DOCSLIB.ORG

The Varieties of Ecstasy

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

RBTH llf I I Copyright and use of this thesis This thes1s must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copynght owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisf1es the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a • number of moral rights, specifically the right of attribution, the right against false attribution and the right of mtegrity. You may infringe the author's moral rights if you: • fail to acknowledge the author of this thes1s if you quote sections from the work • attribute this thesis to another author • subject th1s thesis to derogatory treatment which may prejudice the author's reputation For further information contact the University's Director of Copyright Services Telephone: 02 9351 2991 e-mail: [email protected] • • • • THE VARIETIES OF ECSTASY EXPERIENCE: Ecstasy an Exploration of Body, Mind and Person in Sydney's Club Culture. A thesis submitted for the degree of Doctor of Philosophy (Anthropology) By Sean Leneghan At the Department of Anthropology University of Sydney, Australia August 2010 2 Statement of Authorship I hereby certify that this thesis is my own work and has not been submitted for a higher degree or diploma at any other tertiary institution. Information extracted from other published and unpublished sources has been properly referenced in the text and included in the bibliography. Sean Leneghan 3 Abstract This is a phenomenologically grounded ethnographic study of the life­ world of ecstasy users in the socio-cultural contexts of raving and clubs in Sydney, Australia. The thesis espouses existential-phenomenology as a framework for describing and understanding these experiences. I argue against and reject the widespread mechanistic-materialist paradigms that inform bio-medical and bio-psychological interpretations of drug-use and non-ordinary states of consciousness. As an alternative to these dominant reductionist perspectives I draw on a holistic organismic approach and the application of phenomenology to ethnographic field research. More specifically, my exploration of the experiences of ecstasy is based upon a dialogal phenomenology which enabled me to generate a processual morphology of the varieties of ecstasy experience and the users' mode ofbeing-in-the-world. Through this endeavour I also argue for a phenomenological foundation of the study of drug-use and non-ordinary states of consciousness in general. 4 Contents Acknowledgements Chapter 1. Introduction 16 1.0 The theoretical itinerary of this project 1.1 The cosmo-ontology of mechanism 1.2 Von Uexkiill's' biological thought 1.3 A defence of existential-phenomenology 1.4 Dialogal phenomenology 1.5 Overview of thesis Chapter 2. The Socio-Cultural Context ofUse: Raves and PC 41 1. Introduction 2. Rave 2.0 Powerhouse Productions 2.1 St Johns Ambulance 2.2. Police and Security 2. 3. Dropping 2. 4. Raves General 2.4 I. The Entrance to Events 2.4.2 Some stalls 2.4.3. The Drinking area 2. 4. 4. Rave Commercialisation 2. 5. Groups at Raves 2.5.1. Photography in Clubs 2.5.2 CDs given out in venues 2.5.3. Candy or Kandy Ravers 2. 5.4 "Feral ravers" 2. 5. 5 Godspeed- an ethnographic sketch 2. 6. PC: a venue for pleasure 5 Chapter. 3 Experiencing Ecstasy: A Dialogal Phenomenology 58 Section 1. General Phenomenology 60 0. 0.1 The Prologue: the Origin(s) ofEcstasy 1.1. 0 Digestive terms among ravers 1.2.0 Heat Transformation after Use 1.3.0 Initial Preconceptions 1.4.0 Preloading, Preparation and Post-loading 1.4.1 Preloading 1. 4. 2 Orange juice - Vitamin C 1.4.3 Magnesium 1. 4. 4 Preparation 1.4.5 No Preparation 1.5.0 Brain Chemistry: Explanations and Interpretations 1. 6. 0 Different Stages ofEffects 1. 7. 0 Ecstasy: Some General Effects 1. 7.1 Background Influences on the Conceptualisation of the Experience 1. 7.2 Factors Irifluencing the Experience 1. 7.3 Amplification ofEmotions 1. 7.4 Changes to Personality 1. 7.5 Focus Gain and Loss 1.8.0 Fun and PlayfUlness 1. 9. 0 Missions 1.1 0. 0 Ecstasy and Working 1.10.1 Photographing in a Club 1.10.2 Selling CDs at a Venue 1.10.3 Turning up to Work 1.11. 