… Discourses are (whatever else they may be) eminently pragmatic affairs: practical, instrumental, ends-oriented, "useful," "down-to-earth," governed by participants' perceptions and expectations, driven by participants' aims and desires.
… It is clear from the public reception of historical documentaries like Claude Lanzmann's documentary about the Holocaust, Shoah, and Ken Burns' acclaimed series for American public television, The Civil War, that popular audiences of historical documentaries are not particularly interested either in the complexity of the past or in explaining it. What they want more than anything (and what they generally find, if a historical documentary is at all "successful") is a powerful emotional "experience." This can be a vicarious experience or an aesthetic experience or an experience of belonging to a special group. In many cases, it is all of these. These considerations, in turn, appear to be rather remote from the concerns of academic historians. In other words, it appears that what academic historians "get out of" their studies of the past and what popular audiences mainly "get out of" historical documentaries are two completely different things, judged according to completely different standards.
… Historical documentaries, by and large, are supposed to be popular. This supposition entails a different set of standards — a set of standards that historians tend to dismiss because, as scholars in the academy, they are primarily engaged in a very different kind of discourse. What are we to make of these popular standards? Are they at all good? Or do they deserve to be dismissed?
On questions of good and bad or right and wrong we are all forced, in the end, to base our answers upon opinions. My opinion is that to simply dismiss popular standards, as historians tend to do, is both too pat and too simple. If people say, as many have, that watching Shoah helped them grow, or brought them closer to other people, or did something else that they regard to be beneficial to themselves, who am I — who is anyone — to discount or disparage their claims?
Critic Loudon Wainwright wondered why people bothered to attend Shoah at all, since the movie is so long, so painful, and dwells on so terrible a topic. When he asked, he found that the reasons people gave are varied and complex. Some were simply curious. Others felt somewhat guilty at having escaped the experience by accidents of birth or geography. Others had actually lived through the experience. But the one reason that people gave most often, Wainwright found, is that the film "keeps the memory alive." The viewers he questioned all seemed to regard this to be a powerful good of the film.
To the extent that people regard such things as good, I think we need to simply accept them as good. That does not mean that is all we need to do. Historians can teach another way of looking at Shoah that is not completely compatible with the way popular audiences tend to look at the film and one that accomplishes different sorts of objective. But they can do this in a way that holds out the possibility of alternative "readings" and enhances the total experience of the movie, without disparaging or diminishing popular readings.
… How should we treat the responses of "ordinary" viewers of historical documentaries, which tend to be predicated upon the notion that documentaries can somehow put us in touch with reality? For example, what are we to respond to the claims of people who feel that Shoah somehow truly reflects the "reality" of the Holocaust and truly keeps it "alive" in memory? Are these viewers being deceived? Are they wrong? In a strict sense, yes, they are deceived and wrong, since both the text and the memories it supposedly keeps alive are merely compelling constructs — creations, representations, "fictions." Still, it is my opinion that this answer is, again, both too pat and too simple.
The towering importance for human life of this kind of knowing lies in the fact that an experience that knows another can figure as its representative, not in any quasi-miraculous "epistemological" sense, but in the definite practical sense of being its substitute in various operations, sometimes physical and sometimes mental, which lead us to its associates and results. By experimenting on our ideas of reality, we may save ourselves the trouble of experimenting on the real experience which they severally mean.
Where we have no direct access to the real experience, as in seeking to comprehend the past, this kind of knowing is not only useful, it is indispensable. My conclusion, then, is that we would all do well to devote more attention to what viewers perceive popular historical documentaries to do (like "bringing the past to life") even if this means paying somewhat less attention to what historical documentaries do not do (like affording a scholarly view of the past) or that viewers do not perceive them to do (like advancing ideologies). It is in what people perceive in historical documentaries that one finds the most immediate and consequential possibilities of harm.
Discourses are (whatever else they may be) eminently pragmatic affairs: practical, instrumental, ends-oriented, "useful," "down-to-earth," governed by participants' perceptions and expectations, driven by participants' aims and desires. If we wish to understand historical documentaries as actual forms of discourse, we need not only to acknowledge this, we need to study the ways it is so.
… I must agree with [historian Michael] Frisch, in the end, that, to the extent that historical documentaries even appear to put us in touch with a real "living" past, they are "seizing an opportunity not nearly so accessible to conventional academic historical scholarship, whatever its virtues: the opportunity to help liberate for that active remembering all the intelligence [in the way Frisch defines the word] of a people long kept separated from the sense of their own past." That opportunity can no doubt be exploited for good or for ill, but it is an opportunity nonetheless.
I don't agree with Eitzen's argument. I find it interesting for making me think about why I don't agree with it.
… the skilled liar — a person who can make a convincing face — knows he is lying but feels he is telling the truth.
… humans are able to absorb and learn behavior so thoroughly that the new "performed" behavior knits seamlessly into ongoing "spontaneous" action.
… A depiction not merely of emotions, but of emotions that can easily be recognized, that can be composed and communicated — the raw material of theater wherever it is found — is also the stuff lies are made of. As Ekman points out the face is not only a truth-teller but a liar without peer. And lying, as much as truth-telling, is the stock in trade of theater.
Here the Ekman of 1972 does not yet know what the Ekman of 1983 found out: that the "mechanical" construction of a face in the configuration of a "target emotion" elicits an ANS response, i.e. an "experience." Thus lying is a very complicated business in which the skilled liar — a person who can make a convincing face — knows he is lying but feels he is telling the truth (see Ekman 1985). Exactly Nair's (and Brecht's) response. The half actor who "does not forget" himself is the knower; the half who "becomes the character itself" is the feeler.
… This would suggest, even, that a skilled performer has "three halves." Both the ergotropic and trophotropic systems are aroused, while the "center" of the performer, the "I," stands outside observing and to some degree controlling both the knower and the feeler. Clearly a complex operation engages both the cognitive and the affective systems simultaneously, without either one washing out the other. A similar "triple state" accompanies some kinds of trance, while in other kinds of trance the feelings may be so powerful that they blot out entirely both the "knowing half" and the "observing / controlling" half of the performer.
… The elephant bowing at the end of "his" act [in the circus] is not saying "thank you" although the spectators receive the elephant's behavior as such and applaud even louder accordingly. But how is what the elephant does different from what Laurence Olivier did when, in blackface, as Othello, raging "Down strumpet!" he takes up the pillow to murder Desdemona? The difference is that Olivier's knowing half knows he is just acting and as such controls his gestures so that he does not injure the actress playing Desdemona. Even more, Olivier feels and does not feel rage against that actress. Olivier is absorbed in the task of "performing the actions that communicate to himself and to his audience the emotions required." The whole bundle is necessary in order to understand this kind of acting. The Balinese dancer in trance is in a middle position. She might not know at the time that she has been dancing, that the dedari (gods) have possessed her. But before and after dancing she knows what trance is (in her culture), what the proper gestures are, what behavior is acceptable while in trance (even how far "out of control" to get).
… Performing artists are forever playing around — not only with the codes, frames, and metaframes of communication — but with their own internal brain states. Although artistic and scientific creativity have long been thought to be similar, there is this decisive difference: scientists focus their work on external phenomena; even a neurobiologist works on somebody else's brain. Performing artists — and, I would say, mediators, shamans, and trancers too — work on themselves, trying to induce deep psychophysical transformations either of a temporary or of a permanent kind. The external artwork — the performance the spectators see — is the visible result of a trialog among: 1) the conventions or givens of a genre, 2) the stretching, distorting, or invention of new conventions, and 3) brain-centered psychophysical transformations of self.
… Performativity — or, commonly, "performance" — is everywhere in life, from ordinary gestures to macrodramas. But theatricality and narrativity are more limited, if only slightly so. Differences in degree of magnitude do lead to differences in kind. Aesthetic genres — theater, dance, music — are framed theatrically, signaling the intentions of their composers to their publics. Other genres are frequently not so clearly marked — but this does not make them any less performative.
… There is a continuity of performance magnitudes, from interior brain events to bits of training and the making of signs and scenes — the deconstruction / reconstruction process of workshops and rehearsals — on to public performances of varying scales — the end point being performances of worldwide or even cosmic dimensions, such as the Olympics, the shooting down of KAL 007, or Lowry Burgess's Quiet Axis. Some of these are media events, some social dramas, some artworks. We have entered the epoch where a performance can be both a social drama and a media event, for example, the Iranian hostage crisis of 1980. However limited their magnitude at their points and moments of origin — a lone 747 trailed by a single fighter, an artist conceiving an artwork — they soon catch a larger audience. Some net hundreds of millions of people in narrative and symbolic macrodramas unique to our own times and technologies.
… To what degree does our very survival as a species depend on how peoples and their leaders "act," not only in the sense of comportment but also in the theatrical sense? Exactly how a crisis is "handled" — played out, performed — becomes a matter of extreme importance. This brings me back to a basic paradox: humans are able to absorb and learn behavior so thoroughly that the new "performed" behavior knits seamlessly into ongoing "spontaneous" action. Performance magnitude means not only size and duration but also extension across cultural boundaries and penetration to the deepest strata of historical, personal, and neurological experience.
