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The View from Elsewhere Turns the World Inside Out
March 8, 2017 March 12, 2017 / Guest Authors
This is the second post in a series of posts by several guest authors The Disorder Of Things on Ali Bilgic's new book Turkey, Power and the West: Gendered International Relations and Foreign Policy, released in late 2016. The full series is collected here. Terrell Carver is a Professor of Political Theory at University of Bristol, UK.
Ali Bilgic's Turkey, Power and the West contributes in highly significant ways to three literatures not normally brought together. Firstly, foreign policy studies, approached from what – for Anglophone writers and readers – is a novel, de-centred vantage point. Secondly, gender studies and feminist research, using masculinity as a highly relevant and essential analytical 'lens'. Thirdly, postcolonial perspectives, from which the East/West binary is reimagined and pluralized (which, quite naturally, plays into the de-centred approach to foreign policy studies).
The modern history of Turkish engagements with 'the West', and indeed the 'domestic' ramifications of the post-1923 Kemalist outward-facing policies, are a novel and currently highly topical site through which to make this tripartite conjunction. Readers are likely to be acquainted with the rough outlines of the ways through which Turkey has been in the Western news in very recent years, and this book is an excellent guide to a much more detailed yet accessible understanding of the 'on the ground' complexities involved.
These complexities disappear in conventionally positioned strategic studies (which beg numerous questions about strategy for whom, and for what ends). And certainly one wouldn't look to 'Western' policy-makers and foreign ministries for any kind of enlightenment about recent turmoil, given that their role is to be parti pris. Bilgic's book takes the reader very carefully from the Ottomans to the Gezi Park protests. It is not much distance from there to the coup attempt of 2016 and on-going aftermath of repressions, implosions, explosions and regressions.
There are quite a number of really novel and innovative conceptualizations at work in Bilgic's text. At the outset he takes a 'process' view of politics, displacing static ontological accounts of political entities (e.g. 'Turkey', 'the West') with narrative accounts of ongoing, power-constructing politics.
This dynamic assumption then allows an analysis in terms of binary logics of valorization and devalorization that are the discursive means through which power-hierarchies function. The most powerful binary through which this process operates is that of masculinization and femininization, or in other words, the gender hierarchy as a component of any given power-play.
Starting from a conception of power that works in profoundly 'gendering' ways in order to create or re-impose hierarchies – rather than from a descriptive usage of gender as sexual difference – effectively centres gender in political experience as a power-builder. It may take some readers a while to get used to the idea that gender is something other than peripheral (and therefore to do with women), and that 'gendering' is a practical and academic process to do with men, masculinities and masculinization.
Bilgic adds distinctively to the feminist/gender literatures in International Relations and to political studies generally by articulating very clearly how hypermasculinization is deployed in power-plays in order to feminize 'others' and thus to make 'others' feminized and therefore inferior. The objects of analysis are a shifting array of marginalized groups within Turkey, outside its boundaries, with and without empirical and metaphorical linkages to any number of 'international' issues.
While the title indicates that the gender binary, and in particular feminist 'curiosity' about any already-masculinized practice, is crucial to the novel methodological mix, again the strength of the book is the way that it builds on these conceptualizations in order to demonstrate just how powerful gendered processes of valorization and devalorization are.
Gender-binaries are crucial to these powerful political dynamics precisely because they are so readily understood as a hierarchy of esteem, strength and authority. Or in other words, politics as domination and subordination is really gendering, since gender is such an easy way to make the point.
And making that point politically, of course reinforces the point personally, as feminists have been keen to point out (and men generally have been more than happy to ignore or suppress). Yet it is through this process – as Bilgic shows in successive historical episodes – that man-making and nation-making are the same process.
Separating the personal from the political, the domestic from the international, the 'East' from the 'West', the 'great powers' from the 'minor players' – in short the already-parsed apparatus through which 'world politics' emerges academically – makes even Bilgic's chapter titles 'look odd', never mind the content through which his constructive account proceeds. The all-encompassing masculinities of the 'IR imaginary' are thus exposed for mainstream/malestream readers.
The author's clear strategy of linking foreign policy elites and their policy-making with the concerns and struggles of domestic politics yields important results, rather reinforcing the idea that the distinction between the two is misconceived in the first place: foreign policy is domestic policy projected outwards.
Bilgic's historical framework shows how all domestic political 'factors' are moving targets – state-making within an empire, civilizing a 'backward' country, engaging in 'cold war' great power politics, capitalizing on neo-liberal globalization – but yet effects of a common process that operates through a covertly gendered logic of domination and subordination.
One of the most important conceptual moves in Bilgic's study is the pluralization of 'the West' into 'Wests', showing how important and subtle the local constructions of 'Europe', 'USA' and other variants become in the domestic political struggles through which foreign policy emerges. And he shows how this works in reverse, as well as inversely, that is, Turkey itself has been reimagined many times in various 'Wests', and within the Turkish polity any number of groups and individuals have been defined politically (and in logics of domination and subordination) in relation to various 'Wests' as imagined within this crucial geopolitical region itself.
This process of imagining an 'other' to oneself, as any post-Hegelian, post-structuralist can show, cannot depend on a stable 'self' already known and knowable, occupying a knowable and already known geographical 'position'. Instead politics traces a hall-of-mirrors through which imagining an 'other' is already imagining a 'self' (to which an 'other' is – through a recursive logic of assertion – necessarily related).
Another important dynamic at work in Bilgic's book is a clearly articulated account of 'security' as 'insecurity'. This conceptualization demonstrates that 'security' concerns are really 'great power' concerns, through which self-other imaginaries are conceived as conflictual. By contrast non-great-powers live with a set of anxieties, hence insecurities, in relation to their situation of subordination and therefore resentment.
This logic – following from the de-centred vantage point – operates throughout the book and gives the reader a genuinely useful 'way in' to understanding the shifting terrains through which the political complexities of race, religion, weaponry, economics and international relationships are conceptualized. Looked at this way, the fevered but often random-seeming 'interests' and 'confrontations' through which hierarchical, stratified international political relationships are constructed begin to make sense.
International Relations, security and foreign policy specialists will no doubt engage with this book as an important and synoptic account that presents an up-to-date view of Turkey in a geopolitical and strategic frame. The message of the book, however, is rather different, namely that these framings are themselves deeply implicated not just with 'great-power' and 'Western' presumptions, but with methodologies that reinforce such presumptions rather than unsettling them productively.
The major contribution that Bilgic makes is therefore methodological and transferrable, and it is important to note that this could only be done from a de-centred vantage point. And that vantage point could only be constructed historically, hence the necessary specificity of the discussion. Conversely this points up how much of conventional, 'West'-centric study presumes – and therefore doesn't critique – the 'great power', post-'cold war' histories that really ought to be revisited, and indeed with a 'view from elsewhere'.
The journey for readers – which one hopes that Bilgic's book will stimulate – will thus be one of self-exploration (and self-critique). Turkey, Power and the West is authoritatively written from within the International Relations and security studies literatures, yet turns them inside-out quite dramatically. Bilgic's novel and analytically powerful merger of feminist critique with post-colonial perspectives is an impressive driver of this exercise.
But the personal, geographical, historical and political vantage point which drives the work is that of the author, who can make his own positioning lucidly intelligible and intellectually convincing.
However, I am left with two areas of questioning that the author might address.
One is the concept of 'security'-making, or making 'security', given the insecurities that the book maps and discusses in detail, tracing 'gendered ontological insecurity' through Turkish political history. As tropological politics proceeds there through various dialectics of being like/unlike 'the West' (in some imagined way), what (imagined) 'security' is being promised by the dominant and dominating political actors in response to such persistent anxiety?
The other is simply to ask for a sketch of what 'Wests' are deployed in Turkey (and how they are deployed), since the time of writing, so we get some updating thoughts. What do we (outside Turkey and within the Anglophone imagined communities) see of ourselves when Turkish politics imagines us in such highly varied ways? One of the great features of the book is the way it lucidly enables us 'To see oursels as ithers see us!' (Burns, 1786)
Gender, Masculinities, Turkey
Turkey Power and the West
← Turkey, Power and the West: Gendered International Relations and Foreign Policy
Turkey, Power and its Eastern Others →