0 Memory Changes- Losing Recollection 1.12. 0 Breathing Intensification 1.13.0 Eye Wobbles (Nystagmus) 1.14.0 Honesty, Truth Serum 1.15.0 internal Monologue- knowing you're on drugs 1.16. 0 Mind-Body Dissonance 1.17.0 Active Touch 6 1.18.0 Gurning, Facial Contortions, Pacifiers 1.19.0 Chewing Gum 1.20.0 Control Loss and Gain 1.21.0 Fuckedness and Being Fucked Up 1.22.0 Freaking Out 1.23.0 Snapping Out of it- to Help Others 1.24.0 Losing it 1. 2 5. 0 Hallucinating Section 2. Peaks, Plateaus and Comedowns 86 2.1.0 The Good, the Bad and the Dud 2.1.1 Bad Pills 2.1.2 Dud Pills 2. 2. 0 Different Pills - Different Effects 2. 2.1 Taxonomies ofPills 2. 2. 2 The Question ofPurity 2. 2. 3 Mood (Stimmung) 2.2.4 Smacky Pills 2.3.0 Purity: Changing Composition ofEcstasy 2. 4. 0 Composition ofPills 2.5.0 The Normal Life World Compared to Ecstatic Life World 2.5.1 The Everyday World 2.5.2 Normality on Ecstasy 2.6.0 Onset to Peaking 2. 7. 0 Desensitization to Surroundings 2. 8. 0 Opening up and Decreased Defensiveness on Ecstasy 2.9.0 Peace/ Love/ Unity/ Respect or 'P.L. U.R' 2.1 0. 0 Moods and Emotions on Ecstasy 2.11.0 Crying on Ecstasy 2.12. 0 Massaging 2.13. 0 Being offyour Head/ Chops/ Face/ Dial 2.14. 0 Religious and Metaphysical Experiences 2.14.1 Non-Spiritual 7 2.14.2 Other Drugs are More Spiritual and/or Philosophical 2.15. 0 Sexuality and Ecstasy 2.15.1 Private Sexuality 2.15. 2 Platonic Ecstasy Experiences 2.15.3 Sexual Ecstasy Experiences 2.16. 0 The Comedown Section 3. Altered Bodies and Minds 108 3.1. 0 Internal Monologue- the 'Little Voice' 3. 2. 0 Spatial Changes - Ego Boundaries 3.3. 0 Synchronising Use 3.4.0 Changes in Temporal Experience 3.4.1 Existing in the World-Mood ofNowness 3.5.0 Child-Like Wonder 3. 6. 0 Aesthetic Modes 3. 7.0. Heart rate- Blood Flow Increase 3.8. 0. Changes in Body Image 3.9.0. Walking- Locomotive Changes 3.10.0. Defecation and Urination 3. 10.1 Defecation 3. 9. 2 Urination 3. 10.0 Jaw clenching (Bruxism) 3.11.0 Oral Cravings 3.12. 0 Salivation 3.13. 0 Sweating and Dehydration 3.13.1 Sweating 3. 13. 2 Dehydration 3.14.0 Wanting "Something" on Ecstasy 3.15. 0 Gastrointestinal Changes 3.16. 0 Kidneys and Lower Back Pain from Excessive and Heavy use 3.17.0 Fatigue, Tiredness 3.18. 0 Altered Muscle Tone and Atrophy 3.19. 0 Penile Shrinkage 8 3. 20.0 Phosphenes: 'Static' 3.21.0 Sleeping Patterns 3.22.0Emesis 3.23.0 Good Pills Make you 'Spew' 3.24.0 Spinal Fluid 3.25. 0 Appetitive Changes 3.25.1 Appetites on Ecstasy 3.25.2 Able to Eat After Repeated Usage 3.26.0 Hydration 3.27. 0 Maintaining Hydration 3.28.0 Hospitals and Ambulances 3.29.0 Looking at Oneself in the Mirror Section 4. Peaks and Nadirs 131 4.1.0 The Ecstasy 'Honeymoon' 4.2. 0 Initial Reactions and Peaking 4.3.0 Peaking- The Rush 4. 4. 0 Letting Go 4. 5. 0 Euphoria, Happiness and Bliss 4. 6. 0 Active Touch in the Rush 4. 7. 0 Plateau 4. 8. 0 Rolling 4. 9. 0 Washing Over and 'Chargyness ' 4. 10.0 Smoking Pleasures 4.11.0 Drug Induced Paranoia 4.12. 0 Afterglow 4. I 3. 0 Top Shelfing 4.14. 0 Negative Drug Experiences 4.14.1 Fatigue 4. 14.2 Postloading Sickness 4.14.3 Saying 'Goodbye' when Coming Down 4.14.4 Stress on the Body 4.14. 5 Gurning Out 9 4.I4. 6 Fighting on Drugs 4.I5. 0 Radical Collapse Experiences 4.I6. 0 Drug Induced Psychosis Section 5. Social Interaction 150 5.I. 0 Ecstasy Interaction 5.2.0 Intimacy on Ecstasy 5.3.0 E-Talk 5.3.I Compulsion to Talk and Nonsense 5.3.2 Random £-Conversations 5.3.3Random Things 5.3.4 Talking Shit 5.4.0 'Cracking' when Talking 5.5.0 Connections on Pills 5. 5.I Deeper Connections 5.5.2 Connections Leading to Bonds 5. 6. 0 Empathy and Sympathy 5. 6.I All Encompassing Empathy 5.6.2 Ambiguous Empathy 5. 7. 0 Inhibitions and Blockages: Maximum Restraint and Reduction ofInhibitions 5. 7.I Maintaining Control 5. 7.2 Losing Inhibitions and Ego Selectivity 5. 7.3 Further Ego Softening 5.8.0 Strangers: Randoms 5. 9. 0 Kissing and Pashing 5.IO.O Voyeurism 5.I O.I Heightened Visual Perception 5.I0.2 Watching Others 5.I 0. 3 Watching and Analysing 5.II.O Drug Etiquette 5.I2. 0 Sitting Down 5.I3.0 Positive Evaluations ofAuthenticity 5.I4.
Recommended publications
  • Funkids Amb La Black Music Big Band & Brodas Junior

