This year marks the thirtieth anniversary of Irwin—the artistic group that was and still is a part of the wider art movement known as "Neue Slowenische Kunst" (NSK). NSK has dominated the Slovene art scene of the past few decades and has influenced many artistic practices throughout Eastern Europe. At first glance, the art practice of Irwin seems to be a specific version of postmodernism. Indeed, in their works Irwin artists combine quotations from different artistic periods, styles, and movements in a way that is typical of Postmodern art of the 1980s and '90s. On the other hand, Irwin's practice is different from Western postmodernism in many decisive respects.
Western postmodernism was a reaction against the Modernist canon—against the emergence of a new Modernist salon and the establishment of normative rules for the production and appreciation of art. In other words, postmodernism was a reaction against the academization of modernism. Indeed, in the mid-1970s the Modernist canon dominated Western art museums, institutions of art education, the art market, art history, and critique. The goal of postmodernism was to rehabilitate everything that was repressed and excluded by this canon: a certain type of figuration (Italian transavanguardia, German neo-expressionism), photography, cinema, performance, and so on. The same can be said of architectural postmodernism, which was directed against the Modernist architectural canon, and of literary postmodernism, which rehabilitated literary trash of all kinds. Postmodernism privileged reproduction vs. production, secondarity vs. originality, anonymity vs. individuality. However, Western postmodernism also had its own utopian dimension. Postmodernism dreamt of infinite flows of desire and information and of a "hive mind" or "crowd mind" that had the power to undermine every attempt to control and secure the meaning of individual signs: all these signs were supposed to be turned into empty, free-floating signifiers. Thus, even if Western postmodernism in its different forms was a reaction to late-Modernist formalism, it inherited a formalist attitude towards signs and images. All artistic forms were understood as zero-forms, devoid of any specific content or meaning. According to Postmodernist dogma, all content and meaning was permanently deconstructed by the anonymous processes of reproduction and dissemination. The only way to give meaning to art forms was to use them artistically in the here and now—the meaning of any particular form being totally dependent on its contextual use. And because all art forms were understood as empty—as mere forms without content—every individual artist had a right to combine and recombine them in every possible way. Thus, the famous "death of the author" was easily combined with the proclamation of unlimited artistic freedom and the vocabulary of forms inherited from the various artistic movements of the twentieth century. However, all these combinations and recombinations became, in the end, as empty as their individual parts.
The emergence of this type of postmodernism was not possible in Yugoslavia, nor anywhere else in Eastern Europe, because the conditions under which art was practiced there were completely different. First of all: the Modernist canon was never established, formalized, and institutionalized in Eastern Europe to the same degree that it was in the West. Even if Modernist trends were permitted in some Eastern European countries—or even welcomed, as in Yugoslavia—they did not have the same normative power as in the West. Here I mean the normative power supported by art institutions with an international reach, big money, and so on. But most importantly, art in general, and Modernist art in particular, was never totally depoliticized like it was in the West. In the Eastern European countries, public space remained controlled: the Postmodern vision of the totally free, potentially infinite flow of signs could never take hold there. Signs were not free-floating but politically charged—and the art forms that circulated in the same space were also politically charged. They were never experienced as empty signs that could get their meaning only through their individual artistic use.
Diplomatic passports of NSK members. Installation view of the exhibition NSK from Kapital to Capital, Moderna galerija, Ljubljana, 2015. Photo: Dejan Habicht. Courtesy Moderna galerija, Ljubljana.
Living in a Communist country, one still felt a close connection to the artistic practices of the early avant-garde from the beginning of historical communism. For a late-Socialist subject, the black square of Malevich was not merely a self-referential image that initiated the international zero-style of geometrical abstraction. Rather, in the Socialist countries the black square, as well as other images from the early Russian avant-garde, signified the beginning of the Communist era, with all its utopian aspirations. Similarly, old realist images didn't function as simple, politically innocent representations of landscapes or city scenes, but symbolized the national tradition that was partially denied and partially ideologically reinterpreted by the regime. The same can be said about Socialist Realism and Nazi art. And the same can be said about late-Modernist art. It was experienced not as a production of empty signifiers, but as a commitment to a Western orientation and Western cultural values. In other words, every use of this vocabulary of images manifested not the creative freedom of an individual artist, but a certain political stance within the sociopolitical field in which this artist lived. Thus, under Socialist conditions the artist could not, in the Western Postmodern manner, operate freely with empty art forms understood as language without content. Using a Heideggerian phrase, one can say that under socialism, die Sprache spricht (language speaks): the forms that the artist uses are always already ideologically charged. Their combinations are also ideologically charged—and so these combinations have their own message that not merely undermines but rather overdetermines any subjective artistic message.
Installation view of IRWIN, Birds of Feather (Like to Like): IRWIN-OHO, 1985, at the exhibition NSK from Kapital to Capital, Moderna galerija, Ljubljana, 2015. Photo: Dejan Habicht. Courtesy Moderna galerija, Ljubljana.
When Heidegger says die Sprache spricht, he means that it is the community, the nation, that speaks through the artist because any language is basically always a national language. This is precisely the point at which the art strategies of Irwin and other late- and post-Socialist artists emerge. The event of historical communism produced a broken national identity in Eastern European countries. Communist ideology was and still is universalist and internationalist—in every country, its worst enemy was the local nationalism, which was regularly characterized as "bourgeois nationalism." However, at the same time, the epoch of historical communism was defined by Stalin's decision to build "socialism in one country." From the beginning it became clear that the program of socialism in one country would lead to the rebirth of nationalism—and in a certain way, it did. The Socialist camp began to split along national lines: after Soviet communism we got Yugoslav communism, Chinese communism, Albanian communism, and so on—up to the Eurocommunism of the Italian and French Communist parties. However, these national communisms remained committed to a universalist message. In a certain way, this was already prefigured by the Stalinist definition of Socialist Realism: Socialist in content and Realist (in fact, national) in form. This definition presupposed, of course, that the Socialist content remained identical throughout all the different national forms. However, the national form began to shape and thus fragment the Socialist content. But this fragmentation did not produce a simple return to traditional national cultures—understood as specific, even idiosyncratic ways of life. Every particular communism had a claim to represent the universal and authentic truth of communism—interpreting the Communists of other countries as "revisionists." Here the analogy with Christianity is obvious, as the latter was also split along national lines during the period of Reformation and religious wars. Yugoslavia understood its own national version of socialism as transnational—first of all because Yugoslavia was a union of several national republics, but also because Yugoslavia was an important member of the Non-Aligned Movement. Thus, late Socialist and post-Socialist national identity could not be taken for granted. Accordingly, the language, including the visual language, that artists were supposed to use was not given but reconstructed. Now let us consider what such a project of reconstruction actually means.
Installation view of IRWIN, Was ist Kunst, 1984-, at the exhibition NSK from Kapital to Capital, Moderna galerija, Ljubljana, 2015. Photo: Dejan Habicht. Courtesy Moderna galerija, Ljubljana.
The goal of national reconstruction was explicitly formulated by the Irwin group at the beginning of its activities. It's no accident that the word "retro-avant-garde" has been used to characterize Irwin's practice and, more generally, NSK's practice. "Avant-garde" here is basically constructivism. Reconstruction is the construction of the past for the future, and at the same time the construction of the future as work on the past. Retrospectively, one can say that Irwin and NSK did this work of reconstruction better than any other Eastern European artists or artist groups. There are different possible explanations for this. It may have been because Slovenian identity was broken at different places and along different lines; there was not only the Socialist, Yugoslavian past, but also the Nazi past, which could not simply be ignored: the Nazi past was related to a certain more traditional Germanness in Slovenian identity. It may have also resulted from the fact that the level of theoretical reflection and philosophical awareness was much higher in Slovenia than in other late- and post-Socialist countries. Whatever the reason, the Irwin group found a better solution to the problem of broken identity than many other artists and art theoreticians—in fact, the only possible solution. This solution was, like any true solution, very simple. Instead of trying to repair the broken identity, Irwin integrated into this identity the forces that were supposed to have broken it: the radical avant-garde, Socialist Realism, and Nazism. All these forces that had denied a separate identity to Slovenian art were interpreted by Irwin and NSK as forces that had modernized this identity. A certain combination of the revolutionary Russian avant-garde, Socialist Realism, and Nazi art retroactively became the image of the Slovenian avant-garde. Could one say that this Slovenian avant-garde never existed, that it was simply a later invention, a construction of the NSK? Yes and no. Yes, because all these phenomena were imposed on Slovenian cultural identity and not historically produced by it. And no, because even if all these ideological and artistic attitudes came from abroad, their particular combination was characteristic only of Slovenia, and not of any other place on Earth. So it is enough to reevaluate this combination, to perceive it as authentic, as being an integral part of the genuine historical fate of the Slovenian nation instead of being imposed from outside, to be able to reconstruct and not merely to construct the Slovenian avant-garde as a part of Slovenian cultural identity. And that is precisely what NSK did.
