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'The Suicide Squad' Is A Flop In Theaters
Markeis Jefferson August 9, 2021 0 0
In the latest news, it seems that the DC film "The Suicide Squad" is not living up to its hype. Since it premiered in theaters on August 6th, the film has achieved critical acclaim from many critics alike, receiving 92% on Rotten Tomatoes. Even with critical success, it still underperformed during its opening weekend. Per reports, the James Dunn-directed film that stars Idris Elba, John Cena, and Margot Robbie opened to an estimated $26.5 million at the North American box office. Those numbers are below the previous industry projections that predicted the film to gross around $30 million. Internationally the film grossed $35 million from 70 overseas territories, bringing its global tally to $72.2 million.
Several factors contributed to "The Suicide Squad's lack of success, including the growing concern over the Delta variant of COVID-19. According to CNN, those concerns may have scared many consumers away from in-person viewing of the film. Another factor for box office underperformance is that the film also premiered on HBO Max at no extra charge for their subscribers. This streaming option could have affected box office ticket sales. Although Warner Bros has not released any streaming viewership numbers for its films, HBO Max chief Andy Forssell revealed that Suicide Squad is the second-most viewed opening of any film premiering day-and-date on the streaming service.
Tags HBO MAX The Suicide Squad True Urban Culture TUC TUC Magazine Tucmag
Markeis Jefferson
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Johann Albert Wilhelm Fischer (* 10. August 1892 in Berlin-Steglitz; † 10. August 1969 in Berlin) war ein deutscher Chirurg und Hochschullehrer in Frankfurt am Main, Gießen und Kiel.

Leben
Fischers Eltern waren der Regierungsbaumeister Albert Fischer und seine Frau Agnes geb. Fischer. Fischer heiratete am 25. August 1915 Mathilde Jaeger. Sie bekamen die Kinder Heinz (1917), Ilse (1919), Helmut (1926) und Klaus (1936). Heinz fiel 1943 bei der Luftwaffe (Wehrmacht) als Flieger eines Sturzkampfflugzeugs. Ilse starb 1949 an einer Sepsis.

Fischer besuchte das Realgymnasium Lichterfelde, das er Ostern 1910 mit dem Abitur verließ. Er studierte zunächst an der Albert-Ludwigs-Universität Freiburg Medizin. 1910 wurde er im Corps Rhenania Freiburg aktiv. Als Inaktiver wechselte er an die Universität Rostock, die Friedrich-Wilhelms-Universität zu Berlin und die Friedrichs-Universität Halle. Mit dem Staatsexamen am 4. März 1915 wurde er als Arzt approbiert und zum Dr. med. promoviert. Den Kriegsdienst leistete er im Rang eines Unterarztes, dann als Assistenzarzt d. R. und ab 1917 als Oberarzt d. R. bis zum 30. September 1919. Vom 1. Januar 1919 war er Volontär, dann Assistent für Pathologie an der Universität Halle und Chirurg bei Victor Schmieden an der Universität Frankfurt am Main, am Universitätsklinikum Frankfurt am Main. Bei ihm habilitierte er sich am 31. Mai 1923. Ab 1. Oktober 1924 war er Oberarzt und Privatdozent. Er war ab 14. März 1928 a.o. Professor für Chirurgie in Frankfurt und hatte einen Lehrauftrag für Unfallchirurgie.

Nach Nennungen 1931 in Düsseldorf und 1932 in Köln folgte er am 1. Oktober 1933 dem Ruf der Hessischen Ludwigs-Universität auf ihren Lehrstuhl für Chirurgie. Am 1. April 1938 wurde er als Direktor der Chirurgischen Klinik an die Christian-Albrechts-Universität zu Kiel berufen. 1941/1942 war er Dekan der Medizinischen Fakultät. Berufungen an die Schlesische Friedrich-Wilhelms-Universität und die Medizinische Akademie Düsseldorf lehnte er ab.

Um an der Entwicklung der Universität (u. a. an der laufenden Reform der Lehrpläne) mitwirken zu können, traten er und Kollegen 1933 der NSDAP bei. Da sich die Erwartungen jedoch nicht erfüllten, blieb A.W. Fischer inaktiv. Eine Bitte des Nationalsozialistischen Kraftfahrkorps, die Chirurgische Klinik Gießen als Rettungsstelle für motorsportliche Veranstaltungen nutzen zu können, konnte von A.W. Fischer nicht ausgeschlagen werden. Ihm wurde als Dank der Rang eines Gruppenführers verliehen. A.W. Fischer nahm jedoch nie am Dienst teil, was auch nicht erwartet wurde. 1937 trat er der SS bei.

Am 10. November 1938 wurden in Folge der nationalsozialistischen Novemberpogrome die beiden jüdischen Kaufleute Lask und Leven mit lebensbedrohlichen Bauch-Darm und Kopf-Brust-Schussverletzungen in die Chirurgische Klinik Kiel eingeliefert. Die Wahrnehmung der ärztlichen Pflichten für die beiden Schwerverletzten stand für A.W. Fischer laut eigener Aussage in seinem Entnazifizierungsverfahren außer Frage. Da für dieses ärztliche Handeln jedoch erhebliche Konsequenzen drohten, wurden die jüdischen Kaufleute von ihm persönlich operiert und nachbehandelt. Die drohenden Konsequenzen für die Klinik und das Personal konnten mit Glück abgewendet werden. Für die erfolgreiche medizinische Behandlung des Stabschefs Theuermann wurde Fischer 1943 zum Obersturmführer ernannt und sein Rang als beratender Chirurg der Marine 1944 dem eines Sturmbannführers angeglichen. Entsprechende Ämter oder Aufgaben auch nichtärztlicher Natur hatte Fischer jedoch in der SS nie inne.

Nach Kriegsende wurde der Lehrstuhl für Chirurgie an der Christian-Albrechts-Universität zu Kiel während der Internierung von A.W. Fischer neu besetzt. Trotz Rehabilitierung und Entnazifizierung konnte Fischer nicht an seine Klinik zurückkehren. Er übernahm am 1. April 1951 die neu eingerichtete Abteilung Kiel-Wik der Chirurgischen Universitätsklinik. Am 15. November 1948 war er bereits erneut ins Beamtenverhältnis auf Lebenszeit berufen und zum planmäßigen Professor für Chirurgie ernannt worden. Bis zum 30. September 1962 hielt A.W. Fischer wieder Vorlesungen und nahm Prüfungen ab. Ab 1. März 1953 war er zugleich ehrenamtlicher Leiter der Abteilung Wik des DRK-Anschar-Krankenhauses und des Hauses Quickborn in Kiel. 1954 leitete er die 73. Tagung der Vereinigung Nordwestdeutscher Chirurgen. Fischer starb nach kurzer schwerer Krankheit, die auf alte Leiden zurückgeführt wurde.

Habilitanden
Bei Fischer habilitierten sich für Chirurgie:
 Richard Maatz (1940)
 Otto Henningsen (1940)
 Heinz Grießmann (1941), Chef in Neumünster
 Robert Herget (1944), apl. Professor, Chef im Essener Huyssens-Stift
 Horst Reich (1945)

Ehrenmitgliedschaften

 1951 Deutsche Gesellschaft für Unfallheilkunde
 1958 Medizinische Gesellschaft Kiel
 1962 Vereinigung Nordwestdeutscher Chirurgen
 1963 Mittelrheinische Chirurgenvereinigung
 1963 Deutsche Gesellschaft für Röntgenologie
 1964 Sektion Chirurgie der Deutschen Gesellschaft für klinische Medizin der DDR.
 1967 International College of Surgeons (nach mehrjähriger Präsidentschaft)
 1969 Deutsche Gesellschaft für Chirurgie

Ehrungen
 1957 Ehrenzeichen des Deutschen Roten Kreuzes als Landesarzt
 1960 Goldene Verdienstnadel des ADAC als Berater
 1962 Wahl zum Präsidenten der Deutschen Gesellschaft für Chirurgie
 1962 Verdienstorden der Bundesrepublik Deutschland, Großes Verdienstkreuz
 1965 Dr. med. h. c. der Martin-Luther-Universität Halle-Wittenberg in Anerkennung der Verdienste um die Chirurgie aus Anlass der 50-jährigen Wiederkehr des Promotionstages

Publikationen
 mehr als 300 Handbuchartikel und Monographien
 seit 1931 diverse Handbücher über ärztliche Begutachtung und das Versicherungswesen
 7. Auflage der Bier-Braun-Kümmell´schen Operationslehre in Zusammenarbeit mit Erwin Gohrbandt und Ferdinand Sauerbruch
 Entwicklung diverser Operations- und Untersuchungsverfahren

Siehe auch
 Liste der Beratenden Chirurgen der Wehrmacht

Literatur
 Edith Feiner: Fischer, Albert Wilhelm. In: Schleswig-Holsteinisches Biographisches Lexikon. Band 2. Karl Wachholtz Verlag, Neumünster 1971, ISBN 3-529-02642-5, S. 140–143.
 Karl-Werner Ratschko: Ein Nazi, kein Parteimann. Der Chirurg Albert Wilhelm Fischer als Klinikchef und Dekan der Medizinischen Fakultät Kiel im Nationalsozialismus. In: Schleswig-Holsteinisches Ärzteblatt. Nr. 5, 2015, S. 18–21.
 Rüdiger Döhler, Heinz-Jürgen Schröder, Eike Sebastian Debus: Chirurgie im Norden. Zur 200. Tagung der Vereinigung Norddeutscher Chirurgen in Hamburg 2017. Kaden Verlag, Heidelberg 2017, ISBN 978-3-942825-67-2, S. 108–109.

