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Q: Graphing multiple disk volumes in Nagiosgraph I want to graph free disk space for all /dev/ volumes on a server in a single nagiosgraph.I have been following a tutorial here
This tutorial uses a Ruby script to check the entire disk structure using this code:
used_space=`df -h / | grep -v "Filesystem" | awk '{print $5}'`

I have two questions, how to best dynamically determine which volumes a server has and then how to output the free space for each volume to nagios perfdata in a way that I can get a line for each volume on the server.
Here is my complete script - thanks for the answer below:
#!/usr/bin/env ruby

def largest_hash_key(hash)
  hash.max_by{|k,v| v}
end

filesystem = %x(df -h)

perfdata = filesystem.split("\n")
                 .grep(/\A\/dev/)
                 .map(&:split)
                 .map{ |e| "'%s'=%s" % [ e[-1], e[-2] ] }
                 .join(" ")

volumes = Hash[perfdata.split(" ").map {|str| str.split("=")}]

volumes = volumes.map{ |k, v| [k, v.to_i] }

full_disk = largest_hash_key(volumes)

pc_full = full_disk[1]

message = "#{perfdata} | #{perfdata}"

if pc_full > 94
   puts "DISK CRITICAL - #{message}"
   exit 2
elsif pc_full > 89
   puts "DISK WARNING - #{message}"
   exit 1
else
   puts "DISK OK - #{message}"
   exit 0
end

A: UPDATE: joining with spaces instead of new lines, see markhorrocks comment below.
Assuming your script is running on a Linux machine and this is the format you are referring to by nagios perfdata, you could write:
%x(df -h)
  .split("\n")
  .grep(/\A\/dev/)
  .map(&:split)
  .map{ |e| "'%s'=%s" % [ e[0], e[-2] ] }
  .join(" ")

which will output
'/dev/sda3'=50%


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Warren Police Officer Tasers Handcuffed Woman Multiple Times
Utah Highway Patrol camera, shows John Gardner being taser
"You didn't follow my instructions."
Hallelujah! You better get saved. We are living in the end times, the financial end times that is. Don't shop this Friday, November 23rd. Just say no to temptation.
How can you be saved? It is easy. Just join the Church of Stop Shopping.
Praise the Lord!
Violent Radicalization and Homegrown Terrorism Prevention Act
"The Democrats have proven themselves to be entirely worthless. They will not stop or even significantly slow down the Bush administration on any issue that matters. If you still believe that voting for Democrats is an infinitesimal hedge against encroaching disaster, I offer my genuine sympathies. "
Arthur Silber, Power of Narrative, October 2006
I recently discovered the Power of Narrative, which is now one of my favorite blogs. Silber is often accused of spreading "doom and gloom." Well so what. The situation is gloomy and he always hits the nail on the head. Most of the anger directed towards him is the result of his all too correct assessment that the Democrats and Republicans are partners in crime. They all promote empire, war, racism and corporatism. The differences between them are diminishing more and more over time.
Enter Exhibit A, Congresswoman Jane Harman, Democrat of California. She recently sponsored HR 1955, the "Violent Radicalization and Homegrown Terrorism Prevention Act," which passed the House by a vote of 400 to 6. Qu'est-ce que c'est Homegrown Terror? Even the name is absurd and stupid. Homegrown? Sounds like peaches ready to be canned. It is tempting to laugh but this isn't the least bit funny.
I can think of instances of homegrown terrorism, such as murder threats against abortion doctors, or hate speech emanating from the KKK. Somehow I don't think that is what Harman and her colleagues had in mind. The racist right wing, Republicans and Democrats, have tried to convince us that there are fifth column "Islamofascists" hiding under every bed and they are inspired by, are you ready, the internet.
"The Internet has aided in facilitating violent radicalization, ideologically based violence, and the homegrown terrorism process in the United States by providing access to broad and constant streams of terrorist-related propaganda to United States citizens." Sounds spooky. Too bad it is all a load of crap.
H.R. 1955 calls for the formation of a commission that will investigate the extent of and no doubt find proof of Muslim and Arab terrorists on every block. But like the ginsu knife there is always more.
The Secretary of Homeland Security shall establish or designate a university-based Center of Excellence for the Study of Violent Radicalization and Homegrown Terrorism in the United States (hereinafter referred to as `Center') following the merit-review processes and procedures and other limitations that have been previously established for selecting and supporting University Programs Centers of Excellence. The Center shall assist Federal, State, local and tribal homeland security officials through training, education, and research in preventing violent radicalization and homegrown terrorism in the United States.
Center of Excellence? Harman must have held a seance and asked Orwell for the worst name imaginable. Then again, perhaps it is the best name. This is fascism, pure and simple.
Under the guise of keeping us safe from non-existent threats, our freedoms will be taken away. Dissent of all kind, including non-violent activism, will be criminalized.
Big brother is watching and he is a Democrat.
Wish I'd Said That
"I'm pro Code Pink tazing."
Brian Kilmeade, Fox News
"...don't you think they're going to get at the very least tazed or beaten to a pulp by somebody?"
Hmm. Is that a fear or a wish?
"Of course, many Americans -- including most notably our leading politicians -- couldn't care less about truly honoring those whose guts have been ripped out, whose limbs have been bloodily and painfully mutilated, whose minds have been destroyed. For the state and its enablers, the war dead are props used to purify and sanctify the ongoing and future campaigns of slaughter, in an endless procession of slaughters throughout history."
Lance Cpl. Isaac Gallegos is still alive, but Arthur Silber's comments still hold true in his case. What does Bush say when he meets maimed vets like Gallegos? "Sorry about your face." No, he doesn't say that. He says he appreciates their service, God bless, America loves you, keep fighting terror, blah blah and blah.
The Bushies surely screen and make sure that anyone meeting Dubya loves him, especially wounded vets who are liable to ask hard questions.
When I see Gallegos and others like him, young men who will never look normal again, I wonder what they think about. It must be too hard to admit that you are a chump who now looks like a character in a zombie movie, all because you were used by people who would never allow their children to be put at such awful risk.
Please look at all of these photos and remember that there are Iraqis who have suffered even more. Thanks to Uncle Sam, their medical system has been destroyed. They don't get medical care and when they are wounded as badly as Gallegos they usually die or they live but look even worse.
Happy Veterans Day.
"There are some who claim that torture is a nonissue because it never works--it only produces false information. This is simply not true, as evidenced by the many decent members of the French Resistance who, under Nazi torture, disclosed the locations of their closest friends and relatives. " - Alan Dershowitz
And the trains ran on time too.
You Go Chavez!
Spain's King Juan Carlos had a royal hissy fit today in Santiago, Chile. During the closing session of the Ibero-American Summit, Venezuelan President Hugo Chavez repeatedly called Spain's former Prime Minister, Jose Maria Aznar, a "fascist." In 2003 Aznar joined Tony Blair as Europe's top lap dogs, otherwise known as the coalition of the willing. Along with Bush they bear responsibility for the deaths of one million Iraqis. Thank goodness Chavez has not forgotten and is unafraid to bring a skunk to the party.
El Rey was having none of it. After Prime Minister Zapatero tried diplomatically to shut Chavez up, Juan Carlos blurted out, "Why don't you shut up!" Poor King. He isn't used to plain speaking, but Chavez was in the house. (You can see the video in Spanish here.)
Aznar not only helped kill Iraqis but he also posthumously honored Meliton Manzanas, who was one of Franco's chief enforcers. According to Amnesty International "Melitón Manzanas had been responsible for the torture of hundreds of Basques during the rule of General Franco." Looks like Chavez hit the nail on the head and caused the royal nose to come out of joint.
You go Hugo!
Love, Lust and Lies
"All the documentation I mentioned above was available to Baisden and the show's producers. They had the paper trail and other family members tried to talk to them and dispute the claims. They knew Jena-Gate was a lie when they let Jones on the air this week. But they simply didn't care. " Andre Banks, Write What I Like
"[Baisden] declined to specify how much was collected or how the money was distributed."
Love, Lust and Lies is the name of Michael Baisden's God-awful syndicated radio show. Every day Baisden makes idiotic remarks about male/female relationships and entices otherwise innocent but attention seeking people to call in and expose their own stupidity. I have only listened to Baisden when I have been forced to do so, that is to say when I have been a captive audience of one of his fans.
The rightness of my reaction was confirmed this week when Marcus Jones, father of Jena 6 defendant Mychal Bell, attacked Color of Change on Baisden's show. Color of Change was one of the first organizations, on the net or off, to bring world wide attention to the Jena 6 case. Color of Change has an authorization signed by all six families, Jones included, to raise funds for attorney fees. Color of Change has also produced the invoices and cancelled checks to prove that their efforts are on the up and up. They have raised $212,000 and disbursed $210,000 to the lawyers, all with the permission of Jones and the other families.
Mychal Bell is still behind bars because of a drug related arrest made prior to the Jena 6 arrest. I point that out to instill some sense of compassion for his father, who may be the user or the usee in this mess, the degree of blame that should be directed at him is unclear.
Color of Change provided Baisden with the relevant documentation before his broadcast, so he isn't being honest when he now claims that Marcus Jones is responsible for the lies told on his show. Yes, Baisden immediately threw Jones under the bus when Color of Change proved the charges to be false. There is no honor among the dishonorable.
It is difficult to know where to begin with this mini scandal. Initially Baisden claimed that all six families signed a letter asking Color of Change to stop raising money. When two of those families denied having signed such a letter, Baisden then claimed it was signed by four of the six. To make matters even more interesting, some of the signatories say the letter they signed didn't even mention Color of Change. Baisden has declined to produce said letter. Why am I not surprised?
Baisden wrote a lame letter of quasi apology but has not given a full explanation on the air, the only apology that would count for anything. He should also give Color of Change an opportunity to speak on his show and address his charges.
That won't happen. Baisden is nothing but a snake in the grass. He has announced plans to raise $1 million of his own. I hope he does so, and I hope that the money pays for legal fees and for some compensation to the families for their ordeal. I also hope that he leaves a paper trail, like Color of Change. I'm not inclined to hold my breath.
Alternet and Dissident Voice have once again posted my Black Agenda Report column on the gangster Rudy Giuliani. Thanks to them for the support.
Giuliani's former police commissioner, Bernard Kerik, was indicted yesterday. Indicted for what you may be wondering. Nothing much, just two counts of bribery, tax fraud and making false statements. By the way, Giuliani appointed Kerik police commissioner after being informed that Kerik had taken cash from a mob connected construction company. Nice.
Did you know that Kerik was also deported from Saudi Arabia? Did you know that he harassed employees of the New York City Department of Corrections who crossed his then girlfriend, or who wouldn't work for the Giuliani campaign?
So much scandal so little time, unless you are the national corporate media. Members of that august group ought to make the Giuliani/Kerik connection a continuing front page article throughout the campaign season. Oh sorry. I forgot. Only John Edwards hair is worthy of national press attention.
Project Censored 2008
Did you know that Mahmoud Ahmadinajad never said he wanted to "Wipe Israel off the map"? Did you know that Phillipino workers who built the U.S. embassy in Baghdad were the victims of human trafficking? Did you know that U.N. forces massacred Haitians? Did you know that American citizens have no habeas corpus rights or that Bush has slowly built a mechnism to impose martial law?
Well you can learn all this and more by doing a quick perusal of Project Censored 2008. Project Censored will tell you what no one else will, namely that we don't have a free press in this country and that ultimately we don't have a very free country at all.
Warren Police Officer Tasers Handcuffed Woman Mult...
Utah Highway Patrol camera, shows John Gardner be...
Buy Nothing Day Hallelujah! You better get saved....
Violent Radicalization and Homegrown Terrorism Pre...
Wish I'd Said That "I'm pro Code Pink tazing." Br...
"Of course, many Americans -- including most nota...
Wish I'd Said That "There are some who claim that...
You Go Chavez! Spain's King Juan Carlos had a roy...
Love, Lust and Lies "All the documentation I ment...
Thanks Alternet and Dissident Voice have once aga...
Project Censored 2008 Did you know that Mahmoud A...

