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US Sees Spike In Pregnant Women Addicted To Painkillers
Over the past 15 years, the United States has seen a fourfold increase in pregnant women addicted to painkillers, the latest troubling statistic in an ongoing epidemic of opioid abuse, officials said Thursday.
The report by the US Centers for Disease Control and Prevention is the first major national study of its kind and revealed "significant increases in the 28 states with available data" from 1999 to 2014. "These findings illustrate the devastating impact of the opioid epidemic on families across the US, including on the very youngest," said CDC Director Robert Redfield. "Untreated opioid use disorder during pregnancy can lead to heartbreaking results."
Women who abuse opioids while pregnant risk maternal death, preterm birth, and stillbirth. Their babies, if born alive, are often addicted to the potent drugs themselves and must go through a period of painful withdrawal known as neonatal abstinence syndrome.
"Opioid use by pregnant women represents a significant public health concern," said the CDC report. Nationwide, the rate of women with "opioid use disorder" arriving at hospitals to deliver their babies "increased from 1.5 per 1,000 delivery hospitalizations in 1999 to 6.5 in 2014," it said. The report did not specify what kinds of opioids the women were using. The United States is grappling with a surging epidemic of opioid abuse -- including painkillers like OxyContin and street drugs like heroin -- which took more than 42,000 lives in 2016.
The CDC said excessive prescribing practices by doctors could be a factor in opioid abuse, and called for increased efforts to prevent women from becoming addicted and help them get treatment.
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For MyISAM tables created with the CHECKSUM=1 clause, CHECKSUM TABLE or CHECKSUM TABLE ... QUICK returns the "live" table checksum that can be returned very fast. If the table does not meet all these conditions, the QUICK method returns NULL. The QUICK method is not supported with InnoDB tables. See Section 13.1.20, "CREATE TABLE Syntax" for the syntax of the CHECKSUM clause.
The checksum value depends on the table row format. If the row format changes, the checksum also changes. For example, the storage format for temporal types such as TIME, DATETIME, and TIMESTAMP changed in MySQL 5.6 prior to MySQL 5.6.5, so if a 5.5 table is upgraded to MySQL 5.6, the checksum value may change.


Hmmmm, it is amazing what you can find on the internet after a few beers. It has been a while since I did a post on Krisdayanti and her trials and tribulations in pursuit of happiness with the husbands of other women. However, it seems that some Krisdayanti haters out there have channeled their collective anger into a Facebook page. This Facebook page now has in excess of 331, 870 people who like the page.
It would seem that the vast majority of these people apparently like the idea that "enough is enough" on the KD front, particularly her seemingly getting a free pass on the constant cheating with other women's husbands and her overt lack of morals in this regard. The icing on the cake seems to have been the affair with Raul Lemos, a well-to-do Timor Leste businessman, by most accounts.
I have always argued that those that live in glass houses should not throw stones. And, when people failed to grasp that idea, then perhaps the person who is free of sin should cast the first stone in KD's direction.
Anyways, if nothing else, a post on KD provides the perfect opportunity to post some gratuitous photos of the woman of the moment.


text:
U.S. & UKRAINE SIGN OPIC MEMORANDUM OF UNDERSTANDING, THE FIRST STEP
Signing of the Memorandum of Understanding (MOU) between the Government of Ukraine and the Government of the United States of America on Overseas Private Investment Corporation activities in Ukraine
Ministry of Economy of Ukraine, Kyiv, Ukraine, Monday, November 10, 2008
KYIV - A Memorandum of Understanding [MOU] between the Government of Ukraine and the Government of the United States of America, which makes an important foundation for the Overseas Private Investment Corporation (OPIC) to resume its work in Ukraine, has been signed on November 10, 2008.
On behalf of the Government of Ukraine the Memorandum has been signed by Bohdan Danylyshyn, the Minister of Economy of Ukraine, and on behalf of U.S. Government the MOU has been signed by the Ambassador of the United States of America to Ukraine William Taylor.
CONSIDERED TO BE THE FIRST STEP
The signing of the MOU between the two governments is considered to be the first step in establishing practical mechanisms of dispute settlement with the Overseas Private Investment Corporation.
Ukraine has a very strong interest in the further attraction of private American investors that can insure their risks with OPIC, stated the Minister of Economy of Ukraine.
At the same time, Ambassador William Taylor underlined that signing of the MOU is a very important step for the return of OPIC to Ukraine and an important sign that the United States of America believes in Ukraine and its economy.
LATEST AVAILABLE DRAFT OF THE MOU,
May not be the final copy that was signed.
between the Government of Ukraine and the Government of the United States of America
The Government of Ukraine and the Government of the United States of America (hereinafter "the Parties"),
Confirming their intention to cooperate with the aim of developing relations between the two countries in the area of investment;
Desiring to ensure favorable conditions for investment including the principles of equality and mutual benefits and the provisions of the Treaty Between the United States of America and Ukraine Concerning the Encouragement and Reciprocal Protection of Investment, with Annex, and Related Exchange of Letters, signed at Washington March 4, 1994; and
With regard to the situation which has developed in connection with the investment of Alliant Techsystems Inc. to ensure operation of closed- end Joint Stock Company Alliant Kyiv;
Achieved the following understanding:
The Parties welcome and admit the importance of the agreements that are envisioned to be concluded between the U.S. Overseas Private Investment Corporation (hereinafter: OPIC) and an economic entity (hereinafter– the Enterprise), selected by the Government of Ukraine with OPIC's approval, as described in Section 2 of this Memorandum of Understanding, and, in accordance with their respective national laws, intend to facilitate the implementation of these agreements.
The Parties take into account the agreements (hereinafter – Agreements) regarding resolution of the situation involving the investments of Alliant Techsystems Inc. into Alliant Kyiv. These Agreements envisage that:
(i) OPIC would transfer to the Enterprise the rights assigned by Alliant Techsystems Inc. to OPIC in connection with the payment made by the latter (hereinafter – the Rights). The transfer of rights would be made in accordance with the legislation of Ukraine.
(ii) The Enterprise, in its turn, would transfer money in favor of OPIC in the amounts and during the time period specified by the Agreements.
The Parties support OPIC's willingness to consider the full and proper performance by the Enterprise of the payment and due implementation of other obligations under the provisions of the Agreements, as mentioned in the paragraphs (i) and (ii) of this Section as final resolution of the situation that emerged in connection with the investments of Alliant Techsystems Inc. in Alliant Kyiv.
The U.S. Government confirms that OPIC will resume support of investment projects implemented in Ukraine by U.S. private investors, upon satisfaction of the conditions outlined in the Agreements for the resumption of such support.
The Parties acknowledge that the provisions of this Memorandum of Understanding do not constitute and should not be considered as constituting any admission on behalf of the Ukrainian Side of any commitment, debt, complaint or other claim of any company, including those involved in the resolution of the situation with regard to the investments of the Alliant Techsystems Inc.
Each Side will endeavor to resolve any differences regarding the interpretation and/or application of provisions of this Memorandum of Understanding by holding consultations between the Parties.
The Memorandum of Understanding enters into force upon signature by authorized representatives of the Parties.
Modifications and additions that are integral part of this Memorandum of Understanding can be incorporated into it upon mutual written consent of the Parties.
Signed in duplicate at Kyiv on November 10, 2008, in the Ukrainian and English languages. Both copies have equal value.
For the Government of Ukraine: For the Government of the United States of America:
LINKS: http://www.mfa.gov.ua/usa/en
http://www.me.gov.ua/control/uk/publish/article?art_id=123973&cat_id=38461
http://www.kmu.gov.ua/control/uk/publish/article;jsessionid=21D3

redpajama_set_name: RedPajamaCommonCrawl


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Puotila (szw. Botby gård) – naziemna stacja metra helsińskiego na jego południowym odgałęzieniu (Itäkeskus – Vuosaari), obsługująca dzielnicę Puotila i Puotinharju we wschodnich Helsinkach. Została otwarta 31 sierpnia 1998 roku, a więc dużo później niż większość stacji w sieci. Projekt wykonało biuro architektoniczne Kaupunkisuunnittelu Oy Jarmo Maunula.

Myllypuro znajduje się pomiędzy stacjami Itäkeskus oraz Rastila.

