hanging con .kaa & d=(8{>

just checking...

no habia probado esta aun...deberia tal vez 'organizarme'
pa postear a traves de aqui oficialmente?
...sorry, just sleepless bullshitting noche de navidazz-
blablah woofwoof, quoth hendrix...

espero todo bien contigo, hay par de transacciones que debo dejar de
posponer
y acabar de hacer antes de que empieze el 2006-
si me puedes dar instrucciones re.: firewall &c para mas tranquilidad...
reeeeally appreciate it...

d=(8{>

Mandarin Pest - A Quicktime Movie

first efforts- llevo los ultimos tres dias y noches jugando con la banda sonora, estoy bastante complacido, BUT- if you can, play 'MOS' ('mitOUT sound') first...for a little experiment in shifting emotional cues...
(esta tarde llegan los alemanes!! ) un abrazo, d=(8{>

If you don't have it, get your QuickTime fix here.

You Don't Know Much About Tom Robbins-- and That's the Way He Likes It

September 11 doesn't play a huge role in the novel, but it's there. The book suggests that American
arrogance, self-satisfaction, and focus on the minutiae of capitalist life were directly responsible.
Do you agree? Also, having read that you take a very methodical
approach to your writing, I wondered if you began this book before or after the attacks.


TR: Perhaps the supreme tragedy of the September 11 attacks is how easily they could have been avoided
if the U.S. had a foreign policy that was even remotely worthy of a nation that professes to be moral, benevolent,
and favored by God. It would be easy enough to catalog the evils of that policy and the unevolved shysters who
formulate it, but I try to avoid the overtly political in both my life and my work. My approach is to encourage readers
to say "yes" to life, on the assumption that anybody who's saying "yes" to life will automatically say "no" to
economic determinism and the destruction and self-destruction that economic determinism invariably spawns.


Villa Incognito was begun nearly a year before the attacks, but since the protagonist of my last
novel, Fierce Invalids Home from Hot Climates, proclaimed that "terrorism is the only logical response
to America's foreign policy," the knowledge that such an event was inevitable obviously lay napping
somewhere in the basement of the text. When 9/11 occurred, it slid up the stairs and into the narrative
as effortlessly as an amoeba sliding up a soda straw.


The fox is another mythical figure who makes an appearance. At one point, the character Tanuki
ponders "how the fox continually played mean tricks on human beings, yet claimed that his
mischief was actually a benefit to men because, in the end, it forced them into the flexibility and
resourcefulness essential to their advancement." Do you think there's hope that this could be
a positive outcome of 9/11, as well?


TR: It's hard to find anything positive in the horrific loss of innocent lives, but as Margaret Mitchell
observed, "It's a gone wind that blows no good." If nothing else, 9/11 might yet force smug, xenophobic
Americans to wake up to the fact that we aren't the only frogs in the planetary pond. The chief result so
far, however, has been to send a cowardly citizenry on a mad dash to trade its civil liberties for
a shadowbox of false security.

