the greatest talent is meaningless without one other vital component - passion -selwyn lager

Photobucket


digitabe.smugmug.com



40-ish..............................49
Adventurous.....................Slept with all your friends
Athletic............................No boobs
Average looking.................Ugly
Beautiful...........................Pathological liar
Contagious Smile................Does a lot of pills
Emotionally secure..............On medication
Feminist............................Fat
Free spirit..........................Junkie
Friendship first...................Former slut
Fun..................................Annoying
Gentle..............................Dull
New Age...........................Body hair in the wrong places
Open-minded.....................Desperate
Outgoing...........................Loud and Embarrassing
Passionate........................Sloppy drunk
Poet.................................Depressive
Professional.......................Bitch
Romantic...........................Frigid
Voluptuous........................Very Fat
Large frame.......................Hugely Fat
Wants Soul mate................Stalker
Widow..............................Murderer

WOMEN'S ENGLISH

1. Yes = No
2. No = Yes
3. Maybe = No
4. We need = I want
5. I am sorry = you'll be sorry
6. We need to talk = you're in trouble
7. Sure, go ahead = you better not
8. Do what you want = you will pay for this later
9. I am not upset = of course I am upset, you moron!
10. You're very attentive tonight = is sex all you ever think about?

MEN'S ENGLISH

1. I am hungry = I am hungry
2. I am sleepy = I am sleepy
3. I am tired = I am tired
4. Nice dress = Nice cleavage!
5. I love you = let's have sex now
6. I am bored = Do you want to have sex?
7. May I have this dance? = I'd like to have sex with you
8. Can I call you sometime? = I'd like to have sex with you
9. Do you want to go to a movie? = I'd like to have sex with you
10. Can I take you out to dinner? = I'd like to have sex with you
11. Those shoes don't go with that outfit = I'm gay

And finally.....

A recent scientific study found that women find different male faces attractive depending on where they are in their menstrual cycle.
For example, when a woman is ovulating she will prefer a man with rugged, masculine features.
However when she is menstruating, she prefers a man doused in petrol and set on fire, with scissors stuck in his eye and a cricket stump shoved up his backside.

NOW SEND THIS TO A MAN WHO NEEDS A LAUGH AND A WOMAN WITH A SENSE OF HUMOUR!!!

Blog Entry////////// The Seven Levels of Photographers :DJan 29, '08 12:34 PM
for everyone


The Seven Levels of Photographers

A Spiritual and Satirical Guide. I summarize this into 2 levels here.
© 2007 KenRockwell.com

(I'm using the Western convention of "he" to refer to both genders)




Artist: Top Level 7 (equivalent to "Heaven" in Christian mythology)

This is the highest level.

An artist fixes his imagination in a tangible form called a photograph. He captures the spirit of place or person, real or imagined, in this photograph and the viewer responds to this.

An artist is a complete master of his tools. When creating art an artist transcends common existence as his spirit flies up to meet that which he is capturing. He may practice and learn his tools while he is not creating, however when creating the camera becomes an extension of his mind. No conscious thought is expended on the technical issues with which he is a virtuoso while creating photographs.

To make a musical analogy, a musician may woodshed his scales, but when he's jamming he's not even thinking about fingerings. He's lost in the passion of the moment.

Just like professional surfers who have a dozen boards or pro guitarists who have 23 axes, an artist may have a slew of cameras, each for a different purpose.

Likewise, other artists may only have one camera, or none at all. It just doesn't matter.

Artists sometimes dress funny and tend to stay up late. They usually prefer to photograph attractive young women and are proud of it.

No one ever sees their work since they have crummy ability to promote themselves, and sadly, usually don't even appreciate their own excellent work. Those that do drop down to Whore, which sadly and paradoxically means you will never see the work of a true artist unless you know one personally. Good artists are usually too embarrassed to show their work to anyone unless you are intimate with them, since their work is their soul.

Artists use any sort of camera, including pinholes and disposables, or 8 x 10s. They use whatever instrument they need to create what they want.



Whore: Level 6    back to top

A whore is an artist who sells his soul by accepting money or drugs for his art.

By lowering himself to this level his vision is compromised.

Why? Because when one depends on selling one's soul to pay for one's food and pad one does not screw with the program, which means that one does not try new styles.

If a whore's work pays his bills after years of trying, it's unlikely any whore will be open to trying new styles while he still needs the dough.

Artists with representation (meaning they are represented by a gallery or an artists' representatives just as pimps do in the sex trade) may lose that representation if they change their style.

Therefore, art for sale from one person rarely gets better or different.

The style that sells is all a whore's johns and pimps (representatives) want to see. See Barnbaum's book on artistry. It is extraordinarily difficult for a successful whore to change styles once one has been accepted.

More about the whore class at level 10 here.



Amateur: Level 5    back to top

People who earn less than half of their income from photography are amateurs. This has nothing to do with the quality of their photography.

This person loves to create photographs. Good amateurs of pure spirit can transcend the other levels directly to being an artist.

People who shoot weddings and etc. on weekends as a side line from their day jobs are still amateurs; they just charge for their photos. And as you read here they may also charge a lot for their snaps.

Amateurs who think that better cameras will improve their photos are at risk of descending to the lowest level of equipment measurbator. Too many amateurs have been misled by camera makers into thinking that they need good cameras for good images. This thought is poison to creating art.

Amateurs who lose themselves in creating great images are set for a path of enlightenment.

Being an amateur is a good thing; from this level one can rise to the level of artist rather easily.

Amateurs almost always shoot Canon SLRs.



Snapshooter: Level 4    back to top

This is my mom and most people. These people want memories, as opposed to photographs or cameras.

Snapshooters who are graphic artists or otherwise visually literate people often make fantastic images that impress everyone. These snapshooters are artists and don't even realize it. They usually dress better than the artists who think they really are artists.

Believe it: it's the photographer who makes an image, not a camera.

Snapshooters use point-and-shoot and disposable cameras, which give the same excellent results as the Leicas, Nikons, Canons and Contaxes used by everyone else.



Professional: Level 3    back to top

A professional photographer is a person who earns his entire living (100%) from the sale of photographs.

Professionals do not create art for a living; they create images for commerce. They usually have some familiarity with the tools and can get out decent images, however they may or may not be able to capture imagination.

Of course professionals may create great images, but that's on their own time.

Professionals spend very little time worrying about cameras, except when they need to get them repaired. They spend most of their time looking for work and pissing about how all the other photographers in town are dropping their prices.

Professionals spend more on film and lab fees each month than they spend on camera gear in a year.

There are no professional nature photographers. They all either have day jobs or make their wives support them.

Professionals shoot Nikon SLRs, Mamiya medium format and Calumet 4x5" cameras. They cannot afford gear as good as most serious amateurs.

Unless you are a commercial photography buyer or know one as a friend you have not heard of professional photographers. The ones you may have seen in camera ads proclaiming that they use this or that camera are just spokesmodels.

