text:
#include "internals.h"

#ifdef __cplusplus
extern "C" {
#endif

/********************************************/

static inline int rvmai_capture(void * data, size_t bytes)
{
    int rc;

    MPI_Aint size = (MPI_Aint)bytes;

    rc = MPI_Win_attach(RVMA_GLOBAL_STATE.rvma_win, data, size);
    if (rc!=MPI_SUCCESS) {
        fprintf(stderr,"MPI_Win_attach failed\n");
        return 1;
    }

    return 0;
}

/* -- begin weak symbols block -- */
#if defined(HAVE_PRAGMA_WEAK)
#  pragma weak rvma_capture = prvma_capture
#elif defined(HAVE_PRAGMA_HP_SEC_DEF)
#  pragma _HP_SECONDARY_DEF prvma_capture rvma_capture
#elif defined(HAVE_PRAGMA_CRI_DUP)
#  pragma _CRI duplicate rvma_capture as prvma_capture
#endif
/* -- end weak symbols block -- */

/** Something
  *
  * @return            Zero on success
  */

int rvma_capture(void * data, size_t bytes)
{
    {
        return rvmai_capture(data, bytes);
    }
}

static inline int rvmai_release(void * data)
{
    int rc;

    rc = MPI_Win_detach(RVMA_GLOBAL_STATE.rvma_win, data);
    if (rc!=MPI_SUCCESS) {
        fprintf(stderr,"MPI_Win_detach failed\n");
        return 1;
    }

    return 0;
}

/* -- begin weak symbols block -- */
#if defined(HAVE_PRAGMA_WEAK)
#  pragma weak rvma_release = prvma_release
#elif defined(HAVE_PRAGMA_HP_SEC_DEF)
#  pragma _HP_SECONDARY_DEF prvma_release rvma_release
#elif defined(HAVE_PRAGMA_CRI_DUP)
#  pragma _CRI duplicate rvma_release as prvma_release
#endif
/* -- end weak symbols block -- */

/** Something
  *
  * @return            Zero on success
  */

int rvma_release(void * data)
{
    {
        return rvmai_release(data);
    }
}

/********************************************/

static inline int rvmai_get(int proc, void * remote, size_t bytes, void * local)
{
    int rc;

    /* TODO Bring in the appropriate BigMPI business to allow this
     * routine to support more than INT_MAX bytes.*/

    if (bytes > (size_t)INT_MAX) {
        fprintf(stderr,"Transfers of more than %llu bytes are not supported.\n", (long long unsigned)INT_MAX);
        return 1;
    }

    MPI_Aint address;
    rc = MPI_Get_address(remote, &address);
    if (rc!=MPI_SUCCESS) {
        fprintf(stderr,"MPI_Get_address failed\n");
        return 1;
    }

    int count = (int)bytes;
    rc = MPI_Get(local, count, MPI_BYTE,
                 proc,  address, count, MPI_BYTE,
                 RVMA_GLOBAL_STATE.rvma_win);
    if (rc!=MPI_SUCCESS) {
        fprintf(stderr,"MPI_Get failed\n");
        return 1;
    }
    return 0;
}

/* -- begin weak symbols block -- */
#if defined(HAVE_PRAGMA_WEAK)
#  pragma weak rvma_get = prvma_get
#elif defined(HAVE_PRAGMA_HP_SEC_DEF)
#  pragma _HP_SECONDARY_DEF prvma_get rvma_get
#elif defined(HAVE_PRAGMA_CRI_DUP)
#  pragma _CRI duplicate rvma_get as prvma_get
#endif
/* -- end weak symbols block -- */

/** Something
  *
  * @return            Zero on success
  */

int rvma_get(int proc, void * addr, size_t bytes, void * local)
{
    {
        return rvmai_get(proc, addr, bytes, local);
    }
}

static inline int rvmai_put(void * local, int proc, void * remote, size_t bytes)
{
    int rc;

    /* TODO Bring in the appropriate BigMPI business to allow this
     * routine to support more than INT_MAX bytes.*/

    if (bytes > (size_t)INT_MAX) {
        fprintf(stderr,"Transfers of more than %llu bytes are not supported.\n", (long long unsigned)INT_MAX);
        return 1;
    }

    MPI_Aint address;
    rc = MPI_Get_address(remote, &address);
    if (rc!=MPI_SUCCESS) {
        fprintf(stderr,"MPI_Get_address failed\n");
        return 1;
    }

    int count = (int)bytes;
    rc = MPI_Put(local, count, MPI_BYTE,
                 proc,  address, count, MPI_BYTE,
                 RVMA_GLOBAL_STATE.rvma_win);
    if (rc!=MPI_SUCCESS) {
        fprintf(stderr,"MPI_Put failed\n");
        return 1;
    }
    return 0;
}

/* -- begin weak symbols block -- */
#if defined(HAVE_PRAGMA_WEAK)
#  pragma weak rvma_put = prvma_put
#elif defined(HAVE_PRAGMA_HP_SEC_DEF)
#  pragma _HP_SECONDARY_DEF prvma_put rvma_put
#elif defined(HAVE_PRAGMA_CRI_DUP)
#  pragma _CRI duplicate rvma_put as prvma_put
#endif
/* -- end weak symbols block -- */

/** Something
  *
  * @return            Zero on success
  */

int rvma_put(void * local, int proc, void * addr, size_t bytes)
{
    {
        return rvmai_put(local, proc, addr, bytes);
    }
}

/********************************************/

static inline int rvmai_flush(int proc)
{
    int rc;

    rc = MPI_Win_flush(proc, RVMA_GLOBAL_STATE.rvma_win);
    if (rc!=MPI_SUCCESS) {
        fprintf(stderr,"MPI_Win_flush failed\n");
        return 1;
    }
    return 0;
}

/* -- begin weak symbols block -- */
#if defined(HAVE_PRAGMA_WEAK)
#  pragma weak rvma_flush = prvma_flush
#elif defined(HAVE_PRAGMA_HP_SEC_DEF)
#  pragma _HP_SECONDARY_DEF prvma_flush rvma_flush
#elif defined(HAVE_PRAGMA_CRI_DUP)
#  pragma _CRI duplicate rvma_flush as prvma_flush
#endif
/* -- end weak symbols block -- */

/** Something
  *
  * @return            Zero on success
  */

int rvma_flush(int proc)
{
    {
        return rvmai_flush(proc);
    }
}

#ifdef __cplusplus
} /* extern "C" */
#endif


One thing we have to remember with posts related with Rahu through Signs is that Rahu converts himself as the lord of the sign it is sitting in and then amplifies quality of lord. Like, when Rahu is in Libra, Rahu will take all the qualities of Venus (Lord of Libra) and then will amplify those qualities out of limit. Rahu also does same to the planet it is sitting with. Like, if Rahu is with Saturn then it will take all the qualities of Saturn and blow them out of proportion during Rahu MD or Saturn MD. It is always better to have Rahu alone in a house rather than conjunct with a planet. Another thing with Rahu is that recently I have come across of the view that Rahu and Ketu don't have aspects on 5th or 9th house, for the simple reason that they are shadow planets and for aspects you need a sight not shadow. I am yet to verify it on at least 50 charts, so for now I will continue with traditional approach of 5th and 9th aspects of Rahu. Ideal placement for Rahu is to sit with an exalted planet, then it takes all the qualities of the exalted planet and amplifies them.
As I said earlier, Rahu is the reason why we re-incarnate in this world. The sign or house placement of Rahu actually shows the area of life we need to perfect or master. So, when Rahu is in the sign of Libra which is basically a sign of relationship, these people actually are the one who are not only obsessed about relation but are looking for a perfect relationship. But if they don't tend to find that perfect partner, they prefer to remain single. Because basically they are here for perfect relationship and there is nothing like perfect relationship. So relationship wise, it is both good and bad placement and totally depends on how we see it? As Venus also represents Creativity and Arts, these people are highly creative and extremely artistic and use their obsession creatively. Libra is also a sign of Agreements and Deals, so this is another placement for becoming a Lawyer. This can make a smart businessman too. There are two ways to look at the results of all these acts. Some people say that all these acts are paying them money in the end, hence they are doing it. I feel that money is the most natural outcome of any work. You do any work in this world and you will get money. There is no work in the world which doesn't pay you back. So, I feel that the basic fact that they are dedicating themselves to a higher cause is meaningful and most important. Money is an outcome which is bound to come.
Things which may impact Rahu's effect in Libra are obviously different Nakshatras Rahu may be positioned. If Rahu is in Chitra Nakshatra, then Mars will impact Rahu's results. If Rahu is in Swati Nakshatra, then Rahu is in its own Nakshatra. Similarly, if Rahu is in Vishakha Nakshatra, then Jupiter's position will be key factor.
Sign-lord wise, Venus is lord of Libra. So, Venus will have highest say in what result Rahu can give.


