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MATTHEW VON UNWERTH, INC. (DOS ID 5906516) is a corporation registered with New York State Department of State (NYSDOS). The initial filling date is December 31, 2020.
MATTHEW VON UNWERTH, INC. is a business entity registered with New York State Department of State (NYSDOS). The DOS entity number is #5906516. The office address is located at 529 East 85th St #3a, New York, New York 10028. The business is initally filed on December 31, 2020. The registered agent is United States Corporation Agents, Inc..
Entity Name MATTHEW VON UNWERTH, INC.
Entity Type DOMESTIC BUSINESS CORPORATION
County NEW YORK
DOS Process Name MATTHEW VON UNWERTH, INC.
DOS Process Address 529 East 85th St #3a
Street Address 529 EAST 85TH ST #3A
City NEW YORK
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text:
Drafting beyond the ending
On Rachel Blau DuPlessis
Edited by Patrick Pritchett
'The force of an intervention'
Rachel Blau DuPlessis's response to Oppen
Libbie Rifkin
Rachel Blau DuPlessis and Linda Oppen on October 25, 2011, in front of a Robert Motherwell at the Museum of Fine Arts in Boston, just before George Oppen event at the Woodberry Poetry Room, Harvard University. Photo by Patrick Pritchett.
"Whether as the intensity of seeing increases, one's distance from Them, the people, does not also increase" — Rachel Blau DuPlessis to George Oppen[1]
George Oppen was an important friend and instigation for Rachel Blau DuPlessis at the start of her career as a poet-critic and has remained a presence throughout. Their relationship was mutually productive both despite and because of their difference in age, gender, and as DuPlessis's career progressed, her intertwining scholarly, critical, and political commitments. He offers an admiring, brief comment on the back jacket of her first book of poetry, a visit to the Oppen archive just after his death is among the several events that she has cited as launching Drafts, her work in seriality and collage that stands as a major and ongoing contribution to the long poem tradition, and acts of citation and dedication continue throughout the work. During the same period in which DuPlessis was writing what she would come to conceive of as the first "half" of her long poem and the experimental essays she would collect in The Pink Guitar, she edited both The Selected Letters of George Oppen and, with Peter Quartermain, The Objectivist Nexus. Beginning with his response to an early piece of her dissertation on Pound and Williams, Oppen's letters to DuPlessis reveal him to be the rigorous mentor he was to several younger poets of the moment. However, one significant feature of their correspondence distinguishes it from most of the other younger poets to whom Oppen was then writing: the way in which letters to her function as a site for working out his response to the New Left and the relationship of that response to his poetics. They would directly discuss the intersection between poetry and politics in the late 1960s, but in October 1965 it is the subtext of another unique aspect of their friendship: the fact that just two months into it he sends her the poem that would become "Of Being Numerous," and, while rejecting most of her queries, includes the question I cite as my epigraph prominently in the finished product.
In February 2006, in the midst of a lifetime of personal and poetic connection to Oppen, DuPlessis returns most directly to "Of Being Numerous" in "Draft 85: Hard Copy," a poem which is, in her words, "mapped loosely on, thinks about, and responds to" Oppen's poem.[2] In returning to her initially restrained inquiry into Oppen's stance with respect to social collectivity, DuPlessis sharpens it and, in so doing, begins what might be a reorientation of her own. This turn, which might be called a torque towards the political, marks a crucial juncture forher long poem. Over the now twenty years and five volumes of its production, Drafts has absorbed a range of sociopolitical issues and events — most obsessively the Holocaust and gender inequity.[3] I have argued elsewhere that Drafts' accumulation of and commentary upon on the materio-linguistic fragments of modern catastrophe represents DuPlessis's unique version of Walter Benjamin's tarrying among the ruins of culture in order to uncover their "messianic" potential, the historical materialist process of "brush[ing] history against the grain ("Little Words"). Through procedures like layered deictic gestures, randomized repetition, and what DuPlessis calls the "fold," Drafts creates the conditions for poetic language to produce and reproduce itself, letting go of certain elements of authorial control.[4] The considerations informing these practices are multiple — from a desire to dismantle muse and hero figures, to a recognition that even the smallest signifying element may bear witness to provisional truth, and that, therefore, "to show," in Benjamin's terms, rather than "to say" is the most humane approach. As Walter Kalaidjian puts it: "DuPlessis grants a certain autonomy of expression to the 'anguage' she witnesses in her verse" with the belief that "the revolutionary moment of Benjamin's 'material historicism' happens neither in the social solidarity of a 'polis' nor in some saving ideological narrative of heroism and progress" but instead in the "truth" of language's "symbolic procedures."[5]
But even as DuPlessis continues to theorize the validity of this practice, and while the very structure of Drafts is hardwired against any singular trajectory, the last page of Torques summons the poem to radical change: "Clear the table! Break this allegiance! … Begin! / Here! And Here!"[6] The "intransigent response" DuPlessis demands in "Hard Copy" — the title itself suggestive of a new directness — is the only response, she suggests, to the "error after error" of modernity as it builds towards a kind of catastrophic apogee. Early in the poem, she asks, "Were there other times like this— / over and beyond the bearable?" While acknowledging that the question is "callow," she also says it is "heartfelt" and goes on to confront the evidence accumulating quite literally at her doorstep. It "surely seems a bloody time," she writes, with a sense of understatement, "where / someone is murdered down South 23rd St., / drugs, deals, rage, guns, / and then / the shame of War … / cabal of manipulation and / devious complicity." The answer to the initial question is apparently "no," but the poem is going to continue, "demanding other — unknown, strengths." She asks, "What is the point of pure revulsion? I am beginning / to be very simple, to have very simple thoughts, no / complicated language" she writes. "Hard Copy" is by no means "simple," but in it, Drafts, whichhas built itself into a reverberative archive of traumatic witness, turns toward political judgment and action.
And this is why "Hard Copy," written at the moment when the costs of the Iraq War were poised to exceed Vietnam, faces Oppen and "Of Being Numerous" so directly. DuPlessis's critical reassessment of what Oppen called, in "The Mind's Own Place," the poet's "political non-availability" marks an important moment in Drafts as a long poem that would, as DuPlessis puts it, "offer the force of an intervention." In section 37 of "Hard Copy," DuPlessis cites lines from both her first book of poetry, and from section 37 of "Of Being Numerous" which itself glosses lines from Discrete Series, Oppen's first book of poetry. Both poets view their early work from a distance of about thirty years, questioning their efforts "'to see / what was really going on.'" Oppen appears ambivalent, both about his decision to open Discrete Series with the Henry James character Maude Blessingbourne, in an attempt to see with her into a new century's clarity, and about whether witness can yield anything in the contemporary moment. Against argument and action, which the poem suggests are guilty of "thickening the air / … with myth," the section ends with the vague affirmation that the act of seeing the materials — "motes, an iron mesh, links" — is still "relevant."
Writing what she has called a "midrash" on their accumulated language, DuPlessis creates a meeting place for, "what could then be written," as "then" points to the locus of constant change — 1934, 1968, 1980, 2007. While the page thickens with citation, it becomes curiously, correspondingly clear.[7] Drawing from the title of one of the "donor drafts" of "Hard Copy," the act of "facing pages" in this instance produces not just a "coruscation" — a word whose vagaries she considers in that draft — but a fiery blast, the explosion of direct combat. As her text engages Oppen's retrospect on his own, DuPlessis whirls round to confront what's happening right now: "One nano-second later and / a snarl of light that crashed to the floor binds one / to the terrors of historical time," she writes, "That's what awe is, that's what fear. / Demanding an intransigent response / To the knife and its addictive power." Where Oppen's consideration of the act of seeing still finds in it a primary if limited ground on which to stand, DuPlessis's poem cannot contain itself to a discussion of first principles — the extratextual world comes crashing in and "binds" her to respond; there is no choice.