Borders interviews Tom Robbins

Borders interviews Tom Robbins


(...a particularly apt, knowledgeable & inspiring excerpt here-
read to the end for a short meditation on 'the soundtrack-to-one's own-written-word'-- d=(8{> )
...There's an obscure, brief, ambiguous verse in the Bible that some people interpret as predicting that when a pure red heifer is born in Israel, it will signal the return or the debut (depending upon which mythic system one buys into) of the Messiah. So, a group of fundamentalist Christian farmers in Mississippi are raising red cattle and flying them to Israel, where they're sold at cost to ultra-orthodox Jews who hope to produce, through selective breeding, a red calf completely free of markings or discoloration. The objective of both parties, of course, is to force the Messiah's hand.
Now, this is the kind of stuff that's happening in our "real world," boys and girls, and it's happening all the time! How then can anyone who pays attention to their next-door neighbors, let alone network news, regard my fiction as "outlandish"? I consider myself pretty much a realist. The actual fantasy writers-- not that there's anything wrong with fantasy-- are the would-be realists who, focusing exclusively on lawyers, childhood trauma, or mom's apple pie, write as if enigmatic wackiness wasn't raging all around us.
The tanuki, an Asian species of dog that closely resembles the raccoon, plays a large part in your story. Renowned in Asian myth for a love of snack, sake, and general freewheeling, is the tanuki there, on both an entertaining and more profound level, for fun?
TR: It's necessary to distinguish between a tanuki, the animal, and Tanuki, the character from Japanese folklore. The two bear the same relationship to one another as a raven and Raven, or a coyote and Coyote in Native American mythology; a raven is merely a commonplace bird, but Raven is a trickster figure, an entity who's decidedly supernatural although not quite a god.
Typically, tricksters are disruptive mischief-makers; they're liars and thieves who delight in playing pranks on overly serious human beings, but in the end, provide the clueless humans with what they need most to prosper and survive. In Japanese mythology, the principal trickster figure is Kitsune the fox, a wily rascal who serves nevertheless as a vital emissary between mankind and the gods. Having no such benevolent function, what foggy little Tanuki shares with his more evolved trickster counterparts is an enormous appetite for food, strong drink, sex, music, and dance. In fact, Tanuki is all appetite, he's an ultra-sensual embodiment of the life force in its purest, most raw and innocent form. He's a figure of fun and for fun, including the kind of fun the gods must have had when they danced the universe into existence. So, yes, in its own way, his role is profound.
...
This book is punctuated throughout by the lyrics of a song written by one of the characters. If there were a soundtrack, I'd guess this would be the main theme. As music is discussed elsewhere, as well, what other songs or pieces might find their way onto such an album?
TR: Great question. Let's see� The theme songs of Still Life with Woodpecker would surely be Bob Dylan's "One More Cup of Coffee" and the Turtles' "Happy Together," and a soundtrack to Jitterbug Perfume would be dominated by New Orleans jazz and that eerily beautiful, ancient-sounding music recorded by the Bulgarian Women's Chorus. But Villa Incognito, hmm� I suppose Leonard Cohen would be well represented, along with a lot of Zen drumming, Erik Satie circus music, a dash of "One Night in Bangkok," a jigger of the title song from the 1963 movie Charade, plus a general sprinkling of Elvis Costello.

Absinthe - it's time for change

-for yr consideration-

Darkness Visible

My other favorite woman photographer, Francesca Woodman, could be the yin to Susan Meiselas' yang...

http://www.thenation.com/doc/20041115/danto
(Francesca Woodman - Google Search)

Nicaragua

inspirational project taking the relationship between artist & subject to sometimes uncomfortable levels.
i own one original print of this intense photojounalist's work, missed a chance to grow a collection
back in 2000 and debate on ways i could afford to still, now, follow through.

http://www.susanmeiselas.com/content.php?sec=nica#

more on in/correct meat culture

http://www.adelphia.net/news/read.php?id=12434837&ps=1020&cat=&cps=0&lang=en


How About an Australus Steak on the Grill?
Monday, December 19, 2005 8:34 PM EST
The Associated Press

SYDNEY, Australia (AP) — Does the idea of tossing a kangaroo steak on the grill upset you? How about
a tender cut of australus? A food magazine's hunt for a new name for kangaroo meat — aimed at putting
a spring in the step of efforts to sell the product — has a winner, media reported Tuesday.

More than 2,700 people from 41 nations entered the Sydney-based Food Companion International
magazine competition to rename meat derived from one of Australia's best-loved and most-recognizable animals.

Before settling on australus, judges skipped over suggestions including "kangarly," "maroo," and "kangasaurus."

Millions of kangaroos are culled each year, to prevent them eating crops and to supply meat — but most of the
kangaroo cuts go to pet food suppliers and only a small percentage is sold for human consumption.

Australia's kangaroo population fluctuates depending on weather conditions, but is estimated at up to 50 million —
more than double the country's human population.

Magazine editor Mel Nathan told The Sydney Morning Herald "australus" sounded dignified and predicted it
could be a breakthrough for the kangaroo meat industry.

Kangaroo Industry Association of Australia executive officer John Kelly told the Sydney paper that although
the company sponsored the competition, it had no serious intention of changing the meat's name.

Carvalho y Yo - Vazquez Montalban

...creo haber confesado ya que me quedan por leer las novelas de Manolo. al menos he (h)ojeado su labor como ensayista y articulista un poco.
como se que estas ocupado y no es prioridad ponerte a curiosear sobre otro escritor comunista muerto en tu tiempo libre , te copio esta muestra
que me parece puedes disfrutar, ademas asi tal vez subrayo y aclaro algunos de mis referentes literarios y culturales menos obvios...
un abrazo, d=(8{>

http://www.vespito.net/mvm/carvyo.html


M.V.M.


Creado el
29/7/1998.