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text:
Local and network structure of thermoreversible polyrotaxane hydrogels based on poly(ethylene glycol) and methylated α-cyclodextrins
Toshiyuki Kataoka, Masatoshi Kidowaki, Changming Zhao, Hiroyuki Minamikawa, Toshimi Shimizu, Kohzo Ito
Thermoreversible gelation and microphase formation of aqueous solutions of a methylated polyrotaxane (MePR) were investigated by means of differential scanning microcalorimetry, rheometry, and X-ray diffractometry (XRD). The aqueous solutions of MePR show a lower critical solution temperature (LCST) and form an elastic gel with increasing temperature. The sol-gel transition of the MePR solutions was induced by formation and deformation of aggregates of methylated α-cyclodextrins (α-CDs) of polyrotaxane due to hydrophobic dehydration and hydration, respectively. The XRD investigation revealed localization and highly ordered arrangement of methylated α-CDs along the PEG chain in the gel. The arrangement of CDs was also reflected by the changes in elasticity and long relaxation behavior of the solution around the sol-gel transition. The quasiequilibrium shear modulus of MePR solutions showed the critical phenomena against temperature. The scaling exponents measured at two different concentrations were almost equal to the values predicted by a gel percolation theory. Therefore, the heat-induced gelation of aqueous MePR solutions is well explained by a model in which clusters assembled with methylated α-CDs are gradually connected to the network as the temperature increases.
Polyethylene glycols
glycols
gelation
X ray diffraction analysis
Sol-gels
x rays
elastic properties
polyrotaxane
exponents
Kataoka, T., Kidowaki, M., Zhao, C., Minamikawa, H., Shimizu, T., & Ito, K. (2006). Local and network structure of thermoreversible polyrotaxane hydrogels based on poly(ethylene glycol) and methylated α-cyclodextrins. Journal of Physical Chemistry B, 110(48), 24377-24383. https://doi.org/10.1021/jp0649246
Local and network structure of thermoreversible polyrotaxane hydrogels based on poly(ethylene glycol) and methylated α-cyclodextrins. / Kataoka, Toshiyuki; Kidowaki, Masatoshi; Zhao, Changming; Minamikawa, Hiroyuki; Shimizu, Toshimi; Ito, Kohzo.
In: Journal of Physical Chemistry B, Vol. 110, No. 48, 07.12.2006, p. 24377-24383.
Kataoka, T, Kidowaki, M, Zhao, C, Minamikawa, H, Shimizu, T & Ito, K 2006, 'Local and network structure of thermoreversible polyrotaxane hydrogels based on poly(ethylene glycol) and methylated α-cyclodextrins', Journal of Physical Chemistry B, vol. 110, no. 48, pp. 24377-24383. https://doi.org/10.1021/jp0649246
Kataoka T, Kidowaki M, Zhao C, Minamikawa H, Shimizu T, Ito K. Local and network structure of thermoreversible polyrotaxane hydrogels based on poly(ethylene glycol) and methylated α-cyclodextrins. Journal of Physical Chemistry B. 2006 Dec 7;110(48):24377-24383. https://doi.org/10.1021/jp0649246
Kataoka, Toshiyuki ; Kidowaki, Masatoshi ; Zhao, Changming ; Minamikawa, Hiroyuki ; Shimizu, Toshimi ; Ito, Kohzo. / Local and network structure of thermoreversible polyrotaxane hydrogels based on poly(ethylene glycol) and methylated α-cyclodextrins. In: Journal of Physical Chemistry B. 2006 ; Vol. 110, No. 48. pp. 24377-24383.
@article{9c0f915a25a349bd852ad3cdf82905cf,
title = "Local and network structure of thermoreversible polyrotaxane hydrogels based on poly(ethylene glycol) and methylated α-cyclodextrins",
abstract = "Thermoreversible gelation and microphase formation of aqueous solutions of a methylated polyrotaxane (MePR) were investigated by means of differential scanning microcalorimetry, rheometry, and X-ray diffractometry (XRD). The aqueous solutions of MePR show a lower critical solution temperature (LCST) and form an elastic gel with increasing temperature. The sol-gel transition of the MePR solutions was induced by formation and deformation of aggregates of methylated α-cyclodextrins (α-CDs) of polyrotaxane due to hydrophobic dehydration and hydration, respectively. The XRD investigation revealed localization and highly ordered arrangement of methylated α-CDs along the PEG chain in the gel. The arrangement of CDs was also reflected by the changes in elasticity and long relaxation behavior of the solution around the sol-gel transition. The quasiequilibrium shear modulus of MePR solutions showed the critical phenomena against temperature. The scaling exponents measured at two different concentrations were almost equal to the values predicted by a gel percolation theory. Therefore, the heat-induced gelation of aqueous MePR solutions is well explained by a model in which clusters assembled with methylated α-CDs are gradually connected to the network as the temperature increases.",
author = "Toshiyuki Kataoka and Masatoshi Kidowaki and Changming Zhao and Hiroyuki Minamikawa and Toshimi Shimizu and Kohzo Ito",
journal = "Journal of Physical Chemistry B Materials",
T1 - Local and network structure of thermoreversible polyrotaxane hydrogels based on poly(ethylene glycol) and methylated α-cyclodextrins
AU - Kataoka, Toshiyuki
AU - Kidowaki, Masatoshi
AU - Zhao, Changming
AU - Minamikawa, Hiroyuki
AU - Shimizu, Toshimi
AU - Ito, Kohzo
N2 - Thermoreversible gelation and microphase formation of aqueous solutions of a methylated polyrotaxane (MePR) were investigated by means of differential scanning microcalorimetry, rheometry, and X-ray diffractometry (XRD). The aqueous solutions of MePR show a lower critical solution temperature (LCST) and form an elastic gel with increasing temperature. The sol-gel transition of the MePR solutions was induced by formation and deformation of aggregates of methylated α-cyclodextrins (α-CDs) of polyrotaxane due to hydrophobic dehydration and hydration, respectively. The XRD investigation revealed localization and highly ordered arrangement of methylated α-CDs along the PEG chain in the gel. The arrangement of CDs was also reflected by the changes in elasticity and long relaxation behavior of the solution around the sol-gel transition. The quasiequilibrium shear modulus of MePR solutions showed the critical phenomena against temperature. The scaling exponents measured at two different concentrations were almost equal to the values predicted by a gel percolation theory. Therefore, the heat-induced gelation of aqueous MePR solutions is well explained by a model in which clusters assembled with methylated α-CDs are gradually connected to the network as the temperature increases.
AB - Thermoreversible gelation and microphase formation of aqueous solutions of a methylated polyrotaxane (MePR) were investigated by means of differential scanning microcalorimetry, rheometry, and X-ray diffractometry (XRD). The aqueous solutions of MePR show a lower critical solution temperature (LCST) and form an elastic gel with increasing temperature. The sol-gel transition of the MePR solutions was induced by formation and deformation of aggregates of methylated α-cyclodextrins (α-CDs) of polyrotaxane due to hydrophobic dehydration and hydration, respectively. The XRD investigation revealed localization and highly ordered arrangement of methylated α-CDs along the PEG chain in the gel. The arrangement of CDs was also reflected by the changes in elasticity and long relaxation behavior of the solution around the sol-gel transition. The quasiequilibrium shear modulus of MePR solutions showed the critical phenomena against temperature. The scaling exponents measured at two different concentrations were almost equal to the values predicted by a gel percolation theory. Therefore, the heat-induced gelation of aqueous MePR solutions is well explained by a model in which clusters assembled with methylated α-CDs are gradually connected to the network as the temperature increases.
JO - Journal of Physical Chemistry B Materials
JF - Journal of Physical Chemistry B Materials

