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Accueil » Numéro 13 » Constantin Severin
Constantin Severin
Photo by Mihai Burlacu
(Romania)
THE SIGNS OF TIME. Archetypal energies.
The alchemy diary of a"Cucuteni painter"
Text and Time 49, Oil on Canvas, 70 x 100 cm, 2006
by Iulia MESEA
Text and Time 71, Oil and Canvas, 60 X 80 cm, 2009
A contemporary representative of the tendencies according to which art is a way of remembrance and contemplation of the Paradise Lost, Constantin Severin comes up with his creation as a potential solution, a returning to the essence, to the archaic, and the possible springs of art.
Honest and disinhibited, the artist lives intensely, feels deeply and wishes strongly to understand the meanings of the world and to freely communicate that which we may call his revelations. Writer, visual artist, journalist, founder of the Archetypal Expressionism, founder of the international group "The Third Paradigm", member of the German association "European Artists", having participated in numerous personal and group, national and international exhibitions (The Metaphors of Time, Matrioska Identities, The Alchemic City, My Archetypal Suceava), in Germany (2004 and 2005), Norway (2009), the Visual Arts Museum of Galati (2009), with works exhibited in collections in Romania, Germany, Canada, England, Finland, USA, Norway, Italy, Switzerland and Ukraine, Constantin Severin stands out through the complexity and tenacity with which he submits his message to our analysis, understanding and enjoyment.
Text and Time 75, Oil and Canvas, 70 X 100 cm, 2010
The works selected for the exhibition at Brukenthal National Museum are illustrative of his stylistic options, for the way he has chosen to establish a means of communication with the spectator. His artworks sometimes look like pages from an esoteric book, with still unknown alphabets, or like works of nature, works of soil erosion caused by waters or winds. Constantin Severin's creations evoke the avant-garde space, a territory of freedom, which is an essential condition for any artistic experiment. Proposing the concept of Archetypal Expressionism, the painter wants to clarify his terms, framework, inspirational sources, artistic message and techniques of expression, providing the spectator with ways and keys to the metabolism and process of his creation. In his view, the Archetypal Expressionism is defined by resorting to the archetype as an essential element of language, by finding mankind's common cultural roots after removing the superficial, superfluous and accidental accretions of time: "The Archetypal Expressionism is to be found between the two major paradigms of contemporary art: the figurative and the abstract. It represents a spiritual search for common roots beyond history's tragic accidents. It is an art suspended between the real and the imaginary, requiring rigour and mystery", the artist says, including here the creation of Brancusi, Klee and Țuculescu, whom he considers his mentors.
The return in time, to the archetypal areas of culture and mankind, to primeval ages, when the being melted with the universe, can be claimed by the very contents of the Expressionism. The pure and bright colour in the artworks signed by Constantin Severin breathes, nonetheless, the harsh and painful expressionist violence specific to the concept, relating more to Robert Delauney's solar-like chromaticism. The emphasis added by the painter, who calls this paradigm Archetypal Expressionism, wishes to circumscribe his favourite sources, themes and motifs. "The archetype is a universal symbol. The archetypal fields are real, a mystery of the universe."
Text and Time 82 Oil and Canvas, 50 X 70 cm 2011
Text and Time 91, Oil and Canvas , 50 X 90 cm, 2012
Constantin Severin's main artistic features are complexity and simplicity, two apparently oppositional terms, the contents of which are employed, however, in such a manner that they coexist and sustain each other in his art. The viewer is consequently challenged either to analyse, synthesize and interpret by reading symbols with a simple figuration and a ludic arrangement, or to find out the right reading in a maze of keys and linked, nuanced and chromatically potentiated signs.
Text and Time 94, Oil an Canvas, 70 x 100 cm, 2012
The most frequently quoted archetypes are the "primordial", primitive culture statuettes. The Thinker of Hamangia of the Neolithic Age, the violin-shaped nubile statuettes of the Cucuteni and Gumelnița cultures, joined by Las Meninas and Pope Innocent X by Velasquez, Leonardo da Vinci's Lady with an Ermine, Andrea Mantegna's The Dead Christ, Jan van Eyck's The Arnolfini Portrait and so on.
Text and Time 110, Oil an Canvas, 56 x 80 cm, 2015
By sublimating the utilitarian function through repeated figurations, recasts and stylisations, a distaff takes on new connotations, one of them being the Lyre of Orpheus – whose godly music is a mythical archetype for the power of art; then, the power trident, the caduceus, a symbol of transformation, of energies that fight and complete each other at the same time, or the axis mundi.
Text and Time 112 (The Couple), Oil and Canvas, 70 x 90 cm, 2015
The concatenation formed by a repeat of the motifs/ the stylized distaff or statuette, the geometrical figure, and so on/ is meant to bring about movement and life to the composition contents. Prehistory art motifs such as spirals, circles, ovoids, ellipses, lines, bands, solar or heavenly symbols, alphabet signs, incisions, or dados, together with their arrangement in intertwined spirals, sectioned, reduced to curlicues, meanders, laid out in horizontal, vertical, oblique, circular, concentric or other kinds of rows, provide, through their placement, symmetry, balance, rhythm and raise geometric symbolism to art status. The multiplication and manifold use of signs, forms and geometric shapes give colour and create gateways to other dimensions, in hope for an ability to ignore the constraints of the logic of time and space.
Text and Time 114 (Birdman), Oil and Canvas, 60 X 80 cm 2016
The mono-, bi-, or trichromatic colour, employed like in the painted ceramics of the primordial cultures, is endowed with an expressive force so as to attain musical sonorities that uphold the rhythm of each composition, accomplished either through sign strings, or through an interplay between the full and the void, hiatuses and changes of pace, or through reflections and echoes. In the monochromatic works, the forms begin to appear discreetly, yet with suggestive force, from different nuances or textures, where colour seems to spring up and radiate. The synesthetic effects are not accidental, the painter considering music as the supreme art.
Text and time. The creative word, "In the beginning was the Word" and the absolute time. The artist obsessively and implicitly resumes the time theme in his attempt to seize in his work this ineffable dimension, which he, at least, succeeds in marking off as a transition space, forever the same and forever slipping away. Janus installation (Janus Bifrons is a god of passage rituals and transition phenomena) alludes to this very moment of fluidity between the past and the future, fundamentally relying on quotations from classical art (Leonardo da Vinci's Lady with an Ermine).
Classical masterpieces, as cultural archetypes, show up in several compositions that are part of the expressionist archetypal series Text and Time, alternating with the primordial archetype. The Arnolfini Portrait (Jan van Eyck) (Text and Time 65), marked by linear and chromatic segments, contributes to the consolidation of one of the cultural evolution layers, the couple and the birth symbol being rendered essential in an orphic manner, then in the two united semicircles of light from another layer of history. The symbolism of colours, in simultaneous and complementary contrasts, nuances the message and strengthens the visual impact.
Text and Time 113 (Archetypal), Oil and Canvas, 70 X 90 cm, 2016
In a composition whose meanings coagulate in a construction of overlapping planes, or planes that deepen thanks to the dynamic play of segments of lines, forms and colours (Text and Time 7), one of the Neolithic masterpieces of Hamangia becomes a generator, keeper and creator of successive cultural layers. In the composition Text and Time 94, similarly made, the primordial cultural archetype supports and feeds the classical masterpiece through an effusion of colours.
In this way, by means of carefully chosen and compositionally related signs, Constantin Severin establishes new significations, challenging us to think again and differently about apparently known ideas and values. When the play or the confrontation of forms seems slow, pure colour adds dynamic accents that lead to retakes and reinterpretations.
Between poetic feelings and intellectual tensions, juggling with elements of highly visual impact – pure colour, iconic image, inner rhythms, and so forth – Constantin Severin engages the spectator in a network of correlations, synapses, interpretations and emotions. His artworks, metaphors with a magic flavour, are meant to unleash intuitions and feelings so as to return to truths that mankind has forgotten but are still to be found in a latent state in our subconscious. Thus, we are invited to rediscover that which once was self-evident, that divine seed hidden deep inside us, in an endeavour of "healing" the contemporary world, confronted by confusions and destructive reversals of values.
English version by Dumitru Ovidiu Solonar
