text:
Section 626.18
2001 626.18 New 2001 c 197 s 6
626.18 Search warrants relating to electronic
communication services and remote computing services.
Subdivision 1.    Definitions.  The definitions in this
subdivision apply to this section.
(a) The terms "electronic communication services" and
"remote computing services" shall be construed in accordance
with United States Code, title 18, sections 2701 to 2711, as
amended through March 1, 2001.  This section does not apply to
corporations that do not provide those services to the general
(b) An "adverse result" occurs when notification of the
existence of a search warrant results in:
(1) danger to the life or physical safety of an individual;
(2) a flight from prosecution;
(3) the destruction of or tampering with evidence;
(4) the intimidation of potential witnesses; or
(5) serious jeopardy to an investigation or undue delay of
a trial.
(c) "Applicant" means a peace officer as defined in section
626.05, to whom a search warrant is issued pursuant to this
chapter.
(d) "Minnesota corporation" refers to any corporation or
other entity that is subject to section 5.25, excluding foreign
corporations.
(e) A "foreign corporation" is considered to be doing
business in Minnesota if it makes a contract or engages in a
terms of service agreement with a resident of Minnesota to be
performed in whole or in part by either party in Minnesota.  The
making of the contract or terms of service agreement is
considered to be the agreement of the foreign corporation that
any administrative subpoena or search warrant properly served on
it has the same legal force and effect as if served personally
on it within the state of Minnesota.
(f) "Properly served" means that a search warrant has been
delivered by hand, or in a manner reasonably allowing for proof
of delivery if delivered by United States mail, overnight
delivery service, or facsimile to a person or entity listed in
section 5.25 or covered by this statute.
Subd. 2.    Application.  (a) The following provisions
shall apply to any search warrant issued under this chapter
allowing a search for records that are in the actual or
constructive possession of a foreign corporation that provides
electronic communication services or remote computing services
to the general public, where those records would reveal the
identity of the customers using those services; data stored by,
or on behalf of, the customer; the customer's usage of those
services; the recipient or destination of communications sent to
or from those customers; or the content of those communications.
(b) When properly served with a search warrant issued by
the Minnesota court, a foreign corporation subject to this
section shall provide to the applicant all records sought
pursuant to that warrant within eight business days of receipt,
including those records maintained or located outside this state.
(c) Where the applicant makes a showing and the judge finds
that failure to produce records within less than eight business
days would cause an adverse result, the warrant may require
production of records within less than eight business days.  A
court may reasonably extend the time required for production of
the records upon finding that the foreign corporation has shown
good cause for that extension and that an extension of time
would not cause an adverse result.
(d) A foreign corporation seeking to quash the warrant must
seek relief from the court that issued the warrant within the
time required for production of records under this section.  The
issuing court shall hear and decide that motion no later than
eight court days after the motion is filed.
(e) The foreign corporation shall verify the authenticity
of records that it produces by providing a written affidavit or
statement to that effect.
Subd. 3.    Warrant of another state.  A Minnesota
corporation that provides electronic communication services or
remote computing services to the general public, when served
with a warrant issued by another state to produce records that
would reveal the identity of the customers using those services;
data stored by, or on behalf of, the customer; the customer's
usage of those services; the recipient or destination of
communications sent to or from those customers; or the content
of those communications, shall produce those records as if that
warrant had been issued by a Minnesota court.
Subd. 4.    Immunity.  No cause of action shall lie
against any foreign or Minnesota corporation subject to this
section, its officers, employees, agents, or other specified
persons for providing records, information, facilities, or
assistance in accordance with the terms of a warrant issued
pursuant to this chapter.
HIST: 2001 c 197 s 6


text:
<?php

final class FundInitiativeEditor
  extends PhabricatorApplicationTransactionEditor {

  public function getEditorApplicationClass() {
    return 'PhabricatorFundApplication';
  }

  public function getEditorObjectsDescription() {
    return pht('Fund Initiatives');
  }

  public function getTransactionTypes() {
    $types = parent::getTransactionTypes();

    $types[] = FundInitiativeTransaction::TYPE_NAME;
    $types[] = FundInitiativeTransaction::TYPE_DESCRIPTION;
    $types[] = FundInitiativeTransaction::TYPE_RISKS;
    $types[] = FundInitiativeTransaction::TYPE_STATUS;
    $types[] = FundInitiativeTransaction::TYPE_BACKER;
    $types[] = FundInitiativeTransaction::TYPE_REFUND;
    $types[] = FundInitiativeTransaction::TYPE_MERCHANT;
    $types[] = PhabricatorTransactions::TYPE_VIEW_POLICY;
    $types[] = PhabricatorTransactions::TYPE_EDIT_POLICY;
    $types[] = PhabricatorTransactions::TYPE_COMMENT;

    return $types;
  }

  protected function getCustomTransactionOldValue(
    PhabricatorLiskDAO $object,
    PhabricatorApplicationTransaction $xaction) {
    switch ($xaction->getTransactionType()) {
      case FundInitiativeTransaction::TYPE_NAME:
        return $object->getName();
      case FundInitiativeTransaction::TYPE_DESCRIPTION:
        return $object->getDescription();
      case FundInitiativeTransaction::TYPE_RISKS:
        return $object->getRisks();
      case FundInitiativeTransaction::TYPE_STATUS:
        return $object->getStatus();
      case FundInitiativeTransaction::TYPE_BACKER:
      case FundInitiativeTransaction::TYPE_REFUND:
        return null;
      case FundInitiativeTransaction::TYPE_MERCHANT:
        return $object->getMerchantPHID();
    }

    return parent::getCustomTransactionOldValue($object, $xaction);
  }

  protected function getCustomTransactionNewValue(
    PhabricatorLiskDAO $object,
    PhabricatorApplicationTransaction $xaction) {

    switch ($xaction->getTransactionType()) {
      case FundInitiativeTransaction::TYPE_NAME:
      case FundInitiativeTransaction::TYPE_DESCRIPTION:
      case FundInitiativeTransaction::TYPE_RISKS:
      case FundInitiativeTransaction::TYPE_STATUS:
      case FundInitiativeTransaction::TYPE_BACKER:
      case FundInitiativeTransaction::TYPE_REFUND:
      case FundInitiativeTransaction::TYPE_MERCHANT:
        return $xaction->getNewValue();
    }

    return parent::getCustomTransactionNewValue($object, $xaction);
  }

  protected function applyCustomInternalTransaction(
    PhabricatorLiskDAO $object,
    PhabricatorApplicationTransaction $xaction) {

    $type = $xaction->getTransactionType();
    switch ($type) {
      case FundInitiativeTransaction::TYPE_NAME:
        $object->setName($xaction->getNewValue());
        return;
      case FundInitiativeTransaction::TYPE_DESCRIPTION:
        $object->setDescription($xaction->getNewValue());
        return;
      case FundInitiativeTransaction::TYPE_RISKS:
        $object->setRisks($xaction->getNewValue());
        return;
      case FundInitiativeTransaction::TYPE_MERCHANT:
        $object->setMerchantPHID($xaction->getNewValue());
        return;
      case FundInitiativeTransaction::TYPE_STATUS:
        $object->setStatus($xaction->getNewValue());
        return;
      case FundInitiativeTransaction::TYPE_BACKER:
      case FundInitiativeTransaction::TYPE_REFUND:
        $amount = $xaction->getMetadataValue(
          FundInitiativeTransaction::PROPERTY_AMOUNT);
        $amount = PhortuneCurrency::newFromString($amount);

        if ($type == FundInitiativeTransaction::TYPE_REFUND) {
          $total = $object->getTotalAsCurrency()->subtract($amount);
        } else {
          $total = $object->getTotalAsCurrency()->add($amount);
        }

        $object->setTotalAsCurrency($total);
        return;
    }

    return parent::applyCustomInternalTransaction($object, $xaction);
  }

  protected function applyCustomExternalTransaction(
    PhabricatorLiskDAO $object,
    PhabricatorApplicationTransaction $xaction) {

    $type = $xaction->getTransactionType();
    switch ($type) {
      case FundInitiativeTransaction::TYPE_NAME:
      case FundInitiativeTransaction::TYPE_DESCRIPTION:
      case FundInitiativeTransaction::TYPE_RISKS:
      case FundInitiativeTransaction::TYPE_STATUS:
      case FundInitiativeTransaction::TYPE_MERCHANT:
        return;
      case FundInitiativeTransaction::TYPE_BACKER:
      case FundInitiativeTransaction::TYPE_REFUND:
        $backer = id(new FundBackerQuery())
          ->setViewer($this->requireActor())
          ->withPHIDs(array($xaction->getNewValue()))
          ->executeOne();
        if (!$backer) {
          throw new Exception(pht('Unable to load %s!', 'FundBacker'));
        }

        $subx = array();

        if ($type == FundInitiativeTransaction::TYPE_BACKER) {
          $subx[] = id(new FundBackerTransaction())
            ->setTransactionType(FundBackerTransaction::TYPE_STATUS)
            ->setNewValue(FundBacker::STATUS_PURCHASED);
        } else {
          $amount = $xaction->getMetadataValue(
            FundInitiativeTransaction::PROPERTY_AMOUNT);
          $subx[] = id(new FundBackerTransaction())
            ->setTransactionType(FundBackerTransaction::TYPE_STATUS)
            ->setNewValue($amount);
        }

        $editor = id(new FundBackerEditor())
          ->setActor($this->requireActor())
          ->setContentSource($this->getContentSource())
          ->setContinueOnMissingFields(true)
          ->setContinueOnNoEffect(true);

