text:
Q: JavaScript changing display using hashtag I'm very new to JS and have a problem with something that looks very simple.
I am trying to make a code so that if the page loads with a # at the end of the url, eg. www.example.com#hashtag, then a div will display, if it doesn't have a # the div wont display.
My Code:
JS:

HTML:

A: The code is correct, but the

see Alternative to

A: This will get the Hash (#displayDiv) and show that particular div...

A: How about a simple CSS solution using the :target selector:
*:target {
  display: block;
}

redpajama_set_name: RedPajamaStackExchange


Join the Boston Sunday Night Film Club this Sunday, Mar 22nd at 7:05pm for I Love You, Man at the AMC Boston Common 19 . Look for Sean wearing a nametag in the theatre lobby about 15 minutes before the film. As always, after the film we will descend on a local establishment for dinner/drinks/discussion.


text:
tag 'Bimota'
Current selected tag: 'Bimota'. Clear.
Bimota halted from further competition in FIM Superbike World Championship rounds
The Italian manufacturer reappeared under new management and showed promise when they announced their new model, the Bimota BB3 at the EICMA show in Milan last November. Plans for participation in the 2014 FIM Superbike World Championship emerged and they
were in contact with the FIM and Dorna. Participation in the FIM Superbike and Supersport World Championships or in the FIM
Superstock 1000cc Cup requires any manufacturer to produce a minimum number of street legal motorcycles, identical to the presented model for homologation, at the initial inspection (125 units), before participation. Furthermore, other minimum quantities must
be produced at subsequent dates (250 units by the end of the first year; 1000 units by the end of the second year).
Changes in economy and the motorcycle market in the past 5 years made FIM and Dorna reduce the required entry level and total production numbers. Additionally, a new rule was installed, allowing manufacturers to participate in Superbike events for a period of 4 months from initial date of participation without scoring points. By the end of the four month period, the manufacturer in question must show proof of 125 units produced at the initial inspection visit.
To date, past the 4 month period, Bimota has informed FIM and Dorna that the required quantity has not been produced. The homologation procedure and their participation is on hold until the date that the Italian manufacturer can meet the homologation requirements.
It's Official - Bimota Sold
From www.twowheelsblog.com -	September 12, 2013 9:03 AM
After Ducati and Husqavarna, anothe Italian manufacturer has gone into the hands of a foreigner buyer, this time its the turn of Bimota.
The manufacturer whose name was based on its founders, Bianchi, Morri and Tamburini celebrates its 40th anniversary this year, and been bought by a Swiss group - the name of the company has yet to be revealed - and apparently the owner has a passion for motorcycles.
For the moment it seems that Bimota will remain in Italy (Rimini), with just fresh capital flowing into the company's coffers, and that the marque will continue their longtime collaboration with Ducati and BMW for their engines.
We watch this with interest. Bimota is a brand that has a long history of it's fortunes tied tightly to Ducati.
Thierry's comment,	September 12, 2013 2:03 PM
Bimota is an amazing brand. So bold and innovative. But Husqvarna was not Italian. Thanks for sharing the article anyway. Important move indeed.
Crash.net | Bimota plotting full WSBK return in 2014 with Ducati powered DB8 | WSBK News
From www.crash.net -	January 23, 2012 5:10 AM
Iconic motorcycling manufacturer Bimota could return to the World Superbike Championship full-time in 2014, with possible outings as early as next season, according to its new sporting director Ruben Xaus.
The Italian brand, which has the distinction of being the winning machine in the first-ever WSBK race in 1988, has not been seen in the production-bike series for more than a decade, when Anthony Gobert completed a part-season in 2000.
However, the recent acquisition of 11-time WSBK race winner Xaus as its sporting director is shifting its focus towards motorcycle racing once more with an immediate plan to enter the Italian Moto2 Championship.
In addition, Xaus is also heading up development of its Superbike machine, the DB8, with a view to racing it at selected events on the World Superbike stage in 2013. Should the bike prove competitive, Xaus hints that Bimota could return full-time from 2014....more
loudbike blog | Winter 2011 - loudbike vs Bimota DB1 SR & Ducati TT1
From loudbike.blogs.com -	December 29, 2011 7:16 AM
The TT1 was never planned.
But Lou Saif persisted and eventually put one of Jimmy Adamo's big-tube DM frames and some bodywork in my hands and then Palmer sold me a bunch of his F1 stuff, and then I found a nice cache of TT1 stuff...

redpajama_set_name: RedPajamaCommonCrawl


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text:
Miller Creek School District elevates interim…
Miller Creek School District elevates interim superintendent
By Keri Brenner | kbrenner@marinij.com | Marin Independent Journal
PUBLISHED: November 16, 2020 at 5:10 p.m. | UPDATED: November 17, 2020 at 7:22 a.m.
Rosales (Waugh School District photo)
The Miller Creek School District has promoted Becky Rosales, its interim superintendent for the last 17 months, to full status.
The board of trustees voted 5-0 last week to approve a three-year contract for Rosales as superintendent through June 2024. The appointment will take effect on Jan. 1.
Rosales' starting annual salary will be $216,000.
"I am pleased to accept this appointment as superintendent of the Miller Creek School District and would like to extend my appreciation to the board for this terrific opportunity," said Rosales, 59, of Novato.
Miller Creek trustee Brad Honsberger said Rosales drew words of appreciation at last Tuesday's board meeting for her hard work over the last year and a half.
"We are very excited having her leadership moving forward," Honsberger said. "Each trustee spoke about what a great job she has done and how happy we were for her to accept."
Rosales, who started on July 1, 2019, as an interim superintendent under contract with the Marin County Office of Education, led the district through a rocky transition after its prolonged controversy over a name change from the former Dixie School District.
Rosales, in remarks to the trustees last week, focused less on the name change and more on the progress made in beefing up district policies and education.
"After opening the school year, following a summer of fast-paced construction at Miller Creek Middle School, we enthusiastically launched the work of instruction, professional development, new curriculum, assessment planning, policy revision, salary and contract negotiations — and an LCAP development plan that was carefully designed to include community and staff input," Rosales said.
LCAP, the state's Local Control and Accountability Plan, outlines how local school funds are spent.
"And then, the shelter-in-place was announced on March 13 and everything changed," she told the board. "It has been a challenge and I believe will continue to be so as we adjust to the health conditions in the community and region."
Rosales said her biggest reward has been "the team I get to work with every day."
"Since last spring, we have faced the most challenging situations of our careers in serving as educational leaders during a pandemic," she told the board. "Trying to ensure that we keep the regular district business operating smoothly while at the same time reinventing how almost all of our work and services are delivered."
The district began its third wave of reopenings on Monday, welcoming back second- and third-graders in a hybrid model of in-person and at-home learning.
The Miller Creek School District serves 1,835 students at three elementary schools — Lucas Valley, Vallecito and Mary Silveira — and Miller Creek Middle School. The district's total budget for 2020-21 is approximately $25 million.
Miller Creek School District
Keri Brenner | Reporter
Keri Brenner is a reporter covering K-12 and higher education.
kbrenner@marinij.com
Follow Keri Brenner	@KeriWorks
Marin event vaccinates hundreds of school staffers
Marin witnesses recall massive oil spill of 50 years ago
Marin City leaders keep annual MLK celebration alive
Marin's former Whistlestop nonprofit names new chief


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Joe works with business owners on exit strategies. This process begins by determining owner goals and objectives – financial and non-financial. Joe's experience includes family succession planning, partner buy-outs, and management acquisitions.