Matisse is there as no one else is for ambitious painters in this moment: there as a fixed pole of quality as well as a guiding influence. More than any other predecessor, he establishes a relevant and abiding standard of quality; without being the greatest painter of the past, he tells us in our time, more pertinently than any other master can, what the art of painting is fundamentally about.
The personality of the artist fades into the radiance of his art. Matisse cuts no figure. He is not talked about the way Picasso is. There are no myths about him, no apocryphal stories to clear away. From most accounts, he was a cold man, and certainly a sober and posed one. It belongs to the success of his art that it makes the issue of coldness versus warmness irrelevant. In an age of crisis, but also of crisis-mongering, he produced an art that was seldom anything but serene. He was never distracted in his art by current events. Maybe this was a symptom of his coldness, but it was to the benefit of his art, and of art in general.
The course of Matisse's art was unique in a sense that the course of Picasso's was not. Picasso's was carried along in its best years by the unfolding logic of Cubism; Matisse's was not borne up by anything nearly so self-evident to himself. Fauvism had its own logic, to be sure, but that logic did not seem to be as compelling as that of Cubism was. After 1914, when Matisse came under Cubist influences, Fauvism seemed not just to have been superseded but to have been left unfinished, and it appeared all the more superseded and unfinished after 1917, when he returned to a way of painting much like that of the Impressionists in the early 1870s. Matisse was able, nevertheless, to maintain, and more than maintain, the qualitative continuity of his art without the supporting "logic" of a coherent style. His very best painting, perhaps, comes between 1914 and 1917. And in a way it is "styleless" painting, or at least it does not fall easily into any of the established stylistic categories of the twentieth century. If ever the continuity and coherence of a man's art were maintained in sheer quality, they were in Matisse's art in those years and in the years afterward.. The kind of painting he did in the decade after 1917 is not original in a major way; it does not advance the historical front of art. He shades and models with conventional-seeming grays and browns, and pictorial space is not handled differently than in Manet. The lambent, fragrant, yet sharp color in the pictures of this period does make a difference, but the revelation of this kind of color had come to Matisse years before; it was not new in principle. All the same, more than a few of these "unheroic" pictures are works of matchless perfection.
… I see Matisse's touch as the most constant factor of his style and quality. This may seem paradoxical, because he makes so little case of his touch in the ways in which touch, in painting, is usually exploited. He never uses impasto, he never kneads or mauls his paint, he never makes it juicy. What, however, he does use his touch for, with all the feeling it communicates, is to suppress that which might connote or suggest other attributes of being than visibility. Color is a matter of the eye's choice, but Matisse's touch goes a long way to carry out that choice. If his color sings, it's because his touch sings too. Very much depends on the exact pressure with which he puts brush to canvas and with which he moves it over the canvas. Very much depends on the fact that he soaks his brush with paint rather than loads it. The primed surface is covered with a fluid, not a stuff, and makes itself felt as one with its covering. Matisse knows also how to eploit the seen priming, which he sometimes lets show between his brush strokes in order to breathe air and lightness into his color. As far as I know, he was the first to do this deliberately (with Cézanne the naked priming, as much as it contributes to certain of his pictures, is evidence that the picture was not finished). Always, Matisse minimizes the tactile substance — the paint, the pigment — that bodies color forth; and his color becomes all the more vividly and intensely itself because it declares nothing but its visibility. Color dissolves all tactile associations, and tactile associations are dissolved in color — and yet in flat, not atmospheric, color: color that remains flat even when it is not opaque.
… The shape of the square confronts the silhouette of the amoeba.
… At the risk of grave oversimplification the impulse towards art during the past fifty years may be divided historically into two main currents, both of which emerged from Impressionism. The first and more important current finds its sources in the art and theories of Cézanne and Seurat, passes through the widening stream of Cubism and finds its delta in the various geometrical and Constructivist movements which developed in Russia and Holland during the War and have since spread throughout the world. This current may be described as intellectual, structural, architectonic, geometrical, rectilinear and classical in its austerity and dependence upon logic and calculation. The second — and, until recently, secondary — current has its principal source in the art and theories of Gauguin and his circle, flows through the Fauvisme of Matisse to the Abstract Expressionism of the pre-War paintings of Kandinsky. After running underground for a few years it reappears vigorously among the masters of abstract art associated with Surrealism. This tradition, by contrast with the first, is intuitional and emotional rather than intellectual; organic or biomorphic rather than geometrical in its forms; curvilinear rather than rectilinear, decorative rather than structural, and romantic rather than classical in its exaltation of the mystical, the spontaneous and the irrational. Apollo, Pythagoras and Descartes watch over the Cézanne-Cubist-geometrical tradition; Dionysus (an Asiatic god), Plotinus and Rousseau over the Gauguin-Expressionist-non-geometrical line.
Often, of course, these two currents intermingle and they may both appear in one man. At their purest the two tendencies may be illustrated by paintings of twenty years ago: a Supremist composition by Malevich and an Improvisation by Kandinsky. The geometrical strain is represented today by the painter Mondrian and the Constructivists Pevsner and Gabo; the non-geometrical by the painter Miro and the sculptor Arp. The shape of the square confronts the silhouette of the amoeba.
… In removing completely from the work all objects, 'the world is not separated from the spirit,' but is on the contrary, put into a balanced opposition with the spirit, since the one and the other are purified. This creates a perfect unity between the two opposites. There are, however, many who imagine that they are too fond of life, particular reality, to be able to suppress figuration, and for that reason they still use in their work the object or figurative fragments which indicate its character. Nevertheless, one is well aware of the fact that in art one cannot hope to represent in the image things as they are, nor even as they manifest themselves in all their living brilliance. The impressionists, divisionists, and pointillists have already recognized that. There are some today who, recognizing the weakness and limitation of the image, attempt to create a work of art through the objects themselves, often by composing them in a more or less transformed manner. This clearly can not lead to an expression of their content nor of their true character. One can more or less remove the conventional appearance of things (surrealism), but they continue nevertheless to show their particular character and to arouse in us individual emotions. To love things in reality is to love them profoundly; it is to see them as a micrososmos in the macrocosmos. Only in this way can one achieve a universal expression of reality. Precisely on account of its profound love for things, non-figurative art does not aim at rendering them in their particular appearance.
… The reaction of each stage is as important as the subject. For this reaction comes from me and not from the subject. It is from the basis of my interpretation that I continually react until my work comes into harmony with me. Like someone writing a sentence, rewrites it, makes new discoveries … At each stage, I reach a balance, a conclusion. At the next sitting, if I find a weakness in the whole, I find my way back into the picture by means of the weakness — I re-enter through the breach — and reconceive the whole.
… At the final stage the painter finds himself freed and his emotion exists complete in his work. He himself, in any case, is relieved of it.
… But what a price for this radiance, and how quickly must the debt be paid!
… In writing, which seems totally given over to the joys of its painted rooms, isn't there a captive who is shaking the door?
… if it is easy enough to verify, in the quiet of a study, that, in the ruins of the cogito, nothing remains but thousands of levels of the fleeting clouds of this language of which, for our passing moment, we are only a slight ruffling of the structures, a mere crinkle which we cannot pretend to entirely understand, it is nonetheless true that when we speak we say "I," and we say it in the urgency of our days and in the midst of a condition and of a place which remain, whatever may be their false pretenses or their groundlessness, both a reality and an absolute.
… while we must continue to study how the signifier ceaselessly fluctuates within the signs, it seems to me that we must also search for the way in which this élan that we are can affirm itself, in spite of being adrift in words, as an origin. What must one do, in other words, so that there still may be some sense in saying "I"?
… this excess in words over meaning is precisely what attracted me in my own case, when I came to poetry, in the snares of surrealistic writing. What a call, as if from an unknown heaven, in these clusters of lawless tropes! What energy, it seemed, in this unpredictable bubbling up from the depths of language! But once the initial fascination was over, I took no joy in these words which I was told were free. I had before my eyes another kind of evidence, nourished by other poets, the evidence of running water, of a fire burning peacefully in our daily existence, and of time and chance of which these realities are made, and it seemed to me fairly soon that the transgressions of automatic writing were less the desired surreality, existing beyond the too superficial realisms of controlled thought whose signifieds remain fixed, than a reluctance to raise the question of the self, whose richest potentiality is perhaps in the life that one takes on day after day, without illusions, in the midst of what is simple. What are all the subtleties of language, after all, even turned upside-down in a thousand different ways, next to the perception one can have, directly, mysteriously, of the movement of the leaves against the sky, or of the noise fruit makes when it falls into the grass?