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US crude jumps 2.2% to 5-week high, settling at $49.30, as demand outlook improves
Published Wed, Sep 13 2017 10:31 AM EDT Updated Wed, Sep 13 2017 2:34 PM EDT
The International Energy Agency raised it outlook for 2017 global oil demand growth.
U.S. crude stockpiles rose sharply and gasoline inventories plunged due to impacts from Hurricane Harvey.
The report echoed sentiments expressed on Tuesday by OPEC, which also sees oil markets tightening.
Oil pumpjacks in the Permian Basin oil field are getting to work as crude oil prices gain.
Spencer Platt | Getty Images
Oil prices rose on Wednesday after the International Energy Agency said a global surplus of crude was starting to shrink, even though U.S. data showed another big increase in crude inventories due to the ongoing effects of Hurricane Harvey.
U.S. commercial crude inventories rose by 5.9 million barrels in the week through Sept. 8, compared with analysts' estimates for a rise of 3.2 million barrels.
U.S. gasoline and distillate stocks fell sharply as Harvey shut nearly a quarter of the nation's capacity with major Gulf Coast refineries only starting to come back to life in the last few days.
Analysts say U.S. stocks data may not give a full picture in coming weeks because of two major hurricanes — Harvey and Irma.
Oil's supply concerns still there post-Irma, but this could be crude's next catalyst
International benchmark Brent crude was up 88 cents, or 1.6 percent, at $55.15 a barrel by 2:06 a.m. ET (1806 GMT). It earlier topped $55 for the first time since April.
U.S. West Texas Intermediate (WTI) was up $1.06, or 2.2 percent, at $49.29 a barrel.
U.S. crude production rebounded to an average of 9.35 million barrels per day from 8.78 million bpd a week earlier, entirely the result of increases in the lower 48 states.
U.S. gasoline stocks slumped 8.4 million barrels, the largest one-week decline since the U.S. Energy Department started recording the data in 1990, while distillate stocks fell 3.2 million barrels.
U.S. gasoline futures dipped after the data, and were down modestly to $1.6503. Andrew Lipow of Lipow Oil Associates in Houston said it was a "counterintuitive" reaction.
"The market is reacting in anticipation of refineries restarting, at the same time expecting a decline in demand due to the after effects of Hurricanes Harvey and Irma," he said.
The International Energy Agency, in its report, noted that the country's reliance on the Gulf Coast makes it vulnerable to similar events like Harvey, saying "normal operations are too important to fail."
OPEC oil production falls for the first time since March
It recommended that the U.S. strengthens its energy security to address events, such as hurricanes, by potentially adding oil products to government-held inventories.
Overall, the IEA said in its monthly report that robust global demand and an output drop from OPEC and other producers should help balance inventories.
The assessment echoed a report by the Organization of the Petroleum Exporting Countries forecasting higher demand for its oil in 2018 and pointing to signs of a tighter global market.
OPEC agreed with non-member nations last year to cut supply by 1.8 million bpd through March 2018, and major nations are seeking to extend that agreement further.
The U.S. EIA on Tuesday revised its 2017 and 2018 U.S. oil output forecasts lower to reflect, in part, the effects of Harvey.
— CNBC's Tom DiChristopher contributed to this story.
Commodity markets
Energy Select Sector SPDR Fund
United States Brent Oil Fund, LP

redpajama_set_name: RedPajamaCommonCrawl


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FBI warns of 'broad threat' to NJ synagogues
Threat against NJ synagogues
The FBI's Newark field office said it was investigating "credible information of a broad threat to synagogues" in New Jersey.
NEW JERSEY - The FBI's Newark field office confirmed Thursday afternoon that they had received "credible information of a broad threat to synagogues in NJ."
In a tweet, the office said "We ask at this time that you take all security precautions to protect your community and facility. We will share more information as soon as we can. Stay alert. In case of emergency call police."
UPDATE: FBI: Man who threatened NJ synagogues 'no longer' dangerous
In a follow-up tweet, the FBI said it was "taking a proactive measure with this warning" while investigation the threat.
The nature of the threat was currently unclear.
Officials discovered an online threat directed broadly at synagogues in New Jersey and did not target any specific synagogue by name, a law enforcement official told The Associated Press.
FBI warns NJ synagogues of 'broad threat'
The FBI released a statement Thursday warning synagogues in New Jersey of a 'broad threat.
"We are closely monitoring the situation and are working with local law enforcement to ensure that all houses of worship are protected," New Jersey Gov. Phil Murphy said.
State Attorney General Matt Platkin said in a statement that the New Jersey State Police, county prosecutors, and law enforcement leaders across the state were working with the feds on a response.
"Law enforcement will be increasing patrols in sensitive areas. Some of these patrols will be in marked vehicles and others will not – but please do not be alarmed if you observe an increase in police presence as we are taking these steps in an abundance of caution," Platkin said. "We also call upon New Jersey residents to be extra vigilant and if you see suspicious activity please report it to your local authorities without delay."
Jersey City Mayor Steven Fulop said police officers would stand guard at the city's seven synagogues and patrol the broader Jewish community on foot.
"We are deeply alarmed by @FBI reports of a credible threat to synagogues in New Jersey," the American Jewish Committee said in a tweet. "Our thoughts are with the local Jewish community at this time. We will continue to monitor the situation as it develops."
The NYPD also announced Thursday that its intelligence and counterterrorism bureaus are working with the FBI's Joint Terrorism Task Force to ensure safety at synagogues in New York City and the tri-state area.
With The Associated Press.
1 shot during argument on Manhattan subway


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Bala Devi Chandrashekar to perform a piece on Padmavati
Bala Devi Chandrashekar talks about her upcoming performance in the city on December 25
Bala Devi Chandrashekar
Dt Next Bureau
23 Dec, 2022, 12:30 am
CHENNAI: In conversation with DT Next, Kalaimamani awardee Bharatanatyam dancer, Bala Devi Chandrashekar talks about her upcoming performance in the city on December 25, the process of choreographing the piece and lots more.
You have been performing for so long, won several accolades and awards for your work. Which is your favourite and personal piece?
My projects are based on intense research and many years of painstaking work. I thoroughly enjoyed the journey on each of them because each one is a very challenging subject without a primary source, so my work is ground up from the basics.
I have had to seek and source out experts and scholars who can guide me in the right direction; my challenge is making sure each of these productions is seamless for the audience, whether it is a remote village near Budapest, Chile, Mathura, or Chidambaram.
All of my nine productions are my favorite. I'm fortunate to be one of the few Bharatanatyam dancers in the world to have presented at UNESCO. I presented Brihadeeswara — one of my dance productions — at the UNESCO head office in Paris in June 2019 as a part of the world heritage week celebrations.
The show was attended by over 500 art enthusiasts, including ambassadors and dignitaries.
Tell us about your upcoming show Padmavati: An Avatar. How did you put that together?
It's about Padmavati, a temple designer in Puri Jagannath temple, who is the centre of attraction in the immortal classic Gita Govindam by poet Jayadeva.
The union of Padmavati and Jayadeva is highly sublime and is held in high esteem and adoration by many. This presentation is juxtaposed with the amorous intimacy of Lord Krishna and Radha. This production is a beautiful lyrical dance-drama laced with romance.
It is based on the theme of Vipralambha Sringara — anguish in separation and joy in the union of the divine couple Radha and Lord Krishna. The Gita Govindam is a poem of 12 chapters or sargas comprising 24 astapadhis or hymns. The theme closely follows Rasakreeda - ronde dance,
I had the guidance of many scholars that helped me conceptualize, researched, and choreograph the work with the help of senior scholars.
Were there any creative blocks while choreographing the piece?
The challenge of taking on such an intense subject and being able to present this topic to the audience invokes the emotion of internal contemplation on the divine creator - Lord Krishna. The production is based on Astapadhis, the dynamic challenges of ensuring the audience is constantly engaged with the choreography and using spectacular and truly riveting world-class music.
What can the audience expect from the performance?
Chennai's audience is special, and the Margazhi season is exceptional. Rasikas say they look forward to my performances and appreciate my in-depth topics, research, and scholarly subjects based on ancient philosophical and literary texts.
Rasikas love that I collaborate with renowned scholars in their respective fields, carving messages from scriptures relevant to the contemporary world and actively presenting this form worldwide. I'm blessed to come from a family of philosophers and literary scholars.
Rasikas love my ability through classical dance, my capability to interpret ancient philosophical and esoteric concepts and present them in a distinct classical style that is always contemporary in interpretation and communicates across cultures.
What are you looking forward to from the show?
Taking the audience with me on the journey of discovering Padmavati and Jayadeva's love for Lord Krishna and enjoying the beautiful ashtapadhis.
According to you how does Bharatanatyam tell a story?
I employ a solo thematic operatic style of presentation to narrate my story to the audience. I am the only one on the stage and enjoy the gauntlet of keeping the audience engaged during the show.
Kalaimamani awardee
choreographing
upcoming performance
performance in the city
UNESCO head office
theme of Vipralambha Sringara


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Kane named England captain for World Cup
Kane has scored 30 Premier League goals for Tottenham this past season.
A version of this article appeared in the print edition of The Daily Star on May 23, 2018, on page 14.
Jordan Henderson
Striker Harry Kane will wear the captain's armband for England at next month's World Cup, ending speculation about who would lead Gareth Southgate's squad in Russia.
Southgate has often played down the significance of the position, preferring to nurture a collective leadership within the team, but Kane will be the figurehead as England go into their 15th World Cup.
Kane, who scored 30 Premier League goals for Tottenham this past season, has 23 caps for England and netted 12 times.
Kane, who first captained England in a World Cup qualifier against Scotland last year, said it was a "massive honor".


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Our last of the season All You Can Eat Pancake Breakfast will be Saturday April 20. Serving begins at 9 am so make your plans now to attend and bring the family.
We had a short season this year with plans to hold only 6 breakfasts instead of 7 as usual. However we had to cancel in December because of work around the T-hangars tarmac and then we got rained out in March so we will be down to only 4 breakfasts this season so we need your assistance to have large numbers to try to catch up on fundraising for the season. Hope to see you here on the 20th ! Don't forget only $3.83 for 100 LL.
‹ Old Farts Everywhere !


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Niolamia est un genre éteint de tortues dont les restes fossilisés ont été mis au jour dans la formation de Sarmiento, en Argentine.

