text:
The Work of Art As Theory of Work: Relationality in the Works of Weiss and Negt & Kluge
By Langston, Richard
ABSTRACT: Peter Weiss first met Alexander Kluge at a special 1962 meeting of Gruppe 47 dedicated to cinema. Weiss left records of this and other subsequent meetings in ensuing years. After an extended hiatus, Kluge (along with Oskar Negt) reappeared in Weiss's notebooks in the guise of their newly published second book of social theory; "Geschichte u. Eigensinn," Weiss jotted in June 1981, taking note of their book's title. This author contends that Weiss's Die Asthetik des Widerstands (The Aesthetics of Resistance) and Negt and Kluge's Geschichte und Eigensinn, both completed the same year, are remarkable kindred spirits. Both underscore the importance of labor since the emergence of postindustrial societies after 1945. For labor to retain its capacity for protest, Weiss's novel and Negt and Kluge's theory identify the work of art and the theorization of work as concomitant forms of labor instilled with the same capacity for resistance that is rooted in all material forms of human labor. Keywords: Die Asthetik des Widerstands, Geschichte und Eigensinn, Alexander Kluge, labor, Oskar Negt, Peter Weiss
In response to the question of how he defines the work of the chronicler at the threshold of the new millennium, Alexander Kluge cited in an interview from 2001 the unavoidability of condensation and collaboration. "I believe that in order to describe the footprint of our experience one would need a good four-hundred authors, a Balzac Collective. [. . .] Under the increased pressure of our intensified reality, a novel like Buddenbrooks would have to be compressed into fourteen pages. They have to be condensed" ("Erzahlen" 91).1 Kluge's point was twofold. First, the chronicler must deliver his goods quickly and economically in our accelerated and competitive age of digitized information. If the brevity of the short story has indeed become the ubiquitous form of contemporary communication, then the realist novel must be able to conform to the limited time available for reading while nevertheless preserving what Kluge calls a Flaubertian knack for uncovering the mistakes, vices, and evils at work in our lives. Second, the chronicler must resolve to work with other chroniclers. If he is to record the passing of events not objectively but subjectively-only a subjective chronicle of feeling, Kluge argued, can record the material basis of human experience-then an army of chroniclers is required to amplify and protract adequately the conflicts between objective and subjective experiences necessary for constituting a genuine public sphere.2 "I believe," he continued, "in an 'auteur literature' like I do in an 'auteur cinema'" (91). And then he listed a most unusual ragtag list of both living and deceased contributors for his Balzac collective. "It would be lovely if several poets were to join forces" (91). Alongside one of contemporary Germany's most revered poets (Durs Grunbein), a sensational filmmaker turned artist (Christoph Schlingensief), and the Swiss novelist of Homo Faber (Max Frisch), the chronicler Kluge enlisted the author Peter Weiss as an ideal member of his imaginary collective.
Of the many authors whom Kluge openly recognizes as having been influential to his forty-year literary career, Weiss is certainly not one of them. Gottfried Benn, Bertolt Brecht, Theodor Fontane, Heiner Muller, and Heinrich Kleist, to name but a few, have held far greater sway over Kluge's prose since his literary debut in 1962. Upon initial consideration, Weiss seems especially out of place in Kluge's imagined collective. Above all, Weiss had much to say about the political shortcomings of Balzac's bourgeois realism. "Balzac was reactionary," he blurted out in a notebook entry from early 1973. Weiss's justification was simple. Compared to Weiss's own artistic solidarity with and socialist commitment to fighting class conflict and racism, Balzac "drew [. . .] however no political consequences. He remained loyal to his class and never took sides with the oppressed" (Weiss, Notizbucher 7752). In fact, his condemnation of Balzac's political insufficiency was but one facet of a much larger and more complex dilemma he had with realism throughout his artistic career. Just as critical of the socialist realism produced in the Soviet bloc as he was of bourgeois realism, Weiss also wrestled with the stark divide between realism and modernism that the expressionism debates of the thirties had engendered.3 Realism, Weiss insisted over and over again, should be as much if not more a concern of dreams, surrealist hallucinations, and poetry as it is to the traditional chronicler. And yet Weiss's animus toward Balzac does in no way disqualify him from inclusion in Kluge's clique. Kluge himself has long championed a unique brand of realism deeply antithetical to Balzac's commitment to meticulous mimesis. On closer inspection, Weiss's and Kluge's respective demands of realism are remarkably akin. Like Kluge, Weiss realized while working on The Aesthetics of Resistance, "a correct (objective) history cannot be written. Every assertion contradicts another" (Notizbucher 12057). As Weiss was, Kluge has been resolute in his conviction that "the rationale for realism is never a confirmation of reality but rather protest" (Gelegenheitsarbeit 216).
As tenuous as these connections may appear, further contemplation of the viability of Kluge's perfunctory comment about his Balzac collective and, even more important, his implied, albeit unexplored, affiliation with Weiss promises valuable insights into a particular historical connection or, to use Kluge's term, relationality (Zusammenhang) that prevails between both of these writers' work. Taking Kluge's call for collaboration as its point of departure, this article explores neither anecdotal evidence of these authors' shared investments in realism nor the potential uniqueness of their respective contributions to Kluge's vision of an "auteur literature." Instead, the ensuing investigation uncovers what I believe to be the most significant point of contact between Weiss and Kluge as well as Kluge's longtime collaborator Oskar Negt, a point of contact, it must be emphasized, that illuminates their shared preoccupation with an Arbeitskrise (crisis of work) that loomed large in and beyond central Europe after the student movements of the late sixties. Substituting Weiss's and Kluge's shared interest in realism with their concern for Arbeit (with all its English derivations) is not intended as a sleight of hand for introducing a seemingly unrelated concept for its own sake.4 On the contrary, the conceptual categories realism and work-the latter understood here as process, product, and preoccupation of a particular historical social class-are intimately intertwined in these writers' rearticulation of resistance and revolt after its grandiose failure in the student revolts. Of central concern here then is how Weiss and Negt and Kluge together resituate the work in the work of art in order for it to gain traction in a post-Fordist world in which labor became increasingly flexible, dematerialized, and resolutely post-proletarian and where the reemergence of politically charged avant-garde work was exposed as aiding and abetting bourgeois interests.5 Establishing relationality between Weiss's novel The Aesthetics of Resistance and Negt and Kluge's as yet untranslated theoretical fragment Geschichte und Eigensinn, roughly History and Obstinacy in English, will thus show how theory regained its discarded status as an unassimilable form of labor and how this special labor flirted with the work character of art. It will also explicate how (one exceptional instance of) art realigned the use of its work character away from the conundrum of whether and, if so, how to work for or against art's bourgeois institutionalization. Instead, the political viability of the work in the work of art-art's potential for protest-is only rendered serviceable when it enters into critical constellation with other manifestations of labor.