        $editor->applyTransactions($backer, $subx);
        return;
    }

    return parent::applyCustomExternalTransaction($object, $xaction);
  }

  protected function validateTransaction(
    PhabricatorLiskDAO $object,
    $type,
    array $xactions) {

    $errors = parent::validateTransaction($object, $type, $xactions);

    switch ($type) {
      case FundInitiativeTransaction::TYPE_NAME:
        $missing = $this->validateIsEmptyTextField(
          $object->getName(),
          $xactions);

        if ($missing) {
          $error = new PhabricatorApplicationTransactionValidationError(
            $type,
            pht('Required'),
            pht('Initiative name is required.'),
            nonempty(last($xactions), null));

          $error->setIsMissingFieldError(true);
          $errors[] = $error;
        }
        break;
      case FundInitiativeTransaction::TYPE_MERCHANT:
        $missing = $this->validateIsEmptyTextField(
          $object->getName(),
          $xactions);
        if ($missing) {
          $error = new PhabricatorApplicationTransactionValidationError(
            $type,
            pht('Required'),
            pht('Payable merchant is required.'),
            nonempty(last($xactions), null));

          $error->setIsMissingFieldError(true);
          $errors[] = $error;
        } else if ($xactions) {
          $merchant_phid = last($xactions)->getNewValue();

          // Make sure the actor has permission to edit the merchant they're
          // selecting. You aren't allowed to send payments to an account you
          // do not control.
          $merchants = id(new PhortuneMerchantQuery())
            ->setViewer($this->requireActor())
            ->withPHIDs(array($merchant_phid))
            ->requireCapabilities(
              array(
                PhabricatorPolicyCapability::CAN_VIEW,
                PhabricatorPolicyCapability::CAN_EDIT,
              ))
            ->execute();
          if (!$merchants) {
            $error = new PhabricatorApplicationTransactionValidationError(
              $type,
              pht('Invalid'),
              pht(
                'You must specify a merchant account you control as the '.
                'recipient of funds from this initiative.'),
              last($xactions));
            $errors[] = $error;
          }
        }
        break;
    }

    return $errors;
  }

  protected function shouldSendMail(
    PhabricatorLiskDAO $object,
    array $xactions) {
    return true;
  }

  public function getMailTagsMap() {
    return array(
      FundInitiativeTransaction::MAILTAG_BACKER =>
        pht('Someone backs an initiative.'),
      FundInitiativeTransaction::MAILTAG_STATUS =>
        pht("An initiative's status changes."),
      FundInitiativeTransaction::MAILTAG_OTHER =>
        pht('Other initiative activity not listed above occurs.'),
    );
  }

  protected function buildMailTemplate(PhabricatorLiskDAO $object) {
    $monogram = $object->getMonogram();
    $name = $object->getName();

    return id(new PhabricatorMetaMTAMail())
      ->setSubject("{$monogram}: {$name}")
      ->addHeader('Thread-Topic', $monogram);
  }

  protected function buildMailBody(
    PhabricatorLiskDAO $object,
    array $xactions) {

    $body = parent::buildMailBody($object, $xactions);

    $body->addLinkSection(
      pht('INITIATIVE DETAIL'),
      PhabricatorEnv::getProductionURI('/'.$object->getMonogram()));

    return $body;
  }

  protected function getMailTo(PhabricatorLiskDAO $object) {
    return array($object->getOwnerPHID());
  }

  protected function getMailSubjectPrefix() {
    return 'Fund';
  }

  protected function buildReplyHandler(PhabricatorLiskDAO $object) {
    return id(new FundInitiativeReplyHandler())
      ->setMailReceiver($object);
  }

  protected function shouldPublishFeedStory(
    PhabricatorLiskDAO $object,
    array $xactions) {
    return true;
  }

  protected function supportsSearch() {
    return true;
  }

}

redpajama_set_name: RedPajamaGithub


Thousands of individuals in Southern California who are elderly, or who have on-going physical limitations, or who become disabled due to illness or injury, have limited or no access to the wheelchairs, walkers, or other durable medical equipment that they need to assist in their daily living, their recovery from illness or injury, or to cope with on-going or recurring physical limitations due to limited financial or insurance resources.
The gift of a wheelchair can make the difference between being a prisoner in the home and being able to participate in activities with family and friends.
The Durable Medical Equipment Aid Society (The DME) is a locally based, non-profit organization that supports and promotes the re-use of gently used durable medical equipment and makes that equipment available, free of charge, to these individuals.
Support Durable Medical Equipment Aid Society.
The DME collects, through donations, gently used, re-usable in-home durable medical equipment from individual donors, medical clinics, hospitals, etc., to meet the needs of individuals residing in Los Angeles County and Ventura County who have limited financial resources and/or who are un-insured or under-insured.
The Durable Medical Equipment Society is a "grassroots" organization! The co-founders began The DME using personal funds and monetary donations from generous family and friends. If you would like to help your community and support the mission of The DME, please consider a monetary donation to The DME.
The DME is a member of The California Assistive Technology Reuse Coalition (CATRC) (http://californiareuse.org/) which supports organizations that accept and give out or loan assistive technology (AT) and durable medical equipment (DME) to people in their communities for free or at low cost.


text:
Train Ride at Six Flags Over Georgia Catches Fire
Getty Images for Samsung
Visitors to Six Flags Over Georgia got a scare over the weekend when a train ride caught fire inside the park.
The Marietta Daily Journal reported that two employees were injured when the blaze began in the engine and they were later taken to the hospital as a precaution. The report also says that no guests were on the ride on Saturday evening when the fire began.
There were some videos shared on social media showing the smoke billowing up inside the park as guests were trying to move away from the area.
The attraction is a classic locomotive that runs throughout the park across a mile-long track. Park officials said it would be closed for further inspection but there's no word on when it will be re-opened.
Find Out How This Sweet Treat is Supporting Veterans' Causes
65 Percent of Tuscaloosa Drivers Don't Know This Simple Fact
Rep. Chris England Gives Advice Regarding Hwy 69 Traffic
Seize This 50% Off Deal from La Bamba Mexican Grill in Tuscaloosa
Margot Kidder, 'Superman' and 'Amityville' Star, Dead at 69
Two Alabama Cities Among the Worst for Mosquitoes in 2018
Clint Black to Debut His Original Musical, 'Looking for Christmas,' in November 2018
Supreme Court Ruling Makes Sports Betting Possible Nationwide
More High School Graduations in Tuscaloosa This Week