Linki zewnętrzne
 Puotila metro station

Metro w Helsinkach

redpajama_set_name: RedPajamaWikipedia


Autograph on e-NIGERIA! Archives - e-NIGERIA!
Home Category Autograph on e-NIGERIA!
Desmond Ike-Chima is a versatile and thorough bred Nigerian journalist. He is currently the General Manager at Alterplate Nigeria Limited, owned by Harrysong. Desmond Ike-Chima currently writes a column on e-NIGERIA! which he titles, Autograph.


How do you get started writing a blog?
Contrary to what some people may think, it's actually quite easy to start one. It starts with the decision to write one. That simple.
After that, it can be a slightly more complicated matter- but mostly where it concerns what the blog is going to be about. There are an unlimited number of options you can choose from- anything from writing about animals to zeppelins.
Do I want to write about something I know?
Do I want to write about learning about something I don't know?
Do I want to write about places I've been?
Do I want to write about my Life?
Those four questions can serve as a jumping point for whatever topic you wind up deciding to blog about.
Now, just be aware that you're probably not going to get thousands of readers right off the bat. It takes time , dedication, and consistent posting to gain readers. My blog, "The Corner of Terror" has been going for close to two years now, and averages about 5000 views a month. So don't get discouraged.
Also, you might find that the direction of your blog changes along the way. Mine did. It originally started out as "Stew's Corner"- a blog where I discussed geekdom. I wasn't totally satisfied, and changed it to a horror review blog instead. Blogs will evolve over time as the blogger changes. It's a "living" piece of work- and is always a work in progress.
Do I recommend blogging? Yes, I do. It can prove to be a great release for thoughts (especially a journal style blog), and a wonderful way to share your passion with others (like my love of horror).
So get blogging, and share yourself with the world!


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Victor Osimhen scores his second hat-trick in one week for Napoli in pre-season win
By effizziemag	 On Sep 4, 2020
Nigeria's most expensive player in history, Victor Osimhen has netted another hat-trick for Napoli, as the club thrashed Italian third division side Teramo 4-0, in Friday's pre-season game.
The hattrick comes just days after Osimhen's first hat-trick in Napoli's second pre-season game against L'Aquila which they won 11-0.
Osimhen scored for Napoli in the 4th minute before Lozano made it 2-0 on 14 minutes. In the 61st minute, Osimhen scored the third goal for his side and completed his hat-trick on 65 minutes to end the game 4-0.
Napoli will kick-off the Serie A season with an away game against Parma when the league starts next week.
Missing woman's body exhumed after she was allegedly murdered and secretly buried by her security guard.
Former Super Eagles defender, Ajibade Babalade dies at 48 after suffering cardiac arrest Former Super Eagles defender, Ajibade Babalade dies at 48 after suffering cardiac arrest Former Super Eagles defender, Ajibade Babalade has died at the age of 48 after suffering cardiac arrest. The retired footballer, who won bronze at the 1992 Africa Cup of Nations in Senegal, died on Friday afternoon, September 4, while being rushed to the University College Hospital, Ibadan. A close family friend of the deceased confirmed his death in a statement to TheCable "I can confirm to you that he died from cardiac arrest around 11am today," the source said. "He was the one that drove himself to the hospital yesterday that he was not feeling too good. "On getting to the hospital, after taking his vitals, the doctor told him he had to be admitted because of his blood pressure, which was high. And it was what the medical personnels in the hospital was trying to work on. "Until this morning, when the boy that stayed with him in the hospital saw the way he was breathing, he had to call his elder brother who rushed down to the hospital to see for himself. "It was the elder brother that now called for his immediate discharge and referral to UCH. It was at the entrance to UCH that he breathe his last. "I feel so pained that my friend is gone. I am heartbroken and devastated. Just yesterday here, he still posted his first son's picture on his Facebook to wish him happy birthday. "May his soul Rest In Peace." He is survived by a wife and three children, who all are based in the US. Ajibade started his professional career at Stationery Stores of Lagos state in 1990, before joining 3SC and helping the Oluyole Warriors to the tournament of the CAF Champions in League in 1996. He also enjoyed several stints abroad, playing for Ivorian side, African Sports, Anyang LG Cheetahs (Korea), SK Sturm Graz (Austria), and Indian club Mohun Bagan AC. In October 2008, Babalade was named as manager of the Shooting Stars FC.
Austin Eguavoen's children praise him on Twitter after Super Eagles AFCON…
Anthony Joshua on the brink of "accepting £15million to stand aside and let…
AFCON2021: 12 Tunisian players to miss clash with Nigeria after testing positive for…
Rafael Nadal reaches Australian Open quarters but Alexander Zverev suffers loss


Remember Namine's difficulty with writing? Jessica and I decided to cut our losses and request the curriculum from the beginning of the year. We could not have received a more understanding response.
If Namine were enrolled in a normal school, there is no way she could start with the first quarter work in March. But this is a perfect selling point for RVA and online school programs in general, especially for students like Namine, who have experienced (and continue to experience) delays due to health and other scheduling conflicts.


911 Never Forget 3x5 flag measures 3'x5' (Height x Width in feet) 3ftx5ft. This 911 Never Forget Flag is made with commercial grade nylon. Flags Poles And More makes this 911 Never Forget flag here in the USA.


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Q: Data race guarded by if (false)... what does the standard say? Consider the following situation
// Global
int x = 0; // not atomic

// Thread 1
x = 1;

// Thread 2
if (false)
    x = 2;

Does this constitute a data race according to the standard?
[intro.races] says:

Two expression evaluations conflict if one of them modifies a memory location (4.4) and the other one reads
or modifies the same memory location.

The execution of a program contains a data race if it contains two potentially concurrent conflicting actions,
at least one of which is not atomic, and neither happens before the other, except for the special case for
signal handlers described below. Any such data race results in undefined behavior.

Is it safe from a language-lawyer perspective, because the program can never be allowed to perform the "expression evaluation" x = 2;?
From a technical standpoint, what if some weird, stupid compiler decided to perform a speculative execution of this write, rolling it back after checking the actual condition?
What inspired this question is the fact that (at least in Standard 11), the following program was allowed to have its result depend entirely on reordering/speculative execution:
// Thread 1:
r1 = y.load(std::memory_order_relaxed);
if (r1 == 42) x.store(r1, std::memory_order_relaxed);
// Thread 2:
r2 = x.load(std::memory_order_relaxed);
if (r2 == 42) y.store(42, std::memory_order_relaxed);
// This is allowed to result in r1==r2==42 in c++11

(compare https://en.cppreference.com/w/cpp/atomic/memory_order)

A:
Does this constitute a data race according to the standard?

No, data races are concerned with access to storage locations in expressions which are actually evaluated as your quote states. In if (false) x = 2; the expression x = 2; is never evaluated. Hence it doesn't matter at all to determining the presence of data races.

Is it safe from a language-lawyer perspective, because the program can never be allowed to perform the "expression evaluation" x = 2;?

Yes.

From a technical standpoint, what if some weird, stupid compiler decided to perform a speculative execution of this write, rolling it back after checking the actual condition?

It is not allowed to do that if it could affect the observable behavior of the program. Otherwise it may do that, but it is impossible to observe the difference.

What inspired this question is the fact that (at least in Standard 11), the following program was allowed to have its result depend entirely on reordering/speculative execution:

That's a completely different situation. This program also doesn't have any data races, since the only variables that are accessed in both threads are atomics, which can never have data races. It merely has potentially multiple valid results, meaning a race condition. A data race would always imply undefined behavior, not merely unspecified behavior.
Also the out-of-thin-air issue appears only as a result of the circular dependence of the accesses between multiple atomics. In your initial example there is only one variable, non-atomic and without any such circular dependence.

