I need to break down and purchase a Compression tester, I want to know what one I should buy if anyone has had experience with them.
there are a lot of them out there and they range from 18.00 to 250.00, I need them to work on all my bikes as well.
and my road bike would be nice FZR 600 1989.
Suggestions where I can pick one up for a good deal would just be a bonus.
Just know that the compression tester won't really work on a 4 stroke with auto-decompression (your CRF). Otherwise, get something that will last.
POOP!!!! no worries ... I plan on a refresh for it every 2 seasons so no worries there... but the 2 strokes... is what I really want it for.
The problem is they range from literally 18.00 to like 300.00 when I was racing we used the cheap 18.00 one but we also had a lot of people around to help with it.
I've wanted to get one as well, but haven't done it yet... I'm interested in your findings.
has anyone used this one and is it any good?
Oh, and just make sure it has the connectors to fit your spark plug holes. 8mm 10mm 12mm etc. I used to know what the 85's were, but I can't remember.
The leak down tester is going to be better all around, and you can use it on your CRF too.
I was looking at this one from Craftsman and I found some good links here but I if the one from harbor freight is a leak down tester as well good deal... I also just got their add with a coupon for 20% off any one Item.... do you know what the Model number or manufacture is?
that's the craftsman one I was looking at.
I got this bike 8 months ago and it's not running smooth. Fitted new air cleaner, spark plug and FMF packing. Carb settings STD, but its still not pulling clean, so yesterday I removed the air screw and spring from the carb and now its GOOD runs like a beast, clean and smooth, start's first kick.
Just one Q: what the hell is going on with it????
The Craftsman model looks nice Scott, and I am going to check the Harbor Freight near our home for the one ya'll are talking about tomorrow. I need a model with both the compression tester mode and the leak-down teet mode combined since I have a 426 and my son has a YZ125.
That year CR250R was really hard to jet and couldn't get properly jetted through out the range. I would post up the question in the Honda 2-stroke forum and let OSSAGP1 find it. He is one sharp guy on jetting and the CR 2 stroke line in general. Best of luck in getting her jetted. They are super reliable bikes and aftermarket parts are plentiful. It sounds like you have her pretty well tricked out already.


The International Expert Workshop on Nitrogen Flux Method Evaluation (NIFLUM) will be held on 28 and 29 September 2017 at the Technische Universität in Berlin (https://niflum.wordpress.com/).
The workshop focuses on the evaluation of methods for the measurement of gaseous nitrogen emissions (NH3, N2O and NOx) from synthetic fertilizer application. Its main goal is to work out recommendations for a standardized measurement practice to collect data for the calculation of emission factors.
Developing a new VERA test protocol also for the application of synthetic fertilizers apart from manure has been discussed and is already planned for the future. Our German VERA expert for land application, Sebastian Wulf, will represent VERA at this workshop by giving a speech on "The VERA Test Protocol: Verification of emission reduction technologies in agriculture - General aims and current state of test protocol for land applied manure". It will be held on Thursday, 28 September at 15:30 h.


ALWAYS AND FOREVER — Intent on saving Hope's (Danielle Rose Russell) life, Klaus' (Joseph Morgan) plan will change the lives of the Mikaelson family forever. Daniel Gillies, Charles Michael Davis, Riley Voelkel and Yusuf Gatewood also star. Lance Anderson directed the episode with teleplay by Jeffrey Lieber and story by Julie Plec (#513). Original airdate 8/1/2018.


text:
LG introduces new batteries for it's flexible-display phones
October 8, 2013 Charles Borrowmeo News
With great technology comes greater technology. Or how are we supposed to put that?
Well, the news here is that LG has introduced new kinds of batteries to go along with it's flexible-display phones (possibly with curved bodies) it's going to launch in November.
"The types of LG Chem's future batteries can be categorized as the following. Stepped Battery, Curved Battery and Cable Battery."
In summary, what we understood from what LG is saying is that they are making new batteries that will adapt to the physical nature of phones with flexible displays. However, density and battery life improved with the new batteries, with LG claiming that "battery density has increased the capacity by 16% and also the life span by more than 3 hours when applied to the newly launched LG G2."
Read the full press release:
LG Chem to unveil batteries of next generation
(SEOUL–Korea Newswire) October 8, 2013 — LG Chem, a leading battery manufacturer, is ready to unveil batteries that have not existed before.
The company announced on the 8th that it has succeeded in breaking the tradition of rectangular shaped batteries to lead the effort to a more sustainable future by mass producing batteries of different shapes.
The types of LG Chem's future batteries can be categorized as the following. ▲ Stepped Battery, ▲ Curved Battery and ▲ Cable Battery.
At the moment, the chemical company is already mass producing stepped and curved batteries. Stepped Battery from Nanjing plant of LG Chem has been manufactured since July to power LG G2. However, the actual production of Cable Battery shall begin in upcoming years.
First of all, Stepped Battery refers to an integral type of a battery in which two batteries are added on top of each other in the shape of "step design." The battery takes greater advantage of available space within the device than other batteries as it perfectly suits the changing trend of modern IT gadgets of flexible designs.
For example, recent mobile devices have been adopting round shapes and designs with rear buttons creating unnecessary "dead space" inside the gadget. With Stepped Batteries, the dead space can be filled up to fully power the handset and also increase the battery capacity.
In fact, the battery density has increased the capacity by 16% and also the life span by more than 3 hours when applied to the newly launched LG G2, a premium smart phone by LG Electronics.
The competitors in the market may succeed in stacking two batteries to make it into the step design but due to the increased cost of such technology, rivals will not achieve to do so, unless they can make it to an integral single type just like LG Chem.
At the Nanjing plant, LG Chem plans to launch Stepped Battery that goes beyond 3 to 4 step designs, stacking up more batteries into one single type depending on customer needs.
In addition, LG Chem's Curved Battery refers to packs that can power IT devices with curved screen or flexible designs such as smart phones, watches and glasses. The company has the exclusive patent of Stack & Folding technology which reduces physical stress when realizing the curved design of battery packs. The mass production of Curved Battery has been started since this month and the products will power the next smart phone line up of LG Electronics.
Lastly, Cable Battery is applied to IT devices that are bendable, wearable and even be tied into a knot. Because it has been designed to use low electricity, the battery does not heat up although the user may operate the device for a long time. Moreover, the waterproof features of the battery allow itself to be used in wearable gadgets regardless of flexible figures, from necklace types to smart watches.
"Through the exclusiveness of our unique technology, LG Chem has succeeded in launching future batteries that have not existed before. This shall be the fundamental grounds for LG Chem to become a pioneer in the market. As a leader of battery manufacturer, we will continue to strive for Global No.1 by developing more of optimized, safe and long-lasting batteries to make it the business of future generation", said YS Kwon, the President of Energy Solution Company, LG Chem.
LG Chem will be participating at the InterBattery 2013, which will be held in COEX from Oct 16th to display and demonstrate related products in a private zone.
About LG Chem
LG Chem, Ltd. is a globally diversified chemical company which operates three main business units: Petrochemicals, IT & Electronic Materials, and Energy Solution. The chemical business manufactures a wide range of products, from petrochemical goods to high-value added plastics. It also extends its chemical expertise into high-tech areas such as electronic materials and rechargeable batteries. LG Chem is one of the world's largest lithium-ion battery manufacturers.
Source, Via

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: What are "C.xxx.xxxxx" symbols in section rodata of the symtab? Using objdump (option -t), I printed the symbol table of a shared library generated with gcc, for the PowerPC architecture. It contains a bunch of "C.xxx.xxxxx" symbols in the section .rodata, e.g. :
0075c0a8 l     O .rodata        0000000e              C.518.39273

Of course, there's no such symbol in our C/C++ source files.
What are these symbols related to ?

