text:
Home > Blog > A Complete, Modern Guide to Potomac Horse Fever
13 July, 2017 | Posted in category: GI Diseases & Conditions, GI Treatment & Care, Horse Health
Termed Equine Neorickettsiosis in veterinary medicine, Potomac Horse Fever is a serious equine illness that can lead to fever, loss of appetite, diarrhea and even death. Horses grazing near freshwater sources or on irrigated pastures are most susceptible to contracting this bacterial infection. Here's everything horse owners should know about Potomac Horse Fever.
As summer temperatures continue to climb, you might find yourself seeking out cooler routes for your rides. Your horse is no different; left free to roam, he'll likely gravitate toward cooler, damper areas of the pasture, and might even wander over to paw in a stream or pond if he has access to one. Horses have been hard-wired since the beginning to keep themselves cool; your horse knows that hanging out near — or in — water will cool him off.
Unfortunately, when a horse is in or around water, he's more likely to contract Equine neorickettsiosis (EN), commonly known among most horse owners as Potomac Horse Fever.
What is Potomac Horse Fever?
Potomac Horse Fever is an illness caused by bacterial infection that can lead to fever, loss of appetite, diarrhea and even death. Historically, veterinarians struggled to identify the origins of the disease. Then, as now, the disease appeared during the warmer summer months, and was primarily associated with horses grazing near waterways.
Dr. Frank Schofield, a vet in southern Ontario, first described what we now call Potomac Horse Fever as "horse cholera" or "abdominal typhoid" in 1924. Dr. Schofield knew that it was found in horses near to water and additionally linked it with the seasonal appearance of mayflies, but couldn't pinpoint its exact source — though he suspected it was bacterial.
The disease got its name later, in the '70s and '80s in Maryland, when horses along the Potomac River began coming down with what was then called "Acute Equine Diarrhea Syndrome" — or simply, "Potomac Horse Fever." By 1984, the organism was identified as being rickettsial, and was officially classified Neorickettsia risticii in 2001.
The Causes of Potomac Horse Fever
Knowing what the disease was helped veterinarians identify the symptoms — and to teach horse owners to do the same.
Potomac Horse Fever is a disease caused by the bacteria Neorickettsia risticii, which lives in flukes (or flatworms). These flukes develop in aquatic snails, but aquatic insects, such as damselflies, caddisflies, and mayflies, can also get the bacteria from infected flukes. Horses pick up the disease by grazing near freshwater creeks, rivers or even on irrigated pastures. When they ingest the insects carrying PHF, they also pick up the bacteria. Additionally, horses can also become infected by drinking water that contains free-living flatworms.
N. risticii is also shed in the horse's feces, but horses exposed to contaminated feces rarely become infected, as they would need to ingest large volumes of manure.
Given all this, you should be particularly aware of your horses and how their grazing conditions could increase the risk of this disease. Take stock:
Do they graze near a freshwater pond or stream?
Is it spring or summer?
Do they have access to an irrigated pasture?
Do they live close enough to a freshwater source that an insect could fly or be blown into this grazing radius on the wind?
If any of these conditions are present in your pasture, you need to know the protocol for PHF.
Symptoms of Potomac Horse Fever
Horses with Potomac Horse Fever may exhibit one or more of the following symptoms (which can be quite mild).
Colic (generally mild)
Dehydration and toxemia
Decreased intestinal sounds
Pregnant mares may be at risk for abortion
Clinical signs typically last between 1 and 15 days. If any of the above are present, call your veterinarian. He or she will conduct a blood test to look for the bacteria in the white blood cells or manure.
What Potomac Horse Fever Does to Horses
After the horse ingests the bacteria, the incubation period is approximately 1-3 weeks. During this time, N. risticii is released into the gastrointestinal tract, where it infects surface cells, usually of the colon. N. risticii then reproduces in the cells and tissues, eventually ending up in the circulatory system, where it reproduces in your horse's blood. The resulting infection damages the lining of the colon (called colitis), preventing absorption of water and electrolytes. In severe cases, the compromised mucosal membrane may also lead to ulceration and tissue death in the intestinal lining. For this reason, Potomac Horse Fever can be a fatal condition for between 5-30 percent of horses.
How to Treat Potomac Horse Fever
Early treatment improves chances of survival and is recommended for horses living in endemic areas that develop clinical signs. The recommended treatment is typically Oxytetracycline, administered twice daily for 5 days, plus an increased focus on hydration. Intravenous fluids and electrolyte supplementation may be recommended; in severe cases, a blood transfusion may be necessary. Response to treatment is usually seen within 12-24 hours.
Horses suffering from laminitis as a result of Potomac Horse Fever may also benefit from being kept in a stall, supportive bedding, icing, and pain relief.
In a study by Bertin et al (2013), 73% of horses survived to discharge after a median 6 days in hospital. Younger horses had a better survival rate. The more of the blood work changes that were present, and the more profound the changes were, the poorer the prognosis.
How to Prevent Potomac Horse Fever
Vaccination is the best prevention, and should be timed to just before peak insect hatch—usually mid- to late summer and into early fall.
Still, it can be challenging to select the correct strain of N. risticii to incorporate into the vaccine. Also, many horses do not have a strong antibody response to vaccines, and the antibodies are short-lived. For these reasons, particularly in endemic areas, vaccination is recommended every 3 months, and every 6-12 months in other areas. If a horse recovers from PHF, however, they are typically resistant to re-infection for up to two years.
In addition to vaccinating your horse against PHF, you can also do you best to limit his exposure to aquatic insects during high-risk times. You might consider limiting his grazing access to waterways. And turn off night lights around stables and pastures, as insects infected with N. risticii may be attracted by the light.
Potomac Horse Fever is a serious disease that can prove fatal. For this reason, it's vital to keep your horse's vaccinations up to date, limit his exposure to high-risk areas, and to turn off insect-attracting lights around the barn. You can also do your best to make sure his digestive system is in the best possible condition to help ward off the bacteria if he still manages to be exposed.


text:
2020-21 Media Center
2020-21 Season Stats (PDF)
2020-21 Pre-Season Information (PDF)
Nell Fortner Camps
Georgia Tech's Mo Bennett Named ACC Rookie of the Week
ATLANTA – Georgia Tech's Mo Bennett and Duke's Chante Black were named Atlantic Coast Conference Women's Basketball Rookie and Player of the Week after leading their respective squads to successful 2008-09 season openers last week. Bennett tallied 27 points in her first two collegiate outings, including 19 at top-ranked Connecticut, while Black helped the eighth-ranked Blue Devils to a 2-0 start, including an impressive 77-68 win over 14th-ranked Oklahoma State.
"Anytime one of our players is recognized for an individual performance, it is exciting for our program," head coach MaChelle Joseph said. "Mo Bennett is very deserving of this award and I am excited for her."
Bennett opened her collegiate career with an eight-point, seven-rebound performance against Troy. The Statesboro, Ga., native took her game to another level when she came off the bench to spark the Yellow Jackets against No. 1 Connecticut on the road. The freshman connected on her first six shots from the field and finished with 19 points against the Huskies. The 5-10 guard also grabbed five offensive rebounds and had four steals.
In Duke's season opener against Oklahoma State, Black registered a career-high 28 points to go along with 10 rebounds in 36 minutes of action. The senior posted the 18th double-double of her career and her third straight double-double dating back to last season en route to leading the Blue Devils to a 77-68 victory in Cameron Indoor. In the contest, Black hit 13-of-17 field goals and blocked four shots.
For the week, Black hit 19-of-27 field goals for a 70.4 percentage. Black averaged 22.0 points, 8.5 rebounds, 4.0 blocks, 1.5 assists and 1.0 steals in the two victories, while becoming the 24th player in Duke history to reach the 1,000-point mark with her first basket on Sunday against Maine.
ACC action continues this evening as three league squads battle early non-conference opponents. North Carolina and Wake Forest welcome Kennesaw State and UNC Greensboro, respectively on Monday, while No. 15 Virginia takes to the road to face No. 6 Tennessee. All three games are slated for 7 p.m. ET.
– RamblinWreck.com –
January 12, 2021 Tech vs. Syracuse, Virginia Postponed
Georgia Tech women's basketball announces schedule changes
Tech vs. Syracuse, Virginia Postponed
January 11, 2021 VIDEO: Georgia Tech-Virginia Tech Highlights
Yellow Jackets come-from-behind to defeat Hokies
VIDEO: Georgia Tech-Virginia Tech Highlights

redpajama_set_name: RedPajamaCommonCrawl


text:
Guyana earns over US $1B from oil sales in 2022
With 102 lifts of one million barrels of crude oil from the floating production storage and offloading (FPSO) vessels offshore Guyana, the country has earned US $1.099 billion from its sale.
This was revealed by Senior Minister in the Office of the President with responsibility for Finance, Dr Ashni Singh, during the presentation of Budget 2023 themed "Improving Lives Today, Building Prosperity for Tomorrow."
Senior Minister within the Office of the President with Responsibility for Finance, Dr Ashni Singh
The Liza Destiny earned some US $510.2 million, while the Liza Unity accounted for the remaining US $588.9 million.
In addition to Guyana's share from the sale of crude, it received US$155.2 million in royalty payments.
From the commencement of oil production in December 2019 to the end of 2021, there were 69 lifts of oil exported from Guyana, of which 9 were for the Government.
In 2022, 13 of the 102 oil lifts exported from Guyana belonged to the Government of Guyana.
This ensured that the cumulative balance in the Natural Resources Fund (NRF) at the end of 2022 stood at US $1,271,800,000.
This displays a 52.2 per cent increase when compared to the balance of the Fund as of the end of 2021.
Dr Singh also announced the main elements of a new fiscal framework, which will form the basis of a draft of the Production Sharing Agreement (PSA) to be released next month.
The PSAs, signed by the government and the resource extractors, determine how much of the extracted resources each entity will receive.
CATEGORIES GovernmentMinistry of Natural ResourcesNews Bulletin
TAGS budget 2023Department of Public InformationDPIFloating Production Storage and Offloading (FPSO)Gov'tgovernmentGuyanaMinistry of Natural ResourcesMONRNatural Resources Fund (NRF)Oil and GasOil LiftsSenior Minister within the Office of the President with responsibility for Finance Dr Ashni Singh


text:
Thousands sign petition against possible badger 'slaughter' at Chatsworth
Could badgers be culled in Derbyshire?
Nearly 15,000 people have signed a petition urging Chatsworth not to be involved in a possible badger cull.
The Government has announced badgers may be killed in eight new counties in England - including Derbyshire - to control the spread of bovine tuberculosis in cattle.
According to research by Derbyshire Wildlife Trust, bovine tuberculosis is not transmitted by direct contact between cattle and badgers but through contaminated pasture and dung.
The group says culling badgers is unjustified and costly and that vaccination - which its volunteers carry out - remains the only answer.
This online petition by the Derbyshire Against the Badger Cull group states: "The Chatsworth Estate owns 35,000 acres of land, spread across Derbyshire. This land could be home to hundreds of badgers, who are all now at risk. This petition is to urge Chatsworth to support badger vaccination, and not allow badgers to be culled on their land.
"Derbyshire has had a successful badger vaccination programme since 2014, though with the wider cull roll-outs in 2018, not even vaccinated badgers are safe.
"We are asking the Chatsworth Estate not to be involved in the slaughter."