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text:
Screening the Past > Auteur desire
Auteur desire
Uploaded 1 March 2001
An anecdote… In the 1980s, the film study program I was teaching in received authorization to make a new hire. One of the candidates we brought in, an expert in film genre theory, was a recent Ph.D. student from one of the major film schools in the US. During the interview period, she was asked, "If you could do a director's course, what director would you choose?" The candidate took umbrage at the very premise of the question (that it was worthwhile to study directors) and, with 1980s post-structural, Screen-theory confidence and even brashness, proceeded to explain that the Author was an outmoded romantic notion, one that deferred attention from the signifying structures of filmic discourse, and so on. After explaining for about five minutes how auteur study was a retrograde approach, she paused and then said, "But if I had the chance, I'd love to do a course on Hitchcock."
As this candidate's simultaneous expression of disdain for auteurism and lingering investment in the auteur suggests, fascination for the director just doesn't seem to go away. It is the endurance of such fascination that I will explore in the following pages. When I offered an earlier version of this essay in a seminar in France, I entitled my presentation, "Le désir de l'auteur," playing on a double meaning of the phrase. On the one hand, in auteur theory, there is a drive to outline the desire of the director, his or her (but usually his) recourse to filmmaking as a way to express personal vision. The concern in auteur studies to pinpoint the primary obsessions and thematic preoccupations of this or that creator is thus an attempt to outline the director's desire. On the other hand, there is also desire for the director – the obsession of the cinephile or the film scholar to understand films as having an originary instance in the person who signs them. Here, it is important to look less at what the director wants than what the analyzing auteurist wants – namely, to classify and give distinction to films according to their directors and to master their corpuses.
It seems in recent years that there is a vibrant resuscitation of auteurist approaches. [1] Some of this involves a reinvigoration of some of the very aspects of auteurism that often fell under discredit in the structural and poststructural moments of film study. To take just one example, Tom Gunning's recent massive study of Fritz Lang may exhibit the influence of new theory in a variety of ways – for example, it is quite inspired by Walter Benjamin in its analysis of Lang's films as allegorical works – but it also adheres to traditional auteurist premises about the dialectics of freedom and constraint in the Hollywood system. For instance, but for their use of certain words from high theory, phrases such as the following from Gunning could have come from the classic auteurism of the French in the 1950s:
[T]he issue of authorship becomes that much more intense in Lang's Hollywood oeuvre, precisely because it cannot assert itself as directly (…) Lang in Hollywood made films that do not immediately call attention to themselves and whose signs of authorship are often hidden. As an enunciatory force, Lang begins to bore from within. For the most part, beneath an apparent conformity to Hollywood modes and genres and ideology, Lang fashions extremely personal and often experimental works. [2]
Here, we see a clear replay of that belief in conventional auteurism that it is precisely because the pressures of the system so weigh down on the auteur that he/she (but usually he in the canons of such criticism) is forced to creativity as a veritable survival tactic.
A related aspect of auteurism today has to do not simply with the reincarnation of older auteurist methods but their refinement or even transformation. In particular, where classic auteurism relied on intuitions about the ways in which the director works to author a film and posited above all that personal artistic expression emerged in mysterious ways from ineffable deep wells of creativity, new advances in historiography (for example, the potentials that gritty archival work offers) have led, in contrast, to a greater concreteness and detail in the examination of just what the work of the director involves. Gunning, for example, is explicit in his understanding of Lang not as a romantic genius drawing inspiration intuitively from hidden depths of insight but as a veritable pragmatist who directly labors on the materials of the world: "I would maintain that the director as enunciator need not be thought of as a Judaeo-Christian creator ex nihilo, but as an Aristotelian demi-urge who works with pre-existent material, and the nature of that material will always function as one of the causes of the creation." [3]
Likewise, the historical poetics of David Bordwell focuses attention on the immediate craft of the filmmaker – how he/she works in precise material ways with the tools and materials of his/her trade. For example, to take a typical statement, in describing the experiments in the films of Hong Kong action filmmakers – and putting them on virtually the same plane as canonic directors – Bordwell declares that:
In commercial film, experimentation is usually not anarchic messing about but self-conscious craftsmanship. It is hard to argue that the devious use of point of view in Hitchcock, the stylistic surprises in Yasujiro Ozu, and the flamboyant montage opening What Price Survival? [Hong Kong 1994] come straight from the id. These innovations are the result of patient care. Driven by competition, contrariness, or just the urge not to repeat oneself, the ambitious artisan presses against tradition, testing how far one can go while still playing by the rules of the game. [4]
In passing, I should note that there are antecedents for an auteurism that looks at the director as a crafter of techniques rather than as a purveyor of deep concepts. For example, in the work of the critics at the British journal Movie in the 1960s and 1970s – V. F. Perkins, especially, there was already a strong model of mise-en-scène criticism that eschewed deep interpretation for a careful stylistics. Likewise, the writing on action directors by Manny Farber in the 1950s focussed closely on their visuality – what we might call an auteurism of energetics rather than metaphysics or thematics.
In addition to the emphasis on directorial work as material activity, a new industrial history of film looks not so much at the director's "art" but at his success (or not) at dealing with the business of filmmaking, with the forces of authority that govern the political economy of film production. Here, we can cite Jon Lewis's volume on Coppola, Whom God Wishes to Destroy: Francis Ford Coppola and the New Hollywood. [5] While Lewis does from time to time offer artistic judgments like those of classic auteurism, the bulk of his study is not aesthetically oriented, preferring instead to offer a careful and patient delineation of the economic structures within which Coppola tries to work (hence, the importance of the subtitle which ties an individual person to a larger system).
At the same time, many cases of the new auteurism work to displace classic auteurism's emphasis on an uncovering of the creative figure's solitary voice as a Truth that battles for expression. First, there has been attention to the ways "auteurs" are often constructed, called into being, by institutional forces and discourses and according to precise institutional needs. That is, instead of the director being opposed to the system, he is now seen as a function – a marketable commodity, for example – generated by that system. Central here has been the concern to study the construction of a "biographical legend" (a term Bordwell uses in his study of Ozu's stylistics), the building up of a useable image of the director. [6] Thus, for instance, Tim Corrigan and others have looked at the emphasis on the auteur as a potential form of marketing: for example, with the art-film market, the director's name is useful for its investment in high-art aesthetic ideologies of personal vision. [7] And this marketing is not only imposed on the director by external forces in the business but can come from his own savvy self-promotional tactics.
For example, to cite again his recent book on Fritz Lang, Gunning makes use of biography of the director to examine how Lang in his American career quite consciously tried to market himself as prestigious saleable commodity:
Besides producing 'Fritz Lang' films, this office [of Diana Productions, Lang's production company] was dedicated to manufacturing Fritz Lang as a signature, not only putting him before the public eye but defining who he was for the public as a film-maker. Thus, Lang and his office (and Universal's publicity office) tried to come up with a catch-phrase that could identify Lang for audiences and critics. (…) But Lang seemed uncertain how to do this. (…) 'Realism' (a term he was always attached to) was one aspect of his films he wanted stressed. Another was targeting an adult audience, with culture and intellect. [8]
Additionally, there has been a move to look for authorial voice in regions other than that of the traditional Hollywood directors. In some cases, this means attending to other sources of creativity than the director. There has been, for instance, a growing body of work on the producer as a sort of auteur: where director auteurism often saw the producer as the impediment to artistry, he is now imagined to be a source of creative achievement. [9] In the revealing title of Tom Schatz's The Genius of the System, there has even been an anthropomorphization of the studio system itself as if the anonymous rules of that system themselves constitute a creative force and vision. [10] Auteurs are now everywhere, not just in the stratum of directors.
A related gesture has to do with an extension of auteur principles to types of directors that classical auteurism, in its fascination above all with the Hollywood studio system, ignored. This new application of auteur principles frequently has a political edge to it and manifests a concern to uncover voices that, to quote a famous title of feminist historiography, have been "hidden from history." Thus, we see a concern with female authorship (Annette Kuhn's anthology on Ida Lupino) [11] and even with specifically lesbian expression (Judith Mayne's study of Dorothy Arzner) [12] ; with racially inflected identities (for example, the flurry of recent work on Oscar Micheaux); with queer identity; and so on. Even as it appears to follow traditional notions of individual creativity, such revamped auteurism can deconstruct some of those notions from within insofar as many of the original auteurist myths of strong creativity have an intimate connection to norms of masculine heterosexuality.
We can debate, then, the extent to which director study now is essentially the same practice as in the classic days or, rather, is a transformation of original premises. For example, the Bordwellian emphasis on craft that I mentioned above still encourages one to look at directors and to valorize ones who do their work well, but it does so outside of mythologies of creativity as a mysterious force that wells up from some sort of primal artistic vision. Creativity now comes from concrete (and therefore, analyzable) patient application of rules, tools, and conventions – what Bordwell treats as filmmaking as "problem-solving" – rather than ineffable genius. And the very concern with craft as applied technique leads away from classic auteurist concerns with theme (the content of a personal vision) to the study of poetics or stylistics, the material engagement with filmic form on the part of the director.
No doubt there is an extent to which many of the works of auteurism from the 1960s or 1970s on simply continue the older tradition uncritically: one can cite any number of studies that proceed as if structuralism, Marxist theory of ideology, post-structuralism, postmodernism, and so on, never existed. But it is also necessary to note how much of the new auteurism is being undertaken by scholars and writers who are aware of the theoretical critique of authorship, voice and identity and have taken that critique to heart. In other words, as much as theory modified auteurism (even to the degree of making it an embarrassment for some scholars), it is also the case that auteurism today has the potential to modify theoretical precepts, obliged as they may become to be aware of new ways of understanding desire and identity in the contemporary moment.
We might note that desire itself has become an ever more important part of today's cultural study. For instance, if the cold analytical stance of semiotics seemed to eschew attention to desire (except perhaps in the work of Roland Barthes where dry science was itself imagined to be a source of euphoria), it is now the case that desire and related topics such as feeling, emotion and bodily sensation have gained a place on the critical agenda. How social subjects are invested in the practices that surround them (including cultural practices) is an issue that encourages a psychoanalysis as much as a socio-analysis.
But to put it more strongly, we might note that, in fact, critical theory over the last few decades has made the case that psychoanalysis is a form of socio-analysis. That is, the study of the formation of the individual and his/her desire is also inevitably the study of structures that are assumed to contribute to this formation. When, for instance, Raymond Williams treats societal meanings as "structures of feeling," both nouns are important: cultural study has to attend to individual feelings – to personal desires – but it has to see the ways in which these are given shape by objective historical processes. The rewriting of traditional auteurism within the new industrial history that sets out to pinpoint concretely just what the individual director did (and didn't do) within the studio system is thus in keeping with a theorisation that simultaneously studies persons and social processes.
After a structuralist moment which disavowed agency, there has been a new concern to examine when and how agency might be possible. For example, there has been a resurgence of interest in Sartrean versions of materialism where individuals are treated as what Sartre terms "universal singulars" – singular in that each person lives his/her life in existentially irreducible ways, universal in that each individual life is finally a way of living collective history, of making that history one's own. As I've argued elsewhere, Sartre's massive authorial study of Gustave Flaubert, L'Idiot de la famille (The Family Idiot), is a fully materialist work, arguing simultaneously and necessarily that Flaubert's life was irreducibly his own even as it stands as only one of the ways writers made it through the Nineteenth Century. [13] In Sartre's hands, biography becomes a study of permutation: there is a general structure to history but there are fully singular ways that individuals live that structure. And, as The Critique of Dialectical Reason [14] , the more abstractly philosophical work that Sartre claims establishes the framework for The Family Idiot's approach to biography, bears out, central to Sartre's existential Marxism is the supposition that a coalition politics has to give attention to individuals.
For Sartre, a coalition politics needs to examine the desires that move social subjects toward or way from politics, to the ways in which they assume agency and share it – if it is to understand how and why – and most important, whether – political change occurs. Sartre has been criticized for "romanticism" – as has auteurism – but we might want to argue in this respect that romanticism can have its place in politics. Politics itself is in large part about desire – what do we want? why do we often invest in social practices contrary to our real needs – and a romantic theory can help us understand how people operate when they interact with social systems. It's revealing that in the moment after structuralism and its critique of agency, there is the possibility for a new reception of a political biography by cultural studies pioneer E. P. Thompson with a quite apt subtitle: William Morris: Romantic to Revolutionary. In Thompson's argument, Morris's move to an explicit socialist politics can happen only because he starts his artistic career in romantic discontent matched by vague utopian desires for something better. [15]
But even with all these new ways in which auteur study has been reinvigorated, it is still necessary to interrogate the very need to look at film production in terms of individuals. No matter how sophisticated auteurism becomes under the influence of new approaches from theory and history, it is still about persons and their fates and destinies. Perhaps we can get at this issue by asking why auteurism attracts critical desire. Why, even in so many modified forms, is there this desire, why has it endured in the face of ostensibly theoretically trenchant critiques of individuality?
We need to recognize, for instance, the extent to which even in the new auteurism there is a frequent temptation to fall back into older models in which emotional appreciation rather than dry analysis predominates. So often there's a moment in auteur analyses where one can witness the auteurist slide from social theorisation to enthusiastic admiration. Yes, we admit that directors take up their place in larger structures of meaning-production, but still, in the long run, we want to imagine that auteurs are of interest independent of all that context – of interest as captivating, creative visionaries in their own right.
Look, as a typical example of this slide, at a recent director study by Susan Hayward of Luc Besson. The volume is part of a series on French directors that certainly promises to move in new directions by situating the directors in context: as the series editors' foreword announces,
[t]he auteur perspective on film (…) will be interrogated in certain volumes of the series, and throughout the director will be treated as one highly significant element in a complex process of film production and reception which includes socioeconomic and political determinants, the work of a large and highly skilled team of artists and technicians, the mechanisms of production and distribution, and the complex and multiply determined responses of spectators. [16]
And Hayward certainly presents her study as in line with this approach:
This romantic aesthetic [of auteurism] is quite narcissistic . . . Although Besson scripts and produces his films as well as directs them, he does not see himself as an auteur but as a metteur-en-scène – that is, as part of the production practice. Besson works with a fairly constant crew of technicians and group of actors and readily acknowledges their role in the production of meanings in his films.(10)
(Note, however, how the language here implies that the decision as to whether he is an auteur or not is left up to Besson himself.)
It is important to see that already from the start, intimations of the motifs and strategies of an older auteurism insinuate their way into Hayward's study. First, there is the sense that auteurs work in reaction or opposition to resistance on the part of those in cultural power: "Besson's work (…) has been acclaimed by the popular journals [but] excoriated by the more serious ones." (1) Second, there is the supposition that the director works by intuition and in ignorance of his place in film's history: "Besson makes his position quite clear: he has never sought to be a cinephile, he has never set foot in the Cinémathèque." (9) Most of all, even as the director is examined in relation to a larger context of industry and society, there is the lingering need to imagine that the director is an irreducible fount of personal vision and that he/she works by finding (however intuitively) visual equivalents for that vision. Take, for instance, Hayward's discussion of Besson's use of CinemaScope. More than a defining stylistic trait, shooting in Scope is assumed by Hayward to allow Besson to find an objective correlative for personal thematic preoccupations. On the one hand, for Hayward, the way in which Scope composition focuses on the space around characters as much as on the characters themselves fits a Bessonian concern with constraint and even imprisonment for his protagonists: "[I]n a full or general shot, the setting can seem to overpower or crush the characters." (17) On the other hand, the fact that there is space around characters also means that Bessonian composition thematizes freedom, the possibility for characters to move beyond the immediate givens of their fixedness in situations: "But his use of scope also widens the frame, broadens the picture and so it hints at the possibility of escape, of finding a way out." (17)