Professionals don't have websites and don't put out technical newsletters. Those people are usually amateurs.



Rich Amateur: Level 2    back to top

These are amateurs who, by having too much money, buy lots of equipment which can fetter their freedom of expression. They are mostly men, and many are old or retired.

Rich amateurs shoot Leicas, Contaxes, Alpas, Hasselblads and Linhof 4x5s. These are great cameras, but the results are the same as the Zenits, Pentaxes, Bronicas and Tachiharas.

Today they mostly shoot Canon 1Ds-Mk IIs, 5Ds or Nikon D2X.

These are the same idiots who bought the first 2.7 Megapixel digital SLRs designed for newspapers like the Nikon D1 back in 2000 just because they cost $5,000. They gave technically poorer results than the film cameras used by snapshooters. All because it's expensive doesn't make it good.

Bad rich amateurs think fuzzy B/W images of poor people are art.

Some rich amateurs fall into the bottom spiritual level easily because they worry too much about equipment, others go straight on to create great art since they don't have any worries about equipment since they think they own the best. Oddly, few rich amateurs produce ordinary work. It either rules or sucks.



Equipment Measurbator: Bottom Level 1 (equivalent to "Hell" in Christian mythology)

back to top

These men (and they are all men) have no interest in art or photography because they have no souls. Lacking souls they cannot express imagination or feeling, which is why their images, if they ever bother to make any, suck.

These folks have analysis paralysis and never accomplish anything.

Does poring over a microscope analyzing test images have anything to do with photographing a Joshua tree at dawn? Of course not. Even worse, time wasted concentrating on tests is time not spent learning useful aspects of photography and certainly time that could have been better spent actually photographing. Test just enough to know what your gear can do, and then get on with real photography.

They are interested solely in equipment for its own sake. They will talk your ear off for hours if you let them, but as soon as you ask to see their portfolio their bravado scurries away, or they think you want to see their cameras or stocks. You can read why cameras simply don't matter here.

Most seem to come from technical avocations, like engineering, computers and sciences. These people worry so much about trying to put numerical ratings on things that they are completely oblivious to the fact that cameras or test charts have nothing to do with the spirit of an image. Because they worry so much about measuring camera performance we have dubbed them "Measurbators." Unfortunately, many of them wander into KenRockwell.com looking for information on camera performance.

Many of them also play with audio equipment, computers or automobiles. They enjoy these toys just like their cameras for their own sake, but rarely if ever actually use them for the intended purposes.

Younger ones play video games or engage in chat rooms and web surfing. Older ones join "camera" clubs. (You should join photography clubs, but never camera clubs or any clubs that try to score art, since art is entirely subjective and cannot be scored numerically.) Likewise, these people never create anything notable with any of this other gear either, but they sure get excited by just having, getting or talking to you about it.

The one type of gear these people ignore is the only type of gear that actually helps: lighting.

Someone with a decent portfolio is not an equipment measurbator. Someone with more cameras than decent photos just may be. People with websites teeming with technical articles but few interesting photographs probably are.

Do not under any circumstances deal with these people, talk to them, read their websites or especially ask them for photography advice. To the innocent they seem like founts of knowledge, however their sick, lifeless souls would love to drag you into their own personal Hells and have your spirit forever mired in worrying about how sharp your lens is. If you start worrying about this and you'll never photograph anything again except brick walls and test charts.

These people are easy to identify. If you've read this far you've probably seen their websites. They always have lots of info about equipment, but very few real photographs. Beware of any information from any website not loaded with photography you admire.

Other people have other words for these people. This article here adds some more perspective.

I had to pull most of the photos of equipment off my site because these people were spending more time looking at my equipment than my art! The bandwidth for which I pay was being eaten up by these idiots looking at my lenses, instead of looking at the photos in my gallery which is the whole point of this site. That's why all the stupid pages like this one are in yellow, so that their eyes hurt too much to waste too much time on the nuts and bolts.

Most people who waste my time e-mailing me with technical and equipment questions through this site unfortunately belong to this unenlightened bottom group. Almost anyone who actually worries about the level they occupy belong to the bottom. Many of these folks stalk the Internet, and spend hours getting off "contributing" to technical websites and photography chat rooms like Photo.net, www.dpreview.com and photocritique.net instead of making photos. The guys here aren't too bad, and most of the Leica people here are just equipment collectors.



Online Expert or Armchair Photographer: Level 0 (these guys don't take pictures so they aren't a level of photographer.)

This level never existed before the internet, because cameras were never as exciting as sports cars or missiles for men to research.

This became terrifyingly apparent one day when I got an email from someone who didn't think an example I posted of a sharp lens was sharp. I was confused, since it was exceptionally sharp, which is why I posted it. When I asked this reader "not sharp compared to what?," he replied that it wasn't as sharp as a different example of a different lens he saw posted on some other website.

Holy Crap! This was a guy who doesn't even own a camera! He spends his time researching them and spreading his irrelevant opinions all over the Internet!

The Internet is ablaze with these guys. Forums and chat rooms are loaded with them. Photographers don't have the time for forums. We have more photography to do than time to do it. See The Two Kinds of Photographers.

Photography was never cool enough before digital to attract men's attention for no particular reason. Personally, the muzzle velocity of a Barrett 50-calibre sniper rifle is far more interesting to me than the MTF of a digital camera I'll never use. If I worked in an office and could waste my employer's time researching personal hobbies on the Internet, I'd rather look at pornography than research other people's cameras.

This level has existed in the automotive marketspace forever, with young boys learning every possible performance specification of Corvettes and Ferraris. We boys start this more than 10 years before we can get a driver's license, much less be able to buy our own Ferraris.

Boys love to learn about cars, guns, motorcycles and anything technical. I know I sure do. We men never grow out of wanting to know everything about everything, and telling you so.

Just because any car nut can tell you every possible performance specification of a Ferrari doesn't mean he can drive. Most of these people live in places where they've never even seen a Ferrari, much less ever owned one themselves.

Today with digital photography, we now have the same lookie-loos researching digital camera specs just for the bizarre fun of it. Ignore them. They love to talk and research, but aren't photographers.




from >> http://www.kenrockwell.com/tech/7.htm





5 Reasons Why God Uses Problems

The problems you face will either defeat you or develop

you - depending on how you respond to them.

 Unfortunately, most people fail to see how God wants to

 use problems for good in their lives. They react foolishly and resent their

problems rather than pausing to consider what benefit they might bring. 

 Here are five ways God wants to use the problems in your life:
1.God Uses Problems To DIRECT U
Sometimes God must light a fire under you to get you moving.

 Problems often point us in a new direction and motivate us to change.

Is God trying to get your attention? "Sometimes it takes

a painful situation to make us change our ways." 
2. God Uses Problems To INSPECT U
P eople are like tea bags...if you want to know what's inside them,

just drop them into hot ever water! Has God tested

your faith with a problem What do problems reveal about you?