A: The key term is "expression evaluation". Take the very simple example:
int a = 0;
for (int i = 0; i != 10; ++i)
   ++a;

There's one expression ++a, but 10 evaluations. These are all ordered: the 5th evaluation happens-before the 6th evaluation. And the evaluations of ++a are interleaved with the evaluations of i!=10.
So, in
int a = 0;
for (int i = 0; i != 0; ++i)
   ++a;

there are 0 evaluations. And by a trivial rewrite, that gets us
int a = 0;
if (false)
   ++a;

Now, if there are 10 evaluations of ++a, we need to worry for all 10 evaluations if they race with another thread (in more complex cases, the answer might vary - say if you start a thread when a==5). But if there are no evaluations at all of ++a, then there's clearly no racing evaluation.

redpajama_set_name: RedPajamaStackExchange


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Richard Walton 1928 – 2012
January 5, 2013 dadoonan Comments 4 comments
Richard Walton died last week. He is an important part of our history as a party. He was always, from the getgo of our party and before, deeply wanting there to be a strong third party in the United States. As part of this, he ran for Vice President for the Citizens Party in 1984, a precursor of the Green Party. Sonia Johnson was the party's presidential candidate that year. He helped found the Rhode Island Green Party several years later. Together with Tony Affigne and Greg Gerritt and others from that state, he also helped in founding the Association of State Green Parties in 1996/7/8. He served as Secretary of two vitally important early meetings of the ASGP – in Topsham. Maine in the fall of 1997 and in Santa Fe in the Spring of 1998. His extensive notes were crucial in giving depth and vibrancy to ASGP, the organization which morphed in a few years into the Green Party of the United States in 2001. Richard has been a stalwart member of its National Committee and its International Committee to the present day.
Richard has an amazing history of accomplishments as a journalist, a prolific author (of 12 books), as a teacher (including The New School for Social Research in NYC, and Rhode Island College, where among other achievements he helped unionize Adjunct Faculty), and as a political and community activist. He is well known as an activist against poverty, homelessness, and hunger. He has traveled to 50 countries, especially to Africa and the Mid-East. His participation in the USGP's International Committee was steady and balanced in his ability to sort out the problems of a growing and often controversial Committee. In 2008, Richard was interviewed as part of a major feature article in The Providence Phoenix.
A personal friend, I mourn his passing and celebrate his life,
John Rensenbrink
additional information on Richard Walton can be found on wikipedia
The pipeline to hell
4 thoughts on "Richard Walton 1928 – 2012"
Tony Affigne says:
It's taken me several days of sorrow and reflection, to reach a place where I can write a few words in Richard Walton's memory. This very special man was my dear friend and collaborator, an inspiration, a challenge to be more gentle, more sincere, more enduring. Friends and fellow agitators for thirty years, we shared a passion for the unexpected and the insurgent, tilting windmills and laughing at the madness and sadness of it all. We met the summer of 1982, working on progressive electoral campaigns and in 1986, he was my own best ally and advisor, when I became Citizens Party candidate for governor. Over the next three decades, Richard's commitment to peace and justice (and good humor) helped so many of us carry on, in the face of seemingly insurmountable odds. He never wavered in support for the peace movement, the local music scene, Green politics, the needs and rights of the homeless, the people of Central America, his many hundreds of friends and admirers—and the salutary effects of an ice-cold brew! Like all his friends, Richard left me with more memories than I could ever recount. But a simple one is among the best; the two of us sitting at the Pawtuxet Athletic Club bar, looking out across his beloved Pawtuxet Cove, sharing a quiet beer and laughing about nothing much at all. Richard was a treasure, and my life, all our lives, will be forever changed by his having shared with us, and by his finally, peacefully, passing into a glorious, well-deserved sunset.
Pingback: Green Pages: Richard Walton 1928 – 2012 | Independent Political Report: Third Party News
Pingback: Richard Walton 1928-2012 | Green Party Watch
Ridley Scott says:
Richard John Walton was born on May 24, 1928 in Saratoga Springs, New York, to Gertrude and Richard James Walton. As a child he moved with his family to Providence, Rhode Island, where he was graduated from Classical High School in 1945 and received a bachelor's degree from Brown University in 1951. His studies at Brown were interrupted for two years while he served in the U.S. Navy as a journalist's mate.


T.S. Eliot wrote the poems in the 1930s and included them, under his assumed name "Old Possum," in letters to his godchildren. They were collected and published in 1939 as Old Possum's Book of Practical Cats, with cover illustrations by Eliot himself.
In 1977, Andrew Lloyd Webber began composing music to accompany the poems that he had been fond of while growing up. The music would later become central to Cats the Musical. The compositions were premiered at his Sydmonton Festival in 1980; Valerie Eliot, the widow of T.S. Eliot, attended the concert and gave her blessing for the songs to be adapted into a stage production.
Judi Dench Was Almost Grizabella!
Judi Dench was cast as the original Grizabella, but had to withdraw from the 1981 world premiere in the West End due to a torn Achilles tendon. Elaine Paige replaced her.
Finola Hughes originated the role of the white cat, Victoria; she went on to star in the ABC soap operas General Hospital and All My Children. Hughes is also known for Staying Alive, the sequel to Saturday Night Fever.
It took 7,486 chandelier crashes for Lloyd Webber's The Phantom of the Opera to take over from Cats as the longest-running show in Broadway history in January 2006.


