At MIX 10 we released the IE9 Platform Preview and showed some of the included developer tools. You can access these tools by pressing F12, or click Developer Tools on the Debug menu when you use the Platform Preview.
A new tab for inspecting network traffic.
Improved CSS view that lets you work with complex CSS. For example, better consistency when working with @ media rules.
For this first blog post I'm going to talk about the Network tab. The Network tab gives developers insight into what resources a web page is using including the data that is sent to and received from the server. Developers can use this information to see if network responses contain errors, such as file not found or a server side error. The tool also helps debugging AJAX requests as you can examine the data as it was sent and received from the server.
To find the Network tab, open the developer tools in the IE9 Platform Preview.
In the Network tab you need to click Start Capturing to begin recording network traffic. The network tool doesn't capture data until you click start because collecting network data has an impact on performance and consumes memory. Once you've started capturing, refresh the page to see the recorded network requests in the Summary View as they occur.
For each request in the Summary View you can double-click on that request or click the Go To Detailed View button to open the Detailed View and see more information about the request.
A list of all the headers sent with the request including the request line.
A text view of any data sent in the body of the request, typically used for POST requests such as form submissions.
A list of all the headers received with the response including the status line.
A view of the body of the response. The tool has built in viewers for text and images.
A view of the cookies sent and received with the request.
The last tab contains a graph of times associated with the request.
You can click each of the bars in the chart or list view to get more information about what the time represents.
Once you have a capture you can save it to a file. This is handy if you need to file a bug or send the report to someone else to look at. The save icon is on the tool strip just below the tab, and there are two formats to save the data to: XML or CSV.
The first option is to save the file as a CSV. This saves the summary view and is useful if you want to look at the data in a spreadsheet program like Excel. You can also just select the rows in the summary view and then copy and paste them into Excel.
The second option (the default) is to save the file as XML using a format based on the HTTP Archive. The saved file includes all the data associated with a capture and can be used to examine issues in other tools. For example, Eric Lawrence is extending Fiddler to import HTTP Archive files so you can view the contents using Fiddler. The HTTP Archive format contains useful information that can help assess the performance of a page. For example, the site at http://netrules.tablezengarden.com/, lets you paste the contents of an HTTP Archive file and run some of the YSlow rules against it.
Over on the IE test drive site, we published a new Network Monitoring demo which gives you a way to practice using the Network tab to debug your sites.
We will continue to improve the developer tools in future updates to the Platform Preview. In the meantime, we want to hear your feedback and would love to hear how we can make the developer tools in IE9 your developer tool of choice.
Edit 6/30/10 - adding a link to blog post on Fiddler importing http archive files.
Is there any XML schema file for the HTTP Tracing format?
So, this basically does the same as HTTPWatch? That's pretty cool actually.
Awesome! But *please* provide a way to view request and response headers as plain text so we can copy and paste!
will this help improve site & server performance?
Awesome. IE9 is looking cool.
By the way, how does one update the developer preview?
@Wiiboy: The next developer preview hasn't been released yet. When it is, you simply download and run the new preview's MSI installer.
I really like this new feature though I'd like to see the page properties type not display the Windows Explorer "mime" though rather the server's declared mime for the item (e.g. text/html, application/xhtml, text/xml).
Also I've had difficulty tracking down the correct mime type for icons (favicon.ico to be specific). It was an error in WebKit's web designer tools.
@Salamandro: I think Firebug is still the reference, no doubt (although the timing part looks more like Yahoo! Developer).
Still, that functionality was already present in Fiddler – too bad this isn't back-ported to IE 8, this way I could debug IE 8 without having to install .Net and Fiddler on my XP VM… Oh well.
Anyway. This is nice, still I hope that the timing part will have a nicer GUI – the current one isn't very good-looking.
this should strive to be what google brings to the table with their debugger and network monitor. Chrome has the best of any debugger i've seen. please make that happen. Firebug secondly. safari third. this, dead last.
Jeffrey, exactly no one cares about your rankings unless you explain *how* you're judging.
when page is redirected to the page itself, ff will stop redirect after looped for some times. will ie consider to add notification on redirecting same location?
@Jeffrey: How can Safari's debugger be third in your list when Chrome's the best? They both use the Webkit's Web Inspector and thus are the same. Please give arguments to support your position.
Fantastic, now can you add a dom tree viewer (like the "locals" tab in the script debugger, but starting from the window level). This is a feature which is way overdue in ie developer tools… in fact it's the only reason I use firefox to debug js issues in.. everything else I can do in ie dev tools + fiddler.
Great! I hope this functionality will make it into the production release – I want to deploy this on all 30k of my enterprise clients, it will make supporting web issues SO much easier if this tool is ubiquitous. Having a service desk agent installing and using Fiddler just isn't practical in many cases…But use a tool that's part of IE? That we can do.
@Wurst There isn't a schema file at the moment but the format is based on http://groups.google.com/group/http-archive-specification but serialized to XML rather than JSON.
@John The type column should show the same value as the content-type header coming back from the server. We don't look it up based of file extension or do much else with the data. In windows the mime/type for a favicon.ico is officially image/vnd.microsoft.icon.
@Jeffery as @skeptic mentions it be great if you can expand on what matters to you in the dev tools.
@Dan: Agreed, this is a great new feature for scenarios where you want to gather logs.
Until IE9 ships, you might want to check out FiddlerCap (www.fiddlercap.com) which is designed for log-gathering by non-technical users. Compared to Fiddler itself, it is smaller, installs per-user (you can xcopy-install if you want), is being localized into multiple languages, and most importantly, it is significantly simpler to use than Fiddler.