The experience of binding, the reality of the knife — DuPlessis is here presenting the echoes of the binding of Isaac, in the ongoing war of human sacrifice conducted along the thin line between faith and secular ethics. She has recently called this story "the most startling, repeated, vital," biblical text in Drafts as a whole, a negative moment in her sense of "creolized Jewishness."[8] Here, it recalls most immediately Oppen's modified citation, in section 16 of "Of Being Numerous," of a fragment from Kierkegaard's Fear and Trembling. Oppen's section begins, "'… he who will not work shall not eat," and concludes, "and only he who unsheathes his knife shall be given / Isaac again. He who will not work shall not eat … / but he who will work shall give birth to his own father." His identification with the value of "work" opens his text to a surprising endorsement of "unsheathing his knife" as an act of sincerity, grounded in the "vertical consciousness of oneself and one's god." This stance becomes especially clear when we read section 16 as a rejoinder to section 15's ventriloquizing of the concern with being or doing "good" that Oppen disparagingly associated with women poets: "'… find every hair / Of my belly, I am good (or I am bad), / find me.'"[9] Work, or more specifically the solitary "workman," is cited as a strongly positive way to "speak of poetry," in section 27, further sharpening the gender distinctions that emerge in the interchange between 15 and 16.[10]
"There is trouble in the desert," DuPlessis writes in her section 16, "trouble in the lineage," meaning at once her Jewish lineage and her patrilineage in Oppen. Part of the problem and likely part of the allure of Abrahamic allegory is its stark singularity: "they are all male singletons," she writes, "one A, one I and one One / (undercounting various brothers / who do not matter in the tally; nor enumerating most sisters, though they certainly existed)." For DuPlessis, the resolution of Judaism's founding narrative is radically inadequate because of this singularity; it needs to be reread from the perspective of the absent Ishmael, the unnamed sisters. Even as "regime of human sacrifice / was declared theologically finished," she writes, it is clearly not "politically and ideologically finished," because of the value it gives to what the poem elsewhere calls, referring to Bush and Cheney, "single Illumination," and "mono-Ocular blind-sided Vision." In section 9 of her poem, we find the knife "readied / for another human sacrifice" in this "this time and place."
Section 9 is, of course, the site of DuPlessis's original entrance into "Of Being Numerous," and in "Hard Copy," she treats this looking glass moment with a mixture of self-deprecation and seriousness: "And in this space a birth of enigma / to which one owes one's own enigma," she writes, in the space Oppen allotted her fragmented question. But the question she goes on to ask reflects her accumulated sense that the "distance from Them, the people" has increased, with dangerous effects: "What art for this recurrence?" In the word "recurrence" I read DuPlessis's torque on Oppen's "occurrence" — a value term, linked in his thought to "experience as it presents itself on its own terms" and positioned prominently in the opening section of "Of Being Numerous" as a figure for human relations as at once "true" and "impenetrable": "Occurrence, a part / Of an infinite series." Maintained over the "time that has passed — almost forty years" between the two poems, this stance, DuPlessis seems to suggest, may be partially culpable for the "grief after grief, / error after error, profit after profit," the history of violent recurrence. At the very least, for her, right now, it is inadequate: "as if the sheer clarity of pointing / the dialectical oscillate of meditation / could ever illuminate this time and place."
Clearly what I've read as DuPlessis's critical Jewish response to Oppen is also a critical gender response. The Abrahamic gift of "giving birth to one's own father" is but one site in "Of Being Numerous" where masculinity and a valued, austere singularity become possible in reaction to feminized figures of less rigorously considered human connection. As John Lowney has noted, female and feminized figures become a primary focus in the latter sections of the poem, though Oppen tends to position them as either beautiful objects of vision — "the perfect tendons / Under the skin" — or "assuming the burden of blindness."[11] The long poem presses towards its conclusion through these images, beginning with section 29's address to "my daughter, my daughter … / I have a daughter / But no child," and ending, ambivalently, in the voice of Walt Whitman contemplating the statue of freedom atop the Capitol dome, in a letter written during the time he spent in Washington as a quasi-nurse tending to Civil War wounded.[12]Of the final sections of the poem, 34 probes issues of gender most deeply, reviving intratextually many of the "competing propositions" that I've been arguing Oppen kept in play both on and off the poetic page in the decade of his reemergence.
The section begins, "Like the wind in the trees and the bells / Of the procession." Like section 9, this opening cites the writing of a young woman, however here the words are incorporated without quotation marks. Until Lowney's chapter, DuPlessis remained the only reader to address the fact that these lines come from a woman named Jo Pacheno, in a brief note to a 1966 Oppen letter to John Crawford in which Oppen discusses "the problem of the 'I' in feminine poetry," and the question of Pacheno's future as a poet.[13] The letter summons Sappho and Emily Dickinson as the only women writers capable of achieving "some sense of the distances and the realities around the 'I'" that Oppen associates with "the chance of poetry." In "Of Being Numerous," Pacheno's "procession" opens onto a catalogue of "beautiful particulars." Encompassing the natural ("the earth / children and the grass") as well as the urban ("the papers blown about the sidewalks"), these specific details are at once a site of value and limitation. Given the liberty of Oppen's multidirectional line breaks, we read "Among the beautiful particulars … // '… a Female Will to hide the most evident God / Under a covert.'" Lowney has suggested that the prophetic stance of this couplet from William Blake's Jerusalem appears "disjunctive" with respect to the opening nine lines of the section, which he describes as an homage to the "immanentist poetics" of Reznikoff's "urban pastoral."[14] But if the juxtaposition seems sudden, it isn't surprising, as it recapitulates the double positioning of women as both mute representatives of a valued object world and powerful agents of the "regime of right thinking" that would "veil" that world's truths [this is the argument that the longer version of this essay develops extensively with respect to Oppen's poetry, prose, and letters]. In the compressed logic of this passage, the feminized "particulars" (in the form of Blake's Vala) themselves block access to "infiniteness," or what Oppen calls in the letters, "vertical consciousness." When section 34 resumes after the Blake quote, it underscores, rather than contradicts it. For whatever the social etiology of the "burden of blindness" women "assume" (and the poem leaves their choice in this matter an open question), they remain "intruders," associated with "life" and the relationships of dependency that stem from it, as against "the most evident God."[15]