text:
You are here: Home Stroke
Evaluation of Revascularization in Different Suzuki Stages of Ischemic Moyamoya Disease by Whole-Brain CT Perfusion
www.frontiersin.org - January 1, 2023
Evaluation of Postoperative Hemodynamics
Treatment of Postoperative Complications
Demographic and Clinical Characteristics of the Study Population
Hemodynamic Characteristics in Different Suzuki Stages of iMMD Before and After Bypass
Hemodynamic Characteristics in Different Suzuki Stages Before and After Bypass
Hemodynamic Characteristics in Early vs. Late Suzuki Stage Before and After Bypass
Relationship Between Hemodynamic Findings and Postoperative Complications in Different Suzuki Stages in iMMD
Moyamoya disease (MMD) can lead to severe ischemic stroke in adolescent and adult patients (1). Extracranial-intracranial (EC-IC) revascularization by superficial temporal artery-to-middle cerebral artery (STA-MCA) bypass combined with encephalo-duro-myo-synangiosis (EDAMS) is regarded as an effective treatment for complicated lesions (2–4). However, the consistency between pre- and postoperative hemodynamic characteristics in patients with iMMD in different Suzuki stages, and whether these parameters are related to postoperative complications, is not known.
Whole-brain computed tomography perfusion (WB-CTP) is a useful technique for screening patients with ischemic stroke for treatment with mechanical recanalization or intravenous thrombolysis within a narrow time window (5, 6). Although WB-CTP has been applied to MMD to assess the feasibility of revascularization, the relationship between Suzuki stage, WB-CTP features, and clinical outcomes has not been reported (7).
In the present study, we investigated the hemodynamic features in WB-CTP of ischemic (i) MMD patients in different Suzuki stages before and after EC-IC revascularization combined with EDAMS, and evaluated the relationship between hemodynamic parameters and clinical outcomes in different Suzuki stages.
In this retrospective study, we analyzed 161 hemispheres in 126 patients (61 males and 65 females) with iMMD in different Suzuki stages (II, III, IV, and V) who underwent digital subtraction angiography (DSA) and EC-IC revascularization by STA-MCA bypass combined with EDAMS at the First Affiliated Hospital of Soochow University (Suzhou, China) from April 2013 to August 2020. The surgical and imaging procedures were approved by the ethics committee of the First Affiliated Hospital of Soochow University. All patients provided written, informed consent.
The following medical interventions were implemented to manage postoperative complications: antioxidant agents, hypotensive drugs, and dehydrating agents for cerebral hyperperfusion syndrome (CHS) (9); and antiplatelet agents for transient ischemic attack (TIA); and antiepileptic drugs and plasma concentration associated with drugs for epilepsy. Patients with minor hemorrhage without mass effect were treated with conservative treatment. The relationships between postoperative complications and hemodynamic parameters before and after bypass were analyzed.
Patients were followed up for a maximum of 36 months. Postoperative outcomes were assessed with the modified Rankin scale (mRS) score.
All variables are presented as mean ± standard deviations. Categorical variables were analyzed with the chi-squared test, and continuous variables were analyzed with the Student's or paired test. Data analysis was performed using SPSS v23.0 (SPSS Inc, Chicago, IL, USA). Differences with < 0.05 were considered significant.
The demographic and clinical characteristics of the study population are shown in Table 1. The mean age of the 126 patients was 46.3 ± 11.5 years (range, 15–78 years). The medical history of the cohort was as follows: hypertension, = 29 (23.0%); diabetes mellitus, = 24 (19.0%); elevated lipids, = 22 (17.5%); smoking, = 25 (19.8%); and alcohol abuse, = 14 (11.1%). The number patients in each Suzuki stage was as follows: II, = 11; III, = 46; IV, = 59; and V, = 10. Preoperative clinical diagnosis included TIA ( = 75, 59.5%) and reversible ischemic neurologic deficit (RIND) ( = 51, 40.5%). A total of 161 hemispheres in the 126 patients were successfully treated by combined bypass/EDAMS. Postoperative complications included CHS ( = 16, 12.7%), TIA ( = 11, 8.7%), epilepsy ( = 10, 7.9%), and intracerebral hemorrhage (ICH) ( = 5, 4.0%).
Read more The Difference Between Bell's Palsy and Stroke
The rates of postoperative complications in different Suzuki stages were as follows: stage II, 2/11 (18.2%); stage III, 17/69 (24.6%); stage IV, 18/36 (50%); stage V, 5/10 (50%) (Table 1). The 4 major types of postoperative complication occurred at higher rates in late-stage as compared to early-stage patients, including CHS (19.6 vs. 8.6%), TIA (10.9 vs. 7.5%), epilepsy (13.0 vs. 5.0%), and ICH (6.5 vs. 2.5%).
Preoperative brain volume with rCBF <30% was lower in patients in the early stage (9.8 ± 3.9 ml) than in patients in the late stage (33.5 ± 11.0 ml) of iMMD ( < 0.05) (Table 3). Accordingly, preoperative mismatch ratio was higher in the early stage as compared to the late stage of disease (11.2 ± 2.8 vs. 3.6 ± 1.6; < 0.05). Of the 80 patients in the early stage, 56 (70.0%) had a preoperative mRS score of 0–1; the number of patients with scores in this range increased to 75 (93.8%) at 3 months after surgery. Among the 46 patients in the late stage, 30 (65.2%) had an mRS score of 0–1 before the surgery and the number increased to 37 (80.4%) at 3 months after bypass; the difference between early- and late-stage patients at the 3-month follow-up was statistically significant ( < 0.05).
MMD is a type of cerebrovascular lesion whose etiology is not fully understood. Given the occlusion of intracranial arteries, establishing collateral circulation through EC-IC bypass can increase cerebral blood flow, thereby preventing ischemic stroke or hemorrhage (10–13). However, in order to ensure good clinical outcomes with this approach, it is important to understand the hemodynamic characteristics of iMMD patients in different Suzuki stages and postoperative complications associated with hemodynamic variances.
The iMMD patients in different Suzuki stages in our study showed differences in hemodynamic features in WB-CTP. A higher mismatch ratio and lower brain volume with rCBF <30% are known to be related to better collateral circulation, which has been used to guide the treatment of embolism in ischemic stroke (14). In the present study, the hemodynamic parameters of early Suzuki stage (II and III) patients markedly improved after bypass surgery. However, the same was not true of patients in the late stages (IV and V) of disease, who showed increased volumes of both the ischemic core and penumbra. The preoperative mismatch ratio was also lower in late-stage MMD patients, indicating an insufficiency of collateral vessels. Thus, preoperative mismatch ratio can be considered as a marker for the status of collateral circulation in different Suzuki stages of iMMD. Additionally, the possibility of a postoperative decrease in blood vessel formation following EC-IC revascularization and cerebral cortex perfusion should be noted (7). In our study, the postoperative mismatch ratio was decreased in both early- and late-stage patients following bypass, which is in accordance with previous reports (7).
Read more What to expect after a mini stroke
The observed changes in collateral circulation and hemodynamics following bypass surgery were related to postoperative complications. Mismatch in the cerebral cortex is thought to reflect a salvageable brain area after ischemic stroke (5). EC-IC bypass can have a marked effect on collateral circulation, inducing hemodynamic disturbances such as cerebral hyperperfusion syndome and postoperative watershed shift ischemia (15). It has been reported that micro embolism was related to MMD progression and infarct onset (10). One study proposed that collateral circulation in MMD be classified based on whether the origin is the external or internal carotid or vertebral artery, as patients with collaterals originating from the external carotid artery usually had late-stage disease and were at a higher risk of infarction (16). So we protect trans-dural anastomosis, such as middle meningeal arteries, during craniotomy especially in patients with late Suzuki's stage. Previous report indicated the significant association of the risk of cerebral hyperperfusion with the higher Suzuki's angiographic stage (17).
Our study showed that the rate and severity of postoperative complications (CHS, TIA, epilepsy, and ICH) in early- vs. late-stage iMMD patients differed significantly. CTP provides a method for quantitatively evaluating cerebral perfusion; a discrepancy between cerebral blood flow and ischemic presentation indicates that both cerebrovascular reserve and collateral circulation are responsible for hemodynamic disturbances (18). In our study, the infarct core (rCBF <30%) and mismatch ratio differed markedly between early- and late-stage patients, implying poor collateral circulation and impaired auto-regulatory function of the cerebral vasculature in the latter group. Dramatic and sudden hemodynamic changes following bypass can result in excessive blood flow, leading to CHS or ICH (19). Postoperative watershed ischemia has been attributed to competition between high blood flow from the STA and intrinsically low or retrograde flow in the MCA (20).
Other imaging findings can facilitate the assessment of hemodynamic changes during EC-IC bypass in the treatment of iMMD. CO2-triggered blood oxygen level-dependent functional magnetic resonance imaging (MRI) can reveal regional cerebrovascular reserve or reactivity in MMD patients (21), but variations in breath holding across patients can influence the results. As a non-invasive tool, duplex ultrasonography has been used to examine collateral circulation pre- and postoperatively, allowing neurosurgeons to predict clinical outcomes (22, 23), although this may be susceptible to inter-observer variations. Image-based computational fluid dynamics in CTP can provide information on graft blood flow, but the distal portion of the STA graft is difficult to visualize, especially in pediatric patients (24). The ivy sign in the ipsilateral hemisphere in fluid-attenuated inversion recovery MRI before and after revascularization was shown to be an indicator of hyperperfusion (25). Finally, quantitative single-photon emission computed tomography (SPECT) can be used to monitor postoperative hemodynamic disturbances (20).
Read more Mental Health Effects of a Stroke
There were some limitations to our study that warrant attention. Firstly, we analyzed data from a single center, which could limit the generalizability of our findings. Secondly, only patients with stage II–V iMMD were included in the analysis; additional studies are needed to determine the hemodynamic profiles of patients in other stages (i.e., I and VI). Thirdly, our analyses were based on radiologic findings but data obtained from other imaging modalities and examinations should be considered in the evaluation of postoperative hemodynamic status.
WB-CTP is a useful method for evaluating the effectiveness of combined revascularization in the treatment of iMMD. Patients in the early stages of disease (Suzuki stages II and III) can achieve greater improvements in hemodynamic parameters with fewer hemodynamic complications following EC-IC bypass surgery than those in the late stages (Suzuki stages IV and V). Preoperative mismatch ratio can serve as a marker for assessing the status of collateral circulation in different Suzuki stages of iMMD.
The raw data supporting the conclusions of this article will be made available by the authors, without undue reservation.
The studies involving human participants were reviewed and approved by the Ethics Committee of the First Hospital of Soochow University. Written informed consent to participate in this study was provided by the participants' legal guardian/next of kin.
YH and QH: design of the study, writing—review and editing, and supervision. FY and QH: data resources. FY and ZZ: imaging analysis. QH and YH: writing—original draft. QH and FY: statistical analysis. All authors contributed to the article and approved the submitted version.
We thank the patients for their participation and our staff members for assistance.
MMD, moyamoya disease; WB-CTP, whole brain CT perfusion; STA, superficial temporal artery; MCA, middle cerebral artery; DT, Delay time; rCBF, relative cerebral blood flow; CTA, computed tomography angiography; CTP, computed tomography perfusion; DSA, digital subtraction angiography; CHS, cerebral hyperperfusion syndrome; TIA, Transient ischemic attack; MRI, magnetic resonance imaging; mRS, modified Rankin scale score.
Evaluation of Revascularization in Different Suzuki Stages of Ischemic Moyamoya Disease by Whole-Brain CT Perfusion post stroke evaluation of revascularization
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text:
Reviews /
By Andrew Gellatly and Jörg Heiser
The 48th Venice Biennale, various venues, Venice, Italy
Andrew Gellatly
As creator of the Aperto back in the mists of Biennale history, Harald Szeemann clearly deserves the right to tinker around with it today: that's the Frankenstein logic underwriting this year's Biennale, a logic that Szeemann backs up with the usual hard-assed cadre of shiny-shoed Biennale officialdom.
In the same week as the Wimbledon first rounds, a lot of art world hepcats were waiting to see Szeemann and his wild, expansionist Aperto get smeared like Martina Hingis - so smeared, in fact, that you would need a squeegee to get their remains off the Giardini. The popular success and generally benign reception of this messy exhibition has caused some puzzlement courtside. Both Szeemann and Hingis are all-court players with a tendency to the deep power baseline game, and both turn out to have a fondness for the loose-lipped remark, but the Swiss man fared better because some things run deeper than a seeding system in the structure of Biennales.
Szeemann has hedged that the problem of the Aperto is the tension between making an inventory of the best global art and providing any sort of useful supplement to the pavilions. His Aperto has a wilfully inclusive and implausibly ambitious feel to it - so ambitious that men with Makitas and table saws were hanging around for days after the opening. It also, of course, reprises large parts of the 1997 Lyon Biennial, but that passed without comment, almost forgiven in advance.
In fact, this year's Aperto - renamed the d'APERTutto, or 'Aperto over all' - broke into new areas of the dockyard, the existence of which many Venetians had only dimly suspected, and this territorial ambition gave agricultural grade space to monster installations such as Jason Rhoades and Paul McCarthy's donut factory, Chen Zhen's drumming room and Thomas Hirschhorn's World-Airport (1999).
The donut plant is part of a larger proposition equating investment in the art business with factory gate donut shipments; a revenge fuck by the art world that the entertainment industry passed over. The work revives Rhoades' Ferrari-as-a-Trojan-horse theme: 'We use the Trojan horse, equipped with the plastic penis to enter the media - it's a simple number - ten goes in, twenty goes out, ten dollars goes into media, ten goes into the plastic penis, ten goes through the Trojan, ten goes through the donut - twenty comes back', drawls McCarthy in an accompanying fund-raising video. He speaks the language of crazed and drooling Internet start-ups. Uma Szeemann, Harald's daughter, got her hands dirty early on mixing flour and olive oil in a cement mixer to the cell-phoned instructions of the artists. Later in the week, though, the testy guards were telling people to get the hell off the Laz-e-boy vinyl sofa while themselves enjoying the posterior comfort provided by that device. Otherwise you could have easily sat around being fed donuts by Uma Szeemann until they carried you off on a stretcher.