[line break added to make this easier to read online] And always throughout this whole time I kept in mind, as an encouragement and even as a proof, the moment when the young reader opens passionately a great book and finds words, of course, but also things and people, and the horizon, and the sky: in short, a whole world given all at once to his thirst. Ah, this reader does not read, be it even in Mallarmé, as the theoretician of poetry or as the semiologist asks him to read! If he understands everything in the polysemies through comprehensive intuition, through the sympathy that one unconscious can have for another, it is in the great burst of flame which delivers to the mind — as formerly the negative theologies rid themselves of symbols, and as, when one raises one's eye at Tournus, one sees unity spring forth from what is elsewhere only space. Words are there for him, of course; he can feel the vibrations of the signifiers which lead him toward other words in the labyrinths of the signifier, but he knows that there is a signified amongst them, a signified which depends on no one of them in particular and on all of them at once, which is intensity as such. The reader of poetry does not analyze — he pledges to the author, his brother, that he too will remain in intensity. And soon he closes up his book, anxious to go and live out the promise. He has rediscovered a hope. And this is what gives us the right to think that one should not give up hope in poetry.
And yet is it not that I am trying to deny the capacity for self-deception, for spreading unreality which exists in the work of the greatest poets; and, come to this point, I even feel the need to denounce this vanity myself, convinced as I am that true power is found only where weakness also lies, and that power can only grow and have merit if it has first of all recognized this weakness through careful study.
… This impression of a reality at last fully incarnate, which comes to us, paradoxically, through words which have turned away from incarnation, I shall call image. Images, world-images — in the sense it seems to me that Baudelaire meant when he wrote, at the most tormented moment of his poetic intuition: "The cult of images, my great, my unique, my primitive passion." Images, the radiance which is missing in the grayness of our days, but which is allowed for by language when the unquenchable thirst of dream closes it back upon itself, when it kneads it like a mother's breast.
But what a price for this radiance, and how quickly must the debt be paid! What has been kept in the literary work is what suits desire, it is what leaves it time to drink; it is therefore an infinite, dreamt of within the very limits of things, of situations, or of beings — and it is what will be missing when we wake into real life, which has other laws.
… Holes thus appear in the intelligibility which subtends the worlds of speech, blackness in the clear skies of the image, even a complete tearing to shreds, no longer just of the hero in whom the poet is often reflected but of the very stage which had ben erected by his language, as in Phèdre — while words, sounds, rhythms, all the elements of prosody which one had seen working toward the unity of the poem reveal that they can just as easily attach themselves, in the emergence of forms, to what undermines their equilibrium and create a dissonance where one had believed that one was hearing harmony.
Now who is expressing himself in this way, who can envisage this failure in the midst of the world dreamt of by the literary work, if not someone who, though moved by this dream, yet refuses to consent to its potential for lying? In writing, which seems totally given over to the joys of its painted rooms, isn't there a captive who is shaking the door?
… In the very heart of writing, there is a questioning of writing. In the midst of this absence, something like a voice which persists.
What is the meaning of this persistence? At the very least that poets carry within themselves another idea of what has importance, or of what is, than the idea which emerges today from the investigations of the semiologist. In the very place where for the latter the writer's struggle with words reveals nothing but transitory structurations, shadows where the person speaking has nothing but a shadow to inscribe, there precisely the poets find something very different, since we see that they can sacrifice what they had taken for a more intense form of reality — and this in order to bear witness to an existence beyond, to a being, to a plenitude they don't even know how to name.
… if you have found any merit in my idea of poetry as war against the Image — against the claims of words, against the weight of what is written — you will also have granted me that the poet knows exactly what he is doing, or to put it better, can only be a poet precisely through knowing it. His task, which is to reestablish openness, as Rilke would have said, is necessarily a meditation on what encloses his speech. And this project aims, of course, not at words in a manuscript, but at ideas, at experiences in the practice of life, which commits him to a process of becoming that can be, in the case of the greatest poets, a process of spiritual maturation. At the height of its misgivings, poetry is nothing other than an act of knowing.
… At its highest point, of which one can at least have an intimation, poetry must certainly succeed in understanding that these images which, if made absolutes, would have been its lie are nothing more, once one overcomes them, than the forms, the simply natural forms, of desire, desire which is so fundamental, so insatiable that it constitutes in all of us our very humanity.
… if it is true, as our time believes, that subjectivity is from now on fracturable, and that poetry and a science of signs may be able to unite in a new relationship between the "I' which is and the "me" which dreams, what unexpected richness for hope all at once!
… we have grown all our limbs on the strength of the likings of our ancestors and adopt these without question.
… if we could solve the difficulty of knowing what gives us pleasure, if we could find its springs, its inception and earliest modus operandi, we should have discovered the secret of life and development, for the same difficulty has attended the development of every sense from touch onwards, and no new sense was ever developed without pains. A man had better stick to known and proved pleasures, but, if he will venture in quest of new ones, he should not do so with a light heart.
… the most important first principle in this matter is the not lightly thinking you know what you like till you have made sure of your ground. I was nearly forty before I felt how stupid it was to pretend to know things that I did not know and I still often catch myself doing so. Not one of my school-masters taught me this, but altogether otherwise.
… I should like to like Schumann's music better than I do; I dare say I could make myself like it better if I tried; but I do not like having to try to make myself like things; I like things that make me like them at once and no trying at all.
… To know whether you are enjoying a piece of music or not you must see whether you find yourself looking at the advertisements of Pears' soap at the end of the programme.
… Sigmund Freud, in Civilization and Its Discontents, suggests that civilization depends upon the delay of gratification. I might caricature this to mean that by denying myself a hundred million lollipops, I'll end up with a steam yacht … and go on to envision a perfect civilization entirely devoid of gratification. But every filmmaker must perforce believe in part of this cartoon, since filmmaking involves long delays, during which the work more than once disappears into the dark night of the mind and the laboratory. I remember, on the other hand, the first time I ever used video. I made a piece, a half-hour long, in one continuous take. Then I rewound the notation and saw my work right away. That was three years ago, and to tell the truth, some part of my puritanical filmmaker's nature remains appalled to this day. The gratification was so intense and immediate that I felt confused. I thought I might be turning into a barbarian … or maybe even a musician.
… We're all familiar with the parameters of expression: Hue, Saturation, Brightness, Contrast. For the adventurous, there remain the twin deities Vertical Hold and Horizontal Hold … and for those aspiring to the pinnacles, Fine Tuning. Imagine, if you will, the delicious parallel in painting: a canvas by Kenneth Noland, say, sold with a roll of masking tape and cans of spray paint, just in case the perceiver should care to cool the painting off, or warm it up, or juice it up, or tone it down.
The point is obvious. Everyman has video to suit himself, even to turning it off or on, at minimal expense and effort. I am tempted to see, from one household to the next, an adequation of the broadcast image to the families' several notions of the universe. What a shame it is, we must often suppose, that other people persist in having their furniture so poorly adjusted.
Were we but intelligent enough, we might recognize here a window into the individual mind as unique and valuable as that afforded us by the twenty-one-centimeter radio band into the universe outside our atmosphere.
… here was a man who did not enjoy reading books for pleasure or instruction, but who was pleased to use his eyes and his ears instead.
A certain experience of going to conferences where historians and professionals of the media — film and television — congregate has taught me that there are a number of fundamental "false problems" that have to be cleared out of the way before any intelligent discussion, let alone cooperation, is possible.
That this process should be undertaken is, I think, self-evident. For, at least on television, history has become big business.
… The first of these false problems (indeed the first two) can best be expressed in opposed propositions, as follows: the historian's main concern is accuracy; the producer of film and television is concerned with entertainment. The unspoken premise of the first proposition is that to be accurate is to be dull. The unspoken premise of the opposed proposition is that to be entertaining, it is necessary to distort or misrepresent. A good lie, so it is maintained, is always more entertaining than a dull truth.
The second set of propositions, in some sense, complements the first. They may be stated as follows: the historian (or more properly, the academic historian) is concerned only with words. Given his preferences he will lecture, and all the audience will see is a "talking head," that bogey of producers. The producer, by contrast, is really interested only in what appears on the screen, the visual impact of the medium. Given half a chance he will go after anything — provided that it is "good vision" (or good television) — irrespective of its relevance to the chosen topic. He will always prefer art nouveau "wallpaper" to the plausible, credible, narrative.
To call these "false problems" is not to deny that they can exist. There are always irresponsible ratings-bound producers. Indeed, when collaboration between historians and makers of documentary films for educational or television purposes began, one could collect encyclopedias of horror stories wherever proponents of either camp could be found in Britain. But in the last decade there has grown up, as a result of mutual experience and a sequence of conferences, a convergence of minds and a mutual comprehension of the technical problems, at least at the level of the producer and the historian. The problems the historian faces with the media at the time of writing are usually created by the administrators and policy makers, not by the producers and the cameramen.
… the media are administered by men of considerable sophistication, often highly educated, but of an education that in contemporary and recent history is usually a combination of out-of-date views and prejudices. It is embodied in the phenomenon of the amateur historian whose views were formed by the Left Book Club, an animal not tolerated for a moment in professional circles, who is rendered doubly intolerable by his monopoly access to the viewing audience conferred by the limited choices of television programs.
… The worst curse of the media, however, is the contempt shown by the top brass for the taste and judgment of their audience. Despite the abundant evidence of their own statistics that there exists an enormous television audience for mildly educational material, especially on subjects connected with recent and contemporary history, war history in particular, they are petrified by the fear that if anything intellectually above the children's history book market is shown on their screens there will be a mass rush of viewers into alternative channels.