Liste d'espèces
Selon  :
 Niolamia argentina (Simpson, 1938) †

Notes et références

Liens externes

Genre de tortues (nom scientifique)
Paléontologie en Argentine
Taxon fossile décrit en 1899

redpajama_set_name: RedPajamaWikipedia


2019 sees Britain's best-loved and most entertaining medium take to the stage across the UK and Europe with his all-new 'The Eternal Life' Tour.
Derek is something of a phenomenon. A truly modern medium whose appeal crosses the generations to young and old alike, he remains the forerunner in the field of paranormal and spiritual matters. An unusually engaging and entertaining character for his genre, he is regularly recruited to appear in many an entertainment show. TV programmes such as Through The Keyhole, Britain's Got Talent, Celebrity Juice and Big Brother. Online concepts and commercials for TalkTalk amongst others, a guest appearance in a promotional video with world-renowned Rapper Redzz, plus regular and hilarious send-ups of himself with 'Dead Certs' for Paddy Power, just continue to add to his legion of fans.


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Multiple Artists …
Peter Dudar
Lily Eng
Honey Novick
Missing Associates
Entry from Acts of Transfer:
Lily Eng is a Chinese-Canadian dancer and teacher based in Toronto, Ontario. During her time at Western Front, she visited with close collaborator Peter Dudar, who filmed the documentation of Eng's performance. In 1972, Eng and Dudar formed Missing Associates, the first experimental choreography project working out of Toronto and Canada at large, until 1982.[1] Rather than perform in traditional theatres, Missing Associates performed primarily in Toronto galleries such as A Space, 15 Dance Lab, Mercer Union, and ARC, a move that contributed to the rise of the term "artist dancer"[2] to describe the interdisciplinary and innovative performance/dance activities occurring within this region.[3] Eng and Dudar also toured extensively across North America and Europe, sharing their experimental practices outside of Canada for the first time.[4] In 1977, Eng, along with other affiliated members from the Centre for Experimental Art and Communication (CEAC), were invited to participate in Joseph Beuys's "Violence and Behaviour" workshop at the Free International University for Creativity and Interdisciplinary Research in Kassel, Germany.[5]
Eng grew up in Lind River, a small town in northern Ontario where her family operated a Chinese restaurant.[6] When she moved to Toronto at the age of 10 with her mother and siblings, Eng took up gymnastics and worked as a teen model. While auditioning for a role, she was scouted by Elizabeth Swerdlow, her future dance mentor.[7] Swerdlow encouraged Eng to study classical ballet, modern dance, and German expressionist dance, though Eng notes that her Kung Fu training and apprenticeship at Hong Luck Kung Fu were also particularly influential, inspiring her to begin experimenting with the convergence of Western and Eastern practices.[8] Missing Associates also provided a space for Eng to explore these interests by examining "human behaviour, the body, and its relationship to the environment through a structural approach to improvisation and experimentation."[9] Eng explains her philosophy behind improvisation: "I need to feel that something new is emerging from the flux of choreographed movement and unleashed emotion. I re-evaluate myself non-stop. But I can't be anticipated. I can be wild one instant, and quite elegant the next."[10]
At the time of Eng's performance at Western Front, she was beginning to experiment more with improvised solo works. In the absence of a soundtrack, Eng uses her body to make contact with the surface of the floor and to generate noise and effect, rooting the performance in a confrontational and physical exploration. Occasionally she speaks in playful verse ("one two buckle my shoe, three, four, shut the door") and makes animal noises: hissing sounds, low growling, heavy breathing. She mimics the movement of animals, gesturing like a bird and baring her teeth like a dog. Her martial arts training materializes in various energetic movement sequences.
Eng's performance at Western Front also features spoken word performer, verse poet, and scat singer Honey Novick who performs a solo reading set, as well as a collaboration with Eng titled "An Ode to Missing In Action," which appears at the end of the tape.
Dance: Lily Eng
Vocals: Honey Novick
Video: Peter Dudar
1 – Dudar, Peter. "Peter Dudar—Missing Associates Collection." Peter Dudar—Missing Associates Collection. Accessed April 2018. http://peterdudar.com/missing-collection.html.
2 – "The term "Artist Dancer" was coined in the mid-1970s by Lawrence Adams to describe the work of Susan Aaron, Lawrence Adams, Miriam Adams, Jill Naomi Bellos, Elizabeth Chitty, Margaret Dragu, and Missing Associates (Peter Dudar and Lily Eng)." Dudar, Peter. "LILY ENG High Concept Choreographer AND TORONTO'S EXPERIMENTAL DANCERS, 1972-1987." Graphic Exchange Magazine. 2011. Accessed April 2018. http://www.gxo.com/LE.php.
3 – Ibid.
4 – Dudar, Peter. "Peter Dudar—Missing Associates Collection."
5 – Poon, Coman. "Lily Eng: Real Asian Canadian Woman Warrior." Reel Asian International Film Festival. November 10, 2011. Accessed April 2018. http://www.reelasian.com/festival-archives/lily-eng-real-asian-canadian-woman-warrior/.
10 – Dudar, Peter. "LILY ENG High Concept Choreographer AND TORONTO'S EXPERIMENTAL DANCERS, 1972-1987."
Original Archives Entry:
Three performances: Lily Eng, dancer; Peter Dudar, video, film and graphics; Honey Novick, vocals. Vocal and dance collaboration with Honey Novick and Lily Eng titled "An Ode to Missing in Action." Missing Associates is the performance art partnership project of Lily Eng and Peter Dudar.
Full version of digitized video available through Western Front Archives upon research request.
People: Dudar, Peter | Eng, Lily | Novick, Honey | Subject Keywords: Dance | Early Photo Archive | multi-disciplinary performance | performance art | performance art -- women | video art
Lily Eng - Excerpt from "Untitled Performance at Western Front" (1980)
Lily Eng, Honey Novick, "Missing Associates", 1980
Lily Eng, "Missing Associates", 1980
Honey Novick, "Missing Associates", 1980
Gathie Falk
A musical discourse in Rondo form between a woman, 5 parrots, and a washing machine. This was a re-production of one of Falk's famous performances…
Elizabeth Chitty
Elizabeth Chitty was one of a group of Toronto dancers, centered around a space called 15 Dance Lab, who about this time were giving up…
Jane Ellison
Eric Metcalfe
Piranha Farms
An underwater fantasy involving dance, music, costumes, video and shadow play. The piece toured Canada and was performed at the Kitchen in New York.
Performance Screening
Dana Atchley
Kerry Colonna
Kate Craig
Annie Segal
Surfacing on the Subliminal
A report on the Decca Dance and premiere of the film documenting the event by Kerry Colonna; live performances by, among others, Michael Morris, Annie…
Silly Ceremonies
Music (songs and chants), tea ceremony, five-finger exercises, tightrope walk, birthday, wank, food and dayglo paint/ink ceremony.
Dance Performance Workshop
Barbara Dilley
Arawana Hayashi
Untitled Performance by Barbara Dilley and Arawana Hayashi
Performance by Barbara Dilley and Arawana Hayashi Workshop. Performance at Scottish Auditorium. New dance works from Naropa Institute, Boulder, Colorado.


An MMIC (Monolithic Microwave Integrated Circuit) chip can replace an entire amplifier stage that uses the standard hybrid approach with discrete transistors, capacitors and resistors. Size is reduced dramatically, as is manufacturing assembly time. An MMIC Chip is merely mounted to the case housing and small bond wires tie the input and output to the appropriated pins on the devices case. Recent advances in printed circuit technology and especially in packaging technology emerged as a continuously swelling use of Monolithic Microwave Integrated Circuits (MMICs) in telecommunication systems. MMICs consist of numerous elements, transmission lines and FETs in a single chip, especially in a gallium arsenide substrate. A diversity of microwave circuits such as mixers, amplifiers, phase shifters, couplers, and others can be combined while the use of MMIC is expanded in several different applications. Due to the tenuous efforts for large-scale integration, significantly reduced size of structures can be fabricated in vast quantities, while more stages and components are implemented.
The driving factor behind the development of this technology has been batch processing, leading to low cost, high performance, small size, and reproducibility similar to that for silicon integrated circuits. Semi-insulating gallium arsenide crystal, gallium arsenide substrates and epitaxial film growth techniques, the development of the gallium arsenide metal-semiconductor field-effect transistor and MESFET computer-aided circuit design have provided additional impetus for this rapid growth in the last several years. Due to its feature of higher density, thousands of devices can easily be fabricated in a single MMIC simultaneously during fabrication that makes lower cost of fabrication. Hence overall MMIC cost is less. The signal delay is minimum due to shorter distances between the components on a MMIC due to this minimal mismatches between the components occur. MMICs (Monolithic Microwave Integrated Circuit) do not have any wire bond reliability issues. Overall performance of MMIC is compromised as optimal materials cannot be used during manufacturing for each elements individually. Power handling capacity is lower as proper heat transfer materials are not used in the fabrication of MMIC (Monolithic Microwave Integrated Circuit).
The MMIC (Monolithic Microwave Integrated Circuit) market is segmented on the basis of product type, material, application, industry vertical, and geographical region. On the basis of product type, the market is segmented into small integrated circuit, medium integrated circuit, large integrated circuit and very large integrated circuit. Readers and others. On the basis of material, the global market is segmented into silicon, silicon germanium, gallium arsenide and others. By application, MMIC (Monolithic Microwave Integrated Circuit) market can be segmented into low-noise amplification, power amplification, high-frequency switching, microwave mixing, inputs and outputs devices and others. In support of industry vertical the global MMIC (Monolithic Microwave Integrated Circuit) market is subdivided into consumer electronics, it and telecommunications, automation, aerospace, defense and others. By geographical region the global MMIC (Monolithic Microwave Integrated Circuit) market is split up into North America, Europe, Asia Pacific, Middle East & Africa and South America. Rapid development in emerging economies such as China and India as well as growth in the electronic industry and increase in production in industries such as automotive and consumer electronics will support the growth of the market over the forecast period.
Mergers & acquisitions, new product launches, investments, and partnerships & developments are the key policies adopted by market players to ensure their growth in the market. The key players are NXP Semiconductors, Texas Instruments, Fujitsu limited, Cree Incorporated, OSRAM, Opto semiconductors, Infineon Technologies Ag, Genesic Semiconductor Inc, Norstel AB, Renesas Electronics Corporation, Microsemi Corporation, ROHM Co Ltd, STMicroelectronics, Toshiba Corporation and United Microelectronics Corporation among others.