Peter Weiss required no special lens-neither the economist's nor the political scientist's nor the historian's-to discern the plight of the working class in his own time. In a Western world divided into two polarized geopolitical blocs, Weiss reflected intensely on the status of the proletariat in his notebooks. In the immediate wake of Weiss's Marxist turn in the mid-sixties, he focused many of his private observations on the dissolution of the working class. The worker, Marx's original revolutionary subject, was to be found neither in the self-proclaimed "workers' state" of the GDR nor the capitalist societies in the West. In a thumbnail sketch of East and West, Weiss wrote dismissively in June 1964, "On both sides: stereotyping, waste. Hope for 'leisure time.' And then everything there is regulated from above: programs that program" (Notizbucher 11050). Yet the problem was not merely a case of pandemic bureaucracy from on high that robbed workers of their own voice and agency. Workers on either side of the Iron Curtain were themselves guilty of both delusion and complacency: "The worker who believes to have achieved something has in principle merely allowed himself to be won round by capitalists again" (11178). Weiss's conviction in the total defeat of contemporary Europe's working class-he writes of their unrevolutionary attitude-even spilled over into a deep suspicion of historical character of the worker's revolutionary potential. In April 1965, he called into question just how opposed workers actually were toward National Socialism. "This continual glorification of the 'worker,' as if the working people always did the true and right thing! There were after all just as many workers who were Nazis as there had been citizens" (11171). In the end, Weiss's assessment left fascism, capitalist and social democracies, and "real existing" socialism, all having pacified the proletariat to such a degree that revolution was an utterly impossible thing. However, at the point when the rumblings of the student movement became audible-in December 1965 West Berlin played host to the first West German consciousness-raising exhibition against the Vietnam War- Weiss reappraised his earlier pessimism, believing that students and workers promised to reenergize the revolutionary subject. "Future prospects," he wrote in late 1965 while researching the history of colonial violence in Central America, "the coming together between students and workers" (11239). Shortly before his departure from Paris to North Vietnam on May 15, 1968, Weiss saw firsthand the exceptional coalitions between students and workers that led to the occupation of the Sorbonne and subsequent riots in the Latin Quarter. 6 He wrote of his own "participation in the solidarity events between students and workers" as fulfilling "huge expectations, something illuminating" (11432). And yet his newfound hopes were not entirely free of his earlier pessimism, and rightly so. By early 1969, he began characterizing students as privileged bourgeois children who, unlike the working class, could afford to stage their Oedipal revolts without running serious risk to their well-being.7 If actions speak louder than words, then the student revolts proved nothing more than the fact that bourgeois revolts were ultimately unconcerned with the plight of the working class. Critical of the students' intentions, Weiss revisited in the late seventies his earlier doubts from the mid-sixties. While ready to embark on the writing of the third and final volume of The Aesthetics of Resistance, he once again questioned the actuality of the working class: "In our countries there no longer exists that specific class that once called itself proletariat" (12674). As if to put the matter to rest once and for all, Weiss mused after the completion of the novel in 1981 that labor never had a chance. Capital had long proven itself far superior in its covert ability to accrue and exert power (10510). Labor was doomed from the start.
The historical events that shaped Weiss's waning hope and waxing disbelief did not, however, squelch his deep conviction in the existence of a proletariat and the importance of its defense. He looked beyond Europe and toward developing countries in Africa, Asia, the Caribbean, and Central and South America and found proof that the proletariat did indeed continue to suffer-only now under the veil of white colonial rule in faraway lands. "The African worker in South Africa," Weiss wrote in June 1965, "is exposed to wage conditions that approach those of slavery. He is barred from every right enjoyed by the white worker" (11189-90). It was precisely this displacement of Marx's original proletariat from central Europe to the margins of the European geographic imagination that moved Weiss to configure his own identity as an artist and the labor he invested in art as not only proletarian in nature, but also constitutive of class struggle on an international level. As for Weiss's sense of self, he explains in his notebooks that it was his earliest experiences as an eighteen-year-old emigre in England (and then less than two years later in Czechoslovakia) that brought him to think of himself as belonging to an "un-domiciled" and "intellectual proletariat" (12482, 11832). Far more significant than this auto-identification, Weiss's longstanding emphasis on the physical labor of the artist ran to the core of his aesthetic politics. Artists like him practice a craft-Weiss repeatedly writes of his Handwerk- that is no less material than that of a factory worker. According to Weiss's controversial essay "10 Arbeitspunkte eines Autors in der geteilten Welt," published in 1965, artists process language and produce knowledge, which then enters into social circulation and eventually engenders transformative social effects: the exchange of opinions, solidarity with the other, and ultimately a political engagement on their behalf. The value of these products is, however, entirely dependent on the systems of valuation ("Bewertungssystemen") in which these works find themselves ("10 Arbeitspunkte," 15). Equipped with only a fundamental grasp of Marxism, Weiss wrote of the value his creative labor accumulated as it passed from his hands into those of Western capitalists and communist functionaries, and then to consumers.8 Socialist societies, he concluded, were superior in this respect, for they were far less likely to alienate the artist from the values he inscribed into his work.
It is arguable that Weiss's preoccupation with diagnosing the dire state of the working class and signifying the proletarian character of his own artistic work was in part symptomatic of what some scholars have characterized as the Federal Republic of Germany's transition into a postindustrial society. On the one hand, economic stagnation, conservative expansion, and a shift toward postmaterialism following the saturation of large segments of German society with material wealth all have been credited with throwing the country into a legitimation crisis. Seen from this perspective, the West German student movement was something, to use the words of political scientist Claus Leggewie, "intellectual killjoys had not simply invented" (284). On the other hand, the working class's unprecedented prosperity and its concomitant depoliticization (or bourgeoisification) cleared-according to some economists, sociologists, and social philosophers-a space for another class of social actors to emerge, one whose labor predisposed it to assume the political struggles that workers had once spearheaded.9 Dubbed early on an emergent "new intellectual class," these actors were anything but homogeneous. Because of its commitment to technical rationality and the "revolution of production," a new managerial intelligentsia stood in direct opposition to a critical academic intelligentsia intent on resuming the emancipatory legacies of proletarian revolution.10 What both camps shared according to this history was a lingering sense that their respective labor could make a difference if only it were put to significant use. This hegemonic struggle was exactly what Weiss had in mind when he wrote in May 1969 that the unrest and revolts comprised a bourgeois revolution against itself (11527). Although Weiss did tap into this postindustrial narrative without ever calling it by name, his insistence on substituting the industrial labor power of the proletariat-what Marx defined as an aggregate of muscle, agility, and brainpower-with that of the artist was entirely anachronistic in the postindustrial context of the West German seventies.
Oskar Negt and Alexander Kluge concurred. The word "proletarian has, in the Federal Republic, taken on an attenuated, indeed an anachronistic, sense" (Public Sphere xlv). Certainly a function of an emergent post-Fordist society in which their 1972 collaboration Public Sphere and Experience developed, the anachronistic character of the term proletariat in a post-proletarian world deemed it a particularly powerful heuristic. A remarkably influential piece of theoretical writing that followed on the heels of the student movement's exhaustion from theory, Public Sphere and Experience closes with a crucial distinction: At the dusk of the twentieth century, the idea of the proletariat must not languish because of the antiquated status of its traditional empirical definition, what Negt and Kluge call its "social substance." For it to reacquire the critical purchase that Marx originally ascribed to it, the signifier proletariat (along with bourgeoisie) must undergo a conceptual shift that both remains true to the history of lived experience of repressed and ruling classes and describes the continuous blockage and expropriation of individual "experience (Erfahrungen), needs, wishes, and hopes" that persist well into the postindustrial present (Public Sphere 672). This new understanding of proletarian and bourgeois describes qualities-they write of Eigenschaften in the German-that transcend class divisions and historical caesuras. In a nutshell, the idea of the proletarian is as much a structural fact of life for every person as is the bourgeois ("Was heisst proletarisch?" 300-03).11 The tragic history of class struggle has nevertheless had its winners and losers.
Picking up where Public Sphere and Experience left off, Negt and Kluge's Geschichte und Eigensinn expounds on how the uneven organization, expression, and expropriation of proletarian and bourgeois qualities continually benefit history's ruling class. The flip side of Marx's political economy of capital that Marx himself never wrote, Geschichte und Eigensinn maps out in great detail in its first four expansive chapters how the long history of capital has intruded in the natural organization of human biology and labor power. Moving from the individual to whole societies, Negt and Kluge contend that the political economy of labor power continually shuts out the self-serving labor of the proletariat-although it is living in the Marxian sense, it is still woefully unorganized-in the name of harvesting only what it needs for the creation of a glorious illusion, namely a triumphant bourgeois totality. Throughout the whole of German history this inorganic totality, they add, is characterized by the fact that it kills (363). Anything but a celebration of defeat, Geschichte und Eigensinn ultimately asks the question whether and, if so, where the seeds of autonomy can be found within oppression ("Was heisst proletarisch?" 301). In all labor processes throughout history, the proletariat-as a social substance and a set of qualities-has always produced more work than was ever expropriated by capital. Like the expropriated dead labor power, this reserve of living work left behind is full of what Negt and Kluge call "Eigen- Sinn, eigener Sinn" (own-sense, personal sense).12 It is a property claim on one's own labor power that "arises out of a severe emergency. It is the result of the expropriation of one's own senses" (Geschichte 766). The political potential of this unincorporated living labor rests neither on mere claims of its existence nor on any militant insurrection that explodes forth for having lain fallow too long. On the contrary, the possibility for an emancipation of labor power lies in the concerns first raised in Public Sphere and Experience and then expounded further in Geschichte und Eigensinn: the reacquisition of that which has been splintered and appropriated by reflecting, reorienting, rearticulating and reorganizing the existing bourgeois production processes that fragment labor power into either living or dead spheres. In other words, the condition of possibility for redeeming lost living labor is the proletarian public sphere. One crucial constituent in this reclamation process is what Negt and Kluge call Theoriearbeit, or work of theory, which must not be confused with the hermetic and dead Intelligenzarbeit. The work of theory, they claim, is a form of proletarian labor intent on reestablishing the social relationships that capital fragments and obscures as well as facilitating orientation "within nature, history, and society" (Geschichte 482).13
It must not be forgotten that around 1981, the year when Geschichte und Eigensinn was first published, it was not entirely clear in the Federal Republic what theory was or what work it was supposed to accomplish. That very same year Jurgen Habermas argued that the original interdisciplinary thrust of the Frankfurt School as outlined by Max Horkheimer had proven over time to be a failed project. With Horkheimer and Theodor Adorno's Dialectic of Enlightenment, Critical Theory cast off any and all commitment to empirical research and, in Habermas's estimation, devolved into "speculative observations" and "pseudonormative propositions" (2: 382). Whereas Habermas criticized Adorno's notion of Critical Theory for its "surrender of all cognitive competence to art" (1: 384), Negt and Kluge's Geschichte und Eigensinn intensifies its poetic character more than ever.14 Well over a thousand pages long, this magnum opus-readers are confronted with an enormous collage of text boxes, photographs, captions, stories, footnotes, and diagrams-is in fact theory that verges on assuming the guise of a work of art. As for the work that montage performs, Kluge claims that "with every cut fantasy emerges" (Eder and Kluge 64).
