text:
The three articles in this month's TAS may seem as different as they could possibly be in terms of the art and artists they consider, yet there are very interesting connections among them if you let your eye and mind wander across the screen.
Robert Stalker gives us a reading of Salvador Dalí's late work, the subject of an exhibition currently at the High Museum of Art here in Atlanta. Dalí's artistic persona is very much at the heart of this exhibition and the question of persona is also central to Philip Auslander's article that takes Andy Kaufman's persona and performance of Mighty Mouse's famous "I've come to save the day" as starting points for a meditation on missed connections between art and popular culture. Anna Leung tells us about Richard Hamilton, "the big daddy" of British Pop art. His early collage with the body builder holding a Tootsie pop is widely credited with inaugurating that quintessential art style of the 1960s.
The relationship between art and popular culture is a recurrent theme in these pieces, as seen in Dali's proto-Warholian engagement with the mass media, Hamilton's desire to forge a new kind of art that would both draw on mass culture for its subject matter and participate in that culture, and Kaufman's insistence on performing works that might have been at home in an art gallery or performance space in comedy clubs and on television.
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All my best,
Deanna Sirlin is an artist and writer living outside of Atlanta, GA and Editor-in-Chief of The Art Section.
Photos above, clockwise from upper left: Salvador Dali from meetingdali.blogspot.com, Andy Kaufman from en.sevenload.com, and Richard Hamilton at the Serpentine Gallery in London. Photograph: Richard Saker.
Dalí's Late Work
At the High Museum of Art
by Robert Stalker
The current exhibition Dalí: The Late Work at the High Museum in Atlanta (Aug. 7, 2010-Jan. 9, 2011), the latest of several attempts to re-assess the post-Surrealist Dalí, places Dalí's much maligned late work in the context of his interest in mass media and the culture of publicity. The exhibit's curator, Elliott King, explains that we might better appraise Dalí's late work once "we move beyond Dalí's veneer of self-promotion or, better still, understand it as integral to his artistic project." Comprised of approximately 100 works ranging from lithographs, video, film, stereoscopy, holography, and forty paintings drawn from all phases of Dalí's career, the exhibit presents the post-1940s Dalí as keenly responsive to the opportunities opened up by various new media—opportunities for self-promotion as well as artistic expression. Situating Dalí's painting within this wider interest in popular culture and mass media, the exhibit implicitly—and not altogether convincingly—positions Dalí as something of a proto-Pop artist.
The renewed critical interest in Dalí's later work began formally with the symposium on "The Dalí Renaissance" that accompanied a retrospective concentrating on Dalí's post-1940 work at The Philadelphia Museum of Art in 2005. The more recent Dalí: Painting and Film exhibit at the Museum of Modern Art in New York in 2008 focused on the artist's lifelong love of cinema. The High's Dalí: The Late Work builds on these earlier efforts, unabashedly presenting Dalí as an artist thoroughly enmeshed in the world of Hollywood films, new media such as holography and video, and what Dalí himself had extolled in 1928 as "[t]he anti-artistic world of advertisement." For instance, the giant posters and billboards advertising the exhibit outside the museum and all around Atlanta reproduce not a Dalí painting but a photographic portrait by Phillipe Halsman (1906-1979), blown up to colossal proportions, of crazy-eyed Dalí sporting his impossible trademark mustache. The exhibit itself opens with a gallery devoted to Dalí's collaboration with Halsman on Dalí's Mustache (1954), a photographic interview staged between the two in which humorous portraits of Dalí provide comical answers to the interviewer's questions. (For example, the photograph accompanying the question "Why do you paint?" depicts Dalí hilariously twisting his mustache into a dollar sign.) After moving through six or so galleries devoted to Dalí's work in painting, design, film, video, and holography, the exhibit culminates with a meditation on Dalí as media star and spectacle, containing a wall adorned with reproductions of a couple dozen magazine covers parading Dalí's all too familiar image.
The exhibit's organization of Dalí's late work within the context of his manipulations of his public image implicitly weaves together a narrative of Dalí as an early antecedent to Pop art. No doubt Dalí's attention-grabbing shenanigans and brazen commerciality afforded artists such as Andy Warhol a model of artistic self-fashioning quite distinct from the earnestness of New York School painters. But the exhibit's interleaving placards containing quotations from James Rosenquist, Andy Warhol, Jeff Koons, and Dalí's own pronouncements on Pop art suggest, less persuasively, that Dalí's paintings themselves might have contributed formally to Pop. And while Dalí shared with the Pop artists an interest in popular culture and mass media, particularly cinema, Dalí's own kind of photo-realism is driven less by an interest in scrutinizing the image saturated world of consumer culture than in developing a highly polished and undeniably impressive illusionist technique to capture his visions.
Of course, Dalí's attraction to film reaches back to the very beginning of his career. It was, after all, not his paintings but his collaboration with Luis Buñuel on the stunning film Un Chien Andalou (1929) that first brought him to the attention of the Surrealists. And while Dalí's second effort with Bunuel, the film L'age D'or (1930), would prove less personally fulfilling for Dalí, he would soon develop a genuine ambition to work in Hollywood cinema, writing enthusiastically in the late 1930s to a presumably much chagrined André Breton that he had contacted "the three great American Surrealists"—Walt Disney, Cecil B. DeMille, and the Marx Brothers. Eventually Dalí would indeed work with Disney on the animated film Destino (1945), and even with Alfred Hitchcock on the famous dream sequence of Spellbound (1946), though the extent of Dalí's contributions to the latter remains in question. And while many of Dalí's cinematic ambitions would remain unrealized, still and moving photography proved critical to his thinking about painting.
In his autobiography My Secret Life (1942), written during his transition from his Surrealist phase to what he would call his classical phase, Dalí repeatedly writes in photographic and cinematic terms. He records visions that come to him "as if my head had been a real motion picture projector." He describes memories that stand out "with a photographic minuteness of detail." He recounts "a reversed and speeded up motion picture of the ephemeral unfolding of a flower." Such ideas about cinematic or photographic ways of seeing find their way into his paintings, as he developed what he calls in The Conquest of the Irrational (1935) the "[i]nstantaneous and hand-done colour photography of the superfine."
Dalí: The Late Work includes a number of early surrealist works, such as Morphological Echo (1936) and Transparent Simulacrum of the Feigned Image (1938), that seem to press in the direction of the cinematic and photographic. Both paintings represent what Dalí referred to as "the most imperialist fury of precision," a technical virtuosity for rendering life-like imagery combined with an almost overwrought surface finish that Dalí developed through experimentation with various resins. The glossy, glass-like surface polish of these paintings, so out of step with modernism's interest in the materiality of the painting surface, captures what Dalí called in "The Poetry of Standardized Utility" (1928) "the impeccable finish of mechanical perfection." Moreover, the doubling of images in these and many other paintings suggests, as the art historian Dawn Ades has observed, an interest in developing in his paintings images that suggest "that process of transformation which came to be achieved on the cinema screen by dissolve or montage." As Dalí moved away from his "official" association with Surrealism, his interest in film and Hollywood persisted, even deepened, as did his interest in pushing his painting in the direction of still and moving photography.
Dalí's shift from Surrealism to classicism in the late forties and early fifties coincided with his embracing of Catholic doctrine and cutting-edge science which merged into what he dubbed "nuclear mysticism," an idiosyncratic combination of Catholic mysticism and nuclear physics which Dalí outlined in his "Mystic Manifesto" (1951). The religious paintings he began producing, the Madonna of Port Lligat (1950), the Christ of St. John of the Cross (1951), the Assumpta Corpuscularia Lapilazuline (1952), and Santiago el Grande (1957), all included in this exhibit, struck one critic at the time as "vulgarly pompous piety on a Cinemascope scale." While this judgment seems hardly complementary, this critic captures what is perhaps most interesting in Dalí's post-Surrealist work. The gigantic Santiago el Grande, for example, with its brilliant blue background and remarkable verism seems eminently cinematic. And while it predates the debut of Cinerama by just a year, the horse and rider depicted in the painting do possess a kind of momentum and outward thrust that seems as if they are about to leap off of the picture plane and into the space of the viewer in ways that anticipate the insistent illusionism that Cinerama marketed as the new technology's "participation effect." And, while it might be sacrilegious to depict The Christ of St. John of the Cross from the perspective of what could arguably be described as a crane shot, it certainly wouldn't be beneath Dalí, that admirer of the "American Surrealist" Cecil B. DeMille, to do so.
As the exhibit makes clear, Dalí maintained throughout the second half of his career a keen awareness of various developments in media such as film, video, holography, and even animation. And, while Dalí shared with Pop artists an interest in these developments, only two paintings included in the exhibit, The Sistine Madonna (1958) and Portrait of My Dead Brother (1963), arguably reflect a genuinely Pop sensibility. The earlier of the two has its origin in a photograph of the Pope in the magazine Paris Match. Dalí blew up the photo to an enormous size, transferring just the Pope's now giant-sized ear in the Benday dots pattern of the newsprint onto the canvas with oil paint. Inside the Pope's ear, Dalí painted, also in Benday pattern, a reproduction of Raphael's Sistine Madonna (c. 1514). Along the side of the painting, in his unmatchable trompe l'oeile technique, Dalí painted a piece of folded paper (the same folded paper that appears in The Christ) with string and ball. The result is perhaps the most successful of Dalí's later works, conveying a haunting mystery that persists well after our marvel at Dalí's technical triumph has receded. Marcel Duchamp thought enough of the work to include it in an exhibition of Surrealist art that he organized, much to the mortification of Dalí's former Surrealist colleagues who had long since grown tired of the antics of the artist Breton had anagrammatically dubbed "Avida Dollars"—avid for dollars.
By placing Dalí's painting alongside his work in various media such as film, video, design, and holography, Dalí: the Late Work attempts to situate Dalí as an important precursor to Pop artists such as such as Warhol, Roy Lichtenstein, and even Sigmar Polke (who passed away last June) not to mention more contemporary artists such as Jeff Koons (who will speak at the High in October about the influence of Dalí on his own work). Dalí's "hand-done colour photography of the superfine" reflects less a Pop interest in interrogating the image soaked world of commodity culture than a refinement of the nineteenth-century academic painterly technique that Dalí so admired. Perhaps more than any formal qualities of his painting, what Dalí truly bequeathed to future artists was an ironic, at times even flippant, attitude toward art and the art world, and a masterful exploitation of the culture of publicity in crafting what is arguably his most recognizable work of art—the indelible image of Salvador Dalí.
Robert Stalker is an Atlanta-based freelance arts writer.
Dalí: The Late Work is at the High Museum of Art in Atlanta. from 7 August, 2010 - 9 January, 2010.
Andy Kaufman performing his classic Mighty Mouse sketch on SNL. Photo courtesy of NBC
Missed Connections:
Performance, Art, and Popular Culture
By Philip Auslander
The questions I wish to raise here have to do with cultural distinctions, particularly that between fine art and popular culture, and boundaries of inquiry. Why are particular performances and other art works discussed in some contexts and relationships but not in others. I begin these musings with one my favorite performances, Andy Kaufman's famous "Mighty Mouse" routine, a staple of his club act presented on television as part of the very first episode of Saturday Night Live in 1975. The rest of the discussion will spin off in various directions from this nucleus.
This performance raises a host of questions concerning performance and identity. What exactly are we seeing? Is it Andy Kaufman simply being (or presenting) himself executing an action? Or is he portraying a character of some kind who is executing the action? To whom does the figure's performance anxiety, his palpable nervousness and fear of failure belong--to Kaufman or to the ostensible character? Is it in any way significant that Kaufman is lip-synching to a song from his childhood—is there an autobiographical element at work here? Is the somewhat over-eager demeanor of the figure meant to convey a regressive or child-like condition? It is difficult to locate the "real" Kaufman in this performance—or to determine if he's even there--as would be the case with almost everything he did.
It has occurred to me to wonder why this performance has not, as far as I know, been discussed critically or historically in relation to Gilbert and George's famous "Singing Sculpture."
