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August 7, 2015 August 7, 2015 Sarah Crean Climate
New reasons for New Yorkers to be hopeful about national action on climate change
In the hours leading up to last night's Republican presidential debate, Governor Jerry Brown of California tweeted out the following question to prospective candidates: What is your plan to deal with the threat of climate change?
Despite the intransigence of the Republican Party on the issue of climate change, the results of two surveys released in the last few days offer a glimmer of hope about where the national conversation on climate change may be going.
It's not a moment too soon.
Federal inaction on climate change for the last quarter century has become almost surreal. News reports from the West, where devastating drought and historic wildfires are afflicting several states, point to a long-term crisis with no solution in sight. Governor Brown has drawn a direct line between California's 4-year drought and climate change.
The perimeter of the Almaden Reservoir in San Jose, California. January, 2014. Photo: Justin Sullivan/Getty Images
Why does this matter for New Yorkers? Because we won't be able to go it alone on climate change even if we want to. No matter how much we cut back on carbon emissions, our area sea levels and weather patterns will be increasingly impacted by the collective amount of CO2 in the atmosphere.
Picking up the pieces on Staten Island after Superstorm Sandy.
The wildfires this summer in California and other states are a case in point. One of the concerns -beyond the local devastation they are causing- is that they are releasing significant amounts of carbon into the atmosphere. Consider this analysis published in yesterday's Washington Post:
"Before 2000, there is no year on record with more than eight million acres burned across the U.S., according to figures going back to 1983 provided by the National Interagency Fire Center…
Since 2000, however, there have been six years with more than eight million acres burned, and three with over 9 million burned. And 2015, with nearly six million acres burned already — well above the ten year average for this time of the year — could potentially join this list….
It is becoming almost trite to state that this has something to do with climate change. Wildfire risks are strongly influenced by local climatic factors which, in turn, are trending because of changes to the global climate. Heat and dryness favor wildfires — that's why this year has fire-watchers so concerned, because western drought has been so widespread."
Where do Americans stand today on climate change?
According to the results of a Quinnipiac University poll released four days ago, U.S. voters support Pope Francis' call for action to address climate change by a 65 to 27 percent margin.
Marchers from Coney Island at the 2014 People's Climate March. Photo: Heather Phelps-Lipton
Even more interesting, a July, 2015 survey of Republican primary voters in New Hampshire and South Carolina indicates that there may be broader support than previously imagined for a pro-active national response to climate change.
The survey was commissioned by the National Resources Defense Council Action Fund and the League of Conservation Voters, and carried out by American Viewpoint, which is based in Alexandria, Virginia.
The survey found the following:
1.) The Republican primary electorate in New Hampshire and South Carolina is fairly conservative, yet they still show support for pro-environment policies.
2.) Republican primary voters want to expand the development of renewable energy sources, such as wind and solar; and they have mixed views about "traditional" energy sources, such as coal and oil.
Almost three-quarters of Republicans polled -both in New Hampshire and South Carolina- want the U.S. to increase its use of renewable energy.
And, almost three-quarters (72 percent) of New Hampshire Republican primary voters and 68 percent of South Carolina voters say a clean energy plan is important to them when deciding which presidential candidate to support.
The Long Island Solar Farm at Brookhaven National Laboratory, currently the largest solar photovoltaic power plant in the Eastern United States. The plant is generating enough renewable energy to power approximately 4,500 homes. Photo: Brookhaven National Laboratory
3.) There are several clean energy policies that have broad appeal to Republican primary voters.
These proposals all scored well (ranging from a high of 77 percent to a low of 46 percent approving) with Republican primary voters in New Hampshire and South Carolina:
eliminating corporate tax loopholes for oil companies as part of reducing taxes for all Americans;
modernizing and upgrading power lines to minimize energy loss;
improving energy efficiency in homes, offices, businesses, etc.;
expanding access to job training for clean energy jobs; and
providing tax incentives for investment in new energy technologies like solar panels and hybrid or electric cars.
Smaller groups of Republican voters were surveyed about setting national targets for renewable energy use, and there was surprising support for this idea as well.
The goal that one-third of all U.S. energy should come from renewable sources by 2030 had the support of almost half of Republicans surveyed in New Hampshire and South Carolina; as did the even higher target of going 50 percent renewable by 2030.
4.) Majorities of Republican primary voters believe in climate change.
In New Hampshire, 51 percent of Republican primary voters said there is solid evidence that climate change is happening; while 48 percent of South Carolina voters agreed with the same statement.
It is worth noting that surveyors did not specifically refer to climate change as "man-made" when they spoke with voters.
5.) There is significant support among Republican primary voters for policies to address carbon pollution.
Nearly 60 percent of Republican primary voters in New Hampshire and South Carolina favored placing limits on carbon pollution.
Surprisingly, even a majority of Republicans in both states supported the EPA proposal to set strict carbon dioxide limits on existing coal-fired power plants (50 percent in New Hampshire and 52 percent in South Carolina).
There is even greater support for action at the state level. Three-quarters of Republican primary voters in both states favored their state "developing its own plan to reduce carbon pollution and increase the use of clean energy and energy efficiency."
What makes these survey responses so powerful is that they show a potential way forward for U.S. public policy on climate change. Read more here about the survey's results and methodology.
Will we ever address climate change at the national level?
In the face of federal inaction, New York State and City have moved ahead on both climate change mitigation (reducing greenhouse gas emissions) and adaptation (preparing for the impacts of more carbon in the atmosphere).
Take a look at the "Climate" section on our website to learn more.
Whether New York State and City are doing enough to address climate change is an open question. But there is no doubt that our elected officials feel they have a mandate to move forward.
South Ferry subway station in lower Manhattan after Superstorm Sandy. Photo: Associated Press
Many states and municipalities are doing the same thing. Look at the city of Chicago's plan to slash greenhouse gas emissions 25 percent from 1990 levels by 2020, and 80 percent by 2050; or the state of California's goals to cut petroleum use in half and go 50 percent renewable by 2030.
One reason we may never have federal action on climate change – it has long been argued- is that the American electorate is simply too divided about government's role in addressing the issue.
The prevailing wisdom has been that a sizable proportion of U.S. voters, especially those not living on the "more progressive" East and West coasts, are ambivalent about concerted government action on climate change, such as establishing a carbon tax or subsidies for renewable energy development.
Republican voters, it is said, are especially reactionary on the topic. After all, they have elected numerous representatives to Congress (and other political offices) who even question whether climate change is real.
But the results of last month's survey begin to call assertions about American public opinion into question. At the very least, people's minds may be shifting as Americans suffer through catastrophic storms, historic flooding, devastating droughts and wildfires.
Devastation after Superstorm Sandy.
The real question is this: how prepared are any of the presidential candidates -Republican or otherwise- to fight for their constituents' views on climate change?
Tagged 2015 Republican presidential debate, California drought, California wildfires, Climate Change, Superstorm Sandy
Pingback: Shared renewables come to New York | New York()
Incident at Cannonsville Dam shines light on NYC's complex water supply system
NYS Banned Fracking for Public Health Reasons But the Battle Over Gas Pipelines Continues