Far from positing a hierarchy of forms, Negt and Kluge contend that what theory and art share is a mutual albeit nonidentical investment in producing fantasy. Like the work of theory, fantasy ideally articulates "libidinal structure, consciousness, and the outside world" (Public Sphere 37). The authors argue that in reality, fantasy can only inhabit an alienated space in which living labor's products, that unaccounted work that eludes the logic of capital, come to light. It is, however, an inverted and distorted expression of Eigensinn, an "unconscious practical critique of alienation" (Public Sphere 33). If the constitution of a proletarian public sphere entails redeeming lost labor, then the rearticulation of fantasy-living labor's forlorn product-back into the fabric of social relations must not fall prey to benign domestication, the culture industry being a foremost example. For this to succeed, fantasy requires a supplemental labor capable of translating it back into the production process, thereby making it a useful building block for the constitution of a proletarian public sphere.15 Only the work of art or the work of theory that steers clear of manufacturing knowledge (Erkenntnis) can successfully cull from fantasy a provisional map of the complex relationalities of living and dead labor that capital otherwise obfuscates (Geschichte 487). Instead of aspiring to reconstruct an original totality of labor power, fantasy translated must inhabit the fissures and discrepancies left in the wake of dominant historical processes and the obstinacy it occasions. A process, not a product, it must wrestle with fragmentary forms and foster a sensibility attuned to the otherwise abandoned, unacknowledged yet real feelings of "Eigen- Sinn." Unsurprisingly, Negt and Kluge also set down aesthetic parameters for theory and art; both must engage in the handicraft of the monteur who "juxtaposes, ruptures, collects, pursues strewn arrangements, [and] samples" (222). As inorganic and antirealist as this prescription may seem, Negt and Kluge-and here Kluge's vision of a Balzac collective returns to view-maintain that fantasy aspires to a realism wedded to protest (Geschichte 487, 112).16 "It must be possible," Kluge explained elsewhere, "to represent reality also as the historical fiction that it is" (Gelegenheitsarbeit 215). This act of unveiling is precisely what the work of art, like the work of theory, seeks to espouse.
Published in its entirety the same year Geschichte und Eigensinn appeared, Weiss's The Aesthetics of Resistance is equally invested in advancing a proletarian politics of fantasy. "My imperative," Weiss remarked in the spring of 1978 before the publication of volume two, "[is] to erect fantasy on the terrain of reality" (Notizbucher 12614). Yet this politics of fantasy in Weiss's magnum opus does not stop short with just representing fantasies that arose out of the German proletariat's reservoir of surplus labor at midcentury, an Eigensinn of yore. If Weiss's novel does unveil the "same struggle that we are engaged in today," as Weiss himself claimed in an interview, then it must be asked how exactly his account of living proletarian labor of yesterday transcends the confines of history and even myth (Weiss, "Pergamon" 120). Early chartable critiques of the novel were absolutely correct when they insisted that The Aesthetics of Resistance is foremost a book of and about work (Stephan 356). What remains to be seen is how the work of the novel enacts a sophisticated network of intra- and extratextual labor that actually begins much earlier than Marx's invocation of the proletariat as a historical class of wage laborers, and ends with an anthropological notion of proletarian qualities reminiscent of Negt and Kluge's own postindustrial conceptual shift begun in 1972 and completed in 1981. Moreover, we must also grasp how these layers of labor all translate the alienated nature of proletarian fantasy into tools for imagining collective emancipation. Querying the role of fantasy in Weiss's novel is nothing new.17 Nevertheless, Weiss scholarship has refrained from elucidating adequately how work and fantasy operate in tandem, how work within and by the novel translates other forms of living and dead labor, and how this labor harnesses myriad fantasies for the purpose of creating not emancipation itself, but rather the orientation required for any emancipation in the present.
At the outset of book one, The Aesthetics of Resistance lays bare its understanding of the work of art as encapsulating, eliciting, and even concealing a political economy of labor power. "All around us the bodies rose out of the stone, crowded into groups, intertwined, or shattered into fragments, hinting at their shapes with a torso, a proppedup arm, a burst hip . . ." (3; 1: 7).18 Standing before the frieze, Coppi, Heilmann, and the first-person narrator struggle together to decipher the historical events encoded in the mythical guise of the resurrected ancient temple. On the most immediate level, making the bits and pieces of the frieze intelligible requires the exceptional exertion of extra material energies. The narrator writes of this Montagearbeit, for example, that their exegesis required "extra sweat and racking of the mind" (45; 1: 54). This additional labor, Coppi's mother later adds, does not come easy for a class of working people long excluded from the ideological apparatuses that the ruling class enjoyed and that elevated art as transcendental evidence of their rightful dominion over the have-nots. Arguably a mimetic rendering of the frieze's actual fragmented nature, the radical parataxis the narrator employs for pages on end to describe the gigantomachy is as much, if not more, a sign of this excruciating work that the work of art requires in order for the boys to piece the parts of the temple into a meaningful, coherent whole. "[W]e wanted no rations," the narrator stresses, "no doled-out patchwork, we wanted the totality" (46; 1: 55). Yet the rendering of the Pergamon Altar into language never congeals into any final totality. A translational work unto itself, the metonymic string of fractured body parts breaks down when the boys reach the void where their now-missing hero, Heracles, had once appeared. Worse still, it culminates in an overall sense of vertigo. Far from amounting to failure, however, this labor expended is itself a function of the "fragments" and "dissonances" that characterize their own "world of work" (Arbeitsleben; 63, 5; 1: 75, 1: 8). Refracted through Negt and Kluge's aforementioned theory of the political economy of labor power, the boys' supplemental work exerted in the Pergamon Museum is a significant critical disclosure of the social processes of separation and expropriation that atomize the labor of their own class, thus leaving it prostrate. The aesthetic dimension of this translational work is thus both mimetic and realist, insofar as it both renders visible and protests against this fragmentation. This labor that the work of art elicits within the narrative present is, however, not the only register of work in the novel's opening sequence. Underlying the boys' own interpretive work is that of making and remaking the actual Altar. From the start, the boys draw attention to the dead labor that King Eumenes II and his Attalid dynasty summoned from its sculptors to celebrate "their own grandeur and immortality" (5; 1: 9). Although this labor was commissioned to serve the self-aggrandizing interests of the ruling class, the boys read into the affective aura of the Altar's actors an obstinacy that presumably signifies the feelings of protest against this expropriation of labor-in other words, a residual of living labor-that artists and countless peons who schlepped marble once felt. "[B]ut if we now recalled the worked stone, the facial features of the gods were cold and rigid, their appearance was unreal in its standoffish grandeur, while the defeated, albeit disfigured, remained human, marked by fear and suffering" (40-41; 1: 49). Conjecture on the part of the boys, the humane depiction of the slain giants nevertheless appears like a sure sign of the Attalid artists' solidarity with the "landless peasants, dissatisfied soldiers, and slaves" (41; 1: 49). These possibly imagined aesthetic traces of living labor's bygone resilience are not, however, the final resting place of the boys' maverick cultural anthropology. While this residue of labor did suggest that two millennia of slaveholding society had indeed passed through ancient, feudal, and then bourgeois stages without much change, the emancipatory flip side of this economy of labor was to be found in myth.19 Seen by the boys as the original "advocate of action," Heracles surrendered himself to his cousin Eurystheus, King of Mycenae, as part of a "lengthy plan [. . .] to overcome the system of malevolence, assassination, and lust for power" (7, 17; 1: 11, 1: 22). Heracles' twelve labors, impossible missions successfully carried out on behalf of Eurystheus, were not merely exceptional cases of dead labor. Instead, the narrator insists that Heracles' feats set examples for the have-nots of how dead labor not only carries within it protest, but also serves as a force for mobilizing social protest.20