redpajama_set_name: RedPajamaStackExchange


Music and Arts, 664-3 3 CDs ???
(New York, 1939) with Kirsten Flagstad.
Tannhäuser is a difficult opera to stage, not least because of its inconclusive story line. Wagner was dissatisfied with it, in spite of having revised it. It is the story of a minstrel torn between his so-called profane love for the seductive Venus and his purer, more noble love for the self-effacing Elisabeth. Tannhäuser taunts his fellow minstrels with his sexual love for Venus, and when he is about to be killed, Elisabeth intervenes and saves him. He repents of his deed and makes a pilgrimage to Rome in the futile hope that the pope will absolve him of his sin. Tragedy is the inevitable result, but meanwhile we are treated to some beautiful music, the most famous of which is the thrilling overture.
Unfortunately, in this recording the thrill is missing. This is a fast-paced but pedestrian performance. Despite his much-vaunted perfectionism, Szell's conducting is unimaginative, blunt, and hard-edged. There is very little lyricism to be found here. And some of the singers seem miscast. For instance, Kerstin Thorborg, a singer I have admired for many years, seems to be longing for some heroic action that never materializes. Singing the role of a woman whose only aim in life is to seduce does not seem to be her forte, so she ends up sounding passive rather than lush and enticing. The same can be said for Elisabeth, who is supposed to be sweet and self-sacrificing. Traubel's singing, however, sounds anything but that. Imagine Brünnhilde singing Elisabeth and you'll get the picture.
With Kipnis and Janssen, however, we are in for a treat. I have yet to hear Kipnis sing badly. Here he sounds powerful and noble, as befits a Landgraf. And Janssen is sensitive to every nuance in the music. Wolfram is the ideal role for him and one he has made his own. Hearing him sing "Elisabeth, Elisabeth" so tenderly in Act 2 is a real pleasure. For me the high point of this opera has always been Wolfram's "Wie Todesahnung" and "O du mein holder Abendstern." Unfortunately, in this performance, the volume has an annoying tendency to alternate between loud and soft during these excerpts. It's not clear whether this is intentional on Janssen's part or whether someone was fiddling with the volume control. I haven't heard Janssen do this in other Tannhäusers, so I can only assume it's the latter.
Melchior at first sounds hurried and barely able to keep up with Szell. But he is a very convincing Tannhäuser, ardent and expressive. By the time we reach "Inbrunst im Herzen", however, he is starting to fade. He sounds tired and fitful. He seems to be making a valiant effort to inject some poetry into his narration, but the necessary orchestral support is just not there. This long excerpt contains not a single coherent flowing melody. 'Tis a pity.
This is a frustrating performance, with only a few redeeming features. If, like me, you have to have everything that Kipnis ever sang, well, you must get it. Otherwise this set is only for Wagner aficionados. I wouldn't recommend it as a first or even a second Tannhäuser. You might, however, want it for the bonus tracks (see below).
The liner notes, written by "Alberich von Fafner", are very entertaining. The division of the tracks, however, is not done very sensibly, making it more difficult to find a particular excerpt. In some places it is downright misleading. At the end of the first CD, Kipnis has hardly begun to sing "Dich treff ich hier in dieser Halle" (Act 2, Scene 3) when he is cut off. This is sloppy editing.
The bonus tracks contain an excerpt from Act 3 of Die Walkure (San Francisco Opera, 1936) starting with "War es so schmälich" and ending soon after the beginning of "Leb wohl" (conducted by Gaetano Merola). It's not clear why the whole excerpt wasn't recorded. The liner notes suggest that it may have to do with Schorr's problematic high notes. Nevertheless, Schorr sounds fine and fatherly, but Flagstad's singing is distorted.
The next bonus track finally regales us with a good conductor, and it's about time. Here I let out a big sigh of relief. I knew I was in expert hands (Bodanzky's). In this Prologue to Götterdämmerung, the Norns (Doris Doe, Lucielle Browning and Dorothee Manski) are lovely and musical, compensating nicely for the dull sound of the recording (Met, 1939). Flagstad and Melchior sing sumptuously, leaving me wishing for more. But all we get in this excerpt is thirty minutes, the time allotted for the broadcast honoring the first New York World's Fair. The liner notes claim that this is the only Flagstad/Götterdämmerung broadcast available from the Met.
The next two tracks are from Act 3, Scene 3, of Siegfried, also ably conducted by Bodanzky (Met, 1938). The first of these, "Heil Dir, Sonne", definitely passed the goosebumps test. Flagstad and Carl Hartmann sing very ardently. This is a gem.
The second track, "Oh, Siegfried, dein war ich von je", also with Flagstad and Hartmann, has considerable surface noise, which makes for frustrating listening. But the quality of the singing comes through nevertheless.
This set is strictly for collectors of historical performances. Those willing to put up with some mediocre conducting and singing will find many rewarding moments.


Find out what OSHA thinks of your business before you're inspected.
You may not think your business is a high-risk workplace, but OSHA may have other ideas. Last April, OSHA targeted 2,200 "high-hazard workplaces" for inspections. Nursing homes, automotive parts and supply companies, liquor distributors, and local trucking and storage operators were on the hit list and can expect more surprise visits from OSHA inspectors--and stiff fines if they don't pass muster.
The good news: A little-known program run by none other than OSHA itself can help you avoid penalties and keep your workers safe. OSHA's free safety and health-management consultation aims to identify safety hazards before they become accidents.
And don't worry: The consultants aren't stool pigeons. Findings are strictly confidential. If you agree to correct any hazards, OSHA's enforcement arm won't be tipped off.
To find an agency offering the program in your state, contact OSHA at (202) 693-2213 or http://www.osha.gov.
Get directorial advice without building a boardroom.
Making all your business decisions alone? Wish you had someone you could bounce ideas off of? What you may need is a board of directors. TEC Worldwide (http://www.teconline.com or 800-274-2367) is an inter-national organization of CEOs that offers company presidents and business owners just that.
"TEC forms think tanks with CEOs and presidents, and these think tanks become advisory boards for one another," explains Faith Maybury, vice president of entrepreneurial programs for the San Diego-based organization.
TEC's two CEO programs have more than 6,000 members in eight countries. The traditional program is for companies with revenues of $3 million to $5 million. The Emerging Entrepreneur program is for business owners with $1 mil-lion to $5 million in sales. Members meet monthly in closed-door confidential executive sessions to help CEOs and entrepreneurs grow their businesses.
Make no mistake: TEC is not a networking group. Every month, members bring their companies' problems, challenges and opportunities to the "brain trust" for feedback and brainstorming.
TEC's encounter sessions worked for Dave Cone, 49, founder of Camstar Systems Inc., a software developer based in Campbell, California. Cone joined TEC five years ago when Camstar had $4 mil-lion in revenues. Today, the company has $17 million in sales. "TEC provides a substitute board you can review major decisions with before you launch into them," says Cone.
Such talk is not cheap. Annual membership fees run from $7,800 to $9,900. Sounds pricey--but it's not bad compared to what some consultants charge.
Just because they're your beans, that doesn't mean you have to count them.
If the thought of doing payroll gives you a headache, Staples may spell relief. The Framingham, Massachusetts-based office-supply giant recently teamed up with InterPay Inc. of Mansfield, Massachusetts, one of the country's largest payroll-processing companies, to offer low-cost payroll services to small businesses.
For businesses with fewer than 50 employees, Staples InterPay will take over all your payroll-processing tasks for a base charge of $13 per week plus $1 for every check cut. The service includes issuing paychecks, deducting employee benefits, calculating and paying your employees' taxes--the works. And should you get called on the carpet by the taxman, Staples will even go to bat for you. "As the payroll provider, we take on the liability for regulatory compliance," says Gregg Chalk, Staples' project director for new business development. That could come in handy: Chalk says the IRS fines one-third of all small businesses each year.
In researching the market, Staples found that entrepreneurs spend an average of eight hours per month wrestling with payroll. That's one entire business day away from doing what you do best--running your business.
For more information, contact Staples at http://www.staples.com or (888) 208-7996.


MASSACHUSETTS–An architectural commission has the authority under state law to ban "street furniture," including newsracks, from the Beacon Hill historical district, the Supreme Judicial Court of Massachusetts ruled in early January.
In a 4-2 ruling, the court held that news racks are "structures" with "external architectural features," and therefore fall subject to the Beacon Hill Architectural Commission's "Street Furniture Guidelines" to regulate the esthetics of the historic neighborhood.
Five newspaper publishing companies, including Globe Newspaper Co. and the New York Times Co., joined forces five years ago to fight the architectural commission's ban on news racks.
After the commission's 1991 amendment to prohibit news racks, the newspapers sued the commission in the federal District Court in Boston, arguing that the guidelines to regulate news racks violated their First Amendment rights and the committee did not have the authority to issue such guidelines.
The federal District Court sided with the newspapers on both of these issues. The architectural commission appealed the ruling, arguing that they did have the authority to regulate "street furniture." The federal Court of Appeals in Boston (1st Cir.) referred the question of the commission's authority to the Massachusetts Supreme Judicial Court, which ruled in favor of the commission.