There are six more sections of "Of Being Numerous," and the fact that the last three revolve around the figure of a genderless "Nurse" and appear to embrace the "knowledge" gleaned from "touch" and "care" does much to complicate the value system Oppen established around these terms and the people he associated with them. The poem may very well remain, as DuPlessis has recently said, "perfectly unstable." But if even this is the case, its reception is riddled with gender gaps, and her section 34 of "Hard Copy" seeks to fill them. Where he launches his section with the uncited "voice" of a woman would-be poet, she constructs hers entirely of dedications, beginning, "To mothers who cannot / protect their young?" She inhabits his heroic/romantic figure of "the young women // Carrying life / Unaided in their arms" from the inside, investing her "mothers" with a canny double consciousness: "They probably know / impotent despairs, / expressed as resignation / but surfacing in little sleights of hand, candy," she writes. This passage subverts the precursor image in "Of Being Numerous," giving the lie to the debilitating sweetness of yet another iteration of the "Lady Poet … the Domestic Poet, the poet of the happy ending," against whom Oppen would establish his "purity," his "clarity in the sense of silence."[16] Though it is clearly intended to question the nature of the "courage" that Oppen attributes to his "young women," we might also read the central stanza of DuPlessis's section 34 as a dedication her younger self and, more distantly, to Denise Levertov (whose relationship to Oppen as a figure of a feminized, abjected political sphere the longer version of this essay traces):
To girls asked to filter the universe
by the poets who evoke their beneficence?
what will protect them
from the enormities
that they might suffer in their skirts and veils
while staged on the buffer zone they
are imagined to constitute?
If there are answers to the above question, they lie in the "fierce storehouses of articulation" that, as her career builds, sharply distinguish the "mesh" of DuPlessis's writing from Oppen's "clarity in the sense of silence," even as she works to establish his poetic reputation and position him literary historically ("Hard Copy"). Occupying multiple positions in the nexus of "participation, production, and reception over time" is another answer — multitasking as feminist strategy.[17]
This essay is excerpted and adapted from a longer piece entitled "'That We Can Somehow Add Each to Each Other?': George Oppen between Denise Levertov and Rachel Blau DuPlessis," which appears in Contemporary Literature 51, no. 4 (Winter 2010).
1. Rachel Blau DuPlessis, letter to George Oppen, 1965, in The Selected Letters of George Oppen, ed. DuPlessis (Durham: Duke University Press, 1990), 390. Cited in Oppen, "Of Being Numerous," New Collected Poems, ed. Michael Davidson (New York: New Directions, 2002, 167.
2. The poem is collected in Pitch: Drafts 77–95 (London: Salt Publishing, 2010).
3. The small press Potes and Poets published up through Draft XXX before Wesleyan University Press brought out its first volume, which republished the thirty drafts along with an additional eight to produce what is commonly taken to be the first volume, Drafts 1–38, Toll (Middletown, CT: Wesleyan University Press, 2001).
4. After the nineteenth draft, DuPlessis established a grid method of composition whereby each new poem emerges in part out of the language, ideas, images, etc. of its "donor draft" nineteen poems prior to it. DuPlessis discusses "the fold" in depth in "Inside the Middle of a Long Poem," in Blue Studios: Poetry and Its Cultural Work (Tuscaloosa: University of Alabama Press, 2006), 242–43.
5. Walter Kalaidjian, The Edge of Modernism: American Poetry and the Traumatic Past (Baltimore: Johns Hopkins University Press, 2006), 96.
6. DuPlessis, Drafts 58–76, Torques (Cambridge, UK: Salt, 2007), 136. In an essay on Oppen, DuPlessis analyzes his formation of the line and the "combinatoire" of materials he achieves across line breaks in terms of Benjaminian allegory (Blue Studios, 196). The essay begins "in memoir" with an account of Oppen's early editing of her work, and announces that "in a certain light everything I write is set against his uncompromising sign" (186).
7. DuPlessis describes the "midrashic" element of her poetics in a number of essays, including, most recently and fully, "Midrashic Sensibilities: Secular Judaism and Radical Poetics (A Personal Essay in Several Chapters)," in Secular Judaism and Radical Poetics, ed. Stephen Paul Miller and Daniel Morris (Tuscaloosa: University of Alabama Press, 2010), 199–224.
8. "Drafts" that work through this story include "Draft 25: Segno," "Draft 32: Renga," "Draft 34: Recto," and, most significantly prior to "Draft 85," "Draft 52: Midrash" (in Drafts 39–57, Pledge [Middletown, Connecticut: Wesleyan University Press, 2004]).
9. Commenting on the "find me" section in a 1965 letter to Diane Wakoski, Oppen writes, "it seems to me still the pitfall that has trapped every woman poet who has written in English: I am good (or I am bad); find me" (Selected Letters, 110; noted in New Collected Poems, 384). Nevertheless, Oppen admired Wakoski personally and poetically.
10. Oppen's Kierkegaard citation has for the most part eluded critics. Zack Finch offers one of the most extensive analyses to date in a recent essay about Oppen, Whitman, and violence. Introducing an interesting sexual waver into the gender terms with which we've been working, Finch claims that the citation "addresses both Abraham — 'he who unsheathes his knife' — and Isaac, who 'shall give birth to his own father.' Isaac's suffering is really just as unthinkable as Abraham's. Through an act of Levinasian forgiveness in the face of originary persecution, Isaac manages to give birth to his father, to renew the father's life. … For the labor of giving birth, as an act of being penetrated from within, is both a temporary wounding and a sacrifice one typically considers to be an act of love. In giving this maternal work to a man, Oppen opens himself to the ordeal of a penetration which he actively chooses." Finch, "'I am / of that people the grass / blades touch': Walt Whitman and the Aesthetics of Curiosity in George Oppen's Critique of Violence," Jacket 36. In my reading, the fragment Oppen takes from Kierkegaard seems focused solely through Abraham's perspective, and the poet's identification, to the extent there is one, is, I'd argue, with him.
11. Oppen, New Collected Poems, 183, 184. See John Lowney, History, Memory, and the Literary Left (Iowa City: University of Iowa Press, 2006).
12. Oppen, New Collected Poems, 181, 188. Several recent essays have discussed the stakes of Oppen's Whitman citation, including Izenberg, Lowney, and Finch. Lowney reads Whitman's status as a "nurse" as "perhaps the most conventional representation of female valor," and suggests that it is on these antimasculinist terms that the poem means to end (225).
13. Oppen, Selected Letters,137, 392n18. Davidson doesn't mention this citation in his notes to the poem in the New Collected. Lowney reads Oppen's appropriation of Pacheno as validating "female vision" (224).
14. Lowney, History, Memory, and the Literary Left, 223.
15. Lowney's discussion of Oppen's dialectic between Reznikoffian immanentism and Blakean vision is relevant here. I would argue that this section does in fact resolve in favor of prophetic distance.
16. Oppen, New Collected Poems, 175.
17. DuPlessis and Peter Quartermain, eds., The Objectivist Nexus: Essays in Cultural Poetics (Tuscaloosa and London: University of Alabama Press, 1999), 21, 22.
Patrick Pritchett has curated this ambitious feature devoted to the work of Rachel Blau DuPlessis, whose poetry and criticism transformed the field of feminist poetics. In addition to groundbreaking studies such as Writing Beyond the Ending: Narrative Strategies of Twentieth-Century Women Writers; H.D.: The Career of That Struggle; Genders, Races, and Religious Cultures in Modern American Poetry, 1908–1934; and the genre-bending trilogy The Pink Guitar: Writing as Feminist Practice; Blue Studios: Poetry and Its Cultural Work; and Purple Passages: Pound, Eliot, Zukofsky, Olson, Creeley, and the Ends of Patriarchal Poetry, DuPlessis is also known for her long poem Drafts, in which, Pritchett writes, "investigation is not simply a prod to the ethical; it's heuristic."
Patrick Pritchett
Un-scene, ur-new Ron Silliman
Openings: Some notes on the political in 'Drafts' Eric Keenaghan
'The force of an intervention' Libbie Rifkin
Envoy: Postings on the digital life poem Paul Jaussen
How to mourn-touch C. J. Martin
Take your time: The ethics of the event in 'Drafts' Catherine Taylor
A little yod and a rocking enormity Daniel Bouchard
Inverting the middle Thomas Devaney
'The page is slowly turning black' Harriet Tarlo
'All serifs are seraphim' Patrick Pritchett
At the critical/poetic boundary Naomi Shulman
'Drafts' and the epic moment Bob Perelman
Drafts and fragments Alan Golding
Ghost tracks Chris Tysh
On 'Pitch,' with special reference to 'Hard Copy' C. J. Martin
Debris Field (a midrash for RBD) Patrick Pritchett
Draft 109: Wall Newspaper Rachel Blau DuPlessis
'My Little World Goes On St. Mark's Place'
Libbie Rifkin reviews 'Disobedience' by Alice Notley