Weblinks

 Chirurgie-Ordinarien in Kiel

Einzelnachweise

Chirurg
Mediziner (20. Jahrhundert)
Hochschullehrer (Justus-Liebig-Universität Gießen)
Hochschullehrer (Christian-Albrechts-Universität zu Kiel)
Sanitätsoffizier (Deutsches Reich)
Person im Ersten Weltkrieg (Deutsches Reich)
Flottenarzt (Kriegsmarine der Wehrmacht)
NSDAP-Mitglied
SS-Mitglied
NSKK-Mitglied
Corpsstudent (20. Jahrhundert)
Träger des Großen Bundesverdienstkreuzes
Träger des Ehrenzeichens des Deutschen Roten Kreuzes
Deutscher
Geboren 1892
Gestorben 1969
Mann
Ehrendoktor der Martin-Luther-Universität Halle-Wittenberg
Ehrenmitglied der Deutschen Gesellschaft für Chirurgie

redpajama_set_name: RedPajamaWikipedia


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from the riskless safe asylum of the mute.
is soothed to know their sins are not their fault.
so long as the donations do not halt.
Need burden, nor arrouse their guilt again.
the moon has light because the sun has shine.


text:
Life after whistleblowing
Academics who have made disclosures reflect on the long-term impact on their careers
Twitter: @johncmorgan3
Source: Eduardo Fuentes
There seems to be an assumption that life will return to normal if you've been exonerated and received an unreserved apology. It doesn't
Whistleblowers in universities can hit the national headlines for shining light on issues of public interest, only for their careers to end up in very dark places.
Some of higher education's most prominent whistleblowers paint a bleak picture about the impact on their subsequent careers. They talk about being persecuted by colleagues after coming forward. But even after leaving their jobs, some believe they still suffer a legacy. One talks about being "effectively blackballed" from ever working again in higher education.
For other whistleblowers, exile is self-enforced. "It has damaged my career. But I'm not really sure I wanted a career by the end of it…There were so many people in prominent leadership positions who behaved so appallingly, I just couldn't carry on within the profession. I just felt sick about the whole thing," says Aubrey Blumsohn, who left his post as a senior lecturer in metabolic bone disease at the University of Sheffield, after raising concerns in 2005 about research on a drug made by Procter & Gamble, a funder of research at Sheffield.
But others point to cases where whistleblowers highlight wrongdoing, their concerns are investigated responsibly by universities and their working lives continue as normal.
David Lewis, professor of employment law at Middlesex University and convener of the International Whistleblowing Research Network, argues that the media only report cases "where things go pear-shaped", as the nature of successful whistleblowing means that it remains within institutions and never emerges in public.
Lewis says that his anecdotal evidence suggests there is "quite a lot of successful whistleblowing that goes on in universities".
Nevertheless, when things do "go pear-shaped", the impact on people's careers can be shattering. Those cases may offer lessons to learn, for both universities and prospective whistleblowers.
Blumsohn says he "can't claim to have suffered dreadfully" in comparison with some whistleblowers – but he goes on to say that what followed after he came forward was "an attempt to make the rest of my academic work and my job untenable".
His case began in 2002, when he was working in the research unit led by Richard Eastell, professor of bone metabolism at Sheffield. The unit was researching the effects on patients of Procter & Gamble's anti-osteoporosis drug Actonel.
Blumsohn raised concerns about abstracts for conference papers submitted by P&G, under his primary authorship, but without the firm having granted him full access to the drug trial data.
His concerns were first raised with senior colleagues and then reported in Times Higher Education in 2005.
The data analysis for the research was carried out by P&G, which paid for the research and which did not release key data to Eastell and Blumsohn. According to Blumsohn, this prevented honest publication of research.
After coming forward, Blumsohn has previously said, his other research work was used as the basis for a series of research grant applications that Eastell sponsored and signed off for a PhD student, without acknowledging Blumsohn's input and despite his objections.
In 2005, he told the university that he was speaking to the media after losing faith in its internal systems for dealing with such allegations. He was subsequently suspended and told by Sheffield that he could lose his job over alleged "conduct incompatible with the duties of office", including "briefing journalists" and "distributing information, including a Times Higher article, to third parties with apparent intent to cause embarrassment".
He later reached a settlement with the university and it dropped all disciplinary charges. However, he left the university in 2006.
Blumsohn says of what happened afterwards: "I withdrew from medicine completely, I withdrew from academia and ultimately withdrew my medical registration as well."
Given the impact on his career, does Blumsohn regret coming forward with his concerns? "I had to do that," he says. "As a scientist, I couldn't just go along with having my name attached to manipulated publications, based on secret data ghost-analysed by pharmaceutical companies."
Could Sheffield have dealt with his concerns more effectively? "I don't know how Sheffield could have done better, or indeed how any medical school could have done," Blumsohn replies.
He clarifies: "The problem these days is that some parts of universities – most notably medical schools but some other parts as well – have so many conflicts of interest and financial imperatives guiding what they do, I'm not sure other universities would necessarily have behaved differently from Sheffield. When millions of pounds are at stake both in private fees for academics and university funding, and a pharmaceutical company is wanting you to dance, the pressure to go along and to get staff to remain quiet is overwhelming."
Asked about the university's whistleblowing procedures and any lessons learned, a Sheffield spokeswoman says: "We know that one of the hallmarks of a good employer is building an open and supportive culture where staff feel they can raise issues of any kind. That's why we are proud of our recent staff survey results which show this is exactly what type of organisation we are.
"We fully support world-leading researchers in their pursuit of academic excellence and we're determined to provide them with the necessary assistance should they encounter any concerns during their research."
Blumsohn was a member of the Association of University Teachers, which later merged with a further education union to become the University and College Union. He describes the central UCU as being "completely useless" when it comes to "issues of scientific integrity, academic bullying or fundamental issues of academic freedom", accusing it of treating cases "as if they are primarily legal, employment disputes, while completely ignoring huge issues of principle".
Blumsohn raises similar objections about the Public Interest Disclosure procedure (see 'Speaking out: protected disclosures' box, below). "It is based on the erroneous premise that the ultimate and only goal of whistleblower protection is to achieve a winnable employment tribunal [case]," he says.
He never framed his concerns as a public interest disclosure. He argues that the real goal of whistleblowing is "to correct wrongs and bring system failures into the public domain almost regardless of the consequences – and that is precisely what legislation and groups supporting whistleblowers should aim to achieve". Current legislation "prescribes that you need to spend innumerable years going through internal procedures, and then to obfuscatory prescribed external bodies", he laments, and "all you would be left with is the remote possibility of a successful employment tribunal [case]".
Paul Buckland's case began when he marked a set of undergraduate archaeology exam papers in 2006. Then a professor of environmental archaeology at Bournemouth University, he and a second marker both "agreed that the quality was abysmal", failing 18 out of 60 papers.
The papers then went to "another individual who had no real knowledge of the subject and he passed them", says Buckland. Complaints to his managers, including a pro vice-chancellor, "got nowhere", he continues.
"Eventually I was in the position that I could either accept the fact they could arbitrarily remark my papers, or I had to resign. Since this was a serious attack on my integrity, I had no option but to resign."
Buckland saw himself as defending "students who worked hard for their degrees, who were being short-changed by a system where basically, if you could afford it, you got a degree".
He later won a tribunal case for constructive dismissal, which the university overturned on appeal – only for the Court of Appeal to ultimately uphold his claim in 2010.
Since then, he says he has applied for 19 university posts at all levels without a single interview, despite what he calls a "pretty good publication record".
Nick Petford, a pro vice-chancellor at Bournemouth at the time and now vice-chancellor of the University of Northampton, wrote a letter that was published in THE in 2010. This letter claimed that Buckland "failed to adhere to our marking procedures and protocols; that he refused to cooperate with an internal academic inquiry into the matter; and that, crucially, his marking was not supported by three independent external examiners, all experts in their field".
Buckland rejects those claims. And he says that Petford's letter "effectively blackballed" him from work in higher education and "killed any job prospects".
Higher education in the UK is quite small. Everyone is networked…which allows rumours to be disseminated within senior management teams
Does he believe any changes could be made in universities to avoid more cases like his? "I think it's the fate of anyone who steps out of line," Buckland answers. Students are now seen as "paying customers", he says, to explain universities' attitudes to concerns about academic standards. "They are no longer students. They are buying a product."
Buckland says the UCU did "an extremely good job" in defending him. But at the time the Quality Assurance Agency, with which he attempted to raise concerns, was "hopeless" as it was "part of the old-boy network", he claims. (The QAA introduced new procedures for raising concerns in 2007 – see 'Escalating issues: taking the QAA route' box, below.)
Buckland describes himself as "extremely bitter to see the bosses…promoted" and "very sad" that in his view he caused those who supported him to lose their jobs.
Bournemouth declined an invitation to discuss any lessons learned from the incident or its whistleblowing policy more generally.
Between 2000 and 2003, Harinder Bahra was associate dean for external development at Southampton Institute, now Southampton Solent University.
In 2002, he raised concerns around discriminatory practices and the management of Higher Education Funding Council for England funds. After coming forward, he eventually made a race discrimination complaint and resigned in 2003.
He found a new job as director of marketing at Brunel University, only for things to go wrong when his new employer found out about his outstanding employment tribunal against Southampton Institute. Four months after starting at Brunel, he was sacked on the grounds that he had not passed his probationary period.
Bahra then took Brunel to another employment tribunal. It ruled that he had "suffered unlawful race discrimination by way of victimisation". Bahra won an undisclosed sum in an out-of-court settlement and the university offered him an apology.
Southampton Institute was in negotiation with Bahra about a settlement while he was at Brunel. At that time, Southampton Institute decided to "water down" its originally favourable reference for Bahra, the tribunal in the Brunel case found.
"The tribunal did not accept that there had been no discussions between the senior people at the Southampton Institute and at Brunel University. Plainly there had been," the judgment says.
Southampton Institute eventually settled with Bahra and issued a public statement, which said it would be "bringing forward the review of its policies and procedures relating to equal opportunities to help to encourage and promote an environment of diversity". It also thanked Bahra for his "positive contribution" to the university.
Southampton Solent University declined an invitation to comment on any lessons learned from the case, or on its whistleblowing procedures more generally.
Bahra has not had a full-time role in higher education since leaving Brunel, although he has held temporary positions. He now runs his own consulting firm.
"There seems to be an underlying assumption that life will return to normal if you've been exonerated and received an unreserved apology. It doesn't. One continues to pay a long-term penalty for raising issues and concerns and many employers will view you as high risk," he says.
Asked if what happened at Southampton and Brunel is the reason he has not found a full-time job in higher education, he calls those events "a contributing factor. If you do a Google search on me, one of the top items that comes up is 'Brunel settles after race row'. With many recruiters using social media, anything detrimental is likely to reduce the employment prospects for whistleblowers."
He continues: "Certainly when other [higher education whistleblowers] have contacted me they have said that their treatment and employment trajectory follows a similar pattern. After raising the issues or concerns they can be subject to spurious allegations, identified for redundancy or dismissed. Once out, many cannot get back in: they are not shortlisted, or they've been shortlisted but never been appointed. It could be that I and others are just poor applicants. But it could also be that there is something else, something a bit more sinister that is happening here."
Bahra adds: "Higher education within the UK is quite small. And of course, everybody is formally and informally networked…which allows rumours to be disseminated within senior management teams."
Would he do the same again, knowing the subsequent impact on his career? "I think that it would be a dereliction of duty not to come forward if one is a senior manager and sees any wrongdoing," he replies. "Sometimes you have to come forward because it's the right thing to do. Is that not what ethical leadership is about?"
Bahra makes a positive case for authentic whistleblowing. "Whistleblowers are part of the renewal process within organisations," he says. "You have to have people who are not suffering from groupthink and who can provide an alternative view challenging poor practices within organisations. You shouldn't effectively be penalised for doing what is the right thing."
He adds: "I think universities need to embrace [whistleblowing]. That's what academic freedom is about, isn't it? The ability to put forward a view…Organisations shouldn't become defensive and turn on the individual. What they should do is have a proper due process…and investigate matters diligently and appropriately."
If some universities have been "defensive" over whistleblowers, is that entirely their fault? Or is it also that legislation has failed to create the culture shift needed?
Middlesex's Lewis says: "The legislation doesn't give a right to whistleblow; it doesn't say you have a right not to be victimised. It says if you are victimised, you may bring a claim against your employer.
"I actually believe that if you can prove an employer has victimised you because you made a protected disclosure… that should be a criminal offence."
That is the case in Australia, Lewis explains, which also grants whistleblowers absolute and qualified privilege in defamation cases, in effect protecting them from being sued for libel, "our law says nothing about that".
Research led by Lewis, published by Middlesex, has found that two-thirds of UK universities are using out-of-date whistleblowing procedures that fail to reflect 2013 amendments to legislation extending legal protection (see 'Speaking out: protected disclosures' box, below).
At 111 universities out of 143 (78 per cent), procedures stated that those who report a concern must be acting in good faith to qualify for protection, Lewis' research found. But the 2013 changes scrapped the "good faith" requirement, extending protection under legislation to those who act in "bad faith" – for example, out of personal spite or revenge.
Hefce's policy also seems to be out of date on this issue. "We welcome [whistleblowing] allegations insofar as they are brought to our attention in good faith and relate to our statutory functions," says the Hefce website.
The Concordat to Support Research Integrity, published by Universities UK in 2012 with a range of signatories including the funding councils and Research Councils UK, addresses whistleblowing.
It says that universities and other research bodies should have "clear, well-articulated and confidential mechanisms for reporting allegations of research misconduct" and should "act with no detriment to whistleblowers making allegations of misconduct in good faith".
But the sector has no guidelines for how to deal with whistleblowing beyond research.
All of which leaves a question hanging: if you work in a university and you suspected wrongdoing, what would you do next?
Speaking out: protected disclosures
"Whistleblowing is when a worker reports suspected wrongdoing at work. Officially this is called 'making a disclosure in the public interest'," explains the UK government's website.
This refers to the Public Interest Disclosure Act 1998, which inserted provisions into the Employment Rights Act 1996. The legislation means that if workers can prove they have been sacked for whistleblowing, they will win a claim of unfair dismissal at an employment tribunal.
In terms of what kind of whistleblowing is protected, the legislation cites disclosures about criminal offences; about people failing to comply with legal obligations; about miscarriages of justice; about the health and safety "of any individual" being endangered; about the environment being damaged; or about cover-ups of any such matters.
Under the legislation, whistleblowers can make disclosures not just to their employers but to appropriate regulatory bodies. The Higher Education Funding Council for England, for example, makes information on its public interest disclosure procedures available on its website.
Following revelations that those speaking out against wrongdoing at Mid Staffordshire NHS Trust had been victimised and harassed for doing so, the government amended the legislation in 2013 in the Enterprise and Regulatory Reform Act.
Employers can now be held "vicariously liable" for any "detriment" suffered by whistleblowers at the hands of other staff.
In addition, the amended legislation extended whistleblower protection to those who make disclosures in bad faith, for example with the motivations of financial gain or spite.
The 2013 amendment replaced the "good faith" requirement with a requirement that whistleblowers must have a "reasonable belief" that they are acting "in the public interest", in order to qualify for protection.
David Lewis, professor of employment law at Middlesex University and convener of the International Whistleblowing Research Network, says that, rather than automatically classing revelations about wrongdoing as public interest disclosures, universities will also have processes for equal opportunities or bullying and harassment, or grievance procedures, which they may use to field concerns.
"Under the legislation, you have to decide inside a university which procedure you are going to invoke," Lewis says. He adds that it would be "smart" for whistleblowers to cite the Employment Rights Act, given the protection it offers.
For Lewis, the 2013 changes and the public interest test are "far less significant than requiring those who have been victimised to actually have a deposit fee and a hearing fee" for tribunals. Fees of up to £250 to lodge a tribunal claim were introduced by the coalition government in 2013, with further fees as cases progress. This creates "a major problem" of "access to justice", Lewis claims.
Escalating issues: taking the QAA route
One option for academics uneasy about standards is to use the Quality Assurance Agency's "concerns" process.
Under the scheme, the agency can "investigate concerns about academic standards and quality and about information that higher education providers make available about their provision, where we think such concerns indicate serious systemic or procedural problems", the QAA says.
Although it is unlikely to field many complaints about the type of serious wrongdoing classed as "whistleblowing", it is nevertheless a mechanism specific to higher education for airing concerns.
According to figures supplied by the QAA, of 105 complaints received last year, just two led to a full inquiry: one into the PhD examination process at the University of Bedfordshire; and one into a collaborative agreement between the University of Gloucestershire and the private Williams College.
The scheme was launched in 2007 and revised in 2010 after a cross-party group of MPs from the Innovation, Universities, Science and Skills Committee argued that the sector would benefit from "an independent arbitration and adjudication service" for reviewing academics' concerns about standards in a report published in 2009. Those raising concerns can "tick a box" to opt for anonymity, explains Stephen Jackson, director of quality assurance at the QAA.
Of the 105 concerns received last year, 46 "did not qualify for an initial inquiry", says the QAA. Of the remaining 59, 10 were "resolved by the provider acknowledging the weaknesses identified and agreeing actions to address them". Three were "resolved by the provider demonstrating they were already aware of the issues and were taking appropriate action".
Two "led to a full investigation" and one "was referred to a forthcoming QAA review".
Another 16 were "disproved by the provider demonstrating that the concerns were not systemic or procedural but were isolated mistakes (four resulted in action to resolve an individual issue)", the QAA says. Three "related to partnership agreements that had since terminated"; one "related to a provider that was no longer an institution we could investigate"; and 23 are "ongoing".
The IUSS committee's 2009 report, Students and Universities, also called for legislation to strengthen protections for those raising concerns about academic standards in the 1988 Education Reform Act.
"It appears that the current protections within the sector and the internal arrangements of some higher education institutions may not provide sufficient protection to whistleblowers raising, in good faith, potentially serious concerns about standards at higher education institutions," the report says. "The pressures within the system to protect the reputation of the institution are so strong that they risk not only sweeping problems under the mat but isolating and ostracising unjustly those raising legitimate concerns."
The MPs were particularly concerned by Manchester Metropolitan University's handling of a case in which a member of staff raised concerns about alleged dumbing down.
Walter Cairns was removed from the university's academic board after making a submission of written evidence to a parliamentary inquiry about a course he taught at Manchester Met in which marks were raised unilaterally following an 85 per cent failure rate.
#1 Submitted by EvalHum2 on August 1, 2014 - 7:33am
This makes depressing reading, all he mores as the situation is probably worse in France. If you step out of line, that is exposing the corruption of the system, you cannot easily be sacked, but you are "placarder" - that is to say put in a cupboard. This is the situation for myself and a group of colleagues who exposed twisted recruitment procedures. As a result, we are cut off from all administrative assistance in research, which means an impossibility to have any financed research. Complaints for abuse of power against the President of the university went up to the authorities, who have not even bothered to reply. Only one union, SUD, reacts, the others have too many invested interests as cronyism is rife. Corporatism is the great problem of France. Corruption and cronyism may be bad, but rocking the boat is worse.
Casualised staff 'dehumanised' in UK universities
UCU report examines how academics on insecure contracts are 'vulnerable and open to exploitation'
Berkeley ordered to compensate teaching assistants
Arbitrator finds campus unfairly limited hours to avoid having to provide tuition fee benefits
Competition drives researchers to counselling – and exit door
Poll of 4,000 researchers reveals half have sought or wanted help for mental health problems, and four in 10 are victims of bullying or harassment