text:
Narcissism and Beyond: A Psychoanalytic Reading of Frankenstein and Fantasies of the Double
Rosemary Jackson
From Aspects of Fantasy: Selected Essays from the Second International Conference on the Fantastic in Literature and Film, ed. William Coyle (Westport, Conn.: Greenwood Press, 1986), pp. 45-53
{43} I am no god. I am no demon.
I come from yourself.
Alfred de Musset, December Night1
Literary fantasy is a rich area for psychoanalytic investigation since it is a mode dealing with an expression, a manifestation, of unconscious desires and fears. Since psychoanalysis deals with the material reality of ideas in society, examining how individual human beings come to inherit and inhabit the laws which determine cultural life on an unconscious level, it can be used in the interpretation of literature -- and its perpetuation of those cultural norms -- in ways analogous to those used by Freud in interpreting dreams and neuroses. Many fantasies contain a desire to break with social conventions and betray an impulse toward transgression of cultural law, but there is almost invariably an eventual neutralizing of that impulse, resulting in its ultimate defeat or deflection into "safe" forms. In Fantasy: The Literature of Subversion, I argued that the most challenging texts are those which defer this safe resolution until the last possible moment or try to refuse it altogether.2 Unlike the utopian fantasies of fairy tale, religious myth, or romance, the modern fantastic refuses supernatural, magical explanations of strangeness and, in place of a "transcendental" reality, presents or re-presents a weird, refracted world, transformed through the mind of the perceiver and his or her unconscious projections into the world.
By imaginatively protesting against and even fantasizing the destruction of social codes, only to renew and confirm their validity, literary fantasies can dramatically articulate social tensions within themselves. This is particularly the case in fantasies of dualism, where the narrative center, often the protagonist himself, is divided into two sides, one subverting and one upholding the dominant social order. The main focus here will be on a few selected tales of the double {44} and shadow, but the argument can be extended to a wide range of texts. For stories of the double are graphic depictions of the alienation which is involved in becoming "human" at all: they protest against and then reenact that drama of insertion into human culture which is the time when, with the acquisition of identity, our many protean selves, our undifferentiated elements, are "unified" and stabilized as "one" character -- the ego, the I, the self, indivisible and integral, upon which society depends.
Recent studies of the double in literature have acknowledged its shift in the Romantic period from a supernatural motif into an increasingly self-conscious psychological function. From its appearance in Jean-Paul's Hesperus (1795) onward, the double has been recognized as originating from within the human subject.3 Mary Shelley's Frankenstein (1818) and James Hogg's The Private Memoirs and Confessions of a Justified Sinner (1824) are particularly interesting in that they are remarkable transitional works. They represent an explicit shift from a presentation of a demonic "other" as supernaturally evil, the devil in a conventional iconography, toward something much more disturbing because equivocal, ambiguous in its nature and origins. Hogg's Confessions preserves a brilliant and puzzling ambiguity about the genesis of the demonic presence -- is it natural or supernatural? -- and the text eludes any definitive interpretation by suggesting it is both and neither. Hogg's fantasy sees the devil move from one identity to another. It "is" the sinner himself, and his brother George, and also other characters, as well as a traditional prince of darkness. Yet conventional explanations of a "supernatural" devil figure are betrayed, within the text itself, as redundant. The reader is left stranded, unable to know who or what the shadow is, forced to recognize it as a reflection of every self, a shifting and distorting mirror image of anyone, alienated or metamorphosed into a distant, unfamiliar "other." The double then comes to be seen as an aspect of the psyche, externalized in the shape of another in the world.
Mary Shelley's Frankenstein operates similarly but is more explicit about the link between the self and its monstrous projections into the shape of another outside itself. Despite the apparently supernatural powers of the monster, it is literally a product of scientist Frankenstein's own ideas and actions, and it is to be located entirely within a human scheme of things. The monster functions as a parodic mirror image of Frankenstein: "My form," it mocks him, "is a filthy type of yours, made horrid even from the very resemblance." Frankenstein feels it to be demonic and laments his tragic destiny: "I was cursed by some devil, and carried about with me my external hell,"4 but he confesses that the monster is really self-generated, "the being whom I had cast among mankind . . . [was] my own vampire, my own spirit let loose from the grave, and forced to destroy all that was dear to me."5 It is no accident that the monster is anonymous or that in the popular imagination it has come to be confused with Frankenstein himself and frequently given his name, for it is his grotesque reflection, his unnamed, unformed selves. Naming the double is impossible for both Frankenstein and Hogg's sinner since {45} it is themselves in alienated form, an image of themselves before they acquired names. At the heart of both works, as indeed of all fantasies, is the problem of identity, a problem given particular prominence in tales of the double. Hogg's convoluted narrative dramatizes uncertainty as to the coherence of the "I" and expresses the sinner's sense of loss of any viable identity: "I seemed hardly to be an accountable creature . . . I was a being incomprehensible to myself. Either I had a second self, who transacted business in my likeness, or else my body was at times possessed by a spirit over which it had no control."6 Mary Shelley's creature is similarly lost, crying out, "I had never yet seen a being resembling me, or who claimed any intercourse with me. What was I? I have no relation or friend on earth."7 Their preoccupations, indeed obsessions, with identity point to the Oedipal drama which is at their centers, though displaced. Their recurrent question is: Who am I? Where do I come from? How can I feel whole?
Despite the possibility of simplistic readings of stories of the double as simply allegories of the "good" and "evil" sides of mankind -- particularly in less complex fantasies such as Robert Louis Stevenson's The Strange Case of Dr. Jekyll and Mr. Hyde (1886) -- fantasies of dualism have more to do with a quest for wholeness and integration than with mere moral division. They are driven by a desire to reverse the process of alienation which occurs in the earliest stages of human development, and their quest is focused upon an ideal beyond or before the formation of the ego.
This desire is best understood in relation to Freud's theories of human growth, especially as elaborated by the French psychoanalyst Jacques Lacan.8 For the incredible proliferation of doubles in Romantic and post-Romantic literature points to an identical unconscious structuration lying behind them. As Marianne Wain writes, "It is astonishing, when one goes through Romantic writing generally . . . to see how this preoccupation with the lost center of personality is a veritable obsession."9 Following from Jean-Paul's novels, William Godwin's Caleb Williams (1794), Charles Brockden Brown's Wieland (1798), Heinrich von Kleist's Penthesilea (1808), Adelbert von Chamisso's Peter Schlemihl (1814), Benjamin Constant's Adolphe (1816), E. T. A. Hoffman's Doppleganger and Elixirs of the Devil (1816), C. R. Maturin's Melmoth the Wanderer (1820), Edgar Allan Poe's William Wilson (1839), Feodor Dostoevski's The Double (1846), Charles Dickens's A Tale of Two Cities (1859), Oscar Wilde's The Picture of Dorian Gray (1891), Henry James's The Jolly Corner (1908), and Joseph Conrad's The Secret Sharer (1912) all share a similar psychic structure which cannot be explained away as merely literary influence or coincidence. They fantasize a fragmented or dualistic existence as part of a process of returning to a pre-Oedipal stage of being as reference to Freud and Lacan will clarify.
The Oedipal complex -- that knot of both hostile and loving wishes which the child has toward its parents and which, in its positive form, appears as a sexual desire for the parent of the opposite sex -- occurs between the ages of three and five and is crucial in structuring the individual personality and its desires. However, preceding this period are equally important and determining stages. Freud {46} identified three distinct but overlapping states in the child -- and in culture as a whole. The first is a stage of primary narcissism or self-love. In a paradigm of "normal" development, this has to give way to an attachment to objects outside the self, a relinquishing of self-love, which eventually leads to the third stage, an acceptance of the laws of the world, its "reality principle" and necessities of self-repression for the sake of cultural continuity. In this tripartite scheme, the most crucial sequence is between the first and second stages, in the transition from primary narcissism (love for self) to attachment to love objects (love for other). For what the child has to relinquish here is a state of undifferentiation, in which it has not yet learned to make any difference between self and other, Lacan has termed this "le stade du miroir," the mirror stage, when the self is recognized as separate, as an object constituted by the look, the look of others. It is in the mirror phase that there is a progression from what Lacan terms an "asubjectivity of total presence" to the establishment of a coherent and unified subjectivity -- the human subject, the ego, the I. This precedes the Oedipal stage and its establishment of gender difference.
With the mirror stage, there are now two I's: one to perceive, one to be perceived. The process of becoming an ego, becoming a human subject, involves acquiring duality: alienation is at the heart of identification. Prior to this, there is no sense of a whole, distinct, separate body, but fluidity, instability, incoherence, presence. Part of the notion of the pre-Oedipal is this idea of the non-whole, fragmented body, termed by Lacan "le corps morcelé," the body in pieces. It is worth extending a description of this state because of its relation to Frankenstein:
At this stage the infant has no organisation of data into those associated with its own body and those associated with its exteriority. It has no sense of its physical separateness or of its physical unity. This is the moment referred to retroactively after the "mirror phase," by the phantasy of the "body in fragments." The mirror phase is the moment when the infant realises the distinction between its own body and the outside: the "other." The infant sees its reflection in a mirror and identifies with it. . . . The image with which the infant identifies, which Lacan says can be described as the "Ideal-I," is positioned in the world exterior to the infant. . . . The ego results from the entry of the I into an identification with an object in the other (the non-infant).10
What seems to happen in fantasies of dualism is a reversal of the Oedipal drama and a reversal of the mirror stage -- a repudiation of the dominance both of the Father and of the Ideal ego, the I, formed with the subject. It is an unlearning of the distinction between body and what lies outside it, a non-identification with the reflection in the mirror, and its ego outline, a desire for that state preceding the fall into alienation. It is an attempt to loosen, or to lose, the ego and its dominance by uncovering something less fixed, less formed, less nameable, and, inevitably, less social. Lacan has termed this longing for an original state of undifferentiation as the central unconscious longing in every human being: it is "an eternal and irreducible human desire . . . an eternal desire for the {47} non-relationship of zero, where identity is meaningless."11 It is this desire which is fulfilled in the unity of mysticism and of oneness with God, but which in Western secular culture -- where all our Romantic and post-Romantic fantasies are placed -- takes more frustrated and agonized forms.
The motif of the double in literary fantasy can be regarded as a variation on a theme of alienated identity, also evident in related motifs such as the reflection, the shadow, the ghost, the monster, the magic portrait, the stranger. Behind these variants lies the idea of the mirror and its production of reflected selves, for the mirror establishes a different space in which the "real" or "normal" is inverted or broken. Behind the mirror is a space both familiar and unfamiliar: it sets up distance and difference. Leo Bersani writes that the mirror is "a spatial representation of an intuition that our being can never be enclosed within any present formulation -- any formulation here and now of our being."12 It is in precisely this metaphorical capacity that the mirror entered the language of psychoanalysis, and a reversal of the mirror stage can be seen as a metaphor for the production, or recovery, of other multiple selves.
Lacan stresses that the establishment of identity, the construction of the ego, inevitably involves a sense of loss and anxiety, in which there is an uneasy memory trace of previous union now apprehended as unattainable. A relation between the two I's, self and ideal ego, develops into one of hostility and resentment, with the ideal I, like the eye, constantly on the watch, judging, controlling, condemning, preventing any attempts of the subject to fall away from a strict coincidence with its limited, monistic, integrated social identity. Like Freud's notion of superego, this I acts as censor and judge and is the source of an internal awareness of guilt, apprehension, even paranoia. The double, a fantasy of evading this monistic I/eye, has a difficult relation to the unitary subject, haunting him/her with a reminder of all that has been excluded and amputated in the process of social formation. It is this which gives the double its subversive function, for as Bakhtin writes in his discussion of Dostoevski's version of dualism, through the double, "the possibilities of another man and another life are revealed. . . . The dialogical attitude of man to himself . . . contributes to the destruction of his integrity and finalizedness."13
The double functions as a figure onto which are externalized inadmissible and tabooed desires. They are products of projection, by which is meant "the operation whereby qualities, feelings, wishes or even 'objects,' which the subject refuses to recognize or rejects in himself are expelled from the self and located in another person or thing. Projection so understood is a defence of very primitive origin (and is at work especially in cases of paranoia)."14 It involves a defiance of the rule of the Father, an attempt to elude the threat of castration which hangs over the child, and to recover a state of union with the mother and of primary narcissism. Freud's collaborator, Otto Rank, in the first psychoanalytic study of the double, wrote that the double represents man's relationship with himself and that it "personifies narcissistic self love."15 Freud, influenced by Rank's work to investigate narcissism more deeply, realized that the double was, in its original {48} formation, "an insurance against the destruction of the ego," "an energetic denial of the power of death," the modern inheritor of the idea of the immortal soul as the double of the physical body. For the production of a reflection or of multiple gives defends against a fear of not-being, by creating a being immune to space, time, change, or mortality. The double, according to Freud, is a preservation against extinction, a product of the fear of castration and of a desire for immortality, and he finds the source of such ideas in "the primary narcissism which dominates the mind of the child and of primitive man."16
