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As already argued. Fukuyama's concept of the "end of history' involves the defacto end of the geographical world, as a result of the global impact of cybernetic and informational revolutions. It is not surprising that urbanists and philosophers like Paul Virilio also assert that the geophysical environment hitherto synchronic with the time and space of Newtonian era is presently configured in accord with the speed of light of Einsteinian law. Such changes in the world's coordinates can be explained by the fact that the virtual space of interactive technologies, otherwise known as telematics, doubles the real space which once separated nations from one another. With the advent of the camera, the computer, and the satellite dish, we have entered into the circuit of simulation and fast speed information, and imminently into a new condition of neighborliness. Going back to 1964, Marshall McLuhan postulated in his notorious book, Understanding media, that technology has succeeded to extend the human body electrically and that consequently the networking media became the major catalyst connecting the world into a global village. Distance, frontiers, any other territorial and spatial coordinates have dissolved. In other words, the culture of the television and computer screen involved a paradigm shift from explosion to implosion, from physical dispersal to virtual inclusiveness. Instead of isolating individuals, the technosphere had the power to create communities; or, as one historian notes, its power consisted in "retribalizing" the world via the television or the computer net, the contemporary doppelgangers of the tribal drum. With his book selling well over 100.000 copies, McLuhan's theory became an instant media cult.
Shortly afterwards, the French sociologist Jean Baudrillard developed his theory of simulation, replacing McLuhan's positive views about the effects of electronic communication with a dystopic vision concerning the death of every reference, including the real. In Simulations, published in 1989 by Semiotexte(e) J. Baudrillard argued that the code (devised in computerization and digitalization) bypasses the real, opening up the field of the hyperreal. In short his concept of hyperrealism designated an experience in which signs and simulations found in the quotidian world were taken for real, in which the map preceded the territory, and in which the reading of the message was only a perpetual examination of the code. Notwithstanding the difference in approach between McLuhan and Baudrillard, both asserted that the medium is the (coded) message.
Using the binary code intrinsic to global technology, Dalibor Martinis, whose first experimental video works date back to the late 1960s, produced in the last three years a new corpus of multimedia installations and video films, known as the Binary Series, which probe the vagaries of perception and communication. The Binary Series includes images, objects, and situations with encoded messages -often political- based on the Morse alphabet or the digital code system of 1 and 0. Discussing this device. Martinis notes, "it's like spy images imbedded with a second layer questioning the first one to create an unstable relation". In To America I Say of 2001 Martinis edited the title of the 1933 Hollywood release King Kong so that identical frames concatenate at varying paces. King Kong is a pioneering science fiction film involving the discovery of a fantastic creature, a colossal gorilla that overshadowed the skyline of New York. Martinis' 1 minute long version of King Kong's opening title encodes the notorious message that Osama Bin Laden sent in the aftermath of the terrorist attack on the World Trade Center: "There will be no peace and security in the United States as long as there is no peace and security in Palestine." Utterly punning, Martinis' piece not only alters an America icon by interpolating the message of Bin Laden (King Kong's nemesis), but also plays with the suspicion of American intelligence that Bin Ladin's dispatch contained within its lines hidden information, or messages within the Message. Here is where the tautology of the code -its hyperrealism- lies.
Inside the Maltese Falcon, of 2002, is a full-length 90-minutes video film whose conceptual engineering involves the reediting of the first film noir in the history of cinema, Huston's directorial debut of 1941 based on Dash ell Hammett's story The Maltese Falcon. As in the Third cinema of "pleasure and instruction", Martinis version encodes in the original film's narrative the revolutionary text "Chiapas the Southeast in Two winds a Storm and a Prophecy,' written in 1992 by the Insurgent sub commander Marcos, the main spokesperson of the Zapatista National Liberation Army. On a visual reading, the stroboscopic flicker that disrupts the flow of images on screen results from the coded text in which 0 digits are deployed in the form of black squares and 1 digits constitute the rest of the film. This flickering effect intensifies the dark, cold, and detached view of the world characteristic to film noir, a genre that emerged in the early 1940's during World War II while the afterimages produced in the viewer's eye -the only clue that the film is coded- nod to the experimental flicker pictures of Isidore Isou of the l950's and of Peter Kabala and Bruce Conner of the 1960's. On a structural reading, the film consists of a layering between the espionage story of the recovery of the Maltese Falcon, a highly valuable ornament sent by the Knights of Rhodes on Malta as a tribute to King Charles of Spain, and the message against global capitalism issued by the Mexican armed revolutionary movement known as the Zapatistas.