At first glance, the followers of Nell Irvin Painter's illustrious career as a historian would think she could rest on her many laurels as she faced 70. But Painter harbored a secret passion. And, now these followers and new ones in the arts are watching her fulfill the connotation of her surname: Nell Painter is now painting. And drawing and making prints.
Speaking about her decision to devote her current life to artistically interpreting people and events, she is sorting it all out, away from the bustle of her Newark, NJ residence.
"People often ask me what it is like," she reflects from her second home in the Adirondacks. "It took me two years to put it together. At first I thought it was abrupt. In 2012 I said the careers have nothing in common. By 2013 I managed to figure it out." And explaining what she is calling a detour will soon be a book called Old in Art School. It will be illustrated, she promises in the cultivated yet warm voice that is familiar to audiences of her speeches and television appearances.
So while you think there might be two Nell Painters, in actuality there is a blended woman who was a trailblazing historian and hasn't left behind any of those scholarly interests. With her historiography, she overturned old theories of the black experience in America and wrote rich chapters that had been omitted from mainstream history.
The two loves, history and art, came together at a panel at the Metropolitan Museum of Art in 2013. She was invited to discuss the larger issues around African art and New York modernism. As an addition to her research, she created 15 digital collages. "They went over very well. That made me happy. That put together the two parts of my life," she says.
That gave her a confirmation of direction that she hadn't always received in the art world. The tall, mocha-toned woman with the sprightly white natural cut now had won over some of the art world decision-makers. Her shelves of books would now have companion walls of canvases and art works on paper.
When she arrived at the Rhode Island School of Design in 2009, Painter had earned praise and position as a historian. For her second act, she started with a Bachelors of Fine Arts from Rutgers University. Her scholarly credentials started with her undergraduate degree in anthropology from the University of California, Berkeley. She had a PhD in history from Harvard. Her many books include The History of White People, Creating Black Americans: African American History and Its Meanings, 1619 to the Present, Southern History Across the Color Line, and the book that introduced us to her exceptional scholarship, Exodusters: Black Migration to Kansas After Reconstruction. Her role as a public historian brought her into debates on race, scholarship and unearthed history. Painter now holds the title of Edwards Professor of American History, Emerita at Princeton.
But at RISD she found a curious isolation, both personal and contextual. "The first thing I noticed was the virtual absence of African American artists from the art texts. I knew about all these artists. I had grown up with a few of them. My father's favorite artist was Elizabeth Catlett," she explains. Painter was born in Houston but grew up in Oakland, CA. Her mother was a public school administrator and her father a laboratory technician at UC Berkeley. She is married to mathematician Glenn Shafer.
But, even decades after James A. Porter's seminal history of black artists, she says their inclusion was "almost completely absent." The conversations were frustrating. "At the Rhode Island School of Design they knew about Kara Walker. If I brought up people they would acknowledge them but they didn't become part of ongoing conversation," she recalls. In addition, Painter realized she was indeed starting over in some eyes. "One of the sources of my discomfort at RISD was that I was nobody. I was a little old lady. In history I had been somebody." She says that factually, with the echo of the historian, but also with an edge, the evolving trait of an artist. Painter is indeed a blend.
Though she had allies at the college, she found that at most times her past credentials weren't acknowledged. "The only thing that counted was I was on the Colbert Report." She laughs, a deep, hearty laugh, because indeed she arm-wrestled with the comedian, debating the ideas in The History of White People (which traces a two thousand year history of how notions of whiteness were conceived and have changed). But no similar props for her appearances on C-Span or Bill Moyers.
Her medium right now is both digital and manual, inspired by subject matter. The Women's Studies quarterly at Princeton asked her for an illustration. She went back to Beloved, the award-winning novel by Toni Morrison. "I looked at Morrison's attention to color…. The colors that conveyed to her life. She talks about a quilt, orange and pink. I made these collages, one with oranges and pink. I couldn't decide what I liked and the quarterly, it turned out, couldn't use color. I sent them a grey one. And then they came back saying they liked the ones with color," she says, realizing that art, like history, is subject to very personal interpretation.
She is a very reactive artist, inspired by many things around her. The cityscape of Newark, N.J., the reflections of her own images. "I started making self-portraits out of convenience," she explains. She absorbed the compelling ways of her own models: Robert Colescott, Alice Neel, Faith Ringgold, Amy Sillman, Charline von Heyl, Denyse Thomasos and Jacqueline Humphries.
She may borrow elements, and experiment with the digital forms, but creates a vision that is entirely hers. Many visions. Looking at her "Black Sea Composite Maps" series (2012), shows a wicked sense of humor and the churning of a questioning mind about the world and what might have been. In her map Painter puts Jamaica and Puerto Rico smack in the Black Sea. Where else but the Black Sea? This would bring the warmth of the Gulf of Mexico to those chilly—maybe not culturally but politically—regions. An infusion of the baseball empires of the Dominican Republic, the foods and sounds of Jamaica and the history and beauty of Puerto Rico would cause another kind of upheaval.
As a result of her life's work and her new self-expression, Painter has been studying how African American artists are recognized and treated. As an artist in the 21st century, the status and lack of status couldn't be ignored. And we knew Painter, the investigator, would not bypass this conversation. And here her ideas of the place of blacks in context are very strong. A series compiled into an artist's book called Art History Volume XXVII is a triple homage to the energized lines of graphic art and illustration, the art of collage and the black historic figures of the art world. She looks back in tributes to art historian James A. Porter, philosopher Alain Locke and artists Hale Woodruff, Palmer Hayden and Aaron Douglas in styles that have both Dadaist and contemporary resonances. The Hayden Harmon Brady image shows Palmer Hayden and one of his marine paintings juxtaposed with William Harmon, founder of the foundation which supported black artists from 1926 to the mid-1960s, and Mary Brady who directed the foundation.
Jacqueline Trescott is an independent writer and editor whose recent projects include editing Through the Eyes of James A. Porter: America Art by Starmanda Bullock, a forthcoming study of the Howard University artist and teacher. Trescott formerly was a reporter for the Washington Post Style section.


Office 365 brings familiar productivity software like Word, Excel, PowerPoint, Outlook, OneNote, Publisher, Skype, Access, Yammer, and Sway to the cloud and on multiple devices. Our Office 365 courses address the needs of IT professionals who take part in evaluating, planning, deploying, and operating Office 365 services, including its identities, dependencies, requirements, and supporting technologies. Courses focus on skills required to set up an Office 365 tenant, including federation with existing user identities, and skills required to sustain an Office 365 tenant and its users. You'll find a good understanding of Active Directory, PowerShell, Identity Management, and SharePoint is required to deploy and manage Office 365 services and we've listed some of those courses here too.


text:
St-hilaire, Marc. "Alma". The Canadian Encyclopedia, 04 March 2015, Historica Canada. https://www.thecanadianencyclopedia.ca/en/article/alma. Accessed 18 January 2021.
St-hilaire, M., Alma (2015). In The Canadian Encyclopedia. Retrieved from https://www.thecanadianencyclopedia.ca/en/article/alma
St-hilaire, Marc, "Alma". In The Canadian Encyclopedia. Historica Canada. Article published September 13, 2009; Last Edited March 04, 2015. https://www.thecanadianencyclopedia.ca/en/article/alma
St-hilaire, Marc. The Canadian Encyclopedia, s.v. "Alma", Last Edited March 04, 2015, https://www.thecanadianencyclopedia.ca/en/article/alma
Article by Marc St-hilaire
Published Online September 13, 2009
Born of the lumber industry in 1860, Alma quickly became a prosperous agricultural parish. It burst into the industrial age in 1923 with the start of construction of the Isle-Maligne hydro station on the Grande Décharge.
Alma, Québec, City, pop 29 998 (2006c), 30 126 (2001cA), inc 1979. Alma is located at the head of the Saguenay River near Lac Saint-Jean, 230 km north of Québec City. County seat of Lac Saint-Jean Est, headquarters of the judicial district of the same name, the present city contains 5 former municipalities: Alma, Riverbend, Isle-Maligne, Naudville and the parish of Alma.
Born of the lumber industry in 1860, Alma quickly became a prosperous agricultural parish. It burst into the industrial age in 1923 with the start of construction of the Isle-Maligne hydro station on the Grande Décharge. When completed in 1926, the station supplied power for the Arvida aluminum works and the Price paper mill in Alma. Population multiplied fivefold 1921-31.
During WWII Alcan built an aluminum plant there that was expanded during the 1950s. In that same era Alma became a tertiary centre for the Lac Saint-Jean area (commerce, professional services, hospital, college). Geographic centre of the Saguenay-Lac Saint-Jean region, it is the site of various regional organizations. Alma is also the departure point for Lac Saint-Jean cruises.