The least interesting fantasies of the double use it merely as an allegorical means of dramatizing moral assumptions. Stevenson's Dr. Jekyll and Mr. Hyde, for example, has Jekyll as the Ideal I, censoring and judging those aspects of himself which are socially unacceptable and projected onto Hyde. Their names signify their functions: Jekyll means I kill -- pointing to the murderous side concealed within his respectable role and projected onto Hyde, all that is hidden. Stevenson's ideological position prevented him from fully exploring the complexities of such a relationship -- though there are moments when his fantasy does open onto pre-Oedipal possibilities -- and his text is reduced to a rather simple fable. Much more complex dramatizations of subjectivity are found in Hogg's Confessions and in William Godwin's much neglected and brilliant story of paranoia and persecution, Caleb Williams. It was this tale of guilt which was a major source of inspiration to Godwin's daughter, Mary Shelley, in her writing of Frankenstein, and it is her particular version of monstrous doubling which I shall examine in more detail, since it has become such a potent and popular modern myth, lying behind many literary and film texts.
As was suggested above, Oedipal questions are at the heart of Frankenstein: the monster's tormented quest for identity is but a vast echo of the searchings of Walton -- the first narrator -- and Frankenstein, the second. "Who was I? What was I? Whence did I come? What was my destination? These questions continually recurred, but I was unable to solve them."17 Frankenstein creates the monster to fill a gap -- the absence caused by the death of his mother -- and it is the quest for a lost mother which informs the whole text. By becoming an unnatural mother, "giving birth" to another, who is a reflection of himself, Frankenstein is able to be the mother he lacks, to supply to himself his own need for a mother. Behind his link with the monster -- the same sex as he -- and their love/hate relationship is a need close to the one Freud described in his essay on homosexual love as "proceeding from a narcissistic base . . . homosexuals look for a man whom they may love as their mother loved them."18 Significantly, the monster is made up of bits and pieces of corpses, dead bodies of others, reconstructed from the region of death where the mother now lies. Frankenstein's creation is a displaced desire to be at one with the mother again and through her to reattain that primary narcissism of undifferentiated existence. A drive for reunion with the mother dominates each section of Frankenstein: there are four family units and each one is characterized by the lack of a mother; and the same drive lies behind the central fantasy itself, the production of a {49} monstrous, transgressive but mirror-imaged "other," a pre-Oedipal, unnameable shade.
Soon after its genesis, the monster murders Frankenstein's intimates: the brother who displaced him in his mother's affections, the innocent girl who had taken over his mother's caring role after her death, then his bride and half-sister, Elizabeth. Elizabeth is murdered on their wedding night, at precisely that moment when the incest taboo is about to be transgressed, for Elizabeth is a replacement for the mother in Frankenstein's desires and in the family constellation. Thus the monster acts to save his maker from castration -- the punishment for breaking the taboo -- and is, on yet another level, a defense against the fear of castration.
Behind a desire for the mother, however, is a desire for that "non-relationship of zero, where identity is meaningless," the stage of primary narcissism, which the production of the double is an attempt to regain. Frankenstein's monster is a fantastic example of the idea of "le corps morcelé," the body-in-pieces, for it is actually made up of dismembered, disjointed bodies, not one but many. It is the fragmented body which precedes the unification and identification of wholeness in the mirror stage, a literal reanimation of our dead and buried selves, those pieces of our otherness from which we have been severed in the act of becoming ego-bound. Initially, this body is not evil -- it is outside moral issues, beyond good and evil -- but it has evil thrust upon it and gradually comes to assume a more conventional role as an evil monster. Frankenstein is one of the most radical and tense modern fantasies -- and it is no accident that it was produced by a woman writer, on the periphery of Romanticism and unconsciously questioning its ideals of wholeness and ego-integrity -- precisely because of its refusal to accept moral categorization of the monster. The monster is like a child, at first without form or language, and it is a fantasy version of Frankenstein's pre-Oedipal existence.
Part of the work's radical position lies in its refusal of closure. Unlike other tales of the double, where the shadow side is murdered, or reassimilated, or seen as illusory, Frankenstein insists on the creature's constant presence. There is no reconciliation of the two sides of the self, and their mutual haunting and obsession with each other in a complex symbiotic relationship never really ends. After Frankenstein's death, the monster wanders disconsolately into the ice and snow, toward an unknown vanishing point. The text itself, which had opened with a Chinese-box structure of letters within letters, is not resealed: the monster's shapeless form is the last image to be witnessed. What remains, through this refusal of closure of the narrative, is a radical open-endedness of being, of both text and reader, an opening-up made possible through the introduction of a fantasy or pre-Oedipal life. The bond between Frankenstein and monster is unresolvable precisely because of its internal origin, and in life there can be no overcoming of their condition of alienation as the two I's. As Irving Massey writes, "The monster is something completely internal. . . . The monster may be simply solipsism itself, or an unhappy form of narcissism . . . the monster is an aspect with which Frankenstein cannot or will not come to terms. . . . And so they must {50} resume their endless dialectic of conflict, until, in death, they spiral into one again."19
If the ending of Frankenstein is compared with the ending of a more moralistic and allegorical fantasy of doubling and projection, its radical position is made even more clear. George MacDonald, for example, uses shadows and reflections in his Victorian fantasies, and even in their "high" religious fantasy a similar unconscious structuration can be detected. The Golden Key (1867), At the Back of the North Wind (1871), The Princess and the Goblin (1872), The Princess and Curdie (1883), Phantasies (1858), and Lilith (1895) can all be read as fantasies of rejection of the Oedipal moment and as attempts to return to a pre-Oedipal stage. At the Back of the North Wind, a popular children's story, fantasizes a movement into a changeless, timeless zone -- really a landscape of nonbeing -- through the entrance into a woman's womb. MacDonald's proliferating shadows and doubles in his more "adult" fantasies, Phantastes and Lilith, are attempts to ward off castration and to evade the law of the Father, but there is little real struggle or conflict with or through them.
Lilith, for example, has its narcissistic hero Vane -- his name signifying his vanity -- moving from an anxious inquiry as to his origins and real identity ("What is behind my think? Am I there at all? Who, what am I? I could no more answer the question. . . . I gave myself up as knowing anything of myself or the universe") to a submission to the Father's expulsion of him from the mother's place.20 After rediscovering and lying next to his mother in a strangely dead landscape -- indeed an almost farcical scene of fantasized incest -- where he is "blessed as never was man on the eve of his wedding" (MacDonald, Lilith, p. 247), Vane is ejected by a male figure, Adam, the first man/father, and he apologizes: "I ought not to have lain down without your leave" (p. 248). Vane reenters the living world a wiser and better man, for he has accepted the symbolic castration which this scene represents. The "great shadow," which has been hovering throughout the story, is at last dispelled -- because Vane has incorporated it into himself.21
The shadow/double figure at the end of Lilith is written out of the text, not because a pre-Oedipal unity has finally been attained, but because the desire for pre-Oedipal undifferentiation has been repressed. Instead it is displaced onto a transcendental ideal of unity, a sublimated heavenly state in which dualism is unknown. This is a displacement of desire which is common to all transcendental fantasies -- a removal of contradiction from a human to a religious or supernatural scheme of things. MacDonald's words betray the unconscious wish-fulfillment behind this ideal, when his narcissistic Vane admits to his maturity in these terms: "I have never again sought the mirror" for "that life which, as a mother her child, carries this life in its bosom" (p. 274). A desire for pre-Oedipal fluidity and non-identification has been displaced here onto a more socially acceptable ideal of union with a divine mother/father.
The difference between works like Frankenstein and Lilith may have to do with the different genders of their authors, since these will have produced dif- {51} ferent formations of the social being through the Oedipal drama. However, there are further implications in their treatments of the double motif. Frankenstein suggests that there can be no satisfactory resolution of the conflict between the Ideal ego and the fragmented, protean selves outside its formation. It is an open-ended work, leaving in tension various parts of the psyche, creating a sense of contradiction and dissatisfaction with social constructs -- of identity, language, morality, law, knowledge, reason, time, and space. It subverts the notion of a unified character or ego and implies that there are unknown and unexpected forms of subjectivity, or pre-subjectivity, which are repressed and concealed in or through the normal and normalizing process of identification. Produced from the edge of the Romantic movement by a female writer, it fantasizes the continued existence of pre-Oedipal states, of pre-moral and pre-male undifferentiation. It takes a negative, almost tragic form because of Mary Shelley's positioning as she wrote from within that male culture and its ideals, but it can be interpreted as an attempt to break or dissolve the ego by un-doing the process of its formation.
MacDonald, through his fantasy of submission and of eventual sublimation of a desire for the pre-Oedipal state, reconstructs the ego. He ends by rewriting, reinscribing, patriarchal values onto the human body, producing a text which, as might be expected from a male theologian at the core of Victorian conservatism, is deeply reactionary in its equation of a preordained cosmic and social harmony. By contrast, Mary Shelley's writing takes much more cognizance of the real consequences of inhabiting a post-Romantic, secular, patriarchal culture. Frankenstein provides a tense dramatization of the problematic nature of identity, its cost, its alienation of "self" from potential selves, from others, from the world which is quite unlike the facile wish-fulfillments of magical unity found in the dream works of MacDonald and those "high" fantasy writers in his wake.22 Mary Shelley's version of dualism, which is, in effect, more of a fantasy of pre-Oedipal multiplicity, opposes itself to the idealism and the universals of Romantic and transcendental art, ultimately putting into question the very premises on which our materialistic, rational culture is based and exposing its promises of fulfillment. As Julia Kristeva writes: "The call of the unnameable . . . issuing from those borders where signification vanishes, hurls us into the void [which] appears henceforth as the solidary reverse of our universe, saturated with interpretation, faith, or truth."23
1. Epigraph of The Student of Prague (1913), an expressionistic film on the theme of the double.
2. Rosemary Jackson, Fantasy: The Literature of Subversion (London: Methuen, 1981). Other works discussing the contradictions embedded in Gothic fantasy include Robert Kiely, The Romantic Novel in England (Cambridge: Harvard University Press, 1972) and David Punter, The Literature of Terror: A History of Gothic Fiction from 1765 to the Present Day (London: Longman, 1980).
3. See Ralph Tymns, Doubles in Literary Psychology (Cambridge, England: Bowes & Bowes, 1949); Masao Miyoshi, The Divided Self: A Perspective on the Literature of the Victorians (New York: New York University Press, 1969); Robert Rogers, A Psychoanalytic Study of the Double in Literature (Detroit: Wayne State University Press, 1970); and C. F. Keppler, The Literature of the Second Self (Tucson: University of Arizona Press, 1972).
4. Mary Shelley, Frankenstein, or the Modern Prometheus, ed. M. K. Joseph (Oxford: Oxford University Press, 1969), p. 203.
5. Ibid., p. 77.
6. James Hogg, The Private Memoirs and Confessions of a Justified Sinner, ed. John Carey (Oxford: Oxford University Press, 1969), p. 182.
7. Shelley, Frankenstein, p. 121.
8. Freud's ideas referred to in this essay can be found in "Three Essays on the Theory of Sexuality" (1905), vol. VII of The Standard Edition of Complete Psychological Works of Sigmund Freud, 24 vols., ed. James Strachey (London: Macmillan, 1953). The most accessible introduction to Lacan's work is Jacques Lacan, The Language of the Self, trans. Anthony Wilden (Baltimore: Johns Hopkins University Press, 1968).
9. Marianne Wain, "The Double in Romantic Narrative: A Preliminary Study," Germanic Review 36 (1961), 260. See also Louis Vinge, The Narcissus Theme in Western European Literature up to the Early Nineteenth Century (Lund: Gleerup, 1967).
10. Steve Bumiston, "Lacan's Theory of the Constitution of the Subject in Language," in On Ideology (London: Hutchinson, 1978), p. 212.
11. See Lacan, Écrits: A Selection, trans. Alan Sheridan (London: Tavistock, 1977), particularly the chapter "The Mirror Stage as Formative of the Function of the I," which is reprinted as "The Mirror-Phase" in New Left Review 51 (1968), 71-77.
12. Leo Bersani, A Future for Astyanax: Character and Device in Literature (Boston: Little, Brown, 1976), p. 208.
13. Mikhail Bakhtin, Problems of Dostoevsky's Poetics, trans. R. W. Rotsel (Ann Arbor:. Ardis, 1973), p. 96.
14. J. Laplanche and J. B. Pontalis, The Language of Psychoanalysis, trans. Donald Nicholson-Smith (London: Hogarth Press, 1973), p. 359.
15. Otto Rank, The Double: A Psychoanalytic Study, trans. Harry Tucker, Jr. (Chapel Hill: University of North Carolina Press, 1971), p. 95. See also Stanley M. Coleman, "The Phantom Double," British Journal of Medical Psychology 14 (1934), 254-73, andJ. E. Downey, "Literary Self-Projection," Psychological Review 29 (1912), 299-311.
16. Freud, "The Uncanny," Standard Edition, XVII, 217.
17. Shelley, Frankenstein, p. 128.
18. Freud's essay "On Narcissism" (1914), Standard Edition, XIV, 75-76, shows the influence of Rank's study of the double in literature.
19. Irving Massey, "Singles and Doubles: Frankenstein" in The Gaping Pig: Literature and Metamorphosis (Berkeley: University of California Press, 1976), p. 128. Other pertinent discussions of the unconscious drives behind Mary Shelley's work include Marc A. Rubenstein, "'My Accursed Origin': The Search for the Mother in Frankenstein," Studies in Romanticism 15 (1976), 165-94; U. C. Knoepflmacher, "Thoughts on the Aggression of Daughters," and Peter Brooks, "Godlike Science/Unhallowed Arts: Language, Nature and Monstrosity," both in The Endurance of Frankenstein: Essays on Mary Shelley's Novel, eds. George Devine and U. C. Knoepflmacher (Berkeley: University of California Press, 1979).
20. George MacDonald, Lilith (New York: Ballantine Books, 1969), p. 14; hereafter cited in the text.
21. Robert Lee Woolf, The Golden Key: A Study of the Fiction of George MacDonald (New Haven: Yale University Press, 1961) provides a biographical version of the formative years of MacDonald's life, relating a sense of the absent mother in his work to his early weaning and his mother's premature death.
22. Stephen Prickett in Victorian Fantasy (Hassocks, Sussex: Harvester Press, 1979) sees MacDonald's work as part of a tradition of "high" fantasy, characterized by a strongly Platonic idealism and evident in the writings of Charles Kingsley, John Ruskin, Lewis Carroll, Walter de la Mare, and Edith Nesbit. This tradition also includes C. S. Lewis, J. R. R. Tolkien, and other contemporary fabulists.
23. Julia Kristeva, Desire in Language: A Semiotic Approach to Literature and Art (Oxford: Oxford University Press, 1980), p. x

