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|William T. Harper||University of North Texas Press|
July 24, 1974 • Day One
“Stop right there or I’ll kill you!”
—Fred Carrasco, hostage-taker
Ronald (Ron) Wayne Robinson kept looking at his watch, anxious to get home for his daughter Sheryle’s eleventh birthday party that night. Aline V. House was kicking herself for forgetting to bring her bloodpressure medication to work. Bobby G. Heard kept looking through the doorway to see if his relief was on his way up to take his place as the only guard in the prison library. Ann Fleming was thinking about her eighty-year-old mother in a Nashville, Tennessee, nursing home. Novella M. Pollard was worried about getting her rent check in the mail on time. Elizabeth
Yvonne (Von) Beseda’s concern was the alteration of her daughter ’s University of Texas cheerleader uniform. All in all, it was just a routine day in
That routine ended abruptly with the roar a .357 caliber Ruger Speed Six, blue Magnum revolver made as it was fired in the confined quarters of the thirdfloor library of the State Penitentiary in Huntsville,See All Chapters
|Thayer, Robert||Down East Books||ePub|
These surf-sculpted boulders are known as cobbles.
Tide pools hold a microcosm of sea life.
Little Hunters Beach is another of the Loop RoadSee All Chapters
I am a female survivor of childhood neglect, trauma, and abuse, now in middle age. I have dissociative identity disorder and am on a therapy-based journey of recovery. In sharing from my own experience, I am aiming to avoid graphic details but, instead, to reflect on the impact of various deprivations, traumatic occurrences, and abuses on the development of a number of distinct parts to my persona.
Dissociation is a survival strategy that enables one to tolerate the intolerable and survive the catastrophic. In a dysfunctional and traumatic home environment, an outward appearance of normality must be maintained in order to avoid aggravating the abuser. Imagine a lake, the quiet surface representing daily life and consciousness. When overwhelmingly painful traumas occur, threatening to disturb the surface, dissociation separates and contains the memories and emotions, as if in a bubble or balloon, which is then weighted down out of sight on the bed of the lake, far away from consciousness. Daily life goes on, the secrets of both the abuser and the abused protected.See All Chapters
|Kasfir, Sidney Littlefield||ePub|
Workshops offer a unique occasion to observe and document how cultural knowledge on art is reproduced. They bring masters and apprentices, teachers and pupils, and also artists of the same status together—and, thus, provide opportunities to learn from each other, to develop a shared style, or to distinguish the members as a group from other artists. Even within one society, workshops as a setting of learning and exchange often differ significantly and lead, through their different organization and the modes of communication that this organization fosters, to more or less homogeneity in the artistic expression of the member artists. By the same means, workshops may become visible as groups or as individual artists, as many examples from Western as well as non-Western art history show. The many varieties of workshops thus call for a comparative analysis of how the particular organization of a workshop affects the modes of cooperation and communication among its members and how this translates into particular modes of art production as they become visible in a recognizable style and genre. The questions that arise from this short reflection on the significance of workshops for the understanding of the production of art are, however, an empirical challenge. One must first broaden the understanding of terms as cooperation and communication because of the specificities of art and handwork. What happens in a workshop may be easy to observe but it is usually not part of propositional knowledge—that is, artists very often will not want to explain or put in words what they are doing and how they actually cooperate and learn from each other. Any analysis of work in a workshop thus needs a thorough methodological toolkit to describe and conceptualize how artists work, how they cooperate, how they learn their skills and how they develop a nonverbal understanding of what they do. Such a focus is best developed through a study of different workshops, as I will try to show in this article by comparing sculptors’ workshops of the rural Senufo in northern Côte d’Ivoire with painters’ workshops in urban Bamenda, Cameroon.See All Chapters
|Dan Kusnetzky||O'Reilly Media||ePub|
Lets dive one level lower into the model (see Figure3-1). Application virtualization has two forms: client-side application virtualization and server-side application virtualization. Application virtualization runs on top of the operating systems that manage the functioning of systems. It makes it possible for an application to be encapsulated or run in an artificial environment.
The major difference between access virtualization and application virtualization is that a portion, or perhaps all, of the application actually runs on the local device rather than on a remote server. The encapsulated application still requires support functions offered by a specific operating system, so this means, for example, that encapsulated Windows applications need to be executed on a remote Windows device. This is different, by the way, from processing virtualization (see Chapter4 for more information on processing virtualization), which isolates a workload from either the operating system or physical system it is running on.See All Chapters
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