Roswell

This week, we as a class were assigned to watch and take notes on an independent film talking about the UFO crash that took place in Roswell, New Mexico in the year 1947. This film was unlike any other film I have seen thus far in life. It was done with an over voice who spoke the entire film. The over voice, or narrator of the film, was also the producer and director. He was also the main "character" in the film, as there were never really any other people in it. His style of film was very interesting and was produced in an "adolescent way." This meaning that he would speak in a way that a child would speak or in a way a child could understand. He used many film techniques to give his statements a more drastic effect. These techniques such as the fish eye lens. The way this looks to the viewers, in a way, makes them feel that they are looking out of a window of a space ship. It gives them more of a scense of realism. The way the narrator's voice sounded is another factor that makes this film. His voice is annoying (to me), yet it still captures my attention in a way that I couldn't not pay attention to what he was saying. I believe that this is the same for many people that have seen this film. The picture I have chosen for this week is a picture of an "ailen" who was supposely found in the Roswell crash. I find the picture to be interesting because I feel that it looks extremely real, especially for its time period when our technology wasn't up-to-date enough to pull off a scheme like this. I love to talk about Roswell material and hope to continue this on monday.
-Coulter

Grain of the Voice

Ok guys here is what I got out of the chapter after I have read it for the third time, please tell me what you think of my ideas, and tell me what you got out of it as well. I know that together we can get the meaning of this chapter.
The first part of the chapter Barthes is talking about how adjectives describe music poorly, and that using adjectives is the easy way out. Barthes talks about how music is an access to Jouissance. Jouissance as far as I can tell is like bliss or joy. So what Barthes is trying to say is that adjectives are poor at describing what music is good at accessing Jouissance. Furthermore Barthes says that we should not try to better describe the adjectives, or better create adjectives to describe music, “ It is not by struggling against the adjective, Diverting the adjective you find on the tip of the tongue towards some substantive or periphrasis”.
That’s part one, in part two Barthes goes on to say how we should look at music. The first thing he throws out there is something called the GRAIN. Right now I am thinking that the grain is the individual voice inside all of us. The grain is the unique way that we all would express ourselves through singing. The Grain is how the individual shows up through the song. Anyway besides the grain Barthes talks about the Pheno and geno songs. Now the Pheno song is what we think of when we thing of music. Barthes says that it is everything which it is customary to talk about. On the other hand we have the Geno song which is the volume of the singing and speaking voice. How the words are said, where the melody really works at the language. The key distinction I saw was that Pheno song has to do with communication, where as Geno song does not. I think that Geno song and grain go hand in hand, but I am not sure of their connection right now. Excipt that both of them get at the part of the song that makes you feel good.
Barthes goes on to give example of Geno song and Pheno Song, what I took away from the examples was, that first of all a person how is a critically acclaimed singer has a strong Pheno song. A person who is a technical singer, or fits into their genre really well could be considered Phenotipic singer. The other singer who Barthes describes as Genotypic, seem to have focused on the letters while he was singing. Through the way that Panzera was singing his vowels, Barthes could here a voice inside his voice. So the Geno song is the voice inside the voice. The message that the song has that is not communicated.

Wraping up the chapeter Barthes talks about how the masses are changing music. The masses prefer phenotypic music, that is easy explainable. And how mass recordings are leading all music to level out at perfection which is a bad thing, because there is a loss of individuality.