In this way Irwin also substantially expanded the field of art forms available to artists living under standard conditions of postmodernity. At first glance this seems paradoxical because Irwin has operated in the relatively closed late-Communist/post-Communist ideological space. But this expansion of artistic vocabulary has its explanation. Indeed, the Postmodern free and allegedly unlimited play of empty, or rather floating, signifiers was based on its own rules of exclusion and censorship. The ideologically motivated art of Socialist Realism and Nazi art was excluded from this play of signifiers. The explanation for this exclusion is simple enough. One had moral scruples when emptying art forms of their content, and the content of Socialist Realism and Nazi art seemed too toxic, too contagious to be completely removed through the operation of aesthetic purification. This is why the Holocaust and other crimes of the twentieth century were proclaimed to be "unrepresentable." One feared that if the related images were allowed to join the multitude of modern art forms, they would in turn be deconstructed and emptied, and would begin to function as pure aesthetic objects. In this way their toxic, contagious character (which will never really go away) would become neglected—and thus, these images could slowly infect the whole field of modern art forms. This anxiety regarding the infection of aesthetic form by ideological content is still so strong that images from the period of Socialist Realism and Nazi art are still excluded from the contemporary system of art representation. Here we have a pretty strong form of censorship. But the same form of censorship also has weak versions. For example, when I traveled through Middle America I saw a lot of artworks from the period of the New Deal—with explicitly progressive, political, ideological content. These artworks (mostly murals, especially by Thomas Hart Benton) are hardly represented in standard American art history—one struggles to find catalogues or books about them.
Installation view of one of the NSK department rooms at the exhibition NSK from Kapital to Capital, Moderna galerija, Ljubljana, 2015. Photo: Dejan Habicht. Courtesy Moderna galerija, Ljubljana.
For Irwin this ideological, toxic character of artforms referring to totalitarian regimes was not such a problem—because for Irwin all art forms are ideological and toxic to the same degree. Irwin does not see art forms as empty signifiers—and thus Irwin has no reason to suppress certain images as ideological. So Irwin shows that if we accept that all signs are ideological to the same degree, we become much freer in our choice of artistic forms and means than if we believe that signs can or must be empty. The remobilization of signs from the early avant-garde as well as totalitarian art was used by Irwin to give more energy to their project of reconstructing Slovenian national cultural identity. "Retro-avant-garde" here means not only the reenactment of certain avant-garde attitudes and gestures, but also—and maybe primarily—the influx of avant-garde energies into Irwin's artistic practice. The general mood of postmodernity was a certain melancholy after the end of the love affair with utopia. However, the project of reconstructing Slovenian national identity required some utopian energy—energy that Irwin got from the sources of radical modernity.
One can ask, of course, whether we need national cultural identities at all today—be they broken or unbroken, simple or hybrid. Is it not better to swim in anonymous flows of information and operate globally in our time of globalization? Yes, today we live in the age of globalization and the internet. Both are effects of the end of the Cold War and the erasure of the ideological divide between the West and the East. However, instead of producing the infinite flows of desire and information that were supposed to undermine and ultimately kill the Modernist subject of self-reflection and self-control, the internet has delivered an almost unlimited power to algorithmically organize surveillance and control. The cultural aspect of globalization also hasn't turned out the way many people initially expected.
In fact, contemporary globalization is the direct opposite of the modern ideal of internationalism and universality. The world of globalization is not a world of international solidarity or shared cultural values. Nor is globalization the realm of the anonymous "crowd mind" as it was celebrated by postmodernism. Rather, it is the world of the global competition of everybody against everybody. This competition pushes the subject who participates in it to mobilize his or her own human capital. And human capital, as described, for example, by Michel Foucault, is primarily the cultural heritage that is mediated by the family and milieu in which an individual grows up. That is why the contemporary logic of globalization, unlike Modernist internationalization and universalization, leads to cultural conservatism and an insistence on one's own cultural identity. The combination of globalization and extreme cultural conservatism defines the politics and art of our time.
My Western colleagues ask me from time to time: How are the Russian and Eastern European artists doing—did they already move on from Communist and post-Communist times? This question actually means: Have they already forgotten the repressions and traumas of communism and become what they always were—Polish, Slovenian, or Russian? From this perspective, for Eastern European artists to move on means, in fact, to go back—back to a national cultural identity before it was allegedly repressed and distorted by communism. Here, of course, emerges the question of how far they have to go back to be able to rediscover and reappropriate their own cultural capital. Obviously, Russians have to go back to at least 1916. Maybe to 1913. This means that on the way to post-Communist normalization and globalization they have to abandon and subtract from their cultural capital almost the whole twentieth century. The situation of other post-Socialist countries is not so dire—they have to go back merely to the period before World War II. But they still lose several decades—and, in terms of cultural capital, this is not such a negligible amount of time.
Thus, today the old line between the West and the East reemerges in a different form. The West is not supposed to subtract certain periods of its cultural history from its cultural capital (maybe the only exclusion here is the German art of the Nazi era). This produces obvious inequality in the conditions of cultural accumulation and capitalization. However, on the level of official cultural policy, this Western point of view has also been adopted by Eastern European countries. This culturally conservative discourse currently dominates the public scene in Russia. But also in Eastern Europe, communism is understood mostly as a mere interruption, interval, or delay in the so-called normal development of these countries—a delay which, once it was over, left no traces other than a certain appetite to "make up for lost time" and build capitalism of the Western variety. The project of building capitalism through the erasure of the leftovers of communism reminds one of the well-known politics of erasing the leftovers of capitalism, with the goal of building communism.
Installation view of the NSK common room, at the exhibition NSK from Kapital to Capital, Moderna galerija, Ljubljana, 2015. Photo: Matija Pavlovec. Courtesy Moderna galerija, Ljubljana.
One can say that this is the anti-Communist perspective on the phenomenon of Eastern European "real socialism."However, Western leftist intellectuals share this perspective, even if they do so for different reasons. When it came to the Soviet Union, Western intellectuals were convinced that they understood Marxism much better than Russians did—and this insight was enough for them to see the entirety of Soviet culture as a historical mistake. So for them, any further investigation of Soviet culture made no sense because it was clear from the beginning that this culture was based on an interpretation of Marxism that was simply wrong (dogmatic, primitive, and so forth). State socialism of the Soviet variety was seen as a perversion and a betrayal of the Communist ideal, a totalitarian dictatorship that was more a parody of communism than its true fulfillment. Thus, from the position of the Western Left, real socialism also looks like a mere delay—this time, a delay in the development of the communist ideal. Thus, there is a consensus among the Left and the Right in the West that the Eastern European Communist experiment should be forgotten. Both the Left and the Right reject "historical communism," or "national communism," or "communism in one country" because it offers a peculiar mixture of particular national traditions and the universalist Communist project. The conservatives hate communism for contaminating the national traditions that they want to purify from everything Communist. And the Neo-Communists want, on the contrary, to remove all the elements of Russianness, Chineseness, and so on, to restore the Communist ideal in its absolute purity.
Indeed, Stalin's project of building socialism in one country led to the hybridization of communism and nationalism—and thus to a certain folklorization of communism and the artistic avant-garde. By "folklorization" I mean the integration of Communist ideology and avant-garde art into networks of legends and myths that constitute the historical memory of a particular people, or rather a particular nation. Socialist revolutions inscribed political utopias and the artistic avant-garde into the mass culture of the countries in which these revolutions took place, to a degree that was unthinkable for the countries of the West. For a contemporary post-Soviet citizen there is no basic difference between Malevich's black square, Mayakovsky's yellow vest, Lissitzky's red wedge that beats the whites, and jokes about Chapaev and Pet'ka.