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Commercial representation
Logan & Sons +1 310 822 1500
Commercial Director at Logan & Sons, Los Angeles, CaliforniaFilms for Nissan, Nintento, Google, Toyota, Square, Walgreens, Kellogg's, Life Savers, PayPal, Old El Paso, Allstate etc
Freelance Video Creative at Apple, Cupertino, California
Visiting Faculty / Thesis Advisor at
California Institute of the Arts, Valencia, California
Commercial & Music Video Director via Brand New School,
Partizan & Passion PicturesFilms for Apple, Muse, Volkswagen, IKEA, Xbox, Budweiser, Toyota, Microsoft, Emirates Airlines, Coca-Cola, Vodafone, HP etc
Creative Director at Brand New School, Los Angeles & New YorkDesign, branding and animation for Coca-Cola, Apple, Microsoft, AT&T, UPS, HP, American Express, Palm, Volkswagen, BMW, Porsche, Chevrolet, Toyota, Lexus, Mitsubishi, Nissan, Reuters etc. On-air identities for VH1 Classic, Fuel TV, MTV Sunday Stew etc
Visiting Professor at Art Center College of Design, Pasadena, California
Freelance Art Director at Wieden+Kennedy, 20th Century Fox, Imaginary Forces, ESPN, Dreamworks, ReVerb, Fuel Design, Gruner+Jahr, Mike Mills etc
MFA in Graphic Design, California Institute of the Arts, Valencia, California
BA in Visual Communication, Hochschule Niederrhein, Krefeld, Germany
"Jens Gehlhaar and his partners' creative work for print and broadcast exhibits intelligent concepts, complex narratives, beautiful imagery and a wry sense of humour."
Eye Magazine, London, Autumn 2009.
Lectures (selection)
Corcoran College of Art + Design Washington DC, April 2014.
TYPO San Francisco 2013: Contrast San Francisco, California, April 2013.
Otis College of Art and Design Los Angeles, California, February 2012.
Type That Moves (You), TypeCon2010: Babel Los Angeles, California, August 2010.
Kookmin University, Dept. of Visual Communication Design Seoul, Korea, May 2007.
Schools of Thoughts 3:
An AIGA Design Education Community ConferencePasadena, California, March 2007.
College for Creative StudiesDetroit, Michigan, February 2007.
Rprsnt Creative Conference Sydney, Australia, October 2005.
MOVE: Stories in Motion, AIGA New York Chapter New York, New York, May 2005.
North Carolina State University, College of Design Raleigh, North Carolina, January 2005.
Art Center College of Design Pasadena, California, July 2003, September 2007.
California Institute of Arts Valencia, California, February 2000, November 2001, November 2006.
(…) The work produced by these young designers and companies is cool, it's new, and it's pushing various artistic forms. But is it culturally significant, too? Sure: The branded content of the Nike and Bombay Sapphire films suggests the totally blurred boundary dividing art and commerce, while the quick pace of innovation and influence, of appropriation and recycling, points to a culture of DIYers, those who don't merely accept what's foisted on them but reuse it, fashioning something else altogether. Further, the kaleidoscopic imagery and incredible movements of bodies that appear in so much of the work mirror the unnerving sense of disorientation wrought by a world moving way too fast. And the synthesis of real and unreal worlds underscores our nascent anxieties about the increasingly mediated existences in which we spend a good amount of our lives online in a space that's at once entirely real and yet completely ephemeral. (…)
And where will it all go? Will its impact last, or will it fade, subsumed and domesticated by mainstream corporations and lesser talents? Or will it be undone by repetition and self-referentiality? For Brand New School's Gehlhaar, it's more a matter of specifics.
"I wonder if in five years it will still be interesting to have whimsical illustrations or character animation," he muses. "Will things be more dense? Will it become more Asian, with metaphors and abstract spatial relationships, or will things become more European, where it's all about a cool little joke or weird little incident, so the style carries the theme but isn't the focus?"
Looking down, he struggles to answer his own question. "It's hard to tell where it will go. An animator friend of mine told me recently that he thinks we are at the forefront of something that will change the entire industry." Gehlhaar looks up. "I think it's still totally undefined," — he says with a knowing smile.
In other words: Whatever.
Holly Willis: "City in Motion: L.A.'s Hyperactive Graphics Scene."
L.A. Weekly, Los Angeles, February 25, 2005.
Periodicals (selection)
"Filmmaker Jens Gehlhaar Directs Commercials With Style And Grace."
Respect the Process Podcast, October 2018.
Ian Lynam, Toshiaki Koga, Toshinubo Nagata:
"Suburban Lawns — A Look at CalArts Past & Present."Idea Magazine No. 360, August 2013.
John L. Walters, Deborah Littlejohn, Véronique Vienne:
"Art and Art Direction. Four Profiles: Kuchar Swara, Jens Gehlhaar, Thomas Lenthal, Daniel Eatock."Eye Magazine, London, Autumn 2009.
Sean Adams:
"Brand New School Prefers to Make You Smile."
An interview with Jonathan Notaro and Jens Gehlhaar.
Step Inside Design, New York, January/February 2008.
Ian Lynam:
Interview with Jens Gehlhaar. Néojaponisme, Tokyo, September 2007.
Antje Dohmann:
"Brennpunkt L.A."Page Magazin, Hamburg, September 2007.
GD USA 40 people to watch: Jens Gehlhaar. Graphic Design USA, Chicago, January 2006.
Hugh Hart:
"Design Review: Style That's All Over the California Map." Los Angeles Times, November 30, 2005.
"Nu Skool Firms Think Out of the Box." IdN, Hong Kong, November 2005.
Laurence Zuckerman:
"Close Your Eyes and It's Almost Like Radio." The New York Times, July 24, 2005.
Holly Willis:
"City in Motion: L.A.'s Hyperactive Graphics Scene." L.A. Weekly, Los Angeles, February 25, 2005.
Jenny Wohlfarth:
"Inside the #@$%&! Coolest Motion Design Firm." How, New York, June 2004.
Jonathan Durbin:
"United They Brand." Paper Magazine, New York, May 2003.
Ken Coupland:
"West Coast Latitudes." Eye Magazine, London, Spring 1999.
"(…) Brand New School have been at the forefront of the motion graphics revolution that has swept through broadcast design and commercial spots in the US. They are less a traditional notion of a "director" than an all-out design "college" and commercials agency, but nonetheless they have the singular (if schizophrenic) vision ("We have 15 artists at Brand New School," maintains creative director, Jens Gehlhaar). (...)
Notaro and Gehlhaar, who act as principal directors of the company's videos, are acutely aware of steering the right path for themselves in a market that eats up the new, chews it for creativity, then spits it out, ready for the next crop of talent.
"It's very odd and interesting right now, but it's clear to me that just mastering the techniques of hybrid animation and live action is not the path to glory," Gehlhaar elucidates. "You have to develop your own voice, and not bank on the idea that this whole thing will still be cool three years from now. Remember that a whole bunch of directors with film backgrounds can get their CG done at The Mill, too."
Matt Hanson:
"Reinventing Music Video: Next-Generation Directors".
Rotovision, London, UK, 2006.
Books (selection)
Ian Lynam: "Parallel Strokes". Wordshape, Tokyo, Japan, 2008.
Matt Hanson: "Reinventing Music Video: Next-Generation Directors". Rotovision, London, UK, 2006.
Jérôme Saint-Loubert Bié: "Earthquakes and Aftershocks: Posters from the CalArts Graphic Design Program 1986–2004 and California Culture". Ëcole des beaux-arts de Rennes, France, 2006.
Charlotte Rivers: "Type Specific: Designing Custom Fonts for Function and Identity". Rotovision, London, UK, 2005.
L.A. Creators DVD Vol.1.: Brand New School, Logan, Shepard Fairey, Motion Theory, Dublab, Girl Skateboards. Nowonmedia, Tokyo, Japan, 2003.
Michel Bouvet: "East Coast West Coast: Graphistes Aux Etats-Unis". Textuel, Paris, France, 2002.
Robert Klanten et al: "72dpi-anime". Book and DVD, Die Gestalten Verlag, Berlin, Germany, 2001.
Roger Walton (gen.ed.): "Page Layout". Hearst Books International, New York, New York, 2000.
Roger Walton (gen.ed.): "Alphabook: Typeface Design & Application". Hearst Books International, New York, New York, 1999.
Awards (selection)
The One Show, 2008Merit award for XBox "Opera" Installation at JFK Terminal.
The One Show, 2007Merit award for Apple iPod Shuffle "Clip".
Music Video Production Association, 14th Annual MVPA Awards, 2005 Winner, Special Effects for Muse "Hysteria".
Broadcast Designers Association/BDA Design Awards, 2004 Gold awards for Fuel TV On-Air Identity.
D&AD, 42nd D&AD Awards, 2004 Silver Nomination for Most Outstanding Animation in a Commercial, for Fox NFL "Parcells" and "T.O."
The Art Directors Club, 81st ADC Annual Awards, 2002 Gold award for three VH1 Classic Station IDs.
365: AIGA Annual Design Competition 22, 2001 Inclusion of "MTV Fashionably Loud" in the Motion Graphics category.
National Academy of Television Arts and Sciences, 2000 Emmy Award for ESPN X Games broadcast graphic design.
Leipzig Book Fair, Germany, 2000 Golden Letter for "The Most Beautiful Book In All The World"; for "Fackel: Wörterbuch der Redensarten" (as type consultant to designer Anne Burdick).
Broadcast Designers Association/BDA Design Awards, 2000 World Class Award for Fuel stationery.
Type Directors Club, TDC2, 1999 Certificate of Typographic Excellence for Laika Typeface Family.
Central Lettering Record, Saint Martin's College, London, 1999 "The Compendium of Alphabets" selected for their permanent collection.
American Center of Design, 21st Annual 100 Show, 1998 Two works selected in the 21st Annual 100 Show: "The Compendium of Alphabets" and "Landscapes for the Homeless", a poster for a lecture by Anthony Hernandez.
Type Directors Club, 1996 Certificate of Typographic Excellence for "Lunacards".
"Jens Gehlhaar is a creative director at the bi-coastal directing collective, Brand New School. I'm sure many of you are familiar with, and in awe of, his gorgeous music video for the British band Muse, in which a CG-induced strobe-explosion melts the divisions between screen and mental-space, music and light, animation and live footage.
Jens has traveled a long way to be where he is today. His culture of origin is German and it's print-based. His culture of destination is Santa Monican and the intersection between advertising and entertainment, design and filmmaking. Jens has co-directed numerous advertising campaigns — most recently for Virgin Mobile and for Apple's iPod Shuffle Clip —, created network identities for the likes of VH1 Classic, Fox Fuel and IMF and has also written and directed dozens of live action station identifiers.
There's a particularly rich typographical thread in Jens's work. He's taught typography here at Art Center as well as at California Institute of the Arts and has explored its application to the moving image through exclusive typeface designs for the movie "Minority Report" and in campaigns such as UPS, AT&T and American Express.
Jens may well be performing the role of chief correspondent in this conference — his report comes direct from the worksphere and from the exact spot in the worksphere that most graduating students this year want to head for. And yet it's not just for laughs that his firm is called Brand New School. Jens and his teams are constantly assimilating and inventing new ways of producing moving imagery and type, new ways of stimulating emotional response, and new ways to think about what they are engaged in. In this sense, Jens provides us with a model for an exuberant coalescence of education and industry."
Alice Twemlow, School of Thoughts Conference,
Art Center College of Design, March 2007.