redpajama_set_name: RedPajamaCommonCrawl


text:
Book Review of William Kentridge: Process as Metaphor and Other Doubtful Enterprises
William Kentridge: Process as Metaphor and Other Doubtful Enterprises by Leora Maltz-Leca
Reviewed by Amy Ione
Published Leonardo Reviews, August 2018
In my 2007 Leonardo review of Rosalind Krauss' book Perpetual Inventory I characterized her essay on William Kentridge as the most compelling in the book [1]. Krauss introduced him as a South African artist whose animated films pursue the problems of apartheid and spoke about how he creatively mixed film, drawing, and erasure with highly charged ideas. She also spoke about how his peripatetic approach, improvisational process (fortuna), and his use of erasure spoke of a creative practice that combines drawing and seeing with making and assessing. Krauss concluded that regardless of whether Kentridge's drawings for projection come together in a series that examines apartheid, capitalist greed, eros, memory, or whatever, his process is not based primarily on the theme of the series. Rather, in her view, and I share her view to some degree, the works result through the dictates of his creative process. William Kentridge: Process as Metaphor and Other Doubtful Enterprises by Leora Maltz-Leca sees his philosophical relationship to the work as more important than his creative practice per se. Therefore, one intriguing question on my mind as I wrote this review is why Maltz-Leca, and indeed Kentridge himself as relayed in this book through a number of interviews, did not change my mind.
The Krauss essay, originally published in 2000 [2], was historically connected with Kentridge's artworld ascendency. He was introduced to the mainstream art world of Europe and American when he emerged from relative obscurity in the late 1990s with a series of animated films entitled Nine Drawings for Projection. Comprised of expressionistic drawings and put together through a stop motion technique that Kentridge calls "stone-age animation," these hard-to-decipher narratives evoke grand tableau history paintings. They also showcased the animation process he invented in 1989, when a broad range of artistic practices were being embraced in South Africa. His way of filming (animating) works created with charcoal and erasure allowed him to create a decidedly different type of relationship with the viewer than the experience of a two-dimensional drawing or painting alone. In addition, his multi-media visuals, reinforced by eclectic soundtracks, served to offer up dream-like narratives relating to the social and political turmoil of apartheid South Africa and later its aftermath.
Process as Metaphor is initially introduced as a book that looks at the projection series that elevated him to fame. It does more, however, for there are also notations about many of Kentridge's other wonderful works. For example, his 2012 work The Refusal of Time is discussed extensively throughout the book. Refusal. This work — an immersive piece that grew out of conversations between the artist and Harvard physicist Peter Galison — is a showcase for his wide range of artistic practices and visual motifs, including drawing, film, sculpture, and performance. Also interwoven into the exposition are Kentridge's version of Mozart's Magic Flute (2005), his production of The Nose by Shostakovich (2010), and multi-media projects like Zeno Writing (2003) and 7 Fragments for Georges Méliès (2003).
Schematically the book is composed of five chapters that are bookended by opening and ending commentaries on South Africa. Each of these chapters zones in on a component of his process (erasing, animating, processing, drawing (up), and projecting). The sum total is intended to articulate expanded aspects of, as the book's title implies, metaphor and process. Maltz-Leca explains her intentions as follows:
"This book is less an exploration of the textures, smells, and caprices of materials and making than a pondering of their philosophical dimensions. It is less concerned with Kentridge's formal maneuvers per se than with the rhetorical gambits he posits in their wake.… Rather than a metaphor of context, [his works] involve a metaphoric process, or how Kentridge formally and discursively situates his various studio methods as analogues of operations in the world beyond." [her italics, p. 16).
The first chapter, "The Politics of Metaphor Erasing," explains that Kentridge "pitted metaphor against the linear reasoning of the law" (p 24). The son of two lawyers who were prominent opponents of the apartheid system, Kentridge saw art as a means to create meaning through a process that ran counter to the rationality he saw in legalisms. Indeed, one rationale given for Kentridge's attraction to erasure — a technique of building and erasing a work as it takes form — was that it is impervious to the kind of cross-examination inscribed within the law. Eventually filming the conceived and erased works sequentially allowed him to craft animations of continually revised images that, in turn, serve as a fulcrum for memory and forgetting, two key Kentridge themes: Moreover, "[e]rasure, although initially grounded in the politics of hiding and amnesia, ultimately comes to signal a potential reversibility of action and with it the unraveling of time and historical process" (p. 24). As for metaphor itself, it is presented as a part of his attraction to what we cannot rationally argue. The author presents it as an inverse framework to logic, a process counter to rationality and as a concept of disjunction. Chapter one also introduces fortuna, which he has explained is an approach that lands him technically somewhere "between pure chance and planning" (p. 21).
The second chapter, "History as Process of Chasing Hegel out of Africa Animating," pairs his animation technique with history. She tells us the artist's investment in animation came from its ability to show Hegel's history of change; the animation serves as a metaphor for history. It is also indebted to the apartheid context where competing views were in play. The author argues that Kentridge's work shows he is more like a Hegel revisionist than a Hegelian for he sees the tradition of history as a dynamic series of processes, which I didn't fully comprehend. The sense of art history presented as Kentridge's touchstone is a modernist one, with discussion of Jackson Pollock, Clement Greenberg, Harold Rosenberg, Bruce Nauman, and a number of other figures spicing things up, as discussed further below. "Stalking the drawing" is also involved with this, for he crafts his animations through a process of drawing, assessing, walking, erasing, and so forth. This technique additionally speaks to the influence of his studies in Paris with Jacques Lecoq (1921-1999), a French actor, mime and instructor. Lecoq's theatrical exercises underscored that physical activity is vital for actualizing creative work that conveys subtleties of meaning. Of interest in terms of the book's focus on process is the notation that the idea of process had an unusual prominence in the South African art world of the 1970s Johannesburg resistance culture.
Chapter three is presented as a connective linkage between the apartheid and post-apartheid periods and is indicative of a shift in focus; his post-apartheid art is presented more in terms of philosophical ideas, with less integration with the South African social and political environment than the opening chapters. As the details framing South African society began to recede, philosophical and psychological elements like the self, the unconscious, dreams, and ideas become more prominent. Titled Process/Procession Processing Regime Change, this chapter (previously published in the Art Bulletin [2]), does offer a rich survey on how and why processions became a dominant feature in many of his works. Briefly, on the one hand, they are intended as images of history. On the other hand, process and process-ion are said to work together to summon South Africa's larger historical changes. It was clear that the processions have great resonance with South African traditions, but the nuts and bolts of the connections were never quite clarified as I read. Process is also linked with Kentridge's peripatetic process of "stalking the drawing:"
"In the process of working … my mind gets into gear — by which I mean the rather dumb physical activity of stalking the drawing or walking backwards and forwards between the camera and the drawing: raising, shifting, adapting the image. … The film evolves as this ongoing walk between the paper and the camera, in the hope that somewhere in the middle of that walk, some idea will emerge to suggest what the next drawing or sequence should be" (p. 136).
Chapter four, "Thinking/Doubting/Doubling Drawing (Up)," maintains that his engagement with metaphor intensified in the post-apartheid period. We learn that for Kentridge drawing is a symbolic code that reaches beneath language, deep into the unconscious. We also learn more about his pacing and his psychology. Pacing for him is a meditative space for not thinking: "[T]here needs to be a physical activity because it's not about 'while I'm working I'm thinking,' its 'while I'm working and not thinking that the thoughts will happen" (p. 203):
"Acknowledging his blindness to his own motivations, Kentridge dissociates his 'I' from his 'brain.' In doing so, he visibly splits before us, articulating the fissures that play out in his chronicles of the infinitely fractured self and displaying a deep-seated uncertainty about our capacity to know ourselves—and by extension, the world. Such doublings and blind spots throw all knowledge into doubt." (p. 204)
The strongest sections of this strikingly philosophical chapter concern Stereoscope (1999), a film characterized as the artist's most extended meditation on imaging consciousness. Intended to speak to the idea that both those who supported and those who opposed apartheid lived split lives, the artist draws on an array of devices that are also metaphors used to explain how the brain works (the telegraph, the telephone, recording systems, etc.). These in turn create analogies to the mind and our inability to "see in." Maltz-Leca explains that Kentridge has said that our inability to make things cohere is the rationale for this film. It represents his attempt to map things which normally one just talks about:
"Ordinarily, when one looks into the viewer of a stereoscope, two slightly divergent two-dimensional images cohere in a single picture that appears three-dimensional, thereby mimicking the natural stereoscopic function of human vision. In Kentridge's film, however, the pairs of images never cohere, their gap paralleling the incoherence of a world that will not accord or make sense." (p. 221)
Chapter five largely homes in on projection, with all of its Freudian connotations, exploring how the mechanics of cast light and traveling images intersect with the metaphorics of Freudian projection and displacement. Titled "The Most Promiscuous of Metaphors Projecting," this chapter points out that Kentridge returned to projection the projection series after an eight-year hiatus and to support a post-apartheid ethics of identification. Other Faces, the tenth projection piece,was crafted in 2011, eight years after the ninth piece, Tide Table.
Overall, this book does an excellent job in presenting the three elements that formed Kentridge's process: his 1970s work with the Junction Avenue theater group in South Africa; his training in Paris with the French actor, mime and acting instructor Jacques Lecoq (1921-1999) in the early 1980s; and his extensive studies of Hegelian and Marxist thought, which dominated apartheid era oppositional culture. Maltz-Leca's presentation of Kentridge's process in terms of his evolving body of work was less effective, although it may translate better with people more well-versed with Kentridge's projects overall. Basic elements, like how Kentridge weaves characters like Soho Eckstein and Felix Teitelbaum through the Drawings for Projection series are still somewhat vague to me, although I did gather that these two characters are Kentridge alter-egos and said to depict an emotional and political struggle that ultimately reflects the lives of many South Africans. [Soho Eckstein is said to represent the archetypal white Johannesburg businessman of the post-apartheid era and Felix Teitelbaum is the humane and loving alter-ego to that ruthless capitalist white South African psyche.]
A few elements stood out. First, for me, there was a measure of unreality to the book because it's thesis focused more abstractly on metaphor as a process of life rather than process in terms of artistic praxis. The end result is that Maltz-Leca offers an overview of Kentridge's theory of consciousness. I was hoping for more connective tissue with the work itself, his life, and references to South Africa's evolution since apartheid ended.
Second, I was intrigued by how the artist's work and the author's product aligned. Kentridge's work coheres in terms of a visual communication, despite the lack of a unified narrative in many of the pieces themselves. By contrast, this author's use of thematic ideas to frame recurring visual fragments did not clarify Kentridge's work so much as it mirrored the disjointed quality of the artworks. This meandering quality resulted because artworks of similar themes were composed at different times over the course of his life. A fascinating element within this is that it underscores a difference between art products and critique. Incongruent expressions in art can (and in this case do) convey mutation, metamorphosis, change and upheaval. They can unfold like a dream because as art they do not need to make sense in a logical or rational way. In a scholarly publication, however, this kind of jumping around makes it difficult to conceptualize particular works and how the composite fits together. I would have preferred a framing that used the artist's chronology or particular artworks as a structure for a unifying narrative.
Third, a surprising element of the book was how narrowly the author defined the Euro-American tradition. The author remarks that it played a large role in Kentridge's development. Yet, while it was clear that the artist's location, culture, and the political climate within South Africa informs his work on some level, the Euro-American philosophical tenets seemed more aligned with a late twentieth century fashion that drew upon figures like Marx, Hegel, and Freud. In terms of art, it was striking that Modernist American art theory had an oversized influence. One endnote says that Clement Greenberg confided to Kentridge in 1975 that the political situation in South Africa demanded political art. This is amusing and was quite surprising given that this critic famously insisted upon the separation of art and politic. Surely Greenberg knew that many late twentieth century artists in America saw a demand for political art? Despite his activism I suppose it is possible that Kentridge was totally unaware of the statements against apartheid by established American artists? Suffice it to say that during the Civil Rights Movement in the 1960s and 1970s and the 1980s movement in the United States to impose sanctions on apartheid South Africa many artists of all colors were fiercely debating social engagement and documenting it as well (e.g., Andy Warhol, Robert Indiana, Jeff Donaldson, etc.). Devices within these projects (the use of crowds, language, etc.) included elements quite similar to Kentridge's work of this time period.
In my 2007 critique of the Krauss essay on Kentridge I noted that the artist served as a good example of how the narrative of a product does not encompass all that a work is "about." Maltz-Leca's presentation of Kentridge's theory of consciousness did not change my sense of this or that his art stands on its own terms. For me, Kentridge's work brings to mind how a visual language can have a different quality than an associated narrative. In this case, I had hoped for a more concrete entry into the 'Alice-in-Wonderland' quality of the narrative because the works create an impression that there is much more to see. This beautifully designed and carefully researched book includes a wealth of pieces and yet — despite the breadth of her scholarship, fascinating anecdotal information, and a sesquipedalian vocabulary — I found the sum total did not fill in enough about his process or how his post-apartheid experience is inscribed in the work. This is because Maltz-Leca's multi-layered study is often found hard to follow. One obvious problem, and one well known to all art historians, is the difficulty in capturing visuals with words. Her enviable vocabulary helps, as do some of the elegant spreads of still shots. Nonetheless, I often found myself at a loss, although some of this was aided by clips online.
Not only did Metaphor as Process affirm my sense that visual commentaries and narrative ideas differ because the visual language of an artist is of a different quality than that of the narrative associated with the work, it also reminded me of the difficulty in bringing artistic praxis into the art theory lexicon. Because this study of Kentridge is focused on the philosophy behind the artist's work it aligns with the way art historians have traditionally read images in terms of philosophical narratives that served to subsume both that our brains do more than think and that artistic processes are too complex for thinking/not thinking, rational/non-rational descriptions. In other words, as presented, Kentridge's ideas do not seem to include the complexity of the artistic brain at work. Therefore, ultimately, Process as Metaphor reminded me that one of the special characteristics of successful art is that it can work even if conceived from an intellectual premise that seems to conflate the art with something else.
1. See Amy Ione. "Perpetual Inventory (review)." Leonardo 44, no. 5 (2011): 445-446. https://muse.jhu.edu/ (accessed June 15, 2018) and Rosalind Krauss, "'The Rock': William Kentridge's Drawings for Projection" in her Perpetual Inventory (Cambridge, Mass., and London: MIT University Press, 2008)
2. Krauss, R. (2000). "The Rock": William Kentridge's Drawings for Projection." October 92: 3-35.
3. Maltz-Leca, L. (2013). "Process/Procession: William Kentridge and the Process of Change." The Art Bulletin 95(1): 139-165.
William Kentridge: Process as Metaphor and Other Doubtful Enterprises
Leora Maltz-Leca
University of California Press, Berkeley, CA, 2018
416 pp., Illus. 237 col.
Trade: $49.95
ISBN: 978-0520290556.
Author The Diatrope InstitutePosted on March 7, 2019 April 23, 2019 Categories Art History, Artists, Blog, Book Reviews, PublicationsTags 20th Century Art, Apartheid, Artists, Contemporary Art, Drawings for Projection, Fortuna, Leora Maltz-Leca, Metaphor, Process, South African Art, William Kentridge
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Christopher Tyler's Research
Are there four, six, or seven unique hues? by Christopher W. Tyler
Now Online: Was Leonardo da Vinci's World Map the First to Name America?
Lecture: Was Leonardo da Vinci's World Map the First to Name America?
Selected Press for Eye centring in selfies posted on Instagram
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version 0 of story uniting livelihoods of net generation of scotland with sustaining free trade with youth of which other countries?
Dont you just love how economics and media rule the world? but school are designed to never free youth to question how to linkin??


