text:
Monster Portraits (Del Samatar and Sofia Samatar)
Sofia Samatar is one of the most interesting of the new(er) generation of writers of speculative fiction. Her two novels, A STRANGER IN OLONDRIA and THE WINGED HISTORIES, radically rework the conventions of heroic fantasy, both in terms of race/ethnicity and gender, and in terms of narrative conventions and questions about literariness and about the writing of history and of ethnography, not to mention questions of written vs oral more generally. Her short story collection TENDER contains stories straddling the divisions between science fiction, fantasy, and other genres; my favorite of these stories, "How to Get Back to the Forest" — also available for free download here — both moves me and freaks me out every time I (re)read it.
Sofia Samatar's new book, MONSTER PORTRAITS is a collaboration with her brother Del Samatar. It's a book of short sections: each section is a short description of a monster, or an even briefer series of mediations on what it means to search for monsters; Sofia Samatar's text is accompanied by gorgeous (& sometimes gruesome) black-and-white illustrations by Del Samatar. The overall effect is quite poetic. The short sections are mostly fragmentary or nonlinear, combining weird descriptions (weird in the sense of "weird fiction") with (real or made-up?) autobiographical reminiscences, and citations from a large number of earlier texts (these latter are listed at the end of the book; they range from a Victorian translation of the Odyssey to Frankenstein to Amiria Baraka and Aime Cesaire to Helene Cixous and Roland Barthes).
The result of all this is a text that is kaleidoscopic or dreamlike. It roams in many directions, without ever choosing just one. MONSTER PORTRAITS is a meditation on the varying senses of monsters and of monstrosity. Monsters can be scary, but also misunderstood. "Creating monsters is an act of faith." Anything that deviates from socially-imposed norms (anything, for instance, that isn't white cismale heterosexual etc) is a monster; and to identify with monsters is to "identify" with that which escapes or refuses traditional, socially-sanctioned forms of identification. But the endeavor to impose norms, to make everyone and everything alike, to stigmatize anyone who in any way is different, is also essentially monstrous. "The monster evokes, in equal measure, both compassion and its opposite."
The book moves delicately between these different meanings (or efforts to escape from meaning). Insofar as it is arranged like a catalog — each chapter describes a particular monster, both in prose and in the illustrations that are listed by number — Figure 1, Figure 2, etc. — MONSTER PORTRAITS is reminiscent of Borges's famous "Chinese encyclopedia", divided as it is into multiple, incompatible classifications.
This incompatibility is itself the real subject of MONSTER PORTRAITS. At one point in the text, Samatar warns us that: "In the realm of language, the opposite of a monster is a catalogue." The book takes the form of a catalogue that it is impossible to catalogue. Overall, I find this book pleasurably and frustratingly enigmatic: it teases me with the prospect of an overall comprehension that it continually and finally denies me. In reading it, I find myself passing through thickets of beautiful but unsummarizable prose, interrupted at times with startling pronouncements that jump out from this woven background:
"What joy to be a parasite instead of a host."
"Her heart bore a pair of claws that were useful for nothing, she told me, but scratching at itself."
"Exiles and insomniacs share this feeling: that each is the only one."
"Try as much as possible to conform and you will be saved by a wily grace. Imperfection is your genius."
And many more. Despite being such a short book, MONSTER PORTRAITS defies closure and summary.
Author Steven ShaviroPosted on March 6, 2018 March 6, 2018 Categories Art, Books, Uncategorized
Art/Money
Here is a short piece I wrote for the art group FLAME, who are having a show that opens this weekend (576 Morgan Ave Apt 3L Gallery, Brooklyn, New York — Opening Saturday November 8, 7-10 PM).
The invitation has a shortened version, but here is the full text:
In the early 1960s, alongside Campbell Soup cans and portraits of Marilyn Monroe, Andy Warhol also did paintings of dollar bills. As Warhol recounts:
It was on one of those evenings when I'd asked around ten or fifteen people for suggestions that finally one lady friend of mine asked me the right question: 'Well what do you love most?' That's how I started painting money.
Warhol elsewhere expresses his admiration for Pablo Picasso, on the basis of the quantity rather than the quality of the modernist master's work. Warhol read that Picasso had created 4,000 masterpieces; he decided to do the same. He reasoned that, given his silkscreening technique, he could make 4,000 paintings in just a single day; "and they'd all be masterpieces because they'd all be the same painting." But Warhol was quickly disillusioned. He discovered that, in an entire month, he was only able to make 500 paintings. At this rate, it would have taken him a whole 8 months to match Picasso's lifetime output. This was too boring to contemplate, and so he moved on to something else.
As for Picasso, it's been recorded that he was a cheapskate, who didn't like to spend his money if he could avoid it. So what he did was, whenever he wrote a check, he would draw a small doodle on it as well. This way, he hoped, the recipient would choose to keep a signed Picasso drawing, rather than actually cashing the check. In this way, everyone benefited; Picasso got to keep his money, and the recipient was able to sell the check for more than its face value.
Alongside Warhol and Picasso, we may place the artist J. S. G. Boggs, who combines and improves on the practices of both. Boggs' drawings and digital replications of paper money are far more meticulous and detailed than Warhol's dollar paintings. And Boggs overtly pays his bills with his work, rather than just incidentally turning his means of payment into a work as Picasso did. When he owes money, Boggs makes a picture of currency with the same face value as the amount he owes. He trades this work to his creditor in lieu of cash payment. Boggs' works do not proclaim themselves to be legal tender — which is what differentiates them from counterfeit bills. But they usually sell for more than the face value of the bills they depict.
Warhol, Picasso, and Boggs all successfully addressed the economics of the art market in the 20th century. But what does their work have to say in the 21st? Do their practices still have import for the art market today? The problem is that paper currency (Warhol and Boggs) and personal checks (Picasso) are on the verge of becoming obsolete. Only relatively poor people still use them. The middle class depends instead on credit cards and online banking. As for the One Percent (the class that accumulates the greatest share of wealth, and that also collects art), it no longer relies on paper money (bills and checks) at all. In the course of the past fifty years, we have moved from a cash economy to a credit economy — and beyond that, to an economy that is largely driven by transactions in arcane financial instruments.
The history of finance, like the history of Western painting, moves in the direction of ever-greater abstraction. The first coins were worth their weight in gold and other precious metals, because that is literally what they were made of. The figure of the king or president on the coin was only a guarantee that the one-ounce gold coin, for instance, really did weigh one ounce. Later on, coins were made from metals of lesser value, or else (in higher demoninations) were replaced by paper. The picture of the king or president now worked as a guarantee that the coin or bill could be exchanged for gold upon demand. But then, in 1971, Richard Nixon abolished the gold standard; now currency is only valuable because of government fiat (which means, in practice, that it is valuable as long as other people accept it, and the government itself accepts it for tax payments). Such is the legal tender that Warhol and Boggs simulated. And once we accept government paper, we are bound to accept paper checks as well — which is what Picasso relied on. And this development is likely irreversible, even though right-wing cranks like Rand Paul demand a return to the gold standard (and even though a Republican Congressman, some years ago, blocked the issuance of a Ronald Reagan coin because he felt it would demean the revered ex-President to have his image stamped on "scrap metal").
Money has always been something of an abstraction, because it is exchangeable for goods and services without being of any other intrinsic use. But it became far more abstract with the abolition of the gold standard — and that was only the beginning. Starting in the 1970s, corporations realized that, instead of giving raises to their employees, they could simply give them credit cards. So now the vast majority of Americans can purchase all sorts of commodities without ever actually owning them. Corporations are able to sell goods to consumers, keep the money, and eventually get the goods back as well (or at least, collect their cash value a second time). Spending goes on as usual — but the bank can foreclose at any moment. More than a third of US adults are currently being pursued by debt collectors.
The One Percent, meanwhile, can revel in ever-greater powers of fiscal abstraction. From simple interest-collecting loans, they first moved on to commodity futures options: the ability to buy and sell, and collect a profit on, goods and services that don't even exist yet. These subsequently developed into derivatives: collateralized debt obligations, credit default swaps, and even more abstract financial instruments. These no longer physically "exist" in any conventional sense of the term; they are purely virtual, numbers calculated by supercomputers. They are joined by Bitcoin and other electronic currencies, which don't have presidential images on them because they are not accepted by governments. But this is no longer considered a danger to the accumulation of value; instead, it is an opportunity, a way of evading taxes altogether.
The philosopher and derivatives trader Elie Ayache points out that advanced financial instruments are so fully abstract that they no longer refer back to any "underlying" whatsoever. They are blank forms, Ayache says, pure contingencies; traders may use them to literally "write the future." Today the "unacknowledged legislators of the world" are quants, rather than poets and artists.
In such circumstances, it follows that the only art that makes sense is art that is as fully abstract and non-referential as financial instruments themselves. The painterly abstractions of the twentieth century — seen either as pure subjective expressions, or else as pure explorations of the artistic medium itself — are no longer abstract enough. Today abstract art needs to be purged of expression, and of Greenbergian self-reflection, as much as it has been purged of extrinsic representation. It no longer makes sense even to simulate currency, as in the post-representational practice of Picasso, Warhol, and Boggs. Rather, a work of art must actually be an abstract financial instrument, rather than merely mimicking it, or referring to it, or being exchangeable for it. Consider the statement of intent of artrank.com, which "identifies prime artist prospects based on known trajectory profiles… Our algorithm is intent on assessing the intrinsic value of an artwork, not its survival value. We do not judge any works' aesthetic or emotional value." This should be understood as implying that survival values, aesthetic values, and emotional values are entirely extrinsic. They are archaic and outdated in our current economic climate. Intrinsic value can only be defined in terms of a work's functioning as a financial instrument, entirely divorced from any "underlying." FLIP ART, as The New York Times has put it, "is just about the nearest thing in today's fragmented global art scene that approximates to a coherent movement." It's only when the art is "flipped," or sold by one collector to another, that it accretes intrinsic value.
If you are hungry, you can eat a burrito. Alternatively, you can speak the word "burrito"; in that case, something comes out of your mouth instead of going in. You can also take a photo of the burrito, before you eat it; and you can write the word "burrito" instead of speaking it. We like to think that these are ways of preserving the burrito; but in fact, you can't have your burrito and eat it too. Doubtless, if Jacques Derrida were my dinner companion, he would elegantly prove to me that even my apparent act of nourishing myself with a burrito really comes down to a disavowed abstraction: a naive assertion of metaphysical presence. I can neither have a burrito, nor eat it; I will surely starve to death. But it's yet a greater abstraction when I don't even write the word "burrito," but rather inscribe it on canvas as a meaningless, iterated sign. Now, "burrito" can neither be eaten, nor spoken, nor depicted, nor even read. It has been separated from any underlying. It has no survival value as food, and no aesthetic or emotional value as a sign of food. It can only be flipped, passed in a series of sales from hand to hand (or more properly, from wall to wall, or from bank vault to bank vault).