Presentation given at the Kentucky retail food seminar in Frankfort, KY in 2016 by Bradford Condon.
If we can grow these mushrooms, why do we need to/want to pick wild mushrooms?
fungi used to be grouped with plants, but we now know fungi are more closely related to us than to plants!
2. What are fungi? How are mushrooms identified? What are the common poisonous and edible wild mushrooms?
11. Roles of fungi • Pathogens – Feed off of living plants and causing disease – Can also be pathogens of insects and other animals!
16. Unbridled: wild mushrooms While prized edibles elude cultivation, wild mushrooms will be an issue!
19. Cap Ring Stem Base Gills What are the parts of a mushroom?
29. Identifying any given wild mushroom is challenging for novices Identifying the common, safe wild mushrooms can be easy with a little training!
30. What are the common poisonous and edible wild mushrooms?
35. Sickness from nonpoisonous mushrooms • Most mushroom illnesses from improperly stored edible mushrooms • Allergies • Pesticides/herbicides • Raw consumption Shared concerns with cultivated!


Las victimas del Dr Cerebro musicalizaran èste sábado 27 de marzo, dentro del Ciclo "BandaSonoras", la pelicula El gabinete del Dr. Caligari.
Horarios: 17 y 20.30 hrs.
Costo: $ 60.00 por persona.
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online CSS learning website who have a very smart presentation and very easy to learn and online editor create an opportunity to online editor system. CSS is a language that describes the style of an HTML document.CSS describes how HTML elements should be displayed. This tutorial will teach you CSS from basic to advanced.
CSS is a language that describes the style of an HTML document.CSS describes how HTML elements should be displayed.This tutorial will teach you CSS from basic to advanced.
This site teaches the CSS fundamentals that are used in any website's layout.
CSS stands for Cascading vogue Sheets. it's the quality methodology for applying designs to websites. CSS defines however hypertext mark-up language parts ought to be displayed.


Telling the whole truth about yourself in a job interview may mean losing a position to a better-qualified candidate. But the alternative — lying about your degree, qualifications or experience for short-term gain — inevitably will come back to haunt you.
Still, there are gray areas in which a small fib — or embellishment — could go a long way toward helping you land a job.
Here are six areas in which you can enhance your credentials without having a Pinocchio moment during an interview — or even worse, after you've gotten the job.
Instead, Jansen recommends providing recruiters with the value of your entire compensation package — including salary, vacation and other benefits — and request a percentage increase on top of that amount.
It's OK to stretch the truth about your title, if your actual responsibilities are more demanding than your job implies, according to workplace columnist and speaker Alexandra Levit.
Faking a strong interest in a particular industry is preferable to telling a recruiter you're desperate for any job he has to offer.
Drop names, if you've actually met or interacted with an industry mover or shaker.
"It's a matter of degree — I wouldn't go full tilt and say [someone's] one of my best friends if they're not, because you can be found out," Levit says.
If you were let go or laid off from your last position, be honest about the circumstances if asked. Then try to refocus the conversation on your future.
"You should immediately turn [the subject] into a positive by saying you're looking for a new challenge," Levit says.
Even if a position seems a bit of a professional stretch, don't let on that you have any doubts about your ability to get the job done.


After the likes of Orpheu the Wizard, Young Marco and Awanto 3, it's now up to Amsterdam tastemaker and long time Red Light Radio Resident Vic Crezée to curate a club night according to his refined style.
This all will take place on December 21st, in the Generator Hostel Amsterdam, and entrance is free.
RSVP through www.jagermusic.nl, for a guaranteed spot on the guest list, but come early, full is full!


A drunken man was verbally abusive to paramedics and squared-up to police after he had called an ambulance because he was self-harming.
Chesterfield magistrates' court heard this month how Jeremy Keith Mellor, 40, of Springfield Rise, Matlock Bath, admitted being drunk and disorderly in a public place.
Prosecuting solicitor Angela Hadfield said: "It was 2,55am and Mellor had made a call to East Midlands Ambulance Service saying he had self-harmed and he was intoxicated and he hit the bonnet of the ambulance and was verbally abusive to ambulance staff and was making threats.
Mellor pleaded guilty to being drunk and disorderly in a public place near his home after the incident on September 18.
Magistrates sentenced Mellor on October 4 to a 12 month conditional discharge but warned him that if he commits another offence in the next year he will be re-sentenced for this offence along with any new crime.


The Samsung Galaxy S4 Flip cover is originally made Samsung accessory. This case like S-View Cover is designed to protect Galaxy S4 smartphone without adding any bulk to itself. It protects your screen with style and durability. Take it anywhere the cover is constructed in such a good shape that it just brings fashion to your GS4.
The battery cover is replaced with its durable cover to maintain slim profile of Galaxy S4! As GS4 is made of plastic, this is made too but of good quality which certifies the manufacturer genuineness about the accessories provided with GS4. It protects your screen against smudges, scratches and dirt.
There's one more cover made by Samsung called S-View Flip Cover Folio Case which is marginally expensive than this cover which has a cut-out in between and uses Galaxy S4's sensor to function nicely. We are more attractive to that innovative cover although if you are looking for full privacy then this is made for you!
We have seen it selling for $30-$40 in streets, but somehow its available for cheap in Amazon, if you do not have this cover then you should surely get it from here.
Summary : Made by Samsung themselves, there's nothing to criticize about ..its one of the best fashionable and available covers out there in market.


text:
Q: How to use ajax in asp.net MVC How can I return a class object from Ajax in asp.net MVC....???
Example:
Ajax call from html:
$.ajax({
            type: 'POST',
            url: '/Tutorial/Web/AlignmentRule/GetAlignmentDetails',
            data: { alignmentRuleId: alignmentRuleId },
            success:
                function (data) {
                    alert(data.Id);
                        alert(data.alignmentData.Id);
                        $("#ruleName").val(data.alignmentData.Name);
                        $("#level").val(data.alignmentData.Id);
                },
            error:
                function () {
                    alert("Server Error!!!!");
                },
            dataType: 'JSON',
            async: false
        });

and Action method in contorller is:
public virtual JsonResult GetAlignmentDetails(int alignmentRuleId)
    {
        var alignmentData = _allignmentRuleRepository.GetAlignmentById(alignmentRuleId);
        return Json( alignmentData );
    }

And I want to return a list of alignmentRule class objects also....

A: you can compose your return object as you want, for example, create a ViewModel as decorator to hold everything you want to pass, like:
var json = new JsonViewModel() {
               alignmentData = alignmentData,
               rules = yourRules
           };

return Json(json);

A: The error is thrown because by default MVC framework does't allow you to respond to an HTTP GET request with a JSON (because of security reasons).
In order to make it work, when you retrurn Json in your action, you need to specify JsonRequestBehavior.AllowGet
[HttpPost]
public virtual JsonResult GetAlignmentDetails(int alignmentRuleId)
    {
        var alignmentData = _allignmentRuleRepository.GetAlignmentById(alignmentRuleId);
        return Json( alignmentData, JsonRequestBehavior.AllowGet);
    }

EDIT
Annotate your action with [HttpPost] attribute.
For further investigation on this topic check this article