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Submitted by chucky on Fri, 06/12/2009 - 11:10.
2008 Olympic Trial Finalist Signs Four Year Deal with Mizuno Race Team - Norcross, GA (June 12, 2009) – Mizuno USA, Inc., a leader in high performance running footwear and apparel, has announced today that the company has signed a four-year endorsement deal with runner Corey Nowitzke. Nowitzke is the fourth signing for Mizuno in the past year, having signed endorsement deals with runners Megan Hepp and Antonio Vega at the end of 2008, and Jason Schoener at the beginning of 2009.
Nowitzke ran for the Eastern Michigan University Eagles, where he was a three time All-American, and a seven time Mid-American Conference Champion. He won the Martian Half Marathon in Dearborn, Michigan in April, finishing at 1:06:58. At the 2008 Olympic Trials, Nowitzke was a finalist, with a 10th place finish in the 3000m Steeplechase.
Nowitzke, originally from Monroe, Michigan, currently resides in Ann Arbor, Michigan, where he teaches Algebra and Geometry at a local high school.
Mizuno USA, Inc. is a wholly owned subsidiary of Mizuno Corporation, one of the largest sporting goods manufacturers in the world. Mizuno USA, Inc. manufacturers and distributes baseball, golf, softball, running, track & field, and volleyball equipment, apparel, and footwear for North America. Mizuno USA, Inc. is based in Norcross, Georgia.


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Movie review: Assaultive 'No Good Deed' comes out at just the wrong time
Screen Gems ignores the Ray Rice controversy and national conversation about violence against women with "No Good Deed," a brutal thriller about, you guessed it, a "malignant narcissist" committing all...
Screen Gems ignores the Ray Rice controversy and national conversation about violence against women with "No Good Deed," a brutal thriller about, you guessed it, a "malignant narcissist" committing all sorts of violence against women.
The team behind "Obsessed" serves up Idris Elba as an escaped convict savagely menacing Taraji P. Henson and assorted other females in assaults so savage you'd think they happened in a casino elevator.
Screen Gems canceled preview showings of this, protecting a "plot twist," they said. No, they were hoping the violence here would not take people out of the movie and into the evening news and sports talk radio, much the way the NFL is hoping images and a news story just go away.
And unlike Disney, which postponed a comic thriller which featured a bomb on a plane as a plot element 13 years ago, they're just trotting this blood-stained melodrama out there and hoping we don't notice.
Would "No Good Deed" have anything worth talking about without the Ray Rice sucker punch tie-in? Barely.
Elba plays Colin, serving time for manslaughter in Tennessee where the parole board has the good sense to not let him go. He escapes, and after checking in with an old flame (Kate del Castillo) stumbles to Terri's door in a wealthy suburb of Atlanta.
It's a rainy night, and his disarming charm takes a while to work on Terri (Hanson). She has two tiny kids, a husband out of town and a suspicious nature. But his baritone and sleepy eyes do their magic, his cover story (he really did have a wreck in the rain) seems logical.
But once he's inside the house, it's just a matter of time before mayhem ensues. Who knew an 84 minute movie could seem this much longer?
Leslie Bibb plays the absurdly flirtatious neighbor-pal, whose come-ons are porn-video obvious. And every so often, something hilariously coincidental changes the subject of awkward conversations — a child cries, a tree crashes through the window.
Elba's a good actor, letting us see Colin size Terri up, reason out her situation, his eyes revealing cunning in one instant, future-tense guilt in the next.
"I ain't got nothing to lose," he declares, until his British grammar kicks in. "You stand…to lose ALL!"
Henson does as well as can be expected, playing a fiercely protective mom whose temper apparently takes precedence over her fear, mouthing insults like she's arguing with her husband, but at a huge, muscular stranger with a gun.
The erotic touches, Terri's coy attention to appearance after the audience has seen Colin as a man of violence, are a joke. And the sexualized extreme close-ups just underline how tin-eared "No Good Deed" would be, even without that security camera footage.
Starring: Idris Elba, Taraji P. Henson, Leslie Bibb, Kate del Castillo
Rating: PG-13 for sequences of violence, menace, terror, and for language
Running time: 1:24