redpajama_set_name: RedPajamaCommonCrawl


text:
Lexpressionnisme abstrait est un mouvement artistique qui s'est développé peu après la Seconde Guerre mondiale aux États-Unis. C'est aussi un élément central de l'école de New York, « école » qui a rassemblé les artistes (poètes, peintres, musiciens...) d'avant-garde actifs à New York et aux États-Unis avant et après la Seconde Guerre mondiale.

On parle d'expressionnisme abstrait pour un certain type de peinture, de sculpture et de photographie.

Le mouvement est « né » dans le milieu artistique new-yorkais dans les années 1940. Plusieurs dénominations sont apparues pour évoquer certains aspects de l'expressionnisme abstrait américain : l'action painting, la colorfield painting ou la  (de Sam Francis). Mais la peinture de Willem de Kooning, pour ne citer que cet artiste majeur du mouvement expressionniste abstrait, ne relève d'aucune de ces catégories.

Le terme « Expressionnisme abstrait »
En 1946, le critique d'art Robert Coates, écrivant dans The New Yorker, utilisa pour la première fois le terme «expressionnisme abstrait». Les deux mots combinent l'intensité émotionnelle des expressionnistes allemands avec l'esthétique anti-figurative des écoles abstraites européennes.

Des origines et des influences discutées
Les origines de l'expressionnisme abstrait font l'objet de controverses : s'agit-il d'un art spécifiquement américain ou doit-il beaucoup aux avant-gardes européennes ?

En 1929 est inauguré le MoMA le museum of Modern Art de New York pour présenter au public l'Art Moderne. À la suite de la crise économique, en 1935, le président Roosevelt met en place un programme d'aides aux artistes WPA dans le cadre du New Deal. C'est dans le cadre de ce vaste projet qui touche 10000 artistes de 1935 à 1943 que vont se rencontrer les expressionnistes abstraits.