redpajama_set_name: RedPajamaCommonCrawl


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Home > Issues & Impact > Our Bodies, Our Blog > A Discussion of Menstrual Activism with Chris Bobel
A Discussion of Menstrual Activism with Chris Bobel
By Rachel Walden | February 23, 2009
Following up on our recent post on Chris Bobel's article on menstrual activism, I discussed the topic further with the author. Bobel's new book is due out in Spring 2010 from Rutgers University Press. Its working title is "New Blood: Third Wave Feminism and the Politics of Menstruation."
Our Bodies, Our Blog: Can you tell me a bit about what is covered in the book, in addition to the menstrual activism history covered in your recent article?
Chris Bobel: The book is written for an undergrad/general public audience with lots of lively examples of the very cool activism I encountered — and pictures, too. In short, the book is at once a history and sociological study of menstrual activism using this little-known activism to track changes in feminist thinking and doing over time. There's a lot of debate right now about the future of feminism: Is the movement dead? Is there something new going on? Is it really new or just recycled?
The newest iteration of feminism (in the West) is called third wave and I wanted to find a concrete way to tease out what third wave is and how it both reflects the past of feminism and takes off in new directions. We talk about feminism in the abstract a lot and we lose people. I wanted to show what third wave feminism looks like on the ground.
And menstrual activism really fascinates me because it, on the surface at least, is populated by mostly white women (and some men) and many of the activists identify as LGBT and/or queer. I grew very curious about this demographic. I think the taboo nature of the topic presents both barriers and opportunities to people depending on their social location.
Women of color are doing menstrual health activism, but often in different forms and often within their own communities. Realities, past and present, of racism and ethnocentrism factor mightily into how activism gets done, the language used, strategies chosen and the linkages made between issues. Thus, we really should speak of menstrual activisms.
Many of the queer-identified activists told me they were already out there (yes, in more ways than one) doing risky, envelope-pushing work and menstrual activism was a natural next step for them. Their interest in challenging basic assumptions — right on down to the care and feeding of our bodies — led them to the politics of menstruation.
Here's the summary: The book is an interdisciplinary, multi-method interrogation of a little known, but persistent presence in the feminist health, environmental and consumer rights movements. Menstrual activists resist the medicalized and commodified body when they question the safety and necessity of femcare innovations, the pathologizing and shaming of the natural menstrual experience, and most recently, menstrual suppression. See Seasonique, Lybrel, etc.
Study of menstrual activism, from the late 1960s to the present, offers insight into the changing and enduring nature of feminist thought and action, in particular the tensions felt between so-called second- and third-wave feminists and the implications of sharp ideological differences in feminist practice.
For example, while the feminist spiritualist wing of the movement resists the dominant cultural narrative of menstruation through an embrace of embodiment as a source of women-centered pride, the radical menstruation wing of the movement rejects this approach. In fact, many of the radical menstruation activists detach menstruation from the gendered body and refuse to speak of menstruation as a uniquely women's experience. They, for instance, reach out to transmen and intersexed people who menstruate and acknowledge that not all women menstruate; they refer to "menstruaters" who menstruate, not "women" who menstruate.
They work to undo gender in a moment in feminist history where the feminist agenda of exploding gender categories is widely accepted in the abstract. But, I ask, what does this ideological position look like when we actually do feminist activism? How can we talk about menstrual taboos, for example, without talking about women as women — even with all the differences within and among women? At the same time, how can we not afford to incorporate a questioning of fundamental categories as we develop feminist agendas for the 21st century?
OBOB: Have you had any difficulties finding a publisher home for this work — or a publisher willing to do the appropriate promotion of the work — because of the topic?
CB: I did have some trouble. Some presses thought the topic was too narrow (read: weird, or maybe trivial). I also have had colleagues, over the years, suggest that an entire book on this topic was a stretch. Even among feminists, menstruation is not a central concern. Obviously, the cultural brainwashing runs deep and wide. One very respected colleague told me I should "write that little book and get on with it." She didn't think there was enough to say about menstruation.
On the contrary, I think I could fill volumes. There is a very rich and growing literature on menstruation, but it is not widely known. These attitudes are a shame, really, because menstruation is experienced by more than half of the human population, over a period of decades, and the amount of misinformation that circulates about this natural body process is stunning. There are lots of other reasons to engage menstruation as a serious scholarly and political concern. That's just a beginning.
OBOB: What do you think are important areas of focus or goals for today's menstrual activists? Is menstrual activism less necessary today, or do you see important areas of needed change?
CB: Absolutely as necessary today — perhaps more. While products are safer (the dioxin risk is much much less; the polyester in tampons is gone), awareness about existing risks associated with conventional products and alternatives available is still virtually nonexistent across the general public.
When I teach this information or give a lecture, people are shocked that they had no idea that there were any risks at all with pads and tampons. They hadn't considered the environmental impact of single use products. They surely never heard of the keeper, the Diva cup, menstrual sponges or reusable cloth pads as alternatives. In short, they hadn't looked at menstruation through a feminist, anti-capitalist lens and when they do, wow!
Then there's the companion issue of menstrual shame, silence and taboo. It is still unacceptable to talk openly about menstruation, to make visible one's menstruation. We are usually limited to homicidal PMS women jokes, or menstruation horror stories of the kind that teen magazines publish, and we socialize girls to expect to hate their periods, even before they have them.
Here's an example very close to home: When I asked my daughter, then about 12 years old and not yet menstruating, what she expected menstruation would be like, she replied, without hesitation, "It will suck." I asked why and she replied, "Cause everyone says it does." Mind you, hardly any of her friends had started to menstruate at this point, and she is the daughter of someone who has a library about menstruation and talks openly about periods, including the possibility that they aren't all bad.
I, for one, appreciate the cycle my body goes through and find when I work with it, instead of against it, I can learn a lot about myself. But my daughter had already internalized the notion that periods necessarily suck. It is true — they can suck and often do and hers might, but she didn't even have a chance to develop her own impression of her own periods, to even imagine an alternative.
Finally, now that menstrual suppression — or, more accurately, cycle-stopping contraception — is widely available, we need more than ever to have very honest and well-informed conversations about menstruation and, more broadly, how our bodies work; that is, to develop what's increasingly called "body literacy." And this, as you know, is precisely what OBOS has been trying to make happen since the 1970s.
Many experts, including members of the Society for Menstrual Cycle Research, are not convinced of the long-term safety of the continuous use of contraception merely for the purposes of avoiding menstruation in otherwise healthy women.
The prohibition against talking about menstruation — shh … that's dirty; that's gross; pretend it's not going on; just clean it up — breeds a climate where corporations, like femcare companies and pharmaceutical companies, like the makers of Lybrel and Seasonique, can develop and market products of questionable safety. They can conveniently exploit women's body shame and self-hatred. And we see this, by the way, when it comes to birthing, breastfeeding, birth control and health care in general. The medical industrial complex depends on our ignorance and discomfort with our bodies, after all.
Who is going to call the companies and health care providers to account if we can't talk openly about leaky, messy, authentic bodies? Who is going to say, hey, wait a minute, maybe the problem isn't simply that menstruation makes our lives miserable, maybe the complex interplay of sexism and capitalism and hyper-consumption are at the root.
Maybe we don't necessarily need more drugs and more high-tech products that produce tremendous waste, but we do need a culture that makes it safe to talk openly about our bodies, a culture that values and provides comprehensive reproductive health education that is more than a long commercial for Tampax. Menstrual activists are doing this work, but they need us all to join them.
Categories Activism & Resources, Birth Control & Family Planning, Books, Drugs & Pharmaceutical Companies, Interview
← Double Dose: The VBAC-lash; Agreement on Health Care Reform?; Teen Sexual Harassment in the Workplace; Bye Bye Go-Daddy …
A Toothpaste of Her Own: Femident →
Tara - BePreparedPeriod.com says:
What a wonderful post! Thank you for sharing this, I couldn't agree more. So much of this is right in line with the work we are trying to do. I'm definitely looking into purchasing Chris's book.
Caroine says:
Thank you for the interview. It's a very interesting subject.
Jane Bennett says:
Thanks Chris for your great work and Rachel and Chris for the interview. I agree wholeheartedly, and welcome all you say. Hope this and your book reach many women and men and awaken them to freshly nuanced understanding and awareness.
cup says:
Really awesome article. Thanks for sharing that type of good content.
An informative dose of women's health news and analysis.
Categories Select Category Abortion & Reproductive Rights Activism & Resources Advertising & Marketing Aging American Culture Birth Control & Family Planning Blogs en Español Body Image Books Breast Cancer Breast Implants Breastfeeding Disability Drugs & Pharmaceutical Companies Environment Etc. Events Feminism & Gender Food & Nutrition GLBTQ Global News Healthcare System HIV & AIDS IC/BPS Interview Legal Marriage & Relationships ME/CFS Media Menopause menstruation Mental Health Motherhood OBOS 40th Anniversary Our Bodies Ourselves Political Diagnosis Politics Pop Culture Pregnancy & Childbirth Public Policy Race & Ethnicity Readers' Stories Religion Reproductive Technology & Genetic Engineering Research & Studies Sex Education Sexuality STIs Uncategorized Violence & Abuse Women We Love Women's Health Heroes 2009 Women's Health Heroes 2010 Women's Health Heroes 2011 Work Youth