In 1996 the Zapatistas organized an international meeting in La Realidad, Chiapas, one of the poorest states in Mexico, to promulgate a declaration against globalism and centralized power. Their declaration calls for a network of resistance for humanity: "This intercontinental network of resistance recognizing differences and acknowledging similarities, will search to find itself with other resistances around the world. This intercontinental network of resistance is not an organizing structure; it does not have a central head or decision maker: it has no central command or hierarchies. We are the networks, all of us who resist." As this declaration signals, the resistance movement is none other than the global network itself, turned inside out. Indeed, the world we live in now is oddly not just closed and global, but also rhizomic and transnational, calling for theories of rootlessness, dislocation, and postcolonial migration on one hand, and for electronic adjacency on the other. The growing number of diasporic communities, as well as multinational and subnational groupings, could be seen as ways of fostering links with more than one place or political structure, of inventing new geographical matrices and noncentralized orders, of declining to settle in a circumscribed territory, or, to paraphrase James Clifford, of declining absolutist forms of citizenship. What is key to the formation of a post-Cold War global order is the abolition of any coercive autocratic systems of representation whether territorial, religious, racial, or ethnic which refuse to make room for interventions on the part of those represented. This is also true of cultural systems. Therefore, global culture should not be confused with earlier forms of imperial culture. While the culture of the empire was by definition exclusionary, seeking to totally efface and dispossess the indigenous society it colonized, global culture is a site inscribed by diverse constituencies, each with its own agenda and set of values, a site whose borders are always in flux. Then, globalization could be turned around instead of acting as a homogenizing melting pot (the Americanization effect) in which smaller polities are absorbed by larger ones, it could function as a platform for contestation, disjuncture among the multiplicity of bodies inhabiting it, and continuous border crossings.


This welcome message came in recently.
I have been reading your 2003 essay "The Once and Future Canadian Democracy". It is perhaps the most coherent synthesis of political thought in Canada that I have read to date, and the "liberal"/"romantic" theory fills many of the gaps I had found until now.
Thank you for your work, Professor.
See Janet Ajzenstat, The Once and Future Canadian Democracy (McGill-Queen's University Press, 2003).
Going for a song on Amazon.
My friend Nick MacDonald is reading The Once and Future Canadian Democracy now and earlier this week enthusiastically texted me various passages that put Peter Russell into perspective. I will have to read it over Christmas as well!


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You are in: HOME > mobiles > smartphones
MTN Steppa
By Robin-Leigh Chetty 26 February 2014
Bang for your buck?
The MTN Steppa is by no means a flagship device, nor is it intended to be; at R499 it's touted as the most affordable smartphone in South Africa to date. For R500 you get a 3.5" touch enabled TFT display, a 1 GHz Qualcomm Snapdragon single core processor, and Android 2.3.5 (Gingerbread) OS. Relative to the price, it adds up to a solid, smooth running system.
Budget crowd pleaser
MTN played a major role in the look and feel of this device, with its logo and colour scheme not so subtly embellished throughout the user interface. Furthermore, if you are thinking that you are getting the standard Android look and feel, think again, since this too is customised by MTN.
The changed UI setup consists of three main screens, which can be horizontally swiped through. The home screen contains six spheres for quick access to integrated Google, MTN, social media, app store and video content. It also combines a bottom banner which brings up the messaging, phone call, camera and settings windows. From the home screen, swiping to the left brings up a list of all the background apps, where users can enable/disable these apps. The screen on the right provides an alphabetically ordered list of all the menu, application and setting options on the smartphone, which is easier to view for those still unfamiliar with smartphones.
One aspect we were quickly frustrated by, was the in-app advertising on the home screen. The advertising indicated additional information for basic versions of pre-loaded apps such as AVG Antivirus and Facebook. When selected, it opened up a link to download premium versions of the apps. The integration of such 'spamware' really detracts from a solid smartphone experience.
All in all, the smartphone experience offered by the Steppa is clean and simple, with most features easily accessed and intuitively orientated.
No bells and whistles
As we delve deeper into the plastic casing of the Steppa, there's only 512 MB of internal storage, which does not offer much space for users to download Google Play Store apps, nor photo, video or music content. Luckily there is a microSD card slot, but MTN does not include a card, so you would have to factor in the price of a microSD onto your R500 purchase. It is a good idea to get as large a microSD card as you can afford and stick it into the non hot-swappable card reader, accessed by removing the back cover and battery of the unit.