text:
State requires counties to sign agreement before receiving coronavirus vaccines
Governor's vaccination chief urges patience as frustration over plan grows
Brendan J. Lyons
Larry Schwartz, who is leading New York's vaccination strategy planning for Gov. Andrew M. Cuomo, said an agreement the state required counties to sign before receiving coronavirus vaccines is necessary to ensure they are administered properly. (John Carl D'Annibale / Times Union)
John Carl D'Annibale
ALBANY — The state health department ordered county officials this week to quickly sign a "memorandum of understanding" giving the state full control of the coronavirus vaccination process in order for those counties and other "authorized vaccine providers" to receive and administer the doses.
The memorandum was delivered to county officials across the state late Tuesday, and they were given a deadline of noon Wednesday to sign and return it, several officials said.
The move caught many county officials off-guard and has further strained the tenuous relations between the state and counties that have been preparing mass-vaccination plans for years but, according to some officials, seen those efforts largely brushed aside by the administration of Gov. Andrew M. Cuomo.
The governor's task force has responded that the distribution of vaccines to nearly 20 million New Yorkers is an unprecedented undertaking that requires meticulous management by the state to ensure the process is done properly.
Larry Schwartz, a member of Cuomo's coronavirus task force who is leading the state's vaccination efforts, said any organization or municipality receiving the vaccines is being required to sign the agreement.
1of3Capital Region first responders gather at an undisclosed site to receive COVID-19 vaccinations on Wednesday, Dec. 23, 2020, in Albany, N.Y. (Will Waldron/Times Union)Will Waldron/Albany Times UnionShow MoreShow Less
"We have to ensure they are following the CDC (Centers for Disease Control) guidance and the state guidance on who is to receive the vaccine," he said. "That MOU ensures us that they are going to follow the CDC guidance and the state guidance regarding the allocation of the vaccine. … To me, nobody should have an issue with that."
FAQ: COVID-19 vaccines in New York — what you need to know
The agreement states that any county health department or other authorized vaccine provider "is not at liberty to utilize the vaccine unless and until it is directed to administer it by (the state health department) at a later date, which may involve allocation or redistribution of vaccine initially delivered to such site, and which may be further informed by (the state's) vaccination program, vaccine prioritization matrix, or other specific directives."
The agreement also enables the state to reallocate vaccine doses to other facilities or locations at its discretion if there is a more pressing need elsewhere.
"It would be better if we knew what was expected of us and how our infrastructure is going to be used before having a document like that dropped on us," said Dutchess County Executive Marc Molinaro. "We acknowledge the fear that you could have counties or any provider go rogue, but it's the first time we've seen something like this with that explicit language."
Some county leaders said they also are not receiving detailed data from the state on how many doses have been delivered to their counties or the hospitals in their regions, and they are not being informed of who or how many people have already been vaccinated in their communities.
Schwartz countered that the vaccination program is only in its third week. More than 200,000 people in New York have been vaccinated, and nearly all of those are front-line health care workers in hospitals, nursing home residents and staff, paramedics and emergency medical technicians, and the populations of congregate care settings, including developmentally disabled individuals.
"I understand they want information and we will work with them to get it, but the program just began and the program is limited to those groups," Schwartz said. "So I don't think they need to know which of the high-risk health care workers in the hospital have been vaccinated."
Frank E. Thomas, chairman of the Warren County Board of Supervisors, said the frustration among some county leaders is due to their inability to provide more information to the public.
"There is frustration as far as counties want the data for each county, as far as how many vaccines come into each county," he said. "It doesn't seem to be very forthcoming from the state. ... (We are) getting a lot of questions from the public ... and they don't have the answers."
Rensselaer County Executive Steve McLaughlin, a frequent Cuomo critic, said his office also has not been provided details of who has been vaccinated in that county, and he questioned the necessity of the memorandum of understanding when there is "one mission" to vaccinate those who want it.
"We are worried that delays and a lack of coordination by the state will result in days turning into weeks, and weeks turning into months as we wait for vaccines," McLaughlin said. "The time the state has spent crafting MOUs or deciding which group gets to jump the line distracts from getting the vaccines onto trucks and delivered across the state to all residents."
The governor and other members of his office and the coronavirus task force have not been vaccinated. A spokesman for Cuomo said they would likely wait until the general public is being vaccinated, and to use it as an opportunity to reassure people the vaccines are safe and effective.
McLaughlin, a former state assemblyman, said there is "growing concern about the lack of communication by the state to local partners including those of us in Rensselaer County. There should be specific dates on when the vaccines will be received and when they are expected to be administered."
Thomas, who is supervisor of the town of Stony Creek in southwest Warren County, noted that while there is some frustration among many county leaders, it is a "big undertaking" to vaccinate what state health officials hope will be at least 90 percent of the population.
"It's never been done before; it's a lot of people," Thomas said. "I do think after a while the county public health departments in the state will come together and this will hopefully work out. I think it's just like anything — there's a lot of frustration at the moment."
A spokesman for Albany County Executive Daniel McCoy said he was not available to be interviewed for this story due to undisclosed "personal matters."
The spokesman said McCoy signed the agreement and the "Albany County (health department) has been preparing for a public health crisis like this for years and is prepared to help make the distribution process as quick and efficient as possible."
The memorandum of understanding the state sent to county leaders late Tuesday came a week after the state health department sent an email to New York's county health departments "to gauge the capability" of the local agencies to receive and administer COVID-19 vaccines.
Counties have for years been planning for a mass vaccination under training programs funded with federal grants administered by the state.
Gareth Rhodes, another member of the governor's coronavirus task force, last week said the county health departments and their pre-designated "points of distribution" vaccination sites will still be integral to the state's regional setup.
"That doesn't throw their plan in the trash; that just says we're not just dumping the vaccine on your doorstep and saying, 'You have a plan, we assume it's going to work — go for it,'" Rhodes said. "Then when it goes wrong, everyone blames the state."
Shopping Our readers' favorite N95 and KN95 masks just dropped...
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Brendan J. Lyons is a Managing Editor for the Times Union overseeing the Capitol Bureau and Investigations. Lyons joined the Times Union in 1998 as a crime reporter before being assigned to the investigations team. He became editor of the investigations team in 2013 and began overseeing the Capitol Bureau in 2017. You can reach him at blyons@timesunion.com or (518) 454-5547.


Hilde van Miechem was born on Februari 14th 1959 in Belgium. She started her career in 1981 in the movie 'Vrijdag'. Hilde has been in over 30 movies so far and lot's of tv series and tv movies. In 2004 she directed and wrote her first movie, 'De Kus'. Hilde's daughter, Marie Vinck, played the leading role. In 2010 the movie 'Smoorverliefd' came out, which she also wrote and directed!


text:
Undersized Hesse delivering for Iowa's defensive line
Undersized DE Parker Hesse looking for big senior season for Iowa
Undersized Hesse delivering for Iowa's defensive line Undersized DE Parker Hesse looking for big senior season for Iowa Check out this story on USATODAY.com: https://usat.ly/2LnClu9
AP Published 7:14 p.m. ET July 24, 2018
Iowa defensive end Parker Hesse speaks during Big Ten Conference NCAA college football media days in Chicago, Tuesday, July 24, 2018. (AP Photo/Annie Rice)(Photo: The Associated Press)
CHICAGO (AP) — Parker Hesse was lightly recruited coming out of Waukon High School in the northeast corner of Iowa. He played all over for the Indians and captained the team as a senior, but he heard mostly from Missouri Valley and Division I-AA programs when he started examining his options for college.
Iowa was the only major school that showed that any interest.
"We're a team that tends to project," Iowa coach Kirk Ferentz said. "We look at guys that play maybe other positions. And if we think we find something in terms of their makeup and their competitiveness that we like, we'll recruit them and then figure out where they're going to play later on."
It's worked out quite well for Hesse, and the Hawkeyes.
Hesse has turned into one of the leaders on Iowa's defensive line despite barely playing the position in high school. At just 6-foot-3, 261 pounds, too.
"Being an undersized guy, you kinda got to rely on other tactics," Hesse said Tuesday at Big Ten football media days. "Technique. Fundamentals. Kind of anticipating things before the play and playing within yourself."
Hesse was a linebacker when he arrived on campus at Iowa, but he moved to defensive end at the end of his redshirt season in 2014. He made eight starts and played in 14 games the following year, finishing with 44 tackles, two sacks and an interception return for a touchdown.
The 23-year-old Hesse, a Wisconsin native who graduated last year, said he didn't really take to defensive end at first.
"There was definitely a transition period," the senior said. "It took a little while and it took the coaching staff and the older players helping me out. But you know because of them I was able to grow and develop."
Hesse turned in another solid all-around performance last season, helping Iowa to an 8-5 record and a 27-20 victory over Boston College in the Pinstripe Bowl. He collected 43 tackles, four sacks, one interception and a fumble recovery.
Ferentz said Hesse's attitude is a key part of his game.
"Talking about guys we respect in our program, Parker certainly earned that," he said. "Everybody on our team thinks the world of him. He's a tremendous young person and outstanding student. Checks all the boxes. Players like that help you hopefully have a chance to put a good team together."
Hesse is part of a deep group of defensive linemen coming back for the Hawkeyes. Matt Nelson, Sam Brincks and Anthony Nelson are among the returning lettermen.
Hesse has gone from learning his position to helping teach the younger players, including touted sophomore A.J. Epenesa, who could be primed for a breakout year.
"Pushing the pace is kind of going to be hopefully our identity as a defensive line," Hesse said. "We want to be, you know, the guys, we can keep rotating guys in and we're always going to have fresh guys playing sideline to sideline, playing through the whistle, and that's what you can count on out of us."
Jay Cohen can be reached at https://twitter.com/jcohenap
More AP college football: https://collegefootball.ap.org and https://twitter.com/AP_Top25