With this strip-mining of the entertainment mother lode going on next door to Chen Zhen's Buddhist drums, you got some idea of what was going in the big picture - an unresolved and warmed-over fascination with the East; an appalled admiration for the money-splurging West.
The Aperto had a pinballish configuration: you could zip round, say, a slew of Wang Jin's extraordinary plastic operatic costumes by sashaying through Doug Aitken's syncopated four room video, or bypass Chris Burden's Meccano bridges by swinging through Simone Aaberg Kaern's almost taxonomic chronicle of WWII aviatrices. A lot of this, of course, may have been predetermined: Christian Jankowski called up some of the Veneto's dodgy cable channel tarot card readers to ask, in dodgy Italian, if his artwork would be a success, and then used their spookily accurate responses as the work. After that you saw things a little differently.
Monica Bonvicini looked at the phenomenology of gendered architectural space in a beaten up dry wall room. John Bock pulled off a great performance in a potato-filled crawl space. Pipilotti Rist, who overwhelmed last time around with a car window smashing short that pretty much everyone rated high on their all time best video list, came back with a Blue Velvet/Texas Chainsaw Massacre hybrid of suburban angst and a silvery box in the lacustrine end of the Arsenale that blew big smoke-filled bubbles out of a doorway every four minutes or so.
At the furthest reaches, behind the Georgian exhibition area, was Shirin Neshat's thrilling two-screen video Turbulent (1998). A white-shirted Iranian-Kurdish crooner sings a 13th century poem, and while he puffs up in the applause of his white-shirted all boy audience there's a sort of serious sub-aural jet-engine-type rumbling from the other side of the room, where a woman emerges from the shadows in an empty theatre and begins her own wailing song for women - who are still prohibited from singing in public.
At the Dogana, the Guggenheim's hoped-for site of expansion in Venice, Bill Fontana pulled off an acoustical installation linked to 13 microphones around the city, a work that is genuinely adoring of Venice in a way that Katharina Fritsch's gnarrly and frankly recycled plague rats and James Lee Byars' Spinning Oracle of Delphi (1986), both in the entrance of the Italian pavilion, could only posture about. There were more benevolent ghosts in Venice though. Grandmaster Flash's concert at the Campo Santa Margarita was rained off on the night of the British party, so Grandmaster fans had to be content with his blessing on Renée Cox's and Victor Matthews' distilled and devout installation at the Oratorio San Ludovico.
For all the protests about its skewed Disneyland of national identities, the Giardini felt a lot like an agricultural fair, with different species tethered in every dusty stockade - a sort of high-end DNA parade. Some were tranquillised and fairly mellow, like Roman Signer at the Swiss pavilion, while other prize heifers hyperventilated and looked so distressed it seemed like they might inhale their own vomit, which called for calming noises from the visitors.
The national pavilions are now pretty much divided between those that care at all about challenging the space they're in and those that treat them as annexed commercial gallery space. Ann Veronica Janssens filled the Belgian pavilion with a fog that evoked the apron of a European airport runway but with acoustical recollections of childish play that, when you worked out what was going on, hit you like a mallet blow.
Jason Rhoades and Peter Bonde chucked out any pretence of national identity at the Danish pavilion and crammed the place with Winnebagos full of stuff recalling their track racing event in half-size cars at Willow Springs circuit in California. Involving rather than interactive, the monitors showing slow-mos and driver-cam views felt like pit-lane telemetry equipment jammed into snap-on tool boxes.
Ann Hamilton took charge of the Jeffersonian American pavilion and with $1.5m of Tom Ford's Gucci money tenderly sprinkled a vermilion pigment down the bright white walls into piles at the room's edges. This daily performance needs to be vacuumed away every night by serious industrial contamination removal individuals with respirators, since the slack-jawed interns on site to answer questions would not touch the work with a ten-foot stick. The walls were mounted with a Braille account of transcribed war crimes tribunal hearings, so that if you attempted to read it you got dried, but apparently well-oxygenated, blood on your hands.
Hamilton was not the only one to bite clumsily into the cherry of Kosovo comment, however. The Austrian artists' group WochenKlausur made a piece about the role of language teaching for the refugees, and Irene and Christine Hohenbüchler had what looked like a bijou refugee summerhouse in the back. If you wanted still more Kosovo comment, the end of the Corderie contained Soo-Ja Kim's Bottari truck loaded with clothing bundles facing an overwhelming, worrying mirror; for this Biennale, it was the end of the road.
Jörg Heiser
The art world's relationship to popular culture is as confused as anyone else's: wanting to participate and disengage from it at the same time; feeling on top of it, yet also overrun by it. Harald Szeeman's Aperto highlights the Biennale's capacity for embracing event culture and spectacle, both in the sheer quantity of works on show and the shiploads of material of which some pieces comprise. Maybe all of this makes it easier for video installation to look good again: it allows itself, and the spectator, a space and a pace of their own. At the same time, it opens up a sideline dealing with the realities of the mass media.
But this no longer means playing the pick'n'mix game: a section from this Hollywood flick, a sample of that piece of news-babble, and voilà: a critical comment. As with sampling in music, after generations of technical and aesthetic diversification, it is possible to atomise material - either found or created - into a sort of grain that can be recomposed on a totally different level. And, as the new pieces by Doug Aitken and Eija-Liisa Ahtila show, there's plenty of room to expand on the possibilities of cinema and TV.
With structural recompositions such as his showdown of John Wayne's numerous celluloid deaths (I'd Die for You, 1993), Aitken has already proven that he can take the pick'n'mix game to its limits. He has worked in the mines of pop-media himself, directing music videos (Fatboy Slim's 'Rockafeller Skank' for example). It might lower the thrill of filching from one's own table, but it heightens the awareness of the socio-atmospheric undercurrent of today's popular mediascape. Entering his multi-part video-installation Electric Earth (1999) in the Aperto, confronts you with an ending: the single protagonist (Ali 'Giggi' Johnson) lying on what looks like a hotel bed, the TV remote control in his hand like a cold, dead rat, his stare like that on an inmate of electronic solitary confinement. In a quiet soliloquy, he mutters: 'A lot of times I dance so fast that I become what surrounds me'. It's an end that sparks a new beginning: the groove of projections and fragments of electronic music draw you into the next section, the protagonist having left his room for a walk, mumbling 'That's the only 'now' I get' like a spell against blankness. He passes the airport as the sun comes up, navigates deserted streets, his hands moving nervously as if awakening from a numbed state. Then it's suddenly dark again, the blue hour turned backwards into the night; he walks along closed supermarket frntages with '99 cent' signs, a shop selling sports trophies, encircled by close-ups of surveillence cameras. He lets himself fall to the ground as though hiding, but comes up again into an uneasy electric boogie, miming to himself. His movements tune in, as he promised, to his surroundings. He seems to be able to enliven dead things, make them move by telekinesis - car washes, car windows, a shopping trolley left alone on an empty parking lot against an LA night sky. He makes a choice between a Pepsi and a Coke; he decides on Coke, but his buck makes spastic back-and-forth-movements in the slot, fooling the machine into believing it gets hundreds of dollar notes. Fixed to the camera axis Spike-Lee style, he begins to breathe heavily; the music turns to abstract drum'n'bass, the city lights moving like horizontal lightning.
Johnson is a dystopian alien counterpart to Will Smith in Men In Black (1997), taking alertness and bodily control to a hyperactive electrostasis. Missy Elliot's movements in Hype Williams' videos have a similar scent of constant frenzy between freewheeling and electric entrapment. She may give a coquettish blink of an eye or an interested smile, but don't dare to think it signals submissive seduction. Ultimately, what is projected is an ideal persona of a black woman in charge in every realm: technology, sex, work, money, power, pleasure. The picture of Aitken's protagonist is more torn: the charge has gone awry. Digitised capitalism's promises to sublimate discrimination into upward mobility and to saturate your desires by keeping you alone, remain unfulfilled. The embodiment of this in Johnson and his surroundings of 99-cent commodities, and his will to merge with the processes of automation around him, is inevitably splintered into a multitude of projections that make you feel like you are inside a Van der Graaf generator giving you 100,000 volt goose bumps.
For the spectator, the camera view and edits on a single screen signal two things, often simultaneously: the mastery of the gaze - being able to chop reality into the order you want - and the helpless feeling of having to follow. If multipart video installation fails, it dissolves this order into indifference: as if a director were too hesitant to do the job properly and wanted you to believe his indecision was intellectually or emotionally complex. If it succeeds (as with Aitken), it provides a syncopated rhythm of views that you moonwalk rather than sit through, highlighting the spatial dimension that art has and TV and cinema don't.
Experiencing Eija-Liisa Ahtila's Consolation Service (1999) is less moonwalking than squinting. Its split screen structure is a symbolic representation of the story told: the break up of a young couple who have just had a baby. Yet it doesn't just stand for the theatrical oppositions between good and evil, man and woman, or for simple schizophrenia. Instead, there is a Siamese twin perspective on the central scenario and its peripheral embodiment in glances, chairs and standard lamps - a constant asymmetric rumble mirrored in the relationship between Finnish speech and English subtitles (and literally mirrored in the walls of the smoked glass chamber built into the Nordic Pavilion).
It's as if a slightly sleepy, pedagogic TV programme on how to split up in a sympathetic way had been hijacked by Godard, who pushed appeasement policy into precipice of a dying love that it can't analyse away. This is present in the deadpan intro during which the narrator, while watching her neighbour walking the dog, explains how the story will be structured into a first section about how to split up, a second in which it happens, and a third about consolation. The couple visits a psychotherapist to help with their divorce, who advises them to express their feelings towards each other without words. Both - in a tragicomic move - regress to barking at each other (humans-as-dogs) is a recurent theme with Ahtila). The ritual is meant to initiate acceptance but brings out contained aggression, which soon collapses into a void.
The same night, it's the husband's birthday party; 'My favourite joke is being told, but my mouth is already a small basin of water', the woman thinks, as the group of people fall through the ice of the frozen river they are attempting to cross. The dialogue - 'can we change the subject' - suggests that this is happening imaginatively, as the party small talk turns to what happens when you fall into freezing water. Yet it is real in the sense that 'each turning way is like a shot of icy sea water down your throat'. Finally, her partner is gone, but returns as a fading apparition of what he meant to her: 'A feeling of pleasure hovers behind me like an enormous black eel, it has my friend's head and it speaks electricity'; his figure in her doorway grows smaller as she approaches him, he splinters into pixels and fades, appearing again to perform the final ritual of a 'consolation service' with her.
This take on early computer animation (found in music videos such as Michael Jackson's 'The Way You Make Me Feel', 1987, for example) seems strangely tacky and misplaced at first, but then becomes kind of touching. You realise the animation had to be tacky to be touching: it's not about elegantly mastering the social gravity of a mass-mediated world, but being forced into preposterous, stereotypical gestures by it. This is something Aitken and Ahtila have in common: rather than just imagining themselves as masters of media-reality, like Napoleon watching the battle from the top of a rubbish-heap, they scuffle with the popular moving image because the people they depict live both according to and against its conventions.
Jörg Heiser is director of the Institute for Art in Context at the University of the Arts, Berlin, Germany.
First published in Issue 48
Sept - Oct 1999
48th Venice Biennale
Harald Szeemann
Lois Dodd: The Greatest Painter of Windows Since Matisse?
What's Fuelling Political Corruption in Brazil? On Netflix's 'The Edge of Democracy'
Is David Hammons Trolling His Gallery?
The Museum as Mangrove: How Brigada Puerta de Tierra is Fighting the Gentrification of San Juan
Laura Lamiel's Sanctuary of Disquiet
The Many Voices of Care in Chantal Akerman's Last Book
Artist Birgit Jürgenssen's Challenge to Patriarchy
Gina Pane Made a Spectacle of Female Suffering as a Form of Protest
Fyerool Darma: Another Day in Paradise?
Maria Lai: Art Should Astonish!
When Duchamp Meets Koons, It's a Problem of Scale
Berlinde De Bruyckere on Not Escaping Death
Everyday Anxieties: How to Visualize Your Vulnerability?
Olafur Eliasson at Tate Modern Review: Spectacle in an Age of Climate Crisis
How a Beach Opera at the 58th Venice Biennale Quietly Contends with Climate Change Catastrophe
58th Venice Biennale Review: Brilliance and Bluster
How Artists Are Using the Power of Personal Histories to Tackle the Legacy of Colonialism
Janiva Ellis's Paintings of Bodied and Disembodied States
Mark Hollis (1955-2019): from Synthpop Outrider to Post-Rock Pioneer
How Paint and Perception Collide in the Work of Late Surrealist Dorothea Tanning
Stories of Finnish Art
Ateneum Art Museum
'Conflicts and Adaptations. Estonian Art of the Soviet Era (1940–1991)'
Art Museum of Estonia
Dea Trier Mørch
Louisiana Museum of Modern Art
Humlebaek
'Touch: Saastamoinen Foundation Art Collection'
EMMA - Espoo Museum of Modern Art
'Bryk & Wirkkala Visible Storage'
'I'm a Believer. Pop Art and Contemporary Art'
Lenbachhaus München
Lizzie Fitch and Ryan Trecartin
Laurie Parsons
Museum Abteiberg
Chen Ching-Yuan
mor charpentier
'Who Are You? Two centuries of portraits'
Neue Galerie Graz, Universalmuseum Joanneum
Rebecca Warren
Maureen Paley