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Q: Como puedo abrir mas de 56 mil url en chrome? tengo un problema tengo un bloc de notas con más de 56 mil url las cuales debo abrirlas y cerrarlas, mi problema es que no puedo cerrar las ventanas emergentes, ya que cuando ocupo el window.close me cierra la ventana principal y el sistema se cae, alguien me podria ayudar porfavor

using System;
using System.Collections.Generic;
using System.Linq;
using System.Web;
using System.Web.UI;
using System.Web.UI.WebControls;
using System.IO;

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                    {
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                        {
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redpajama_set_name: RedPajamaStackExchange


text:
O blazar é um corpo celeste que apresenta uma fonte de energia muito compacta e altamente variável associada a um buraco negro supermassivo do centro de uma galáxia ativa. O blazar sofre um dos fenômenos mais violentos do universo e é um dos tópicos mais importantes em astronomia extragaláctica.

Os blazares são membros de um grupo maior de galáxias ativas conhecidas como galáxias de núcleo activo (AGN em inglês). Entretanto, os blazares não são um grupo homogêneo e portanto estão divididos em grupos menores dos quais destacam-se os OVVs e os objetos BL Lacertae.

São exemplos de blazar os seguintes objetos: PKS 2155-304, Markarian 421 e Markarian 501.

Ver também
 Quasar

!
Galáxias activas
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Justin Bieber may have secretly married Hailey Baldwin not long ago, but his heart appears to still ache for ex-girlfriend Selena Gomez, who was admitted to the hospital Wednesday (October 10) after distress surrounding her chronic illness.
According to TMZ, Bieber attended church as usual Wednesday night, but was visibly distressed (you can see him here), and didn't have the company he typically does.
"Justin's been attending church with new wife Hailey Baldwin -- just as he did when he was dating Selena -- but Wednesday, the Biebs was flying solo and he needed to be comforted by friends as he was leaving," the site reports. "It's interesting ... Justin and Hailey typically do their own thing coming in and out of services, but last night he was surrounded by his church buddies. Justin, messy hair and all, clearly looks like he could use the support."
According to Entertainment Weekly, Gomez was hospitalized after enduring tremendous stress over the state of her medical condition, which includes a battle with lupus.
"Selena has dealt with depression for a while and her and the people around her have always kept an eye on how she feels, even more so since her kidney transplant ... After further monitoring it was decided that Selena would seek treatment at a [mental health] facility," a source told the site.
More, it's the third time Gomez has sought treatment in recent weeks.


text:
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Thank ABBA For The Music
Grab your platforms and flares for a journey back in time to when ABBA dominated the charts and ruled the airwaves!
Thank ABBA For The Music is a two-hour theatre spectacular that captures all of the magic and excitement of one of pop history's most successful and entertaining live bands.
Featuring all of ABBA's greatest hits including Dancing Queen, Waterloo, Mamma Mia, Take A Chance On Me, Gimme! Gimme! Gimme! Knowing Me Knowing You, Fernando, Super Trouper and many more!
With stunning costumes, live band, interactive video projection, some tongue-in-cheek Swedish humour and, of course, ABBA's spectacular trademark harmonies, this is the ultimate feel-good party show!
ABBA and 70's fancy dress optional … but encouraged!
View dates and book
The Landmark, Ilfracombe
Tickets: From £21.50
There are special incentives at most shows to bring along your friends!
The more you bring, the better the group incentive we can offer. Whether you're bringing the family, or arranging that group trip for work, or simply a great night out with your friends we can help you get the best seats!
Get in touch with us about reserving your seats today!
A Vision of Elvis
Sat 19 Feb | Queen's Theatre, Barnstaple
Starring Rob Kingsley, A Vision of Elvis has performed to thousands of fans in major theatres, festivals and arenas worldwide and made history by being the first Elvis tribute artist to perform at the new Wembley Stadium to over 50,000 people.
Sat 23 Oct 2021 | Queen's Theatre, Barnstaple
Sex, diets, men, fashion, chocolate, wine and more wine all feature in a riotous script that promises to be the girl's night out to remember. If you are a DANCING QUEEN, put on your dancing shoes because GIRLS JUST WANNA HAVE FUN!
Islands in the Stream
Sun 1 May | Queen's Theatre, Barnstaple
Leave your 9 to 5 worries at the door and get ready for a night in the company of Country Music Royalty! This thigh-slapping stage show brings together the beloved Dolly with Kenny for hit after hit.
£21.5 £24.5
Access enhanced
Remember to book your tickets early for the best price!
Sat 16 7.30pm From £21.5


Tager was acting on an impulse after the bad news, but an urgence operation was needed: someone did just kill Lambda off in an instant. Therefore, he had to act quickly and broadcast an urgent message through the Sector Seven. "To all field operatives, reunion in the office at fourth subfloor immediately. I repeat, reunion in the office at fourth subfloor immediately." This should gather the people quicky enough. Given he had authority to do this, he just went as quickly as he could to said office and waited for his subordinates to show up.
Kokonoe's voice came over the intercom. "Tager, I need your assistance in the Cybog Lab NOW."
Tager, upon hearing Kokonoe's call, quickly left a message for the incoming operatives and left as quickly as possible to the Cyborg Lab. Kokonoe needed him.
Lambda-11 has been slain in action. One field operative at least must go to Kageo-kaka's rescue ASAP.
After Tager left, one silhouette entered the reunion room: a purple cloak veiled everything of it. Once it had entered, the hood over the mysterious one's face was worn off and unveiled a pink-haired girl with one blue eye, the left side of her face being mostly bandaged. Her sole eye looked at the report. The message was an alert, and a rescue was needed if not more. If a Murakumo such as Lambda had been slain in action, that was an urgence.
I think that's kind of an urgence. Hold on a sec, I'll be right there.
She ran on a hurry out, hoping it wasn't too late.