Michael

Grain of the Voice

Ok guys here is what I got out of the chapter after I have read it for the third time, please tell me what you think of my ideas, and tell me what you got out of it as well. I know that together we can get the meaning of this chapter.
The first part of the chapter Barthes is talking about how adjectives describe music poorly, and that using adjectives is the easy way out. Barthes talks about how music is an access to Jouissance. Jouissance as far as I can tell is like bliss or joy. So what Barthes is trying to say is that adjectives are poor at describing what music is good at accessing Jouissance. Furthermore Barthes says that we should not try to better describe the adjectives, or better create adjectives to describe music, “ It is not by struggling against the adjective, Diverting the adjective you find on the tip of the tongue towards some substantive or periphrasis”.
That’s part one, in part two Barthes goes on to say how we should look at music. The first thing he throws out there is something called the GRAIN. Right now I am thinking that the grain is the individual voice inside all of us. The grain is the unique way that we all would express ourselves through singing. The Grain is how the individual shows up through the song. Anyway besides the grain Barthes talks about the Pheno and geno songs. Now the Pheno song is what we think of when we thing of music. Barthes says that it is everything which it is customary to talk about. On the other hand we have the Geno song which is the volume of the singing and speaking voice. How the words are said, where the melody really works at the language. The key distinction I saw was that Pheno song has to do with communication, where as Geno song does not. I think that Geno song and grain go hand in hand, but I am not sure of their connection right now. Excipt that both of them get at the part of the song that makes you feel good.
Barthes goes on to give example of Geno song and Pheno Song, what I took away from the examples was, that first of all a person how is a critically acclaimed singer has a strong Pheno song. A person who is a technical singer, or fits into their genre really well could be considered Phenotipic singer. The other singer who Barthes describes as Genotypic, seem to have focused on the letters while he was singing. Through the way that Panzera was singing his vowels, Barthes could here a voice inside his voice. So the Geno song is the voice inside the voice. The message that the song has that is not communicated.

Wraping up the chapeter Barthes talks about how the masses are changing music. The masses prefer phenotypic music, that is easy explainable. And how mass recordings are leading all music to level out at perfection which is a bad thing, because there is a loss of individuality.

Michael

like a complete unknown, like a rolling stone

I am an avid Dylan listener and believer in the power of his delivery and the transformative nature heard in every music generation to follow him. The extent of his influence is seen into even today's most acclaimed artist. That is why the image and discussion of Bob Dylan broached by Ryan this week really led me to think about ownership and the originality of ideas. I have always praised, as did a generation at his emergence, the willfulness of a man to ignore the norm and embrace folk ideas and non-traditional ideologies. The quote Ryan talks about in his blog reminds me that Dylan too was just a product of societal convention and a sponge absorbing his collective experience discharged through his own productions. However one can be aware of this without loosing motivation to create. Living amongst discontent with the government, the fear of the other, and the need for change saturated Dylan's consciousness beyond his control. His admittance of this reminds me of a passage in Barthes on page 142 "The responsibility for a narrative is never assumed by a person but by a mediator, shaman or relator whose "performance" - the mastery of narrative code - may possibly be admired but never his "genius." I think Dylan was willing to denounce being the origin to remain an anchor instead. Even though he can not take responsibility that all his ideas were purely his own it did not stop him from releasing and promoting those ideas. It did not snuff the desire for experience and the ability of the individual to acquire knowledge and liberate them self. "You don't need a Weatherman to know which way the wind blows" a line from Bob Dylan's 'Subterranean Homesick Blues' inspires me to experience in light of experts and mediators because there is still something of my own to feel and that I can add to this snowballing collective state of being.

-Sam

Movie Effects

This week in class we talked about and went over the effects the camera angle and other aspects of film have on the way the viewer interprets it. We watched video clips from the shinning along with other classic films to show these effects and connect them with our readings on what their purpose entails. For instance in the shinning most scenes have a red or yellowish tint to it to show a sense of ominous. It is almost like there is a lens on the camera to faintly display these colors. Even though it is faint, it is still very noticeable when you know it is there. It is possible that you may have to watch it once more after discovering the tints, but once you notice them, it begins to stick out in every scene. Also, in the very beginning scene of the shinning, the camera's view is up high in the sky following a car going up into the mountains displaying an effect known as deep space. This is also what my image that I have chosen is a picture of and representing. The camera is actually in a helicopter to get this particular angle and view. It shows beyond the concentrated image giving a sense of deep space, hence the name. You can actually see the shadow of the helicopter, in which the camera is present shooting the shot, in part of one of the scenes. This was not meant to be a part of the film but accidentally happened. This is called an editing error. Lighting was another part of our focus in this weeks class. We watched a classic film, which it's tittle has slipped my mind, that was in black and white and the scene we watched was supposed to be in the outside night. There was a triangle lighting set up along with an additional light on top of the actors to represent the moon shinning on top of them. I love the way films are interpreted and use these effects that I would have never know if I hadn't taken this class. It is definitely an interesting subject.
--Coulter

Samples, Sources, Influences

This week in class, band 3 led the way in discussing the essay "The Death of the Author" by Roland Barthes. Here, Barthes makes a strong point in saying that a work of art or literature is not an original, independent thought, but rather a culmination of ideas, cultures, and experiences that influence the person creating the work, whom Barthes calls the "scriptor."   This reminds me of a quote from Bob Dylan although I can not remember the exact words he used, in which Dylan explained that rock and roll is about stealing others' ideas--it's not a matter of how original you are, it's just a matter of how good you are at stealing these ideas.  Although this statement seems very blunt and harsh, there is a lot of truth to it.  As a musician who is active in songwriting and composing, I can relate to it strongly.  No matter how original I may feel the music I make is, it will always be a result of the influences that I take in.  There is no way I can break free from or deny this.