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How the European Commission's Defective Case Against Amazon is Likely to Unravel Along Already Discernible Fault Lines
The European Commission has launched back-to-back antitrust investigations into Amazon's business practices in the EU. In an era where Big Tech keeps getting bigger, antitrust investigations and lawsuits are becoming commonplace. These two new investigations are only the latest ones to hit one of the "big four" tech companies. However, unlike previous investigations and lawsuits, these two — brought by the European Commission at the beginning of the month — seem flimsy at best.
The first investigation centers on the allegation that Amazon is collecting non-public business data from independent third-party sellers operating in its marketplace, then using that data to benefit its own retail business. The second investigation focuses on Amazon's alleged preferential treatment of its own retail business and third-party marketplace sellers that use Amazon's logistics and delivery services over third-party sellers that do not, and how this preferential treatment may be pushing third-party sellers toward Amazon services adoption to avoid being deprioritized by Amazon's sales algorithm.
Our newest research brief, How the European Commission's Defective Case Against Amazon is Likely to Unravel Along Already Discernible Fault Lines explores these two investigations, including the judicial expectations, as well as a threat assessment should these cases move forward. We share Amazon's current response and the likely arguments they will use to protest the investigations.
The basics of each investigation
An understanding of the relentless pursuit of U.S. tech companies
The glaring flaws that exist in the cases thus far
The impact these cases might have on Amazon and other tech companies
The investigations could take months to pursue, and it will be interesting to watch this play out as what happens here will no doubt impact more than just Amazon. For a complete dive into the allegations and the cases, download your copy of How the European Commission's Defective Case Against Amazon is Likely to Unravel Along Already Discernible Fault Lines today.
Leave Amazon out of Big Tech Regulation — it Doesn't have a Monopoly
FTC arguments against Qualcomm fail to impress 9th Circuit Court
Shure v. ClearOne Matters to Your Meetings, and Patent Process


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South Korea - The profitability factor
By Jean Noh2008-01-11T00:00:00+00:00
South Korea is no stranger to talk of a crisis in the film industry, even in the midst of years of swollen admissions, record-breaking local hits and rising exports.
However, a recent study from the Korean Film Council (Kofic) estimates the average local film in 2007 to have earned back just 39% of its budget. In 2006, the average film earned 77% of its budget.
Only 10 Korean films, including the romantic comedy 200 Pounds Beauty and thriller Voice Of A Murderer, passed the 2 million admissions break-even mark in 2007 from more than 100 releases.
Production costs are rising: the average production and p&a spend on a Korean film was $5.4m in 2006, shooting up to $6.5m in 2007. But the films simply did not connect with audiences.
In 2007, theatrical admissions, which account for 80% of the industry's total profits, dropped for the first time in 11 years - albeit from a record high of 166 million in 2006 - to 157 million, according to leading exhibitor CJ CGV (2007 remains the second-highest year of all time by admissions).
The market share of local films fell 27.5% year on year to 50.8%, the lowest since 2002.
Admissions for non-Korean films rose from 58 million in 2006 to 77 million in 2007. Although the halving of the screen quota undoubtedly played a part, there has also been talk of a creative drought. After all, since the late 1990s, Korean, rather than Hollywood, films have driven the boom.
'Korean films have grown rapidly in the past 10 years, with fresh material and an expanding regional market. But of late, audience perception of local films has grown worse and the film industry needs to keep up with audience trends,' says Choi Geon-yong, a Lotte Entertainment executive and panelist at a recent Kofic forum on investment profitability.
Korea's unusually high dependency on theatrical returns (theatrical accounts for 25%-40% of a film's total revenues in most territories) is due to the country's virtually non-existent video/DVD markets. Illegal downloads are blamed for this - South Korea is one of the most plugged-in countries in the world. Anti-piracy campaigns are on the rise, led by star actors and directors such as Bong Joon-ho.
One of the biggest problems of the past two years has been a surplus in local productions, spurred by an influx of capital - most notably the entrance of telecoms giants KT and SKT - backdoor-listing mergers, and investors eager to see the results of their participation in the film sector. As a result, too many films have been greenlit without qualified scrutiny or preparation.
The rising power of stars
Producers became dependent on star casting to convince investors and to justify rising p&a spends. A-list actors were able to command fees of $600,000 a project ($400,000 for actresses), not including bonuses and participation deals. However, the disappointing performance of films such as The Restless, which starred Jung Woo-sung and Kim Tae-hee, has forced the industry to learn the hard way that deploying a star name is not always enough to win over audiences.
On a positive note, innovative films with interesting stories and no big stars have benefited from some investors' desire to prove their mettle. KM Culture's $4.7m 200 Pounds Beauty, has become one of Korea's 10 most successful films of all time and made a star out of Kim Ah-jung.
'It would have been hard to get financing in other years without A-list casting,' says the film's producer, Roh Eun-hee, of the financing climate of 2006.
Following an agreement made last July by 10 Korean film organisations - dubbed the 'Great Compromise' - producers and talent managers are co-operating to bring down costs.
There is now a drive to pay directors and stars from profits rather than earnings, with stars agreeing to lower fees.
Indeed, leading investor/distributor CJ Entertainment is adopting this new financing structure for two big-budget projects in 2008, director Jung Ji-woo's Modern Boy and Kim Yoo-jin's Singijeon: The Diving Arrow Machine.
A creative drought'
With old-school producer-investors seemingly falling out of touch with audiences, and the rise of a new generation of film-makers, the industry recognises the need to nurture development executives and producers.
'We need to be less dependent on the creativity of star directors,' suggests Lee Hyeon-seung, vice-chairman of Kofic and director of Il Mare. 'We need more script incubating and more stable support for scriptwriters.'
In addition to its established pre-production support funds and scriptwriting contests, Kofic launched its first Script Sales Market in December. With established writers anchoring the event with their projects, newcomers pitched scripts to producers, with one deal being struck on the spot.
South Korea has an attentive government-funded organisation in Kofic, providing policy infrastructure and support.
In the face of an international sales downturn, the organisation is keeping awareness of the territory high by running festivals and symposiums, such as the Kanryu (Korean Wave) Cinema Festival which tours Japan.
Kofic and the Korea Export Insurance Corporation (Keic) recently signed a 'memorandum of understanding' towards the creation of a cultural export insurance specifically for films - so cementing the idea on a government-funded level that films are cultural export items that contribute to South Korea's international image.
New technology is also contributing to changes. 'Digital cinema will take a lot of the burden off distributors and that should help increase diversity at the cinemas,' says Ray Seok, senior manager at D-Cinema Korea, a new joint venture between leading exhibitors CJ CGV and Lotte Cinema.
'It will also make creative work easier. New generations of film-makers can start learning easily as amateurs with 'user-created content', and they can screen through diverse channels.
The technology will bring production investment costs down, creating a structure for a virtuous circle of creativity and quality.'
With a critical but interested public, government support and a well-educated and determined workforce that examines itself continually and looks for innovations, there is much to be hopeful about in Korea. Even veteran maestro Im Kwon-taek, with 100 films under his belt as of last year, is looking for innovations in his art and is considering digital for a possible 101st film.
Discounting the many low-budget films that have appeared on the scene, the Korean Film Council (Kofic) took a sample of 50 films last year.
Korea by numbers
The average production budget was $4.1m, with p&a spend at $1.9m, and 'other distribution and miscellaneous fees' at $490,000, bringing the total to $6.5m. In 2006, the average production budget was $2.8m, p&a $1.6m, and the total per film was $5.4m.
TOP 10 KOREAN FILMS, 2007
Total Budget $
Title (Dist) (incl p&a) Adm Gross $
1 D-War (Showbox Mediaplex) $30m* 7.8m $52.5m
2 May 18 (CJ Entertainment) $13.6m 6.9m $46.8m
3 200 Pounds Beauty (Showbox Mediaplex) $7.9m 6.2m $38.6m
4 Voice Of A Murderer (CJ Entertainment) $7.1m 3m $18.7m
5 Le Grand Chef (CJ Entertainment) $5.3m 2.9m $20.2m
6 Miracle On 1st Street (CJ Entertainment) $6.9m 2.6m $16.4m
7 Going By The Book (CJ Entertainment) $5.8m 2.2m $14.8m
8 Paradise Murdered (MK Pictures) $5.6m 2.1m $14.1m
9 A Love (Lotte Entertainment) N/A 2m $14.4m
10 Seven Days (Prime Entertainment) N/A 2m $14.4m
* Production budget only. Source: based on preliminary figures from
Oscars international feature race: the Asia Pacific contenders
Can the continent follow up last year's success for 'Parasite'?
Korean Film Council appoints Kim Young-jin as chairperson
A well-respected film critic, Kim is also a professor at Myongji University and former programmer at Jeonju film festival.
Hong Kong International Film Festival to hold hybrid edition in April
Festival aims to give audiences more options with both in-theatre and online screenings and other events.