redpajama_set_name: RedPajamaCommonCrawl


text:
Published on Feb 7, 2021 [Permalink]
Why We Need Bodies to Heal Our Body
The strange, new circumstances of 2020 entailed a number of strange, new behaviors — "social distancing", wearing masks, working from home, "toobin" (for some). I think I uttered the phrase "public health" more in one month than I had in my entire life until March 2020. Suddenly, my blissfully unaware self was inundated with a string of strange, new directives, necessitating strange, new thoughts and behaviors.
Of course, the strange, new thing was a little understood, highly contagious virus that was spreading rapidly. Our governments were thoroughly unprepared for it. The United States, historically seen as an economic, diplomatic, and military leader, found itself less equipped to handle the disaster than a Texas grocery store chain. In a scramble to maintain the stability of our health care system, we forced ourselves minimize embodiment. The bodies and breath of others, those essential, irreducible aspects of their humanity, became "transmission vectors" to avoid. Hugging and singing suddenly entailed considerable risk. Of course, covering the lower half of our faces and leaving six feet of space between each other were ways of acknowledging and honoring our embodiment. By striving to protect one another in this way for a time, we recognized that life is bound up in our bodies.
Nonetheless, I think that many people have come to realize that such a way of living and relating is fundamentally undesirable and unsustainable. Most people I talk with, even those who adjusted quite well at the start of the pandemic, are eager to get vaccinated and once again embrace a grandparent, work in an office, go to a basketball game, or listen to live music. What was often called the "new normal" has proven to be deeply abnormal, a recognition I've heard echoed by many people. But there are also subtle and not-so-subtle advocates for the normalization of our new habits. I don't think theirs is the dominant preference; it seems to be a view espoused by the very online, the future-oriented, for whom human life is more experiment than experience.
A commercial I recently saw for Amazon Web Services, the cloud infrastructure platform provided by Amazon, illustrates such an attitude. It was narrated by a young girl. We see her waving to and thanking a Doordash delivery-woman as she drops off some food on her family's porch. We see her father riding a Peloton, followed by her submitting school assignments on Blackboard, watching a movie on a projector in the backyard, and chatting with elderly relatives on Zoom. "Well, things are different these days, but we're figuring it out", she says. She tells us that her dad's made some new workout buddies, and that, while doing school online, she's "learning a lot". The ad closes with text telling the viewer that AWS is how Zoom, Doordash, Peloton, etc. keep us all "connected".
I saw this ad while visiting in-laws in rural Texas. I can only speculate as to why this ad was on cable television, whose audience is unlikely to have any direct use for AWS's offerings. Neither can I imagine that anyone who actually would use AWS infrastructure to host a digital product would be swayed either way by this commercial. I don't think cute ads play much of a role in enterprise software decision-making. The ad's very existence only makes sense as a propaganda piece — it isn't selling a service, but a worldview. "Food, health, learning, human interaction — whatever your need, we make possible its fulfillment", the ad implies. "Everything is okay because of us". Never mind that the family in the ad lives in a spacious suburban home, replete with devices. Never mind that the masked Doordash driver "smiling with her eyes" probably cannot make a living wage. Never mind the lost work, the closure of locally owned business, the economic devastation of communities, the well-documented shortcomings in education for the most vulnerable. The frightening dissonance between the experiences of our society's technocratically-minded professional class and those most acutely afflicted by the pandemic's effects is on full display.
This economic, political, and cultural disconnect existed well before a virus jumped from a bat to a pangolin to a human. But the alienation and fear that were already embedded in people's psyches were exacerbated as we had to turn away from one another and toward the black mirrors in our hands and homes. I don't think it requires much imagination to see how such compounding circumstances could make a large number of people vulnerable to believing and internalizing a set of delusions — delusions that, in turn, compel their believers to do something like invading the seat of American democracy in the hopes of overturning a presidential election.
Countless thinkpieces explore the whys and hows of such an event. "It's the evangelicals". "It's the Democratic party's betrayal of the working class". "It's the president's rhetoric". "It's cowardly Republican politicians who want to be reelected". "It's disinformation and radicalization on social media platform _XYZ_". I think all of these theses are correct to some degree. But I think that the last one points to a latent malaise that exacerbated the others.
The winners in our current economic and technological order have an incentive to perpetuate the conditions that make the events of January 6th possible. To shift away from the physical toward the virtual is to shift away from one reality to another. These virtual realities enrich their maintainers though engagement; the veracity of the realities that users are engaging with is irrelevant. Their business models necessitate the perpetuation of falsehood, since falsehood has proved effective in maintaining engagement.
I think repairing these virtual realities is impossible. Their viability as a product for their true customers (advertisers) requires them to double-down on the same features that cause profound psychological harm to their users. If we cannot fix virtual realities, then we must walk away from them altogether. We must return to one another in the real world, from "cyberspace" to "meatspace", from abstractions to bodies.
The return to embodiment enabled by vaccinations will not fix all our societal ills, but it is a necessary condition. John Inazu, recognizing the necessity of embodiment to defeat "information viruses", writes,
This pandemic season has forced on many of us the painful absence of face-to-face relationships. When we are once again free to pursue these embodied relationships, we might discover that they also represent our best antidote to the information virus: other human beings who force us to confront complexity rather than caricature, and who challenge us to maintain friends, not just followers. But antidotes, like vaccines, don't always come easily. They take work, risk, and perseverance.
Work, risk, and perseverance are, of course, the very necessities that the purveyors of technologically mediated ease want to nullify. Why talk with waitstaff and wait for a meal when it can be brought to you? Why go to a smelly gym or risk the discomfort of the elements when you can ride an exercise bike in the comfort of your own home? Why crowd into a theater and bump elbows with strangers when a personally optimized algorithm suggests viewing options to you from the comfort of your couch?
The pandemic allowed those fortunate enough to afford it the opportunity to eliminate considerable friction from their lives. But in order to recover our communities and ourselves, more friction may be the very thing we need. We learn patience as we wait on food, await our turn for the squat rack, and try to find a seat in the theater. When we go to a restaurant, we are slightly less removed from the hands that prepared our food. We can observe and mimic the form of another when working out in a gym or class in a way that we can't while watching a workout video. And we share collective laughter and tears when we watch a movie in a theater.
Friction is not a guarantor of virtue, but neither is ease. Friction can break us out of our solipsism and myopia; it opens us to otherness and expands our horizons. It both disenchants us of our illusions and re-enchants the world with the mystery of the unfamiliar. For many, this pandemic has exacerbated the friction of existence to a nigh intolerable degree — the healthcare workers facing death daily, the already disadvantaged students regressing in their learning, the small business owners who have lost their livelihoods, and those who have lost loved ones or their very lives to this disease. But for the rest of us who haven't experienced such loss, it afforded us the opportunity to mitigate a lot of friction.
Such frictionless-ness has hidden costs. When the complexity of things is abstracted away, it doesn't cease to exist; it is simply placed out of sight. As we eliminate friction from our lives, we replace it with illusion. And collective illusions, about our own righteousness, about the wickedness of others, about our lack of responsibility for ourselves and our communities, have brought us here. As the risk of this new virus is mitigated, we need to embrace friction and embodiment again. Drink a cup of coffee with a neighbor. See a movie. Meet a stranger and shake their hand. Hug a grandparent. Sing songs in church. Smell the sweat of another. Wait in a line. And while you wait, try not to check your phone.