Constantin Severin is the founder and promoter of a new concept/movement on the contemporary art scene, the Archetypal Expressionism. He was born on February 8th, 1952, in Baia de Arama, Mehedinti, Romania. He is a visual artist, member of Ottawa Art Association, Canada, co-founder of the International Art Group "The 3rd Paradigm" and founder of the Archetypal Expressionism Group (www.archetypalexpressionism.com). He is also a writer, member of the Romanian Writers' Union and a journalist (he worked for different Romanian publications, but also for BBC and Free Europe radio) and he is one of the editors of the international cultural magazine, Levure littéraire, Paris. A graduate of "G. Asachi" Technical University of Iaşi, Romania, and, in 2015, of the International Writing Program at the University of Iowa, USA. His art is promoted by the international auction house Lavacow, Bucharest. He has published over 800 articles, essays and interviews on culture, art theory and criticism, as well as on other issues of Romanian and international interest. A jury member for prestigious international art contests, his concepts and artworks have been published by major international art and literary magazines, like Artdaily, World Literature Today, It's Liquid, Levure littéraire, Empireuma, Contemporanul, Vatra, Arkitera, Glare Magazine, Cuadernos del Ateneo, Dance and Media Japan, Pro Saeculum, etc.
Activity as a visual artist
Solo exhibitions: -"Text and Time", September 2004, Bucovina Museum, Suceava, Romania, (promoted by the EuroNews cultural Agenda). -"The Signs of the Time", November 2004, NahVision Art Gallery, Stuttgart, Germany (also promoted by the EuroNews Agenda). -"Time's Metaphors", February 2006, Velea (TransArt) Art Gallery,Bacau, Romania. -"Matrioshka Identities", February 2007, Art Gallery of the "Stephen the Great" University, Suceava, Romania. -"The Alchemical City", January 2009, Lascar Vorel Art Gallery, Piatra Neamt, Romania (promoted by EuroNews TV channel, Rendez-vous cultural magazine). -"My Archetypal Suceava City", April 2009, Dalype Gallery, Oslo, Norway. -"Text and Time. The Archetypal Expressionism", November-December 2009, Museum of Visual Art, Galati, Romania. -"Totem. In memoriam Ion Ţuculescu", June 2010, Museum of Art, Drobeta Turnu Severin, Romania. -"Selfportrait with Guardian Angel", June 2011, Romanian Literature Museum, Iaşi, Romania. -Retrospective solo show 2002-2012, February 2012, Bucovina Museum, Suceava, Romania. -"Gauguin's Children", May 2012, Elite Art Gallery, Bucharest, Romania. – "Hierarchy of Light" (monochrome painting), October 2013, Elite Art Gallery, Bucharest, Romania.
-"Archetypal Energies", October 2015, Museum "Iulian Antonescu", Bacău, Romania, as a guest artist of the National Literature Festival "George Bacovia".
– »The Signs of Time. Archetypal Energies », October-November 2016, The Museum of Contemporary Art from the Brukenthal National Museum, Sibiu, Romania.
Group exhibitions, art fairs, international art projects: -International Cultural Centre, Helsinki, Finland, April 2005. -National Museum of History, Chisinau, Republic of Moldavia, June 2006. -Stanzwerk Bochum, Germany, June-July 2007, art symposium organized by European Artists Association. -Mount Beacon Fine Art Gallery, New York, January-February 2009, group show organized by Mirca Art Group, curator Carla Goldberg, NY. -International Art Center "George Apostu", Bacau, Romania, group show "The Wineyard and the Wine", February 2009, organized by the museum/art gallery of art brut Galerie de 4 coins, France. -Marseille Project Gallery, Marseille, France, "Spring Projection" project, March 2009. -TransCultural Exchange, Boston, Little Gallery New York, The International Exquisite Corps Project by Mary Corey March, April 2009, together with other 18 international artists from 12 countries. -Design Gallery, University of Massachussets, Boston Cyberarts Festival, April 2009, DSL Cyber MOCA in Second Life, "TransForm"international project, curated by Lily&Honglei. -Opera Gallery, Budapest, May 2009, group exhibition by artists from the 27 member states of EU. -Funil Art Gallery, Lisbon, Portugal, February 2010, 3rd Paradigm group show. -Jose de Lorenzo Gallery, Santiago de Compostela, Spain, July 2010, 3rd Paradigm group show. -Vieira Portuense Gallery, Oporto, Portugal, October 2010, 3rd Paradigm group show. -Rearte Gallery, Vienna, Austria, October 2011, Privatsphären (Private Spheres), group show of 3rd Paradigm International Artists Group.The show was presented by Elisabeth Ledersberger-Lehoczky, vicepresident of Austrian Art Association and president of the Sculpture department and was featured by the art magazine It's Liquid. – International art fair, Art Wiesloch, Wiesloch, Germany, September 2012, with the members of 3rd Paradigm Group. – Kaplanka Museum, Protivin, Czech Republic, September 2012, with the members of 3rd Paradigm Group. – Rotterdam International Art Fair, organized by the Global Art Agency, September 2014.
Art Awards and Honours:
-UNESCO Ambassador of Eurointegration through Art, in 2008. -Excellence Award offered by the City Hall of Drobeta Turnu Severin City and the County Council of Mededinţi, Romania, December 2009. -OPERA OMNIA Art Award offered by Suceava County Council, January 2012. -"Black Sea Danubian Social&Economic Innovator" Trophy for Art, offered by Eurolink-House of Europe Foundation, Bucharest, May 2012, in partnership with the European Commission and the Romanian Academy, for "creating and promoting a new concept in European arts, Archetypal Expressionism." – Honorary citizen of his birthtown, Baia de Aramă, Mehedinţi, Romania, in May 2011. – Featured artist by "It's Liquid" international art, architecture &design magazine, November, 2012. – Featured artist by "Casa Lux" monthly magazine, the first glossy magazine in Romania, September, 2014.
– Featured poet&artist by Trafika Europe magazine, USA, August 2016.
Artbooks, catalogues:
-Works published by "Freedom & art", Art book Project by Mirca Art Group, Sweden 2008. -Art book printed by the Museum of Art from Drobeta Turnu Severin, Romania and art catalogue made by the Museum of Visual Art, Galati, Romania, 2009. -Included on "The illustrated dictionnary of beaux arts in Moldova-1800 to 2010", , Art XXI publishing house, Iaşi, 2011. -Included through a selection made by 5 international art curators in the art book "International Contemporary Artists", ICA Publishing, New York, 2011, by Eve Lemonidou (art critic, art collector and curator) and Olga Antoniadou (art historian and curator). -Included by the American visual artist and curator, Harriette Lawler, in the artbook Privatsphären (Private Spheres), in 2011 and also on "Estuary: A Confluence of Art & Poetry", published by Moon and Mountain, 2012.
– Bilingual art album Romanian/English, published by Tipo Moldova, Iasi, 2013.
Artworks in public (Bucovina Museum Suceava, The Museum of Art Piatra Neamt, The Museum of Art Drobeta Turnu Severin and the National Brukenthal Museum, Sibiu, Romania) and private collections from Romania, Germany, France, USA, Finland, Norway, Canada, Switzerland, Ukraine, Italy, Great Britain, etc.
Activity as a writer
Works: -''The Sunday of Things Real" (poetry), Junimea Publishing House, Iasi, Romania, 1984. -"Wall and Neutrino" (poetry, bilingual edition-Romanian/English, translated by Liviu Martinescu), Vlasie Publishing House, Pitesti, Romania, 1994; the poem was included as such in the anthology of "Contemporary Romanian Poetry" by Marin Mincu, Pontica Publishing House, 2000 and some fragments in the antology "After the Wall Fell: Dispatches from Central Europe (1989–2014)" published by World Literature Today in November 2014; the poem won The Bucovina Cultural Foundation Award. -"Wall and Neutrino. The Poet in New York", Minerva Publishing House, London, 1997; English version by Liviu Martinescu. -"Improvisations on armonic key" (poetry), Axa Publishing House, Botosani, Romania, 1998. -"The Axolotl" (poetry), Masina de Scris Publishing House, Bucharest, 1998; the first renga (renku) book in the Romanian literature, bilingual edition-Romanian/English, translation by Liviu Martinescu; book awarded by the Bucovina Cultural Foundation, 1999; -"The Alchemical City" (selected poems), Dacia Publishing House, Cluj-Napoca, Romania, 2002; awarded by the Bucovina Cultural Foundation, 2003. -"The Sacred Empire. Monasteries and churches in Northern Moldavia"(essays), Paralela 45 Publishing House, Pitesti, Romania, 2003. -"Esto's Lover" (novel), Curtea Veche Publishing House, Bucharest, Romania, 2010. -"Improvisations on armonic key" (poetry, Opera Omnia), Tipo Moldova publishing house, Iasi, 2011. – "The Big Game" (essays, Opera Omnia), Tipo Moldova publishing house, Iasi, 2012. His poems have been published by major Romanian, Spanish, American, British, Japanese and Belgian literary magazines. Literary Awards: -The haiku poetry award offered by Daily Yomiuri newspaper, Japan,1996. -The award for cultural journalism given by the Romanian Ministry of Culture, 1998. -The award for cultural journalism given by the City Hall and the County Council of Suceava, 2001. -Naji Naaman Honorary Award for the whole activity, Lebanon, 2010. Honorary member of Maison Naaman pour la Culture. -His poems have been selected by the Spanish editor, writer and visual artist Fernando Sabido Sánchez for his unique online anthology of poetry, ANTOLOGÍA POESÍA UNIVERSAL and by the literary experts from The East Tennessee State University, USA for Best Poems Encyclopedia. -Premio Internazionale "Messina Città d'Arte" 2011, Messina, Italy, for the English version of the poem "The Alchemical City".
– The Romanian Writers Union-Bacau Association Award, 2011, for the novel ''Esto's Lover''. -Included in the General Dictionnary of the Romanian Literature, Vol. VI, 2007, edited by the Romanian Academy and published by Univers Enciclopedic Publishing House.
Constantin Severin's art site: http://constantinseverin.ro/
With the Art Historian & Critic Iulia Mesea and the Curator Robert Strebeli, at the Opening…
Iulia Mesea is an art historian and critic, curator at the Brukenthal National Museum, Sibiu, Romania.
Author of many art books and exhibition catalogues, she is a Master in History and Philosophy of Art at the Central European University, Prague, Czech Republic and a Doctor in Art History at Babeş-Bolyai University, Cluj-Napoca, Romania.


