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Dr. Suzanne Schwartz
FDA Center for Devices and Radiological Health
Raymond Black
Keith Carlson
General Data Protection Regulation (GDPR) , Governance & Risk Management , Incident & Breach Response
15 GDPR Probes in Ireland Target Facebook, Twitter, Others
Facebook Alone the Focus of 10 Separate Regulatory Investigations by Privacy Watchdog Mathew J. Schwartz (euroinfosec) • February 28, 2019
Facebook CEO Mark Zuckerberg meets with European politicians in Brussels in May 2018. (Photo: European Parliament)
Ireland's privacy watchdog has its eye on Facebook. Of 15 major investigations that the Data Protection Commission has underway, 10 focus on the social network.
See Also: Pandemic-Driven Change: The Effect of COVID-19 on Incident Response
All of the investigations have been launched since the EU's strong new privacy law, the General Data Protection Regulation, went into full effect on May 25, 2018.
"In 2018, the DPC opened inquiries into data-processing activities of Facebook, Apple, Twitter, LinkedIn, WhatsApp and Instagram, looking at issues ranging from large-scale data breaches to legal bases for processing to transparent presentation to users," the DPC says in its annual report for 2018 released on Thursday. "All these inquiries should reach the decision and adjudication stage later this year, and it's our intention that the analysis and conclusions in the context of those inquiries will provide precedents for better implementation of the principles of the GDPR across key aspects of internet and ad tech services."
The regulator says it's focusing on some of the world's biggest data processors first so that it can extract lessons from which others can learn. "There are undoubtedly areas of risk to be examined in sectors beyond the free internet services, but initial complaints and breaches have focused the DPC in this area and warrant attention in light of the hundreds of millions of users implicated," the DPC's report says.
Facebook didn't immediately respond to a request for comment. But Facebook told NBC that it spent more than 18 months working to comply with GDPR.
"We made our policies clearer, our privacy settings easier to find and introduced better tools for people to access, download and delete their information," the company said. "We are in close contact with the Irish Data Protection Office to ensure we are answering any questions they may have."
Twitter says it's also continuing to work with the DPC. "We are fully committed to working with the Data Protection Commissioner's Office to improve the already strong data and privacy protections we offer to the people who use our services," Twitter tells Information Security Media Group in a statement. "As always, our approach is one of transparency and openness."
In Ireland, the DPC is in charge of enforcing GDPR and about 20 other national laws that touch on privacy rights.
Any EU member state can initiate a GDPR investigation into an organization's data security and privacy practices. But Ireland's DPC takes the lead on all European investigations under GDPR that involve Facebook. That's because Facebook has its EU "main establishment" in Dublin, and so it qualifies for a one-stop-shop mechanism under GDPR that ensures that only the privacy watchdog in the country in which it is headquartered conducts any privacy investigations (see: Ireland's Privacy Watchdog Probes Facebook Data Breaches).
Other foreign technology companies that have their EU main establishments in Ireland include Apple, Microsoft, Twitter, Dropbox, Airbnb, LinkedIn, Oath, WhatsApp, Yelp and MTCH Technology, which owns Match, OkCupid, PlentyOfFish and Tinder. Google is also in the process of making Ireland its EU main establishment.
Breach Notifications Increase
Source: DPC
Beyond revealing that Ireland's privacy watchdog has more than a dozen major GDPR investigations underway, the DPC's annual report also counts all of the data breach notifications and privacy complaints it has received (see: Data Breach Reports in Europe Under GDPR Exceed 59,000).
Last year, after GDPR went into full effect in May, the DPC received 3,542 valid data security breach reports. It received 4,740 for all of 2018, up 70 percent from 2017. The increase is not surprising because GDPR for the first time required all organizations to disclose any breach involving Europeans' personal data.
Breaches were blamed on a wide range of causes, including the loss in the mail of USB storage devices storing personal data, phishing attacks, the loss of physical files in transit by a courier - for which no backups had been kept - and SIM swap attacks against online bank account holders.
From May 25 to Dec. 31, 2018, the DPC also received 38 data breach notifications involving 11 multinational technology companies. Some of these, such as the Facebook single sign-on breach, resulted in the DPC launching investigations (see: Facebook Submits GDPR Breach Notification to Irish Watchdog).
In December 2018, ISMG reported that the number of data breach reports filed since GDPR went into effect had hit about 3,500 in Ireland, over 4,600 in Germany, 6,000 in France and 8,000 in the U.K. (see: GDPR: EU Sees More Data Breach Reports, Privacy Complaints).
Security experts say the increase in breach reports does not necessarily mean that the frequency of data breaches is rising. Rather, GDPR's mandatory breach reporting requirement is for the first time beginning to provide visibility into the actual prevalence of data breaches in Europe.
Privacy Complaints Spike
Last year after GDPR went into full effect, the DPC received 2,864 privacy complaints. Under GDPR, as with prior European privacy rules, any European can file a complaint with their country's privacy watchdog if they believe that their personal data has been misused.
Excerpt from the General Data Protection Regulation
For all of 2018, the DPC said it received 4,113 privacy complaints, which was a 56 percent increase from 2017 (see: GDPR Effect: Data Protection Complaints Spike).
"The rise in the number of complaints and queries demonstrates a new level of mobilization to action on the part of individuals to tackle what they see as misuse or failure to adequately explain what is being done with their data," says Helen Dixon, Ireland's data protection commissioner.
Irish Regulator is Hiring
Given Ireland's status as the main EU establishment for so many overseas technology firms, the DPC says it's been continuing to expand.
"The Irish DPC has been in expansion mode for the past four years, and we are not stopping now," Dixon says. "Following a major recruitment campaign in 2018, 30 new staff had joined the DPC by the end of December, with a further 20 coming on board in January 2019, so that the DPC has grown to 135 staff. We will recruit an additional 30 staff this year in order to meet the demands of the tasks assigned under the GDPR and to deliver public value in what is an area of critical importance to society."
Incident & Breach Response
An Inside Look at a Level 4 Threat Hunting Program
Top Security Priority: Network Detection and Response
Mathew J. Schwartz
Executive Editor, DataBreachToday & Europe
Schwartz is an award-winning journalist with two decades of experience in magazines, newspapers and electronic media. He has covered the information security and privacy sector throughout his career. Before joining Information Security Media Group in 2014, where he now serves as the executive editor, DataBreachToday and for European news coverage, Schwartz was the information security beat reporter for InformationWeek and a frequent contributor to DarkReading, among other publications. He lives in Scotland.
Five Critical Requirements for Internal Firewalling in the Data Center
Building the Modern SOC
24 Hours: Tracking the Crucial First 24 Hours Following a Ransomware Attack
Actual Incident Response Scenarios in Healthcare and Financial Services
Beyond FTP: Securing and Managing File Transfers
Risk Management Framework: Learn from NIST
90 minutes · Premium OnDemand
From heightened risks to increased regulations, senior leaders at all levels are pressured to improve their organizations' risk management capabilities. But no one is showing them how - until now.