En 1936 les artistes américains abstraits s'organisent en une association de promotion AAA (acronyme de American Abstract Artists). Ils publient manifestes et articles et réclament l'ouverture des musées américains aux artistes abstraits américains, parmi ses membres Clement Greenberg, Lee Krasner, Piet Mondrian, Ben Nicholson, David Smith, Ad Reinhardt, etc.

À partir de 1933, les États-Unis accueillent des artistes ayant fui l'Allemagne nazie : Hans Hofmann (1880-1966) enseigne l'art moderne à l'université de Californie (Berkeley) et à l'Art Student League de New York. Lee Krasner, Clement Greenberg, Mark Rothko sont de ses élèves.

Hofmann a eu une certaine influence sur le développement de l'expressionnisme abstrait, bien qu'il se soit appuyé sur le formalisme cubiste. Il introduit la troisième dimension dans ses tableaux en les transformant en champs de forces dynamiques, très structurés. Hofmann pense que l'acte de peindre comporte des significations psychologiques. Dans son cas, l'opulence de la couleur et de la surface sont des signes d'une personnalité hédoniste. Il se distingue de la peinture « pessimiste » des peintres expressionnistes de son époque par l'expression de sa joie de vivre. Il est à l'origine de la technique du « push and pull », synthèse des théories de la couleur des avant-gardes parisienne et européennes.

Josef Albers (1888-1976) enseigne au Bauhaus de 1923 à 1933, il est membre fondateur du Salon des Réalités Nouvelles à Paris avant d'émigrer aux États-Unis. Il est considéré comme un des initiateurs de l'art optique (ou « Op art »). Entre 1939 et 1942, Marc Chagall, Max Ernst, Fernand Léger, Piet Mondrian, Yves Tanguy, Roberto Matta et André Breton émigrent à leur tour.

En réalité, si l'on met de côté Matta, les artistes européens eurent peu de contact avec leurs homologues américains. Dès 1948, ces derniers fondent les bases d'une voie propre aux États-Unis. En 1949, c'est au cours des discussions passionnées qui agitent le Club, au 39 de la  Est, à New York, que sort la notion d'« expressionnisme abstrait ». Le Club, fondé par de Kooning, Franz Kline et quelques autres attire rapidement des personnalités aussi diverses que Ad Reinhardt et Jackson Pollock, dans un climat fortement hostile à Clement Greenberg et au formalisme. Dans cette après-guerre qui entraîne le boom économique aux États-Unis, New York devient la capitale mondiale de l'avant-garde et, plus généralement, de l'art moderne. Et l'expressionnisme abstrait y est au centre des débats.

Les expressionnistes abstraits puisent leur inspiration et leur technique dans plusieurs sources. Ils sont marqués par les influences du surréalisme (subconscient, écriture automatique, dripping), ainsi que par l'abstraction de Wassily Kandinsky et d'Arshile Gorky ou par les œuvres de Hans Hofmann.

Les irascibles
Clyfford Still, déjà très irascible à l'époque et très proche de Pollock, fait partie de ces « 18 Irascibles » qui font publier, le 22 mai 1950, une lettre de protestation adressée au président du Metropolitan Museum of Art rejetant l'exposition American Painting Today (1950) et boycottant par avance l'exposition que le musée avait en préparation.

Pour contextualiser cet évènement, il faut dire que le Met n'avait créé un département consacré à l'art américain qu'en 1948, et American Painting Today devait être la première exposition de ce projet. Par ailleurs, en 1948, William Baziotes, David Hare, Robert Motherwell et Mark Rothko avaient fondé une académie d'art, Subjects of the Artist, structure qui organise des discussions entre artistes dans un loft du 35 de la 8e rue, à Manhattan, connu sous le nom de Studio 35, le légendaire « Club ». Une réunion a eu lieu du 21 au 23 avril 1950. Elle a été organisée par Robert Goodnough et animée par Richard Lippold, Robert Motherwell et Alfred H. Barr, directeur du Museum of Modern Art (MoMA). Le but était de poser le cadre d'un mouvement artistique. À la fin de la séance à huis clos, Adolph Gottlieb a suggéré que les artistes réunis protestent contre le parti pris conservateur du jury lors du prochain concours au Metropolitan ; d'où la lettre, en date du 20 mai, envoyée au New York Times et signée par Jimmy Ernst (le fils de  Max Ernst), Adolph Gottlieb, Robert Motherwell, William Baziotes, Hans Hofmann, Barnett Newman, Clyfford Still, Richard Pousette-Dart, Theodoros Stamos, Ad Reinhardt, Jackson Pollock, Mark Rothko, Hedda Sterne, James Brooks, Weldon Kees et Fritz Bultman. Les sculpteurs qui les soutenaient étaient Herbert Ferber, David Smith, Ibram Lassaw, Mary Callery, Day Schnabel, Seymour Lipton, Peter Grippe, Theodore Roszak, David Hare et Louise Bourgeois. Des conservateurs bien précis avaient été retenus pour faire la sélection des artistes, et ce choix disait, par avance, qu'aucun artiste d'avant-garde ne pourrait y exposer. Et de souligner ce fait « que, depuis environ un siècle, seul l'art d'avant-garde a offert une contribution conséquente à la civilisation ». Le journal la publie en première page le 22 mai. La réponse paraît le 23 dans The Herald Tribune où Emily Genauer, critique d'art, écrit l'éditorial en donnant ce nom au groupe et attaque les artistes pour "distorsion de fait" en prétendant que le Metropolitan aurait eu du "mépris" pour la peinture moderne. Gottlieb, aidé par Newman et Reinhardt, rédige alors une réfutation, signée par douze peintres et trois sculpteurs et adressée au rédacteur en chef du Tribune ; lettre qui n'est jamais publiée. Mais la polémique s'est poursuivie.

Alfred Barr, cherchant à distinguer le MoMA du Met., a encore électrisé la situation en choisissant Arshile Gorky, Willem de Kooning et Jackson Pollock pour le pavillon américain de la 25e Biennale de Venise, qui se tenait de juin à octobre 1950. Dans le numéro de juin 1950 de ARTnews il a qualifié les peintres en question de "leaders" d'une "avant-garde prédominante". L'acte de Barr a signalé au monde de l'art que l'Expressionnisme abstrait devrait être sérieusement pris en compte par les musées. Pour son édition du 15 janvier 1951, le magazine Life a décidé de publier un reportage photo qui documenterait les résultats du concours du Met. et comporterait une photographie des opposants. La rédactrice en chef de Life, Dorothy Seiberling, a envoyé la photographe Nina Leen pour les photographier dans un studio de la 44ème rue. Ils se sont rassemblés le 24 novembre. Seuls trois des signataires originaux étaient absents : Weldon Kees, Hans Hofmann et Fritz Bultman. Pollock a fait un voyage spécial avec James Brooks pour la photo. Hedda Sterne, arrivée en retard, est vue au sommet de la pyramide (debout sur une table). Elle est la seule femme sur la photo et décrira plus tard l'expérience comme «probablement la pire chose qui me soit arrivée», disant d'elle-même qu'elle ne relevait pas de l'Expressionnisme abstrait. La peintre Lee Krasner pense que Sterne a été introduite par l'insistance de la marchande d'art Betty Parsons, laquelle représentait une bonne partie du groupe.

La légende de la photo publiée mentionnait que le groupe était « solennel ». Barnett Newman avait insisté pour que le groupe soit photographié "comme des banquiers". Et il est vrai que bon nombre des membres du groupe avaient des réserves quant à leur présence dans une publication de presse traditionnelle ; Rothko en particulier. Pourtant, personne ne pouvait se tromper sur les conséquences de la publication de Pollock dans Life du 8 août 1949. L'exposition suivante de Pollock, qui avait débuté le 21 novembre 1949 à la Betty Parsons Gallery, avait été un triomphe incontestable. Il avait « brisé la glace », selon la formule de Willem de Kooning. Au cours de l'année suivante, Betty Parsons a envoyé des chèques de 6 508,23 $ à Pollock sur des ventes brutes de plus de 10 000 $, alors que plus des deux tiers des familles américaines vivaient alors avec moins de 4 000 $. Pollock semble avoir été invité à signer la lettre ouverte de Studio 35, au moins en partie, en raison de sa notoriété, presque entièrement attribuable à l'article de Life du 8 août. En fin de compte, la séance de photographie de groupe était un compromis désagréable entre le système de valeurs dans lequel les artistes avaient travaillé et leur désir de réussir dans leur carrière.

La couverture médiatique ultérieure à la protestation elle même, et cette photographie de groupe désormais emblématique, apparue dans le magazine Life, leur ont donné de la notoriété, popularisé l'expression «expressionniste abstrait» et établi ce que l'on appelle la première génération du mouvement.

Contexte de l'après-guerre
Après la Seconde Guerre mondiale, les conditions économiques, politiques et artistiques suscitent une nouvelle manière de peindre, de voir et de donner à voir aux États-Unis. Après des années de crise, l'économie américaine repart. Avec le début de la guerre froide, la peinture américaine est un des éléments de la politique culturelle et diplomatique des États-Unis avec le cinéma, la musique ou la littérature.

Le développement de l'expressionnisme abstrait est associé à l'après-guerre, d'une part à 1948 (date de la création du club Subjects of the Artists). D'autre part à 1950 année de la protestation des « irascibles », et après le succès de l'exposition Pollock, la même année, tandis que c'étaient trois expressionnistes abstraits qui étaient choisis pour représenter les États-Unis à la Biennale de Venise. Ces évènements avaient été précédés par des années de pratiques qui relèvent déjà des critères appliqués à l'expressionnisme abstrait, au moins dès 1944 pour Clyfford Still (1944-N N°1), alors que Pollock et Rothko pratiquaient encore une peinture figurative.

Cet art qui se voulait avant-gardiste, cosmopolite et apolitique fait se déplacer le cœur de l'art moderne de Paris à New York. Cependant, l'expressionnisme abstrait suscite des débats au sein de la classe politique américaine. Les Républicains attaquent violemment ce courant et l'accusent d'être communiste. Au Congrès, ils dénoncent en outre les financements fédéraux qui sont attribués aux peintres expressionnistes. Le début des années 1950 voit le renforcement de cette opposition à cause du maccarthisme, les artistes soupçonnés de sympathies communistes deviennent l'objet d'enquêtes (« chasse aux sorcières »). Pourtant, la période est aussi marquée par le soutien du MoMA de New York, lui-même financé par la fondation Rockefeller. En 1952, le musée organise même un programme international de diffusion mondiale de l'expressionnisme abstrait. L'exposition « The New American Painting » n'a pas d'autres buts. Les peintres de l'expressionnisme abstrait sont également défendus par Peggy Guggenheim.