… In the previous chapter Donald Watt examined this problem from the standpoint of the professional historian: I write as a producer of historical documentaries for mass audience.
Let me say right at the beginning that what seems to me to be at the heart of the matter is the question of the commentary, which is an integral part of every documentary: who should write it, how should it relate to the film, to whom should it be addressed, and above all, what should it contain?
Most television documentaries are fifty minutes long. So let us consider just how much can be said in fifty minutes. BBC newsreaders, who are professionally trained to speak rapidly and comprehensibly, talk at about 160 words a minute; this means that by talking nonstop they could deliver, in fifty minutes, a text not twice as long as this chapter [which is short]. But in fact, as a rule of thumb, competent documentary producers begin to worry when a commentary takes up more than about a quarter of a program's length. In other words, a commentary of between one thousand and fifteen hundred words is quite long enough — any more, and the film is liable to become a kind of illustrated radio program. It will appear to viewers as dense, overstuffed. They will be repelled, not informed. The consequence of this may be quite sobering to an academician: that is, whatever the writer wishes to say ought to be said in the equivalent of a single-page New Statesman article or a fifteen-minute lecture. There is no way around this. If he tries to say more, his audiences will understand less. They will, in time, simply switch off — figuratively or literally.
… Commentaries are intimately related to the images which they accompany, point up, explain, call attention to, make sense of. Because of their brevity, they cannot be in any real sense exhaustive or comprehensive. They need not even be coherent, in the sense that they need not unambiguously argue that one thing or another is the case. They do not lay down the line: they evoke. The one thing they cannot do with any hope of success is to use as their models such literary forms as the learned article, the public lecture, or even the popular journalistic review. They are not an independent literary form.
Moreover, since a great many significant events, processes, decisions, were never, could never, be filmed, the gaps in commentary may be dictated not by the writer's conscious decision — as would be the case if he or she were writing a brief article for a part-work — but by what is or is not available on film.
… to make a program for a mass audience is to make a program for an audience whose ordinary mode of apprehension is not literary. People who watch a great deal of television do not as a rule read many books; viewing and reading are for them mutually exclusive, not complementary activities.
That means that for most of the audience The World at War was not a complement to the memoirs of Albert Speer, the learned volumes of Captain Liddell Hart, or the speculations of Mr. A.J.P. Taylor; it was all they had. Many of my colleagues are inclined to dismiss or simply not understand those whose education does not equip them for the task, or the pleasure, of translating Alan Taylor's flights of fancy into sober assessments. They, I believe, fail utterly to understand what their job should be. It is not to furnish pictorial counterparts to the knowledge that their audience has acquired through its reading: it is to tell, and show — in a word, to do history for — people who do not, as a rule, read very much.
I confess that this understanding came late for me. An American ex-serviceman in his fifties told me after a projection of one of our programs how, through it, he had come to understand how his own job as a stoker on an American troop transport in the South Pacific helped shorten the war and so helped save Dutch Jews from extermination. My initial harsh reaction was to think, aghast, that if he had bothered to read even one popular account of the war in the past thirty years he would not have needed the film to reveal that to him. But a moment's reflection showed how wrong I was to think that way. The point was precisely that here was a man who did not enjoy reading books for pleasure or instruction, but who was pleased to use his eyes and his ears instead. No book about the war had struck his fancy — our films did. And our films were not made for book lovers who wanted more, they were made for film lovers who had little else.
… There is another, less obvious, point. Historians see one of their principal tasks as that of conveying information (those with literary skill, of course, delight in conveying information pleasurably). But producers of programs for mass audiences — and in this they do differ from producers for adult education programs or for schools — must be more concerned to convey their own enthusiasms. The form that their best efforts take is not "Here are some things you all ought to know about the Battle of Stalingrad" but rather "We are passionately concerned about the Battle of Stalingrad. If you will watch our program, we will try to share with you some of our passion and some of our concern." this is not a sentiment which, in my experience, informs the pages of the English Historical Review.
I have not said anything so far about the producer's use of historical evidence, a matter of evergreen concern to academics. This is because I think it is of only peripheral interest. If producers were making films for an audience of professional historians, they would work in quite different ways. But their films are not densely packed arguments, and they neither need nor use the kind of apparatus criticus obligatory in scholarly articles or even textbooks. If there is a literary analogy, it is not the doctoral dissertation but the reflective essay in which nothing is said recklessly but in which the flow of the text is not burdened with a scholarly apparatus either.
… Rather than despising and dismissing popular television for being what it is, still less trying to replace the mass television history of our day with their own mandarin versions, they should concentrate on doing their jobs as historians as well as they can, so that the history they write will be as good as it can be, so that the popular accounts which we provide will be as true as they can be.
… Drama arises where clarity of signal is needed most: where the risk is greatest and the stakes highest, where redundancy of signal is an advantage.
… Theatrical performances consist of ritualized gestures and sounds. These may be displays of non-daily behavior as in Kabuki, Kathakali, ballet, or the dances of Australian Aborigines. Or they may be replications of ordinary behavior as in naturalistic theater. Theater trades on recognizable moments and on sequences of behavior that succinctly "tell stories." I think all kinds of theater — that on show in theaters or churches, that of rites of passage, that of sports, that accompanying official displays of power, and that happening on a microsocial level in play and daily routines — comprise a single system of script, scenarios, disguise, displays, dances, impersonations, and scenes.
… The movie camera has given artists the ability to stop action, examine gesture frame by frame, go forward and backward, repeat, and study compositions as they condense and evaporate; these techniques have reshaped theatrical imagination. … The kind of ritualization [that "human ethologists"] study does not focus on social organization so much as on micro-gestures: glances, eyebrow flashes, smiles, hand gestures, shoulder lurches, pelvic thrusts, etc. To be alive is to dance.
… In my view drama is not a model of all human action, but of the most problematical, difficult, taboo, liminal, and dangerous activities. The theatrical actions vivifying drama are rhythmic, repetitive, exaggerated; the body adornments and physical deeds of theater are spectacular: everything in theater is ritualized, if we understand ritual the way ethologists do. Drama arises where clarity of signal is needed most: where the risk is greatest and the stakes highest, where redundancy of signal is an advantage. Drama, the narrative core of theater, links two basic human actions: 1) misunderstanding, a break in communication, a confusion of messages, a layering of ironies; 2) the violence that results when sexual and political desires collide; such violence (in farce as well as tragedy) often takes the shape of a rebellion against authority and decency.
… the dramatic event at the core of the performance is itself a ritualized way of presenting to the assembled community, the audience, "difficult" material. In this sense, every drama is a story enacted for those who are, directly or indirectly, the subject of the story they are seeing, who are doubly represented — as characters and as spectators. Or, as Geertz said of the Balinese cockfight, it is "a story they tell themselves about themselves." It is no accident that Shakespeare's plays are not only full of metatheatrical plays-within-plays and references to the stage but also thematically return again and again to questions of personal-vs-state interests. Or that nineteenth-twentieth century naturalist dramas focused on the disparity between individual needs (often sexual and creative) and the grinding routine of the socioeconomic order of things. It's been my experience that the more risky the actions dealt with in performance — the more physical the actions, the more taboos revealed or violated — the stronger the bonds formed among the group making the performance. The limits here are ethical: what the group itself, or its leaders, determine are the boundaries of what will be acted out. Gangs, even political parties, have in "real life" carried such bonding to grisly extremes.
… In humans as in other animals, separating in-groupers from out-groupers gives rise to two complementary conflict systems: 1) aggressive conflict against outsiders ("not my people"): 2) aggressive solidarity for insiders ("my people"). These two systems express themselves everywhere, but especially in war, business, and sports.
… Conflict-resolution systems — mediation, courts, and diplomacy — try to convert the first kind of aggression into the second: widening the circle of insiders. Often the conflict-resolution process is a mirror or reduction-transformation of the conflict to be resolved: a theatrical playing out of the conflict.
In human theater the subject matter and actions include the most horrible deeds; bloody conflicts between people, gods, beasts, and demons; war and murder; atrocities; torture: every violent action imaginable. But all this is acted out as ritual and/or play. This is because redirected behavior and displacement activities in people create complicated sequences of transformations, different in each culture, maybe in each individual, but interculturally recognizable as make-believe. Audiences can enjoy watching/participating and performers can enjoy playing out what otherwise would be dangerous, forbidden, or inhibited. Acting out the troubles of Oedipus, the murders of Macbeth, the adventures of Rama, the crucifixion of Jesus, the struggle of a shaman against the disease-causing demons, the farces or informal courts of the Kogu all yield great pleasure. In serious drama or tragedy as well as farce, the pleasures derive from the excess of energy released when obstacles to seeing/participating in taboo actions are suddenly removed.
… Caro's art is original because it changes and expands taste in order to make room for itself.