Author Steven ShaviroPosted on November 4, 2014 November 5, 2014 Categories Art
Rethinking Modernism, Somewhat
The new issue of Speculations (#5) is now out, dealing with speculative realism and aesthetics. It includes an article of mine, which is really a preview of a section of my forthcoming book, The Universe of Things. But the whole issue is interesting, with articles by, among others, Graham Harman, N. Katherine Hayles, Jon Cogburn and Mark Allan Ohm, Matija Jelaca, Miguel Penas López, and others.
But I wanted particularly to make a short comment on Robert Jackson's article "The Anxiousness of Objects and Artworks 2" (part 1 appeared in a previous issue of Speculations) — or rather on one part of the article, since it is a rich, complex and long one. Jackson is interested in the ways that speculative realism is related to modernist aesthetics. Specifically, he writes about the art critic Michael Fried. In the 1960s, Fried (an inheritor and reviser of Clement Greenberg) famously wrote about art works and/as objects, and made a fundamental distinction between "absorption" and "theatricality." Fried's concern was to uphold the modernist tradition in painting and visual art that had previously been defined by Greenberg, and to defend this tradition against the new (at the time) avant-garde strategies of minimalism and conceptualism. Fried (allied in this with Stanley Cavell) gave an account in which great modernist artworks absorb us, and show forth as present to us, precisely by receding from our efforts to capture and contain them. Jackson notes that this is very close to Harman's aesthetics of "allure," in which objects attract us precisely by receding from all our efforts to contain and comprehend them — we can only allude to them, metaphorically and indirectly. (Harman's love for Clement Greenberg's media-specific self-reflexive formalism makes sense in terms of this aesthetic stance). The opposiing term of "theatricality," which Fried disparages and sees as the aesthetic failure of minimalism in the 1960s, has to do with the way the literal presence of the object is completely blank and empty — so that the "art" happens exclusively in the mind of the observer. Self-referring modernist works force the contemplating spectator to go outside herself, as part of the impossible task of reaching the receding artwork; minimalist works are simply "there," with a thereness that precludes any such movement.
Jackson notes that both sides in the dispute mapped by Fried are anti-anthropocentric, in the ways maintained today by speculative realism — they both concern the way that objects escape from correlation with our perceptual categories. He suggests that the two artistic movements are therefore analogous to the two major tendencies of speculative realism. Minimalism has a strategy of what Jackson calls Demonstration, the strategy of Meillassoux and Brassier: "a passive, inert material reality can be epistemologically demonstrated through the formal, inferential properties of thought and an extrinsic principle of the fact, so that thought becomes radically divorced from a non-anthropomorphic being." The modernist works championed by Greenberg and Fried adopt a strategy much like that of what Jackson calls Description, operating in Harman and other OOO thinkers, and also in a different way in Grant's neo-Schellingian version of speculative realism: "reality is composed of fundamental entities, objects, things, forces and powers which exist in their own right; the relations of which, in their specific limitations or groundings, are no different in kind from the epistemological limits of cognition. This is an intrinsic principle of the thing. The limitations of the correlation between thinking and being are radicalised and hypostatised such that they are turned into the characteristics of relationality in general."
I found Jackson's analysis to be powerful and useful, although my knowledge of art historical discourse, and in particular of the theories of Greenberg and Fried, is quite limited. (For which reason, I am not sure how accurate my brief summary of Jackson's article is. My apologies to him for any misapprehensions). But what I wondered about is this. What happens when we consider other sorts of 20th & 21st century image production, which are not contained within high art traditions? Jackson notes how Fried has recently, and belatedly, turned his attention to contemporary multimedia and new media art works, thus extending his theoretical musings beyond just painting. But these are still High Art works that are mostly situated in galleries.
What I would like to think about is, how the tradition of aesthetics traced by Jackson through the theorizations of modernist (and even postmodernist) art historians relates to other forms of visual (and audiovisual) production? I am thinking here of cinema and post-cinema, but also of things like comic books. At one point, Jackson quotes Stanley Cavell's distinction between painting on the one hand, and photography and cinema on the other: "To maintain conviction in our connection with reality, to maintain our presentness, painting accepts the recession of the world. Photography maintains the presentness of the world by accepting our absence from it. The reality in a photograph is present to me while I am not present to it…" Jackson goes on to speak at length about Cavell's Friedian formula for painting, as an art in which we are present but the world recedes from us. I'd like to think, however, about the other half of Cavell's formulation, which has become a crucial principle in film studies: the way in which cinema renders the presence of the world, but with ourselves being absent. How would this affect our discussion of speculative realism?
An even better example of what I have in mind is Burke Hilsabeck's brilliant article "Accidental Specificity: Modernism from Clement Greenberg to Frank Tashlin." Hilsabeck gives a bravura comparison between Clement Greenberg's famous essay "Art and Kitsch," and Frank Tashlin's 1955 film, starring Dean Martin and Jerry Lewis, Artists and Models. Hilsabeck notes that "Artists and Models begins by framing the same problem [as that posed by Greenberg], that of medium-specificity and the conflict between avant-garde and kitsch, while reaching a dramatically different set of conclusions." Tashlin's film, and even more the "painting" that Lewis accidentally makes within its storyline, is "widescreen, composed somehow of both depth and an overweening superficiality, aglow in garish Technicolor." It systematically opposes all the aesthetic values championed by Greenberg: flatness, automony, purity of design, etc. (Again, I am oversimplifying a complex argument). But the point is, that Tashin's shamelessly decorative, externally referential, and self-consciously obvious aesthetic is as big and important a part of what happened to images in the 20th century as either the works championed by Greenberg and Fried, and those they disparaged. This is part of a larger question — can we give an account of mid-20th century visual production that takes, say, Jackson Pollack and Jack Kirby equally seriously? What would it look like to theorize art in a way that had as much room for comic-book pictorialism as it had for abstract expressionism? What would happen if we then extended this history, and this theorization, to the present day? And how would this broader understanding of visual culture relate to the philosophical questions raised by speculative realism?
I have no answers here, only questions raised by Jackson's brilliant — but to my mind incomplete — formulations.
Author Steven ShaviroPosted on May 25, 2014 May 25, 2014 Categories Art, Theory
Value Experience
Here is the text of one of my talks from the SLSA conference this weekend. It was for a panel (part of a stream) on "Towards a Stengers-Whitehead Lexicon of the Nonhuman."
Alfred North Whitehead writes in "Civilized Universe," the sixth lecture in his book Modes of Thought, that "we have no right to deface the value experience which is the very essence of the universe" (MT 111). Isabelle Stengers remarks, rather sardonically, that this "demand" on Whitehead's part is "foolish," because it "challenges philosophy to refrain indulging its favourite sport, catching commonsensical positions into the clutches of "either… or" alternatives" (Stengers Claremont talk, 12). Stengers then goes on to comicaly imagine a Socrates who accepted and even celebrated the "value experiences" of all his fellow Athenian citizens, instead of striving to deface those experiences by proving that none of his interlocutors knew what they were talking about.
Following Stengers, I'd like to consider what it might really mean to refrain from defacing value experiences. I take it that this largely applies to the "value experiences" of others than ourselves. And respecting the value experiences of others is not always an easy thing to do. I certainly don't want religious fundamentalists who deny the theory of evolution and claim that the Earth is only 6,000 years old to be teaching my children. But living as an atheist in a common world with religious believers, I also reject defacing the value experience of those believers, in the way that "New Atheists" like Richard Dawkins, Sam Harris, and the late Christopher Hitchens have done.
I also want to work through the implications of Whitehead's claim that such "value experience… is the very essence of the universe." But doing this demands that we pass beyond the human. For Whitehead's claims here, as always, are cosmological in scope — or as Stengers puts it, cosmopolitical. Other entities aside from human beings also have "value experiences" that we have no right to deface. We need to take some account, at least, of the value experiences of dogs and flies and clams, of trees and slime molds and bacteria, and even of pebbles, drops of water, and stars.
To this extent, Graham Harman and the other thinkers of Object Oriented Ontology are right to regard Whitehead as an exemplary anti-anthropocentric thinker, an anti-correlationist avant la lettre. For Whitehead no less than for Harman, "all relations are on the same footing" (Harman 2008, 4). This means that, for Whitehead just as for OOO, the particular relation that is the obsessive concern of post-Cartesian and post-Kantian epistemology — the relation between human beings as subjects, and the objects that they happen to perceive — does not have any unique or special philosophical status. Epistemology loses its centrality, as the problem of knowledge is just one instance of the more general problem of how entities relate to, and interact with, one another. For Whitehead, physical causality and mental intentionality are just two among the many ways in which entities "prehend" one another. For Harman, similarly, both "vicarious causation" and metaphorical "allusion" are instances of sensual contact. For Whitehead and Harman alike, the problem of relations is therefore ultimately an aesthetic one.
Whitehead's anti-anthropocentrism, shared by OOO, also implies that relations among entities — and, in particular, relations of sensation and perception — cannot be reduced, in the manner of British empiricism, to atomistc "sense impressions" in the "mind" of a human observer — or more generally in the mind of one of the entities in the relationship. Harman rightly insists that we encounter, not isolated impressions, but whole objects. Citing Husserl, Harman argues that an "intentional object" is more than just a "bundle of adumbrations" (Harman 2011b, 24). Even though I may only see particular "adumbrations" of a tree, it is indeed a tree that I am actually seeing. The tree is real; it cannot be reduced to the status of being a mere mental construction (as Hume would suggest), or even the sum of its various actual and possible adumbrations (as Merleau-Ponty argues — Harman 2011b, 24-25). It's not the mind that unites multiple perceptions into the figure of a tree; rather, the tree itself is already doing this. For Whitehead, similarly, our "ideas" are always "determined to particular existents," rather than being ungrounded universals (PR 138). In this way, "an actual entity is present in other actual entities" (PR 50). We do not just receive isolated impressions, which we would then only combine in our minds. In any experience, "the datum includes its own interconnections" already (PR 113).