It is worth pointing out that these two interpretations of the meaning of Scope framing are contradictory to one another. Here, we have an example of that non-falsifiability that Bordwell in Making Meaning has so trenchantly pinpointed as endemic to an interpretative approach in the arts: nothing, except the will of the auteurist to see things this way, guarantees the reading of scope thematically and nothing eventually enables one to decide if it's really freedom or constraint that should be taken to be the meaning of the stylistic marker. [17]
I have just referred to the "will of the auteurist" and I would like to posit that an analysis of the operations of this will might help us in understanding the fascination for auteurism. What does the auteurist want? In large part, I would suggest, the auteurist wants to create meaning by an imposition of will.
To clarify this, we might note the extent to which auteurism proceeds by means of collection. Think, for instance, of the effect Andrew Sarris's The American Cinema: Directors and Directions had on a whole generation of cinephiles. Sarris's hierarchies of value but also the sheer massiveness of his lists became a clarion call for viewers to turn passive reception into active investigation. No doubt, there are many copies of The American Cinema like mine with its pencil lines crossing out the films viewed, offering thereby a veritable score card of viewing accomplishments and future screening goals. In passing, I would note the curious sense of empowerment a number of us felt when we realized that the titles that Sarris had not italicized as being of special interest were in some cases films that he simply had not seen and could not therefore "collect." For auteurists, caught up in a feverish agon to see more films, accumulate more listings, this sense of incompletion in an established and reputed compendium seemed to open up possibility, to imply that there was still new collecting to be done. There is frequently competition among collectors, a will to accumulate more examples and to master them better than others have.
I think we can add to the understanding of the dynamics of such activity by referring to the thoughts on collection set out by Susan Stewart in her On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection. For Stewart, collection is not a neutral activity in which the collector sets out to mime the disposition of objects in their original context. That is, collecting is not about letting the objects speak their "Truth." Rather, it has to do with an imposition of new truths, those operative for the collector in his own present context. In Stewart's words,
The collection does not displace attention to the past; rather, the past is at the service of the collection . . . The collection seeks a form of self-enclosure which is possible because of its ahistoricism. The collection replaces history with classification, with order beyond the realm of temporality. In the collection, time is not something to be restored to an origin; rather, all time is made simultaneous or synchronous with the collection's world. [18]
For Stewart, there is competition not only between different collectors (out-Sarrising Sarris), but also between the collector and the world of objects he collects. Whatever those objects might have meant in their original context matters less than the new meaning that can be created for them in the act of collection. As Stewart puts it, "Once the object is completely severed from its origin, it is possible to generate a new series, to start again within a context that is framed by the selectivity of the collector. (…) [T]he point of the collection is forgetting." [19]
In other words, as an activity of creative collection, auteurism involves more than just a neutral making up of lists. The creativity of auteurism bases itself in strategies that construct its objects in value-laden ways. First, as the pivotal role played by Sarris suggests, auteurism is a process of isolation (some directors are auteurs, some aren't) and of valorization (some auteurs are higher in the constellation of quality than others). Second, there is an activity of meaning-making: not merely are certain directors declared to be auteurs but specific significations are assigned to them (the thematics of this or that auteur). Again, Hayward's discussion of Luc Besson's use of CinemaScope exemplifies this practice. After having differentiated Besson from other directors by noting his mass popularity (unlike art-cinema directors whose individuality seems to go hand-in-hand with specialty audiences) and his disinterest in cinema history (unlike many French directors whose films reflexively comment on other works) which gives him a supposedly refreshing innocence in cinematic approach, Hayward then proceeds to fill out Besson's distinction with a positive thematic content (the interplay of freedom and necessity, seen to arise even in the way shots are composed).
Such attribution of meanings slides into a third aspect of auteurism. Specifically, auteurism frequently bases its differentiations among directors on a notion of complexity of meaning. Hence, in Peter Wollen's breakthrough "structuralist" re-writing of auteurism in his vastly influential Signs and Meanings in the Cinema, both John Ford and Howard Hawks are distinguished as auteurs, but clearly Wollen's preference goes to the former for the manner in which the original binary oppositions of the Western ostensibly are modified, and thereby supposedly are enriched, as Ford's career develops. [20]
But, in what might at first seem a paradox, complexification is accompanied by an activity of purification. That is, each auteur must be seen to possess a vision and a thematics irreducible to, and unshareable with, others (whether they be the other workers on the film to be treated as what Wollen refers to as a "noise" beneath which the director's voice must be distinguished – or other directors who are to be situated elsewhere in the meaning-making constellation of auteurs). [21]
We might take Gilles Deleuze's famous two-volume typology of the signs of cinema in terms of the "great auteurs" as an extreme manifestation of this philosophy of purity. As he puts it in a frequently cited declaration, "The great auteurs of the cinema may be compared, in our view, not merely with painters, architects and musicians, but also with thinkers. They think with movement-images and time-images instead of concepts." [22] Not for nothing does Deleuze announce that his study is not a "history" for what he is presenting is a classification in which each director is associated in irreducible purity with a specific sign and in which any succession between directors is taken to result from a logic of signs themselves rather than from the pressures of material history. (Undoubtedly, I am simplifying aspects of Deleuze's approach. For example, he does acknowledge the role of history in moving cinema in the postwar period from a confident rendition of movement to a questioning and questioned experimentation with temporality. And in the transition from image-movement to image-time, as commentators point out, Deleuze's model appears to allow for impurity through the case of certain directors – Hitchcock, in particular – who mix modes and deal creatively with both time and movement. Nonetheless, it still seems to me to be the case that Deleuze's taxonomy is finally a logic, and not a history: there are a limited array of inviolate elements (each director and the sign-function – or, in rare cases, functions – he is associated with) and then a placing of those elements into a table (a tableau) where the fact that the organization is historical is only incidental.)
I take my understanding of such process of purification from cultural theorist James Clifford who in a discussion of collection in anthropology inspired in large part by Susan Stewart notes how traditionally this field's rummaging for objects in "primitive" cultures concentrated on those items felt to be free of contamination from other cultures, even when it might have been apparent that many cultures frequently are based on exchange, trade, and infiltration between cultures. As Clifford puts it,
Artifacts and customs are saved out of time. Anthropological culture collectors have typically gathered what seems 'traditional' – what by definition is opposed to modernity. From a complex historical reality (which includes current ethnographic encounters) they select what gives form, structure, and continuity to a world. What is hybrid or 'historical' in an emergent sense has been less commonly collected and presented as a system of authenticity. [23]
In auteurism, the wish for that which, to use Clifford's terms, "is opposed to modernity," manifests itself in a desire to see the auteur as creatively ignorant of the cultural history of his art. Auteurs must be non-intellectuals, visionaries who operate in freedom and purity to give their inviolate world philosophy an arena of expression but doing so in an intuitive, unreflected manner. In this respect, it might not be too extreme to suggest that in the auteur theory, the real auteurs turn out to be the auteurists rather than the directors they study. Faced with the vast anonymity and ordinariness of the mass of films that have ever been made – and in contrast to the anonymous, ordinary manner in which many people see films (the LA Times reports that many average spectators go to the multiplex not having a specific film title in mind and choose once they confront the array of offerings) – the auteurist quests to have his personal vision of cinema emerge from obscurity. He struggles to impose his vision on a system of indifference (which can include, as we have seen, the indifference of the directors themselves).
In this respect, we might note the extent to which auteurism frequently depends on the assumption that cultural workers don't always understand the meanings of their own creations. An infamous example of this is Bogdanovich's documentary, Directed by John Ford (US 1971), where Ford notoriously refuses to understand even that his films can have meaning, can be more than just the entertaining result of a job. Intriguingly, the question that most ticks Ford off – isn't there an evolution in his image of the Indian? – doesn't seem particularly academic or intellectualizing or even difficult, and Ford's harshness seems only the more to confirm that artists don't always have the best insights into their work. The widespread infusion of the notion that the Intentional Fallacy is a bad approach in the understanding of art – "the design or intention of the author is neither available nor desirable as a standard for juding the success of a work of literary art," in Beardsley and Wimsatt's famous phrase [24] – no doubt had as its salutary effect to focus attention more on textual poetics themselves. But it also has had the effect of empowering the critic or commentator to create meanings that may in fact be as fanciful an interpretation of the text as was intentionalism.
In passing, though, we might note the possibility that not all cases of auteurism involve the passivity of the director and the activity of the auteurist. The director still can impose on the auteurist's construction of him. Given that auteurism involves a future-oriented quest to see ever more films and to find ways to classify and master them, there is always the risk for the auteurist of the discovery of a work that refuses to fit the model, that refuses to conform to the world-view auteurists has constructed for the director. Like the possibility of counter-transference that some philosophers of history have suggested allows the past to speak back to the historian in the present, even the deceased director can have some tricks up his sleeve. [25] A newly discovered film or a restored "director's cut" can come along to confound the auteurist's model. What happens, for instance, to our long-standing image of Robert Aldrich when we discover that he in fact disliked the famously cynical ending of Kiss Me Deadly [US 1955] – which film historiography has bequeathed as one of the key moments in postwar apocalyptic imagining – and preferred having Mike Hammer and Velma escape ill-fated destiny? Of course, the resourceful auteurist can always modify his system in ways that account for – or discount – the seeming exception to the rule.
Earlier, I quoted Susan Stewart on collecting as a kind of forgetting, and much of the anti-intentionalism of auteurism sets out to forget the director's thoughts. In a sense, to go back to our guiding question of what the auteurist desires, he desires in larger part that directors themselves don't desire, that they do nothing but create with pure and full unconsciousness of their creative process, that they create works that auteur-collectors can interpret to their own ends. This is what Stewart describes as the collector's "replacement of the narrative of production [in auteurism's case, the production of the films themselves by their directors] by the narrative of the collection, the replacement of the narrative of history with the narrative of the individual subject – that is, the collector himself." [26]
Note that Stewart isn't suggesting a converse and corrective replacing of the individual subject of the collector by some individual subject responsible for the original production. What the collector's subjectivity has replaced is the sweep of history itself and its modes of production, not some realm of lone creative individuals. The alternative to anti-intentionalism doesn't have to be a return to intentionalism. For instance, the new industrial history of film that I discussed at the beginning of this essay can deal with the work of the director, but it does so outside of a quest for directorial intentionality.
The point, then, wouldn't be to no longer do auteurism, but to imagine ways to do it differently. Perhaps auteurism needs more of that self-reflexivity that James Clifford calls for in the activity of anthropological collection:
The categories of the beautiful, the cultural, and the authentic have changed and are changing. Thus it is important to resist the tendency of collections to be self-sufficient, to suppress their own historical, economic, and political processes of production. (…) More historical self-consciousness in the display and viewing of non-Western objects can at least jostle and set in motion the ways in which anthropologists, artists, and their publics collect themselves and the world [27]
We could, for instance, imagine auteurism as itself a historical activity – arising in particular social and cultural situations as a way of responding to them. For example, in an excellent study of auteurism, Jim Naremore employs Raymond Williams's notion of a "cultural formation" – in Naremore's words, "a loose confederation of intellectuals and critics (…) who had roughly similar objectives, and who developed a body of polemical writings to justify their position" – to analyze as fully historical the postwar emergence of French auteurism. As Naremore puts it,
Auteurism fits the profile of a modern cultural formation almost perfectly. It originated in Paris during the 1950s, at a moment when France was becoming increasingly Americanized, and in many respects it imitated what Peter Burger and other writers have called the "historical" avant-garde of the 1910s and 1920s. Like the old avant-garde, it possessed an intellectual or 'left bank' aura; it made iconoclastic or shocking value judgments; it was articulated in specialized magazines (the most famous of which was Cahiers du cinéma); it embraced certain elements of pop culture and used them as a weapon to attack bourgeois values; it published manifestos . . . ; and it served as a kind of banner to help publicize the early work of its own adherents. [28]
In conclusion, there are many ways in which auteurism might be revitalized for our future (and we would then need self-reflexively to investigate why we might want to do so). There is no need to study the film director but there is also no need not to study the film director. Indeed, to look at what happens to individuals as they attempt to negotiate the space of society is one way to enrich social theory and, in this respect, we can push for a study of the work of directors that is fully and finally historical in the richest sense of that term.
[1] For a useful survey of the new directions in auteurism, see Toby Miller and Noel King, "Auteurism in the 1990s", The Cinema Book, 2nd Edition, eds. Pam Cook and Mieke Bernink (London: BFI Publishing, 1999), 311-14.
[2] Tom Gunning, The Films of Fritz Lang: Allegories of Vision and Modernity (London: British Film Institute, 2000), 204, 206.
[3] Gunning, 416.
[4] Bordwell, Planet Hong Kong: Popular Cinema and the Art of Entertainment (Cambridge, MA: Harvard University Press, 2000), 262-63.
[5] Jon Lewis, Whom God Wishes to Destroy: Francis Coppola and the New Hollywood (Durham, NC: Duke University Press, 1995).
[6] [6] David Bordwell, Ozu and the Poetics of Cinema (Princeton, NJ: Princeton University Press, 1988).
[7] Tim Corrigan, A Cinema Without walls: Movies and Culture after Vietnam (Philadelphia: Temple University Press, 1991).
[9] For a symptomatic example of the new authorial study of the producer, see George Custen, Twentieth Century's Fox: Darryl F. Zanuck and the Culture of Hollywood (New York: Basic Books, 1997).
[10] Thomas Schatz, The Genius of the System: Hollywood Filmmaking in the Studio Era (New York: Henry Holt and Co., 1996).
[11] Annette Kuhn, ed., Queen of the B's: Ida Lupino Behind the Camera (Wiltshire, England: Flick Books, 1995)
[12] Judith Mayne, Directed by Dorothy Arzner (Bloomington, IN: Indiana University Press, 1994).
[13] [13] See Polan, "A vertigo of displacement: the Sartrean spectacle of L'Idiot de la famille", Dalhousie Review, 64, No. 2 (Summer 1984): 354-75.
[14] Jean-Paul Sartre, The Critique of Dialectical Reason. (London, New York, Verso: 1991).
[15] E. P. Thompson, William Morris: Romantic to Revolutionary (New York: Pantheon Books, 1977 [original publication: 1955]).
[16] Foreword to Susan Hayward, Luc Besson (Manchester: Manchester University Press, 1998). Further references to this text appear as page numbers in brackets.
[17] See Bordwell, Making Meaning: Inference and Rhetoric in the Interpretation of Cinema (Cambridge, MA: Harvard University Press, 1989).
[18] Susan Stewart, On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection (Baltimore, MD: Johns Hopkins University Press, 1984), 151.
[19] Stewart, 152.
[20] Peter Wollen, Signs and Meaning in the Cinema (Bloomington, Indiana: Indiana University Press, 1972 [1969]).
[21] Dudley Andrew also explicitly analyzes the "purity" of auteurism in his "The unauthorized auteur today" in Stam and Miller, eds., Film Theory: An Anthology (New York & London: Blackwell, 2000).
[22] Gilles Deleuze, Cinema 1: The Movement-Image, trans. Hugh Tomlinson and Barbara Habberjam (Minneapolis: University of Minnesota Press, 1988), xiv.
[23] James Clifford, The Predicament of Culture: Twentieth-Century Ethnography, Literature, and Art (Cambridge, MA: Harvard University Press, 1988), 231.
[24] William K. Wimsatt and Monroe Beardsley, "The intentional fallacy," in Wimsatt, The Verbal Icon: Studies in the Meaning of Poetry (Louisville, Kentucky: University of Kentucky Press, 1954), 3
[25] An amusing discussion of the revenge of the past is Martin Jay's "The ungrateful dead," Salmagundi, 123 (Summer 1999): 22-31. Jay recounts how years after interviewing various members of the Frankfurt School for his famous book on the School, he discovered nasty comments on him in journals and private letters by those members. A more general discussion of history as composed of transference and counter-transference (the past speaking back to the historian in the present) occurs in Dominick La Capra, "History and psychoanalysis," Soundings in Critical Theory (Ithaca, NY: Cornell University Press, 1989).
[27] Clifford, 229.
[28] Jim Naremore, "Authorship," in Bob Stam and Toby Miller, eds., A Companion to Film Theory (New York & London: Blackwell, 1999), 10.