"Breakthrough" is a much-abused word in contemporary art writing, but I don't hesitate to apply it to the sculpture in steel that Anthony Caro, of London, has been doing since 1960. During the fifties, abstract sculpture seemed to go pretty much where David Smith took it. None of the promises made by other sculptors during that time was really fulfilled; some of them produced good things, but the good things remained isolated, did not add up. Caro is the only sculptor who has definitely emerged from this situation and, in emerging from it, begun to change it. He is the only new sculptor whose sustained quality can bear comparison with Smith's. With him it has become possible at long last to talk of a generation in sculpture that really comes after Smith's.
Caro is also the first sculptor to digest Smith's ideas instead of merely borrowing from them. Precisely by deriving from Smith he has been the better able to establish his own individuality. Unquestionably, he was led to the use of ready-made materials by Smith's example, which may also have shown him how it was possible to achieve "free" effects with geometrical elements. But Caro's sculptures invade space in a quite different way — a way that is as different almost from Smith's as it is from Gonzalez's — and they are more integrally abstract. Caro is far less interested in contours or profiles than in vectors, lines of force and direction. Rarely does a single shape in Caro's sculpture give satisfaction in itself; the weight of his art lies preponderantly in what Michael Fried calls its "syntax," that is, in the relations of its discrete parts. In his catalogue text for the first show of Caro's post-1959 work at the Whitechapel Gallery in London in September and October of 1963, Mr. Fried writes: "Everything in Caro's art that is worth looking at — except the color — is in its syntax." This emphasis on syntax is also an emphasis on abstractness, on radical unlikeness, to nature.
No other sculptor has gone as far from the sculptural logic of ordinary ponderable things. Certainly not Calder, whose mobiles so obviously evoke plant forms with their spinal and nodal symmetries. Symmetry enters Caro's art too, but only at the last moment as it were, surreptitiously and indirectly. Planar and linear shapes of steel (there are no solidly enclosed volumes in Caro's vocabulary) gather together in what the surprised eye takes at first for mere agglomerations. Seldom is there an enclosing silhouette or internal pattern with readily apparent axes and centers of interest; these, when they emerge, do so tangentially and ex-centrically. That the ground plan will at times echo as well as interlock with the superstructure or elevation (as in the superb Sculpture Two of 1962) only renders the unity of a piece that much harder to grasp at first. Yet just those factors that make for confusion at first make most for unity in the end.
… It ought to be unnecessary to say that Caro's originality is more than a question of stylistic or formal ingenuity. Were it that it would amount to no more than novelty, and taste would not, in the event, find itself so challenged by it. Caro's art is original because it changes and expands taste in order to make room for itself. And it is able to do this only because it is the product of a necessity; only because it is compelled by a vision that is unable to make itself known except by changing art.


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Alexander Marsh
Office of Competitive Fellowships
Carolyne Mesa
Grace Anderson
Rebekah Rodriguez
Katherine Patterson
Kristina Gusty
Mark Leone
Melissa Sutter
Roxana Ruiz
Spring Olivares
Ever since catching his first rattlesnake at age 13, Alex has had a passion for snakes leading him to being the first undergraduate recipient of the John Herman Biodiversity Studies Opportunity Scholarship endowed by Herman's family and later being one of the two first Goldwater Scholarship recipients at FGCU.
How did your mentors encourage and foster your research and academic trajectory?
My first mentor in college was Dr. Herman. He introduced me to true research, the value of it, and inspired me to continue the research I do. He sadly passed the summer after my freshman year. I was fortunate to have so many wonderful people help me out after this, but none have been more important than Dr. Gunnels and Matt Metcalf. They have had a major impact in the Peru research and continuing the rattlesnake research. The Peru research was a collaborative effort where everyone did their parts and equally contributed, so saying they encouraged "my" research would be wrong. This project is not "my" research and to say they both helped is a major understatement. This project doesn't just belong to me, Dr. Gunnels or Matt, it's equally all of ours. They did however help drive my passion for research and discovery. Without these three amazing professors I wouldn't be where I am at today and I most certainly would not have won the Goldwater. I will be forever grateful for everything they've done and continue to do to help me.
What does the OCF mean to you?
The Office of Competitive Fellowships have had played a huge role for me. It opened up so many opportunities for me, not only with scholarships, but with the fellowship community. I have been able to connect with many like-minded students that do incredible things on campus. Additionally, Dr. Terumi is amazing at what he does. He has helped so many students convert what they were already doing into winning competitive fellowships. He has been able to open up so many opportunities for the students in the OCF. I am so glad I came to Terumi and the OCF.
Alex Marsh (middle) with his mentors Dr. Gunnels (left) and Matt Metcalf (right)
What is the Goldwater Scholarship?
The Barry M. Goldwater Scholarship is one of the oldest and most prestigious national scholarships in the natural sciences, engineering and mathematics in the United States, seeks to identify and support college sophomores and juniors who show exceptional promise of becoming this Nation's next generation of research leaders in these fields. 2020 Goldwater Scholars by Institution State

redpajama_set_name: RedPajamaCommonCrawl


What is a Special Site?
"Hold on, we're almost to our special tree!"
Whether your woods are home to an important historic site, or just a meaningful spot where your parents or grandparents spent time, you hold a unique link to the past. Protecting these special places for the future is important, but it doesn't have to be costly or difficult.
With some information and a little planning, you can preserve a piece of America's heritage for generations to come.


When a friend first told me about the HCG diet, I was very skeptical. I work in the medical field and have seen so many "miraculous" diets come and go that I just figured this was another one of those. Later that day I decided to look up information on the diet and I read everything I could find. I kept in touch with my friend and was amazed at her results. I asked her about hunger feelings and fatigue and what other changes she had made. I finally called Dr. Bird to visit with him and ask him my questions. I then decided to try the diet myself. I actually lost 38 pounds in the six weeks and lots of inches. My tight clothing was actually way too big in just six weeks. Dr. Bird was always available to answer questions and offer support even though I live in another state. The great thing for me was that the diet did burn fat in the areas I needed to lose from. On previous diets I always loose from my bust first and my waist and rear end last. I actually lost inches in those areas right away. I felt good and am continuing to do well. I have a lot more weight to lose and I am anxious to start the next round.


Non-functional testing is done to ensure that a system/application meets the specified performance requirements. Here, by performance we do not only mean response time, but several other factors such as security, scalability and usability of the application as well.
Performance Testing: In order to ensure that the response time of a system is acceptable, performance testing is carried out. By setting up a considerable load and a production-sized database, the system is tested for response times of several business critical processes.
Load Testing: To check whether the system can sustain the pressure or load of many users accessing the system at one time, load testing needs to be carried out. The production load is replicated in the test environment in this case after which the application/system is tested.
Stress Testing: This testing is done to pull the system far beyond its capabilities and see how it reacts. Contrary to load testing in which the maximum allowable load is generated, in stress testing, the load generated is more than what the system is expected to handle.
Volume Testing: When storage requirements and capabilities of the system are to be tested, volume testing is done. When a huge database size is encountered, system's performance and its ability to exchange data and information are tested in this case.
Failover Testing: To test how well the redundancy mechanism works when the system encounters heavy load or unexpected failure is what failover testing is about. Also, when the specific failed system is back again, it must begin to function as per requirements – this is fail-back testing.
Security Testing: To test how well the system can preserve itself and the data it holds in situation of malicious attacks is called security testing. Confidentiality, integrity, availability, authentication and authorization are the main areas that are tested when security testing is considered. Also, network security, system security and application security are other areas that will be tested in this case.
Compatibility Testing: An application is tested for its coordination with different hardware and software that it is expected to work on. Another testing that can be done is working of the application with different versions or releases of the same hardware or software.
Usability Testing: To verify the ease of usage of an interface within an application is what usability testing is about. Learnability and memorability of the application are main factors in this case. This testing is particularly important when testing GUI.
Scalability Testing: When an application is tested for it ability to increase and scale up on any of its non-functionality requirements such as load, number of transactions, number of servers, volume of data etc., it is known as scalability testing.


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Home > Medical Services > Women's Health > Should you worry if you have dense breasts?
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Schedule your routine screening mammogram today.
Should you worry if you have dense breasts?
Massachusetts and more than 30 other states are now legally required to send mammogram patients notifications about the density of their breast tissue. But patients report the letters can be confusing – and unnerving.
Knowing why you are receiving the letter and what it means can help reduce anxiety surrounding these notifications.
"The first thing patients need to know is that dense breasts are common and normal," said Cape Cod Healthcare radiologist Anne Morris, MD.
There are four categories of breast density, according to Dr. Morris including:
Heterogeneously dense
Extremely dense
"About 50 percent of women have heterogeneously dense or extremely dense breast tissue, which makes it more difficult to find breast cancer on a standard 2-D mammogram," she said.
According to Dr. Morris, dense breast tissue and cancer both are white on a mammogram, so breast density notifications were intended by law to let patients know that radiologists may not be able to see cancer due to the density of their breast tissue.
"Women with dense breasts have a higher rate of breast cancer and should discuss their breast density status, its effect on their breast cancer risk, and the potential need for further screenings with their primary care physician," she said.