Indeed, Whitehead goes still further than this. He doesn't just claim that the existence of an entity cannot be reduced to the sum of another entity's "impressions" and "ideas" about it. He also argues, beyond this, that the atomistic perceptions upon which British empiricism bases its account of experience are trivial and unimportant. At best, they are just minor refinements of a much more basic form of experience. And this is directly connected with Whitehead's dismissal of anthropocentrism. It may well be, Whitehead concedes, that the "clearly envisaged details" of distinct perception "exalt men above animals, and animals above vegetables, and vegetables beyond stones" (MT 109). But these "details" play only a minor role in comparison to the vague and diffuse "background" out of which they emerge. "If we forget the background," he writes, "the result is triviality" (MT 108). Indeed, consciousness is a highly specialized and extremely rare form of feeling, which "only arises in a late derivative phase of complex integrations" (PR 162). Most thought, or sentience, or sensibility, or experience — both in ourselves and in other beings — consists in "simple physical feelings" that are not themselves conscious (PR 236).
The upshot of this is that we need to stop congratulating ourselves upon the breadth and subtlety of our consciousness and self-consciousness. We ought to recognize, instead, that "thought" is a much humbler, and much more common, phenomenon than we usually assume. Thought — or sentience, or experientiality — happens in many ways and on many levels. It is not just a matter of concepts, or computation, or cognition. It includes all of these, but also extends beneath them, or behind them. Thought doesn't require rational understanding, or a cogito. It doesn't even require a brain — as recent studies of brainless organisms like trees, slime molds, and bacteria have clearly shown.
Deleuzians — starting with Deleuze himself — love to cite Spinoza's dictum that we do not know what a body can do. But it also true, for a symmetrically opposite reason, that we do not really know what thought can do. For often thought does far less, and operates far more diffusely — than we know. Most thought takes place below our threshold of conscious awareness. Cognitive scientists and philosophers of mind are quite aware of this. The cognitivists are entirely right to point up the importance of nonconscious mental processing. My only problem with them is that they are content to stop with cognition. They need to extend their views to also include noncognitive and precognitive experience. This is what Whitehead calls "feeling" — and what Kant already points to in his discussion of aesthetic experience, or intuitions without concepts, in the Third Critique.
Timothy Morton makes much the same point about thought, in the context of OOO. Morton suggests that, when I perceive a pencil lying on a table, my relation to the pencil is not all that different from the table's own relation to the pencil. If I the pencil is the "intentional object" of my thought, then it is a kind of intentional object for the table also. In saying this, I am of course not making the claim that tables are wont to reflect upon ontology. Rather, I am trying to point out that reflecting upon ontology, or contemplating Being, is not that significant a feature of our own mental lives either. Here Heidegger's critique of thematization, and Harman's extension of this, are as much to the point as are Whitehead's observations on how we overestimate "clear and distinct" perception. Our inner mental lives mostly consist mostly of far more mundane and situated practices than conceptualization. The table holds up the pencil; but I am also holding up the pencil, when I contemplate it, or when I grasp it in order to write.
This line of argument also entails that perception and causality are pretty much the same thing; or at least that they are varieties of the same thing. Whitehead distinguishes between "causal efficacy" and "presentational immediacy" (PR 120-121). The former involves the feeling of being caused, or more broadly of cause and effect; while the latter has to do with conscious representation. But for Whitehead, they are both modes of perception, or forms of prehension. Harman also sees causal relations and metaphorical allusions alike as being ways in which otherwise separate entities nonetheless enter into vicarious contact. Timothy Morton generalizes this, when hee describes the aesthetic as the realm of causal relations. For OOO and Whitehead alike, thought is primordially aesthetic, and ultimately inseparable from physical causality. If A contemplates or otherwise perceives B, this means that B is a cause of A.
Thus far I have been pointing out the similarities between Whitehead's metaphysics and that of OOO. But this discussion also leads us to a crucial difference between Whitehead's philosophy and OOO. And no, I am not referring here to the well-known dispute over what Harman calls "relationism," or what Levi Bryant calls the difference between internal and external relations. Far too much ink has been spilled on this point already, and I do not think the discussion is profitable any more. Rather, I would like to suggest that the really important difference between Whitehead and OOO has to do, not so much with whether and how we prioritize relations, as it does with the ontological status of this humbler form of thought that they both espouse.
Things think, for Harman, but only under certain conditions. Harman rejects panpsychism, according to which — he says — "anything that exists must also perceive." Harman instead argues that "anything that relates must perceive… This means that entities have psyches accidentally, not in their own right" (Harman 2008, 9). Even shale and cantaloupe perceive and think and display intentionality, Harman maintains, insofar as they come into contact with us, or with one another. But according to Harman, such contact is merely contingent. Conversely, even human beings do not perceive and think and intend in their inner depths, but only on their outer surfaces. Thought, for Harman as for the phenomenologists, is always necessarily intentional. To think means to think about something, and therefore to relate to something — and indeed to correlate with something. But as such, thought for Harman is necessarily vicarious, or occasional (Harman 2009, 221).
To state this in other terms, it is always possible, according to Harman, that a particular entity does not relate to anything at all. Harman tells us that "the name for an object that exists without relating, exists without perceiving, is a sleeping entity, or a dormant one… Dormant objects are those which are real, but currently without psyche. Each night we make ourselves as dormant as we can, stripping away the accidental accretions of the day and gathering ourselves once more in the essential life where we are untouched by external relations" (Harman 2008, 9).
When I hear this, I cannot help asking: to sleep, perchance to dream? To the extent that dreaming is internally generated, its very possibility shows us that the psyche exists and functions even in the absence of external perception or stimulation. And, to the extent that dreaming does respond to events outside the dreamer, we have evidence that what Harman calls "withdrawal" is never total or absolute, even when the dreamer is not explicitly conscious of these external events. Harman seems to envisage ontological withdrawal as an impossibly dreamless sleep, one altogether devoid of thought or sensation, and therefore blissfully free from any sort of correlation whatsoever.
Whitehead, in contrast, never envisages such a blank utopia. Things don't need to relate, in order to dream or to feel. They do so intrinsically, as part of their very being. Panpsychism claims that anything that exists must also think; but — contra Harman — this does not necessarily mean that anything that exists must also "perceive." At least not if we understand "perception" as a matter of intentionality and presentational immediacy. If ontological equality means anything, it means that all entities in the universe, without exception, are sentient or experiential. In other words, where OOO claims that everything is an object, Whitehead rather claims that everything is a subject: "apart from the experiences of subjects there is nothing, nothing, nothing, bare nothingness" (PR 167).
Now, of course this distinction is not quite as absolute as it sounds. "Subject" and "object" are only relative terms: unsurprisingly, since they form a system together. Subjective experience in Whitehead perpetually perishes, and thereby passes over into the "objective immortality" of being a datum for subsequent acts of experience. Conversely, objects in OOO exhibit their own sort of subjectivity, insofar as "intentionality is not a special human property at all, but an ontological feature of objects in general" (Harman 2007b, 205). For OOO, all entities have their own inner being or "alien phenomenology" (Bogost).
Nonetheless, there is still a significant difference between the two positions. For Harman and Morton, causality and aesthetic experience are restricted to what they call the "sensuous" realm. The deep inner essence of objects remains untouched. For Whitehead, however, the conflation of causality and aesthetics is universal; there is no deep "substantial" (or "real") realm in contrast to the "sensual" one. "Experience" cannot be so restricted, because it is a common, generic feature of all entities. As long as there is something rather than nothing, there is, at the very least, an instance of simple physical feeling. That is to say, "thought" exists — or better, it happens — even in the absence of what the phenomenologists call intentionality, and of what the empiricists call "perception."
My current project is to work out what it might mean to thus posit an "image of thought" (as Deleuze would say) that is nonintentional, and thereby noncorrelational or uncorrelated. I take a hint for this from the way that Deleuze suggests a contrast between Husserl — for whom, as Deleuze puts is, "all consciousness is consciousness of something"), and Bergson — who "more strongly" asserts, Deleuze says, that "all consciousness is something" (Deleuze 1986, 56). As I have already mentioned, I agree with Whitehead that "thought" cannot be equated to "consciousness"; this would require some revision of Deleuze's formulas. Nonetheless, I maintain that the more primordial modes of thought — or of sentience, or experience, or "feeling" — can be something before they are about something, before they establish anything like a correlation with things outside of themselves. Such modes of thought are not solipsistic, because they do not refer back to themselves any more than they refer to other things. They are "vague" and indistinct, as Whitehead says, but for this very reason they are no more self-contained than they are outwardly referential.
A better "image" of this sort of thought might be that which is found in autism. I say this on condition that we cease to regard autism pejoratively, as a failure to adhere to neurotypical norms, or as the medicalized incapacity to develop a "theory of mind." Instead, we must understand autism as an original mode of being in the world — as the neurodiversity movement has advocated, and as scholars in the field of disability studies are beginning to understand (Savarese & Savarese 2012, 1). In working through the consequences of this new understanding, Erin Manning suggests that, in point of fact, autistics are stigmatized for not approaching the world "according to standard human-centered expectations" (Manning 2013, 227). Instead, she says, autistics are in fact acutely sensitive beyond the human. They are responsive to "resonances across scales and registers of life, both organic and inorganic"; the testimony of autistics themselves indicates that, for them, "everything is somewhat alive," and therefore an object of empathy and concern (225-226). We might say that autistics are inherently non-correlationist; they do not focus their intentionality upon particular chosen objects, but exhibit a more diffuse and wide-bandwidth sort of sentience. While there are risks in any metaphorical extensions of aspects of human experience to entities in the world more generally, I would still suggest that autism offers us a more adequate "image of thought" than the one provided by phenomenology.
Manning goes on to suggest that autistic experiences may provide us with "a transversal, ontogenetic concept of the ethical," — one that "can never begin with the human, or with the body as such" (Manning 2013, 255). I would like to suggest that such a concept of the ethical is close to what Whitehead means by "value experience." For value, so understood, in intrinsic to the primordial feeling that is the heart of experience, to some extent at least, for every actually existing entity. It isn't just human beings (or even just human beings and other mammals) who have value experience. Trees and slime molds have values and meanings too; and so even do rocks and stars and neutrinos, at least to a minimal extent. This is why "value experience" is the very essence of the universe, and why Whitehead says that we have no right to deface it. For Whitehead, value is immanent to experience as such. Valuation is a universal activity, rather than a specifically human imposition upon an object-world that would otherwise be passive, inert, valueless, and meaningless.