redpajama_set_name: RedPajamaCommonCrawl


HCL Technologies announced the opening of a new Delivery Center in Adelaide, signing a six-year contract with a leading agribusiness and iconic brand in Australia.
This Delivery Center and Office opening in Adelaide joins HCL's network of Global Delivery Centers across the world. As part of the contract, HCL will build an intelligent sourcing model with their digital transformation for the future.
HCL will work with Elders to achieve their vision of an agile IT environment that supports future business growth and delivers quality service to clients across Australia and internationally. Initially, HCL will help create 50 jobs in the region. At present, HCL employs 1600+ professionals in the Australia region.


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Home / Entertainment / 'Cold Pursuit' is Not the Film You Expect
'Cold Pursuit' is Not the Film You Expect
By Diego Coya
Liam Neeson has starred in a lot of action and revenge films ever since 2009. He has proven himself to excel in these roles. A lot of those films came out no later than in the first three months of this year.
The reactions to Neeson's action films from audiences have been somewhat divided. One crowd has huge fans, and another crowd finds his movies repetitive and monotonous. If one finds themselves to be in the latter side of that division, then I think "Cold Pursuit" might be a delightful surprise to see.
"Cold Pursuit" stars Neeson, Laura Dern, Tom Bateman and Emmy Rossum. It is a remake of the 2014 Norwegian film, "In Order of Disappearance," and interestingly enough, the director of this remake, Hans Petter Moland, directed the original film.
"Cold Pursuit" follows a snowplow driver whose son is killed in a drug mixup. This leads Neeson's character to track down the drug dealers to get his revenge.
Prior to seeing this film on a Sunday morning, I didn't know the plot nor did I see a trailer. All I knew was that Neeson had another action film coming out, and while I wouldn't consider myself a diehard fan of Neeson's action films, I do enjoy them.
I was surprised to see the direction this film took. Reading the plot of the film, anyone would assume that it is just another generic action film. At its core, this film is a dark comedy.
Within the first 20 minutes, it seemed like the film was going in a direction that everyone would expect, but then a major plot point happened in a comedic manner.
I suppose the best way I can describe the tone of this film is like the film "Fargo," or even the television show. There are lines of sarcasm and dark moments that unexpectedly happen. A technique like that could backfire and fail miserably, but for this film, it worked.
While the plot is ultimately Neeson trying to take revenge for what happened to his son, there are other story arcs that involve a young police officer who is willing to take drastic measures, Native Americans who are dragged into the drug war, Neeson trying to deal with the death of his son and the difficulties that people go through in the Rocky Mountains.
"Cold Pursuit" isn't anything new or original, but admittedly it was better than what it should have been. Seeing how the story played out genuinely caught me by surprise.
"Cold Pursuit" was released on Feb. 8. Photo courtesy of Summit Entertainment
What separates this from Neeson's other revenge films is that there's not a lot of action in this film. When the action is present, there are moments of brutality for sure. But for the most part, it's a dark comedy that focuses on the characters and the hardships they go through.
The performances from the actors also help, as they all look like they are having the times of their lives in their roles. With a two-hour run time, the film had a pretty consistent pace and I can't say I was ever bored.
The most disappointing aspect of the film is that Dern is not utilized at all. Her character is basically given nothing to do, and anyone could have played her role. Casting someone with that much talent to do nothing is always upsetting to see. I also believe there are other arcs that could have been a little stronger. Besides that, this is a film that I would recommend seeing.
"Cold Pursuit" is a film that surprised me in how it turned out. I liked it more than I thought I would, and I'm happy to see Neeson doing a film different from what he usually does. It's not doing well at the box office, so I am hoping there will be people who will give it a chance and end up being surprised like I was.
action Cold Pursuit Emmy Rossum Laura Dern Liam Neeson movies
Serviss / Jul 10
Beavers / Jul 10


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Postal Reform Markup Set for May 23
While a spokesman for Rep. Dan Burton, R-IN, chairman of the House Committee on Government Reform, said a postal reform bill would be marked up May 23, a spokesman for Rep. Henry Waxman, D-CA, said he would "be very surprised if a bill was marked up" this week.
Waxman sponsored one of two postal reform drafts that were folded into the reform bill. Rep. John McHugh, R-NY, sponsored the other. Waxman's spokesman would not say why he thought the bill would not be marked up.
Meanwhile, Sen. Daniel K. Akaka, D-HI, along with Waxman and Rep. Danny K. Davis, D-IL, sent a letter last week to the General Accounting Office asking the agency to investigate whether postal rates subsidize big mailers.
"We are concerned with recent reports that the United States Postal Service may be offering work-sharing discounts to mailers that exceed the cost savings realized by the postal service," the congressmen said in their May 15 letter to GAO comptroller general David M. Walker.
Work-sharing discounts, also called negotiated service agreements, may be part of the postal reform bill.
The congressmen requested that GAO determine whether, and to what extent, major mailers' discounts are justified.
Singles get their own title
Singular Communications, a new publishing venture based in Los Angeles, will launch Singular magazine, SingularCity.com and an events…
Lauren Bell
Market Gives Overture Bronx Cheer for AltaVista Deal
Paid-search services provider Overture Services Inc. took a hammering on the market yesterday following its announcement that it…
Datamonitor suggests Oracle, SAP likely to remain atop CRM market
Despite growing competition in the CRM application space – including the pending arrival of a new Microsoft solution…