    Funkids Amb La Black Music Big Band & Brodas Junior

    Dossier pedagògic — FunKids amb la Black Music Big Band Dossier pedagògic FunKids amb la Black Music Big Band & Brodas Junior Auditori de Girona Dossier pedagògic — FunKids amb la Black Music Big Band —3 Presentació —4 Fitxa artística —5 Black Music Big Band- BMBB —6 Què és una Big Band: una gran orquestra de jazz —7 Ball urbà — 2 Dossier pedagògic — FunKids amb la Black Music Big Band Presentació Qui no es mou amb la música funky? La proposta fresca Un espectacle i rítmica de l’Auditori Obert, en què els alumnes desco- briran l’essència de la música negra amb el funky i el soul amb més de 45 com a protagonistes. Un concert formatiu sobre la Big participants dalt Band, els seus instruments i estil amb explicacions en català i pinzellades en anglès (fàcilment comprensibles de l’escenari per als nens i nenes). Tot plegat de la mà dels joves de la entre músics i BMBB i al costat dels ballarins de Brodas Junior, que fa- ballarins ran del FunKids un concert ple d’espectacularitat i ritme! Qui no es mou amb la música funky? Arriba una proposta fresca i rítmica de l’Auditori Obert, en la qual els més joves descobriran l’essència de la música negra amb el funky i el soul com a protagonistes. Un concert formatiu i pedagògic que ens parlarà de la Big Band, els seus instru- ments i estil, el mon del ball urbà, etc.... Què podrem conèixer a FunKids? - Els seus instruments: secció de saxos, trompetes, trombons i la base rítmica - Escoltarem les diferents veus de la Black Music - Viurem els diferents estils de balls urbans com el locking, el popping, el bboying o el hiphop I tot això amb explicacions en català i pinzellades en anglès.
  • 2018/19 Hip Hop Rules & Regulations

    2018/19 Hip Hop Rules & Regulations

    2018/19 Hip Hop Rules for the New Zealand Schools Hip Hop Competition Presented by the New Zealand Competitive Aerobics Federation 2018/19 Hip Hop Rules, for the New Zealand Schools Hip Hop Championships © New Zealand Competitive Aerobic Federation Page 1 PART 1 – CATEGORIES ........................................................................................................................................................ 3 1.1 NSHHC Categories .............................................................................................................................................. 3 1.2 Hip Hop Unite Categories .................................................................................................................................. 3 1.3 NSHHC Section, Division, Year Group, & Grade Overview ................................................................................ 3 1.3.1 Adult Age Division ........................................................................................................................................ 3 1.3.2 Allowances to Age Divisions (Year Group) for NSHHC ................................................................................ 4 1.4 Participation Limit .............................................................................................................................................. 4 Part 2 – COMPETITION REQUIREMENTS ........................................................................................................................... 5 2.1 Performance Area .............................................................................................................................................
  • 2020-2021 Bowls WA Handbook