The revolution that marks contemporary philosophy – its distance from the long-running hegemony of post-structuralism – is perhaps seen no more clearly than in the recent defence of Plato against the Sophists. Of course, it is found in its most high-profile instance in Alain Badiou's advocacy of Plato in his Being and Event against – for all of his admiration of him – Gilles Deleuze's championing of the Sophists in his The Logic of Sense (Badiou 2005: 31-7). But it is a defence that the Russian-born art historian Boris Groys also participates in. In some very important pages of his recently published The Communist Postscript, Groys takes as well the side of Plato against the Sophists.
In an inversion of the conventionally held view, it is the Sophists for Groys who do not expose the paradoxical nature of reason but seek to hide it. While they know very well that reason is essentially self-contradictory, they attempt in their oratory to construct logical, consistent argumentive surfaces, which take only one side (the one that is paying them), although they understand the point of view of the other to be equally valid. As a result, the true nature of reason remains obscure, and this produces the suspicion in their listeners that there is something hidden beneath these surfaces, a suspicion that the Sophists for their part are happy to play on. In fact, for all of the Sophists' denial of the merits of the other side, ultimately they are prepared to compromise. This compromise is brought about not logically, but through money, involving the compensation of both sides for accepting the argument of the other. The Sophists – and Groys undoubtedly means to speak here of such figures as politicians and the proponents of justice in our society – win either way, which leads to Groys' definition of a commodity. A commodity, says Groys, is a paradox that has lost its paradoxical quality (Groys 2009: 4).
As opposed to this, Plato is the one who exposes paradox, both in the speech of others and in his own speech. As a result of such self-exposure, Plato is able to win the trust of his listeners, so much so that, as Groys suggests, "for lengthy periods of time" (5) – and this is complicated – they are spellbound and unable to tear themselves away from him. Here precisely – and this is the basis of the paradoxical and self-contradictory nature of philosophy – the philosopher is not a "wise man", but merely a 'seeker after wisdom" (6). They do not stand somewhere outside of the paradoxes they are remarking, as with the "dark spaces" (11) of the Sophists. On the contrary, they operate entirely within the realm of the paradoxes they speak of, in the "bright light" or "effulgence" (17) of their exposure.
What is the proper philosophical response to this? Certainly, in one way, the philosopher is only able to offer another conflicting opinion. But, in another way, they must also seek to formulate the rule of these conflicting opinions. In a first step, they must note that there are a number of conflicting opinions, and that, moreover, each opinion – although it would explicitly deny this – secretly acknowledges that there are other opinions and that it would make no sense outside of them. This insight is essential, but it is ultimately no more than that of the market itself: each opinion is only one of a number of conflicting opinions, without a common measure but with these differences able to be reconciled via the medium of money. It is the market in the end that judges which opinions are best, and by how much. No, the real philosophical insight is not that opinions are contradictory, but that each opinion is self-contradictory. As Groys writes: "Every speaker says what he intends to mean, but he always says the opposite of this… For this reason, the philosopher can conceive of what is common to all discourses, the totality of discourses, and can transcend mere opinion in this way without thereby asserting a claim to the truth of his own opinion" (8-9).
But Groys' argument here is very subtle. As he suggests, it is not a matter of the philosopher simply formulating the truth of the plurality of opinion. This is not only because the philosopher does not offer their own truth but only their own paradox, but also because it is this paradox that allows us to see this plurality of opinion for the first time. It is what Groys calls the "icon" (16) that allows us to see for a while – again, the temporality is very complex – the whole of language. In other words, this totality does not exist before its paradox. (Groys is using "icon" here in its Christian meaning of an image that does not refer to any pre-existing original or referent.) It is in this sense that we would say that the contemporary marketplace of ideas is both a falling short of the paradox of philosophy – a kind of not-yet – and a forgetting or covering over of the paradox of philosophy (which is why Groys speaks of the icon holding only for a certain time). It is why Groys argues that the philosopher must appropriate the "diabolical reason" of the market – which would otherwise remain hidden and undeveloped – and that the sophism of the marketplace will come to cover over the paradox in order to enclose or "privatize" it again. (At this point Groys draws close to Hardt and Negri's argument about the way that capitalism draws on or parasitizes the previously liberated or deterritorialized state of paradoxical opinion or "commons" – and, indeed, Groys has an essay entitled "Privatizations, or the Artificial Paradises of Post-Communism" in his recent collection Art Power that speaks of just this (Groys 2008: 166-67).) Although formal logic very much seeks to do away with the third or tertium, following the law of the excluded middle, this compromise is nevertheless always provided by money. There is the inevitable compromising – selling out – of the paradox by both the Sophist and the market. Capitalism does, in fact, get close to self-contradiction. It involves a constant overturning or transgression, but like the Sophist it is assured of a profit no matter what the outcome. As Groys writes: "If the worker receives higher wages, they can buy more and profits grow. If the worker receives lower wages, savings can be made on labour power and profits continue to grow" (Groys 2009: 24). It is for this reason that capitalism, like the Sophist, gives the impression that it is not entirely caught up in its own self-contradiction, that somehow behind it there is a "diabolical subject" (24) manipulating these contradictions for its own unknown ends.
How then does the philosopher expose the self-contradiction of opinion and the marketplace? How do they actually produce or bring about paradox? Groys provides several examples of this philosophical paradox in practice. He begins, of course, with Plato's Socrates, who not only uncovers the paradoxes of others, but also makes paradox the basis of his own activity. He then suggests Descartes, whose decision to suspend all opinions while living through a moment of doubt is logically just as paradoxical as the decision to reject or affirm all opinion. And Husserl and his phenomenological epochē or bracketing is seen as another form of this. The post-structuralists too, like Bataille, Foucault, Lacan, Deleuze and Derrida, are understood – whatever else their limitations – as striving for an ever more radical and all-encompassing paradox. And Stalin himself, like every Communist leader a proper philosopher, was also a thinker of paradox. As Groys writes, understanding Communism as precisely the fulfilment of the original Platonic inspiration: "The [Communist] exposure, production and appropriation of paradox are genuine philosophical achievements, which empower the philosophers to rule" (29). (Interestingly, Groys considers Hegel, whose dialectical method, of course, involved the holding-together of oppositions, to be not paradoxical but finally attempting to legitimize a discourse that was formally-logically valid.) But, again, how to produce this paradox that reveals or, better, actually constructs the whole? How to bring about this state in which – as opposed to the Sophists, who secretly choose sides, or the post-structuralists, whose otherness or difference merely repeats the contradictions of the system – opposites are simultaneously true, authentic self-contradiction? In fact, Groys is not always as good on this as he might otherwise be. Perhaps it is his rejection of Hegel that blinds him. (Hegel's notion of reflective determination, in which the identity of a thing is given by it standing in for its opposite, for example, would appear to be very useful for Groys' undertaking.) Groys' account is in some ways very good on description, but not so good on the logic. Certainly, as the examples above indicate, paradox involves a particular bracketting or suspension along the lines of Descartes' doubt or Husserl's phenomenological reduction, and even a certain finitization or hastening of time, a bringing on of the end. In a later chapter of The Communist Postscript, Groys will speak of it using the word "metanoia" (106), a religious term referring to a change or alteration from the object to the context surrounding the object, brought about by adopting a different perspective, say from life to the after-life.
It is for this reason that metanoia leaves us in a radically undecidable position. Dialectical philosophy does not simply propose some new and unrealized transcendental condition. Groys breaks with any Kantian Enlightenment-style infinite striving, which he compares to the "bad infinity" of capitalism. Rather, the radical "anti-utopianism" of the Russian revolution – which is also a form of utopianism – tells us that we are in a world that is effectively post-Enlightenment, post-historical and post-modern, in which there is no rational striving towards the real. Utopia is at once already here (insofar as language always goes further than capitalism) and can never be realized (not only because capitalism still persists, but because this utopia could always be the work of the devil). Metanoia operates as a kind of pure doubling of the world, at once irrefutable and undemonstrable, in which everything is at once the same and different. As Groys says of Stalinist Communism: "It is impossible to dismiss the famous claim 'it is done' from the world once and for all simply by referring to factual injustices and shortcomings, for it involved a paradoxical identity of utopia and anti-utopia, hell and paradise, damnation and salvation" (125). And the example Groys uses to explain this performative doubling – very reminiscent of Baudrillard's arguments concerning simulation, which are also a perfect instance of this paradoxicality Groys is discussing – is terrorism. The paradox of terrorism, the so-called "war on terror" that we seem to be involved in, is both that random accidents can now only be understood as coming about as the result of terrorist acts and the fight against terrorism – the state of constant surveillance, the foregoing of civil liberties – would be the very terrorism anti-terrorism fights against (both in the sense that these infringements are undoubtedly what would happen if we were taken over by terrorists and that these infringements, as seen perhaps in Britain, are actually what produce home-grown terrorists) (26-8).
Following this logic, Groys suggests that Communism is revolutionary not only by opposing capitalism, but by proposing itself as the diabolical reason behind capitalism. It puts itself forward as an "answer" (29) to the paradoxical nature of capital and its commodities, which means as the hidden paradoxical explanation of capital. And the great achievement of Soviet philosophy, particularly under Stalin, is its absolute liberation of paradox in this sense. Soviet philosophy exists, insists Groys, only insofar as it is able to think its opposite. As he says: "The demand to think and feel globally and with the whole of language was paradoxical insofar as it presupposed that the thought of the Soviet person was both Soviet and anti-Soviet at the same time" (70). And the most profound sign of this anti-Soviet thinking was the idea that capitalism was possible only because of Communism, that capitalism becomes visible only from the perspective of Communism. Indeed, this doubling is repeated from both ends, in line with that paradoxical temporality we have attempted to outline. We would say that Communism comes after capitalism, as the linguistic freeing-up of the restricted economy of the circulation of commodities. This would be Groys' argument that in capitalism projects are always unfinished because of a lack of funds, that capitalism is a necessarily incomplete project: "The reason why things are finite, why they are present at all, why they have a form, why they are offered to the gaze of the observer as these concrete objects, is because they are under-financed" (94). And against this, Communism seeks to complete things from a radical metanoic change of perspective (like that of the religious after-life), which at once sees things as complete and opens them up to an entirely other destiny. But perhaps more profoundly – and paradoxically – Communism can also be seen as coming before capitalism. This is Groys' idea that the advent of capitalism in the former Soviet Union is to be understood not as any kind of defeat or resignation of Communism, but on the contrary as the last act of Communism, its perestroika or auto-dissolution. That is, capitalism is possible only because of a prior Communism: the commodity is a forgetting of the paradoxical nature of reason; exchange value is the compromise struck between various incommensurable and self-contradictory positions. Again, as Groys says: "Passing from a project to its context is a necessity for anyone who seeks to grasp the whole. And because the context of Soviet Communism was capitalism, the next step in the realization of Communism had to be the transition from Communism to capitalism. The project of building Communism in a single country is not refuted by this transition, but is instead confirmed and definitively realized" (103-4). If capitalism makes the contradictions of Communism clearer by turning them into commodities, so capitalism for its part is able to be explained only because of a certain Communist reason. As Groys notes of the recent period of Soviet privatization or the appropriating of formerly Communist resources: "In both cases [Communism and post-Communism], private property is equally subordinate to a raison d'état… The post-Communist situation is distinguished by the fact that it reveals the artificiality of capitalism, in that it presents the emergence of capitalism as a purely political project of social reorganization, and not as the result of a 'natural' process of economic development" (123-4). In other words, if there is a Communist post-script, it is written by Communism itself. Or, indeed – and this brings us back to the Christian origins of the notion of metanoia – if Communism lives on after its death, it is in a sense because it is already dead. It lives its life as a kind of after-life, as its own post-script, as it were.