text:
require 'spec_helper'

feature 'Having any of the things' do
  let(:site) { TestSite.new }

  before { site.home.load }

  scenario 'when we have some of the things' do
    expect(site.home.section_with_missing_things).to have_any_of_the_things
  end

  scenario 'when we have none of the things' do
    expect(site.home.section_with_none_of_the_things).to_not have_any_of_the_things
  end

  scenario 'when we do not have any of the things' do
    expect do
      expect(site.home.section_with_none_of_the_things).to have_any_of_the_things
    end.to raise_exception(RSpec::Expectations::ExpectationNotMetError, /Expected to find at least part of SectionWithThings/)
  end

  scenario 'when we expect to not find any of the things' do
    expect do
      expect(site.home.section_with_missing_things).to_not have_any_of_the_things
    end.to raise_exception(RSpec::Expectations::ExpectationNotMetError, /Found: thing_a, thing_b/)
  end
end

redpajama_set_name: RedPajamaGithub


The i-buying movement has been on the rise recently, especially within the last year. But with the housing forecast in 2019 indicating the market will continue to cool down, a new challenge is posed for electronic real estate companies such as Zillow and Redfin—and the challenges may be even greater in Seattle.
The Seattle area real estate market is in dire need of home inventory and some relief has come for buyers, as the Northwest Multiple Listing Service reported that real estate brokers added 14,524 new listings to the market in May, which was the first time this figure has topped 14,000 since May 2008.
We are just weeks from the start of 2018 and as we move closer to the start of the New Year, experts are making their predictions about what to expect in the next twelve months. In anticipation of their upcoming "Seattle Forecast Event" in January, Bisnow outlined a few Seattle trends we'll expect to see in the coming year.
The Eastside has made numerous headlines in recent weeks, from median home prices that continue to skyrocket, to Microsoft's major announcement of an expansion and renovation at its Redmond campus.


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USA | France | India
All officials
Agencies/Departments
Child Is First Californian Since 2006 to Contract Ever-Present Plague
California and the Nation
Squirrels and their fleas can carry plague (photo: Getty Images)
For the first time since 2006, a Californian has been diagnosed with plague, a deadly, infectious bacterial disease called Yersinia pestis.
The announcement by the California Department of Public Health (CDPH) that a child in Los Angeles County was likely infected while camping in Yosemite last month came just days after an adult died of plague in Colorado. The family stayed at the Crane Flat Campground.
The child is reportedly recovering while investigators trace the family's contacts during the incubation period and do an environmental evaluation in the Stanislaus National Forest. There have been 42 confirmed human cases since 1970. Nine were fatal. There has been no report of human-to-human infection in California since 1924.
Plague is carried by fleas and their hosts: squirrels, chipmunks and other wild rodents. When the animal dies, the fleas look for new homes. They usually aren't humans. Plague-infected animals are more likely to be running around in the foothills and mountains than the coastal areas. They avoid the desert and Central Valley.
Plague was detected in animals in seven counties last year: El Dorado, Mariposa, Modoc, Plumas, San Diego, Santa Barbara and Sierra.
Symptoms of the most common form of plague, bubonic, include high fever, chills, nausea, weakness and swollen lymph nodes. Septicemic plague lacks the swelling and seems more like flu, and the least common, pneumatic, can be spread through coughing. Symptoms usually appear 2-6 days after exposure.
Domestic animals can acquire plague (pdf). Dogs don't usually show symptoms but cats do. They both can transport the fleas.
Plague is responsible for three great pandemics, in AD 541, 1347 and 1894. The first, known as the Justinian Plague, hit central Africa, Egypt and the Mediterranean. The second, famous as Black Death, killed one-third of Europe (20 million people) in five years during the 14th Century. It had already laid waste to China, India, Persia, Syria and Egypt. The third started in China before sweeping through India on its way to the rest of the world.
Better sanitation and antibiotics for the bacteria, finally identified during the third pandemic, have reduced the threat substantially.
–Kenneth Broder
L.A. County Child Contracts Plague After Camping with Family (by Susan Abram, Los Angeles Daily News)
Child Contracts Plague at Yosemite National Park (by Veronica Rocha, Los Angeles Times)
The History of Plague—Part 1. The Three Great Pandemics (by John Firth, Journal of Military and Veterans' Health)
California Department of Public Health Investigates Human Plague Case (California Department of Public Health)
California Forbids U.S. Immigration Agents from Pretending to be Police
California Lawmakers Urged to Strip "Self-Dealing" Tax Board of Its Duties
Big Oil's Grip on California
Santa Cruz Police See Homeland Security Betrayal in Use of Gang Roundup as Cover for Immigration Raid
Oil Companies Face Deadline to Stop Polluting California Groundwater


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text:
Farakka Barrage and Relations With A Friendly Neighbor
The Farakka Barrage Project on Ganga river has been often discussed in the context of whether this project has caused any adverse impacts in Bangladesh. Certainly there have been complaints from Bangladesh in this context. So was it a case of India promoting its interests at the cost of Bangladesh? No, there is increasing evidence of this project causing huge problems in India as well.
This aspect attracted a lot of attention a few years back in the context of a statement by the Chief Minister of Bihar Nitish Kumar regarding the highly adverse impact of Farakka barrage on making Bihar more prone to floods.
While this was not the first time that the adverse impact of Farakka project had been highlighted, the issue being raised by a Chief Minister in rather strong terms has its own importance. Apart from voicing the apprehension that the project by increasing the silt load in the Ganga river has made it difficult for flood waters to be cleared quickly, Nitish Kumar called for a review of the Farakka project and if such a review supports the frequent allegations of a highly disruptive and harmful role of this project then the possibility of decommissioning the project should be kept open.
While several dam projects have been decommissioned in other countries in recent times this is the first time that a senior leader in India ( that too a Chief Minister) raised this possibility in the context of a very major project in India. There are many implications, as some of the projects now under consideration may have similar impacts of worsening the flood situation instead of providing protection from floods. Hence it is important to examine the old Farakka controversy in some detail.
It should be remembered that apart from Nitish Kumar several other senior leaders and social activists in Bihar have spoken against the adverse impacts of Farakka project on worsening floods and very adversely affecting livelihood of river fisherfolk (caused by a big reduction in fish). The Ganga Mukti Andolan in particular had highlighted these aspects of the Farakka Project as this movement was in close contact with fisherfolk and was able to gather a lot of facts regarding the real impacts of Farakka project from the fisherfolk community.
A former irrigation minister of W. Bengal Devavrata Bandyopadhyaya had said some years back that the people of Malda and Murshidabad are doomed by this project. He had said this in the context of increasing erosion of land and the increasing tendency of the river water to erode land as the river bed is clogged by too much silt.
Bangladesh of course has all along been opposed to the Farakka project due to the adverse impacts on water availability.
If neither the people of India nor the people of Bangladesh are happy with the results of this project, then why did we spend so much money to build this barrage in the first place ?
This question should be pursued as it is very important to learn from such huge mistakes. A closer scrutiny would reveal that this is actually a terrible case of making even bigger mistakes in the case of trying to correct previous ones.
This very expensive (in economic as well as ecological terms) story starts with the dams of the Damodar Valley Corporation (DVC). A lot of silt and sand accumulates in the lower reach of Hooghly river which was earlier flushed into the sea by the normal floods of Damodar and Rupnarayan rivers. But this natural process was disrupted by the DVC dams . The silt deposits accumulated, reducing the water carrying capacity of the river and causing destructive floods. The navigability of the river was threatened, endangering the future of Calcutta Port.
It was at this stage that Farakka Barrage was taken up on the plea that this will divert more water to the Bhagirathi above the Hooghly. But the real story turned out to be quite different.
Bangladesh was soon complaining that after the diversion the lesser flow to the Padma river led to sand accumulation in its lower reach which could even change the river flow and hence bring floods in new areas, while also causing water shortages in other areas in the lean season. There were also reports of salt water intrusion in coastal areas and adverse impact on fisheries.
It was only a matter of time before reports of very adverse impacts also started appearing from several parts of India, namely Bihar and W. Bengal.
In fact well-articulated advance warnings had been voiced by a high-placed official and engineer who was very well informed about the region. When his warnings about the ill impacts of DVC dams started to actually appear true he suggested that instead of building the Farakka barrage the government should consider the alternative of giving up the irrigation component of DVC and instead using this water to flush the lower Hooghly.
If this voice had been followed then the main objective sought to be achieved by constructing the costly Farakka Barrage could have been achieved in this way, avoiding all the adverse side-effects, while other arrangements could have been made for irrigation in the form of small water conservation and irrigation projects.
But unfortunately like his previous advice of not building the DVC dams this second advice of correcting the previous mistake too was not approved by government officials and big construction lobbies which decided to go ahead with the Farakka Project even though this was like repeating earlier mistakes on a bigger scale.
There is much to learn from this sad and unfortunate turn of events. It is still not too late to learn from past mistakes and act to protect the interests of India and Bangladesh on equal basis by considering all the suitable alternatives.
Bharat Dogra is a journalist and author. His recent books include Man Over Machine and Planet in Peril.
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The Arcadian calm of PBS was shattered Tuesday in the wake of leaked Sony emails that revealed Ben Affleck had demanded references to a slave-owning ancestor be excised from a segment on him in the program, "Finding Your Roots." The System -- which has no role in the production of this Henry Louis Gates-hosted series -- was forced to address the controversy Tuesday, saying it was "moving swiftly to conduct [a] review."
"I didn?t want any television show about my family to include a guy who owned slaves. I was embarrassed. The very thought left a bad taste in my mouth."
He then added this: "It?s important to remember that this isn?t a news program. 'Finding Your Roots' is a show where you voluntarily provide a great deal of information about your family, making you quite vulnerable. The assumption is that they will never be dishonest but they will respect your willingness to participate and not look to include things you think would embarrass your family. I regret my initial thoughts that the issue of slavery not be included in the story."
Yes, this is all highly unusual -- PBS simply never airs its soiled laundry, largely because there is none to air. PBS is a distribution system, not a network, which means that it has only nominal, or largely symbolic, control over the shows which go out over the system. The real power in public television lies in the hands of the big producing stations, like WNET or WGBH, and of course in the hands of the almighty donors.
In other words, PBS's internal investigation does sound as if it will have all the investigative energy of Captain Renault's roundup of the usual suspects. Nevertheless, PBS is a proud institution and this strikes a blow -- or at least a minor and glancing one -- at that justifiable pride.
The damage however may be to Affleck -- who has already been the target of Internet trolls for years, now more than ever on the eve of his Batman. The haters look for anything to stoke their boundless meanness of spirit. This will assuredly work toward that end.
More troubling, however, are Gates' actions here. This episode presupposes that he's too cozy with powerful celebrities -- Affleck even calls him "my friend" in his statement -- who is all too willing to make the subjects of his series look good. This presupposes another question: What other editorial elisions has Gates been forced to make by his Hollywood friends?
Gates, in fact, has become in fact one of the most important suppliers to PBS -- and a valuable one, too. His "The African Americans: Many Rivers to Cross" is one of his more recent, and honored, series here. Will that output be imperiled? Of course not, but it may force Gates -- as it probably should -- to examine his editorial procedures on "Roots."
Affleck? His point is only partly accurate. No, this series is not "news," but it is "informational," and viewers have every right to assume that what they are seeing is not an exercise in lily-gilding or apple polishing. In hindsight, his segments appear to have been exactly that.
[Henry ?Skip? Louis Gates, Jr.] decided what went into the show. I lobbied him the same way I lobby directors about what takes of mine I think they should use. This is the collaborative creative process. Skip agreed with me on the slave owner but made other choices I disagreed with. In the end, it?s his show and I knew that going in. I?m proud to be his friend and proud to have participated. It?s important to remember that this isn?t a news program. 'Finding Your Roots' is a show where you voluntarily provide a great deal of information about your family, making you quite vulnerable. The assumption is that they will never be dishonest but they will respect your willingness to participate and not look to include things you think would embarrass your family. I regret my initial thoughts that the issue of slavery not be included in the story. We deserve neither credit nor blame for our ancestors and the degree of interest in this story suggests that we are, as a nation, still grappling with the terrible legacy of slavery. It is an examination well worth continuing. I am glad that my story, however indirectly, will contribute to that discussion. While I don?t like that the guy is an ancestor, I am happy that aspect of our country?s history is being talked about.
Meanwhile, here's the Gates' statement.
"The mission of "Finding Your Roots" is to find and share interesting stories from our celebrity guests? ancestries and use those stories to unlock new ways to learn about our past. We are very grateful to all of our guests for allowing us into their personal lives and have told hundreds of stories in this series including many about slave ancestors -- never shying away from chapters of a family?s past that might be unpleasant. Ultimately, I maintain editorial control on all of my projects and, with my producers, decide what will make for the most compelling program. In the case of Mr. Affleck -- we focused on what we felt were the most interesting aspects of his ancestry -- including a Revolutionary War ancestor, a 3rd great?grandfather who was an occult enthusiast, and his mother who marched for Civil Rights during the Freedom Summer of 1964.
"PBS and WNET are conducting an internal review led by our respective programming teams of the circumstances around "Finding Your Roots" episode "Roots of Freedom." This matter came to PBS' attention on Friday morning, April 17th. Professor Gates and his producers immediately responded to our initial questions. In order to gather the facts to determine whether or not all of PBS' editorial standards were observed, on Saturday, April 18th, we began an internal review. We have been moving forward deliberately yet swiftly to conduct this review."