Understand Why
Breast density reporting laws originated with Nancy Capello, Ph.D., whose advocacy resulted in Connecticut passing the first bill in 2009.
"My dense breast tissue remained hidden in my medical records for 11 years," Capello said in an article on her web site, entitled Are You Dense? Exposing the best kept secret.
When she was diagnosed with stage 3C breast cancer, Capello was finally told that her mammograms had revealed dense breasts that put her at higher risk for cancer and made cancer more difficult to detect.
The Massachusetts notification law went into effect in 2015.
Breast density notifications are meant to inform, not cause alarm. Because they were new, unexpected and can be difficult to read, some confusion arose.
A JAMA article, Content, Readability, and Understandability of Dense Breast Notifications by State, concluded that all breast density notifications they looked at were hard to understand. They recommended post-mammogram letters be written in a way that clearly and accurately inform women about their density status.
A recent Massachusetts-based study of primary care physicians at two undisclosed urban hospitals showed that 49 percent did not feel prepared to respond to patient questions about dense breasts. And 85 percent indicated interest in further education on how to manage patients with dense breast tissue.
Finally, a study of Massachusetts patients led by Boston University concluded that women they talked with were confused about breast density after reading their breast density notification letters.
Tomosynthesis Mammography
Dr. Morris expected to get questions from patients when notifications started being mailed several years ago, but that has not happened. The hospital's approach to mammography may be the reason.
"We use the most advanced technology—tomosynthesis, or 3-D mammography—as the standard for screening mammograms," she said. "At Cape Cod Healthcare, nearly everyone gets a 2-D mammography to compare against their prior mammogram and a 3-D mammography using tomosynthesis.
"With 3-D, we are already performing the test that is commonly recommended for women with dense breasts."
Like conventional 2-D screening, 3-D mammography uses X-rays to produce images of breast tissue. However, unlike 2-D mammography, the 3-D machine moves around the breast, taking pictures at different angles in much the same way as a CT scan. The array of pictures creates a multi-layered, in-depth view. The extra dimension makes the tomosynthesis machine better at finding cancer in women with dense breasts, said Dr. Morris.
Only patients with tremors, those who have trouble holding their breath or who are unsteady on their feet are not good candidates for 3-D mammography.
Both 2-D and 3-D mammograms are available at Cuda Women's Health Center in Hyannis, Fontaine Medical Center in Harwich and at Seifer Women's Health and Imaging Center in Falmouth.
"I think it's huge for patients that we're able to find cancer early. We offer a better study using 2-D and 3-D mammography, which reduces unnecessary callbacks. A callback is when we need to call a patient to let them know they have had some abnormal finding. Most of the time it turns out to be nothing of concern, but callbacks increase anxiety," said Dr. Morris.
State-of-the-art FAST MRI, an abbreviated and more cost-effective version of the standard MRI, as well as ultrasound, are both available at CCHC for patients who require further evaluation.
Beginning with each patient's first mammogram, the hospital's team of radiologists, breast surgeons, oncologists, technicians, nurses, receptionists and patient navigators go beyond the breast density notification to provide personalized care.
"If someone is called back because of a suspicious finding, we walk them through every step. We try to give patients a little extra something so they don't feel alone," said Dr. Morris.
About the Expert
Anne Morris, MD
Anne Morris, MD is a radiologist who has been associated with Cape Cod Hospital since 2012. She is a graduate of New York Medical College in Valhalla, New York and completed a residency in Diagnostic Radiology from Lahey Clinic in Burlington, MA. She is board certified by the American Board of Diagnostic Radiology and is a member of Cape Cod Preferred Physicians.
View Physician Profile


I understand that you are requesting an additional review of your Zynga Poker chip loss.
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Since we can not verify the loss of your Zynga Poker chips, we are unauthorized to credit your Zynga Poker account.
The investigation for this claim is final and will not be reopened.
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I have been unable to conceive due to blocked fallopian tubes and was going crazy thinking I would have to undergo an expensive (and often not successful) surgery to unblock the tubes. I came across your webpage and read the testimonials and proceeded to buy the Serrapeptase 80,000 I.U with MSM.
I found out that my tubes are blocked this week. I ordered the medication off amazon and started yesterday. Please can you tell me how bad your tubes were and you came out successful? I have kids by my ex husband 18, 17,15 and 14 years of age. I got my tubes tied in 2001 and reversed in 2013 and from scar tissue from surgery caused my tubes to become blocked. Please what do you think? My fiancée doesn't have any kids and we really want a baby together.
No, that it but my recommendation is SerraPlus+ once the Serarpeptase is finish which I formulated especially for blocked tubes, scar tissue and breast Fibrosis.
Congratulations dear.l pray for you a healthy pregnancy. I'm trying for a baby for 4 years n no bfp.2 MC n one ectopic.right tube removed.i wish to try serrapeptase.so could you pls send me the link to order.
Wondering if I have any chance of my tubes being unblocked naturally, I have had 2 failed cycles of IVF, I have already been told both my tubes are blocked, I have been taking Serrapeptase for 1 month, my tubes have been blocked probably 15-20 years I am currently 40 years old and never been pregnant before.
As a alternative you can use the Serraenzyme 80,000iu, which will still have a beneficial effect.
Please also contact the health coaches at Good Health Coaching Centres, for full support and guidance throughout the plan. It is completely free, so nothing to lose. Just register for a call back at http://www.MyGoodHealthClub.com and one of our health coaches will contact you shortly, so we can help your friend on a more individual basis.
O took serrapeptase for two weeks 3 tabs a day. I started 4 months ago but stopped after only 2 weeks. I have been ttc for many years without success. Low and behold I am now a pregnant 45 year old. This is amazing. I still have tablets left over. Please get this if you have blocked or inflamed tubes. It's a miracle baby for me.
Hi Deana, that is wonderful news, congratulations and thank you for sharing your success story!
Hi I was wondering if this works if tubes are tied ..we want a baby so bad but can't afford a reversal..
Hi Nikki, it works if there is scarring in the tubes causing a blockage, but it is not able to help if the tubes are tied permanently.
Im Mitch from philippines, both Fallopian tubes are blocked due to hydrosalphinx, can you help me? Im getthing married this year.
Serrapeptase can help, as part of a full lifestyle plan, to unblock the fallopian tubes if scarring is present.
We recommend the Serraplus from http://www.goodhealthnaturally.com who ship worldwide.
Any update? Have you tried Serrapeptase?
Serrapeptase is a indeed a miracle.i had both fully blocked tubes after taking 4pills a day for 4months. My right tube had opened with perfect flow but left was half way clear. Im still taking the pills to fully open up the left tube for another 4months and start ovulation induction to get pregnant less expensive than IVF.
Please advise! Is serrapeptase safe to take while trying to conceive? If yes what dosage should i take?
Hello Natasha, yes serrapeptase is safe before, during and after pregnancy.
Hi Shan, it depends how he has blocked them. Serrapeptase is effective when scar tissue blocks the tubes, but if they are more permanently blocked by other means it may not be effective. Check with your doctor the procedure he has done and we can advise accordingly.
I want to ask if i can also use serarpeptase tp treat fibrpids?
I am 38 and my doctor has announced to me that i need to have embolisation to shrink the fibrpid.
I dont have any heavy bleeding, pelvic pain nor is my belly big.
I have just been trying to concieve for 6 months and i like to try alternative medication than surgical.
Hello Penelope, Hydrosalpinx may be caused if adhesions (which is scar tissue) or endometrial deposits (from endometriosis) irritate the fallopian tubes. Therefore, serrapeptase can be beneficial in helping to clear this blockage, as part of the full recommended protocol.
Hi Lisa, it isn't able to reverse the this procedure I'm afraid.
I have been trying to get pregnant for 10 months now and just notice my periods has been sticky,darker and stays longer, I went to a hospital and the scan revealed I had uterine myomas but it couldn't obstruct pregnancy. I was recommended for HSG which I haven't done. So can I still go ahead and take serrapeptease or go for the HSG first?
Hello Josephine, you are fine to start on the serrapeptase straight away as it will not affect the HSG.
I was wondering if serrapeptase will help heal if I only had my tubes burnt.
Hello Ant, serrapeptase has not been found to reverse tubal ligation with either burning, clamping or blocking.
Hello I just purchased the 120,000 unit to unblock tubes. How often should I take this medicine for positive results?
Work on 3 doses per day to begin with, at least 30 minutes before breakfast, lunch and dinner. Keep reviewing your progress and cut down to 2 per day after a month or two.
Hi,I'm 29 and I have been TTC for 6 years.I had blocked tubes but in angust 2017 I bought serrapeptese and took it for 4 months from August to 29th December 2017,on the 30th of December 2017 I had an hsg behold my left fallopian tube is extremely as in extremely open lol.I took 3 capsules 3 times a day.I will take for another 3 months but much higher dosage to try and open up the right one.happy new year.
Hello Kimberly, serrapeptase is a proteolytic enzyme which help to break down long chains of unwanted proteins or dead tissue into smaller parts for either reabsorption into the body or excretion as metabolic waste. This process goes fairly undetected by the body.
