into the national dialogue with his 2014 Atlantic essay "The Case for Reparations."
The hearing will fall on Juneteenth, the American holiday commemorating the emancipation of slaves. It is expected to cover HR 40, a bill sponsored by Rep. Sheila Jackson Lee (D-Texas) to establish a commission to study reparations and develop relevant proposals.
But despite that, McConnell doubled down on his ridiculous remarks, telling reporters that another problem with reparations is that it would "be pretty hard to figure out who to compensate." He then added:
"We've had waves of immigrants as well who've come to the country and experienced dramatic discrimination in one kind or another, so no, I don't think reparations are a good idea."
What isn't a good idea is keeping Mitch McConnell in the U.S. Senate. He needs to be removed from office via the ballot box by voters in 2020. He will not be missed.
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Down Rembert Road - Don't Forget. The Sienna Tassel Bag is Back!
Don't Forget. The Sienna Tassel Bag is Back!
Hello. It's your conscience here. I'm writing to remind you about the return of the Sienna Tassel Bag at Viv&Lou. Listen, don't screw this up again. You really need that bag.
Remember how fashionable yet functional it was? You could hardly resist the tassel zipper pulls. It's even available in camel, so it will coordinate perfectly with almost every outfit I choose for you this fall. No more frantically swapping bags. You can spend a few extra moments each morning staring at your clothes in a coffee-deficient stupor.
You know what else I love about the Sienna Tassel Bag? It's small enough to carry through the mall or around the block. Yet, it's big enough for all of your so-called essentials, including that giant pocketbook you insist on carrying even though you haven't written a check in five years.
Plus, it's cross body style. That's so convenient when you're loading kids and groceries into the car. You might even be able to carry every single bag and package from the car to the house in one trip wearing this bag -- without nearly severing a finger or hand this time.
Speaking of severed limbs, how perfect would this bag be on Halloween night? It keeps your hands free to adjust costumes, apply face paint, dig through your kid's bag for your favorite candy bar. Oh, please. I know you do it. I'm the one who encourages it.
Viv&Lou even offers free personalization on all of their products. Free! We can afford that! There are several thread colors and monogram styles available. Personalization makes this bag all the more gorgeous. Your friends are going to be so jealous. Yes, especially that one. Maybe you can choose a monogrammed gift to give her during the upcoming holiday season. There are hundreds of products to choose from at vivandlou.com.
You can purchase them while you're online to make your car payment. Oh, no. That was due yesterday. Sorry I didn't remind you. There's no excuse for forgetting the Sienna Tassel Bag though. Buy it before it's too late!


The BabyCrate conforms to US and EU safety standards and is designed to make the implementation of the updated recommendations for a safe sleep space as simple as possible, at home and on the go.
The BabyCrate can be part of a proactive and responsible approach to preempting the risk of Sudden Infant Death Syndrome. However, it is not the only way to reduce the risk of SIDS and no single product can completely eliminate the risk of SIDS.
Learn more about the BabyCrate here.


Welcome to Platform Sales' new website! We have updated our products and the layout to create an easier browsing experience for you and your company. Having recently been named as Genie Australia's official Aluminium Machine Distributor for New South Wales and the ACT, we are determined to assist you in any way we can when you are looking for a new machine. Going into the new financial year we have secured a shipment from Genie in America of machines and have the most stock on the ground in Australia. If you are looking to improve functionality, reduce labour and minimise costs, look no further than Platform Sales Australia for your lifting needs, in any business. If you have any questions, don't hesitate to contact our experienced team on (02) 9526 1877.