redpajama_set_name: RedPajamaCommonCrawl


Editor's note. At a press conference this afternoon, the National Right to Life Committee endorsed pro-life Karin Housley in Minnesota's Senate special election. Her opponent will be pro-abortion Tina Smith, who was appointed by Gov. Mark Dayton following the resignation of pro-abortion Sen. Al Franken.
I am pleased to be with you today in the great state of Minnesota. I have the honor of announcing that National Right to Life has endorsed Karin Housley for U.S. Senate in the special election this November.
There is a stark contrast between Karin Housley and Tina Smith, appointed by Governor Mark Dayton to fill an open seat. Karin Housley supports legal protection for unborn children while Tina Smith supports abortion for any reason until birth.
Karin Housley supports the Pain-Capable Unborn Child Protection Act – legislation that would protect unborn children by prohibiting abortion after 20 weeks, a point by which the unborn child is capable of experiencing great pain when being killed by dismemberment or other late abortion methods.
Tina Smith voted against the Pain-Capable Unborn Child Protection Act (S. 2311, 1/19/18, Roll Call No. 25) in the U.S. Senate. As a former lobbyist and vice president for the Minnesota Planned Parenthood affiliate, Tina Smith supports giving hundreds of millions of your tax dollars to the nation's largest abortion provider.
And while Tina Smith supports using your tax dollars to pay for abortion, Karin Housley does not.
I grew up in your neighbor state of North Dakota. Both North Dakotans and Minnesotans have a deep respect for innocent human life.
I have no doubt that, during the coming campaign, Tina Smith will try to obfuscate the issue of abortion, telling voters that she supports women's health and reproductive choice. What she will not clearly lay out for the voters is her true position. Tina Smith will do everything she can to make sure that the ability to kill unborn children for any reason, through all nine months of pregnancy, remains legal.
If you think women should get information about abortion, possible complications, and available alternatives, Tina Smith does not, and will not, represent you.
If you believe parents should be told that their minor daughter is seeking an abortion, Tina Smith does not, and will not, represent you.
Out of 108 worldwide studies published on abortion and breast cancer, 73% of the studies found an increased risk between induced abortion and the later development of breast cancer. If you think women should be told about even the possibility of an increased risk of breast cancer following an abortion, Tina Smith does not, and will not, represent you.
If you think abortion facilities should have to practice the same health and safety standards as ambulatory surgical centers, Tina Smith does not, and will not, represent you.
If you think unborn babies who have developed to the point where they can feel pain, at least by 20 weeks gestation, should be protected from abortion, Tina Smith does not, and will not, represent you.
If you think a preborn child should not die by having her arms and legs torn off in a gruesome dismemberment abortion, Tina Smith does not, and will not, represent you.
If you oppose having your tax dollars used to pay for abortion, in this country and in other countries, Tina Smith does not, and will not, represent you.
If you believe that health care providers and others should not be forced to participate in the brutal act of killing an unborn child, Tina Smith does not, and will not, represent you.
Karin Housley's position on life reflects the true values of Minnesota's voters. She will support common sense legislation that represents you.
I urge all voters in Minnesota to elect Karin Housley to the United States Senate.


One more sleep! Beginning tomorrow, you will see 36 ginger masterpieces on this here blog. Given that there are only three cruddy prizes, it is pretty clear that our participants aren't doing it for the winnings. This almost-friendly competition has become a holiday tradition for a great number of people, and I'm thrilled that so many gingerers have donated their time and creativity to spread some positive vibes on the interwebs.
Voting for the People's Choice Prize begins tomorrow and continues until early Tuesday morning. The (one) ginger creation with the highest total number of votes will claim the prize. There are six groupings of ginger creations, and you can cast a vote in each poll.
Don't forget to leave a shout out for your favourite entries in the comment sections – I know it means a lot to our competitors. Let's make everyone feel like a winner, okay? You can support your favourite entries by encouraging your friend to vote too. If you have more than one friend, good for you. Maybe stop bragging for a second and get them to cast a vote or two.
Lyndsay is my cake idol – I'm betting a lot of you feel the same way. I've been following her blog, Coco Cake Land, since 2009. This means we are best friends, even if she hasn't made the effort to publicly acknowledge it yet. Coco Cake Land is jam packed with her unique style, absolutely charming cakes, tutorials and recipes. Lyndsay lives in Vancouver, which may or may not be a deliberate attempt to put great physical distance between us.
Head on over to Lyndsay's blog/my nirvana by clicking here.
You can also become one of Lyndsay's 50K+ Instagram followers or find her on Facebook.
Lena is a young adult fantasy author from Toronto, and Ginger 2012 competitor. (She set her entry on fire, so she's legit.) Lena has a new book coming out in 2016 – Worlds of Ink and Shadow: A Novel of the Brontës – which seems like it took a lot of research, and makes me feel tired just thinking about it. As an author of portal fantasy, Lena has access to magical gateways which we are not allowed to touch because we might wreck them.
You can also follow her on the Twitters.
Willow is the blogger behind Will Cook for Friends and a Ginger 2014 competitor. Willow's blog is filled with disgustingly amazing photography, recipes, and a myriad of tips and tutorials centred on the science of cooking and baking. Accessible and totally inspiring, I highly recommend you check it out. This year, Willow collaborated with some other bloggers to publish a digital cookbook, The Casual Veggie, which means her year was 100% more productive than mine.
Jump on over to Willow's blog by clicking here.
You can also find her on Facebook, or follow her on Instagram. She posts some of the most adorable selfies you'll ever see.
Adopamop is my brother. He was also a gingerbread instructor for a few years, which makes him one of the most qualified members of this panel. A longtime manufacturer of Barbies, Adopamop has recently been promoted to Assistant to the Assistant in Charge of Barbie Shoe Design and Engineering. It's a pretty big deal. Adopamop currently resides in Lambersart, France.
Currently residing in Halifax, Mrs. Rutherford is one of the best ballet teachers in this country, a fellow graduate of Canada's National Ballet School, and holds an Honours Bachelor of Fine Arts Degree in Dance. She is also my enemy. I thought if you didn't win Ginger 2015 you might like to have someone to blame.
WOW, what an impressive panel of judges……why am I suddenly nervous? LOL I love this time of year with all the gingerbread creations popping up everywhere…..I really think we should make gingerbread pieces for every holiday!
So honored to be a part of this most esteemed panel of judges. I've always dreamed of being a judge of something, so now I can legitimately say I'm living the dream. Good luck all you ginger competitors! You are a bunch of brave souls.
Very thoughtful of you to include a fall guy… er…..gal for us to blame.
Turns out The Rutherfords ARE good for something!
There will be no corrupting this large panel of eminent judges!