Gilbert and George began presenting the Singing Sculpture in the late 1960s. I say "presenting" rather than "performing" because Gilbert and George have consistently insisted that this work is a piece of sculpture, not a performance, and they have always presented it in art galleries and museums rather than performance spaces. This presents a whole set of boundary issues in itself, since I suspect that many commentators, including myself, would be quite comfortable thinking of this work as a performance and treating it critically and historically as such (performance historian Roselee Goldberg includes this piece in her book Performance Art: From Futurism to the Present, for instance). How do we justify not taking seriously the artists' claim that it is a work of plastic art?
The main question I want to pose, however, is why the possible connections between Kaufman's Mighty Mouse piece and Gilbert and George's Singing Sculpture have not been made, given the interesting similarities and differences between the two works and the fact that Kaufman's work had much in common with some strains of the art world performance of his time. His play with character and persona, particularly his creation of the obnoxious lounge singer Tony Clifton, was similar in significant ways to Lynn Hershman's creation of Roberta Breitmore. Between 1971 and 1979, Hershman portrayed Breitmore in a wide variety of situations, including psychotherapy. She denied being Breitmore and sometimes had other people perform the character. Kaufman likewise inserted Clifton into a variety of "real life" situations and insisted that he and Clifton were separate people; this illusion was reinforced by having other people also portray Clifton, thus allowing Kaufman and Clifton to appear in close proximity (and for Clifton to live on after Kaufman's death). But whereas Hershman describes her portrayal of Breitmore as a "private performance" that became public primarily through the documentation of Breitmore's "adventures," Kaufman always performed his personae publicly in comedy clubs and on television. It is perhaps because Kaufman operated outside the art world, always styling himself an entertainer no matter how outré his performances became, that his work has been discussed only rarely in relation to performance art or visual art.
The cultural and aesthetic gap between the two forms and their respective contexts has been acknowledged from both sides. The stand-up comic Bobcat Goldthwait dismisses art world performance by saying, "Last night there was a lull in my act, and I said, 'Jesus, one more lull and I'm going to be a performance artist.'" Performance artist Jacki Apple for her part begins a 1995 essay entitled "Notes on Teaching Performance Art" with a litany of performers she insists are not performance artists, including Sandra Bernhard, Reno, Eric Bogosian, and Holly Hughes because their work is not grounded in visual art. This is not to say that Kaufman's work has gone unnoticed by visual artists—the Spanish artist Dora García recently included a video of Kaufman reading The Great Gatsby as part of an exhibition of her work, for example. However, the only time that Kaufman has been exhibited directly in an art context as far as I know was in a show devoted to his work and that of Ernie Kovacs at the Long Beach Museum of Art in 1989.
Although Gilbert and George's Singing Sculpture is a public performance, the artists only ever present their sculpture in art spaces that do not enjoy the same degree of mass cultural exposure as Kaufman's venues. Nevertheless, there are any number of grounds on which to compare and contrast these two performances. Both are lip-synch performances: Kaufman lip-synchs to the Mighty Mouse theme song and the Singing Sculpture lip-synchs to a recording of "Underneath the Arches," a perennially popular English song originally from the 1930s. Is there an element of nostalgia in both pieces? What is to be said about the difference between using a song associated with one's own generation, as Kaufman did, and a song (more or less) from the previous generation? Gilbert and George were both born during the Second World War, yet chose a song from before the war. What of the "British-ness" of the song and the music hall tradition from which it emerged as against the "American-ness" of Mighty Mouse and the song's origin as the theme for a series of television cartoons? In the Singing Sculpture, the song, a popular cultural object, is reframed (perhaps ironically) as fine art, somewhat in the manner of a Warhol soup can. Can the same be said of Kaufman? Does his performance of the Mighty Mouse theme song translate it from one cultural context to another or reframe it in any way?
Both Kaufman's and Gilbert and George's performances can also be understood as performances of masculinity. In Kaufman's case, it is a soft, boyish masculinity, insecure and eager to please. Gilbert and George, by contrast, dressed in suits and with gilded faces, portray a far more remote, rigid, and authoritative masculinity—or a parody of such masculinity--even as they present themselves explicitly as objects of the audience's gaze (sculptures). But what kind of gaze do they invite? Do we read their identity as gay men into (or off of) their double act? If there is any sense in which the Singing Sculpture is legibly gay, what reading in relation to sexuality does Kaufman's performance invite?
Although we now have a sophisticated vocabulary for talking about the interfaces between the live body and technology in performance, these issues come up primarily in the context of performances perceived as experimental or cutting-edge: the work of Stelarc, for instance, or Orlan. Rarely are the analytical possibilities opened by this discourse used to frame discussions of earlier performances whose dependence on technology is less sensational. Both Kaufman and Gilbert and George engage in what is often called cyborg performance in the sense that the entity we see performing is, in both cases, an amalgam of human bodies with voices produced by machines. The engagement with technology is, in both cases, transparent: We see Kaufman place the needle on the record and Gilbert (or is it George?) press the button on the cassette recorder to activate the voices, and the moment of technological initiation is an important part of both performances that mediates against illusionism. There is no attempt in either case to create a seamless representation: the fact that we are watching people lip-synch is not masked in either case. The means in both performances are similar, but are the ends? And why aren't these two performances included in the history of technologically mediated performance?
The brief clip of Gilbert and George I have included here is in fact a clip of what might be called a reconstruction or reenactment of their work. They began to develop the piece in 1967 and to present it in 1968. In 1971, they presented it as part of the opening of the Sonnabend Gallery; the clip featured here is from a 1991 version made to commemorate that event. Is this a reenactment, or simply another enactment of a work these artists had presented many times before? What status do we grant to the artists' own claim that this is a reenactment not of the "original" performance (whatever that may mean) which presumably occurred around 1968, but of a specific performance in 1971, done after they had been presenting the piece regularly for several years? And if we take seriously the idea that the work is a living sculpture, are these iterations to be thought of as enactments and reenactments or as an unlimited edition? (Hershman, for example, refers to Roberta Breitmore as a "multiple" because she was portrayed by several people.)
Kaufman's "Mighty Mouse" has also been reenacted and I shall briefly consider two of those recreations.
This clip comes from Jim Carrey's portrayal of Kaufman in Milos Forman's 1999 film Man on the Moon. Although the recreation of the performance itself is fairly accurate, if abbreviated, it is not clear that the narrative frame into which it has been inserted is factual (though I'm not saying it needs to be). If the clip from Saturday Night Live is a faithful reflection of what happened on the show, Kaufman did not hesitate nearly as long as Carrey-as-Kaufman does before dropping the needle on the record. There seems to have been no reason for the anxiety displayed by some of the other characters in the film about whether Kaufman has frozen or just what he's going to do. In the clip from Saturday Night Live Kaufman comes off much more as someone consciously performing nervousness and anxiety rather than someone whose nervousness and anxiety may be getting the better of him. The filmmakers appear to have decided to use this event as a means of conveying how the undecidability of Kaufman's performances (is he really nervous or just pretending to be?) created real anxiety for his audiences (which was, in fact, one of the professed goals of his performances). This is an important aspect of Kaufman's performance strategies and one that should be conveyed in a movie about him, but the use of this particular performance to convey it is probably an historical distortion.
Finally, this is a reenactment of Kaufman's piece as part of a talent show at a high school in New Jersey, USA, in 2006 (it is interesting to speculate on the nature of the "talent" on offer in this case). The issue I wish to raise here brings us back to the fine art/popular culture dichotomy I invoked in explaining why Kaufman and Gilbert and George have not been discussed in the same contexts. In the wake of Marina Abramovic's recent retrospective at the Museum of Modern Art in New York, the issue of performance reenactments is high on the cultural agenda (see "Reduce, Reuse, Re-perform" by Harry J. Weil in TAS for April 2010). But the discussion generally seems to focus on performances that took place originally, and are subsequently reenacted, in art world contexts. I suggest that performance reenactment also takes place in a more popular register. I see the performance reenactment in the clip above as a kind of community theatre in which the audience's voluble response must be as much to the performer and the occasion as it is to the performance itself. It is noteworthy that the young man in the clip is described on YouTube as "covering" Kaufman's performance rather than recreating or reenacting it. The use of that term, which comes from the realm of popular music, suggests another possible set of connections among artistic practices. How is "covering" like and unlike "reenactment"? What status do "covers" and "reenactments" have in the cultural spheres in which they take place?
I realize that I have posed far more questions here than I have answered. I trust that my decision to frame these questions around a limited set of specific examples has not obscured my purpose of suggesting that as much as we need categories and boundaries to enable critical and historical analysis, we also need to cross those boundaries to find new relationships among things that are usually sequestered in one cultural context or another. The transgression of boundaries presupposes the distinctions on which those boundaries are based and the result of such transgression can be to shore up those distinctions and boundaries just as readily as to dismantle them. But either outcome has value. We need categories and boundaries to make sense of the world and we need to transgress them in order both to understand better our current ways of thinking and their blindspots and to see that the world can also make sense in other ways.
Philip Auslander is the Editor of The Art Section.
He presented an earlier version of this essay at the 2008 meeting of the Theatre and Performance Research Association at Leeds, UK.
Auslander also wrote about Andy Kaufman in his book Presence and Resistance: Postmodernism and Cultural Politics in Contemporary American Performance (University of Michigan Press, 1992).
Portrait of Hugh Gaitskell as a Famous Monster of Filmland 1964 (detail) © 2009 Richard Hamilton
Richard Hamilton:
Modern Moral Matters at the Serpentine Gallery
by Anna Leung
In his guise as "the big daddy of Pop" (Richard Cork, Everything Seemed Possible: Art in the 1970's, Yale University Press, 2003) Richard Hamilton's contribution to the British art scene though initially socially and anthropologically biased was not pointedly political. Whilst much has been made of British Pop as a resistance movement that was anti-Establishment in its effort to create a cultural break, it was also optimistic, seeing itself as a precursor of a new open society, and more importantly affirmative in its celebration of popular culture. It is true that to the purveyors of high culture Pop's incorporation of imagery from the mass media, and specifically from the American pop culture of comic strips and commercial ads, represented a flouting of humanist conventions of beauty. But for Hamilton such an appropriation of vulgar, vernacular imagery constituted an attempt by the fine artist that he was to rescue a contemporary equivalent of, say, Ingres' Odalisque from the Playboy Playmate of the Month, arguing that girlie pictures "have references to fine art sources as well as Pop." This affirmative stance has proved somewhat problematic to generations of art historians and critics accustomed, like Clement Greenberg, to equating avant-garde aesthetics with critical leftist politics. In the British art world of the 1950s, to be both pro-left and pro-American seemed a contradiction in terms. Pop effectively overturned the avant-garde's traditional attitude towards the status quo by celebrating consumerism not berating it, and likewise cultivating kitsch not condemning it. This affirmative stance gave credence to those who accused Pop of reinforcing the status quo and colluding with capitalism.
This enthusiasm for all things American among the contingent of young British post-war artists who were to make up the Independent Group makes sense if viewed against the background of post war austerity: well into the Fifties, Britain was still dominated by the ration book and presented an uncomfortable contrast with the US's cold war politics of economic abundance based on planned obsolescence and expendability. But it is important to point out that America was no longer Fordist, i.e. in the grips of the first Machine Age. The America that Hamilton and contemporaries such as Eduardo Paolozzi enthused over was the America of a second machine age pursuing an aesthetic of expendability through design and technology that was premised not on need but on desire. For Hamilton the machine represented a new mythic force; he saw the artist as assimilating to fine art this collective dream world of advertising imagery. And it was Hamilton who came up with a "table of characteristics of Pop Art" in a letter of 1957:
Popular (designed for a mass audience)
Transient (short term solution)
Expendable (easily forgotten)
Low cost,
Young (aimed at youth)
Gimmicky
It is important to stress that the reference to the term "Pop Art" in this context was not to actual Pop paintings - Pop Art was something still to come - but to the source material to be appropriated from visual mass culture for future Pop paintings, and Hamilton was quick to recognize that Warhol ticked all the right boxes. Hamilton's own paintings do not, and he would not have wanted them to do so, especially with regard to expendability, which he saw as 'a self defeating goal'. If in subsequent paintings such as Hommage a Chrysler Corps(1957; not in this exhibition) he endows automobile design with explicit erotic elements he does so in a fastidious, almost academicmanner. There is little of the overt gimmicky glamour associated with in-your-face ads, and if the painting is subtly transgressive it is in order to make us think. Richard Hamilton is a cerebral artist who, with Duchamp in mind, describes his paintings as "ironism of affirmation." He stands out in the fifties, a time when the British art scene was dominated by a strong subjective element, whether inscribed in Graham Sutherland's dark and macabre landscapes or gestured in Bacon's existentialist anguish poised between paroxysms of pain and pleasure. Even the realist 'kitchen sink' artists were not exempt from a strong dose of introspection. Hamilton, by contrast, was notable for his coolness and objectivity and for his adoption of an almost illustrational type of figuration based on photography that marked a strong contrast with the improvisatory or gestural informal abstraction characteristic of the time. It was this interrogation of pop culture, i.e. low rather than high, and its semiotic language and its subsequent integration into fine art that marked Hamilton out as being ahead of his time. His paintings signalled a paradigm shift that was to make mass media and popular culture, rather than direct experience of the natural world (including human nature), the main source of high art practices in the sixties.
Richard Hamilton Swingeing London 67 (f) 1968–69, Screen-print on canvas, acrylic and collage
67 x 85 cm Courtesy of Tate, London © 2010 Richard Hamilton
Richard Hamilton was born in Pimlico, London in 1922 into a working class family. At the age of twelve he smuggled himself into an adult education evening art class. Two years later he was so proficient at drawing that he was recommended to the Keeper of the Royal Academy School and secured a place for when he was sixteen, attending the life class at St Martins in the meantime. From 1938 to 1940 he was a student at the Royal Academy but since he was too young to be conscripted was sent by the Labour Exchange to study engineering draughtsmanship at a Government Training Centre when the art school was closed because of the outbreak of war. This kept him out of the army and in 1946 he returned to the Royal Academy. A new regime under the vehemently anti-modernist artist Sir Alfred Munnings was not to Hamilton's taste and he was soon expelled; consequently, he became eligible for military service but eventually gained a place at the Slade where it counted as a badge of honour to have been expelled from the Royal Academy School. It was here that he came into contact with the work and ideas of his foremost mentor, Marcel Duchamp – in 1965 he reconstructed Duchamp's Large Glass. Two books had an abiding influence on him, D'Arcy Wentworth Thompson's On Growth and Form and Siegfried Giedon's Mechanisation Takes Command. The first dealt with natural form and morphology, the second with technological form and process. His paintings at that time were predominantly abstract, using point and line to articulate the canvas's flat surface. From the first it was ideas that dominated and determined style. After graduating Hamilton taught for thirteen years at King's College, Newcastle upon Tyne but was also involved in a whole series of innovative exhibitions. Growth and Form at the ICA for the Festival of Britain already demonstrated his preoccupation with technical devices and the degree to which they determine how an image is to be interpreted. Man, Machine and Motion, also at the ICA, represented a recapitulation of Futurist and Expressionist ideas and demonstrated how machines could extend the power of the human body. Finally in 1956 he co-organised This is Tomorrow at the Whitechapel Art Gallery. It was for the frontispiece of the exhibition catalogue and the poster that Hamilton created his most famous collage Just what is it the makes today's homes so different, so appealing? Anticipating the two main preoccupations of the sixties, this exhibition, based explicitly on the collaboration between architects, painters and sculptors, focused on the juxtapositioning of admass imagery and the ambiguities of perception, both of which were already central to Hamilton's thinking of art as predominantly the communication of ideas.
Hamilton was both assiduous and sophisticated in his search for the correct image and its placement within the permutations of his compositions, and to this degree can be considered "academic," as in this sense is his mentor Duchamp. As Hamilton says, "Anything I respect in art is for its ideas rather than for its handling or any other quality." Nevertheless, "handling" in terms of a variety of techniques is vital to his working practice and also translates a fundamental understanding of reality as the essentially ambiguous grounding of our appraisal of events. The basic idea is that mass media informs popular apprehension of current and historical events. This is where politics and our "modern morality" come in. Each project that Hamilton takes up is subjected to an analytic process that in most cases, but not all, requires prolonged research and study. As in pre-modern academic painting a narrative context precedes any artistic image making. There is little room for spontaneity. The many different permutations of an image are carefully calibrated. Hamilton's training at the Royal Academy and time spent as an engineering draughtsman were not wasted and Hamilton has remained loyal to his artistic origins. Since 1956 all of Hamilton's work has been made up of composite elements which are then refined into a unified scheme. While recognising that painting is composed of marks on a flat surface and in this way announces its autonomy, Hamilton often plays with different styles and different perspectives in one painting. Illusionistic areas abut diagrammatic elements, paint overlays photographic material (often taken from press cuttings) or relief constructions and vice versa. All these techniques are visible in the series Swingeing London 67 (1968-9) and the Portrait of Hugh Gaitskell (1964).
The first room in this exhibition is given over to Swingeing London so that it's possible for us to see all the many variables involved in developing an idea from straight documentary to a much more stylized rendering of its subject matter. In February 1967 the police had raided the home of Rolling Stone Keith Richards, and Mick Jagger and Hamilton's art dealer Robert Fraser were charged with the possession of unlawful drugs. Fraser was sentenced to six months imprisonment, Jagger's sentence was commuted to a twelve month conditional discharge. The source of Hamilton's image was taken by a Daily Mail photographer as seen through the window of a police van taking them, and other prisoners, to Chichester Court House. The tabloids were full of irrelevant information such as the colour of Jagger's jacket, which Hamilton reproduced in the Poster print. The original series of six was worked on from an initial water colour into an etching, one of Hamilton's preferred mediums, and a screen print on to which were added passages of oil paint, embossing and collage. In terms of imagery the emphasis was on the two sets of hands that denote freedom or rather the restraints on freedom in a society that professed to support excessive individuality. The title of the series refers to the swingeing sentences imposed. Hamilton's sympathies were definitely with the victims of the legislation against drugs and he returned to this series to produce a print for Release, an organisation that gave legal aid to individuals most of whom were involved in drug related offences. He also helped organise an exhibition in support of Fraser during his imprisonment.
The catalyst for the Portrait of Hugh Gaitskell as a Famous Monster of Filmland (1964) was the assumption by some critics that Hamilton's paintings were satirical in intent. Since this was not the case Hamilton decided to experiment with subject matter that was pointedly satirically and came up with a hate figure in Gaitskell, the leader of the Labour party and of the opposition from 1955 to his death in 1963. Gaitskell, who in general elections had twice lost to the Tories, blamed the left for Labour's failure at the polls and anticipated in many ways the more recent right wing turn in New Labour. However, Hamilton's anger was chiefly motivated by Gaitskell's refusal to add his support to Labour's calls for the unilateral disarmament of Britain's nuclear weaponry. This earned the artist's total disapproval and resulted in a portrait engendered by the morphing of a press photo of Gaitskell with an image of the phantom of the opera and other filmic science fiction monsters. Henceforth Hamilton's paintings and prints were to take on a signal political character. Whether they are directly about politics or about the communication of political ideas or even about art's ability to convey political matters is a moot point.
Richard Hamilton, Unorthodox Rendition (2009-2010) from richardmillet.wordpress.com
This fusing of reality and fantasy in the Gaitskell portrait indicates the direction that Hamilton's future work would subsequently take. Virtually all of the works in this exhibition, whether based on press photographs or TV footage, have an iconic quality that transcends their political actuality while at the same time questioning their political veracity. Take the series of diptychs based on the troubles in Northern Ireland. The Citizen is based on the IRA hunger strikers and their blanket protest while in solitary confinement at the Maze Prison. The image of the solitary prisoner exerts a mythic power in the midst of his squalor. In addition it seems to possess an extraordinary iconic quality that endows him with a Christ-like semblance, not humbled but unyielding in his hold on the righteousness of the IRA cause. The excrement daubed on the walls of his cell parodies abstract expressionist gestural brush work and the rusted frames of the diptych are suggestive of the cells that confine his person. Titles are important in this series. The Citizen refers to the IRA prisoner's total rejection of British sovereignty over Northern Ireland while The Subject declares the Orangeman's recognition of UK Rule and The State features a British soldier on patrol. Behind him a neon sign for Spuds and Coca-Cola indicate the support given by the US to the IRA. The image of the student Dean Kahler, gunned down at the anti-Vietnam demonstration at Kent State (1970) has none of this viscerality. Taken directly from TV footage of the demonstration on the university campus the screen print image is sepulchral and seems to fade with each reprint reminding us perhaps how repetition can weaken rather than strengthen the impact of a tragedy communicated through the mass media.
Three works take us into our own time. The Treatment Room (1982-84) is the only installation in the exhibition and figures a silenced Mrs Thatcher mouthing out her last speech to the Conservative conference in 83 from a TV above a hospital bed which indicates the patient by an empty blanket – is the assumption that the patient (= the NHS) is now a corpse? Shock and Awe (2007-8), a more than life-sized portrait of a gun toting Blair, is also given an iconic dimension. But rather than enhancing his persona, the image diminishes him by suggesting that he has stepped into the wrong school stage performance. He is the one that looks overawed by what he has irretrievably set into motion. Maps of Palestine (2009-10) contrast the Palestine of 1947 when a partition into two states was first broached under the auspices of the UN. The Israelis accepted but the Palestinians did not and conflict has continued to ravage the region where three faiths meet, the contemporary map demonstrating how the Palestinians' territory has been eroded. Unorthodox Rendition (2009-10) which was only just completed for the exhibition continues with this theme. It is a portrait of the Israeli nuclear technician Mordechai Vanunu who breached the secrecy code of the Israeli government and revealed Israel's covert nuclear policy. His hand, pressed against the window, represents freedom and the loss of freedom as the vehicle speeds him away into years of solitary confinement, his face becoming more and more indistinct.
All these works seem to have a pretty overt political message, reminding many of us of what we already know. It is almost too easy to gauge Hamilton's personal response but one can't help feeling that something more subtle and more deconstructive is at stake. What this is exactly eludes me and this elusiveness is perhaps part of the fabric of his Duchampian methodologies. It is equally pertinent to remember that Hamilton designated Pop the "son of Dada," and Dada excelled in cut and paste as an attempt to rearrange the world. Although this is a worthy exhibition, I cannot help wondering about a certain loss over time of the wit, glamour, and sexiness that Hamilton first isolated as the vocabulary of Pop and that initially gave it a certain energy as well as a critical edge.
© Anna Leung 2010
Anna Leung is a London-based artist and educator now semi-retired from teaching at Birkbeck College but taking occasional informal groups to current art exhibitions.
The exhibition Richard Hamilton: Modern Moral Matters was at the Serpentine Gallery in London from 3 March - 25 April, 2010.