I have been ttc for 5years,I had hag done in 2015 and both tubes were blocked. Surprisingly,I got pregnant in August 2017 but has incomplete abortion in November 2017 and ended up having D/C done. I started taking serrapeptase 160,000iu in Feb 2018. Is there anything else I can do to improve my chances i' m 37. I started serrapeptase in January 2018.
Hi Attoh, serrapeptase can help clear the inflammation and scarring that can block the tubes, so is a good choice for you here. Ideally use the SerraPlus from http://www.goodhealthnaturally.com as the addition of MSM is also beneficial to clear the tubes.
Hi what if you have inflamed tubes can this work. It's cause by PID.
Hi Nae, yes we would follow the same approach for the inflammation, as serrapeptase helps target and reduce this inflammation brought on by the infection.
Hi found out my tubes are swollen cause by pid. Can serrapeptase help?
Hi Annessa, yes we would follow the same approach with the Serrapeptase.
I was told both tubes are blocked and damaged caused by PID from and infection in 2015 . They also mentioned scar pelvic tisssue .. doctor says my only option is ivf which i am totally terrified of and can not afford. I have had 4 MC in a row since 2016 . I have already ordered Serra do you think it would help with what's considered "damaged" tubes ? I will literally try ANYTHING that will help !!!
I had a Bilateral partial tubal resection will serrapeptase help me become pregnant I had it don't 5 years ago and now realizing it was a mistake.
Hi Tianna, no it is not able to reverse this procedure with serrapeptase.
I have partial obstruction of both fallopian tubes, twice a day I am taking Serrapeptase of 125k, is that correct?
Hi Monserrat, yes that is fine to continue on with and for best results, follow the recommended plan closely.
Can serrapeptase take care of intrauterine adhesion, caused as a result of uterine fibroid surgery, and what is the dosage to take.
Hello Amina, yes we would recommend serrapeptase to help tackle the adhesions. Go with SerraPlus, 2 caps 3 x per day, reducing to 1 x 3 after good relief.
Hello. I have the adiana birth control back in 2012. Were the scar tissue is wrap around my Fallopian tube. Will serrapetase work?
Hello Pat, serrapeptase would be a good choice to help clear this scar tissue, so we would advise to use it in this scenario.
Hello Fadon, serrapeptase works to help clear the blocked fallopian tubes, so is a good choice for you here. You can continue for as long as needed.
Hi, I m 40 diagnosed with hydrosaplinx distal just started taking Serrapeprase 120,000 once a day. Will this help or should I up the dosage?
Hi Kim, its generally advised to start on a higher dose and then work down, so take 1 cap 3 x a day if finances permit, and then drop down after 2-3 months.
Hello Love, serrapeptase will not regulate the cycle, for this have a look into herbs such as Vitex and Maca. Ensure the diet is as clean as possible, with no factory processed foods and sugars, and managed stress effectively.
Please can I take Fertilaid to regulate my cycle instead of Macao and vitex .
Yes these are just suggestions, so you can take a product of your choice.
Hello Juliette, yes continue with the serrapeptase, plus follow a healthy dietary and lifestyle regime to help improve your results.
Hello Jackie, you can start on the serrapeptase at any point, there is no issue with that.
I have endometriosis and a blocked fallopian tube. As there are different plans for both I am not sure which plan to follow to address both issues. Can you please advise?
No he podido concebir debido a las trompas de Falopio obstruídas y me estaba volviendo loca pensando que tendría que someterme a una cirugía costosa (y a menudo no exitosa) para desbloquearlas. Encontré tu página web y leí los testimonios y procedí a comprar Serrapeptase 80,000 UI con MSM.


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Attendance halved for Canadian men's WC qualifier in Hamilton
What was expected to be a capacity crowd of 24,000 for Canada's high-profile World Cup qualifier against the U.S. on Jan. 30 at Hamilton's Tim Hortons Field will now be restricted to 12,000.Game sold out in 3 hours last month »
Spurs are understood to have had a £15million bid rejected for the winger, who is under contract for this season and next.
James Ward-Prowse is the best free-kick taker in the world – Pep Guardiola
City will be wary of Ward-Prowse's threat on Saturday.
The Scot is in temporary charge of the Toffees.
BundesligaChampions LeagueEuro 2020CONCACAF LeagueCONCACAF Gold CupEuropa LeagueInternational FriendliesFA Community ShieldFA CupFIFA Confederations CupLa LigaMexican Primera (Apertura)Mexican Primera (Clausura)Ligue 1MLSNational Women's Soccer LeaguePremier LeagueSerie AUEFA Nations LeagueUEFA Super CupWomen's World CupWorld CupWorld Cup Qualifiers (EU)World Cup Qualifiers (NA)


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Follow CNN Politics
Live analysis: CNN's latest Democratic primary poll
Analysis by Harry Enten, CNN
Updated 7:49 a.m. ET, July 2, 2019
CNN released a new poll conducted by SSRS of the 2020 Democratic field after the first primary debate.
Joe Biden's lead has shrunk significantly, with him polling at 22% to Kamala Harris' 17%, Elizabeth Warren's 15% and Bernie Sanders' 14%.
CNN's Harry Enten took a look at what this new poll means for the 2020 presidential race.
7:49 a.m. ET, July 2, 2019
Tldr: Harris gets big debate bounce, while Biden's lead dwindles
Our new CNN/SSRS poll shows movement in the Democratic race after last week's debate. Following a weak performance in last week's debate, Joe Biden has dropped 10 points from 32% in late May to 22% now. Following a strong performance, Kamala Harris has jumped from 8% in late May to 17% now.
Coming in third place is Elizabeth Warren at 15%. Just behind her is Bernie Sanders at 14%.
No other candidate polled above 5%, including big fundraiser Pete Buttigieg, who rang in with just 4%.
Here are a few other takeaways from the poll:
Harris has seen a significant jump among black voters, while Biden has fallen. Biden declined from 49% in a combined sample of our April and May polls to just 36% now. Harris rose from 6% to 24% in the same period.
Only 8 of the 24 candidates (those listed above) and Cory Booker, Amy Klobuchar and Beto O'Rourke received the 2% necessary to use this as a qualifying poll towards the September debates.
A clear plurality of Democratic primary voters and Harris supporters prefer keeping private insurance as a competitor to a government run system than eliminating it.
Biden is still listed as the most likely to beat Trump at 43%, though that is down over 10 points from a Quinnipiac poll in late April.
Only 10% of Democratic voters think Harris is best Democrat on the climate crisis, and only 6% think she is best on the economy or health care, which suggests a potential weakness in her candidacy.
8:16 p.m. ET, July 1, 2019
Joe Biden's hope: Moderates
One positive thing Joe Biden can take away from our poll is that no other candidate seems to have an ability to break through with moderate or conservative voters. Among this group, Biden is ahead with 31%. The next strongest candidate is Harris with 11%.
Indeed, all the top polling candidates besides Biden do better with liberal than moderate/conservative voters. That's potentially an issue for non-Biden Democrats because about half of potential primary voters self-identify as either moderate or conservative. They're the group powering Biden's lead right now.
It shouldn't be too surprising that Biden is ahead with moderate/conservative Democrats. All the other candidates in double digits overall (Harris, Bernie Sanders and Elizabeth Warren) have very liberal congressional voting records. Biden's the only one whose record can in anyway be described as moderate.
The lack of choices that moderates have may explain why Biden's drop among moderate/conservative voters in this poll compared to last was only about half that of his drop among liberal Democrats. The lack of choices may also allow another candidate not polling in the top tier right now to rise. Failing that, however, Biden will be the only choice for voters looking for a moderate.
The lack of choices for moderate/conservatives also may explain why just 29% of them are very satisfied with their primary choices. That's far lower than the 47% of liberals who say so.
Issues are a weak spot for Kamala Harris
Kamala Harris' jump in our poll is almost assuredly because of the debates. We know this in part because Democrats overwhelmingly say she did the best of any candidate and because she saw a large jump in our poll.
But she's weak on the issues when compared to the other top candidates. Only 10% of potential Democratic primary voters say she is best to handle health care. That drops to 6% on the climate crisis and the economy. On all of these top issues, three other Democrats do better than she does.
The only issue on which Harris tops the field is race relations. That, of course, is directly tied to her debate showdown with Biden last week and isn't generally listed as a top issue for voters.
Having your campaign tied to a strong debate performance is good if you can follow up said performance with other strong performances. That's especially true when voters are looking for a candidate to take down Trump in a debate.
Debate bumps can be a dangerous game, however. I spoke about last week how Republican Carly Fiorina saw a large debate bump in 2015, while Donald Trump saw a large decline.
Unfortunately for Fiorina, she couldn't keep it up. We'll see if Harris is able to do so this year.
Elizabeth Warren probably surged before the debate
One of the more interesting facets of our primary poll is that we found Elizabeth Warren up to 15% from 7% in May. This might give you the idea that Warren is "surging" in part because of her debate performance.
I'm not sure that's exactly right.
There's no doubt Warren is higher than she was polling a few months ago. I just think there's good reason to think she was up in the polls before the debate.