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The Art Hall and shop is closed for the season. We open again on Jan 25th with Beckers Art Award 2020.
Färgfabriken Kafé is open Tuesday - Sunday 11 am - 16 pm.
Between Realities
– group exhibition with Anna Uddenberg, Jacob Kirkegaard, Wendy McMurdo, Julius von Bismarck and Katja Novitskova.
[Anna Uddenberg, Journey of Self Discovery, 2016.Photo: Kraupa-Tuskany Zeidler, Berlin]
Five contemporary artists participate in the exhibition Between Realities, and in different ways, focus upon what it entails to be human in a rapidly changing world, where technology is perpetually altering our behaviours and our perceptions of our existence.
Naturally, it is difficult to fully grasp and portray what digitalization will mean for our lives and societies. The constantly connected world creates exciting possibilities as well as practical and philosophical challenges. Is it accurate to say that digitalization alters our perception and that we thus experience the world through a deceptive filter that amplifies, reduces and ultimately distorts? If so, what does that mean?
The work Journey of Self Discovery by Anna Uddenberg (b. 1982), revolves around themes such as commercialism, consumption, feminism, body fixation, identity and the creation of the self-image. The smartphone camera is a crucial tool in the creation of the image of ourselves that we wish to project, where the "selfie" is one of the most common motifs in social media. Here, the camera is used to portray our bodies, often as a means to achieve social affirmation and acceptance.
Wendy McMurdo
Wendy McMurdo (b. 1962) has in many of her projects focused upon questions that deal with computers, children and education. McMurdo has visited schools and studied how pupils use computers and especially how they play computer games. How will the fact that children today spend a significant portion of their time in virtual worlds, such as Minecraft, affect them?
[ Installation from Between Realities 2018: Wendy McMurdo, Indeterminate Objects (Chatroom) 2018 & Indeterminate Objects (Classrooms), 2017. Photo by: Karin Björkquist]
In the project Indeterminate Objects (Classrooms), the artist investigates the presence of digital visualizations in the daily life of children. McMurdo has photographed classrooms with classic, Victorian interiors and then added digital animations to them.
In Indeterminate Objects (Chatroom), she has extracted conversations from chatrooms in the computer game Minecraft. The chat adds another layer to the actions in the game and links the players, the fiction and the virtual together.
Jacob Kirkegaard
Jacob Kirkegaard (b. 1975) participates with the video work Stigma, recorded at four different sites nearby Fukushima, after the nuclear disaster in 2011. Stigma partly follows an artistic tradition of nature descriptions, but is multi-layered and moves in between dimensions. With the help of highly sensitive microphones, Kirkegaard has recorded sounds that you cannot hear with the human ear.
The sounds change the perception and experience of the landscape and open up for new interpretations. Since the piece was recorded in Fukushima, it is easy to draw connections between the soundtrack and the radioactivity. The radiation is always there but it cannot be seen with the naked eye. Stigma also prompts a discussion on the relationship between civilization, nature and humanity.
[Installation from Between Realities 2018: Jacob Kirkegaard, Stigma, 2014, Fukushima. Photo by: Karin Björkquist]
In Mamaroo (smouldering brain, growth potential), Katja Novitskova (b. 1984) seems to tell us about a world where robots and cyborgs have replaced humans. The larger robot is nursing small robotic bugs with tender love and care.
Novitskova works within a high-tech aesthetics. In her works, the viewer can find both a fascination for technology and a dystopian foreboding of where the development within artificial intelligence might lead. Or in a less dystopian way of putting it: if humans are replaced by machines and if planet Earth then becomes a better place for all other living beings, and if the creatures that populate Earth live happy lives - the future might mean the end of humanity, but not necessarily the end of the world. This may be the future where the work Mars Potential (marabou) belongs, where other planets might be an option if Earth is not anymore.
[From the left: Katja Novitskova, Mars Potential (marabou), 2015, Katja Novitskova, Mamaroo (smoldering brain, growth potential) 2018 & Julius von Bismarck, Unfall am Mittelspunkt Deutschlands #1, 2013. Bild av: Karin Björkquist]]
Julius von Bismarck
In the geographical centre of Germany there is a linden tree marking the location. One morning in April 2013, an accident was reported. A black VW Golf had crashed into the tree. The accident confused the police. There were no traces in the surrounding landscape that indicated where the car had come from. Finally, after some detective work, it became clear that the car must have crashed somewhere else and had then been transported to the site.
The accident was arranged by artist Julius von Bismarck (b.1984). With humour and wit, he challenges our perception and understanding of images and reality. In Unfall am Mittelpunkt Deutschlands #1, he plants a fiction that sneaks into media and police reports to become a part of reality; a method frequently used by the artist.
[ Julius von Bismarck,Unfall am Mittelspunkt Deutschlands #1, 2013]
Between Realities is curated by Björn Norberg, a curator, writer and musician based in Sweden.
The 31th of August - 2nd of December
Vernissage :
The 31th of August at 4 - 8 pm
Special opening hours during 1-28/9:
Thursday to Sunday at 11 am - 5 pm
After the 28thof September Färgfabrikens regular opening hours apply:
Thursday 11 am - 7 pm, Fridy 11 am - 4 pm, Saturday and Sunday 11 am - 5 pm
Video about the exhibition and interviews, created by HodgeArts
https://www.youtube.com/watch?v=04nys4nlG90&feature=youtu.be
This email address is being protected from spambots. You need JavaScript enabled to view it. Curator
The exhibition Between Realities is a collaboration between Färgfabriken and Goethe-Institut Schweden and part of the project Drone Dancing.
Drone Dancing is a multi-format social art event exploring the technological development and its impact on humanity's present and future. The project consists of two exhibitions that will be presented at Färgfabriken during the fall of 2018, Drone Visions and Between Realities. The exhibitions use two separate curatorial methods to demonstrate the possible effect technology will have on the future society.


To make a yummy Milkshake.
Witty Kids children always enjoy the kitchen corner activity and look forward to it. The activity for Monday, September 17, 2018 was making Milk Shake.
Our little ones of Playgroup, Witty Kids, R.C. Vyas colony, Bhilwara were excited and anxious for the activity. The teacher explained that we get milk from the cow who is a farm animal. Then the teacher introduced to kids the ingredients required for Milkshake. As a precautionary measure, the teacher helped the kids to pour the milk and add all the ingredients i.e. sugar and Roohafza in the utensil. The shake was then poured in the glasses and distributed by the teacher for the kids to taste it. The kiddies loved drinking the shake with their friends.


I'm that dreaded wine taster.
I also did not have an appointment.
Not my most shining wine tasting moment.
I'm was so badly rushing to squeeze in the last top wineries for my 100 wineries in 100 days challenge…. I was a bit frantic.
I've been hearing chatter that this is the 'IT' winery place to be.
I've been longing to scope it out.
Don't be like me! Reservations are HIGHLY recommended.
Located just minutes from downtown Healdsburg on Westside Rd.
A majestic winery, on a picturesque hillside, in the heart of Russian River Valley.
Wine Tasting happens in the elegant MacRostie Estate House.
An array of areas to sit and enjoy the wine and the view.
Three well appointed patios and a luxurious, large tasting room for guests.
Key to the experience are the walls of glass, which offer endless views.
High quality Chardonnay and Pinot.
Grapes are sourced from 30 Chardonnay vineyards and 15 Pinot Noir sites.
Vineyard locations include Sonoma Coast and Russian River Valley.
Apparently their winemaker, Heidi Bridenhagen, is the youngest woman winemaker in California history!
MacRostie Winery was honored as the "Best Overall Winery� and the "Best Tasting Room in Sonoma or Napa� at the 2017 Best of Wine Country Awards by San Fran Magazine.
Seriously incredible 360 views of Russian River Valley.
Before you even walk in to the winery a glass of welcome Sauv Blanc is placed in your hand.
The people here are happy to accommodate you, tell a story, and smile.
I fell head over heels for this tasting room.
I know I'll be visiting frequently and taking guests here all the time!!!
A new TOP favorite Sonoma County wine tasting spot.


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Hell with the Lid Off
Inside the Fierce Rivalry between the 1970s Oakland Raiders and Pittsburgh Steelers
Ed Gruver and Jim Campbell
Foreword by Andy Russell
18 photographs, 4 illustrations
Hell with the Lid Off looks at the ferocious five-year war waged by Pittsburgh and Oakland for NFL supremacy during the turbulent seventies. The roots of their rivalry dated back to the 1972 playoff game in Pittsburgh that ended with the "Immaculate Reception," Franco Harris's stunning touchdown that led the Steelers to a win over the Raiders in their first postseason meeting. That famous game ignited a fiery rivalry for NFL supremacy. Between 1972 and 1977, the Steelers and the Raiders—between them boasting an incredible twenty-six Pro Football Hall of Famers—collided in the playoffs five straight seasons and in the AFC title game three consecutive years.
Both teams favored force over finesse and had players whose forte was intimidation. Pittsburgh's Steel Curtain defense featured Mean Joe Greene, Jack Lambert, Jack Ham, and Mel Blount, the latter's heavy hits forcing an NFL rule in his name. The Raiders countered with "The Assassin," Jack Tatum, Skip Thomas (aka "Dr. Death"), George Atkinson, and Willie Brown in their memorable secondary. Each of their championships crowned the eventual Super Bowl winner, and their bloodcurdling encounters became so violent and vicious that they transcended the NFL and had to be settled in a U.S. district court.
With its account of classic games, legendary owners, coaches, and players with larger-than-life personalities, Hell with the Lid Off is a story of turbulent football and one of the game's best-known rivalries.
Ed Gruver is an award-winning sportswriter and the author of several books, including Hairs vs. Squares: The Mustache Gang, the Big Red Machine, and the Tumultuous Summer of '72 (Nebraska, 2016) and From Baltimore to Broadway: Joe, the Jets, and the Super Bowl III Guarantee. Jim Campbell has worked at the Pro Football Hall of Fame and was a member of the Steelers' organization during their dynasty decade in the 1970s. He has written for numerous NFL publications and has authored several books on the NFL. Andy Russell is a former NFL linebacker who played his entire twelve-year career with the Pittsburgh Steelers, with whom he won two Super Bowls.
"This book does a wonderful job of portraying both franchises and its players and coaches throughout the entire five year stretch and concentrates strictly on the football. There is very little commentary on the social or political situations of the cities or the nation at the time. That is what makes this book one that hard-core football fans of that era will want to read, even if they are not fans of either one of these teams."—Lance Smith, Guy Who Reviews Sports Books
"The authors capture the tenor of the times and do a fine job of fleshing out the personalities of both the Steelers and Raiders—owners, coaches, and players. As a result of Ed Gruver's research and interviewing skills, a reader will learn exactly what the rivalry consisted of. Jim Campbell's near-total recall from his up-close and personal position puts the reader right there on the sidelines, in the locker room, at the mid-week practices, and practically in the huddle—places where even a season ticket holder couldn't go. In addition to being very informative, Hell with the Lid Off is simply a fun read."—Joe Gordon, former director of communications for the Pittsburgh Steelers
"The five-year rivalry between [the Steelers and Raiders] is chronicled in exquisite detail. Tons of nuggets that the most die-hard old school NFL fans will eat up. Highest recommendation!"—Ken Gelman, NFL writer and historian
Prologue: Immaculate Reception or Deception?
1. Steelers a Work of Art
2. Darth Raider and the Mad Bomber
3. Raider Nation, Franco's Army, and Knowledge Noll
4. Mean Joe, Marv, and Madden
5. Steelers Feel a Draft in '74
6. Hard Road to the Big Easy
7. Seeing Stars
8. Of Ice and Men
9. Autumn Wind Is a Raider
10. California Dreamin'
Epilogue: Hot War Turns Cold
Hairs vs. Squares
Ed Gruver
Phog
Scott Morrow Johnson
Foreword by Judy Allen Morris
Macho Row
William C. Kashatus
Robert C. Trumpbour and Kenneth Womack
Foreword by Mickey Herskowitz
Urban Shocker
Steve Steinberg
Lefty O'Doul
Dennis Snelling
The Baron and the Bear
David Kingsley Snell
Foreword by Nolan Richardson
Olympic Collision
Kyle Keiderling