text:
Peraton Awarded $71.8M Contract to Manage Satellite Communications for the U.S. Army Pacific Command
Peraton will provide satellite services, engineering, and technical support
HERNDON, VA — January 25, 2018— The Defense Information Systems Agency (DISA) has awarded Peraton a $71.8M contract with a one-year base period and four one-year options for procurement and management of commercial satellite capacity for U.S. Army Pacific Command (USARPAC).
Peraton will provide satellite services, engineering and technical support for the fixed and mobile platforms that comprise the network architecture of the U.S. Army's Pacific Command. The company's fully managed network services and solutions will connect the Army and its allies in the Pacific Rim, helping to ensure the successful execution of complex missions that are critical to the region's continued stability and security. Peraton will monitor and maintain 24×7 control of the network from its operations center in Herndon, VA.
Peraton CEO Stu Shea said, "Peraton is honored to support the USARPAC operations and training missions in the Pacific Region. Our long history of successfully supporting critical-need and harsh-environment satellite and terrestrial communications service requirements around the world has established Peraton as a trusted telecommunications and IT mission partner across the U.S. defense, intelligence and civil organizations."
About Peraton
Peraton provides innovative, reliable solutions to the nation's most sensitive and mission-critical programs and systems. Peraton has significant experience providing highly differentiated space, intelligence, cyber/SIGINT, defense, homeland security, electronic warfare and secure communications solutions, and has become a trusted partner on missions that are critical to the security priorities of the United States. Capabilities include complex software and technology services and solutions, as well as end-to-end mission operations capabilities, including software systems development, offensive and defense cyber operations, modeling & simulation, mission management, and Quick Reaction Capabilities (QRC) / Research & Development. The company is headquartered in Herndon, VA, with approximately 3,500 employees across the U.S. and Canada.
Brian Wagner
Director of Strategic Communications
bwagne01@peraton.com
@BrianBWagner