text:
The Descendants of Esau
1Now these are the descendants of Esau (that is, Edom). 2Esau took his wives from the daughters of Canaan: Adah, daughter of Elon, the Hittite, and Oholibamah, daughter of Anah, the daughter of Zibeon, the Hivite, 3and Basemath, the daughter of Ishmael, the sister of Nebaioth. 4And Adah bore to Esau Eliphaz; and Basemath bore Reuel; 5and Oholibamah bore Jeush and Jalam, and Korah. These are the sons of Esau who were born to him in the land of Canaan. 6And Esau took his wives and his sons and his daughters, and all the persons of his household, and his sheep and goats, and all his cattle, and all the goods that he had acquired in the land of Canaan, and went to a land away from his brother Jacob. 7For their possessions were too many to live together,#Literally "much from living together" so that the land of their sojourning was not able to support them on account of their livestock. 8So Esau dwelled in the hill country of Seir (Esau, that is Edom).
9Now these are the descendants of Esau, the father of Edom, in the hill country of Seir. 10These are the names of the sons of Esau: Eliphaz, the son of Adah, the wife of Esau; Reuel, the son of Basemath, the wife of Esau. 11The sons of Eliphaz were Teman, Omar, Zepho, Gatam, and Kenaz. 12(Now Timnah was the concubine of Eliphaz, the son of Esau. And she bore Amalek to Eliphaz.) These are the sons of Adah, the wife of Esau. 13Now these are the sons of Reuel: Nahath, Zerah, Shammah, and Mizzah. These are the sons of Basemath, the wife of Esau. 14Now these are the sons of Oholibamah, the daughter of Anah, daughter of Zibeon, the wife of Esau: She bore to Esau Jeush, Jalam, and Korah. 15These are the chiefs of the sons of Esau. The sons of Eliphaz, the firstborn of Esau: the chiefs of Teman, Omar, Zepho, Kenaz, 16Korah, Gatam, and Amalek. These are the chiefs of Eliphaz in the land of Edom. These are the sons of Adah. 17Now these are the sons Reuel, the son of Esau: the chiefs Nahath, Zerah, Shammah, and Mizzah. These are the chiefs of Reuel in the land of Edom. These are the sons of Basemath, the wife of Esau. 18Now these are the sons of Oholibamah, the wife of Esau: the chiefs Jeush, Jalam, and Korah. These are the chiefs born of Oholibamah, the daughter of Anah, the wife of Esau. 19These are the sons of Esau, and these are their chiefs (that is, Edom). 20These are the sons of Seir, the Horite, the inhabitants of the land: Lotan, Shobal, Zibeon, Anah, 21Dishon, Ezer, and Dishan. These are the chiefs of the Horites, the sons of Seir in the land of Edom. 22And the sons of Lotan were Hori and Hemam. And Lotan's sister was Timna. 23Now these are the sons of Shobal: Alvan, Manahath, Ebal, Shepho, and Onam. 24Now these are the sons of Zibeon: Aiah and Anah—he is Anah who found the hot springs in the desert while he pastured the donkeys of Zibeon his father. 25Now these are the sons of Anah: Dishon and Oholibamah, the daughter of Anah. 26Now these are the sons of Dishon: Hemdan, Eshban, Ithran, and Keran. 27These are the sons of Ezer: Bilhan, Zaavan, and Akan. 28These are the sons of Dishan: Uz and Aran. 29These are the chiefs of the Horites: the chiefs Lotan, Shobal, Zibeon, Anah, 30Dishon, Ezer, and Dishan. These are the chiefs of the Horites, according to their chiefs in the land of Seir.
The Kings of Edom
31Now these are the kings who reigned in the land of Edom before any king ruled over the Israelites.#Literally "sons/children of Israel" 32Bela the son of Beor reigned in Edom. And the name of his city was Dinhabah. 33And Bela died, and Jobab, the son of Zerah from Bozrah, reigned in his place. 34And Jobab died, and Husham from the land of the Temanites reigned in his place. 35And Husham died, and Hadad, son of Bedad, who defeated Midian in the field#Or "country" of Moab reigned in his place. And the name of his city was Avith. 36And Hadad died, and Samlah from Masrekah reigned in his place. 37And Samlah died, and Shaul from Rehoboth on the Euphrates#Or "the River" reigned in his place. 38And Shaul died, and Baal-Hanan, the son of Acbor, reigned in his place. 39And Baal-Hanan the son of Acbor died, and Hadar reigned in his place. And the name of his city was Pau, and the name of his wife was Mehetabel, the daughter of Matred, daughter of Mezahab. 40Now these are the names of the chiefs of Esau according to their families, according to their dwelling places, by their names: the chiefs Timna, Alvah, Jetheth, 41Oholibamah, Elah, Pinon, 42Kenaz, Teman, Mibzar, 43Magdiel, and Iram. These are the chiefs of Edom (that is, Esau, the father of Edom) according to their settlements in the land of their possession.
2010 Logos Bible Software. Lexham is a registered trademark of Logos Bible Software
1Now this is the history of the generations of Esau (that is, Edom). 2Esau took his wives from the daughters of Canaan: Adah the daughter of Elon, the Hittite; and Oholibamah the daughter of Anah, the daughter of Zibeon, the Hivite; 3and Basemath, Ishmael's daughter, sister of Nebaioth. 4Adah bore to Esau Eliphaz. Basemath bore Reuel. 5Oholibamah bore Jeush, Jalam, and Korah. These are the sons of Esau, who were born to him in the land of Canaan. 6Esau took his wives, his sons, his daughters, and all the members of his household, with his livestock, all his animals, and all his possessions, which he had gathered in the land of Canaan, and went into a land away from his brother Jacob. 7For their substance was too great for them to dwell together, and the land of their travels couldn't bear them because of their livestock. 8Esau lived in the hill country of Seir. Esau is Edom.
9 This is the history of the generations of Esau the father of the Edomites in the hill country of Seir: 10these are the names of Esau's sons: Eliphaz, the son of Adah, the wife of Esau; and Reuel, the son of Basemath, the wife of Esau. 11The sons of Eliphaz were Teman, Omar, Zepho, and Gatam, and Kenaz. 12Timna was concubine to Eliphaz, Esau's son; and she bore to Eliphaz Amalek. These are the descendants of Adah, Esau's wife. 13These are the sons of Reuel: Nahath, Zerah, Shammah, and Mizzah. These were the descendants of Basemath, Esau's wife. 14These were the sons of Oholibamah, the daughter of Anah, the daughter of Zibeon, Esau's wife: she bore to Esau Jeush, Jalam, and Korah.
15 These are the chiefs of the sons of Esau: the sons of Eliphaz the firstborn of Esau: chief Teman, chief Omar, chief Zepho, chief Kenaz, 16chief Korah, chief Gatam, chief Amalek. These are the chiefs who came of Eliphaz in the land of Edom. These are the sons of Adah. 17These are the sons of Reuel, Esau's son: chief Nahath, chief Zerah, chief Shammah, chief Mizzah. These are the chiefs who came of Reuel in the land of Edom. These are the sons of Basemath, Esau's wife. 18These are the sons of Oholibamah, Esau's wife: chief Jeush, chief Jalam, chief Korah. These are the chiefs who came of Oholibamah the daughter of Anah, Esau's wife. 19These are the sons of Esau (that is, Edom), and these are their chiefs.
20 These are the sons of Seir the Horite, the inhabitants of the land: Lotan, Shobal, Zibeon, Anah, 21Dishon, Ezer, and Dishan. These are the chiefs who came of the Horites, the children of Seir in the land of Edom. 22The children of Lotan were Hori and Heman. Lotan's sister was Timna. 23These are the children of Shobal: Alvan, Manahath, Ebal, Shepho, and Onam. 24These are the children of Zibeon: Aiah and Anah. This is Anah who found the hot springs in the wilderness, as he fed the donkeys of Zibeon his father. 25These are the children of Anah: Dishon and Oholibamah, the daughter of Anah. 26These are the children of Dishon: Hemdan, Eshban, Ithran, and Cheran. 27These are the children of Ezer: Bilhan, Zaavan, and Akan. 28These are the children of Dishan: Uz and Aran. 29These are the chiefs who came of the Horites: chief Lotan, chief Shobal, chief Zibeon, chief Anah, 30chief Dishon, chief Ezer, and chief Dishan. These are the chiefs who came of the Horites, according to their chiefs in the land of Seir.
31 These are the kings who reigned in the land of Edom, before any king reigned over the children of Israel. 32Bela, the son of Beor, reigned in Edom. The name of his city was Dinhabah. 33Bela died, and Jobab, the son of Zerah of Bozrah, reigned in his place. 34Jobab died, and Husham of the land of the Temanites reigned in his place. 35Husham died, and Hadad, the son of Bedad, who struck Midian in the field of Moab, reigned in his place. The name of his city was Avith. 36Hadad died, and Samlah of Masrekah reigned in his place. 37Samlah died, and Shaul of Rehoboth by the river, reigned in his place. 38Shaul died, and Baal Hanan the son of Achbor reigned in his place. 39Baal Hanan the son of Achbor died, and Hadar reigned in his place. The name of his city was Pau. His wife's name was Mehetabel, the daughter of Matred, the daughter of Mezahab.
40 These are the names of the chiefs who came from Esau, according to their families, after their places, and by their names: chief Timna, chief Alvah, chief Jetheth, 41chief Oholibamah, chief Elah, chief Pinon, 42chief Kenaz, chief Teman, chief Mibzar, 43chief Magdiel, and chief Iram. These are the chiefs of Edom, according to their habitations in the land of their possession. This is Esau, the father of the Edomites.
PUBLIC DOMAIN. "World Messianic Bible" is a trademark.


Laser collimator housings, ten for sale, singles available.
Thread: Laser collimator housings, ten for sale, singles available.
Someone here might want, and not know if I didn't announce them.
Two down, Eight to go. Any takers?
There's a question or two answered there now, might be info of use to help decide. I always answer questions I get on listings if I can.
Three down, little over one day to go. If you want one, now's your chance. eBay wanted entirely too much to list that auction, so I won't list them again, if any are unsold I'll keep them. I used them before, so no doubt I'll find a use again. :) They're really easy to mount and use, especially as part of a laser diode tester or other device needing easy diode changes, so I strongly recommend them.
All times are GMT -8. The time now is 01:17.