I'll be doing my part to make noise for the UNH game . . .
i'll be happy as long as whoever wins this game wins the trophy. wouldnt mind NU sneaking into the tourny as a 4 seed to screw over yale!
After a crazy up and down series with bu and a Northeastern sponsored buHATEWEEK, I'm more than happy to face BC in a one and done game. I've already told myself no matter what happens from here on out I'm pretty happy with this freshman heavy squad as done.
That said, a little beanpot revenge wouldn't hurt. BC is already a lock for a #1 seed, NU will be hungry to get in for a #4.
Much as i'd like to see a NU 'Mack final.. not sure how realistic that is. BC is playing some of their best hockey at the right time.. NU still inconsistent; but gritty.
C'mon Mack..win this big one on the road.. again, advantage UNH in this match up.. they're Garden & road tested many times over and that rink is a bit larger than Lawler.. (just kidding Warrior fans :)).. but think that will be a factor.
I think we actually established a couple of years ago, (although it wouldn't be surprising if I forgot) that the game times were determined by Hockey East (not sure by what formula) and that it was actually not the #1 seeds choice.
UNH isn't Garden tested at all. They do have a lot of players who have won 1 and 2 NCAA games, which MIGHT be a factor, but they only have 3 players (the top line) who have played in the Garden at all, and none who have registered a point (Thompson and DeSimone were 4th line players and Sislo was on the 3rd line with defensive forwards Fortney and Collins). Using simply the eye test, Merrimack is a better team than UNH, and while I hope UNH can move on to lose to BC in the finals for the 4th time in 13 years....I think MC will do so. I do think we'll get 3 solid games though and look forward to it!
BC fans.. is Chris Kreider still out? I know he took a puck to the face (jaw?). Not following your thread, unsure if he was back or not.
Regardless, it'll be a shame not to see him skate in the NCAAs. He has not been too shabby at the Garden either..
I'm hoping McLauglin for NU is back as well for Friday.
One thing I like is that Muse can be solved by NU. Against NU he has an .896 save % and his record is 5-7-1. That's pretty crappy for a guy who has gone 82-31-15 against the rest of the country with an overall .918 save % against the rest of the country. NU may be the ONLY team that has a chance to pull this off. They could be bc's worst nightmare. (NU is their own worst nightmare, see EVERY beanpot since 1988 and before 1980) After the start of the season, this is beyond what I was expecting. Go Huskies!
Earliest Kreider can return would be the Frozen Four and even that is a stretch. I heard promising things about McLauglin and would not be surprised to see him on the garden ice on Friday.
Earliest Kreider can return would be the Frozen Four and even that is a stretch.
Not true. The most recent update is that Kreider could be back for the NCAA regionals.
While it's true that Muse can be solved, he looks to really be on his game. And even when he has an off night, the team seems to pick him up. BC's been in this position before where they're playing a team in the HE tourney that HAS to win and they've usually responded pretty well. This is obviously a big deal to BC even though they already have a #1 seed wrapped up. No doubt that NU can win this game, but they're gonna have to drive a stake through the Eagles.
Haven't seen one person say it's automatic for BC. BTW, BC wants this just as badly as NU.
..NU is their own worst nightmare..
..wow, did not realize he could be out a while. Freaky really that it caught him under the cage. Wishing him a full recovery regardless when he comes back.
I saw him skate a couple times with the 'other' Warriors :) (while back now..) .. special player.
Haven't seen one person say it's automatic for BC.
Expression Tommy DeVito gives after he is told to get his shinebox.
This is the post season.
This is a one and done.
The Eagles will be ready and flying.
Unfortunately, I must agree. I think NU only wins this game if it's low scoring. If we put up 7 goals, BC scores 8.
I just want a good game. I don't expect to beat BC and have no issues losing to them. Nobody on BC I dislike particularly. No qualms with York.


Mechanical exo-skeleton body suit fused to his body.
Craig Saunders Jr had been fascinated by explosives every since childhood. As a teenager, he had hoped to patent a new type of explosive, but it failed to detonate. However, when he disposed of his failed experiment in the labratory sink, it created a huge explosion which ruined the science wing of his high school. Saunders parlayed his love of detonation by attending West Point, eventually graduating and being commissioned as a US Army officer; specializing in explosive ordinance disposal. His career had been very good until one day he had been traveling in a busy airport in a big city, when he saw terrorists plant a bomb, making it look like a carelessly unattended briefcase. Realizing it was too late to defuse the bomb, Saunders kicked it into a ladies' restroom in an attempt to contain the blast, only to realize too late a woman had emerged with her infant daughter, and both were killed by the bomb blast. Saunders' Army reputation had been permanently damaged as a result of the bad press of the incident. He was eventually recruited into the Hulkbusters by Bruce Banner to hunt down a now mindless Hulk, vowing to find a way to redeem himself of his failings through doggedly hunted the Hulk, and forming a friendship with fellow teammate Sam LaRoquette. After Bruce Banner re-merged with the Hulk when he learned that the separation caused cellular degeneration, Craig found himself Hunting a New Hulk caused by an insane General Ross due to his interference in the nutrient bath process. After Rick returned to normal the Hulkbusters begin hunting the new gray Hulk, after being recruited by S.H.I.E.L.D as an advisor alongside LaRoquette, where they were manipulated by the enhanced Leader into becoming his brainwashed pawn along with LaRoquette becoming Rock and Redeemer. After being attacked by the Hulk while guarding the Leaders stolen gamma bomb, the latter killed Saunders, by throwing him on rock spikes.
Craig Saunders Jr. was a distinguished demolitions expert.
As a Hulkbuster, Saunders had access to advanced technology such as battlesuits, planes and large land vehicles outfitted with weapons powerful enough to threaten the Hulk. As Redeemer he wore an armored mechanical battlesuit that granted him enhanced human strength and durability.
He wielded a variety of powerful guns, rocket launchers and energy cannons.
The Redeemer was one of the candidates on Steve Rogers' list of supervillains to enroll in Luke Cage's Thunderbolts roster.