    2020-2021 Bowls WA Handbook

    2020-21 OFFICIALS HANDBOOK BCIB Insurance Brokers, we work harder for you Karen Murphy is a BCIB Brand Ambassador Contact the BCIB Team today: NSW 02 4255 2855 Paul, Ian, Jenny QLD 0400 767 837 Kelvin VIC|TAS|SA 0404 086 621 Michelle visit us online WWW.BCIB.COM.AU WA 0417 422 008 Jenny P (02) 4255 2855 F (02) 4255 2866 E [email protected] 2020-2021 OFFICIALS HANDBOOK CONTENTS PAGE Bowls WA Contacts 4 Bowls WA Sponsors & Partners 5 Bowls WA General Information 6 Bowls WA Events & Competitions - Field of Play Rules 10 Bowls WA General Conditions 13 Bowls WA Event Information 18 Metropolitan Pennant Competition - General Conditions 20 Men’s Saturday & Midweek Pennant Competition COP 32 Women’s Tuesday & Saturday Pennant Competition COP 41 Women’s Friday Night Pennant Conditions of Play 46 2020-21 Major Events 50 Metropolitan Club Contacts 52 Country Zone Contacts 62 Country League Contacts 64 Country Club Contacts 70 Associated Clubs 87 Bowls Australia Licensed Manufacturers 88 Schedule of Fines & Administration Fees 90 Bowls WA Level 1, 158 Main Street Osborne Park WA 6017 All Correspondence to: PO Box 123, Osborne Park WA 6917 Ph: (08) 9340 0800, Fax: (08) 9340 0888 Email: [email protected] Website: www.bowlswa.com.au information correct as of September 16 2020 HANDBOOK 2020 - 2021 3 BOWLS WA CONTACTS Preface Bowls WA Committees The Royal Western Australian Bowling Association Audit, Risk & Finance (Inc), trading as Bowls WA, is responsible for Lisa Featherby (Ch) advancing, promoting and controlling the game Doug Kelly, Larry Bandy, Glenda Cooper of lawn bowls in WA.
  • The Intersection of Tobacco, Legalised Marijuana and Electronic Vaporisers in Denver, Colorado

    The Intersection of Tobacco, Legalised Marijuana and Electronic Vaporisers in Denver, Colorado

    City University of New York (CUNY) CUNY Academic Works Publications and Research John Jay College of Criminal Justice 2016 Traversing the triangulum: the intersection of tobacco, legalised marijuana and electronic vaporisers in Denver, Colorado Emily Anne McDonald CUNY John Jay College Lucy Popova University of California, San Francisco Pamela M. Ling University of California, San Francisco How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/jj_pubs/142 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Research paper Traversing the triangulum: the intersection of tobacco, legalised marijuana and electronic vaporisers in Denver, Colorado Emily Anne McDonald,1 Lucy Popova,2 Pamela M Ling3 1Department of Anthropology, ABSTRACT rates of tobacco smoking (37%).3 More young City University of New York, Objective To explore the intersection of tobacco, adults have ever tried e-cigarettes (21.6%) com- John Jay College, New York, 4 New York, USA legalised marijuana and electronic vaporiser use among pared to other age groups. Rates of dual and poly 2Center for Tobacco Control young adults in the ‘natural laboratory’ of Colorado, the use are also high: in 2013, among US young adults Research and Education, first state with legalised retail marijuana. who smoked cigarettes in the past 30 days (16% of University of California, Methods We conducted semistructured interviews with the sample), 47% were current marijuana users.5 San Francisco, San Francisco, 32 young adults (18–26 years old) in Denver, Colorado, Given high rates of co-use of tobacco and mari- California, USA 6–9 3Division of General Internal in 2015 to understand the beliefs and practices related juana among young adults, as well as transfor- Medicine, Department of to the use of tobacco, marijuana and vaporisers.
  • An Exploration of Factors That Contribute to Drug Use Among Dropout Girls in Inner City Communities in Kingston and St

    An Exploration of Factors That Contribute to Drug Use Among Dropout Girls in Inner City Communities in Kingston and St