Learn the fundamentals of developing a risk management program from the man who wrote the book on the topic: Ron Ross, computer scientist for the National Institute of Standards and Technology. In an exclusive presentation, Ross, lead author of NIST Special Publication 800-37 - the bible of risk assessment and management - will share his unique insights on how to:
Understand the current cyber threats to all public and private sector organizations;
Develop a multi-tiered risk management approach built upon governance, processes and information systems;
Implement NIST's risk management framework, from defining risks to selecting, implementing and monitoring information security controls.
Ron Ross
Sr. Computer Scientist & Information Security Researcher, National Institute of Standards and Technology (NIST)
https://gdpr.inforisktoday.com/15-gdpr-probes-in-ireland-target-facebook-twitter-others-a-12059


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All posts tagged The Penal Colony
The I without a self by W.H. Auden
In January 1939 the English poet W.H. Auden sailed to America where he intended to make a new life for himself. He wanted to escape the fame and notoriety he had garnered in England, and the association his work had with left-wing politics, as well as the more basic consideration that there was more work for a freelance poet, dramatist, essayist and commentator in America than in Britain.
He set about the process of shedding his politically committed 1930s persona, and embarked on an earnest attempt to understand himself and the times he lived in. This was eventually to lead him back to the Anglican beliefs of his childhood, but recast in the forms of 1940s and 50s existentialist theologians.
His poetry stopped being about gangs of schoolboys behaving like soldiers or vivid descriptions of England's derelict depression-era industry or calls for action in civil war Spain, a fabulously thrilling mix of vivid detail and urgent mood, which makes the reader feel part of some insider gang:
Consider this and in our time
As the hawk sees it or the helmeted airman:
The clouds rift suddenly – look there
At cigarette-end smouldering on a border
At the first garden party of the year.
Pass on, admire the view of the massif
Through plate-glass windows of the Sport hotel;
Join there the insufficient units
Dangerous, easy, in furs, in uniform
And constellated at reserved tables
Supplied with feelings by an efficient band
Relayed elsewhere to farmers and their dogs
Sitting in kitchens in the stormy fens.
and became more consciously detached and urbane. In the worst of it, his characters carry out long monologues full of knowing references to Character Types and Schools of Thought. In the best of it he invokes or addresses the Greats of European Culture such as Horace or Goethe or Homer and writes poems of tremendous authority such as The Shield of Achilles. As the terrible war dragged on, Auden came to see it as the poet's role to define and preserve the values of civilisation.
Meanwhile, to earn a living, he needed to deliver lectures and write reviews. He was always a highly cerebral person, from early youth given to sorting and ordering friends, poems and experiences into categories. Thus his essays and lectures have a kind of brisk, no-nonsense clarity about them, much given to invoking types and archetypes and categories, and to then explaining how they apply to this or that writer.
Thus, when he came to write about Kafka, Auden takes as his premise the notion that Kafka was the century's greatest writer of parables and then goes on to work through the consequences of that idea. It is characteristic of Auden that his explanation requires reference to Dickens, Shakespeare, Alice in Wonderland, and an explanation of the archetype of The Quest and the Princess and the Hero, as well as references to Gnostics and manicheism. It is characteristic that Auden uses quite a lot of Christian theological language, while making no reference to Kafka's well-known Jewish context.
The essay is already available online in its entirety and since it is so lucid I can't see any point in garbling it through my own interpretation but quote it in full.
Kafka is a great, maybe the greatest, master of the pure parable, a literary genre about which a critic can say very little worth saying. The reader of a novel, or the spectator at a drama, though novel and drama may also have a parabolic significance, is confronted by a feigned history, by characters, situations, actions which, though they may be analogous to his own, are not identical. Watching a performance of Macbeth, for example, I see particular historical persons involved in a tragedy of their own making: I may compare Macbeth with myself and wonder what I should have done and felt had I been in his situation, but I remain a spectator, firmly fixed in my own time and place. But I cannot read a pure parable in this way.
Though the hero of a parable may be given a proper name (often, though, he may just be called 'a certain man' or 'K') and a definite historical and geographical setting, these particulars are irrelevant to the meaning of parable. To find out what, if anything, a parable means, I have to surrender my objectivity and identify myself with what I read. The 'meaning' of a parable, in fact, is different for every reader. In consequence there is nothing a critic can do to 'explain' it to others. Thanks to his superior knowledge of artistic and social history, of language, of human nature even, a good critic can make others see things in a novel or a play which, but for him, they would never have seen for themselves. But if he tries to interpret a parable, he will only reveal himself. What he writes will be a description of what the parable has done to him; of what it may do to others he does not and cannot have any idea.
Sometimes in real life one meets a character and thinks, 'This man comes straight out of Shakespeare or Dickens', but nobody ever met a Kafka character. On the other hand, one can have experiences which one recognizes as Kafkaesque, while one would never call an experience of one's own Dickensian or Shakespearian. During the war, I had spent a long and tiring day in the Pentagon. My errand done, I hurried down long corridors eager to get home, and came to a turnstile with a guard standing beside it. 'Where are you going?' said the guard. 'I'm trying to get out,' I replied. 'You are out,' he said. For the moment I felt I was K.
In the case of the ordinary novelist or playwright, a knowledge of his personal life and character contributes almost nothing to one's understanding of his work, but in the case of a writer of parables like Kafka, biographical information is, I believe, a great help, at least in a negative way, by preventing one from making false readings. (The 'true' readings are always many.)
In the new edition of Max Brod's biography, he describes a novel by a Czech writer, Bozena Nemcova (1820-1862), called The Grandmother. The setting is a village in the Riesengebirge which is dominated by a castle. The villagers speak Czech, the inhabitants of the castle German. The Duchess who owns the castle is kind and good but she is often absent on her travels and between her and the peasants are interposed a horde of insolent household servants and selfish, dishonest officials, so that the Duchess has no idea of what is really going on in the village. At last the heroine of the story succeeds in getting past the various barriers to gain a personal audience with the Duchess, to whom she tells the truth, and all ends happily.
What is illuminating about this information is that the castle officials in Nemcovi are openly presented as being evil, which suggests that those critics who have thought of the inhabitants of Kafka's castle as agents of Divine Grace were mistaken, and that Erich Heller's reading is substantially correct.
The castle of Kafka's novel is, as it were, the heavily fortified garrison of a company of Gnostic demons, successfully holding an advanced position against the manoeuvres of an impatient soul. I do not know of any conceivable idea of divinity which could justify those interpreters who see in the castle the residence of 'divine law and divine grace'. Its officers are totally indifferent to good if they are not positively wicked. Neither in their decrees nor in their activities is there discernible any trace of love, mercy, charity or majesty. In their icy detachment they inspire no awe, but fear and revulsion.
Dr. Brod also publishes for the first time a rumor which, if true, might have occurred in a Kafka story rather than in his life, namely, that, without his knowledge, Kafka was the father of a son who died in 1921 at the age of seven. The story cannot be verified since the mother was arrested by the Germans in 1944 and never heard of again.