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Crushing Knights By Day
Game 13: Durham Bulls 11, Charlotte Knights 0
Season: 10-3
Wrap, Box
This is some kind of extraordinary, probably record-breaking, streak the the Bulls are on. Just a couple of days ago I wrote about the great home stand. Now it's two days later and the Bulls have scored 22 more runs on 27 hits and driven the ERAs of Charlotte's pitchers through the roof. Simply extraordinary.
Aneury Rodriguez may be a sleeper in the Rays system. For his Triple A debut he pitched seven scoreless innings, only allowing four hits and a walk. He only threw 86 pitches. Pretty darn good at any time. For your first time at AAA, that's really something. Dale Thayer and Richard De Los Santos wrapped up the first Bulls shutout of the year.
About time to call attention to Dan Johnson. He hit his sixth home run today and now leads the team with 12 RBIs. He leads the entire International League in homers and is 4th in the RBI category. He has started games at first, third, left field and as dh this year.
Dan is forever famous within the ranks of the Tampa Bay Rays faithful for his September 9, 2008 heroics. On the day he was called up to the Ray in Boston, he went in to the game as a pinch hitter in the 9th inning to hit a game tying home run. That game the Rays went on to win.
But what Bulls fans remember about 2008 was his stellar year with us. He played in 113 games; hit 25 home runs, 83 RBIs, and a batting line of .307/.424/.980. Dan was our player of the year for 2008. For a really hard core Bulls fan, as much as we admire his heroics for the Rays that Fall, we have this wistful feeling that maybe the Governors' Cup would have been ours if he'd stayed with the Bulls through all of the playoffs.
We've got some numbers about his 2009 stint in Japan. He hit .215 with 35 homers and 57 RBI, but really haven't heard too much about that year. Some more stats are here.
My point is that it looks like Dan is in 2008 form and seeing the ball very, very well. I hope he's having fun being part of the ball-crushing phenomenon we've got going on here.
Day game tomorrow! Here's hoping the rain holds off.
Posted by Chris W. at 6:07 PM
Labels: A. Rodriguez, D. Johnson, R. De Los Santos, Thayer
DRR April 20, 2010 at 8:04 PM
I look forward to getting to see Rodriguez in person. This run has been pretty unbelievable, I really can't remember anything like it. Obviously, runs like this have to end sometime, but I hope we get to enjoy it for a while.
Bison Baffles Bulls
No-Hitter in the IL
Buffaloes Buffaloed in Buffalo
Buffaloed by Buffaloes in Buffalo
Lobaton to Tampa Bay; Ekstrom to the Bulls; and More
Rodriguez IL Pitcher of the Week
Vasquez, Jennings, & Eldridge
Sunday Evening At the Park With the Bulls
Blalock Interviewed; Vasquez Explained; See Safe F...
Safe! Safe! Safe!
Eight!
Describing Durham Bulls Team Performance
Lonely Are the Brave
Rain and the DBAP
Staying On A Roll
Early Durham Bull Numbers
Great Days At the DBAP
Jennings Off DL
A Bashing By the Bulls
It's My Fault
Opening Day, At Last!
Jaso To Rays
A Fan's Lament
Coolray Field & the Gwinnett Braves
Thayer Does a Bateman, But It's OK
The Other Starters
Tides Stroll In
A Good Start
Opening Night & Starting Pitchers
Harbor Park and the Norfolk Tides
Rosters, Or Not
Rays Visit, Briefly
Who's On First?
Elliot Johnson on Waivers