Nice! Thanks for the heads-up. It's great to know that Ted Kord is alive and active, even if it's in his plainclothes for now.
Well gosh! You didn't even mention Adam Strange! Loved this issue!
The Adam Strange bit in Superman #3 was funny, but it continues the character's sad transformation into comedy relief. It's only a matter of time before he barks "Bwah-ha-ha!"
Man, I must have missed out on Strange's last few appearances. I didn't realize he was being made out to be a new Booster or Beetle.
Not to mention, Ted Kord just looked like a slightly older Peter Parker. Lot of similarities with these two characters.
Thanks, Dave. My understanding of Super/I.W. Publications is that most of what it published was unauthorized reprints -- I have a few issues, and that's what they were. (One was The Spirit!) So I assume these Blue Beetle stories are reprints, and not legal ones. But it's always good to be comprehensive, so thanks again.
That second cover fairly screams Ross Andru, doesn't it?


text:
Q: rspec - how to have examples without both 'describe' and 'it' Given the following working code:
require 'rspec'
require_relative 'dec_to_hex'
describe "Should convert 20 to 32" do
  it "should convert correctly" do
    converter("20").should == 32
  end
end

Why can't I have the actual test as either
describe "Should convert 20 to 32" do
    converter("20").should == 32
end
# This simply doesn't run the test, it gets ignored!

or
it "should convert correctly" do
  converter("20").should == 32
end
# This gives undefined method `it'

A: You must use both 'describe' and 'it' blocks when using RSpec. The internal reason is described in the docs (http://rubydoc.info/gems/rspec-core/frames) as follows:
"The describe method creates an ExampleGroup. Within the block passed to describe you can declare examples using the it method.
Under the hood, an example group is a class in which the block passed to describe is evaluated. The blocks passed to it are evaluated in the context of an instance of that class."

redpajama_set_name: RedPajamaStackExchange


We wouldn't be where we are today if it wasn't for the support of our Flames Club members. We are excited to continue to build our program and compete at the highest level with your help. Thank you for all you have done for us and continue to do for us.
Your gift to the 2019 Lacrosse Excellence Fund has a direct impact on our team. As we move to the ASUN Conference, the financial challenge has never been greater. The Excellence Fund makes a difference in the lives of our lacrosse student-athletes and enhances our ability to equip them with everything they need to achieve on and off the field.
Under the direction of Coach Kelly Nangle and Athletics Director Ian McCaw, the Lacrosse Excellence Fund is used to underwrite the financial requirements of Division 1 lacrosse. As Liberty lacrosse continues to rise, a greater investment is needed to provide the resources for championship level recruiting and operational expenses. Your support helps achieve victory on the field and in the classroom.


We have the coolest Birthday Parties!
Spirit Ice Arena is an outstanding and unique party venue for all special occasions in a family friendly environment.
For Ages 3 thru Adult! Our Learn To Skate classes are a great way for beginners to start learning! We offer many days for classes and also offer discounts enrolling in an additional class.
For Skaters that have completed classes through Basic 8 in the Learn to Skate Program and want to learn more. Skaters will learn to jump and spin.
For Ages 3 thru Adult! Our Learn To Play Hockey classes are a great way start learning and also to keep improving your skills! Hockey Equipment required.
Keep dry with us this Halloween, 3:30pm-5:30pm & 5:45pm-7:45pm public skate with trick or treating and fun! Admission just $5 if you are wearing a costume!
We have the coolest parties in town! Book yours today!
2 for 1 admission every Thursday evening!
If you are an adult that is new to hockey, check out the Novice League and start playing now!
Played hockey before and want to keep playing through adult? Check out our Adult A league!
For kids ages 4-12. The Brazos Valley Junior Storm are a great start for aspiring hockey players!
For kids ages 13-18. The Brazos Valley Storm will keep your player competitive!


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The Simpson men's basketball team hosts rival Central in a key Iowa Conference clash in the lone game of the week on Wednesday evening.
Wednesday's tipoff is set for 8 p.m. and will be video streamed on SimpsonAthletics.com. Todd Guessford will have the call. Andrew Swadner and Rick Wilson will describe the action on KNIA 1320 AM/95.3 FM and online at KNIAKRLS.com.
The Storm (11-10, 7-6) went 1-1 last week, beating Luther 92-75 on Wednesday before falling to Wartburg 85-77 on Saturday. Conor Riordan led the way with 26 points in the win over Luther. He followed with 23 in the loss to Wartburg.
The Dutch (9-12, 6-6) beat Dubuque 85-78 on Saturday behind 19 points from Malik Wildermuth.
Simpson (7-6) goes into Wednesday's game with a half-game lead on both Central (6-6) and Wartburg (6-6) for fourth-place in the standings. Buena Vista (9-4) sits two games above the Storm in third.
Wednesday, Feb. 6 — 8 p.m.
1 — Playing the Best: Simpson has played the second-toughest schedule in all of Division III to this point in the season. Simpson's opponents are a combined 226-131 for a .633 winning percentage. Only Wis.-Stevens Point (.653) has played a tougher schedule.
2 — Valuing the Basketball: Simpson takes care of the ball as well as any team in the nation. The Storm turn the ball over just 10.2 times per game, fourth-fewest in Division III. Simpson's two turnovers against Luther last Wednesday are tied for the lowest mark in Division III this season. Simpson committed just three turnovers in the first meeting with Central and is the only team in the country to turn the ball over three-or-fewer times on two occasions.
3 — Amsbaugh at the Line: A byproduct of being one of the top scores in the league is getting fouled. The IIAC's third-leading scorer gets fouled a lot, and takes advantage of his opportunities. Amsbaugh has made 117 free throws on the year, most in the conference and 20th in Division III. He has made more than 100 free throws each of the last three seasons, just the second player in school history to hit the century mark three times.
4 — Bench Buckets: The Storm have received a big boost from their bench play since the start of the new year. In the last 10 games, Simpson's bench is averaging 25.5 ppg, up from 13.4 ppg in the first 11 games of the season. Kyle Wagner has had the hot hand as of late, averaging 11.2 ppg over the last six games.
5 — Riordan on a Tear: In what has already been a career year, the last three games may be point guard Conor Riordan's best yet. In addition to averaging 27 points and 5.3 rebounds, he has 17 assists and just three turnovers for an eye-popping 5.7 assist-to-turnover ratio. In the entire season, he has committed more than two turnovers just once -- three at Dubuque on Dec. 6.
Simpson and Central are meeting for the 200th time in a series that dates back to the 1906-07 season … Simpson leads the series 101-98 … the Dutch won the season's first meeting 93-87 in Pella, Central's second-straight in the series.
The Dutch and sixth-year head coach Craig Douma are 9-12 on the year and and 6-6 in the Iowa Conference … Saturday's seven-point win over Dubuque snapped a two-game losing streak … the Dutch are sixth in the league in scoring offense (81.6) and last in points allowed (82.5) … with 10.1 3-pointers per game, Central ranks fourth in the IIAC and 32nd in the nation … returning All-IIAC performer Kyle Smith leads the team in scoring (16.1 ppg).


When people come in to see me regarding a criminal matter they often feel hopeless. I've spoken to hundreds of people who talk to me, and their first thought is, I might as well plead guilty. That is the exact wrong approach to take. We can sit down, work together and it's amazing how many times the person ends up getting the charge dropped, getting acquitted or pleading to a much lesser offence than they thought they were doomed to be convicted of.
Many people come in to see me feeling absolutely hopeless. You're not going to court by yourself. Make an appointment. I will sit down with you and together we'll come up with a plan. Lets get started.


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Home / A-Z Essential Albums & Artists / Terry Riley
The Californian-born Terry Riley is one of the founding fathers of a 20th century music style known as minimalism - along with Philip Glass and Steve Reich - whose innovations in the 1960's paved the way for much of the ambient, psychedelic, new age and neoclassical music that has arisen since.
Minimalism, world music, orchestral, psychedelia
some essential releases:
In C [performed by the Shanghai Film Orchestra] (1964/1989, Celestial Harmonies)
A Rainbow In Curved Air (1969, CBS)
Descending Moonshine Dervishes/Songs For Ten Voices Of The Two Prophets (1977/1982, Kuckuck)
Harp Of New Albion (1984, Celestial Harmonies)
The Californian-born Terry Riley is one of the founding fathers of a 20th century music style known as minimalism (see also Philip Glass and Steve Reich), whose innovations in the 1960's paved the way for much of the ambient, psychedelic, new age and neoclassical music that has arisen since.
New ideas, new sounds
By the mid 20th century, establishment classical music has grown cold, academic and something to be endured rather then enjoyed. Minimalism was an outgrowth - and in many ways a rebellion against - the dominant modern classical sounds up to the 1960's. Sometimes called serialism, these sounds tended heavily towards dissonance and atonality and were militantly championed by composer Arnold Schoenberg and his disciples. Tonal composers such as Sibelius were dismissed or ostracised, and serialism dominated the "serious" music curriculum of Western universities for many decades.
Minimalism change that, and equally important was a parallel development centred around American avant-garde composer John Cage. His radical notion that any "sound" can be regarded as music gave a new generation of composers freedom to do absolutely anything they wanted in performance. Taken to its extreme this could mean absolute silence (like Cage's absurd composition "4'33") or complete randomness (such as Cage's compositions using random permutations of the Chinese oracle the I-Ching). But while Cage confronted and infuriated the serialists, in the end many of his ideas were intellectual exercises rather than music. Cage opened the gates, so to speak, and it was composers like Riley who poured through and brought a sense of melody back to Western classical music, albeit in a totally new way.
Repetition and drones
While much work by the minimalist school since the 60' and 70's has outgrown the minimalist tag, it's still useful in understanding the basics of their style - repetitive, additive, cyclic music which sometimes uses unusual tunings.
Also uniting most of these composers - including Riley's close contemporary La Monte Young - is their hugely influential discovery in the early 60's of the melodically rich music of North India, at first through the recordings of Ravi Shankar. This especially inspired Riley - not to mention many later rock, pop, ambient and new age musicians - whose droning pieces for organ show a clear lineage to the tamboura sounds of India.
60's classics
Riley is most famous for In C, written in 1964 and a highly influential work. It was one of the launching pads for minimalism as a recognisable style, and its use of interlocking repetitive phrases would go on to inform a good deal of modern classical, ambient and experimental electronic music that was to follow.
The piece consists of 53 musical fragments that can be played by any number and combination of players and instruments, in order and at any speed. The result? Self-indulgence for some listeners, liberation for others; it partly depends on your sensibilities although it's far less chaotic than you might imagine. The particular album version of "In C" listed above from 1989 is a performance by the Shanghai Film Orchestra, mixed by Riley with help from ambient pioneer Brian Eno.
Of the original minimalists, it was Riley who was most popular with rock audiences in the 1960's. His classic A Rainbow In Curved Air (1969) became something of a cult item amongst the 60's counter-culture with its droning, hypnotic organ lines, sustained bursts of saxophone and rapidly repeating melodic patterns. It's intoxicating trance music, though like Philip Glass' earlier music some listeners may not be able to handle the intensity of the repetition. If you're among them, then you're directed beyond this period to some of Riley's more recent and accessible works.
The 70's and beyond
Songs For Ten Voices Of Two Prophets (1982) and The Harp Of New Albion (1984) are vintage middle-period Riley and make excellent introductions for newcomers to his work. The music on both albums is based on intensive studies he undertook with Indian musicians.
Songs For Ten Voices Of Two Prophets features Riley on vocals and playing two Prophet-V synthesisers. His beautiful singing is based on native Indian vocal techniques, and coupled with the richly textured keyboards the resulting music is mystical, expansive and at times utterly compelling. The double-length Harp of New Albion features a specially prepared 'muted' piano - an idea first practiced by John Cage - from which Riley pulls a remarkable range of sounds, performing compositions that are primarily ambient in nature. The CD version of Two Prophets listed above is paired with another essential Riley album Descending Moonshine Dervishes (1977), an intoxicating two-part piece for organ and synth based on long, pulsing major-chord drones beneath lively spinning melodies with a spicy Moroccan flavour.
After the 1980's Riley's recorded catalogue veers between interesting live recordings, experimental keyboard works and almost conventional-sounding classical music like the guitar and violin music of The Book Of Abbeyozzud (1999). This period is best left for hardcore fans; his seminal works all date from before 1990.
Influence and legacy
Like the repetitive music of Glass and Reich, Terry Riley's music requires some patience and at times a redefinition of notions of musical progression and development. But if you doubt the importance of the minimalists to contemporary music, then compare A Rainbow In Curved Air to the repetitive parcels of sound found on Mike Oldfield's groundbreaking hit album Tubular Bells (1973). Without the inroads made by people like Riley, Oldfield's popular two part opus may never have been made. By popularising the idea of drones, repetition and cycles in Western music, the contribution of Riley and his peers has been to have us re-examine music, break it down into its simplest forms and, in a way, start all over again.
Essential Albums – Q-R
Jorge Reyes
Robert Rich
Steve Roach
Don Robertson