CARVALHO Y YO:
¿QUIÉN ES EL ASESINO?
MANUEL VÁZQUEZ MONTALBÁN
El País, Babelia, 22 / 2 /1997

Veinticinco años de Carvalho. Nació en Yo maté a Kennedy, 1972, como un héroe subnormal a la sombra de mi ensayo Manifiesto subnormal. Lo editó Planeta porque la censura se lo prohibió a Seix Barral y la novela fue a parar a los montones de libros de saldo de El Corte Inglés. En una etílica noche de 1973, Pepe Batlló y Frederic Pagés me tomaron la beoda palabra: la novela española entronizada era una ilegible mierda jaleada por los preciosos ridículos de una crítica con complejo de cosedores del himen de la doncella literaria por el realismo social, los personajes tardaban 30 páginas en subir una escalera y era preciso recuperar la inocencia narrativa de las novelas de guardias y serenos. Es más, añadí, sin duda bajo la influencia de un whisky desorejado, yo soy capaz de escribir una de esas novelas en 15 días. Lo hice. Se nota. Tatuaje parece escrita por el aduanero Rousseau entre cuadro y cuadro.
Veinticinco años después de Yo maté a Kennedy, Carvalho es un referente convencional en 24 lenguas y hasta lo citan como habitual de su imaginario quienes no han leído nunca las novelas que protagoniza. Ha recibido una docena de premios internacionales, uno de ellos concedidos por Sciascia expresamente a Asesinato en el Comité Central y El pianista, ex aequo, y alguna parte tiene Carvalho en el Premio Nacional de las Letras que Vázquez Montalbán recibiera en 1995. Las novelas de Carvalho, más allá de la transición española, trazan el viaje desde la edad de la inocencia de la década de los sesenta a la edad de todos los empleos precarios y desempleos estables, esta globalizada edad de la desesperanza. Carvalho se ha metido en las mejores nostalgias y los más lúcidos nihilismos y asiste a su edad de plata molesto con el autor que ha prometido matarlo en el 2000. Es más. Recientemente en Viena, Carvalho interpretó un monólogo contra Vázquez Montalbán (Antes de que el milenio nos separe), próximamente representado por el Teatro de la Abadía, según acuerdo con José Luis Gómez. Allí Carvalho dice todo lo que piensa de mí y denuncia cuántas veces se sintió traicionado por mis instrumentalizaciones. Partidario de la novela necesaria, aunque sea negra, fucsia o verde, Carvalho exige el reconocimiento de su contribución a una teoría de la desesperanza ética, laica final de milenio. Se sabe un mal protagonista de polar. Pocas novelas policiacas se niegan a desvelar quién es el asesino porque de hacerlo el lector se sentiría defraudado porque ha completado el largo viaje de la lectura sin conseguir la confianza del autor. El lector trata de saber tanto como el escritor, sea la novela policiaca o no lo sea, y se puede establecer un paralelismo entre la indagación de la finalidad del relato con el viaje que los filósofos griegos presentaban como la base del conocer: partir de las causas primeras hasta llegar a la causa última y a la vez original, alezeia, quitarle el velo a la diosa, alezeia, quitarle el conocimiento del asesino al autor.
La cultura de la ficción, sea literaria o cinematográfica, ha escogido crear un prototipo de lector que sólo se conforma si le dan finales totales, preferibles los felices, pero pasen los infelices si son finales. Nada angustia tanto como descubrir que en todo fin hay un principio porque el espectador o el lector normalmente no se autorreconoce preparado para proseguir la vida, la historia, la nada o la ficción por su cuenta. El lector de novelas criminales quiere saber quién es el asesino, por qué y para qué, y muy pocos lectores aceptan el coitus interruptus por más genial que sea. Escasos lectores leen desde la fría aceptación de que se han metido en una realidad convencional construida con palabras y que por tanto deberían ser lo suficientemente generosos como para permitir al escritor que jugara con el tiempo y con las sanciones morales. El lector prefiere lo previsible y recuerdo que la novela de Agatha Christie que menos entusiasmaba a su público habitual era la más interesante literariamente, El asesinato de Rogelio Ackroyd (1926). Alarde técnico, inusual en tía Agatha, el propio relator en primera persona es el asesino, frustrante evidencia final para el desorientado lector. El lector le quitaba velos a la diosa en compañía de un guía que era la mismísima diosa, la verdad, el asesino, la muerte.
Esta necesidad de saber quién es el asesino no sólo es fruto de una curiosidad, sino también de una actitud moral: el crimen merece ser castigado. En la historia del relato criminal abundan los finales ejemplares de asesinos impresentables y ha sido la mejor novela negra contemporánea la que se ha atrevido a proponer la ambigüedad del mal y del bien como perversa unidad de contrarios. Incluso novelistas a lo negro hay que no castigan al asesino. Ayudan al lector a desvelarlo, pero una vez desnuda la verdad no aparece la policía, ni el señor juez para imponer el peso de la ley. A esta raza pertenece Carvalho, emparedado por la doble verdad, la doble moral, la doble contabilidad de la política delincuente o del delito politizable. Yo, es decir, Carvalho, jamás ha entregado un criminal a la policía o a la justicia. No pertenece a la deontología de un detective privado el sancionar con el aparato represivo por delante, pero es que además, puesto que estamos hablando de literatura, todo escritor sabe que el verdadero asesino de su novela es él mismo. El escritor es la chica del bar y el amante de la chica del bar, el gánster y el policía, el homosexual y el fascista, el marxista y el heterosexual, la víctima y el asesino. He tratado de convertir esta evidencia en la alezeia fundamental de mi hasta ahora última novela de Carvalho, El premio. Con la referencia mítica de ouroboros, la serpiente que se muerde la cola, el asesino de mi novela es el escritor. Es decir, yo. Y si no soy detenido en las horas que siguen a esta revelación es que ya no puedes fiarte ni de la literatura.

