Tuesday, March 3, 2009

The Quotare You A Witchquot Test

Writen by Dr. Dorothy McCoy

"Tis the witching hour of night, Orbed is the moon and bright, And the stars they glisten, glisten, Seeming with bright eyes to listen For what listen they?" John Keats

The singular popularity of the Harry Potter books and movies has magically transformed the occult into an international obsession. Don't you think there is a little of the witch or wizard in all of us? It would be helpful to have the option to throw a love spell on that great looking hunk or babe you covet. Would you like to recapture "the one" who got away? I can certainly identify with that goal. I am researching my own little "come back to me hunk" spell as we speak. Perhaps, he won't object to being turned into a slimy snail. He will be my hunk or someone's snail, it is his choice to make. However, as a psychotherapist, I support freedom of choice and will fight for it with the very last ounce of strength in my body. However, there are limits.

Are you a witch just waiting to burst forth as the magical creature you were born to be? Do you remember Samantha in the retro television program, "Bewitched?" You have probably seen, and perhaps felt a mystical connection with the new "Bewitched" movie.

Be aware, we are talking about good witches or wizards. Just in case you are thinking about black magic, be cautioned, you will not learn how to transform your boss into an amoeba in my book (I was only teasing about the snail). Just in case I am mistaken, remember the cardinal rule, never tell where you found the spell.

Though the only witches we see are in the movies or on television, witches were a very "real" phenomenon to the European population in the 17th century. In our own country, Salem, Massachusetts, is infamous for its witch mania and its lack of "due process" trials. "Witches" were tried in Salem until 1692. Deliverance Hobbs confessed to witchcraft, "admitting to pinching three girls at the devil's command and flying on a pole to attend a witches' Sabbath in an open field" (Salem Witchcraft History). One must assume, one of three possibilities: she was a genuine broom riding witch, she was coerced or she had emotional issues. My educated guess would be she was coerced.

Many people in the 21st century profess to believe in witchcraft and magic. Let's see how much you know about being a witch or warlock. You may be the next Samantha or Sam. Choose "Y" for YES or "N" for NO for the following questions then tally your score using the instructions that follow the test (no, you may not use witchcraft).

Check Your Witchy I.Q.

1. ____ Love spells, charms and potions have been dated to 2400-1900 BC.

2. ____ Celtic and Gypsy cultures have a rich history of magic lore.

3. ____ Rose Quartz is associated with love spells.

4. ____ Black cats are often used in "lost love" spells.

5. ____ Women are usually more successful than men in using genuine magic spells.

6. ____ Fire is an essential part of all love spells.

7. ____ The full moon is frequently a requisite in love spells.

8. ____ A love spell sans candles is like cookies without milk.

9. ____ Direction matters … many spells include the direction you should face while repeating the magic words.

10. ____ Love potion number 9 is actually a genuine love potion.

Scoring: Give yourself one point for each correct answer.

Correct Answers:

1. Yes. According to one reputable witch, this is correct. I would have asked for her source, however, she impolitely disappeared in a puff of smoke. If you see her tell her to pop back in and retrieve her bat!

2. Yes. Magic threads through these rich cultures and many other cultures

3. Yes. My sources seemed (with all of that popping in and popping out, how can one tell) to agree on this connection.

4. No. Not unless your true love is Garfield.

5. Yes. Women have a natural ability to listen and are more intuitive. Guys, please, do not write to my dear, much-loved publisher or to me. I am merely reporting.

6. No. I found very few common elements among the many love spells I researched. The only essential fire is the one within you … red-hot passion.

7. No. I think it should be necessary, but I found it in very few love spells.

8. Yes. Most love spells used candles.

9. Yes. Knowing which way to turn to find north, south, east and west seems to be important. Fortunately, my Ford Expedition came with a direction finder device.

10. No. At least, I could not find it in the literature on love spells.

Scoring

Add your points...

What Does My Score Mean?

Scores 1 – 3 Perhaps you should try a sexy mini skirt and a "magic" perfume. You do not seem to be suited to witchcraft. However, if you are determined you may want to try these resources: http://www.academyofsorcery.com/?google Witch Newsletter. Because practice makes perfect, even in magic … I have also included a love spell that is guaranteed to be fun and the highlight of your next gathering of friends. What do you have to lose? Are the love spells guaranteed? Depends on your mini skirt…

Scores 4 – 7 You have potential you could develop. I think the love of your life had better plan on being yours for as long as you want him or her. Do you want to know more? Try our resources. Don't forget to practice the love spell, especially since I nearly forfeited my life procuring it for you. Yes, I have tried it. How well did it work? If I told you that, "they" would turn me into an aardvark.

Scores 8 – 10 Hello Samantha or Sam. You are undeniably gifted. Your anticipated target doesn't have a chance. A little practice can't hurt, see spell on following page. Don't forget to order a caldron. You never know when you might need it.

Love Spell

1 White "Bride and Groom" candle or other white figural couple candle 1 Pink "Bride and Groom" candle or other pink figural couple candle 1 Red "Bride and Groom" candle or other red figural couple candle a nail or needle to carve the candles

Carve your beloved's initials into each candle. Burn one candle each night, precisely at midnight, while singing the words to "Goodnight My Love." You must wear white, and hold a red carnation in your right hand. Or was that your left hand? Try both hands. For the words to Goodnight My Love go to http://www.lyricsxp.com/.

After three nights, you should be ready for the final phase of the spell. Be kind and caring, use good communication skills (or learn them), and let him know he is special to you. Be low-key, you don't want to frighten the pursued. Be a good listener and an interesting conversationalist. Nothing is more precious or fragile than the wondrous, magical emotions you share with your beloved. They can endure forever or the slightest breeze may wither them. While they are yours, experience them frequently and wholeheartedly.

More bewitching hints: Give him a nickname. Look into his eyes for four minutes without interruption (research supports both of these hints). Good luck! This spell works for both genders … I am an equal opportunity witch.

This test and article are from The Ultimate Book of Personality Tests; written by Dr. Dorothy McCoy, (http://www.police-stress.com), Champion Press, 2005. You can order the book at http://www.championpress.com, on-line, or at http://www.amazon.com, or at your favorite bookstore and enjoy all 51 tests. About the Author Dr. Dorothy McCoy, Columbia, SC USA drmccoy86@aol.com Learn more about test, quizz, witch, spell, personality Dr.McCoy is an author, psychotherapist and police consultant. Two of her books (The Ultimate Book of Personality Tests and From Shyness to Social Butterfly)have been published and three other books will be released in the next few months. She can be reached at drmccoy86@aol.com

Monday, March 2, 2009

African Wildlife Art

Writen by Jason Gluckman

Wildlife art is considered as one of man's earliest art forms because some of the carvings that have been found in archeological sites predate written history. This art form inspires an appreciation of the relationship between man and nature. However, wildlife art can depict other things depending on which country or place the artwork comes from. An example of this is how Native Americans associated different traits with different animals. Another example is what wildlife art represents in Africa.

Wildlife art in African culture

One of the most common themes in African art is that of a male with a weapon or an animal, which is used to give honor to ancestors, because animal ownership in Africa connotes honor and power. Sculpting a horse together with the likeness of an ancestor gives honor to that ancestor. This is because in African culture, ownership of a horse signifies power and wealth, as riding a horse "elevates" the rider to a higher position compared to other people. With regard to other animals, the interpretation of what they depict can also depend on which tribe made the sculpture. Interpretations of the same animal may vary among tribes.

Multiplicity of meaning

On how Africans view wildlife art, it can be concluded that this kind of art tends to carry a multiplicity of meanings that depends on which tribe made it or for what ritual it was used. This fact has made it very difficult for Western observers to understand this art form in Africa given the numerous "permutations" of meaning that this art form may carry.

Wildlife art is one of the earliest art forms that man has created. Such an art form has been used by most cultures. However, different cultures interpret wildlife art differently from other cultures. This has led to a seemingly endless list of symbolism that cultures assign on art that depict animals.

African Art provides detailed information on African Art, African Tribal Art, African Wildlife Art, African American Art and more. African Art is affiliated with Abstract Art Paintings.

Sunday, March 1, 2009

Acne Products

Writen by Stein Ove Stien

Acne is one of the few things that every teenager is afraid of. It has adverse effects on your self-esteem and may even lead to problems like depression if not cured on time and properly.

The market is flooded with a score of acne products. It is important to know about the available products before letting testing them on your precious skin. One should also keep in mind that not every treatment may suit you. And what may be perfect for your friend may make your situation even worse. This makes it even more important to not get into traps. The most important rule for using acne products is that when you test any product it should not cause any itching or burning sensation. It should not be harsh on your skin and should be suited to your skin type.

A score of masks, scrubs, creams and gels are available in the market.

Acne does not have any quick and easy treatment, though a lot of products may have you believe otherwise. You have to be careful not to get into traps and use things best suited to your type of skin. Any medication that causes burning sensation or itching to your skin is not for you and you should consult a doctor immediately if that happens. You can choose from natural or medicated medicine for acne. Natural medicines are a combination of plant extracts and medicated medicines are based on chemicals like benzoyl peroxide or salycic acid.

All leading brands of cosmetics have medications for acne and your doctor may prescribe any of them depending on your skin type and the concentration of chemical used.

Few acne products that are available in the market are Oxy10 balance emergency spot treatment, Clinique Acne Solutions emergency gel lotion, DDF BP Gel 5% with Tea tree oil, pH isoderm 4-way daily acne cleanser, Biore blemish bomb, Johnson & Johnson Persa Gel, Biore Blemish Double Treatment and many more.