text:
Reporter Clips
Published: August 31, 2005, By Edited by Deborah Donberg, Associate Managing Editor
Narrow Web Converting Industry News
Tape has Aggressive Adhesive
WINDSOR, CT—Scapa Automotive offers P1010A, a black flocking tape designed for automotive applications including anti-rattle, NVH, and friction reduction.
The tape comprises a black 20–30-mil-thick, precision-cut nylon flock material, single coated with an aggressive automotive-grade acrylic adhesive. Low-fogging adhesive is said to offer exceptionally high tack and peel strength and to bond well to a wide variety of surfaces.
Donation to Aid Students
MILWAUKEE, WI—Tailored Solutions has donated a copy of Label Traxx, its print business management software for flexographic narrow web label printers and converters, to Waukesha County Technical College, in suburban Milwaukee.
Company president Ken Meinhardt says, "Comprehensive laboratory training using the latest software becomes ever more important as students seek to enter the highly technical printing environment of the 21st century....[We] are proud to support the excellent graphic arts program of the college and will provide ongoing faculty training to ensure that the latest techniques are being taught."
Waukesha County Technical College offers more than 2,000 courses to meet the needs of students and employees in the greater Milwaukee area, and it is especially known for its graphic arts and printing curricula.
First Poet Laureate Honored
STOW, OH—MACtac supplied the self-adhesive construction for the US Postal Service commemorative stamp featuring Robert Penn Warren, America's first official poet laureate. There are 45 million stamps, formatted in 20-stamp panels.
The stamp, issued as part of the USPS's Literary Arts series, was introduced April 22 at the Robert Penn Warren Museum in Gutherie, KY, during a week of events that celebrated the 100th anniversary of Warren's birth.
ECLs for the Trade
APPLETON, WI—Xpanded Label Technology has opened a new facility in Appleton to meet market requirements for expanded content labels (ECLs), p-s labels combined with paper leaflets. The company will sell to the trade only, including printers, promotion agencies, and distributors.
"Our market research indicated a strong need for a trade-exclusive supplier," says co-owner Jim Volkman. "...Our printer customers don't need to worry about us being their competition and our agency customers don't need to worry about us selling direct."
Phoenix Challengers a Top Group
CHARLOTTE, NC—A record number of students—38—earned the highest ever overall test scores this past April in math exams, prepress, press operation, platemaking, and written tests in the Phoenix Challenge, held at the Harper National Flexographic Center at Central Piedmont Community College in Charlotte.
The Challenge is an all-volunteer, not-for-profit organization of industry professionals dedicated to the recruitment and development of the future workforce for flexography. Each year, flexo high school students and teachers from the US and Canada are invited to a two-day, skill-based competition with hands-on and written testing. Winners are eligible for scholarships funded by the Phoenix Challenge Foundation. So far, $16,000 in scholarships has been awarded.
Chip Dispenser Agreement
BOUCHERVILLE, QC, CANADA—ETI Converting Equipment has signed a strategic development agreement with Quelis ID Systems, a manufacturer of RFID clips based in Mirabel, QC. The agreement will result in integrating RFID chip dispensers on the ETI Labeline and Cohesio label manufacturing equipment.
The system goes along with the ETI philosophy of manufacturing the complete label in-line (silicone and adhesive coating) after the printing operation, thus allowing the printing under the adhesive.
The companies are targeting both pharmaceuticals and wholesaling.
RFID UPDATE
RFID Program On-Line TAMPERE, FINLAND—UPM Rafsec reports its newly developed manufacturing technology for the mass production of state-of-the-art RFID tags has gone through a successful pilot program and now is in use at its new North American manufacturing site in Fletcher, NC.
The proprietary and patent-pending process is designed for volume production of EPC-compliant UHF tags.
RFID Partnership Announced
ANN ARBOR, MI—Precisia, a developer of advanced printed electronics technologies and a wholly owned sub. of Flint Ink Corp., is partnering with Impinj, Seattle, WA, to launch a line of RFID products utilizing Impinj's family of chips.
Precisia's products delivered through the partnership will utilize Impinj's Monza, EPCglobal Generation 2 compliant RFID tag silicon, as well as ZumaRFID Class 0+ chips.
Precisia will design, prototype, test, and print its own antennae for the inlays it produces with the chips, or it will print its own antenna designs developed by Impinj. RFID antennae designed and printed by Precisia have been used by Impinj for more than a year.
Meeting RFID Demands
SEBRING, OH—MPI Label Systems has formed partnerships with two Mexican distributors, RF Integra and Ego Mexico, to meet growing demand for RFID labeling capability.
Ego Mexico will act as a distributor for MPI's line of products and services throughout the central and southern areas of Mexico and all of Latin America. RF Integra will distribute MPI's RFID product line in northern Mexico. The line includes smart labels, printers, applicators, and readers.
Click here to read PFFC's 2nd annual RFID review—the hottest headlines in RFID in the past 12 months.
Avery Dennison, Painesville, OH, appoints John Wurzburger VP and general manager, Fasson Roll North America.
Douglas Weiss, Ph.D, 3M, receives the 2005 Carl Dahlquist Award from the Pressure-Sensitive Tape Council, Northbrook, IL. The award is presented to one speaker at each annual technical conference who demonstrates, in the opinion of the judges, the best in research relating to adhesive tape technology.
Diversified Labeling Solutions, Itasca, IL, promotes Joe Hirschmann to general manager of its Reno, NV, manufacturing facility.