The mythical origins of Eigensinn as portrayed by the story of Heracles do not culminate, however, in a triumphant story. At the close of the boys' first deliberations, Heilmann makes clear that Heracles failed to change the outcome of history. Heracles himself perished "in dreadful agony," and in his absence new forms of oppression returned (20; 1: 25). Not only had the gods reserved a place for the dead Heracles on Mount Olympus (thus calling into question his proletarian allegiances), but Heracles would also later become the patron saint of bourgeois profiteers.21 On further reflection at the end of book one, Heilmann profers the thesis that Heracles' twelve labors were actually figments of his imagination, flights of fancy, and the work of dreams. As much as Heracles contributed to class struggle, he was also "helplessly trapped in his fantasies," which were rooted in disputes among the gods (278; 1: 317). Heilmann is thus convinced that Heracles is much "more varied, but also more questionable" than previously thought (276; 1: 314). Likewise, his actions are far more ambivalent as they are riddled with "imperfections, the roaming and seeking, the setbacks and constant new beginnings" (278; 1: 316). What Heilmann happens upon in his extended analysis of Heracles is exactly what Negt and Kluge establish as fantasy's unavoidable damaged character in reality. Unsublated, fantasy is reduced to being only a libidinal counterweight to the unbearable feelings of expropriation that ultimately degenerates into reactionary escapism. In other words, Heracles' labor must not be mistaken for an example of triumphant obstinacy. Rather, his reservoir of untapped labor-like the handiwork of Eumenes II's artists and peons left in the facade of the Pergamon Altar, as well as the interpretative work by the boys inscribed in the narrative of The Aesthetics of Resistance-is just that, only a portion of the total sum of his labor power, a fragment "mixed up with other moments, transposed back and forth without regard for the fantasy harnessed to them" (Public Sphere 35). Whereas Heracles's exposed imperfections and contradictions do square his mythology with the lived historical experience of the boys, as myth he also makes a case-much like Negt and Kluge's essentializing anthropology of labor power as an innate quality-for the structural role fantasy plays in all human labor.22 In spite of Heracles's human flaws, Heilmann decides, "I am not yet giving up on Heracles" (278; 1: 317). Thus, the value of Heracles for both the boys and Weiss's novel rests in his relationship to dead labor lost and living labor retained: the labor performed constructing, excavating, reconstructing, and interpreting the Pergamon Altar. Even the anticipated labor of reading that Weiss's novel inscribes into its densely worked prose must be considered as also belonging to this telescoping chain of dead and living labor. (Weiss himself explained that "the readers, who are confronted with those people, have to go through the same exertion at any rate, make the same efforts the second time around. Nothing is made easy for them, just as things weren't made easy for the characters in the novel" ["Pergamon" 121].) From the land of myths to Hellenistic civilization, from the birth of the German nation in the late- nineteenth century to its explosion in the mid-twentieth century and then onward toward the end of the millennium, The Aesthetics of Resistance functions as a sextant that sights and measures the breaks and continua in the long history of proletarian labor as both a substance and a quality. Like Negt and Kluge's idea of theory, the supplemental work performed within, by, and for this work of art makes possible a sense of relationality with respect to the otherwise unorganized legacies of labor that continue to shape the present. Only with the assistance of this relationality could a reversal-a "reversal" (Umkehrung), to borrow Heilmann's mot juste- of the reigning economy of labor acquire the orientation it would require to succeed (44; 1: 53).
On the question of ownership of the work of theory, Negt and Kluge emphasize that it is not the exclusive preoccupation of scholars. "We are not just talking about professional theory," they explain. "On the contrary, a portion of every person's demeanor is that of a practicalsensuous theoretician" (Geschichte 84). Weiss concurred. Theory, he explained in his notebooks, can and must assume significance for any labor movement (12500). While Weiss himself seems to fall prey in his notebooks to what Negt and Kluge deride as a vulgar mechanical translation of theory into praxis-a predicament that bedeviled the West German student movement as well- the narrative voice of The Aesthetics of Resistance regularly engages in the "obstinate searching" characteristic of practical- sensuous theorizing without ever forcing its reification (Geschichte 482). Of all the ideas that preoccupy the narrator and that serve as the object of his theorizing, none is more overarching than that of totality. For both Marx and Western Marxists of the twentieth century, the Hegelian concept of totality remained an indispensable, yet highly contentious, centerpiece in any scientific or theoretical claim to know the whole of society or its history. For the narrator, acquiring such a holistic view was equally paramount. Sought within the realm of art during his final days in Berlin, recollected as a decisive objective for his father in the German Revolution of 1918- 19, identified as the motivating factor for joining the Popular Front in the Spanish Civil War, exceedingly elusive within the ranks of the International Brigades, fundamentally assumed in Max Hodann's psychosomatic treatment of wounded soldiers-in all these instances from book one, totality surfaces as not merely an idea, but an urgent political concern, one with dire sensuous consequences for mind and body alike. What separates these obstructed appeals to totality from the single instance that does succeed in book one is aesthetic mediation. Sitting with his wounded friend Ayschmann, the narrator pores over reproductions of studies for Pablo Picasso's Guernica printed in Cahiers d'Art. Instantly, the boys recognize "something utterly new, incomparable." In the expanse of a single image composed of "few signs" they saw for the first time "what was happening in Spain," namely a comprehensive perspective that eluded them while they were actually fighting against fascism (292; 1: 332). Undoubtedly an affront to the realist dictates of the Communist Party, Guernica captured "the painting's antagonistic forces, bonding into a synthesis" that shaped the Spanish Civil War: "Suppression and violence, partisanship and class consciousness, deathly terror and heroic courage" (294; 1: 334-35). This exceptional instance of ambiguous fragments congealing into "a new totality" is not, however, simply a question of modernism's aesthetic program winning out over realism (294; 1: 335). On the contrary, the value of Picasso's painting lies in the supplemental work it generates after its completion: "The picture challenged us to use the first impression merely as an impetus to take the givens apart and examine them from different directions, then fit them back together, thereby making them our own" (295; 1: 336). This novelty in Picasso's new totality does not readily reveal itself. A dialectical and expressive synthesis of opposites, the painting's modernist style certainly stands in stark opposition to the authentic realism Georg Lukacs championed for the Popular Front. In the eyes of the protagonist who is anything but autonomous, the success of Guernica rests for Adorno on the fact that it is neither autonomous nor "strictly for-itself" (Aesthetic Theory 237). For him, Guernica resists totality altogether. But for the narrator and Ayschmann, its wholeness was an operative form of "resistance that was unbeatable" (294; 1: 335). In spite of this apparent conflict, the novel's reading of Guernica actually has more in common with the deep-seated antipathy that Frankfurt School thinkers felt toward any and all totalizing gestures. Akin to Walter Benjamin's concept of the constellation-a heterogeneous and irreducible figure of disparate thought elements, a nontotalizing methodology Adorno would later fashion into his negative dialectics-the painting's open, multivalanced, and antagonistic fragments do actually espouse a wholeness, but only insofar as this totality is a mimetic reflection of the holistic totality that fascism sought to create through violence. As much as the painting lays bare the pure pain of this totality-" All these things," the narrator insists, "[. . .] were contained in the huge picture of Guernica"-it also affords the narrator the means to orient himself in time and space (299; 1: 340). Insistent on taking its individual components apart and then refitting them together, the narrator claims "everything was interconnected, interrelated" (293; 1: 333-34). The massive constellation that he constructs by studying the reproductions of Picasso's work is as far-reaching as his fantasy allows. 23 He contemplates, for example, the formal relationship between Picasso's preliminary sketches and the final painting, the ideological relationship between modernism and realism, the pictorial relationship of this painting to historical events in Spain, the narrator's own relationship to these tragic events, the painting's iconic relationship to the long history of Western art and literature, art history's relationship to the history of human suffering, art's role vis-a-vis contemporary political and social struggles, the narrator's relationship to the history of class struggle, and the relationship between his present moment in Spain and his childhood. From Negt and Kluge's perspective, this spatial and temporal mapping is nothing less than a form of supplemental labor, an "Orientierungsarbeit" (Geschichte 1005). An ur-form of "Theoriearbeit," this orientation is not to be confused with emancipatory praxis (1002). Rather, it unveils myriad fragments as well as connections between those fragments that the political economy of labor power produces. In other words, orientation is the precondition for any redemption of lost living labor.
