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(no subject)
May. 16th, 2008 | 10:32 pm
Click for animation
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Animated Graffiti Movie from Buenos Aires
May. 15th, 2008 | 10:58 am
7-ish minutes...
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Edwin Meese III
May. 14th, 2008 | 04:43 pm
Edwin Meese III
"You don't have many suspects who are innocent of a crime. That's contradictory. If a person is innocent of a crime, then he is not a suspect."
-- U.S. News and World Report, 10/14/85
Attorney General under Ronald Reagan, himself later the target of a federal grand jury investigation.
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(no subject)
May. 14th, 2008 | 09:03 am
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I HAVE POSTED THIS BEFORE...
May. 13th, 2008 | 10:26 pm
AND I'M POSTING IT AGAIN!
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YO! IT'S DA DESIGN CODING
May. 9th, 2008 | 05:45 pm
The Poetic Prophet (AKA The SEO Rapper)
LYRICS
Your site design is the first thing people see
it should be reflective of you and the industry
easy to look at with a nice navigation
when you can’t find what you want it causes frustration
a clear Call to action to increase the temptation
use appealing graphics they create motivation
if you have animation
use with moderation
cause search engines can’t index the information
display the logos of all your associations
highlight your contact info that’s an obligation
create a clean design you can use some decoration
but to try to prevent any client hesitation
every page that they click should provide and explanation
should be easy to understand like having a conversation
when you design the style go ahead and use your imagination
but make sure you use correct color combinations
do some investigation, look at other organizations
but don’t duplicate or you might face a litigation
design done, congratulations but it’s time to start construction
follow these instructions when you move into production
your photoshop functions then slice that design
do your layout with divs make sure that it’s aligned
please don’t use tables even though they work fine
when it come to indexing they give searches a hard time
make it easy for the spiders to crawl what you provide
remove font type, font color and font size
no background colors, keep your coding real neat
tag your look and feel on a separate style sheet
better results with xml and css
now you making progress, a lil closer to success
describe your doctype so the browser can relate
make sure you do it great or it won’t validate
check in all browsers, I do it directly
gotta make sure that it renders correctly
some use IE, some others use Flock
some use AOL, I use Firefox
title everything including links and images
don’t use italics, use emphasis
don’t use bold, please use strong
if you use bold that’s old and wrong
when you use CSS, you page will load quicker
client satisfied like they eating on a snicker
they stuck on your page like you made it with a sticker
and then they convert now that’s the real kicker
make you a lil richer, your site a lil slicker
design and code right man I hope you get the picture
what I’m telling you is true man it should be a scripture
if it’s built right you’ll be the pick of the litter
everyone will want to follow you like twitter
competition will get bitter and you’ll shine like glitter
if you trying to grow your company will get bigger
design and code right man can you get with it
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Duck!
May. 6th, 2008 | 06:15 pm
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oswald pattern
May. 5th, 2008 | 11:35 pm
clickitclickitclickitclickit
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Martha Colburn excerpt from 'Evil Of Dracula'
May. 3rd, 2008 | 10:55 pm
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searchlight
May. 3rd, 2008 | 02:11 pm
N O V A H E A R T B U R S T
RIBCAGE PRISON BREAK!
LIFT ME/i fly
to theradiance trance
BIGSUNDANCE
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Citizen Kane: analysis by Ladd Ehlinger, Jr. (excerpt)
May. 3rd, 2008 | 02:09 pm
By Ladd Ehlinger Jr.
"...Take, for instance, the picnic scene in which Susan Alexander, Kane's second wife, has a temper tantrum in a tent and is slapped by Kane.
It starts with a funeral-like procession of cars driving to the picnic, which then opens with the jazz-dirge "It Can't be Love." An elderly Kane argues with Susan as noises from the party outside can be heard. Angered by Susan's shrill accusations, Kane leaps to his feet, looms over his wife.
Kane: Whatever I do, I do because I love you.
Susan: You don't love me. You want me to love you. Sure. I'm Charles Foster Kane. Whatever you want, just name it and it's yours. But you gotta love me.
Kane slaps her. The sound of a woman partygoer laughing in the background can be heard as Susan stares up at him.
Susan: Don't tell me you're sorry.
Kane: I'm not sorry.
The sound of the partygoer continues as Susan stares up at Kane in defiance.
Then the image dissolves to a stained glass window in Xanadu, Kane's palatial hideaway. We are trained to view such dissolves as nothing more than a way to go from one scene to another, to show that time is passing. In a pavlovian manner, we turn off our brains and wait for the next scene to come along. But note the progression of the dissolve imagery, and how it bolsters and comments on the scene:
Note how scales of justice evolve from Susan's right eye, and an omniscient / masonic eye evolves from her left. Note the other images in the window, the bird, the book, the chalice; note the fractured nature of those images, their religious nature, their secular nature. It is a jigsaw puzzle. Weeks could be spent contemplating this one moment, this incredibly labyrinthian knot in the thematic web of Citizen Kane. There are countless other examples of this sort of imagic weaving, ...throughout the film, that only a very few critics or analysts have ever truly touched on. But for me, it is just these sorts of labyrinths that give the film its value.