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« The Tempest, Reimagined by Chicago Shakespeare, has all its Old Magic, and Even More Arrived Deeply Uncomfortable, Left Somewhat Satisfied: EXPO Chicago 2015 »
Art Tue Sep 22 2015
An Interview with Marc Fischer of Public Collectors: Hardcore Architecture
By S. Nicole Lane
"Defoliants" Street View image, part of the Hardcore Architecture series by Marc Fischer.
Artists like Jon Rafman or Paolo Cirio, who work primarily with Google Street View as a medium, have created images that are evocative and disturbing, often blurring the line of legal privacy issues. While capturing the individuals who fill the streets, alleys and lawns of the world is captivating, these artists have drawn on the public and an additional tool to conceptualize the public sphere. Since 2007, the launch of the panoramic technology featured on Google Maps and Google Earth has become an eccentric and often easy way to view places one may never go or places one desires to see.
Enter Marc Fischer, his project Public Collectors, and his recent exhibition at The Franklin, Hardcore Architecture. I interviewed Marc before his opening reception via email correspondence.
Can you tell me a little bit about how Hardcore Architecture came into fruition? Are you into hardcore/punk rock music as well?
I am a fan of this music and started buying hardcore records and demos starting in around 1986. I can't imagine doing this project if I didn't actually like this stuff. In 2012, my wife and I bought our first house and for the previous year I was spending a lot of time on Google Street View, looking up houses from real estate listings before trying to see anything in person, much less look at the interior. I came to enjoy that as a way of trying to understand a place. Around that time I was reading a review of some underground metal band's demo tape in a magazine from the 1980s and it occurred to me to try plugging the contact address into Street View. I'm not sure what I was expecting to find, but I immediately realized that this would be a very different way of visualizing that history. I liked seeing where the bands I listened to came from. In some cases, I ordered things from these bands in the 1980s and these were the addresses where they received my mail orders or correspondence.
The houses are so ordinary most of the time, and I think the project calls up a lot of narratives that are under-represented in discussions of underground music culture. For example, behind many of these provocative band names, there are clearly a lot of really supportive parents who let their kids have a demo tape shipping operation out of their home, or a practice space in the basement or garage. Many band members were still living at home when they released the records and tapes that Maximum Rocknroll reviewed, but parental support isn't something that was particularly cool to sing about in hardcore thrash bands.
How many copies of MAXIMUM ROCKNROLL did you work with for this project?
The focus of the project so far has been the 1980s. Maximum Rocknroll began publishing in 1982 and there are 79 issues that span from the beginning until December 1989. I'm about 65 percent finished exploring back issues of the magazine. For copies I don't own, I've been going to the Harold Washington Library Center which, incredibly, has a complete run of the magazine that you can request from the eighth floor reference desk.
"Dehumanizers" Street View image, part of the Hardcore Architecture series by Marc Fischer.
You founded Public Collectors, a project that encourages the exhibition of cultural and media artifacts, and have published two books under the projects name. How did you become interested in archiving, collecting, and looking at artifacts?
Just one Public Collectors book actually, but now there are 18 booklets so far.
I've collected and saved things since childhood, and I definitely have a pretty hefty collection of records and zines. Being part of an artist group (Temporary Services) that makes a lot of publications and exchanges publications with a lot of other artists has definitely swelled the archives and forced me to think about what it means to save things made by others. I teach as well, and always have research I'm doing for my creative work. These things also lead to accumulations of "stuff" -- and I enjoy collecting as a creative endeavor all its own. I find the experience at most museums extremely antiseptic and predictable, which has compelled me to want to see and share more of the kinds of things that are typically squirreled away in people's homes. Museums rarely collect works made by collaborative artist groups, for example, and that's most of what I do, so if you want to see that kind of work, you have to look elsewhere.
I also desire conversations with other passionate people that save materials related to the histories I value. Offering your own resources can create more opportunities for those kinds of exchanges. Being able to access interesting objects is nice, but having direct encounters with the people that helped make those objects or are part of that history, is always richer.
What's your favorite house/description/band name in Hardcore Architecture?
Oh, there are so many! I particularly enjoy the combinations where the band name is extra violent and the house is extra boring or ordinary. Some examples of this are: Dead Virgins, White Collar Corpse, Rotting Humans, Death Row, and Chicago's own Impulse Manslaughter.
How did you feel once you started looking up addresses and discovering that many of them were located in the suburbs?
This wasn't entirely surprising, although some of the houses are perhaps more grandiose than I expected. In many cases you can really feel the urge to break out of a quiet, sometimes rural, existence by making loud, ugly music. It becomes easy to imagine young people needing to invent their own fun when I navigate certain areas and see how little there appears to be. I grew up in a suburb of Philadelphia and started an underground music 'zine when I was 17 years old. Part of the impetus to do that was because I was pretty unexcited by my surroundings too. The people I went to high school with didn't care about the things I cared about, so I used my publication to find others that did. It worked then, and it still works.
Any exciting news for Hardcore Architecture or other projects that you have for the future?
Thus far I have completed three publications for the project: an essay booklet with color photos of the houses, and interview booklets with the photographer and filmmaker Bill Daniel and Les Evans from the band Cryptic Slaughter (whose childhood home is part of the project). I plan to continue searching for houses and making Hardcore Architecture publications. The next booklet will likely be an essay that focuses on the work of being a Google Street View driver, and the next exhibition of the project will take place at the Outhaus in Urbana, Illinois. Like the Franklin, it's a small backyard space behind the house of two artists. I'm trying to keep things domestic!
The exhibition at The Franklin, based out of Edra Soto's and Dan Sullivan's home in East Garfield Park, featured a selection of images and text from the overall collection of screenshots that the artist had accumulated since 2014. Rather than printing all of the pieces in color, the artist chose black and white for the majority of the exhibition, although a few images remained in color. The grittiness and angst ridden agitation that is incredibly singular to hardcore culture was characterized by the visual abrasiveness of the black and white and poor resolution quality. Additionally, Fischer's choice to tape the images to the wall of the gallery space symbolized the raw and radical DIY culture of zines, hardcore, and the underground. Many of the collected images were full of irony as they juxtaposed one another with location and place vs. title and review dialogue -- the works inform us that creativity can spawn anywhere, in a manicured lawn or in a city dwelling.
Hardcore Architecture will be exhibiting at Outhaus, October 3, at 709 E. Sunnyside Crest Dr., in downstate Urbana.
Architecture Tue Nov 03 2015
By Nancy Bishop
Architecture critic Paul Goldberger talks about Frank Gehry's life and work in a new book.
Read this feature »
Steve at the Movies Fri Jan 01 2016
By Steve Prokopy
Read this column »
An Angry White Guy
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text:
LNG2019: Success in Shanghai for Flagship LNG Event
Trade & Exports
Technology & Service
The 19th International Conference & Exhibition on Liquefied Natural Gas is presented by the International Gas Union (IGU), GTI and the International Institute of Refrigeration (IIR) - the only LNG event owned by the industry, run for the industry.
From 1-5 April, over 15,000 attendees from more than 80 countries around the world attended LNG2019 in Shanghai, the first time the event has been held in China. The event brought together speakers from the world's biggest LNG players, the heads of China's "Big Three" energy giants, leading contractors and shipping companies together with senior government representatives, policy makers and LNG professionals from across the industry to discuss the growing importance of LNG on the global stage and the trends impacting its growth.
A clear trend is the global energy transition, as the world seeks to shift to cleaner burning fuels and renewable energy to limit climate change – and natural gas will play a key role in achieving this goal. In remarks on the opening day, YANG Hua, Chairman of China National Offshore Oil Corporation, the largest offshore oil and gas producer in China, noted that natural gas will increasingly account for a larger proportion of primary energy consumption, with LNG making up a fast-growing component of that supply because of its convenient transportation, flexibility, safety and efficiency.
"In the future, global LNG consumption will rise rapidly and is expected to grow by an annual average of four per cent during 2015-2035, doubling the rise of natural gas consumption in the same period," YANG Hua told delegates.
Mike K. Wirth, Chairman and Chief Executive Officer of Chevron Corporation, said that there can be little doubt that natural gas and increasingly LNG will play a vital role in supplying global energy demand for decades to come.
The industry is already working hard to deliver this future. WANG Yilin, Chairman of CNPC, highlighted the increased investment in new LNG capacity, with investment deadlocks broken and new projects taking FID this year both in existing LNG powerhouses, such as Qatar and Australia, but also emerging suppliers such as the United States, Russia, and Africa.
The splurge of FID investment was good news for the 200 exhibitors in Shanghai, who were there to showcase the technologies and innovations that will optimise performance, reduce costs and lower emissions in the years to come, further cementing LNG's role as the fuel of the future.
"Especially in the wave of digitalization leading integration between new technology and the LNG industry, the cost of LNG production, transportation and utilization will further decrease while efficiency and price competitiveness will be strengthened to promote rapid rise of global LNG trade," said YANG Hua.
It was fitting that LNG2019 was held in China, the world's fastest growing LNG market. The country has embraced natural gas, and LNG, as a means to combat pollution and climate change, and the sheer scale of this transition has changed global trade patterns.
"China's efforts to fight against air pollution are a catalyst for the development of natural gas industry in the country", said Woodside CEO Peter Coleman. "Many of the reforms in China around gas transportation, around import terminals along the coastal line and so forth, have been critical enablers in opening up the Chinese market," said Coleman.
The LNG2019 conference highlighted not just the huge opportunities of the world's growing LNG trade, but also the challenges ahead, including high capital costs of liquefaction plants, restrictive contract terms and downstream infrastructure constraints.
Mike K. Wirth of Chevron suggested innovative partnerships will be key if LNG is to reach its full potential. "Such partnerships will improve stability in the LNG market, enhance flexibility, spur investment, reduce costs and develop new technology that ultimately bring to market the energy that powers economic and social progress," said the Chevron Chairman and CEO.
The seeds of those partnerships may have been sown at LNG2019, where delegates and exhibitors from across the globe met and networked at the five-day event. Already industry movers and shakers are looking ahead to the next event, to be held in Saint-Petersburg, Russia in 2022.
"What a great event in the beautiful city of Shanghai. The perfect place and timing as everybody foresees a bright future for the LNG industry, including great opportunities to meet today and tomorrow's environmental challenges", said delegate Aziz Bamik, General Manager at GTT North America.
About LNG2019
The 19th International Conference & Exhibition on Liquefied Natural Gas is presented by the IGU, GTI and IIR and is the only LNG event owned by the industry, run for the industry.
The event is supported by the Shanghai Municipal People's Government and hosted by the China LNG Association, China Gas Society, The Chinese Association of Refrigeration and the China Gas Association. It will be the largest LNG event ever to be held in China – the world's fastest growing LNG market.
From 1-5 April 2019 Shanghai hosted over 15,000 attendees and 200 exhibitors representing 550 companies from more than 80 countries.
Contact: Amy Jordan, Head of Marketing, LNG2019
Email: ajordan@thecwcgroup.com
- ASIA TODAY News Global Distribution http://www.AsiaToday.com