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China confirmed an imported case of Zika virus on Tuesday, February, announced by the National Health and Family Planning Commission (NHFPC).
The patient is a 34 year old man from Ganxian county of the eastern Jiangxi Province. He was traveling to Venezuela on January 28th and was about to return to Hong Kong on February 5th. He suddenly experienced fever, headache, and dizziness.
The Zika virus is usually spread through mosquito bites. Infected people will become carriers when they have symptoms.
For most, the symptoms are mild such as fever, headache, rash and possibly pink eye. Since 80% of those infected never know they have the disease, most concerns come from pregnant women who could pass this virus to their growing baby.
Also, there are virus transmission cases occur through labor, blood transfusion, laboratory exposure and sexual contact. However, it is still unknown that if Zika in breast milk can be passed to the baby through nursing or not.
Back to the case, the NHFPC said that considering the evaluation by public health officials and experts, along with the low temperature at present, the risk of further spreading of the virus due to this imported case is extremely rare.
Although Zika, unlike some other those viruses, has no vaccine to prevent infection or medicine to treat the infection, the patient has to be quarantined and treated in a hospital in Ganxian since Saturday, February 6th. Now, he is recovering with normal body temperature and a fading rash.


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text:
Trelawny Man gets 16 months prison sentence for mowing down cop
Home Falmouth Jamaica Accident
in Accident
Bounty Hall Man Killed at Mother's Wake
Almost 2 years after a police inspector was mowed down by a motorist outside the Clark's Town Police Station, Andrew Brown, a Trelawny resident has been sentenced for the death of the officer.
Inspector Mark Gibbs was conducting a routine check at the station in which he was in charge. Police reports state that he was the victim of a hit-and-run accident. The incident occurred on August 19, 2016 at about 5 pm.
Inspector Gibbs was taken to the Falmouth Public General Hospital where he was pronounced dead. Brown reportedly turned himself into police the next day after fleeing the scene.
Police Inspector, Mark Gibbs killed in hit-and-run accident – Photo via The Gleaner
Andrew Brown, the driver, was sentenced to 16 months in prison on Friday in the Trelawny Circuit Court, after pleading guilty to a charge of manslaughter.
read more at loopjamaica.com
Tags: circuit courtclarks townhit and runMark Gibbspolice
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Muschett High Track & Field Contingent Leaves Island to Compete in Miami Classic
Muschett High Bags 10 Medals In Its First Ever International Track & Field Outing
Fiery accident near Rio Bueno claims the life of a woman
Health Minister Tufton calls for speedy investigation into attack on Falmouth Hospital
Falmouth man dies in crash: Falmouth Hospital attacked and damaged