A novel permeated by gigantic theoretical concerns, The Aesthetics of Resistance reads like the literary inversion of Geschichte und Eigensinn, a massive book of theory with aesthetic aspirations. Were they incorporated into the library of Kluge's imaginary Balzac collective, they would together achieve what neither could alone: the illumination of a critical relationality between the work of art and theorizing labor. At a time when some thinkers have argued that new technologies and flexible capital threaten to make labor immaterial, these works make clear the resilient materiality of all work, especially those portions of every human's total labor capacity left untouched by the needs of capital. Together they explicate the structural conditions underlying the plight of the proletariat as well as the historical character of proletarian labor that capital has expropriated for millennia. Beyond this reappraisal of the traditional class-bound character of work, both willfully inhabit the space of proletarian labor as the site of expropriation and protest. By betraying its respective genre's formal criteria, each unmoors itself from the traditional terrain of literature and philosophy to augment its potential for generating and organizing the by-product of living labor: fantasy. By verging on one another's idiomatic terrain, they produce more of this obstinate labor. In this respect, both shift that debate from the seventies about the expiration of avant-garde art by jettisoning the category of the work of art in favor of a concern for work that art can elicit. Similarly, they resurrect the aesthetic sensibilities of Critical Theory in ways that not only evoke the work of Benjamin and Adorno, but also affront that of wayward disciples like Habermas. Yet the fantastic work achieved by the multiple layers of supplemental labor induced by just The Aesthetics of Resistance or Geschichte und Eigensinn is not enough to make a difference in capitalism's long oppressive history of dividing and conquering human labor power. In order for any reorganization of the fantastic products of proletarian labor-in other words, labor power's obstinacy-to effect change, the Balzac collective would require, to name just a few more titles, "Ulysses, In Search of Lost Time, Dialectic of Enlightenment, [the] collected works of Marx, Diderot's Encyclopedia" (Eder and Kluge 65). Only when these and countless other works are networked together into a library of fantasy, relationality, and orientation, would the scales turn. Yet the relationality between Weiss's theory-driven novel and Negt and Kluge's cut-up theory is not an arbitrary one in this imaginary Balzac library. On the contrary, these two works together forge a unique and irresolvable tension between the hope and despair that invariably emerge in any uphill battle to liberate the power of work from capital.
University of North Carolina at Chapel Hill
1. Translations of texts not available in English are those of the author.
2. For more on collaboration and the public sphere, see Kluge, Bestandsaufnahme 178. See also Hansen, "Cooperative Auteur Cinema" 39.
3. For more on Weiss's realism in his preliterary cinematic career, see Langston 70-74, 85-95.
4. Hannah Arendt's well-known typology of work, labor, and action from The Human Condition does not apply here. Arbeit for Negt and Kluge is neither a unified concept nor entirely compliant to the dictates of capital. Given the unique English-language usages of work and labor, I will use these terms interchangeably when in the German Arbeit is used.
5. On this latter point, see Burger. The only existing scholarly juxtaposition of Weiss with Kluge is Burmeister's dissertation, which deploys Burger's notion of the crisis of the work of art as its point of comparison.
6. Significant worker involvement materialized after these events. See Horn 353.
7. See Weiss, Notizbucher 11488, 11783, 12068. See also Rector, "Zur Kritik" 104-10.
8. For more on Weiss's unsystematic study of Marxism, see Cohen 91.
9. For a historical overview of this so-called "'new working class' thesis," see Horn 359-71. Notable scholars who have written on this new class include the social philosopher Andre Gorz, economist Eugen Lobl, and sociologists Alain Touraine and Alvin Gouldner.
10. For an extended sociohistorical reading of postwar German literature vis-a-vis post-Fordism, see Roberts 306-09. See also Horn 360.
11. See also Negt and Kluge, Public Sphere xliv-xlvi, 295.
12. Eigensinn has been translated into English in varying ways by a host of scholars. I follow here and elsewhere Miriam Hansen's lead and use "obstinacy" (Foreword). However, a literal translation-"own sense"-captures the proprietary nature of Eigensinn much better.
13. It must be added here that Negt and Kluge are clear on theory's nonidentical relationship to praxis. "Among other things, theory has a practical dimension," they add, "insofar as it does that which praxis is not capable of doing from its own vantage point" (Geschichte 484).
14. On the poetic character of Geschichte und Eigensinn, see Stollmann 256-57. For more on Habermas's critique of the poetic turn in Adorno's later works, see Hohendahl.
15. For an overview of Negt and Kluge's theory of fantasy, see Langston 50-53.
16. On the inorganic character of the historical avant-garde work of art, Burger writes "montage may be considered the fundamental principle of avant-gardiste art" (72).
17. A majority of Weiss scholarship on fantasy wrestles with this concept in conjunction with surrealism. For a succinct overview of this scholarship, see Kienberger 16-33.
18. Parenthetical citations refer to both the English translation of volume one by Neugroschel as well as the three-volume German original.
19. Briefly mentioned in the novel's historical account of the cycles of labor spent on the Altar, the recycling of its marble in the nineteenth century (prior to its expropriation by German archeologist Carl Humann) is couched as a reprieve for local workers from the dominion of this perpetual slaveholding society. The incineration of the Altar for the production of mortar, with which Coppi's mother sympathizes, strikes Heilmann as counterproductive, for only through its preservation does it become possible for the proletariat to enact a reversal (Umkehrung) of this division of labor through study (42, 44; 1: 50, 1: 53). In agreement with Heilmann, the narrator explains, "From the very outset, our studying was rebellion" (45; 1: 53).
20. It is precisely this point where Weiss and Arendt differ markedly apropos Heracles' labor. For Arendt, the twelve labors are unrealistic, whereas for Weiss they are antirealistic and therefore resolutely realistic. See Arendt 101. 21. Negt and Kluge call into question Horkheimer and Adorno's emphasis on Odysseus in their Dialectic of Enlightenment for the same reasons (Geschichte 741- 53).
22. On essentialism in Geschichte und Eigensinn, see Pavsek 141n11.
23. On the role of fantasy in the construction of these relationships, the narrator explains, "Characteristic of that ambiguity was its ability to get the imagination (die Phantasie) to seek links, thereby expanding the realm of receptivity" (296; 1: 336).
Adorno, Theodor W. Aesthetic Theory. Ed. Gretel Adorno and Rolf Tiedemann. Trans. Robert Hullot-Kentor. Minneapolis: U of Minnesota P, 1997.
Arendt, Hannah. The Human Condition. 2nd ed. Chicago: U of Chicago P, 1998.
Burger, Peter. Theory of the Avant-Garde. Trans. Michael Shaw. Minneapolis: U of Minnesota P, 1984.
Burmeister, Han-Peter. Kunst als Protest und Widerstand: Untersuchungen zum Kunstbegriff bei Peter Weiss und Alexander Kluge. Frankfurt a.M.: Peter Lang, 1985.
Cohen, Robert. Understanding Peter Weiss. Trans. Martha Humphreys. Columbia: U of South Carolina P, 1993.