text:
Swakopmund, Namibia
Swakopmund, Namibia Travel Guide
Travel Guide Tours and Safaris 1 Accommodation
Swakopmund may not be its official capital, but it's undoubtedly Namibia's adventure and extreme sports capital. A popular holiday destination, it is a coastal city more geared towards tourists than Windhoek. Its appeal includes a pleasant summer climate, the seaside setting, its distinctly German flavour and the myriad adventure activities on offer. Swakopmund is a convenient gateway and ideal stopover for trips heading south into the Namib Desert and the Fish River Canyon; or northwards along the Skeleton Coast into Damaraland and on to Etosha National Park.
Beaches and seaside lifestyle
Adventure activities: skydiving, hot-air ballooning, scenic flights, sandboarding, horse trekking into the desert, quad biking and more
Fishing and cruising
Visits to Cape Cross seal colony
Distinct German character: architecture, cuisine, heritage, locals, visitors and cultural influences
Historical mining tours
Cultural tours to local villages
A visit to this interesting city is a strange throwback to colonial times, especially in the quiet season when it feels almost surreal, as if you've stepped back in time to an ancient Germanic city. Buffered between the sweltering Namib desert and the icy Atlantic Ocean, Swakopmund overflows with holidaymakers and buzzes with activity during the peak summer season (December and January). It's a favourite choice of the locals as it's generally cooler, giving a much-needed respite from the sweltering heat experienced in the interior.
Things to Do in Swakopmund
One of the great things about Swakopmund is that it offers both adrenalin-pumping pursuits and leisurely sightseeing excursions. You can take in some hectic quad-biking across the sand dunes, or drive to the desert to see the almost prehistoric welwitschia plants.
Founded in 1892 when Namibia was colonised by the Germans, Swakopmund has retained much of its European influence. The architecture with its domes, turrets and towers distinctly reflects German grandeur from bygone days. There's also a very European-style café culture with loads of small sidewalk eateries and diners. You'll also find that most of the locals speak fluent German.
Besides a wealth of adventure and adrenalin-based activities, from quad biking to paragliding and scenic flights to duneboarding, there are many popular sights and attractions worth a visit, including:
Rössing Mine
The world's largest open-cast uranium mine, situated about 55km east of Swakopmund, is a huge contributor to Swakopmund's economy. Tours are around three hours long and only available twice a month, so please enquire in advance.
Haus Hohenzollern
Established as a hotel in 1906, this is an exceptional example of German architecture, with intricate details and embellishments. Today, it comprises sectional-title apartments.
Otavi Railway Station
This turn-of-the-20th-Century Otavi Railway is in the city centre.
The Woermann House
Dating back to 1905, this stately building was erected as offices and living quarters for the Damara and Namaqua Trading Company. Later renamed Woermann, Brock & Co, this retail company still trades in Swakopmund and other towns in Namibia.
Hansa Brauerei
On the southern side of town, you'll find the Hansa Brewery, established by the German settlers and still contributing to the daily diet of local folk.
Welwitschia Desert Trip
This odd-looking shrub grows in the Namib Desert. It's said to have only two leaves which curl and twist. These prehistoric plants receive water from the sea mists that drift off the icy Atlantic and they live for over 1 000 years.
Swakopmund Museum
Situated next to the lighthouse, this museum is a treasure trove of all things botanical, with displays depicting the enormous variety of Namibian/desert vegetation as well as a wealth of wildlife that have made this area their home.
This town landmark was built by the Germans in 1903.
By road: It's about a four-hour drive from Windhoek. Regular buses service this route and road transfers are available.
By air: The closest airport to Swakopmund is in the town of Walvis Bay, a 30-minute drive away. Air Namibia offers regional flights and international arrivals come from Cape Town, Johannesburg and further afield.
Quad biking near Swakopmund
Dune biking in the desert
Ultimate sandboarding experience in Swakopmund
Paragliding in the desert
Aerial view of the Namib Desert near Swakopmund
The desert-adapted Namaqua chameleon can be seen in the vicinity of Swakopmund
The Haus Hohenzollern building in Swakopmund
Swakopmund Lighthouse
The Woermann House in Swakopmund


for $769,000 with 4 bedrooms and 3 full baths. This 2,042 square foot home was built in 1990 on a lot size of 0.13 Acre(s).
Open Saturday 4/20 1-4pm Welcome home to Mandalay!! This spacious and bright home has it all!! Updated kitchen with granite counters and stainless appliances, new carpeting throughout and new interior paint, vaulted ceilings and a large master suite. Located in one of Hercules' best neighborhoods and centrally located to schools , shopping, freeway access and close to parks, open space and walking trails. You will love relaxing in the peaceful backyard with no rear neighbors and partial bay views. Bedroom and full bath on the ground floor for extended family or guests, large laundry room and over sized 3 car garage. Dont miss the opportunity to enjoy this exquisite property!!


text:
Q: Can I use GAE + python 2.7 + django.utils.translation? I use i18n for localization like django does using a custom request handler for switching between different languages and upgrading to python 2.7 this presents trouble since it uses the cookie from django.utils.translation. In worst case I must to move from our custom request handler to some other system that can switch languages for us. Do you have any idea how to resolve this error? Is the django-language cookie still available like before? What are my other alternatives for localization that don't depend on django? Babel? Could I still use my old .po and .mo files? Should I use some other Cookie class? My custom request handler class:
from django.utils import translation

class I18NHandler(webapp.RequestHandler):

    def initialize(self, request, response):
        webapp.RequestHandler.initialize(self, request, response)
        self.request.COOKIES = Cookies(self)
        self.request.META = os.environ
        self.reset_language()

    def reset_language(self):

        # Decide the language from Cookies/Headers

        language = translation.get_language_from_request(self.request)
        translation.activate(language)
        self.request.LANGUAGE_CODE = translation.get_language()

        # Set headers in response

        self.response.headers['Content-Language'] = \
            translation.get_language()

class Cookies(UserDict.DictMixin):

    def __init__(self, handler, **policy):
        self.response = handler.response
        self._in = handler.request.cookies
        self.policy = policy
        if 'secure' not in policy \
            and handler.request.environ.get('HTTPS', '').lower() \
            in ['on', 'true']:
            policy['secure'] = True
        self._out = {}

    def __getitem__(self, key):
        if key in self._out:
            return self._out[key]
        if key in self._in:
            return self._in[key]
        raise KeyError(key)

    def __setitem__(self, key, item):
        self._out[key] = item
        self.set_cookie(key, item, **self.policy)

    def __contains__(self, key):
        return key in self._in or key in self._out

    def keys(self):
        return self._in.keys() + self._out.keys()

    def __delitem__(self, key):
        if key in self._out:
            del self._out[key]
            self.unset_cookie(key)
        if key in self._in:
            del self._in[key]
            p = {}
            if 'path' in self.policy:
                p['path'] = self.policy['path']
            if 'domain' in self.policy:
                p['domain'] = self.policy['domain']
            self.delete_cookie(key, **p)

    # begin WebOb functions

    def set_cookie(
        self,
        key,
        value='',
        max_age=None,
        path='/',
        domain=None,
        secure=None,
        httponly=False,
        version=None,
        comment=None,
        ):
        """
        Set (add) a cookie for the response
        """

        cookies = BaseCookie()
        cookies[key] = value
        for (var_name, var_value) in [
            ('max-age', max_age),
            ('path', path),
            ('domain', domain),
            ('secure', secure),
            ('HttpOnly', httponly),
            ('version', version),
            ('comment', comment),
            ]:
            if var_value is not None and var_value is not False:
                cookies[key][var_name] = str(var_value)
            if max_age is not None:
                cookies[key]['expires'] = max_age
        header_value = cookies[key].output(header='').lstrip()
        self.response.headers._headers.append(('Set-Cookie',
                header_value))

    def delete_cookie(
        self,
        key,
        path='/',
        domain=None,
        ):
        """
        Delete a cookie from the client.  Note that path and domain must match
        how the cookie was originally set.
        This sets the cookie to the empty string, and max_age=0 so
        that it should expire immediately.
        """

        self.set_cookie(key, '', path=path, domain=domain, max_age=0)

    def unset_cookie(self, key):
        """
        Unset a cookie with the given name (remove it from the
        response).  If there are multiple cookies (e.g., two cookies
        with the same name and different paths or domains), all such
        cookies will be deleted.
        """

        existing = self.response.headers.get_all('Set-Cookie')
        if not existing:
            raise KeyError('No cookies at all have been set')
        del self.response.headers['Set-Cookie']
        found = False
        for header in existing:
            cookies = BaseCookie()
            cookies.load(header)
            if key in cookies:
                found = True
                del cookies[key]
            header = cookies.output(header='').lstrip()
            if header:
                self.response.headers.add('Set-Cookie', header)
        if not found:
            raise KeyError('No cookie has been set with the name %r'
                           % key)

Error
Trace:
Traceback (most recent call last):
  File "/base/data/home/apps/s~montaoproject/main.354356023835363013/webapp2.py", line 545, in dispatch
    return method(*args, **kwargs)
  File "/base/data/home/apps/s~montaoproject/main.354356023835363013/i18n.py", line 781, in get
    cookie_django_language
  File "/base/data/home/apps/s~montaoproject/main.354356023835363013/util.py", line 65, in __setitem__
    self.set_cookie(key, item, **self.policy)
  File "/base/data/home/apps/s~montaoproject/main.354356023835363013/util.py", line 120, in set_cookie
    self.response.headers._headers.append(('Set-Cookie',
AttributeError: ResponseHeaders instance has no attribute '_headers'

Thanks in advance for any suggestion.