Frank Miller's Sin City

http://video.movies.go.com/sincity/downloads/download_wp_miho_1280.html

no-
you a warrior, you don't hold tachi up like that, even when posing:

double-handed, down, across th body, swordpoint by yr left foot (if y're right-handed)
ready to sweep in a broad, rising diagonal arc across yr actual/ possible opponent's waist...
you got a nice look, ms.aoki, but you let th marketing assholes rule over yr character
& yr talent...but why pick an argument...?
i take my acting as seriously as my Bushido

guess that's why i may '...never work in this town again!'

En la muerte de Manuel Vázquez Montalbán

(the site has an englishversion/translation)

extracto:





'...Me explicó más de una vez qué es o qué ha sido la postmodernidad, y a mí me costaba entenderlo. Me sugirió que leyera a Fredric Jameson, pero todavía no lo he conseguido. También me explicó quién era Lefebvre, o el pensamiento de Hans Magnus Enzensberger, y yo siempre entendía el 20% de lo que me explicaba, por lo que la vez sucesiva le volvía a preguntar, y así he acabado enterándome de algo.

Luego hablabámos de Crónicas Marcianas, o me confesaba que las columnas en Interviu de Alessandro Lecquio no le parecían malas, sobre todo cuando criticaba a alguien. O hablábamos de las canciones de Modugno, o de Serrat. No le gustaban las canciones de Serrat. Creo que todavía tenía cruzado que no le concediera una entrevista en 1967. También Anguita y Castro le denegaron entrevistas.
Conseguía opinar de forma inteligente sobre cualquier cosa. Y era muy divertido. Me encantaba su sentido del humor. Se iba a Cuba cuando el viaje del Papa y yo le pregunté si entevistaría a Wojtyla y a Castro. «Por riguroso orden alfabético» me contestó. Cuando le conté que me casaba me espetó: «¿Contra quién?»
Preguntado por Quim Aranda sobre la muerte, dijo que es «obscena y reaccionaria». Con él realmente lo ha sido. En la cola para coger un avión en Bangkok se encuentra mal, pide tímidamente ayuda, se da cuenta de que se va al otro barrio y nadie le comprende, no tiene a nadie a quien decirle adiós. Esto es lo que más me conmueve.
Nos quedan sus libros. Cuando le hacíamos notar que había escrito casi cien libros él nos paraba: «La mayoría son reediciones. He escrito poco más de sesenta». Casi nada...'

A homage to Rene Santos (RIP)

left to creatively play with myself, comparto imagenes rescatadas del
naufragio- tenia cien como estas.

abstractos (unos mas sicodelicos, otros menos...) de manipulated found images, parte de un homenaje a otro pana muerto, el pintor Rene Santos... aburabur, d=(8{>

Buddha Bots?!

Buddha-nature (Awakened-nature) has been connected in recent decades with
the developments of robotics and the possible eventual creation of
artificial intelligence. In the 1970s, the Japanese roboticist Masahiro Mori
popularized the idea that robots, under certain conditions, may possess
Buddha-nature. Mori has since founded an institute to study the metaphysical
implications of such technology.