While some products need to be used on a regular basis as they prevent any bursts, others are also available which can be used in times of emergencies.

But no matter what anyone may advice you, only you can be the best judge of products that suit you. You should keep in mind your skin types and any allergies that affect you. Skin is something that you should treat very carefully and should avoid using excessive chemicals on. It is something that may cost you a bomb if permanently damaged.

Stein Ove Stien is the manager of 1acne-treatment.com with Acne Blogs Guides and Acne Treatment Articles

Saturday, February 28, 2009

Glass Stories

Writen by Bronwen Roberts

Glass and Resonance
We have all heard stories of how opera singers can shatter glass upon hitting a particular note. However, how plausible is this notion? In order to shatter glass, a singer's voice has to be able to match the frequency of the glass. (Every object has a resonant frequency, which is the natural frequency at which an object vibrates.) If you blow on the edge of a glass, you will hear a resonant hum, and if you keep blowing, you can even create a tune - this sound is the unique resonant frequency of the glass.

The singer would have to sing very loudly: precisely producing a note of about 135 decibles, which is more sonic boom than pertaining to anything musical. The human threshold for pain is about 120 decibels. The note would have to be maintained for the duration of at least two to three seconds for the right vibration to build up, so the glass could shatter. In the late 70s, laboratory experiments with a professional soprano and a trumpet player showed that neither could shatter glass. The only singer who has apparently succeeded is the famed tenor, Enrico Caruso, but the validity of this claim is a matter of conjecture.

Glass and Wine
Why do wine glasses have such long stems? Wine enthusiasts proclaim that it is essential in order to prevent the heat of one's hand on the glass from warming the wine. Any drink that is chilled should be in a glass with a stem. Equally important is the aesthetics of a fine stem, which enhances the pleasure of the experience.

By contrast, fine scotch or cognac is drunk from a snifter glass, which has a short stem. The stem in the snifter should be wedged between one's middle and ring finger, with the palm and fingers wrapped around the bowl of the glass, to gently warm the whisky/brandy and allow the aromas to come to the fore.

Glass and Computers
Anyone who uses a computer knows that an optical mouse does not work on a glass table! Because optical mice use an LED and a camera to rapidly, capture images of the surface beneath the mouse. This information is analyzed by a DSP (Digital Signal Processor), which is used to detect imperfections in the underlying surface, and determine motion. Some materials, such as glass, mirrors or other very shiny, uniform surfaces interfere with the ability of the DSP to analyze the surface beneath the mouse. Since glass is transparent and uniform, the mouse is unable to pick up enough imperfections in the underlying surface to determine motion.

Mirrored surfaces are also a problem, since they constantly reflect back the same image, causing the DSP not to recognize motion properly. When the system is unable to see surface changes associated with movement, the mouse will not work properly.

Glass and Household
Cleaning glass is the big 'bug bear' of most homeowners! The endless build up of soap scum lurking on your tiles and soap racks, and the soapy film on shower doors is like the invasion of Alien 5! Here are a few handy hints on how to keep the alien out of your home.

Some say that the best way to get the film off glass doors is to use a no-wax floor cleaner. All you do is wipe it on and make sure you clean it off very well. Vinegar is a close second - you can also add vinegar to your dishwasher or sink, which will get rid of any soap residue and give your dishes an extra sparkle.

Ammonia can also clean glass. You can also make your own ammonia solution by combining ammonia and water. Use a spray bottle and spray directly onto the surface. Use a sponge or stiff-bristled brush to scrub affected areas. Wipe clean, and rinse well. Newspaper has enough friction to clean the gunk off and is smooth enough to act as a cleaning cloth.

Let soap scum buildup on glass be a thing of the past. Pilkington Glass has brought out a self-cleaning glass, guaranteed to rock the world of any homeowner. This innovative product, conceived by the world-leaders in glass making, meets all the relevant international standards, and is able to perform in extreme conditions.

Friday, February 27, 2009

How To Detect And Remove Adware Spyware For Free

Writen by Jackson Summers

Do you know that Adware and Spyware is now a world wide problem for our computer? With their viral and hostile behaviour it has change to Malware. We cannot stopped Adware and Spyware in theft and deceit in this World Wide Web. There are lots of ways to detect and remove Adware and spyware and that can be costly too. How about getting an anti-virus software which will not cost you a dime? Just look for a software called Spyware Nuker.

If you don`t use internet much, Firefox is good. Easy to comprehend and the browser performs very well with excellent security protection.

Be very careful about using Microsoft Internet Explorer. It is like a Swiss Cheese, plenty of endless supply of Security Holes. Prior versions to the browser, Microsoft has known to send out endless patches to fix all the flaws in the Internet Explorer 6.X. How secure can it be? You would be surprised to know, even setting to the the highest security, it still give away the functional specific exploitable features when switched off.

Go and get Windows XP Service Pack 2`s Firewall, you can use software or hardware it`s doesn`t matter. It`s not expensive and not difficult at all. Even you use DSL or broadband cable connection, your Internet Service Provider will issued DSL or cable router with the firewall installed. Very simple, just follow all the instructions carefully and you will not go wrong.

If it so happen ISP did not provide a DSL or Broadband cable router with the firewall, you can get it any where for about $20-$60, or get a mail-in rebate for much cheaper. When using cable broadband ISP, cable router is required. Linksys will have firewalls installed and also Network Address Translation (NAT) which has a feature that actually hides IP address from Internet. Most router has very easy directions how to use it. To safe guard your computer, download free software firewall may be a good idea.

You can restored your system with free Lavasoft`s Adaware and Spybot Search &Destroy. There are many webside to look into which are safe and can clean out spyware, adware and malware such as Majorgeeks.com and they cost nothing.

It is very important to get a firewall, and use all kinds of options, this way you are aware of good anti-adware and spyware application. Immediately, you can detect and get rid of it before your computer is affected.

Get the best Adware and Adware Spyware removers on the market today. Instant downloads and free trial periods available.

Thursday, February 26, 2009

Boarder Town Melee Christmas Day1927

Writen by Dennis Siluk

Note: the story took place around Christmas time, in 1927, the names of the people and location have been changed, for reasons I'd prefer not to mention: which linger in my family's history.

(The End) Seven Mexicans came to the bridge crossing from the American side of Laredo, and what is known as the Rio Grande, over to what is known as Laredo Nuevo, or the New Laredo, and again the same crossing the same river, yet known to the other side, the Mexican side, as the Rio Bravo de Norte.

A strong looking United States youthful Military Sergeant was checking their ID's out, as an American Colonel, Colonel Wright (who had just happened to be at the crossing at the same time), seen the Sergeant in Charge, checking them out: doing a cross-checking, double checking of the several weather beaten Mexican's. Thence, the warrior Colonel stood by watching carefully (as he leaned against his car dawdling over some papers in his hands)—studying the inspection, as the Sergeant check out their clothing, along with their undergarments, faces [profiles], ID's—(precarious indeed—was the good Sergeant, thought the colonel); possible some of this checking was too impress the Colonel: so the Colonel thought—for the Sergeant was taking much longer than normal: or possible because he felt there was something wrong and couldn't quite put his finger on it. In the course of a military career, one acquires instincts and wisdom beyond the normal, a survival thing, somehow, someway imprinted into our nature, our physical being, our subconscious, and it goes on automatic in such matters. In either case (with the art of foresight and deduction), the Colonel approached the Sergeant and the several Mexicans, whom were standing beside the guard shack that lead to the bridge crossing the Rio Grande; the Sergeant and his two Privates were armed with weapons, --both privates guarding—hawk-eyed on any and everything that moved within the radius of a hundred yards: thus, standing—almost like robots—in case there was resistance, an emergency, or crisis of any kind.

"Any problems Sergeant?" asked the Colonel, whom had one Junior Officer and one Staff Sergeant on each side of him, as he approached within three feet of the Sergeant in Charge of this Guard Post; knowing the Sergeant slightly, for the Colonel had crossed the bridge many times for official meetings, business, with the Mexican aristocrats, on such matters that concerned his GI's going into their town and drinking, buying souvenirs, and buying flesh and pleasure. The Colonel—prosperous enough to be able to purchase the respect of the Sergeant—waived to his black-limousine, now in back of him, which was a signal for his driver, a Private First Class, to park it for the time being.

(A pause, --the Sergeant had seen the Colonel approaching: now both within a few feet of one another.)

Says he [the Sergeant now standing three feet in front of the Colonel, with his waxed and dutiful available smile):

"We had some trouble as you know, 'Sir,' earlier on this morning and afternoon, and so I'm just double checking, they look a bit ragged, as if they were doing some fighting someplace, possible the...(a pause, the Colonel is opening his mouth to speak, and the Sergeant simply stops…)."

(A light smile appears on the Colonel's face, directly looking into the Sergeant's eyes, to insure he knew, the Sergeant knew that is, that the Colonel was a Colonel, the same one that had looked the other way a few times on his squad that had drank too much, crossing the bridge back to the American side, looked the other way and not brought such matters to his attention, such matters as Court Marshals and so forth and so on).

"Yes, we've had some trouble Sergeant, and yes, double checking is wise, if you don't mind, let me see their papers, or whatever you're holding, ID's of whatever kind they have. We have just fount a good skirmish as you well know, with these devils."