President Abdulla Yameen Abdul Gayoom has participated in a function held at Lh. Kurendhoo to mark the completion of the Coastal Protection Project run on the island.
Yameen, who is on a tour of several islands in Lh. Atoll visited Kurendhoo this Saturday morning.
He participated in the function held to mark the completion of the Kurendhoo Coastal Protection Project, where he cut a commemorative ribbon and delivered a speech.
The Kurendhoo Coastal Protection Project was contracted to Maldives Transport and Contracting Company (MTCC), which built a 220-meter long seawall to the South East of the playing field on the island.
Yameen first stop during his Lh. Atoll tour was Lh. Naifaru. He visited the island last Friday and inaugurated the island's harbor and the Lh. Atoll Hospital built on the island.
The Naifaru Harbor Project was undertaken by MTCC, which enlarged the harbor area to 57,610 square meters. MTCC also built a 758-meter revetment wall, 783-meter breakwater and 3,640-meter pavement as part of the project.
Yameen travelled to Lh. Hinnavaru later last Friday evening where he met with residents of the island.
He is scheduled to visit Lh. Olhuvelifushi next.


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If you are buying made to measure blinds in Plymouth click on one of the images above. And if you don't see the type of product you need, then just click on the closest to find your way to the blinds that are exactly right for you in Plymouth.
Generally the best set up for window blinds is to control them (ie open and close them) with a cord. However these days you can set them up to be electronically controlled either directly from the wall or remotely - just in case they are not easy to access. Our favourite blinds today are wooden blinds . Did you know that Velux is actually a brand name, not a descriptor? Just like Sellotape, Astro Turf and Hoover, we've become used to describing a type of product by the name of the leading brand in the market.
There are many tips for cleaning venetian window blinds but it's never a bad idea to check with the manufacturer who will know exactly the best approach. A damp cloth or sponge is usually the best answer to finger marks, and a quick vaccuum every week will keep them from collecting too much dust! Our partners can supply any location in the UK so you can feel confident about your next click. Just pick the type of blind that interests you from the images above and you can soon receive your blinds in Plymouth.
This site is for blinds in Plymouth. We offer a wide variety of wooden blinds, vertical blinds, roller blinds, venetian blinds, blackout blinds, panel blinds, velux blinds, roman blinds, and all can be made to measure for Plymouth.
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Dart addresses issues with traditional web development languages while remaining easy to learn. Thanks to optional static types, Dart scales from simple scripts to large apps.
A faster Dart Virtual Machine that claims to outperform V8 on some Octane tests.
The SDK comes with a language specification describing Dart semantics, including many features new in this release.
It also includes the browser Dartium, the Chromium build with native Dart support. that we originally saw as an experimental release in February and a standalone lightweight editor to help developers refactor and debug code which is introduced in the video below. You can also use Eclipse, IntelliJ and Webstorm which have Dart plugins.


text:
Q: Dynamically add content to layout in MVC4 I have a master layout file that all my views are rendered in.  I would like to show a message to users in a particular area of this layout using the following rules:

*

*Within our maintenance period, show a warning on every page after a user has signed in.

*Near our maintenance period, show a warning on every page after a user has signed in (but with different content than #1)

*During normal periods, show a message only upon signing in but not for subsequent pages

*It's possible that I may wish to append additional messages to this area from other views/controllers but don't want to have to be conscious of whether I'm overlapping the maintenance warnings

I'm really struggling with the right way to do this.  Right now I have something like:
public class LayoutController : Controller
{
    [ChildActionOnly]
    public IHtmlString GetMarginMessages() {
        loadMaintenanceMessages();
        var messages = this.ViewBag.MarginMessages.ToSingleString();
        return new HtmlString(messages);
    }

    private List<string> loadMaintenanceMessages() {
        if (withinMaintenancePeriod)
        {
            this.ViewBag.MarginMessages.Add("foo");
        }
        else if (nearMaintenancePeriod) {
            this.ViewBag.MarginMessages.Add("bar");
        }
    }
}

Then in my layout I can have:

@Html.Action("GetMarginMessages")

In other pages or controllers, I can have:
this.ViewBag.MarginMessages.Add("Something")    // or have it go through a helper of sorts

Is this the right way to be thinking about this?  I'm not thrilled about using the ViewBag, but I don't see a better way to manage inter-view/controller sharing.  And doing the maintenance time period check on every view rendering doesn't feel quite right either.
What are other options that I'm missing?

A: For this, I'd have a section in the master layout view that renders a separate action. Something like
(page stuff...)

    Html.Action("GetMarginMessages", "Infrastructure")

(more page stuff...)

where you have InfrastructureController as a controller that handles cross-cutting concerns like margin messages, notification messages and the like. That controller would have a method GetMarginMessages which works out whether any messages need to be displayed, and if so, returns a partial view containing those messages rendered however you want them. If there are no messages, it can return EmptyResult and you should make sure your page looks ok when the div is empty.
For more complex logic, you could create an action filter derived from ActionFilterAttribute that catches the request either after the controller method (OnActionExecuted()), or before the view renders(OnResultExecuting()). (In theory, it shouldn't matter much which of those you use.)
From there, you can use the filterContext to:

*

*see which controller method and action the user just hit

*see what values the controller put into the model, ViewBag, and TempData

*add/remove/alter values in the model, ViewBag, and TempData
So from there, you should be able to set up values to tell your message-rendering partial view what it needs to do. The partial view can then retrieve these values and use them however it needs to (just remember to null-check all of the things before trying to use them).
Once set up, this action filter can be applied to:

*

*all methods, by adding it to the GlobalFilterCollection in the Application_Start()
method in Global.asax.cs

*an entire controller, by adding it above the line public class MyController : Controller in the controller's file

*a specific method, by adding it above that method

And of course, at any of these places you can pass values in to the constructor, and have some logic in the filter that works out which one overrides which.