In the middle of last month, Monmouth University had Warren at 15%. A Quinnipiac University poll in the first half of June likewise put Warren at 15%.
The Monmouth poll is especially noteworthy because all the other candidates (except Biden and Harris) seemed to match their latest CNN numbers closely. That's what you'd expect if you saw Harris as the big winner and Biden as the big loser of the debate.
If you examine the debate numbers, you get the idea that Warren wouldn't have gained majorly from her performance. Just 13% thought she did best in the debates. That was good enough for second best performance in the minds of those who watched or paid close attention to the debates. It was, however, well behind the 41% who believe Harris did best.
Kamala Harris is starting to put together an Obama/Clinton type of primary coalition
Many of the internals of our CNN poll look similar to polls past. Joe Biden does best among older and more moderate voters. Bernie Sanders and Elizabeth Warren do best among more liberal voters. Sanders also scores his best among younger voters. The list goes on and on.
But one thing that stands out is how Harris may be putting together a coalition that combines black voters and white voters with a college degree.
Harris pulls in 24% among black voters and 21% among white voters with a college degree. Among whites without a college degree, her support drops to 13%.
The ability to team up white voters with a college degree and black voters is very reminiscent to what Hillary Clinton and Barack Obama did in 2016 and 2008 respectively. Both lost white voters without a college degree by a significant margin in their respective primaries, though were able to win because of black and white college voter backing.
Black voters, of course, make up most Democratic voters in the south, while college white voters are ascendent within the Democratic coalition.
When it comes to the age breakdown, Harris does about equally well with those under 50 years old and those 50 years old and up. That's different than either Clinton (who had old people most on her side) or Obama (who had young people most on his side).
Democrats still think Biden is the most electable
The one thing Joe Biden still has going for him is voters think he is the most electable in a year in which voters are prizing electability. In our poll, 43% of potential Democratic primary voters say Biden has the best chance to beat Trump. That's significantly higher than Bernie Sanders (13%), Kamala Harris (12%) or Elizabeth Warren (12%).
While it's difficult to know which candidate will eventually be the most electable, you can understand why voters think Biden has the most crossover appeal.
Take a look at the net favorability (favorable-unfavorable) ratings among the top four Democrats among those voters who are not Democrats or Democratic-leaning independents.
Biden: -42 points
Harris: -46 points
Sanders: -57 points
Warren: -55 points
Biden, in other words, has the "best" rating among non-Democrats of the top contenders. Interestingly, Biden's net favorability rating is actually up 2 points from late May, even though his standing among Democrats has fallen. Harris' rating has also improved since about a month ago.
Meanwhile, the two candidates on the left part of the party, Sanders and Warren, have the worst rating.
It's not all good news for Biden on the electability front, however. Less voters think he is the most electable than previously. When Quinnipiac University asked potential Democratic primary voters who they thought had the best chance of beating Trump in April, 56% said Biden.
How the Democratic primary is like the Los Angeles freeways
You'll often hear the word "lane" thrown around when it comes to the primaries. For example, there is a liberal lane, a moderate lane, etc.
Our poll (as well as others) suggest that the 2020 Democratic primary is more like the LA freeway, with under and overpasses around and about. That is, there may be lanes, but they intersect each other quite frequently.
Take for example age and ideology. Biden does best among those age 50 and over at 28%. He gets just 15% among those under age 50. Biden scores 31% among those who call themselves moderate and conservative, while only taking in 12% among self-described liberals. (Harris is ahead with this group at 24%.)
Now look at those liberals age 50 and older. Biden jumps to 19%, which is good enough for first among this group.
Or perhaps, you want to look at age and race. Biden does somewhat better among all nonwhite voters at 25% than white voters at 20%. But when you break it down by age, you see Biden gets up to 26% among whites age 50 and older. He's at just 12% among white voters under 50. Among nonwhites voters 50 years and older, Biden gets over 30%.
The point is the effect of different demographic and political variables are not occurring in isolation. They all work together to form voter opinions.
Only 8 of 23 candidates get a qualifying poll for the September debate
The qualification requirements are about to get significantly tougher for making the debate stage. Instead of needing 1% in three qualifying polls to make the September debate (as in the June and July debate), candidates will need 2% in 4 qualifying polls released between June 28 and August 28.
Our CNN poll is the first poll candidates can use to qualify for the debate. As previously discussed, Joe Biden, Pete Buttigieg, Kamala Harris, Bernie Sanders and Elizabeth Warren all got at least 4% in our poll.
New Jersey Sen. Cory Booker, (3%) Minnesota Sen. Amy Klobuchar (2%) and former Texas Congressman Beto O'Rourke (3%) all also got to that 2% threshold.
No other candidate managed to reach that point.
Indeed our poll points to the trouble that a lot of candidates may have getting 2%. There were an additional four candidates (former Housing and Urban Development Secretary Julian Castro, New York City Mayor Bill de Blasio, Hawaii Rep. Tulsi Gabbard and businessman Andrew Yang) who got 1%. Beyond that, no one could even reach 1%.
It's one thing to get 1% by chance even when you don't have 1% of the Democratic primary electorate supporting you.
It's another thing entirely to get to 2% by chance alone.
Additionally, candidates will have only two months to reach that 2%. They'll need to do it four times.
Unless something changes, the number of debaters will shrink dramatically.
Biden leads among African-Americans, but Harris gains significantly
One of the more interesting facets of the Democratic primary campaign so far has been how Joe Biden, the former vice president to the first black president, has held a lead among black voters, even as two black senators are running.
Biden still leads with 36%, while Kamala Harris comes in with 24%. Elizabeth Warren and Bernie Sanders follow with 12% and 9% respectively. Warren and Sanders are about where they were in a combination of our April and May samples.
Biden's advantage though has definitely ebbed over the last few months. In our April and May combined samples, Biden led the pack among African-Americans with 49%.
Meanwhile, Harris was all the way back in fourth place with 6%. In other words, she's jumped about 20 points.
Harris' gain follows a significant uptick in endorsements from black lawmakers. Harris now leads Biden in endorsements from Congressional Black Caucus members.
Biden's drop follows last week's debate, when Harris called him out for how he spoke about segregationist senators and his past opposition to federally mandated desegregation busing.
Harris may have additional growth with black Democratic voters. More than 20% cannot form an opinion of her. Less than 10% cannot form an opinion of Biden. More black voters (29%) trust her on race relations than trust Biden (23%).
Interestingly, our poll shows no movement for the other African-American in the race, New Jersey Sen. Cory Booker. He pulls a mere 2% in the poll. That's actually down a statistically insignificant 2 points from an aggregate of our April and May polls.


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"Prayer is not overcoming God's reluctance, but laying hold of His willingness"—Martin Luther.
For the last several weeks, I have been drawn to a more committed and deeper prayer life. Often we think, as Martin Luther wrote, that our prayers are somehow needed to "move" a reluctant God. When in reality, we are simply acknowledging and "laying hold" of God's willingness. Do you see God as a willing person? Willing to listen? Willing to answer? Willing to provide? Willing to reveal and show His love to you? Is your "picture" of God one of a willing Father or a resistant and reluctant God?
Jesus had been with his disciples for some time now. They had witnessed him heal and deliver many people. They witnessed him repeatedly say, "I only speak what the father speaks," "If you have seen me, you have seen the father," "I and the Father are one." They also have witnessed him take time out of his demanding life and spend time in prayer. One day, upon returning from one of His prayer times, the disciples asked the Lord Jesus to teach them how to pray. Their request was, "teach us how to pray, as John taught his disciples!" Notice this request? There was something different about how John was teaching people to pray. Jesus disciples knew about "prayer" but they wanted Jesus to teach them about the prayers that John's disciples were praying. You see, up until this time, prayer was mainly one of reverence and adoration. Prayers, especially by the Pharisees and religious people, were known to be long and repetitious. In fact, Jesus warned us not to pray like this. So, what was different about these prayers?
In fact, immediately following the Lord's prayer, we see Jesus sharing a parable about a man who was rewarded for his persistence in asking for his need to be met. There was no rebuke, but a reward for his persistence! One translation says, he was rewarded for his "boldness." As a child of God the Father, learn to communicate with him through prayer. Exercise your faith, your boldness, your confidence, during these times of pray. Make your requests and needs known. For the Father's ear is always listening. We are, as Luther said, "laying hold of His willingness." Will you lay hold of it today? Will you be more consistent and persistent in your prayer life, because you know you have a willing Father who loves you. If so, you will begin to see the power of prayer in your every day life.


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Connecting a corrupted Flash stick, accessing a website that includes a Trojan or a rogue or downloading malware from email attachments, are just a few examples of how your computer can get infected. ZHPDiag is a software that allows to perform quick and complete operating system diagnosis. It scrutinizes the Base of registers and lists the sensitive areas that are likely to be pirated. It is based on a whitelist by module system that allows for shorter reports. It detects a large number of malware. It serves as monitor for the most common infections. At the end of report, a list of detection returns to profiles of the malware. No installation id required to use this tool.
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