    An Exploration of Factors that Contribute to Drug Use among Dropout Girls in Inner City Communities in Kingston and St. Andrew, Jamaica A Thesis Submitted to the College of Graduate and Postdoctoral Studies In Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy In the Department of Sociology University of Saskatchewan Saskatoon By Sheria Myrie Copyright Sheria Myrie, March 2017. All rights reserved. PERMISSION TO USE In presenting this thesis/dissertation in partial fulfillment of the requirements for a postgraduate degree from the University of Saskatchewan, I agree that the Libraries of this University may make it freely available for inspection. I further agree that permission for copying of this thesis/dissertation in any manner, in whole or in part, for scholarly purposes may be granted by the professor or professors who supervised my thesis/dissertation work or, in their absence, by the Head of the Department of Sociology or the Dean of the College in which my dissertation work was done. It is understood that any copying or publication or use of this thesis/dissertation or parts thereof for financial gain shall not be allowed without my written permission. It is also understood that due recognition shall be given to me and to the University of Saskatchewan in any scholarly use which may be made of any material in my thesis/dissertation. Requests for permission to copy or to make other uses of materials in this thesis/dissertation in whole or part should be addressed to: Head of the Department of Sociology University of Saskatchewan 9 Campus Drive S7N 5A5 Canada i ABSTRACT There is a dearth of research on increased drug use among adolescent girls in Jamaica over the last two decades, with lack of specific attention to girls who dropped out of school, and who reside in inner city communities.
  • Música Dance, Una Experiencia De Éxtasis a Través Del Cuerpo

    Música Dance, Una Experiencia De Éxtasis a Través Del Cuerpo

    Resonancias n°32, junio 2013 / Artículos Música dance, una experiencia de éxtasis a través del cuerpo. Reflexiones en torno a una etnografía realizada en tres fiestas de Santiago de Chile Javier Paredes Figueroa1 Investigador Independiente Resumen El presente trabajo explora el grado de eficacia que posee la música dance como manera de lograr una experiencia corporal de “éxtasis” en el contexto de la fiesta electrónica. El escrito asume que el éxtasis se experimenta a través del cuerpo en la práctica del baile, y que éste se vincula con determinadas ideas surgidas en la sociedad moderna contemporánea, para la cual el cuerpo es un álter ego capaz de proveer sensaciones placenteras al individuo. A partir de una etnografía realizada en tres fiestas electrónicas en Santiago de Chile, se comprende la fiesta electrónica como un espacio pensado por la cultura dance para vivir nuevas sensaciones relacionadas con el éxtasis corporal. Hacia el final, el texto concluye que los elementos musicales presentes en la música dance proveen al individuo de energía, sensaciones y seguridad, potenciando así la experiencia de éxtasis. Palabras claves: música dance, cuerpo, baile, éxtasis, cultura dance. Abstract This paper studies dance music and its role in providing a bodily experience of “ecstasy” within the context of the electronic party. This essay assumes that this kind of ecstasy is experienced through the human body in the context of dance, and that it relates to ideas and concepts that were born in modern contemporary societies. These ideas describe the body as an alter ego capable of providing pleasant sensations to the person, and conceives the electronic party as a “space” in which participants are able to experience new sensations in the context of body ecstasy.
  • Hip Hop As Oral Literature Patrick M

    Hip Hop As Oral Literature Patrick M

    Bates College SCARAB Honors Theses Capstone Projects Spring 5-2016 "That's the Way We Flow": Hip Hop as Oral Literature Patrick M. Smith Bates College, [email protected] Follow this and additional works at: http://scarab.bates.edu/honorstheses Recommended Citation Smith, Patrick M., ""That's the Way We Flow": Hip Hop as Oral Literature" (2016). Honors Theses. 177. http://scarab.bates.edu/honorstheses/177 This Open Access is brought to you for free and open access by the Capstone Projects at SCARAB. It has been accepted for inclusion in Honors Theses by an authorized administrator of SCARAB. For more information, please contact [email protected]. “That’s the Way We Flow”: Hip Hop as Oral Literature An Honor Thesis Presented to The Faculty of the Program of African American Studies Bates College in partial fulfillment of the requirements for the Degree of Bachelor of Arts by Patrick Miller Smith Lewiston, Maine 3/28/16 2 Acknowledgments I would like to thank all of my Bates Professors for all of their help during my career at Bates College. Specifically, I would like to thank my thesis advisor, Professor Sue Houchins, for all her hard work, helping me wrestle with this thesis, and for being a source of friendship and guidance since I first met her. Professor Nero, I would also like to send a big thank you to you, you have inspired me countless times and have pushed me since day one. Professors Rubin, Chapman, Jensen, and Carnegie, thank you all very much, each of you helped me on my way to this point and I am very grateful for your guidance.
  • Telling Pacific Lives