A Chatsworth spokesperson said: "At this stage, Chatsworth will not be commenting on practises designed to control the spread of bovine tuberculosis. We take our responsibilities to our visitors, staff, tenants and local communities very seriously, and need to be mindful of the varying views on, and sensitive nature of, the subject."
'Vaccinate, don't cull'
Last year, 21 cull zones were licensed across the UK, with a total of 20,000 badgers killed.
Earlier this year, Hardyal Dhindsa, the Police and Crime Commissioner for Derbyshire, urged the Government to protect badgers in a letter.
Mr Dhindsa said: "Badgers are a protected species under the 1992 Badger Protection Act and evidence shows that shooting badgers is not a viable solution to the spread of bovine tuberculosis. If this is the case, then it doesn't make sense to pursue an expensive culling programme at the cost of the taxpayer.
"Derbyshire is at the forefront of a vaccination programme to limit the spread of this disease and there are no grounds, either scientifically or economically, to cull badgers.
"I am urging the Government to reconsider its position and to continue to invest in the vaccination programme in this county and beyond to protect what remains a threatened species for future generations."


text:
GeometryElementary Geometry for College StudentsIn Exercises 23 to 34, give the indirect proof for each problem or statement. Given: m ∠ 3 > m ∠ 4 Prove: F H → is not ⊥ to E G ↔
In Exercises 23 to 34, give the indirect proof for each problem or statement. Given: m ∠ 3 > m ∠ 4 Prove: F H → is not ⊥ to E G ↔
2.1 The Parallel Postulate And Special Angles2.2 Indirect Proof2.3 Proving Lines Parallel2.4 The Angles Of A Triangle2.5 Convex Polygons2.6 Symmetry And Transformations2.CR Review Exercises2.CT Test
In Exercises 23 to 34, give the indirect proof for each problem or statement.
Given: m ∠ 3 > m ∠ 4
Prove: F H → is not ⊥ to E G ↔
Ch. 2.1 - For Exercises 1 to 4, lm with transversal v. If...Ch. 2.1 - For Exercises 1 to 4, lm with transversal v. If...Ch. 2.1 - For Exercises 1 to 4, lm with transversal v. If...Ch. 2.1 - For Exercises 1 to 4, lm with transversal v. If...Ch. 2.1 - Use drawings, as needed, to answer each question....Ch. 2.1 - Use drawings, as needed, to answer each question....Ch. 2.1 - Use drawings, as needed, to answer each question....Ch. 2.1 - Use drawings, as needed, to answer each question....Ch. 2.1 - Use drawings, as needed, to answer each question....Ch. 2.1 - In Euclidean geometry, how many lines can be drawn...
Ch. 2.1 - Lines r and s are cut by the transversal t. Which...Ch. 2.1 - ADBC, ABDC, and mA=92. Find: a mB b mC c mDCh. 2.1 - lm, with transversal t and OQ bisects MNO. If...Ch. 2.1 - Given: lm Transversal t m1=4x+2 m6=4x2 Find: x and...Ch. 2.1 - Given: mn Transversal k m3=x23x m6=(x+4)(x5) Find:...Ch. 2.1 - Given: mn Transversal k m1=5x+y m2=3x+y m8=3x+5y...Ch. 2.1 - Given: mn Transversal k m3=6x+y m5=8x+2y m6=4x+7y...Ch. 2.1 - In the three-dimensional figure, CAAB and BEAB....Ch. 2.1 - Given: lmand34 Prove: 14 See figure below. PROOF...Ch. 2.1 - Given: lmandmn Prove: 14 PROOF Statements Reasons...Ch. 2.1 - Given: CEDF Transversal AB CX bisects ACE DE...Ch. 2.1 - Given: CEDF Transversal AB DE bisects CDF Prove:...Ch. 2.1 - Given: rs Transversal t 1 is a right Prove: 2 is...Ch. 2.1 - Given: ABDEmBAC=42mEDC=54 Find: mACD HINT: There...Ch. 2.1 - Given: ABDEmBAC+mCDE=93 Find: mACD See Hint in...Ch. 2.1 - Given: rs, rt See figure for Exercise 25. Prove:...Ch. 2.1 - In triangle ABC, line t is drawn through vertex A...Ch. 2.1 - In Exercises 30 to 32, write a formal proof of...Ch. 2.1 - In Exercises 30 to 32, write a formal proof of...Ch. 2.1 - In Exercises 30 to 32, write a formal proof of...Ch. 2.1 - Suppose that two lines are cut by a transversal in...Ch. 2.1 - Given: Line l and point P not on l Construct: PQlCh. 2.1 - Given: Triangle ABC with three acute angles....Ch. 2.1 - Given: Triangle MNQ with obtuse MNQ Construct:...Ch. 2.1 - Given: Triangle MNQ with obtuse MNQ Construct:...Ch. 2.1 - Given: A line m and a point T not on m Suppose...Ch. 2.2 - Note: Exercises preceded by an asterisk are of a...Ch. 2.2 - Note: Exercises preceded by an asterisk are of a...Ch. 2.2 - Note: Exercises preceded by an asterisk are of a...Ch. 2.2 - Note: Exercises preceded by an asterisk are of a...Ch. 2.2 - In Exercises 5 to 10, draw a conclusion where...Ch. 2.2 - In Exercises 5 to 10, draw a conclusion where...Ch. 2.2 - In Exercises 5 to 10, draw a conclusion where...Ch. 2.2 - In Exercises 5 to 10, draw a conclusion where...Ch. 2.2 - In Exercises 5 to 10, draw a conclusion where...Ch. 2.2 - In Exercises 5 to 10, draw a conclusion where...Ch. 2.2 - Which of the following statements would you prove...Ch. 2.2 - In Exercises 12 to 14, write the first statement...Ch. 2.2 - In Exercises 12 to 14, write the first statement...Ch. 2.2 - In Exercises 12 to 14, write the first statement...Ch. 2.2 - For Exercises 15 to 18, the given statement is...Ch. 2.2 - For Exercises 15 to 18, the given statement is...Ch. 2.2 - For Exercises 15 to 18, the given statement is...Ch. 2.2 - For Exercises 15 to 18, the given statement is...Ch. 2.2 - In Exercise 19 and 20, state a conclusion for the...Ch. 2.2 - In Exercise 19 and 20, state a conclusion for the...Ch. 2.2 - A periscope uses an indirect method of...Ch. 2.2 - Some stores use an indirect method of observation....Ch. 2.2 - In Exercises 23 to 34, give the indirect proof for...Ch. 2.2 - In Exercises 23 to 34, give the indirect proof for...Ch. 2.2 - In Exercises 23 to 34, give the indirect proof for...Ch. 2.2 - In Exercises 23 to 35, give the indirect proof for...Ch. 2.2 - In Exercises 23 to 34, give the indirect proof for...Ch. 2.2 - In Exercises 23 to 32, give the indirect proof for...Ch. 2.2 - In Exercises 23 to 32, give the indirect proof for...Ch. 2.2 - In Exercises 23 to 32, give the indirect proof for...Ch. 2.2 - In Exercises 23 to 32, give the indirect proof for...Ch. 2.2 - In Exercises 23 to 32, give the indirect proof for...Ch. 2.2 - In Exercises 23 to 34, give the indirect proof for...Ch. 2.2 - In Exercises 23 to 34, give the indirect proof for...Ch. 2.3 - In Exercises 1 to 6, l and m are cut by...Ch. 2.3 - In Exercises 1 to 6, l and m are cut by...Ch. 2.3 - In Exercises 1 to 6, l and m are cut by...Ch. 2.3 - In Exercises 1 to 6, l and m are cut by...Ch. 2.3 - In Exercises 1 to 6, l and m are cut by...Ch. 2.3 - In Exercises 1 to 6, l and m are cut by...Ch. 2.3 - In Exercise 7 to 16, name the lines if any that...Ch. 2.3 - In Exercise 7 to 16, name the lines if any that...Ch. 2.3 - In Exercise 7 to 16, name the lines if any that...Ch. 2.3 - In Exercise 7 to 16, name the lines if any that...Ch. 2.3 - In Exercise 7 to 16, name the lines if any that...Ch. 2.3 - In Exercise 7 to 16, name the lines if any that...Ch. 2.3 - In Exercise 7 to 16, name the lines if any that...Ch. 2.3 - In Exercise 7 to 16, name the lines if any that...Ch. 2.3 - In Exercise 7 to 16, name the lines if any that...Ch. 2.3 - In Exercise 7 to 16, name the lines if any that...Ch. 2.3 - In Exercise 17 and 18, complete each proof by...Ch. 2.3 - In Exercises 17 and 18, complete each proof by...Ch. 2.3 - In Exercises 19 to 22, complete the proof. Given:...Ch. 2.3 - In Exercise 19 to 22 complete the proof. Given: 1 ...Ch. 2.3 - In Exercise 19 to 22 complete the proof. Given: DE...Ch. 2.3 - In Exercise 19 to 22 complete the proof. Given: XY...Ch. 2.3 - In Exercise 23 to 30, determine the value of x so...Ch. 2.3 - In Exercise 23 to 30, determine the value of x so...Ch. 2.3 - In Exercise 23 to 30, determine the value of x so...Ch. 2.3 - In Exercise 23 to 30, determine the value of x so...Ch. 2.3 - In Exercise 23 to 30, determine the value of x so...Ch. 2.3 - In Exercise 23 to 30, determine the value of x so...Ch. 2.3 - In Exercise 23 to 30, determine the value of x so...Ch. 2.3 - In Exercise 23 to 30, determine the value of x so...Ch. 2.3 - In Exercises 31 to 33, give a formal proof for...Ch. 2.3 - In Exercises 31 to 33, give a formal proof for...Ch. 2.3 - In Exercises 31 to 33, give a formal proof for...Ch. 2.3 - Explain why the statement in Exercise 33 remains...Ch. 2.3 - Given that point P does not lie on the line l,...Ch. 2.3 - Given that point Q does not lie on AB, construct...Ch. 2.3 - A carpenter drops a plumb line from point A to BC....Ch. 2.3 - Given: m2+m3=90 BE bisects ABC CE bisects BCD...Ch. 2.4 - In Exercise 1 to 4, refer to ABC . On the basis of...Ch. 2.4 - In Exercise 1 to 4, refer to ABC . On the basis of...Ch. 2.4 - In Exercise 1 to 4, refer to ABC . On the basis of...Ch. 2.4 - In Exercise 1 to 4, refer to ABC . On the basis of...Ch. 2.4 - Describe the auxiliary line segment as determined,...Ch. 2.4 - Describe the auxiliary line segment as determined,...Ch. 2.4 - In Exercises 7 and 8, classify the trianglenot...Ch. 2.4 - In Exercises 7 and 8, classify the trianglenot...Ch. 2.4 - In Exercises 9 and 10, classify the triangle not...Ch. 2.4 - In Exercises 9 and 10, classify the triangle not...Ch. 2.4 - In Exercises 11 and12, make drawings as needed....Ch. 2.4 - In Exercises 11 and 12, make drawings as needed....Ch. 2.4 - In Exercises 13 to 15, jk and ABC. Given:...Ch. 2.4 - In Exercises 13 to 15, jk and ABC. Given:...Ch. 2.4 - In Exercises 13 to 15, jk and. ABC. Given:...Ch. 2.4 - Given: MNNQ and s as shown Find: x, y, and zCh. 2.4 - Given: ABDC DB bisects ADC mA=110 Find: m3Ch. 2.4 - Given: ABDC DB bisects ADC m1=36 Find: mACh. 2.4 - Given: ABC with BDCE m3=m4=30m1=m2=70 Find: mBCh. 2.4 - Given: ABC with BDCE m1=2xm3=x Find: mB in terms...Ch. 2.4 - Given: ADE with m1=m2=x Find: mDAE=x2 x, m1, and...Ch. 2.4 - Given: ABC with mB=mC=x2 Find: mBAC=x x, mBAC, and...Ch. 2.4 - Consider any triangle and one exterior angle at...Ch. 2.4 - Given: Right ABC with right C m1=7x+4m2=5x+2 Find:...Ch. 2.4 - In Exercises 25 to 27 , see the figure for...Ch. 2.4 - In Exercises 25 to 27 , see the figure for...Ch. 2.4 - In Exercises 25 to 27 , see the figure for...Ch. 2.4 - Given: m1=8(x+2)m3=5x3m5=5(x+1)2 Find: xCh. 2.4 - Given: Find: , , andCh. 