"When you have many kinds of troubles, you should be full

 of joy, because you know that these   troubles test your faith,

and this will give you patience."
3. God Uses Problems To CORRECT U
S ome lessons we learn only through pain and failure.

It's likely that as a child your parents told you not to touch a hot stove.

 But you probably learned by being burned. Sometimes we only learn

the value of something... health, money, a relationship. ..

by losing it. "It was the best thing that could have happened to me,

for it taught me to pay attention to your laws." 
4. God Uses Problems To PROTECT U
A problem can be a blessing in disguise if it prevents you from
being harmed by something more serious. Last year a friend
was fired for refusing to do something unethical that his boss
had asked him to do. His unemployment was a problem - but
it saved him from being convicted and sent to prison a year
later when management's actions were eventually discovered.
"You intended to harm me, but God intended it for good...
5. God Uses Problems To PERFECT U
Problems, when responded to correctly, are character builders.
God is far more interested in your character than your comfort.
Your relationship to God and your character are the only two
things you're going to take with you into eternity.

 "We can rejoice when we run into problems...
they help us learn to be patient. And patience develops strength of
character in us and helps us trust God more each time

we use it until finally our hope and faith are strong and steady." 
Here's the point Ad:
God is at work in your life - even when you do not recognize it or understand it.
But it's much easier and profitable when you cooperate with Him.

 


"Success can be measured not only in achievements, but in lessons learned,
lives touched and moments shared along the way"


Starbucks is the world's largest multinational chain of coffee shops. Founded in 1971 as a coffee bean retailer, then acquired in 1987 by Howard Schultz, it has acquired and built coffeehouses all over the world. In addition to brewed coffee and espresso beverages, Starbucks shops also serve tea and bottled beverages, pastries, and ready-to-eat sandwiches. Stores in Seattle, Chicago, and other cities are experimenting with hot breakfast options such as ham, egg, and cheese on a muffin and eggs Florentine sandwiches. Some Starbucks stores are inside other retail locations such as supermarkets and bookstores (though these stores are not owned or operated by the company). The company was in part named after Starbuck, a character in Moby-Dick, as well as a turn-of-the-century mining camp on Mount Rainier, Starbo. Its insignia is a stylized two-tailed mermaid and its corporate headquarters are in Seattle, Washington, United States.

The Starbucks franchise here in the Philippines is owned only by Rustan's, so the chance of opening your own Starbucks branch is out of the question. But who said that you can't start your own coffee business? I've searched the internet and compiled these copycat recipes that would make your coffee taste a little like Starbucks.


Starbucks Coffee Frappe
These are copycat recipes and not the actual propriety recipe that is property of Starbucks. They are approximations. For the real thing, visit your local Starbucks.
Source: "Starbucks Passion for Coffee"

I N G R E D I E N T S
18 -22 Ice cubes, crushed
7 ounces Double-strength coffee, chilled
2 tablespoons granulated sugar
2 tablespoons flavored syrup of choice (vanilla, hazelnut, -raspberry or other)

Whipped cream, garnish

I N S T R U C T I O N S
Place the ice, coffee, sugar and syrup in a blender. Blend until the frappe is smooth. Pour into a large, tall glass. Garnish with a dollop of whipped cream.

---

Starbucks Java Chip Frappuccino®
These are copycat recipes and not the actual propriety recipe that is property of Starbucks. They are approximations. For the real thing, visit your local Starbucks.

I N G R E D I E N T S
4 tablespoon chocolate syrup
4 tablespoon chocolate chips
4 cups double-strength freshly brewed dark roast coffee
Chopped or crushed ice
Whipped cream (optional)
Chocolate syrup (for drizzle, optional)

I N S T R U C T I O N S
Fill blender half full with chopped or crushed ice. Add all ingredients (except whipped cream) and blend until thick and still icy. Pour into 4 tall glasses, top with whipping cream and drizzle chocolate over the whipped cream.

Serves: 4

---

Starbucks Mocha Frappuccino®
These are copycat recipes and not the actual propriety recipe that is property of Starbucks. The are approximations. For the real thing, visit your local Starbucks..

I N G R E D I E N T S
6 cups double-strength freshly brewed dark roast coffee
2/3 cup unsweetened cocoa powder, plus additional cocoa powder for garnish
2 cups nonfat milk

I N S T R U C T I O N S
Fill ice-cube trays with half of the brewed coffee and place in the freezer. In a bowl, combine the remaining brewed coffee, cocoa powder and milk and stir to dissolve the cocoa. Cover and chill.

When the ice cubes have frozen, transfer them to a kitchen towel and, using a hammer or mallet, crush the cubes. Fill 4 glasses with the crushed ice and divide the coffee-cocoa mixture evenly among them. Dust the top with cocoa powder and serve.

Serves 4.

---

Starbucks Copycat Caramel Scones
From: copycatrecipearchive@yahoogroups.com. These are copycat recipes and not the actual propriety recipe that is property of Starbucks. The are approximations. For the real thing, visit your local Starbucks.

I N G R E D I E N T S
3 cups unbleached all purpose flour
1/2 cup unsalted or salted butter (or margerine)
3/4 cup half and half or light whipping cream
1/3 cup granulated sugar
1/2 teaspoon salt (if unsalted butter is used)
1 tablespoon baking powder
1 cup milk (for best results use whole milk)
1 egg
2 teaspoons vanilla
1 cup butterscotch baking chips

Topping
1/3 cup butterscotch baking chips, fine chopped (use food processor)
1 egg white, slightly beaten
Confectioner's (powdered) sugar (optional)


I N S T R U C T I O N S
Preheat oven to 425 F.

Line a baking sheet with parchment paper. Place flour and butter in a medium mixing bowl, combine with your fingers to a coarse meal consistency. Add sugar, baking powder and salt (if used) combine well. Stir in cream, vanilla and egg, blending well to form a soft dough.

Scoop mixture onto baking sheet. Brush tops with beaten egg white; sprinkle ground butterscotch chips over top. Bake until browned - 16-18 minutes. Dust with confectioner's sugar when cool.

---

Starbucks Java Float
These are copycat recipes and not the actual propriety recipe that is property of Starbucks. The are approximations. For the real thing, visit your local Starbucks.

I N G R E D I E N T S
4 tablespoon chocolate syrup
1 tablespoon chocolate chips
2 cups club soda or sparkling water, chilled
4 scoops coffee ice cream

I N S T R U C T I O N S
In each of 2 tall glasses, stir together 2 Tbsp. of chocolate syrup and 1 cup club soda. Place 2 scoops of ice cream in each glass and serve immediately.

---

Starbucks Copycat Meringue Drops
From: Betterbaking. These are copycat recipes and not the actual propriety recipe that is property of Starbucks. The are approximations. For the real thing, visit your local Starbucks.