However, it is precisely this Socialist/post-Socialist folklore, or if one wants, kitsch—this mixture of Communist tradition and national cultural identity—that is used as material by many contemporary Russian and Eastern European artists. Irwin is here again an especially good example because they practice the folklorization of the avant-garde in a very systematic and conscious manner, combining avant-garde images with heavy, traditional-looking frames, placing them together with deer heads and thus referring to the atmosphere of a provincial stube, and so forth. One speaks about modern antiquarianism. Irwin makes modern folklore.
It is possible to find other examples of this folklorization of modernity all across Eastern Europe. The use—or better yet, the production—of folklore is a Romantic tradition. At the beginning of the nineteenth century, romanticism was a reaction to the collapse of the universalism of the French Enlightenment and the failure of the French Revolution. Romantic poetry and art, with their mixture of desire and horror, the beautiful and the sublime, were manifestations of nostalgia for revolutionary times. Our time—the time after the end of the great universalist projects and secular utopias of the twentieth century—very much reminds one of the nineteenth century: it is dominated by the same combination of open markets, nationalism, and cultural conservatism. Under these conditions only art is able to maintain the memory of the hybrid, national communisms of an earlier time. And it is precisely this memory that constitutes the main cultural capital of contemporary Eastern European artists and writers.
Installation view of the exhibition NSK from Kapital to Capital, Moderna galerija, Ljubljana, 2015. Photo: Dejan Habicht. Courtesy Moderna galerija, Ljubljana.
Among many other things, this memory is a memory of a Communist internationalism that was formulated in opposition to the project of globalization, understood as the creation of open global markets—the process of economic globalization initially started and, as stated above, was partially realized already in the nineteenth century. At that time—or even earlier, in the eighteenth century—emerged the correlative project of a world culture in which all particular national cultures would be included and dissolved. This vision of world culture is, of course, a fascinating one. However, the question remains: Can this vision be realized by the power of open markets alone? Of course, cultural products, like all other cultural commodities, have become globally accessible. But cultural products are not consumed like other commodities. If I consume bread, it disappears after I eat it. If I buy a car, it becomes my property and can be used—and also ruined—only by me. However, cultural products are consumed in such a way that they do not disappear in the act of consumption. Thus, they need archives to be preserved—libraries, museums, universities. Open markets are not able to create and sustain such cultural institutions—this is a task, historically and today, for national states. Art and culture in general function today in this ambivalent situation: they are globalized as commodities but remain preserved as parts of national cultural heritage. There are no international museums, libraries, or universities. Of course, one can argue that the internet is such an international archive—and this is partially true. But the internet is based on the following simple principle: it answers the questions that you ask it. The internet does not give you information that you do not want to know. And people usually ask for information they are taught to ask for. In this sense the internet cannot substitute for national educational institutions. Beyond this, the internet is in private hands—and thus reflects the cultural identity of the American corporations that own it. Irwin's answer to this situation was the creation of the NSK state. Here we have the rehabilitation, or the artistic reenactment, of the Hegelian/Marxist idea of a universal state, which already in the nineteenth century was opposed to the capitalist vision of globalization.
At the beginning of the 1990s, a book that seemed to capture the mood of the time was Francis Fukuyama's The End of History and the Last Man (1992). This book was mostly interpreted as a celebration of the victory of the West over historical communism and the impossibility of further social change. In fact, the book was not celebratory but rather pessimistic ("the last man"). The figure of the end of history was initially formulated by Alexandre Kojève in the lectures on Hegel's Phenomenology of Spirit (1807) that he gave at the École des Hautes Études in Paris from 1933 to 1939. This course was regularly attended by leading French intellectuals such as Georges Bataille, Jacques Lacan, André Breton, Maurice Merleau-Ponty, and Raymond Aron. The transcripts of Kojève's lectures circulated in Parisian intellectual circles and were widely read, notably by Jean-Paul Sartre and Albert Camus. Fukuyama was a student of Leo Strauss, who himself admired Kojève but believed that Kojève described the end of history too optimistically—due to the influence of Marx and his historical optimism. Strauss followed Nietzsche in believing that the post-historical mode of existence is the realm of the last man, the realm of decay and decline. Actually, at the end of his life Kojève also became much more skeptical about the post-historical condition. Fukuyama shares this pessimistic viewpoint and follows Kojève very closely in his interpretation of history and its end. However, he misses the central point in Kojèvian discourse. For Kojève the end of history is marked by the emergence of a universal and homogeneous state. The end of history means political and not merely economic globalization. So from the Kojèvian point of view we are still not at the end of history. The universal state remains utopian—it has to be implemented, but it has not been implemented yet.
The NSK state is precisely such a utopian universal state, built on the territory of art. What the artists practice here is a kind of Romantic bureaucracy—the artist becomes a bureaucrat, a clerk of the nonexistent universal state. In his famous essay "La trahison des clerks" (The Betrayal of the Clerks, 1927), Julien Benda aptly described the ethos of post-Hegelian modern bureaucracy. He named its members "clerks." The word "clerk" is often translated as "intellectual." But in fact, for Benda the intellectual is a traitor of the clerk's ethos, because the intellectual prefers the universality of his or her ideas to the duty of universal service. The true clerk does not commit himself to any particular worldview—even to the most universalist one. The clerk, rather, serves others by helping them to realize their own particular ideas and goals. Benda saw the clerk primarily as a functionary, as an administrator in the framework of the enlightened, democratic state that is ruled by law.
Today the state—even if it is internally organized in the most universalist way—remains a national state. Its clerks, notwithstanding their universalist ethos, are necessarily embedded in the apparatuses of power that pursue particular, national interests. This embeddedness is one of the reasons why the traditional clerk ethos, as described by Benda, has become utopian.
One can argue that the contemporary artworld tries to compensate for the lack of a universal state. Here one has to remember that Kojève was not only a follower of Hegel but also a nephew of and commentator on Kandinsky. Indeed, there is an inner affinity between the modern state and modern art: both believe in the predominance of form over content. The modern state is a form—a beautiful form. The true bureaucrat—or true "clerk"—serves this form before he loves it, because his thinking is formalistic through and through. The bureaucrat who serves not the form but the "content," be it the content of his own desires or the desires of others, is a corrupt, bad bureaucrat. The same can be said about the Modernist artist: he serves the form and tries to avoid corrupting it through his personal psychology or through external influences, motives, interests, and goals. As stated above, Conceptual and even Postmodern art inherits this service to pure form. Of course the artist, as also a bureaucrat, cannot be completely immune to corruption through content of different kinds. But both see their profession as an attempt to resist this corruption and to serve the beautiful form of art or the state as selflessly as possible. This concerns not only the creation but also the presentation of art in public space—the task in which art and politics necessarily collaborate.
In this respect the figure of the independent curator is especially interesting. Earlier curators were appointed by the state. Today, so-called international curators appoint themselves. In their curatorial practice they navigate among many private, institutional, and local interests, but their goal is to create an image of international art. In this sense they act as appointees of a nonexistent universal state. The contemporary international curator is a Romantic bureaucrat. NSK creates not merely a curatorial program but a Romantic state in which every participant—every curator or writer or artist—becomes a bureaucrat, one who is responsible for the well-being of the state, and who is selfless and conscious of his or her social duties. This artistic appropriation of the state and state bureaucracy seems paradoxical because the artist is supposed to be an anarchist. But anarchy and institutional critique are good when there are art institutions. In Eastern European countries though, art institutions are not very strong—and the art market is not especially powerful. In this situation artists have to create art institutions themselves—together with the state that is theoretically responsible for maintaining these institutions. Here again the artists of Irwin demonstrate their precise grasp of the current cultural and political situation; they thus announce the era in which all people will become citizens of their state—or of any other universal state.
Boris Groys is Professor of Aesthetics, Art History, and Media Theory at the Center for Art and Media Karlsruhe and Global Distinguished Professor at New York University. He is the author of many books, including The Total Art of Stalinism, Ilya Kabakov: The Man Who Flew into Space from His Apartment, The Communist Postscript, Going Public, and Art Power.