Caractéristiques et courants
Comme le dit David Anfam, spécialiste du sujet (on lui doit plusieurs ouvrages de références sur la question), « l'Expressionnisme abstrait n'était pas un mouvement mais un  "phénomène". Un groupe d'artistes américains et immigrés, construisant un art nouveau sur les ruines du monde. Une communauté élargie qui tailla en pièces la peinture d'avant pour en faire quelque chose d'autre, plus brut, plus grand ».

L'expressionnisme abstrait s'impose avec une nouvelle génération d'artistes vivant, au moins partiellement, à New York. Il se caractérise par des toiles immenses, ou simplement de grande taille, mais pas exclusivement. Certaines sont entièrement peintes all-over (où les éléments picturaux sont disposés de manière égale sur toute la surface disponible) (Clement Greenberg : The Nation,  février 1947 : an over-all evenness [une uniformité bord à bord]). Dans ces toiles exceptionnelles, chaque coup de pinceau annule le précédent et le rapport de celui-ci avec la surface du fond. Procédé qui conduit à une répartition plus ou moins uniforme des éléments picturaux sur la totalité de la surface du tableau qui semble se prolonger au-delà des bords. Bien plus généralement, le tableau expressionniste abstrait met en valeur la matière et la couleur utilisée comme matière.

Certains artistes qualifiés d'expressionnistes abstraits ont été « regroupés » en deux courants, pour simplifier : l'action painting qui valorise l'action du peintre, ses gestes, et la colorfield painting qui mise sur des effets de surface de couleurs, plus ou moins unies, plates. Par ailleurs, le critique Clement Greenberg qualifiait aussi la peinture des expressionniste abstraits, en général, de painterly, présentant pour la plupart des effets de peinture qui allaient à l'encontre de la planéité du tableau.

Les peintres de l'action painting (au sens strict, seul Jackson Pollock a pratiqué l'action painting) produisent apparemment de façon violente, avec des gestes rapides voire manifestement spontanés. C'est en effet la pratique de Jackson Pollock, à partir de sa série de 1946 « The Sounds in the Grass » (« Les sons dans l'herbe ») et de la mise au point, en 1947, de la technique du dripping, initiée dès 1943, De Kooning à partir de 1952 ou Franz Kline. Les peintres s'attachaient à la texture et à la consistance de la peinture ainsi qu'aux gestes de l'artiste. L'expression action painting fut créée en 1952 par le critique d'art américain Harold Rosenberg (1906-1978). Ce dernier écrit, dans un article du magazine Art News publié en 1952 : .

Le terme Color Field painting a été, à l'origine, appliqué à l'œuvre de trois peintres expressionnistes abstraits américains Mark Rothko, Barnett Newman et Clyfford Still, autour de 1950. Plus généralement, le terme Color Field Painting est appliqué au travail de peintres abstraits travaillant dans les années 1950 et 1960, caractérisé par de grandes zones d'une couleur unique, plus ou moins plate. Le MoMA donne cette définition : « Peintures qui présentent de grandes zones de couleur, généralement sans contraste fort de ton ou lieu qui centralise l'attention de manière évidente. ». Ce musée applique le terme à Barnett Newman, The Voice de 1950, et Vir Heroicus Sublimis de 1950–51, ainsi qu'à Mark Rothko No. 16 (Red, Brown, and Black) de 1958. Ce qui rapprocherait les Expressionnistes abstraits de la première génération de ce concept de color field painting est, par exemple, la peinture de Mark Rothko depuis 1946 avec ses peintures Multiform  (surfaces quasi en aplats peu nuancés sur les marges), celles de Clyfford Still vers 1946 (vastes surfaces quasi monochromes) et certaines toiles ultérieures, ou de Barnett Newman à partir de 1948 (en aplats). Selon Clement Greenberg, «  ».

Le Color Field painting movement (« mouvement de la peinture du champ coloré ») est aussi un concept utilisé par Clement Greenberg : les peintres du Color Field painting movement , envisagés d'une manière plus restrictive, utilisent alors des champs de couleurs imprégnées ( stained into ) ou diffusées ( spread across ). Jackson Pollock, Adolph Gottlieb, Hans Hofmann, Barnett Newman, Clyfford Still, Mark Rothko, Robert Motherwell, Ad Reinhardt et les dernières œuvres d'Arshile Gorky ont été considérées par Greenberg comme en relation avec la Color Field painting. Mais en règle générale Clement Greenberg préférait parler de Post Painterly Abstraction pour désigner les nouvelles tendances issues de cette première génération (expressionniste) qui avait pratiqué une abstraction en général très « picturale ». La nouvelle génération du Color Field movement ne relève pas, en général, de l'Expressionnisme abstrait : ce sont Helen Frankenthaler, Morris Louis, Kenneth Noland, Jules Olitsky, Sam Francis…

Financements par la CIA et implications politiques
En 1995, d'anciens fonctionnaires américains confirment les rumeurs qui circulent depuis plusieurs années selon lesquelles les artistes de ce mouvement ont été financés par l'administration des États-Unis via l'un de ses services secrets, la CIA, en vue d'en faire une arme idéologique pour le bloc occidental dans le contexte de la guerre froide.

Cette stratégie culturelle voyait dans l'expressionnisme abstrait un moyen d'affirmer la créativité, la liberté intellectuelle et le rayonnement artistique des États-Unis, en faisant apparaitre par contraste l'art officiel des pays communistes, le réalisme socialiste, comme codifié, rigide et fermé. Tom Braden, ancien chef de la division des relations internationales de la C.I.A. et ancien secrétaire exécutif du Musée d'Art Moderne de New York (MoMA), déclare  dans un entretien : « Je pense qu'il s'agissait de la plus importante division de la C.I.A. et je pense que cela a joué un rôle déterminant dans la Guerre froide. »

Cela ne signifie pas qu'il s'agissait d'une création pure et simple de la CIA, les artistes ayant pu ignorer d'où provenait l'argent qui les finançait. L'ancien agent Donald Jameson indique ainsi que si les artistes en question avaient des sympathies pour le communisme ou l'URSS, c'était encore mieux du point de vue de l'Agence.

Cette volonté de la part des dirigeants américains de présenter l'abstraction new-yorkaise comme la réelle "avant-garde" artistique et la nouvelle référence culturelle s'est concrétisée par un très vaste programme mis en place avec d'importants moyens financiers par la CIA. Est né de cette manière « un système inédit de consécration de l'art » et de fabrication de la valeur financière des œuvres en réseau, qui impliquait fondations, musées, universités, mécènes et associations diverses. Des galeristes tels que Leo Castelli et les liens qu'il entretenait avec la direction du Museum of Modern Art ont joué un rôle essentiel dans ce dispositif. Analysant cette période, l'historienne britannique Frances Stonor Saunders avance que l'expressionnisme abstrait n'aurait pas été reconnu et célébré comme il l'a été sans l'aide de la CIA.

Selon Michael Kimmelman, critique du New York Times, la thèse d'une manipulation par la CIA est réductionniste. Dans un article titré « Revisiting the Revisionists: The Modern, Its Critics and the Cold War », il s'attache à démontrer qu'une telle vision est simplement fausse ou décontextualisée, les artistes américains de l'expressionnisme abstrait n'ayant été ni plus ni moins défendus que les artistes figuratifs, les cinéastes, les écrivains... américains de la même époque par les différents gouvernements. Le livre de Christine Lindey, Art in the Cold War, qui décrit l'art soviétique de la même époque, ou Pollock and After, de Francis Frascina, reprennent la démonstration de Michael Kimmelman, soulignant que la reconnaissance internationale des artistes américains est intervenue en 1964 à la Biennale de Venise avec le pop art et Robert Rauschenberg.

Reconnaissance que Serge Guilbaut présente comme l'aboutissement de la politique culturelle menée par les États-Unis, le pop art remplaçant toute proposition esthétique par une adhésion à la société de consommation et réduisant l'art au design. La jonction entre l'expressionnisme abstrait et le pop art donne naissance à la fin du  à l'« art contemporain », une production entièrement soumise aux lois du marché et animée par des « créateurs » désormais dépourvus de tout savoir-faire et indépendants de toute tradition esthétique.

Principaux représentants, en bref
 Jackson Pollock (1912-1956) fut l'artiste de l'expressionnisme abstrait connu au niveau international bien avant tous les autres. Il puise son inspiration dans ses souvenirs plus ou moins traumatiques. Les dessins rituels exécutés sur le sable par les Navajos l'inspirent également ainsi que les totems des Indiens de la côte Ouest, faits d'assemblages de figures composites ; de même les fresquistes mexicains par leurs formats et pour les expérimentations auxquelles ils se risquent ; les dessins et les peintures de Picasso (de l'époque de Guernica, de Marie-Thérèse et du Minotaure) aux figures déformées ; enfin, l'écriture automatique surréaliste le concerne moins que l'interprétation de ses dessins qu'il effectue avec son psychanalyste formé auprès de Jung. Pollock utilise, entre autres, la technique du dripping qui consiste à faire gicler de la peinture du bout d'un bâton ; il verse aussi la peinture directement du pot sur de grandes toiles disposées au sol. Il emploie des outils non conventionnels pour peindre (couteaux, truelle, bâton, seringue).
 Franz Kline (1910-1962) produit de vastes surfaces noires ou blanches très instinctives. Il utilise des fragments de ses propres dessins qu'il agrandit et reporte sur des grands formats. Il privilégie le contraste du noir et du blanc favorisé par des bandes de peinture.
 Bien que Willem de Kooning (1904-1997) refuse d'être classé dans l'expressionnisme abstrait, ses œuvres majeures (Excavation ou Woman I de 1950) relèvent, pour ses contemporains, de cette tendance. En effet, la défiguration poussée, grotesque, jointe à une structure « post-cubiste », qui tend à unifier le tableau tout en s'abstenant de tout effet de représentation du volume, poussent les formes encore identifiables vers l'abstraction et le tableau vers la planéité. L'expressionnisme avec lequel les « Femmes » (américaines modernes) sont représentées les amène à ressembler à des idoles néolithiques.
 Mark Rothko (1903-1970), dans sa période "classique", peint des bandes plus ou moins larges et mitoyennes de couleurs intenses sur des toiles de plus en plus grandes qui invitent à la contemplation ou à la méditation. Avec Barnett Newman, Clyfford Still et Ad Reinhardt, il devient l'un des artistes les plus représentatifs de la colorfield painting.
 Bradley Walker Tomlin
 Philip Guston
 Robert Motherwell
 Adolph Gottlieb
 L'œuvre de Robert Rauschenberg (1925-2008) qui appartient au Pop-Art et au néo dadaïsme, a tiré de nombreux enseignements de l'expressionnisme abstrait qu'il cite par certaines pratiques picturales. Il s'en est symboliquement nettement démarqué en effaçant un dessin qu'il était allé demander à de Kooning. Il s'est efforcé de faire disparaître le dessin en usant plusieurs gommes.