I N G R E D I E N T S
1/3 cup egg whites
1/2 cup sugar
3/4 cup semisweet chocolate chips
1/2 teaspoon vanilla
1/2 teaspoon almond extract
1 cup chopped walnuts

I N S T R U C T I O N S
Preheat oven to 350ºF. Place rack in lower third of oven. Cover two large baking sheets with parchment paper. In a small metal bowl, beat egg whites, adding sugar slowly, until the whites are stiff but not dry. Using a rubber spatula, carefully stir in melted chocolate, vanilla, almond extract and chopped nuts into egg whites. Drop spoonfuls of batter - about 1 1/2 to 2 tablespoons - onto the parchment lined baking sheets. Bake for 12-15 minutes or until tops are completely dry. Do not overbake. Cool completely in pan before removing with a spatula. 12-18 cookies.

---

Starbucks Lemon-Tipped Biscotti
These are copycat recipes and not the actual propriety recipe that is property of Starbucks. The are approximations. For the real thing, visit your local Starbucks.

Biscotti
6 tablespoons unsalted butter, at room temperature
1/2 cup granulated sugar
1 tablespoon grated lemon zest
2 large eggs
1 teaspoon vanilla extract
2 cup all-purpose flour
2 teaspoon. baking powder
1/4 tsp. salt
1 cup shelled pistachios, roasted and coarsely chopped For the

Lemon Icing
2 cups sifted confectioners' sugar
1 teaspoon grated lemon zest
1/4 cup lemon juice

Preheat an oven to 375 F. In a large bowl, beat the butter, sugar and lemon zest until well blended. Add the eggs, one at a time, beating well after each addition. Stir in the vanilla. In a small bowl, combine the flour, baking powder and salt. Add to the butter mixture and blend thoroughly. Stir in the nuts. The dough will be soft. On a lightly floured work surface, divide the dough in half. Lightly flour each piece and shape it into a log about 1 1/2" in diameter and 9" long. Place the logs about 3" apart on an ungreased baking sheet. Press each log down to make it about 3/4" thick and 3" wide. Bake until puffed and lightly browned on top, about 20 minutes. Cool 10 minutes on the pan, then slide the logs onto a work surface. Using a long, sharp knife, cut each log crosswise into 3/4" thick slices. Make each cut with a single swipe of the blade. Don't use a sawing motion, which will break the cookies. Place the cookies, cut side down, on the baking sheet. (The cookies can be touching.) Bake 10 minutes. Remove from the oven and, using tongs, turn each cookie over. Bake until the biscotti are golden, 10 minutes more. Transfer to wire racks to cool completely.

Icing
In a small bowl, combine the sugar, lemon zest and lemon juice and beat until smooth. Beat in additional drops of lemon juice if necessary to make an icing that will coat the biscotti lightly. Dip one end of each biscotti in the icing, turning to coat the tip evenly. Place on a wire rack until the icing sets. Makes about 2 1/2 dozen Biscotti.

---

Black and White Toffee Bars
Inspired by Starbuck's Toffee Bars.

I N G R E D I E N T S
1 cup plus 2 tablespoons all-purpose flour
1/2 teaspoon baking soda
1/2 teaspoon salt
3/4 cup packed brown sugar
1/2 cup (1 stick) butter, softened (or use 1/4 cup butter and 1/4 cup vegetable shortening
1 teaspoon vanilla extract
1 large egg
1cup (6-ounce package) NESTLÉ TOLL HOUSE Semi-Sweet Chocolate Morsels
1 cup (6-ounce package) White chocolate chips
1/2 cup chopped toffee candy such as Almond Rocca


I N S T R U C T I O N S
PREHEAT oven to 375° F. Grease 9-inch-square baking pan.

COMBINE flour, baking soda and salt in small bowl. Beat sugar, butter and vanilla extract in large mixer bowl until creamy. Beat in egg; gradually beat in flour mixture. Stir in morsels and chopped toffee. Spread into prepared baking pan.

BAKE for 20 to 23 minutes. Remove pan to wire rack. Cool completely in pan on wire rack; refrigerate for 5 to 10 minutes or until chocolate is set. Cut into bars.

---

Starbuck's Frappuccino
These are copycat recipes and not the actual propriety recipe that is property of Starbucks. They are approximations. For the real thing, visit your local Starbucks.
Copycat Recipe Requests at Recipelink.com


This recipe makes 5 different flavors, if desired.

15 empty Starbuck bottles & lids (I mark with permanent marker a letter on 3 lids for the flavor of that batch - i.e. C=coffee, M=mocha, V=vanilla, etc.)

1 1/4 cups sugar
5 tsp. dry pectin
13 3/4 cups 2% milk - or Lactaid 100, 38% less fat (I use this since it has a longer shelf life, even though it costs a little more)
10 Tbsp. Maxwell House Italian Expresso Roast Coffee
5 1/2-3/4 cups water

Flavors -
1 tsp. unsweetenend cocoa or Quick drink mix,
1 Tbsp. of liquid coffee flavorings (sold in grocery store by coffee) vanilla, hazlenut, almond, almond roca, raspberry, irish creme, etc., desired amount of extracts, 1 Tbsp. liquid baking flavorings (i.e. cinnamon, praline, etc.)

1. Brew the 10 Tbsp. of coffee with the 5 1/2-3/4 cups cold water.

2. Get blender out and ready.

3. For each batch of 3 bottles...While coffee is still hot...measure out 2 3/4 cups milk, set aside...in blender, place 1/4 cup sugar, 1 tsp. pectin, any of the above flavorings (or make up your own)-for just plain coffee flavor, do not add any flavors, 1/2 cup of hot coffee and mix a few seconds at a low speed - #5 for me(too high and you get too much froth) to give sugar a chance to dissolve. While running pour in steadily the cold milk. Turn off after only a second or two of being mixed.

4. Pour into 3 prepared bottles.

5. Repeat the above for 4 more batches, changing flavors if desired. I try to do my flavors so that I don't have to rinse out the blender each time (i.e. coffee, vanilla, hazlenut, praline, mocha), saving the strongest flavor until
last.

---

Starbucks Chai Tea
These are copycat recipes and not the actual propriety recipe that is property of Starbucks. They are approximations. For the real thing, visit your local Starbucks.

Chai

3 cups water
3 cups milk (I use skim)
6-8 black or decaf black tea bags
1/2 cup honey
1 tsp ground cinnamon
1 tsp ground cardamom
1/2 tsp ground nutmeg
1/2 tsp ground cloves (I use less because I don't like too strong a clove taste)
1/2 tsp ground ginger (or a mashed small chunk of fresh)

Bring water and milk to a boil. Add other ingredients, return to boil. Turn off
heat and let steep for 3-5 minutes. Remove tea bags then filter through fine
strainer. Good hot or cold. (I keep it in the refrigerator and microwave it if
I want it hot.)

---

The Starbucks Caramel Macchiato
These are copycat recipes and not the actual propriety recipe that is property of Starbucks. They are approximations. For the real thing, visit your local Starbucks.