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§ 3. Problems of the matrix ("style" and "śilpaśāstra")
For simplicity's sake, we presented the argument of § 1 in a somewhat abstract manner, i.e. without reference to possible counter positions. We now have to add that the argument of § 1 is largely connected with issues surrounding the concept of matrix. The traditional matrix is partly semantic (identity) and partly style-historical (period-province-patronage, development). This concept of matrix has its limitations. In the case of the semantic aspect of a large number of works of art, these limitations can be studied through a critical comparison of works of art with the śilpaśāstras (and with due consideration of the hermeneutic issue), whereas problems of the style-historical dimension are largely connected with what we call the workshop issue. Some observations on this point will be made in the present section. We do, however, not propose to study the matrix problem on the one hand (semantic and style-historical sides) and the proposals of § 1 on the other as a systematic whole.
There already exists a certain tradition of criticizing the concept of style. We principally find two lines of criticism. In the first case, emphasis is placed on the syncretistic aspect of many pieces of art (different prototypes, different artists engaged in the execution), [1] and this can also, perhaps more appropriately, be described as a criticism of the unity of a work of art. In the second instance, emphasis is put on the coexistence of different stylistic tendencies (or idioms or workshops) at one and the same place, and at one and the same time. [2] "Stylistic pluralism" would be a suitable lable for such a state of affairs, and the pluralistic element is then in conflict with any uninhibited employment of two terms, viz. style and development.
There is, however, also a way of arguing which rather confirms our usual notions of style and stylistic development and of the unity of the piece of art. Here, differences in the style and standard of one and the same work of art are attributed to the cooperation of the master with his apprentice. Again, stylistic pluralism will be explained in terms of quality, or time-relations, i.e. coexistence of outdated forms, current forms, and new forms. Pluralism can also be explained by the mobility of both artists and works of art. To be sure all these arguments are plausible and appropriate in a majority of cases, but they often do betray a tendency to reduce pluralism and lack of unity to a mere anomaly or accident.
Nobody will deny that the more conservative view of style and development, and of the unity of the work of art, remains unchallenged in the majority of cases. However, we have to be cautious both in dating a work of art on stylistic and palaeographic grounds as well as in using history as a matrix for iconography, "matrix" understood as a grid. In other words, we cannot classify Jina iconography or Jaina iconography in general with the help of such simple categories as Gupta or post-Gupta, Gurjara Pratihāra or Chandella. We require various strategies of ordering or arranging the material instead of merely using a single matrix.
Criticism of the aforementioned historical matrix is not a criticism of the historical method or of the historical approach as such. But there is a regressus from hierarchically larger units like dynasties and provinces, which are more or less identifiable entities, to smaller units like workshops and subregional idioms which, retrospectively, are largely imperceptible. Doubts are raised by us not against the historical method as such but against its universal applicability to all historical contexts. The relevant catchword is "workshop" although we have used the word "style" in the title of the present section which, in this specific context, is something like an antonym of "workshop".
The śilpaśāstras affect the old matrix insofar as it is not possible to classify the Jina images simply according to śilpaśāstra criteria. In Jaina art, the 24 Jinas with their 24 cihnas and 24 yakṣas and 24 yakṣīs are not very prominent. This is certainly not a purely hermeneutics issue, but the Wort-Bild problem (literature and art, more particularly śilpaśāstra and art) cannot be separated from hermeneutic analysis (compare IJI § 9). So it was not unreasonable to treat hermeneutics in the second section of our essay. The first section in its turn was not only a suitable introduction to the entire essay but it already indicated the conceptual apparatus that would become necessary on account of the matrix problem as such.
§ 4. Changing combinations and the "tetrad"
In JID, we have described the Jina images within the framework of one and the same classification in two different ways. In the first case , we were mainly concerned with the explanation and justification of the proposed system of classification, and found that this could not be separated from the description of the images themselves, so that the bulk of the description needed to be also incorporated into this approach (the greater part of JID Pt. II). As a supplement we added to this a systematic (or rather pseudo-systematic) description of the iconography of the relevant units of our classification (e.g. compare "The Iconography of the Drum-Style": JID §§ 124-138A; further references on pp. IX ff.).
We now propose a procedure in which we distinguish clearly between image-description on the one hand and systematic statistics (i.e. motif-statistics) on the other. The first approach is connected with classification, but it should include a more exhaustive description of the material. It should in fact operate on a fairly low level: e.g. units of 10-20 images, units of 5-10 images, and units consisting of still less images. Such divisions may be designated as the "real units". This modified strategy, not yet used in JID, will be employed in future studies. The second approach which is the purpose of the present essay is concerned with statistics, to be more precise, with concrete statistics. We do not simply enumerate hand-attributes and vāhanas, as done by the śilpaśāstras, but rather prepare a detailed guide to all the images that form a corpus (30-40 up to 80-100 images). This guide will give information about all those features that are normally classified as iconographic rather than stylistic. The statistic approach will be concrete, partly because it takes into consideration many different features, and partly because it also considers to some extent the internal organization of the material, i.e. the relations among the images, concomitance of different features etc. All non-iconographic features such as style, material, and inscriptions will of course be reserved for the "image-description". In this respect no modification of the relevant approach in JID would become necessary.
We cannot give a detailed justification of the proposed twofold approach (forming the first two elements of the tetrad). Nor can we say where exactly it is necessary in Indian art and where it is not, or where it is more useful and where less useful. However, we would like to explain one point which has already been indicated in the title of this section and which is relevant to our twofold approach, viz. the issue of changing combinations.
If we compare the central image in the composition of JID 157 with the two lateral images, then we notice inter alia that the seated image has curls, whereas the two standing images have strands. Again, the cāmara-bearers of the central Jina wear crowns whereas those of the lateral Jinas are bare-headed. If we include in our survey JID 156 and JID 158, i.e. the composition in the other great niches of Temple
No. 15, we also notice differences in the postures and hand-attributes of the cāmara-bearers. In order to understand the consequences of these differences we have to bear in mind that:
the three images are closely related since they form one single composition;
the differences are "iconographic";
the differences do not indicate a difference in the identity of the three Jinas (Pārśvas vs. non-Pārśvas, and so on).
"Iconographic" is here used in the specific sense of motif difference. Strands are not a different interpretation of curls but they represent something different. Such discontinuity occurs also on a lower level, i.e. in the case of different formulas for one and the same motif. Thus we observe that the cāmara-bearers of JID 157 and 158 show different postures with respect to their outer arms. This difference can be called "formulaic". Here too, we are not concerned with transitions from one rendition to another, but with different choices. Transitions (stufenlose Übergange) are thus conspicuous by their absence or at least rare. From the common pool of motifs and formulas, the same artist selects one motif (formula) for one image and another motif (formula) for another image. It would thus be more precise to say in the case of category (ii) iconographic-cum-formulaic instead of iconographic. It is, however, important to accentuate that the artists did not hesitate to produce variety on a predominantly iconographic basis, instead of demonstrating their skill through stylistic innovation. Category (iii) shows that the changes are not due to content considerations. We may, however, add that even changes in the identity of a Jina occur so as to achieve variety (§ 20) and must therefore be distinguished from strictly theological motives.
The concept of a common pool of motifs and formulas implies both "convention", the pool supplying prefabricated elements, and "limitation", the number of choices being limited. To this we add that there are also special restrictions inherent in the specific canon of the Jina image: for the Jina only two postures, one standing and one seated, were admitted, there are almost always two male cāmara-bearers, and so on. Such are the general conditions under which the principle of changing combinations became effective.
Changing combinations as just described make the twofold approach not only useful or justifiable, but imperative. Iconographic variation leaves little scope for close iconographic relationship and even the scope for close stylistic similarity is reduced. It is thus necessary to consider all aspects of the images, down to the colour of the stone and to the position in an architectural scheme, in order to isolate groups of related images and to produce something like a classification. The groups thus obtained will be our "real units". By contrast, statistics will basically remain a guide or a means of general orientation. To give a fictitious example: We cannot expect that Jinas with curls also have a feature x (e.g. a śrīvatsa-mark) whereas this same feature is always missing in the case of Jinas with strands. Concomitance is limited, and a given feature, or a set of features, will not tell us what the rest of the image will look like. Therefore, we have to distinguish between the description of groups of entire images (where the images in one and the same group belong together in spite of clear iconographic differences), and the statistical survey of single features. "Feature" is here used as a general term covering both "motifs" and "formulas", but designating mainly the former.
Our argument would not be very plausible if it were valid for Deogarh alone. Phenomena like "changing combinations" are by their very nature not restricted to one or two localities. On the other hand, we must see the limits of this generalization. Differences in the frequency of changing combinations can already be observed at Deogarh itself. There is much more concomitance and hence more "order" in the Medieval Style (JID) than in the Early-Medieval Style (JID) on which the above observations were mainly based. The twofold approach will no doubt also be useful in the case of the Medieval Style, but taken by itself this style would probably never have stimulated our methodic dichotomy (image-description vs. motif-statistics).
The survey undertaken in the present essay (§§ 11-21) is based on the description and classification as given in Pt. II of JID, and it is roughly speaking an improved version of the iconographic sections scattered over the relevant chapters of JID (§§ 124 ff.: see above). We can also say that the second approach of JID (scattered sections) is midway between image-description as we would understand it now and the statistical survey given below. The second approach of JID was neither fish nor meat.
However, the two new approaches are not all-embracing. It is inevitable to add to them a study in identification (IJI) and a study in the morphology of the images (form of the strands etc., IJI §§ 6 and 8A). We designate the resulting methodic ensemble as the "tetrad".
Refer to Jahangir's well-known dictum concerning his proficiency in identifying the hands of different artists. Jahangir says inter alia: "I can discover which face is the work of each of them [i.e. of each of the individual masters who have together painted a picture with many portraits]. If any other person has put in the eye and the eye-brow of a face; I can perceive whose work the original face is, and who has painted the eyes and eyebrow." Quoted from P. Brown, Indian Painting under the Mughals, New York 1975, p. 77. I like to thank J. Bautze for drawing my attention to this quotation.
See W. Begley, The Chronology of Mahāyāna Buddhist Architecture and Painting at Ajantā. 1966 (Diss., University of Pennsylvania). The author proposes a (relative and absolute) chronology for the paintings but emphasizes over and over again the lack of stylistic uniformity in a given case. We can in fact not avoid the impression that cycles of paintings which are on the whole attributable to one and the same stylistic subdivision still differ from one another and that even differences within one and the same cycle are quite common. Refer e.g. to the Vessantara and Siṃhala cycles in Cave 17: a cycle stands stylistically opposed to another cycle, an episode to another episode, and a figure to another figure.
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text:
package com.bancvue.mongomigrate;

import java.util.List;

/**
 * Created with IntelliJ IDEA.
 * User: Chris.Edwards
 * Date: 8/2/13
 * Time: 4:12 PM
 */
public interface IMigrationHistoryRepository {
	void save( Migration migration );
	Migration find( String name );
	List<Migration> findAll();
	void remove( Migration migration );
	void removeAll();
	String getDatabaseName();
}

redpajama_set_name: RedPajamaGithub


text:
Triepeolus timberlakei är en biart som beskrevs av Cockerell 1929. Triepeolus timberlakei ingår i släktet Triepeolus och familjen långtungebin. Inga underarter finns listade i Catalogue of Life.