The Communist Postscript, originally published in German in 2006, is in many ways the logical continuation of Groys' Gesamtkunstwerke Stalin or The Total Art of Stalinism, originally published in German in 1988. There, in a now famous thesis, Groys argues that Stalinism is to be understood not as the enemy of, opposition to or censoring of the avant-garde of Malevich and the Constructivists but as its continuation. It is Stalin who inherits – and ultimately realizes – the avant-garde ambition for the total making-over of society (Groys 1992: 36). In a sense – and here we have a premonition of the analysis to come – he represents a more complete "nothing" than even the Suprematism of Malevich, for he adds the figure of the diabolical to it. He is the author who is always missing in the avant-garde – the author precisely in the figure of the "demiurge" (56). The only thing that Groys does not like about Stalinist art at this stage – this is where he differs from his later Postscript – is its belief that it has effectively brought history to an end. In a complex formula, uniting modernism, post-modernism and anti-modernism, Groys writes that we have post-modernism as the anti-modern in the (Stalinist) modernist idea of a totally harmonious society brought about by the halting of history (79). This is why Groys sees Stalinist art – again, against the common conception, and perhaps in a taste of his later emphasis on paradox – as essentially eclectic, citational and heterogeneous. And it is a post-historicality that Soviet dissident art, for all of its apparent opposition to Stalinism, would share. What Communism did not see – and how could it in 1988, the year before the fall of the Berlin Wall? – is that history had one more twist in store for it: the turning of it into capitalism, capitalism as the completion of Communism.
We have the same paradoxical Communism in Groys' "The Logic of Equal Aesthetic Rights" from his recent collection Art Power. In this essay, Groys argues for a certain universality or making-equal of all images. But, read carefully, this universality is not a mere plurality. Again, Groys sees the post-modern plurality of simple difference or transgression as merely standing in for the market. Rather, this universality is to be grasped only through paradox, or this universality must itself be paradoxical. In his essay, Groys brilliantly inverts the usually understood relationship between the museum and the mass media, between what we might call elitism and populism. In fact, it is not the mass media or popular taste that opens up the otherwise closed and restricted canon of images. On the contrary, it is the museum that challenges the consensus – the consensus of both the market and the media – towards what can be recognized as the shocking and different. The paradox of the museum today is that a new work can enter it only if it resembles nothing else inside of it. But implied in this is something more than "opinion". The new work of art is also about this newness, about this break with other works of art. It is about the fact that it can enter the museum only insofar as it is different from everything that comes before it. In a complex sense – which we will tease out in a moment – it attempts to state the conditions of possibility of all of those other words of art in the museum. The avant-garde, as Groys says, produces "transcendental images, in the Kantian [but, as we will see, not quite Kantian] sense of the term" (Groys 2010: 111). Each new image – as new – is the image that all images now stand in for. But this is paradoxical because this image is at once the same as and different from all other images, which – it demonstrates – also did this. It is for this reason that Groys can speak of each new image as at once "clarifying and confusing" (116) the others. That is, again – and here Groys renovates the logic of Harold Rosenberg in his Tradition of the New: Groys is profoundly modernist at this point – the image is new insofar as it reveals all others as the same, insofar as it speaks of what is in common to all of them. In fact, as we have seen, this "wholeness" or "equality" could not be seen before it. But each new addition to the museum has to be able to do this. This is why modernism has constantly to be renewed. As Groys writes in The Communist Postscript: "Metanoia leads to a renunciation – namely the renunciation of always doing the same thing, of always following the same path, always seeking to ride out further in some bad infinity. Badiou speaks about fidelity to the revolutionary event. But fidelity to revolution is fidelity to infidelity" (Groys 2009: 112).
Paradoxically, then, each new image aims at the equality of all images by being the one single one different from all of them. This image is therefore self-contradictory, not so much in the sense that it is both the same and different (this will be realized at different times: it is another that will speak of how it is the same), as because it speaks of all images as the same while it regards itself as different. This is undoubtedly the modern image's (eg, Warhol's) complex relationship to capitalism: it at once stands outside what it is speaking of like a Sophist, hoping to profit from either alternative (the same or different), and it is a critique of the capitalist necessity to have one image different from another. All of this is why in the essay "The Weak Universalism" Groys speaks – perhaps against his earlier Kantianism – of all new images being at once transcendental and empirical. Again, not simply because they have to be visually manifested in order to be art, but because, if each new image stands as transcendental, it does so by rendering all images empirical. The new arises not merely to replace what has become old and familiar but to show that what we have taken to be new is itself old and familiar. This is why Groys' "taste" prefers not the otherness or difference of post-modernism but the universality or regularity of something like the Bauhaus. It is undoubtedly because from the beginning it understands not merely that all other images are equal but also that its own are equal, seen from the point of view of its transcendental. It is why Groys speaks as well of Duchamp's readymade as introducing not a difference but a "difference beyond difference" (Groys 2008: 29): it is the difference that allows all other images to be seen as different, the variety of possible images to be universal, the entire range of visual experience to be covered in these images' difference from each other. The avant-garde work of art does not repeat a difference, even a critical difference, such as race, gender or class, which society already formulates for itself, but invents a transcendental difference, a difference that does not yet exist, which allows us to see all of those other differences.
But all of this must be treated with great caution. Groys in The Communist Postscript speaks of the way that there can be any number of philosophical paradoxes because paradoxes do not affect each other, but it is perhaps also true to say that each new entry to the museum becomes harder and harder because each has to double, that is, reveal the transcendental condition of all of the others. Put simply, it gets more difficult as time goes on to make a work of art that at once looks like and does not look like a work of art (Groys 2009: 100). It is in this sense that we must understand Groys' point that modern art is not a series of liberations or breakings of taboo that makes art easier, but rather a series of reductions or renunciations, a constant introduction of limits or things that can no longer be done, which make art harder. And this is Groys' point in "The Weak Universalism": that any proposed universal or transcendental condition of art has to be weak insofar as it is what all images have in common. Indeed, this universal must constantly be getting weaker insofar as it has to keep on including all of those previous "weak" universals. It is just this "weakness" that is Groys' unemphatic, almost invisible avant-garde art – it is what connects Malevich's Black Square, Duchamp's readymades, Fischli and Weiss' remakings of Duchamp's readymades as fabricated objects, we might even say such things as Rosalind Krauss' grids and her post-medium condition. It is also what explains for Groys the revival of religion and religious images in an age of digitality (and let us not forget that Groys refers to Duchamp's Fountain as a "Christ" among things and the art of the readymade as a "Christianity of the art world" (Groys 2008: 29-30)).
Why is it exactly, Groys asks, that religious images are so suited to the era of mechanical reproduction, when this has previously been associated with the loss of aura? In his essay "Religion in the Age of Digital Reproduction", Groys makes the point that what characterizes fundamentalism is an adherence not to some inner spiritual truth but to the external form of ritual, by which he means the repeated performance of belief and not belief itself. But Groys then goes on to invert the usual view that this adherence to the letter is the sign of a "dead" rather than a "living" religion. On the contrary, it is the living religions in their flexibility and adaptation to changing circumstances that are dying today and the dead ones in their adherence to outward form and the letter that are flourishing. As Groys writes: "Thus, contemporary religious fundamentalism may be regarded as the most radical product of the European Enlightenment and the materialist [we would add dialectical materialist] view of the world. Religious fundamentalism is religion after the death of the spirit, the loss of spirituality" (Groys 2010: 143). That is, if we can say this, if fundamentalism reduces religion to the letter, this is only because for it this letter is the spirit. Conventional religions in seeking to adapt themselves, universalize themselves, propose themselves as different, reduce themselves to the status of "opinion", and will always eventually run out of the circumstances where they apply. They are not truly transcendental, and will die out in wishing to retain some inner spirit or content, no matter how minimal. On the other hand, fundamentalism in being a kind of nothing, having no inner content but existing only in its repetition, will live on forever. And this is like digital reproduction. Again, in one of Groys' startling inversions of common sense, he insists that what characterizes digital reproduction is precisely not its unchanging code, the way that unlike analogue it reproduces itself perfectly, but the fact that it is now transmissible across a potentially infinite number of platforms, in a potentially infinite variety of circumstances. Indeed, that apparently "unchanging" code is never seen as such: it is already reproduced, different from itself, from the very beginning (147-9). And this is, for all of Groys' criticism of it, the deepest truth of Christianity. Again, not only is God's Word not some unchanging core of prophetic truth, but – as historically has always been the case – only whatever its listeners take from it. And, more than this – this is what allows it to break with doxa and become a true doctrine – its proper lesson is this. The fundamental content of Christ's teaching is the very scene of instruction itself. Put simply, the Word of God is always different, but it also about this difference. As Groys says, in an undeniably religious locution: "Only those who are themselves flames can pass through the flames unburnt" (Groys 2009: 73).
All of this accounts for Groys' interest in the new participatory media – blogging, Facebook, Twitter – in which the participants are the audience. Not only, argues Groys, are such social media indebted to the practices of the neo-avant-garde artists of the 1960s, but they come to realize the dreams of such utopians as Joseph Beuys that everybody become an artist. The idea of actually becoming an artist today when everybody already is an artist, therefore, is a weak gesture, but it is not altogether nothing. Groys notes at the end of his "The Production of Sincerity" that "when the viewer is involved in the artistic practice from the outset, every piece of criticism uttered becomes self-criticism… To put it bluntly, it is now better to be a dead artist than a bad artist. Though the artist's decision to relinquish exclusive authorship would seem primarily to be in the interest of empowering the viewer, his sacrifice ultimately benefits the artist by liberating his or her work from the cold eye of the uninvolved viewer's judgement" (Groys 2010: 49). It is, of course, the fundamentally Christian idea of the artist living on through their disciples that is at stake here, the undoubtedly paradoxical idea that the artist's death is necessary for them to live on. And Groys' own critical writing – pursued primarily today through the internet in such journals as e-flux – follows a similar logic. It is transcendental, unsurpassable, indispensible, precisely in its weakness, its unemphaticness, its non-judgementality, even its self-erasure and self-contradiction. In a radical sense, as Groys admits, it is not even critical, in the sense of negating, excluding, opposing to the world as it is the way it should be. Rather, Groys' discourse attempts simply to double the world, opposing we might say the world only to itself. The world now, after the revealing of its transcendental condition, which is also nothing else but more of the world, is at once unchanged and totally transformed. Like the world after Communism. Indeed, as Groys says of the utopian ambitions of Communism, in a description that applies also to his own practice: "The politics of inclusion was pursued by many Russian and Eastern European artists even after the break up of the Communist regime. One might say that it is the extension of the paradise of real Socialism in which everything is accepted that had previously been excluded… This kind of radicalized utopian inclusivity was often misunderstood as irony, but it is rather a post-historical idyll that sought analogies instead of differences" (Groys 2008: 170). And Groys' point ultimately is that this utopia has already been realized. Groys is not only a Communist art historian, but the world itself is already Communist in the most profound sense: it includes everything.
This paper was originally delivered in the session "Post-Socialist Prospects and Contemporary Communisms in Art History" at the 2011 Association of Art Historians Annual Conference. I would like to thank Anthony Gardner and Klara Kemp-Welsh for their kind invitation to take part in this session.
Deleuze, Gilles and Félix Guattari. 1994. What is Philosophy? London: Contnuum.
Groys, Boris. 1992. The Total Art of Stalinism. Princeton: Princeton University Press.
Groys, Boris. 2008. Art Power. Cambridge, Mass.: MIT Press.
Groys, Boris. 2009. The Communist Postscript. London: Verso.
Groys, Boris. 2010. Going Public. Berlin: Sternberg Press.
This entry was written by admin, posted on September 14, 2011 at 2:23 pm, filed under Uncategorized. Bookmark the permalink. Follow any comments here with the RSS feed for this post. Both comments and trackbacks are currently closed.