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How Subliminal Messages Work
Browse the article How Subliminal Messages Work
During the 2000 U.S. presidential race. Democrats complained that this political ad subliminally flashed the word "RATS" when disparaging nominee Al Gore's Medicare plan. Republicans responded that this was just the tail end of the word "BUREAUCRATS."
REUTERS/Reuters TV
In 1971, Gilbey's London Dry Gin published an ad in a July edition of Time magazine that caused quite a kerfuffle. The ad depicted a frosty bottle of the gin; set next to it was a tall glass filled with ice cubes, gin, a lime wedge and a stir stick. The issue? The word "sex" was apparently spelled out in the ice cubes. And indeed, once you took a closer look at the cube-filled glass, it certainly appeared to be true. But did Gilbey's do this intentionally, trying to send a subliminal message?
A subliminal message is a type of hidden signal or communication; it's designed to be passed on to recipients at some level that's beneath the normal limits of perception. The message might be recorded backward, a practice called backmasking, or it could be inserted into a frame of film that flashes by so quickly the conscious mind can't perceive it. Or, as in the example above, it could be a word or image hidden within an ad [source: Merikle].
Subliminal messages work similarly to hypnosis or auto-suggestion in that they're perceived outside the conscious realm, by the unconscious or deeper mind. So you don't consciously know you're being sent a message, yet a deeper level of your brain is taking it in [source: Dobson].
Many people fear that advertisers, politicians and other manipulative types may try to influence them through such messaging. Their fear stems from the fact that it's the conscious mind that critiques messages, and an unconscious mind, which picks up subliminal cues, would be unable to fend off these suggestions. Perhaps because of this, governments from Canada, Australia, the U.K. and the U.S. prohibit the practice [sources: Dobson, Subliminal Messaging].
Yet when you think about it, people are constantly being manipulated in all sorts of ways by advertisers. If a movie star is repeatedly reaching into a bag of Lay's potato chips during a movie that might make some people want to do the same without realizing why. Is that a subliminal message? And if so, is this form of subliminal messaging just as nefarious as flashing the words "Eat Lay's potato chips!" across the screen so quickly we don't consciously perceive it? And would either really work? Let's dig into the subject a bit, starting with the history of subliminal messages.
The History of Subliminal Messages
The heavy-metal group Judas Priest was sued by two families for allegedly inserting pro-suicide messages subliminally in their music. The band said they never did this and won the lawsuit.
Francesco Castaldo/Pacific Press/LightRocket via Getty Images
No one can say for sure when the first subliminal message was attempted. And as you just read, a lot depends on what you consider a subliminal message.But here's what we know. The Greeks — those master orators — first began using rhetoric to influence people as far back at the fifth century B.C.E. [source: Leggett]. Rhetoric is carefully selected language a speaker uses to persuade or impress listeners, although the audience often views the message as insincere or mere puffery. Still, it can work. People can unwittingly be persuaded to believe something a speaker says if the speaker uses just the right words, phrases or sentences.
In 1957, marketing researcher James Vicary gathered together a bunch of reporters for an important announcement. Vicary said he'd just completed a successful experiment at a movie theater that resulted in an 18 percent hike in popcorn sales and a 58 percent spike in Coke sales. The experiment was to continuously flash the messages "Drink Coca-Cola" and "Eat popcorn" to patrons as they watched the flick. The messages passed on the screen so quickly, Vicary claimed, they were imperceptible to the audience's conscious mind. That same year, the book "The Hidden Persuaders" by Vance Packard was published; it discussed how advertisers were constantly trying to manipulate us without our knowledge [source: Psychologist World].
People were outraged at this news. The United Kingdom banned subliminal advertising that same year, and left the ban in place even though the theater manager said the experiment didn't affect snack sales [source: BBC News]. In 1962, Vicary confessed he'd made up the results to make his marketing company look good [source: Locke].
But the panic about subliminal manipulation had already set in. In 1973, "Subliminal Seduction" by Wilson Bryan Key was released; it sold 2.5 million copies. The book's message about the prevalence of subliminal messaging (including the earlier-mentioned Gilbey's gin ad) and human gullibility shocked and enthralled people [source: Ewen]. Some folks also complained to America's Federal Communications Commission (FCC) about a television station supposedly using subliminal messages. The FCC took action, declaring such advertising "contrary to the public interest" [sources: BBC News, Psychologist World].
Eventually the issue landed in court. In 1990, British heavy-metal band Judas Priest and CBS Records went on trial, sued by two families. The families claimed the subliminal message "Do it" appeared in several songs on the band's "Stained Class" album, which caused their sons to attempt suicide after listening to it. (One son died, and the other was severely maimed.)
The band claimed it didn't insert such messages into its music — the lead singer said the sound was merely him exhaling during the recording — and won the lawsuit. The judge ruled the families failed to prove Judas Priest and/or CBS Records placed such messages on the album, and that those messages caused the men's actions [source: The New York Times].
But the question remains: Do subliminal messages work?
Subliminal Messages — Do They Really Work?
Psychologists, researchers and others largely agree that subliminal messages do work, but in a limited fashion. In one study, conducted by Princeton University researchers in 2002, the word "thirsty" was added to 12 frames of an episode of "The Simpsons," and the image of a Coca-Cola can to another 12 frames. Afterward, audience members reported they were 27 percent thirstier after the show than before. Those in the control group? They said they were actually a little less thirsty [source: Locke].
In 2005, researchers at the Netherlands' Utrecht University and Radboud University were able to get subjects to select Lipton iced tea as their drink of choice after those words flashed by,although this positive result only occurred in those who were already thirsty [source: Locke]. British researchers conducted a two-week experiment where French or German music was played in the wine section of a large supermarket. On the days when French music was played, 77 percent of customers bought French wine. On German-music days, the majority purchased German wine [source: Lindstrom].
Yet despite these seemingly positive results, subliminal advertising is still seen as largely ineffective. That's because even when it's successful, it's not clear how long the results last. Maybe you'll reach for a Coke within 10 minutes of seeing a subliminal ad, but will you continue to do so the next day, week or month?
Further, some researchers caution that such messages only nudge us to do something we're predisposed to do already. They don't totally change our minds. For example, one study on subliminal messages and political candidates flashed a picture of Bill Clinton subliminally after a picture of Gray Davis, the unpopular Democratic governor of California and asked study participants to rate their favorable impression of Davis. The subliminal message only worked on independents (perhaps because they already liked Bill Clinton.) Those messages didn't seem to change the minds of Republicans [source: Locke].
So why doesn't subliminal advertising work so well? There's no consensus on the issue. A lot of the experiments with positive results were conducted in carefully controlled labs. Perhaps all of the stimuli around us in our normal lives disrupt the ability of our subconscious to notice them. Or maybe those creating the ads are flashing messages past too quickly, or producing backtracked messages that are rather garbled. Perhaps the bigger question is whether the technique will be refined in the future to produce definite, long-lasting results.
You're Getting Sleepy ...
Both hypnosis and subliminal messaging communicate with your subconscious mind, although they go about it differently. Hypnosis is a more active form of working with your subconscious than subliminal messaging. Often used to help people lose weight or stop smoking, hypnosis puts you in a very deep, relaxed state. You're aware of your surroundings and what is being said to you — sort of — but your subconscious mind is much more open to receiving information (such as to pass by that piece of pie) than in a normal waking state. Although hypnosis has been controversial, today most clinicians deem it an effective, powerful technique to help with a wide range of conditions and undesirable behaviors [source: American Psychological Association].
Famous Subliminal Ads
Some people find subliminal messages in all kinds of ads.
George Rose/Getty Images
It's definitely true that images or words are sometimes embedded in ads, presumably to make us choose the product or, in the case of politics, to select one candidate over another. Other times, however, embedded images or words are pranks by someone involved in the ad's production. And sometimes, people believe they're seeing secret messages that are not actually there. Not too surprisingly, real subliminal messages are often sexual in nature. As they say, sex sells.
One example that was surely intentional occurred in the March 2003 issue of SFX magazine. A sensual photo of actor Jennifer Garner graced the cover. The magazine's regular typeface was altered, and Garner's head positioned just so, so that the periodical appeared to be a magazine titled "SEX." Similarly, Skittles peddled a not-so-subliminal sexual message with its berry explosion flavor. On the packaging, a red Skittle — its white "S" prominent — was tucked next to the word "eXplosion" [sources: Edwards, Greenspan].
Many people assert Coca-Cola's ads depicting an iced-over can of Coke hide the form of a naked woman in the ice, but that assertion is debatable. Ditto a political commercial that aired in 2000, when George W. Bush was squaring off against Al Gore. During the spot, the word "bureaucrats" flashes on the screen. Then, while Bush is discussing Gore's health care proposals, just the end of the word — "rats" — briefly appears. Democrats complained to the FCC, which declined to issue any penalties. The gaffe appeared to be accidental; the word was too obvious to be intended as subliminal messaging [sources: Psychologist World, Greenspan].
While it's long been claimed that numerous Disney movies have sexual images inserted into them, perhaps by animators as practical jokes, nothing was confirmed until 1999, when Disney recalled 3.4 million copies of the home version of "The Rescuers." Originally released in 1977, a topless woman twice appears in a window in the video as Bianca and Bernard, the mice stars, fly through the city in a sardine box. Disney claims the images were inserted by post-production personnel, not its animators [source: Los Angeles Daily News].
How do advertisers show me custom ads?
How Hypnosis Works
How Focus Groups Work
How Ad Slogans Work
Psychologist World
American Psychological Association. "Hypnosis." (Aug. 27, 2015) http://www.apa.org/topics/hypnosis/
BBC News. "Does subliminal advertising actually work?" Jan. 20, 2015. (Aug. 16, 2015) http://www.bbc.com/news/magazine-30878843
Dobson, Andrew. "What are subliminal messages." Mindfit Hypnosis. (Aug. 16, 2015) http://www.mindfithypnosis.com/what-are-subliminal-messages/
Edwards, Jim. "The 10 Best Subliminal Ads Ever Made." CBS News. Oct. 20, 2011. (Aug. 16, 2015) http://www.cbsnews.com/news/the-10-best-subliminal-ads-ever-made/
Ewen, Stuart. "Interview with Wilson Bryan Key." Project Muse. 2002. (Aug. 27, 2015) http://muse.jhu.edu/journals/advertising_and_society_review/summary/v003/3.2key.html
Greenspan, Sam. "11 Hidden Messages in Food Ads and Logos." 11 Points. July 30, 2010. (Aug. 19, 2015) http://www.11points.com/Food-Drink/11_Hidden_Messages_In_Food_Ads_and_Logos
Hypnosis and the Mind. "What is the Difference Between Subliminal Messages and Hypnosis?" (Aug. 27, 2015) http://www.hypnosisandthemind.com/difference-between-subliminal-messages-and-hypnosis/
Lindstrom, Martin. "How Subliminal Advertising Works." Parade Magazine. Jan. 4, 2009. (Aug. 16, 2015) http://parade.com/48369/parade/how-subliminal-advertising-works/
ListVerse. "Top 10 Famous Cases of Backmasking." Aug. 28, 2011. (Aug. 21, 2015) http://listverse.com/2011/08/28/top-10-famous-cases-of-backmasking/
Locke, Susannah. "Do subliminal messages actually work?" Vox. Sept. 8, 2014. (Aug. 16, 2015) http://www.vox.com/2014/9/8/6111847/do-subliminal-messages-work
Psychologist World. "Subliminal Advertising." (Aug. 16, 2015) http://www.psychologistworld.com/influence_personality/subliminalads.php
Snopes. "The Rescuers." Feb. 18, 2014. (Aug. 19, 2015) http://www.snopes.com/disney/films/rescuers.asp
Subliminal Messaging. "When (and Why) Was Subliminal Messaging Banned?" (Aug. 27, 2015) http://www.subliminal-messaging.com/when-and-why-was-subliminal-messaging-banned/
The Law of Attraction. "History of Subliminal Messages." (Aug. 16, 2015) http://www.thelawofattraction.org/history-of-subliminal-messages/
The New York Times. "Band Is Held Not Liable In Suicide of Two Fans." Aug. 25, 1990. (Aug. 20, 2015) http://www.nytimes.com/1990/08/25/arts/band-is-held-not-liable-in-suicides-of-two-fans.html