    Telling Pacific Lives

    TELLING PACIFIC LIVES PRISMS OF PROCESS TELLING PACIFIC LIVES PRISMS OF PROCESS Brij V. Lal & Vicki Luker Editors Published by ANU E Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] This title is also available online at: http://epress.anu.edu.au/tpl_citation.html National Library of Australia Cataloguing-in-Publication entry Title: Telling Pacific lives : prisms of process / editors, Vicki Luker ; Brij V. Lal. ISBN: 9781921313813 (pbk.) 9781921313820 (pdf) Notes: Includes index. Subjects: Islands of the Pacific--Biography. Islands of the Pacific--Anecdotes. Islands of the Pacific--Civilization. Islands of the Pacific--Social life and customs. Other Authors/Contributors: Luker, Vicki. Lal, Brij. Dewey Number: 990.0099 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover design by Teresa Prowse Cover image: Choris, Louis, 1795-1828. Iles Radak [picture] [Paris : s.n., [1827] 1 print : lithograph, hand col.; 20.5 x 26 cm. nla.pic-an10412525 National Library of Australia Printed by University Printing Services, ANU This edition © 2008 ANU E Press Table of Contents Preface vii 1. Telling Pacic Lives: From Archetype to Icon, Niel Gunson 1 2. The Kila Wari Stories: Framing a Life and Preserving a Cosmology, Deborah Van Heekeren 15 3. From ‘My Story’ to ‘The Story of Myself’—Colonial Transformations of Personal Narratives among the Motu-Koita of Papua New Guinea, Michael Goddard 35 4. Mobility, Modernisation and Agency: The Life Story of John Kikang from Papua New Guinea, Wolfgang Kempf 51 5.
  • PURPLE HAZE Screenplay Script

    PURPLE HAZE Screenplay Script

    PURPLE HAZE by Sam Bass Sam Bass 2018 Broadway Little Rock,AR. 72206 501/240-3253 [email protected] Registered WGAW/iPG PURPLE HAZE Feature Film Teaser FADE IN: EXT. LITTLE ROCK AR. TWO STORY BURNING BUILDING, SPRING 1967 - DAY A song plays: Purple Haze by Jimi Hendrix A powerful looking fireman in full yellow fire gear and oxygen mask runs hard across a blazing 2nd story wooden floor. He suddenly falls through the floor and a gloved hand grabs him before his head goes out of sight. Thick blue Smoke bellow up through the hole around his body from below. The fallen fireman’s buddy wearing the same gear pulls him up by his arm and thick coat. The men move a few feet then turn to a charred wooden door and battle to open the locked staircase exit by kicking it open. The ECHO of the men struggling to breath through their protective oxygen mask can be heard as they work. They finally kick open the thick door and move quickly down a smoke filled flaming staircase and outside through the final exit that has an unlocked door. EXT. BURNING BUILDING - DAY The two firemen move beside a pumper fire truck stripping off their head gear as they go. The men continue to shed their heavy gear down to tee-shirts and jeans then slide to the grassy ground sweating and hot. ADAM CARTER (30), a handsome man sporting a long braided pony tail, Fu Manchu mustache and a Army Rangers tatoo on his forearm looks over at his partner.
  • Tommy Laster - Poems