Whitehead insists upon the immanence of value and meaning to the immediate, everyday experience of all the entities in the world that have experience. This puts Whitehead at odds both with moral absolutists, for whom the only acceptable values and meanings are their own, and to relativists, for whom values and meanings are nothing more than arbitrary, extrinsically imposed norms. Whitehead's ethics is neither categorical and absolute, nor is it merely empirical. Rather, Whitehead subordinates ethics to aesthetics, and derives his ethics only from aesthetics. This is something that many people find difficult to accept. But today, as we come to realize that — in the words of Bruno Latour — "we have never been modern," and as — in the face of ecological and economic crises alike — we are no longer at liberty to ignore what Stengers calls the cosmopolitical aspects of our situation, Whitehead's aestheticist account of value experience shows its full relevance. It is from within Whitehead's aesthetic envisagement, not just of human life, but of the cosmos, that we must understand the ethical injunction I cited at the beginning of this talk: that "we have no right to deface the value experience which is the very essence of the universe."
Author Steven ShaviroPosted on September 30, 2012 September 30, 2012 Categories Art, Theory2 Comments on Value Experience
A footnote from work in progress:
There is a hidden affinity between the aesthetics of Deleuze and of Adorno. For both thinkers, the authentic work of art resists an otherwise ubiquitous culture of commodification, by virtue of its force of negativity (Adorno) or of counter-actualization (Deleuze). Deleuze's account of how modernist art works to "prevent the full actualization" of the event to which it responds, and to reverse "the techniques of social alienation" into "revolutionary means of exploration," echoes Adorno's insistence that it is "only by virtue of the absolute negativity of collapse" that art can "enunciate the unspeakable: utopia." For both thinkers, and despite their radical differences in vocabulary, art restores potentiality by derealizing the actual. The question that haunts aesthetics today is whether such strategies of derealization are still practicable, in a time when negation and counter-actualization have themselves become resources for the extraction of surplus value.
Author Steven ShaviroPosted on March 8, 2009 March 8, 2009 Categories Art, Politics, Theory8 Comments on Fragment
Why Porn Now?
The German art magazine Texte Zur Kunst is planning a forthcoming issue "which deals with the production, reception and theoretization of pornography." They are including a survey in which they ask a large number of people for brief statements about the status of pornography today, asking (among other things) Do you agree with the thesis of an increasingly pornographic logic of social relations and political conditions?" Here's my response.
The German art magazine Texte Zur Kunst is planning a forthcoming issue "which deals with the production, reception and theoretization of pornography." They are including a survey in which they ask a large number of people for brief statements about the status of pornography today, asking (among other things) Do you agree with the thesis of an increasingly pornographic logic of social relations and political conditions?" Here's my response:
Why Porn Now? In fact, I don't believe that Now is the time. Of course, there's more stuff available these days than ever before: extreme porn, gonzo porn, DIY porn, and what have you. Explicit images are everywhere. No fetish, no kink, is so obscure that you can't find a group devoted to it on the Net, complete with ready-to-download videos. But I find it hard to regard all this as a triumph of anything besides niche marketing. Today, in the era of globalization, electronic media, and post-Fordist flexible accumulation, everything is a commodity. We have reached the point at which even the most impalpable and evanescent, or intimate and private, aspects of our lives — not just physical objects, but services and favors, affects and moods, styles and atmospheres, yearnings and fantasies, experiences and lifestyles — have all been quantified, digitized, and put up for sale. It's true, of course, that there are many social forces opposed to the proliferation of pornography, and more generally of sexual fantasies and possibilities. In the United States, voters routinely approve anti-homosexual ordinances, and politicians and preachers score points by demanding action to stem the flood of "obscenity." But really, isn't this hysterical moralism just the flip side of marketing? The main effect of these crusades is to give pornography, and more generally all forms of nonprocreative sex, the shiny allure of transgression and taboo. And that, in turn, only serves to stimulate the consumer demand for porn-as-commodity, and sex-as-commodity…
In fact, there is nothing more banal than the spectacle of a right-wing politician who turns out to have a passion for teenage boys, or the minister of a fundamentalist megachurch who is discovered to be hiring rent boys on the side. (I cite only the two most recent of the incessant pseudo-scandals that make headlines in the American media). It's no longer possible to understand these pathetic closet cases in terms of Freudian repression, or the Lacanian Symbolic, or any of the old categories of depth psychology. Rather, their logic is a commodity logic: fetishism in the Marxist sense, instead of the Freudian one. All our affects and passions are perfectly interchangeable, subject to the law of universal equivalence. That is to say, all of them are commodities, detached from the subjective circumstances of their affective production, and offered up for sale in the marketplace. Today our fantasies and desires — indeed, "our bodies, ourselves" — seem to be outside us, apart from us, beyond our power. And this is a very different situation from that of their being repressed, and buried deep within us. Commodities have a magical attraction — we find them irresistable and addictive — because they concretize and embody the "definite social relations" (as Marx puts it) that we cannot discover among ourselves. In the fetishism of commodities, Marx says, these social relations take on "the fantastic form of a relation between things." The secret sex life of the right-wing politician or preacher is thus a sort of desperate leap, an attempt to seek out those social relations that are only available in the marketplace, only expressible as "revealed preferences" in the endless negotiations of supply and demand. In short, such a secret life is nothing more (or less) than a way of getting relief by going shopping — which is something that we all do. This realization dampens down whatever Schadenfreude such incidents might otherwise afford me.
Therefore, I don't accept "the thesis of an increasingly pornographic logic of social relations and poltical conditions." To the contrary: there is nothing exceptional, central, or privileged about pornography and the "pornographic" today. Pornography simply conforms to the same protocols and political conditions, the same commodity logic, as do all other forms of production, circulation, and consumption. Porn today isn't the least bit different from cars, or mobile phones, or running shoes. It embodies a logic of indifferent equivalence, even as it holds out the thrilling promise of transgression and transcendence — a promise that, of course, it never actually fulfills.
Is it possible to imagine a pornography freed from this logic? Perhaps some recent writings by Samuel R. Delany provide an alternative. In novels like The Mad Man and Phallos, Delany envisions a sexuality pushed to the point of extremity and exhaustion. There are orgies of fucking and sucking, elaborate games of dominance and submission, and episodes of violence and destruction, together with enormous quantities of piss and shit and sweat and cum. Yet there's no sense of transgression in these texts. Instead, the meticulously naturalistic thick description places these episodes firmly in the realm of the everyday. Delany presents "extreme" sex as a form of civility and community, an adornment of life, a necessary part of the art of living well. Delany's is the only writing I know that answers Michel Foucault's call for an ethics/aesthetics of the body and its pleasures, freed from the dreary dialectics of sexuality and transgression. As such, it provides an alternative as well to the relentless commodification that permeates every corner of our postmodern existence.
Author Steven ShaviroPosted on November 9, 2006 November 9, 2006 Categories Art, Politics, Theory11 Comments on Why Porn Now?
Davide Grassi
The next event in the DeRoy Lecture series is an appearance by the Slovenian artist Davide Grassi, presenting his "anti-entertainment interactive movie," DEMO-KINO: VIRTUAL BIOPOLITICAL AGORA. (More information available here).
DemoKino is a virtual parliament that through topical film parables provides the voters (participants) with the opportunity to decide on issues that are, paradoxically, becoming the essence of modern politics: the questions of life. The project questions not only the utopia of contemporary virtual forum that is supposed to open ways for a more direct and influential participation but also points out a much deeper problem of modern democracy (virtual as well). With its reduced narrativeness – the story is built on the 'pro and contra' inner dialogues of the protagonist who is led around his home in a parliamentary kind of way by the 'voters,' based on their decisions – Demokino shows how these ethical dilemmas of modern life suddenly become the core of our political participation. When the issue of life enters the political arena and modern politics becomes biopolitics the democratic decision reaches an impasse: in the political arena laws are being debated on issues that can actually tolerate no decisions and any kind of majority rule is problematic in itself, any political regulation a publicly legitimated act of violence. Demokino is a virtual parliament that clearly displays how politics comes before law. Law is just a utopic and redundant technical procedure to cover the political essence.
Partrich Auditorium
Wayne State Law School
471 W. Palmer St.
Tuesday, March 21, 2006 at 3:00 pm.
Author Steven ShaviroPosted on March 16, 2006 March 16, 2006 Categories Art, PersonalLeave a comment on Davide Grassi
Silent Cell Network
Strange and interesting doings by the Silent Cell Network.
Author Steven ShaviroPosted on May 30, 2005 Categories Art, Politics, TechLeave a comment on Silent Cell Network
A new twist on immortality
Quite wonderfully, the conceptual artist Jonathon Keats (great name) has copyrighted his brain, and now is selling futures contracts on his neurons (via Die, Puny Humans). Since copyright holds for 70 years after the death of the creator, Keats is offering the rights to use his neurons for any computational purpose the buyer may wish, during that extended period. You buy now, and cash in when Keats actually dies (which may not be for quite some time, as he is 32). (The actual text of the IPO is available here).
This is brilliant on so many levels. In terms of "intellectual property," and the commodification of art and intellect; in terms of what personal identity might mean, after death; in terms of the expectations of artificial intelligence research and interfacing neurons with silicon chips. Keats poses all these issues in a quite hilarious and provocative way (even though, or rather precisely because, Keats insists that he wants to be taken seriously).
This is brilliant on so many levels. In terms of "intellectual property," and the commodification of art and intellect; in terms of what personal identity might mean, after death; and in terms of the expectations of artificial intelligence research and interfacing neurons with silicon chips. Keats poses all these issues in a quite hilarious and provocative way (even though, or rather precisely because, Keats insists that he wants to be taken seriously).
Since it's only $10 for a million neurons, I sent in a check, requesting neurons located in the artist's anterior cingulate cortex
Author sshaviroPosted on October 12, 2003 Categories Art, Politics, Tech
more on Shelly Jackson's Skin
I had a great email exchange with Kimberly McColl about Shelly Jackson's Skin, which I blogged here previously. Kimberly and I have very different views of Jackson's project, but our conversation about it clarified ideas on both sides. With Kimberly's permission, I am posting here excerpts from our correspondence…
Continue reading "more on Shelly Jackson's Skin"
Author sshaviroPosted on October 1, 2003 Categories Art, Books