MTN fitted the Steppa with a 2.0 megapixel camera that produced poor quality images and video, with most looking quite dark and heavily streaked when capturing a moving object. In this regard the Steppa won't appeal to serial Instagrammers, and the lack of front facing camera may shy away the duckface selfie crowd. MTN has included Bluetooth 3.0 connectivity as well as FM radio, a standard 3.5 mm headphone jack and mini USB port for charging and computer connection. This should ensure users can access and share content effectively.
Being an MTN product, the Steppa includes a host of specifically tailored MTN services, such as MyMTNza, 2GO and Appsfire. These are nice for the smartphone first timer, but offer little value for the more seasoned user. All apps run relatively smoothly on the device, if you can forgive the occasional screen lag or freeze, partly due to the phone's limited amount of RAM. This does however show a concerted effort on MTN's part to provide a complete social media and app experience with full access and functionality for Facebook, WhatsApp and the Google Play Store.
Simple and solid
For the price you pay the Steppa performs well and without much issue. It should have big appeal for people looking to make the transition from feature phone to smartphone, without having to commit to a contract. At R500, the MTN Steppa may just be the best value for money smartphone out there. It may not be the contender for best phone of the year, but could rank as one of the most important.
Value for money; solid app support; offers quality smartphone experience
Camera and Video quality poor; plastic body slightly fragile; access to micro SD slot cumbersome
MTNSteppaSmartphoneBudget

redpajama_set_name: RedPajamaCommonCrawl


Located in a beautiful garden right just 200 metres from the sea, Ugur Pansiyon features spacious bungalows and a 24-hour reception desk. Wi-Fi and private parking are free.Ugur Pansiyon's rooms are appointed with natural wood decor. All guest rooms offer air conditioning, hot water and en suite bathroom facilities.A rich breakfast with fresh, local products and home-made jams is served daily. The hotel's à la carte restaurant offers local dishes and refreshing drinks. Special diet menus are also available.Ugur Pansiyon's gardens offer relaxing hammocks and swings. Guests can also play a game of table tennis or cool-off in the nearby sea.Antalya Airport is 100 km away, and the pension offers a car rental service.


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Background Purinergic receptor-mediated signaling takes on an important part in the function of glial cells, including glial tumor cells. PMA, but was inhibited from the protein phosphatase inhibitor okadaic acid and the PI3K inhibitor "type":"entrez-nucleotide","attrs":"text":"LY294002″,"term_id":"1257998346″,"term_text":"LY294002″LY294002. Conclusions Modulation of protein phosphatases and the PI3K pathway may represent a mechanism by which SCH 727965 cost bradykinin potentiates purinergic signaling in glial cells. Background ATP is definitely a primary extracellular signaling molecule for SCH 727965 cost glial cells in the CNS [1,2]. In astrocytes, ATP is definitely a key messenger for the intercellular communication of calcium waves, in which raises in [Ca2+]i propagate from cell to cell across multiple cells [3-5]. Glial cell calcium waves have been characterized extensively em in vitro /em in a variety of different tissue preparations, and also more recently em in vivo /em in rodent cortex and retina [6-10]. They are thought to play physiological tasks in the modulation of neuronal activity and vascular function, in addition to contributing to pathological processes such as cortical distributing major depression and seizures [11,12]. Purinergic signaling is also believed to play an important part in the development and proliferation of glial cells under both physiological and pathological conditions, including those associated with glial tumors [13-15]. Glial cells respond to ATP through P2 purinergic receptors that belong to two family members: P2Y G protein-coupled receptors (GPCR) and P2X ligand gated ion channels. Activation of P2Y purinergic receptors causes G-protein mediated activation of phospholipase C (PLC) and raises levels of inositol 1,4,5-triphosphate (IP3) and diacylglycerol (DAG), leading to elevations in intracellular calcium concentration and the activation of protein kinase C (PKC). By contrast, activation of P2X purinergic receptors prospects to an increase in intracellular calcium concentration by influx of extracellular calcium through the receptor channel. In glial cells, SCH 727965 cost the sustained increase in [Ca2+]i evoked by ATP is definitely mediated mainly via activation of P2Y purinergic receptors, even though response to higher concentrations of ATP may also involve Ca2+ influx through P2X receptors [1]. Activation of GPCRs by agonists not only results in the G protein- dependent activation of the effector system, but also causes coordinated molecular mechanisms governing the ongoing