Elections in National Union end with Smotrich as head, Ofir Sofer in 2nd place on list followed by former MK Orit Struck.
Smotrich won 83 votes and beat Ariel who received 40 votes. Total Votes: 123 members out of 129.
National Union Chairman-elect MK Betzalel Smotrich said: "The national team has chosen a winning team: Our mission now is to unite Zionism and continue to lead.
"Religious Zionism is leading in all aspects of life in the State of Israel, in the army, in settlement throughout the country, and we'll continue to lead in politics as well.
"I'm happy and proud of our team and from today we're reconnecting as a community, reconnecting to the Torah, to doing, to the field. We're embarking on a new path with all our might."


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redpajama_set_name: RedPajamaCommonCrawl


Timothy Wallace, MD, Assistant Professor of Surgery at Dalhousie University in Halifax, Nova Scotia, spoke about the topic at Otolaryngology Update 2009 in Toronto. He has been performing in-office laryngeal biopsies for five years, and is a supporter of performing a variety of biopsies in this setting.
His first procedure was on a patient who presented with a vocal fold granuloma, but who had an intense fear of the operating room. With his office already situated in a hospital, it wasn't difficult getting set up to do the procedure in his office.
The indications he considers as eligible for doing in-office biopsies include retrieval of foreign bodies, the treatment or removal of benign lesions in patients who cannot tolerate general anesthesia or who aren't good direct laryngoscopy candidates, and biopsy of suspicious lesions.
It is generally comfortable for patients and lacks the stress associated with OR procedures. It is also useful for older patients who have comorbidities or patients with anatomical considerations that preclude surgery. He finds patients need fewer days of voice rest.
When taking someone to the OR for microlaryngoscopy surgery, I have them voice rest for about a week. I ask them to whisper for five days, then gradually shift back to a normal voice. When you do in-office biopsy for small lesions, patients are basically back with a full voice in less than a week, he said.
In-office laryngeal biopsies are also beneficial to patients who require a high number of laryngeal procedures. Less surgery equals less trauma, he said.
There is also the added benefit of doing a procedure in about five minutes that would normally take more than a hour of OR time. Not only is it faster, but the reduced OR time also represents a savings to the health care system.
Which Procedures Can Be Done In-Office?
Many otolarynglogists do angiolytic surgery as an in-office procedure, but Dr. Wallace prefers not to. However, Michael M. Johns III, MD, Assistant Professor of Otolaryngology at Emory University in Atlanta, told ENT Today that he does includes angiolytic surgery on his list of in-office procedures.
I use photoangiolytic therapy using a pulsed KTP laser, he said. However, he had a few tips for general otolaryngologists considering doing this. Spend time observing someone with experience doing the procedure. It is not hard, but it is filled with nuance, which makes the difference between good outcomes and bad ones.


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Those of us engaged in medical devices and their connectivity often (or perhaps not often enough) look to the FDA for regulation and guidance.
We sometimes remember that there are also other government agencies that may have impact on what we do. For examples the role of the FCC has been discussed here with respect to medical device wireless applications, and more recently the prospect of the FCC taking away part of the Wireless Medical Telemetry Spectrum (WMTS) has received attention in clinical engineering circles (while no one else seems to care). CMS is always of interest with respect to medical device reimbursement, and more recently with respect to meaningful use of electronic health records (EHR), which may or may not be medical devices. Advertising of medical devices is regulated by both the FDA and the FTC, and some over-the-counter devices bridge the FDA and Consumer Products Safety Commission divide. The FTC (but curiously not the FDA) has previously gone after smart phone acne treatment apps because of their "baseless claims." When there is dual authority and a need for regulatory action I have wondered if having two responsible agencies is worse than having just one (leading to some new math such as 1+1 < 2, and might even be <1).
This month the FTC has weighed in on mobile apps in general with a brief guidance document entitled Marketing Your Mobile App: Getting it Right From the Start. This guidance is not aimed specifically at the medical arena, but such apps are not excluded. The broad topics covered by the FTC are truth-in-advertising and privacy. The specific topics are (1) truthfulness about what the app can do, (2) disclosing key information clearly and conspicuously, (3) built-in privacy protection, (4) transparency about data practices, (5) clear privacy choices, (6) actually following stated privacy practices, (7) attention to specific privacy practices for children as required by law, and (8) data security.
Certainly truthfulness about what an app can do (and not do) is an important issue for medically oriented products. When apps purport to provide diagnostic results or "advice" it is important for the claims to be based on "competent and reliable evidence" and for the user to understand the basis for asserting the claims including the underlying science and population to which it applies. Wrong advice can clearly be harmful if it leads the user to undertake an unnecessary treatment, or to forgo seeking medical attention. Apps that rely on user specific data rather than just being an electronic book are probably of greater concern because of their perceived relevance and authority, but even simple look-up information can be dangerous if incorrect. These issues were the substance of the FDA's mobile app actions cited above.
The second point on clear disclosure is the first cousin of truthfulness. Such disclosure takes on particular relevance when claims are made boldly but disclaimers (e.g. do not rely on this app) are hidden away. Hyperlinked disclaimers are of particular interest here in the sense that if the user has to virtually go somewhere else to get the information, has that information been adequately disclosed?
Data collection, data security and secondary data uses (e.g. marketing) also has particular resonance for medical apps in that the data may include personal medical information rather than the usual panoply of location, financial details, address book, etc. Here the FTC suggests that information collection be associated with an affirmative agreement and that what is collected, how it will be used, and how to opt out should be "clear and conspicuous". This should include information that the user actively provides as well as information that the app can collect on its own.
While the FTC has addressed apps in general in this guidance, the principles are straightforward, and proper consideration of these principles must be added to concerns about whether an app is or is not a medical device subject to FDA regulation. Moreover, I can find a modernized version of the golden rule here: Don't have your app do to others what you don't want their app to do to you.


By Liam Denning (Bloomberg Opinion) — One pocket-sized symbol of globalization is the iPhone; that California-by-way-of-China apotheosis of ocean-spanning supply chains. Alternatively, there's the 41,000-tonne USS Kearsarge, an amphibious assault ship currently deployed in the U.S. Navy's Fifth-Fleet area, which takes in such tourist traps as the Strait of Hormuz and the waters off Yemen and the Horn of Africa.
Denning: Just How Big Is Oil's Invisible Friend, Natural Gas?
Denning: Will Oil Majors Actually Sink Money Into America's Waters?


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ANGLISTICUM. Journal of the Association-Institute for English Language and American Studies
Home > Vol 7, No 5 (2018) >	Rifati
National Movement in the District of Gjilani and the Destruction of Komiti's Squad of Pasjan in 1907
Fitim Rifati
Serbian Political Program "Naçertania" of 1844, which foresaw, among other things, the penetration of the Serbian state towards the south, namely the territorial extent in the administrative area of the Ottoman Empire inhabited by Albanians, did not exclude the possibility of organizing armed groups to carry out concrete actions in the implementation of this platform. Serbian armed groups, entering these areas, were aimed at destabilizing order and tranquility, to give way to the Serbian state policy to intervene in the internal affairs of the Ottoman Empire, with the justification of the "protection" of the Serbian element from the so-called Albanians' "wrongdoings". Pasjani Serbian squad is a concrete illustration of Serbian political claims in Albanian lands.
Keywords: Pasjani, squad, Serbians, Albanians, extermination.
DOI: http://dx.doi.org/10.0001/ijllis.v7i5.1711
DOI (PDF): http://dx.doi.org/10.0001/ijllis.v7i5.1711.g2176
Copyright © 2012-2021 ANGLISTICUM. Journal of the Association-Institute for English Language and American Studies,Tetovo, Republic of North Macedonia.
The publication is licensed under a Creative Commons License (CC BY) https://creativecommons.org/licenses/by/4.0/ View Legal Code
ISSN (print): 1857-8179. ISSN (online): 1857-8187.
Disclaimer: Articles on Anglisticum have been reviewed and authenticated by the Authors before sending for the publication.
The Journal, Editors and the editorial board are not entitled or liable to either justify or responsible for inaccurate and misleading data if any. It is the sole responsibility of the Author concerned.


Villa Britannia is a lovely bed and breakfast outside the Porta Messina in Taormina. The home is inviting and filled with aromas that draw you immediately to the kitchen. Host Louisa greets everyone with a brief history of the home, introduces her husband Marco and her father-in-law, who are also hands-on in the multi-course meal process, and explains the simple, pure and fresh ingredients of the Sicilian diet. We began by chopping vegetables for a caponata (a cold Sicilian roasted eggplant and vegetable salad), tomato sauce, and a second kind of eggplant salad. After we got the sautés going on the stove, we headed to the outside garden to make our pasta. Sicilian custom is to use durum wheat semolina and water. The durum wheat semolina is a product that is less refined compared to the re-milled semolina; yellow color, a little more coarse in texture. First roll and knead the dough, then roll out fat cords. Next, cut off equal size nuggets and finally a pinch and roll around a skewer…voila, pasta! All that hard work meant it was time for a treat. Several delicious cheeses including a baked sheep ricotta and a saffron pecorino paired with Spumante. We learned that the same grapes that create cava in Spain, champagne in France and prosecco in northern Italy when grown in Sicily make Spumante; by any name it is delicious. Back to the kitchen to check on the sauce, and begin preparing the swordfish involtini. With a mixture of dry and fresh herbs and bread crumbs, we coated each filet, rolled it tightly and skewered four per stick. They were flash fried and finished in the oven. We were ushered to the table as the pasta was draining and we were served a delicious meal that we will attempt to recreate in our own kitchen. Homemade blood orange and pistachio gelato with fresh fruit and espresso were the dessert offerings as we relaxed on the terrace of Villa Britannia, reflecting on yet another sensational meal in a spectacular location.
Next Next post: Winter whirlwind weekend in NY; why not?