text:
Why Natural Gas Could Save Coal
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Previous 5 Oil Stocks for 2014
Natural gas is an increasingly abundant resource in the United States. It's so cheap that it's being integrated into the transportation sector, which sets the stage for lower fuel costs. That, in turn, could lead to cost savings for transporting coal by rail -- which would make coal used for power cheaper.
Gas is great!
Natural gas is a wonderful fuel because it burns more cleanly than coal. However, the usefulness of a fuel is a combination of cost, environment, and energy. In the United States, natural gas is cheap and abundant because of shale drilling. That's led a host of industries to convert to using gas.
For example, Waste Management has more than 2,200 natural gas powered vehicles and recently opened its 50th natural gas fueling station. Every natural-gas truck it buys means it avoids buying 8,000 gallons of diesel. No wonder the trash-hauling industry has made such a concerted shift toward natural gas, increasing such truck purchases from less than 10% of annual acquisitions to more than 60% in just five years.
Long-haul trucks are on the verge of following Waste Management and other trash haulers down a similar path. There's the potential to increase natural gas truck purchases from less than 1% of new purchases to more than one-third in the next five years.
United Parcel Service , for example, has made a commitment to purchase 1,000 long-haul trucks powered by liquefied natural gas. That will add to its already impressive total of more than 2,700 natural gas vehicles (most of which are not long-haul trucks).
How big a deal is this switch to LNG? United Parcel Service says that it can reduce fuel costs by 30% to 40% based on recent natural gas prices. No wonder Waste Management has been buying so many natural gas vehicles. And now that long-haul LNG trucks are increasingly available, including financing supported by a Clean Energy Fuels and General Electric partnership, it seems likely that the trucking industry is ready to start the shift, too.
But what about coal?
That's where trains come into play. GE is also working with CSX to test new gear that will allow a train to run on either natural gas or diesel. Assuming train companies pay about the same amount for fuel as truckers, that could lead to cost savings of up to 40% a year on fuel. Trains have run largely on diesel for around 50 years, so this switch is historic. And it sets up an interesting situation for coal.
According to the U.S. Energy Information Administration, trains transport about 70% of the coal electric utilities use, and transportation makes up about 40% of the end-cost of using coal. This makes rail costs a big part of the equation in the choice between coal or natural gas. Between 2000 and 2010, the cost to ship coal increased 50%. Companies like CSX didn't have much choice but to raise prices, however, because its costs were heading higher.
Source: EIA
Assuming CSX and GE can make the switch to natural gas work, fuel-cost savings would likely be passed onto customers. At the same time, demand for natural gas will be increasing in the trucking (UPS) and train spaces, with an abundance of GE's help, which supports natural gas prices. Thus, the cost-benefit analysis might just start to favor coal in a more meaningful way.
Don't dismiss this scenario. The cost of natural gas in Germany has led gas-fueled power plants to operate at a loss. With cheap and abundant coal, U.S. utilities won't need much of a push to shift their mix back in favor of the fuel.
Watch UPS to see if it can follow the lead of Waste Management, which will provide further evidence that GE and CSX can pull off a similar train switch. If the dominoes fall right, the next five years could be good to coal.
The U.S. energy revolution is just getting started
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The article Why Natural Gas Could Save Coal originally appeared on Fool.com.
Reuben Brewer has no position in any stocks mentioned. The Motley Fool recommends Clean Energy Fuels and United Parcel Service. The Motley Fool owns shares of CSX and General Electric Company. Try any of our Foolish newsletter services free for 30 days. We Fools may not all hold the same opinions, but we all believe that considering a diverse range of insights makes us better investors. The Motley Fool has a disclosure policy.
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Date May 11, 2016 .
Who is the IPC Blanket Licence for?
The IPC Blanket Licence is for independent production companies who want to use commercial or production music in their productions.
What does the IPC scheme allow you to do?
The IPC Blanket Licence enables producers of TV programmes access to over 10 million pieces of our members' music.
What are the rights and formats covered under the agreement?
We provide a simple and cost effective way for you to access all the commercial or production music that you need.
Once admitted onto the scheme, do you have to apply for individual product clearances?
No. We offer a one-stop-shop: rather than seek clearance from individual copyright owners, you can now simply apply once to us.
If a licensee's total Production Music use fee (on a per programme basis) is calculated as being higher than that of the per programme rate then the per programme rate will automatically be charged.
Once signed up to the IPC scheme the process is straight forward, submit your reporting in the usual way indicating to your account manager what rights and options you require for each production.
If you want to distribute an Irish TV programme that already contains our members music then you will also need to apply for a Secondary Exploitation Licence (link).
International use (for Irish programming made by Irish IPCs).
Adaptation, alteration, sampling or arrangement of a members' commercial music without prior approval.
Reproductions of music as parodies.
Use of music in a deliberately derogatory, obscene or demeaning way to its composer, author or the performing artist.
Use of commercial music in title/credit sequences.
Anything excluded from the blanket licence must be individually licensed.