A: I believe this is because WebOb has been upgraded with the new Python 2.7 runtime.
You should use:
res.headers.add('Set-Cookie', header_value)

As pointed in the webob documentation
Note that webapp has also been replaced by webapp2.


USP Reference Standards 11 — USP Epinephrine Bitartrate RS.
Ferro-citrate Solution— On the day needed, dissolve 1.5 g of ferrous sulfate in 200 mL of water to which have been added 1.0 mL of dilute hydrochloric acid (1 in 12) and 1.0 g of sodium bisulfite. Dissolve 500 mg of sodium citrate in 10 mL of this solution, and mix.
Buffer Solution— In a 50-mL volumetric flask mix 4.2 g of sodium bicarbonate, 5.0 g of potassium bicarbonate, and 18 mL of water (not all of the solids will dissolve at this stage). To another 18 mL of water add 3.75 g of aminoacetic acid and 1.7 mL of 6 N ammonium hydroxide, mix to dissolve, and transfer this solution to the 50-mL volumetric flask containing the other mixture. Dilute with water to volume, and mix until solution is complete.
Standard Preparation— Transfer about 18 mg of USP Epinephrine Bitartrate RS, accurately weighed, to a 100-mL volumetric flask with the aid of 20 mL of sodium bisulfite solution (1 in 50), dilute with water to volume, and mix. Transfer 5.0 mL of this solution to a 50-mL volumetric flask, dilute with sodium bisulfite solution (1 in 500) to volume, and mix. [note—Make the final dilution when the assay is carried out.] The concentration of USP Epinephrine Bitartrate RS in the Standard Preparation is about 18 µg per mL.
in which 183.21 and 333.30 are the molecular weights of epinephrine and epinephrine bitartrate, respectively; C is the concentration, in µg per mL, of USP Epinephrine Bitartrate RS in the Standard Preparation; and V is the volume, in mL, of Injection taken.


The National Trust has unveiled plans to rededicate the "world's greatest war memorial" - Scafell Pike and a dozen other Lake District summits given to the charity after the First World War.
England's highest mountain was gifted to the National Trust by landowner Lord Leconfield in 1919 in "perpetual memory of the men of the Lake District who fell for God and King, for freedom, peace and right in the Great War".
A further 12 peaks - Lingmell, Broad Crag, Great End, Seathwaite Fell, Allen Crags, Glaramara, Kirk Fell, Great Gable, Green Gable, Base Brown, Brandreth and Grey Knotts - were donated by the Fell and Rock Climbing Club in 1923.
In a dedication ceremony dubbed a "service in the clouds" on top of Great Gable in 1924, writer and mountaineer Geoffrey Winthrop Young, who had lost a leg during the war in Italy, said "we are met today to dedicate this space of hills to freedom".
Together the donations were one of the largest the trust has ever received, triggered a series of endowments to the trust, and today mean hundreds of thousands of people can freely walk the mountains every year, it said.
A hundred years on from the final year of the First World War, the trust is planning a series of commemorations "rededicating" the mountains, including rebuilding a summit cairn on Scafell Pike.
Great Gable from Lingmell Summit in Wasdale, Cumbria. The National Trust has unveiled plans to rededicate the "world's greatest war memorial" - Scafell Pike and a dozen other Lake District summits given to the charity after the First World War.
Rangers will camp out on the peak to carry out the rebuilding work, which includes resetting the memorial plaque within the walls of the cairn.
The re-dedication of the mountains will also see work to repair paths on Scafell Pike and Great Gable, while musicians and choirs will be brought together for a "song cycle" project across the 12 peaks.
A Where Poppies Blow exhibition at Wordsworth House, Cockermouth, will explore the role of nature in helping soldiers through the horrors of war.
And on Armistice Day in November, the National Trust will light a beacon on top of Scafell Pike, as Lord Leconfield did on Peace Day 1919, shortly before he donated the mountain to the conservation charity.
Marian Silvester, general manager for the National Trust, said: "Millions of people visit the Lake District each year but few are familiar with the story behind these mountains, which we are extremely proud to look after.
"By rededicating the peaks, not only are we remembering the past, but looking to the future to ensure this inspiring landscape can be enjoyed by generations to come."
British mountaineer Sir Chris Bonington, who served for several years in the Royal Tank Regiment, said: "I can't help but be inspired every time I return home to the Lakes, by its wildness and charm, and the challenges it presents.
"Beyond its staggering beauty, the Lake District has a rich cultural history and a web of fascinating stories."
He said it was important that the millions of visitors to the national park, which was made a World Heritage Site in 2017, played their part alongside organisations such as the National Trust to look after the fells for the future.