 Les ignorés : Ann Eden Gibson a publié, en 1999, un essai dans lequel elle montre que l'expressionnisme abstrait a été peu à peu défini et développé par les artistes blancs de sexe masculin qui sont devenus ses porte-parole, par la critique et par les partisans privés et institutionnels. Elle propose une argumentation pour repenser la définition de l'expressionnisme abstrait à travers le travail de contemporains célèbres tels que Romare Bearden, Louise Bourgeois, Lee Krasner, Norman Lewis, Alfonso Ossorio, Aaron Siskind, Leon Polk Smith, Anne Ryan et Hale Woodruff. ainsi que des artistes moins connus tels que Ruth Abrams, Ronald Joseph et Thelma Johnson Streat.

Principaux artistes de l'expressionnisme abstrait

Peintres

Sculpteurs
 David Smith (1906-1965)
 Richard Stankiewicz (1922-1983)
 Mark di Suvero (1933)
 Louise Nevelson (1899-1988)

Photographes
 Aaron Siskind (1903-1991)
 Pedro M Cabral (1955)

Annexes

Bibliographie
En français

 Frances Stonor Saunders, Qui mène la danse ? La CIA et la Guerre froide culturelle, Denoël, 2003
En anglais
 David Anfam,  Abstract Expressionism, New York & London, Thames & Hudson, 1990,
 David Anfam, Abstract Expressionism. A World Elsewhere, New York, Haunch of Venison, 2008
 David Craven, Abstract Expressionism as Cultural Critic: Dissent during the McCarthy Period, New York, Cambridge University Press, 1999,
 Serge Guilbaut, How New York Stole the Idea of Modern Art, University of Chicago Press, 1983
 Marika Herskovic, American Abstract Expressionism of the 1950s. An Illustrated Survey<ref>[http://www.worldcatlibraries.org/oclc/50253062&tab=holdings American Abstract Expressionism of the 1950s].</ref>, New York School Press, 2003,
 Marika Herskovic, New York School Abstract Expressionists Artists Choice by Artists, New York School Press, 2000,
 Nancy Jachec, The Philosophy and Politics of Abstract Expressionism 1940-1960 Cambridge University Press, Cambridge, Royaume-Uni, 2000
 Francis V. O'Connor, Jackson Pollock (catalogue d'exposition), New York, Museum of Modern Art, 1967, OCLC 165852
 Frances Stonor Saunders, The Cultural Cold War: the CIA and the World of Arts and Letters, New York, New Press (distribuépar W.W. Norton & Co.), 2000,
 Michel Tapié, Hans Hofmann : peintures 1962 (catalogue d'exposition), Paris, galerie Anderson-Mayer, 1963, OCLC: 62515192
 Michel Tapié, Pollock'', Paris, Paul Facchetti, 1952, OCLC: 30601793

Notes et références

Articles connexes
 Peinture américaine
 Peinture abstraite

Liens externes

 Abstraite.com Site consacré à l'abstraction et l'expressionnisme abstrait
 L'École de New York, Art Point France
  Site officiel d'Aaron Siskind
  Abstract Expressionism, The Art History Archive

Mouvement artistique contemporain
Art contemporain aux États-Unis
Expressionnisme
Art moderne
Culture aux États-Unis


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text:
Q: JavaFX LineChart wrong sizing and coordinates I'm trying to implement a LineChart (that updates every second). But the sizing is completely wrong: I set the MaxSize and PrefSize to 94, 31 but when I run it, the actual size is 144, 98. I tried to make it bigger/smaller and each time it becomes bigger/smaller, but again the wrong size.
Also the positiong is wrong, my X is set to by 64, but the outcome is 109.
What am I doing wrong with the chart? The other elements in my pane don't act like that. So it's only the chart that does weird things.
Java:
xAxis = new NumberAxis(0,LENGTH,3);
yAxis = new NumberAxis(MINIMUM,MAXIMUM,10);

chart = new LineChart<Number,Number>(xAxis, yAxis);

chart.setId("Data");

chart.setCreateSymbols(false);
chart.setAnimated(false);
chart.setLegendVisible(false);
chart.setCreateSymbols(false);

chart.autosize();

chart.setHorizontalGridLinesVisible(false);
chart.setVerticalGridLinesVisible(false);
chart.setVerticalZeroLineVisible(false);

chart.setAlternativeColumnFillVisible(false);
chart.setAlternativeRowFillVisible(false);

yAxis.setForceZeroInRange(true);

data = new XYChart.Series<Number,Number>();
data.setName("Position");
data.getData().add(new XYChart.Data<Number,Number>(seconds, prevY));

chart.getData().add(data);

chart.getYAxis().setOpacity(0);
chart.getXAxis().setOpacity(0);

pane.getChildren().add(chart);

CSS:
#Data {
    -fx-max-width: 80px;
    -fx-max-height: 20px;
    -fx-pref-width: 80px;
    -fx-pref-height: 20px;
}

redpajama_set_name: RedPajamaStackExchange


In World of Final Fantasy, you will play as the twins Reynn and Lann. On your journey you will be assisted by a multitude of Final Fantasy characters. The latest edition of Famitsu reveals three new support characters: Terra Branford from Final Fantasy VI along with Bartz Klauser and Boco (yep, the Chocobo) from Final Fantasy V: they bring the current number of supporting characters to 16.
Terra and Bartz will be voiced by the same Japanese voice actors that portrayed them in Dissidia, Yukari Fukui and Soichiro Hoshi respectively. That plus the fact that all the confirmed English cast are the original voice actors for their respective characters thus far, there's a good chance that their Dissidia voice actors will reprise their roles (Jason Spisak for Bartz, Natalie Lander for Terra), though this is by no means confirmed.
This cute role-playing game for PlayStation 4 and PS Vita is set to release in North America on October 25, in Japan on October 27, and lastly in Europe on October 28. I wonder if Noctis will be in it? What characters would you like to see added?