text:
@interface ShareBarItem : UIButton
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redpajama_set_name: RedPajamaGithub


text:
Q: How can we send data from one application to other application in android? I've developed an android app(APP1) in Eclipse which is use to launch the games.
The games which I wanna launch are developed using AIR for Android (i.e ported to android from flash games) say (APP2)
I'm able to launch the game(APP2) from my android app(APP1), now when the game is over then I want to fetch the score from APP2(i.e from the game played) and send back to APP1
please help me to do this with an example and its explanation...
Which will be really very appreciated..
Thank you.

A: Make your App2  as a library project for App1
then you can access app2  activity from app1.

A: Did you Check startActivityForResult()?
Using it You can start another activity and receive a result back.
Check the below link for details  http://developer.android.com/training/basics/intents/result.html

redpajama_set_name: RedPajamaStackExchange


Welcome to El Paso de Robles or Pass of the Oaks commonly known as Paso Robles. With a population of approximately 30,000, Paso Robles embodies "small town USA". Nestled in the coastal mountain range of Central California, it is located close to mountains, beaches and deserts. The topography of Paso Robles is open, rolling, oak covered hills and vast areas of open land. The air quality is superb with blue skies dotted with fluffy white clouds, sunshine and a dry climate. It is one of the country's great wine growing regions. The city of Paso Robles is located hallway between Los Angeles and San Francisco and is known not only for its great wines but also for its healing waters with a growing number of hot springs resorts.
Paso Robles holds the charm of a rural community but has developed into a center of industry, viticulture, art, recreation, commerce, and housing. Historic attractions can be found throughout the city, from the Carnegie Library in the Downtown City Park, the Pioneer Museum, the Estrella Warbirds Museum to the thermal springs that run to this day at the historic Paso Robles Inn. Paso Robles is home to the California Mid-State Fair held annually at the Paso Robles Event Center and drawing visitors from across the state. This fair celebrates the agricultural, ranching and farming history of Paso Robles. The Paso Robles Event Center is host to numerous equine events throughout the year at the George Hearst Equine Center. Horses are an important part of the history and culture of Paso Robles and virtually every equine activity from English to Western is represented.
The Downtown City Park is the hub of Paso Robles and host a variety of activities throughout the year including the world renowned Paso Robles Wine Festival, the annual Festival of the Arts, Pioneer Day, the Vine St. Victorian Showcase and much more. The streets surrounding the City Park are home to an array of restaurants, wine tasting bars, boutique shops, art galleries, cinema and much more. One of the most popular events during the summer is the weekly Concerts in the Park series.
Located approximately 20 minutes West of Paso Robles is Lake Nacimiento, "the dragon" so named because of the shape of the lake. It is a very popular resort area for boating, fishing, swimming and vacationing. Another popular lake destination is the nearby Lake San Antonio. Also within a 25-30 minute drive are the coastal towns of Cambria and Morro Bay and Hwy 1 which offers some of the most beautiful coastline and beaches in the world and home to the famous Hearst Castle.


text:
Q: Spring boot running fine, but not its Jar? I've build this application using in-memory H2 database.
If I run mvn spring-boot:run it starts Tomcat on port 8081 and I can use the url localhost:8081/Patients just fine and able to interact with the database.
If I run mvn package and then java -jar the jar file from /target, it starts Tomcat on port 8081 and the above url returns 404. The message shown is as if it's not finding the resource, which is a jsp file.