Eder, Klaus, and Alexander Kluge, eds. Ulmer Dramaturgien, Reibungsverluste: Stichwort Bestandsaufnahme. Munich: Carl Hanser, 1980.
Habermas, Jurgen. The Theory of Communicative Action. 2 vols. Trans. Thomas McCarthy. Boston: Beacon P, 1984-1987.
Hansen, Miriam. "Cooperative Auteur Cinema and Oppositional Public Sphere: Alexander Kluge's Contribution to Germany in Autumn." New German Critique 24-25 (Fall-Winter 1981-1982): 39.
_____. Foreword. Public Sphere and Experience: Toward an Analysis of the Bourgeois and Proletarian Public Sphere. Trans. Peter Labanyi, Jamie Daniel, and Assenka Oksiloff. Minneapolis: U of Minneapolis P, 1993. Ix-xli.
Hohendahl, Peter U. "The Dialectic of the Enlightenment Revisited: Habermas' Critique of the Frankfurt School." New German Critique 35 (Spring-Summer 1985): 3-26.
Horkheimer, Max, and Theodor Adorno. Dialectic of Enlightenment. Stanford: Stanford UP, 2002.
Horn, Gerd-Rainer. "The Changing Nature of the European Working Class: The Rise and Fall of the 'New Working Class' (France, Italy, Spain, Czechoslovakia)." 1968: The World Transformed. Ed. Carole Fink, Philipp Gassert, and Detlef Junker. Cambridge, Eng.: Cambridge UP, 1998. 353.
Kienberger, Silvia. Poesie, Revolte und Revolution: Peter Weiss und die Surrealisten. Opladen: Westdeutscher, 1994.
Kluge, Alexander, ed. Bestandsaufnahme, Utopie Film: Zwanzig Jahre neuer deutscher Film / Mitte 1983. Frankfurt a.M.: Zweitausendeins, 1983.
_____. Gelegenheitsarbeit einer Sklavin: zur realistischen Methode. Frankfurt a.M.: Suhrkamp, 1975.
_____. Interview. "Erzahlen ist die Darstellung von Differenzen." Neue Rundschau 112.1 (2001): 73-91.
Langston, Richard. Visions of Violence: German Avant-Gardes after Fascism. Evanston: Northwestern UP, 2008.
Leggewie, Claus. "A Laboratory of Postindustrial Society: Reassessing the 1960s in Germany." 1968: The World Transformed. Ed. Carole Fink, Philipp Gassert, and Detlef Junker. Cambridge, Eng.: Cambridge UP, 1998. 277-94.
Negt, Oskar, and Alexander Kluge. Geschichte und Eigensinn. Vol. 2. Der unterschatzte Mensch: Gemeinsame Philosophie in zwei Banden. Frankfurt a.M.: Zweitausendeins, 2001.
_____. Public Sphere and Experience: Toward an Analysis of the Bourgeois and Proletarian Public Sphere. Trans. Peter Labanyi, Jamie Owen Daniel, and Assenka Oksiloff. Minneapolis: U of Minnesota P, 1993.
_____. "Was heisst proletarisch? Uber einen Suchbegriff der klassischen Okonomie." Suchbegriffe. Vol. 1. Der unterschatzte Mensch: Gemeinsame Philosophie in zwei Banden. Frankfurt a.M.: Zweitausendeins, 2001. 300-07.
Pavsek, Christopher. "History and Obstinacy: Negt and Kluge's Redemption of Labor." New German Critique 68 (Spring-Summer 1996): 137-63.
Rector, Martin. "Zur Kritik der einfachen Politisierung: Die Asthetik des Widerstands als Nach-68-Roman." Literatur, Asthetik, Geschichte: Neue Zugange zu Peter Weiss. Ed. Michael Hofmann. St. Ingbert: Werner J. Rohrig, 1992. 99-114.
Roberts, David. "Tendenzwenden: Die sechziger und siebziger Jahre in literatur historischer Perspektive." Deutsche Vierteljahresschrift fur Literaturwissenschaft und Geistesgeschichte 2 (1982): 290-313.
Stephan, Alexander. "'Ein grosser Entwurf gegen den Zeitgeist': Zur Aufnahme von Peter Weiss' Die Asthetik des Widerstands." Die Asthetik des Widerstands. Ed. Alexander Stephan. Frankfurt a.M.: Suhrkamp, 1983. 346-66.
Stollmann, Rainer, "Vernunft ist ein Gefuhl fur Zusammenhang," Der Maulwurf kennt kein System: Beitrage zur gemeinsamen Philosophie von Oskar Negt und Alexander Kluge. Ed. Rainer Stollmann and Christian Schulte. Bielefeld: Transcript, 2005. 233-67.
Weiss, Peter. "10 Arbeitspunkte eines Autors in der geteilten Welt." Rapport 2. Frankfurt a.M.: Suhrkamp, 1971. 14-23.
_____. The Aesthetics of Resistance. Vol 1. Trans. Joachim Neugroschel. Durham: Duke UP, 2006.
_____. Die Asthetik des Widerstands: Roman. Vol 3. Werke in sechs Banden. Frankfurt a.M.: Suhrkamp, 1991.
_____. Interview. "Between Pergamon and Plotzensee: Another Way of Depicting the Course of Events." Trans. Christian Rogowski. New German Critique 30 (Autumn 1983): 107-26.
_____. Die Notizbucher: Kritische Gesamtausgabe. Ed. Jurgen Schutte. CDROM. Berlin: Directmedia, 2006.
Richard Langston is an associate professor of German at the University of North Carolina at Chapel Hill. He is the author of Visions of Violence: German Avant-Gardes after Fascism (Northwestern UP, 2008) and recent articles on W. G. Sebald, Alexander Kluge, and Peter Weiss. He is currently writing a book on Oskar Negt and Alexander Kluge's Geschichte und Eigensinn.
Copyright Heldref Publications Summer 2008
(c) 2008 Germanic Review, The. Provided by ProQuest LLC. All rights Reserved.


text:
Increasing processor efficiency by matching power with demand
The multi-core voltage regulator responds almost instantaneously to changes in power demand from each core of the processor to conserve energy by matching the power supply more closely to the demand (Image: Wonyoung Kim, Harvard School of Engineering and Applied Sciences)
A die micrograph of the fully integrated DC-DC converter chip (Image: Wonyoung Kim, Harvard School of Engineering and Applied Sciences)
Article Summary
For decades, chipmakers strove to develop the fastest and most powerful chips possible and damn the amount of electricity needed to power them, but these days raw grunt isn't the only consideration. As more and more devices go mobile and these devices become more and more powerful, chipmakers must also take the energy efficiency into account. Harvard graduate student Wonyoung Kim has developed and demonstrated an on-chip, multi-core voltage regulator (MCVR) that he says could allow the creation of "smarter" smartphones, slimmer laptops and more energy efficient data centers by more closely matching the power supply to the demand of the chip.
« Back to Increasing processor efficiency by matching power with demand
Other Images from this Gallery
Related Articles

subset: commoncrawl


text:
Bradford intends to enter April draft
Updated: October 26, 2009, 1:23 PM ETESPN.com news services
ST. LOUIS -- Heisman Trophy winner Sam Bradford will have season-ending shoulder surgery and expects to enter the NFL draft in April.
The Oklahoma quarterback injured his right, throwing shoulder twice this season, most recently against Texas on Oct. 10.
The school announced Sunday that Dr. James Andrews will perform the operation Wednesday in Birmingham, Ala.
Bradford was expected to address reporters after the Sooners' practice on Monday in Norman, Okla., where he was ...
Read full story
You must be signed in to post a comment
You are fully responsible for the content you post. Content that includes profanity, personal attacks or antisocial behavior (such as "spamming" or "trolling"), or other inappropriate content or material will be removed. We reserve the right to block any user who violates our terms of use, including removing all content posted by that user.


text:
- Shopping Bag ( 0 items )
From the Publisher"Highly recommended for collections supporting advanced studies of Francophone or Caribbean literature." R. Ocasio, Choice
"Aimé Céaire offers a quick review of the scholarship and interpretations of the works and then makes its own original synthesis or reading, taking advantage of the most recent developments. It can serve as a perfect introduction to this major poet and father of 'Negritude' and should be in all libraries." Hal Wylie, World Literature Today


text:
The Kiwis could exploit technical shortcomings of the visitors
The sun shone bright on the Eden Park when the Indians practised. Although Mahendra Singh Dhoni and his men would be familiar with such weather, they must be feeling the heat.