Speaking of labirynths, Jorge Luis Borges once wrote that "...forms of multiplicity and incongruity abound in the film: the first scenes record the treasures amassed by Kane; in one of the last, a poor woman, luxuriant and suffering, plays with an enormous jigsaw puzzle on the floor of a palace that is also a museum... At the end we realize that the fragments are not governed by a secret unity: the detested Charles Foster Kane is a simulacrum, a chaos of appearances."
To which I might add: yes, and the irony is that the film Citizen Kane achieves unity through this chaos."
"...Take, for instance, the picnic scene in which Susan Alexander, Kane's second wife, has a temper tantrum in a tent and is slapped by Kane.
It starts with a funeral-like procession of cars driving to the picnic, which then opens with the jazz-dirge "It Can't be Love." An elderly Kane argues with Susan as noises from the party outside can be heard. Angered by Susan's shrill accusations, Kane leaps to his feet, looms over his wife.
Kane: Whatever I do, I do because I love you.
Susan: You don't love me. You want me to love you. Sure. I'm Charles Foster Kane. Whatever you want, just name it and it's yours. But you gotta love me.
Kane slaps her. The sound of a woman partygoer laughing in the background can be heard as Susan stares up at him.
Susan: Don't tell me you're sorry.
Kane: I'm not sorry.
The sound of the partygoer continues as Susan stares up at Kane in defiance.
Then the image dissolves to a stained glass window in Xanadu, Kane's palatial hideaway. We are trained to view such dissolves as nothing more than a way to go from one scene to another, to show that time is passing. In a pavlovian manner, we turn off our brains and wait for the next scene to come along. But note the progression of the dissolve imagery, and how it bolsters and comments on the scene:
Note how scales of justice evolve from Susan's right eye, and an omniscient / masonic eye evolves from her left. Note the other images in the window, the bird, the book, the chalice; note the fractured nature of those images, their religious nature, their secular nature. It is a jigsaw puzzle. Weeks could be spent contemplating this one moment, this incredibly labyrinthian knot in the thematic web of Citizen Kane. There are countless other examples of this sort of imagic weaving, ...throughout the film, that only a very few critics or analysts have ever truly touched on. But for me, it is just these sorts of labyrinths that give the film its value.
Speaking of labirynths, Jorge Luis Borges once wrote that "...forms of multiplicity and incongruity abound in the film: the first scenes record the treasures amassed by Kane; in one of the last, a poor woman, luxuriant and suffering, plays with an enormous jigsaw puzzle on the floor of a palace that is also a museum... At the end we realize that the fragments are not governed by a secret unity: the detested Charles Foster Kane is a simulacrum, a chaos of appearances."
To which I might add: yes, and the irony is that the film Citizen Kane achieves unity through this chaos."
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Gray Thunder: Listening to Elephants
May. 1st, 2008 | 09:26 pm
"Today, humanity needs to reach out to elephants and hear a singular voice, a mind that has evolved with us and influenced us biologically, culturally, and mythically, for our entire evolution. The trauma that elephants have experienced over the last few decades is not completely measurable by humanity. Indeed, only a few people have been willing to break the human/nonhuman gulf to insist that elephants—in killing villagers in India and Sri Lanka, in raping rhinos as they have done in South Africa, and in exhibiting post-traumatic stress disorder as documented by psychologist Gay Bradshaw—are exhibiting symptoms of a much larger malaise: the breakdown of not just habitat and family structure, but also of mind across an entire species. This breakdown is symptomatic of the unraveling of nature as we have known it. The irreplaceable bond we have had with the elephant is an alliance we need to salvage not only for the sake of the elephant’s future but for ours as well. "
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Leslie Hall for President
Apr. 30th, 2008 | 02:05 pm
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(no subject)
Apr. 30th, 2008 | 05:47 am
The movement
which is the existence
of the universeis the movementof love.
"But don't underestimate the power of a good bowel movement either."
Mr. Hoot Paris
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This word is terribly long...