Källor

Långtungebin
timberlakei


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of a lazy dresser and hate being restricted or uncomfortable in any way so for a warm sunny day, this dress has been a dream come true. It's one of those dresses that you can dress up or down and is the perfect shape so a bra is in no way necessary (I hate wearing a bra, as we all know!). I met up with my friend Iyanka after work a few weeks ago and we took some pictures whilst we were strolling through the city. It's just so nice to be able to wear something to work and feel comfortable to then leave and go out in the same outfit!


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Q: How to create an emailmessage object of a string (containing the email) I have an application that is retrieving emails from GMail (the David R Goben example). I get each email back in a string (containing the complete email, but not in a handy format). How do I get this string in some kind of emailmessage object so that I can extract the Subject, From, To, Body etc. easily ?

A: Probably with "not in a handy format" you mean "mime email", so
save the mime email into a text file, e.g. email.txt in the same folder with your code.py.
Then use the code below (in your code.py) to get the email object
from email.message import EmailMessage
with open("email.txt") as fp:
msg = EmailMessage()
msg.set_content(fp.read())

then check the type:
type(msg)

You'll get: email.message.EmailMessage


text:
Corporate liberalism
Title: Corporate liberalism
Subject: Corporatism, Post-industrial society
Corporate liberalism is a thesis in US historiography where the corporate elite become "both the chief beneficiaries of and the chief lobbyists for the supposedly anti-business regulations".[1] The idea is that both owners of corporations as well as high up government officials came together to become the class of elites. The elite class then conspires (or, less maliciously: the system motivates the elite) to keep power away from the low or middle class. Presumably, to avoid the risk of revolution from the poor and powerless, and to avoid the realization of class conflict, the elite have the working class pick sides in a mock conflict between business and state.[1][2] Corporate liberalism's principal text is James Weinstein's The Corporate Ideal in the Liberal State.
Corporate liberalism functions via a façade of opposition between a purportedly progressive statocracy and a purportedly pro-market plutocracy. The con operates by co-opting potential opponents of the establishment; those who recognise that something's amiss with the statocratic wing are lured into supporting the plutocratic wing, and vice versa...Perhaps the balance of power shifts slightly toward one side or the other; but the system remains essentially unchanged. (Which explains, for example, why the recent much-trumpeted power shift in Congress has resulted in precious little policy change.)
- Roderick Long [1]
Carl Oglesby describes corporate liberalism as a cooperation between those with the most military power and those with the most industrial power. Oglesby suggests that "corporate liberalism...performs for the corporate state a function quite like what the Church once performed for the feudal state. It seeks to justify its burdens and protect it from change."[2]
Roderick Long writes similarly that state and corporate power have a symbiotic relationship. Long writes about the alleged realizations of corporate liberalism during the 1960s, the realizations that the business class was hardly a "persecuted minority" and that the state hardly a "bulwark of the poor against the plutocracy".[1]
Weinstein's idea of corporate liberalism should not be confused with Ellis W. Hawley's use of the term (Daniel T. Rodgers noted that Hawley's use of "corporate liberalism" was more a description of liberal corporatism than anything else). It should not also be confused with the concepts developed by Martin J. Sklar, who invented the term 'corporate liberalism' in an article on Woodrow Wilson first published in 1960 when he was in graduate school in history at the University of Wisconsin. Sklar published the essay in Studies on the Left, where he and James Weinstein were co-editors. Sklar's writing about corporate liberalism was a major influence on Weinstein's thinking (which Weinstein himself acknowledged in the preface to his book, The Corporate Ideal in the Liberal State). Arguing that the rise of the large corporation "as the dominant mode of business enterprise" was the result of a concerted effort by capitalists and like-minded political leaders and intellectuals, Sklar wrote that corporate liberalism was the "bourgeois Yankee cousin of modern European and English social democracy."
Sklar subsequently refined and developed the corporate liberal concept in a 1988 book, The Corporate Reconstruction of American Capitalism, which significantly differed from Weinstein's interpretation. On pages 34-35, Sklar definied corporate liberalism as the ideology of the political movement that accomplished the corporate reconstruction of the U.S. political-economic order on the basis of a mutual adjustment between corporate capitalism and the American liberal tradition. In keeping with that tradition, corporate liberalism upheld the corporate administered market and the rise of regulatory government, but not a "corporate state" or a statist command system. Sklar did not see corporate liberalism as simply the ideology of corporate capitalists but rather as a broad cross-class ideology "expressing the inter-relations of corporate capitalists, political leaders, intellectuals, proprietary capitalists, professionals, and reformers, workers and trade union leaders, populists, and socialists—all of those who could, to a greater or lesser extent, identify their outlook or their interest in administered markets and government regulation, with the rise, legitimation, and institutionalization of the corporate capitalist order."
According to Sklar's account, corporate liberalism was not a monolithic ideology but unfolded in several major political variants that there were at once "mutually complimentary and in conflict with one another." They were, on the left: Theodore Roosevelt's "statist-tending corporate liberalism, on the center-left: Woodrow Wilson's regulatory corporate liberalism, and on the center-right: William Howard Taft's "minimalist regulatory corporate liberalism. "It was from this three-way progressive split that sprang the major divisions of twentieth-century American politics with respect to political-economic policy formation."
Other historians who advocate similar theories of US history include Alfred D. Chandler, Jr., Samuel P. Hays, Robert Wiebe, and Louis Galambos.
James Weinstein, The Corporate Ideal in the Liberal State.
Daniel T. Rodgers, "In Search of Progressivism." Reviews in American History,December 1982
Martin J. Sklar, The Corporate Reconstruction of American Capitalism, 1890-1916: The Market, The Law, and Politics (New York: Cambridge University Press, 1988)
----------. "Woodrow Wilson and the Political-Economy of Modern United States Liberalism," Studies on the Left, 1:3 (Fall 1960), reprinted in Martin J. Sklar, The United States as a Developing Country (Cambridge University Press, 1992), pp. 102-142
^ a b c d "Remembering Corporate Liberalism", Austro-Athenian Empire: Roderick's blog, posted February 6 2007, accessed January 12 2013.
^ a b Us Shape the Future, November 27 1965, lecture by Carl Oglesby - SDS President - spoke at a March on Washington, Available at web.archive.org and accessed January 12 2013
Post-industrial society
Information society, Sociology, Game theory, Capitalism, Daniel Bell


text:
Q: Generating permutations of values for each slot OK, I must be struggling with something stupid here (new to Scala), in which case apologies if it is something trivial.
I have a class Action which takes a name (irrelevant for the problem) and a list parameters.
Each parameter has a set of possible values, and I want to generate the full list of possible arguments for the parameters of the Action. I have been trying to use a for-comprehension but rather than filling in all arguments, I am getting combinations with just one value replaced.
My code looks something like this (I simplified it just to illustrate the problem):
case class ParamType(name: String)
{
  def matchesType(that: ParamType): Boolean =
      this.name == that.name
}

sealed abstract class Param (paramType : ParamType)

case class VarParam(parameter : String, paramType : ParamType) extends Param (paramType)

case class ValueArg(name : String, paramType : ParamType) extends Param(paramType)

case class Action(name: String, params: List[Param])
{
   def possibleActions(possibleValues : Set[ValueArg]) : Set[Action] =
     for {
   parameter <- params.collect({case pt: VarParam => pt})
   argument <- possibleValues
   if (argument.matchesType(parameter))
   } yield replaceParam(parameter, argument)

   def replaceParam(parameter: VarParam, argument: ValueArg) : Action =
   {
     val i = parameters.indexOf(parameter)
     if (i >= 0)
       Action(name, parameters.updated(i, argument)
   }
}

   object tester {

    def main(args: Array[String]) {
       val possibleValues = Set[ValueArg](new ValueArg("a1", new ParamType("Atype")),
                                       new ValueArg("a2", new ParamType("Atype")),
                                       new ValueArg("a3", new ParamType("Atype")),
                                       new ValueArg("b1", new ParamType("Btype")),
                                       new ValueArg("b2", new ParamType("Btype")),
                                       new ValueArg("b3", new ParamType("Btype")),
                                       new ValueArg("c1", new ParamType("Ctype")),
                                       new ValueArg("c2", new ParamType("Ctype")),
                                       new ValueArg("c3", new ParamType("Ctype")))

    val action1 = new Action("action1", List[Param](new VarParam("A", new ParamType("Atype")), new VarParam("B", new ParamType("Btype")), new VarParam("C", new ParamType("Ctype"))))

    val possibleActions = action1.possibleActions(possibleValues)

    println(possibleActions)

    }
   }

The function replaceParam just returns an action with the parameter replaced by the argument.
So if I have action1 with parameters A, B, C, each of which can take {a1, a2, a3}, {b1, b2, b3} and {c1, c2, c3} (assume they are of the same type), I am ending up with:
action1(a1, B, C) , action1(A, b1, C), action1(A, B, c1), action1(a2, B, C) etc.
But what I want is:
action1(a1, b1, c1), action1(a1, b1, c2), action1(a2, b1, c1) etc.
What is the most elegant way to achieve this?