A little unusual the Sergeant was, at this request, that normally would bring suspicion, but the Sergeant handed over the documents nonetheless: four-passports, two birth certificates, three licenses. All indicating they were from Mexico City, and Veracruz.

"Without a doubt, I don't see a mounting problem with these wetbacks." (Implying these were Mexicans that swam the Rio to work on the American side that was not likely trying to get back home.) I seen all their faces, face-to-face almost, I killed three of them you know, three for sure if not more. Let them pass on through: double checking these, well, well time is redundant, easier to just let them go back across the boarder than hustle them to death, and use our time for other things," said the Colonel, commenting, then adding:

"You have a good eye Sergeant, but I doubt any of these are Manual Garcia, and therefore, let them get on home to their families, I'm sure they are being missed, you know the Latin's, their families worry to death when they are not home on time (a light chuckle comes from the Colonels mouth)."

(Garcia was in with the seven, and the Colonel knew this; but what the Sergeant didn't know, and the Colonel did know, was two things: first, all seven had weapons under their ponchos, had they checked much more a new skirmish would have been provoked—and it was Christmas Day; second, he had given his word for a twenty-four truce, although only them two knew it. And even though the '24-hour period,' was not spelled out during the dialogue between Garcia and the Colonel, it was implied, understood, and they both knew it.) Having heard that from the Colonel, the Sergeant started to stand down—hesitantly, but stand down he did, thus, detaching him from the much concerned tension that was building. The Colonel somehow had created calm, save for the tiny cloud of suspicion he had left in the mind of the Sergeant.

Early Part of the Day

(Part One) In the early part of the day, the part that the Sergeant was talking about, the Colonel, during a fire-fight, had killed his son, Garcia's son, and wife whom tried to guard him (Garcia, father and husband had been huddled together) from racing bullets, and in the process they took the bullets for him. The colonel new, then and now, the moment of battle, when the bullets are flying, seemingly never to stop—men tend to hope without being conscious of it, hope for a happy ending, life (and so this also would be part of his deliberation, when he would approach after the battle, the bridge the seven would try to cross, which was still in the future).

In addition, there were a number of American soldiers killed in the fire-fight. The battle had gone on for over three hours, and when it was over—the clash that took place in this small town, on the American side of the boarder—the Colonel took to resting—thinking much on trifling matters, allowing his imagination to speculate of his future, fanciful thoughts came and left—. Now—now with an empty pistol on his lap, resting against a brick wall of a second floor building he was occupying, his mind went to the current event: he had shot previously transversely—across from one building to the other side—that is from the top of the building he was in, to the building on the other side where Garcia was, for whence he had kill the enemy: the wife and son who had surrounded Garcia: this was now on his mind, he didn't mean to shoot the wife and child, but it did happen, peculiar as it was, it did take place. What were they looking for he pondered on? That one would give up their life for: possible he said, for, "Paradise without snakes." Yet, he had never found that place himself.

Thereafter, thinking the battle was over, and Garcia was dead (of which of course he was not) he had found himself walking down aimlessly down off the top of the building, and resting against a wall on the second floor; --tired, fatigued: feeling a little guilty, and sad, that the skirmish could not have been contained to simply the men of the world; he let out a great sigh of energy from his stomach and lungs as he leaned hard against the brick wall—almost in a sonorous voice the last of the air came with in his body came out of his nose; his eyes shutting a bit, and then reopening.

As the silence of the afternoon took hold—the sun overwhelmingly heating up the outside of the vacant building like toast, the Colonel rested cumbersomely against the wall of the building: cooling his body temperature to normal, as he started to breath better, more from his stomach: while checking his empty revolver, now resting on his thigh: while his other soldiers remained in place, he had one platoon of: forty-four-men in all; forty-four men covering the whole town of which ten of them had surrounded this very building, and the building Garcia was in.

The Colonel had given instructions to all remaining soldiers to stay in place, to stand down for the moment, to let the Mexicans come out if they wished to, peacefully: but none did. And so it was a waiting game. They had killed several they knew, several Mexicans, and figured between five to ten were left (--evidently, it was seven, only seven were left, for they had showed up at the bridge ((all seven haggard looking, but soldiers none the less, and the Colonel knew, he knew his word was given, implied, not to fight, and that more lives were at stake had he let the situation go, or get out of hand; whence, he headed on to his next destination in his big-long, black limacine)).

The two men: Garcia and Colonel Wright now were face to face—both less then twenty-feet away. Garcia had showed up on the other side of the street, oddly enough, on the stairway that led up to the room the Colonel was in, resting against the wall. The Colonel heard the foot steps, but said nothing, thinking it was one of his men. Hence, still sitting, leaning lightly against the wall now, not as heavy as he was before, again, an instinctive measure for he did not here his men talking nor any low-laughter from their voices, nor the sounds of boots, just an uneasy sound of one person climbing the steps; his men came in two's or three's, normally not alone—he went checking out his pockets for a cigar, for he projected to himself the fighting had stopped, or at least clogged up for now, for about twenty-minutes.

As the Mexican warrior got onto the second floor, the dusty wooden floor (a few spiders, roaches, rats scrambling here and there—the colonel started now listening even more so to the disruption of the moment), thence, he (he being: Garcia) seen the Colonel latent, resting against the fortification-thick brick wall, he had seen him before, they both had seen each other before, but the Colonel was now vulnerable—and Garcia stood there like a tropical moon light fixture. The Colonel had bullets to insert into his gun in his pocket, but instead said before Garcia could pull out his weapon,

"Enough, there's been enough fighting for one day, enough killing for one day its Christmas Day, (both maintaining a sharp look at each others movements, as if to indicated should I, or should I not—snake instincts, snake eyes: race, charge quickly for my bullets, or shoot this murderer who killed my wife and son?."

The dark Mexican, lean and rustic looking—looking with almost telegraphic eyes, long black hair, sunken in face, pocked marked cheeks, five foot six inches tall, as dirty as a rag-picker: said with an honorable, and bawled voice: "Se, amigo, daya largo—let there be peace," (it had been a long day for both, and much killing had taken place) he turned around, a tear in his eye (the Colonel noticed), and walked back down the steps. The Colonel never touched his gun, nor did the Mexican go for his.

Nothing would bring back his wife or child, and in battle one knows there were no rules—not really, not when it comes to the last moment of breath, all were soldiers, even if you bring into sight your own flesh and blood. Plus Garcia knew that Colonel knew it was not a mans way to kill children or women, it was as it was, something that happened and would not had, had his wife and child not insisted on being part of the militia.

The Roof

[The Beginning] As the Colonel lay back against the rock-hard wall of the building, he thought about what had taken place. He was on top of the building less than an hour ago, or was it more, or was it less. He questioned himself. He shot three times, as he came under fire, as he remembered, as he looked back, back to reminisce. He had then run out of ammo, and had shot his last three shots, two killings, one a woman, and the other a child-warrior, somewhere along the line, in the morning he had killed another Mexican involved with this insurrection. Now after the shootout with his family, blood was all over Garcia's white shirt, which was not really white anymore, egg-white, with blood stains, crimson blood that would remain in both the memories of the Colonel and the Mexican. They had both run out of ammo, only the Mexican had run out a little before the Colonel, had it been the other way, possible the Colonel would be dead, but it wasn't the other way, it was as it was, not the past, not the future, as one would like it to be in his or her favor, but the present, as it was all was in the present. In the mist of battle—the dark-macabre battle, they had both somehow found additional bullets, but the Colonel never put them in his gun, and Garcia, although he did, it was tucked away in his belt, under his poncho.

And so ended, the mêlée (the fight), and when they had met again at the bridge, the encounter was over, at least for twelve-hours more; at least in the minds of the two warriors, at least in the two warrior's minds, hearts and characters—souls. Nature has a burning pull, and for them, neither one could or would fight unless the odds were equal, unless fate demanded it, it was just part of their nature; plus, it was Christmas Day.

Poet/Author Dennis Siluk http://dennissiluk.tripod.com

Wednesday, February 25, 2009

Secrets To Getting Steady Work In The Film Industry

Writen by Ronald K. Armstrong

Today I was in high demand. I've been running around doing pitches and presentations. It's great to have the phone ringing constantly. In fact, as soon as I got out of one pitch session I got a call from another company who luckily was just around the block. So I ran right over to them.

After I was finished I then had to jump on a train to head downtown to meet with a major media company who is developing video for the Internet. They are doing some really incredible things. But this article is not about me... it's about you. I want you to know that I am committed to helping you achieve your goals and YOUR DREAMS! That's right; we all have dreams in this business. Never give up on them. One of my dreams was to bring back the ancient form of acting. And thanks to the all mighty creator I am now able to teach the most powerful form of acting known as the Kamitic Acting System.

Now, I am able to touch people's lives and help them get moving. With that said let's talk real quick about you getting work. As I have said it's great to be in demand. The industry is about cycles but you can whether the storms if you have what I call, "Peripheral Skills". What this means in a nutshell is to be multi-talented. Don't just focus on one thing try and have a secondary skill set. Not long ago I met the most incredible actress who now stars in her own TV show. Not only is Dana a kick butt actress, but she can create awesome websites AND can even draw the most amazing things. She is truly gifted. Aside from her TV show she is always working. Her phone rings so much I can hardly get a minute with her.

I want you to understand that this should be the norm for folks like us. There is a certain sense of power and pride that comes from knowing you can get any job out there. When I interview with companies it is always from the perspective of YOU NEED ME MORE THAN I NEED YOU! To paraphrase Paris Hilton, "That's hot right?" So you are probably wondering how to do this. How do you become a hot commodity on the market. Well, first you have to understand that no matter what your field is you CAN be the one they want! No matter if you are an actor, filmmaker or writer. The real secret to this is to diversify your efforts while staying in the same industry.