New Zealand, leading 2-0, is within a victory of taking a winning lead in the five-match series. If that happens, it would shut India's chances of retaining the No. 1 spot on this tour.
Saturday's duel here would be about handling pressure. The Indians need to banish negative thoughts to stay in the hunt.
And New Zealand has to continue with the flow and the momentum to close out the series. Being so close to a triumph against an adversary that began the series as the top-ranked ODI side can create its own stress.
Seamer-friendly surface
The drop-in pitch at the Eden Park is likely to assist the pacemen. Locals say the surface would be lively and encourage seam movement. This will not make India's task any easier.
There was an injury concern too for the Indians after Suresh Raina was struck a painful blow under his elbow by Mohammed Shami at the nets. The left-hander, his arm in a plaster, subsequently left for a scan. The scan revealed soft tissue damage. The team will take a call on Raina's fitness on the morning of the match.
Quite simply, the different arms of the Indian team have not functioned in cohesion.
A look at the numbers so far tells the story. The batting has been overly dependent on Virat Kohli. The irrepressible right-hander has 201 runs in two matches at 100.50 (strike-rate 114.20).
Dhoni has 96 runs at a strike-rate of 106.66. The next highest aggregate by an Indian is Raina with 53. Apart from Kohli and Dhoni none has impacted a contest.
India has run into problems with the pacing of the innings at the start and lost wickets at critical junctures. The resistance from the lower order has been non-existent.
The side has to change its opening combination. Perhaps, Ajinkya Rahane could be promoted. Ambati Rayudu should be inducted in the middle-order.
If the side wants a hard-hitting batsman who can bowl a few overs of medium pace, Stuart Binny is an option.
Shami has scalped seven at 15.71 with gutsy bowling and Bhuvneshwar Kumar has been steady. They have bowled effective yorkers in the end overs.
Ishant, who appears to have forgotten what a yorker is, has to make way for Varun Aaron.
The Eden Park is a small ground with short, straight boundaries. Should India continue with two spinners on a paceman friendly pitch?
Again, it is not as much about the surface as how well the spinners bowl against a side that has not always handled this form of bowling capably. India can try out Amit Mishra; a leg-spinner is often a wicket-taking bowler.
India seeks wickets in the middle-overs — it should deny easy singles — to put this Kiwi line-up from exploding at the finish.
New Zealand is almost certain to play fast bowler Hamish Bennett for either paceman Kyle Mills or off-spinner Nathan McCullum.
The Anderson factor
Despite the solidity of Kane Williamson and Ross Taylor, it is the incredible Corey Anderson who has made a winning difference. This marauder has 112 runs at an astonishing strike rate of 196.49; runs that have deflated India.
How does India stop such a brutal striker of the ball? Toe-crushers would certainly help. The Indians also have to mix their length cleverly at the start of his innings.
Off-spinner R. Ashwin has to bowl at this 23-year-old southpaw from Canterbury with an attacking mind-set rather than a defensive one.
For the Kiwis, Mitchell McClenaghan & Co. will bounce at the Indians as they seek to exploit technical shortcomings.
The squad (from):
India: M.S. Dhoni (capt.), S. Dhawan, R. Sharma, V. Kohli, S. Raina, A. Rahane, R. Jadeja, R. Ashwin, M. Shami, I. Sharma, B. Kumar, V. Aaron, S. Binny, A. Rayudu, I. Pandey, A. Mishra.
New Zealand: B. McCullum (capt.), M. Guptill, J. Ryder, R. Taylor, K. Williamson, L. Ronchi, C. Anderson, N. McCullum, M. McClenaghan, T. Southee, H. Bennett, J. Neesham, K. Mills.
Umpires: R. Tucker & B. Bowden; Third umpire: D. Walker; Match-referee: D. Boon.
Play starts at 6.30 a.m. (IST).
Keywords: India-New Zealand ODI, India tour to New Zealand


text:
|Property type
|Minimum Stay
|2 nights
Welcome to Mt. Ralphmore!
Absolutely the best in every way...location, scenic views & price. This mountain retreat is built in the Heart of the Colorado Rockies(more 14,000' mountains here than anywhere else in North America), breath-taking mountain views in every direction, best view of the famous Chalk Cliffs.
Overlooks & constructed on the banks of the beautiful Chalk Creek w/ floor to ceiling windows.. Enjoy the beauty (magnificent) & sounds of nature (bubbling creek below), watch the wildlife (deer, elk, fox) fish, hike or sit out on the 40' plus wrap around porch. The large screened in porch is great for outdoor eating and relaxing as well.
This is a warm & wonderfully built abode w/ all the comforts & amenities (maybe more) of home. With 3 full baths and 6 separate vanities, everyone gets accommodated.
Mt. Ralphmore is located just 15 min. & 23 min. respectively from the historic towns of Buena Vista & Salida, where charm, dining, shopping & galleries abound!
The San Isabel National Forest, St. Elmo (famous ghost town & great place to feed the chipmunks or rent jeeps/snowmobiles), Mt Princeton Hot Springs (Colorado's #1 hot springs)& the Arkansas River (great rafting or fly fishing) are all right here.
Monarch, Ski Cooper & Copper Ski Resorts are all 35-45 min. away, as is Leadville (lots of history there). Breckenridge is just a bit over an hour & Vail is 1 hr. & 30 min. Located 90 miles from Colorado Springs, flying in & out is easy.
Plenty of activities to enjoy year round. The best place to take a family, take a friend, take a break & take a vacation!
Keywords: Mountain Home
We live in Dallas, have a career in real estate and a passion for design. We enjoy sharing what we have been blessed with!
Elizabeth Baker purchased this house in 2008
We have been coming to this area for over 40 yrs. We built in this particular area because it is in such close proximity to all that Colorado has to offer. The view is tremendous and the location fabulous. It just does not get any better than this!
The best home in the area w/ the finest views. A very warm inviting home that sits on three+ acres overlooking Chalk Creek, the Chalk Cliffs, Mt Princeton & Mt Antero. Hearing the bubbling of the creek or viewing the Chalk Cliffs at sunrise, walking down Bunny Lane or driving up to St. Elmo, memories for a lifetime will be made.
I spent Thanksgiving here. It is majestic. We took walks down Bunny Lane, took pictures on the bridge and just enjoyed the surroundings. Mt. Ralphmore is very beautiful and very inviting. Wish I could be here more. We really love the deck that surrounds the entire place, oh, and the screened in porch, gotta love that.
Have repeatedly been to this gorgeous vacation home - summer, fall, and spring! Will continue to go back and relax...the home, the décor, the surroundings with the beautiful creek and mountains, the walking along Bunny Trail, the hiking, the neighbors, the little nearly towns of Salida and Buena Vista, not to mention Colorado Springs, the skiing for the kids, and just reading and eating and having fun!!!
Clean, spacious, inviting - the screened in porch is fabulous!
Highly recommend it for anyone thinking of having a great time!
This home is simply magnificent. Everything is top notch. From the beds to the linens to the furnishings to the views it is perfect. I have been to this property three times and it is by far my favorite vacation spot in the world. Relaxing, breathtaking and renewing!
I recommend this property without reservation.
What a perfectly beautiful home for a vacation. This cabin is comfortable, cozy, & roomy. Loved the beds, loved the views, loved the kitchen, loved the deck, loved the atmosphere of the whole place. Had a wonderful week and didn't want to leave.
I've tried to think how I could explain the feeling we got when we arrived and when we left... We have rented cabins in Colorado for years and very few have left such an aching to go back. The minute we stepped into your beautiful kitchen, it felt like home. I know that sounds corny, but it's true. It's so peaceful, and the love within those walls was felt immediately. Our family has been through a lot of heartache this past year, and this is exactly what we needed. I have had my eye on this place for quite a while and can never thank you enough for allowing us to share your pride and joy. We had a difficult time leaving and paused several times before closing the door one last time. What a special place you are blessed with! We will be back!
It was Fabulous! Could not have chosen a more welcoming and warm and luxury galore place to stay! Will be returning!
We had a great time! Lovely home, good location, and helpful owners! Couldn't ask for much more!