People come to my page, they're probably usually looking for var'aq. But every once in a while someone wants to know how to make a Starbucks Caramel Macchiato. That's understandable -- it's a very tasty drink, very addictive, and in very high demand year-round.

I don't know much of the history of the drink, except that the iced version was brought out in 1999 or 2000 when a wave of requests for an iced version of the drink required Starbucks R&D to standardize on the rather dramatic black-and-tan presentation of the official Iced Caramel Macchiato. Whipped cream was not standard at the time; I can't say if that's still the case as I haven't worked for Starbucks for over a year and a half now, but either way it's a stunning drink.

Made properly, you really should use a glass mug or pint glass for the color gradient effect. Starbucks doesn't do that with the hot drinks, though the to go cups are see-through. And now, the recipe everyone really wants to see when they come here...

Caramel Macchiato

The average coffee mug is probably equivalent to a Tall (12-oz/355 mL). I am not following precise Starbucks standards, though if you must know it's properly one shot of espresso, about .75 oz syrup (.25 oz per 4 oz liquid capacity).

* milk
* espresso
* vanilla syrup
* your favorite caramel sauce

In a regular-sized coffee mug, add vanilla syrup and steamed milk. Top with milk foam and add freshly brewed espresso through the foam. Drizzle with caramel sauce.

Iced Caramel Macchiato

Same ingredients, plus some small ice cubes and (optional) whipped cream

In a pint glass or iced tea glass (we're assuming 16 oz), add vanilla syrup and fill about 3/5 of the way with cold milk. Add ice almost to the top and pour espresso (2 shots would be typical) over the top. If you've done it right, the espresso will mix in only about halfway down without stirring. If adding whipped cream, add it here. Drizzle the top with caramel and enjoy.

---

Starbucks Orange Oatmeal Flat Scones
These are copycat recipes and not the actual propriety recipe that is property of Starbucks. They are approximations. For the real thing, visit your local Starbucks.

2 1/2 cups all purpose flour
2 cups oatmeal
1 cup sugar
1 teaspoon salt
1 tablespoon baking powder
1/2 teaspoon baking soda
1/2 cup very cold unsalted butter, cut into small chunks
1 egg
1/2 cup orange juice
1/4 teaspoon Boyajian orange or tangerine oil or extract
1 cup raisins, plumped and dried

Glaze:
milk, sugar, orange zest

Line a large baking sheet with parchment paper (double two sheets if you have them — one inside the other). Preheat oven to 425 F.

In a large bowl, place flour, oatmeal, sugar, salt, baking powder, baking soda and mix together. Cut or rub in butter to make a mealy mixture.

Stir in egg and orange juice. Add orange oil or extract. Mix to make a soft dough. Turn out onto a lightly floured board and knead for a few minutes.

Roll or pat out into a thickness of 1/2 inch. Using a serrated cookie cutter, cut into disks or rounds. Brush with milk and sprinkle with sugar and orange zest.

Bake until nicely browned — about 14 minutes.

---

Now that you have your recipes, why not add a wireless internet hotspot on your area, a few tables and chairs, and wolllaa! Instant coffee shop. Raket na!

from >> http://pinoyraket.blogspot.com/2006/10/starbucks-copycat-drinks-and-pastries.html

Blog EntryJoke of the day! blog :) Nov 26, '07 8:15 AM
for everyone
this one comes from ansbert thru YM -- after signin in - this msg pop up :)

joke no 1:

3 guys nagkasala sa kanilang tribo

Lider: magdala kayo ng 10 pare parehong prutas!!

Unang bumalik c juan, dala 10 santol

Lider: ipasok sa puwet mo lahat! ang sisimangot o nigngite papatayin!
Unang santol pa lang sumimangot c juan, PATAY!

sunod c pedro, dala grapes.
Ika 10th na grapes tumawa, PATAY!

nagkita c juan at pedro sa langit!
Juan buhay ka pa sana kung d ka tumawa sa huling grapes, bakit ka tumawa?

Pedro: Nakita ko c Berto, may dala 10 na langka.. ;0)

 

Speech for Ateneans but nonetheless an inspiring read for everyone.
 
A very inspiring speech.
 
Speech of John Gokongwei before Ateneo Graduates --- I wish I were one
of you today, instead of a 77-year-old man, giving a speech you will
probably forget when you wake up from your hangover tomorrow. You may be
surprised I feel this way. Many of you are feeling fearful and
apprehensive about your future. You are thinking that, perhaps, your
Ateneo diploma will not mean a whole lot in the future in a country with
too many problems. And you are probably right. You are thinking that our
country is slipping-no, sliding.
Again, you may be right.
 
Twenty years ago, we were at par with countries like Thailand, Malaysia,
and Singapore. Today, we are left way behind. You know the facts. Twenty
years ago, the per capita income of the Filipino was 1,000 US dollars.
Today, it's 1,100 dollars. That's a growth of only ten percent in twenty
years.
Meanwhile, Thailand 's per capita income today is double ours; Malaysia,
triple ours; and Singapore, almost twenty times ours.
 
With globalization coming, you know it is even more urgent to wake up.
Trade
barriers are falling, which means we will have to compete harder. In the
new world, entrepreneurs will be forced to invest their money where it
is most efficient. And that is not necessarily in the Philippines. Even
for Filipino entrepreneurs, that can be the case. For example, a
Filipino brand like Maxx candy can be manufactured in Bangkok-where
labor, taxes, power and financing are cheaper and more efficien t-and
then exported to other ASEAN countries. This will be a common
scenario-if things do not change.
 
Pretty soon, we will become a nation that buys everything and produces
practically nothing. We will be like the prodigal son who took his
father's money and spent it all. The difference is that we do not have a
generous father to run back to. But despite this, I am still very
excited about the future. I will tell you why later.
 
You have been taught at the Ateneo to be "a person for others." Of
course, that is noble: To serve your countrymen.
 
Question is: How?
 
And my answer is: Be an entrepreneur!
You may think I am just a foolish man talking mundane stuff when the
question before him is almost philosophical. But I am being very
thoughtful here, and if I may presume this about myself, being patriotic
as well.
 
Entrepreneurship is the answer.
 
We need young people who will find the idea, grab the opportunity, take
risk, and set aside comfort to set up businesses that will provide jobs.
 
But why? What are jobs?
 
Jobs are what allow people to feel useful and build their self-esteem.
Jobs make people productive members of the community. Jobs make people
feel they are worthy citizens. And jobs make a country worthy players in
the world market.
 
In that order of things, it is the entrepreneurs who have the power to
harness the creativity and talents of others to achieve a common good.
This should leave the world a better place than it was.
 