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Acing the Hepatology Questions on the GI Board Exam: The Ultimate Crunch-Time Resource
Brennan Spiegel, MD, MSHS; Hetal Karsan, MD
Cover:
eBook Available:
Hepatology is an expanding field – it's hard to keep up. The liver has been sitting there the whole time, but the knowledge surrounding this perplexing organ is exploding; this makes it hard to prepare for board and recertification exams, where 1 in every 4 questions pertains to hepatology. Until now, there has been no single, slim, but high-yield volume that summarizes the hepatology you need to know for the boards. This book has it nailed. The authors have collected every pearl of wisdom, high-yield factlet, liver "board buzzword," hepatic micrograph, and classic liver imaging study they could muster, all while keeping the book a manageable size - because who has time for more than manageable when you're busy?
The answer to your study questions (and study time!) can be found inside: Acing the Hepatology Questions on the GI Board Exam: The Ultimate Crunch-Time Resource.
Traditional textbooks usually feature long and detailed discussions that are not directly related to Board and recertification exams. On the flip side, many Board review manuals provide lists and bullet points lacking sufficient background and context. Inside Acing the Hepatology Questions on the GI Board Exam, Drs. Brennan Spiegel and Hetal Karsan present time-tested and high-yield information in a rational, useful, and contextually appealing format.
Why You Will Need to Read Acing the Hepatology Questions on the GI Board Exam:
Focuses exclusively on Hepatology review – an area that comprises 25% of the Board exam
Carefully vetted board-style vignettes with color images
Comprehensive yet succinct answers using a high-yield format
Emphasis on key clinical pearls and "board buzzwords"
Answers to classic board "threshold values" questions that you need to know but always seem to forget:
If an echinococcal liver cyst exceeds XX cm, then the risk of rupture is clinically significant and surgery is warranted
Rapid fire crunch-time exam with 135 classic one-liners such as:
Spider web collaterals + caudate lobe hypertrophy = Diagnosis
Stepwise fever + temperature-pulse dissociation + rose spots + hepatitis = Diagnosis
With its focus on pearl after pearl, emphasis on images, and attention to high-yield "tough stuff" vignettes you don't know the answers to (yet), Acing the Hepatology Questions on the GI Board Exam is truly the ultimate crunch-time resource for acing often vexing liver section of the examination, taking recertifying examinations, looking good on clerkship rounds, or for just challenging yourself with interesting and entertaining vignettes.
Chapter 1 Liver Disease on the GI Board Exam
Chapter 2 "Tough Stuff" Vignettes
Chapter 3 60 Hepatology Board Review "Clinical Threshold Values"
Chapter 4 "Crunch-Time" Self-Test—Time to Get Your Game On
Appendix A: Answers to "Crunch-Time" Self-Test
Appendix B: "Crunch-Time" Self-Test Scoring Guide
"The clinical vignettes are succinct and followed by answers and explanations which provide not only the correct diagnosis, but also expand the understanding of other pertinent issues which should be considered with similar patients. Other helpful features are the illustrations and figures, which provide a visual aid to clarify key points and reinforce the concept being addressed. This book is a succinct, readable text that can help hepatologists and gastroenterologists prepare for and pass their board exam"
-M. Kyle Jensen, MD, MSc, University of Utah, Practical Gastroenterology
"This book has an interesting feature that I have never seen in any other Board review book. Each vignette is followed by a small "Why Might This Be Tested?" section. This a very useful feature for test-takers. This is a very useful book for anyone who wants to excel in hepatology."
-Mark Yoffe, MD, The Medical Media Review
Brennan M.R. Spiegel, MD, MSHS, FACG is an Associate Professor of Medicine in the Division of Digestive Diseases, UCLA School of Medicine, and in the Division of Gastroenterology, VA Greater Los Angeles Health Care System. He is the section chief for Health Services Research at the UCLA Division of Digestive Diseases, and Chief of Education and Training in the UCLA GI Fellowship Training Program, which is amongst the largest GI Training Programs in the country.
Dr. Spiegel attended Tufts University where he majored in Philosophy and Community Health, and obtained his medical degree from New York Medical College. He received training in internal medicine at Cedars-Sinai Medical Center in Los Angeles, completed a fellowship in Gastroenterology at UCLA, and completed advanced studies in Health Services Research in the UCLA School of Public Health, where he received a master's degree in Health Services. He is board certified in Internal Medicine and Gastroenterology. He currently teaches in the Schools of Medicine and Public Health at UCLA.
Dr. Spiegel's research interests have focused on acid-peptic disorders, chronic liver disease, gastrointestinal hemorrhage, and functional bowel disorders such as irritable bowel syndrome and dyspepsia. He has performed research across a range of health services methodologies, including health-related quality of life measurement, survey design and administration, systematic review, meta-analysis, multivariable regression analysis, survival analysis, expert panel research, quality improvement, cost-effectiveness analysis, budget impact modeling, and use of clinical informatics to support decision making. He is a peer reviewer for numerous medical journals, and is on the editorial boards for the American Journal of Gastroenterology and Clinical Gastroenterology and Hepatology. He has contributed to the publication of more than 90 peer-reviewed papers, as well as numerous abstracts, book chapters, and monographs.
Hetal A. Karsan, MD, FACG, FACP is a Clinical Assistant Professor of Medicine in the Division of Digestive Diseases at Emory University School of Medicine in Atlanta. He is a gastroenterologist and hepatologist at Atlanta Gastroenterology Associates, one of the largest gastroenterology groups in the country, at which he is a partner. He is also a practicing clinician at Emory University.
Dr. Karsan attended Indiana University in Bloomington, Indiana, where he received his Bachelor of Science in Biology. While an undergraduate, he taught a course on Evolution and Diversity to fellow college students and won awards for undergraduate biomedical research from the Howard Hughes Medical Institute. He obtained his medical degree from Indiana University School of Medicine and went on to train in Internal Medicine at Boston University, where he completed his medical internship and residency. Dr. Karsan served as acting Chief Medical Resident while at Boston University. He completed fellowship at UCLA Medical Center, where he trained in gastroenterology, advanced interventional endoscopy, and transplant hepatology. While at UCLA, he won several awards and was nominated for the Teaching Fellow of the Year by the Department of Internal Medicine. He also sought formal training in clinical outcomes research at UCLA.
Dr. Karsan is active in numerous professional organizations and was elected as Fellow by both the American College of Gastroenterology and the American College of Physicians. In addition to contributions to various peer-reviewed manuscripts, abstracts, and book chapters, he also serves as a peer reviewer for medical journals and is on an editorial board. Dr. Karsan is board certified in internal medicine, gastroenterology, and transplant hepatology. He enjoys endoscopy and actively participates in clinical outcomes research. In his spare time, he enjoys playing sports, traveling, and spending time with his family.
Acing the GI Board Exam: The Ultimate Crunch-Time Resource, Second Edition
Acing the Pancreaticobiliary Questions on the GI Board Exam: The Ultimate Crunch-Time Resource
Acing the IBD Questions on the GI Board Exam: The Ultimate Crunch-Time Resource
Advanced IOL Fixation Techniques: Strategies for Compromised or Missing Capsular Support
Athletic Training Exam Review: A Student Guide to Success, Sixth Edition
The 6 Ds of Fecal Microbiota Transplantation: A Primer from Decision to Discharge and Beyond
Diagnosis and Management Guide for Anorectal Disease: A Clinical Reference
Applied Theories in Occupational Therapy: A Practical Approach, Second Edition
Handbook of Gastrointestinal Motility and Functional Disorders
The Little GI Book: An Easily Digestible Guide to Understanding Gastroenterology, Second Edition