The chatter of a roomful of museum workers turned to silence the minute Tania Bruguera walked into the auditorium at the Museum of Modern Art in Rio de Janeiro. The Cuban installation and performance artist was a keynote speaker at the International Committee for Museums and Collections of Modern Art conference,1 which this year focused on new dynamics in museums and the relationship between curator, artwork, public and governance. The crowd of art institution experts knew what Bruguera represents and her importance, and all attention was focused on her words.
Bruguera, who was born in Cuba in 1968, now divides her time between New York and Havana. Her work came to prominence following her series Homenaje a Ana Mendieta, recreations of body performances and objects in tribute to her compatriot. A long-term project that lasted from 1985 to 1996, it also included lengthy research into her predecessor's legacy. Political gestures were already present at the inception of Bruguera's practice, but became even more noticeable with short-term interventions such as Tatlin's Whisper #6 at the 10th Havana Biennial, in 2009. Bruguera negotiated with the authorities the building of a podium at the exhibition with an open-microphone at which anyone who dared to climb the stairs would be given one minute of free speech in which they could say whatever they wanted. She has participated in several biennials worldwide as well as at Documenta 11 in Germany, and her artworks feature in the collections of many important art institutions. On top of that, she is internationally acclaimed for her most recent projects, including the socio-political Immigrant Movement International, which aims to raise awareness about immigrants, and Arte Útil. Last year, she received recognition from the United Nation's Office of the High Commissioner for Human Rights when invited to collaborate in writing a document to establish cultural rights and artistic freedom of speech.
This was the background for her talk to delegates of 159 art institutions from about 50 cities from New York to Singapore. There was tension in the air. What would this woman's message to the art institutions be? Nothing surprising happened. At least, nothing as surprising as Bruguera's performance of Self-Sabotage at the 2009 Venice Biennial when, arriving to speak on "the idea of survival", she sat with a revolver on the table, pausing from time to time during her reading to hold the gun to her head in a game of real-life Russian roulette. In Rio, there was no shotgun, but rather discursive ammunition. She caused unease by speaking about an urgent and complicated matter: political art and art as an agent for social change. How can art history, through its institutions, address this emphasis on the socially engaged kind of artistic practice that we see nowadays?
After her talk, she kindly agreed to speak to Studio International to develop a little further the issues surrounding political art and institutions. This was my first meeting with her, but not with her work. Last year, I witnessed a fragment of Immigrant Movement International presented at the Tanks at Tate Modern and ended up more involved than I expected. Click here to read more on this. We started the interview with questions raised by this experience. We had an interesting conversation, which continued afterwards through the exchange of emails.
Caroline Menezes: Today, I heard you explain the strategies you employ when you need to engage with the audience in a short-term project. You said you need to condense the experience and, for this reason, this kind of intervention is often violent. Last year, I attended the Immigrant Movement International presented at Tate Modern and felt the discomfort of waiting in a kind of "border control" queue that had been created in the museum and anxious about not being allowed to see the artwork because I first had to answer questions with a lie detector. I realised that my feelings came from the fact that my background is Latin American and I have seen this kind of border control situation before. However, I could see that the rest of the audience, maybe people who had never left Europe, were actually excited about the experience, looking forward to being examined by a lie detector. They were having fun. When you show a fragment of a long-term project in an institution such as Tate Modern, how do you adapt it to that audience?
Tania Bruguera: That is one of the main problems between long-term projects and art institutions working in a short-term format. That presentation at Tate is a good example of experimenting with this contradiction: it wanted to do Immigrant Movement but for just one week. I said it would be impossible. First, I could not bring people from the project because they had no documents. I even tried with the lawyer of the project to see if I could get papers for them as artists. I didn't yet have the solution that would allow me to transport the project to another place in a quick way that I felt was working ethically. Now, I think the best solution may be to create small cells or working groups of the project in the place and make it a matter of methodology. So by trying to present a long-term experience, which is about engaging in social change, you need to build the conditions for the piece to exist. You need things such as relationships and an ethical landscape for the piece to function properly. Short-term situations have their own very different set of rules and expectations. Trying to force one into another becomes a violent act. This is when people feel used, or things have a sense of deceitfulness. So I decided to do something completely different. Instead of "showing" the project, I selected one of the issues we have talked about in the project and give it a short-term experiential form.
CM: Did you think about how to contextualise this for the audience at Tate? British people go to the museum in some ways like people in Rio go to the beach.
TB: I tried. What is hard about the museum set-up is that everybody enters with the belief that everything is either sacred, fake, ironic, or a kind of a joke. Why? Because there is nothing at risk. In this kind of long-term political project, you put things at risk. A decision that would affect people's lives cannot be taken solely for aesthetic reasons. In a museum, there is a safety that you don't have on the outside. Even if it is something aggressive, offensive or transgressive, you can always turn back and go home, you have the option to ignore it. It is very difficult to do art in a museum that activates the political beyond the museum itself and beyond the image; it is also a problem of which audience you are aiming for and under what conditions. Sometimes the political in a museum doesn't happen because people know it is "not real", or because it would not go beyond that space. But mostly it doesn't happen because the museum is not equipped to respond politically to the urgencies of the moment, there is a gap between what is happening inside and outside the museum.
The museum, as an institution, defends its position of not engaging in direct politics: in most cases, it is actually illegal for it to do so. Often, the political reflection on current times is seeing through analogies with other times and other places. Then what you can get in an art institution is an associative educational format for your political ideas. It is hard to make a museum a civic institution. For example, I was invited to the last Berlin Biennial and my project was to do something political in Cuba, but for real. I wanted to create a political party to question the government's latest political decisions and vision of a future society. I told the curator I would need two years to do this. I would need to prepare the conditions first. It is not like doing a street performance, taking a photo or a video to be put on a show. To work, this project needed to enter the tissue of people's relationship with their government, and their understanding of what needed to be different and, most of all, it required waiting for the appropriate political timing. That needed some time to build a platform and to adjust to the political behavioural culture of the moment.
In the end, I couldn't participate because of the biennale's time frame. They needed me to finish by 1 July at the latest, when they had to hand over the biennale to the next team. I asked whether my piece – with the budget of that edition of the biennale – could be rolled over to the next one, giving the framework between two biennials, but it was not possible for bureaucratic reasons. I could not let bureaucratic reasons dictate political reasons, especially as the idea I had was potentially risky in real terms not symbolic ones. At the same time, I needed the protection of such an international event to do what I planned. It was not possible to condense the work, stressing its timing and forcing its "successful" outcomes in order to take part in an art exhibition. It would become a fake and suspect political artwork, with a lack of necessary critical distance. At best, it would have transformed into a spectacle. The idea was to use the institution for the security it brings, and as an international forum to talk about politics, but involving the people directly affected by those politics. It was not political folklore for cultural voyeurs. There is a very different sense of what is successful in the art world and what is successful in the political world.
CM: For example, the case of Tatlin's Whisper #5, in 2008, at Tate Modern. [Bruguera did an unannounced performance, asking two men from the mounted police to enter the museum and deal with the public using crowd-control techniques.] I heard that because the British public is generally familiar with horses, they wanted to pat them and were not afraid, as might be the case if you had guards on horses in a performance in another country's museum.
TB: Exactly, but the first time the intervention occurred, the public were like: "What's going on?" People were speculating wildly, projecting what they were induced to think by the media. Some were even saying there was a bomb in the museum. The exceptions were the kids and a curator in the crowd. The hardest audience for political work is art people: it is hard for them not to be cynical about gestures. The potential success of that piece relies on the fact that the audience is not familiar with it. It is announced and it comes as a surprise: it is done during times of popular tension and it happens so quickly that people have no time to digest it as an art piece, they receive it as citizens. But the series Tatlin's Whisper is made up of short-term pieces. It is thought out bearing in mind the art world set-up, the museum and the audience that goes there. I tried to push a little bit, but it still had some limitations. We did that piece several times and, after the first time, people came in and were not alarmed – their idea of where they were was not altered in the same way, they were constantly aware that they were in a museum. It was sad when the mounted police told me that they were only called to control crowds at football games. I felt a bit more excited when I saw a month or so later the students coming out into the streets to protest. Nothing can happen in a museum and that is precisely why everything should happen in a museum.
CM: It is true. And talking about museum spaces devoted to performance, such as Tanks, or the history of performance being more and more incorporated into museum spaces, as for example the retrospective of Marina Abramović at the Museum of Modern Art,2 we can see this aim to recharge performances, reactivate past performances or update political issues. Do you think it will be possible to get there? Is there any strategy that can bring back these actions?
TB: We have made some improvements, but performance is still not taken as seriously as other art formats. We need to create a consciousness about the way the performance artists work, the need for them to be properly paid and to have a good production budget. Performance art needs to be produced. Sometimes it feels as if performance is what institutions go to when they have no money and need to increase audience numbers. That is wrong. Most performance artists do not sell their work commercially and this decision (which leaves many in a precarious financial state) should be honoured not exploited. We need to stop having volunteers at performances. Once a performance is done in or for an institution, that institution should take responsibility for the production of the piece, and that includes the people in it. But when the human factor appears, it is harder to convince people to care – all of a sudden, art participation for free is a spiritual honour. The increasing number of choreographers and theatre-makers becoming involved in performance programmes is a good thing because they have a longer history of fighting for their fees than performers coming from the arts, and this is helping the culture of fair pay, although there is still discrimination in terms of the right to be paid between the more well-known artists and younger ones. Museums need to stop thinking that the opportunity to show their work is payment enough for artists. They need a permanent programme, not just one for a few weeks or a special occasion, and a "space" for performance. I emphasise the word space because the other problem with the institutionalisation of performance is that sometimes it is censored a priori by being forced to take part under the conditions expected in a museum. The whole reason for performance art is to have the freedom to go beyond those constraints. Unfortunately, some very influential performance artists have created a comfortable version of performance art for institutions and their trustees and, of course, that has become the immediate version of what it should be for younger practitioners and art schools. So, while they have popularised the practice and present the need to include it in the art institution, they have done a great deal of damage by making a conservative caricature of performance art.