Remarkable as The Trial and The Castle are, Kafka's finest work, I think, is to be found in the volume The Great Wall of China, all of it written during the last six years of his life. The wall it portrays is still the world of his earlier books and one cannot call it euphoric, but the tone is lighter. The sense of appalling anguish and despair which make stories like The Penal Colony almost unbearable, has gone. Existence may be as difficult and frustrating as ever, but the characters are more humorously resigned to it.
Of a typical story one might say that it takes the formula of the heroic Quest and turns it upside down. In the traditional Quest, the goal – a Princess, the Fountain of Life, etc. – is known to the hero before he starts. This goal is far distant and he usually does not know in advance the way thither nor the dangers which beset it, but there are other beings who know both and give him accurate directions and warnings.
Moreover the goal is publicly recognizable as desirable. Everybody would like to achieve it, but it can only be reached by the Predestined Hero. When three brothers attempt the Quest in turn, the first two are found wanting and fail because of their arrogance and self-conceit, while the youngest succeeds, thanks to his humility and kindness of heart. But the youngest, like his two elders, is always perfectly confident that he
will succeed.
In a typical Kafka story, on the other hand, the goal is peculiar to the hero himself: he has no competitors. Some beings whom he encounters try to help him, more are obstructive, most are indifferent, and none has the faintest notion of the way. As one of the aphorisms puts it: 'There is a goal but no way; what we call the way is mere wavering'. Far from being confident of success, the Kafka hero is convinced from the start that he is doomed to fail, as he is also doomed, being who he is, to make prodigious and unending efforts to reach it. Indeed, the mere desire to reach the goal is itself a proof, not that he is one of the Elect, but that he is under a special curse.
Perhaps there is only one cardinal sin: impatience. Because of impatience we were driven out of Paradise, because of impatience we cannot return.
Theoretically, there exists a perfect possibility of happiness: to believe in the indestructible element in oneself and not strive after it.
In all previous versions of the Quest, the hero knows what he ought to do and his one problem is 'Can I do it?' Odysseus knows he must not listen to the song of the sirens, a knight in quest of the Sangreal knows he must remain chaste, a detective knows he must distinguish between truth and falsehood. But for K the problem is 'What ought I to do?' He is neither tempted, confronted with a choice between good and evil, nor carefree, content with the sheer exhilaration of motion. He is certain that it matters enormously what he does now, without knowing at all what that ought to be. If he guesses wrong, he must not only suffer the same consequences as if he had chosen wrong, but also feel the same responsibility. If the instructions and advice he receives seem to him absurd or contradictory, he cannot interpret this as evidence of malice or guilt in others; it may well be proof of his own.
The traditional Quest Hero has arete, either manifest, like Odysseus, or concealed, like the fairy tale hero; in the first case, successful achievement of the Quest adds to his glory, in the second it reveals that the apparent nobody is a glorious hero: to become a hero, in the traditional sense, means acquiring the right, thanks to one's exceptional gifts and deeds, to say I. But K is an I from the start, and in this fact alone, that he exists, irrespective of any gifts or deeds, lies his guilt.
If the K of The Trial were innocent, he would cease to be K and become nameless like the fawn in the wood in Through the Looking-Glass. In The Castle, K, the letter, wants to become a word, land-surveyor, that is to say, to acquire a self like everybody else but this is precisely what he is not allowed to acquire.
The world of the traditional Quest may be dangerous, but it is open : the hero can set off in any direction he fancies. But the Kafka world is closed; though it is almost devoid of sensory properties, it is an intensely physical world. The objects and faces in it may be vague, but the reader feels himself hemmed in by their suffocating presence: in no other imaginary world, I think, is everything so heavy. To take a single step exhausts the strength. The hero feels himself to be a prisoner and tries to escape but perhaps imprisonment is the proper state for which he was created, and freedom would destroy him.
The more horse you yoke, the quicker everything will go – not the rending or the block from its foundation, which is impossible, but the snapping of the traces and with that the gay and empty journey.
The narrator hero of The Burrow for example, is a beast of unspecified genus, but, presumably, some sort of badger-like animal, except that he is carnivorous. He lives by himself without a mate and never encounters any other member of his own species. He also lives in a perpetual state of fear lest he be pursued and attacked by other animals – 'My enemies are countless,' he says – but we never learn what they may be like and we never actually encounter one. His preoccupation is with the burrow which has been his lifework. Perhaps, when he first began excavating this, the idea of a burrow-fortress was more playful than serious, but the bigger and better the burrow becomes, the more he is tormented by the question: 'Is it possible to construct the absolutely impregnable burrow?' This is a torment because he can never be certain that there is not some further precaution of which he has not thought. Also the burrow he has spent his life constructing has become a precious thing which he must defend as much as he would defend himself.
One of my favourite plans was to isolate the Castle Keep from its surroundings, that is to say to restrict the thickness of the walls to about my own height, and leave a free space of about the same width all around the Castle Keep … I had always pictured this free space, and not without reason as the loveliest imaginable haunt. What a joy to he pressed against the rounded outer wall, pull oneself up, let oneself slide down again, miss one's footing and find oneself on firm earth, and play all these games literally upon the Castle Keep and not inside it; to avoid the Castle Keep, to rest one's eyes from it whenever one wanted, to postpone the joy of seeing it until later and yet not have to do without it, but literally hold it safe between one's claws . . .
He begins to wonder if, in order to defend it, it would not be better to hide in the bushes outside near its hidden entrance and keep watch. He considers the possibility of enlisting the help of a confederate to share the task of watching, but decides against it.
. . . would he not demand some counter-service from me; would he not at least want to see the burrow? That in itself, to let anyone freely into my burrow, would be exquisitely painful to me. I built it for myself, not for visitors, and I think I would refuse to admit him … I simply could not admit him, for either I must let him go in first by himself, which is simply unimaginable, or we must both descend at the same time, in which case the advantage I am supposed to derive from him, that of being kept watch over, would be lost. And what trust can I really put in him? … It is comparatively easy to trust any one if you are supervising him or at least supervise him; perhaps it is possible to trust some one at a distance; but completely to trust someone outside the burrow when you are inside the burrow, that is, in a different world, that, it seems to me, is impossible.
One morning he is awakened by a faint whistling noise which he cannot identify or locate. It might be merely the wind, but it might be some enemy. From now on, he is in the grip of a hysterical anxiety. Does this strange beast, if it is a beast, know of his existence and, if so, what does it know. The story breaks off without a solution.
Edwin Muir has suggested that the story would have ended with the appearance of the invisible enemy to whom the hero would succumb. I am doubtful about this. The whole point of the parable seems to be that the reader is never to know if the narrator's subjective fears have any objective justification.
The more we admire Kafka's writings, the more seriously we must reflect upon his final instructions that they should be destroyed. At first one is tempted to see in this request a fantastic spiritual pride, as if he had said to himself: 'To be worthy of me, anything I write must be absolutely perfect. But no piece of writing, however excellent, can be perfect. Therefore, let what I have written be destroyed as unworthy of me.'