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text:
package com.dremio.exec.store.dfs.implicit;

import java.util.ArrayList;
import java.util.Collections;
import java.util.HashMap;
import java.util.HashSet;
import java.util.List;
import java.util.Map;
import java.util.Set;

import org.apache.arrow.memory.BufferAllocator;
import org.apache.arrow.vector.types.pojo.Field;
import org.slf4j.Logger;
import org.slf4j.LoggerFactory;

import com.dremio.common.AutoCloseables.RollbackCloseable;
import com.dremio.common.expression.CompleteType;
import com.dremio.common.expression.Describer;
import com.dremio.common.expression.SchemaPath;
import com.dremio.exec.record.BatchSchema;
import com.dremio.exec.store.RecordReader;
import com.dremio.exec.store.SplitAndPartitionInfo;
import com.dremio.exec.store.dfs.implicit.ConstantColumnPopulators.BigIntNameValuePair;
import com.dremio.exec.store.dfs.implicit.ConstantColumnPopulators.BitNameValuePair;
import com.dremio.exec.store.dfs.implicit.ConstantColumnPopulators.DateMilliNameValuePair;
import com.dremio.exec.store.dfs.implicit.ConstantColumnPopulators.Float4NameValuePair;
import com.dremio.exec.store.dfs.implicit.ConstantColumnPopulators.Float8NameValuePair;
import com.dremio.exec.store.dfs.implicit.ConstantColumnPopulators.IntNameValuePair;
import com.dremio.exec.store.dfs.implicit.ConstantColumnPopulators.TimeMilliNameValuePair;
import com.dremio.exec.store.dfs.implicit.ConstantColumnPopulators.TimeStampMilliNameValuePair;
import com.dremio.exec.store.dfs.implicit.ConstantColumnPopulators.VarBinaryNameValuePair;
import com.dremio.exec.store.dfs.implicit.ConstantColumnPopulators.VarCharNameValuePair;
import com.dremio.sabot.exec.context.OperatorContext;
import com.dremio.service.namespace.dataset.proto.PartitionProtobuf.PartitionValue;
import com.google.common.collect.FluentIterable;
import com.google.common.collect.ImmutableList;
import com.google.common.collect.ImmutableMap;

public class CompositeReaderConfig {
  private static final Logger logger = LoggerFactory.getLogger(CompositeReaderConfig.class);

  private final OperatorContext context;
  private final ImmutableList<SchemaPath> innerColumns;
  private final ImmutableMap<String, FieldValuePair> partitionFieldMap;

  private CompositeReaderConfig(OperatorContext context, List<SchemaPath> innerColumns, List<FieldValuePair> partitionFields) {
    super();
    this.context = context;
    this.innerColumns = ImmutableList.copyOf(innerColumns);
    this.partitionFieldMap = FluentIterable.from(partitionFields).uniqueIndex(input -> input.field.getName());
  }

  public List<SchemaPath> getInnerColumns(){
    return innerColumns;
  }

  public RecordReader wrapIfNecessary(BufferAllocator allocator, RecordReader innerReader, SplitAndPartitionInfo split){
    if(partitionFieldMap.isEmpty()){
      return innerReader;
    } else {
      final List<NameValuePair<?>> nameValuePairs = getPartitionNVPairs(allocator, split);
      return new AdditionalColumnsRecordReader(context, innerReader, nameValuePairs, allocator, split);
    }
  }

  public List<NameValuePair<?>> getPartitionNVPairs(final BufferAllocator allocator, final SplitAndPartitionInfo split) {
    List<NameValuePair<?>> nameValuePairs = new ArrayList<>();
    List<PartitionValue> values = split.getPartitionInfo().getValuesList();
    try (RollbackCloseable rollbackCloseable = new RollbackCloseable()) {
      for (PartitionValue v : values) {
        FieldValuePair p = partitionFieldMap.get(v.getColumn());
        if (p!=null) {
          NameValuePair<?> nvp = p.toNameValuePair(allocator, v);
          rollbackCloseable.add(nvp);
          nameValuePairs.add(nvp);
        }
      }
      rollbackCloseable.commit();
    } catch (Exception e) {
      logger.error("Error while fetching name value pairs from partition", e);
      throw new RuntimeException(e);
    }
    return nameValuePairs;
  }

  private static class FieldValuePair {
    private final Field field;

    public FieldValuePair(Field field) {
      super();
      this.field = field;
    }

    public NameValuePair<?> toNameValuePair(BufferAllocator allocator, PartitionValue value){
      return getNameValuePair(allocator, field, value);
    }
  }

  public static CompositeReaderConfig getCompound(OperatorContext context, BatchSchema schema, List<SchemaPath> selectedColumns, List<String> partColumnsList){

    if(partColumnsList == null || partColumnsList.isEmpty()){
      return new CompositeReaderConfig(context, selectedColumns, Collections.<FieldValuePair>emptyList());
    }

    Set<String> partitionColumns = new HashSet<>();
    for(String partitionColumn : partColumnsList){
      partitionColumns.add(partitionColumn);
    }

    List<SchemaPath> remainingColumns = new ArrayList<>();
    Set<String> selectedPartitionColumns = new HashSet<>();
    for(SchemaPath p : selectedColumns){
      if(p.getRootSegment().isLastPath() && partitionColumns.contains(p.getRootSegment().getPath())){
        selectedPartitionColumns.add(p.getRootSegment().getPath());
      } else {
        remainingColumns.add(p);
      }
    }

    final Map<String, Integer> partitionNamesToValues = new HashMap<>();
    for(int i =0; i < partColumnsList.size(); i++){
      String column = partColumnsList.get(i);
      if(selectedPartitionColumns.contains(column)){
        partitionNamesToValues.put(partColumnsList.get(i), i);
      }
    }

    List<FieldValuePair> pairs = new ArrayList<>();

    for(Field f : schema){
      Integer i = partitionNamesToValues.get(f.getName());
      if(i != null){
        pairs.add(new FieldValuePair(f));
      }
    }

    return new CompositeReaderConfig(context, remainingColumns, pairs);
  }

  public static NameValuePair<?> getNameValuePair(BufferAllocator allocator, Field field, PartitionValue partitionValue){
    final CompleteType type = CompleteType.fromField(field);
    switch(type.toMinorType()){
    case BIGINT:
      return new BigIntNameValuePair(field.getName(), getLong(partitionValue));
    case BIT:
      return new BitNameValuePair(field.getName(), getBit(partitionValue));
    case DATE:
      return new DateMilliNameValuePair(field.getName(), getLong(partitionValue));
    case FLOAT4:
      return new Float4NameValuePair(field.getName(), getFloat(partitionValue));
    case FLOAT8:
      return new Float8NameValuePair(field.getName(), getDouble(partitionValue));
    case INT:
      return new IntNameValuePair(field.getName(), getInt(partitionValue));
    case TIME:
      return new TimeMilliNameValuePair(field.getName(), getInt(partitionValue));
    case TIMESTAMP:
      return new TimeStampMilliNameValuePair(field.getName(), getLong(partitionValue));
    case DECIMAL:
      return new TwosComplementValuePair(allocator, field, getByteArray(partitionValue));
    case VARBINARY:
      return new VarBinaryNameValuePair(field.getName(), getByteArray(partitionValue));
    case VARCHAR:
      return new VarCharNameValuePair(field.getName(), getString(partitionValue));
    default:
      throw new UnsupportedOperationException("Unable to return partition field: "  + Describer.describe(field));

    }
  }

  private static Boolean getBit(PartitionValue partitionValue) {
    return partitionValue.hasBitValue() ? partitionValue.getBitValue() : null;
  }

  private static byte[] getByteArray(PartitionValue partitionValue) {
    return partitionValue.hasBinaryValue() ? partitionValue.getBinaryValue().toByteArray() : null;
  }

  private static Double getDouble(PartitionValue partitionValue) {
    return partitionValue.hasDoubleValue() ? partitionValue.getDoubleValue() : null;
  }

  private static Float getFloat(PartitionValue partitionValue) {
    return partitionValue.hasFloatValue() ? partitionValue.getFloatValue() : null;
  }

  private static Integer getInt(PartitionValue partitionValue) {
    return partitionValue.hasIntValue()? partitionValue.getIntValue() : null;
  }

  private static Long getLong(PartitionValue partitionValue) {
    return partitionValue.hasLongValue() ? partitionValue.getLongValue() : null;
  }

  private static String getString(PartitionValue partitionValue) {
    return partitionValue.hasStringValue() ? partitionValue.getStringValue() : null;
  }
}


I will dance with myself to those wonderful tunes of the 50 & 60's, and if I, at the same time, wish to weep over a lost love ... I will.
I will walk the beach in a swim suit that is stretched over a bulging body, and will dive into the waves (maybe not in Oregon) with abandon if I choose to, despite the pitying glances from the jet set.
MAY OUR FRIENDSHIP NEVER COME APART ESPECIALLY WHEN IT'S STRAIGHT FROM THE HEART! MAY YOU ALWAYS HAVE A RAINBOW OF SMILES ON YOUR FACE AND IN YOUR HEART FOREVER.