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Home > CUJO > CMJ > Vol. 59 (2015) > Iss. 2
Long-term risk of chronic kidney disease in living kidneydonors at a single center in Thailand
Non Wongvittavas
Julin Opanuraks
Kamol Panumatrassamee
Chanatee Bunyaratavej
Kavirach Tantiwongse
Supoj Ratchanon
Apirak Santi-ngamkun
Kriangsak Prasopsanti
Background : Although the results of several studies support the safety of livekidney donation, there is no functional deterioration, some donorshave proteinuria and hypertension (HT). Most of the studieswere done in Europe and America, in Asia, however, theinformation about donors living with one kidney is lacking.Objective : To study the long-term risks of chronic kidney disease (CKD) inliving kidney donors at one medical center in Thailand.Design : A retrospective study.Setting : Division of Urology, Department of Surgery, Faculty of Medicine,Chulalongkorn University, Bangkok, Thailand.Materials and Methods : Donors who were followed up for more than 1 year afternephrectomy were included. We assessed each donor's bloodpressure, urine protein, and estimated glomerular filtration rate(eGFR).Results : The donors had a mean age of 37.5 ± 9.78 years at donation.The median follow-up period was 3.62 years (range 1 - 11 yrs ).There were statistically significant increases in SBP from 113.3 ±11.15 to 120.5 ± 11.99 mm Hg. and BMI from 22.9 to 23.6(P <0.001). 4 (4.7%) developed hypertension and 2 (2.3%)displayed proteinuria. Serum Cr significantly changed from0.72 ± 0.2 to 1.02 ± 0.22 mg/dL. (P <0.001) and eGFR from114.6 ± 36.62 to 74.26 ± 14.46 mL/min/1.73 m². (P <0.001)5(5.8%) had CKD (eGFR<60 mL/min/1.73 m²). Aftertransplantation, eGFR decreased by < 1 mL/min/1.73 m² eachyear. Age at donation and longer follow-up time were significantrisk factors for renal functional deterioration (CKD, HT, proteinuria)(P = 0.04, OR = 1.092 (1.004 - 1.188) and P = 0.012,OR = 1.425 (1.079 - 1.881), respectively).Conclusion : Renal function was well preserved after donor nephrectomy inearly period. A significant proportion of living donors mightdevelop renal deterioration upon long-term follow-up.
Faculty of Medicine, Chulalongkorn University
Wongvittavas, Non; Opanuraks, Julin; Panumatrassamee, Kamol; Bunyaratavej, Chanatee; Tantiwongse, Kavirach; Ratchanon, Supoj; Santi-ngamkun, Apirak; and Prasopsanti, Kriangsak (2015) "Long-term risk of chronic kidney disease in living kidneydonors at a single center in Thailand," Chulalongkorn Medical Journal: Vol. 59: Iss. 2, Article 4.
Available at: https://digital.car.chula.ac.th/clmjournal/vol59/iss2/4
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Is in the VUCA world place for continuous improvement and lean?
Certainly, not once watching the process and collecting data, you are wondering whether it is stable, whether the parameters are at the right level or when you need to respond in case of deviations.
Fortunately, there are tools that support us in making decisions and provide knowledge about the process. We're talking about control charts. Although there are at least several types of control charts, in this entry I will focus only on two – the card of average values and range.
Of course, the entry will be referred to not only in the context of production, but also to any parameterized process in the organization. It is equally possible to draw conclusions based on control charts in the case of HR processes, in accounting, purchases, as well as in maintenance or logistics.
As a preliminary remark, I mention that the control charts appeared in use in the 1920s, thanks to Shewhart. Due to the limited resources of qualitative measurement techniques in those times, they quickly became the basic statistical tool for process control.
It can be said that this trend continues to this day, despite significant technological progress.
How is the control chart built?
The basic elements of the control chart are marked in Scheme 1.
On the horizontal axis, further samples are marked, which are taken from the tested process in a strictly defined way. On the vertical axis, the measurement values are marked. Depending on the type of card, it may be different data. We will analyze the average values and the range.
1. and 3.- GGK and DGK – upper and lower control limits; they are located on both sides of the central line and are usually separated from it by 3 sigma. It should be understood that within the limits of GGK and DGK should be 99.73% of all measurements.
Sometimes you can also find a graph with additional lines, namely Upper Warning Line (GLO) and Lower Warning Line (DLO) – Diagram 2. These are auxiliary lines characteristic for the requirements of a given process. They are usually applied in order to keep eg the internal requirements of a given organization at a certain level. Exceeding the GLO or DLO line in this case is associated with taking action on the part of process supervision, although the theoretical process is stable.
To see the correct image of the condition of the analyzed process, we need data that will allow us to understand where and which variation prevails in our process.
Simply put, it is not enough to discover that the results differ depending on, for example, a production change. We must also know whether there is variability between individual samples, measured parts.
That is why the basic analysis should be based on information from at least two control charts, i.e. the mean value and the range.
It helps to understand the variability between subgroups (ie, eg variation of measurements change to change).
The main question we should ask before analyzing this card is: Is there evidence of variation between subgroups?
NO – if no average value (X-bar) goes beyond the control limits. Then we can expect that the volatility dominates inside the subgroup (ie, for example, on a specific change during which data is collected).
YES – if at least the average value (X-bar) goes beyond the control limits (ie, for example, variability prevails in the measurements made on various changes).
Is there evidence of variability between subgroups?
YES. We observe variability in the measurement results change to change.
It helps to understand the variability within a subgroup (ie, for example, the variability between measured parts on a particular change, i.e. the variation of part to part).
The main question that we should ask before analyzing this card is: Is the variability within the subgroup SPC?
NO – if at least one range goes beyond the control limits. Then the observed volatility is the so-called special variation.
YES – if none of the stretch marks goes beyond the control limits. The observed volatility is the so-called natural variability.
Is the variability within the subgroup SPC?
YES. The variability within the subgroup is natural.
Thus, having data from the average and range charts, we can conclude that it is necessary to work on the variability of measurements between individual changes. This is where the problem lies.
1. Natural, random variability – that is what we expect, we expect it, guarantees the normal distribution of the course of the process (Gauss curve) and may be caused by many different sources of variation.
2. Special variability is unexpected and usually caused by a specific cause that we can identify.
Finding out what triggered special volatility can be very easy if we start looking relatively quickly from the moment the non-conformities occur. It can also be very difficult and complicated if we minimize the problem and start analyzing it a long time after the occurrence.
What should you remember before using the X-bar and R control cards?
Each company strives to respond to negative changes in the process as quickly as possible. This is obviously logical from the financial point of view, because the sooner the cause of the problem is eliminated (i.e. uncontrolled change of parameters), the lower the costs for the organization.
The main advantage of the control cards is the possibility of using them to control the process during its course. Based on the results of the samples measurements, we will check whether the process is proceeding correctly.
Detection of some deviations is one thing, but the ability to interpret them is the second, and probably the most important. Thanks to the control cards, you can quickly determine the variability we are dealing with – natural or special, and it depends on what actions will be taken.