There was an unexpected error (type=Not Found, status=404).
  /Patients/WEB-INF/views/patient/welcome.jsp

I'm trying to build this application that can live on it's on, but not sure what I'm missing.

pom.xml

<?xml version="1.0" encoding="UTF-8"?>
<project xmlns="http://maven.apache.org/POM/4.0.0" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"
    xsi:schemaLocation="http://maven.apache.org/POM/4.0.0 http://maven.apache.org/xsd/maven-4.0.0.xsd">
    <modelVersion>4.0.0</modelVersion>

    <groupId>Paulo</groupId>
    <artifactId>Patients</artifactId>
    <version>0.0.1-SNAPSHOT</version>
    <packaging>jar</packaging>

    <name>Patients</name>
    <description></description>

    <parent>
        <groupId>org.springframework.boot</groupId>
        <artifactId>spring-boot-starter-parent</artifactId>
        <version>1.5.9.RELEASE</version>
        <relativePath/> <!-- lookup parent from repository -->
    </parent>

    <properties>
        <project.build.sourceEncoding>UTF-8</project.build.sourceEncoding>
        <project.reporting.outputEncoding>UTF-8</project.reporting.outputEncoding>
        <java.version>1.8</java.version>
    </properties>

    <dependencies>

        <dependency>
            <groupId>org.springframework.boot</groupId>
            <artifactId>spring-boot-starter-data-jpa</artifactId>
        </dependency>
        <dependency>
            <groupId>org.springframework.boot</groupId>
            <artifactId>spring-boot-starter-web</artifactId>
        </dependency>
    <dependency>
      <groupId>org.springframework.boot</groupId>
      <artifactId>spring-boot-starter-tomcat</artifactId>
              <scope>provided</scope>
    </dependency>
        <dependency>
            <groupId>mysql</groupId>
            <artifactId>mysql-connector-java</artifactId>
            <scope>runtime</scope>
        </dependency>
        <dependency>
            <groupId>org.springframework.boot</groupId>
            <artifactId>spring-boot-starter-test</artifactId>
            <scope>test</scope>
        </dependency>
    <dependency>
      <groupId>org.hibernate</groupId>
      <artifactId>hibernate-core</artifactId>
      <version>4.3.11.Final</version>
    </dependency>

    <dependency>
      <groupId>org.hibernate</groupId>
      <artifactId>hibernate-entitymanager</artifactId>
      <version>4.3.11.Final</version>
    </dependency>

      <dependency>
        <groupId>javax.servlet</groupId>
        <artifactId>jstl</artifactId>
      </dependency>
        <dependency>
            <groupId>org.apache.tomcat.embed</groupId>
            <artifactId>tomcat-embed-jasper</artifactId>
            <scope>provided</scope>
        </dependency>
        <dependency>
    <groupId>com.h2database</groupId>
    <artifactId>h2</artifactId>
    </dependency>
    </dependencies>

    <build>
        <plugins>
            <plugin>
                <groupId>org.springframework.boot</groupId>
                <artifactId>spring-boot-maven-plugin</artifactId>
            </plugin>
        </plugins>
    <resources>
      <resource>
        <directory>src</directory>
      </resource>
    </resources>
    </build>

</project>

application.properties

#spring.datasource.url = jdbc:mysql://localhost:3306/pauloaraujo?createDatabaseIfNotExist=true
#spring.datasource.driverClassName=com.mysql.jdbc.Driver
#spring.datasource.username = root
#spring.datasource.password = pauloaraujo
jdbc.driverClassName=org.h2.Driver
jdbc.url=jdbc:h2:mem:myDb;DB_CLOSE_DELAY=-1
server.port=8081
server.contextPath=/Patients
# Show or not log for each sql query
spring.jpa.show-sql = true

# Hibernate ddl auto (create, create-drop, update)
spring.jpa.hibernate.ddl-auto = create

# Naming strategy
spring.jpa.hibernate.naming-strategy = org.hibernate.cfg.ImprovedNamingStrategy

# Use spring.jpa.properties.* for Hibernate native properties (the prefix is
# stripped before adding them to the entity manager)

# The SQL dialect makes Hibernate generate better SQL for the chosen database
spring.jpa.properties.hibernate.dialect = org.hibernate.dialect.MySQL5Dialect

spring.mvc.view.prefix: /WEB-INF/views/
spring.mvc.view.suffix: .jsp

EDIT:
I learned that Tomcat doesn't hand executable jars with JSPs, then I changed my packaging to WAR.
I ran java -jar mywar.war and the result is that Tomcat is on port 8080 and the message is

There was an unexpected error (type=Not Found, status=404).
  No message available

A: Check the logs, if you have any, otherwise add logback, so you will have logs.
Couple of things I noticed:

*

*remove <scope>provided</scope> from Tomcat starter and from tomcat-embed-jasper, these are needed with compile scope.

*Remove the version number from your Spring dependencies, the parent is there to provide the versions.

*Tomcat is not able to handle jsps in runnable jar. Read up on "executable war" (you need war packaging).


This entry was posted in Future Releases, Media on April 24, 2019 by admin.
Bandai Namco Entertainment Co., Ltd. (April 9, 2019) today announced the production of a smartphone game application based on the racing hobby "Mini 4WD" released by Tamiya.
This was revealed today at the "Mini 4WD Media Meeting 2019" held in Tokyo . Under the supervision of Tamiya and "Colo Koro Aniki" editorial department , it is said that it is under active development aiming at "the fastest mini 4 wheel drive application to give to all mini 4 racers" .
The part of the Mini 4WD that appears in the game is that the real thing is being read as the real thing is read by the 3D scanner and the SE (sound effect) such as the running sound has the actual sound recorded Is listed as a focus point. Specifically, please check the slides listed below.
Also, a gameplay movie has been released.
You can check the machine settings and race patterns, so don't miss it.
at "Mini 4WD Media Meeting 2019"!
Bandai Namco Entertainment Co., Ltd. is a racing hobby "Mini 4WD" with a total length of about 15 cm currently on sale from Tamiya Co., Ltd. at "Mini 4WD Media Meeting 2019" held at the Tamiya Plastic Model Factory Shinbashi store on April 9 Announced the creation of a new game application for App Store / Google play.
The state of production announcement at "Mini 4WD Media Meeting 2019" is here!
Scene presented at "Mini 4WD Media Meeting 2019".
This work is currently under intense development, aiming for the fastest mini 4WD application to be given to all mini 4 racers in this powerful team under the full supervision of Tamiya Kokoro Koro Aniki editorial department.
Attention points of the announced app!
In the announcement, we introduced the attention points of the app under development.
Mini 4WD parts scan the real thing with 3D scanner, SE such as running sound is recording the actual sound and pursues the realism!
Both race and machine setting aim for a realistic mini 4WD experience!
The latest app video under development is also released!
In addition, we also released the latest app video under development.
In the video, from the machine setting to the race, part of the app play is released! This is still open so please take a look!
This entry was posted in Future Releases, Media on April 16, 2019 by admin.
This entry was posted in Future Releases, Media on April 7, 2019 by admin.
This entry was posted in Future Releases, Media, Reviews on March 29, 2019 by admin.
Our 1/14 scale R/C model of the Volvo Globetrotter FH16 6×4 Timber Truck is the talk of the R/C truck world, and we are pleased to support your trucking with the provision of templates for the creation of papercraft logs to give your model that extra realistic look!
This entry was posted in Customized Builds, Media on March 27, 2019 by admin.
This entry was posted in Media on March 22, 2019 by admin.
This entry was posted in Customized Builds, Future Releases, Media on March 19, 2019 by admin.
We introduce the history that spans many years from Taisho to Heisei, with detailed materials and photographs. In addition, there are also many columns that make the tank unit feel more familiar. The activities of the Ground Self Defense Force can be understood well from a different point of view. In addition to the mark and origin of all tanks and reconnaissance units, a QR code that allows you to listen to the company song is also included. A4 size, 160 pages, issued by Defense Home Newspaper, 4,500 yen (excluding tax). It can not be purchased at general bookstores. Please contact Tamiya Shop Online or Defense Home Newspaper.
This entry was posted in Future Releases, Media, Vintage on March 15, 2019 by admin.


This silver, polycoated, utility grade, cloth tape offers excellent adhesion. It can be used for a wide variety of applications including packaging, vinyl repair, protection, waterproofing, patching, seaming and carpet laying. In 2" wide rolls.


text:
Local Author Experiences Life Along the Mississippi
KSMU | By Michele Skalicky
Published October 21, 2013 at 11:52 AM CDT
Hazel, a girl Harper met on her journey (Credit: Gayle Harper)
http://ozarkspub.vo.llnwd.net/o37/KSMU/audio/mp3/local-author-experiences-life-along-mississippi_70467.mp3
Gayle Harper was researching an article for Country Magazine about her travels on the Great River Road when she came upon a fact on the National Park Service's website that caught her attention.
"And it said that a raindrop falling into the headwaters of the Mississippi would travel the river for 90 days to reach the Gulf of Mexico," she said.
She knew immediately what her next project would be—she'd keep pace with an imaginary raindrop for 90 days as she travelled along the Mississippi, starting at the headwaters of the river and ending where it empties into the Gulf of Mexico in Louisiana. The raindrop's name? Serendipity. Harper plotted her journey on a map and decided which communities she would visit. E-mails to chambers of commerce and convention and visitors bureaus netted her free places to stay—like a tugboat converted into a B & B and even a mansion that she had all to herself.
Harper says each day of her journey from August to just before Thanksgiving in 2010 was magical.
"There is something really wonderful about the heartland and something really wonderful about the Mississippi River. It's America's greatest river, and it is deeply imbedded in our identity and our history, and there is just sort of an energy of aliveness and kind of a joy that exists all along the river," she said.
The people she met, according to Harper, were open-hearted and invited her into whatever was happening in their lives. She knew where she'd stay each night but other than that made no plans.
"I just wandered whatever back road seemed to be calling to me, and I met people everywhere, you know, in their yards and in cafes," she said.
And she even met someone when she was stopped in Minnesota early one morning for road construction.
"and the flag woman, you know, that stopped me--I was the only person there, and she stopped me and she was explaining, you know, why the delay, and she saw the camera on my seat and asked me about it, and so I told her what I was doing, and she was fascinated, and her son was a writer, and so we had this great conversation. And finally, I mean it took quite a while actually and finally the truck to lead me through came to get me, and she thumped my car kind of like a coach would thump a player, you know, and she said, 'you go girl. I'm going to be praying for you every step of the way,'" she said.
Harper says with so much discouraging news these days it's easy to believe our society is rampant with isolation and suspicion. But she says she learned on her journey that it isn't. She talks about the people she met and the experiences she had and shares photographs she took on her trip in her book Surrendering to Serendipity. It's ready for layout, design and printing, and, in order to accomplish that and to help her take a slide show about the journey back to the communities she visited, Harper has a Kickstarter campaign underway.
To learn more, kickstarter.com and search "Surrendering to Serendipity."

redpajama_set_name: RedPajamaCommonCrawl


Average power consumption of LG 24MK400H and information about other LG models with the same or similar average power consumption.
Maximum power consumption of LG 24MK400H and information about other LG models with the same or similar maximum power consumption.
Average power consumption of LG 24MK400H and information about models by other brands with the same or similar average power consumption.
Maximum power consumption of LG 24MK400H and information about models by other brands with the same or similar maximum power consumption.