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Not-so-humble-tinnie
Steve Morgan | VOLUME 32, ISSUE 1
For its size, Anglapro's Outlaw 434 Pro is a beamy and stable fishing platform.
Tinnies have come a long way in the last decade. What used to be the term for a knockabout, unpainted, noisy old crab-pot deployer has morphed into a comfortable, good-looking, fast and stable fish-catching machine.
Yep, the humble tinnie has come of age, and the Anglapro Outlaw 434 Pro is a perfect example. It's painted and carpeted, and comes with an electric motor, a fishfinder, comfortable seats and a drive-on trailer. There's a livewell big enough to fish a tournament with and it's eminently towable by the family car … let alone the Isuzu MU-X that easily toted it to some south-east Queensland lakes.
Supplied by Brisbane Marine in Clontarf, it's not surprising that our boat came turn-key fitted for action. Troy Wood and his team pride themselves on a high level of technical expertise, based around their unsurpassed knowledge of the Mercury product.
Brisbane Marine was one of Australia's biggest Mercury dealers in 2016 and is excited about the Anglapro brand.
At the ramp, launch and retrieve was simple, with a drive-on/off trailer. Moogerah Lake has a reasonably shallow ramp and it could drive on and off with just the rubber of the Isuzu's back wheels in the water. I'm not a fan of getting the tail-end of my tow rigs too salty in the tidal water, so the set-up is good.
If we were to summarise the Anglapro in three words, they would be comfortable, beamy and stable.
Indeed, with a 2m beam and 4.3m length, there's plenty of room in all directions. Walking around this boat, there's no second-guessing where the other person is standing to try and keep the boat stable. In fact, I found it easy to fish up on the extended gunwales while trying to get a little extra height to see into the water.
Constructed of 3mm aluminium (both sides and hull), there's no doubting that this is a bulletproof hull. It's a standard, modern V-nose punt configuration and it's backed by a five-year hull warranty. With fully carpeted floors and underfloor storage, it also boasts a practical and full-sized side console that's as good as any we've seen in a boat of this size.
Plenty of modern boats forget that when we get onboard, we have keys, wallets and mobile phones that all need a place to live. The Anglapro console has a great weatherproof shelf under the helm, and above the helm there's space to mount the biggest electronics that you'd want in an inshore craft.
As tested, the Outlaw was fitted with a Lowrance Hook 4 CHIRP model, which was surprisingly good at showing bait, bass and the bottom of the lake. It's amazing what a few hundred bucks gets you nowadays in the sonar department.
At the bow, MotorGuide's superlative Xi5 electric motor gives the angler full control of positioning. Powered by a single 12V deep-cycle battery that's mounted under the casting deck, no discerning freshwater angler would be critical of the set-up.
The powerplant at the other end of the boat is more substantial. The 40hp Mercury FourStroke is ridiculously frugal and pushed the test rig up to 26 knots (48km/h) at 5800rpm. Like all four-strokes, the amenity of a non-smoking motor is appreciated – especially in the freshwater impoundments we fished.
Rated to 50hp, the Outlaw could have done with the extra 10hp (or at least an inch less propeller pitch) when getting up onto the plane, which it did in nine seconds. Optimally, the passenger seat mounted in the middle of the three seat bases gave the best results here.
Having the front livewell full of water didn't hurt the planing performance either. This livewell is fully plumbed and drains to the outside with a standpipe, which also controls the resting water level. A mid-tank divider keeps your catch separate from your angling partner's if you're in a tournament situation.
Although the optional rod locker fitted into this boat is convenient, it only holds rods under 6.5ft in length. Considering the modern lure-casting rod is around 7ft long, maybe vertical rod storage options would work better in a hull of this size.
Overall, this rig is a great step up into the world of comfortable boating if you're currently running around in a basic tinnie. It's easy to launch and retrieve, safe to drive and stable enough for a couple of mates or a young family to join you for a day on the water.
With package prices starting in the low $20,000 range, visit Anglapro.com.au to find your nearest dealer.
– Steve Morgan
ANGLAPRO OUTLAW 434 PRO
LOA: 4.3m
Beam: 2m
Max power: 50hp
Freeboard: 55cm
Price as tested: $24,390
More information: BrisMarine.com.au, or: Anglapro.com.au.
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Hank Bachmeier Jaylon Henderson Chase Cord Bryan Harsin Brett Rypien Kellen Moore Mike Bobo Leighton Vander Esch Sports College football Football College sports NFL football Professional football
Mountain West Boise State Colorado State
Boise State on cusp of its 1st unbeaten MW regular season
By PAT GRAHAM - Nov. 28, 2019 11:47 AM EST
Boise State quarterback Jaylon Henderson (9) runs with the ball as Utah State defensive tackle Devon Anderson (91) moves in during the first half of an NCAA college football game Saturday, Nov. 23, 2019, in Logan, Utah. (AP Photo/Eli Lucero)
FORT COLLINS, Colo. (AP) — How's this for motivation: The Boise State Broncos are poised to do something no other Boise State Broncos team has ever accomplished.
Not the team of Kellen Moore and Doug Martin. Not the squads of Jay Ajayi or Brett Rypien, either.
With a win Friday at Colorado State, the 20th-ranked Broncos can go undefeated through Mountain West regular season play for the very first time.
So, no, the Broncos (10-1, 7-0, No. 20 CFP) aren't looking past the Rams (4-7, 3-4) and on to the championship game the following week against Hawaii.
"Around here, let's be honest, there's not a lot of things that you get a chance to do for the first time," Boise State coach Bryan Harsin said. "There's been a lot of success at Boise State over the years. When you get a chance to talk about doing something for the first time, if that doesn't fire you up as a competitor, then something is wrong with you."
Boise State has finished Mountain West play with one loss five times since joining the league in 2011. That includes in 2017, when a team that had Rypien (now with the Denver Broncos) and linebacker Leighton Vander Esch (a first-round pick by Dallas in '18) lost the regular-season finale to Fresno State. The following week, the Broncos beat the Bulldogs in the league's title game.
"Everybody's attention is on what we need to do this week," Harsin said. "It's all about us finishing. That's our mindset."
This sure got Colorado State's attention: Boise State storming out to a 49-point lead on Utah State last weekend as the team cruised to a 56-21 win.
"They jumped on Utah State so quick I had to turn the channel and wait until the next day before I started watching Boise a little more," said Rams coach Mike Bobo, who could be on the hot seat after a second straight losing season.
Boise State's offense can take off in a hurry — no matter who's playing quarterback for the Broncos. Jaylon Henderson directed the offense to precision at Utah State as he threw three TD passes. He was stepping in with starter Hank Bachmeier and backup Chase Cord banged up.
The Rams are 0-8 all-time against Boise State on the gridiron. They did throw a scare at the Broncos in 2017, when they led 35-10 before falling 59-52.
The Broncos remember that well.
"We watched it in the past to show what happened," Harsin said. "We came back to win it, but that was as ugly as can be early on. There's no one in this room that wants to see that happen again."
SLOPPY CONDITIONS
A blizzard Tuesday dropped more than a foot of snow in Fort Collins, which could make the conditions sloppy. The weather forecast for Friday is temperatures in the low 30s with a possible light snow/rain mix in the afternoon.
"Sometimes when it's sloppy it gives a team that's an underdog a better advantage," Bobo said. "But we're going to have to play in it, too."
BOBO'S CREW
The Rams will honor 13 seniors as they try to send them out on a winning note. Some of them were part of Bobo's early recruiting class.
"It does take you back," Bobo said. "You realize you've been here a while and seen guys grow up. I wish they would have been able to leave with a chance to play for a championship."
RANKED FOES
Colorado State is looking for its first win over a ranked opponent since beating No. 22 Virginia and No. 7 Colorado to start the 2002 season. The Rams are 13-34 against ranked teams since 1993.
"Any time you're playing somebody that's considered one of the best teams in the country, it gives you an extra incentive as a football team to go out and prove that you can play with anybody," Bobo said.
HARSIN'S RUN
Under Harsin, the Broncos have turned in five 10-win seasons and are about to make their fourth trip to the league's championship game. On Dec. 7, they will host Hawaii, a team they beat 59-37 on Oct. 12 in Boise.
"We're not playing the championship game this week. We're playing Colorado State," Harsin cautioned. "We'll get to the championship game. We all know we're in it."
ROAD SCHOLARS
Boise State closed the regular season with back-to-back road games. It's the first time the Broncos have done that since 1991 and only the fourth time in school history.
More AP college football: https://apnews.com/tag/Collegefootball and http://www.twitter.com/AP_Top25


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Servicing the Southwest since 1978
Welcome to Nevada Rolling Shutters "I was very impressed by the installation. NRS is a family operation and they were involved every step of the way." - Matsunaga "They are proud of what they do...NRS is owned and operated by a father and son team, both of whom are in the field installing the shutters themselves." - Jeranowski "WOW!!!! All I can say is there's no reason to shop anywhere else for security shutters!" - Lori J "These guys are truly the best at what they do and their reputation, reviews, and customer service show it. Thanks for years of great service!" - Tony B "I really love their approach and their honesty. The shutters are beautiful and add flare to my home. Most of all I feel very safe." - Theresa B "Superior product, customer service, and overall attention to detail." - Dani L Welcome to Nevada Rolling Shutters "I was very impressed by the installation. NRS is a family operation and they were involved every step of the way." - Matsunaga "They are proud of what they do...NRS is owned and operated by a father and son team, both of whom are in the field installing the shutters themselves." - Jeranowski "WOW!!!! All I can say is there's no reason to shop anywhere else for security shutters!" - Lori J "These guys are truly the best at what they do and their reputation, reviews, and customer service show it. Thanks for years of great service!" - Tony B "I really love their approach and their honesty. The shutters are beautiful and add flare to my home. Most of all I feel very safe." - Theresa B "Superior product, customer service, and overall attention to detail." - Dani L
HomeBarry Prickett2017-01-30T20:02:45+00:00
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Copyright 2017 Nevada Rolling Shutters | All Rights Reserved | Nevada License #46394


The grip that Woolworths has on the Australian liquor market just keeps growing and Coles Myer is falling behind as a distant second. Releasing the annual profit figures this week, Woolies chief executive Roger Corbett disclosed that liquor sales for the year ended 30 June reached $2.6 billion. Adjusting turnover to give some of its recent acquisitions a full year contribution, the annualised rate of sales was $3 billion. Not bad for a company that back in June 2001 had just passed the $1 billion mark. Coles meanwhile, despite boasting in its 2004 annual report that it aimed to be "Australia�s number one liquor retailer", refuses to give a separate turnover figure for its liquor division. There are no prizes for guessing why. Sales managers of liquor companies report that the Woolworths lead is growing rather than shrinking.
The remarkable growth of Woolworths liquor sales is shows in the following graph - up from $1.1 billion in the year to June 2001 to $2.1 billion in 2004, $2.6 billion in 2005 and a forecast of $3.5 billion in the current year.
What Coles did disclose when it released its sales figures for the quarter ended 30 June this year was that its number of licensed premises had increased from 645 to 669. During the quarter two "1st Choice Liquor Superstore" large format stores were opened with another 15 new large format stores expected to be opened by June 2006. Woolies meanwhile now has 938 liquor outlets with 37 of them in its Dan Murphy big-box chain.


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In his 1969 exhibition titled Don Baum Says: "Chicago Needs Famous Artists", Baum showed that Chicago's art scene was worthy of national attention.
This inaugural exhibition presents a dozen of Baum's works of art that feature his signature use of paint-by-number panels repurposed for sculpture and collage.
Don Baum, Going Away, 1996; paint, fiberboard, and wood; 18 1/4 x 18 1/4 x 1 1/8 in. John Michael Kohler Arts Center Collection, gift of Charles Baum and Kohler Foundation Inc.
Don Baum, Honorable Footpath, 1986; paint, fiberboard, and wood; 16 3/4 x 11 3/4 x 17 3/4 in. John Michael Kohler Arts Center Collection, gift of Charles Baum and Kohler Foundation Inc.


Heavy change of the weather conditions im Imola over night lead to another exciting race on Sunday morning. The last race of the BOSS GP season 2017 brought another face on the P1 than Ingo Gerstls – young Dutch Rinus van Kalmthout won his second podium of the season.
Just two OPEN class drivers were left in the start grid of the BOSS GP season final: Rinus van Kalmthout (Mansell Motorsport) and Phil Stratford (Penn Elcom Racing). Ingo Gerstl, who actually had secured his Championship title 2017 already a couple of races ago, stepped back from the race and didn't compete. "There are technical issues related to these weather conditions. I don't wanna risk driving the race without the necessary technical tests", Gerstl told us.
Phil Stratford drove a souveign rain-race as well and even managed to overtake FORMULA class driver Florian Schnitzebaumer after lap 3. The gap between van Kalmthout and Stratford indeed was 1:22,972 min, so P1 for the Dutch was never questioned.
Finally Ingo Gerstl defended the BOSS GP Championship 2017 more than successful with eight P1 out of nine races and 200 points in total. A victory, that was never questioned. Runner up – in his first BOSS GP season and making his debut in this car – is Rinus van Kalmthout with a total of 116 points. He is followed from third ranked Phil Stratford with a total of 111 points. Find the full standings of the whole grid on our ranking table.
It was a golden weekend for Indian driver Mahaveer Raghunathan (PS Racing by Coloni Motorsport), who didn't just win the race on Saturday in Imola, but also claimed the victory of the very last race of the season in Imola on Sunday again. With this result, Raghunathan not only won both races, but also the Championship 2017 of the BOSS GP FORMULA class.
As already reported, former leader of the FORMULA class, Johann Ledermair (Ledermair Motorsport), had to cancel his participation of the two last season races due to technical problems on early Saturday morning, as well as PETER, who stepped back from both races as well due to technical issues. So a thrilling battle was left between local hero Salvatore De Plano (MM International Motorsport) and Raghunathan for the overall victory of this years Championship.
After winning season race 13 on Saturday in Imola, Raghunathan started the race on Sunday highly motivated again. Weather conditions in Imola had turned over completely during the night. So rainy, wet weather awaited the grid on the track. After two safety car laps the grid finally started into the race and was – despite the rain – on fire.
It was indeed not a good weekend for Salvatore De Plano (MM International Motorsport). The Italian, as well as Raghunathan, had good chances, to win the Championshiop after Ledermairs cancellation of the weekend. But De Plano dropped out of the track in the beginning of fourth lap, which meant – all Championship chances were gone for him. So it was Raghunathans – holding position 2 of the overall grid – turn, to bring this race home safely.
Team "PS Racing by Coloni Motorsport" celebrating the Championship of Mahaveer Raghunathan.
Due to ongoing rain, conditions for all drivers were challenging. "I liked the rain and the wet track", Raghunathan indeed explained after the race. "I love driving during such weather conditions." The Indian, well known as a good rain-driver, showed a souvereign performance and finally finished on first position of the FORMULA class. "I am really happy with that win and todays race. It was a lot of fun, and I'm absolutely happy, that I could make it P1 and finally the Championship as well. This is amazing. I want to give a huge thank you to my team at PS Racing by Coloni Motorsport, who did a great job", Raghunathan said after the podium ceremony.
Florian Schnitzenbaumer (Top Speed), having had some trouble at Saturday's race, showed a great performance in Sunday's race and secured P2. "I'm not really satisfied with my lap times today", the German wasn't totally happy despite his podium position. "It was not a good racing year for me at all. But I tick it off, next year will be better", Schnitzenbaumer said.
Martin Kindler racing to P3 in Imola 2017.
Veteran Karl-Heinz Becker (Becker Motorsport), René Kouwenberg (De Boer Manx) and Nicolas Matile (PS Racing by Coloni Motorsport) completed the grid.
Walter Steding (Inter Europol Competition), who seemed to race for his first season spot on the podium (P3) for a long time finally was disqualified for rule violation (passing through the pit lane) and turned into the box after nine laps, actually owning the P3 spot at this time of the race.
Final of the season 2017.
So in the end it is Mahaveer Raghunathan, who is the new Champion 2017 of the BOSS GP FORMULA class. The young Indian, who finished 2016 season on fifth place with a total of 118 points, performed a constant season 2017. 16 points separate Raghunathan from runner up Johann Ledermair, who finishes the season on second position. The gap to third ranked Salvatore De Plano is little: Ledermair leads over the Italian only by four points. Find the full standings of the whole grid on our ranking table.