Let me make it clear: Job creation is a priority for any nation to move
forward. For example, it is the young entrepreneurs of Malaysia,
Thailand, and Singapore who created the dynamic businesses that have
propelled their countries to the top. Young people like yourselves.
Meanwhile, in the Philippines, progress is slow. Very little is new.
Hardly anything is fresh.
With a few exceptions, the
biggest companies before the war-like PLDT, Ayala, and San Miguel-are
still the biggest companies today.
 
All right, being from the Ateneo, many of you probably have offers from
these corporations already. You may even have offers from JG Summit. I
say:
Great! Take these offers, work as hard as you can, learn everything
these companies can teach-and then leave! If you dream of creating
something great, do not let a 9-to-5 job-even a high-paying one-lull you
into a complacent, comfortable life. Let that high-paying job propel you
toward entrepreneurship instead.
 
When I speak of the hardship ahead, I do not mean to be skeptical but
realistic. Even you Ateneans, who are famous for your eloquence, you
cannot talk your way out of this one. There is nothing to do but to deal
with it.
I
learned this lesson when, as a 13-year-old, I lost my dad. Before that,
I was like many of you: a privileged kid. I went to Cebu 's best school;
lived in a big house; and got free entrance to the Vision, the largest
movie house in Cebu, which my father owned.
 
Then my dad died, and I lost all these. My family had become poor-poor
enough to split my family. My mother and five siblings moved to China
where the cost of living was lower. I was placed under the care of my
Grand Uncle Manuel Gotianuy, who put me through school. But just two
years later, the war broke out, and even my Uncle Manuel could no longer
see me through.
 
I was out in the streets-literally.
 
Looking back, this time was one of the best times of my life. We lost
everything, true, but so did everybody! War was the great equalizer. In
that setting, anyone who was willing to size up the situation, use his
wits, and work hard, could make it! It was every man for himself, and I
had to find a way to support myself and my family. I decided to be a
market vendor.
 
Why? Because it was something that I, a 15-year-old boy in short pants,
could do.
 
I started by selling simple products in the palengke half an hour by
bike from the city. I had a bicycle. I would wake up at five in the
morning, load thread, soap and candles into my bike, and rush to the
palengke. I would rent a stall for one peso a day, lay out my goods on a
table as big as this podium, and begin selling. I did that the whole
day.
 
I sold about twenty pesos of goods every day. Today, twenty pesos will
only allow you to send twenty text messages to y our crush, but 63 years
ago, it was enough to support my family. And it left me enough to plow
back into my small, but growing, business.
 
I was the youngest vendor in the palengke, but that didn't faze me. In
fact, I rather saw it as an opportunity. Remember, that was 63 years and
100 pounds ago, so I could move faster, stay under the sun more, and
keep selling longer than everyone else.
 
Then, when I had enough money and more confidence, I decided to travel
to Manila from Cebu to sell all kinds of goods like rubber tires.
Instead of my bike, I now traveled on a batel-a boat so small that on
windless days, we would just float there. On bad days, the trip could
take two weeks! During one trip, our batel sank! We would have all
perished in the sea were it not for my inventory of tires. The viajeros
were happy because my tires saved their lives, and I was happy because
the viajeros, by hanging on to them, saved my tires. On these long and
lonely trips I had to entertain myself with books, like Gone With The
Wind.
 
After the war, I had s aved up 50,000 pesos. That was when you could buy
a chicken for 20 centavos and a car for 2,000 pesos. I was 19 years old.
Now I had enough money to bring my family home from China. Once they
were all here, they helped me expand our trading business to include
imports.
Remember that the war had left the Philippines with very few goods. So
we imported whatever was needed and imported them from
everywhere-includin g used clothes and textile remnants from the United
States. We were probably the first ukay-ukay dealers here.
 
 
Then, when I had gained more experience and built my reputation, I
borrowed money from the bank and got into manufacturing. I saw that
coffee was abundant, and Nescafe of Nestle was too expensive for a
country still rebuilding from the war, so my company created Blend 45.
That was our first branded hit. And from there, we had enough profits to
launch Jack and Jill.
 
>From one market stall, we are now in nine core businesses-includin g
retail,
real estate, publishing, petrochemicals, textiles, banking, food
manufacturing, Cebu Pacific Air and Sun Cellular.
 
When we had shown success in the smaller businesses, we were able to
raise money in the capital markets-through IPOs and bond offerings-- and
then get into more complex, capital-intensive enterprises. We did it
slow, but sure.
 
Success doesn't happen overnight. It's the small successes achieved day
by day that build a company. So, don't be impatient or focused on
immediate financial rewards. I only started flying business class when I
got too fat to fit in the economy seats.
 
And I even wore a used overcoat while courting my wife-it came from my
ukay-ukay business. Thank God Elizabeth didn't mind the mothball smell
of my coat or maybe she wouldn't have married me.
 
Save what you earn and plow it back.
 
And never forget your families! Your parents deni ed themselves many
things to send you here. They could have traveled around the world a
couple of times with the money they set aside for your education, and
your social life, and your comforts.
 
Remember them-and thank them.
 
When you have families of your own, you must be home with them for at
least one meal everyday.
I did that while I was building my company. Now, with all my six
children married, I ask that we spend every Sunday lunch together, when
everything under the sun is discussed. As it is with business, so it is
with family.
There are no short cuts for building either one. Remember, no short
cuts.
 
Saint Ignatius of Loyola, your patron saint, and founder of this
450-year old organization I admire, described an ideal Jesuit as one who
"lives with one foot raised." I believe that means someone who is always
ready to respond to opportunities. Saint Ignatius knew that, to build a
successful organization, he needed to recruit and educate men who were
not afraid of change but were in fact excited by it. In fact, the
Jesuits were one of the earliest practitioners of globalization. As
early as the 16th century, upon reaching a foreign country, they
compiled dictionaries in local languages, like Tamil and Vietnamese, so
that they could spread their message in the local language. In a few
centuries, they have been able to spread their mission in many countries
through education.
 
The Jesuits have another quote. "Make the whole world your house" which
means that the ideal Jesuit must be at home everywhere. By adapting to
change , but at the same time staying true to their beliefs, the Society
of Jesus has become the long-lasting and successful organization it is
today and has made the world their house.
 
So, let's live with one foot raised in facing the next big opportunity:
globalization.
 
Globalization can be your greatest enemy. It will be your downfall if
you are too afraid and too weak to fight it out. But it can also be your
biggest ally. With the Asian Free Trade agreement and tariffs near zero,
your market has grown from 80 million Filipinos to half a billion
Southeast Asians.
Imagine what that means to you as an entrepreneur if you are able to
find a need and fill it. And imagine, too, what that will do for the
economy of our country!
 
Yes, our government may not be perfect, and our economic environment not
ideal, but true entrepreneurs will find opportunities anywhere. Look at
the young Filipino entrepreneurs who made it. When I say young-and I'm
77, remember-I am talking about those in their 50s and below. Tony Tan
of Jollibee, Ben Chan of Bench, Rolando Hortaleza of Splash, and Wilson
Lim of Abensons.
They're the guys who weren't content with the 9-to-5 job, who were
willing to delay their gratification and comfort, and who created
something new, something fresh. Something Filipinos are now very proud
of. They all started small but now sell their hamburgers, T-shirts and
cosmetics in Asia, America, and the Middle East In doing so, these young
Filipino entrepreneurs created jobs while doing something they were
passionate about.
 