The implication or the question is, can a perfect simulation of intelligent
outward behaviour really light the inner spark of a self-aware consciousness
principle in an artificial entity? Given the doctrine of anatman, is there
any difference between the subjective experiences of a robot that acts
intelligent and an animal that is intelligent?

While you're here,check this out.

From Wikiquote
Ikkyu (1394-1481) Poet and Zen master.


* Natural, reckless, correct skill;
Yesterday's clarity is today's stupidity
The universe has dark and light, entrust oneself to change
One time, shade the eyes and gaze afar at the road of heaven.


* It has the original mouth but remains wordless;
It is surrounded by a magnificent mound of hair.
Sentient beings can get completely lost in it
But it is also the birthplace of all the Buddhas of the ten thousand worlds.
o A Woman's Sex


* Eight inches strong, it is my favourite thing;
If I'm alone at night, I embrace it fully -
A beautiful woman hasn't touched it for ages.
Within my fundoshi there is an entire universe!
o A Man's Root


* From the world of passions returning to the world of passions:
There is a moment's pause.
If it rains, let it rain, if the wind blows, let it blow.

Justin's links

...i give you-

Justin Hall, one of my inspirations...
i only got my first computer for thanksgiving '95 (& my long-simmering tech jinx blossomed like a black fungus-- buying a laptop form apple as it hit its big, rotten Amelio bottom: powerbook 5300cs, still sitting nearby on a tv table.
hurricane georges was th 100mph straw/gota que colmo esa copa
particular-- that broke that particular camel's back...)

& between meditative hours on hold to level 2 apple tech support, i celebrated the new year 1996 by jumping ass over teakettle into online virtual life...

Justin's Links

un tributo

Mi pana Gonzaolo Andres Aponte (on the right) murio after getting knocked down from his motorcycle March 2003-
para ser un blanquito de Condado (just joking, Andy) he did amazing African inspired art. Check his website, now a memorial. despues de una larga temporada de hippie activista por agricultura organica, regreso a la ciudad y fue pionero del Rock en espanyol en los '80's- Rodrigo de Triana se llamaba la banda...

zensolo gallery 1

The Ethics of Eating Meat: A Radical View by Charles Eisenstein

 

...i struggle with being a moderate but fairly regular meat eater these days...maybe i'm loking for justification or rationalising, but i found one of the most articulate, holistic arguments for the consumption of animal products here-

http://www.westonaprice.org/healthissues/ethicsmeat.html

an excerpt:

When we live rightly, decision by decision, the heart sings even when the rational mind disagrees and the ego protests. Besides, human wisdom is limited. Despite our machinations, we are ultimately unsuccessful at avoiding pain, loss and death. For animals, plants, and humans alike, there is more to life than not dying.

About the Author

Charles Eisenstein is a stay-at-home dad living in central Pennsylvania. He teaches part-time at Penn State. His book, The Yoga of Eating, may be purchased from New Trends Publishing, http://www.newtrendspublishing.com/YOGA/.

__________________________________________________
Correo Yahoo!
Espacio para todos tus mensajes, antivirus y antispam ¡gratis!
Regístrate ya - http://correo.espanol.yahoo.com/

ATANARJUAT NEWS

Vi la pelicula 'Atanarjuat' y de la impresion me suscribi a boletines de los filmmakers de la comunidad Inuit...we should take a page from los esquimales!
pero claro, identidad en la isla del viento con vapor es de un poscolonialismo tal vez diferentemente enmadejado/knotted-up...es que tocan los temas que me conciernen personalmente y i want to address con WLM...de hecho, esta gente fueron pioneros, rodaron primer feature-length movie en HiDef video...people died during production- literalmente dieron sus vidas por el Arte, el cine, blabla...! ps-gotta check Inuit music out!!
***************************
NEW DOC FROM ISUMA
QALLUNAJATUT (URBAN INUK)
***************************

Kunuk Cohn Productions and Igloolik Isuma Productions (the independent Inuit production company behind the internationally acclaimed feature film ATANARJUAT THE FAST RUNNER) are pleased to announce the release of a new documentary directed by Nunavik writer JOBIE WEETALUKTUK.