For starters you should have more than one resume. Each resume should highlight a different aspect of your talents. If you are an actor then you should have many different headshots and not just two which is the conventional thinking. Having different resumes and targeting different positions and companies will without a doubt keep food on your table. My friend Charles started out as an indie director. The guy struggled to pay bills and finance his films. Then all of a sudden he found that he had an interest in cinematography. From there he started purchasing his own equipment and shooting stuff on the side. One day he got a call out of the blue from a small production company. They saw his work and wanted to hire him to DP their commercial! From there on end the work started rolling in.

Charles even got a full time job teaching film. So the point is to be versatile. Become a jack of all trades. Of course have one main target goal but also have peripheral goals in mind. Members of our organization, the RKA Cinema Society, are encouraged to have cross-functional career objectives. The type of narrow minded, one dimensional, do or die attitude can put one in the poor house real fast. Peace!

Ronald K. Armstrong is a noted filmmaker and author. He is president of the RKA Cinema Society and creator of the revolutionary Kamitic Arts System. http://www.kamiticartssystem.com

Tuesday, February 24, 2009

Technique Of Watercolor Painting Wc07 Planning

Writen by John Blenkin

Plan or not to Plan? The outcome of the painting will be vitally affected by the decision to either plan the work or starting head down without any idea how the painting will finish.

It is not a matter of preference but of personality. To a great extent the subject will decide the issue. A painting of a building – a design – a specific place - a record painting – a commissioned painting – will usually lead the painter into an approach where pre-planning naturally results.

In this type of work pre-planning will reduce errors and the target idea will more likely to be realized. Any measured work - enlarging - portraiture – anything technical – animal bird or plant illustrations – are usually best planned beforehand. Professional work to deadline is a pre-planning must.

In general where the subject of the painting has to conform to the requirements or standards of others or to a specified known standard for a fee by a certain date it is best to pre-plan.

In this context the painter will no doubt feel less creative but the painter must have the technique and professional approach to match demands.

This is especially true for the watercolor painter as reduced errors means fewer destructive demands on the paper ground and less repainting over previously washed out work. Please note that a professional buyer will approve the work by viewing it as it were dead – without glass - mount and frame.

Overpainting dulls the light reflecting back through the pigment. Without overpainting the work looks fresher and the craft of it looks easier and under greater control in your hands as a result to the painter's credit.

There are probably three main valid approaches to painting in any medium!

PRE-PLANNED
MAINSTREAM
FREE CREATIVE

Each one of these is strictly valid in pure painting terms because the approach is determined by the nature of the project. The end dictates the way forward.

In passing it is wise to note that with watercolor painting on paper each painting should first be covered by a blue tint all over wash. This blue tint wash kills the red inherent in white watercolor paper. Even the whitest watercolor paper will be improved by this slight blue wash. The tint should be so light that it seems to be pointless doing it. Use a blue that has no red in it.

PRE-PLANNED

These paintings do not appear to be particularly creative - they are! This is a good way to acquire the essential geometry involved in transposing small images from one surface and enlarged onto to another. The process comes in handy too when paintings of imagination need a structure to bring them to fruition.

Planning is not only the best option for some types of painting but also perhaps the only option. Graphic works for publication on short time scales are the norm in the printing industry. These works have to be planned and even the way of achieving the desired result be decided in a flash. There is no waiting around for days mulling over the philosophy of the issue because others are waiting to make money out of the work you are commissioned to paint.

Often the idea of a painting changes during the work. If this happens too often more thought should be given before committing time an effort to your projects. Careful planning brings focus and therefore clarity to the final painting and this is conveyed unconsciously in the quality of the work.

For the general painter a coordinated grid method is used to transform a small image into an enlarged exact scale drawing to become a guide for a larger watercolor painting.

This system uses a very light pencil grid of convenient unit size drawn on the watercolor paper. The image ultimately to be painted on it is added in outline either by hand or ruled or both. This outline drawing provides an exact line where the different colors are to be applied as a wash or as a series of watercolor detail areas.

Soft pencil drawn grid lines when erased later will leave immovable smudge marks. Too hard a pencil will scribe into the paper surface and show up later as dark colored lines. It is best to use a very hard pencil frequently sharpened to a very fine point. Practice before starting the work.

The grid lines help to judge if the relationship between the features in the original image are matched on the larger drawing and is a correct to scale transfer. This must be assured before any watercolor is added otherwise it will be necessary to start the work again.

The size of the grid spaces drawn for the original image is determined by the complexity of the detail.

The vertical grid LINES are lettered across from the top left corner beginning at A and continued through the alphabet to the end of the top vertical grid line.

The first top horizontal grid line starts at the top left hand corner and is denoted 0. As the first vertical grid line too starts from the top left hand corner and it too is denoted A the top left hand corner of the grid is denoted by coordinates A0. From the top left corner the grid continues horizontally A0 B0 C0 D0 and so on. Vertically from the top left corner the grid down the left hand side is denoted A0 A1 A2 A3 and so on. Any point of the grid can now be defined by looking at its position in relation to the top and left hand sideline coordinates.

It is better and easier to make a square grid. This avoids errors in transfer. Also a square grid of whole numbers makes it easier to fix interpolations within the grid space.

Any straight or curved line or shape will be seen in relation to the allocated numbered and lettered coordinated gridlines.

The same grid to a larger scale is drawn on the watercolor paper ground to the larger size. If the original measurements and grid size have been carefully judged a simple increase to the new grid size from the original is all that needs to be done.

There is no need to draw all the gridlines - in sky areas for instance where there is no exact detail to be transferred only draw the position of the gridlines at the edge with their letters.

Remove the grid lines and unwanted marks from the paper with a putty rubber before painting. If the lines have been finely drawn on the paper surface they can be easily removed without damage to the paper.

The above method is ideal for painting a large picture from a small photograph. I use a thin piece of glass sheet over the photograph on which to draw a thin inked-in grid direct using a technical pen. To protect the ink from rubbing off apply back adhesive transparent film. This is like sheet grade invisible tape. Protect the edge of the glass with paper drafting tape. This is lipped over the face of the glass and back of the photo up to but not touching the grid lines on the face. The coordinates top and sides are marked in ink on the tape.

This method is ideal for Architectural building renderings and perspectives – still life – portraits – lots of mechanical drawing subjects such as cars – large paintings of birds. The preparatory outline work is part of the technique. It is not a necessary evil to be got through as quick as possible. It is an enjoyable part of the whole process.

MAINSTREAM

This general type of painting is based on a combination of feeling - reason and logic to inspire the painting. It is the way most painting is realized – a jumble of many things brought together with a subject finally emerging from unrelated ideas having titles added later to justify their political correctness.

Get to know the language and vocabulary of painting. This includes color balance - color temperatures and the various forms of perspective such as in the use of line tone and color. Paintings need to be subjected to intellectual checks during painting by assessing the balance of colored areas of the painting in percentage terms – of brightness – and average tonal value. Understand the meaning of balance between areas of the painting in terms of its effect as seen by the viewer at normal medium and close distance and in relation to the inner perspective construction of the work.

The avoidance of black and white is very important in watercolor painting but it is important too to know if and when the any rule can be broken. The tonal balance of areas of the painting is vital and how high and low tonal density of colors both warm and cool affects balance. Another issue is the use of color of plane surfaces when these appear both in and out of shade. Further it is useful to know how to direct the attention to the focal point of the picture by each aspect of technique. It is important too to know how to use a range of colors sympathetic to each other to avoid unwanted inexplicable tensions in the picture .All of these have to be automatically applied within a working discipline of Technique.

These disciplines are necessary to produce any type of painting. The medium of watercolor painting shows any deficiency in technique rather more than any other painting medium. Those whose technique is complete and dependable can ignore technique if by doing this they gain extra power in their work.

FREE CREATIVE

Free creative work allows its justification to emerge as it were by itself. Here the painter must break loose from ego to free the mind from its blocks and limitations for the painting to be ready to be painted by someone or something other than the painter. The picture flows into the painter and onto the ground from surrounding energies.

The best way to do this is to bring the mind to a point. Remember to relax - not to tense up or prejudge anything or anyone in any way. There should be no sense of what the painting is or should be about. Sense the moment. Mix the paint and let it flow as and where it will.

Paint whatever the energy in the arm guides you paint.

If you are really free and devoid of achieving or prejudging or critical of what you are doing you will be completely and utterly refreshed when you are through. Pure creation never tires or depresses but restores.

Paintings are truly finished after the Title Signature Date and Picture Sequence Number have been added.

My very best wishes.

John Blenkin is a retired architect and is now a watercolor painter and article writer. His interests are wide covering both technical and philosophical subjects. He also writes online articles on the technique of watercolor painting. http://www.freefolios.com/ foka@spidernet.com.cy

Monday, February 23, 2009

The Ticket Economy

Writen by Trelian Gada

Tickets to events have always been in demand – especially if they involved participation of people in the limelight – be it concerts, movies, games, shows – you name it. The bigger the event – the greater the demand. For blockbuster events, the sell out times can be as low as the time taken to make a cup of tea or coffee.

Some big ticket vendors have come up with bookings through the telephone using operators numbering more than a thousand, despite which the tickets are sold out in minutes after the sale begins.