One of the most literal examples of this idea, that a work created by a scriptor is drawn from several sources rather than the individual, can be seen in the process of sampling music.  While some may shake their heads at sampling, saying that there is no originality in such a method, this technique can provide for a very interesting form of artistic expression. Through sampling, one can take an idea and twist it around to make a completely different statement.  It is a process of literally cutting out a piece of art and putting it in a completely different context, as most other artists, writers, etc. do in a more abstract way.

One of the best examples of sampling can be seen in the Australian electronic group the Avalanches.  On their debut album, entitled Since I Left You, the Avalanches take approximately 3500 samples and fit them into eighteen songs.  The result of such excessive sampling is fascinating, as you hear everything from old Motown records to movie soundtracks to old television and radio show sound bites mixed together, creating a unified, yet eclectic sound.  By listening to this album, one can see the creativity, as well as the careful, time-consuming effort, that went into creating this work, even if a majority of the actual music on the album was made by someone else.

So as Bob Dylan said after being accused of plagiarism, any work we do is influenced by something that has already been done by someone else before, whether we are aware of it or not.  It's only a matter of what we do with these influences.  There is a large difference between the Monkees trying to be the Beatles, and the Olivia Tremor Control, a 90s "indie rock" band from Athens, GA, taking the template formed by the Beatles and bringing modern, external influences to it.  

And with that, here is the video to "Frontier Psychiatrist," the single made by the Avalanches.

--Ryan

Movies and Authors

A major part of this week was spent going over the way a scene is built to convey a certain message. As I was going over the different things that help make up a scene I thought about how little I consciously think of these things as I am watching a movie. I can’t remember a time when I have been watching a movie and gone,"I like the use of deep space in this shot." I know those things subconsciously effect me though. Like the use of red and yellow in the Shinning, I when I first watched the movie I did not notice it, but when we mentioned it in class, and thought about it, I realized that red and yellow were used a lot. This week I watched a movie called “Funny Games”, which is a suspense movie, but also plays with the idea of film and plot a lot. For example the lead character makes direct addresses to the camera, and there are mentions throughout the movie about plot elements. The real point I am trying to make though is that, as I was watching the movie, I had the ideas that we learned in class running thought my head. In this way I started noticing things I had never noticed before in movies, or at least consciously. Editing is the thing that I notice most now. Like when I see a shot reverse shot, I think of how the characters said there lines at different times and the shot was edited together. I also started to notice a couple of cheat cuts.

In addition to the readings on the different film techniques, I had a Barthes reading. This one was on the death of the author. This short but very dense chapter was, I feel the most difficult so far. Band 3 did a very good job in explaining it though. What Barthes is trying to say is that, the author is not the source of his work. A text is made from different thoughts and ideas that come from the collective of society. That is to say that the authors work is not an original thought, because the author has been influenced by the ideas of society as a whole. It goes back to the whole idea of text, being a bunch of threads that form the idea. Basically when we read a text, we are reading the signs in the text, and everyone takes something different away. Of course the irony in all of this is that we are getting these ideas form a book, with an author, and we are trying to figure out what he is trying to say. Completely the opposite of what we are being taught in the book. Anyway I want to thank band 3 did a great job, explaining such a complex subject. My band has started to get some ideas for our project together. I am starting to get what Barthes is saying in our section, but there is still a long way to go.