redpajama_set_name: RedPajamaCommonCrawl


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Author: James Patterson
Publisher: Century
A President's affair to remember soon becomes a nightmare he wishes he could forget in James Patterson's gripping new stand-alone thriller. As he steps out of his hotel in Atlanta with the love of his life, the last thing President Tucker expects is to be greeted by the flashing cameras of the media. Or for his affair to be revealed to the world. The President must act to stop the scandal from spiralling out of control, just weeks before the vote for a second term. But not before he figures out how to keep the First Lady on his side. Grace Tucker, however, has other plans. Betrayed and deeply hurt, she heads for a safe haven outside the capital. But when her security detail loses all trace of her, all hell breaks loose. The First Lady is missing. Did she run away. Or is she in more danger than they could have imagined.
James B. Patterson (born March 22, 1947) is an American author of thriller novels, largely known for his series about African-American psychologist Alex Cross.
8th Confession
Double Cross
London Bridges
Sams Letters To Jenn
The 5th Horseman
2nd Chance
4.50 From Paddington
A Fine Night For Dyi
A Prison Diary II: P
A Prison Diary III:
A Prisoner Of Birth
A Season in Hell
Always A Thief
An Infamous Army
April Lady


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Q: Trigger custom Outlook Add-on from External Email notification message I have developed an outlook add-on, which gathers email information (Email header etc.) and report it to my custom application.
I want to add a hyperlink in External Email Notification message, when a user click on that hyper link it should trigger already installed outlook add-on (mentioned above).
Is there any way to achieve this?

A: I'm sure there are better ways but one possibility is:

*

*Weblink calls PHP page on webserver, which in turn runs a Powershell script via exec command.

*This script adds the AD account to a GPO that enables the add-on DLLs.

There would still be a delay for the GPO to kick in for the user.

redpajama_set_name: RedPajamaStackExchange


Zac and Melissa Gusé say Zac's daughter, Karlie, vanished from their home in rural Mono County, California in the early morning hours of October 13, 2018.
The couple says that authorities searched their neighborhood and the nearby desert for days and interviewed witnesses who claimed to have seen a girl fitting Karlie's description, but the teenager remains missing.
Both Melissa and Zac claim they have no idea where Karlie is, or where she could have gone to, and say they believe someone may have taken their daughter.
"I wholeheartedly believe that Karlie is alive," says Zac.
Why does Karlie's mother, Lindsay, say she believes her ex-husband and his wife know more about their daughter's disappearance than they're telling?
Watch the video above for a recap of Monday's episode, then tune in on Tuesday for the conclusion of this two-part Dr. Phil.


Shares of Polycab India, a leading manufacturer of electric wires and cables, ended 21 per cent higher over its issue price during its stock market debut on Tuesday. The stock ended at ~653, compared to the initial public offering (IPO) price of ~538 per share. The stock touched a high of ~668 and a low of ~630 on the National Stock Exchange, with nearly ~1,500 crore worth of shares changing hands.
Polycab's listing-day spurt follows huge response for its IPO last week. The ~1,345-crore offering saw 50 times more demand than the shares on offer. Institutional investors' portion of the issue was subscribed 93 times, while the high networth individual portion garnered 110 times subscription. The IPO also saw over 1.1-million investor applications.
The oversubscription for Polycab's IPO was also the highest since HDFC AMC's ~2,800-crore offering last year.
At Tuesday's closing price, Polycab is valued at ~9,736 crore. Some of Polycab's listed peers include Havells India (valued at ~47,380 crore), Bajaj Electricals (~5,910 crore), and V-Guard (~9,650 crore).


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What Lies Beneath..?
2 August 2018 By Karen Bowman
To celebrate National Underwear Day on 5 August, Karen Bowman journeys through 300 years of unmentionables.
So…5 August 2018 is National Underwear Day… a full 24 hours to contemplate how undergarments down the centuries have pushed, pulled and bullied our bodies into an altered state of reality, if not always being able to shape our expectations.
The Georgians were made gorgeous by their underwear. Corsets not being the sole preserve of the female, gentlemen turning a fine leg could tie on a set of false calves beneath their stockings when dressing to impress. Yet, however secretly placed, enhancements could not be relied upon to stay-put, tending to migrate, with disastrous consequences. Leg-related wardrobe malfunctions were common. One young beau, having secured the affections of his lady love, waited until she was at her toilette preparing for a night of passion, then removed the appendages and hid them under the pillow. So worried was he that his deception would be noticed he fretted throughout the whole experience. The next morning neither party came away satisfied in either thought or deed.
Nor were women blameless in their falsehoods. The absurd fashion for 'paniers' saw women in the mid eighteenth century become almost as wide as they were tall. Both full blown petticoats or smaller collapsible side paniers tied over each hip attracted biting social comment. Doorways were negotiated sideways, carriages entered into carefully, chairs had to be arm-less and companions had to walk slightly before or behind. Dancing was by no means an intimate affair.
Eventually width gave way to the rounded symmetry of cork rumps. 'Bum-shops' sprang up all over London, encouraging ladies of all incomes to 'get your false bums here'. It only added to gentlemen's confusion as to what real women looked like. The December 1776 issue of the Weekly Miscellany expressed a husband's bewilderment at recognising his bride the morning after his nuptials, and questioned whether he should be granted a divorce on the grounds that she was not the same person!
Crime featured large in the wearing of Georgian underwear. Ladies pockets, were tied about the waist and contained life's little necessities, such as coin and handkerchiefs. With shared rooms and little privacy, personal treasures were secreted between gown and petticoats. Enter the 'pickpocket' and 'cut-purse' who would dip their hand past strategic slits in the seams of skirts to reach valuables. That or knock a woman to the ground, and cut her pocket strings while she was in disarray.
The Victorians, by contrast were made modest by their underwear, though no less ridiculed for its absurdity or the promotion of discomfort and crime. Before the first 'cage crinoline' (1856) women wore layer upon layer of petticoats for shape. The extra weight, doctors advised, was the cause of lumbago, hernia, stiff joints, varicose veins and heat exhaustion. Unlike previous centuries where only upper classes wore such underpinnings, the appeal of the crinoline was universal. Sheffield, at the height of the crinoline's popularity, was producing enough steel to equip women with 1⁄2 million hoops in one week.
One quality petticoat was enough to soften the cage ridges, but such billowing skirts necessitated the wearing of 'drawers', up until now, not generally worn. Death by crinoline was an occupational hazard. Large skirts brushed against open fires, turning women into fireballs, snared the wheels of handsome cabs and became entangled in machinery. In 1860, the textile firm Courtauld's instructed their workers 'to leave their hoops at home'. Four years later newspapers reported crinoline related deaths as 2,500 in London alone.
Ingeniously fitted out with pockets and hooks, female shoplifters found there was no end to the size and weight of objects that could be hidden successfully. Having left a drapers shop, Margaret Toole was arrested with nine black silk mantles and two coloured silk dresses beneath her skirts. Similarly, Eliza Dreser had a set of steel fire-irons suspended from her waist! With only a short slide from shoplifting to smuggling, one woman was found to have 5 pounds of cigars, 9 pounds of tobacco, a quantity of tea and a bottle of gin, all concealed about her underwear on a trip from Holland.
Bustles offered similar opportunities for crime. In 1886, upon apprehension by the police, three poachers were found without their ill-gotten gains and set free. When their wives came home later, it was with 27 rabbits discreetly distributed equally between them in their bustles. The bustle was also commercially viable, one newspaper featuring the 'hand bag' bustle designed to contain brushes, cosmetics, tooth preparations and night raiments for a lady's temporary absence from home. In September 1888, an address given by Charles Dickens saw one woman's new fangled 'inflatable bustle' explode, much to her surprise and shame. In defence of the underwear one woman made a point in 1888 by declaring, "I wear a bustle and believe in it. I wear a large bustle and I am proud of it. I wear a steel ribbed, brass riveted, burglar and rust proof bustle, and it is a joy beyond compare." What more can one say!
Corsets ensured a handspan waist but at a cost. Tight lacing produced head-aches, giddiness, pain in the eyes, ringing in the ears, consumption, derangement of the circulation, palpitations, loss of appetite, squeamishness, depraved digestion, and what what no self-respecting Victorian woman wanted – a red nose!
Oh, and if you ladies ever wondered why there is a small bow stitched between the cups of your bra? It refers to when stomachers or stay busks were slipped down the front of a corset for rigidity in the sixteenth and seventeenth centuries. A small piece of ribbon was attached to the top to help remove it easily. Our little ribbon-bows are a direct link to those times – a reminder to be grateful that our modern notions of restrictive and uncomfortable aren't a patch on those of yester-year.
Karen Bowman's latest book, Corsets & Codpieces, chronicles the sartorial history of outrageous fashions, from those who wore them, newspapers that featured them, politicians who legislated against them and, as in the case of 'monstrous' crinolines, the husbands and fathers who had to pay for them! Find out more about Karen and her work on her website.
1.The Bum Shop, Corsets& Codpieces © Library of Congress
Dandies Dressing, Corsets & Codpieces
Georgian side panniers © Tessa Hallmann
Victorian bustle, Authors own collection
Victorian corset, Corsets & Codpieces © Library of Congress
Filed Under: Features, Lead article Tagged With: clothing, corsets, Corsets & Codpieces, crinolines, Fashion history, Georgian fashion, Karen Bowman, National Underwear Day, underwear, Victorian fashion