A: I think your best bet to accomplish this is to have a BaseController from which all your other controllers inherit. In your base controller you can execute logic that is common to all requests so for example:
public class BaseController : Controller
{
    // This is the instance of your business logic that will figure out what messages need to be displayed based on various parameters you specify.
    // I leave it to you to write the GetAllMessages method for the MessageService.
    var messagesService = new MessagesService();
    // This is the local variable that will hold all your system messages.
    var systemMessages  = new List<SystemMessage>();

    protected override void Initialize(RequestContext requestContext)
    {
        base.Initialize(requestContext);
        systemMessages = messageService.GetAllMessages();
        ViewBag.SystemMessages = systemMessages;
    }
}

Once you have this setup them all your other controller will inherit from the base controller:
public class SomeController : BaseController
{
    // Controller logic here...
}

so now you have your system messages accessible to you via the messagesService property of the controller. Additionally your have them available to you via the ViewBag.SystemMessages. Now the reason for that is because you can push this a bit further by creating a custom razor view like this:
namespace YourProject.Views
{
    public abstract class CustomWebViewPage : WebViewPage
    {
        private List<SystemMessage> _systemMessages = new List<SystemMessage>();
        public List<SystemMessage> SystemMessages
        {
            get
            {
               try
               {
                   _systemMessages = (List<SystemMessage>())ViewBag.SystemMessages;
               }
               catch (Exception)
               {
                   _systemMessages = new List<SystemMessage>();;
               }
               return _systemMessages;
            }
        }
    }

    public abstract class CustomWebViewPage<TModel> : WebViewPage<TModel> where TModel : class
    {
        private List<SystemMessage> _systemMessages = new List<SystemMessage>();
        public List<SystemMessage> SystemMessages
        {
            get
            {
               try
               {
                   _systemMessages = (List<SystemMessage>())ViewBag.SystemMessages;
               }
               catch (Exception)
               {
                   _systemMessages = new List<SystemMessage>();;
               }
               return _systemMessages;
            }
        }
    }
}

What this allows you to do is reference you System Messages directly in your razor views (both layouts and regular views) like this:
@SystemMessages

One last step in order for this to work is modify the pages declaration in your web.config file to the following:
<pages pageBaseType="YourProject.Views.CustomWebViewPage">

This needs to be done in all web.config files related to Views so in your Views folder and in any Areas' Views Folders you might have. Once you have this setup then all your views will be able to reference System Messages via the @SystemMessages syntax.
For more on custom Razor views you can read Phil Haack's post here:
http://haacked.com/archive/2011/02/21/changing-base-type-of-a-razor-view.aspx

A: Another simple option (depending how complicated you need it to be)  is to use MVC's sections:
http://www.c-sharpcorner.com/UploadFile/3d39b4/Asp-Net-mvc-4-layout-and-section-in-razor/
In your Layout view, you can reference a section:
@RenderSection("featured", required: false)

Then in any views, you can choose what goes inside this element:
@section featured
{

@ViewBag.Title.

}

Then for any views that don't need it, you just don't include a section definition.
Also, if several views use the same section contents, you can use a child layout that's only contents are:

*

*Referencing your main layout

*Defining the section (so you only have to define it once for several
views)

redpajama_set_name: RedPajamaStackExchange


Live Your Desires Right NOW!
The rules of the Law of Attraction are quite easy to understand, but are perhaps more difficult to practice deliberately. Simply stated, you attract to you the things that match your vibration. Your life, then, unfolds perfectly based on what the Universe "hears" you asking for. You never stop asking, however. You ask with every thought, with every thing you observe, and with every interaction you have with everything. We are all perpetual askers. Another way to say this is that you ask for what you want by focusing on it, and you ask for what you don't want by focusing on it. Both (wanted and unwanted) are drawn into your experience by your attention to them. It makes sense, then, to give your full attention to the things you want so that you can manifest the wanted things into your experience.
If you have been playing with these ideas, but are a little frustrated that things are not happening more quickly for you, you may be taking score too soon. Once you have asked for something, usually by living some contrast that clarifies what you do want…you need to change your focus slightly. If you keep thinking of yourself as someone who needs the new thing, you may be keeping yourself in a pattern where the Universe brings you more of the same. Universal Forces line you up with things that match the essence of where you are…but the Law of Attraction doesn't care if you are experiencing something, or just living it in your imagination: it matches you up with more of where you think you are vibrationally. For example, if you ask for money because you don't have much, the Universe "hears" you and lines you up with more money. But the vibration you need to align with to manifest it fully is "I have more money" and not "hey, where's my money!" It's an amazing Catch 22 here…you can't have it until you feel you already have it…but as long as you don't have it, it's tricky to feel like you have it.
Here is something I suggest to get you through the doubt stages of manifestation. Once you have identified something you are asking for, be it prosperity, a new relationship, a better job, or whatever, relax and affirm that your "work" is completed. Visualize the essence of this thing in your mind, and see it already coming to you in full form and completion. Feel the complete thrill of having it already. See yourself enjoying it in as many ways as you can imagine. See yourself telling others how much fun you are having with the thing in your experience. Picture it, but more importantly feel and love the essence of it right now.
« Exercise Brings Presence and Presence Brings Wellness!
This entry was posted on Saturday, April 3rd, 2010 at 6:12 PM	and is filed under Law of Attraction, Power of Being Present, Prosperity, Wealth, and Wellness. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.
I intend to live my desires right now!


text:
When Fans Strike Back
Graham Hartmann Published: March 5, 2022
Joseph Okpako, Getty Images
It doesn't matter if you're an iconic band or a one-hit wonder… If you piss off music fans, expect them to strike back.
It's hard to believe that a legendary group in the middle of a long-awaited reunion tour could get bottled off stage, but it happened to the Sex Pistols in 1996. Having reunited after nearly 20 years of inactivity, the Pistols took their tour to the Roskilde Festival in Denmark. During their set, Johnny Rotten actually berated the crowd about their behavior after a number of bottles were thrown onstage. Some viewed Rotten's actions as hypocritical, seeing as the Sex Pistols made a career on misbehaving, but either way, the Pistols ended up leaving the stage after just 18 minutes.
MGK was riding high in 2021 thanks to his wildly successful pop punk debut, Tickets to My Downfall. Unbeknownst to him, the tickets to MGK's downfall actually read "Riot Fest," where the rapper-turned-rocker said from the stage, "Hey, you wanna know what I'm really happy that I'm not doing? Being 50 years old wearing a fucking weird mask on a fucking stage."
The dig at Slipknot was in response to an interview Corey Taylor gave where he called MGK's pop punk career "derivative" without mentioning him by name. The back-and-forth feud was ultimately settled by Slipknot's fans, who booed MGK into oblivion during every festival he performed at in 2021. To be fair, Machine Gun Kelly's fans also turned up in droves, combating the boos with their own cheers.
Check out our compilation of When Fans Strike Back in the Loud List below.
16 Things Metalheads Really Need to Get Over
Get over it! Here are 16 things that metalheads really should get over.
Source: When Fans Strike Back
Filed Under: Loud Lists
Categories: Musician News, Rock, Videos
Stop Doing This in the Pit
Fans in Costumes Tearing Up Mosh Pits
The Times Rock + Metal Musicians Messed Up Their Own Songs Live
Musicians Talking About Childhood Bullies
Bring Your Kids to Metal Shows
Insane Drummers You Should Never Approach in the Wild
When Starting a Band Goes Wrong
Musicians Refusing to Sign for Greedy Autograph Hounds


Palm on Wednesday launched a device it described as a companion to its Treo smartphone that looks like a small laptop and will assist users with data input.
The 1.13 kg Foleo stays connected to its smartphone through a Bluetooth wireless link and supports Internet browsing with either its own Wi-Fi card or the smartphone's radio, Palm said. Together, the wireless networks will allow users to read their e-mail and office documents such as Word and Excel files on a large screen instead of a cramped phone display.
The Foleo PC uses the Linux OS, and is designed to synchronize with both the Palm OS and the Windows Mobile version of the Treo smartphone. However, Palm hopes to sell the Foleo to users of all types of smartphones, saying it can easily link to most smartphones based on Windows Mobile, and requires a modest development effort to link to smartphones using operating systems from Research in Motion Ltd., Apple Inc. or Symbian.
In a Webcast, Palm founder and chief executive Jeff Hawkins said the original Palm Pilot was developed to assist users who struggled to embrace bulky, complex and expensive desktops. Years later, a new problem has emerged, he said.
Foleo was conceived but it didn't make sense to build it right away, Hawkins said.
We had to wait until a lot of people were buying smartphones," he said, citing analyst figures that project 200 million users within a few years.
The Foleo is the first Palm launch since the company's future was clouded by rumours of an acquisition of Motorola or another firm. The buyout never transpired, but at the time analyst Ian Grant of the Montreal-based SeaBoard Group said Palm would be wise to come up with some fresh innovation.
Carmi Levy, an analyst with London, Ont.-based Info-Tech Research, agreed at the time that Palm was struggling to attract a business audience.
"RIM and Microsoft and Nokia offer enterprise-class solutions that are much easier to implement," he said.