2.4 - Given: Equiangular RST Prove: RV bisects SRT RVS...Ch. 2.4 - Given: and intersect Prove: at ;Ch. 2.4 - The sum of the measures of two angles of a...Ch. 2.4 - Draw, if possible, an a isosceles obtuse triangle....Ch. 2.4 - Draw, if possible, a a right scalene triangle. b...Ch. 2.4 - Along a straight shoreline, two houses are located...Ch. 2.4 - An airplane has leveled off is flying horizontally...Ch. 2.4 - On a map, three Los Angeles suburbs are located at...Ch. 2.4 - The roofline of a house shows the shape of a right...Ch. 2.4 - A lamppost has design such that mC=110 and AB....Ch. 2.4 - For the lamppost of Exercise 39, Suppose that...Ch. 2.4 - The triangular symbol on the PLAY button of a DVD...Ch. 2.4 - A polygon with four sides is called quadrilateral....Ch. 2.4 - Explain why the following statement is true. Each...Ch. 2.4 - Explain why the following statement is true. The...Ch. 2.4 - In Exercises 45 to 47, write a formal proof for...Ch. 2.4 - In Exercises 45 to 47, write a formal proof for...Ch. 2.4 - In Exercises 45 to 47, write a formal proof for...Ch. 2.4 - Given: AB, DE and CF ABDE CG bisects BCF FG...Ch. 2.4 - Given: NQ bisects MNP PQ bisects MPR mQ=42 Find:...Ch. 2.4 - Given: In rt ABC, AD bisects CAB and BF bisects...Ch. 2.5 - For Exercises 1 and 2, consider a group of regular...Ch. 2.5 - For Exercises 1 and 2, consider a group of regular...Ch. 2.5 - Given: ABDC, ADBC, AEFC, with angle measures as...Ch. 2.5 - In pentagon ABCDE with BDE, find the measure of...Ch. 2.5 - Find the total number of diagonals for a polygon...Ch. 2.5 - Find the total number of diagonals for a polygon...Ch. 2.5 - Find the sum of the measures of the interior...Ch. 2.5 - Find the sum of the measures of the interior...Ch. 2.5 - Find the measure of each interior angle of a...Ch. 2.5 - Find the measure of each interior angle of a...Ch. 2.5 - Find the measures of each exterior angle of a...Ch. 2.5 - Find the measures of each exterior angle of a...Ch. 2.5 - Find the number of sides for a polygon whose sum...Ch. 2.5 - Find the number of sides for a polygon whose sum...Ch. 2.5 - Find the number of sides for a regular polygon...Ch. 2.5 - Find the number of sides for a regular polygon...Ch. 2.5 - Find the number of sides for a regular polygon...Ch. 2.5 - Find the number of sides for a regular polygon...Ch. 2.5 - What is the measure of each interior angle of a...Ch. 2.5 - Lug bolts are equally spaced about the wheel to...Ch. 2.5 - In Exercises 21 to 26, with P={allpolygons} as the...Ch. 2.5 - In Exercises 21 to 26, with P={allpolygons} as the...Ch. 2.5 - In Exercises 21 to 26, with P={allpolygons} as the...Ch. 2.5 - In Exercises 21 to 26, with P={allpolygons} as the...Ch. 2.5 - In Exercises 21 to 26, with P={allpolygons} as the...Ch. 2.5 - In Exercises 21 to 26, with P={allpolygons} as the...Ch. 2.5 - Given: Quadrilateral RSTQ with exterior s at R and...Ch. 2.5 - Given: Regular hexagon ABCDEF with diagonal AC and...Ch. 2.5 - Given: Quadrilateral RSTV with diagonals RT and SV...Ch. 2.5 - Given: Quadrilateral ABCD with BAAD and BCDC...Ch. 2.5 - A father wishes to make a baseball home plate for...Ch. 2.5 - The adjacent interior and exterior angles of a...Ch. 2.5 - Find the measure of each a acute interior angle of...Ch. 2.5 - Find the measure of each a acute interior angle of...Ch. 2.5 - Consider any regular polygon; find and join in...Ch. 2.5 - Consider a regular hexagon RSTUVW. What does...Ch. 2.5 - The face of a clock has the shape of a regular...Ch. 2.5 - The top surface of a picnic table is in the shape...Ch. 2.5 - Consider a polygon of n sides deter-mined by the n...Ch. 2.5 - For the concave quadrilateral ABCD, explain why...Ch. 2.5 - If mA=20, mB=88 and mC=31, find the measure of the...Ch. 2.5 - Is it possible for a polygon to have the following...Ch. 2.5 - Is it possible for a regular polygon to have the...Ch. 2.5 - Draw a concave hexagon that has: a one interior...Ch. 2.5 - Draw a concave pentagon that has: a one interior...Ch. 2.5 - For concave pentagon ABCDE, find the measure of...Ch. 2.5 - For concave hexagon HJKLMN, mH=y and the measure...Ch. 2.6 - Which letters have symmetry with respect to a...Ch. 2.6 - Which letters have symmetry with respect to a...Ch. 2.6 - Which letters have symmetry with respect to a...Ch. 2.6 - Which letters have symmetry with respect to a...Ch. 2.6 - Which geometric figures have symmetry with respect...Ch. 2.6 - Which geometric figures have symmetry with respect...Ch. 2.6 - Which geometric figures have symmetry with respect...Ch. 2.6 - Which geometric figures have symmetry with respect...Ch. 2.6 - Which words have a vertical line of symmetry? DAD...Ch. 2.6 - Which words have a vertical line of symmetry? WOW...Ch. 2.6 - Complete each figure so that it has symmetry with...Ch. 2.6 - Complete each figure so that it has symmetry with...Ch. 2.6 - Complete each figure so that it reflects across...Ch. 2.6 - Complete each figure so that it reflects across...Ch. 2.6 - Suppose that ABC slides to right to the position...Ch. 2.6 - Suppose that square RSTV slides point for point to...Ch. 2.6 - Given that the vertical line is a line of...Ch. 2.6 - Given that the horizontal line is a line of...Ch. 2.6 - Given that the each letter has symmetry with...Ch. 2.6 - What word is produced by 180 rotation about the...Ch. 2.6 - What word is produced by 180 rotation about the...Ch. 2.6 - What word is produced by 360 rotation about the...Ch. 2.6 - In which direction clockwise or counterclockwise...Ch. 2.6 - In which direction clockwise or counterclockwise...Ch. 2.6 - Considering that the consecutive dials on the...Ch. 2.6 - Considering that the consecutive dials on the...Ch. 2.6 - Describe the types of symmetry displayed by each...Ch. 2.6 - Describe the types of symmetry displayed by each...Ch. 2.6 - Given a figure, which of the following pairs of...Ch. 2.6 - Given a figure, which of the following pairs of...Ch. 2.6 - A regular hexagon is rotated about a centrally...Ch. 2.6 - A regular octagon is rotated about a centrally...Ch. 2.6 - ABC is the image of ABC following the reflec- tion...Ch. 2.6 - XYZ is the image of XYZ following a 100...Ch. 2.6 - Hexagon ABCBAD is determined when the open figure...Ch. 2.6 - Rectangle BCAC is formed when the right ABC is...Ch. 2.CR - If m1=m2, which lines are parallel?Ch. 2.CR - Given: m13=70 Find: m3Ch. 2.CR - Given: m9=2x+17m11=5x94 Find: xCh. 2.CR - Given: mB=75mDCE=50 Find: mD and mDEFCh. 2.CR - Given: mDCA=130mBAC=2x+ymBCE=150mDEC=2xy Find: x...Ch. 2.CR - Given: ACDFAEBFmAEF=3ymBFE=x+45mFBC=2x+15 Find: x...Ch. 2.CR - For Review Exercises 7 to 11 use the given...Ch. 2.CR - For Review Exercises 7 to 11, use the given...Ch. 2.CR - For Review Exercises 7 to 11, use the given...Ch. 2.CR - For Review Exercises 7 to 11, use the given...Ch. 2.CR - For Review Exercises 7 to 11, use the given...Ch. 2.CR - For Review Exercises 12 to 15 , find the values of...Ch. 2.CR - For Review Exercises 12 to 15 , find the values of...Ch. 2.CR - For Review Exercises 12 to 15, find the values of...Ch. 2.CR - For Review Exercises 12 to 15 , find the values of...Ch. 2.CR - Given: m1=x212 m4=x(x2) Find: x so that ABCDCh. 2.CR - Given: ABCDm2=x23x+4m1=17xx25mACE=111 Find: m3,...Ch. 2.CR - Given: DCAB ACmA=3x+ymD=5x+10mC=5y+20 Find: mBCh. 2.CR - For Review Exercises 19 to 24, decide whether the...Ch. 2.CR - For Review Exercises 19 to 24, decide whether the...Ch. 2.CR - For Review Exercises 19 to 24, decide whether the...Ch. 2.CR - For Review Exercises 19 to 24, decide whether the...Ch. 2.CR - For Review Exercises 19 to 24 , decide whether the...Ch. 2.CR - For Review Exercises 19 to 24, decide whether the...Ch. 2.CR - Complete the following table for regular polygons....Ch. 2.CR - For Review Exercises 26 to 29, sketch, if...Ch. 2.CR - For Review Exercises 26 to 29, sketch, if...Ch. 2.CR - For Review Exercises 26 to 29, sketch, if...Ch. 2.CR - For Review Exercises 26 to 29, sketch, if...Ch. 2.CR - For Review Exercises 30 and 31, write the...Ch. 2.CR - For Review Exercises 30 and 31, write the...Ch. 2.CR - Which statementthe converse, the inverse, or the...Ch. 2.CR - Given: ABCF23 Prove: 13Ch. 2.CR - Given: 1 is complementary to 2; 2 is complementary...Ch. 2.CR - Given: BEDACDDA Prove: 12Ch. 2.CR - Given: ACDCAB Prove: DACBCh. 2.CR - For Review Exercises 37 and 38 , give the first...Ch. 2.CR - For Review Exercises 37 and 38 , give the first...Ch. 2.CR - Given: mn Prove: 12Ch. 2.CR - Given: 13 Prove: mnCh. 2.CR - Construct the line through C parallel to AB.Ch. 2.CR - Construct an equilateral triangle ABC with side...Ch. 2.CR - Which block letters have a line symmetry at least...Ch. 2.CR - Which figures have a) line symmetry at least one...Ch. 2.CR - When ABC slides to its image DEF, how are ABC and...Ch. 2.CR - Complete the drawing so that the figure is...Ch. 2.CR - Through what approximate angle of rotation must a...Ch. 2.CT - Consider the figure shown at the right. a Name the...Ch. 2.CT - In the accompanying figure, m2=68, m8=112, and...Ch. 2.CT - To prove a theorem of the form "If P, then Q" by...Ch. 2.CT - Assuming that statements 1 and 2 are true, draw a...Ch. 2.CT - Let all of the lines named be coplanar. Make a...Ch. 2.CT - Through the point A, construct the line that is...Ch. 2.CT - For ABC, find mB if a mA=65 and mC=79...Ch. 2.CT - a What word describes a polygon with five sides?...Ch. 2.CT - a Given that the polygon shown has six congruent...Ch. 2.CT - Consider the block letters A, D, N, O, and X....Ch. 2.CT - Which type of transformation slide, reflection, or...Ch. 2.CT - In the figure shown, suppose that ABDC and ADBC....Ch. 2.CT - If m1=x+28 and m2=2x26 find the value x for which...Ch. 2.CT - In the figure shown, suppose that ray CD bisects...Ch. 2.CT - In the figure shows, ACE is an exterior angle of...Ch. 2.CT - In Exercises 16 and 18 , complete the missing...Ch. 2.CT - In Exercise 16 and 18, complete the missing...Ch. 2.CT - In Exercises 16 and 18 , complete the missing...Ch. 2.CT - In XYZ, XYZ is trisected by YW and YV. With angle...