A: The following is a simple recursive solution to your problem. However, note that passing the possible values as a Set might turn out to be problematic because this way there is no order on the possible values and hence all (and not only one in particular) corresponding parameters will iterate over all values with suitable parameter types. Now this should do what you asked:
case class ParamType(name: String) {
  def matchesType(that: ParamType): Boolean =
    this.name == that.name
}

sealed abstract class Param(val paramType: ParamType)
case class VarParam(parameter: String, override val paramType: ParamType) extends Param(paramType)
case class ValueArg(name: String, override val paramType: ParamType) extends Param(paramType)

case class Action(name: String, params: List[Param]) {
  lazy val varParams: List[Param] =
    params collect {
      case pt: VarParam => pt
    }

  def possibleActions(possibleValues: Set[ValueArg]): Set[Action] = {
    val pvs  = possibleValues groupBy (_.paramType)
    def aux(acc: List[Param], rem: List[Param]): Set[Action] = rem match {
      case Nil => Set(Action(name, acc.reverse))
      case x :: xs => for {
        pv <- pvs(x.paramType) if pvs.contains(x.paramType)
        rest <- aux(pv :: acc, xs)
      } yield rest
    }
    aux(Nil, varParams)
  }
}

val possibleValues = Set(
  ValueArg("a1", ParamType("Atype")),
  ValueArg("a2", ParamType("Atype")),
  ValueArg("a3", ParamType("Atype")),
  ValueArg("b1", ParamType("Btype")),
  ValueArg("b2", ParamType("Btype")),
  ValueArg("b3", ParamType("Btype")),
  ValueArg("c1", ParamType("Ctype")),
  ValueArg("c2", ParamType("Ctype")),
  ValueArg("c3", ParamType("Ctype")))

val action1 = Action("action1",
  List(VarParam("A", ParamType("Atype")),
    VarParam("B", ParamType("Btype")),
    VarParam("C", ParamType("Ctype"))))

val possibleActions = action1.possibleActions(possibleValues)
assert(possibleActions.size == 3 * 3 * 3)


^ a b c Cotton, F. Albert; Wilkinson, Geoffrey (1980), Advanced Inorganic Chemistry (4th ed.), New York: Wiley, p. 746, ISBN 0-471-02775-8 .
^ a b c Palenik, Gus J. (1967), "Crystal structure of potassium manganate", Inorg. Chem. 6 (3): 507–11, doi:10.1021/ic50049a016 .
^ a b c Carrington, A.; Symons, M. C. R. (1956), "Structure and reactivity of the oxy-anions of transition metals. Part I. The manganese oxy-anions", J. Chem. Soc.: 3373–80, doi:10.1039/JR9560003373 .
^ a b c d Lee, Donald G.; Chen, Tao (1993), "Reduction of manganate(VI) by mandelic acid and its significance for development of a general mechanism of oxidation of organic compounds by high-valent transition metal oxides", J. Am. Chem. Soc. 115 (24): 11231–36, doi:10.1021/ja00077a023 .
^ Juberta, A. H.; Varettia, E. L. (1982), "Normal and resonance Raman spectra of some manganates", J. Mol. Struct. 79: 285–88, doi:10.1016/0022-2860(82)85067-9 .
^ a b Nyholm, R. S.; Woolliams, P. R. (1986), "Manganates(VI)", Inorg. Synth. 11: 56–61 .
^ Procter, G.; Ley, S. V.; Castle, G. H. (2004), "Barium Manganate", in Paquette, L., Encyclopedia of Reagents for Organic Synthesis, New York: Wiley, doi:10.1002/047084289 .
^ Firouzabadi, Habib; Mostafavipoor, Zohreh (1983), "Barium Manganate. A Versatile Oxidant in Organic Synthesis", Bull. Chem. Soc. Jpn. 56 (3): 914–17, doi:10.1246/bcsj.56.914 .
^ Guziec, Frank S., Jr.; Murphy, Christopher J.; Cullen, Edward R. (1985), "Thermal and photochemical studies of symmetrical and unsymmetrical dihydro-1,3,4-selenadiazoles", J. Chem. Soc., Perkin Trans. 1: 107–13, doi:10.1039/P19850000107 .
^ Sutter, Joan H.; Colquitt, Kevin; Sutter, John R. (1974), "Kinetics of the disproportionation of manganate in acid solution", Inorg. Chem. 13 (6): 1444–46, doi:10.1021/ic50136a037 .
^ Sekula-Brzezińska, K.; Wrona, P. K.; Galus, Z. (1979), "Rate of the MnO4-/MnO42- and MnO42-/MnO43- electrode reactions in alkaline solutions at solid electrodes", Electrochim. Acta 24 (5): 555–63, doi:10.1016/0013-4686(79)85032-X .
^ a b c d Rush, J. D.; Bielski, B. H. J. (1995), "Studies of Manganate(V), -(VI), and -(VII) Tetraoxyanions by Pulse Radiolysis. Optical Spectra of Protonated Forms", Inorg. Chem. 34 (23): 5832–38, doi:10.1021/ic00127a022 .
^ Anil Kumar De (2007). A Textbook Of Inorganic Chemistry. New Age International. p. 709. ISBN 8122413846.
^ a b c Greenwood, Norman N.; Earnshaw, A. (1984), Chemistry of the Elements, Oxford: Pergamon, pp. 1221–22, ISBN 0-08-022057-6 .
^ a b Lee, Donald G.; Chen, Tao (1989), "Oxidation of hydrocarbons. 18. Mechanism of the reaction between permanganate and carbon-carbon double bonds", J. Am. Chem. Soc. 111 (19): 7534–38, doi:10.1021/ja00201a039 .
^ Brachtel, G.; Hoppe, R. (1976), "Das erste Oxomanganat(III) mit Inselstruktur: K6[Mn2O6]", Naturwissenschaften 63 (7): 339, doi:10.1007/BF00597313 .
G. Procter, S. V. Ley, G. H. Castle "Barium Manganate" in Encyclopedia of Reagents for Organic Synthesis (Ed: L. Paquette) 2004, J. Wiley & Sons, New York. DOI: 10.1002/047084289.


Australian Earthmoving is Australia's leading publication for the earthmoving industry.
If you're in the business of moving dirt then this is the magazine for you, packed with the latest products and regular features including safety, finance, debt recovery, contractor profiles, maintenance, trenchless, upcoming tenders, association news and marketing.Boasting the best content, pictures, design and print quality. Then again, if you're in the earthmoving industry, you probably already know this.
For bi-monthly titles please allow up to 6-9 weeks for your first delivery. Your subscription will begin with the next available issue.