text:
Q: Questions about web-languages interoperability in a cross-plateform project I plan to create an application on iOS, Android and a website with AngularJS.
But for not having to rewrite the business code on each app, I would like to reuse as much code as possible.
To be able to execute the core of the project on any platform, I have to use a web language.
Through different articles, I plan a common architecture to separate the business logic of the project - core - with the UI which will reimplemented for each system (UIKit for iOS, AngularJS and Polymer for the webapp, etc.)
The goal of this architecture is to respect important software engineering principles such as information hiding by decomposing requirements in modules, DRY and SOLID

*

*Each feature will be decomposed in module.

*Core: Business logic code - reusable on every platform - will be represented in form of a library.

*View: The view class will be developed on each different platform to use the different UI elements proposed on each platform. E.g.: subclass of a ViewController in Objective-C / Swift for iOS or a simple class to manipulate HTML for the web-app. There is no logic in this class. It is only responsible to:

*

*Handle user interactions to the business logic.

*Display contents from the business logic

*IView: Interface which abstracts the class which manipulates the view.

*Presenter: Link between the Interactor and the View to drive the UI.

*Interactor: The logic of the module, such as algorithms.

*Data Store: Manage the persistence and the fetching of data by communicating with a database or API or web-service.

*Model: Data represented in structures.

Here for iOS (almost the same for Android):

The code of "core" will be executed through a virtual machine as this article shows us: http://www.skyscanner.net/blogs/developing-mobile-cross-platform-library-part-3-javascript
Here for AngularJS:

Now that you know everything about the architecture, here are my questions.
I don't have enough experiences and feedback on the web-langages to be able to make a smart choice. After few researches, I found that there are various options:

*

*Dart:

*

*Question 1: Are there mechanisms to allow interoperability between Objective-C/Swift and Java through VM? I know that both platforms have VM to execute Javascript code and Google provides dart2js to compile Dart to Javascript code. But it's not plain Javascript: See an example here. So I don't know if there is still a proper interoperability.

*Javascript ES6: Event if it's not fully implemented in browsers yet, it's possible to start using ES6 with Traceur compiler.

*

*Question 2: Is there interoperability of Javascript compiled by Traceur and the VM in iOS/Android?

*Question 3: Is it "safe" to use ES6 through Traceur to develop a large-scale project and have production code?

Thank you for reading.

A: I know this wasn't one of the options you listed but don't automatically rule out C++. This is what Dropbox uses for example, they even open sourced their tools for this purpose:
C++ to Java/Objective-C API generator:
https://github.com/dropbox/djinni
Sample "native" app for Android/iOS:
https://github.com/libmx3/mx3
Interesting article on the subject with more links:
http://oleb.net/blog/2014/05/how-dropbox-uses-cplusplus-cross-platform-development/
Updated Answer:
If you really don't want to use C++ and are okay with the bloat you'll get from going non-native then you can try the following:
https://github.com/MobileChromeApps/mobile-chrome-apps
That project is Google's fork of Cordova and adds a bunch of new features and benefits.
There is a Dart wrapper over Chrome APIs here:
https://github.com/dart-gde/chrome.dart
Basically, you would write your app in Dart using plain HTML5 technologies, then for certain things you'd use the Chrome APIs (device state, etc). Then you can deploy:

*

*Web: Compile to JavaScript without the Chrome API features.

*Chrome OS: Compile to JavaScript with Chrome API features.

*Android: Compile to JavaScript and then use MobileChromeApps to create Android app.

*iOS: Compile to JavaScript and then use MobileChromeApps to create iOS app.

A: This is an interesting topic. Here is what I learnt from the "GWT.Create" conference, the google guys showed how they did the cross platforms project:
First the DataStore and Model part in your picture should be done in an external server, so it's already crossed platforms.
UI render must be done in native way individually, that's the best solution.
They implemented the shared logic (complicated calculation, encryption, etc) with Java, for Android it works out of box, for Web they use GWT to translate Java to Javascript and for iOS they use J2ObjC, a new Google product. You can find it here:
https://github.com/google/j2objc
They also mentioned the C/Cpp solution, it's not a bad idea at all, Java is just a high level language and easy to use in most case.

A: If you want to create a cross platform application (iOS/Android/Web) the best thing you can do is sharing as much code as possible between these platforms. You could use something like PhoneGap/Cordova but this does not feel very native all the time. Event the best PhoneGap app feels not that native because it does not use the native UI. Instead in embeds a browser in a native UI container.
What I recommend is using a project structure as follows:

*

*myapp-core

*myapp-ios

*myapp-android

*myapp-web

The the core project is shared between the ios, android and web project. You can write the core project in Java and use GWT to translate this code into JavaScript for the web project. For the android project there is nothing to do because Android uses Java. For your ios project you can use J2Objc to transpile you core Java code into Objective-C.
What come into the core project?
Use interfaces and abstract base classes as well as factories as much as you can.

conversations, reminders, and contacts It also deals with the difficult task of network management and offline synchronization, where the app is used offline, reminders are made, and e-mails are sent. It's up to the app to store all that and fire it off to the Internet when the time comes.
  Source
Of course, there are a number of elements of Inbox that are shared
  across the three platforms: code for managing network communication,
  caching objects, local persistent storage, managing user edits both
  locally and remotely, and supporting it all while offline. This logic
  must be faithfully and correctly implemented and kept up to date on
  all three clients. Rewriting it three times in three different
  languages would soak up substantial engineering resources and slow
  down how quickly we make improvements to Inbox.
For iOS we developed the now open source J2ObjC cross compiler to translate our Java data model to Objective-C, and again we get a natural API on which to build our native iOS Inbox app (complete with -[Reminder snooze]). The astute reader may wonder how we deal with the impedance mismatch when translating from a garbage collected language (Java) to a reference counted one (Objective-C). Generally, J2ObjC relies on Objective-C autorelease pools, so objects normally garbage-collected are instead freed when a pool drains. One problem with this approach is reference cycles; in places that cycles exist in our Java data model, we use a Java annotation to identify the @WeakReference. When transpiled, the corresponding property in Objective-C will have the __weak modifier, thus breaking the retain cycle. In practice we've found this to be a relatively minor problem and we have automation tests that flag the rare cases of new cycles creeping into the object model. Source

The communication between your core modules can be done with Dagger2 it runs on Android/iOS/GWT. There is also a cross platform JSON library called realtime-json. The HTTP transport can be implemented in the core at least for Android and iOS. Form GWT/JavaScript you have to do it on the client side.
Here are some sample apps that should help you:

*

*iOs App showing J2Objc: https://github.com/tomball/j2objc-sample-reversi

*Starter Kit for Hybrid apps: https://github.com/Sfeir/jhybrid

redpajama_set_name: RedPajamaStackExchange


text:
Gori partners obtained highest verdict in Missouri in 2019
By Editor | February 5, 2020 | 0
The Edwardsville-based Gori Law Firm says two of the firm's partners, Chris Layloff and Jason Steinmeyer, have been honored for obtaining the highest reported asbestos verdict in the state of Missouri for 2019, according to Missouri Lawyer's Weekly.
Layloff and Steinmeyer obtained an $8.433 million verdict against the Ford Motor Co. for their clients, Al and Pam Bennett.
Born and raised in St. Louis, Al Bennett was employed as a mechanic at Ford, Mercury and Lincoln automobile dealerships from the 1960s to the 1980s. While working at the dealerships,
Bennett was exposed to asbestos through his regular contact with brakes, gaskets, clutches and OEM replacement parts. This asbestos exposure eventually led to Bennett's pleural mesothelioma diagnosis in his right lung, the litigants maintained.
Organized by Missouri Lawyers Media, Layloff and Steinmeyer were honored at the Missouri Lawyers Awards 2020 in St. Louis.
"While we appreciate being recognized for our work, we're just happy that we were able to get justice for Al and Pam," said Chris Layloff, partner at the Gori Law Firm.
Steinmeyer added, "Chris and I, along with everyone at our firm, fight hard for our clients. Justice was delivered, and the recognition for a 'job well done' is just an added bonus."
PHOTO: From left, Partner Jason Steinmeyer, Managing Partner Sara Salger, and Partner Chris Layloff.