But everything which Dr. Brod and other friends tell us about Kafka as a person makes nonsense of this explanation. It seems clear that Kafka did not think of himself as an artist in the traditional sense, that is to say, as a being dedicated to a particular function, whose personal existence is accidental to his artistic productions. If there ever was a man of whom it could be said that he 'hungered and thirsted after righteousness', it was Kafka.
Perhaps he came to regard what he had written as a personal device he had employed in his search for God. 'Writing,' he once wrote, 'is a form of prayer,' and no person whose prayers are genuine, desires them to be overheard by a third party. In another passage, he describes his aim in writing thus:
Somewhat as if one were to hammer together a table with painful and methodical technical efficiency, and simultaneously do nothing at all, and not in such a way that people could say: 'Hammering a table together is nothing to him,' but rather 'Hammering a table together is really hammering a table together to him, but at the same time it is nothing,' whereby certainly the hammering would have become still bolder, still surer, still more real, and if you will, still more senseless.
But whatever the reasons, Kafka's reluctance to have his work published should at least make a reader wary of the way in which he himself reads it. Kafka may be one of those writers who are doomed to be read by the wrong public. Those on whom their effect would be most beneficial are repelled and on those whom they most fascinate their effect may be dangerous, even harmful.
I am inclined to believe that one should only read Kafka when one is in a eupeptic state of physical and mental health and, in consequence, tempted to dismiss any scrupulous heart-searching as a morbid fuss. When one is in low spirits, one should probably keep away from him, for, unless introspection is accompanied, as it always was in Kafka, by an equal passion for the good life, it all too easily degenerates into a spineless narcissistic fascination with one's own sin and weakness.
No one who thinks seriously about evil and suffering can avoid entertaining as a possibility the gnostic-manichean notion of the physical world as intrinsically evil, and some of Kafka's sayings come perilously close to accepting it.
There is only a spiritual world; what we call the physical world is the evil in the spiritual one.
The physical world is not an illusion, but only its evil which, however, admittedly constitutes our picture of the physical world.
Kafka's own life and his writings as a whole are proof that he was not a gnostic at heart, for the true gnostic can alwaysbe recognized by certain characteristics. He regards himself as a member of a spiritual elite and despises all earthly affections and social obligations. Quite often, he also allows himself an anarchic immorality in his sexual life, on the grounds that, since the body is irredeemable, a moral judgment cannot be applied to its actions.
Neither Kafka, as Dr. Brod knew him, nor any of his heroes show a trace of spiritual snobbery nor do they think of the higher life they search for as existing in some otherworld sphere: the distinction they draw between this world and the world does not imply that there are two different worlds, only that our habitual conceptions of reality are not the true conception.
Perhaps, when he wished his writings to be destroyed, Kafka foresaw the nature of too many of his admirers.
The Dyer's Hand online – search for the essay titled The I without a self
Dates are dates of composition.
The Stoker (1911-12)
America (1911-12)
The Metamorphosis (1912)
In the Penal Colony (1914)
The Trial (1914-15)
Max Brod's afterword to the Trial
The Great Wall of China (1917)
A Country Doctor and other stories (1917)
The Castle (1922)
Investigations of a Dog (1922)
A Hunger Artist and other stories (1924)
The Burrow (1924)
Franz Kafka on the tenth anniversary of his death by Walter Benjamin (1934)
Max Brod's book on Kafka and some of my own reflections by Walter Benjamin (1938)
W.H. Auden on Franz Kafka
by Simon on October 1, 2019 • Permalink
Posted in Literary criticism, Literature, Poetry, Second World War
Tagged America, Bozena Nemcova, Christianity, Dickens, England, Erich Heller, essay, Gnosticism, K., literary criticism, Macbeth, manicheanism, Max Brod, narcissism, Odysseus, parable, poetry, Politics, Shakespeare, sin, The Burrow, The Castle, The Great Wall of China, The Penal Colony, the Quest, The Trial, theology, Through the Looking-Glass, W.H. Auden
Posted by Simon on October 1, 2019
https://astrofella.wordpress.com/2019/10/01/the-i-without-a-self-kafka-auden/
A Hunger Artist and other stories by Franz Kafka
A Hunger Artist is a collection of four short stories by Franz Kafka published in Germany in 1924, the last collection that Kafka himself prepared for publication. Kafka corrected the proofs during his final illness but the book was only published several months after his death. The first English translations of the stories, by Willa and Edwin Muir, were published in 1948, in the larger collection titled The Penal Colony.
They are all relatively short stories (compared to the 60 or so pages of The Metamorphosis). They are all odd, peculiar, non-naturalistic stories, having the feel of dreams or fables. They all seem to point to a truth or meaning beyond themselves, just out of reach. And it's noticeable that three of the four have a circus setting, or involve animals, as did some of the stories in A Country Doctor.
First Sorrow (3 pages)
An account of a trapeze artist, married to and obsessed by his trade. It is typical of Kafka that the man lives in his trapeze, that food has to be hoisted up to him in special containers, merely retiring to one side when other performers perform, that he loves the height, the sense of freedom, specially when the windows round the top are opened.
But he hates travelling of any kind, in the city will only submit to being taken anywhere if it's in the manager's sports car, and from city to city, when travelling by train, has such sensitive nerves that he and the manager take a whole compartment to themselves and the trapeze artist sleeps in the luggage rack.
On one train journey the trapeze artist surprises the manager by asking for two trapezes to be set up for him to use. The manager, who clearly pampers the trapeze artist, immediately agrees. Nevertheless the trapeze artist is sad, and for the first time the manager sees worry lines and tears trickling down his face as he sleeps.
So that's what the title, First Sorrow, turns out to mean. It is an elusive, elliptical story.
A Little Woman (8 pages)
This is very reminiscent of the fabric and feel of Kafka's longer fiction, The Castle in particular, in the way it consists of a long, convoluted and tortuous meditation on a relationship between the narrator and one other character.
It simply starts off by describing a thin woman known to the narrator, and then explains that, for some unknown reason, she is permanently vexed and irritated by him, and from there passes into ever-more complex over-thinking of why that might be, and what it might mean, and the many possible reasons for her vexation, and whether it's a performance solely for public consumption, and so on and so on and so on.
It is all done in Kafka's characteristic block paragraphs which I find challenging to read.