About 25% of all tickets sold are sold through the internet for most events. Booking tickets through the internet is a competition not only against the other audience but also against the "scalpers" (people who sell tickets on the venue for a premium, a black market or illegal operation). The scalpers tend to pick up tickets for the seats that would have a good demand, and sometimes these seats fetch them upto ten times the face value.

Never go by the advertised capacity, they never reflect the actual number of tickets available. The artists, advertisers, sponsors, VIP's establishment- all have their quotas reserved. Also there is the promotional quota that awards tickets to winners of competitions as prizes.

Despite all the above odds, the show must go on. The concerts, the shows and the games will go on and the fans will go on with their umpteen tricks to get tickets and secure their seats.

Internet resources for event ticketing are abundant. Atmtix is one and aims at being a complete resource for ATM services and ticketing needs of individuals. It is not a ticket brokering website but is only a resource that puts all aspects of ticketing together in one package.

Sunday, February 22, 2009

Robot

Writen by Seamus Dolly

With the release of I ROBOT, one is immediately reminded of Professor Ken Warwick, and the research or experiments that he was involved in. His chip implant in 1998 was the source of some curiosity and debate. His building was retro-wired to interact with his movement or position within it. Doors could open and lights were configured to illuminate his journey throughout. So, his environmental control was somewhat extended, in this case to the limits, or within the perimeter of a building. His influence was increased. It was more about Cyborgs though, which is a robot and a human, in one or many configurations.

We've all seen the capabilities of robots, some being used for rugged forklift duties and warehouse housekeeping. Various sensory equipment made it possible. The modern automobile, is a simple or common example of automation, from welding tasks to its' final colour scheme. In as far as possible, direct human manipulation must be removed. Whether we like it or not, we are too expensive to maintain, for manual or repetitive tasks anyway. The robot has few harassment and injury issues. The injury still happens but it more electro-mechanical and less emotional. H.R. or human resources departments tend to ignore robotic procedures because, as the name would suggest, they have no business with non-humans regardless of output. Where predictive and preventative maintenance policies are enforced, down time is decreased, with no sympathy for human conditions. Christmas holidays and other human conditions or situations, including birthdays, births, deaths, anniversaries, general and specific maladies, are essentially removed from production schedules.

It doesn't mean that we are becoming dispensable, but rather our skills must be upgraded to compliment and implement different technologies.

The very first robot that I saw was a welder, or specifically, a robotic CO2 (Carbon Dioxide) welder. While local unions were not happy about its' use, it was explained to them than if uptake was not allowed, then any competitive edge would be lost. They agreed. Twenty years later, such robots are fully accepted as nobody wants to do such repetitive work. Such personnel are moved above the relatively mundane duties of the welder. Not that welding jobs are easy or in any way petty, and in fact, are jobs that must be done right. Human welders are entirely necessary for one-off jobs, where commerce determines, and can be often be better as conditions vary.

Robots can now ascend and descend stairs, which is difficult enough. Maintaining balance with the centre of gravity ever changing is the primary obstacle. We didn't get bumps on our heads solely because we were young, and having to learn such a skill at ten years of age, wouldn't make it much easier. Action, reaction, assessment times, and motor control running together, applies to us as much as a metallic man or woman, if token genders should be assigned.

Some believe that any real intelligence advances can only occur if the machine can think for itself, in a similar way that we aspire to. This word processor makes a reasonable attempt. Of course, there is rarely a need for autonomous thought in a production environment, and the simpler the better. While arms, hydraulic, pneumatic or electric, depending on it's application or desired action, carry out duties to precise tolerances, there is no special reason for them to learn any thing more than that.

Surgeons can perform operations from remote locations, which is, in itself, fantastic. Jet lag and travel time can be forgotten. Though the "hand on" reliability is a little compromised, surgery in cases where skilled individuals are scarce and time is doing what it always did, is considered beneficial. The faith in technology, and the technology itself, needs the very time that critical patients hope for.

Science fiction writers and the creativeness that they possess should probably have minor engineering input. They seem to be able to stand outside (which is their stance, anyway), and view matters with some imagination and objectivity. It could only happen where there is a long-term research and development policy. It is sometimes the case that an outside input, however unqualified, can present a sort of solution. Of course, they wouldn't be capable of seeing it through, but can be blessed by a type of indifference and passion that is imagination. They wouldn't be "locked down" by the daily regimen that is production. This is often done with non-executive directors who are given a position, but not a thirty to fifty hour position. A new or different view, and of course, any influence that they bring with them, is the objective.

An inorganic tool for simple repairs of an atomic reactor, or similar human-aggressive environment, has to be a good thing. It's sad to still see men and women still, losing life, limbs and other functions, in global battlefields. The bizarre thing is that without such loss, impact would be less. If we could deploy robots (which we can), we would have to go further, and loss would still be the case.

Anyway, missions to areas that don't support life, like Mars, couldn't be examined to the same degree without physical samples being mechanically collected. Who better to do a dirty job, but an emotionless arrangement of metals and non-metals, plastics, composites, sundry wiring and piping of similar materials, with an ability to follow instructions?

Not that all robots are considered to be emotionless. This state can be engineered, it seems, but hardly carries the same weight. Emotional Intelligence has been achieved to some degree, with frowns, smiles and reactions to tone, quantifiable. Okay, so you might become attached, the likeness is so close, but you then have to question your own humanity and perception of it, where you find it to be equal. That is hardly a bad thing, though.

A robot needs power as we need it, through food. A robot has a life span, not unlike us. A robot needs engineering and we're not new to this either. Most robots have less to say; what can I say?

About The Author

Seamus Dolly is at www.CountControl.com and www.smartwebmarketer.com/cgi-bin/d.cgi/seamus/.

His background is in engineering and analogue electronics and his studies include A+ and iNet+.

Saturday, February 21, 2009

Dance The Beautiful Art

Writen by Michael Russell

It is natural to want to dance and move whenever we hear music. With the drum beat of a military march, we want to march in time; the smooth circles of a waltz have the power to make us feel like twirling forever; and a lullaby makes us lilt our bodies into sleep. Dance is a natural expression and is a natural response to music that is heard externally or sometimes but rarely, it is in resonance with the sounds of inner joy, to which only the individual is privy.

Most people wish to dance, or enjoy dancing. It is a feature in the life of most people throughout the world who reveal the differences in their culture through the different types of music and the different styles of dance movement they develop in their traditional art. There is a different between the dance of a country barn dance or western line-up with a country band and the rap dancing with its accompanying intonation and sounds; between the tap dancers metallic beat to a popular tune and the ballet dancers soft pointed feet describing the patterns of a classical piece; the passionate guitar and strong heel beats of a Spanish flamenco and the smooth swirls of an Austrian circular waltz to the strains of a violin.

Music provides the powerful influence which we seek to express in movement and dance. In addition, if our own emotions are moved, we can convey how we feel by injecting our emotions into our physical movements. If music uplifts us, we may dance but wish we could fly and the best we can do is to raise our arms and elevate our bodies from the floor as best we can. If the music on the other hand is sombre, we would rather dress in garments of grey and drop our heads to respond in heavy deliberate movements to show what the music intends.

For the professional dancer, it is music which dictates the mood and demands that a dancer surrenders his body to that music, not just for his own pleasure, but for the sake of a wider purpose. Then the dancer surrenders to music as if it were the conductor, as he seeks to make his body its complete or final instrument .The dancer can only surrender to the music if he wishes his body to serve to express its influence. To dance to a rhythm without conscious thought is a pure reaction - it is not an art.

Dancers are agents of the music - there to express something of the spirit of his inspiration of the composer. If we like the music we are asked to dance to, there is an easy relationship and harmony between the music, the source of it and our bodies. It is all in tune and the dancer can add the ingredient of his own intelligence and pour his feeling through his body language. If we are not attracted to the music then the dancer is a mere puppet. In the future, to use a dancer without him having conscious desire to express the music will be seen as dancer abuse! It is not a true and fine example of the art form at all unless music and dancer are as one.

If we hear discordant sound and it is the fashion to move to it, one must be very skilled or insensitive or perhaps both in wishing to express chaos and discord. Life's real discordant notes are only too well known in the reality of living without having to bold type it all. Modern times are difficult with little rhythm, melody or harmony in any popular music.

In discothèques the lighting makes jagged vibrations through the chaos and to a dancer who is sensitive to the loveliness and the harmonies of inspired music, it creates an atmosphere which is unintelligent, purposeless and insane. There can be no reason why such occasions are not banned because of the noise, so as to preserve the health and the hearing of everyone concerned. The brains of all who participate are damaged - to what extent, only the future will reveal. Participants do not deserve the name dancer but often are enslaved by drugs and the hypnotic drum beats.

Modern music is not harmonious. Therefore a dancer's body must become jerky and strained, stretched to an extreme tension, tested beyond its inherent strength, making demands which are acrobatic, exaggerated, unnatural and unattractive in the main. Beauty is the ingredient which is neglected, even forgotten. And in judging the result, anyone witnessing such movement to such music may gasp at techniques which extend the boundaries of body capabilities - but which leave the audience empty.

Music is best understood as food for the soul. This was and remains the classical approach to the art which was dedicated to either the purpose of delighting the listeners, telling a story, honouring a greater person, state, ideal , expressing a nation's spirit, or in spiritual dedication to religious worship and the glories of God. Music was an expression which served to enrich the listeners. At its best and most powerful, music can stir the spirits of thousands, who for a time experience the pleasure of a feeling of unity beyond the diversity in human life.