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Meerut is situated 43 miles north-east from national capital and some of the ancient ruins of Sindhughati civilization has been excavated here. Meerut city is best known as the largest producer of sports goods and musical instruments. First war of Independence in 1857 started here. MangalPandey, a revolutionary played the bigul against the British Government. Besides this Meerut is also the second largest army cantonment of India. Moreover, Meerut is also famous for Hastinapur, legendary place from Mahabharata. Places like Draupadi ki Rasoi, Lakshagrih,VidhurkaTila etc. attracts lots of visitors towards Meerut.Major tourist attractions in Meerut includes Baba Augharnath ka Mandir, Saheed Smarak, Hastinapur, Appu Ghar, St. John's Church and Cemetery, Suraj Kund, Chandi Devi Temple, Mansa Devi Temple, Bale Miyanki Darghah, Jama Masjid, Sardhana Church, Balaji Mandir Dahar, Mawana, Parikishatgarh and Baleni. You can book a visit to Meerut from bharattaxi.com providing online car booking in Meerut at an affordable cost. Bharat Taxi provides full day/ half day cab hiring services to visit these places. Choose any service from our various options and let us make your holiday a moment to always remember.


One of the first things I did after pressing play on Mess, the new, seventh album from Liars, was take my pants off. Only because a voice with Satanic inflections demands it on the opening song, "Mask Maker." If you fail to comply, it's your face that'll get eaten.
Mess is the Liars' devilishly drugged-up descent into dance music. Thirty seconds in a sharp, popping drum beat inflates the track until you're dancing like a horned demon, boxer-clad and with brown acid stuck between each tooth.
The first single, "Mess On A Mission," is a joyously snotty punk whip with singer Angus Andrew gaggling the title in a panicked falsetto. It's unhinged and almost clowny, but somehow sticks in your head. "Facts are facts and fiction's fiction," Andrew sings spitting each word.
Mess is more abrasive than the last Liars album, WIXIW, which saw Andrew and mates Aaron Hemphill and Julian Gross diving blindly into electronic tinkering and atmospheric resonance. The experience of that experimentation has taken root and found a lavish coexistence with the street-trash rock-and-roll of their earliest work. This mash creates a surreal listening experience that thrives on the emotion of doom and anxiety.
The tall Aussie plank of wood that is frontman Andrew is the force keeping the album from devolving into a slipshod jam session with buttons and knobs. The desperate, black-out energy behind his voice goes from the lower depths of an entranced guard in The Wizard Of Oz to the manic-high pitch of someone being tickled to their limit. He has many shades of strange and delirium. On "Pro Anti Anti" he emotes like a down-and-out-of-shape Jim Morrison as a tremulous organ surges through zaps of electric bass.
Mess is also the most outright hallucinogenic Liars album. Each hit of bass is muggy and drills deep into the skull. Sounds trail in and out against smudgy organ drum loops. It could be found somewhere in the blurring shadows of The King Of Limbs and Drukqs. "Dress Walker" enters the space race with a Kraftwerk-esque downbeat and the squeamish monotone panderings of Andrew. It climbs on echoes, then side-steps into juicy, space-funk.
The voiceless "Darkslide" is a ball of loops gyrating and splintering up and out. "Perpetual Village" is body-lifting as it slinks along with cosmic sound-waves and pitched drum beats. The final song, "Left Speaker Blown," moves slow like a flickering candle. Low pulsing feedback is pulled from side to side and shot beyond the periphery of sound until a warm peace overcomes. Could be one of their most beautiful compositions.
With each new record Liars rip the script of the previous creative outing, challenging themselves to discover a new floor in their apartment of sound. If Mess ever hits a snag, it's with the arduous noise explorations that sometimes threaten the flow of the full unit. Depends if you want to move to your music or zone out to it, either way, Liars allow both. This collection of dark, pepped-up dance tracks is a midnight burner for the long, weird, end-of-the-world basement party you may or may not be having.


Music video for the song Sylvia, from the album Five Boxes.
Nanophonic 2 promo: a preview of Nanoi's improvisational project at Ektos orofos performance space, Thessaloniki, Greece on May 16th 2015.
The making of the hand made stencil posters.
Nanophonic 1 live: A short clip from the performance at Protos Orofos.
Nanophonic 1 trailer: a preview of Nanoi's improvisational project at Protos Orofos performance space, Thessaloniki, Greece on March 15th.
Camera: Andreas Siadimas, Editing: Yannis Agelakis, Production: Dangerous Productions.
Promo video for the Five Boxes album presentation at Gaia Live.
Music video for the song Voice in a cage from the album Five Boxes, February 2012.
Script by: Yiannis Valtis, Directed by: Yiannis Valtis and Vassilis Kehagias, DOP: Dimitris Stambolis.
The recording of Nanodrive LP at Royal Alzheimer Hall studio, Summer 2005.
Camera by Simos Saltiel. Directed by Christos Nikoleris.