Addressing a media briefing at UNP headquarters Sirikotha on Thursday (May 7th) Minister Mangala Samaraweera made a startling revelation.
He revealed to the journalists gathered at the occasion that foreign intelligence services had uncovered that the Rajapaksa family owned total assets approximately worth 18 billion.
Referring to the meeting held between President Maithripala Sirisena and former president Mahinda Rajapaksa on Wednesday, Managala Samaraweera noted that Mahinda Rajapaksa had requested the post of Prime Minister from the President without any shame.
Min. Samaraweera went onto note that former President Mahinda Rajapaksa who would be turning 70 years old this year should retire from politics and focus more on religious activities.


text:
Q: Warning: mysql_query() expects parameter 1 to be string, object given in Requiero mostrar los datos ingresados por un usuario en una modal, la cual tiene un dato select e ingresa un monto, estos datos deben ser mostrados en una tabla después de ser guardados en la DB
Al guardarlos, el error que obtengo es:

Warning: mysql_query() expects parameter 1 to be string, object given in....

 Código
Descripción del Gasto
 Monto  Generado
Pago por Apartamento	  Opciones

<?php
                            $sql = "SELECT * FROM gasto_g";
                            $consulta = mysql_query($conexion,$sql);
                             if($consulta>0){
                            while($resultado = mysql_fetch_array($consulta)){
                            ?>

 <?php echo $resultado['id_gasto_g']; ?>

<?php echo $resultado['descripcion']; ?>

<?php echo $resultado['monto']; ?>

         <button class="btn btn-primary btn-sm" id="sesion" data-toggle="modal" data-target="#registro"  rel="tooltip-left" title="Editar">

                                        </button>

 <?php
                                }
                            ?>

                        <?php
                                }
                            ?>

A: El error se debe a que a la función mysql_query le estas pasando como primer parámetro $conexion y luego $sql, cuando lo correcto es hacerlo al revés.
Ejemplo:
mysql_query($sql, $conexion);

-
PD: La extensión MySQL fue declarada obsoleta en PHP 5.5.0 y eliminada en PHP 7.0.0. En su lugar debería utilzarse las extensiones MySQLi o PDO_MySQL.

A: Dependiendo de la version de mysql se manejan las funciones
en este caso
debes cambiar de msql_query(); a msqli_query()
Desde php 5.5.0 ya  msql_query() fue declarada obsoleta
msqli_query() permite recibir 2 parametros
$conexion._ es la variable que almacena la coneccion de tu base de datos
$query="INSERTE CONSULTA"
msqli_query($conexion, $query);
espero me haya hecho entender

redpajama_set_name: RedPajamaStackExchange


You are the chief and you must prepare pasta as fast as you can like the Italian eat them….
In this new cooking game for girls you will learn how to prepare a delicious meat dish Barbecued Entrecote….
Who loves pasta? These pasta are so good that we decided to make a game to cook some pasta.


It kind of like the particular hoverboard but it's given the name a mini segway, and as well as the cool thing with regards to it is, no handle bars are equipped on the site and you've likely make noticed it once or maybe twice! These awesome twowheeled electric scooters move as well as the use of that legs only, so correct steering is needed found at all. With these hobby segway hoverboards surfacing almost the world, it has created us think how straightforward and rapid times are typical changing and what with earth is next to receive technology. There are various places where the miniature segway is for sale, so if you're interested in check at any native electronic store! Hendo may be actually in the is effective right now to establishing the nd gen hoverboard and they said they may believe to launch the item by .
So if you're searching ahead to getting a hands on a hoverboard or should I voice legs than support Hendo! Another cool benefit pertaining to promoting Hendo is their company as well considering that its founder, Greg Henderson, have a vision of the fact that moves far beyond outfitting people with incredible hoverboards. Hendo hopes to take on with creating like hover technology, called Attractive Field Architecture, therefore it's could not only make it easy for us to have hanging skateboards, but also existing actual structures to float when it comes for natural disasters like floods, earthquakes, rising sea levels, or even a zombie apocalypse.
Hoverboards are interesting to ride using and they can be helpful you cut vehicle. For you in buy the most desirable ones you involve to consider another number of parameters. These factors includeThis is very extremely important. The right value of hoverboard whom you should go out for should be dependent on your selections. While you can potentially tell the level of the watch by simply trying at, it's and important to inspect the diameter related to the wheels. Being rule of thumbs ensure that your new unit can clearly move you through one place to help you the other not having having straining it.
If you is a big guy, go for one big hoverboard as well as vice versa. Bring sizes range ranging from inches to inch. Small wheels should be easier to keep control of but unfortunately, the individual can't use the company offroad. If Ride hoverboard- youtube in riding your entire hoverboard on harsh terrains, you preferably should go for solitary with large vehicle.As you know, some sort of hoverboard is energized by an electrical power and the really thing you decide is riding you are unit for a meaningful few minutes not to mention being required in the market to charge it. To actually enjoy riding inside of your unit you can should go to obtain an unit while having a highquality duracell.


text:
Announcing our 10th Season!
Check out the lineup for our 2019 - 2020 season below,
or click here for more info!
TLR is Now Open for Rentals!
The Living Room theatre resides in a grand, two story building at 1818 McGee, in the vibrant Crossroads Arts District of Kansas City.
Click here for more information on booking this space for your show or event!
We would like to clarify our most recent announcement as there have been many misunderstandings. We announced that our tenth season would be our last at 1818 McGee. That was in reference to the upcoming 19-20 season. We will vacate the building in May 2020.
But - make no mistake, we are not closed, and we are not done.
In the coming year, we're as committed as ever to the production and fostering of new works by local artists, and to assisting those in the city who want to take up the mantle of KC theatre themselves, and need a little boost getting started. We want to make our venue available to any and all who are as passionate about local performing arts as we, our artists, and our audiences have been for the last ten years.
Beyond this final season, we're looking at the long-term future of The Living Room. Once the final curtain has gone down on McGee St in May 2020, the possibilities are endless. We're looking into possibilities such as new spaces and partnerships, and we're excited to start a new chapter.
However, none of that can happen without your support. That's why we're running a Gimme 5 campaign. The idea is simple: if enough of our wonderful supporters can take a moment to give us just 5 bucks or more and share the campaign with friends and families, we can keep the wheels turning and start prepping for the future.
Far from this being the end, if you've ever been a fan of the work we do, now is a more important time than ever to chip in.
Please consider making a quick donation today at thelivingroomkc.com/donate
Questions? Email info@thelivingroomkc.com
Be the first in the know and get exclusive special offers
by joining our mailing list today!
Final Season Announcement