text:
Q: Kafka consumer - why offset resetting is logged in heartbeat thread? I am using Kafka 2.0.0 and Spring-Kafka 2.1.10
So when i browse my consumer log I can occasionally see log like below:

2020-07-16 20:32:13,451 kafka-coordinator-heartbeat-thread |
my-group-id INFO  internals.Fetcher - [Consumer clientId=consumer-1,
groupId=my-group-id] Resetting offset
for partition my-group-id-2 to offset 37231.

Does this mean the offset resetting happened on the heartbeat thread? This looks very weird though.
This only happened once at the startup of my consumer program. Following resets are no longer logged in heartbeat thread any more.

redpajama_set_name: RedPajamaStackExchange


The two partners want to realize the full potential of flexible automation and unlock new business opportunities enabled by combining 5G and Industry 4.0.
Global technology major Ericsson and ABB, the technology leader focused on digital industries, have strengthened their collaboration to accelerate the industrial ecosystem for flexible wireless automation.
The partnership will enable enhanced connected services, Industrial IoT and artificial intelligence technologies in the future.
The partners enhanced their joint vision for future flexible production with automation and wireless communication by signing a Memorandum of Understanding (MoU) at Hannover Messe 2019.


text:
More Movies Movie Reviews Movies Reviews Spotlight The 1970's
Revisiting Bernardo Bertolucci's controversial "Last Tango In Paris"
October 14, 2022 October 14, 2022 Pop Expresso 1 Comment 1972, 70's, Bernardo Bertolucci, Erotic, Last Tango In Paris, Maria Scheneider, Marlon Brando, Movies, Reviews
The 1972 reputation of the movie featuring Marlon Brando and Maria Scheneider still lives up to it's enduring controversy
The 1972 Bernardo Bertolucci film "Last Tango in Paris" turns 48 and we revisit some of the reasons that makes this one of the most iconic and controversial films of all time.
Paul (Marlon Brando) is a lonely American businessman struggling to make sense of things after the death of his wife. Jeanne (Maria Schneider) is an ebullient young woman drifting haphazardly through life, caught up in a romance with an ambitious young filmmaker whom she doesn't know if she loves. When they meet in a deserted Paris apartment its lust at first sight, but the affair which begins there refuses to submit to the restraints they try to place on it. Wary of emotional involvement, Paul shuns conversation and refuses to exchange names. Their actions are self-consciously sordid and self-serving, but nevertheless, something develops between them which threatens to overwhelm them both. Born of one of Bernardo Bertolucci's fantasies about carrying on a purely sexual affair with a complete stranger, "Last Tango in Paris" is winningly eccentric, dark but also oddly whimsical in its mood, music, camerawork, and personalities. The film is both erotic and intensely realistic in its exploration of sexual values and morality. The famous butter scene which involves Schneider face down on the apartment floor while Brando applies butter to her rear and performing anal sex. "That scene wasn't in the original script. The truth is it was Marlon who came up with the idea," Schnedier told the UK Daily Mail in a revealing interview in 2007. "They only told me about it before we had to film the scene and I was so angry. I should have called my agent or had my lawyer come to the set because you can't force someone to do something that isn't in the script, but at the time, I didn't know that." "Marlon said to me: 'Maria, don't worry, it's just a movie,' but during the scene, even though what Marlon was doing wasn't real, I was crying real tears. I felt humiliated and to be honest, I felt a little raped, both by Marlon and by Bertolucci. After the scene, Marlon didn't console me or apologize. Thankfully, there was just one take." Many believed that the sex scenes between Brando and Schneider were for real, but she insists: "Not at all. There was no attraction between us. For me, he was more like a father figure and I a daughter. "Marlon said to me: 'You look just like Cheyenne (his daughter, who subsequently committed suicide in 1995) with your baby face.'" Bertolucci wrote the screenplay in collaboration with his editor, Franco Arcalli, but in probing the American psyche he relied on Brando's input. Many directors were driven to distraction by Brando's notorious methods, his hesitant, questioning approach to his material. But in this case, it was exactly what the director wanted. Much of Brando's role is improvised and his emotional responses touch some deep nerves in him, where his Method acting ability is most noticeable. There's a rich crossing of reality with fiction as Brando talks about his upbringing as a farm boy, living with an abusive drunk father and a drunk mother who at least was sensitive and taught him to love nature. Cinematographer Vittorio Storaro provides a variety of brown and green muted colors to set the physically oppressive and masochistic atmosphere that prevails. Francis Bacon paintings were used in the opening credits and set the excessive death-like and flesh-like tone for the film. While Bertolucci wisely gives the greatest actor of our time enough room to bring out his instinctual and polished acting skills, in a role that could have been lost in its funkiness and narcissism if it weren't for Brando's ability to get us to share his pain. It's strange to look back on 1972 and see Marlon Brando as he was then, already aging badly yet still possessed of the vitality and brooding edginess which made him one of Hollywood's all-time greats. "Last Tango In Paris" is perhaps his last truly great film, and bringing him together as it does with Bertolucci, it's something which no lover of film can afford to miss.
By Ken Warren, 2017-18
Origin: France | Italy
Directed by: Bernardo Bertolucci
Starring: Marlon Brando, Maria Schneider, Maria Michi
Watch the original "Last Tango In Paris" 1972 trailer
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My Generation is a very flexible, powerful code generator and it's 100% free. MyGeneration executes templates to transform database meta-data or schemas into object-oriented architectures, stored procedures, XML, HTML, ASP.NET pages, and more. Templates can be written in VBScript, JScript, C#, and VB.NET. All four template languages provide the ability to toggle between literal content and executable code via the standard <% %> tags. The two scripting languages have full access to COM via CreateObject() and the two .NET languages have full access to the .NET namespaces. Anything is possible! Templates are a very flexible way to generate code, as opposed to wizards or other fixed user interfaces that would hem you in and force you to work in a certain way.
As its main source of input, MyGeneration uses the metadata within your DBMS system. This metadata is, in many ways, an excellent description of your application. This is especially true when creating n-tiered applications that have a data-access layer and a business logic layer. MyGeneration can easily generate your particular n-tiered architecture or you can use the architecture shipped with MyGeneration which is named dOOdads (see Figure 1). MyGeneration supports Microsoft SQL, Microsoft Access, Oracle, IBM DB2, MySQL (instances running on Microsoft platforms), PostgreSQL, FireBird, Interbase, SQLite, and VistaDB.
MyGeneration ships with many sample templates, including templates that can generate the dOOdads architecture in C# or in VB.NET. However, you can think of MyGeneration as a clean sheet of paper ready to record your thoughts and generate whatever you need. MyGeneration Software even hosts an online template library that allows its users to register and publish templates to be shared with other users. Some of the templates published include templates that generate ASPX pages, ASCX controls, Gentle.NET classes, XML Documents, SQL Migration scripts, and more.