Perhaps she hopes that once public attention is fixed on me a general public rancour against me will rise up and use all its great powers to condemn me definitively much more effectively and quickly than her relatively feeble private rancour could do; she would then retire into the background, draw a breath of relief, and turn her back on me. Well, if that is what her hopes are really set on, she is deluding herself. Public opinion will not take over her role; public opinion would never find me so infinitely objectionable, even under its most powerful magnifying glass. I am not so altogether useless a creature as she thinks; I don't want to boast and especially not in this connection; but if I am not conspicuous for specially useful qualities, I am certainly not conspicuous for the lack of them; only to her, only to her almost bleached eyes, do I appear so, she won't be able to convince anyone else. So in this respect I can feel quite reassured, can I? No, not at all; for if it becomes generally known that my behavior is making her positively ill, which some observers, those who most industriously bring me information about her, for instance, are not far from perceiving, or at least look as if they perceived it, and the world should put questions to me, why am I tormenting the poor little woman with my incorrigibility, and do I mean to drive her to her death, and when am I going to show some sense and have enough decent human feeling to stop such goings-on — if the world were to ask me that, it would be difficult to find an answer. Should I admit frankly that I don't much believe in these symptoms of illness, and thus produce the unfavourable impression of being a man who blames others to avoid being blamed himself, and in such an ungallant manner? And how could I say quite openly that even if I did believe that she were really ill, I should not feel the slightest sympathy for her, since she is a complete stranger to me and any connection between us is her own invention and entirely one-sided. I don't say that people wouldn't believe me; they wouldn't be interested enough to get so far as belief; they would simply note the answer I gave concerning such a frail, sick woman, and that would be little in my favour. Any answer I made would inevitably come up against the world's incapacity to keep down the suspicion that there must be a love affair behind such a case as this, although it is as clear as daylight that such a relationship does not exist, and that if it did it would come from my side rather than hers, since I should be really capable of admiring the little woman for the decisive quickness of her judgment and her persistent vitality in leaping to conclusions, if these very qualities were not always turned as weapons against me.
It amounts to a brief specimen of the kind of endlessly self-questioning, over-ratiocination which makes the novels so very long and, often, such hard going, a fine example of the way Kafka can spin an inordinate amount of verbiage out of the simplest relationship.
In a sense this short excerpt demonstrates the technique by which Kafka assembles the longer texts to create the structure of the novels: the technique being to line up a series of encounters with officials from the Court, and then subject each one to a mind-bogglingly over-elaborated, hyper-sensitive, and rather menacing over-thinking of every possible nuance and conceivable double, triple and quadruple interpretation of all possible permutations of thinking and worrying about it.
Until you end up with entire paragraphs which appear to be saying something but which are, on closer examination, almost empty, as the narrator himself at one point acknowledges.
And on closer reflection it appears that the developments which the affair seems to have undergone in the course of time are not developments in the affair itself, but only in my attitude to it, insofar as that has become more composed on the one hand, more manly, penetrating nearer the heart of the matter, while on the other hand, under the influence of the continued nervous strain which I cannot overcome, however slight, it has increased in irritability.
A Hunger Artist (11 pages)
As I've noted in my reviews of the novels, a key element of the Kafka style is entropy, meaning that everything, large and small, literal or symbolic, falls away, declines, decays and dies.
The protagonists of The Trial and The Castle and The Metamorphosis die in the end, the Officer of In The Penal Colony dies, the man waiting at the door of the Law dies. And thus it is that, following the general pattern, the Hunger Artist as well wastes away and dies.
And, just like in The Trial or the Penal Colony or the Door of the Law, his last words contain a message pregnant with meaning and poignancy.
The text is told by a narrator looking back wistfully at an earlier time, a tone which immediately reminds us of The Great Wall of China. Back in those days, back in the good old days, fasting was an art which was widely appreciated and the Hunger Artist was the leader in his field. He was paraded around in a barred cage, wearing a black swimsuit, his ribs sticking out, setting up in a new town or city every forty days, and charging admission to admiring crowds who came to point and ooh and mock or admire his heroic efforts to survive on no food for forty days.
Why forty days? Well, on an interpretative level this is obviously a number fraught with religious meaning, since Jesus went into the wilderness to fast for forty days and nights, and this story itself was possibly invented to mirror the forty days and nights of the Biblical flood told in the book of Genesis.
But in the story it is simply because the artist's commercially minded manager has discovered that forty days is about as long as you can milk an audience in any given own or city before they start to get bored and he has to move on.
The middle part of the text describes the Hunger Artist's unhappiness and disgust at the way people don't believe he's really fasting, the way the guards set to watch over him don't really believe him, and so on.
But then the narrator describes how a great change comes over society, fashions change, pastimes change, and people lost interest in fasting as a spectator sport. The manager tries a last whistle-stop tour of cities to rouse audiences, but people just weren't interested any more. Should the Hunger Artist take up a new profession? He's too old to learn new tricks. And anyway, it is his life's work.
So he signs up to join a circus, although he finds his cage being set up in the narrow walkways the crowds walk along to get to the far more exciting animal cages. He has become a back number. People hurry past his cage or stop to mock.
Strictly speaking, he was only an impediment on the way to the menagerie.
Children ask their parents what it means and what he does. But the parents struggle to explain:
You try explaining fasting to someone! Unless a person feels it he can never be made to understand it.
His keeper initially marks a record of the days fasted on a wooden plaque stuck on the bars of his cage, but eventually forgets to do this, then forgets about the artist altogether. See what I mean by entropy.
One day a new supervisor demands to know the purpose of this empty cage and no-one can remember what it's for. Mixed in with the straw is a stick. When they poke it the stick it talks. It is the Hunger Artist. The rough proley nature of the workers is well conveyed in the J.A. Underwood translation, as the workers listen to the Hunger Artist's last confession. He only fasted, he explains in a weak whisper, because he never found anything he wanted to eat.
And with this poignant confession he expires, the circus labourers clear out his cage and instal a virile young panther in it which draws the crowds with its awesome power.
The Hunger Artist feels like a fable or parable or allegory of awesome importance, with Biblical resonances and some deep meaning for all of us. But what is that meaning exactly, is it historical or psychological or political or sociological… Kafka has left a century of critics and commentators to discuss.
Coming with a deep interest in history I note that the final years of the Great War saw widespread starvation in Germany and Austro-Hungary due to the Allied blockade on all shipping which prevented the importation of foodstuffs. And one of the Axis powers' grievances was that the blockade continued for seven months after the armistice of November 1918, up until the signing of the Treaty of Versailles in June 1919.
Thus real hunger, the actual starvation of men women and children was a spectacle Kafka and all Germans would have been bitterly familiar with.
Then again, those who prefer biographical explanations will point to the fact Kafka himself throughout his adult life subjected himself to an increasingly strict diet, which began with vegetarianism and became progressively more strict and self denying until he in fact died of untreatable laryngeal tuberculosis, which closed up his throat until he could neither eat nor drink and literally starved to death.
But you don't need to know either of these background facts to respond to the power of the story. It is the way the subject has been turned into not just fiction, but into a story with the roundedness and finish and fairy tale perfection of a fable or allegory or parable, which counts.
Josephine the Singer, or the Mouse Folk (19 pages)
The narrator writes like a person drafting a long critical essay examining a contemporary artist from a variety of sociological angles, except that, as the story progresses, the reader realises that the narrator is a mouse and that he is talking about the 'famous' mouse singer Josephine.
I've repeatedly mentioned the way things in Kafka's stories decline and fall away, and the way this even happens within individual sentences, in the way a sentence sets off to make a statement and finds itself contradicting its opening, qualifying and balancing and introducing doubts and numerous clauses which successively weaken the opening until it is often abolished and erased.