When the sun rises, we have an opportunity to make a difference. When the sun sets, we have an opportunity to look back to see that difference.
When 2016 was drawing to a close, I was feeling a little bit off.
Off because the passion and focus I once had for sports was…in a word…complicated. Writing about sports felt like a chore, not a love. Twitter – important for those working in sports – was becoming more of a cesspool than a connection place. And that's just in sports media.
To Instagram I went…but with a far different focus than sports.
Each day, I see people who are hurting, frustrated, bitter, angry, confused. They channel those feelings toward others. Or, they direct those feelings onto today's hot button issue. They have no constructive outlet other than social media. So much hurt is out there that I wanted to do something to help them.
It seems kind of silly now, I guess, to try and help people through Instagram. But, I needed to do something. I know that I am an encourager, by nature. I know that there is always a story behind the hurt, frustration, bitterness, anger and confusion. But, I also know that it can be a difficult place to "go there" with those feelings – to actually address them, meet them head on and find a resolution. Most people don't want to talk about their pain. They do, however, want (and need) to be encouraged.
That trait doesn't exactly fit too well in sports media. Nor does it really fit this blog. When I created my Instagram, I thought it would be about sports, but, much like me, it's evolved beyond that. Sure, there's sports photos, but in 2017 I wanted….more.
You'll see a lot of photos of my dogs (2 chihuahuas – I love them like my kids…sorry, kids). You'll see a lot of t-shirts. I got the idea – no, not original – to do T-shirt Tuesday. I like to laugh. Sometimes when I'm walking through a store, I'll see a t-shirt that makes me do that. So, I started taking pictures of them in the hopes that someone else who needed a laugh…would laugh! I also wanted to use the platform to encourage people.
I had to start somewhere. Forget resolutions on January 1. This project needed to start with a single word.
The beauty of it all is that it doesn't have to end here in 2017. I didn't want to do a look back at 2017, but with sports no longer my emphasis, I couldn't do a normal year-end sports post. As you read through these IG posts, I hope that it encourages you for today, 2018 and for all your days on earth.
#WhatsYourWord – When I began this project, I didn't realize how much it will change me and my way of thinking. For those who don't know, the project is about inspiring others. Each new year people make resolutions or choices that they hope will bring about changes in their lives for the entire year. It's a noble venture, to be sure. But, sometimes there's more focus on the end goal rather than the PURPOSE behind the goal. Bringing that thought process into today, September 1, 2017, I am seeing many people feeling lost, hopeless, angry, resentful, etc. my hope each month is that at least one person who is feeling like that will see this post and be inspired. Be inspired to have a new outlook, to not be afraid to try something new, to see the positives in the present rather than the negative of the future. That is what I am being challenged with myself. I saw this bench at a local park earlier this month. Amid the chaos around us, be it natural disasters, political strife or whatever, we still have a choice to be a good person and do good toward others. Maybe that's a word for someone for the remainder of 2017. Make this your year of purpose.
#WhatsYourWord – what we seek, we are sure to find. When we expect or look for the not so good things of this world, they will inevitably cross our path. It makes it hard to see the good that is happening all around us when our vision is clouded and our thoughts are cluttered with negative. . Life happens. Problems come and problems go. Sometimes, it seems like problems stay with us forever. In the bigger picture, there are problems in this country & in this world that will always be there. Doesn't mean we stop striving to improve or make a positive impact. It is simply a recognition of what is. . In today's social media world, the negative is heard louder. I once heard a pastor say, you throw a rock in a pack of wolves and the one that gets hit makes the loudest noise. Lots of folks out there getting hit by the things they read and see on social media. There's fear and panic and anger. When consumed by that, it makes it hard to see the good. . So the word for October is not a word. It's a phrase. It's not just about vision. It's about having a fresh vision. The old way of looking at things with a negative eye doesn't build anyone up, let alone you. That's why it is time to make this your "Year of Fresh Vision". .
#WhatsYourWord – 2017 has been quite a year. Challenges, trials, victories – personally, professionally & societally One thing that 2017 has been for me is a classroom. I feel like I have been sitting in a classroom with a wise, knowledgeable, worldly teacher who keeps telling me to observe & ponder. I'm an observer by nature. I am fascinated by what's underneath. Why do people do what they do? Why do they say what they say, especially on social media? Having worked in customer service, I'm aware that what people are angry about isn't just what we see, hear or read. There's something more going on underneath the surface. They might not admit it, but if you dig down deep enough you'll find out that it's true. I am right there with them. Sometimes being angry or fostering the hurt gives the illusion of "feeling better" or "being right". We have a right to be angry or hurt over something someone else did to us. We feel justified & feed the anger & hurt. Before you know it that justification has turned into bitterness & rage – both attributes tear our souls. Bitterness & rage is displayed every day on social media. We wear them like badges of honor. We're all human. We all have the same emotions. It doesn't matter who we are – friends, neighbors, coworkers, media & celebrities. Yes, they are people too. We react to events or words or social media posts as of they happened to us. There may be some part of us angry about what we see or read, but deep down it reminds us of what was done to us. It's been quite an education. The amount of hurt, bitterness, rage, anger has been quite illuminating. It didn't just happen overnight. It's been building for years. Watch & observe those who always weigh in on hot topics. Chances are the anger you see on the surface isn't what's underneath. Forgiveness is a process. It doesn't mean that we forget what was done to us. It's more than just hearing the words "I'm sorry". It's a process of acknowledging our feelings & slowly letting go so the person(s) who hurt us no longer has a hold over us Don't wait for the new year to start to forgive. Begin now & find peace & restoration through #forgiveness.
There you have it. A year of words. A year of encouragement now in the books. What's next?
Remember how I said things for me and sports were complicated? They still are. I write about and watch sports less than ever. I can't remember when the last time was I watched an entire game or match of anything. Soccer is still my favorite sport, but even that isn't like it used to be.
Personally, I'm on Instagram more than any other platform. Professionally, I'm busier than ever with new responsibilities at SportsManias. Outside of that, I'm pondering what's next.
I don't know what my future in sports holds beyond SportsManias. I do know that somehow I want to continue to encourage and yes, pray, for people out there. So many are consumed by the past hurts. There's a saying that goes, "Hurting people hurt people". I'd add to that, Hurting people, operating in unforgiveness or anger, destroys the soul.
No one should go through life like that. Dwelling in their hurt, their pain, their anger. They think by simply venting on social media that things will change. Even if circumstances, laws, rules change, sooner or later that hurt, pain and anger will need to be dealt with. If not, it affects every area of one's life – relationships, career, daily interactions, physical/emotional/mental well being.
I hope anyone who has read to this point hears my heart. I once asked a question – on Instagram – Where do you dwell? Are you dwelling in the pain, hurt, anger, rejection, mistakes or whatever negative thought comes to mind? Or, are you dwelling in the positive?
Did you wake up today? You're blessed. Did you stand up today? You're blessed. Did you have a meal today? You're blessed. Focus on what you do have instead of what you don't.
It might seem mundane to some, but when we dwell in gratitude, our mindset changes. There's a fine line between righteous anger and bitter anger. You can have an attitude of gratitude and still be righteously angry about what's happening in this country and world. Don't let anyone tell you otherwise. It is possible.
Sorry about that. Not even sure why I went there. The fingers just started typing soooooo…there you go…for the person that needed to hear that.
I don't know what's next. CadChica Sports will still be here, but in what capacity, I'm not sure. I do know that I want to continue to help people who are struggling…even if they won't admit it. I still believe in the good side of sports. Kids are still the largest demographic group without a voice in this country and world – we need to protect them.
As we end 2017, my hope is that you have been encouraged, blessed and rejuvenated for 2018. May your life be filled with joy, love and laughter. Never be afraid to try something new. Your value is worth more than anyone else's opinion. You have a purpose and call in your life to be blessed and be a blessing to others.


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text:
Q: Improving productivity in debugging IntelliJ Idea I wanted to know is there any way in IDEA putting debuggers' breakpoint to previous row where debugger has just passed and re-run that scenario again. Because when debugging a loop, it's a bit tedious going to a UI doing desired action for handling that case again. I think such feature is available in Visual Studio. I've tried to google it but unfortunately I could not found anything about it.