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Carol Brown Goldberg's work takes on a life of its own at the Martha's Vineyard Playhouse gallery.
Jeanna Shepard
Going Big on the Gallery Scene
Louisa Hufstader
Monday, July 22, 2019 - 11:21am
Large format is the size of the summer on the walls of three Martha's Vineyard art galleries, with expansive landscapes, abstracts and abstract landscapes by several distinctly different painters.
Carol Brown Goldberg's one-woman show Mirror Universe, in the Martha's Vineyard Playhouse lobby gallery, is a carnival of color, form and motion, with each painting revealing different elements depending on where in the room you stand to view it.
Ms. Brown Goldberg's nine purely abstract acrylics, with playful—even suggestive—titles, like Bobby Bloom on the Boardwalk, Oh Baby Baby Baby and Ecstasy, exuberantly cross action painting with geometric stencils overlaid by grids of brightly painted, perfectly round or oval dots.
Rez Williams's latest Monhegan Island oils are on display at A Gallery in West Tisbury. — Thomas Hausthor
This jazz-like expression of emotional freedom within a powerful rhythmic structure is enhanced in several of Ms. Brown Goldberg's works by her use of polymer particles, which add a glitter-like sparkle to the 3-D effect created by the grids of painted dots.
To gaze at one of her paintings for any length of time is to see shapes emerge, like clouds that fleetingly resemble familiar objects. Is that a spinnaker? Does that checkerboard look like a parquet floor?
Move slightly and the shift of light will change everything. You might even catch yourself thinking that the work is breathing, no longer flat against the wall but pressing forward into space.
Ms. Brown Goldberg is also a sculptor, with installations at several American universities and museums, and she collaborated with filmmaker Anthony Szulc on the award-winning short The Color of Time (2012).
Fans of Rez Williams start young. — Thomas Hausthor
Her paintings are on view in the playhouse lobby during box office hours: Monday and Saturday from 4 pm. to 9 p.m. and Tuesday through Friday from 2 p.m. to 9 p.m., through August 1.
At Tanya Augoustinos's A Gallery, now housed at 510 State Road in West Tisbury, Rez Williams is showing his latest series of Monhegan Island oils through August 7.
These energetic coastal and woodland scenes, painted from snapshots Mr. Williams took on the Maine island, are the work of a master in abstraction confronting a dynamic environment one moment at a time.
His beaver-gnawed snags, human-felled tree trunks and swirling tide pools capture the less-scenic side of coastal New England and its second-growth forests, while unexpected colors—a pink slope, bright blue shadows on a fallen limb, boulders splashed with yellow—highlight the stark forms that shape Mr. Williams's images.
A Gallery is open Sunday through Wednesday from 10:30 a.m. to 6 p.m. and Tuesday by appointment.
At the Granary Gallery, Twilight Ferry by Jean Staples pays tribute to Edward Hopper. — Jeanna Shepard
Granary Gallery in West Tisbury held a reception Sunday for three painters in its summer exhibition. Along with David Wallis's contemplative oils and Heidi Lang-Parrinello's sun-splashed watercolors, the Granary is showing new Island scenes and sights by Jeanne Staples.
Ms. Staples's latest large paintings—including Twilight Ferry, of the Island Home loading cars under a sickle moon on an off-season evening, and a peaceful, affectionate view of Up-Island Automotive in West Tisbury—pay tribute to Edward Hopper's influence with their interplay of light and shadow.
Golden sunlight bathes the flanks of cattle grazing in an up-Island field, long shadows streak a barnyard and in each of Ms. Staples's two smaller paintings, a man cuts fish in a narrow swath of light from an unseen window.
Nearly all of Ms. Staples's works in the show were painted this year. Her views of Eastville and of the Vineyard Haven waterfront near the Black Dog Tavern date from 2017.
The Granary Gallery is open daily, from 10 a.m. to 5 p.m. Monday through Saturday and from 11 a.m. to 4 p.m. Sunday.
More photos.
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AmD Technik Essex (also known as Automotive Developments) is a British car tuning company and auto racing team. The team currently competes in the British Touring Car Championship under the MB Motorsport accelerated by Blue Square banner.

History

The company was formed in 1987, specialising in the Volkswagen-Audi marque, forming their own VW-backed race team in 1990. They went on to win many championships with AmD-built and tuned Volkswagen Golfs. The company now offers tuning parts for most European cars.

For the 2008 & 2009 seasons, AmD ran SEAT Leóns in the Dunlop Sportmaxx Cup and won the championship in 2009, with Simon Shaw driving.

BTCC

In 2010, AmD Essex, under the name AmD Milltek Racing, raced in the British Touring Car Championship running a Volkswagen Golf Mk5, driven by their managing director, Shaun Hollamby. The car was previously run in the Baltic Touring Car Championship.

The team remained in the series in 2011, with Tom Onslow-Cole campaigning the Golf for the first four rounds of the season, running with a Lehmann built NGTC engine.

On Sunday 5 June, following Race 2 of round four at Oulton Park, Onslow-Cole announced he would be leaving the team following the final race of the day. Given the sudden circumstances, AmD Milltek took the decision not to field the car for the final round of the day. A day later, it emerged that Onslow-Cole was to return to his previous team, Aon Ford, to run a third car.

In the following week, it was announced that managing director Shaun Hollamby would pilot the car at round five at Croft, to give the team longer to find an appropriate replacement for Onslow-Cole. After Croft, Hollamby announced his retirement from high-level motorsport.

For the remainder of the 2011 season, the team signed former Renault Clio Cup champion, Martin Byford to drive the car.

At the Autosport International show, AmD announced that Ollie Jackson would be driving for the team during the 2012 season.

In 2013, AmD ran James Kaye in a Honda Civic for one round of the BTCC and four rounds in a Volkswagen Golf, which was also piloted by Hollamby and Aaron Mason for one round each. They sat out the Knockhill, Rockingham and Silverstone rounds of the championship.

Dave Newsham joined the team in 2014 and drove a Ford Focus ST for the season, picking up the team's first podium in race 3 at Newsham's home round at Knockhill and finished 17th in the championship.

For 2015, the team stuck with the Ford Focus ST with Mike Bushall piloting, and introduced the Audi S3 purchased from Rotek Racing to run Nicolas Hamilton for four rounds and Jake Hill at the final round at Brands Hatch.

Ollie Jackson returned to the squad in 2016 opting to run the Audi S3 and ditching the focus. Jackson completed the season in 26th place in the championship.

2017 saw AmD build a second Audi S3 for Ant Whorton-Eales to partner Jackson for the season with the two becoming regular points scorers on the way to 22nd and 23rd in the final standings.

AmD significantly expanded for the 2018 BTCC season with the purchase from the defunct Triple 8 team of a pair of race winning MG 6s. To drive the two machines, the services of young Scotsman Rory Butcher who debuted in 2017 and previous BTCC race winner Tom Boardman were called upon. AmD also retained the two Audi S3s with Jackson remaining in one for the 3rd consecutive season and youngster Sam Smelt called up to the sister car. They recorded their best season to date with Butcher regularly troubling the top points scorers. Boardman was replaced half way through the season by Ant Whorton-Eales for Snetterton, Glyn Geddie for Rockingham and Knockhill and Josh Caygill for Silverstone and Brands Hatch. Ollie Jackson also took a 3rd place finish at Brands Hatch in changeable conditions.

For 2019, AmD sold the MG 6s to new squad Exceler8 and bought a pair of Honda Civic FK2 from Eurotech, who left the series at the end of 2018. Butcher was retained for one of the new Honda seats and race-winner Sam Tordoff was brought in to partner him. Sam Tordoff was replaced after 7 rounds by Mike Bushall. The three of them secured the Independent Teams Championship with a combined 4 wins and 3 pole positions whilst Rory won both Independent Drivers title and the Jack Sears Trophy rounding off the team's most successful season to date.

TradePriceCars.com

Also in 2019, the Audi S3s were sold to Trade Price Racing but are still to be run for the team in a two year deal by AmD, with Jake Hill taking one of the Audi seats and ex F1 driver, Le Mans & Indy Car race winner Mark Blundell taking the other. Jake took the Audis 1st ever victory at Knockhill.

Jake was promoted to the AmD side of the team for 2020 and will be partnered by Sam Osborne, whilst the Trade Price Cars arm will be piloted by Bobby Thompson and ex British GT Champion James Gornall.