I have a confession to make..I spend a rather large portion of my paychecks on books. Dave even joked once that he needed to give me store credit instead of a check. I almost agreed, but I restrained myself. Every holiday I pick a favorite book but I have so many to choose from - its difficult! Thankfully, I have amazing co-workers that show me books they think I will love and this is how I discovered my favorite for the Halloween season. (Thanks Krista!!) The winner is - drum roll, please - Over In The Hollow by Rebecca Dickinson , illustrated by S.britt.
The story takes you through the activities of 13 classic Halloween characters counting up to the grand finale of flying ghosts. Dickinson's descriptive language and refreshing rhyme scheme makes Over in the Hollow a fun read through out. Also, the illustrations? Love at first sight. I'm a sucker for S.britt's style and his images remind me of the 'good 'ole days'. (Charley Harper, ect) My favorite page, hands down, is the page with the owls. I liked it so much I almost decided to be the sleepy owl for Halloween. Bottom line, Over in the Hollow is a must have for your book shelves. But, beware, it's so catchy it may get stuck in your head.
I told you the page with the owls was awesome.
I might be just a wee bit biased since the author is my sister.
But I'm quite sure I'd love it anyway.


text:
Folk Witness
under the trad/arr of folk and acoustic music
September 18, 2018	/ markdishman	/ Album reviews
Kelly Oliver on new album Botany Bay, Hertfordshire songs and organic arrangements
Singer-songwriter Kelly Oliver's connection with the trad folk world goes right back to her debut album, 2014's This Land, which featured the late Dave Swarbrick as a guest musician. But her third record, Botany Bay, is her first made up of traditional songs – all of which have been collected at some point in her native Hertfordshire (many by influential researcher Lucy Broadwood) – and it reflects the many varying tones and themes available in the traditional canon.
Oliver's bright, sweet voice takes the listener through ten tales of love, loss, murder, ghosts, sex and death – a multiplicity of themes reflected in an equally diverse set of arrangements. The title track, for example, has something of a seabound swagger. Trees They Do Grow High is solemn and understated, Lady Margaret is given an unusual (and dramatic) vocoder treatment, and never more is the album's variety underlined than when it is followed by Cuckoo's Nest, the bawdiness of which is sensitively counteracted by some lyrical tweaks and a lovely, gentle guitar backing. Botany Bay is confident, accomplished… and full of surprises.
Folk Witness talked to Kelly about 'going trad', the art of arrangement, and working with producer Stu Hanna of Megson.
Folk Witness: You're on your third album, but this is the first that's made up of traditional material. What made you decide to make an album more focused on the traditional?
Kelly Oliver: Botany Bay is entirely comprised of traditional songs, so to make it has been a completely new experience for me. Two years ago, I knew I wanted to work on and release a third album, but while I was writing original material, I didn't have enough songs for a full album and really didn't want to rush the writing process.
Folk music is a passion of mine and while my music has been influenced by listening to traditional Irish folk music, it is only in the last few years that I have been exposed to English folk music, and I enjoy it more every time I hear different arrangements of traditional English songs. After I posted a version of The Lakes of Pontchartrain, Mike Harding said he would be interested to hear a full album of traditional songs that I had arranged, and Phil Beer agreed when I asked him what he thought. And that was the beginning of the whole thing!
At what point did you have the idea to record songs collected in Hertfordshire?
It was my producer Stu Hanna's idea to choose a theme for the album, and he suggested songs from Hertfordshire, as this is where I'm from. I thought it was a brilliant idea, especially for my first trad album. It's nice to think that the songs were sung in Hertfordshire at some point in the past, and it creates a special link to the present day for me.
The songs on the album are all ones which I read the lyrics for and immediately enjoyed the story, or immediately had a musical idea come to mind.
How does the way you approach the arrangement of traditional songs differ from those you've written?
The only difference is the lyrics – with the traditional songs, I had the lyrics to work with but with my original songs, the lyrics come as I'm writing. I began by reading the traditional lyrics and familiarising myself with the story, and that's when the musical idea would come. Caroline and Her Young Sailor Bold has a happy ending, which made me imagine a major key, whereas The Bramble Briar is a murder ballad, so an eerie minor key immediately came to mind. Even though they are traditional songs, I put the same thought into the musical arrangements as I would with my own songs, so they do still feel very personal to me.
Of all the songs you've recorded, Botany Bay gets the honour of being the album's title track. Why did you choose it? I'm also curious about your choice to highlight the 'Oh son, oh son what have you done…' line in the album's sleeve…
It was really because the arrangement stuck out to me as one of the biggest on the album, and as it's all traditional music, even though the theme was Hertfordshire songs, the songs aren't all related in terms of their stories, so there wasn't one title which encompassed the whole theme of the album. Botany Bay just seemed to roll of the tongue a little nicer, plus the alliteration seemed to make it more memorable. I picked 'Oh son, oh son, what have you done, that you're going to Botany Bay…' for the sleeve notes because I think it's quite a poignant line in the song and asks the question of what could have been such a crime that a convict would have been sent to Australia never to return.
What was it like working with Stu Hanna? David Eagle and Lucy Ward have told us some interesting stories about his directing style…
It was an absolute pleasure working with Stu – I'd already worked with him on some songs from my previous album Bedlam, and I knew the traditional songs would really benefit from his style. Stu was always very welcoming of new ideas and I never felt intimidated to put forward an idea, which is so important when you're collaborating. Stu had loads of ideas for the arrangements and I often asked his advice when I was singing for how he thought particular lines should sound. On the more upbeat songs with all the instrumentation on, he'd say 'okay now just imagine you're playing live and you've got Jamie and Toby and Evan there with you', which really helped! He'd also suggest looking up and focusing on a point near the ceiling, which meant I wasn't distracted by concentrating on the words and I was just focusing on the singing. He was very encouraging as well. He'd always do what he could to get the best out of me and make me feel good about what I was producing.
You've a strong line-up of guest musicians. How do you decide what songs you want additional players on – and who?
I've known all the guest musicians on the album for quite a few years, so I already knew their individual styles of playing and composing. Some of the songs just immediately leant themselves to certain instruments. As it's a full trad folk album, I knew I wanted those banjo, fiddle and whistle sounds, as well as driving percussion throughout, so Toby Shaer, Jamie Francis and Evan Carson were always the obvious choices for me. I'd worked with Lukas Drinkwater before on my last album, so I knew his bass parts would always be very tasteful and complimentary. Luke Jackson also featured on my first album and his vocals were my first choice for a duet on Died of Love. Having Phil Beer's distinctive fiddle on the otherwise sparse arrangement of Trees They Do Grow High was such a pleasure.
Once Stu and I had arranged the songs for just guitar, mandola, harmonica and vocals, I spent some time with Toby and Jamie going over the arrangements and some songs just stood out for them to be involved with – I wanted a melody instrument on Cuckoo's Nest and thought flutes and whistles would be a very gentle accompaniment, whilst Died of Love ended up with an Americana feel, so I thought and banjo and harmonica duet would work well with that one. The decisions were all quite organic.
Where did the idea to use a vocoder on Lady Margaret come from?
I was just in my kitchen one day when a melody for the lyrics of Lady Margaret popped into my head. I quickly recorded them on my phone and came up with a melody for all the lyrics, but without any guitar part to go with it. I suggested to Stu that Lady Margaret could be produced without any instrumentation, but I was keen not to have a completely a capella track on the album. Stu then had the idea to use the vocoder to create the chords underneath the words and make the track sound quite eerie and atmospheric. I'd never recorded anything in that way before so it was a lot of fun!
What's next? Will you continue to write and explore trad material?
I'd definitely like to continue exploring traditional material and arranging trad songs that I come across and enjoy, but I think my next release would focus on my own original material, with songs that I've been writing these last few years and songs that I'm working on right now.
Finally, what is your favourite sandwich?
Chicken and chorizo with rocket and mayonnaise!
Botany Bay is out on September 28. Check out Kelly's live dates here
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Tagsalbum reviews Botany Bay interviews Kelly Oliver Stu Hanna
Written by:markdishman


Traditionally the most cumbersome task of creating a directory is getting in all the correct student names, their parents' names, and their parents' contact information in the directory in the first place. Significantly reduct the effort involved with one of the methods offered by Fourleaf and noted below. Depending your specific case, you may find it useful to use a combination of the methods.
See article "Adding Families with Direct Import" to get started with the Direct Import.
If you do not have reliable family contact information, this method enable families to directly enter their own information into the directory. An ADMIN can then review and approve submission right from the Fourleaf inbox. It is also a great way to handle families that were not included in the bulk import at the start of the term.
This article explains how to populate your directory with Online Registration.
A person with OWNER access can enable/disable online registrations feature for your organization from the Org Settings view.
STEP 1: Instruct Families. Let your families know that you will be moving to a new directory, the benefits of Fourleaf, and point them to your organization's Fourleaf Home Page. It is best to use the short URL, which is often in the form of "Fourleaf.net/<org name>", and was assigned to your org upon initiation of your org space.
One adult from each family will need to enter his/her email address to start the online registration form and will be able to enter information for children, spouse, and other relevant relations.
This form only needs to be completed once (not yearly).
If a family already exists in your directory but a new child needs to be included in the directory (e.g. a younger child is entering the school this year), then an adult may complete the form again to add a child that was not previously included in the directory, but in this case, only the new child should be entered in the form and all adults relevant to the new child should be included.
STEP 2: Wait (Families Complete and Submit Forms). The adult will be prompted to add his/her contact information, ALL and ONLY his/her child(ren) that will be enrolled in the new term, and any of the child(ren)'s relations that should be listed in the directory as well. The parent will be able to specify which of the information should be shared in the directory and which should remain private.
Once the parent submits the form, all the adults for whom email addresses were specified in that form, will receive an email welcoming them to your directory and inviting them to activate their account using the link the provided (or by entering their email in your org's Fourleaf Home Page). Once the adult activates her/his account, s/he will be able to update her/his own contact information and privacy and notification settings. If the adult was specified as a guardian, then s/he will also be able to modify her/his child's profile as well.
STEP 3: Review and Approve Submissions. There will be one entry in the Fourleaf inbox* for each child specified on the form. The entry will show some information about the adult relations of the child. Once you verify the child is truly enrolled in your organization and her/his family should be given access to the directory, you can just assign/register the child to the appropriate group (class or team). As long a child is currently registered to a group in Fourleaf, his/her family will be able to access the directory.** See article "Registering Students Via Inbox" for detailed instructions.
*You can have the OWNER specify (using the Org Settings Page) a person in the org to receive an email notification whenever a new submission is received. This is specially helpful during the year when the frequency of new submissions is likely to be low and ADMINs are less likely to check the inbox regularly.
** If using the Paywall feature, it can still be used to prevent access to the directory until your organization's criteria are met even after the child is registered to a class.