This page covers the author of Rodale's Naturally Delicious Desserts and Snacks.
For other authors named Faye Martin, see the disambiguation page.
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text:
New Regulations to the Malta Aviation Companies and Shipping Companies
Malta has introduced new regulations, the Companies Act (Shipping and Aviation Cell Companies) Regulations, 2020, into Maltese law on 16 June 2020, under Legal Notice 248 of 2020.
If you require more information or assistance with Malta Company Formation, Aircraft Registration or Maritime and Shipping Services, contact our team today by calling +356 2122 7553 or email us at enquiries@papilioservices.com.
New Regulations for Malta Aviation Companies and Malta Shipping Companies
The regulations create and regulate a new structure that applies to companies carrying out shipping or aviation business. Shipping or aviation business is defined as (under 84E of the Companies Act):
The ownership, operation, administration and management of a ship, aircraft, or aircraft engine, and the carrying on of all ancillary financial, security, commercial and other activities in connection therewith; or
The holding of shares, directly or indirectly as a parent company, in an undertaking established mainly to carry out the activities referred to above; or
The activities of a parent company which holds shares or other equity interests in these ventures; or
The raising of capital through loans, the issue of guarantees, or the issue of securities by an undertaking; or
The carrying on of other objects or activities within the maritime or aviation sectors which the Minister may, from time to time, prescribe by regulations.
"Mobile Assets Protected Cell Company"
The name of a cell company which is formed or constituted (or converted from an existing company) to conduct shipping or aviation business shall by necessity include the expression "Mobile Assets Protected Cell Company", or "MAPCC" (now on referred to as "MAPCC").
Formation, Constitution or Conversion of a Malta Aviation & Shipping Company as a Cell Company
A Cell Company – is a Malta company formed or converted into a cell company and creating within itself one or more cells to segregate and protect the cellular assets of the company.
Each cell of the MAPCC is assigned its own distinct name or designation
The cell shall deliver to the Malta Business Registry for registration the company's memorandum and articles of association
A cell company may create one or more cells to segregate and protect cellular assets under these regulations.
Cellular and Non-Cellular Assets
It shall be the responsibility of the directors of a cell company to keep:
cellular assets separate from non-cellular assets;
be individually identifiable between its cellular assets attributable to other cells; and
independent records, accounts, statements and other documents to evidence the assets and liabilities of each cell, as distinct and separate from the assets and liabilities of other cells in the same company.
Furthermore, the MAPCC is obliged to inform third parties that they are dealing with a cell company.
Cell Shares
Cell Shares means shares created and issued by a cell company in respect of one of its cells. The proceeds of the issue have cellular assets attributable to that cell.
Cellular dividends may be paid in respect of cell shares by reference only to the cellular assets and liabilities, or the profits attributable to the cell.
When determining whether or not profits are available for issuing a cellular dividend, no account shall be taken of:
the profits and losses, or the assets and liabilities, attributable to any other cell of the cell company
Non-cellular profits and losses, or non-cellular assets and liabilities.
Furthermore, where any liability arises which is attributable to a specific MAPCC cell, only the cellular assets identifiable to that cell may be used to settle that liability. A creditor of a cell company shall not have any rights other than the rights referred to in this regulation.
Contact Us for More Information on Malta Aviation & Shipping Companies
Harry Dove2020-07-16T09:23:06+00:00


New York: Oxford University Press: 2011. Guy Newland and Tom Tillemans in Moonshadows. New York: Oxford University Press, 2011. New York: Oxford University Press, 2011.
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