response of the receptors to further SCH 727965 cost activation [16,17]. GPCR receptors show attenuation or loss of reactions by repeated agonist exposure, referred to as desensitization. Reduction of GPCR responsiveness to an agonist over time represents an important physiological feedback mechanism that Kcnj12 protects against both acute and chronic receptor overstimulation. After a period of desensitization, receptors recover their reactions to agonists (resensitization), which enables receptors to keep up their ability to respond to agonists over time [17]. GPCR desensitization entails multiple distinct events including the uncoupling of receptors using their G proteins, the internalization and sequestration of receptors to endosomes, and down-regulation [16]. Receptor G protein uncoupling in response to receptor phosphorylation is the most quick means of attenuating GPCR responsiveness and happens within seconds to minutes following agonist activation. Phosphorylation is definitely mediated by two families of protein kinases: the second messenger dependent protein kinases (e.g. PKA, PKC) SCH 727965 cost and the G protein-coupled receptor kinases GRPKs; [18]. Receptor sequestration is also initiated within seconds to moments of receptor activation and potentially contributes to receptor desensitization by limiting the number of plasma membrane accessible receptor binding sites. Down-regulation, a decrease in the total cellular match of GPCRs, happens in response to longer-term exposure to agonist from moments to hours [18]. Resensitization of receptors entails the reversal of these processes, namely receptor dephosphorylation by phospatases, recovery of sequestered receptors to the plasma membrane, and improved synthesis and or trafficking of receptors to their sites of function [17]. Bradykinin is definitely a nonapeptide (or kinin) created from precursors (kininos) through actions of plasma and cells kallikreins [19]. Kinins are implicated in physiological and pathological processes such as vasodilatation and swelling [19]. Two kinin-specific GPCR have been reported, B1R and B2R. The B1R mediates the actions of Lys-des-Arg9- bradykinin whereas B2R is definitely activated by the main kinin, bradykinin [19,20]. Activation of B2R is definitely preferentially coupled to G proteins of the G-q subtypes, which in turn activate PLC, leading to production of IP3 and launch of intracellular calcium mineral [19,20]. B2R activation activates.
Kcnj12/SCH 727965 cost


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Review: John Wick Chapter Two
Posted on February 14, 2017 January 30, 2020 by Peter Cox
Director: Chad Stahelski
Stars: Keanu Reeves, Ian McShane, Riccardo Scamarcio
John Wick was a happy curio in the post-award season wastes of 2015; a self-aware twist on the trad US action B-movie bolstered by a refreshed Keanu Reeves and the visual discipline of its creators – former stunt players Derek Kolstad and Chad Stahelski – who took a more Eastern approach to their depiction of violence. Going against the grain of how modern American action sequences are presented, Kolstad and Stahelski made the cuts more precise. Simply, they made less of them; replacing disparate quick-fire mayhem with extended sequences of choreographed combat in which the audience was granted a sense of time and geography.
It paid dividends in short bursts, but John Wick still felt like a 'small picture' due to its very shape and framework. A modest word-of-mouth hit, it evidently caused enough of a stir for a sequel to get the green light. Reeves, having secured some of his best notices in years, signed on for more. So off we go with frankly minimal expectations for anything other than a flat-out rehash of the first movie. But John Wick Chapter Two joins that lamentably short list of action sequels that significantly blows it's predecessor out of the water, eclipsing former ambitions with dizzying ease.
Chapter Two picks up right where we left off with its eponymous hit man still nursing his wounds as he ties up loose ends from his recent return into Kolstad and Stahelski's fantasy world of (extremely well) organised crime. Having acquired vengeance for the killing of his puppy (the tongue-in-cheek trigger for film one), he turns his attention to getting his car back. If this sounds like a hollow enterprise to build a sequel around, fear not; this is the flimsiest of excuses to open Chapter Two with a bang (several of them) before the brio of a new story can be assembled.
With barely a moment to bury his arsenal of weapons in the utility closet, Wick is paid a visit by crime-boss-in-waiting Santino D'Antonio (Riccardo Scamarcio – I can't decide which name is better here) looking to call in a professional marker. D'Antonio, it transpires, is the one who helped Wick out of the business in the first place, but he now looks to draw the famed killer further back into the fold. Wick refuses and loses his house. It's not long before New York hotelier Winston (Ian McShane) is sagely advising Wick to honor his debt rather than ratchet up the violence.