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redpajama_set_name: RedPajamaGithub


The Hellenic-Canadian Academic Association of Ontario (HCAAO) in cooperation with the Centre for Research in Hellenic Studies in Canada (KEEK) organise a mini-conference on "Hellenism in the 21st century" Wednesday, June 2, 1999, 6:30 - 9:30 p.m.
at the Polymenakeion Cultural Centre of the Greek Community of Metro-Toronto, 30 Thorncliff Park Drive, Toronto, Canada.
Prof. Spyros Vryonis, Vryonis Centre for the study of Hellenism, California, U.S.
Dr. Christos Ioannidis, Vryonis Centre for the study of Hellenism, California, U.S.
Prof. Van Coufoudakis, Dean of Arts, Indiana-Purdue University, Fort Wayne, Indiana, U.S.
The subjects of the talks will cover a broad area of current developments in Greece, the Balkans and Eastern Mediterranean, as well as Hellenism abroad. The talks will be in Greek. Free entrance.


text:
Accommodation	| Activities	| Restaurants	| Business Directory
Kimberley is the capital city in the Northern Cape Province of South Africa. Kimberley, known as the "Diamond City", is in the centre of South Africa with two national roads leading to it. The N12 (Cape Town via the N1 to the south and Pretoria/Johannesburg to the north) and the N8 going east to west.
Kimberley is was founded in 1871 when diamonds were discovered on a nearby farm named Vooruitzicht (owned by the De Beers brothers). The town was also known as New Rush before it was renamed to Kimberley (after then British Secretary of State for the Colonies Lord Kimberley).
Kimberley was incorporated into the Cape Colony in 1880. The De Beers Consolidated Mines, organized by Cecil Rhodes, assumed control of the diamond fields in 1888, and its headquarters are still in Kimberley.
Activities and places of interest in Kimberley include:
Kimberley Mine Museum and Big Hole - Do you want to retrace the lives of the rough-and-ready diggers who made it all happen? Or experience life in Kimberley as it must have been during the diamond-rush days when races, lotteries, pubs and ballrooms made the town a very bright place indeed? Then visit the Kimberley Mine Museum. Consisting of original and carefully reconstructed buildings this open-air museum has preserved a great deal of the city's past.
Africana Library - Containing a wealth of Africana and other historically significant material, the library offers its visitors valuable insight into the Northern Cape, diamond mining, travel and missionary word and early printed works, including Tswana printing.
Steam Locomotives - Rhodes's envisaged Cape to Cairo railway passes through Kimberley, and steam train enthusiasts will have a field day when they visit the Beaconsfield Marshalling Yards. Here a few of the steam locomotives in beautiful condition are still to be seen. A trip on the tram - For those who would like to travel to the Kimberley Mine Museum in grand old style, a ride on the Kimberley Tram is a must. Tram services were introduced to Kimberley in 1887, and ultimately came to a halt in 1947. Revived in 1985, the tram service now operates daily between 09:00 and 16:30 carrying visitors between De Beers and the Star of the West.
Ernest Oppenheimer Memorial Gardens and Diggers Fountain - The Gardens are a memorial to the late Sir Ernest Oppenheimer, diamond magnate and the first elected mayor of the municipality of the city of Kimberley when Beaconsfield and Kimberley were combined into a city in 1912.
The Peace and Justice Memorial on the Greenpoint Community Square - This very modern memorial on the Square in one of Kimberley's oldest suburbs, Greenpoint, was unveiled in September 1998 by the then Mayor, Alderman Maria Chwarisang. The sculptor, Kimberley resident Wilfred Delport, originally designed it in 1968 as an appeal to the apartheid government to release all political figures including Nelson Mandela. It was then entitled "The Appeal for Peace and Justice".
Accommodation in Kimberley includes hotels, B&B's, Guesthouses and self catering establishments.
Kimberley Tourism Office Information
Web address: https://www.kimberley.org.za
E-mail: info@kimberley.co.za
Address: Aeon Building
182 Du Toitspan Road
Kimberley, Northern Cape
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4mins BJP's outreach programme to J&K is nothing but a hoax: Tarigami
Seetha Narayanan: A passionate music teacher
HALL OF FAME: Sangita Kala Acharya Art
K.T.P. Radhika
December 12, 2019 16:30 IST
Updated: December 13, 2019 14:57 IST
Carnatic guru Seetha Narayanan | Photo Credit: B_VELANKANNI RAJ
Seetha Narayanan has passed on the treasure that she has inherited to three generations
Nearly 20 years ago, on a warm Sunday morning, the doorbell rang at the house of vocalist Seetha Narayanan, then living at the Railway Officers quarters in Chennai's Ayanavaram. At the door, she found a mother and her six-year-old son asking for paatu mami. The visitor, a young and poor vegetable vendor living in a faraway suburb, asked softly: "Can you teach music to my son?" Surprised, Seetha said, "Yes I can, but tell me please, how did you come to know about me?" The mother's reply was hilarious, recalls Seetha, who will receive the Music Academy's coveted Sangitha Kala Acharya award on January 1, 2020. "The bus conductor of MTC route number 27D told me about you," the mother said. "He stays near my house. He said that you regularly take his bus and that you sing very well."
"I could not believe my ears. Those days, I had to take two buses to reach my guru, Chengalpattu Ranganathan, who lived in While returning, I would take 27D and dutifully open my notebook just as I entered the bus, she says. "I'd immediately start revising whatever my guru had taught me that day. But I didn't know that people were noticing this," laughs the 78-year-old musician who has carved out a space of her own in Carnatic music.
"The Music Academy's award came as a sweet surprise," she says sitting at her house in Perungalathur, Chennai. Artistes need recognition, she agrees. "Appreciation, from rasikas, and awards, motivate us to perform well. So when an award comes from a world-renowned institution, it is an overwhelming as well as a humbling experience," she says. Seetha will be conferred the Sangita Kala Acharya title at the Sadas on January 1, 2020.
Seetha is known for her rich creativity, expertise in musical theory and melodious rendition of bhajans, among others. She sings a kriti after explaining it to the audience. Born and brought up in Jamshedpur, where her father worked, Seetha started singing at age three. "I used to sing even before I could speak properly," Seetha says. My entire family loved singing. Music and ragas were part of everyday discussion. Those days, when relatives met after a gap, chats started with "Did you hear the Khambodi aalapana of Ariyakkudi on AIR yesterday?" and not "How do you do?" she laughs.
Seetha started learning music formally at age eight in Jamshedpur. This was under Kasi Viswanatha Bhagawathar, a disciple of Semmangudi Srinivasa Iyer. After shifting to Madras in 1970, she came under the tutelage of Nagercoil Harihara Iyer, P.K. Rajagopala Iyer, a disciple of Tiger Varadachari, and Ramamurthy Rao, and, later, S. Ramanathan. After his demise in 1988, she trained under Chengalpattu Ranganathan for more than 20 years.
How did training under different gurus help her and how did she balance different banis? "They were the apostles of Suddha Sangeetham (pure music) and I imbibed all their good qualities. I learnt different aspects of singing from these eminent musicians. For instance, Rajagopala Iyer taught me about theoretical aspects and meanings. Rao, a student of Pt. Bhimsen Joshi, was a specialist in bhajans. Ramanathan showed me the approach to a concert and strike a rapport with the audience. Ranganathan, of Alathur bani, was a specialist in pallavis and niravals," she recalls. Ranganathan also taught her exclusively, the 35 Thillanas he had composed in Sooladi saptha talas. "In January this year, we released an audio CD of these thillanas at Arkay Convention Centre," she says.
With the encouragement of her husband the late Narayana Iyer, who was an engineer with the Southern Railway, Seetha started a music school 'DivyaDhwani' at Ayanavaram in 1986. She is guru to more than 400 students in India and abroad. "By God's grace, I was able to teach three generations of students. I was able to impart the styles of my great gurus to them," she says. She taught students in countries such as the U.S. over the phone in the late 1990s. This was long before Skype became popular.
"I consider children as adults while teaching," says Seetha and elaborates. "From the early stage onwards (say, a geetham or a swarajathi), I teach them the bhava. They might not understand it then but it will help them in the advanced stages." Also, her vocal classes never happen without theory lessons. Because, beyond a certain level, if the musician has to grow, he or she needs a strong base of theoretical knowledge, says Seetha. "Before starting a kriti, I will talk about the raga, composer, the meaning, the situation in which the krithi was composed, the intricacies of the raga the kriti explores and so on. Only then, they can internalise it," Seetha says. "Also, our kritis have a lot of information. For instance, Dikshitar kritis are packed with the knowledge of ancient temples, their deities and so on. Seetha also conducts a lot of lecture demonstrations across India and abroad. "I have to take forward the legacy of my great gurus. My students have great calibre and I have the opportunity to nurture them. Also, I am teaching many old women, who suffer from age-related issues. Some of them are leading a very lonely life. Music is a great relief for them. I am happy that I am able to provide them with some peace and happiness with music," she concludes.
Related Topics Art Music
Printable version | Jan 22, 2020 2:27:06 PM | https://www.thehindu.com/entertainment/music/seetha-narayanan-a-passionate-music-teacher/article30285777.ece
How art on social media became the face of anti-CAA protests
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Meghna Majumdar