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It is easy to rent a dumpster in Wisconsin, and you can change the terms of your rental arrangement if need be.
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At the convention, many Japanese IT companies had their booths set up. Perhaps this is reflective of the future era of the AI? I felt that each company was very active in their recruiting. It seemed as if they became the sponsors for the purpose of recruiting students with high potentials. It's probably appealing for students to work in a famous company while pursuing research on machine translation. The students at the convention study machine translation but not pursuing a translation career. So it was a little unfortunate that translation companies were not getting much attention.
As I was looking around the booths a little, it seems that companies that offer online services also utilize machine translation and artificial intelligence.
One thing I remember during the after party: a well-known person (not a student) in the machine translation industry mentioned that he only regards translation as "conversion from symbol to symbol", and that he is not interested in the translation itself.
言語処理学会に出席した感想ー002 AIの時代を反映しているのか?各社採用がすごい" dated March 19.


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o pietas animi
dr. hannah čulík-baird
undergrad classes
Women in Antiquity
World of Rome
New Approaches to Cicero
Latin Seminar: Myths and Legends of Early Rome
Latin Seminar: Gods and the Universe
Grad classes
Roman Intellectual Life
Proseminars
Tag: Jess Fink
Meroë Augustus, "Outer Worlds", Maurice Blanchot; tempora cum causis (4)
November 1, 2019 December 16, 2019 ~ Hannah Čulík-Baird
Ancient. The Meroë Head of Augustus (British Museum).
It's hard for me to say that I have a favourite art object from the ancient world, but one which I come back to somewhat regularly is the head of Augustus (27-25 BCE) from Meroë which is now in the British Museum. This is a striking example of a phenomenon which occurs so much with objects (and texts) from antiquity; an act of ancient destruction ironically preserves the artefact into modernity. Strabo (17.54) tells us that in the Roman period, statues of Augustus were erected in Egyptian towns near the first cataract of the Nile at Aswan and that an invading Kushite army looted many of them when they raided Roman forts and settlements in Upper Egypt in 25 BCE. Most were later returned as a result of negotiations between the Meroitic Candace (Queen) Amanirenas and the Roman general Gaius Petronius. This bronze head from an over-life-sized statue of Augustus was excavated from under the step of a shrine of Victory in the Kushite city of Meroë. It is thought to have been ritualistically placed there after the head was deliberately removed from the rest of the statue, as a symbol of Meroitic victory over Rome. The history of this object documents a history of defiance. And the x-rays are totally creepy. See more images from the British Museum.
Here are curators in the British Museum with the Meroë head. This @guardian article describes how the head was part of a recent exhibition at the British Museum on dissent. Including a plan to replicate the destruction by smashing up the museum floor! https://t.co/te4zewX3Ty pic.twitter.com/k95bsUrRxG
— Dr Hannah Čulík-Baird (@opietasanimi) December 6, 2018
Make the Meroë Augustus the new Adam Driver cat send tweet pic.twitter.com/LzkDUimfv9
— Dr Hannah Čulík-Baird (@opietasanimi) October 22, 2019
Modern. This week we've been playing the newly released Outer Worlds. We're only a few hours in because, as elder- and middle-aged-millennials, we find ourselves too tired after our day's work to be able to focus for very long on our beloved video games. As I play, Outer Worlds makes me think about some very dear favourites: the suite of companions and the resulting cross-chatter calls to mind the Bioware games I love (the original Mass Effect trilogy and Dragon Age: Inquisition in particular); the layout of the Unreliable resembles the interior of the Serenity from Firefly (and there are correspondences between the crews: e.g. Parvati/Kaylee; the presence of a priest-figure: Vicar Max/Shepherd Book); and, of course, the visual aesthetic, sound design, game design, and textual components of the Fallout games. (Although, I will say this: while Fallout games felt immeasurably vast, full of adventure, Outer Worlds feels small; deliberately, claustrophobically small.) The moon-headed Spacer's Choice person reminds me of Futurama's moon-headed Luna Park person ("Craterface"); which itself recalls the Man in the Moon in Georges Méliès' Le Voyage dans la Lune (1902).
I can't be the only one thinking this, can I? pic.twitter.com/bGrzmwlJU7
— Dr Hannah Čulík-Baird (@opietasanimi) November 1, 2019
I'm sure it has been said before that some video games function like literature. In Classics, we regularly talk about literary intertextuality: i.e., when one text draws (usually consciously) on a prior text. Ovid's Metamorphoses 14.814 is a verbatim verse of Ennius' Annales 54 (Skutsch; cf. Hinds 1998: 14-15), consciously pointing out the fact of allusion in the act of making it. This is indeed how Stephen Hinds in the famous Allusion and Intertext (1998), introduces textual reflexivity (p1):
"…alluding poets exert themselves to draw attention to the fact that they are alluding and to reflect upon the nature of their allusive activity. Certain allusions are so constructed as to carry a kind of built-in commentary, a kind of reflexive annotation, which underlines or intensifies their demand to be interpreted as allusions."
It strikes me that this recursively citational mechanism is something that also happens in video games, but we don't usually name it as a good thing. Too much of a precursor in your game makes you derivative, not a cleverly tongue-in-cheek auteur who knows well what came before and is trying to outdo, or signal respect towards, the past even in the act of alluding to it. What I'm trying to say is that the intertextuality of video games is an inherently interesting thing. Reframing the relationship of games to one another within the context of literary intertextuality allows us to observe a conscious response to how culture is absorbed and redeployed. Sci-fi has the tropes which belong specifically to itself, and so new artefacts in the science fiction genre will have to deal allusively with that enormous baggage: sifting out which references to forefront, which to reject. The sampling and referential nature of Outer Worlds has invited me to reflect (pleasantly) on how video games build on and subvert one another, as well as the broader traditions which inform them. There's another dynamic here as well: yes, games take stories from precursors; they also take mechanics. If one game has pleasing and satisfying play, then another might adopt parts of that gameplay not only as an allusion, but an acceptance that the embodied nature of play is moving in one direction over another, based on user experience. Citationality is an operative part of video game design, and when it's done well it can be very good indeed.
avocado_ibuprofen: "are you normal? you wonder is it normal to be this tired and fragmented under these conditions?"
Jess Fink as a mushroom!
Lisa Hanawalt: "We have a real relationship. We're learning about and shifting in response to one another."
Aeneas as a fuckboi
Excerpt. Maurice Blanchot 1995: 2 (Ann Smock trans.): "The circle, uncurled along a straight line rigorously prolonged, reforms a circle eternally bereft of a centre."
Daily Life. I started my little lending library in my office! I will be adding so many more books soon.
CL 102: World of Rome
CL 206: Women in Antiquity
CL 351: Latin Seminar: Gods and the Universe
CL 351: Latin Seminar: Myths and Legends of Early Rome
CL 406: New Approaches to Cicero
CL 720: Roman Intellectual Life
Books mentioned in the newsletter
the art of the unfinished painting
"The Fragment and the Future" (Swansea lecture, 23rd Nov 2020): audio + text
"Fragment as Form" (UT Austin lecture, 25th Sept 2020): audio + slides
Note on Frédéric Neyrat "The Black Angel of History" // leukocentric perception
"its presence is implied" (poem)
"cf." (poem)
"from anywhere" (poem)
lessons from quarantine // "how to"
Note on Adrienne Maree Brown "Emergent Strategy" // Future Ancestors
A note on the next year
"wisdom of ancients" (poem)
Note on José Esteban Muñoz' "Ephemera as Evidence" // Letting go of things that do not serve us
Res Difficiles Conference 2020: videos now available
Stardew Valley Twitch Stream FAQ