A: I've submitted an issue on IDEA's bug tracker but its status changed to won't fix with this comment:

This functionality is not supported by the JVM. It's not possible to
  implement it in IntelliJ IDEA without JVM support.

http://youtrack.jetbrains.com/issue/IDEA-84257?projectKey=IDEA


text:
Q: Unable to locate package flask_mysqldb I'm trying to install flask_mysqldb by using "sudo apt install flask_mysqldb". But I am getting error as "Unable to locate package flask_mysqldb"

A: This Python package that you can only install from PyPi repository. Check docs. You need to use pip to install it:
$ pip install flask-mysqldb


text:
Takeaways from Jim Curtin's media call: 2/23/17
February 23, 20173:13PM EST
Jacob Bornphiladelphiaunion.com
Follow@ PhilaUnion
Ilsinho shoots his shots
One of the focuses of the preseason for Ilsinho is to get the ball more and take more shots. Head Coach Jim Curtin stated he wanted Ilsinho to get more shots on net, that he had a knack for finding the net. So far this season, he's correct. Ilsinho has two goals so far this postseason, one against Orlando City and another against the Montreal Impact.
"One of the points of emphasis has been getting Ilsinho to shoot more from distance," Curtin said. "He's been able to do that now in the past couple of games. He was dangerous last night."
Starting spots still up for grabs
Curtin and the rest of the coaching staff still have some decisions to make before the Union's season opener at Vancouver. There is still a starting spot open in the midfield position, with Roland Alberg, Derrick Jones and Warren Creavalle competing for open slot. Creavalle started against the Rowdies, while Jones got the nod against Montreal. Alberg came in as a sub in both matches.
"I think everyone is working toward a starting spot; we have not picked a starting group yet," Curtin said. "It's a good opportunity to see what Jones has. Montreal wasn't his best game, wasn't his worst game, it's somewhere in the middle. He is in the discussion to be a starter on that opening day."
Keeping Eyes on the Enemy
The goal of the preseason is to get everyone ready for the regular season, and the coaching staff is no exception. While the Union were playing the Impact in the preseason, Vancouver was playing the New York Red Bulls in the first leg of a CONCACAF Champions League match. Curtin watched the game this morning, using it as a scouting report and recon for the season opener.
"Vancouver has a ton of spend in live areas," Curtin said. "They look to really break quickly on the counter. We'll have to do a good job of eliminating counter attacks. They'll have these two games of live action, or real games of consequence, which we won't have in preparation, but they do play Thursday and turn around and play us on Sunday. Hopefully they'll have some tired legs from a group that puts a lot into two difficult games."
Audio File:


text:
How the US Imposes the Worst of Its Prison Paradigm Abroad
Nasim Chatha,
Incarceration rates rise and prisoner treatment worsens in countries where the US runs prison programs. (Image: Jared Rodriguez / Truthout)
Help Truthout continue publishing the kind of in-depth reports and news analysis you can trust — make a donation to support our independent journalism!
The new federal penitentiary in Santa Barbara, Honduras, occupies a strip of land between a highway and cloudy, forested hills. "El Pozo," or The Pit, as it's known, is surrounded by barbed wire and has two additional checkpoints beyond the first gate. It's a maximum-security facility, one of three that have popped up since 2009. Before these were built, Honduras had no maximum-security prisons. El Pozo is one of the products of a United States international prison management program that infuses Latin American penitentiary cultures with some of the most inhumane aspects of US prison systems, and provides no benefit in terms of real security.
At least $22 million have been devoted to a US international prison program focused mainly on Central American prisons. This program operates out of a web of government offices and programs, most prominently the Bureau of International Narcotics and Law Enforcement Affairs (INL) of the US State Department. Because of the extent to which information is classified, it is difficult to track exactly what prison management entails, but it's clear that the US has in some way been involved in the prison systems of at least 34 countries. US activities include training, imparting management strategies and building new prisons.
The sprawling El Pozo is a departure from Honduras's prisons before 2009, when the US prison program began in Honduras. It looks exactly like a US prison — it even has a disabled parking spot (unlike, unfortunately, almost any other building in Honduras). Just 15 kilometers away from El Pozo in the city of Santa Barbara, the local, pre-2009 prison is more typical. Located one block from the city's main square, it is a nondescript yellow building built on a steep hill, marked only by a hand-painted sign. The sidewalk outside is occupied by pedestrians and vendors selling goods under awnings. Prison policy permits regular family visits, and family may bring food and some other items. Compared to many US prisons, the prison at Santa Barbara is relatively open to the outside community. This is the type of prison that, with the advent of the US program, has now been deemed inadequate for many of Honduras's incarcerated people.
Indeed, Honduran prisons have long been home to corruption and violence. It is a common occurrence for dozens of incarcerated gang members to escape all at once while guards look the other way, or for an unchecked fire to massacre hundreds. Many of the elites of organized crime remain involved in criminal enterprise while on the inside. The right-wing Honduran government chooses not to view these problems as symptoms of broader societal corruption and impunity, but instead as an issue of weak prison facilities.
Cesar Cáceres, a Honduran government official and president of the country's National Committee to Prevent Torture and Cruel, Inhumane or Degrading Treatment (or CONAPREV), suggests that the old prison buildings and lack of technology were to blame for the problems of Honduras's prisons in the past. "If it wasn't the worst, it was one of the worst prison systems in Latin America because there wasn't new infrastructure," said Cáceres. His viewpoint is typical of the state narrative. "Disgracefully, due to the lack of control, supervision and development, the system gave way to the creation of practical self-governance," Cáceres said. The notion that prisoners govern themselves implies that the prisoners have control behind the walls, and that the state is more victim than complicit perpetrator.
This type of justification is used to pave the way for the US government to step in. The US began work on prisons with Honduras's government before the illegal coup of 2009. The first collaborative construction project was a maximum-security section of already existing La Tamara prison near Tegucigalpa. The new section is known as "La Maquila." The US controlled the design and construction of this facility, and loaned the funds needed to build it.
Despite many serious human rights abuses after the 2009 coup, the US continued to work with the coup-imposed government, putting to use decades of experience with the mass incarceration of its own low-income, Black and Brown communities. The coup opened Honduras to more intense US intervention, as the entire country grew more and more militarized. In 2014, the Honduran prison system passed into military control.
Around the same time, the new maximum-security prison known as El Pozo was completed, and a prison known as El Pozo II soon followed. These were announced with lurid headlines in Honduran newspapers, like "El Pozo is a Hell for Gangsters," or "Even Prisoners Faint when They Arrive at El Pozo II." Construction is currently stalled at a similar facility in Naco. Karen Spring of the Honduras Solidarity Network explains, "The shift in the prison culture is directly linked to the security policies that came as a result of the coup."
Iolany Perez, communications director at the Honduran news organization Radio Progreso, was curious about the new wave of prisons in her country. This spring, she went to El Pozo to see if she could get inside. After initially being told she could not, she was permitted to enter by the director, who wanted "to show me who was in charge." Perez saw that he was clearly high-ranking military because of his badges, although since January, 2017, Honduran prisons are supposed to have returned to civilian control. He showed her a wall of high-tech security monitors, and bragged that he could get on the phone with President Juan Orlando Hernández at any time.
Extreme isolation, being locked in tiny cells and sun deprivation are not unusual conditions in prisons in the US, but are new to Honduran prisons.
Gary Mejía, who is currently incarcerated at El Pozo, briefly spoke to the media when he testified in court. In the few minutes he had before being taken away, he told reporters that the conditions inside were terrible. "There is no water. For example, to bathe, I have to take water out of the trash can with the same glass I drink water out of," Mejia said. "The food is terrible; all of us are getting skinnier all the time. Imagine that you were only taken out to see the sun for five minutes each day. And then we're isolated without being able to see our loved ones."
Extreme isolation, being locked in tiny cells and sun deprivation are not unusual conditions in prisons in the US, but are new to Honduran prisons. Alba Mejía, director of the nonprofit organization Center for Prevention, Treatment and Rehabilitation for Victims of Torture (CPTRT), said the conditions at maximum-security US-style prisons of Honduras are not only very different from those that existed before, "from my perspective, they're getting worse," she said. The military elements running the prisons, Mejía says, "have no knowledge of rehabilitation." To them, "the prisons should be full of delinquents, and there they'll have no rights because they're not human beings."
Even with the increased security features, Honduras's new maximum-security prisons can't contain their prisoners. Virgil Sanchez Montoya, a suspected leader of the Barrio 18 gang who had been found guilty of killing 17 people at a shoe shop, was incarcerated at El Pozo. In May 2017, he was arrested for walking through San Pedro Sula with an AK-47. He's the fourth prisoner "rearrested" this year after they were supposed to be incarcerated at El Pozo. In June 2017, two people were killed inside El Pozo II. The new prisons continue to be dysfunctional and corrupt.
If the security situation has gotten better, why does the repression keep getting stronger?"
Moreover, while officially Honduras's murder rate is going down, many believe this to be a fabrication. The Observatory of Violence at the University of Honduras states that between 2011 and 2015, the murder rate went from 86 per 100,000 residents, to 60 per 100,000. José Guadalupe Ruelas, the national director of Casa Alianza in Honduras, said, "We don't believe this corresponds to reality. The government has [a] monopoly on statistics." He explained that the Observatory of Violence, which has kept track of violence in the country, used to be able to go directly to the morgues, the hospitals, the police, and to otherwise conduct independent research, but as of two years ago, they must wait until the secretary of state delivers the figures to them. Ruelas says, "It's a contradictory discourse — if the security situation has gotten better, why does the repression keep getting stronger?"
Many in Honduras suspect their government is now using the continuing crisis and dysfunction in the new prisons as an opportunity to privatize the prison system. Omar Rivera of the Association for a More Just Society (ASJ), a Honduran organization that gets a significant portion of their funding from several agencies of the US government, just came out in favor of privatizing Honduras's prisons, or putting them in the hands of "friendly governments." Cesar Cáceres, too, strongly supports prison privatization. Before joining the CONAPREV, Cáceres worked at the office for public-private partnerships of the Honduran government. "Many American, Colombian, Mexican, Israeli companies came who wanted to offer their services in managing prisons," he said, but under President Zelaya, who was deposed by the 2009 coup, "there wasn't the political will." A newly privatized market in Honduran prisons will further open the country to US business interests.
US involvement in prisons is not unique to Honduras. In the late 1990s, Colombia was home to the first project of the international US prison management program. "La Tramacúa," as the prison in Valledupar is known, was notorious for torturing political prisoners during their incarceration. At least until 2012, those incarcerated in La Tramacúa had an elaborate system for collecting and sharing water for the 10 minutes a day that it ran. The food had feces in it. Prisoners reported that 70 percent of the population was sick with diarrhea, vomiting or constant coughs. These issues, related in part to poor design, compound the problems more commonly associated with US prisons — confinement in cells and isolation from family.
The United States Agency for International Development (USAID) funded La Tramacúa, and the US Bureau of Prisons implemented its construction and controlled every aspect of the design. It was modeled after Coleman Prison in Florida. The US Bureau of Prisons had an office in La Tramacúa when it was built. In January 2016 a Colombian government commission examined the conditions inside the prison and ordered for it to be closed, although this recommendation has not yet been followed. This troubled prison was the beginning of what has now been almost two decades of US international prison management programs.
In every Latin American country where the US has run prison programs, rates of incarceration are increasing.
Moreover, in every Latin American country where the US has run prison programs, rates of incarceration are increasing. Mexico's incarceration rate has increased by 37 percent since 2000. El Salvador's incarceration rate now rivals that of the United States.
For decades, the US has refused to deal with social ills at home. Instead, as Michelle Alexander says, a "literal war that has been declared on poor people and people of color has led to the birth of a prison system unlike anything in world history." Now we're pushing Latin American governments to begin following in our steps. July Henriquez, a lawyer with Lazos de Dignidad in Colombia, writes that US prison management programs call for a response shaped by a "Latin Americanist, liberatory, and transformational criminology." She calls for separating the prison from the interests of global capital, and instead, facing the social realities of each country.
Iolany Perez would be happy for all US prison management programs to end immediately, along with all US aid. "That's the dream," Perez said. "The response should come from here. The reality of our problems is very much ours."
Nasim Chatha
Nasim Chatha works at Alliance for Global Justice (afgj.org) where she coordinates their Prison Imperialism Project.
Honduras: Our Continuing Catastrophe
(Photo: davidNallah / Flickr) Honduras has become a human rights disaster. The country now has the world's highest murder rate. And impunity for political violence is…
Mark Engler,