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Home Rachel Ehrenfeld Soros, the NY Times and anti-Israel propaganda
Soros, the NY Times and anti-Israel propaganda
Dr. Rachel Ehrenfeld is one of America's most noted economic warfare and counter-terrorism scholars, who runs the American Center for Democracy and its Economic Warfare Institute. She has published hundreds of articles, numerous white papers and several books, including "Funding Evil" – How Terrorism is Financed; and How to Stop It." She successfully lobbied New York and Congress to enact laws to protect American journalists, scholars, writers and publishers from the enforcement of foreign libel judgements in the U.S. Her efforts resulted in the passage of NY's "Rachel's Law" (2008), and the federal SPEECH Act, signed into law by Pres. Obama in 2010.
By Rachel Ehrenfeld, President, American Center for Democracy
Note: This article originally appeared at American Thinker, and is being republished here with the permission of Dr. Ehrenfeld.
Using the pretext of commemorating Martin Luther King, Jr. Day, the New York Times Sunday Review published what Alan Dershowitz fittingly described as "one of the most biased, one-sided, historically inaccurate, ignorant and bigoted articles ever published by that venerable newspaper." The article, "Time to Break the Silence on Palestine," is an unhinged anti-Israel, anti-Semitic, pro-Palestinian rant. The newspaper and the article were aptly criticized by Ruth King in the American Thinker, and by Ira Stoll in the Algemeiner.
Vitriolic smears against Israel are nothing new to the NYT. What is new about this slanted article is that it shows how George Soros's propaganda machine works.
The essay's author, Michelle Alexander, served as "a Soros Justice Fellow" in 2005. She was among the first recipients of the Soros Justice Program, with a stipend of $35,000 to $97,000, "to complete a book called The New Jim Crow … about the so-called war on drugs and mass incarceration as the defining racial justice issues of our time."
Since then, Alexander has been affiliated with numerous Soros-funded organizations, such as The Ella Baker Center for Hunan Rights, which promote "color justice" and "nationally organize[s] and coordinate[s] demonstrations for illegal-alien amnesty and manage[s] voter-registration campaigns for Democratic candidates."
She was hired by the NYT in the fall of 2018, shortly after Soros invested more than $3 million in the paper. And while the paper brags about its transparency, the 10,000-word profile of the billionaire in the NYT Magazine last July did not bother to disclose Soros's holdings in the paper.
According to the U.S. Securities and Exchange Commission (SEC), last May, Soros Fund Management LLC purchased 126,400 shares, worth $3,046,000, in the New York Times Company. This investment increased Soros's holdings in the newspaper from the 470,000's worth of shares he purchased in 2007. Though this was not a big investment, it is nonetheless significant when the investor is Soros.
In 2011, Dan Gainor, vice president of business and culture at the Media Research Center, exposed Soros's "funding/investment strategy" in media both in the United States and abroad. By then, Soros had invested more than $48 million "in media properties, including the infrastructure of news – journalism schools, investigative journalism, and even industry organizations."
Gainor further revealed "that Soros' influence doesn't just include connections to top mainstream news organizations such as NBC, ABC, The New York Times and Washington Post. It's bought him connections to the underpinnings of the news business. The Columbia Journalism Review, which bills itself as 'a watchdog and a friend of the press in all its forms,' lists several investigative reporting projects funded by one of Soros foundations."
Since then, Soros has directly and indirectly (often through members of his family) expanded his so-called "charitable" funding and investments to influence major media outlets, including book-publishing, films and documentaries, TV, radio, and social media. But not American-based social media – an industry he has come to loudly criticize of late.
It is important to remember that Soros is not a philanthropist. Take his word for it: "Philanthropy goes against the grain because our civilization is built on the pursuit of self-interest, not on any preoccupation with the interests of others," he told Michael Lewis in 1994.
Dershowitz pointed out that "[t]he most outrageous aspect of the column is the claim by Alexander that Martin Luther King Jr. inspired her to write it. But he was a staunch Zionist, who said, 'When people criticize Zionists, they mean Jews. You are talking anti-Semitism.'" This is what to expect from anyone funded by Soros. It should not come as a surprise to anyone following Soros's investments and modus operandi, his attacks of Israel, and his support of BDS and the Palestinians.
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text:
namespace graphic
{
	using namespace common;

	class cRenderTarget
	{
	public:
		cRenderTarget();
		virtual ~cRenderTarget();

		bool Create(cRenderer &renderer
			, const cViewport &viewPort
			, const DXGI_FORMAT rtvFormat = DXGI_FORMAT_R8G8B8A8_UNORM // or DXGI_FORMAT_R32_FLOAT (ShadowMap)
			, const bool isMultiSampling = true
			, const bool isDepthStencil = true
			, const DXGI_FORMAT depthFormat = DXGI_FORMAT_D24_UNORM_S8_UINT
			, const DXGI_FORMAT depthSRVFormat = DXGI_FORMAT_D24_UNORM_S8_UINT
			, const DXGI_FORMAT depthDSVFormat = DXGI_FORMAT_D24_UNORM_S8_UINT
		);

		void SetRenderTarget(cRenderer &renderer);
		void RecoveryRenderTarget(cRenderer &renderer);
		bool Begin(cRenderer &renderer
			, const Vector4 &color = Vector4(50.f / 255.f, 50.f / 255.f, 50.f / 255.f, 1.0f)
			, const bool isClear = true );
		bool BeginSimple(cRenderer &renderer
			, const Vector4 &color = Vector4(50.f / 255.f, 50.f / 255.f, 50.f / 255.f, 1.0f)
			, const bool isClear = true);
		void End(cRenderer &renderer);
		void Bind(cRenderer &renderer, const int stage = 0);
		void Unbind(cRenderer &renderer);
		void Clear();

	public:
		cViewport m_viewPort;
		DXGI_FORMAT m_rtvFormat;
		ID3D11Texture2D *m_texture;
		ID3D11ShaderResourceView *m_texSRV;
		ID3D11RenderTargetView *m_texRTV;
		ID3D11DepthStencilView *m_depthDSV;
		ID3D11ShaderResourceView *m_depthSRV;

		// MultiSampling Texture
		ID3D11Texture2D *m_resolvedTex;
		ID3D11ShaderResourceView *m_resolvedSRV;
	};

}


If you were like me over the holiday break, you spent time catching up. Reading papers, magazines, watching news stories, visiting with friends and families. Telling and hearing stories.
It was during this down time that I explored Hatch.
Hatch is a new platform for digital storytelling. Created by Hattaway Communications and supported by The Rockefeller Foundation, this free, online resource is designed to help organizations use the power of storytelling to increase their reach and resources.
The site was very user friendly and takes you through a five-step process to help you strategically craft and share stories. As you answer the questions in each section, you are provided with suggested tools, case studies and resources that are customized to your needs.
Perhaps the best part is that all your information is saved so you can go back at any time and access your customized information.
While on my iPad, sitting in front of my fireplace on a cold winter's night, I went through each of the five sections. It took about an hour (but I also read every resource they suggested). Before long I had developed a narrative framework that defined why Health Forward exists, the people we serve, the ideas we want to advance and how we aim to accomplish our goals.
I also went through an exercise on capacity and how to build a sustainable storytelling organization. It made me think about talking more closely to my colleagues about how to identify and share good stories. It also made me think about adding a "submit a story" section to our website to hear more easily from those we fund about the work they are doing.
In the platform section, they helped to identify the right places and platforms to establish a connection with Health Forward's audiences and how stories can help your audience connect with you and others who care about your mission.
And if that wasn't enough, it helped me build indicators, track metrics over time and explore a variety of tools for measuring reach and engagement on social networks.
I also found an abundance of resources I think would come in handy for many of the organizations we fund. There is information on Hatch about how to create story banks, how to use stories on donor visits, and how to better use digital tools and platforms to share your stories.
While at a Communications Network conference this past fall, I heard the Rockefeller Foundation present on this new website. At the time, I was intrigued by the idea and how it might help our grantee organizations. Now that is live (but still in a Beta format as they continue to improve the user experience), I'm even more impressed. The Communications Network recently wrote a blog post about Hatch, as did Doug Hattaway himself in this entry.
So if you haven't yet, think about your New Year's Resolution. Consider how you are going to use the power of narrative to achieve your mission. Check out Hatch and see if it can help.