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'Not Medea' next at Art House Productions
Art House Productions is proud to announce its winter main stage production of Allison Gregory's Not Medea, directed by Adin Walker. Performances run, December 6,7,8, 13, 14, 15 at 8:00pm, and Sundays, December 9 and 16 at 3:00pm for a total of eight performances, with ASL and Audio Interpretation at the Friday, December 14th performance. Beginning at 6:30pm prior to the December 14th performance, the Art House Access Committee will host a free mixer for artists with and without disabilities. Wine and hors d'oeuvres included. In concurrence with Not Medea, the Art House Gallery will be open for its inaugural Affordable Art Show featuring over 75 fine art pieces all selling for $500 and under. Art House Productions is located at 262 17th St, Jersey City, NJ 07310. For tickets and more information visit www.arthouseproductions.org
In Not Medea, An exhausted working mother escapes to the sanctuary of the theatre and encounters a play she desperately doesn't want to watch. Allison Gregory's Not Medea, is a refreshing take on an old story and gives its audience a much needed perspective on the trials and tribulations of motherhood in the 21st century. A synthesis of myth/magic/real world, Not Medea is a fierce slap-down about love, lust, motherhood, and forgiveness.
Art House Productions' Executive Director, Meredith Burns thinks the play will resonate with audiences regardless of whether or not they know the story of Euripedes' Medea. "There's a reason this play is titled Not Medea because it's certainly not the same story or even a modern interpretation of Medea, but an all together different, at times funny, meta theatrical experience. That said, the themes of love, loss, and double-standards remain at the heart of this play too."
Allison Gregory's plays have been produced all over the country, and she has received commissions, grants, and development from Oregon Shakespeare Festival, South Coast Repertory, The Kennedy Center, Indiana Repertory Theatre, the Skirball-Kenis Foundation, ACT Theatre, Seattle Repertory Theatre, Orlando Shakespeare Festival, New Harmony Project, National New Play Network, Northwest Playwrights Alliance, LATC, Amphibian Stage Productions, Theatre Lab@FAU, and Austin Scriptworks. Her work has been the recipient of the Julie Harris Playwriting Award, South Coast Repertory's Playwright's Award (Forcing Hyacinths), Garland & Dramalogue Award (Fall Off Night, Breathing Room), Seattle Times Best New Play Award (Burning Bridget Cleary). Not Medea (O'Neill & BAPF finalist), and Wild Horses (O'Neill semi-finalist) received National New Play Network Rolling World Premiere productions across the country. Motherland (O'Neill finalist, American Blues Blue Ink Award finalist, Harriet Lake Playfest selection) was selected for NNPN's Showcase of New Plays. She splits her time between Seattle and Austin, where she is the co-founder of the Marthas, a playwright collective. Her plays are published by Playscripts, Smith & Krauss, Dramatic Publishing, and Rain City Press.
Kersti Bryan was most recently was seen in the national tours of Martin Luther On Trial as Katie Luther. New York: Ensemble Studio Theatre, TheatreLab, Strindberg Rep, NY Classical Theatre, Dixon Place, others. Regional/International: New Jersey Rep, Shakespeare Theatre of DC, Commonwealth Shakespeare (Nominated for Elliot Norton Award For Outstanding Actress), Moscow Art Theatre (TCG Award), Shakespeare Theatre of NJ, Oregon Shakespeare Festival, Palm Beach Dramaworks (Carbonell Award). TV/Film: HBO's "The Deuce", "The Knick". "Elementary", "Golden Boy", "Drop Dead Diva", "Law & Order", "Small Miracles", "Actor Seeks Role", "Hell's Heart", others. Carnegie-Mellon University.
Jonathan Higginbotham credits include: Cymbeline (Yale Repertory Theatre), Richard II (Lincoln Center Theatre Director's Lab), Peer Gynt from Kosovo (Lincoln Center Theatre Director's Lab), the feels...KMS (New Ohio Theatre) and Twelfth Night (Elm Shakespeare Company). Jonathan received his MFA from Yale University where he was seen in Three Sisters, King Ubu, MacBeth, A Midsummer Night's Dream, The Orestia and In the Red and Brown Water (Yale Caberet). Jonathan holds a BA in Theatre from Hamilton College and studied acting in Oxford with the British American Drama Academy.
Isabel Pask performed regionally with Santa Cruz Shakespeare (CA), Shakespeare Theatre of NJ, Quantum Theatre (PA), and Chautauqua Theatre Company (NY). She is a spoken word artist, writer, and contributor for the femme-millennial webseries CNT (Comedy News Tonight). Her most memorable roles include Celestina in Cloud Tectonics, Esperanza in The House on Mango Street, Juliet in Romeo and Juliet, and Casilda in Peribáñez. She is a graduate of the Carnegie Mellon School of Drama.
Adin Walker projects as director/choreographer include L M Feldman's Grace, or the Art of Climbing (Art House Productions), Soft Butter (Ars Nova ANTfest), The White Dress (Araca Project), One Arm (Chautauqua Theater Company), Pin* and the Blue Fairy (Drama League Artist-in-Residence & Dixon Place), Gruesome Playground Injuries (TheaterLab NYC), Jacqmin Family in the Petrified Forest (Source Festival), Rent, and Singin' in the Rain (Princeton/McCarter.) As choreographer/movement director, Walker has collaborated with directors Mia Walker (NYC premiere of Normativity, NYMF), Dawn Monique Williams (Romeo and Juliet, Chautauqua Theater), Alexandru Mihail, Ethan Heard, Tracy Bersley, Whitney Mosery, Louisa Thompson, and Flako Jimenez. Walker is the associate director of Phantom Limb Company's Falling Out (BAM 2018 Next Wave Festival and the Kennedy Center). Walker has developed work with Powerhouse/New York Stage and Film, the New Victory Theater, Arena Stage with Act Two at Levine, Musical Theater Factory, the Drama League, and is a proud member of SDC, the union for Stage Directors and Choreographers.
About Art House Productions
Art House Productions (AHP) was founded shortly after the devastating events of September 11, 2001 in order to create a place for artists and community members to connect through creative expression. Since then, AHP has grown significantly. In 2007, AHP became a 501(c)3 not-for-profit organization and was presented with the Key to the City by Jersey City for being a pioneer of artistic and cultural programming and a model of what the arts can do for evolving urban centers. Now in its 17th year, AHP presents a professional season of two Actors' Equity Association mainstage productions, six curated visual art exhibitions, over six youth and adult arts education programs both in school and after school, and the free, quarterly arts festival, JC Fridays, which serves over 15,000 people annually.
AHP's mission is to engage, inspire, entertain and challenge audiences with highly intentional visual and performing arts programming; provide arts education to promote lifelong learning to diverse communities; and celebrate the essential power of the arts to illuminate humanity. AHP provides a home for innovative performing, visual, and literary artists to develop new work; presents emerging and under-recognized artists who are making significant contributions to their respective fields; and serves as a safe space for established artists to take creative risks.
Made possible in part by funds from the New Jersey State Council on the Arts/Department of State, A Partner Agency of the National Endowment for the Arts; administered by the Hudson County Office of Cultural & Heritage Affairs/Tourism Development, and by the County of Hudson, Thomas A. DeGise, Hudson County Executive, and the Hudson County Board of Chosen Freeholders.
Art House's 5,500 square foot facility has elevator access, gender-neutral family bathrooms, and wheelchair ramp accessibility. For accessibility requests and inquiries, please contact info@arthouseproductions.org or call 201-918-6019
Red Decent - Madelynne Dela Rama
Labels: ART HOUSE PRODUCTIONS
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The 50th Consumer Electronics Show (CES) in Las Vegas in early January seemed to have a common subject matter: Smart Home. Below are a few of the creations that were featured at the show that can help make your chaotic life at home, and away from home, a little simpler.
Vivint brought their new Pint Camera, which turns on when someone goes to your front door and rings the doorbell. A light can automatically turn on and the homeowner gets an instant notification that there are guests at the door. You can even talk to the visitor over your phone through the Ping Camera and unbolt the door for them.
Smart thermostats have been a favorite of homeowners for the last several years, and iDevices has raised the stakes with their own version. Their thermostat can notify the homeowner if there is a severe storm that creates a leak or flooding in your home.
A new device by Petcube allows pet owners to observe and interact with their furry friends while they're away. The product can even give your furry friend a treat if you order it!