QALLUNAJATUT (URBAN INUK) follows the lives of three Inuit in Montreal over the course of one hot and humid summer. Only two generations ago Inuit lived in small, nomadic hunting camps scattered across the vast Arctic landscape. Since the 1950s, this traditional lifestyle has undergone an astonishing transition from Stone Age to Information Age, as Inuit first relocated (often by force) to government-run settlements, and, more recently, beyond the settlement into southern cities. What happens when an Inuk is dislocated from the traditional Arctic homelands that are so primordial to Inuit culture, history, and social structure? This film shatters stereotypes and gives audiences a vivid, emotional understanding of the challenges facing those who would live Inuit lives in contemporary urban environments. Featuring the original music of Charlie Adams and traditional ajaja songs of Igloolik, Nunavut.

WITH: Jayson Kunnuk, Charlie Adams, Pitsulala Lyta, Abraham Ulayuruluk, Moatie Kunnuk
DIRECTOR:�Jobie Weetaluktuk
PRODUCER:�Katarina Soukup
EXECUTIVE PRODUCERS: Zacharias Kunuk, Norman Cohn
CAMERA:�Francois Beauchemin, Natar Ungalaaq
SCRIPT WRITERS:�Jobie Weetaluktuk, Jayson Kunnuk
EDITORS:�Marie-Christine Sarda, Jean-Michel Laprise
ORIGINAL MUSIC:�Charlie Adams, Abraham Ulayuruluk
DURATION: 46 minutes

Produced with the financial assistance of Canadian Television Fund (created by the Government of Canada and the Canadian Cable Industry), Canadian Film or Video Tax Credit, SODEC (Societ� de d�veloppement des entreprises culturelles- Qu�bec), Quebec Film and Television Tax Credit, Aboriginal People's Television Network, Nunavut Independent Television Network, and Nunavut Film.

More info:
Isuma Distribution International
514-486-0707
distribution@isuma.ca

................................................................

ATANARJUAT THE FAST RUNNER
http://atanarjuat.com

IGLOOLIK ISUMA PRODUCTIONS
http://isuma.ca

__________________________________________________
Correo Yahoo!
Espacio para todos tus mensajes, antivirus y antispam ¡gratis!
Regístrate ya - http://correo.espanol.yahoo.com/

Waggish: Roberto Bolaño: By Night in Chile

...seems Roberto's writing is finally getting translated & marketed in English.
I recommend his work with th weight of a peculiar sense of loss- Roberto was th good firend who never was, th too-brief, inspirational acquaintance...
I have some video footage of his close friend & collaborator, Toni, (my screenplay is based on th book they wrote together) & him having what seemed to be an oft-repeated, ritual conversation- Roberto proposing a scheme to try to better market difficult literary work, Toni, as sales mgr. for a small publishing house dedicated to teacher's manuals & texts, patiently running down th impossible numbers...


Check it out

Here's another writeup


III

For Bolaño, Latin America is not only a geographical expanse; it is a state of mind. It is the pieces, the ghosts, exiles took with them as they scattered around the world. In the short story "El ojo Silva" ("Silva the Eye"), Bolaño writes in the opening sentence:

It's strange how things happen, Mauricio Silva, known as the Eye, always tried to escape from violence even at the risk of being considered a coward, but the violence, the real violence, can't be escaped, at least not by us, born in Latin America in the 1950s, those of us who were around twenty years old when Salvador Allende died.

Bolaño always dealt with the impacts of violence in the private realm. He didn't work epically; he avoided historical denouements. The struggles and massacre of Colombia's plantation workers in One Hundred Years of Solitude, Fuentes's evocations of the Mexican Revolution, Vargas Llosa's dissection of a ferocious backwoods millenarian movement in The War at the End of the World – grand tapestries of this kind are absent in his work.

December 7, 2005 19:18:18 PM GMT-04:00

...i don't quite get this mail program...can't seem to set & execute th background color i so painstakingly mix...


...i don't quite get this mail program...can't seem to set & execute th background color i so painstakingly mix...




ENJOY EUROPE WHILE YOU CAN | Jamais Cascio
QuickChanges see all posts in this category
Dismal news really isn't our focus here, but we can't let this go without notice: the latest Nature also includes a report on an apparent weakening of the warm-water current in the North Atlantic due to global warming causing Greenland ice to melt. This flow keeps the UK, Ireland and the rest of Europe relatively temperate, despite being at latitudes similar to Canada and lower Alaska. A further weakening of the flow could result in a mini-ice age for Europe, and possibly further strengthen mid-Atlantic hurricanes.

It's unclear yet whether this is a single event or signs of a new trend.

Green Car Congress has a terrific summary. Additional good discussions can be found at The Oil Drum and (for the more technically-inclined among you) RealClimate.

Posted by Jamais Cascio at December 1, 2005 05:02 PM | TrackBack