Even Kafka's sentences display a death wish.
That pattern is very visible in this, Kafka's final story. The narrator opens by telling us that Josephine is the mouse people's greatest and most popular singer and makes a few supporting statements about how important she is to her people.
But this breezy opening is then subjected to eighteen pages of criticism and undermining. It comes out that her 'singing' might in fact not be strictly speaking 'singing' after all. In fact it might very much be like the sound every other mouse makes, which is a common or garden squeak. In fact Josephine's squeaking might, in fact, even be weaker and less impressive than the average mouse's. If this is so, what on earth gives her the extraordinary power and influence she holds over mousekind?
And it is to the investigation of this apparent mystery, with long, multi-claused sentences, hedging his own conclusions, balancing interpretations and weighing possible theories, that the narrator turns to ponder with all the weighty orotundity of a learned German professor.
How to explain that at some public concerts, other mice have gotten excited and let out squeaks, and those squeaks were every bit as good as Josephine's if not better? Is her popularity something to do with the history and struggle of her people, his people?
A thought which gives rise to a long series of reflections on the life of mice, how they are born into struggle, into a life of anxiety, small and weak and surrounded by enemies, by 'the enemy'.
It was impossible, for me at any rate, not to think about Kafka's Jewishness and wonder to what extent these repeated and heartfelt descriptions of a scattered, weak race oppressed by stronger neighbours, is a not very coded reference to his Jewish peers.
Our life is very uneasy, every day brings surprises, apprehensions, hopes, and terrors, so that it would be impossible for a single individual to bear it all did he not always have by day and night the support of his fellows; but even so it often becomes very difficult…
This mass of our people who are almost always on the run and scurrying hither and thither for reasons that are often not very clear…
Laughter for its own sake is never far away from us; in spite of all the misery of our lives quiet laughter is always, so to speak, at our elbows…
One might think that our people are not fitted to exercise such paternal duties, but in reality they discharge them, at least in this case, admirably; no single individual could do what in this respect the people as a whole are capable of doing. To be sure, the difference in strength between the people and the individual is so enormous that it is enough for the nursling to be drawn into the warmth of their nearness and he is sufficiently protected.
But for all the occasions that the reader can impose onto sentences like these a meaning to do with the Jewish community of Prague or Berlin or Central Europe, there are plenty of other sections which are patently just descriptions of mice, with their impatience, tendency to gossip and to squeak at the slightest provocation.
In other words, the narrative sometimes approaches what you could call a real-world interpretation but then veers away, into fiction, subsumed into the vividness of the allegory or fable.
Whenever we get bad news – and on many days bad news comes thick and fast at once, lies and half-truths included – she rises up at once, whereas usually she sits listlessly on the ground, she rises up and stretches her neck and tries to see over the heads of her flock like a shepherd before a thunderstorm…
The more you read on, the more you realise the text is as much or more an analysis of The Mouse Folk as of Josephine herself, and hence its sub-title. And, while you read on, the figure of Josephine becomes less and less of a singer and more and more of a unifying symbol of hope for an embattled people.
Josephine's thin piping amidst grave decisions is almost like our people's precarious existence amidst the tumult of a hostile world.
But by half-way through you have come to realise that the story is more like a parable about art and the artist and the artist or storyteller's ability to give comfort and solace to his 'people' no matter how inadequate and ordinary his voice.
It is more the symbolism and the staging of the artist's performances and what they mean for his or her listeners or readers which matters, it is the psychological unifying and healing it offers, than the actual 'quality'.
Squeaking is our people's daily speech, only many a one squeaks his whole life long and does not know it, where here [in Josephine's performances] squeaking is set free from the fetters of daily life and it sets us free too for a little while…
And where he writes squeaking, he means speaking, and in fact means writing.
These are links to modern translations of the stories available online.
First Sorrow
A Little Woman
A Hunger Artist
Josephine the Singer, or the Mouse Folk
Complete short stories translated by Willa and Edwin Muir with an introduction by John Updike
by Simon on September 26, 2019 • Permalink
Posted in Germany, Great War, Literary criticism, Literature, Short stories
Tagged A Country Doctor, A Hunger Artist, A Little Woman, allegory, Allied blockade, Austro-Hungary, Circus, Edwin Muir, entropy, fairy tale, famine, fiction, First Sorrow, Franz Kafka, Germany, Josephine the Singer, narrator, novel, parable, short stories, The Castle, the Great War, the Jews, The Metamorphosis, the Mouse Folk, The Penal Colony, trapeze artist, Treaty of Versailles, Willa Muir
Posted by Simon on September 26, 2019
https://astrofella.wordpress.com/2019/09/26/hunger-artist-stories-franz-kafka/

redpajama_set_name: RedPajamaCommonCrawl


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text:
Council officers to be questioned in Westminster over services provided to ethnic minorities in borough
Officials from Armagh City, Banbridge and Craigavon Borough Council are to appear before the Northern Ireland Affairs Committee as part of the inquiry into the delivery of public services for minority ethnic and migrant people in the borough.
Council's community development manager, Godfrey McCartney and good relations officer, Dolores Donnelly will appear before the committee on Thursday, December 2.
This is the fourth hearing of the enquiry into minority ethnic and migrant experiences and it will also look at the support available for refugees and travellers.
A previous session of the inquiry heard that many in these communities experience poor health and educational outcomes.
The sessions will also consider the lack of representation of minority ethnic and migrant people in elected office and public life in Northern Ireland.
Last week, the PSNI revealed the number of hate crimes taking place in Northern Ireland is increasing with racism said to be the leading motivation.
Previous oral evidence to the committee has highlighted a lack of progress and coordination in the Executive's approach to tackling inequality.
Local members of the Northern Ireland Affairs Committee include Gregory Campbell MP, Stephen Farry MP, Claire Hanna MP and Ian Paisley MP.
Thursday's session was originally due to take place on Wednesday, November 3 and Mr McCartney and Ms Donnelly are due to be questioned from 2:30pm.
RelatedABC Council
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Deanery Demesne blending grandeur, history and architecture in the heart of Armagh
Ulster Unionists select Bessbrook councillor to contest Newry & Armagh Assembly seat
Pictured: Remarkable moment of sportsmanship during athletics championships in Armagh


Mitsubishi UFJ Financial Group Inc., in Japan, and other entities are to experiment distributed ledger technology-based international remittances in connection with Ripple. It is aimed at processing effective transfers at reduced cost. The initial phase of the initiative is scheduled to begin by this month. The initiative would include Standard Chartered PLC.


text:
After all these wintry years, Duluth finally declares a snow emergency
For the first time — ever — the city of Duluth has declared a snow emergency.
The wintertime rite, so familiar in the Twin Cities and so often blithely ignored by vehicle owners, was introduced in one of the state's snowiest cities at 1 p.m. Tuesday and slated to run until 6 p.m. Wednesday.
That is, unless the city's second-ever snow emergency is declared.
In case you missed it, it's been snowing in Duluth — averaging just over 8 inches between Saturday night and Tuesday afternoon.