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The Rock Clock App Review (iOS): Do You Smell What The Clock is Cooking?
By Chris Carter | May 18, 2016 | 10:00am
Tech Reviews App
When I saw the concept for "The Rock Clock" I legitimately laughed out loud. Having grown up with Dwayne Johnson calling people "jabronis" for years, it was weird to see him sidle up to his massively successful film career, which now includes appearing in some of the highest-grossing films of all time.
He's accomplished quite a lot, and managed to stay fit pretty much the entire time. Through this app, Dwayne "The Rock" Johnson attempts to impart his work ethic onto the general public, and for the most part, it works.
Let's be clear, this is another alarm clock app with a unique twist. Users can set goals, and then set an alarm to get it done at specific times, which can be set to a set of unique ringtones like hard rock music or chainsaws. It's all done with a very sick yellow-jacket veneer, complete with pictures of The Rock and his bull logo throughout.
Meeting your goal, which is accomplished by the press of a button (known as "crushing it"), warrants a "great job!" voiceover from Johnson, along with the power to share your success on Facebook and Twitter. Beyond that gimmick, there's a few extras—the ability to "wake up when The Rock does," (whereabouts 5AM ET, US), and a set of daily video logs from The Rock himself, accessible from the main menu.
It's part marketing tool, part legitimate heart-felt connection tool. According to the Project Rock website, the app is only "Project Two" in a series that started with a sold out backpack and duffel bag. Seeing Dwayne go through the effort of actually shouting out people during the daily video log "good morning" videos is a nice thing to see, and more effort than a lot of other celebrities would actually put out. Despite its lack of major frills and features, I enjoyed the week or so that I've spent with the clock, and may use it in the future to facilitate some workout goals.
How often Johnson plans on keeping it actually supported and updated first-hand is yet to be seen, but he's doing a good job so far.
The Rock Clock is an iOS app that can be downloaded for free in the iTunes App Store.
the rock clock
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Oran Feature on Light Lifting
Over at the Inverness Oran, John Gillies has written an interesting profile of Alexander MacLeod and Light Lifting.
They say write about what you know, and anyone who knows Alexander MacLeod knows he knows something about running.
Consequently, it's not surprising that Alexander gets a firm grip on his readers in the opening pages of his story, Miracle Mile, from his long anticipated new short story collection, Light Lifting.
Born in Inverness, Cape Breton and raised in Windsor, Ontario, Alexander MacLeod's award-winning work has appeared in numerous North American journals – including a selection for the Journey Prize Anthology.
This week the Saint Mary's University English professor (who is currently on sabbatical to promote his new book) got a welcomed boost when the Scotiabank/Giller prize announced Light Lifting on its 2010 longlist.
The seven stories in this collection have been called "darkly urban and unflinching elegies for a city and community on the brink." While suspense and the potential for violence are often present in his stories, MacLeod told The Oran last week that when it does appear it represents "a fragility" present in our everyday lives.
In Miracle Mile, two distance runners, one coming into his own, the other coming to the painful realization that he's already past his prime, wrestle with the idea of what it means to win and lose. Scenes of those runners in their youthful days racing a cargo train through a rat-infested tunnel underneath the Detroit River are hard to forget. The story is not only a meditation on running and civility but seems to ask why we care enough to do the things we do.
"I was interested in exploring the private and public nature of running which sort of parallels the process of writing. The two are more similar than many people might imagine. I was also interested in why people give themselves over to anything. The only thing that can be meaningful is something we care about. Those guys have a very pure relationship and friendship. They really care about running when nobody else does," said MacLeod.
In Adult Beginner I, a young swimmer who overcomes her fear of water leaps from the roof of over a hotel building into dangers of the unknown waters below.
In Good Kids, an intelligent but unpopular kid from poor and transient family demonstrates a toughness that his older friends cannot even imagine. In Reggie Laroque, MacLeod creates a character who reminds us all so much of those young people, often forgotten, who nevertheless formed such an important part of our childhood.
MacLeod offers an unsentimental and unflinching look at contemporary urban life with an unmistakable honestly that should resonate with his growing number of readers.
While it's not surprising the Windsor/Detroit area figures prominently in this work, it might be a surprise to some readers that no "Cape Breton" stories are included.
"I made a conscious decision a couple of years ago to leave my Cape Breton stories out of this collection. I have always lived between those two worlds, Cape Breton and Windsor, and I love both places, and they're both very important to me, but the two kinds of stories didn't blend very well, and I realized that the whole book would cohere a little better if I made that choice," he says.
There's often an element of danger present in many of the stories. There are important choices to make and consequences for those choices.
"We are what we do," he says.
"I don't think there's anything more boring and disappointing than being two paragraphs into a story and being able to guess exactly, exactly, what's going to happen in the end. I tried to avoid that," he added.
Regarding influences, MacLeod says his parents "are probably the most influential people in my life" with his father the "biggest, most important literary influence I'll ever have," though never in an "overbearing or intrusive way."
"I try to learn lessons from (many writers) Jarman, Moore, Munro – and from Joyce and Carver and O'Connor and all the other amazing people who have been able to catch a story once in awhile and really make it work."
The presence of the Windsor/Detroit area also provided MacLeod an opportunity to explore not only a world he's familiar with but a canvas to create material with from the industrial/rural experience that has always been such a strong presence in his life.
"In Essex County you have the most productive farmlands in Canada just twenty minutes from the most industrialized centre of the country. I find that pretty fascinating. Growing up in both Windsor and Cape Breton made me aware that sometimes what matters so much in one place often doesn't even register in the other," he said.
It's rather fitting that MacLeod will be reading this weekend in both Windsor, Ontario (Friday) and Inverness at the Arts Centre at 2:00 p.m. on Sunday afternoon. His rural and urban worlds collide again.
"It's kind of weird but it should be a lot of fun and I'm glad that my family will be able to take part in many of the reading events," said MacLeod.
Like his father Alistair before him, Alexander MacLeod writes compelling stories that stay with you and that have an impact on you as a reader. They are stories that get into your blood; stories you'll remember. They are stories that matter.
Posted by biblioasis at 5:34 PM
Labels: Alexander MacLeod, Giller Prize, Light Lifting
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We, who are in Christ, can get caught in the trap of thinking God loves us more when we obey him and less when we sin. The good news is that he loves us AND accepts us either way. How do we know that?
First, we're forgiven BEFORE we ever sin according to Ephesians 1:7 "In him we have redemption through his blood, the forgiveness of sins, in accordance with the riches of God's grace." That's amazing grace!
Second, we've ALREADY been made righteous with God's own righteousness in our new identity which makes us outrageously loved and accepted. 2 Corinthians 5:21 "God made him who had no sin to be sin for us, so that in him we might become the righteousness of God." I don't know about you, but that doesn't make me want to abuse God's grace and go sin up a storm. It makes me very grateful, such that I love him more and want to obey him.
Ladies, immerse yourself in God's grace in our upcoming August, Women of Grace classes. Click here to learn more and register.


I think that Vanity Fair is the best magazine in the U.S. today, a perfect combination of superficiality and seriousness, playfulness and piety.
This entry was posted in Culture, Media and tagged advertising, David Schmader, The New Yorker, Vanity Fair by Donald Taylor II. Bookmark the permalink.