Review Exercises State whether the statements in Review Exercises 1 to 12 are always true A, sometimes true S, ...
Precision Manufacturing produces 20,000 machine nuts daily. There is an allowance of 1% error. Quality control ...
In Exercises 1 to 6, use the roster method to represent each set. The set of counting numbers larger than –3 ...
In the congruences axb(modn) in Exercises 4053, a and n may not be relatively prime. Use the results in Exercis...
For Problems 9-17 assume that the distribution of differences d is mound-shaped and symmetric. Please provide t...
Suppose that when the pH of a certain chemical compound is 5.00, the pH measured by a randomly selected beginni...
26. Menu selections A restaurant has an early dining fixe prix (fixed price) dinner special that offers one sou...
Kalya has the capacity to record 4 minutes of video on her cellular phone. She currently has 312 minutes of vid...
In Exercises 57, find the slope and y-intercept (if possible) of the equation of the line. Then sketch the grap...
Verifying a Formula In Exercises 49-54, verify the integration formula. (lnu)ndu=u(lnu)nn(lnu)n1du
Finding or Evaluating an Integral In Exercises 55-62, find or evaluate the integral. cos1+cosd
INVESTMENTS Alicia invested 10,000 at the rate of 8%/year compounded semiannually. At the end of 4 years, she w...
Write out the form of the partial fraction decomposition of the function (as in Example 7). Do not determine th...
Solve triangle ABC given the following information. a=42 b=56.8 m, and c=63.4 m
In Exercises 1-4, use the graph of the function f to find approximations of the given values. a. f(1) b. f(0) c...
Find a parabola y = ax2 + bx + c that passes through the point (1, 4) and whose tangent lines at x = 1 and x = ...
For the following sample of n = 10 scores: a. Assume that the scores are measurements of a discrete variable an...
For the following set at scores: 1. Construct a frequency distribution table to organize the scores. 2. Draw a ...
Crickets The mountain retreat near Puerto Vallarta was so quiet at night that all one could hear was the chirpi...
Show, using implicit differentiation, that any tangent fine at a point P to a circle with center O is perpendic...
For each of the following, identify the type of fraction and write it in word form. 2.
Find the Maclaurin series for f(x) using the definition of a Maclaurin series. [Assume that f has a power serie...
Expand each expression in Exercises 122. (y+3)(y+4)
Finding a One-Sided Limit In Exercises 3754, find the one-sided limit (if it exists). limx3+(x3+cotx2)
Two sociologists administered questionnaires to samples of undergraduates that measured attitudes toward interp...
Fill in the blanks. 6. The statement limxa f(x) = L means that the values of __________ can be made as close to...
The graph of g is shown. Estimate 24g(x)dx with six subintervals using (a) right endpoints, (b) left endpoints,...
Horizontal Shifts Find the amplitude, period, and horizontal shift of the function, and graph one complete peri...
Sometimes, Always, or Never: The sum of two elementary functions is an elementary function.
The normal plane to at t = 1 has equation:
Precalculus or Calculus In Exercises 3-6.decide whether the problem can be solved using precalculus or whether ...
Suppose that each observation in a single-factor ANOVA data set is multiplied by a constant c (a change in unit...
Explain the advantages and disadvantages of using random assignment as a method to prevent individual differenc...
Express the fractions in each of the following sets as equivalent fractions having the least common denominator...
Consider the following results for independent samples taken from two populations. Sample 1 Sample 2 n1 = 400 n...
Write an equation in standard form of each of each ellipse described. Foci at (8,5) and (4,5); b=3
Finding an Indefinite Integral In Exercises 19-32, find the indefinite integral. 14+4x2+x4dx
A researcher wants to describe how fine motor skills change as a group of infants age from 18 to 24 months. Des...
A CBS News/New York Times survey found that 97% of Americans believe that textingwhile driving should be outlaw...
Finding a Jacobian In Exercises 3-10, find the Jacobian (x,y)/(u,v) for the indicated change of variables. x=12...
53. Suppose N = 15 and r = 4. What is the probability of x = 3 for n = 10?
A bakery produces six different kinds of pastry, one of which éclair. Assume there are at least 20 patries of e...
In Exercises 43-66, do the following. a. Perform the given computation, working solely in the given base. b. Ch...
Reminder Round all answers to two decimal places unless otherwise indicated. Quarterly Sawtimber PricesThis is ...
In Exercises 63-66, find the standard form of the equation of the parabola with the given characteristics. Focu...
For the following exercises, use properties of logarithms to write the expressions as a sum, difference, and or...
In Problems 33 and 34 use (14) to solve the given initial-value problem. X=(1111)X+(1/t1/t),X(1)=(21).
In the following exercises, evaluate each definite integral using the Fundamental Theorem of Calculus, Part 2. ...
Use the following information to answer the next two exercises. Suppose that you have eight cards. Five are gre...
5. Suppose an experiment has five equally likely outcomes: E1, E2, E3, E4, E5. Assign probabilities to each out...


text:
A Lucky Ethereum Miner Extracted A Block Worth $540,000
By CNF Last updated Jan 22, 2022
An Ethereum miner who successfully extracted a complete block won 170 ETH, which is nearly $540,000 in U.S. dollars.
Even though some argue that ethereum mining (still using proof-of-work) is harmful to the environment, the process is still flourishing. Some people even try their luck in extracting entire blocks on their own.
One such miner earlier this week earned 170 ETH for mining the entire block. At today's prices, this amount of tokens is worth about $480,000. However, at the time of extraction, the value of these ETH oscillated around 540 000 USD. The reward far exceeds the average block reward of about 4 ETH.
A single miner worked through the 2Miners: Solo pool. It is a relatively small organization, consisting of 854 miners and operating a hash rate of 1.5 trespasses per second. This means that the average miner delivers 1.85 gigahash per second (GH/s).
Earlier this month, a single bitcoin miner was also lucky and received a block reward of 6.25 BTC. Interestingly, the chances of this happening were estimated at just 0.000073%. The event took place in the Solo CK pool, and the prize was worth over $267,000 at the time.
Environmental group sues New York over licencing…
Although the odds are extremely low, the same thing happened a day later when another individual miner repeated the feat.
Currently, the proof-of-work consensus is used by the two cryptocurrency elites, Bitcoin and Ether, to maintain their dominance. As a result of the recent controversy surrounding this model, experts have concluded that it represents a significant environmental threat.
Erik Thedéen, Vice-President of the European Securities and Markets Authority (ESMA), became the latest member of the club just a few short days ago. The proof-of-work mining methodology, in his opinion, should be banned, and a less energy-intensive proof-of-stake mining methodology should be encouraged instead.
Ethereum 2.0 is on track to launch this summer, and it will make its greener, proof-of-stake debut. This means that Vitalik Buterin's protocol will become a natural proof-of-stake system.
Read Also: NFT Verified Profile Picture Feature Now Available On Twitter
Crypto MiningcryptocurrencyETHEthereumMining
NFT Verified Profile Picture Feature Now Available On Twitter
Currency.Com Reacted To The Central Bank's Proposal To Ban Cryptocurrencies
Environmental group sues New York over licencing of crypto mining plant
The Norwegian government will not ban bitcoin mining
The US imposes sanctions on a Russian crypto mining company
Crypto mining may allow Russia to bypass sanctions, says IMF
Cardano Processes 500x Greater Volume Than Ethereum
Ethereum Network Burned 1.2 Million ETH In Just 4…
Coinbase-Backed DeSo Disrupts Telegram, WhatsApp, and…
Platypus Launches Native Stablecoin USP
Pro-Bitcoin Senator Will Introduce a Comprehensive…


text:
Angelica Bell
Angelica Bell currently serves as the artistic director of Factory Street Studio, a nonprofit and non-competitive dance studio in Southeast Ohio. Additionally, Angelica serves as adjunct faculty at Ohio University. Angelica's career has been dedicated to performing, teaching, and curating opportunities for community engagement through dance. She completed her BFA in dance at San Diego State University in 2011 and proceeded to perform professionally in California. Angelica simultaneously served as an academic coach and dance teacher for children and adults with special needs in K-12 and studio contexts. She was the dance director and resident choreographer at R.…
Alan Bomar Jones
Drama/Theatre, Film/Video/Media
Alan Bomar Jones is a professional international actor, teacher, director, and artist-in-residence for Ohio Arts Council-supported programs. He has 30 years combined teaching experience at Dayton Public Schools, Greene County School District, Sinclair Community College, and Wright State University. Alan is also a resident artist with the Human Race Theatre Company. He is currently the producing artistic director for Town Hall Theatre in Centerville, Ohio.
As an actor, Alan has appeared in more than 80 professional theatrical productions that have allowed him to work in several cities in the United States and Canada.…
Joanie Calem
Music, Dance/Movement, & Storytelling
Joanie Calem has been a performing musician and music teacher since 1983. She graduated from the Rubin Academy of Music in Jerusalem, Israel, with a major in piano and went on to study music education at the Levinsky Teaching Seminar in Ramat Aviv, Israel. She studied composition with composer Hagar Kadima in Tel Aviv, Israel, and completed her degree, music in community building, at DePaul University in Chicago, Illiinois. Having lived overseas for 23 years, Joanie is well versed in multi-cultural experiences and cross-cultural interchanges. Joanie moved to the Columbus, Ohio, area in 1998 and has been teaching music and performing all over the Midwest ever since.…
Lynette Ford
Storytelling & Spoken Word
Fourth-generation storyteller Lynette (Lyn) Ford is a teaching artist with the Ohio Alliance for Arts Education, a Thurber House mentor to young writers, a storytelling and story-writing coach, a Certified Laughter yoga teacher, and a great-grandma.