Under the new edict, residents were supposed to move their vehicles off snow emergency routes by 9 p.m. Tuesday. After that, any vehicle that remained parked along Duluth's 120 miles of snow emergency routes could be ticketed and towed at the owner's expense.
In the meantime, the city advised residents and visitors to park on residential streets not designated as snow emergency routes. Alternate parking is allowed on the odd side of the street this week, according to a city news release.
Duluth city officials decided to get serious about the concept of the snow emergency only in 2019, when a Thanksgiving weekend blizzard socked the city with 22 inches of snow. But when the snow emergency plan was announced, it landed with a thud in neighborhoods throughout the city.
Residents complained that the temporary emergency lots — available on a first-come, first-served basis — weren't convenient. Some people with disabilities were alarmed at the prospect of having to move their cars during a snowy onslaught.
City spokeswoman Kate Van Daele said the seven emergency parking lots are spread across Duluth. She added that authorities ticketing and towing vehicles won't target residents with Americans with Disabilities Act (ADA) parking spots and window stickers during a snow emergency.
"People have been really great. We got a lot of feedback and it was really helpful," she said.
Duluth officials will inform residents of a snow emergency through a Northland Alert message (sign up at duluthmn.gov/northlandalert), local media, social media and the city's website.


Baby pajamas are my favorite.
When I shop for my kids, I always look at pajamas first. Always.
There's just something about a warm little person snuggled up in a cute pair of jammies.
When my kids outgrow one-piece footies...I will probably have a meltdown.
How's that for the most random blog post ever???


Last week, I joined the legion of readers descending, en masse, upon bookstores and Amazon for a chance to delve into New York Times film critic A. O. Scott's Better Living Through Criticism: How to Think About Art, Pleasure, Beauty, and Truth. The book wastes no time, introducing the questions "What's the point of criticism?" and "What are critics good for?" less than 10 words in.
Those questions form the basis for the rest of the text to explore. It is steadfastly philosophical and intellectual, but Scott doesn't forget to find ways to engage the average reader, those not looking to stare with blank adoration at the flowing, flowery language on the page. The thing is, though, he wants us to realize and appreciate that criticism is fundamentally art, something that is far too easy to dismiss, especially by other artists.
Everyone's a critic nowadays, a point Scott makes early on, and the truth is in our need to quantify and qualify experiences with rankings and ratings. Every aspect of our lives is now open and susceptible to evaluation. Would you recommend the contractor who handled the remodeling job on your basement? How was your meal this weekend at that new restaurant in the city?
You see, plainly, the critical imperative, but in the processes that emerge to satisfy the urge, what is missing is how we seek to create a shorthand that ultimately devalues the results because it removes deeper critical consideration from the endeavor — and this is what Scott's book investigates.
And once that element fades, so too does the possibility for artistic expression.
Here in our state, thanks to the Ohio Arts Council, criticism has earned artistic distinction and consideration, allowing it to stand alongside the more traditionally creative enterprises. As a recipient of an OAC Award for Criticism, I have taken on the challenge of passing the torch down to the next generation through WatchWriteNow, a nonprofit mobile film club dedicated to critically engaging teens in classrooms and community centers through the use of filmed content and providing a non-threatening outlet for critical and creative exchanges.
It is time that we rise up to offer an alternative to this dated notion that the critical cannot also be creative. Critical thinking — what I would call the art and soul of all forms of criticism — leads to the act of creation. There is art in the application of the hard sciences (think STEM) as well as the softer sciences (history, sociology and the like), but I am not interested in defending any of those areas of study. Instead, I would rather devote my decidedly inadequate efforts to parrying the pointless assaults on the state of film criticism.
Imagine film criticism as Hip Hop production, a masterful remixing of multiple referenced samples with new interpretive insights. I tell students all the time that criticism is never about a singular work under the microscope; rather, it is merely the jumping off point for a wild tangential ride through a stream of references within our consciousness that we do our best to bring forth for others to groove to.
If you think about it (and thinking is the point of all this, right?), Hip Hop has been around for centuries, in a low-fi format via book, art and early film criticism. Only recently, due to the long-form possibilities of the Internet, have the cut-and-paste aesthetic and the rise of Hip Hop mixtapes made their way into the critical sphere. And at this point, it is barely able to stand on its fledgling legs, but I am predicting fleet-footed strides in no time. In fact, I am banking that projects like WatchWriteNow will guarantee a blazing trail into our critical future.
Scott stands with me, and Better Living Through Criticism is his It Takes a Nation of Millions to Hold Us Back or his Invisible Man or his Norman Rockwell painting, waiting to be positioned on the great wall. Better still, the book might be more than his latest piece of art. Imagine instead that it belongs to us and will serve as a moving reminder of the power inherent in our conceptions and perceptions of the frames that we encounter.


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redpajama_set_name: RedPajamaGithub


text:
Contact a Patient
MyChart Login ›
Live Well Blog
Live Well Magazine
About UCI Health
340B Program
Planning Administration
Home › Find a Provider › Shaun Daly, MD
Shaun C. Daly, MD
Bariatric surgery, Weight-Loss surgery, Metabolic surgery, Minimally invasive GI surgery, Gastroesophageal reflux disease, LINX anti-reflux system, Peptic ulcer disease, Minimally invasive reflux surgery, Achalasia, Minimally invasive hernia surgery, Hernia, Gastric tumors and malignancy, Gallbladder disease
MyChart patient portal offers a convenient and secure way to manage your healthcare online. Use MyChart to schedule appointments, request prescription renewals, send messages to your care team and more.
Bariatric Surgery Services
Minimally Invasive Surgery Services
American Board of Surgery, Surgery
Rush Medical CollegeMD
Rush University Medical CenterGeneral Surgery
UC IrvineAdvance Minimally Invasive Surgery
Dr. Shaun C. Daly is a board-certified surgeon who specializes in weight-loss surgery, gastroesophageal reflux disease (GERD), ulcers, hernias and all other disorders and diseases affecting the stomach, gall bladder and upper gastrointestinal tract.
Daly earned his medical degree at Rush University Medical College in Chicago, where he completed general surgery training at Rush University Medical Center and the John H. Stroger Jr. Hospital of Cook County. He completed fellowship training in advanced minimally invasive bariatric and gastrointestinal surgery at UC Irvine Medical Center in Orange.
His clinical interests include esophageal motility disorders, hernias of the hiatus, groin and abdominal wall, and gastrointestinal malignancies. He also is trained to treat chronic reflux disease with the LINX® reflux management system.
Daly is a member of the American College of Surgeons, the Society of American Gastrointestinal and Endoscopic Surgeons, the America Society for Metabolic and Bariatric Surgery, and the Association for Academic Surgery. He is the author of more than 20 peer-reviewed published manuscripts and has made presentations at many national conferences.
Daly is dedicated to improving the health of each of his patients.