So what does a template actually look like? The code in Listing 1 is a sample template that will write out all of the column names from the SQL Server Northwind Employees table, their C# language types, and their driver types. After looking at the results of Listing 1, it should become clear how easy it would be to make an object that encapsulated the Employees table.
One of the most unique features of MyGeneration is that it allows you to create your own user interface for your template within the template itself. A MyGeneration template consists of two parts: the template body and the template user interface. MyGeneration first executes the user interface section of the template and then ensures that the user selections are made available to the body portion of the template, which is executed next.
In Figure 2 the template scripting engine (or body) is set to Microsoft Script, which means it will be written in either JScript or VBScript. However, the GUI scripting engine is set to .NET Script, which means it will be written in either C# or VB.NET. Notice how you can mix and match engines and languages to suit your needs within the same template. Using ".NET Script" as your user interface language will grant you full access to the System.Windows.Forms namespace.
ui.AddLabel "lblNamespace", "Namespace: ", "Provide your objects namespace."
ui.AddTextBox "txtNamespace", "Your.Namespace", "Provide your objects namespace."
There is a finite set of controls that you can use in your VBScript or JScript user interfaces. For instance, the DataGrid is not available. However, remember that MyGeneration's .NET template languages will effectively grant you full access to the System.Windows.Forms namespace, allowing you to create your own fully functional user interface complete with DataGrids and third party controls. Are you thinking of creating your own Object Relational Mapping (ORM) tool and an accompanying architecture? MyGeneration supplies everything that you need.
MyGeneration allows you to map your native DBMS data types to any desired computer language type and to any desired driver type. Mappings are entered in the dockable windows shown in Figure 4. For example, you can map the Microsoft SQL Server bit data type to the C# bool type or to the VB.NET Boolean data type. You can also map the bit type to the SqlClient type of SqlDbType.Bit. Once mapped, during script execution you can access the Column.LanguageType or the Column.DbTargetType property to retrieve the proper value for any given column or stored procedure parameter type. MyGeneration ships with preset mappings for most DBMS systems into VB.NET and C#. However, there is nothing to prevent you from adding entries for J#, Java, or other languages.
The assembly attribute references the DLL and the classpath attribute is the .NET class that will be instantiated to represent the intrinsic object. The varname attribute is the name of the variable as it will appear to the template. The plug-in architecture offers all kinds of opportunities.
The MyMeta engine is a plug-in that provides extensive metadata from many different DBMS systems. Figure 5 is an image of the MyMeta Properties window displaying many of the properties available for a column that is contained in a table or a view. The MyMeta Browser shown in the treeview in Figure 1 and the MyMeta Properties shown in Figure 5 are synchronized. To see the properties of an object in the MyMeta Properties window, you simply click on the desired object in the MyMeta Browser.
The MyMeta plug-in was written in C# and is exposed via COM interop to give VBScript and JScript access to the metadata. The metadata provided by the MyMeta plug-in is exposed via interfaces. For instance, a column in a table or a view is represented by the IColumn interface. The IColumn interface remains the same across all DBMS systems. As mentioned earlier, MyGeneration ships with a free .NET architecture named dOOdads. A single template creates dOOdad business entities for Microsoft SQL, Microsoft Access, Oracle, and Firebird. This is possible because the MyMeta plugin makes all DBMS systems appear the same through these interfaces. The interfaces supported by MyMeta are as follows: IDatabase, ITable, IView, IColumn, IIndex, IForeignKey, IProcedure, IParameter, IResultColumn, and IDomain. Each of these interfaces also has a corresponding collection. For instance, IColumns is the collection for IColumn.
The MyGeneration dOOdad business entities use inheritance to avoid regeneration problems. A generated dOOdad (C# or VB.NET class) is abstract and is never hand edited. Instead a class is derived from the generated class, thereby making it concrete. It is within the concrete class that users add custom business logic. Because the generated or abstract class is never hand edited, there are no regeneration problems. However, HTML, stored procedures, XML, and other formats really don't have the inheritance option. There will be times when you just have to hand edit generated files. MyGeneration has a solution for this situation: Preserve Regions.
Suppose you want to generate, insert, and update stored procedures for all of the tables in your database. This is no problem for MyGeneration. However, suppose that a handful of these stored procedures need to write to an audit table when a record is updated. There is no metadata lying around in your DBMS system (accessible in your template) that will relay this requirement. One option is to simply hand code it into the generated stored procedures. But what if you later change a column in one of your tables, and you have to regenerate a stored procedure that you have hand edited? Will you lose your changes? Certainly not. You would protect any hand-coded areas with a Preserve Region.
The next time you regenerate the stored procedure, everything within and including the Preserve Region will be preserved. You can even move the output.preserve("AuditTrail") region around in your template, and your custom code will move to the new location the next time you regenerate. If you remove the output.preserve("AuditTrail") region from your template, the next time you regenerate that region will be gone. There is an example of this in the "HTML Database Report" template provided with MyGeneration, but it uses the HTML comment syntax.
For your application you might need to generate stored procedures, business entities, and HTML documentation for your data model. These artifacts would most likely be generated by three different templates. Project files provide the ability to regenerate all or part of your application via a single mouse click (see Figure 6). A project file is a hierarchical collection of templates arrayed in the order of your choosing. Project files also contain the prerecorded settings necessary to regenerate your project at any time. These settings are actually gathered and recorded as you add templates to the project file.
You can select any template or folder in the project tree and regenerate from that point onward. To regenerate the entire project, you simply select the root and execute. There is also a command line utility that can execute a project file or an individual template.
I hope you have seen the makings of a great code generator. MyGeneration has taken the "have it your way" approach. MyGeneration offers four template languages. There are hooks for global and local user metadata. There is also a template browser than can list templates by file name or template namespace. The template browser can even refresh templates from the MyGeneration Web site. MyGeneration leverages the very powerful Scintilla editor and uses a powerful window docking library for most of its user interface. MyGeneration is also very fast and can generate tens of thousands of lines of code in seconds. On the MyGeneration Web site you will find links to an interactive template library that allows users to both collaborate on and share templates. There are also online forums for support. Full MSDN style help is available for all of MyMeta, dOOdads, and the template engine.