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hoakley June 2, 2018 General, Language, Life, Painting
Surprise, surprise: Paintings with a twist 1
Rembrandt Harmenszoon van Rijn (1606-1669), Belshazzar's Feast (detail) (c 1635-1638), oil on canvas, 167.6 x 209.2 cm, The National Gallery, London. Wikimedia Commons.
When reading a novel or watching a movie, many of us enjoy a surprise or twist in the plot. There are whole genres, such as detective fiction, in which such surprises are expectations, and the word whodunit was coined around 1930 for such stories.
Vera Tobin's superb, and very readable, study of surprise in plot, published just a month ago, looks at many examples drawn from literature and film. In this and the next two articles, I'm going to see how this has been tackled in narrative paintings.
Verbal stories and movies have the great advantage that they are serial forms: their plots can twist and turn through time, leading the reader/viewer through the misleading and confusing, before bringing them to recognition, surprise, and plot resolution. The painter has no such luxuries; unless they tell their story in a series of images, they have to accomplish all or any of these in one, which the viewer will see in a single look.
Duccio (fl 1278-1319), The Healing of the Man born Blind (Maestà Predella Panels) (1307/8-11), egg tempera on wood, 45.1 x 46.7 cm, The National Gallery (Bought, 1883), London. Courtesy of and © The National Gallery, London.
One solution is what I call multiplex narrative, in which two or more scenes from a story are shown in a single image, such as Duccio's The Healing of the Man born Blind from his Maestà Predella Panels of about 1310. Much of the panel is taken up by the first scene, in which Christ is healing a man we know – from the Gospel story – is blind. The surprise is revealed at the right, where he is sighted, and looks up in wonder and amazement.
This surprise is subtle, and not only dependent on reading the painting, but on knowing the story of this miracle.
Masaccio (1401–1428), The Tribute Money (1425-8), fresco, 247 x 597 cm, Brancacci Chapel, Florence. Wikimedia Commons.
Masaccio is more sophisticated and elaborate in The Tribute Money (1425-8), one of his marvellous frescoes in the Brancacci Chapel in Florence. He packs in three separate scenes, in non-linear arrangement. In the centre, a tax collector asks Christ for temple tax. At the far left, as directed by Christ and Peter's arms, Peter (shown a second time) takes a coin from the mouth of a fish: the surprise. At the right, Peter (a third time) pays the tax collector (shown a second time) with that coin.
Nicolas Poussin (1594–1665), Rinaldo and Armida (c 1630), oil on canvas, 82.2 x 109.2 cm, Dulwich Picture Gallery. Wikimedia Commons.
It took the ingenuity of post-Renaissance artists to incorporate references to multiple scenes in a single, instantaneous narrative image. One of its greatest exponents was Nicolas Poussin, whose Rinaldo and Armida from about 1630 encapsulates a lot of story and more overt surprise.
The narrative is here taken from one of Poussin's favourite literary works, a then-popular epic poem by Torquato Tasso (1544-1595), a prodigy of the late Italian Renaissance, titled Gerusalemme Liberata (Jerusalem Delivered), and published in 1581.
Today, unless you're a scholar of Italian Renaissance literature, you'll see the surprising image of a pretty young woman on the one hand about to murder a sleeping knight with a dagger, and on the other hand caressing his brow. It is that conflict which brings surprise, albeit still subtle, implicit recognition, and reveals the twist in the plot.
The sleeping knight is Rinaldo, the greatest of the Christian knights engaged in Tasso's romanticised and largely fictional account of the First Crusade, who has stopped to rest near the 'ford of the Orontes'. On hearing a woman singing, he goes to the river, where he catches sight of Armida swimming naked.
Armida, though, had an evil aim. She had been secretly following Rinaldo, intending to murder him with her dagger. As the 'Saracen' witch who is trying to destroy the crusaders' campaign, she had singled out its greatest knight for this fate. Having revealed herself to him, she sings and lulls him into an enchanted sleep so that she can thrust her dagger home.
Just as she is about to do this, she falls in love with him instead – and this is the instant, the twist or peripeteia (to use Aristotle's term), shown here. A winged amorino, lacking the bow and arrows of a true Cupid, restrains her right arm bearing her weapon. Her facial expression and left hand reveal her new intent, which is to enchant and abduct him in her chariot, so that he can become infatuated with her, and forget the Crusade altogether.
Just a few years later, another of the greatest masters of visual narrative painted perhaps the most surprising work of all.
Rembrandt Harmenszoon van Rijn (1606-1669), Belshazzar's Feast (c 1635-1638), oil on canvas, 167.6 x 209.2 cm, The National Gallery, London. Wikimedia Commons.
The first time that you see Rembrandt's Belshazzar's Feast (c 1635-1638) in the flesh, it's a thorough surprise, in its imagery, composition, colours, lighting, and its very painterly facture. And it never ceases to surprise. Showing a relatively minor episode from the Old Testament book of Daniel, Rembrandt creates surprise using every trick in the book.
Belshazzar is a hopeless case: his father Nebuchadnezzar had his arrogance crushed when he learned of God's sovereignty over mankind. The son is more obdurate, even when his great feast is thrown into disarray by a disembodied hand writing incomprehensible words on the wall. Daniel is summoned, who interprets the message as warning that Belshazzar "has been weighed and found wanting"; the blasphemous king is killed later that night, and his kingdom taken by Darius the Mede.
Rembrandt Harmenszoon van Rijn (1606-1669), Belshazzar's Feast (detail) (c 1635-1638), oil on canvas, 167.6 x 209.2 cm, The National Gallery, London. Wikimedia Commons.
As Belshazzar watches the hand writing on the wall, his eyes are nearly popping out. His left arm is raised, and the right has to steady himself against a salver on the table, having already knocked over one of the temple vessels.
A couple of the guests sat to his right show astonishment, looking not at the wall but at Belshazzar, directing our gaze at him too.
To Belshazzar's left, a woman in a bright red robe is also transfixed by the writing on the wall, sufficient that she has tipped the contents of the goblet in her right hand onto the floor.
I now skip forward over a century to an artist much better-known for his portraiture.
Pompeo Batoni (1708–1787), The Infant Hercules Strangling Serpents in his Cradle (1743), oil on canvas, dimensions not known, Palazzo Pitti, Florence. Wikimedia Commons.
Sleep doesn't come easily when your twin boys are eight months old. For Alcmene and her husband Amphitryon, that sultry night was broken as one of them, Iphicles, started sobbing loudly. When his parents got out of bed to investigate, this is what they saw, as painted by Pompeo Batoni in The Infant Hercules Strangling Serpents in his Cradle (1743). Surprise is something of an understatement, for there is Iphicles' brother, who had recently been renamed Heracles, quietly strangling a couple of snakes. At eight months.
Batoni uses the cover of darkness to enhance the dramatic effect. A tiny oil lamp is the sole illumination. Mother and father – actually step-father, as Zeus was Heracles' natural father – are bent over, peering through their sleep and the darkness to see what is plain to us, the most surprising infant portrait in the history of painting. There are no theatrical expressions, no wild gestures, as what you see is a complete surprise.
Hera, the wife of Zeus, had given the infant the snakes in a bid to kill him, in spite for her husband's repeated infidelity. Heracles, though, was made of sterner stuff.
The night is a time for surprises, with things that go bump, ghoulies and ghosties.
Henry Fuseli (1741–1825), The Nightmare (1781), oil on canvas, 101.6 × 127 cm, Detroit Institute of Arts, Detroit, MI. Wikimedia Commons.
For Henry Fuseli, it is the time of The Nightmare (1781). What could be more surprising for the young woman whose head and arms are falling out of bed, than a daemon sat on her abdomen, and the head of a blind black horse poking through the drapes?
Thomas Rowlandson (1756–1827), Reflections, or the Music Lesson (date not known), watercolour, 11.7 x 15.7 cm, Yale Center for British Art, New Haven, CT. Wikimedia Commons.
Thomas Rowlandson was an astute observer of people and society, and his undated small watercolour sketch of Reflections, or the Music Lesson is an excellent example of his work, and a good demonstration of surprise, even if its narrative is thin and brief.
An old man sits in front of the fireplace, above which hangs a large mirror. This gives him a view behind of his daughter, who is playing the piano as her music teacher sits close to her. That is what we see: the image seen by the old man is of the couple embracing and about to kiss, which enrages rather than merely surprises him.
James Gillray (1756/57-1815), The Hand-Writing Upon the Wall (1803), etching and hand-coloured aquatint, dimensions not known, Library of Congress, Prints & Photographs Division, Washington, DC. Wikimedia Commons.
James Gillray was another perceptive caricaturist and satirist of the day. In his etching and aquatint of The Hand-Writing Upon the Wall from 1803, he borrows the story of Belshazzar's feast and recasts it with Napoleon on the throne. Gillray cleverly quotes from Rembrandt, with wineglasses and bottles being knocked over by Napoleon's outstretched arms, but he also uses different techniques to express this version of surprise. For example, Napoleon's eyes aren't about to pop out, but those of the man to the left of him, who is looking at Napoleon rather than the writing on the wall, are.
Vera Tobin (2018) Elements of Surprise, Our Mental Limits and the Satisfactions of Plot, Harvard UP. ISBN 978 0 674 98020 4.
Posted in General, Language, Life, Painting and tagged Batoni, Duccio, Fuseli, Gillray, Masaccio, narrative, painting, peripeteia, Poussin, Rembrandt, Rowlandson. Bookmark the permalink.
Surprise, surprise: Paintings with a twist 1 — The Eclectic Light Company | MacCoach on June 3, 2018 at 3:51 am
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