A pc is an digital machine that manipulates information, or knowledge. It has the flexibility to store, retrieve, and course of data. It's possible you'll already know that you can use a pc to sort paperwork, send e mail, play games, and browse the Web. You may as well use it to edit or create spreadsheets, shows, and even movies. Then, by proving that no machine performing only those basic actions might decide whether or not or not a given proposed conclusion follows from given premises using Frege's rules, he was capable of conclude that no algorithm for the Entscheidungsproblem exists. Goodson then generated a community map to point out the place entrepreneurs had made investments, specializing in tech companies based in the course of the past 18 months.
Hey is the Intel Core i5-2500K Processor Appropriate with all of those motherboards? I am on a finances and am looking for a good gaming set as much as run at lest battlefield three on it. A buyer of mine lately wished to know why her footage appeared to have a layer of line impressions. We went via her printing course of and made some adjustments that cleared up the issue.
I've included this pill particularly for you in my listing of hot picks for this week. Go to Sizzling Pick 4 on this page. I've given some background information on the corporate and also an Amazon link where you'll be able to see the specs. It appears to be like like a very engaging tablet. Battery quality looks fairly good and it's got an IPS (Retina) display screen – just like the iPad. I haven't truly been in touch with this make, however the information about the corporate and the tablet appears to be like fairly good.
The non-material(soul) essence of human beings reside within the consciousness mediated via the neuronal connections of a cloth/biologic entity(mind). I posit that man, as with all sentient beings on earth, have dual consciousness i.e. the material/physical and the spiritual/ethereal. Man, amongst these sentient beings have been blessed, by way of the evolutionary creative course of, with a mind that not only manifest the inate dignity of man, but in addition sublimates his materials/physical verities to that of his religious/ethereal realities.
Additionally, when you can achieve a major efficiency increase by going with a SLI or Crossfire configuration, there will be stability advantages to simply going with single card. In different phrases, when you're keen to work together with your graphics card in terms of cooling and stability to get it where you want, then a twin setup could be the way to go; however, if you happen to don't wish to mess with it, then you possibly can nonetheless get great performance, at this price level, out of a single GPU.


text:
Māori raise thoughts as Election Day draws near
5:30pm, Sunday 14 September 2014. By Harata Brown
As Election Day draws near, a Māori Party-Labour coalition seems out of the question, despite most of Tāmaki Makaurau and Hauraki-Waikato wanting that exact thing.
However for the National Party an invite is still on the table for the Māori Party.
John Key says, "Look my view is that we've worked very effectively over the last six years they've got a lot of gains for Māori they've done a lot better being inside and around the table."
If the elections were to be held tomorrow, according to Māori Television's Reid Research Polls, the Māori Party would have three members of Parliament.
According to Political commentator David Jones, "I'll put it this way about Cunliffe and his Labour Party, they've won about four seats in the Māori electorates, and the point of his stance is that he wants to capture votes, which is dividing Māori."
"In the past few years, Māori have voted on the basis to increase the number of Māori in Parliament, and that's something Māori are striving for because if there are more Māori members of Parliament then Māori will have a greater voice."
For some voters in Tāmaki Makaurau, the most important issue to them is family violence.
David Jones says, "This is a big problem which impacts on all families, hapū, iwi and the community so the politicians must begin with whānau."
"This issue won't only hit Parliament, so it must be analysed and addressed from Parliament level, to whānau, hapū and communities throughout Auckland."
The biggest question on some peoples lips is whether or not Capital Gains Tax will affect Māori families.
David Jones says, "This Capital Gains tax policy released by Labour, is like a dog coming back to eat it's vomit as it was alright to begin with and then David Cunliffe was chewed up, so I think perhaps they should put Capital Gains to the side, because the traction is falling at a rapid pace."
Statistics NZ results revealed that only 21% of Māori can speak Māori. That's a decline of 5%. Te Kāhautu Maxwell was a member of Te Paepae Motuhake, charged with carrying out the review around the Māori language.
He says Te Mātāwai, part of the new Māori language strategy, is the solution.
Mr Maxwell states, "When analysing our current model, and trying to gain an understanding of all the various pools of Māori language funding out there, it became clear that the right hand has no idea about what the left hand is doing."
Tomorrow, three Te Tai Tokerau candidates will have it out on Kōwhiri 14's last debate, and it's there that Māori will have a better gage on all of the Māori electorates.
David Cunliffe
Hauraki-Waikato
Māori Party
Tāmaki Makaurau
Prisoners voting: "a right not a privilege"
Social Housing behind Tamihere mayoralty bid
Māori Television gets the vote
General roll grows more than Māori roll in electoral option
Can Labour make Northcote see red?
Māori voters opt for General Roll
Rangitāne prepare for Pūkaha's return


Tek Systems Walkin Drive For Freshers on 16th June 2018. Allegis Recruitment 2018 in Benguluru software engineer position. Candidates should have good knowledge on communications skills and oral skills . Interested Candidates can directly attend Interview through below mentioned address.


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With the holiday season almost here, retail stores are gearing up for the holiday rush. Planning sales, ordering inventory and hiring more staff are a few things on the to-do list. But, one thing that generally gets ignored is help with commercial cleaning Miami company.
For many stores, the number of shoppers visiting the store before the start of the holiday is close to that of all the other months included. Shop owners and managers prepare in the best way possible to provide quick services and inventory on the shelves, but there are many more things worth considering.
With all the foot traffic, floors have to be cleaned consistently, sometimes many times a day. Washrooms use also reaches its all-time high, and it is more vital than ever to ensure bathrooms are clean and have all the supplies stocked up. In addition, with it being cold and flu season, regularly disinfecting surfaces is necessary.
Employees falling sick during this busy season must be avoided, if feasible. Another issue is the uncountable hands touching mirrors and glass while shopping. Fingerprints and smudges, especially on the entrance doors are clear and give customers an impression that the business is not keeping up with the things.
Sadly, many businesses fall short on cleaning during this time of the year because staff is busy in other chores. Answering phones, un-boxing new inventory, re-stocking shelves and checking out shoppers etc. require everyone's complete attention, usually leaving cleaning as a low priority task. But, to make things run smoothly, it is a wise choice for a retail store to call in a commercial cleaning company to get through the busy season.
A Commercial Cleaning Miami Company ensures the washrooms are clean, the floors are spotless and the mirrors and glass are sparkling at the starting of each new day. Trash bins empties and counters cleaned off will make the employee and client experience a lot more positive. If you own or manage a retail store and need some help with commercial cleaning, during the holiday season, contact Pro Facility Services. We are a renowned and reputed name when it comes to cleaning in Miami, Broward and surrounding areas.
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text:
Neck Gaiters Work Just as Well as Face Masks for Coronavirus Protection According to New Research
When it comes to coronavirus protection, how do neck gaiters really compare to face masks?
A Duke University study conducted a few months ago found that they could apparently be worse than wearing no face mask protection at all! Does that sound absurd? If so, you're absolutely correct. This research study had quite a few flaws that we've written about extensively in other articles. Unfortunately, these errors didn't stop the media from propagating this misinformation.
Of course, you don't have to take our word for it. Instead, why don't we let a few renowned scientists weigh in on this topic? The results of a new study fly in the face of the now notorious Duke University study. It showed that neck gaiters not only work just as well as masks at stopping the spread of COVID-19 — but that they may actually be better than some cloth face mask options.
When Choosing a Face Mask, Check the Layers
After the Duke University study, neck gaiters got a bad rap. But that may be about to change. A new study discovered that the public may have been too quick to judge these versatile tube-shaped fabric coverings.
University of Georgia researchers emulated the same methodology as the Duke University researchers; they used a Class 1000 clean room, laser, and a 3D-printed box designed to reduce air particles. An adult male participant then tested 12 different face mask options: four two-layer cloth face masks, five single-layer neck gaiters, and three multi-layer neck gaiters. Just like the Duke Unviersity study, the participant said the phrase "Stay healthy, people" five times in each face mask option.
Single-layer neck gaiters reduced respiratory droplets by 77% compared to wearing no face mask at all. That's probably unsurprising to you — after all, who really believes that neck gaiters were worse than wearing no face mask at all? But the other results from the study were more astounding.
Two-layer face masks reduced respiratory droplets by an average of 81%, which wasn't much of an improvement over the single-layer neck gaiters. But don't worry, we've saved the best statistic for last: Multi-layer neck gaiters reduced respiratory droplets by 96%.
The study's authors wrote, "The level of protection provided by a face covering appears to be substantially driven by the number and quality of layers of material and not whether it's in the form of a gaiter or a mask."
Clearing the Air About Neck Gaiters
Duke University shouldn't take full responsibility for the misinformation surrounding neck gaiters. The media's misconstruing of the academic institution's caused a lot of the damage. In fact, this ended up being so detrimental and erroneous that one of the scientists behind the study came forward to clarify its findings concerning coronavirus protection.
"Our intent was not to say this mask doesn't work, or never use neck gaiters," explained Dr. Martin Fischer, a Duke University Chemistry associate research professor and co-author of the study. "This was not the main part of the paper... It was not a systematic study of masks... Seeing the media somewhat misquote and misinterpret the data was a big downer."
Suraj Sharma is a University of Georgia professor of polymer, fiber, and textile sciences. He's also a co-author of the institution's recent study on neck gaiters. He set out on this research to clarify misconceptions of the face coverings because he knew something was off about all of the conflicting recent information: "This didn't make sense to us. The type of material and number of layers should determine the efficacy of a face covering more so than the form factor. We wanted to put that thesis to the test."
While optimistic about neck gaiters, Sharma says that he and Tho Nguyen, a fellow University of Georgia professor and study co-author, were still surprised by the results. They honestly didn't expect multi-layer neck gaiters to outperform face masks. They concluded that "the reduction in respiratory droplets is driven by the material and the number of layers used, rather than the form factor of a mask or gaiter."
Another Study That Proves Neck Gaiters Work
In spite of the reputation damage done, the Duke University study did do one positive thing for neck gaiters: It drew more scientists' attention to this type of face mask protection. Virginia Tech, a leading authority on aerosols, conducted its own study on a 100% polyester single-layer neck gaiter and an 87% polyester, 13% spandex two-layer neck gaiter. Preliminary results show that both types of gaiters were effective at stopping 100% of large 20-micron droplets and 50% of one-micron particles. When the researchers doubled the single-layer gaiter, it blocked more than 90% of all aerosols.
While the tide seems to be turning for neck gaiters, there's still more work to be done to vindicate them. Sharma says the bans on them in some regions is an unfortunate matter and adds that "fighting this pandemic requires us to encourage everyone to wear face coverings, and excluding a very popular face covering is a mistake." With that said, Sharma hopes his research can help convince the CDC about neck gaiters' efficacy. As noted before, the CDC states that it hasn't received enough data to make a conclusive decision.
On the bright side, it seems that more studies are underway. And we have no doubt that they'll only help in clearing the name of neck gaiters even more. If you're in the market for a neck gaiter, Sharma recommends multi-layer versions or ones that can be folded into two layers.
Want to distribute anti-microbial treated neck gaiters and face masks that protect you from 99.9% of bacteria, viruses, mold, and fungus? Learn more here!