redpajama_set_name: RedPajamaCommonCrawl


text:
Entertainment Gaming
10 Best Nintendo Switch Local Multiplayer Games
Tim Brookes March 17, 2019 Updated March 17, 2019 17-03-2019 8 minutes
Looking for the best local multiplayer Switch games?
If you read our Nintendo Switch review you'll see that we love this innovative little console. And the Switch is well on its way to carving another Mario-shaped hole in the games industry.
If you're looking to play these types of games with friends no matter where they are, you can take a look at how to use Parsec to play local co-op PC games online.
Not many people played Mario Kart 8 the first time round, since not many people owned the requisite hardware (the much-maligned Wii U). The Switch re-release was a perfectly-timed tactical move on Nintendo's part, an antidote to the engrossing single-player campaign of Breath of the Wild. If you own a Switch, this is the best experience you can have with friends on your handheld right now.
The Deluxe release features all the DLC (including branded Mercedes karts and parts), a redesigned "proper" battle mode featuring a Splatoon-themed arena, and pretty much every multiplayer mode you could ever ask for. Race with up to four people on a single console, grab up to eight friends for wireless play, or network 12 Switch consoles together for a hectic Mario Kart LAN party.
Beyond the frenetic powersliding action, Mario Kart 8 Deluxe also features accessibility options like auto-accelerate and steering assist which means you can play with young children, your grandma, or that guy from the office who's never touched a controller.
2. Overcooked
The Switch has become home for some of the best indie titles of the last few years, among them breakout cooperative hit Overcooked. The game tasks you with running a hectic kitchen. You need to prepare ingredients, cook, serve up meals, and wash the dishes so you can make even more food. Sounds easy? It's not.
Overcooked constantly throws curveballs in the form of kitchens that change their shape, split in half, and spontaneously combust. Grab three friends and work together, communicate effectively, and roll around on the floor laughing when it all goes pear-shaped.
One issue worth noting is that Overcooked suffers from some slight performance issues due to the Switch's relatively modest hardware.
The Switch version includes both DLC releases in its $20 price tag, and you'll need to read up on some Overcooked tips Overcooked 2 Tips and Strategies to Serve You 3 Star Victory Overcooked 2 Tips and Strategies to Serve You 3 Star Victory Overcooked 2 isn't an easy game to get the hang of. Here are the best Overcooked 2 tips to help you succeed. Read More if you have any hope of seeing them all.
3. Minecraft: Nintendo Switch Edition
Love it or hate it, Minecraft is a video game that will define a generation. You've probably played it, your children have definitely played it, and it's a formula that will remain relevant for generations to come. It only made sense that Minecraft would eventually arrive on the Switch, with a ton of technical improvements over the Wii U version.
It's also a multiplayer masterpiece; whether you're playing locally on the same machine via split screen (up to four players), or wirelessly on separate consoles (up to eight players). There's even cross-platform multiplayer support for other platforms (except Sony's PS4), so you can play Minecraft on your Switch with other players who are using a Windows PC, Xbox 360, or other supported platform.
4. Snipperclips Plus
Nintendo launched the Switch with two must-have titles: Breath of the Wild and Snipperclips. Before Mario Kart arrived, Snipperclips was the best proof of concept we had for the console's multiplayer potential. The fact that it sold so well back then and continues to pop up in the eShop charts from time to time speaks volumes about this charming and hilarious cooperative experience.
Snipperclips is a cooperative game for two players. Each level presents you with an objective—something like throwing a ball through a hoop—and the ability to cut your partner's character down to size. You must work together (or for comedic effect, don't) to shape your characters into tools that can help you complete the objective and move on to the next level.
It's a wholesome local multiplayer experience that will challenge and tickle you in equal measure. The Plus version includes 40 new stages, with a boxed retail release available too.
5. Jackbox Party Pack (2 | 3 | 4)
For some of the most memorable multiplayer experiences you'll find on any platform, look no further than the Jackbox mini game releases. Known as Party Packs, there are four available at the time of writing, and they bring the fun of a quiz show into your living room. The games require players use smartphones, tablets, or laptops as controllers, to answer questions, draw pictures, and vote on answers on-screen.
There's usually a limit of around eight players per game, though some raise the cap and others even allow audience members to participate and impact the proceedings. Each pack will set you back around $25 (you'll get discounts for owning other titles in the series) and contains five party games with some standout inclusions:
Fibbage: A game where you have to produce a convincing lie in a bid to fool fellow players.
Quiplash: A quick-thinking game where players vote on the funniest quips.
Drawful: Like Pictionary, but with more obscure prompts and hilarious drawings.
Civic Doodle: A (somewhat) cooperative drawing game.
6. Payday 2
Payday 2 is a game where you rob banks in groups of four, and it's a little different to the other games on this list. Each player will need their own console, and a copy of the game to play since there's no split-screen support. Online multiplayer is somewhat limited since the Switch still has unsatisfactory support for voice communication, and this is a game that absolutely requires it.
But with three other members of your crew in the same room, there might be no better way to play Payday. It's a game that benefits from a fair amount of stealth and preparation, having a plan, and being able to execute that plan with effective communication. The Switch version might be inferior in terms of visuals and framerate, but it's loaded with years' worth of add-on content and you can get together and play virtually anywhere.
7. Rocket League
There's a reason Rocket League has enjoyed weeks in the Nintendo eShop charts since its arrival on the platform. In case you missed it, Rocket League is soccer with cars, and it took the world by storm when it arrived on PS4 and PC in June 2015. By early 2018 the game had accrued 40 million players worldwide, with cross-platform support for all but PS4 players (thanks Sony). It still made our list of the best local multiplayer games for PS4 The 10 Best Local Multiplayer Games for the PS4 The 10 Best Local Multiplayer Games for the PS4 Are you looking to enjoy local multiplayer on your PS4? Here are some awesome multiplayer games you can enjoy with friends. Read More , though.
Multiplayer support is great across the board, with up to four player split screen via docked mode (or two players in handheld). You can get up to eight people together and play Rocket League wirelessly, or play online with other Switch, PC, and Xbox One players.
It might not be the best version of the multiplayer hit from a performance standpoint, but it's one of the best multiplayer games you can play on any platform right now.
8. Enter the Gungeon
Enter the Gungeon is a top-down bullet hell roguelike, which means you'll spend your time dodging incoming fire before dying permanently and starting all over again. The game randomizes its levels, enemies, and weapon placements each time you play, which keeps it fresh and challenging.
The Switch version was the first to see quality of life improvements which made the game considerably more approachable nearly two years after arriving on other platforms. So why not invite a friend around for a hectic two-player local multiplayer experience!
9. Super Bomberman R
A quintessential multiplayer experience, Super Bomberman R is the latest game in the hit arcade series that first appeared in 1983. The game sees you and three other pals battling it out on a square grid. You must lay bombs to destroy blocks, pick up power-ups, and ultimately trap your opponents with a well-placed explosive.
This was a Switch launch title, but it was originally released at full price, which raised some concerns about its value for money. Luckily the eShop price has since fallen, and second-hand physical copies can be picked up relatively cheaply by now. The game has received some big improvements since its initial release too.
10. Puyo Puyo Tetris
Not everyone enjoys shooters, roguelikes, or racing games. If you're a puzzle enthusiast, Puyo Puyo Tetris should probably already be on your list since there's nothing else quite like it. The game fuses the mega-hit Tetris with the huge-in-Japan Puyo Puyo for some truly fresh puzzle action.
There's just about every game mode you can imagine, from pure Puyo and Tetris modes, to hybrid versions of the two. And there's even a mode where you play both games simultaneously. Things get very tense in multiplayer, as players send unwanted blocks back and forth in a bid to fill up their opponent's screen.
If you can't find a buddy to pair up with you locally, you can always head to a gamer meetup 3 Awesome Social Networks Just for Gamers 3 Awesome Social Networks Just for Gamers Are you looking for a social network where you can meet other like-minded gamers? Here are the best sites to check out if you need a bit more gaming chatter in your life. Read More and play wirelessly or settle for playing online instead.
The Nintendo Switch Is on Fire
For this list, we wanted to focus on the best of the bunch. Nintendo's platform is on fire right now, which means everyone wants a slice of the pie. We're seeing games added to the eShop on a weekly basis, but not all of them are good.
Some local multiplayer highlights still to come to the Switch in the future include a heavily teased version of Fortnite and the long-awaited co-op update for Stardew Valley. Until then, we've covered more great Switch games you should check out and also shown you how to share your Nintendo Switch gameplay online.
And remember, Nintendo products make great gifts for gamers, so take a look at these amazing gifts for Nintendo fans.
For more gaming options, explore these local multiplayer games for mobile devices and learn how to play local multiplayer games online using Steam How to Play Local Multiplayer Games Online on Steam How to Play Local Multiplayer Games Online on Steam Steam's Remote Play Together feature allows Steam users to play local multiplayer games together online. Here's how to use it! Read More .
Explore more about: Multiplayer Games, Nintendo, Nintendo Switch.
The 5 Best Free VR Games for Oculus20 Best Offline Games on Android That Don't Need Internet
naon
Jesus Christ only Bomberman saves this list.... Mario Kart for switch is deplorable since can play with only 4 players while SUPER SMASH BROS ULTIMATE, which is out of this list don't know why, and RUNBOW can be played with 8 friends......
Tim Brookes 959 articles
Tim is a freelance writer who lives in Melbourne, Australia. You can follow him on Twitter.
Overcooked 2 Tips and Strategies to Serve You 3 Star Victory
The Best Nintendo Switch Games You Can Buy Today
How to Transfer Data From Your Old PS4 to a New PS4
13 Best Chromecast Games to Play With a Phone or Tablet
Nintendo Switch Online: Everything You Need to Know
How to Play GameCube Games on Your Wii U With Nintendont
Black Friday and Cyber Monday: A Gamer's Complete Guide
The 10 Best Local Multiplayer Games for the PS4


"I graduated with my Bachelors of Science in Education from the University of Central Arkansas in 2014. My wife is currently a 4th grade teacher, and we live in Cabot. Together she and I have two children. I have always enjoyed playing games and learning about how the body works. My goal in teaching Physical Education is to get my students interested in an activity that they can do in order to have a healthy life. Students not only learn to play games in my class, but the lessons also coincide with what they are currently learning in their classroom."