Globalization is an opportunity of a lifetime-for you. And that is why I
want to be out there with you instead of here behind this podium-perhaps
too old and too slow to seize the opportunities you can.
 
Let me leave you with one last thought.
 
Trade barriers have fallen. The only barriers left are the ba rriers you
have in your mind.
 
So, Ateneans, heed the call of entrepreneurship. With a little bit of
will and a little bit of imagination, you can turn this crisis into your
patriotic moment-and truly become a person for others.
 
"Live with one foot raised and make the world your house."
 
To this great University, my sincerest thanks for this singular honor
conferred on me today.
 
To the graduates, congratulations and Godspeed.
 
"Ad Majorem Dei Gloriam".
 
Thank you.

IF YOU WANT TO DO SOMETHING FOR YOUR COUNTRY, PLEASE PASS THIS TO THOSE
WHO MAY BE INSPIRED BY THIS MESSAGE. GOD bless us all!

from purplepinksky.multiply.com

Blog EntryThe Rise of the VJFeb 21, '07 2:48 PM
for everyone

The Rise Of The VJ
The term VJ or video jockey refers to artists creating live visuals for events primarily by digital means (not people hosting segments on MTV). Many VJs originate from the realms of motion graphics or cinematic special effects. Some are programmers with an interest in visual metaphors, and others come from the world of nonlinear editing.

With today's tools, a VJ can do anything from ambient visuals to full-blown 3D-animation storytelling with virtual characters. VJs have become artists in their own right, getting booked as talent rather than as backstage operators.

VJ SETUPS
A VJ usually has multiple image streams feeding into a video mixer, where he or she creates a final blend in real time. The images are then projected onto a screen via a video projector. Image streams typically originate from computers, tape sources, and live cameras. A good final mix consists of an artistic blend of at least two or three image streams.

TAPE DECKS
MiniDV decks, like the portable Sony GV-D300, are preferred for quality and convenience. Decks are used mostly for playing prepared image streams and recording the final video out of the show. Ideally, this is done in combination with a live feed from the audio board.
VJs use portable miniDV decks like the Sony GV-D300 to play back prepared image streams and for recording the final video out of the show.

DVD PLAYERS
More convenient than tape, DVD players allow nonlinear access of prepared materials. The cat's meow DVD player for VJs is the Pioneer DVJ-X1, which allows scratching of discs akin to record scratching. Standalone DVD recorders are useful for monitoring and playing source material and recording final output sources.
Many VJs now prepare source materials in DVD format, utilizing players like Pioneer's DVJ-X1, which allows scratching of discs similar to record scratching.

COMPUTERS AND SOFTWARE APPS
The most versatile tools in the VJ arsenal, computer systems, usually consist of at least one beefy laptop, such as the HP ZD8000, Dell Inspiron XPS, Apple G4 PowerBook, or Alienware Area-51m. At least 1 GB RAM and a 256 MB graphics card is recommended if you want to generate a slew of image streams via different software applications.

Popular software applications include iTunes and Winamp visualizers, slide show programs like Photo Jam, nonlinear editors with real-time scratchable timelines such as Final Cut Pro or Premiere Pro, and specialized VJ applications like Arkaos or Resolume.

The recently announced Apple Motion 2 and its MIDI support is another worthy application. Given the wide variety of tools available, many VJs use multiple laptops in their gigs. Refer to "A Guide to VJ Software" sidebar for more information on the various VJ software applications currently available.

VIDEO MIXERS
The mixer is where the final stream to the screen happens. This is where the VJ gets to be a musician--blending sources to live music and playing to the rhythm and beat of the moment. Having two mixers to handle all of the sources and multiple simultaneous special effects is a good idea.

The preferred mixer of the moment is the Edirol V-4. The V-4 takes four video inputs, two of which can be S-Video. The Beat Generator lets the VJ set up a preset image that will tune into the beat of the music, thus allowing the VJ to do some automatic visuals on the fly. A big plus is the ability to preview input and output sources by pushing a single preview monitor button. The V-4 has both chroma and luminance keying. The design is simple, well labeled, and delivers a clean signal.

Before the advent of the Edirol V-4, mixers like the Panasonic MX-50 and the Videonics MX-Pro were standard fare for VJs. VJs still like the MX-50 because of its picture-in-picture mode and the ability to throw on paint, mosaic, still, or strobe effects on the fly. The MX-50 beats the V-4 in terms of responsiveness and T-bar accuracy during A-V transitions. The V-4 and the Videonics MX-Pro have a bit of latency delay when pulsing between image channels. Edirol reps say its new slider switch is supposed to make improvements over the V-4 regarding this latency delay. The Videonics mixer seems to have the best choices for artistic AV transitions, rivaled only by the ancient classic NewTek Video Toaster.
Many VJs favor the Edirol V-4 for its four video inputs, Beat Generator, automatic visuals on the fly, preview buttons, and chroma and luminance keying.

PROJECTORS
Typical VJ projectors have a brightness of at least 1,400 lumens or greater, a lamp life no less than 2,500 hours, and S-VGA-native resolution. Popular models I've seen include the InFocus X2, the Epson PowerLite S1, and the BenQ PB6100. Durability and portability is a plus as gear will travel and be set up in different venues, many of which have limited space. The tremendous drop in price over the last few years (now less than $1/lumen) has been a boon for VJs, with more and more of them owning their own projectors. The current crop of projectors is HD-ready.

The next generation of projectors will have 802.11a and 802.11g wireless capability, allowing wireless full-motion video and more flexibility in location setups. The current crop of WiFi projectors use 802.11b, which doesn't cut it for projecting glitch-free wireless NTSC- or PAL-quality video.

CAMCORDERS
Used for capturing live-action shots at the venue, camcorders can also double as a primary tape source or final record deck. VJ pros usually have a miniDV camcorder with good low-light capability, three CCDs, and an analog input for recording the final mix. Tapeless camcorders may soon be used in VJ setups, as files can be quickly moved into the computer for incorporation into media streams.

In the near future, wireless cams will be able to freely roam the venue, sending interesting live images for the mix to the VJ station. The latest WiFi net cams, such as the D-Link DCS-5300G, provide wireless full-motion audio and video with net-controlled pan, tilt, and zoom heads. When equipped with a battery pack, they can be mobile as long as they have a WiFi connection. Alternatively, a camcorder or Web cam plugged via FireWire or a USB 2.0 port of a notebook with WiFi can provide a mobile wireless image stream to the VJ.