The dancer depends upon the music. Dance is music made visible!

Dance has always been a part of human culture and will no doubt remain so. In past eras, as in ancient Egypt, dancers were trained in the temples, dedicated to the gods, their art was sanctified and they were used within the powerful ritual which were used in ceremonies and outer rituals to involve the people and to amass group thought in prayer. In the ancient Indian traditions the temple dancers held also a place of respect and their music and dances were dedicated to the gods.

In ancient Greece and in fact, in all ancient civilizations, it was the same - there were the temple dances and there were the folk dances of the general populace.

In our western culture we have no such equivalent system which allows each to have its place. In fact in our Christian religion and worship there is no place and never one has been considered, for dancing.

So in our way of life, we are the poorer. We only have resort to the dancing of the masses - that which only expresses the spirit of the people - and this is always uninspired. But we have our classical music which has served to inspire many millions of people throughout the world. So in this, we have a 'conductor' but where are the dancers who can make their bodies instruments capable of expressing the exquisite sounds and spirit of such glorious arrangements of notes? There are thousands of dancers with skill but have they attunement to the spirit to fulfil the needs of the art?

There are many musicians trained in classical music and many dancers trained in classical dance. Surely they can support one another to act as twin arts in creating something really beautiful?

Michael Russell

Your Independent guide to Dance

Friday, February 20, 2009

Cold Kindness Chapters 1 2 And 3 Dieburg Germany

Writen by Dennis Siluk

Opening:

The Year is 1960, spring in Dieburg, Germany.

He'd answer. He'd answer at length. The more he answered, the madder he became, the more indignant he become. (No, he was moody himself at times, drinking, '…now look at him,' she'd say. No, he didn't see his own moodiness; a blind spot to Adam's mind. But love puts up with many faults of a person and seems to have its own power to do so, but it saps a person sooner or later.)

'I tried, I really did, can't put up with it any longer. I can be a friend. She is the queen of emotions.' That is what he'd say at night when he was not with her, when he was thinking about what he should do about their relationship, but it mostly came out during his drinking.

It was 10:30 PM; as usual, Carmen was half lit up from booze. In her brain every thought was of that damn tower Adam told himself (along with calling it her: 'obsessive-compulsive hysterical tower'). Or so he had learned as time went on. Yes it was her Turm, her tower, he said a hundred times to himself. She was like a person in prison; it was not heredity, the alcoholic part of her, and him, no predisposition to it. He used it for party time, she used it to calm her down, to escape, yes an acquired taste, and for the right kick. The kick, the kick, everyone wants that, you know: the kick. But she got more depressed with it, similar to neuroses, or maybe it was. It helped her to sleep she said, escape from the pain of the nightmares and headaches. The damn stuff was so accessible, it was everywhere she alleged. She even would sing a song, a rime looking to or at the tower, sing it as if she was in another world, Adam heard it a thousand times: "Spricht der Turm: Tod, der Tod ruft…' (The tower speaks: death, death is calling….)"

She really didn't care for it, alcohol that is; she used it because it was available. For five years she used it on an increasing regularity though. It became part of her temperamental makeup, part of her pessimism.

—But she would have said (and I would have agreed), Adam liked to drink also, and thus, they became a team in drinking: which brought on fighting at times; a curse to one another. Most folks are born with a kind of repugnance for the stuff, but it can become habitual nonetheless, when forced down and into the system, and it seemed Adam had his days of doing just that, and so did Carmen.

She was now sitting in her apartment drinking booze, singing her 'Turm' song, as was Adam in his apartment drinking: both thinking about the trip they had to Garmisch last winter, both alone—the relationship was changing, things were changing, winter had ended. It was as if, or became so, as if after a while, Adam became her reason for existing. When they tried to stay away from each other, which they were trying to do at present: every minute they were away, they simply thought of each other all the more. She was living in an alcoholic nightmare and a fogy day-dream; both becoming codependent.

1

[1960] The mist had come over the 12th-century tower (as often it did) across the street in the park where a shallow stream—a tributary from a nearby river—it gently and silently crept down and through the park, and then faintly down and through the city of Dieburg, leaving the Gothic Tower behind; the tower that looked like a grand guard post of a millennium past, overlooking the small four archer park. Not far from the tower was a play area for children: a teeter-totter and a set of swings, no more than that, quite small; not many but a few children would visit this little park. And several feet from the stream was a bench, the only one in the whole park—that's all, no more, not even a tree stump to sit on, just one bench: for the old folks I'd expect, but it was used by Carmen quite a lot: to think, to ponder on, deliberate by, for conscious planning, the park was her sanctuary you could say. The water in the stream, its sound was always calming for her, and in summer and spring the plush grass was exhilarating with its several shades of green—it produced a most alive affect for her sprit; and I must add, the park's muscular tower looking over the cozy little square, had become her golden chalice, her fixation, her passion.

Carmen lived on the second floor of a duplex right across the street from the Tower Park (and we shall call it that for now on, Tower Park); when she looked out her window she could see the tower, the whole park, the street below her, and the steeple of the church up the block; the meat market up the street to the north, a half block away (on the other side of the park, she could see also).

She had a small apartment, perhaps: conceivably close to six-hundred square feet, total. The kitchen consumed a hundred square feet of it I would guess, and the bathroom which was connected to the main room, was a living room and a bedroom combined (she had a daybed in it) was her main accommodation. She had a television on one side of the room, right across from her daybed; a window overhead, by her bed, and it was quiet and cozy—as she liked it.

—As she swung the heavy Iron Gate open to the premises, sleepily she walked out into the fresh spring air; she walked into the park, as she did each morning before going to work. A scent of the green foliage filled her sanity, her smell, her nose, all drifting to her lungs with a sweetened sent to the air, air she liked; her eyes were trying to open up wider, wider, wider to greet the day (her wide stunning eyes): she didn't sleep well last night, she seldom did. She found herself wiping all the night out of her eyes, wiping the dreams into oblivion, like always; wiping the nightmares into the unconsciousness: yet she knew what most of them were anyway, they were those returning kind—, the ones that seem to put her into a catatonic posture at times.

The park, the Tower Park was glowing as she held a cup of hot, very hot coffee in her hands, sipping, slightly sipping it, as she walked. The black coffee, black, with the richness of fresh laid black dirt; the coffee against a new blue sky, seemed to mix unequal, in her mind; thus, she murmured: '…from darkness comes light, comes light from darkness,' she whispered to her mind's eye. Then she drifted to the birds, which could be seen and heard singing their little duets as she strolled the grounds, just waking, that's all, just waking up to greet the day, and clearing her mind from last night. Feeling the tranquility life had to offer. She was grateful, very, very grateful, that the dark thinning night had come and gone; the gift of sleep she did not take lightly: an immense gift from God, lest any man lose it, and have to find out the hard way. It is the only time you are alive, yet dead, so she confessed to herself.

As the morning sun now had risen high, a yellow path seemed to reflect through the trees and bushes: beams of the sun ate up the dew that had encircled the park, gave the tower a cape of sorts: the thick brick heavy looking medieval tower, with several thin sliced windows, carved a foot deep into its torso, could be seen sporadically in several places around the tower. The roof looked more similar to an Asian bamboo hat, but the tower was as beautiful as it was deadly to her.

She put her hands deep into her pockets, felt the keys to the Pizzeria [Guesthouse] where she was the manager; along with pizza's beer and hard liquor drinks were also served there, along with sandwiches; nothing fancy. She had to open it today, had some accounting to do that should had been done the night before. To be frank, her mind was not really on the Pizzeria, rather on a number of other things, in particular, her mother came to her mind, who lived in Frankfurt, when they both would meet on a weekend, that was before she met Adam, they'd go to a fancy guesthouse, order Rippchen mit Kraut (pickled pork chops with sauerkraut); and Haspel (pigs knuckles) and Handkas mit Muski (strong, smelly cheese with vinegar oil). And then they'd talk to her mother's friends from before the war, Albrecht Durer and Karl Klee, play some cards and then drift off to bed. Her mother only smoked when she was in the city, and would ask, "Eine Zigarette, bitte?" and she not want to give the cigarette to her, but like always they'd smoke it together, as if it was something special they'd do together before drifting off to sleep.

But now Carmen was not seeing her mother as frequent as she did before; partly because of her ongoing relationship with Adam and partly because of her ongoing dilemma with her sleep and nightmares, and its progress intensity.

Her assistant, Gertrude, a waitress in her early thirties, and friend, would come in around 2:00 PM, which was the time it officially opened anyways, and Günter Gunderson, a man in his late fifties, would show up around noon to turn on the gas stoves, and ovens, do some kitchen work, and make sure the tables were set up for Gertrude.

2

Carmen Schmidt, was only twenty years old, well, almost twenty-one but not quite; I suppose you could say she looked older for her age, and mature, surely business like, and was sharp with the numbers. About five foot five inches tall, almost a perfect weight for her height, not thin, nor fat, with dark brown hair, almost black; to most new guests at the restaurant, she looked reserved by all appearances, clean and mindful. She had deep pitted blueness to her eyes, almost hypnotic, should one stare too long into them.

As Carmen sat back in her chair in her small office, in the back of the kitchen, and to the side, she put the financial books in front of her, then started examining the debits, credits, and opening up mail, along with looking at checks and counted the money in the cashbox she had locked up in the side of her desk. It was 9:00 AM, she'd make the deposits later, and she always made them in the morning because it was too late when she closed the place at 11:00 PM.