(Idea) Hotel mario 2: Its newer, its better and its (hopefully) not rubbish!
What is your opinion on the concept?
The gameplay features bigger halls with more concern with the platforming (e.g. pit between to broken-down halls) and a much greater range of enemies, thus intertwining Hotel Mario gameplay with traditional mario gameplay. It removes the timer, and the player gets two mushrooms at the start. You still have to close all doors while enemies open them. Each hotel is a stage, and closing a hotel will open up new paths. The goal is to defeat at least four of the eight major bosses and then confront the final boss (beating them all and closing all 99 hotels in the main world unlocks a bonus).
Hotel Mario is ranked amongst the worst 1st party mario games in history.
So why not correct that mistake?
Last edited by Warlock on Thu Aug 16, 2018 7:32 pm, edited 1 time in total.
I'm not sure if Hotel Mario is a game you want to model a SMBX episode on. You'd probably be better off making something more original.
I'm not modelling the platforming butchering HM, I am trying to make something memorable for its succes, something undoing the games' many flaws. I still want to wrangle Philips though.
besides, it's kind of fun to do the impossible. Or the stupid. Or the WHEN WILL MY LOLOLO GRAPHICS FINALLY ARRIVE!!
Last edited by Warlock on Thu Aug 16, 2018 7:30 pm, edited 1 time in total.
Well I'm pretty skeptical, but if it delivers something fun then I'll be all for it. I just have to see it to believe it.
Wasn't troubled by the least.