text:
Q: Read string1 within string2 and count occurences of string1 in string2 I have to write a function in C that counts the occurences of a string "mystring" within an input string.
The user will input a string containing the phrase "mystring" with no spaces anywhere in the string and the program will count how many times "mystring" is read within the input string.
Here is the code I have written so far but it is not working properly.
int substr_count(char *srcString, char *subString)
{
    int i = 0;  // counter variable
    int countOccurence = 0;

    while(srcString[i] != 0)        // loop until hit a null in srcString
    {
        if (srcString[i] == subString[i])
        {
            countOccurence++;
        }
        i++;    // increment to next position in srcString
    }
    return countOccurence;      // return value of occurences
}

int main(void)
{
  char srcString[200] = "";  //empty string
  char subString[8] = "mystring";  //substring
  int get_count = 0;

  scanf("%s", srcString); //get a string from input keyboard

  get_count = substr_count(srcString, subString);

  printf("%s occurs %d times in %s\n", subString, get_count, srcString);
}

A: Use strstr like this:
#include <stdio.h>
#include <string.h>

int substr_count(const char *srcString, const char *subString){
    int countOccurence = 0;
    size_t sub_len = strlen(subString);
    const char *p = srcString;

    while(p = strstr(p, subString)){//if NOT NULL, found it
        ++countOccurence;
        p += sub_len;//set next search point
    }
    return countOccurence;
}

int main(void){
    char srcString[200] = "";
    char subString[] = "mystring";//const *char subString = "mystring"
    int get_count = 0;

    scanf("%199s", srcString);//199 : Set limits
    get_count = substr_count(srcString, subString);

    printf("%s occurs %d times in %s\n", subString, get_count, srcString);
}

A: Problems in your code:

*

*Declaring a string or an array?
 A string is a contiguous chunk of char with an ending '\0' null terminator, while an array is a contiguous chunk of element with the same type.

 It is very important to know that between string literal (everything between " ") always have one more element than how it looks.
 "haha" contains 5 chars, 'h', 'a', 'h', 'a', '\0'
 "" contains 1 char, '\0', even if it looks like empty.

 The null terminator charactor do make the difference. all standard string functions will now work if you pass in an array or char.

 So you should either declare your subString as undefined amount of element initialised to "mystring" (char subString[] = "mystring";)
 or you can declare your subString as an array of 9 elements, with the last element as a null terminator (char subString[9] = "mystring";)

*your scanf is not defined.
 Please include "stdio.h> at the top of the file.
removed due to some mistakes in my answer

Fixed a few things, thanks for pointing out my mistakes


text:
⌛ What Is Celebrity Endorsement
Wednesday, August 25, 2021 12:31:18 AM
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Celebrity Endorsements and the Business Strategy Game
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