KOKO TV is a British digital fashion, lifestyle and entertainment platform that has just expanded into Nigeria and recruiting for fashion interns.
>Attend fashion events, assist on photo shoots and during fashion weeks.
>Tenaciously creative with a bubbly personality.
>Have excellent communication and organisational skills.
>Have a strong attention to detail and able to meet tight deadlines.
>Strong knowledge of social media.
>Can work independently and as part of a team.
Interested Applicants should forward their CV to hr.ariswallconsult @gmail.com or call for more info..
Not Abiding to this Rules and Regulations will lead to TOTAL Disqualification. Only the shortlisted candidates will be contacted for an interview.


text:
Welcome to the private family of This is Us star Milo Ventimiglia
He was barely a high school graduate when the bright light of Hollywood shone on him and he had his first onscreen appearance with a walk-on role on The Fresh Prince of Bel-Air (1995). He continued featuring in "minor roles" until his 2004 big break with the hit series American Dream (2002 – 2005) but his fame as Christopher Pierce was little compared to what he attained when he became a recurring cast on Gilmore Girls (2000 – 2007).
Milo Anthony Ventimiglia has always had a thing for the performing arts even though at some point in his life, he was torn between becoming a medical doctor, an aviator or an actor but by the age of 18, he was sure he wanted to be a part of the entertainment industry. He took part in several activities while in school including drama production, wrestling and was even the one time president of the student government body. Asides being an actor, Ventimiglia is known today for being one of the sexiest vegetarian. Read on to get to know more about the family of the talented former Heroes (2006 – 2010) star.
Milo Ventimiglia parents
Peter Ventimiglia (father)
Peter is a Vietnam War veteran of Italian-Sicilian ancestry who works in the printing business. Milo has said countless times that his father is the inspiration behind his role as Jack Pearson, the on-screen dad of triplets; he even added that there is not a moment in his life when he is not grateful about how his dad raised him and his siblings.
Carol Ventimiglia (mother)
Milo can be said to have hailed from a multi-racial background with his mother who was a school teacher having both English and Scottish ancestry and his father of mixed race too.
Little Milo with mom and two sisters
Milo Ventimiglia siblings
Leslie Hedman (nee Ventimiglia) (elder sister from same parents)
Leslie is the first child in the loving Ventimiglia family. She is married and has 2 children. Leslie is a yoga instructor in Park City, UT.
Laurel Ventimiglia Powers (elder sister from same parents)
She is the immediate elder to Milo and they are really a close knit family. Laurel is married to Ben Powers and has 2 kids. She is a photographer and works at Powers Photography Studios.
Milo Ventimiglia girlfriend
Kelly Egarian (girlfriend)
Ventimiglia dated Alexis Bledel, his Gilmore Girls co-star for 4 years then also dated Heroes co-actress Hayden Panettiere for two years but never got married to any of them even though he thought about marriage with Alexis Bledel.
Kelly is Milo's current girlfriend and she's not in any way a member of the entertainment industry. She works as a marketing coordinator for fashion brand Stella McCartney. Both lovers were first seen together at Venice Beach in December 2016; they were also spotted "confirming" their relationship status with a kiss at the Governors Ball of the 2017 Emmys. With all the speculations going on, Milo has decided to keep mute about his relationship status; a close source stated that he is choosing to be private about his relationship with Kelly as she is not a celebrity.
Milo Ventimiglia children
He is regarded as TV's hottest dad from his role as Jack Pearson, the swoon-worthy family man on This is Us (2016 – present) so it is hard to believe that in real life, he has never been married and has no children.
Meet the family of Kristen Bell: The voice actress behind Frozen's Princess Anna
Tom Cruise's children


text:
Home » Photo Series: Wolf Eyes + CCMC At MOCAD, Detroit
Photo Series: Wolf Eyes + CCMC At MOCAD, Detroit
May 28, 2013 By Laura Dal Farra Leave a Comment
Detroit's Wolf Eyes and Toronto's Canadian Creative Music Collective (CCMC) played the Museum of Contemporary Art Detroit (MOCAD) on May 21 to launch the 19th annual Media City Film Festival across the border in Windsor. The night also served as a launch party for the limited edition vinyl reissue of the 1978 CCMC Volume Three, a lost recording made available as a limited edition pressing of 500 copies after 35 years.
In attendance performing as CCMC were Al Mattes, John Oswald and Michael Snow.
From Media City's Film Festival Guide:
CCMC (Canadian Creative Music Collective) formed in 1974 as "a composing ensemble united by a desire to play music that is fluid, spontaneous, and self-regulating". From 1976-80, CCMC released six vinyl LPs through Toronto's Music Gallery. In 2002 Art Metropole released a 2 CD set featuring CCMC's collaborative performances with Christian Marclay at the No Music Fesitval and the Rivoli in New York. Widely regarded as one of the pioneering free improvisation bands of the 1970s, CCMC has been reinventing itself with a shifting constellation of artists and a consistent questing spirit for more than four decades. Guest musicians have included Derek Bailey, Malcolm Goldstein, Evan Parker, Eugene Chadborne, Phil Minton, Misha Megelberg and many others.
In 1975 Al Mattes founded the Music Gallery in Toronto and was its Executive and Artistic Director from 1975-87. He was Artistic Director of the Inter-Arts Department of the Banff Centre for the Arts, Director of the Canadian Filmmakers Distribution Centre, a founding member of the Canadian Electroacoustic Community and organizer of the Journees Electro Radio Days festival. JERD was the first Canada-wide radio festival, linking cities by broadband telephone in live-to-air performances.
John Oswald is a Governor General's Award Media Arts Laureate, Ars Electronica Digital Musics and United Arts Award winner, and an inductee to the CBC Alternative Walk of Fame. His multifaceted sonic clock, A Time To Hear for Here, is a permanent environment at the Royal Ontario Museum. In 2012 the Ensemble Modern Frankfurt premiered his composition b9, a condensation of all nine Beethoven symphonies.
The art of Michal Snow is in the permanent collections of museums including the MoMA New York, the Museum Ludwig (Cologne) and the Centre Georges Pompidou (Paris). He has been awarded a Guggenheim Fellowship (1972), the Queen's Golden Jubilee Medal (2002), an honorary doctorate from the Universite de Paris Pantheon-Sorbonne (2004) and the Gershon Iskowitz Prize (2011). He was made a Companion of the Order of Canada in 2007.
Photos from the evening…
L-R: Michael Snow, Al Mattes, John Oswald, Detroit, Michigan, USA, 2013
Michael Snow, Detroit, Michigan, USA, 2013
Wolf Eyes, Detroit, Michigan, USA, 2013
Filed Under: Images Tagged With: cinematography, Detroit, Music, Windsor


To all the apple eaters: please do less.
If you're an in-class snacker than you most likely have your go-to snack.
People who don't eat in class know that anyone who does is defiantly bold without a doubt, but we all know that depending on what snack you munch on during class says a lot about you.
So give it up to those crazy apple eaters and full course meal eater we see you, we know you, and some of us are starving.
If you have the guts to bring a full meal with utensils to class you are one of the bravest out of your friend group and really don't care what others think of you.
A classic bag of chips, pretzels means you definitely aren't self conscious especially when it comes to chewing loud, you probably are a good sharer and confidence is your strong suit.
Grabbing a salad or sandwich from campus most likely means that this class snack is your first and only meal of the day. You probably have to study for 5 tests write 2 ten page papers and have $3.00 to your name.
Clearly your self-conscious to eat in class so you just suffer through that 2 hour class stomach in full grumbling mode. You probably are sweating due to the fact that you know everyone can hear your angry belly.
The vending machine is all you can afford right now.
Srat girls are flocking to a class near you, it's pumpkin spiced latte season!
Some may not call this a snack but when it comes to a gum chewer you are bored, hungry and trying out that whole "if you chew the same type of gum while listening to a lecture you'll do great on the test!" method.


In this article, you will get important topics and questions from CBSE Class 9 Mathematics chapter 10, Circles to prepare for Class 9 Mathematics Examination 2019. All the questions have been prepared to cover most of the important topics included in chapter- Circles. The questions and terms mentioned in this article will surely help to make your preparation easy and organised.
Get the CBSE Class 9th Mathematics chapter 10, Circles: Important questions and topics to prepare for the upcoming Class 9 Mathematics Examination. This entire important stuff has been prepared by the subject experts after analysing the previous years' question papers of CBSE Class 9 Maths subject. This article will provide you an idea about what type of questions will be framed for exam and from which topics. Going through this article, will help in summarising the syllabus and make quick revisions before the exam.
Consider the terms/questions mentioned above while preparing the chapter, Circles. This will surely help you perform outstanding in CBSE class 9 Maths exam and score high marks.