For Sale is a Full Page from "The Graphic," December 8th 1883.
The Top third of the page shows an Engraving called "The New Egyptian Army - putting the Cavalry over the Jumps after Morning Riding School."
Bottom Two thirds of the page shows the following 6 Sketches and is called - "The Performance of the "Birds" of Aristophanes at St. Andrews Hall, Cambridge, by Members of the University."
1- Inspector : Mr. Guillemard.
3- Priest : Mr. Benson.
4- Iris : Mr. Maxse.
5- Euelpides : Mr. Newton. and Pithetaerus : Mr. James.
6- Mr. Platts recites the Parabasis.


When I decided to update my home theatre and add some innovation to it I immediately assumed that I needed to invest in a specific configuration and brand of equipment in order to achieve my desired result.
I did the research, read some articles and then decided what I thought I should spend. When I actually got to the store to make the purchase I was surprised to find that the salesperson was more interested in understanding what my desired result was rather than just taking my money for the list of items I was ready to buy.
Shocking isn't it! This individual stopped me in my tracks and began with a series of questions that ranged from solving a particular problem I had with my existing system to what I wanted out of the new home theatre regarding long term ROI. I thought this was odd but I discovered in the end that what I actually needed was an upgrade of only a few components and more importantly, someone to come and reconfigure my existing system to improve the overall output and quality.
This experience is not too dissimilar from what has transpired with agile over the last few years and still seems to be prevalent today. Many organizations that have either seen or heard about agile are making decisions to "get agile" or to "do agile" and have taken a label or brand approach to introducing it.
It would be unfair to say that all companies that have invested in agile have done so in this way but there is no doubt that we are all very good at buying a brand or a label and viewing it as something that will solve our problems and challenges.
The thing that is most interesting about agile is that it represents a way of thinking and working that has so many useful applications across a company and not just where it has traditionally stayed in IT, more specifically in application development.
Perhaps the most popular flavor of agile is Scrum. In an effort to produce better software sooner, Scrum has become a de facto approach for many IT organizations yet the real value is looming elsewhere.
Before a company assumes it needs agile, it needs to answer more questions starting with why it believes agile is needed. Often what a company is seeking is agility in the business and when we say "the business" we really mean the lifecycle by which the business makes decisions and brings ideas to market.
Agility is an outcome but also a competitive advantage. If I believe that agile practices will help me get my software to market faster and better then why wouldn't I naturally look at applying the same thinking further upstream in my lifecycle process?
I suppose the answer is that we would look to apply it further upstream and now that several companies have experienced success with using agile in the application development realm there is a growing interest to see how it works elsewhere.
We need to point out, however, that agile alone won't solve the problem. This is where organizations really need to understand what is available to them and how they can apply different approaches to develop their own. Lean, for example, can add tremendous value in the business also and when we understand what we are trying to solve and achieve then we can leverage the practices from industry that make the most sense for us.
So what is most important? I would suggest that there are three things we need to simultaneously focus on when we are looking to significantly improve our organizations. These three things are leadership, change and process transformation.
All three involve both IT and business and all three need to be joined up so that whatever practices are introduced and used, the continuity gets embedded throughout the whole lifecycle.
These are not just a list of goals and objectives that we would put on a slide to socialize our intent. They are actual outcomes we would expect from successfully applying agile (and other) practices into our organization.
The call to action is to assess how we introduce and achieve agility not just agile.


A new 3-story self-storage building approx. 78,000 SF, completed in 2018.
Finishes include a covered loading bay with a 12" flush soffit. Ultradek (galvalume) standing seam roof over a R38 banded insulation system. Ext walls are a combination of CMU, T23 metal panel (Mystique), T2 metal panel (Old Zinc, Ash Grey), TLC-1 metal panel (Sandstone). There are also a number of exterior rod-braced canopies with metal louver.


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INDYCAR MOTORSPORT NEWS
Alonso confirms Indy return with Arrow McLaren SP
February 26, 2020 Andries van der WaltComments Off on Alonso confirms Indy return with Arrow McLaren SP
Fernando Alonso's love for the Indianapolis 500 has weathered a blown engine while contending for victory, not to mention a failure to qualify for the greatest American race, but the Spaniard will be chasing a more positive outcome when he partners with Arrow McLaren SP to return and make his third attempt to win in May.
Steven Tee/LAT Images
Alonso, with one Indy 500 start and most of a second event's worth of running, will be tasked with guiding the team's two young full-timers in Pato O'Ward, who also failed to qualify for the 2019 race, and Oliver Askew, who enters the event as the lone rookie in the squad. Craig Hampson is expected to engineer Alonso in the No. 66 Chevy sporting the colors and sponsorship of Ruoff Mortgage, which Takuma Sato wore during his popular Indy 500 win for Andretti Autosport in 2017.
"I am a racer and the Indy 500 is the greatest race in the world," Alonso said. "I love the incredible fans who make it so special for all of us drivers and make me want to come back. I have maximum respect for this race and everyone who competes in it, and all I want to do is race against them and give my best, as always.
"It was important for me to explore my options for this race, but Arrow McLaren SP has always been at the top. I have a special relationship with McLaren; we've been through a lot together and that creates a bond, a loyalty that is strong.
"But more than that, I am impressed with how the new organization and operation is developing into a strong package with the Chevrolet partnership. The team has experienced, well-qualified people and great resources, and I'm confident we can be competitive.
"I'm focused and excited to begin our preparations. It will also be great to work with Oliver and Pato, two fantastic young talents for the future who are growing all the time."
Half of the team's leadership is familiar to the two-time Formula 1 world champion, having spent the latter stage of his F1 career under the direction of McLaren Racing CEO Zak Brown and sporting director Gil de Ferran. The rest of Chevy-powered crew is new to Alonso, who made his 2017 Indy 500 debut in a partnership with Andretti Autosport, Honda, and McLaren, and drove for the standalone McLaren Racing effort last year.
"Adding Fernando to the team brings a level of experience and expertise that will benefit our two young, talented full-time drivers in Oliver and Pato," said Sam Schmidt, who formed the team in 2001. "We have fast cars at Indy and fully believe he has the talent to run at the front, not just participate. That, combined with Chevy power and the experience of the team, will make this trio of drivers one of the strongest in the field."
The 38-year old will turn his first laps in the No. 66 AMSP Chevy at IMS during the April 30 Open Test.
Source:Racer.com
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Stylish Mustache Lollipop Holder -- Classroom Valentines
Item Number: 13241STACHEFC
1 Reviews — Write a Review
Everyone in the class will be sporting a stylish mustache when your child hands out these classroom valentines. A hole in the center holds a lollipop (not included), and when the kids eat the lollipop it looks like they have a mustache! You can edit the message on the front, and add your little one's name to personalize them. Then just add lollipops to make these classroom valentines the sweetest in the school.
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each)4856 for $1,748.16 ($0.36 each)4864 for $1,751.04 ($0.36 each)4872 for $1,753.92 ($0.36 each)4880 for $1,756.80 ($0.36 each)4888 for $1,759.68 ($0.36 each)4896 for $1,762.56 ($0.36 each)4904 for $1,765.44 ($0.36 each)4912 for $1,768.32 ($0.36 each)4920 for $1,771.20 ($0.36 each)4928 for $1,774.08 ($0.36 each)4936 for $1,776.96 ($0.36 each)4944 for $1,779.84 ($0.36 each)4952 for $1,782.72 ($0.36 each)4960 for $1,785.60 ($0.36 each)4968 for $1,788.48 ($0.36 each)4976 for $1,791.36 ($0.36 each)4984 for $1,794.24 ($0.36 each)4992 for $1,797.12 ($0.36 each)5000 for $1,800.00 ($0.36 each)
3 3/4" x 1 1/4" cards featuring your personalization (sucker not included)
Overall Rating: 1.0 / 5.0
Mustache Valentine's card
Jamie from AR wrote on February 17, 2018:
Would not recommend ordering this product. Disappointed in the size of the Valentine's card.
Reply from Customer Service:
Dear Pear Tree Customer,
We apologize for the confusion. The size is included in the description. It is a 3 3/4" x 1 1/4" card featuring your personalization (sucker not included).
The Team at Pear Tree


To ensure a superior facility by providing high quality health care services diagnostic and therapeutic services, 24 hour emergency care, convenient and specialized outpatient resources, pharmaceutical services and all other services designed to improve the health and well being of the community.
To maintain a competent, dedicated medical staff, professional staff, and support staff.
To attain leadership in the health care field.
To improve the standard of our care in our community by striving for excellence at all times.
To manage the accounts of this hospital in a professional manner that will sustain growth and preserve the future of our facility.
Our goal is to make your experience at Lauderdale Community Hospital as pleasant as possible, from the time you arrive until the time you leave. Thanks for choosing us for your medical needs!!!


This entry was posted in Advent Calendar, Cass family history, Christmas, Family History and tagged Advent Calendar 2013, Christmas travel by cassmob. Bookmark the permalink.
Over the years, we've had many long car trips to visit relatives at Christmas. . . and my children actually have many fond memories of those car rides–singing songs, listening to tapes, the dog barking at toll booth attendants, etc.
This reminded me of my childhood trips with family to visit relatives and friends at Christmas. Those memories are still fresh in my mind, fighting over songs with my cousin, having fun while the trip and many more.
Thanks Allen, I'm glad you enjoyed it and that it brought back fond memories.