I almost forgot to talk about the picture for this week; it’s the poster for the movie I was talking about, when I was talking about film. I choose a picture from the shinning last week, so I wanted something different for this week. Also as I had said before I had watched this film and noticed elements that I had rarely consciously observed.
Michael

The shining

 This past week we had the grand opportunity (for those of us who have not seen it) to watch the horror film, "The Shining." I, myself, had not seen this film before the mandatory screening for this class. With this said I was very impressed with how well this film was directed and edited for its time in movie history. For being a film that was made all the way back in 1980, the editing and graphics were quite amazing and fulfilling. For instance, when "Jack" goes to room 237 and sees a young attractive women naked in the bath tub who gets up, walks over to Jack, and starts kissing him, she then suddenly turns into an old ugly corpse. The graphics of this women as a corpse is very realistic for this time period of movie making. Also, I would like to agree with Ryan when he writes about how big of a role music plays and how powerful the art of music is in films. In "The Shining" the music is mostly always playing in an ominous tone shooting chills throughout your entire body. The music can turn a scene or an image in the film that isn't neccissarily scary into a seat gripping experience. Also, the camera angle can make or break a scene, so to speak. An example of this is when "Danny" is ridding his tricycle through the hotel, the music is very ominous at this point while the camera angle is right behind Danny giving a sense of reality. The angle of the camera makes you feel like you are right behind danny following him not knowing what he is going to encounter but feeling its going to be bad because of the ominous music tone. The picture I chose was an image at the very end of the movie which shows "Jack" in a crowd of people from the hotel many years before. The reason I have this image up is because I was unsure of its significance. Was Jack a ghost all along, did he turn into one who will haunt the hotel from now on, I don't know. This is a subject that I would like to discuss in class.

-  Coulter

This week we started a new section, since are website project is now over. We are now going over film, and the different elements of film. I watched The Shinning, which is a film that exhibits many elements that I learned about in the reading that I was assigned this week, which was mise-en-scene. The Shinning is a horror film that is not just torture porn, it use editing, and subtle film tricks to build the suspense. Take for example the opening scene, which uses ominous music, with a mixture of ultra deep space, deep space, and close space to create a sense of foreboding and loneliness. The Shinning also uses a yellow or red filter throughout most of the film in order to create a more ominous feel.
Mise-en-scene breaks films down into five separate sections; Décor, lighting, space, costume, and acting. Each one of these sections help the film express the message it wants to get across more effectively. Like let’s say a movie wants to be set in the 1920’s, then it could uses costumes that make the actors look like they are form the 1920’s. Or let’s say a movie wants to make a scene seem more ominous or spook. Then the director can use low lighting to create shadow across the actor’s faces, to make them seem more sinister. The five sections that Mise-en-scene discusses can be seen in most movies that you watch.
For this week’s image I choose a picture of Jack in the maze, near the end of the Shinning. I Choose this picture because if feel it is a good example of low lighting, which is one of the things that Mise-en-scene discusses. I also feel that this picture is a good example of typage. I think Jack Nicolson is one of the only actors that could pull off this scene. Jack Nicolson is known for looking crazy in movies, and he really looks crazy in this scene. Overall this week we went over different elements in movies, and I watched the Shinning. I am excited about learning more about film as the week’s progress, and the new project I was assigned sounds exciting, it’s just a shame that I will have to delete my website.

Michael

Laugh

Watching the movie The Shining showed me the power music and image manipulation can have on our reception of a certain image or subject.  Throughout the movie, we are treated with several images that are not inherently frightening, yet somehow they give us an uneasy, chilling feeling.  Whether it is the creeping piano accompanied with strings playing as Wendy and Danny walk through the maze, or the camera angle placed directly behind Danny on his tricycle, causing you to fear and anticipate what will be around each corner he turns, every element of the movie is perfectly designed to create a tense feeling.

This idea of how music and image manipulation can change a subject's meaning so drastically reminds me of a song by Danish electronic group Lazyboy called "Underwear Goes Inside Your Pants."  What fascinates me about this song is that it takes a standup act performed by comedian Greg Giraldo, and sets a completely different tone around it, turning it into a disturbing social statement.  While people may laugh at these words in the environment of, say, a comedy club, the dark strings arrangements, as well as the heavy beat and plodding bass line, used in the song give it a somewhat darker, less comic quality.  The content of Giraldo's act then turns from a series of irreverent yet harmless jokes to a presentation of many of the problems and evils that exist in the world.  Thus, while the humor still may be present in the words heard in the song, they seem to demand a graver approach.