But this is John Wick Chapter Two, so violence is coming.
Any sequel worth it's salt will attempt – at least – to honor the original film. Ordinarily such follow-ups are little more than cash cows, playing it safe on a recognised name instead of gambling on a brand new enterprise. Originality is not to be expected in this arena. John Wick Chapter Two is not particularly original. The brief synopsis I've detailed here could come from any number of interminable Steven Seagal bargain-bin titles. But what makes this film such a pure unadulterated joy is how it takes the template of the first movie and makes it feel modest by pushing at the edges, revealing a larger universe.
This is expert world-building, and many of the film's greatest pleasures come from how its creative team unfurl their detailed and idiosyncratic parallel universe. The Continental is, of course, an international chain of sanctuaries, acting like embassies across the world where hit men must lay down arms or risk excommunication from the entire enterprise. Chapter Two globalises the elaborate system of rules already established (it will be worth revisiting John Wick before you go and see this one).
While the additions slow the series down, they also delight. Stahelski's film takes the time to show how news of a new hit is disseminated to the criminal overground via a 50's-style hive of switchboard operators. We travel with Wick to visit his arms dealers and his tailors (establishing a neat range of body armour cut to fit his designer Italian suits). And, in an unexpected nod to Neil Gaiman's Neverwhere, we are granted insight into an intelligence network hidden within New York's homeless population. These additions speak to the appetites behind the camera, hungry to elaborate on an established blueprint rather than simply remix it. Chapter Two feels like an expansion of premise.
Then there is the presentation. John Wick was a slick and stylish piece, but it never particularly took the time to announce its own sleekness, at least not enough to make memories of such grandstanding. By comparison, John Wick Chapter Two peacocks the rising confidence behind the camera. Resplendent with shimmering neon, chiaroscuro and, in its Italian sequences, redolent nods to giallo pictures of the 1970's, Chapter Two is one of the most beautiful action films to have appeared in the last decade. Dan Lausten's cinematography is gorgeous, recalling the sheen given to Nicolas Winding Refn's work by Larry Smith and director Stahelski afford his film moments of (comparative) stillness in which to just bask, De Palma-style. It can be lurid, but immaculately so. In a less snooty arena, this would be the stuff of statuettes.
The pacing is more consistent too. Chapter Two is a longer proposition, prone to the occasional dalliance but where it's predecessor seemed to run out of steam in the third act, this sequel regroups and ups the momentum, peaking with a hall-of-mirrors showdown that nods to Enter The Dragon and The Lady From Shanghai. The film runs for the exits promising more – Dark Knight style. And after such an adrenalised two hours of hyper-reality you may find yourself struggling to shift gears back into real-world rhythms. That's transportive cinema. John Wick Chapter Two is action gunporn as absolute escapism. I want to live in its word except I don't because I'd die immediately.
Doesn't it just glamourise violence? A slicker variant on the plague of irresponsible bullet-ridden ugliness churned out by Hollywood ad nauseam? It's aesthetic prowess gives and gives but there remains a strong argument that Stahelski's gratuity is no better than that doled out by the likes of Zack Snyder or Matthew Vaughn, but beneath the veneer the film actually condemns the violence it waves like a bloodied straight razor.
Kolstad's script pushes (at times awkwardly) the sense that Wick – and everyone else here – are caught in some infernal purgatory at the behest of Winston. Wick's goal is to escape violence – it's a righteous quest – yet he is already caught in its whirlpool. It's a catch-22. Chapter Two suggests that a checks and balances system of retaliation and vengeance can only lead to reprisals and escalation. The story is incomplete – roll on Chapter Three – but it'll be interesting to see how Kolstad and Stahelski resolve the damnation nipping at John's heels. It feels real-world relevant. How do you end a cycle like this one? A cycle like ours.
In the meantime, this is about as good as action cinema is likely to get this year (even a second act Laurence Fishburne detour can't capsize this bad boy). My sage advice to you is to catch up or you'll simply fall behind.
Tagged Action, Chad Stahelski, Derek Kolstad, hitmen, Ian McShane, John Wick, John Wick Chapter Two, Keanu Reeves, organised crime, Riccardo Scamarcio, violence
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