text:
Topics Business Home
Scalable Projects
Learn more at Business Home
Taking the Fitness Show On the Road
Fitness entrepreneurs looking to get bigger are thinking smaller.
Where gyms are concerned, America is the land of copious choice. According to the International Health, Racquet & Sportsclub Association's 2018 Global Report, U.S. consumers have over 60 million fitness club memberships at more than 38,000 facilities.
This crowded market has squeezed out mid-sized, outdated concepts. Instead of investing in a big-box club space, entrepreneurs are thriving with small fitness studios, also called boutiques. They typically operate in spaces between 800 and 3,500 square feet. These compact, innovative facilities attract a much younger client base, with a mean member age of just 30, according to The IHRSA Health Club Consumer Report. Boutiques also have greater pricing flexibility, with many studio classes generating twice the fees of larger facilities, according to IHRSA.
In recent years, boutiques have attracted double-digit percentage growth in membership even as membership in big box clubs has shrunk. Today, about 40 percent of all fitness memberships are in smaller studio facilities.
Boutique operators routinely take advantage of inexpensive standard storefronts. Shipping and storage containers are a perfect alternative.
Containers provide flexibility to expand an existing fitness center, explore the market for the first time, or jump back in after time away from the industry. Instead of being fixed in place and at the mercy of nearby tenants or road construction, a container can be quickly repositioned to meet customers where they want to work out, and where you want to grow your profile.
The idea has already gained plenty of traction. Multiple vendors provide pre-packaged container gyms. Park Box, a chain of completely self-service container fitness centers operating today in China and Singapore, has plans to expand to at least 300 locations in Asia. Here's a look at just some of the options a container adds to a fitness business plan.
Rotate Your Specialties
The hot fitness trend a few years running has been high-intensity interval training (HIIT), so expanding to meet the demand makes business sense. But its run at the top of the charts will end, just as growth softened for other trending workouts such as Pilates, hot yoga, and cross-country machines.
Putting your trendy classes in an unconventional space elevates their profile, making it easier to expand without a dusty, lease-altering buildout for a workout that has uncertain sticking power.
Find New Audiences
If you are considering opening in a new area, a pop-up fitness center in a container lets you establish a marketing presence without committing to a costly, long-term lease. The intimacy created by the container space makes it easier to establish one-on-one customer relationships and ask direct questions about how your new potential customers like to work out and what they're looking for in a long-term fitness center. Those conversations can help you decide whether to put down stakes, use ongoing marketing campaigns to draw the new customers to an existing fitness center, or shift to a new territory.
Reconnect With New Members
Churn is inevitable in the fitness industry, but a lapsed member doesn't have to be gone for good. Use data analysis tools to create heat maps, showing where your former or at-risk members are concentrated. Drop a pop-up fitness center right in the middle of that population, with a compelling offer to bring them in for a new look.
Offer Fitness-as-a-Service
Many employers have read the research about the benefits of exercise. They like investing in fitness programs for employees to manage stress, improve employee satisfaction, and stimulate both teamwork and focus, according to Business.com. But they're also looking for ways to avoid adding fitness center operator to their list of core competencies.
Containers offer business campuses flexibility to help employees take advantage of wellness efforts. Fitness entrepreneurs can provide the space using a container, with full staffing, maintenance, and consulting services, creating a trouble-free program for employers.
Create New PartnershipS WITH POP-UPs
When you start thinking about your fitness empire as more than the four walls of a flagship facility, you can also position yourself more aggressively to potential partners. Reach out to touring fitness gurus with the opportunity to put a pop-up fitness center tailored to their brand in walking distance of the audience they most want to reach in your town.
Contact manufacturers and position your spruced-up container as a rotating test zone for their cutting-edge equipment. Challenge your members and professional staff to design new plans for your container space, and put their vision in action on a rotating basis.
Talk to PODS For Business about options to quickly and affordably expand your fitness empire.
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Livestock fees were set to increase for the first time since 2007, on July 1, 2018. However, at this time fees will stay the same. One aspect of these fees is brand inspection done by the Livestock Inspection Bureau.
The Livestock Inspection Bureau is designed to deny a market to potential thieves and to detect the true owners of livestock. Their mission is to provide quality, timely and courteous service to the livestock men and women of the state, in an effort to protect the cattle and horse industry.
slaughter, leaving the state — even if the livestock is not branded. The Bureau consists of full-time employees, which includes special function officers and three law enforcement officers, and half-time or part-time inspectors.
The inspectors verify proper ownership of livestock before they are sold, shipped out of state, or sent to slaughter. The Bureau also has a strong presence at each of the five weekly auctions inspecting all cattle and horses.
work monthly in each port of entry.
These inspectors are authorized and equipped to chase down those livestock transporters who ignore the signs requiring all livestock hauling vehicles to stop. This is an effort to help prevent diseased animals from entering the state and stolen animals from leaving the state.
The Livestock Inspection Bureau continues an education and enforcement action push. The education sessions are held on a request basis and conducted by the local livestock inspector.
Surveillance efforts by full time Livestock Inspection staff has reduced theft and raised awareness about livestock theft throughout the state. Livestock surveillance signs are placed in livestock-prominent areas with Brand Inspector names and phone numbers for that area. Surveillance signs posted around livestock are highly visible and easily noticed, deterring potential livestock thieves.
The Livestock Inspection Bureau employs a range rider/investigator whose job is to travel from county to county in an effort to prevent animal theft as they forage and are removed from open-range situations. Brand inspectors collect all Beef Promotion fees which are sent to the National Beef Checkoff and Utah Beef Council programs. The brand inspectors also collect the cattlemen's part of predator control fees.
The Livestock Inspection Bureau does more than inspect and collect fees. They also do yearly travel permits for livestock that enables you to go out of state multiple times in a calendar year; or lifetime travel permits for horses that enable you to move in and out of state as often as you would like and is valid for the lifetime of the horse. Lifetimes are honored in all states and Canada and can be transferred when the horse is sold.
They also register brands — there are over 15,000 brands registered in the state. Branding your animals helps with ownership identification and ensures they will be returned to you. It also gives livestock investigators, law enforcement, animal control, and auctions something to look for in the event that your livestock go missing. Branding is not mandatory and all cattle and horses need to be inspected by law whether they are branded or not.
All in all, these fees help ensure safe movement and lawful transfer of ownership for livestock throughout Utah.


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experts liaison letter and careful consideration during the 94th IETF meeting.
for CDNI URI Signing with the Path Pattern Information Element.
nothing in the protocol prevents the use of long-lived tokens.
the tokens. Note: Signaling between CDNs and clients is out-of-scope for CDNI.
low-collision-probability name; URISigningPackage is only the default name.
and token invalidation is solely based on the Expiry Time information element.
forward to continued collaboration with MPEG experts on URI Signing.


text:
Anyone Home?!: 4 Idol Groups That Have Dropped Off Our Radars
In an industry as competitive as the Kpop industry, it is hard for groups to stay afloat. So, I've gathered a list of 4 groups that just seemed to drop off the face of the Korean Pop earth in the last few years.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
DMTN
In 2010, DMTN made their debut with 6 members under the name Dalmation, with song "Round 1," which was produced by their creator, rapper MC Mong. Shortly after their debut MC Mong got caught up in a scandal about his military duty, Dari left for military services, and DayDay left the group. 15 months later they welcomed new member Simon and completely revamped their look and sound with "E.R" and later, "Safety Zone."
After their member Daniel was caught and charged for distributing drugs in early 2013, the group kind off fell off the wagon. They could have continued promotions without him for the time being, but they never did, and other than a series of messages on Google+ they never released a statement about Daniel or the group's future plans. The members do continue to be sparingly active on social media [Inati, Simon, Donglim, Dari]
My picks for the best debut of 2011, Brave Girls wowed me completely with their debut song, "아나요? (Do You Know?)." The girls continued to garner interest with their reggae number, "툭하면 (Easily)" featuring Skull. However, after the release of their 2012 song "Nowadays You," and the debut of their labelmates Big Star, the girls dropped off the map. In late 2013 they promised fans a comeback was in to come in the fall, following the release of single "For You."
Now, I liked nothing about this group when they debuted. But, considering the hype that Stardom tried to create around them as the 'female version' of then labelmates, Block B, I expected these girls to be pumping out music.
Gangkidz
The Gangkidz were the bane of my existence the year they debuted. They were everywhere, and, for me, it was ah-noying!! After pumping our worlds filled with stories about the Gangkidz, their debut fell flat. They were scheduled to make a debut in early 2013, but at the last minute it was revealed that only members Esther and Hyeji remained, the others had departed. Since then, there has been no news of the addition of new members, or even possible promotions for the remaining duo.
Got a group you love who seems to be M.I.A? Share them with us in the comments and down for get to follow us on Facebook, Twitter, Tumblr, Instagram, and Google+
August 3, 2014 August 7, 2014 asia 24/7, asia247, brave girls, dmtn, evol, gangkidz, korean, kpop
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Location Great South Strip location next door to NYNY and over the road from the West Wing entrance to MGM Grand. At time of writing there is a large building project going on to the North of Monte Carlo.
Theme Themed on the Mediterranean Rivera principality of the same name. The theme only runs as far as the door and then it all ends. It's just another casino with a low ceiling and a few candelabras. I can not believe that the interior designers of this casino have ever been to Monte Carlo!!
Rooms The rooms are standard sized and have lovely furniture and fittings, they are meant to look European and they do look classy, these rooms are excellent value for the quality.
Attractions I have to be honest past the external architecture not much in fact nothing that I can really think of ummm.
Pool The pool is great with a lazy river and machine to create 10 foot waves. Because of the lack of attractions this means not many families stay at the Monte Carlo so the pool does not tend to get too crowded or have many kids in it.
Shows and Entertainment Lance Burton probably the first modern master magician has been the main attraction at the Monte Carlo for years, the show is meant to be one of the best magic shows in Vegas if not the World and is very highly recommended. Monte Carlo also have guest performers in their theatre.
Dining We eat at the food court and this was probably the worst service of any that I have experienced in Las Vegas. There is a buffet (B: $11.95 L: $13.95 D: $18.95 and champagne brunch $18.95) I have not eaten here but the reviews give it a fair marking. There are a handful of up market restaurants and a highly acclaimed Micro brewery. A new and exciting Mexican called Diablo has opened that is meant to be very good indeed.
Gaming 90,000 sq ft of gaming space brightly lit, gold and sparkly and not my favorite on the Strip, I actually think that this area has been reduced in size as more restaurants are added. There are 2,200 machines from a nickel upwards with a fair amount of nickels dotted around. There are about 70- tables and 10 roulette wheels. In Europe there is only one zero on the roulette wheel but in the US there is zero and double zero thus doubling the house's edge. In a Monte Carlo themed casino surely the single zero applies right? Unfortunately not, they have one or two high stake wheels with single zeros and the rest good old American ones. The casino seems very serious to me, quiet and even cold; some people I guess prefer to play in this atmosphere.
Drinks service I got served quite quickly the first time. After that even when I had been served I seemed to wait ages between placing my order and receiving my drink.
Overall A luxurious casino with a fairly good Strip location; aimed at more sophisticated, slightly older and well-heeled patrons who like to gamble in a quiet atmosphere.
Good points If you like it, in a place where all of the casinos seem to be frantic, Monte Carlo seems calmer, more clinical and better organized.
Bad points It's too quiet, I guess this may appeal to some people and whilst I don't like really noisy places this too quiet for me.


Global High Pressure Sodium Lamps Market Research Report 2018 to 2025 covers a detailed analysis of trends, drivers, opportunities and other necessary details on global High Pressure Sodium Lamps Industry. In-depth analysis comprising key market players, supply, demand, profit and many more are provided in the report below.
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