Q1.How many bundles do I need?
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text:
Q: Create a file in every subdirectory I want to iterate through every subdirectory inside a directory (no need to iterate deeper than that) and create a file within each.
For example:
C:\
-C:\folder1
-C:\folder2
-...

I want to end up with a file in each of these folders:
C:\
-C:\folder1\file1.txt
-C:\folder2\file2.txt
-...

The code I've tried is
require 'securerandom'

array =[]

IO.foreach('output.txt') { |line|
  array<<line
}

array.each { |folder|
  randomName = SecureRandom.hex
  File.open("#{folder}\\#{randomName}.txt", 'wb+') do |f|
      buffer = ((SecureRandom.hex)*8).freeze
      randomNumber = (rand 1..9)
      randomNumber.kilobytes.times { f.write buffer }
  end
}

Where output.txt is a file with the full directory of all my desired folders, separated by newlines, e.g.:
output.txt:
"C:\Users\folder1"
"C:\Users\folder2"
...

As for SecureRandom.hex, I just need the contents and file sizes of the files to be random.
Thank you again for your kind help!

A: You can use this as template:
i = 0
Dir['c:\*'].each do | subdir |
  next unless File.directory?(subdir)
  File.open("#{subdir}/file#{i}.txt", "w") { | io | io << 'foo' }
  i += 1
end