BEING A VJ
There are different types of VJs. Many focus on PSI Trance music with homebrew 3D animations. Some are into frame animations with video or focus on the blend of visual layers. Others are interested in creating the space, installation, and architecture of the VJ-enhanced environment, where placement of such items as screens and projectors is of paramount interest. The commonality is their love of creating live visuals with music.

Up to this point, VJs have been the lowest on the totem pole of event producers' budgets, an obscure line item somewhere between cleaning and tipping. Only a handful of VJs are getting international attention, such as VJ V2 (Vello Virkhaus) for Red Hot Chili Peppers, and it may be that way until the VJ is also the DJ of an event, or the other way around. Typically, music is what moves audiences and the visuals are seen in a support role--too passive of an experience by themselves to be front and center with an audience. Many nightclubs, for example, want the visuals but not necessarily a live person to run them.

"Being a VJ demands presence and timing skill, and it helps to have rhythm," says Penny Slinger, visual artist, painter, videographer, and VJ performer. "There is something about blending image streams together in realtime that creates this interesting weave of a timeless state."

Slinger has taken the VJ role and expanded it considerably. A professional videographer, she shoots dancers in her bluescreen studio, edits the sequences in Final Cut Pro, and then uses a VJ setup to mix visuals for compositing. Her DVD , created in collaboration with her partner Dhiren, is a work of art that demonstrates what's possible when combining a VJ live mix with more classical video postproduction.

Slinger and Dhiren have created The Blue Lotus Studio (www.bluelotustemple.com) in the redwood forests high above Silicon Valley, an inspired gathering spot for creative multimedia artists and a haven for media professionals looking for a creative work space.

"We use complex effect hierarchies that define how two or more clips of video interact with each other," says Dhiren. "It's the definition of the interaction. We can keep cycling infinitely new video clips as the source and end up with wildly different material, but it has an identifiable flow, and the signature of our FX hierarchy runs through it all."

And where do Slinger and Dhiren want to take it? "A transcendentally enlightening experience for the audience that translates into a positive memory for the rest of their lives," says Dhiren. "I like taking people on a mythic ride," says Slinger. "With VJ'ing and the music video genre, you can go on this experiential journey that takes you somewhere, without going from A to B in the normal storytelling sense. You still have an end time because the music does stop, but you are not as tied to a linear narrative framework."
The equipment setup for VJs Mark and Katie Cosmic includes a 10,000- and a 3,500-lumen video projector, two video cameras used for effects, an Edirol V-4 Video Effects Switcher, 25 x 19-foot and a 12 x 9-foot freestanding Da-Lite front and rear projection screens, and as many computers as it takes with an everchanging list of software and visual aids.

PROGRAMMER VJs
It makes sense that people playing with state-of-the-art technology, programming, and media will discover new things about the nature of reality itself. Computer animations can take us to new spaces and places, and perhaps the first truly sentient synthetic organism will birth itself at a music festival on a VJ screen.

One Bay Area programmer/artist is VJ Todd Steven Stock, a former artificial intelligence research programmer at NASA Ames and computer graphics engineer for Silicon Graphics. His VJ name is Dr. Paradise and his tool of choice is the Paradise Metaverse, a system of his own design.

"I see the Paradise Metaverse as a tool for cybershamans and like-minded programmers," says Stock. "Think of programming as a completely vast unbounded space of imagination one step further than Gibsonian cyberspace. Now imagine what kind of three-dimensional representations of data might live in such a space and what kinds of interesting programmatic entities might thrive there."

When Dr. Paradise performs, attendees see firsthand this almost living program, a creature dubbed "the cosmic octopus." "It has three-dimensional and temporal behaviors," says Stock. "You can see it, watch it move, and learn as it responds to and modifies its environment. It has and is evolving its own consciousness."

Paradise Metaverse takes in up to 16 live MIDI streams and sequences tracks with live MIDI instruments (and/or acoustical instruments converted to MIDI) and combines all of these sources in real time.

"I'm designing the architecture of a realtime controllable 3D graphics system that allows you to produce creatures in that medium and to allow your inner vision to come out as something that is almost alive," says Stock. "This is more than simply a forum for your imagination."

Dr. Paradise has played live at over 100 events, constantly evolving the intelligence of his system. Check out www.paradise2012.com for the latest.

THE VIDEO SALON
Nearly every month in downtown San Francisco at Dimension 7's (D7) facility at 150 Folsom (www.dimension7.com), a VJ gathering is held in a large, two-story-high room with projections on all walls. The creative space was set up to foster the exchange of VJ tips and techniques, to show off new stuff, and to learn from one another. This is somewhat unusual for the VJ crowd.

"VJs typically are very protective of their visuals, believing that their video is the only thing that separates them from everyone else," says Jon Schwark, a co-creator of the salon, and producer of the VJ DVD label, Light Rhythm Visuals. " Most VJs are reluctant to put their stuff out there for other VJs to see because they don't want to be copied. But we've been pretty successful in fostering a community here."

It's still difficult to exchange high-quality visuals via the Net because of large file sizes, so in the VJ world, there's still no organized online way to get visuals to different parts of the world. Schwark's exchange program at the salon gets stuff into the Bay Area, and gets Bay Area VJ material remixed around the world.

Once a year, D7 also sponsors the Video Riot, a VJ extravaganza with dozens of VJs projecting their images at the same time onto a huge outdoor white wall. The number of dedicated VJs in San Francisco is around 100, one of the bigger communities in the world. Other big VJ cities are London, Berlin, Amsterdam, and Tokyo, with Los Angeles and New York up and coming.

WHERE IS IT ALL GOING?
The VJ, almost unwittingly, is mutating and evolving our present form of cinematic storytelling.

When VJs associate images to a musical composition, they visually tell a story following the grammar of music, which is much less linear and defined than classic cinematic storytelling. It's more of a stream-of-consciousness expression.

It's only a matter of time before practical musical instruments are created that play both sound and imagery, redefining what we mean by music. Music is not just sound anymore--it includes light and imagery. Ultimately, I expect music will encompass all of the senses.

I see VJ image manipulation and editing techniques spawning new jobs for VJs in digital postproduction facilities. Digital post facilities may also expand their skill sets to include mastery of VJ techniques and styles. We may even see dream sequences, altered states, and "inside the head" thought flows of characters edited using VJ techniques.

Also watch for multimedia blogs on the Internet that utilize VJ techniques to portray personal moods and feelings in conjunction with songs. Remote VJ'ing will also come to fruition, where VJs will mix for events from their own studios.

As VJ tools get easier to use, communities of artists will use the technology to create culture.

From the artists, it will filter into the literacy of children, becoming part of how future generations communicate with each other. This, in turn, will become the new literacy--the future of reading and writing, if you will. Written language becomes text, an important element, but a subset of the more universal language of music and images.

A journalist/author in the high-tech, high-touch world of the Bay Area, Allan Lundell is also CEO of Virtual World Studio (www.virtualworldstudio.com), a company specializing in innovative applications of digital video.