For more than 25 years, Lyn has provided stories for libraries and schools, keynote and closing presentations, workshops at universities, education and literacy conferences, and featured programs at some of the most prestigious storytelling conferences and festivals in the United States, Australia, and Ireland.
Lyn is the author of two story collections from her family's heritage of tales.…
Baba Jubal Harris
African Music, Drum Making, & Storytelling
Baba Jubal is a pioneer in the emerging field of Arts Integrated Education. For 30 years, he has conducted artist residencies, performances, workshops, teacher in-service, and professional development that have made a substantial contribution to the cultural and educational life of communities throughout the state of Ohio and the United States. He has developed an innovative methodology that integrates art, science, math, music, social studies, dance, language, and history into the core curriculum. His multiple-intelligence approach is holistic in application, resulting in measurable improvement of student academic achievement. Above all, his love of life and the joy of sharing his many creative talents inspire students to learn.…
Poetry, Creative Arts, Theatre, & Wholistic Practitioner
Poet, producer, activist, educator, and entrepreneur Sierra Leone captivates audiences with her unassuming ingenuity, profound insight, and comedic sense of "knowing."
A Governor's Award winner and writer, Sierra is the president and artistic director of OFP Theatre and Production Company. For more than a decade, Ohio has benefited from Sierra's vision of creative urban arts as a powerful artistic medium to bring communities together across racial, cultural, ideological, and economic divides. Her project "The Signature: A Poetic Medley Show" presents a hybrid of urban poetry, music, dance, and visual arts from local, regional, and international talent.…
Candace Mazur-Darman
For more than 35 years, Candace Mazur Darman (MEd, Univ. of Northern Colorado) has been a successful teaching artist in central Ohio. She is the founder of Dramatic Impact, a nationally acclaimed children's theatre company. As a teaching artist for VSA Ohio, the Ohio Alliance for Arts Education, and for education programs supported by the Ohio Arts Council, Darman works in inclusive classrooms to enhance teaching and learning through arts-integrated residencies and differentiated curriculum. She was recognized by the Greater Columbus Arts Council as the 2015 Outstanding Arts Educator.
Throughout her long and active career, Darman has vigorously advocated for the promise of arts education and the lifelong learning it inspires, for the importance of honoring and celebrating play, natural creativity, imagination, and improvisation.…
Ray McNiece
Performance Poetry & Storytelling
Ray McNiece is the author of eight books of poems and monologues, most recently Breath Burns Away, New Haiku. He has created two solo theatre works: Dis – Voices From a Shelter and Us? Talking Across America; two music/poetry collaborations: "Mouth Music" and "A Rust bowl Hootenanny;" and an autobiography on stage: The Lives of A Poet. The Orlando Sentinel reporting on Ray's solo show at the Fringe Festival called him "a modern day descendant of Woody Guthrie. He has a way with words and a wry sense of humor." In a review of Us?…


text:
EDD fraud mess: Judge sides with jobless…
EDD fraud mess: Judge sides with jobless workers against big bank
Judge issues preliminary injunction devised to keep mega bank from blocking unemployment benefits amid EDD fraud woes
State Employment Development ( EDD ) headquarters (right) at the Capitol Mall complex in Sacramento.
PUBLISHED: June 2, 2021 at 2:58 p.m. | UPDATED: June 3, 2021 at 7:28 a.m.
A federal judge has ordered Bank of America to unfreeze the accounts of unemployed California workers whose benefits were blocked because the financial behemoth presumed the payments could be linked to fraud.
The U.S. District Court in San Francisco, through a preliminary injunction, also blocked Bank of America from automatically freezing payments of unemployment benefits if the accounts are flagged by an automated filter devised to identify potential fraud.
The banking titan froze numerous accounts of unemployed California workers because the company used an automated filter to halt payments if the computers indicated the accounts could be linked to fraud.
Hundreds of thousands of California workers who lost their jobs might potentially be affected.
The judge's ruling is a fresh twist in a wide-ranging fraud scandal that has engulfed the state Employment Development Department and countless California workers who lost their jobs in the wake of government-ordered business shutdowns to combat the coronavirus.
The EDD contracted with Bank of America to provide secure accounts for the processing of unemployment benefits, including the issuing and handling of debit cards that workers could use to access their benefit payments.
In January, alarmed that Bank of America had frozen many unemployment payments due to fraud concerns, law firm Cotchett, Pitre & McCarthy sued the bank through a class action on behalf of affected workers. Law firm Altshuler Berzon has teamed up with the Cotchett firm to represent the affected workers.
"Not only did the bank fail to implement basic security measures, it then treated EDD cardholders who were the victims of fraud as if they were the criminals, often freezing them out of their accounts for months on end," said Brian Danitz, a partner at Cotchett, Pitre & McCarthy.
U.S. District Court Judge Vince Chhabria has issued an order with an array of provisions.
The order prohibits Bank of America from:
— Freezing accounts based on the Bank's automated fraud filter
— Denying claims of unauthorized transactions based on the automated filter
— Denying claims or provisional credit without conducting an investigation
— Denying claims without providing a written explanation of the Bank's findings
The judge also ordered Bank of America to:
— Reopen any claim the Bank closed or denied based on its automated fraud filter, and provide written notice to cardholders that their claims have been reopened
— Provide provisional credit if the new or reopened claim cannot be resolved within 10 business days, and complete the investigation within 45 days
— Establish direct toll-free numbers for affected workers.
— Staff bank call centers so that the average speed to answer is no more than five minutes, 90% of the time
The class-action lawsuit will next focus on the root cause of the massive card hacking and whether Bank of America blundered by not using state-of-the-art chips on the debit cards. The bank is using the older magnetic stripe technology for the cards.
California's surprisingly solid job market
"The bank's failure to comply with its legal and contractual obligations has caused incalculable harm to unemployment insurance recipients," said Stacey Leyton, an attorney with law firm Altshuler Berzon. "This injunction is critical because it will restore much-needed benefits."
Bank of America officials noted that the judge directed the bank and the unemployed workers to craft an agreement for how to review claims, a deal that was submitted to the court and then approved.
"With this agreement, we are committing to additional measures to help those entitled to unemployment benefits receive those benefits as quickly as possible," Bank of America spokesperson Bill Halldin said.
During March and April of 2020, a jaw-dropping 2.71 million California workers lost their jobs at the outset of the business shutdowns to combat the coronavirus. In April of this year, a stunning 1.58 million California residents were still unemployed.
Making matters worse, California workers seeking government assistance have encountered a bureaucratic maze of obstacles caused by a string of EDD miscues.
EDD failures include a broken phone center, glitch-hobbled computer system, suspended benefit payments, and fraud.
"My account was emptied by unauthorized transactions on my Bank of America EDD debit card," said Jennifer Wick, a San Francisco resident and real estate agent who is the named plaintiff in the class action complaint.


text:
On Ethics: A propos of Antigone
Philippe Lacoue-Labarthe
Lecture held in may 1990, published, in French, in Collège International de Philosophie, ed., Lacan et les philosophes (Paris: Albin Michel, 1991), pp. 21-36.
Allow me to inscribe here the following excerpt from Jacques Lacan's text:
The register of being of he who could be placed by a name must by necessity be preserved by the funerary act.
Why does ethics require a theatre?
And why does the ethical aim want not to know anything about this theatre?
On May 25, 1960, Lacan undertook his reading of Antigone, which he would entitle The Ethics of Psychoanalysis (L'Ethique de la psychanalyse), a topic which should not be held to be secondary or subordinate. Quite the opposite, in his opinion, the subject concerned the essential, namely, the possible historial [historiale] inscription of psychoanalysis. But this could equally lead to the development, and the limits of knowledge, of a teaching which supposedly imposed itself (through the written text as well: Lacan was resolved to rewrite this seminar). Among the various pieces of evidence, there is the famous opening of his seminar "Encore" (1972-1973), the tone of which I am unfortunately unable to reproduce:
In the end, I did not publish The Ethics of Psychoanalysis. At that time it was for me a form of politeness‑after you, I beg you, please, [je vous en prie]‑I "worse" you ["je vous en pire"]. With time I realized I was able to say a bit more, only to subsequently realize that what motivated my plodding rhythm [cheminement] was of the order of I don't want to know anything about it ["je n'en veux rien savoir"].
That, without a doubt, is why I am still there, and why you too, you too are there. I am always astonished at that… still [encore].
What has been an advantage for me for some time is that there is also in you, in the great mass of those who are there, an I don't want to know anything about it. Only, and this is essential, is it indeed the same thing?
Your I don't want to know anything about it, about a certain knowledge transmitted to you in bits and starts of yours, is that what it is about in me? I doubt it, and it is indeed the supposing myself as coming from an elsewhere other than yours, in this I don't want to know anything about it, that you see yourself linked to me. Consequently, if it is true that I can only be, to you, in the position of analysand of my own I don't want to know anything about it, then from here on out, up to the point where you attain the same status, there will be a fee.[1]
Reopening the question of ethics at that time required a certain courage. And it was not only because the period was not conducive to this type of preoccupation or that the attempt to dismantle the indecent humanism‑which continued to be exhibited as if nothing were going on at the university or elsewhere‑required nothing less than all the rigorous indifference of structuralism. In reality, the century had forbidden ethics, a ban made evident, for contradictory reasons, by the embarrassed precipitation of Sartre (the reverse of that indefinitely promised Moral) and by Heidegger's Letter on Humanism, as well as by the fact that Marxism, despite what had been exposed in existing systems of socialism, had taken the place of morals. For those who did not shirk the need of thinking, the path towards ethics, or simply in the direction of the question of ethics, was extremely perilous. It called for nothing less than a complete re-elaboration of the question. And Lacan was well aware of this.
Such a re-elaboration would have to satisfy two conditions.
First, the imperative‑and not only because it was compelled by Heidegger‑to acquire a total perspective of the history of philosophy, if indeed it is philosophy that founded ethics and that‑but not alone‑sustained this project over time.
Second, the necessity‑due to the fact (position oblige) that the enterprise had begun with "the question of knowing what are the general ethical consequences entailed in the relation to the unconscious such as had been brought up by Freud"[2], to move in the direction of what I would term arch-ethics, in keeping with a dual modality of the arché:
l. "Arché" in reference to what Freud states concerning the origin of ethics: on the one hand, insofar as the origins of analysis are themselves‑as is often recalled‑of an ethical character, since Freud "started out with an initial, central intuition, which is ethical in kind"[3], and ethics is in practice "the most essential level"[4] of psychoanalysis; and, on the other hand, insofar as, in Freudian metapsychology it is possible to "uncover the traces of a theory that reflects an ethical thought"[5] and insofar as the so-called "anthropological" texts of Freud‑which, incidentally, Lacan tries seriously to reevaluate‑deal exclusively with the origin of ethics;
2. "Arché" in reference to the search for an ethics more original than the philosophical ethics that dominates‑albeit not alone‑the sphere of Western morality and which may be broadly defined as an ethics of the good. The approach here is analogous to the Heideggerian Schritt zurück, the "step backwards" [pas en arrière], with the same ambiguity (that Heidegger will eventually dissipate) concerning the zurück ("Backwards", "to the rear"), because the question of a return to the "prior to" the ethics of the good, that is, of a return all the way to its very possibility (according to a line of questioning which is fundamentally transcendental), does not always prevent‑far from it‑this "prior to" from taking on a temporal or historical significance, insofar as the historicity of ethics, as Lacan insists, is tied to that of the unconscious‑one might even say: insofar as there is a historiality [Historiale] of the death drive.