text:
Viagra May Be Helpful in Surgery Using Stents
Written by Gigen Mammoser — Updated on September 7, 2018
Researchers say the erectile drug might be useful in preventing side effects during and after stent surgery for heart problems.
Even after 20 years, Viagra is still giving people something to get excited about.
It appears the erectile drug could also be a valuable asset during stent surgery, according to research presented last week at the American Heart Association Basic Cardiovascular Sciences 2017 Scientific Sessions.
Stents are a powerful tool in the fight against heart disease, but they have a complex history and have had unintended side effects.
These include restenosis (re-narrowing of the artery) and thrombosis (blood clots).
Viagra, also known as sildenafil, could potentially supplement the current drug regimen used during and after stent surgery.
This includes blood thinners such as heparin and dual antiplatelet therapy, which utilizes aspirin and a second antiplatelet medication, such as Plavix.
"Sildenafil-coated stents could show more benefit in reducing stent thrombosis than other drug-eluting stents," said Dr. Han-Mo Yang, a lead study author and an associate professor in the division of cardiology at Seoul National University Hospital in South Korea.
How stents work
A stent is a small metal or plastic mesh tube that is inserted permanently into the coronary arteries of some heart disease patients.
Stents help to improve blood flow and reduce the chance of heart attack.
Stents do this by increasing blood flow in arteries that have become narrower or occluded by sclerosis, the buildup of fatty deposits called plaque.
The precursor of modern stents is the balloon angioplasty procedure (first performed in 1977), in which a deflated balloon attached to a catheter is inserted into a narrowed artery.
When the balloon is inflated, the plaque is pushed against the artery walls, increasing blood flow.
But, the procedure has proved to be somewhat ineffective in the long term. A study from 2009 indicated that at one-year follow-up visits, restenosis was reported in 61 percent of study participants.
Stents are more effective but are not without problems.
"When we place the stent, it actually causes more injury than if we just use a balloon, and then there is this foreign body left behind that the blood vessel finds irritating," said Dr. Cindy Grines, a professor of medicine at Hofstra University, and chair of cardiology for the Northwell Health System.
"It will heal, and some cases will have excess scarring," she told Healthline.
Scar tissue is a major factor in restenosis from stent surgery.
Introducing 'drug stents'
In response to these issues, researchers developed "drug-eluting" stents, a relatively new technology first approved by the Food and Drug Administration (FDA) in 2003.
Drug-eluting stents use a polymer coating around the stent to slowly deliver a drug into the bloodstream over the course of about one month.
The drugs most commonly used in this kind of stent are meant to limit or inhibit the formation of scar tissue, which prevents re-narrowing of the artery.
However, drug-eluting stents unintentionally increased the risk of arterial thrombosis, the formation of a blood clot around the stent.
In a 2016 study published in the New England Journal of Medicine, researchers wrote, "we did not find a significant difference between contemporary drug-eluting stents and bare-metal stents in the rates of death from any cause or nonfatal spontaneous myocardial infarction during six years of follow-up."
"What's different here is the choice of the drug," Grines said.
Enter Viagra
The use of Viagra could allow doctors a way to mitigate both of the two major dangers, restenosis and arterial thrombosis, during and after stent surgery.
Exciting, yes, but potentially still a long way off.
This research must still undergo large-scale clinical trials before being given the OK. That Viagra is already a well-established drug does make a difference, though.
"Because sildenafil is already used for the other purposes, this drug could be used in the real world just after getting positive results from the clinical trial," Yang told Healthline.
Even with the drug's 20-year medical history, there are some potential problems that need to be considered, said Grines.
Sildenafil is a vasodilator, meaning it drops blood pressure, and doctors would need to be wary of this since a patient may already be prescribed a blood pressure medication.
"A lot of coronary disease occurs in older men, and they have prostate issues," said Grines. "They all will dilate your blood vessels and drop your blood pressure, and in combination it might not be a safe thing to do."
Nonetheless, a sildenafil-eluting stent could become an important new part of heart disease treatment.
"This is potentially a very exciting breakthrough, but this is so early in the game, we really need to test it in patients, in large numbers of patients, to find out if it will be safe and effective," said Grines.
So, why has it taken this long to discover another additional benefit from such an incredibly popular and well-studied drug like Viagra?
"Sildenafil has been investigated extensively in patients with other diseases such as pulmonary hypertension and heart failure," said Yang. "I have no idea why [it] has not been studied in the field of coronary stents."
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Server migration can be time-consuming and difficult. This course will teach you how to successfully plan, run, and complete the migration of an existing Exchange Server 2010/2013 organization to Exchange Server 2016.
Migrating to a new server is no easy task. If you're about to migrate to Exchange Server 2016 and you want to do it successfully, then this course is for you. This course, Migrating to Exchange Server 2016, will walk you through the deployment of Exchange 2016 into an existing Exchange Server 2010/2013 environment. You'll learn how to prepare your existing environment, how to install Exchange 2016 and establish co-existence, and finally, how to successfully complete the migration and remove your legacy servers. By the end of this course, you'll be ready to perform successful Exchange Server 2016 migrations for your own customers.


text:
// MessageDialog.cpp : implementation file
//

#include "stdafx.h"
#include "pdf_wizard.h"
#include "MessageDialog.h"

#ifdef _DEBUG
#define new DEBUG_NEW
#undef THIS_FILE
static char THIS_FILE[] = __FILE__;
#endif

/////////////////////////////////////////////////////////////////////////////
// CMessageDialog dialog

CMessageDialog::CMessageDialog(CWnd* pParent /*=NULL*/)
	: CDialog(CMessageDialog::IDD, pParent)
{
	//{{AFX_DATA_INIT(CMessageDialog)
	m_message_text = _T("");
	//}}AFX_DATA_INIT
}

void CMessageDialog::DoDataExchange(CDataExchange* pDX)
{
	CDialog::DoDataExchange(pDX);
	//{{AFX_DATA_MAP(CMessageDialog)
	DDX_Text(pDX, IDC_MESSAGE_TEXT, m_message_text);
	//}}AFX_DATA_MAP
}

BEGIN_MESSAGE_MAP(CMessageDialog, CDialog)
	//{{AFX_MSG_MAP(CMessageDialog)
		// NOTE: the ClassWizard will add message map macros here
	//}}AFX_MSG_MAP
END_MESSAGE_MAP()

/////////////////////////////////////////////////////////////////////////////
// CMessageDialog message handlers