Glycans or carbohydrates attached to cell membranes and other types of proteins are the primary determinants for binding activity and consecutive cellular function. The study of the function and characteristics of these sugars is a fundamental part of immunology research and is applicable in understanding a variety of intercellular interactions. New technologies such as microarray for glycan-binding applications allow researchers to investigate and reveal new information about this wide and developing field of glycoscience.


text:
Kevin McCarthy Demonstrates the Power of the Speakership to Minority Leader Hakeem Jeffries
January 25, 2023 Dr. Tar Uncategorized 13
As RedState reported on Monday, Kevin McCarthy was left at a crossroads after Hakeem Jeffries attempted to reappoint Eric Swalwell and Adam Schiff to the House Intelligence Committee. In a brazen letter, Jeffries demanded Swalwell and Schiff be reinstated, appealing to the very House tradition of minority deference Democrats had thoroughly shredded during the prior congress.
The minority leader also tried to draw a distinction between the behavior of Marjorie Taylor Greene and Swalwell and Schiff. What he didn't mention is that the actions of the two California Democrats in question were far more dangerous and egregious. In Swalwell's case, he's been credibly accused of having an affair with a Chinese spy.
Now, McCarthy has responded to Jeffries with a simple answer: Pound sand. Continues
Eric Swalwell
Hakeem Jeffries
House Intelligence Committee
13 Comments on Kevin McCarthy Demonstrates the Power of the Speakership to Minority Leader Hakeem Jeffries
Multi Streamed January 25, 2023 at 2:13 pm
Just watched a Live Stream on Rumble
Was a Good One
Called Benny Johnson Show
If intelligence was required to be on that committee the majority of congressmen would be disqualified; to be sure, Schiff and Swalwell wouldn't even be in the running.
No mercy January 25, 2023 at 2:21 pm
Hakeem should pull his p***y Card. It's also a dem tradition.
Digga January 25, 2023 at 2:33 pm
The Benny Show . . .rumble.com/c/BennyJohnson
v272iua-tucker-drops-smoking-gun . . . McCarthy BEAST MODE. html
Nancy January 25, 2023 at 3:45 pm
Just remember enjoy a stalemate for that is the best & only thing the House has. When it all stops, so will republican leadership in the House in 2024, say your goodbyes, dumbasses. You lose! For that is what losers do, lose.
Brad January 25, 2023 at 3:48 pm
^^^^^ Blah Blah Blah Blah.
^^^^ A # 1 example ^^^^ a interracial person who had to have a person of another race to make himself FEEL better.
Pogo January 25, 2023 at 3:59 pm
Looks like the House Conservatives may actually be forcing McCarthy to grow a set of Elephant Balls, in turn stomping on and crushing all sorts of Donkey Balls, causing their heads to explode because they don't know how to handle this situation.
RogerF January 25, 2023 at 4:29 pm
Good on McCrthy for using the Dem rules and actions against them. Hoping it will continue
A leader thats rich! He did support a insurrection aka coup attack that failed. But hey that is a leader in the new Republican party, righty.
Well it does look like those that held out till the very end of getting what they want, McCarthy is on the hot seat if he doesn't come forth with the demands. His speakership is on the line, he put himself there. Nevertheless, I like the move he made with Schitt for Brains and Swallow-it-well.
Walter January 25, 2023 at 7:17 pm
Destruction of the anti-American left in any form, at any time, is a good thing. Fair means or foul, destroy these evil creatures. I would prefer to become the monster that I seek to destroy than to allow that monster to destroy everything that is right in the world and replace it with their vileness. Better to stand on smoking ash than to live in an edifice of evil.
I believe MTG is energizing this bunny. Go MTG!!


text:
Home / Comparison of long-term effects of tadalafil and silodosin on storage and voiding function in male patients with detrusor underactivity induced by benign prostatic hyperplasia
Comparison of long-term effects of tadalafil and silodosin on storage and voiding function in male patients with detrusor underactivity induced by benign prostatic hyperplasia
Matsukawa Y 1,
Takai S 1,
Majima T 1,
Funahashi Y 1,
Yamamoto T 1,
Gotoh M 1
1 Nagoya University Graduate School of Medicine, Nagoya, Japan
https://www.ics.org/2019/abstract/226
Hypothesis / Aims of study
Detrusor underactivity (DU) is induced by bladder outlet obstruction (BOO) and is a common clinical problem in patients presenting with lower urinary tract symptoms (LUTS) suggestive of benign prostatic hyperplasia (LUTS/BPH). DU can lead to significant bother due to both voiding and storage LUTS, in addition to other adverse health effects, such as urinary retention, recurrent urinary tract infections, and renal impairment. Although DU incidence was reported to be 9–48% among men undergoing urodynamic evaluation for non-neurogenic LUTS, there is no effective treatment for DU induced by BPH at present.
Current LUTS/BPH guidelines in several countries recommend the use of α1-adrenoceptor antagonists (α1-blockers) or phosphodiesterase 5 (PDE5) inhibitors for patients with LUTS/BPH. α1-blockers and PDE5 inhibitors were expected to be effective for patients with DU induced by BPH as they increase blood perfusion to the pelvic organs. However, there has been no report on whether they improve DU in clinical practice; it is also not known whether α1-blockers or PDE5 inhibitors are effective for the improvement in bladder functions. In the present study, we compared the long-term effects of tadalafil, a PDE5 inhibitor, and silodosin, an α1-blocker, on storage and voiding function in patients with DU induced by BPH using a urodynamic study (UDS).
Study design, materials and methods
Among treatment-naive men who visited our hospital with the chief complaint of LUTS, 100 patients, who were diagnosed with BPH-induced DU, were included in this prospective study. They were randomized to receive 5 mg tadalafil (T-group) or 8 mg silodosin (S-group) daily for 12 months. At month 12, changes from baseline in the patients' subjective symptoms and voiding/storage functions, as assessed using the International Prostate Symptom Score (IPSS), Overactive Bladder Symptom Score (OABSS), and urodynamic studies, were compared between the groups. In this study, BPH-induced DU was defined as bladder contractility index (BCI) < 100, bladder outlet obstruction index (BOOI) <40, total international prostate symptom score (IPSS) ≥ 8, and prostate volume ≥ 25 mL, as determined by transabdominal ultrasonography.
The final analysis included 48 patients in the T group (mean age: 69.5 years, mean prostate volume: 36.4 mL) and 43 patients in the S group (mean age: 69.1 years, mean prostate volume: 38.6 mL). No significant differences in the prostate volume, IPSS, OABSS, BOOI, or BCI were detected between the groups at baseline.
Significant decrease (improvement) in the total IPSS, IPSS-QOL, and OABSS were observed at week 12 compared to the baseline in both groups. Although the beneficial changes after 12 months in the total IPSS (8.0 in the T group vs 7.8 in the S group), and total OABSS (2.2 vs 2.4), were almost equal between the two groups, the T group showed significantly greater improvement in the IPSS-QOL (-2.0 vs. -1.4, p = 0.04).
In the storage phase of the UDS, bladder capacity significantly increased in both groups, and the difference between the two groups was not significant. With respect to voiding function changes, the mean Qmax significantly improved from 6.4 mL/s to 8.4 mL/s in the S group and from 6.5 mL/s to 10.1 mL/s in the T group. The improvement in Qmax was significantly superior in the T group (p = 0.002). The mean BOOI significantly decreased from 34.1 to 28.1 only in the S group. The mean BCI increased significantly in both groups (from 79.2 to 86.7 in the S group and from 77.6 to 101.5 in the T group). However, the improvement in BCI was significantly superior in the T group compared to that in the S group (p < 0.001) . Additionally, detrusor pressure at Qmax (PdetQmax) also increased significantly from 44.5 cmH2O to 50.5 cmH2O only in the T group.
The increase of blood perfusion to the pelvic organs by these drugs is thought to contribute to the improvement of bladder functions including bladder contractility. However, the detailed mechanisms underlying the better efficacy of tadalafil than of silodosin in terms of the improvement in bladder contractility and voiding functions remains incompletely understood. A concrete explanation of the difference in efficacy between the two drugs shown in the present study has to wait further clinical and basic investigation.
Concluding message
Tadalafil or silodosin significantly improved the LUTS in patients with DU induced by BPH during 12 months of treatment. Tadalafil is considered more effective than silodosin for the improvement of bladder contractility and urodynamic voiding functions.
Tags: BPH, Detrusor hypocontractility, Underactive bladder, Voiding dysfunction


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