This document is a study of Benjamin Britten's Nocturnal, Op. 70, a major work composed for solo guitar in 1963. It intends to demonstrate that the architecture used by the composer in this work is determined as much by its underlying program as well as to the variation structure used to convey it. This work is structured in eight sections: following an overview of the document in section one, section two consists of a brief biography of the composer as well as a general survey of his works, including those in which he makes use of the guitar. Sections three and four examine the works by Britten composed in variation form, as well as those which are related to the themes of night, death, sleep, and dreams. Sections five and six include a brief biography of Renaissance composer John Dowland, as well as a brief discussion of other Britten works inspired by the music of this composer. Benjamin Britten uses John Dowland's song "Come Heavy Sleep" as the basis for his Nocturnal, Op. 70. This song is examined and analyzed as part of section six. Section seven consists of a close examination of the Nocturnal, Op. 70. This examination looks closely at the most important harmonic, rhythmic, and formal elements of each variation and how they relate to the theme of Dowland. Finally, the conclusion sums up and reemphasizes the main thesis laid out in the introduction of this document.


Hi there i been stuck at 14stone 3lb now for a while and cant seem to get past it, could anyone tell me what the best natural testosterone booster is , or what gains you got of any you have tried , i heard that the t bullets are good ??
T-bullets are a stack of two strong oral steroids, it's not a natural testosterone booster.
thanks is there anything that you could recomend or have tried yourself ?
thrpirate thanks is there anything that you could recomend or have tried yourself ?
Since I'm a company rep I can't mention products. I can only discuss specific products when others bring them up in conversation. The rules here are pretty tight, sorry.
I'll list a few that seem popular with others - I've only used DAA and tauro test both were pretty good but DAA was a LOT cheaper so that'd be my choice between the two.
There are probably a lot that I've missed but these ones spring to mind as recommended often.
A new one that has hit the market is Bulbine Natalensis...there have been a few shows about it on Super Human Radio and Anthony Roberts has written a couple of articles on it...I'll try and dig them up.
And like Vibora mentioned, Bulbine Natalensis is a very promising ingredient, but it has to be in the right dosage!
The Testo-DAA on bodyactive-online is mint. Bulbine is very promising but if you are a healthy 70kg male the (research proven) adequate dose would be over 3gms. The TauroTest is too gimmicky for me.
Watch out on the DAA too, there is a lot of cheap sh*t knocking about. I noticed a difference after 2days or so, mega stuff!!
What about Tropinol by iForce?
Bulbine is looking like it could be the new big thing and has some decent feedback behind it.
Too early for me to give a personal opinon as I am a few days into giving it a whirl and logging it but am hoping it proves to be good!
I think the lists provided above are pretty comprehensive in terms of identifying the most commonly run and liked products.
thanks for all the feed back il be looking up the reviews and see what could be the best option.
but the point is, if it affects your testosterone then can affect anything associated with your test levels.
Just how good is Testo-DAA stacked with ISA Test compared to Tauro-Test please?. It is a lot cheaper for sure.
The human equivalent dose of a drug (or nutritional supplement) is determined by a very specific mathematical formula. The way not to figure this out is to simply multiply/divide by bodyweight. Test animal weighs one kilogram? You weigh 100 kilograms? Just take 100x the dose! That's not how it's done.


Kofi Annan, the leader Ghana never had?
JOHANNESBURG - When I think of Kofi Annan, the late former secretary-general of the UN, I recall comical actions by eminent heads of state in global meetings. Those were early days as a young diplomat, I particularly enjoyed casual visits to the UN in Geneva to hear the "percolated" Kofi speak. Very nice and eloquent diplomat indeed.
I am not particularly interested in talking about Annan's legacy because some people, who intimately know his work well, will talk about it. But he is clearly "the best president that Ghana never had" – the world's top diplomat between 1997 and 2006. The world changed right in the palm of his hands as it moved from US-USSR rivalry to unipolarity under Washington. And this means his work was cut out for him as he constantly quarrelled with Bush and his lieutenants over budgets, Iraqi bombings, et al.
It was also during his tenure some of the interesting duels emerged on the podium of the UN general assembly: Hugo's sulphuric comment on Dubya, Robert Mugabe versus Tony Blair, Iran's Mahmoud Ahmadinejad political ballistics, Russia flexing muscle in the Caucusus (Chechnya, Georgia), heightened battle of Arafat against the rest, War on Terror and subsequent witch hunt, India and Pakistan go to war for the barren Kashmir, etc.
This period saw the heightened proximity between Iran and Venezuela – they tackled hard in opposing the US hegemony over international politics. This was the time Russia and China were crawling below the radar. George Bush Junior. called Iran and Venezuela "the new Axis of Evil" for their "rejection of the historical dominance of Western powers and the irreverence, if not contempt, they all too often have shown to the developing world". To this day the relations between the US and the two states haven't thawed.
Koffi Annan went greyer as many leaders openly exchanged verbal blows at the headquarters of multilateralism and diplomacy in Turtle Bay, Manhattan.
September may have been chilling months in the Alps but I never missed the big debates in New York as diplomacy would be forgotten and replaced by personal battles and slurs. Besides cartoons and football games, that was the only time my television set was useful. There's no need to guess who I supported in grand debates.
Nonetheless, Annan oversaw a very difficult but yet interesting period in global affairs. UNGA sessions each year are now boring as hell without Annan and his crew of uncanny band of heads of state and government.
As realists would say, Annan presided over a chaotic world assembly that saw countries press hard for individual interests at the expense of multilateralism. And his role was to steer discussions in order to find a middle ground. For Annan, diplomacy is/was about "letting the other guy do things your way".
Siyabonga Hadebe is executive manager at South Africa's Department of Labour responsible for the management of international relations portfolio for the Department. His views do not represent his employer.


A Journey of Reinvention: Ain't You Got No Couth!?
Okay, so -- the one thing I wanted to be able to do today at work was talk to Marcia and the unnamed actress when they came in for breakfast, but I was so busy that we barely got to say a few words to each other. Hopefully they'll come in again soon (hint) and I'll get a chance to chat, because I truly enjoy their company.
I'm fairly certain that 80% of the people I encountered today were raised by wolves. "Please", "Thank you", "Excuse me"... these were not a part of their vocabulary. Grunts and scowls were the daily fare. Someone actually insulted the granola I made, and when I told him that some people do not prefer it as crunchy as he wanted it, he told me that he would debate that. As if everyone has exactly the same taste as he does because it is a matter of fact, not opinion, that all granola must be extremely crunchy. He is the only complaint I've ever had on my granola in the three years I have been making it. I'm sure he would also debate that. I'm sick to death of hearing "Give me a...." instead of "Could I please have a..." Really, how difficult is it to treat the person who is serving you with a modicum of respect on the off chance that they might also be human and not in any way inferior to you just because they serve your coffee and clean up your mess? Is it really out of your way to add "please" to "I need a large coffee,"? Do I need to make a list of acceptable and unacceptable ways of ordering?
YES: Could I please have a large cappuccino with skim milk and a lot of foam?
NO: Give me a cappuccino. What sizes you got? I want the biggest one. And no fat in my milk.
YES: Can I get a Pepsi, please?
NO: I want a Coke. (Is Pepsi okay, Sir?) I guess.
Also, I'd prefer it if you did not say offensive things in my line, to me, around me, or to or around my other customers. What you do and say in the privacy of your living room is your business, but not when you bring it into public. Then it becomes my business. And for the love of all that is holy, during the lunch rush when there are seventeen people in line behind you, don't wait until you get to the front of the line to start thinking about what you might want to order. Have some idea before you get there! AND DO NOT ... I REPEAT, DO NOT ... ASK ME WHAT I THINK IS GOOD, AND THEN ORDER SOMETHING ELSE!
YES: I would like the Zesty tomato soup, please.
NO: What kind of soup is your favorite? (Cream of mushroom, for sure.) Give me a bowl of Zesty tomato.
Okay, I think I'm done with that tirade. For now, at least. I'm sure it will crop up again sometime in the near future.
In other news, I once again ate Chinese food, and tons of it. We are down to one kid tonight -- our 12-year-old daughter is hanging out with us watching "Whip It". Son #1 is at Grandma's, and Son #2 is at his cousin's house. Just the three of us here and the doggies.
Tomorrow: breakfast and set construction at Elkhart Civic Theatre for Alice in Wonderland, Jr.
No reading updates. Same old, same old.
Already looking forward to falling asleep tonight. It's GOT to be the highlight of my day!
I want two posts per day, and I want them with no whining. Chop chop!
Was your customer named Neil Diamond by any chance?
I would have made new granola for Mr. Diamond!!!
You wouldn't have had to make new for Mr. Diamond because he obviously likes his Crunchy Granola... Sweet.