MB Motorsport

For 2020, a partnership with ex-F1 racer Mark Blundell was formed, taking over the running of the Honda Civics. Mark Blundell will act as sporting director of the two-car Honda programme featuring new BRDC Superstar Jake Hill and Sam Osborne, with AmD founder Shaun Hollamby retaining the position of team principal. The team merged with Motorbase Performance for 2021.

BTCC results

Notes
* Season still in progress
† Swapped teams mid season

References

External links

 http://www.amdessex.com/btcc.blog.cfm
 http://www.btccpages.com/news/1/1678/New-team-brings-VW-Golf-to-2010-BTCC/
 http://www.racecar-engineering.com/news/cars/438063/volkswagen-joins-btcc-grid.html
 http://www.crash.net/btcc/news/155825/1/amd_reveals_volkswagen_btcc_plans.html
 http://www.autosport.com/news/report.php/id/80796

British auto racing teams
British Touring Car Championship teams
British GT Championship teams
International GT Open teams
Auto racing teams established in 1990

redpajama_set_name: RedPajamaWikipedia


Start taking classes at Abhyaas - School of Yoga & Wellness and other studios!
Abhyaas - School of Yoga & Wellness believes that yoga is not just about changing health, but changing lives. Their main priority is to share their knowledge of the great art of India with anyone who walks through their doors. Most importantly, they strive to enrich and put meaning into the lives of their students through a challenging yet enjoyable practice.
The instructor is very helpful and attentive. Like the overall flow.
Karen is an exceptionally good coach. She is one of the most energetic and lively teachers who turns the routines to be a fun, fruitful and efficient class. This is my second time to join her and I think I would recommend this class to everyone who looks so not-too-easy and beautiful moves, in which you find yourself very relaxed and thoroughly stretched after the 1-hour class with a small group.
Challenging yet rewarding workout! Margaret is very nice and attentive, always comes over to adjust our postures!
Good sweat ! Tough and challenging class but Margaret is very encouraging.


Join us for an info session regarding our 2019-2020 Artist-in-Residence Program! Learn more about our Museum, the history of the program, and meet the Museum community.
We are offering an 11-month residency for one visual artist from the tri-state region whose artistic practice will resonate with children ages 3 to 8 and their families, and reflect a relationship to the demographics, location or history of Sugar Hill. The selected artist will be granted a non-living studio (450 square feet), a $7,000 honorarium and a culminating exhibition at the Museum. For more information and to apply, click here.
Photo by Michael Palma Mir.


Who do we contact if we notice a leak in the house, yard, or in the street?
In an emergency, please contact City dispatch at 970-920-5310. For a non-emergency, please contact our office during business hours at 970-920-5110 with details of the location of the leak.
1. Do we need to call you if we are digging or excavating?
Yes. It is required that you contact the Utilities Notification Center of Colorado at 811 before you dig. Additionally, you contact the Water Department at 970-920-5110 to schedule a water line locate in the Aspen area. We require a minimum of 48 hours advance notice and will need the address of location, on-site contact name and phone number and detail of work requested.
2. What if we have no water?
We are on call 24 hours a day. If you need to contact us before or after hours, please call City dispatch at 970-920-5310.
3. Who do we contact if we notice a leak in the house, yard, or in the street?
4. Who do we contact if we need temporary water service for construction purposes?
It is illegal to connect to a fire hydrant within the City of Aspen water system. Please refer to our Filler Hydrant Program page for details. For more information, please contact the Water Department at 970-920-5110.
5. Who do we contact regarding tap fees for remodel or new construction?
Please call Engineering at 970-920-5080 or visit our webpage on Water Utility Connection.
6. Who do we contact with questions regarding a water meter?
Please email Keith Wester, our Utilities Program Manager, or call 970-920-5110.
7. Do we need a water filter?
Your tap water is safe without one. If you have an internal problem with your plumbing, you may want to consider a filter or treatment system. For more information, please contact the Water Department at 970-920-5110.
8. What about waterborne parasites like Cryptosporidium and Giardia?
The Aspen Water Department frequently tests for these parasites in the water under provisions of the Long Term Surface Water Treatment Rule (LTSWTR2). Giardia is common in our source water but as to date no Cryptosporidium has been detected. Effective treatment and filtration processes remove and/or inactivate all parasites prior to our distribution system. Under the Federal governments Surface Water Treatment Rule (SWTR), we are required to maintain a detectable disinfectant level in the distribution system at all times. For more information, please contact the Water Department at 970-920-5110.
9. How do you remove white film from dishware?
Commercial spot-free rinse for the dishwasher does not always work to prevent a film on dishware. If glasses and even plastic items are coming out of the dishwasher covered in a dusty white film, try adding one-half to a full cup of white vinegar just as the final rinse begins. For some this works to prevent a white film on dishes, and the vinegar works to keep hard water deposits from building up inside the dishwasher and the working components and drains.
Hard water can be remedied with a water softener, but even those with a water softener sometimes have problems with a white film on dishes. When a water softener is used, it is not necessary to completely fill the dishwasher detergent cups. The amount of detergent used can be cut in half. It could be an overuse of detergent causing the thin white film on glassware and other dishes. Cut back the amount of detergent used. Not only will this save money, but it will also help prevent the formation of white film on dishes.
For more information, please contact the Water Department at 970-920-5110.
10. What is the procedure for obtaining a filler hydrant permit?
$250 per tank or truck.


The leaks seems to be credible, since it comes from the same Sina Weibo user who had leaked the bleu version of the HTC flagship a couple of weeks ago. From what we see in the photo, the part has a stamp that says 12 August, meaning that HTC has been preparing this for a long time – and not after the iPhone 5S unveiling. If everything is true we expect this gold HTC One to hit the markets really soon. What do you think? Would you buy it?


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L'Estatut d'Autonomia de les Illes Balears de 2007, Llei Orgànica 1/2007, de 28 de febrer, constitueix la norma fonamental de la comunitat autònoma de les Illes Balears. Encara que el seu text es presentà mediàticament com un nou Estatut, més tost es tracta de la reforma de l'anterior Estatut de 1983, amb articles invariats que mantenen la mateixa redacció.

L'Estatut Balear del 2007 (que substitueix el de 1983) es basa en la proposta d'una Comissió de Savis i d'una ponència parlamentària. Es publicà al BOE l'1 de març de 2007. En el Parlament Balear va obtenir el suport del PP, PSIB-PSOE i UM mentre que el PSM-EN i EU-EV es varen abstenir perquè, tot i reconèixer l'avanç que suposava respecte a l'estatut anterior, estaven en desacord amb la no equiparació del català amb el castellà en el nou text estatutari. El Consell Insular d'Eivissa i Formentera que disposava l'Estatut anterior, se separa en el Consell de Formentera i el Consell Insular d'Eivissa.

En la reforma es va aportar una llista de drets amb una ampliació remitida a una posterior carta de drets (art. 16.2), que encara s'ha materialitzat en un avantprojecte de llei.

Referències

Bibliografia

Vegeu també
 Avantprojecte d'Estatut d'Autonomia de les Illes Balears de 1931
 Estatut d'Autonomia de les Illes Balears de 1983

Enllaços externs
 Text de l'Estatut
 Web de la CAIB sobre el nou estatut

Dret a les Illes Balears
Política de les Illes Balears
Illes Balears
2007


It's always a great day when Curren$y drops new music. Today (June 27), Spitta drops "Money In the Air" off his upcoming Smokee Robinson 2: Smokey's Revenge project that's coming out this year.
"Money In the Air" is produced by Don Cannon and is their second collaboration the two hip-hop vets have recently dropped (the first was "She Don't Stop" that released a few weeks back). On "Money In The Air," Curren$y sounds like a boss, rapping about collecting checks.
"Money in the air watch it fall like rain/Get back on the grind we make it all again/Can't believe I'm doing this/Coming to see you again," he raps.
Smokee Robinson 2: Smokey's Revenge follows up to their 2011 Smokee Robinson mixtape. Spitta revealed the upcoming project on Instagram by uploading a picture of himself and Cannon in the studio. "I closed my eyes and realized that me and @doncannon had just created "smokey robinson 2″ we gonna call it #smokeysrevenge… Andretti and the,the,the,the cannon !!! @dexstr8dope," Curren$y wrote in the caption.
Spitta also finally made his Pilot Talk Trilogy available on all streaming platforms for fans enjoyment.
Bump "Money In the Air" below.


If I were going to write a children's story, it might be about a little evergreen tree, which lived with its parents in a big meadow (And I might call it, "O'Sheol's Fair-Meadow") filled with many different and colorful and beautiful trees.
Of course, we all know how impatient that young little trees can be! And Little-One was no exception! And so, Little-One wa sn't very happy about Mama's answer. And Little-One thought about what Mama said. And Little-One thought about how all the other trees pointed in all sorts of new and different and interesting directions!
Well, spring turned to Summer, and Summer turned to Fall. And Little-One grew taller, but so did all the other little trees!
Well now, one day in November, there came a very cold morning. The dark clouds rolled over the land. And then came a strong wind from the north, bringing a very cold, frosty chill throughout that O'Sheol's Fair-Meadow where Little-One's family lived.
And what do think happened? Well, with each and every strong wind, more and more of those beautiful and colorful leaves fell from all those once-b eautiful trees, until there were no leaves left on those once-beautiful trees!
And Little-One looked around, in amazement at all the other trees in the O'Sheol's Fair-Meadow! And Little-One couldn't believe its eyes! All those once-beautiful leaves were now all gone! And those once-beautiful trees now looked sad and barren! And O'Sheol's Fair-Meadow wasn't so fair anymore!
And so, that was just about the last time that Little-One felt ugly and drab! Now Little-One could see, just how wonderful it is to be an Evergreen tree!
And by-and-by, Little-One grew up into a very noble Evergreen Tree! And eventually he became the tallest of all the trees in O'Sheol's Meadow! And now, whenever the strong winds blow, Little-One (no longer so little), now sways gently and gracefully with the four winds of Heaven. And Little-One still is evergreen, and still is pointing straight up, to Heaven's everlasting joy, for all the world to see!


The ECA is exploring the potential of hosting an art exhibition in late 2019.
We are looking for painters, illustrators or photographers to express interest in the exhibition. To find out more click on the link below.