Apr. 29th, 2008 | 10:31 pm
This word is terribly long in its length as it comprises of 1913 letters as follow:
Methionylglutaminylarginyltyrosy -
lglutamylserylleucylphenylalanylalanylgl
lleucyllysylglutamylarginyllysylglutamyl
lanylphenylalanylvalylprolyphenylalanYlv
onylleucylglycylaspartylprolylglycylisol
lutamylglutaminylsErylleucyllysylisoleuc
laspartylthreonylleucylIsoleucylglutamy -
lalanylglycylalanylasparthlalanylleucylg -
lutamylleucylglycylisoleucylprolylphenyl
Rylaspartylprolylleucylalanylaspartylgly
RolylthreOnylisoleucylglutaminylasPfragi
anylthreonylleucylarfinylalanylphenylala
lalanylglycylvalythreonylprolylalanylglu
lcysteinylphenylalanylglutamylmethionyll
lalanylleuOylisoleucylarginylglutaminy -
llysyhistidylprolylthreonylisoleucylprol
lisoleucylglycylleucylmethionyltyrosylal
lasparaginylleucylvalylphenylalanylaspar
llysyglycylisoleucylaspartylglutamylphen
lthrosylalanylglutaminylcsteinylglutamyl
lylglycylvalylaspartylserylvalylleucylva
laspartylvalylprolylvalylglUtaminylgluta
lalanylprolylphenylalanylarginylglutamin
lalanylleucylarginylhistidylasparaginyva
lprolylisoleucylprolylisoleucylphenylala
lphenylalanylisoleucylcysteinylprolylpro
laspartylaspartylaspartylleucylleucylarg
lglutaminylisoleucylalanylseryltyrosylgl
larginylglycyltyrosylthreonyltyrOsylleuc
leucylserylarginylalanylglycylvalylthreo
lglycylalanylglutamYlasparainylarginylal
lalanylleucylprolylleucylasparaginylhist
lleucylValylalanyllysylleucyllysylglutam
ltyrosylasparaginylalanylalanylprolylpro -
lylleucylglutaminylglgycylphenylalanylgl
lisoleucylserylalanylprolylaspartylgluta
lvalyllysylalanylalanylisoleucylaspartyl
lglycylalanylalanylglycylalanylisoleucyl
lglycylserylalanylisoleucylvalyllysyliso
lisoleucylglutamylglutaminylHistidylaspa
liSoleucylglutamylprolylglutamyllysylmet
leucylalanylalanylleucyllysylvalylphenyl
calylglutaminylprolylmethionlysylalanyla
hreonylarginylserine.
The above word refers to "Tryptophan synthase a protein", a chemical name for a substance that contains 267 kinds of amino acid enzymes.
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Laughing Academy
Apr. 28th, 2008 | 03:03 am
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From "The Overworked American" by Juliet Schor
Apr. 27th, 2008 | 11:36 am
"Since 1948, productivity has failed to rise in only five years. The level of productivity of the U.S. worker has more than doubled. In other words, we could now produce our 1948 standard of living (measured in terms of marketed goods and services) in less than half the time it took in that year. We actually could have chosen the four-hour day. Or a working year of six months. Or, every worker in the United Stares could now be taking every other year off from work-with pay. Incredible as it may sound, this is just the simple arithmetic of productivity growth in operation. But between 1948 and the present we did not use any of the productivity dividend to reduce hours. In the first two decades after 1948, productivity grew rapidly, at about 3 percent a year. During that period worktime did not fall appreciably. Annual hours per labor force participant fell only slightly. And on a per-capita (rather than a labor force) basis, they even rose a bit. Since then, productivity growth has been lower, but still positive, averaging just over 1 percent a year. Yet hours have risen steadily for two decades. In 1990, the average American owns and consumes more than twice as much as he or she did in 1948, but also has less free time."
Juliet B. Schor (b. 1955) is a professor at Harvard University, where she is both Senior Lecturer on Economics and also Director of Women's Studies. In her book The Overworked American: The Unexpected Decline of Leisure (1991), she analyzes some surprising trends-historic, economic, and cultural-in the world of work, with a particular emphasis on the American worker.
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WEST
Apr. 25th, 2008 | 03:49 pm
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Isidore Isou 2
Apr. 25th, 2008 | 01:36 pm
Portrait, 1952
by Isidore Isou
by Isidore Isou
MANIFESTO OF LETTERIST POETRY
A Commonplaces about Words
Pathetic I The flourishing of bursts of energy dies beyond us.
All delirium is expansive.
All impulses escape stereotyping.
Still I An intimate experience maintains curious specifics.
Pathetic II Discharges are transmitted by notions.
What a difference between our fluctuations and the
brutality of words.
Transitions always arise between feeling and
speech.
"Isidore Isou founded Letttrisme. At the beginning of the movement, he was its sole practioner. Others soon joined him. The movement evolved steadily, energetically, and at times perhaps confusingly from the late 1940s to the present. Its internal vocabulary has changed othen, and even its name has sometimes morphed into other names. Still, these basic writings by Isou make up a good introduction to Lettriste theory."