Any tattoo business owner or an individual master must know the appointment of each type of a machine. LUCKY TrueLiner RS-VB Collab 9 Tattoo Machine is a unit for creating contours of the images. Working, this TrueLiner device produces a sonorous "buzzing" sound. Do not perform large paintings with the liner. It works quickly making long strokes with 9 –18 Rl needles, and an artist can seriously damage the client's skin even leaving scars on it.
The purpose of this professional liner (contouring machine) is to hammer a pigment of a chosen color under the skin. The 200 grams device lets the master creating of a contour of a tattoo in one approach. Usually the machines of this type have less wraps of coils. For instance, this model has got 26 millimeters nine wraps. It shows a great speed, thus the client of a tattoo salon feels no pain. Rapidly penetrating into the picked square of the body, the paint (the ink) makes a clear line and never blurs. The unit's operating frequency is 130Hz.


text:
\section{I. Phonon calculations}\label{sec:ph}
To calculate thermal lattice disorder, we use the ``force constant approach'' \cite{Kresse:epl95s,vanGelderen:prb03s}. In this method, a (quite unrelated) supercell of the material making up the scattering region is constructed, the central atom is displaced by a small amount ${\bm \delta}$ and the forces induced on all of the atoms in the supercell by this displacement are calculated. As long as it is sufficiently small, the forces should be linear in ${\bm \delta}$ allowing them to be differentiated numerically to form second derivatives of the energy, the force constant matrix. By constructing Bloch sums of the force constant matrix for arbitrary wave vector $\mathbf q$, we obtain the dynamical matrix. Because of the strong screening in metals, the force field induced by displacing a central atom is short ranged. Using elements of the force constant matrix calculated with a $5\times5\times5$ supercell yields well converged phonon dispersion relations.

In practice, we use the \textsc{quantum espresso} density functional theory code \cite{Giannozzi:jpcm09s} based on plane-waves and pseudopotentials in combination with the Perdew-Burke-Ernzerhof form for the generalized gradient approximation to the exchange-correlation energy \cite{Perdew:prl96s}. The experimental lattice constants were used for all  metals. The calculated phonon dispersions for Cu, Pd and Pt are shown in Fig.~\ref{fig:s1}. The measured phonon spectra \cite{Schober:81s} are included for comparison and good agreement between experiment and calculation is found in all three cases. The Cu and Pd phonons were calculated without spin-orbit coupling (SOC). For Pt, we calculated the phonons with (red solid lines) and without (blue dashed lines) SOC. Because the interatomic forces are mainly determined by the Coulomb interaction between electrons and nuclei \cite{Baroni:rmp01s} and the main features of the electronic energy bands are not changed by including SOC, the results (are seen in the figure to) lie on top of one another.

\begin{figure}[b]
\includegraphics[width=1\columnwidth]{figs1}
\caption{Calculated phonon spectra for Cu, Pd and Pt along high-symmetry directions in the fcc Brillouin zone. The experimental data (black dots) are shown for comparison \cite{Schober:81s}. The calculated phonon dispersions of Pt with (solid lines) and without SOC (dashed lines) are nearly the same indicating that SOC has very little effect on phonon modes.}
\label{fig:s1}
\end{figure}

We checked that the density functional perturbation theory \cite{Baroni:prl87s} yields the same phonon modes as the force constant approach. The very good agreement between the calculated and measured phonon dispersions seen in Fig.~\ref{fig:s1} indicates that the harmonic approximation upon which both theoretical methods are based captures the most important physics. Should it be necessary to generate correlated lattice disorder including anharmonic effects as input to a transport calculation, first-principles molecular dynamics calculations could be used.

\section{II. Populating phonons and magnons}
Having obtained the phonon energies $\omega_{s\mathbf q}$ and polarization vectors $\bm{\varepsilon}_{s\mathbf q}$ by diagonalizing the dynamical matrix, we are able to populate the phonons in a supercell to generate a configuration of lattice disorder for a chosen temperature. Here $s$ denotes a particular normal mode. At a finite temperature $T$, the vibration of an atom $l$ about its equilibrium position $\mathbf R_l$ can be described by a linear superposition of all occupied normal modes,
\begin{eqnarray}
\!\!\!\!\!\!\!\!\!\! \mathbf u_l(T,t) = \frac{1}{\sqrt{N_qM_l}}\sum_{s\mathbf q}\bm{\varepsilon_{s\mathbf q}}A_{s\mathbf q}(T)e^{i(\mathbf q\cdot\mathbf R_l-\omega_{s\mathbf q}t+\phi_{s\mathbf q})},\label{eq:displace}
\end{eqnarray}
where $N_q$ is the number of wavevectors $\mathbf q$ compatible with the lateral supercell used for the scattering region and $M_l$ is the mass of atom $l$. $\phi_{s\mathbf q}$ is a random phase of the normal mode $\omega_{s\mathbf q}$; varying it allows us to generate different configurations of thermal disorder. In our frozen thermal disorder picture, we can set the time $t$ to be zero without loss of generality. The vibrational amplitude $A_{s\mathbf q}(T)$ is determined by  occupying the phonon mode at the temperature $T$ according to quantum statistics. Specifically, the quantity $\omega^2_{s\mathbf q}A^2_{s\mathbf q}/2$ should equal the total energy contributed by the $s\mathbf q$ phonon mode.

Magnon modes for bulk Fe are calculated using the ``frozen magnon method'' introduced by Halilov {\it et al.} \cite{Halilov:epl97s,*Halilov:prb98bs} and populated as a function of temperature to generate snapshots of correlated spin disorder by analogy with the phonon case. At a temperature far below the Curie temperature, the occupation of a magnon mode $\mathbf q$ results in a small polar angle $\theta_{\mathbf q}$ of local magnetic moments with respect to the global quantization axis, i.e.,
\begin{equation}
\frac{M_s}{2g\mu_B}\langle\theta^2_{\mathbf q}\rangle=\frac{n_{\mathbf q}(T)}{N_q}.\label{eq:theta}
\end{equation}
Here $M_s$ is the saturation magnetization, $g$ is the Land{\'e} $g$ factor for the electron, taken to be 2, $\mu_B$ is the Bohr magneton, $\langle\rangle$ denotes thermal averaging and $N_q$ is the total number of magnon modes. The temperature-dependent occupation of the magnon mode $n_{\mathbf q}(T)$ follows Bose-Einstein statistics. The final polar angle of the magnetic moment on every atom results from the linear superposition of $\theta_{\mathbf q}$ for all contributing magnon modes.

\section{III. Numerical details}
The Kohn-Sham potentials in the atomic spheres approximation (ASA) are calculated self-consistently without SOC using the tight-binding linear muffin-tin orbital (TB-LMTO) method \cite{Andersen:prl84s,*Andersen:prb86s}. Experimental lattice constants are used throughout. For the slab of collinear Ni$_{80}$Fe$_{20}$ binary alloy sandwiched between Cu leads, ASA potentials for Ni and Fe are calculated without SOC using the coherent potential approximation \cite{Soven:pr67s,Turek:97s} combined with a surface Green's function method \cite{Turek:97s} which is also implemented with TB-LMTOs. In the surface Green's function calculations, the two-dimensional Brillouin zone corresponding to an fcc (111) 1$\times$1 interface unit cell is sampled with a 120$\times$120 grid of k points.

SOC makes a negligible contribution to the self-consistent Kohn-Sham potentials and is taken into account adequately in the transport calculation using a Pauli Hamiltonian approach \cite{Daalderop:prb90as}. Such a perturbative treatment has been successfully applied in first-principles calculations of Rashba splitting \cite{Bihlmayer:ss06s}, Dzyaloshinskii-Moriya interaction \cite{Bode:nat07s}, and our own calculations of magnetocrystalline anisotropy \cite{Daalderop:prb90as}, resistivity and magnetization dissipation \cite{Starikov:prl10s,Liu:prl14s,Yuan:prl14s}. For the same reason, the magnon dispersion is calculated without SOC because it is essentially determined by the exchange interactions; the magnetic anisotropy energy of Fe and Ni$_{80}$Fe$_{20}$ is tiny and can be safely neglected.

\begin{figure}[b]
\includegraphics[width=1\columnwidth]{figs2}
\caption{Area resistance of Pt calculated as a function of the length of the diffusive Pt (black dots) using a $5\times 5$ lateral supercell. The disordered region of length $L$ is connected to two semi-infinite perfectly crystalline Pt leads and was constructed by populating phonon modes using $T=300$~K. The red bars show the average values and the standard deviation from averaging over more than five random configurations at every length. The solid blue line is the linear least squares fit. The empty green diamonds are resistances calculated by integrating the configuration averaged transmission over the energy window defined by $-\partial f / \partial \varepsilon$ where $f$ is the Fermi-Dirac distribution function with $T=300$~K. The error bars for the diamonds are smaller than the symbol size and hence not shown. }
\label{fig:s2}
\end{figure}
The scattering matrix is determined using a ``wave-function matching'' scheme \cite{Ando:prb91s} also implemented with TB-LMTOs \cite{Xia:prb06s}. For magnetic materials at a finite temperature, the spin-dependent potentials are rotated in spin space \cite{Wang:prb08s} so that the local quantization axis of every atomic sphere conforms to the required spin disorder. The matrix elements of the Pauli Hamiltonian are evaluated using the local quantization axis. We performed numerical tests with lateral supercell sizes up to 10$\times$10 and found that good convergence could be achieved using 5$\times$5 and 4$\times$4 supercells for transport along fcc [111] and bcc [001] directions, respectively. The two-dimensional Brillouin zones of the 5$\times$5 supercell for fcc (4$\times$4 for bcc) metals are sampled with 32$\times$32 (28$\times$28) k points, which are equivalent to 160$\times$160 (112$\times$112) k points in the corresponding 1$\times$1 Brillouin zone.