When I went to see Marina's performance at MoMA, the person seated with her left at some point and there was a lapse that seemed to me to be too long in "performance time" (in reality, maybe it was four or five minutes) when the seat remained empty, and no one was coming in. I decided to sit there. When I left, mingling with the crowd, Marina's gallerist came up and criticised me, saying there had been a queue of people waiting to sit with Marina. I was in shock. I could only respond: "I'm sorry, I didn't know that to be in a performance you had to queue to take your ticket." Immediately, I realised what was wrong with the intensity of that picture. It was the first time at a performance piece that I felt I had done something "bad", as if in performance there is such thing as being "correct". The audience's behaviour was conditioned, the audience was hostage to a form of "etiquette" for the performance, it was forced into the dramatisation of the experience. The potential to allow people's non-scripted reaction, which for me is what performance art is about, was absent. We cannot institutionalise performance by making it a "good behaviour" activity. It needs to keep its freedom. Nevertheless, the fact that it was a gallerist who criticised me for being sincere with my connection to the performance was part of my second wave of shock. Unfortunately, more and more often institutions, especially the big ones, are dramatising performance, killing it. Performance art is not about the success of pleasing the audience or access to an untouchable sacred figure, it is about taking risks and failing most of the time. It is about triggering something inside the person watching that they do not know, they do not understand. Institutions can have safe performances that they can package nicely, but it would not be a proper portrait of the medium as a whole because there is more than packaging in performance. We are looking at the institutional domestication of performance.
The question of conservation always comes up when talking about museums. The performances that are very well known, that everyone studies at school, and which, in a way, we are anaesthetised to, should not just be reproduced but reactivated through their re-contextualisation. For example, when I saw Marina Abramović redoing Valie Export's piece (Genitalpanik, 1969) with a machine gun, it lacked something. I was looking for the intensity of needing to express something that is not otherwise possible, the urgency released by performing. While it is true that not everyone has the same presence in a performance, the fact that the re-enactments (as they called them) were all done by Marina added to the idea of the performer as a "special" person, which is an approach to the practice that suits the establishment idea of an author only too well. This is even more problematic when the fact is that this proposal was not a new idea, nor hers originally either, and this issue was not part of the conversation – not even during the series of public panels at the Guggenheim while in preparation for the exhibition (which I'm struggling to find either in print or online). This was, in my view, a very dangerous institutional move done with very good intentions because the result was that the practice became too academic. It is important to preserve the alternative to institutions. The fact that it was done to be seen in the flesh instead of through a photo is good: I have always advocated for this since I did the work about Ana Mendieta in 1985. However, the fact that it was presented as if on a kind of pedestal, that there was an unspoken "protective wall" between the performer and the audience, made me want to look at the original photo of Valie instead and imagine what it meant back then. It would be different if you reactivated that piece and took away the institutional distance – if, for example, Genitalpanik was done by an Arabic woman carrying a gun and wearing a traditional outfit open, or by one of the original female members of the Weather Underground group. I want something that makes me think about something more than a famous artist reproducing some famous artworks and the fact that, wow, she can come for seven hours. It would have being good to see the institution perform as well, by taking some risks.
CM: Do you mean associating the performances with something from the present day?
TB: To think about how to get the same reaction that you got originally, by relating it to current elements of tension in the same area of the subject of the original piece. I mean update the idea, the meaning of the performance, not the image of the performance. Thinking as if the piece were done today.
CM: If you wanted to do the performance from the Havana Biennial again, how would you do it?
TB: I was invited to do this piece again in Miami, but I couldn't do it the same way. That piece made sense in Cuba because it opened a door to people who were not invited and enabled them to do things that are not allowed. The only way I could do this again, for example in Miami, would be if people could talk in favour of Cuba. Everyone criticises the Cuban government in Miami, but the space for the opposite is more limited.
CM: It would be different, but it would be the same.
TB: Exactly, the idea of redoing performances is doing differently what is the same; understanding the combination of what remains and what reminds, to generate friction again. If you asked people in Miami to defend Cuba's present political decisions, you would probably have the same reaction as you did to the version in Havana. The feelings the performance creates must be real. The beauty of this piece would be to have a situation in which the people who are there do not know how to react, that they have to negotiate their preconceptions. The idea would be to do the piece in places where freedom of speech or certain issues are not allowed in the public sphere. If they have freedom, they do not need an artwork to give it to them.
CM: What is your opinion about the relation between ethics and aesthetics? For example, artworks by Ai Weiwei?
TB: Ai Weiwei is an interesting case study. He is supported by big art institutions, has about 10 million followers on Twitter, is adored by the press and is inspirational to young artists all over the world. He is a legitimate artist and a fierce activist and that is a desirable item in the commercial art world. It is not easy to be all of those things at the same time. He has helped to advance the conversation on artists' role in civic society for a larger audience. What I like is the image he projects, his intensity and restless working energy. In terms of his work, I went to see his retrospective at the Hirshhorn Museum and the piece I appreciated was Dropping a Han-Dynasty Urn (1995). It is a strong gesture. Sunflower Seeds at Tate worked for me as an interesting comment on minimal art, but his work in general takes a different aesthetic turn from mine. We both work with archetypes, culture, propaganda and a critical approach to politics, but his work relays more in the visual; it uses more of a kind of "political pop" strategy. On the other hand, it is hard to understand what happens in detail in China where he is working, and then for whom the work is working. Looking for the impact of his work in China, I have asked other Chinese artists, both young and the more established, about him, and his impact doesn't look as clear as the one he is having in the west. When someone becomes that big a figure, it is very hard to operate with complexity, and there is always a battle with cultural colonisation and political folklore. At the same time, it is a bit suspicious that he is so visible in the United States when the US and China have economic tensions. Why do we not know other brave political artists in other places who are also suffering the consequences for their critical work? Unfortunately, it seems that some degree of attention, while a protective shell, can also be seen as an instrumentalisation. On the other hand, it is the mechanism by which some things that people would not otherwise dare to say can be exposed and discussed. These subjects are never easy and should not be judged quickly: it is necessary to be better informed, to go beyond the headlines. In these times of "globalisation", and informed curiosity about other places (but simultaneously short attention spans and so much to do), a political figure, being an artist, an economist or a whistler-blower, becomes a simplified version of itself for the masses, or rather for the mass media. To work politically means that you have created a network, you have pushed people to think differently, and you have started at your base. You cannot do political art for a generic audience and you cannot do politics with generic subjects. If you are a political artist for real, it isn't only about you, it's about: "I'm here. Now, what does it mean for me as an artist to be here in this place talking to museum people? What kind of agenda can I present? Even if they won't like what I say, it still needs to be said." I am being paid by museums, but I felt it was my political duty as an artist, earlier today, to use this opportunity to repeat several times that they needed to see artists invited to museums as temporary museum workers, because they are working for the museum during that time. If you are a political artist, it is about creating an ecology that works differently.
CM: Are you optimistic about the idea of community art?
CM: How many people are involved in the Immigrant Movement International right now?
TB: There are just two people on staff, me and one other person, and then a lot of people in the community, and professors. We have around 20 people working, but we have served more than 4,000 people on a regular basis. These include people who came to a legal event with a lawyer or to an event that we do for groups, or people that we gave accreditation to for working.
CM: Do you still have a connection with the end of this chain?
TB: I know them by name, I don't know if that says something. Not the 4,000 because, out of the 4,000, there are people who only come to use the project and leave. Then there are other people who get involved, and these people I know by heart.
CM: Do they share the idea? Do they propagate the project?
TB: Yes, because we don't do outreach. People tell each other and those people then go to the project. What people forget is that if you do this work right, these people are not just people you are working with, they are your friends. They care for you and you care for them. This is an important point that I don't like about some kinds of community art projects, in which artists go to communities and use people, or even worst just use the space. I say "using" because they go to a community, they give a lecture or do an intervention and everybody (in the art world) is happy with that. For me, using is when someone does something in a place with people for the benefit of people who are from or in another place. Sustainability is for me the key to socially engaged art. It is also about who benefits most from the experience? You have to get involved in the messiness, you know? The main idea behind these long-term projects with communities is that they should sustain themselves at some point, so the institution is only a temporary help. But it is important to create something that is not a cultural colonisation but a dialogue between tools that art, education, the analysis of desire and their public execution can provide. The fact is that the impact also needs to be outside the art world if the work is done correctly. The fact that I was invited by the UN along with other experts to help draft a document on cultural rights and artistic freedom of speech is part of the impact you pursue as a political artist and this, for me, is much more important than a show in MoMA.
CM: People say that your attitude, the whole thing is a huge performance. It is a performance itself.
1. The conference of the International Committee for Museums and Collections of Modern Art was held as part of the 23rd general conference of the International Council of Museums in August 2013, in Rio de Janeiro, Brazil.


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Grand Challenges Explorations
Grand Challenges in Global Health
Lynda Stuart
Lynda Stuart leads the team that aims to source novel approaches and accelerate the discovery, development, and translation of new passive and active immunization strategies for foundation priority diseases.
Prior to joining the foundation in 2016, Lynda was a member of the faculty at the Massachusetts General Hospital and Harvard Medical School where she was co-director of the Laboratory of Developmental Immunology; a member of the Center for Computational and Integrative Biology, an affiliate of the Broad Institute of Harvard and MIT; and served on the Massachusetts General Hospital Executive Committee for Research. She remains actively involved in basic research.
Lynda earned an M.D. from the University of Cambridge and the University of London and a Ph.D. from the University of Edinburgh. She completed residency training in Internal Medicine in the United Kingdom.