Simply submit this form and we'll pass your details to up to 3 local approved installers who may be in touch should you require a no obligation quote.
I would like to receive Ultraframe information and offers by email.
Are you planning to add a conservatory or extension to your home in South Wales?
If you live in South Wales and want to transform your home by adding a conservatory or extension, then read on. We have lots of useful advice and information to help guide you through the process of choosing the right conservatory or extension for you and your home.
There are many reasons why you might have decided to extend your living space by adding a conservatory or extension to your home in South Wales – maybe you'd like a space to relax and enjoy the peace of your garden, you may need a playroom for the children or a haven for the adults to escape the children and watch TV in peace! You might have decided that the trend for open plan living will work well for you and your family, allowing you to live, eat and socialise all in the same open plan space. Whatever your reasons, there is a conservatory or extension that can help you to achieve your aims and reading this handy guide will give you all the information that you need to make those all important decisions about size, shape, style, colour and also assist you in finding the best conservatory or extension installation company in South Wales to help you achieve your dream.
Are you looking for a replacement conservatory roof in South Wales?
If you already have a conservatory on your home and are looking for advice and inspiration about replacing the roof with something more thermally efficient that is better suited to the climate of South Wales then we can help with all the help, advice and products that you will need. Here at Ultraframe, as well as designing and manufacturing a huge range of conservatory and extension roofing systems, we also have several different of solid replacement conservatory roofing systems which are ideal for transforming your conservatory in South Wales and giving it a new lease of life, both in terms of how it looks and how it can be used. Living in South Wales, sunny days can be something of a rarity but on the lucky days when the South Wales sun is shining, an old and dated conservatory may be too warm for you to comfortably use – and of course, South Wales winter days may render it too cold to for you to comfortably spend any time in.
Ultraframe replacement conservatory roofs are available in a range of different finishes so you can choose a replacement conservatory roof that perfectly complements your home in South Wales. Choose from the sleek contemporary lines of our grey Livinroof replacement conservatory roof or go for the stunning hues (in a range of colours) of our Ultraroof tiled roof system.
Regardless of which Ultraframe replacement solid conservatory roofing system you choose, they both offer the same internal appeal – a beautiful plastered ceiling that makes your new conservatory feel comfortable and warm, whatever the weather is like in South Wales.
Let us help and inspire you so that you can decide whether to add a conservatory or an extension to your home in South Wales. You may think you already know what defines a conservatory or an extension but to see the official definitions, click here.
In short, a conservatory will feature a larger amount of glazing than an extension. An extension may also be more thermally efficient and more suited to being used all year round – something that is worth considering for the often-cool climate of South Wales.
Once you've done your research and decided whether your home improvement project on your home in South Wales will be a conservatory or an extension, the next step is to choose what style.
There are a huge range of conservatory styles to choose from and one key consideration to bear in mind is the shape of the floor space. If you choose a Victorian or p-shaped conservatory, then the floor space will feature a curved faceted area. If you go for Edwardian/Georgian or a lean-to conservatory, then your floor space will be angular in either a square or rectangular shape which can often allow for a better use of the space as furniture also tends to be angular.
Of course, if you are replacing the roof on an existing conservatory to make it more suited to the climate of South Wales, or to give it a new lease of life and make it feel more like a room, then your conservatory style will already exist and you simply need to choose which of the Ultraframe solid replacement conservatory roofing systems is best for your home in South Wales. We have several different replacement conservatory roofing systems for you to choose from. Click here.
If you want a conservatory with a more unique and unusual atrium design, why not consider one of Ultraframe's exciting range of orangeries? Ultraframe's orangeries come with the latest roof technology, to safely and beautifully add extra natural light and space to your home, with expert and affordable installation throughout South Wales.
If you are looking for a bit more of a substantial expansion to the space available in your home, you should definitely take a look at the single storey extensions available to be installed by Ultra installers in South Wales. With a range of beautiful components installing an extension is a fantastic way to add room and value to your home while reducing the fuss that can come with traditional home extensions, with planning permission and other complications. Get in touch and let Ultraframe do all the heavy lifting for you!
If you're looking for a reputable, accredited installer to help out with your new conservatory, replacement conservatory roof or extension project in South Wales, then Ultraframe can help - look no further than our Ultra Installers.
Choosing an Ultraframe Ultra Installer offers you complete peace of mind that you are choosing an installation company who not only knows everything there is to know about adding a conservatory or extension to your home, but you are also choosing a reputable company that goes through an ongoing accreditation process.
Your local South Wales Ultra Installer will be able to advise you about the best style of conservatory or extension to complement your home and answer any questions that you may have about Planning Permission or Building Regulations that may apply to your conservatory, replacement conservatory roof or extension project. They are fully up to date with all the latest regulations that apply to home improvement projects in South Wales so you can work with them knowing that they will take care of anything concerning Planning Permission or Building Regulations for your conservatory or extension project.
How to find a reputable conservatory or extension installer in South Wales?
Finding your local Ultra Installer in South Wales is simple – simply visit our Ultra Installer search page and we can put you in touch with some of the most reputable and experienced conservatory and extension installers in South Wales. Of course, our Ultra Installers can also take care of replacing an existing conservatory roof with a new solid, tiled, replacement conservatory roof.
Who Can Build My Conservatory in South Wales?
By using Ultraframe's Ultra installers, you will have complete peace of mind that your conservatory, orangery, extension or roof replacement is being installed by an expert who is a member of our Which? Trusted Traders Approved Ultra Installer Scheme. Ultra installers must also attend regular training to ensure they are up-to-date with Ultraframes products and services.
Have a look at our range of great value conservatories, orangeries, extensions and more, available to be installed by Ultra installers in South Wales and get ready for a bigger, brighter home for less money than you might expect!
We'll put you in touch with your nearest Approved Ultra Installer, who has been tested and assessed for their competency.


text:
Home » News Releases, State Parks » 07/08/14 – State Partners With Pacific Historic Parks To Open New Interpretive Kiosk, Gift Shop In Diamond Head State Monument
07/08/14 – State Partners With Pacific Historic Parks To Open New Interpretive Kiosk, Gift Shop In Diamond Head State Monument
Posted on Jul 8, 2014 in News Releases, State Parks
NEIL ABERCROMBIE
WILLIAM J. AILA JR,
For Immediate News Release July 8, 2014
STATE PARTNERS WITH PACIFIC HISTORIC PARKS TO OPEN NEW
INTERPRETIVE KIOSK, GIFT SHOP IN DIAMOND HEAD STATE MONUMENT
Park visitors enjoy improved services, quality interpretive merchandise
HONOLULU – Representatives of the Abercrombie Administration and nonprofit Pacific Historic Parks today dedicated a new Interpretive Kiosk and Gift Shop in Diamond Head Crater that represents a creative and collaborative project to enhance the visitor experience at one of Hawaii's most iconic geologic features and landmark destinations.
The Department of Land and Natural Resources (DLNR) Division of State Parks has been operating Diamond Head State Monument as a public park since 1977.
"Diamond Head, or Le'ahi, is among our most recognizable and cherished landmarks, representing Hawaii to the world," said Bruce Coppa, Gov. Neil Abercrombie's chief of staff. "Each year, visitors flock – by foot, car, bus, or trolley – to experience the famous volcanic crater and the summit's panoramic view. This partnership between the state and Pacific Historic Parks responds to a long-standing interest among visitors as well as many kamaaina in expanded options to preserve their experiences, and provides enhanced interpretive services along with new, quality memorabilia."
The ceremony was led by Board of Land and Natural Resources Chairperson William Aila, Jr. and attended by Pacific Historic Parks board members, legislators, and representatives of the Hawaii Tourism Authority (HTA), Kapiolani Community College, Diamond Head Citizens' Advisory Committee, and the state Department of Defense (which shares management and jurisdiction of Diamond Head State Monument).
"We are pleased to dedicate the new Interpretive Kiosk and Gift Shop in Diamond Head crater," Aila said. "DLNR and Pacific Historic Parks have entered into a 3-year lease, and completed a Memorandum of Agreement, to establish a working partnership to provide interpretive services and to sell authorized, quality merchandise to park visitors. Pacific Historic Parks will contribute their over 30 years of experience in developing and implementing interpretive and educational programs, and related merchandise in the Pearl Harbor and other National Park sites where it operates."
"Pacific Historic Parks is honored to partner with DLNR on this new venture," said Gene Caliwag, president and chief executive officer of Pacific Historic Parks, which has provided interpretive services and operated a gift shop at Pearl Harbor for the National Parks Service since 1979. "Our goal is to enhance the visitor experience at Diamond Head by offering high-quality, educational materials about the incredible natural history and rich culture of the area. These will help tell stories, commemorate events, and most importantly, keep history alive for future generations. The souvenirs and keepsakes available also let visitors take a little piece of Diamond Head home with them, too."
Pacific Historic Parks and the DLNR Division of State Parks collaborated on the design of a new and dynamic logo that exemplifies Le'ahi, and is the image that distinguishes the interpretive merchandise and apparel that is being sold under this new partnership at Diamond Head State Monument.
Diamond Head is the definitive background of world famous Waikiki. Its unique profile has been the subject of countless photographs, movie backdrops, posters and postcards. In 2013, visitors to the park frequently exceeded 3,000 people per day, making the park one of the most heavily visited destinations in the state, along with the Nuuanu Pali State Wayside, Hanauma Bay Nature Preserve and World War II Valor in the Pacific National Monument (Pearl Harbor). Diamond Head State Monument encompasses over 475 acres, including the interior and outer slopes of the crater. It received approximately 800,000 visitors annually and ranks among one of Hawaii's top visitor destinations, according to the HTA.
Founded in 1979, Pacific Historic Parks is a non-profit cooperating association of the National Park Service. It supports and funds educational and interpretive programs for WWII Valor in the Pacific National Monument at Pearl Harbor, American Memorial Park on Saipan, War in the Pacific National Historical Park on Guam, and Kalaupapa National Historical Park on the island of Molokai.
Public Information Specialist
Pacific Historic Parks
Jocelyn Collado or
Katie Vanes
Becker Communications, Inc.


Hello! I have a fun glittery texture to share with you today! This is Nina Ultra Pro in Shooting Star. I am loving this!!!! The brush in my bottle is super wonky, but I can deal with it. What you see is 2 coats. Enjoy!
Where did you purchase this?? I bought it once but i can't remember where. Ive been on the hunt for years now. Help?
I bought this at Sally's. Maybe try eBay?


One approach to getting to know a user and understanding the user experience (UX) is phenomenology. Currently, there is a lack of clearly defined methods for phenomenological analysis of user experience in design projects. Interpretative Phenomenological Analysis (IPA) is an approach developed in psychology, and in this article, it is adapted to the case of a pro bono design project at a UX design agency supporting a disadvantaged group of people, newly arrived immigrants to Sweden. The design project involved research on how the immigrants experienced a service that introduced them to the job market. The adapted method, UX IPA, contributed to the pro bono project with a focus on both experience and meaning, which is important in design projects that relate to major events in users' lives. The method was considered less appropriate in UX projects for specific products with highly instrumental use. The method can, in many cases, be too costly. However, costs can possibly be reduced by top-down approaches. In commercial UX projects, the method may be appropriate for the fuzzy front-end of design and innovation, but clients may be unimpressed by the small sample size. This can potentially be alleviated by mixed-methods approaches.