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text:
Q: Interaction between Widgets in gtkd I am experimenting with D and gtkd. Now, I have this button, and when I click it, I want to start a function in an other widget. How can I do this?
Here is some example Code, that is working, but not yet doing, what I want(when pressing SearchButton, a function in SearchResultsGrid should be called):
import gtk.Button;
import gtk.SearchEntry;
import gtk.Main;
import gtk.MainWindow;

import gtk.VBox;
import gtk.Grid;
import std.stdio;

import gdk.Event;
import gtk.Widget;

void main(string[] args)  {
    Main.init(args);

    MainWindow win = new MainWindow("Example");
    win.setDefaultSize(200, 100);
    Box hbox = new Box(Orientation.HORIZONTAL, 2);

    hbox.add(new SearchButton("Search"));
    hbox.add(new SearchResultsGrid());

    win.add(hbox);

    win.showAll();
    Main.run();
}

class SearchButton : Button {
    this(in string text) {
        super(text);
        modifyFont("Arial", 14);
     }

    private bool search(Event event, Widget widget) {

        return true;
    }}

class StarterButton : Button  {
    this(in string text) {
        super(text);
        modifyFont("Arial", 14);
        addOnButtonRelease(&startProgramm);
    }
    private bool startProgramm(Event event, Widget widget)
    {
        return true;
    } }
class SearchResultsGrid : Grid     {
    public void showResults()    {
        attach( new StarterButton("Start"), 1,1,1,1);
        attach( new StarterButton("Start2"), 2,1,1,1);
    }}

So, I want to trigger the showResults in SearchResultsGrid, my idea was, to the SearchResultsGrid Object to the SearchButton in the Main function, but this doesn't work.
What would be the/a forseen way to do it?


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text:
SEC Announces Dr. Dipangkar Dutta Wins 2021 Faculty Achievement Award for Mississippi State University
By: SEC Staff
SECU (Twitter: @TheSECU)
BIRMINGHAM, Ala. (April 1, 2021) – Dr. Dipangkar Dutta, Professor of Physics and Astronomy in the College of Arts and Sciences, has been named winner of the 2021 SEC Faculty Achievement Award for Mississippi State University, the SEC announced on Thursday.
Dr. Dutta has been a faculty member at Mississippi State since 2006 where he researches experimental nuclear and particle physics, with a focus on high precision measurements that probe the fundamental nature of quarks inside atomic nuclei. Funded by the U.S. Department of Energy and the National Science Foundation, several of his results have been spotlighted as exceptional research by Physical Review Letters and Nature. Dr. Dutta is a native of India, and he is committed to increasing diversity in his field, using a bridge program he initiated in collaboration with local Historically Black Colleges and Universities.
"Dr. Dutta is an exemplary member of the physics faculty, and through his teaching and mentorship, particularly of undergraduate students, he continually demonstrates an unmatched commitment to the university and his discipline," said Dr. David Shaw, Provost and Executive Vice President at Mississippi State University. "He teaches introductory and advanced courses, and his scholarship is acclaimed both nationally and internationally."
To receive an SEC achievement award, the faculty member must have achieved the rank of full professor; have a record of extraordinary teaching, particularly at the undergraduate level; and have a record of research that is recognized nationally and/or internationally. University winners will receive a $5,000 honorarium from the SEC and will become their campus nominee for the SEC Professor of the Year Award, which will be announced in April.
Click here to learn more about Dr. Dipangkar Dutta.
More than 360 SEC Student-Athletes Earn Degrees in December
SEC Universities Back Pat with Alzheimer's Research
SEC Representatives Extend Conference's Global Footprint
SEC Faculty Travel Program Participants Announced for 2022-23
Six from SEC Named Football Academic All-America
More Than 170 SEC FB Student-Athletes to Wear Grad Patch
Nine SEC Soccer Student-Athletes Named Academic All-America


text:
Q: Do there exist nontrivial motivic cohomology operations preserving weights? Suppose that for each field $F$ a linear map $X(F): H_M^{p,q}(F, \mathbb{Q}) \longrightarrow H_M^{p,q}(F,\mathbb{Q})$ is given, such that $X$ commutes with inclusions of fields and transfers for finite field extensions. Is it proved, conjectured or doubted that each such map is just a multiplication on a rational number?

A: I agree with Mikhail Bondarko's comment, the condition in the question is certainly too weak. However, looking at cohomology operations (as the title suggests) something can be said. The basic issues involved in the question seem to be

*

*What can we say about stable operations for rational motivic cohomology?

*How does the notion in the question (morphisms on cohomology compatible with restriction and transfers) relate to unstable or stable cohomology operations?
For the first point: if we consider stable operations in rational motivic cohomology, then a positive answer can be deduced from the work of Riou:
J. Riou. Algebraic K-theory, $\mathbb{A}^1$-homotopy and Riemann-Roch theorems. J. Top. 3 (2010), 229-264, arXiv:0907.2710.
The description of endomorphisms of the K-theory spectrum in the stable homotopy category $\mathcal{SH}(S)_{\mathbb{Q}}$ can be found in Section 5 of the arXiv version. The eigenspace decomposition in $\mathcal{SH}(S)_{\mathbb{Q}}$ for Adams operations on K-theory gives rise to a spectrum representing motivic cohomology, cf. Definition 5.3.17. The stable operations of Beilinson motivic cohomology can be found in Remark 5.3.16, the component of bidegree $(0,0)$ is given by $K_0(S)^{(0)}$. Over a base field, this means that all stable operations on rational motivic cohomology are given by scalar multiplication as required.
About the second point, I am not really sure. Topologically, I would use the identification $[K(A,n),K(B,n)]\cong \operatorname{Hom}(A,B)$ to see that a degree $0$ unstable cohomology operation is determined by its value on the point.
An $\mathbb{A}^1$-homotopy version of this argument works with the notion of Eilenberg-Mac Lane spaces in Morel's book "$\mathbb{A}^1$-algebraic topology over a field". Assume $k$ is an infinite perfect base field. Then for each strictly $\mathbb{A}^1$-invariant sheaf of abelian groups, there is a corresponding Eilenberg-Mac Lane space, and an identification $[K(\mathcal{A},n),K(\mathcal{B},n)]\cong\operatorname{Hom}(\mathcal{A},\mathcal{B})$. On the right-hand side, we have morphisms of strictly $\mathbb{A}^1$-invariant sheaves of abelian groups. These sheaves are determined by their values over fields, and the same is true for morphisms. However, for a transformation $H^{p,q}(L,\mathbb{Q})\to H^{p,q}(L,\mathbb{Q})$ to extend to a morphism of the corresponding strictly $\mathbb{A}^1$-invariant sheaves of groups, it needs to be compatible with field inclusions and residue maps for valuations corresponding to codimension 1 points of smooth schemes. I think it follows from the theory developed in Morel's book that compatibility with transfers would follow from that. In particular, a slightly modified version of the notion of operation in the question gives rise to an actual map of Eilenberg-Mac Lane spaces (in the sense of Morel's book).
There are two open points which I can't figure out right now. One is, if the spaces representing motivic cohomology are Eilenberg-Mac Lane spaces in the sense of Morel's book. If not, it would be more difficult to understand the relation between transformations over fields and cohomology operations. The other one is: even if that works, it is not clear to me how to express compatibility with suspension just by evaluation on fields.