She was sitting at her desk, which was by the side of a window, she liked windows, she liked the day time, the morning dew. It was a few nights ago she could see Jupiter, a red disc in the sky, a ting melodramatic for her, if not poetic; it came to her mind as she lit up a cigarette from her cigarette case and lighter; took in a big drag, sucked it inside of her—deep inside of her, all the way to her stomach: let it out slow, as if she was trying to capture the moment, and the full impact of the cigarette, its comforting elements, its calming effect. At night, she often ended up sitting by the window looking at the tower, the sky, the stars, checking out where the planets were with the planisphere [which helped her put stars within her reach], thus calculating, finding the planets with her stellar projections, in effect, she could predict sunrise and sunsets; discover constellations, identify the stars. Take her mind off the tower and other disturbing things.

As she looked out the morning window, the mist had not risen all the way in this part of the city, her vision was a bit blurred as she gazed at the morning people busily going to work, some leaving work from the hospital nearby, those on the night shift; thus, trying to rush home for a good morning sleep.

She could now taste the cigarette and coffee in her stomach, she didn't have any food in her stomach, for the most part, just smoke and coffee now; it came up from her stomach, to her throat and left an odor in her mouth, she pulled out some gum from her purse and chewed it.

[Aplomb] In solitude, she now looked at her watch, asked her self in German, "Wie spaet ist es?" it was 10:30 AM, she looked out the window a second time, at her green Volkswagen, which was sitting alongside of the building, she was proud of it. She caught a glimpse of the wooden sigh that read: 'Manager,' in white, so young for a manager she thought, but her mother knew the owner, and it helped; matter of fact it was beyond a doubt, her influence that got her the job. It looked so alone—the car, she thought, like her she deliberated; the darkness of the green reflected like a mirror, owing of course to the new waxed-in shine; '…good,' she murmured to herself: it was liken to a deep jade green, especially when the morning light hit it, like now; like now it glimmered. She put her sweater around her body tighter; the heat had not been on this morning and she had just turned it on as she walked in the building, it was sixty-three degrees in the café, several times she said out loud to herself in German, "Kahlt…"(cold), trying to warm herself up.

She looked at the clock on the kitchen wall, it was now 11:30 AM; hence, she told herself: Günter, or Mr. Gunderson, would be coming in half an hour. She had started to day-dream, fussing over her small apartment, and if she should move, move away from the park and the tower, out of Dieburg completely; but she loved it all so much, except for the nights. But she had asked herself many times: would it be any different in any other city? And the answer was always, 'Nein,' and her apartment window gave her such a good view of everything, especially the tower.

She could hear now, a few horns by passing cars being honked, it seemed to push her out of her day-dreaming mode; finding herself in the dinning room with her paperwork. Often she'd move out of the office simply because Günter would be fussing about the kitchen and he'd clean her office also (in the process), and she'd want to be out of his way, or he'd not do a good job, thus, she put her papers and letters on one of the several tables in the dinning room to finish her reports and other requirements.

As she sat behind a long table, she looked about the dinning room: it didn't need a whole lot of cleaning she told herself. She had gone home early last night, and Gertrude must had done a quick job in picking up things, and Günter would follow up on it this forenoon.

Günter was an old veteran, a German soldier who fought in WWII with Hitler, or better put, within his Army, for he never met the Fuhrer personally, but had seen him give a speech once and thought him to be profoundly disturbed, although he didn't use those words, he felt them for it became clear towards the end of the war that Hitler had a dark, deeply personal agenda for Germany, which stifled Günter's motivation as a soldier. He had even read Mein Kampf; but the Third Reich did not produce the Master Race it promised, not at all, as Hitler projected; as he had gone over it a thousand times, everything was based on fear. That is how you get people to go to war, he told himself, again and again, but when you are young, such intelligence is not at ones finger tips. But he had paid his dues in an American concentration camp after the war, and that was that he felt, although Carmen was never sure how he took to her being Jewish.

Günter was a short robust kind of man with a flat kind of smile, if that is what it could be called: for lack of a better description. And she was never sure if he liked German-Jews—or Jews, like her; but then, she supposed he could not care one way or the other, a thought of the reverse; Gertrude didn't mind, for the owner whom was Adolph Schulman, was a German Jew just like Carmen, whom lost everything in the war, and somehow put together this little pizzeria establishment. The war had just been over fifteen years. I mean, it wasn't all that far in the past: painful memories were still well imprinted and alive in the residents of Dieburg and throughout Germany, for the most part, especially towards American GI's stationed there.

There was a sound at the front door, Carmen glanced, it was Günter, with his fumbling of the keys, trying to open the door; he fumbled all the time, it was expected of him, and had he not, Carmen would have had to look twice to make sure it was him, she could see the top of his bald head: not completely bald, but close to it.

He came in.

After a moment, shutting the door, he saw Carmen, as he'd expected to see her, when she'd go home early the night before—all dilapidated, warn out.

"Hallo!" he said to Miss Schmidt, aloud; a smirk or a smile came on his face as he looked at her halfway moving toward the kitchen; Carmen could never differentiate his smirks and smiles, for to her, they both looked the same to her.

3

Günter quietly put on chintz and started to do his chores. He turned on the oven and the gas stoves, wiped the varnished-wooden tables down. He had little time for chitchat, or idol dialogue, and normally would not be found seeking any out. He was a man of little education, but it seemed in life, wherever he put his foot, things turned out alright for him, that being, he survived the war, the biggest of his feats. He told himself he didn't mind working for a Jew, as long as he got paid, and a young pretty Jewess at that. But he was never sure of how she felt about him, so yes, he was guarded a little, and felt that keeping to him was safer for all involved at the restaurant, for the most part anyhow. He lived with the thought: some people come to work to work, others to play, and he wasn't the other, and he came for work. He knew her father was killed by German SS-men, in 1944 when she was just four-years old, so he figured he had good reason to remain guarded. It was his philosophy: a woman either hated you or liked you, there was not much in-between with them. All in all, he simply did not want to resurrect any kind of discontentment within her, and he knew it didn't take much to do that. He was hired several years before she came aboard, I mean she was only the manager for less than a year now, and the boss was a friend of the family (her family that is), isn't that how it always is, he had told himself, but that's just the breaks: it's who you know, not what.

He now retreated to the back of the kitchen mixing up basil, pomadoro smelling its richness; as he stirred it, his pizza sauce; then he started thickening it with tomato past, cutting up more tomatoes to mix with the red sauce he had already put in the large bowl, a red sauce that was a ting hot to the tongue, with garlic, mushrooms, green peppers; in addition, he was sorting out meats, chopping up ham, sausage, pepperoni, putting them to the side, along with a verity of other ingredients to put on top of the pizzas; everything was preparation work for the moment; and along side of the dough he pulled out the cheeses—then Carmen came out in the walkway, the corridor to get some fresh air; the dinning room seemed to be getting overly warm now that the ovens were on, and the kitchen door open.

See Dennis' web site: http://dennissiluk.tripod.com See Dennis new book at http://www.bn.com "Last Autumn and Winter"

Thursday, February 19, 2009

From Tehran To Damascus The Fangs Of Gods A Poem

Writen by Dennis Siluk

There are kings in the lands I speak of, and their gods have hoofs and brutish brows, for they and they love there traitorous hours—with root steel teeth, and fed on blood, a hundred hands they cut off to get their way, and lead their nations down the road of nothingness—to Hell's pale grave.

Downward starts their road, and shapes of death, to and fro they go restless, yet not told: are the horrors and despair they will inflict, infest, and toss to the air, and then again, one can see ages of tears, lips wailing, waiting; come–thee, the world should know by now, Tehran to Damascus is crouched in the shadows, ages of tears will come from thee, the world should know by now, you will never be content—content with less than all.

You are the fangs of the hoofed-gods, thy boastful foe; the world's blood is like honey to you…talk no more for you lean blindly on Allah, and think He is your burden, and squeeze Him into your dark soul (perhaps He is like you, if so, if He be as boastful, who then is the God of love?).

Alas, the coming bliss of certain doom, fates demand you will sleep before you outwit the Jew, and heaven be no refuge for the wolf you are—; yet I fear, should man delay, it will be his sad day: to your glory.

#1548, Written in Lima, Peru, 11/16/2006 Dedicated to the Presidents of Iran and Syria

See Dennis' web site: http://dennissiluk.tripod.com

Wednesday, February 18, 2009

Dolls Harmless Toys Or Channels Of Terror

Writen by Sarah Todd

I've never been a doll person. When I was a child my dolls were discarded in favour of our pet dogs, and my siblings and I carted them around in various toy trolleys and prams. Fortunately my parents were partial to a small breed of dog called a Welsh Corgi – imagine trying to fit a fully grown Rottweiler into a dolls' pram! My attitude towards dolls changed as I grew older, but instead of growing to appreciate them I became apprehensive. I blame this on my increasing awareness of the horror genre, and television shows like "Tales From The Darkside" that often featured malevolent dolls. I had a friend who had one of those dolls that blinked, and it absolutely terrified me. It always seemed to be watching us through pale, lifeless blue orbs in its head. Watching… and waiting. Blinking yet sightless. Or was it?

In Helen Morgan's "The Witch Doll" the title character's hair grows when brushed. Her name is Tilda, and she's a doll who trades souls with humans.