text:
Adrianna has won for her role as The Jailer's Daughter Best Performance by a Female in a Feature Role/Ensemble (Play) from Broadway World & Best Female in an Indie Company Production Best Actress Adrianna Prosser in The Two Noble Kinsmen (Urban Bard)
Adrianna played Jenny in The Shape of Things with Lone Pine Productions/Theatre Bassaris.
WINNER of "Best of Fringe!"
"…the acting was positively stellar."
-Mooney on Theatre Review
Adrianna as Hermia in Hart House's Midsummer Night's Dream
"Hermia, played by Adrianna Prosser, is a perfect combination of flighty and melodramatic—a true comedienne."
As Vera Holloway in The Parliamentarians
"Adrianna Prosser establishes a fascinating character in record time, before proceeding to essentially deliver the entire second act. (I don't think it would be unfair to describe it as a monologue, and it's one she delivers beautifully.)" -Mooney on Theatre Review


text:
Q: Incorrect Touch Event Offsets for Scrolled Page in iOS and Android We have a web page that contains a few div/canvas tags allowing the user to draw:

      <canvas id="DrawingCanvas" class="InkFormField" width="302" height="185" style=""></canvas>

      <canvas id="PictureCanvas" class="InkFormField" width="302" height="167" style=""></canvas>

The second div/canvas (with top: 915px) is initially not visible but can be scrolled to and inked on.
The drawing is pretty straight-forward code which works correctly for desktop browsers (using the appropriate mouse events). For the iPad we need to use touch events to determine the point locations to draw:
        var touchX = e.changedTouches[0].screenX - canvasLeft;
        var touchY = e.changedTouches[0].screenY - canvasTop;

(where canvasLeft and canvasTop are the page-relative offsets of the canvas).
Everything works correctly, even after scrolling to the second div/canvas.
However, once an outer  is added to the above code (with overflow: auto) the touchX and touchY values are no longer correct after the div is scrolled:

          <canvas id="DrawingCanvas" class="InkFormField" width="302" height="185" style=""></canvas>

          <canvas id="PictureCanvas" class="InkFormField" width="302" height="167" style=""></canvas>

As a matter of fact they seem to be off by exactly the scrolled amount! According to the documentation, the screenY property should take scrolling into account (but maybe it is referring to the page scrolling, not the outer div scrolling).
Is there a different property of the touch event that reports the x and y offsets relative to the scrolled div so that points can be drawn correctly?
Alternatively, is there a way to keep track of the amount of scrolling so an appropriate offset can be applied to the computation of touchX and touchY?

A: Here's my mouse/touch code. Give it a try. It should work for you:
With touch events you can do something like:'
if (e.targetTouches) e = e.targetTouches[0];

before you call it.
function getMouse(e, canvas) {
  var element = canvas, offsetX = 0, offsetY = 0, mx, my;

  // Compute the total offset
  if (element.offsetParent !== undefined) {
    do {
      offsetX += element.offsetLeft;
      offsetY += element.offsetTop;
    } while ((element = element.offsetParent));
  }

  // Add padding and border style widths to offset
  // Also add the  offsets in case there's a position:fixed bar
  offsetX += _stylePaddingLeft + _styleBorderLeft + _htmlLeft;
  offsetY += _stylePaddingTop + _styleBorderTop + _htmlTop;

  mx = e.pageX - offsetX;
  my = e.pageY - offsetY;

  return {x: mx, y: my};
}

Those offsets are as following, assuming your canvas is called "canvas":
_stylePaddingLeft = parseInt(document.defaultView.getComputedStyle(canvas, null)['paddingLeft'], 10)      || 0;
_stylePaddingTop  = parseInt(document.defaultView.getComputedStyle(canvas, null)['paddingTop'], 10)       || 0;
_styleBorderLeft  = parseInt(document.defaultView.getComputedStyle(canvas, null)['borderLeftWidth'], 10)  || 0;
_styleBorderTop   = parseInt(document.defaultView.getComputedStyle(canvas, null)['borderTopWidth'], 10)   || 0;
//  can have a margin (typically seen with position:fixed bars)
var html = document.body.parentNode;
_htmlTop = html.offsetTop;
_htmlLeft = html.offsetLeft;

redpajama_set_name: RedPajamaStackExchange


The importance of social media in this new digital-age is undeniable. In recent years, discussion of how best to market yourself and your company online has become a major trending topic. The ever-growing prevalence of social media marketing has raised an important question, how do you make yourself heard in the babble of voices online?
Social media marketing seems like a no-brainer for companies in the tech industry, since tech and the internet seemingly going hand-in-hand. However, the problem most tech companies face while attempting to develop meaningful and engaging web content is relevance. Our social media age has created a desire for easily accessible and quickly digestible web content. This fast-paced atmosphere in social media engagement creates an interesting challenge for content developers seeking audience engagement; how do you engage with your followers when what you're promoting is niche and requires more than a superfluous comment?
BMcD started managing Intelematics' LinkedIn platform earlier this year and its success has showcased the importance of engaging social content. As of August 2017, Intelematics has experienced a 146% increase in their following compared to the previous month. This increase can be attributed to the rise in relevant posts related to trending industry topics which demonstrate a high level of resonance with clients, staff and members of the public alike.
When announcing to their followers that Intelematics had officially joined the SmartDeviceLink Consortium, the company experienced an influx of follower activity, seeing over 4,000 impressions as well as an increase in click-throughs and shares. This rate of engagement is a testament to the importance of highlighting both industry and company-related news to followers in order to garner engagement.
Through a study of engagement, it's clear to see that native content posts have a tendency to be the most successful. When looking to encourage employee engagement, consider sharing insights into your company and giving staff an opportunity to learn something new about their workplace. This is an important step to eliciting employee interest and engagement with your brand.


Protect our children. Defend our planet. Improve our world.
Why BuggyLOVE? In response to the blatant industry "green washing" and prevalent, misleading labeling practices, BuggyLOVE has chosen to refuse the use of logos on our labels that have nothing to do with the authentic, sustainable principals of organic growing and processing methodologies.
Any company that wishes to be genuinely "organic" must first strive to go back to Nature and to discover what it is to be sustainable. Observe systems that naturally self-perpetuate and harness the pure qualities of non-chemical treated life to achieve results that Mother Nature would be proud of.
Being "organic" also demands considerations for fair trade, social justice, vegetarian/vegan, biodynamic, permaculture, transitional organic and ethical wildcrafting (to name a few) sustainable and ethical methodologies.
"Natural" products and brands, though safer than the harsh alternatives, still contain many of the toxins and harmful ingredients we list below. Because of "green wash" marketing, the consumer is appallingly misled and unknowingly invests in products that still contain levels of toxins. We choose to not participate in these deceitful business practices, and caution consumers to understand that Natural + Green + Eco-Friendly will never ever = Organic!
We applaud companies that work to create better and safer products, and strive to leave cleaner footprints on our Earth. We believe that knowledge is power so we will continue our campaign to educate consumers about the choices they make everyday.
So, when someone legitimately asks us if our products are "organic", we believe they are asking us a very important question. We believe that you are asking if we participate in the "green wash" marketing game. The answer is a simple NO…and we never will. We have a responsibility as business owners, and as parents to speak the truth.
BuggyLOVE does not take this responsibility lightly. Unlike "Natural" products, we will not compromise on the quality of any of our ingredients or substitute them for cheaper chemicals in order to lower costs or improve margins. Additionally, unlike most of our competitors, we will never use the potentially carcinogenic preservatives parabens or sulfates in any of our organic products. We dedicate ourselves to maintaining the highest ethical standards as we continue to evolve our own organic and environmental footprint.