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Don't miss your chance to try some amazing Jolly beers before they disappear.


Human Factors (glossary). (2018, October 16). SEBoK, . Retrieved 18:28, April 25, 2019 from https://www.sebokwiki.org/w/index.php?title=Human_Factors_(glossary)&oldid=54749.
"Human Factors (glossary)." SEBoK, . 16 Oct 2018, 12:40 UTC. 25 Apr 2019, 18:28 <https://www.sebokwiki.org/w/index.php?title=Human_Factors_(glossary)&oldid=54749>.
SEBoK contributors, "Human Factors (glossary)," SEBoK, , https://www.sebokwiki.org/w/index.php?title=Human_Factors_(glossary)&oldid=54749 (accessed April 25, 2019).
SEBoK contributors. Human Factors (glossary) [Internet]. SEBoK, ; 2018 Oct 16, 12:40 UTC [cited 2019 Apr 25]. Available from: https://www.sebokwiki.org/w/index.php?title=Human_Factors_(glossary)&oldid=54749.
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Yup! You read it correctly! In the Wine Country of Northern California, distillers are taking their craft to the next level by eploring the marrage of whiskey aging in wine barrels to create something truly unique. We want to share a small collection of these wonderful products with you, all of you. So come on in and see what all the fuss is about in Northern California.
Join us to explore the following amazing craft bourbons from the great State of California!
Intense and expressive, this is the first release of Dave Phinney's highly anticipated four year-old Bourbon. Each barrel is hand-selected for it's unique attributes by Dave. The youngest Bourbon in the blend is four years old. Tiny lots are procured from Kentucky, Indiana and Tennessee. Each barrel brings something special to the final blend.
Breaker Bourbon is Ascendant Spirits flagship high rye bourbon, made from corn, rye, and malted barley. Each small batch is blended from just eight hand chosen barrels, aged at least five years, and has notes of vanilla, honey, molasses, dark chocolate, baking spices, and oak campfire smoke.
Amador Whiskey Co. Double Barrel marries the best of Kentucky Bourbon with Napa Valley wine barrel finishing. Its journey began in the heart of Bourbon country, where we selected exceptional Kentucky Bourbon that came to life in new charred American oak barrels. You'll discover complex flavors of vanilla, oak, brown sugar and spice.


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AlienCon 2019 LA
Richard Dolan is a leading researcher, historian, and writer on the subject of UFOs. He is the author of two volumes of history, UFOs and the National Security State, both ground-breaking works which together provide the most factually complete and accessible narrative of the UFO subject available anywhere. He co-authored a speculative book about the future, A.D. After Disclosure, the first-ever analysis not only of how UFO secrecy might end, but of the all-important question: what happens next? Richard is also the author of UFOs for the 21st Century Mind, a fresh treatment discussing important sightings, encounters, the politics, the cover-up, ancient aliens, the bizarre science, disclosure, and offers advice on being both critical and open-minded in today's world. More recently, Richard has written a series of booklets developed from select lectures on such topics as the idea of a secret space program and UFO secrecy and disclosure in the Trump era.
Since 2012, Richard has hosted a weekly radio show, The Richard Dolan Show, on KGRA radio, and currently offers audio podcasts for members of richarddolanmembers.com. He has been featured on numerous television series and documentaries, including Ancient Aliens, Hangar One: The UFO Files, and Close Encounters. He is also a frequent guest on Coast-to-Coast AM with George Noory.
Sessions in which Richard Dolan participates
Moderator Participant
Envisioning a Post-Disclosure World 1 hour 10:20 AM - 11:20 AM | Los Angeles Convention Center , Concourse Hall
Moderator Stephen Bassett (Paradigm Research Group) | Paola Harris | Richard Dolan | Alejandro Rojas (International UFO Congress) | Jason McClellan
Government & DisclosureAncient Aliens Contributors
Richard Dolan Photograph — Saturday (A) 30 minutes 11:45 AM - 12:15 PM | Los Angeles Convention Center , Photograph Area A
Photograph Session
Requires Additional Ticket
Richard Dolan Autograph — Saturday (A) 30 minutes 1:00 PM - 1:30 PM | Los Angeles Convention Center , Autograph Area C
From Debunking to Disclosure: Experts on UFOlogy 1 hour 2:40 PM - 3:40 PM | Los Angeles Convention Center , Concourse Hall
Moderator Paul Hynek | Kathleen Marden (MUFON) | Paola Harris | Richard Dolan | Seth Shostak (SETI Institute) | Stephen Bassett (Paradigm Research Group)
Government & DisclosureUFOlogy
Sunday June 23, 2019
Transhumanism and Artificial Intelligence: Where Are We Headed? 1 hour 10:20 AM - 11:20 AM | Los Angeles Convention Center , Meteor Room - #408
Artificial Intelligence & Transhumanism
Extraterrestrial, Interdimensional, and Other Hypotheses: Understanding UFOs 1 hour 1:00 PM - 2:00 PM | Los Angeles Convention Center , Asteroid Room - #403
Richard Dolan Photograph — Sunday (A) 30 minutes 3:00 PM - 3:30 PM | Los Angeles Convention Center , Photograph Area B
Richard Dolan Autograph — Sunday (A) 30 minutes 3:30 PM - 4:00 PM | Los Angeles Convention Center , Autograph Area B
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