Dolls have been an integral part of the horror genre for many years, and Hollywood has been a major exploiter of this phenomenon. There have been countless films about the voodoo religion, particularly voodoo dolls. Although their origin can be traced to identifying pressure points for use in healing it is thought that slaves exploited the myth as a form of self defence against ruthless slave owners. Thus the belief that a specific individual can be cursed through a voodoo doll was born, and exploited. Such is the popularity of the voodoo doll myth today that tourists can buy voodoo dolls in Port au Prince, Haiti – the centre of the voodoo religion!

A more authentic use for dolls in voodoo is the practice of nailing the doll – together with a shoe - to a tree near a cemetery. They are supposed to act as messengers between the lands of the living and that of the dead. However the myth of the voodoo doll appears to owe its origins to ancient Europe…

The pagan cults used a poppet to symbolise the fertility of Nature during festivals and harvests. The person who produced the poppet was said to infuse the doll with life, and it was considered to be a little person. Poppets were also associated with witchcraft, and were often produced to cast a fertility, healing or binding spell upon an individual. These dolls were usually produced from natural products such as clay, a potato, a root or a tree branch, a corn shaft, an apple or a lemon. Paper and wax were also used, together with cloth that was usually filled with herbs. The poppet was then used for image magic, and whatever actions were performed upon the effigy would be effective to the human subject. Does this sound familiar? To counter the usually dreadful effects of the poppet a wax figure could turn the spell against the one who cast it, and counter the witchcraft… if the evil was discovered in time!

A family boating on a lake find a large doll floating in the water. They rescue it, and soon wish they'd never laid eyes on it. Donna Lee Wallock's "Troll Doll" is possessed by evil spirits, and it's not long before strange accidents and unexplained deaths surround the doll.

It seems that dolls are usually produced in the female form, but they have also replicated the male gender. Scarecrows, corn dollies and the druids' wicker man are all male! Scarecrows evolved because of the need for farmers to discourage birds from disturbing their crops. In 1592 they were described as: That which frightens or is intended to frighten without doing physical harm. Literally that which scares away crows, hence the name - scarecrow. Originally fashioned in human form from straw, scarecrows were dressed in clothes with hats, with faces made of fabric with stitches providing the facial features. Today scarecrows are still widely used by farmers all over the world. Corn dollies were hollow shapes manufactured from the last sheaf of the crop at the end of a harvest. Ancient cultures believed that once a crop had been harvested the corn spirit would be homeless, and would leave the field to search for a new home. The corn dolly would remain in the fields during winter, providing refuge for the corn spirit until the new harvest was planted in spring.

The Wicker Man is an icon that has featured in modern culture. A tall humanoid shape, a Wicker Man was traditionally woven from flexible branches – much like wicker furniture – and usually burned at neo-pagan festivals to mark spring. It sounds horrific, but fire was originally considered a form or purification, and the act of burning a human effigy was to create a messenger to liaise between the community and its deity.

Popular culture has made the Wicker Man a symbol of horror. There's a famous British horror film called The Wicker Man, which places live sacrifices to burn inside the Wicker Man during a pagan ritual. A remake of this film, starring Nicholas Cage, is being released at time of writing this article. In the book "The Vampire Lestat" one of Anne Rice's characters describes witnessing the burning of a Wicker Man containing human beings during Roman times. Heavy metal band Iron Maiden recorded a song title "The Wicker Man".

The title character of Jane Toombs' "Hugger Doll" is a killer, something the hero's grandmother warned him about year earlier. Once he laughed at her superstitions; now he wishes he'd paid more attention!

The most famous doll in the horror genre today must be Chucky, aka Charles Lee Ray. Chucky's creator derived his name using three notorious killers: Charles Manson, Lee Harvey Oswold and James Earl Ray. Created for the "Child's Play" series of horror films, Chucky is a doll that is possessed by the soul of a killer. The doll begins killing people, and all sorts of storylines have evolved around him/it. Eventually the doll's face and body is maimed, his human girlfriend becomes a killer doll called Tiffany and the dolls manage to produce a gender-confused doll child called Glen/Glenda… it's an extremely successful franchise, and to date there have been five Chucky films.

Dolls may look human, but their characteristics and emotions are a blank sheet, waiting for our imagination to bring them to life. Be they in films, books or music dolls are an intrinsic part of our culture. And from where I'm sitting their future looks bright.

The writer was born in Africa, and lived there for the first 38 years of her life. She worked in the world of public relations for over five years, running her own PR company and dealing extensively with the world of journalism and the print media. She is an author on http://www.Writing.Com/, a site for Writers. Her blog can be visited at: http://www.writing.com/authors/zwisis/blog

Tuesday, February 17, 2009

How To Draw People How To Use Proportions When Drawing People

Writen by Adam Reeder

Before you can draw a human figure with clothing, muscles, shading, etc., it is necessary to understand the basic proportions of the human figure. Proportions on a figure are simply how long the major anatomical parts of the body are, in relation to each other.

Let's examine the proportions of a healthy male human figure. Proportions change based on body type, age, sex and activity level. Our example healthy male figure will be seven heads tall. As a foundation, let's start with these lengths that are all the same. Each of them are two heads long.

1. From the middle of the kneecap to the bottom of the foot

2. The head of the femur to the kneecap

3. The elbow to the tips of the extended fingers

4. From the collarbone to just below the belly button

5. The width of the chest from shoulder to shoulder.

Tip #1 - The width of the hips is the same as the distance from the crotch to the knee.

Tip #2 - The length of the arm from the pit to the tip of the extended fingers is the same as from the base of the neck to the bottom of the buttocks.

Tip #3 - The arms should hang with extended fingers, to the middle of the thigh.

Tip #4 - The elbow should rest parallel with the bottom of the rib cage.

Tip #5 - The size of the foot should fit in between the base of the palm and the pit of the forearm.

Tip #6 - The hand from the base of the palm, to the tip of the fingers should fit on the face, from hairline to chin.

These proportions are critical to learn if you want your figures to look convincing. The reason this is essential is that you cannot place a bone or muscle group on a figure and have it be the wrong length without making your drawing stand out because it will look "off".

These proportions, along with good gesture, give you everything you need to layout a strong start to your human figure. These techniques along with many more are drawn out more in depth in the downloadable book "Learn To Draw Like A Pro", available here: How To Draw.

Adam Reeder is a professional artist and has been an artist for the last 15 years. He divulges his drawing secrets in the downloadable book, "Learn To Draw Like A Pro". This book is available on his website Learn To Draw Like A Pro.

Monday, February 16, 2009

Art Chatter Helping Art Communities Be Heard

Writen by Tom Maiaroto

Whether you're an artist or art advocate, Art Chatter is a valuable resource, devoted to the promotion of artists, galleries, and organizations of art communities in close proximity to Bucks County, Pennsylvania. Covered areas of Pennsylvania and New Jersey include; Bedminster, Chalfont, Doylestown, Dublin, Erwinna, Frenchtown, Lahaska, Lambertville, Milford, New Hope, Newtown, Perkasie, Stockton, Tinicum, Yardley, and other surrounding areas. Our goal is to add more to blend the art community together as the area is filled with history and art culture.

The roots of our nation were formed here and these towns are rich with historical and artistic history, which have put this area on the map and brought tourism to an all time high. Many famous artists and artistic movements have passed through the area. The Pennsylvania Impressionists movement is considerably the most well-known to this area. This style and tradition remains, and is still practiced by local artists. However, the area holds more than just impressionism and landscape paintings that many often overlook or don't associate with the area. Modernist movements exist, as well; yet, the area continues to produce all forms of art.

The Bucks County area is ideal for weekend getaways or day trips from neighboring cities. Many people aren't aware how close this rich culture is. Within ninety minutes from New York City, and perhaps under an hour from Philadelphia, one could easily find themselves in a completely different world. The picturesque country side is a good escape from the busy city life, and many visitors arrive from the cities to experience this. Most of the activity happens during the warmer months; however, even during the winter many festivities continue.

Art Chatter is growing and will soon host the world's largest database of local artists and galleries. The site offers a directory that continues to grow through visitor input. Artist and gallery information is found throughout the site as each has its own unique section. Included in these sections are directions to the galleries, contact information, hours, artwork, and more. One of the unique features of the site is the ability for local artists and galleries to log-in and edit their own sections. They are able to post biographies, artwork, and any information they wish. Acting more than a gallery guide, Art Chatter provides other pertinent information from local art communities. We offer local art news, gallery exhibitions, featured artists, featured galleries, a calendar of events, art books, and more. Visitors may submit information to the site for free inclusion. Art Chatter does not charge to list events, books, links, or other important information.

The internet has become one of the most affordable, easiest, and quickest forms of promotion. Art Chatter helps local art communities with utilizing this tool as best as possible while maintaining affordability. The site is new, but continues to appear in most of the internet's search engines. The site is optimized and targeted for optimal exposure to ensure qualified visitors peruse the site. Art Chatter also provides an advertising campaign for the artists, galleries, and organizations. Different forms of internet and print advertising are integral elements to this campaign. While the internet remains an invaluable tool, one must also take advantage of other venues for promotion, including print ads in publications, postcards, mailings, and more. Of course, there will always be word-of-mouth as well. But, through the continuous support of the artists and galleries listed on the site, forms of promotion – otherwise unjustifiable or unaffordable to individuals – is now possible.

Whether you're a local resident/artist/whatever that wishes to keep informed, or a visitor planning a wonderful trip full of art activities, Art Chatter is truly your best guide for the Pennsylvania and New Jersey area. Be sure to visit the Web site at ==>http://www.artchatter.com