redpajama_set_name: RedPajamaGithub


text:
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Francis Jackson Garrison, William Lloyd Garrison, 1805-1879; the story of his life told by his children: volume 2
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New Hampshire (New Hampshire, United States) (search for this): chapter 2
positive tyranny, which ought to be resisted by all the Lord's freemen, all who are rejoicing in the glorious liberty of the sons of God. In support of this position he cited the authorities just enumerated (in the letter to Henry Benson), whom he confessed he had consulted for the first time after his review of Dr. Beecher, being ignorant till then of the views of any commentator. He had, as he expected, brought down upon himself the mint-and-cummin editors of the Vermont Chronicle, New Hampshire Observer, and their kind. The Observer, in order to injure the anti-slavery cause through him, had alleged that he did not belong to the Church of Christ. This was true: On account of many religious scruples, we have not felt at liberty in conscience to become the partisan of a religious sect, nor to bind ourselves by a human creed, nor to unite in the observance of certain forms and ceremonies. The Observer had furthermore charged that he kept his eye fixed intently on one object. N
Benton (Mississippi, United States) (search for this): chapter 2
ay, and alarms many of his orthodox associates. It is fortunate for the country that the good sense, the Lib. 5.199; Benton's Thirty Years View, 1.575. generous feeling, and the deep-rooted attachment of the people of the non-slaveholding Statesate where it was prohibited. But the Senate threw it out by a majority of six, with Benton, Clay, and Lib. 6.103, 104; Benton's Thirty years view, Vol. 1, Chap. 131. Crittenden among them. Meantime the debate had been raging over the treatment of, the article appointed a convention of the slaveholding States to assume towards the North the relation of open enemies (Benton's Thirty years view, 1: 610). Mass. Senate Doc. No. 56, 1836. from Alabama, from Georgia, from Virginia. But the resultatisfied with the Compact, as was John Quincy Adams, so far as concerned the bare admission of Arkansas as a slave State (Benton's Thirty years view, 1.636). Benton compliments the Northern members of Congress on their magnanimity in voting to ratify
Essex County (Massachusetts, United States) (search for this): chapter 2
the common law would serve the purpose, had been referred by the Massachusetts Legislature to a joint committee of five, of Account of the Interviews, etc.; Lib. 6.43, 46, 49; May's Recollections, pp. 185-202. which Senator George Lunt (from Essex County) was chairman. Before this committee, on the 4th of March, 1836, the Massachusetts Anti-Slavery Society was, on its own request, granted a hearing, less in self-exculpation than in order to defeat the Southern and pro-Southern design on a comy outworks. A New York Abolitionist, writing to the Lib. 6.141. Liberator, whom we can certainly identify with Lewis Tappan, saw in the Sabbath discussion the germ of animosity and contention among brethren. At the semiannual meeting of the Essex County Anti-Slavery Society Lib. 6.158. on September 15, a resolution of Charles Burleigh's, urging support of the Liberator, found Sabbatarian objectors, though the vote was finally unanimous. A week later, Mr. Garrison writes to Mr. May, from Bro
Dover, N. H. (New Hampshire, United States) (search for this): chapter 2
n of the slaveholding States to assume towards the North the relation of open enemies (Benton's Thirty years view, 1: 610). Mass. Senate Doc. No. 56, 1836. from Alabama, from Georgia, from Virginia. But the result was not encouraging. Mr. Garrison, writing from Newport, June 22, 1836, of the abandonment of the attempt to pass in the Rhode Island Legislature Lib. 6.73. resolutions advising punishment of the abolition conspirators, reviewed the situation at that date: A gentleman from Dover informs me, that the committee Lib. 6.107. appointed by the New Hampshire Legislature to consider and report upon the pro-slavery documents from the South, have not been able to agree, and the whole subject has been postponed to the next session, which is tantamount to an indefinite postponement. The subservient element prevailed at the next session (Lib. 7: 14, 25), but legislation against the abolitionists was discountenanced. The legislatures of Maine and New York have adopted some we
Ipswich, Mass. (Massachusetts, United States) (search for this): chapter 2
r. Garrison writes from Brooklyn to Henry Benson: My review of Dr. Beechers speech seems to Ms. make some fluttering in certain quarters, especially my remarks upon the sanctity of the Sabbath; on the 18th Ms. he reports to the same that further censure had been visited upon him, as he had anticipated; and on the 21st, that there was still no end of it: The only thing that I regret is, the insertion of a Ms. communication by Knapp, (written by friend Oakes William Oakes, of Ipswich, Mass.), headed The New and old Puritans, because it is written in a manner Lib. 6.122. calculated to exasperate, and not to convince. I know how important it is that I should keep the columns of the Liberator clear of sectarianism, nor have I ever intended to assail any denominational feelings or peculiarities. The Sabbath question is not sectarian, but general—yet the discussion of it is not exactly proper in the Liberator. I have received several letters remonstrating with me on account
Baltimore, Md. (Maryland, United States) (search for this): chapter 2
he theological schools and reviews maintained their Lib. 6.69. evil traditions. The Princeton Biblical Repertory found a clear sanction for slaveholding in the Scriptures, and admissions in the New Testament of its consistency with the Christian character and profession. Leading Northern publishers apprised the South of their resolve to Lib. 6.71. reprint no English work involving a condemnation of slavery, and not to make their publications a medium of incendiary circulation. One in Baltimore expurgated an English history of the United States that had Lib. 6.156. been found objectionable on this score in South Carolina. To make assurance doubly sure, General Duff Green obtained of the Legislature of that State a charter for a Southern Literary Company, to prepare school-books Lib. 6.173, 206. suitable for a slaveholding community. The main business of the abolitionists, besides extending their organization,—which they did at the rate of Lib. 6.183. nearly one new societ
Golconda (Illinois, United States) (search for this): chapter 2
life-blood beating warm, Strange thoughts within me generate and swarm; Streams of emotion, overflowing, rise; Such joy thy birth affords, and glad surprise, O nursling of the sunshine and the storm! Bear witness, Heaven! do I hate Slavery less,— Do I not hate it more, intensely more,— Now this dear babe I to my bosom press? My soul is stirred within me—ne'er before Have horrors filled it with such dire excess, Nor pangs so deep pierced to its inmost core! IV. Bone of my bone! not all Golconda's gold Is worth the value of a hair of thine! Yet is the Negro's babe as dear as mine-- Formed in as pure and glorious a mould: But, ah! inhumanly 'tis seized and sold! Thou hast a soul immortal and divine, My priceless jewel!—In a sable shrine Lies a bright gem, 'bought with a price' untold! A little lower than th' angelic train Art thou created, and a monarch's power, My potent infant! with a wide domain, O'er beast, bird, fish, and insect, is thy dower: The Negro's babe with thee
Rhode Island (Rhode Island, United States) (search for this): chapter 2
f Pennsylvania, It did, Nov. 16, 1836 (Lib. 6: 193). viz., by Lib. 6.112, 203. vindicating the right of free discussion, and maintaining the duty of Congress to abolish slavery in the District of Columbia. The Legislature of this State [Rhode Island] resolves to do nothing upon the subject. What will the South say now? South Carolina said, speaking through Governor Mc-Duffie's message, that but three of the States in which Lib. 6.201. abolition societies had been formed had even con 6.173, 206. suitable for a slaveholding community. The main business of the abolitionists, besides extending their organization,—which they did at the rate of Lib. 6.183. nearly one new society a day, including a vigorous State Society in Rhode Island, and one in Pennsylvania,—was Lib. 6.22, 179. to defeat the legislative movements directed against the right of free speech; to keep up the bombardment of Congress with petitions for emancipation in the District; to vindicate in the courts th
Brimfield (Massachusetts, United States) (search for this): chapter 2
nd dollars to our cause. George Blake, of Boston, (though opposed to the abolitionists), said that our fundamental principles were incontrovertible; that slavery could not long continue in our land; that it stood on the same level with the Genthoo sacrifices; and that he did not believe a man, or any body of men, could be found in that assembly, who would dare to propose any law, or any resolutions, censuring the antislavery society, or any other. Mr. Rantoul of Gloucester, Mr. Foster of Brimfield, Mr. Hillard of Boston, Mr. Longley of Festus Foster. Thomas Longley. Joshua H. Ward. Gilbert H. Durfee. [Hawley], all spoke in favor of our rights; also, Mr. Ward of Danvers, and Mr. Durfee of Fall River. Mr. Durfee said he was proud to acknowledge himself as one of the proscribed abolitionists, and he thanked God that he stood where he could vindicate his own rights and the rights of others. A motion was now made to lay our memorial upon the table—ayes 204, noes 216. It was then ref
United States (United States) (search for this): chapter 2
ation. One in Baltimore expurgated an English history of the United States that had Lib. 6.156. been found objectionable on this score innta Anna; and the agents of the province were despatched to the United States to hasten the Lib. 6.69. recruiting of volunteers for the fin9), is now formed between the abolitionists of England, France and America, for the extirpation of slavery and the slave trade from the face racter of the abolitionists and the relations of parties in the United States, exposing the Texas conspiracy, and fanning to a fresh heat a zritish West Indies. Liberator, passim; and A Voice to the United States of America from the Metropolis of Scotland; being an account of variothe anti-slavery religious associations in England toward those in America. In the Southern Religious Telegraph, a Southerner abroad Lib. 6ss Martineau's version, in her article on the Martyr Age of the United States, in the Westminster Review for December, 1838, is, that Dr. Cha


text:
Q: Testing that OptaPlanner constraint generates match weight for a specific score level I have unit tests that use the following testing API:
constraintVerifier.verifyThat(myConstraint).given(myEntity).penalizesBy(someValue);

But, I would like to be able to also verify it is penalising / rewarding as a Hard, Medium or Soft score. Is there a way to do that?
Thanks in advance.

A: Yes and no. You can not do that on a constraint level, but you can do that on a ConstraintProvider level.


Here you'll find news and updates from your friends at Dana Rockey DMD – your dental care team.
Silver fillings should be examined and monitored regularly. They could be slowly seeping metals into the body as the silver material dissolves away.
It's astounding how few patients, and even worse, how few medical professionals really understand the significance of the oral-systemic connection, and the consequences of bad oral bacteria.
There are new modern techniques, break-throughs and technologies that can help patients who want to lead a healthier lifestyle. We're here to help people lead healthier lives.
What we now know about the connection between oral health and a person's brain, organ and system-wide health is a game changer. We're leading the way.
Some call it Dentistry 2.0, others call it wellness-based dentistry. We consider this a smart and essential approach to healthcare.
Chronic inflammation signals that our immune system is out of balance and has gone haywire.
The connection between oral health and the rest of the body isn't just anecdotal — there's hard science behind it.
The treatment for periodontal disease is relatively straightforward. Our staff is highly trained in the most progressive periodontal treatments and procedures.
Dr. Rockey has a knack for educating patients to help them reach their health goals.
Q: What is your motivation to open a new practice after 30 years as a dentist?
Optimal nutrition coupled with appropriate medical treatment can dramatically improve the quality of life and chances for a complete remission.


With the tremendous impact of heart failure to the healthcare system, the Council on Congestive Heart Failure was established in 1997, to improve the care of heart failure patients in the country. Educational programs on congestive heart failure were instituted. Presently, the Council is setting up the mechanics for the establishment of a pilot heart failure clinic, in cooperation with the Heart Failure Society of the Philippines, and the Philippine Heart Center.