In the course of this retrocession, from Freud to Aristotle, via Bentham and Kant (among others) Lacan encounters Antigone‑the heroine (or the figure) and the poem, not necessarily the piece. Moreover, in this anabasis of sorts from the hypothesis of the unconscious back to the source of ethics, the source lies beyond a certain theology, "the literary art, so close to the domain of ethics."[6]
The moment is decisive: what is at stake is nothing less than "to cross the line"[7]. And‑Lacan may protest as much as he wants: "It is not about what we are doing here, but about what happens in the world where we live"‑the "theoretical" stakes are high: in the return to Antigone lies the "historial" possibility of establishing a beyond of the ethics of the good. This is what Lacan will later, after the completion of the reading of Antigone, call the "tragic ethics of psychoanalysis." In the double sense of the genitive.
What is the line to be crossed?
(This is the language of a certain German Nietzscheism, and in particular that of Ernst Jünger, whose book Über der Linie ("Beyond the Line"), considers the possibility of crossing the line of nihilism. Heidegger, increasingly circumspect with regard to the thematics of crossing or surmounting (Überwindung), had responded to Jünger in 1955, in a text initially entitled "Über "die Linie"", "About 'the Line'", [and subsequently in his Zur Seinsfrage, "Contribution to the Question of Being"]. It is possible that Lacan did not know this, but he certainly would have been very interested.)
The line to be crossed is "the barrier erected by the structure of the world of the good"[8]. And if the line is to be crossed, it is because "the sphere of the good erects a strong wall across the path of our desire"[9]. Desire is the enemy of the good, that is to say, of pleasure. But this line is a historical frontier which, as we know, concerns "what happens in the world" today. Underlying the malaise detected by Freud, this means that the world of the good is historically revealed to be the world of evil‑radical evil‑as epitomized not only by the famous reversibility of "Kant with Sade," but also by the unending murders under the reign of the politics of happiness (because the morality of the good, in order to preserve itself, only engenders a politics). Clarifications, or historic-political allusions are not absent from Lacan's text: what the entire West had conceived, with horror, as Hell; that "beyond" of death that is still life, without name or face; that pure suffering which has been brought about to the point of crime, and even to the possibilities of its techniques; all that has been openly generalized, that crime which Sade considers to be a "second death," by which it would be that "man is given the power to liberate nature from its own laws.[10]" This is why this revelation is accompanied by another, no less historic, that "the movement of desire is in the process of crossing the line of a sort of historic unveiling"[11]. This revelation is provided by the Freudian discovery of the death drive.
Hence, a line is crossed‑"here and now, and not ad aeternum"[12]. It is up to psychoanalysis, as ethics or arch-ethics, not only to designate but also to try to gain access to the beyond of this line. It comes from a "hope"[13], says Lacan with particular gravity, a gravity one might expect from a thought haunted (as is constantly apparent) by a catastrophic eschatology: if there is no hope, no promise of a hope, if the threshold cannot be crossed, then it is the end, the world of the good turns "to drag us to our destruction"[14], we are on the edge of disaster. This must be taken literally if one doesn't know whether to expect "the integration of nature or its disintegration"[15], from this "discourse that emerged from the little letters of mathematics"[16], from this "discourse that, by its very structure, forgets nothing," and that affects the "omnipotence" of the signifier.
At that point, another barrier arises: that of knowledge:
The formidable unknown beyond the line is what, in man, we call the unconscious, that is to say, the memory of what he forgets[17].
What is beyond this barrier? Do not forget that even if we know that there is a barrier and that there is a beyond – we know nothing of what is beyond[18].
In its own cycle, the unconscious presents itself now, for us, and although it is located as such, as the field of a non-knowledge[19].
To cross the line‑you are certainly familiar with the Bataillian resonance of this word, non-knowledge‑is to cross the limits of knowledge, which one might also write as Knowledge [Savoir], with a capital K, or Science, in the manner in which it is necessary, in French, to transcribe the terminology of speculative Idealism, because what is to be crossed is none other than what Heidegger, in the aforementioned 1955 text, called the barrier or the enclosure (Schranke) of metaphysics, that is, of philosophy.
Consequently, the choice of Antigone and of Greek tragedy is not accidental. Lacan knows that tragedy, after Kant (and by extension, after Sade) is the decisive test of philosophy: it is in the interpretation of tragedy that the possiblity of philosophy, the opportunity of its reassurance and its accomplishment, is played out‑or, inversely, the hope to get over it, step beyond it, an access to another thought. This is true of Hegel and Schelling, of Hölderlin, Kierkegaard and Nietzsche‑and is even more true, and close to us, of Benjamin and Heidegger. Lacan does not escape from this rule any more than the Derrida of Glas does.
Tragedy lies "prior to" philosophy; that is to say, prior to Plato who erects philosophy against it. Depending on the emphasis brought to bear on this "against" and the interpretation it is given, either tragedy potentially bears hiddem in it the entire unfolding of philosophy (this being the dialectical version); or tragedy is a document more ancient or archaic than philosophy, before which the latter serves as a screen. But there a thought lurks that philosophy has obnubilated or forgotten. This is, of course, the version Lacan embraces out of respect for the Heideggerian process, and while taking into account the ambiguity which I mentioned above. However, the fact that tragedy simply occurred before the elaboration of the idea of a Sovereign Good,[20] and that it is necessary to underline the "distance separating the proper lesson of tragic rites from its later interpretation along the lines of an ethics which is, for Aristotle, a science of happiness,"[21] or, finally, that tragedy lies "prior to" in the sense that it "gives [...] us the underpinnings" of the "ground where the morals of happiness are elaborated"[22]‑all this has, on a more basic level, little import. According to a historial and rigorously Heideggerian logic, the "prior to" of tragedy signifies its "ahead-of-ness" [son "en avant"]; tragedy harbors a "non-thought-of" [un impensé] (that is, a thought-of, une pensée), which, having never been correctly thought, still awaits that "thought" and, as such, configures a "thought-to-come." I employ the Heideggerian vocabulary, but such is the very structure of the relation that exists between knowledge and non-knowledge. Tragedy is beyond the line or barrier at the edge of which a possible crossing point is glimpsed, but above all hoped for.
Of this barrier, Lacan had already indicated two possible points of incursion: the one is that of the historic or infra-historic example of potlach, of the "controlled destruction of property," in a very "different way from that massive destructions which we have all witnessed"[23]. But Lacan does not insist upon this: after all, in the realm of non-knowledge, I daresay that would lie within Bataille's competence. The other, which "enables us to locate precisely an element of the field of the beyond-the-Good principle"[24], is that of the beautiful. The reading of Antigone opens under the sign of this element.
What is the mainspring of this reading?
It is to counter the Hegelian reading, offered as the paragon of philosophical readings of tragedy, and here of that tragedy which, in the eyes of Hegel, was the tragedy par excellence.
Lacan's reading is, in fact, organized along two lines.
On the one hand, it is concerned with bringing to light "the essence of tragedy"[25], that is to say, beyond the mythic sources recognized by Freud (nevertheless, Freud, when it comes to tragedy, goes beyond this simple use), the essence of the tragic function: i.e. the essence of katharsis, that according to Freud predates the Oedipal complex. Retrocession, similarly, in psychoanalysis: the scene, it should be said, is more complex than it would appear.
On the other hand, Lacan's reading interprets the text itself under the scope of the meaning of Antigone's destiny.
The reason underlying these two gestures is simply that the sole Greek document concerning the essence of tragedy is Aristotle's Poetics with its scarce reference to katharsis which one interprets, at any rate, as being linked to pleasure: as (medical) purgation in the manner of Jakob Bernays (whose writing Freud must have heard because of family connections) or as a (ritual) purification as it has been termed since the Renaissance. Katharsis is an "appeasement," explains Lacan. The question then arises as to whether tragedy remains trapped within the economy of pleasure, and, as such, subject to the ethics of the good‑which was established more solidly by Aristotle than Plato. Subsequently, it is necessary to read Antigone. What is it this text expresses which provides the comprehension of how and why tragedy "appeases" fear and pity?
You are surely familiar with how the reading proceeds. I would nevertheless call attention to several of its characteristics that are for me its salient traits and serve as indications for my own reading of this reading. I shall be, by necessity, very brief, which is a pity, given the richness and the force of Lacan's interpretation.
The first trait: the interpretation proceeds from two pieces of evidence, which, although glaring, for this reason blinded almost all earlier commentaries. First, the horror of the torment of Antigone: buried alive, submitted to the "between-life-and-death", as well as the fact that "the central third of the text is composed of a detailed series of vowel gradations, which informs us about the meaning of the situation or fate of a life that is about to turn into certain death, a death lived by anticipation, a death that crosses over into the sphere of life, a life that moves into the realm of death"[26]. For who had noticed this central place of the apophasis of Sein zum Tode atrociously condensed in a torment? The second piece of evidence is that the discourse on the irreplaceable brother, so unacceptable to humanist interpretations (Lacan evokes Goethe) is, on the contrary, the soundest and most true indication of the absolutely complete and intractable character of Antigone's passion.
The second trait: the recognition of this second fact amounts to making of Antigone‑second trait‑the sole tragic heroic figure of the play: her passion is absolute, she is an inflexible being who "goes beyond the limits of the human."[27] But above all, according to Lacan (a fact worth keeping in mind), she is alone in remaining, to the very end, beyond fear and pity. Which means‑contrary to the Hegelian thesis of an equal antagonism of the two principles or laws‑that Creon, insofar as he ultimately gives in to fear, is not heroic. His fault is not of the order of hubris but of amartia (an error of judgment, as translated by Lacan), because in reality he wants the good, thereby responding to his political vocation, to his position of responsibility towards the community. Thus, his edict is in Kantian form and speaks the language of practical reason: "one cannot at the same time honor those who have defended their country and those who have attacked it. From a Kantian point of view, it is a maxim that can be given as a rule of reason with a universal value"[28]. Hence, it follows that tragedy is the "first objection" to the ethics of the good, in that it implies that "the good cannot reign over all without an excess emerging whose fatal consequences are revealed to us in tragedy."[29]
Victim of her hubris,‑third trait‑Antigone is consequently beyond‑not only beyond fear and pity, but, and this explains all, beyond the até. If "the hero and that which is around him are situated with relation to the goal [point de visée] of desire"[30], the specificity of Antigone is to reveal to us the "line of sight that defines desire"[31]. For what Antigone aims at is the ektos àtas[32], that beyond of the até, that is, of the allotria até ("até concerns the Other"[33]). "Ektos atas has" says Lacan, "the meaning of going beyond a limit in the text. And it is around this notion that the Chorus' song is developed at that moment [the second stasimon of the Chorus], in the same way that it says that man goes towards pros àtan, that is, toward Até [...]. It is because man mistakes evil for the good, because something beyond the limits of Até has become Antigone's good, namely, a good that is different from everyone else's, that she goes toward, pros àtan"[34].