UCI Health Digestive Disease Center — High Desert
12595 Hesperia Road, Suite 101
UCI Health H.H. Chao Comprehensive Digestive Disease Center
101 The City Drive South, Building 22C
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Nephil's Fall, at its heart, is a metroidvania platformer. Exploration through action-adventure based play is the basic principle of the game. There will be different paths to take, secrets to uncover, abilities to master and timed jumps to execute. These are the core mechanics that we believe define a great genre. We want to stay true to the gameplay experiences of Nephils' predecessors and improve on them with a rich story and new mechanics.
We started developing the concept in September 2014 and in spring 2015 we launched the Kickstarter campaign which was successfully funded. The release of the game is planned by the end of 2015.
Classic platformer mechanics – run, jump, double-jump, roll, etc.
Four essences of fire, water, earth and wind, which enhance your abilities and make you a demi-god.
Sacrifice your abilities to restore order to the world and discover what really happend.
Master each environments in your own play style.
Start strong with loads of abilities, but give them up along the way and become a master of those you have chosen to keep.
There are currently no logos or icons available for Nephil's Fall. Check back later for more or contact us for specific requests!
"Metroidvania-inspired Nephil's Fall Kickstarter Funded"
"Nephil's Fall twists the metroidvania concept backwards"
"Nephil's Fall funded on Kickstarter, should eventually head to Wii U"


text:
Center forVaccine Research
Use this for to search the site.
Director's Profile
Regional Biocontainment Laboratory
Biomedical Science Tower 3
Related Facilities
Health Sciences Calendar
A unique facility containing Biosafety Level 3 (BSL3) and Animal Biosafety Level 3 (ABSL3) laboratories. The facility houses dedicated environments for aerobiology, imaging and immunopathology.
The University of Pittsburgh has consistently been ranked among the top 10 in National Institutes of Health (NIH) funding during the past decade, and the Center for Vaccine Research (CVR) at the University of Pittsburgh brings together scientists from varied disciplines with a common goal of investigating the pathogenesis and immunology of emerging infectious diseases and biodefense pathogens.
The CVR investigators conduct research on BSL-3 Category A, B, and C priority pathogens that have an impact on the health of people around the work.
Learn more about what goes on in the RBL.
Learn about our facility further by exploring the frequently asked questions.
For information on potential collaboration or contract, please complete a contact form and a representative will contact you as soon as possible.
Center for Vaccine Research
9014 Biomedical Science Tower 3
3501 Fifth Avenue Pittsburgh,
Email: info@cvr.pitt.edu


The availability and range of the Wi-Fi signal depends on a number of factors, including infrastructure and other objects through which the signal passes.
Use the Wireless & networks setting menu on Galaxy S7 to enable your phone's Wi-Fi radio and connect to an available Wi-Fi network.
1. From Samsung Galaxy S7 home, tap Apps > Settings .
2. Tap Wi-Fi . The Galaxy S7 Wi-Fi settings menu appears.
To disable Wi-Fi Galaxy S7 tap the ON/OFF switch again.
4.Tap a Wi-Fi network to connect, enter the password (if it's not an open network), and then tap Connect.
Your phone is connected to the Wi-Fi network. You will see in the status bar.
The password, for a household wireless LAN router, is sometimes found on a sticker on the router (WEP, WPA, KEY, etc.). Contact the router manufacturer for information. For password for a public wireless LAN, check with user's service provider.
Entering a password is not required if an access point is not security protected.
The next time your Galaxy S7 connects to a previously accessed secured wireless network, you will not be prompted to enter the password again, unless you reset Galaxy S7 to its factory default settings or you instruct the phone to forget the network.
Use the Wi-Fi settings menu to Galaxy S7 Manual Connecting WiFi set your Galaxy S7 Wi-Fi connection options.
2. Tap Wi-Fi . The Wi-Fi settings menu appears.
3. Tap the ON/OFF switch to turn Wi-Fi on.
Wi-Fi is enabled. You will see the names and security settings of in-range Wi-Fi networks. To disable Wi-Fi, tap the ON/OFF switch again.
4. Tap More > Advanced.
The advanced Wi-Fi settings menu appears.
Your Wi-Fi settings changes are saved.
You may want to remove a connected Wi-Fi network.
1. From home, tap Apps > Settings .
The Galaxy S7 Wi-Fi settings menu appears.
3. Press and hold the name of the connected access point, and then tap Forget network.
Wi-Fi is disconnected and the network settings are removed.


text:
Tag: Iain Forsyth
Nick Cave and the Bad Seeds reissuing 4 more albums with 5.1 mixes, bonus material
February 28, 2011 in Reissues, Tracklist 3 comments
Although Grinderman's been on the frontburner of late, Nick Cave and the Bad Seeds move on to Round 3 of their extensive reissue campaign this spring, delivering expanded re-releases of 1994's 'Let Love In,' 1996's 'Murder Ballads,' 1997's 'The Boatman's Call' and 2001's 'No More Shall We Part.'
Video: Nick Cave's Grinderman films live version of 'Worm Tamer' in London
November 3, 2010 in Single News, Video 0 comments
With Grinderman's European tour now complete and an American trek ready to begin next week, Nick Cave's sludge-blues side project this week released a video for 'Worm Tamer,' the forthcoming second single off the band's 'Grinderman 2' album.
3 more Nick Cave and the Bad Seeds albums to be reissued with 5.1 mixes, bonus tracks
February 5, 2010 in Reissues, Tracklist 1 comment
The second set of Nick Cave and the Bad Seeds albums — 1988's Tender Prey, 1990's The Good Son and 1992's Henry's Dream— will be reissued in deluxe CD/DVD sets with new 5.1 surround sound mixes next month, Mute Records announced this week.


I'm trying to get my TBR backlog dealt with as it's striking me that I've acquired quite a lot of them in my digital library (after paring down my physical library). This was one of those that I bought when it came out because it sounded just like something I'd enjoy. Alas, it was just okay for me. I'm a bit sad to say that I already found it dated and a bit trite.
I like satire but I just couldn't connect with Tina and her cohort when they turned to theft. I've had student loans & paid them off, so I get being under that pressure but I can't get on board with just raiding someone else's coffers. That's a big nope for me. I completely remember the feeling signing off on loan paperwork where the amounts you owe now don't even seem real anymore but it's still your responsibility to manage the debt you take on. Tina and Co just read as a different kind of entitled than their big boss and I thought they were all fairly awful. I don't think it's harsh to feel that college graduates have other options open to them in the instance laid out here so my sympathy was short.
I'm glad I've got one more off my list but it does make for a cautionary tale in having so many books. You may well have grown beyond it or it may be dated by the time you get around to it. Lesson learnt and I'm hoping I don't have too many more of these but I probably do. I mean to press on.
Summary: Tina Fontana is the hapless but brazen thirty-year-old executive assistant to Robert Barlow, the all-powerful and commanding CEO of Titan Corp., a multinational media conglomerate. She's excellent at her job and beloved by her famous boss—but after six years of making his reservations for restaurants she'd never get into on her own and pouring his drinks from bottles that cost more than her rent, she's bored, broke, and just a bit over it all.