The use of images in the video is also very effective.  From the clips of homeless people singing the words of the chorus, to the several words and images that cross the screen, the video serves to directly add to the words of the narration, adding a more serious tone to the song, while somehow also bringing out the comic elements to it.  This brings about another notable factor of the video: the choice of images.  These images seem to clash between serious, grim clips of the real world, and oddly "humorous" pictures and cartoons.  This causes that same confusion that the song seems to create--while the the narration is taken from a standup comedian's act, the song itself is dark and disturbing.

Like The Shining, I feel this song by Lazyboy also reflects the kind of mood music and images can set on a subject, and what kind of a difference they can dictate on said subject.  Through the manipulations of sounds and images, one can make a child on a tricycle appear frightening, and the humor of a comedian sound disturbing.

You can watch the video to Lazyboy's song here.

--Ryan

Night and Fog

I left Rolf's hall on Friday with a weird and disgusting feeling to my stomach. This is so because of the viewing of the horrifying French-made screening, "Night and Fog." This movie was a documentary styled film that showed a clips during and after the dreadful Holocaust. The sights in the film were ghastly and disturbing. I have seen or visually experienced anything this graphic dealing with the Holocaust. I believe that the film was very well directed and got a strong point across of how wrong this experience was for the people who had to endure this journey. One of the best features of this short film was the narrative voice who led us as viewers on a very disturbing yet educational journey to and after the many concentration camps built to hold the Jews. The deep male voice spoke his words with a great sense of depression and loss. His voice alone, without video footage, could have told how horrifying this tragic event was. Another main Factor in this film was the soundtrack playing in the background. All of the music made every scene more and more depressing as the movie progressed. Music to me in all films and movies is what makes a scene, a lot of great movies would not be as good if the right selection of music was absent. The music in films is what really "hits home" and touches one's heart. Also, this film showed both colored and black-and-white footage. All of the footage done to show the camps after the Holocaust was done in color and the footage done during was in all black-and-white. My belief as to why the movie was done this way is to create an even more state of depression while watching the scenes of during the Holocaust. The color shot were to show the peacefulness of the camps when there was no violence.
-Coulter

Yet Another Thrilling Debate.

Upon watching the vice-presidential debates, I would say I was left with the same apathetic feeling the presidential debates gave me.  However, there was somewhat more of an entertainment factor in this one.  Some unpredictability, if you will.  Will the candidates answer the question they're given?  Will Palin continue to turn to the topic of the energy crisis?  How many times will she use the term "hockey mom?"  And who is this Biden character? I barely even hear about him. So to fit the ridiculous nature of the debate, I figured I would have some fun with it. Using a transcript of the entire debate, I found how many times we heard our candidates use their favorite key terms throughout the event.

-"change"--44 times

-"energy"--39 times

-"maverick"--15 times

-"American people"--14 times

-"Alaska"--13 times

-"corruption on Wall Street"--4 times

-"middle class"--13 times

-"track record"--6 times

-"hockey mom"--only once, surprisingly

-"Joe six pack"--once...but amazing nonetheless

With terms like this either candidate did little to carry on the points of an actual debate.  They instead both insisted on using the usual campaign strategies, such as these repeated phrases and negative attacks to the other party, in order to simplify complex situations and to attract more voters to their side.  Not that this isn't part of why we hold debates in the first place, but Biden and Palin seemed to forget about the actual debate part of this...debate.  Especially in the several instances in which they would just talk about whatever they felt like discussing, or as Palin surprisingly declared with a bewilderingly confident look on her face, "I may not answer the questions you or the moderator may want to hear, but I'm going to talk straight to the American people."  You know something? Maybe we shouldn't hold debates anymore.  I think our candidates would much rather have a two hour long marathon of campaign commercials.  And with that I will end on a quote, the first statement of the debate spoken by Palin: 

"Ya know, I think a good barometer here, as we try to figure out has this been a good time or a bad time in America's economy, is go to a kid's soccer game on Saturday, and turn to any parent there on the sideline and ask them, 'How are ya feelin' about the economy?'"