Lacan does not translate até: "This word," he states, "is irreplaceable." He rejects "misfortune" as too weak, and curiously, offhandedly, lets drop "atrocious": "That same word Até is to be found in atrocious."[35] But he indicates that whether it is approached or not is bound, as such, to a "chain," that of "the misfortune of the Labdacides family"[36]. He finally associates it to the "pure and simple desire of death as such"[37] incarnated by Antigone, insofar as this "desire of the Other" must be connected to the "desire of the mother" that is "the origin of everything": at the foundation of the family as of crime‑and even the foundation of the species as crime: "The fruit of the incestuous union has split into two brothers, one of whom represents power and the other crime. There is no one to assume the crime and the validity of crime apart from Antigone [...]. Antigone perpetuates, eternalizes, immortalizes this Até."[38]
To assume the crime, or the "second death", is, from that point on, the task to which Antigone devotes herself, like all Sophocles' heros do (with the exception, perhaps, of Oedipus: a Fussnote from Erwin Rhode's Psyché will show that this is not true either) positioned. as she is, "at the end of the line"‑"'dead in life', she says, 'I am already dead to everything'"‑,"straight away in a no-man's land between life and death"[39], in "the between-two-deaths." Tragedy is this paradoxical‑that is impossible‑ordeal of death, this nothingness [rien] towards which man moves, as the Chorus states in the first stasimon which Lacan interprets, either in a hint bordering on a joke or in consideration of the "invention" of maladies, in a way very close to Heidegger's interpretation. But "the between-two-deaths" is that hell our century has brought about, or still promises, and it is to this that Lacan responds and for which he would hold psychoanalysis accountable. Did he not once say that the "hole" in metaphysics is politics? The contention [la scène] with Heidegger‑and one exists‑is situated in that claim.
The fourth trait: Antigone invokes unwritten laws, that is, "something that is of the order of law, but which is not developed in any signifying chain or in anything else"[40]: it is the inaccessible beyond of language, or its horizon. Again, an extreme limit, "the ex nihilo to which Antigone is attached. It is nothing more than the break [la coupure] that the very presence of language inaugurates in the life of man"[41]. In other words, tragedy offers the proof that there is language, or, and this amounts to the same thing, that beyond death there is the desire of death‑the desire to return to the origins of language. To the god, probably‑at any rate to that dead God of Christianity who so bars our access to the Greek gods, but who is at least once revealed as language: en arhkè èn ho logos.
The last and fifth trait: the brilliance of Antigone, her beauty. It is what staggers the froth, in the kommos of the third stasimon ("Invincible love in combat"), when the desire emanates‑imeros enargès‑"from the eyelids of this admirable young girl"[42]. "The violent illumination," says Lacan, "the glimmer of beauty, coincide with the moment of crossing, of achievement of the Até of Antigone." But this "effect of beauty is a blinding effect." The beautiful as brilliance‑the ekphanestaton, to which I shall return‑blinds: it conceals what is still happening beyond, "that which cannot be looked at." And thus Hölderlin noted it in much the same terms, when Antigone compares herself to petrified Niobe‑an inanimate object‑, in the direction of a desire for death. This is the flagrant outrage, the hubris: a certain "mysterious conjunction of the beautiful and of desire," the crossing "of some invisible line"[43]. The "function of the beautiful"‑and that is what Antigone literally incarnates‑is "precisely [...] to reveal to us the site of man's relationship to his own death, and to reveal it to us in a blinding flash."[44]
This reference is caricatural, revealing nothing of the precipitation, or rather the feverishness [emportement] of the interpretation. Being "historially" concealed from us (Lacan's indictment of our Christian adherence is not feigned), and yet letting something to glimmer that resembles a truth too near because too distant, tragedy obliges such feverish transport, a precipitation over the Greek text itself, that one translates without translating, that one rather restores to a sort of savage incomprehensibility, meaning of which is expected to blaze its own way in an explosion of light. This feverish transport is evident in both Hölderlin and Heidegger. For Lacan, this transport itself is responsible for my saying, not that "the interpretation owes nothing to the analysis," but rather that "it can in fact do very well without it."‑something which remains bizarre, whether it be attributed to the vocabulary or to any incidental remark. On a basic level, everything comes across as if what Lacan had been seeking to articulate all along, from Freud's hypothesis of a beyond of the pleasure principle onward, found in the text of Antigone if not its confirmation, the eloquent proof of its existence. Psychoanalysis would in this case proceed from what Bataille called tragic horror.
This said, an interrogation of this reading becomes inevitable‑although not necessarily critical (let alone something which would hastily be interpreted as a "denial").
This reading is only possible under two conditions:
l. The condition that fear and pity‑the two passions to be purified, purged, appeased‑be situated in the heroes themselves (Do they experience them or not? This alone decides their heroism.), and not, as Aristotle states, as aroused by the action itself, by the drama, in other words, by the destiny of the heroes.
2. Consequently, that katharsis, the cathartic effect, be detached from mimesis, contrary to what Aristotle recommends in the very well known fourth chapter of his Poetics where, in order to explain the relation between pleasure and mimèsis, he states that "we take pleasure in regarding the most carefully polished images of things whose sight is painful to us in reality, for example, the forms of perfectly ignoble animals or of corpses"‑here I should note, although I consider it to be decisive, that to "take pleasure" is not here hedunô but khairô, which indicates joy (kharis). Lacan might have said a satisfaction, an orgasm‑and also a flash, a brilliance. Aristotle says more about this than Lacan would suspect. Clearly, if tragedy has a power of katharsis, it is because tragedy authorizes this kharis as the mimesis of a grave event.
It is in order to circumvent what he considers to be pleasurable that Lacan‑who on this point may derive his authority from Aristotle‑avoids [fait l'impasse sur] the theatre, or more exactly, the spectacle (what Aristotle calls the opsis), as if mimesis were reduced to the simple act of representation. Like practically all philosophers, Heidegger included, Lacan holds theatre in contempt. But the fact that tragedy is theatre does not prevent this kharis, this bursting joy that "purifies," from being experienced‑in the sole act of reading, as Aristotle notes. In theatre there is indeed a beyond "the" theatre‑of which one should be aware‑and which explains why the grandeur of theatre perhaps lies in its ability to restore theatre to theatre. It then follows that the decisive fact, in what concerns art, is indeed mimesis.
This is what Lacan, a propos of tragedy, does and does not know‑or does not want to know. "The importance of the mise en scène‑Lacan says‑should not be underrated, and I always appreciate it [...]. But we shouldn't forget that it is only important‑and I hope you will forgive the expression‑if our third eye doesn't get a hard-on; it is, jerked off a little with the mise en scène"[45]. If mimesis means to him "stagecraft" [mise en scène] then he cannot but assign the effect of katharsis to the froth: it is not so much the spectator who is moved, but the froth, which then somehow mediates the katharsis: "The froth is people who are moved [...]. Your emotions are taken charge of by the healthy order displayed on the stage. The Chorus takes care of them. The emotional commentary is done for you."[46] When, inversely, a more hidden meaning vibrates in the language that occurs to Lacan, mimesis engenders "image." In this case Antigone herself "fascinates us, [...] in her unbearable splendor"[47], and it is the aim of desire "that moves toward this image"[48], it is the beauty, the radiant burst of Antigone‑it is Antigone as anamorphosis.
One day, I demonstrated to you an anamorphosis [...]. You will recall the cylinder around which this singular phenomenon sprung up. To be exact, one cannot say, from an optical viewpoint, whether or not there is an image. Without entering into the optic definition of the thing, it is image insofar as (upon each of the cylinder's generators) an infinitesimal fragment of an image is produced, an image that we then see produce the superposition of a series of screens, in return for which a marvelous illusion, a very beautiful image of passion (that of a crucifixion taken from Rubens[49]) appears in the "beyond" of the mirror, while something rather formless and disgusting spreads out all around.
That's the kind of thing that is involved here. What is the surface that allows the image of Antigone to rise up as an image of passion? The other day I evoked in connection with her the phrase "Father, why hast thou abandoned me?" which is literally expressed in one line. Tragedy is that which spreads itself out in front so that that image may be produced.[50]
Everything, therefore, depends on what constitutes the essence of art.
The reading of Antigone and the place reserved for it in the organisation of the seminar clearly indicate that ethics exists only insofar as it is sustained by an aesthetics. Lacan never ceases to affirm this: what he wants to demonstrate "is situated between a Freudian ethics and a Freudian aesthetics," although he may minimize its range a bit by asserting that "Freudian aesthetics is involved because it reveals one of the phases of the function of the ethics"[51], at which point he waxes ironic with his: "we, artists of the analytic speech"[52]. Nevertheless, what this actually means is that Lacan constructs nothing more than what I might call an aesthethic‑with two "Hs". Which, in being so/also [aussi] ethics, would sunder the aesthetics from the aesthetics, as does practically all philosophy of art of our time. That is to say, the aesthetics would be wrenched from that which since Plato has constituted it as such: namely, mimetology.
Lacan had demonstrated this well before the commentary on Antigone.
This demonstration follows from the position of the Thing, das Ding, the Other in internal exclusion: the "extimité" ("extimacy"), as Lacan says[53]. The Freudian aesthetics, "in the broadest sense of the term," that is, as "analysis of the entire economy of signifiers," is designed to show us "this inaccessible Thing"[54]. And in fact, in a classical (at least until Heidegger) gesture, Lacan ultimately attributes to language the essence of art. Slightly prior to this, in presenting anamorphosis as that mode of seeking in the illusion the point at which "the illusion transcends itself, destroys itself, demonstrating that it exists only as a signifying one," Lacan had noted: "It is this which lends primacy to the domain of language above all, since with language we only ever have to do with the signifier in all cases."[55].
The Thing, in its relationship to art, on the order of the techné (Lacan speaks of "creation"), is firstly Heidegger's vase, that is, the thing whose essence is the void. Or, in Lacan's words, it is "an object designed to represent the existence of the void at the centre of the real," in such a way that the Thing, the void, is presented in the representation "as a nihil, as nothing" so that "the fashioning of the signifier and the introduction of a gap or a hole in the real is identical."[56]. It is the motif of an ex nihilo creation, as well as the definition of the Thing as that part of the real that suffers the consequences of the signifier. This is why, if there is a beyond of the pleasure principle, if the Todestrieb (death drive) is an "absolutely fundamental ontological notion" and not a psychological notion[57], it is because "man fashions this signifier and introduces it into the world" "in the image of the Thing, whereas the Thing is characterized by the fact that it is impossible for us to imagine it"[58] (my emphasis).
Everything is there: what is at stake in "creation" is a pure fiction in the strict sense of the term, that is to say, mimesis ("in the image of"‑imago, being semantically connected to imitatio and mimesis) of something unimaginable. Fiction‑the fashioning‑is the image of the unimaginable. Mimesis is without a model. It is, if you will, in the pure form of oxymoron, originary mimesis.
In his manner, Lacan says no more than Heidegger does, which is why the consequences, as regards art (the Fine Arts) strictly speaking, are rigorously Heideggerian.