    Tommy Laster - Poems

    Poetry Series Tommy Laster - poems - Publication Date: 2014 Publisher: Poemhunter.com - The World's Poetry Archive Tommy Laster(Feb 7 1988) A Poets Knowledge is too strive to be the best no matter who he or she is, what I love about poetry is you can express your mind fiction and no fiction, you can take your English Version and translate them to Spanish or any other country language by using Google translate, Poetry is a act of everyday life actions taking into account by Placing them on paper, for me poetry is a way to escape everyday life things and interact with everyday people, I'm bipolar and Recieve a check but it doesn't counter act my doing of poetry because I make no money at it so I do poetry for free to express my true feelings about this world and this life we live in. My Personal History (Well) : Born on February 7,1988 COOK MIDDLE SCHOOL Moved to Adel, Georgia Started School at CHS (COOK COUNTY HIGH) Left CHS (COOK COUNTY HIGH) Moved to Albany, Georgia Moved to Lakeland, Georgia First First Christmas Card Certificate Of Completion Moved to Lakeland Ga. Pre-Court Trial/Court Trial Notice New Beginning Church Letter Eber & Wein Publishing Moved to Adel, Georgia Toy Story 3 (Movie) Moved to Adel, Georgia Overcame Chest Pain First Valentines Day Card Mark Zirkle (Tire Changer & Wood Buster) Council Meeting LOOKIN' FOR AUDIO TAPES First met Gregory Lamar Paige Harveys (Food Shoping) First Vote 4th Of July City Of Adel Council Meeting (Preliminary Agenda) www.PoemHunter.com - The World's Poetry Archive 1 CHS (COOK COUNTY HIGH) 2005 to 2007 Mr.
  • Social Media Analytics for Youtube Comments: Potential and Limitations1 Mike Thelwall

    Social Media Analytics for Youtube Comments: Potential and Limitations1 Mike Thelwall

    Social Media Analytics for YouTube Comments: Potential and Limitations1 Mike Thelwall School of Mathematics and Computing, University of Wolverhampton, UK The need to elicit public opinion about predefined topics is widespread in the social sciences, government and business. Traditional survey-based methods are being partly replaced by social media data mining but their potential and limitations are poorly understood. This article investigates this issue by introducing and critically evaluating a systematic social media analytics strategy to gain insights about a topic from YouTube. The results of an investigation into sets of dance style videos show that it is possible to identify plausible patterns of subtopic difference, gender and sentiment. The analysis also points to the generic limitations of social media analytics that derive from their fundamentally exploratory multi-method nature. Keywords: social media analytics; YouTube comments; opinion mining; gender; sentiment; issues Introduction Questionnaires, interviews and focus groups are standard social science and market research methods for eliciting opinions from the public, service users or other specific groups. In industry, mining social media for opinions expressed in public seems to be standard practice with commercial social media analytics software suites that include an eclectic mix of data mining tools (e.g., Fan & Gordon, 2014). Within academia, there is also a drive to generate effective methods to mine the social web (Stieglitz, Dang-Xuan, Bruns, & Neuberger, 2014). From a research methods perspective, there is a need to investigate the generic limitations of new methodological approaches. Many existing social research techniques have been adapted for the web, such as content analysis (Henrich & Holmes, 2011), ethnography (Hine, 2000), surveys (Crick, 2012; Harrison, Wilding, Bowman, Fuller, Nicholls, et al.
  • July 26-30, 2017 at Four Quarters Lnterfaith Sanctuary Artemas, PA WELCOME to the MOUNTAIN!

    July 26-30, 2017 at Four Quarters Lnterfaith Sanctuary Artemas, PA WELCOME to the MOUNTAIN!

    July 26-30, 2017 at Four Quarters lnterfaith Sanctuary Artemas, PA WELCOME TO THE MOUNTAIN! PEACE, LOVE, UNITY & RESPECT RADICAL SELF RELIANCE: Discover, are not just words. They are the ideals that arrange and rely on your own resources. form the groundwork on which our rave Preparedness is sexy! Bring what you scene stands. More than just a catch- need to camp for 5 days and extras in phrase, it stands as a goal of togetherness case someone else forgot. that we strive for: the notion of being at PARTICIPATION: Nobody here is a PEACE with yourself and others, having spectator. We are all participants in LOVE for those around you and love for communally shaping this experience to what you do, UNITY & communal aware- become something great. We do our best ness as well as RESPECT for property and to remove restrictions in our events. We humankind. On the flip side of the same always encourage full on participation in coin, the principles of the Burning Man event themes, as well as full on participa- community at large have taken the ideal of tion with each other. Removing hesi- PLUR a step further and add what it takes tation and maintaining a focus on the to make it work: self reliance, freedom of energy around us puts us all on a unied expression and complete acceptance. It is platform, allowing for that energy to ow the passion behind both of these cultural as it may which has been entirely positive movements and what they truly stand for as we have seen in the past few years! that speaks to all us in the BIG DUB family, which includes you.