text:
Free on Father's Day: Maine State Park Admission
AUGUSTA – All Maine State Parks and historic sites will treat Maine residents to a free admission on Father's Day, Sunday, June 15. All vehicles bearing Maine license plates will be given free-admission that day at all 48 state-owned and operated locales, according to Maine Department of Agriculture, Conservation and Forestry's (DACF) Bureau of Parks and Lands.
"I encourage Maine families to visit and explore our State Parks and Historic Sites on Father's Day and throughout the season," said Governor Paul R. LePage. "This free-admission day, coinciding with Father's Day, is a way of thanking Maine residents and showing appreciation for their support of Maine parks and lands throughout the year."
Commissioner of Agriculture, Conservation and Forestry Commissioner Walt Whitcomb was equally enthusiastic. "June is 'Get Outdoors Month' and Maine State Parks get you out there. Our park staff and devoted volunteers have the parks ready for visitors. Maine residents, in particular, are encouraged to visit our parks and historic sites this Father's Day," said Whitcomb.
Details of the free parks admission:
Maine Resident's Day, 9 a.m. to 6 p.m., Sunday, June 15; all vehicles bearing Maine license plates will be allowed free entrance to Maine state parks and historic sites. No rain date will be available. The open admission does not apply to Baxter State Park, Scarborough Beach State Park, or the Penobscot Narrows Observatory in Prospect, though admission to Fort Knox State Historic Site will be free that day.
For more information about Maine state parks and historic sites, go to: http://www.parksandlands.com
For more information about the Maine Department of Agriculture, Conservation and Forestry, go to: http://www.maine.gov/dacf


On February 17th-21st I went to Big Bend National Park about 8 hours from home. This was my last shakedown hike before starting the PCT. I did a 30-mile "outer mountain loop" desert hike which went up and out of the basin to the desert floor, across the desert, and then back up and into the basin ranging from 5000 up to 7500 down to 4200 feet.
View down into Boot Canyon trail. Heading down to the desert.
During it I really began to understand water issues having cached 2 gallons ahead of time which became essential as I was down to 1 liter when I got to the cache and was getting worried. There were no natural springs during this hike and the NPS Rangers required my water caching. At the cache I filled up all my containers and then cameled the remaining 1/3 gallon. Whew did I need it!
Down in desert doing traverse from Dodson to Blue Creek.
I also appreciated having both topo maps and smartphone w/ Gaia GPS to help pinpoint my location and distance to my next campsite/water location.
The trail was very rocky and uneven and I hope the PCT is better – gotta have my hiking poles.
My only item I've decided to change is my sleeping pad. Prior to this I was using a ThermoRest Z Lite pad and was uncomfortable (my old bones and I'm a side sleeper). On this trip I brought a Klymit Inertia X-Frame air mattress, but the gaps in it and that I'm short made it not comfortable, so I've now ordered a short (4′) Gossamer air mattress.
I found that although I have a fear of heights that I was able to traverse a trail positioned on the side of a steep slope (45 degrees with hundred of feet above and below).
During desert traverse on steep side of hill with trail in the distance.
I gotta say that being out there among the massive buttes and mesas makes you feel really really small and insignificant!
During climb out of desert on Blue Creek trail heading to Laguna Meadows trail in the Basin.


text: 1 For the Lord will have compassion on Jacob and will again choose Israel, and will set them in their own land, and sojourners will join them and will attach themselves to the house of Jacob. 2 And the peoples will take them and bring them to their place, and the house of Israel will possess them in the Lord's land as male and female slaves. They will take captive those who were their captors, and rule over those who oppressed them. 3 When the Lord has given you rest from your pain and turmoil and the hard service with which you were made to serve, 4 you will take up this taunt against the king of Babylon: "How the oppressor has ceased, the insolent fury ceased! 5 The Lord has broken the staff of the wicked, the scepter of rulers, 6 that struck the peoples in wrath with unceasing blows, that ruled the nations in anger with unrelenting persecution. 7 The whole earth is at rest and quiet; they break forth into singing. 8 The cypresses rejoice at you, the cedars of Lebanon, saying, 'Since you were laid low, no woodcutter comes up against us.' 9 Sheol beneath is stirred up to meet you when you come; it rouses the shades to greet you, all who were leaders of the earth; it raises from their thrones all who were kings of the nations. 10 All of them will answer and say to you: 'You too have become as weak as we! You have become like us!' 11 Your pomp is brought down to Sheol, the sound of your harps; maggots are laid as a bed beneath you, and worms are your covers. 12 "How you are fallen from heaven, O Day Star, son of Dawn! How you are cut down to the ground, you who laid the nations low! 13 You said in your heart, 'I will ascend to heaven; above the stars of God I will set my throne on high; I will sit on the mount of assembly in the far reaches of the north; 14 I will ascend above the heights of the clouds; I will make myself like the Most High.' 15 But you are brought down to Sheol, to the far reaches of the pit. 16 Those who see you will stare at you and ponder over you: 'Is this the man who made the earth tremble, who shook kingdoms, 17 who made the world like a desert and overthrew its cities, who did not let his prisoners go home?' 18 All the kings of the nations lie in glory, each in his own tomb; 19 but you are cast out, away from your grave, like a loathed branch, clothed with the slain, those pierced by the sword, who go down to the stones of the pit, like a dead body trampled underfoot. 20 You will not be joined with them in burial, because you have destroyed your land, you have slain your people. "May the offspring of evildoers nevermore be named! 21 Prepare slaughter for his sons because of the guilt of their fathers, lest they rise and possess the earth, and fill the face of the world with cities." 22 "I will rise up against them," declares the Lord of hosts, "and will cut off from Babylon name and remnant, descendants and posterity," declares the Lord. 23 "And I will make it a possession of the hedgehog, and pools of water, and I will sweep it with the broom of destruction," declares the Lord of hosts. 24 The Lord of hosts has sworn: "As I have planned, so shall it be, and as I have purposed, so shall it stand, 25 that I will break the Assyrian in my land, and on my mountains trample him underfoot; and his yoke shall depart from them, and his burden from their shoulder." 26 This is the purpose that is purposed concerning the whole earth, and this is the hand that is stretched out over all the nations. 27 For the Lord of hosts has purposed, and who will annul it? His hand is stretched out, and who will turn it back? 28 In the year that King Ahaz died came this oracle: 29 Rejoice not, O Philistia, all of you, that the rod that struck you is broken, for from the serpent's root will come forth an adder, and its fruit will be a flying fiery serpent. 30 And the firstborn of the poor will graze, and the needy lie down in safety; but I will kill your root with famine, and your remnant it will slay. 31 Wail, O gate; cry out, O city; melt in fear, O Philistia, all of you! For smoke comes out of the north, and there is no straggler in his ranks. 32 What will one answer the messengers of the nation? "The Lord has founded Zion, and in her the afflicted of his people find refuge."


text:
Knobbe Martens6 days agoLegal
Use My Likeness? Over My Dead Body!
On November 30, 2020, New York Governor Andrew Cuomo signed into law New York Senate Bill S5959D, an amendment to New York's right of publicity law to provide the 40 year post-mortem right of estates of deceased celebrities and performers to protect their likenesses and rights of publicity. When the new law goes into effect May 31, 2021, New York will join California, Tennessee, and 21 other states in recognizing a post-mortem right of publicity.
Because there is no federal right of publicity, the recognition and treatment of celebrities' rights of publicity, including their post-mortem rights, depend entirely on the laws of the particular state in which they are domiciled. In one well-known example, Marilyn Monroe's estate was denied a post-mortem right of publicity. Ms. Monroe died in California, where a post-mortem right of publicity was recognized. To avoid paying California's higher tax rates, however, her estate claimed New York as her legal domicile. Unfortunately, this tax-minimization strategy was shortsighted, as New York did not recognize a post-mortem right of publicity. When the Monroe Estate attempted to control the use of Ms. Monroe's image by others, the Ninth Circuit Court of Appeals subsequently ruled that the Monroe Estate did not have a valid right of publicity claim. Had New York's new law been in place at the time of her death, Ms. Monroe's estate may have been able to claim enforceable post-mortem rights of publicity. Without these rights, the Monroe Estate has relied on, and continues to rely on, trademark rights to curb misuses of her name and likeness.
New York Law - Deceased Personalities and Deceased Performers
In recognizing the post-mortem rights of publicity for 40 years, the law separates the rights of deceased personalities and deceased performers.
"Deceased personality" is defined as a person whose "name, voice, signature, photograph or likeness has commercial value at the time of his or her death or because of his or her death." In contrast, "deceased performers" is defined as "a person who for gain or livelihood was regularly engaged in acting, singing, dancing, or playing a musical instrument."
This law is subject to several exceptions, many of which mirror First Amendment exceptions, such as using the deceased personality/performer's persona in a work of political, public interest, educational or newsworthy value.
Legislating the Technology of Today and Tomorrow
This law attempts to adapt to today's advanced technologies in two notable ways.
First, the law explicitly addresses the use of a "digital replica" of a deceased performer. The law defines a "digital replica" of a deceased performer as a "computer-generated, electronic performance in which the person did not actually perform that is so realistic that a reasonable observer would believe it is a performance by the individual." Among other potential applications, the inclusion of this definition hints at the increasing use of deepfake technology in which a deceased performer could be digitally inserted into movies or television shows. However, such a use is not a violation if it includes "a conspicuous disclaimer in the credits of the scripted audiovisual work, and in any related advertisement, stating that the use of the digital replica has not been authorized."
A deepfake is a video that, via advanced digitization and artificial intelligence, pastes a person's face onto the body of another individual in a separate video. Given recent advancements in technology, it is becoming increasingly easier to create such deepfakes. While seemingly innocuous, the troubling use of this technology that this law addresses stems from people placing the face of a celebrity into pre-existing sexually explicit videos, such as pornography, or using manipulated media for political purposes. New York now joins California, which has already enacted laws targeting deepfakes in pornography and political campaigns.
The New York law aims to protect against the threat of deepfake technology by providing for a private right of action for victims of "unlawful dissemination or publication of a sexually explicit depiction of an individual"; i.e., a deepfake. Under the new law, the depicted individual has a private cause of action against whomever distributed the sexually explicit depiction. While there is a narrow set of exceptions for this provision, it is significant that a depiction of this sort is not newsworthy simply because the person depicted in the sexually explicit video is a public figure.
Editor: Catherine Holland
Written by: David C. O'Hair & Jonathan Hyman
fashion beauty intellectual property law trademark