This establishment of consequences is rendered possible in the Ninth Lesson, which is entitled: "On History and on the Ends of Art." Here the point of departure is the actual origins of art, the cave of Altamira‑and not Lascaux (a later scene with Bataille maliciously labeled as "intellectual dandy"[59])‑and Altamira, insofar as the extimité that is the Thing concerned, is not only by chance a cave. From there Lacan returns to anamorphosis via a thumbnail history of art, which goes directly from the false wall of the cavern to the temple with its empty centre (the site of the Thing), and from there to "the figuration of the void on the false walls of this void," and to the final apparition of the illusion of space, which is something quite different from the creation of the void. This is what, according to Lacan, "the apparition of anamorphosis at the end of the sixteenth and the beginning of the seventeenth century represents":
[...] the interest of anamorphosis is described as a turning point when the artist completely reverses the use of that illusion of space, when he forces it to enter into the original goal, that is to transform it into the support of the hidden reality‑it being understood that, to a certain extent, a work of art always involves encircling the Thing.[60]
What is the basis of an interrogation of the ends of art, which is to say of the end of art: "Is the end of art to imitate or to not imitate? Does art imitate what it represents?" What is revealed is that this is a loaded question‑and has long been so; since Plato. It is a loaded question, because if art imitates that which it represents, its end is obviously not exactly to represent it. In imitating it, art makes something else of the object. The imitation is a "feigned" imitation. For, as Lacan states, "the object is established in a certain relationship with the Thing that is designed at the same time to encircle, to presentify [présentifier] and to absentify [absentifier]." Lacan illustrates this using Cézanne as an example:
Everybody knows it. At the moment when painting turns once again upon itself, at the moment when Cézanne paints his apples, it is clear that in painting those apples, he is doing something very different from imitating apples‑even though his final manner of imitating them, which is the most striking, is primarily oriented toward a technique of presenting the object. But the more the object is presented in the imitation, the more it opens up the dimension in which illusion is destroyed and aims at something else. [I demonstrated elsewhere, by the examples of Diderot and Hölderlin, that this paradoxical logic is itself mimetology.] Everyone knows that there is a mystery in the way Cézanne paints apples, for the relationship to the real as it is renewed in art at that moment makes the object appear purified; it involves a renewal of its dignity by means of which these imaginary insertions are, one might say, repetitively restated.[61]
It is clearly no easier for Lacan than for the Heidegger in Origins of the Work of Art‑who, incidentally, is solicited in the course of the seminar on Van Gogh‑to exorcise imitation. And this for the simple reason that only mimesis‑which I just called, for lack of a better term, originary‑is capable of doing this. When Heidegger says, in the first version of Origins…, that "the work of art never (re)presents [darstellen] anything, being itself that which first creates what enters for the first time into the Open," he is not attempting to say anything different than what Lacan, who had read him thoroughly, seeks to say here. Why deny, then, that mimesis is essential to art?
From what Lacan advances I would retain two terms‑although time permits dealing with only one‑: the ring [le cerne] and the luster [le lustre].
"A work of art is always a question of encircling the Thing." What does encircle [cerner] actually mean? It means to circumscribe or delimit with a contour. Now, as Heidegger tells us, such a circumscription, in the work of art, presupposes the Platonic comprehension of being as eidos, an aspect from which, moreover, the distinction hulè-morphé, materia-forma originates. Would Lacan remain subject to this eidetic overdetermination of the work? In encircling the Thing, does the work‑all the while concealing‑offer its idea, the Idea (with a capital I) in the way it is presented in the Kantian Analytics of the Sublime (the examination of which, moreover, Lacan ceaselessly defers, although he obviously knows that it is there that the secret of sublimation lies)? All the more reason, adds Heidegger, that "one carry along, in these determinations [matter-form], what comes to mind immediately the work of art is experienced as that which appears: phainestai according to its eidos. The ekphanestaton, that which appears with the greatest brilliance (Schein), is the Beautiful. Via the detour of the idea, the work of art passes into the characterization of the Beautiful as ekphanestaton.." Although I am not certain about whether the ekphanestaton, the Beautiful as brilliance (blinding, as Lacan says, insofar as it transfigures‑verklärt‑the object and ravishes the Thing), is indeed dominated by Platonic eidology, the question, nonetheless, does arise. You can see that this could lead us very far.
The second term to be retained is that "lustral" that qualifies the object caused by art to appear suddenly: Cézanne's apple. Lustration is a ritual of purification‑not only by water: for it might be performed differently in Rome. And, at this point, we return once more to katharsis: art would be the katharsis of the object, its purification [épuration], so that the Thing would be indicated in its ring [cerne], in the throbbing of presentification and of absentification, in a dazzling, brilliant flash.
Connecting the "ring" to this "lustral," Lacan does not know how well he speaks [ne croit pas si bien dire]: for in the sacrificial form of the rite‑before one started making do with water, that is to say, while in an age in which lustration was still an expiatory sacrifice (from luo: to absolve, to acquit, submit to punishment, expiate, and not, unless by contamination, from louo: to wash, to bathe)‑lustration consisted of leading the victim around the object to be purified. It was a question of encircling the object. Whence, lustro, which indeed meant purification (by fire, if necessary), always also signifies 'to turn about', 'to enter'. If we add that in Rome the official lustrum took place every five years, upon the expiration of the census period‑the meaning remains‑then the "datification" of the object in the imaginary insertions of art (contingent upon the historicity of art) does no longer appear to be excessively arbitrary. Lustration punctuates a time that would probably require a re-elaboration of the notion of repetition.
In lustro‑taken figuratively, in the dictionary sense‑in the "to turn about," a certain magnetization occurs which repeatedly associates this verb to light. Lustro may denote 'to pass in review'‑a colony on the point of departing or an army, a ceremony, also requiring sacrifice. By extension, I dare not say by laicization, it is to wander around, to visit. To scan visually, or to pass mentally in review, as in Cicero. But why light? Does it suffice to cite the numerous points, especially in poetry, where luce lustrare or lumine lustrare signifies to scan something with one's light, to throw one's light on something?‑or, the sol omnia lustrans of Lucretius, the sun that visits (illuminates) all things?
There is the French word lustre (luster) which‑before becoming a finely wrought, luxurious light fixture‑is "le brillant ou le poli que l'on donne à un objet ou qu'un objet a (the brilliance or the polish imparted to an object or that an object inherently possesses}" (Littré dictionary) or "le brillant, l'éclat naturel et artificiel (the brilliance, the natural or artificial shine}" (Robert dictionary)‑or, ultimately, glory. The term is formed (in 1489) after the Italian lustro. But lustro is the Latin lustrare, which must consequently also have meant: to shine, to throw off a flash of light.
We find ourselves then in this locus of a condensation of language, between purification, ring, burst of light: katharsis, eidos, ekphanestaton.. All the stakes, all the games, of aesthetics.
The Thing itself, instead of being absent, is rather to be situated on the side of what has been forgotten, the memory of which is the unconscious. The Thing lies on the side of "the stench and corruption that always yawn like an abyss‑for life is after all rottenness"[62]. For lustrum has its doublet‑from louo. The stink-hole [le bourbier]‑any savage place, the slums and the landmarks, ethos. Holes. And finally, evil places, places of debauchery. The lustro is a frequenter of low places. The lustramentum‑depending upon whether it derives from the one or the other lustrare‑is a means of purification or a stimulant to debauchery; lustrivagus is he who wanders in wild places, to which one may associate‑and what does Lacan do if not just that?‑the infinite hell of Sadian debauchery and the "savagery of the world of the dead" where, according to Hölderlin, Antigone descends.
Second stake of aesthetics, which amounts to the same: the Thing is there‑it is the horror‑but in this luster which purifies it, and must purify it. It is, according to Lacan, the Beautiful. In my opinion, it is the sublime, which is no less blinding.
Returning to theatre, what is most beautiful in it is, as Baudelaire intimated, le lustre (the luster).
When Lacan postulates, that fundamentally‑this being one condition of the crossing of the line‑tragedy is not essentially theatre, what he attempts to do is‑like Heidegger‑to cross the line of aesthetics. Aesthetics, in other words, presumes that one has crossed simultaneously the limits of both ethics and aesthetics. For this reason, everything is reduced to katharsis, which, being the real effect of tragedy in its tragic essence, must be shown to have no relation whatsoever to moral edification.
It is here that the link to Aristotle becomes problematic: for either Aristotle did, despite the century separating him from Antigone, speak the truth about tragedy‑namely, that it katharei (purifies) fear and pity‑and in this case there is no possibility of divorcing katharsis from mimesis as its means. One could not exceed "the closure of representation" (this is a quote from Derrida), that is, of pleasure, unless one questioned what Aristotle calls in this context "pleasure." Otherwise, tragedy is not essentially theatre, and, as such, not captured in an "econo-mimesis" (again, a citation), whereby nothing could be retained of the katharsis. Even if we were willing to revert to tragedy's ritual or sacrificial meaning, as Lacan is in danger of doing at one point, we would ultimately fall back on theatre: Bataille experienced a similar rude awakening in his contestation of Hegel (a final quote). Unless we ponder what Lacan himself calls a "feinte" (feint) or "leurre" (lure) (Bataille spoke of "subterfuge"), and which he assigns to the register of "simulation." Could we regain mimesis from there, where the brilliance of the Beautiful conceals it from the look?
There is no criticism intended in these questions. My intention is not to infer that psychoanalysis presumes a theatrical setting, a space of "déréalisation" (un-reality), as Lyotard once said. If that were the case, what would this imply with regard to the process of analysis‑which is assuredly something "grave," as Aristotle says? Or, with regard to what I have called the arch-ethics of Lacan, which is the only ethics (along with the one which may be gleaned from Heidegger) truly responding to the times of the‑immemorial‑death of God?
I still have one reservation, and it concerns art. When Lacan says that "it is obvious that God is dead [...] since God derives from the fact that the Father is dead"[63] (this is the Urvater; God was dead from the beginning), he credits Freud with having produced "the only myth that the modern age was capable of"[64], and which resounds strangely in the sphere close to aesthetics. But why is myth necessary? Why‑it is the same question I address to Heidegger, the political and historical implications of which will certainly not escape you‑why, in Lacan who was so irritated by Heidegger's political attitudes, is there an attachment to the romantic program of a new mythology? Of a myth for our time?
The tragic (sublime) ethics, and there is no other, today. The great artists of our time are the first to know this. However, I do not believe that this constitutes a justification for the aestheticizing of ethics. The knowledge of this is of the essence.
Translated from the French by Joan Tambureno
[1]Jacques Lacan, Encore. Le Séminaire, Livre XX (Paris: Seuil, 1975), p. 9.
[2]Jacques Lacan, L'Ethique de la psychanalyse‑Le Séminaire, Livre VII, edited by Jacques-Alain Miller (Paris: Seuil, 1986), p. 338. Eng. tr., The Ethics of Psychoanalysis, trans. by Dennis Porter (London: Routledge, 1992), p. 292.
[3]Ibid., p. 48; Eng. tr., p. 38.
[4]Ibid., p. 159; Eng.tr., p. 133.
[6]Ibid., p. 129; Eng. tr., p.108.
[7]Ibid., pp. 271,278; Eng. tr., pp. 231, 237.
[8]Ibid., p. 272; Eng. tr., p. 232.
[10]Ibid., p. 303; Eng.tr., p. 260.
[11]Ibid., p. 277; Eng. tr., p. 236.
[21]Ibid., p. 330,331; Eng. tr., pp. 284, 285.
[45]Ibid., p. 295; Eng. tr., pp. 252-3.
[46]Ibid., pp. 294-295; Eng. tr., p. 252.
[61]Ibid., pp. 169, 170; Eng. tr., p. 141.
[62]Ibid.. p. 272; Eng. tr., p. 232.