As a typical example, we plot in Fig.~\ref{fig:s2} the calculated area resistance of Pt as a function of the length of the disordered region. The empty green diamonds show the resistance obtained by configuration averaging the transmission as a function of the energy and then integrating over the energy window defined by the derivative of the Fermi-Dirac distribution function with $T=300$~K (green diamonds) rather than $T=0$~K (red bars). The Fermi smearing has little effect, partly because the lattice disorder already smooths the density of states near the Fermi level so that the conductance varies slowly over an energy range of a few $k_B T$. For this reason, the scattering matrix was only evaluated at the Fermi level in the remainder of this work.

\begin{figure}[b]
\includegraphics[width=1\columnwidth]{figs3}
\caption{Resistivity of Fe calculated with lattice and/or spin disorder. $\rho_{\rm ph}$ (up-pointing, green triangles) is calculated with lattice disorder only, obtained by populating phonon modes while (a) $\rho_{\rm mg}$ (left-pointing, violet triangles) is calculated with spin disorder only, obtained by populating magnon modes.
$\rho_{\rm ph+mg}$ (solid blue squares), obtained with both lattice and spin disorder simultaneously, is seen to be greater than the sum $\rho_{\rm ph}+\rho_{\rm mg}$ (empty magenta squares).
(b) Instead of calculating spin disorder by populating the magnon spectra, $\rho_{\rm dm}$ (right-pointing, orange triangles) is calculated with spin disorder described using uncorrelated disordered moments. $\rho_{\rm ph+dm}$ (red solid circles) is  calculated with lattice disorder described in terms of phonons and spin disorder described in terms of uncorrelated disordered moments.  $\rho_{\rm ph+dm}$ is greater than the sum $\rho_{\rm ph}+\rho_{\rm dm}$ (empty black circles).
}
\label{fig:s3}
\end{figure}

Fig.~\ref{fig:s2} exhibits Ohmic behavior, i.e. the resistance is proportional to the length of the disordered region and a resistivity value of $\rho=10.0\pm0.3~\mu\Omega$~cm is extracted by a linear least squares fit. The extraction does not depend on the properties of the leads since the Sharvin resistance and other properties of the leads only contribute to the intercept of the linear fit.
The computing time scales linearly with the length of the scattering region and quadratically with the size of the lateral supercell. Calculating a single configuration of the longest scattering region shown in Fig.~\ref{fig:s2} requires about one hour on a supercomputer node with 32 cores and 256 GB memory; the calculation parallelized perfectly over the two dimensional 32$\times$32 k points summation.

\section{IV. Deviation from Matthiessen's rule}

For ferromagnetic Fe, we can examine the validity of Matthiessen's inequality by comparing the sum of the partial resistivities arising from lattice and spin disorder separately to the total resistivity obtained with both types of disorder present simultaneously. $\rho_{\rm ph}$ and $\rho_{\rm mg}$ in Fig.~\ref{fig:s3}(a) are the resistivities calculated with only phonons and magnons populated in the scattering region, respectively. The sum $\rho_{\rm ph}+\rho_{\rm mg}$ is smaller than the resistivity $\rho_{\rm ph+ mg}$ calculated with both phonons and magnons present simultaneously. The same conclusion can be drawn for the case using uncorrelated spin disorder depicted in Fig.~\ref{fig:s3}(b). Specifically, both $(\rho_{\rm ph}+\rho_{\rm mg})/\rho_{\rm ph+ mg}$ and $(\rho_{\rm ph}+\rho_{\rm dm})/\rho_{\rm ph+ dm}$ are about 0.9 in agreement with a very recent calculation \cite{Glasbrenner:prb14s}.

redpajama_set_name: RedPajamaArXiv


text:
Miners' deaths spark tears and anger: 208 safety violations, $16 mil. in profits at nonunion coal company
January 6, 2006	3:56 AM CST By George Edwards
TALLMANSVILLE, W.Va. — Working hard, playing by the rules, living your faith and building community can be fatal when mining coal in the Sago Mine, cited last year over 200 times for safety violations and generating $15.7 million for the International Coal Group (ICG) through the third quarter of 2005.
After a 40-hour vigil, hundreds of family members, neighbors and miners from other mines at first heard that 12 of the 13 miners trapped inside the Sago Mine were alive. Based on information from ICG, West Virginia Gov. Joe Manchin confirmed the report.
But hours later, joy turned to horror and then anger early Jan. 4 when Ben Hatfield, ICG's CEO, announced that 12 miners were dead and the one survivor — Randal McCloy, 27 — was in critical condition. Saying the company was sorry, Hatfield offered no explanation for the wrenching "mistake."
The first shift of coal miners was just going into the mine on the morning of Jan. 2 when an explosion, felt two miles away, ripped through the underground mine. Trapped, besides McCloy, were Fred Ware Jr., 59; David Lewis, 28; Jack Weaver, 52; Jim Bennett, 61; Alby Martin Bennett, 50; Terry Helms, 50; Marshall Winans, 49; George Hamner Jr.; Martin Toler, 50; Jerry Groves; Randall Simpson and one of their co-workers — 13 miners in all. ICG has refused to release the names of the trapped miners. The partial list is based on interviews and press reports.
A second crew of six miners barely escaped the blast.
Miners rushed to rescue the trapped men but were turned back by toxic gas.
Volunteer fire companies from the surrounding communities rolled onto the site. Rescue workers pulling truckloads of equipment soon joined them and caravans of trucks and drilling rigs continued all day Tuesday.
Phil Smith, communications director with the United Mine Workers of America, told Workers Independent News that UMWA rescue teams and safety experts were at the scene. "Certainly our prayers and our hopes are with the families," he said, before the bad news came.
Late Monday, rescue teams were finally able to enter the mine and begin their search. A robot preceding rescue workers to monitor air quality got bogged down in the mud inside the mine.
Families and friends from around this rural region gathered in the Sago Baptist Church, right across from the mine entrance, vowing to stay until they saw faces of their loved ones. With dignity, families clustered, sharing stories, their favorite play in the West Virginia University victory in the Sugar Bowl the night before and watching the army of media that descended on their community.
Gov. Manchin, whose uncle died in the 1968 Farmington, W.Va., mine explosion that took the lives of 78 fathers, brothers and friends, kept vigil with the families.
Nick Paglia of Stewardsville, Ohio, a 10-year veteran of underground mining and rescue worker, drove in to volunteer. "I prayed and God gave me the strength to drive down here," he said, his gaze never straying from the mine entrance, hoping for a sign, a signal that the miners were safe. "I do believe that something should have been done ahead of this. With all those safety violations — some of them only have a $200 fine. That's not correct. We need stiffer fines to force these [coal] operators to think about people's lives. I also believe a union would help. Right now, a miner doesn't have a leg to stand on. If you open your mouth, without a union, you have no back up."
Sago Mine is nonunion. A tangled web of bankruptcies, new ownership and a series of National Labor Relations Board rulings going back to the Reagan administration have forced miners to work underground without a union contract.
The Mine Safety and Health Administration (MSHA) told the Charleston Gazette that in 2004, the Sago Mine reported an injury rate three times higher than similar mines across the country. In 2005, the agency found 208 violations, fining the company $24,000 so far. The company has paid $14,500 of the $24,000. In the last six months, a dozen roof falls have occurred inside the Sago Mine. In the last three complete inspections, MSHA inspectors wrote up 180 violations and assessment of those fines is pending.
Mary Newton, her husband and brother were standing together watching, listening for word about her former husband, Terry Helms. "We'll stay here until I see his face," she said. "This may sound funny with all the rain and mud, but it is really warm here," she said. "The families, communities, people make it possible to deal with this. Keeps you from shaking. Most are sleeping in their cars or in the church. No one is leaving and more are coming in. It is so terrifying. The people make it possible to survive."
Helms, a 32-year veteran of underground mining, was later found to be among the dead.
Buckhannon, population 8,000, is just up the road from Tillmansville. All through town businesses replaced holiday greetings and "Go Mountaineers" signs with "Pray for our miners." Kandas Queen manages the Kroger grocery store. "Everybody has somebody who works in the mine," she said. "Uncles, brothers-in-law, fathers — it is our life, our roots. My dad worked in the mines. We fed about 50-60 rescue workers and Red Cross volunteers Monday night at the armory. They said they needed over-the-counter headache medication and we brought it. My zone manager is in the store now making soup. For as long as it takes. It is not about money or customers. It is about taking care of your neighbors."
Miners press Manchin to choose between them and the coal bosses
Shuler, UMW's Roberts, Warren: Private hedge funds destroy workers and companies
The time Rich Trumka brought 1,500 miners to Greenwich, Conn.
The Big Lie behind U.S. and NATO policy in Europe


text:
Prégilbert  es una población y comuna francesa que se encuentra en la región de Borgoña, departamento de Yonne, en el distrito de Auxerre y cantón de Vermenton.

Demografía

Referencias

Enlaces externos
 INSEE

Pregilbert

redpajama_set_name: RedPajamaWikipedia