God Bless America

--Ryan

More on Night and Fog

I'm glad you wrote about Night and Fog Ryan. I feel the same way you do about it... I'm sure most of the class does. As we all scatter to finish our web-pages and manage to fit some blogging in, we take for granted that this is the biggest problem(hopefully) we will face this weekend. As a generation we are so famously "desensitized" to violence from the cartoons we watched growing up to the news footage of global terror. Night and Fog was something stronger though. It was difficult to view and the urge to look away put knots in my stomach as my eyes remained fixed on the most horrific of sights. This was not Hollywood, it is something entirely different, authentic and piercing. What gave me the deepest feeling of disturbance was surprisingly not the bulldozer plowing corpses into a mass grave, or the idea that the hospital was a biological test facility condemning patients to death.. it was the warehouse full of hair. This may seem dull compared to emaciated bodies hung from barbed wire, but I can not shake the feeling of nausea even as I write this to imagine just how many people it would take to produce that much hair! I think about my own head and the rest of our class. There are a decent amount of girls with long hair. Yet even if each of our heads was shaved I doubt it would take more than one book bag to contain it all. The camera had to pan and zoom out to even display the mountains of lost locks. I think this film really connected to Barthes and Kuhn when considering the images from a historical/cultural perspective. We evaluate the holocaust from certain established denotations. Like Ryan said "Hitler was Bad" "The Holocaust was a tragedy." There is something about the raw images that accelerate the (connotation) punctum and make you feel something you can not describe every single time.

-Sam

Of Night and Fog

After watching Night and Fog yesterday, I left the class, along with my other classmates, in a very solemn mood.  Upon leaving the building, there was a noticeable silence, and Sam broke the silence with a remark: "Now let's all go home and write something insignificant in our blogs."  I felt these words to have a lot of truth in them.  After seeing the film, I feel that I couldn't say anything to do justice to all the people that died, and that anything that I have to say just is not all that important. What could I possibly say that could describe such an event? "Hitler was bad."  "The Holocaust was a tragedy."  "Many people died."  All of these statements just don't come close to describing the horrors of what happened, and they just seem too simple, no matter how you word them.  And I think in that sense, this is what the film Night and Fog captures so perfectly.  

As we see from the grass and peaceful life that is now growing over Auschwitz, the event of the Holocaust will never be fully remembered, we will always see it as an event that has passed.  It is a distant memory to us now, one that feels so large in proportion that we can not fully grasp it or explain it.  I think the actual footage of the event that was shown in the film really revealed to me how terrible it actually was, and why it is so difficult for us to explain or even remember.  I have read Anne Frank's diary, and the book Night by Elie Wiesel, yet personally I felt disconnected to what I was reading about, no matter how hard I tried to grasp it.  Yet with film technology, we are allowed a window into the actual event, to see what actually happened there. To me, this is certainly a film not easily forgotten.

The picture I chose this week is a picture of a candle that was on a website on the Holocaust.  Below the picture was a quote by Chief Rabbi Jonathan Sacks: "The Holocaust stands as the eternal symbol of what happens when we forget."

--Ryan

Websites, done at last. Well almost

For this blog I felt it appropriate to talk about the websites we have all been working on. Friday afternoon I had a chance to look at my band members websites. While I know everyone is still working on their websites, I won’t have much time this weekend to look at them so, I thought better early then never. I will start with the first website I went to which was Sam’s website. I loved the image Sam has on her homepage. The image has black and white background, with her in color, hitchhiking down the road. When I see the image it makes me think about how big the world is, and how far I still have to go down the road of life. Also the rollover image that she has is very cool, it fits well with the Kuhn quote she has below it. On a more technical note, all the links seemed to work, and all the pictures loaded. Page 4 only had a quote on it, but I think that’s just because she has not had time to work on the page. The next page I went to was Coulters, which was still heavily under construction. The links on the homepage did work, but there were no links to any other pages so I could not check out the rest of the website. The images on the homepage did not load however, the most likely cause of this, would be that Coulter did not put the images into the ftp folder. Overall however I did like the look of the homepage, and I am curious to see what his memories of Hurricane Andrew actually are. I will most likely come back to Coulters page, once it’s more complete. Finally I went to Ryan’s page, which also had a very cool image on it. My band is gifted with very talented digital artists, maybe a little of that will rub off on me at some point. Technically speaking most of the website works fine, all the links work, and all the pictures loaded up. The left2 page had nothing load up on it when I went to the site, but I figure he just has not had time to upload it yet. It’s a bit hard to read what is written on the create page, due to the background, but it’s not impossible, and the background on that page is really cool. I also like the arrows that you click on to get to the rest of the page. Overall all the websites are looking good, I just wish I could have waited longer to go visit them, but this is the only free time I will have. As for the image I choose this week it’s a picture of a website, in honor of all our websites.

Michael