Mt. home is just one mile from natural hot springs and all that has to offer. Kids and adults enjoy the year round pools and springs and spa. Another wonderful short and beautiful drive is on up the road to St. Elmo, old historic ghost town with seasonal offroading vehicles, feeding the chipmunks and antiquing. Great spots to sled in the winter months. Agnes Falls, another short drive up the road, one can hike up and see gorgeous sights all in under an hour.
|Rate Period
|Weekend Night
|Monthly *
My Standard Rate
2 night minimum stay
|Cleaning Fee
|Refundable damage deposit
|Refundable Sec/damages
|Tax Rate
The cleaning fee is in addition to rental fee. The security/damages fee is fully refundable per rental agreement terms, i.e. when property is left in good condition and checklist followed.
Best Way to Pay is via Paypal. To Book; firstname.lastname@example.com or 214-244-7475.
* Approximate monthly rate. Actual rate will depend on the days of the month you stay.
Payment is usually accepted in the quoted currency (USD) unless the currency and the amount is specifically agreed in advance with the owner / advertiser.


text:
See all cheap hotels in Rotterdam
Hotels in the most popular areas of Netherlands
See different types of accommodation in Rotterdam
Read more
- Pet-friendly hotels in Rotterdam, Netherlands
- Boutique hotels in Rotterdam, Netherlands
- 3 star hotels in Rotterdam, Netherlands
- Luxury hotels in Rotterdam, Netherlands
- Hotels with free wi-fi in Rotterdam, Netherlands
- Hotels with free breakfast in Rotterdam, Netherlands
- Hotels with Free Parking in Rotterdam, Netherlands
4 good reasons to book with us!
Travel tips for your vacations on a budget
Top 3 Spot for Collectors in Rotterdam
Sure, there are plenty of shops for shopaholics in Rotterdam, but what about the avid collectors who have a special interest in comic books, intricate figurines and perhaps 1950s memorabilia? This article is for those you who, like me, share a passion in...
5 Toddler-Friendly Sites in Rotterdam, Netherlands
It's hard enough trying to find places that the entire family will want to visit. Add in your little toddler and you will definitely have your hands full, with your little ones yawning away at all the fancy grown-up places. You know the...
Great Street Food in Rotterdam
When you are in a rush or have a hectic day ahead of you, sitting down for a full meal at local cafe or restaurant might not be the most feasible option. Don't get me wrong; the food is great, the people are...


text:
Picnic at Ascot
This eco-friendly, casual-style garden tote is made entirely PVC-free. Set includes three top-quality, heavy gauge stainless tools with comfort grip handles, a trowel, cultivator and transplanter. Roomy interior is great for transporting supplies and side pockets have room for a beverage and snack. Designed and assembled in the USA.


text:
The lovely Lucerne is a low, three-tiered modular storage shelf. Its simple design is coupled with simple assembly—just plug, snap and presto! A perfect solution for a variety of storage needs—magazine stand, towel caddy, shoe rack—store and display until you've got nothing left (on the floor, at least). With three different ways to assemble Lucerne, this unit will cash in on small spaces, but she's sassy and savvy enough to stand on her own—especially when units join forces—combine multiple Lucerne's to create a nightstand, coffee table or other functional furnishings.
Includes 1 three-tiered storage unit. Tool-free, plug-and-snap assembly.
This product has no reviews yet. Be the first to review this product. Write a review
Enjoy 10% off your first order*


text:
By Verm-X
15 in stock
Our customers frequently bought these items together.
Poultry Zest has saved me alot of worry! It is a great 'pick me up' for my chooks and like the pack says it is just invaluable during a moult. The pellets smell fabulous and the scoop makes them nice and easy to feed :)


text:
Discussion BoardsOpen MenuDiscussion Boards Open Menu
- Welcome to the Community
- 1 categories, 7 boards
- Live with HP Experts
- 1 boards
- Converged Systems
- 1 categories, 1 boards
- Desktops and Workstations
- 1 categories, 12 boards
- Mobile
- 7 boards
- Networking
- 6 categories, 22 boards
- Operating Systems
- 7 categories, 77 boards
- Printing and Digital Imaging
- 1 categories, 18 boards
- Servers
- 4 categories, 24 boards
- Storage
- 5 categories, 22 boards
- HP ExpertOne
- 1 boards
BlogsOpen MenuBlogs Open MenuCommunity Knowledge BaseOpen MenuCommunity Knowledge Base Open MenuLogin Issues SolvedOpen MenuLogin Issues Solved Open MenuWe have solved the intermittent login issues that were making it difficult for members to sign into the Community. If you are still experiencing a blank screen, please verify that the address in your browser does not include "passport2." If it does, please clear your browser history (especially cache and cookies), close your browser and begin again. The issue should now be gone. Thank you to all for your patience.EnglishOpen Menu
- Community Home
- >
- Software
- >
- Products
- >
- Systems Management (OpenView-OP Mgmt)
- >
- Systems Management (OpenView-OP Mgmt) Support and News Forum
- >
- OM ISPI CPU Policy Issue
- Subscribe
- Mark Topic as New
- Mark Topic as Read
- Float this Topic to the Top
- Bookmark
- Subscribe
- Printer Friendly Page
OM ISPI CPU Policy Issue
- Mark as New
- Bookmark
- Subscribe
- Subscribe to RSS Feed
- Highlight
- Email to a Friend
- Report Inappropriate Content
Hi Expert,
Need you help urgent;
I configured Infra SPI in OM 9.0 Windows,And i deployed the SI-CPUSpikeCheck Policy on the managed node(Windows):
When I am making utilization high of the node CPU, I am getting event after 10-15 minutes but in the policy I gave pooling interval only 1 minute;
By running ovcodautil -dumpcoda | findstr BYCPU_CPU_USER_MODE_UTIL command on node but its not giving the current utilization of CPU;
I want event on the OMW within 1 minute whent the CPU utilization will be high on Managed node is there any solution possible to get the events within 1 minute;
Thanks in advance,
Solved! Go to Solution.
Re: OM ISPI CPU Policy Issue
- Mark as New
- Bookmark
- Subscribe
- Subscribe to RSS Feed
- Highlight
- Email to a Friend
- Report Inappropriate Content
Hey Expert,
Do you have any suggestion on this issue;
I am getting CPU event after 10 minutes in Operation Manager by CPU-Spikecheck policy
Thanks in advance,
Re: OM ISPI CPU Policy Issue
- Mark as New
- Bookmark
- Subscribe
- Subscribe to RSS Feed
- Highlight
- Email to a Friend
- Report Inappropriate Content
Binod, is your requirement to monitor every single CPU core? that's what the CPU Spike Check policy does. so in the event that your server has 16 cores there's potentially 16 alerts that you might get - so be careful while using this policy. it is designed for use with specific cases or for systems where there's only 1 or 2 CPUs and the CPU bottleneck monitor policy is considered a bit heavy weight.
Next, are you expecting an alert to be sent for a short-term spike in CPU usage? I would avoid that sort of monitoring, since it creates too many alerts in the UI and then folks start seeing too much noise in the event browser leading to unreliability.
Read this blog post about monitoring - Monitor the job queue, ascertain system bottlenecks - best practice #1
You could deploy the CPU Bottleneck Diagnosis monitor policy - also part of InfraSPI - for production uses.
Finally, yes it is true that there's a delay in the alerts - primarily due to the fact that there's 1 interval before coda data comes to monitor agent. combine this with the policy's alerting interval - and it takes two 5-minute intervals (total 10 minutes) before the alert is generated. You could use agent's real-time capabilities (cpsh, glance) if you wish to get very quick alerts, if you have the license entitlement for RTM/perfd/GlancePlus (run oalicense -get -all to check).
But again do note - you must not check for only 1 metric to ascertain a cpu bottleneck situation - you must check for multiple indicative metrics. Try opening MS outlook on your laptop especially if you large pst files - and see in MS windows task manager how CPU usage (and memory usage) climbs up during the initial startup of the software. after a while the cpu usage reduces quite considerably. keep task manager running and see how much 'spikes' you continue to see during regular course of working. it is not a good idea to send alerts to OM and the acknowledgements for each of these rise and fall situations.
- ramd


text:
Article List
A Romanov mystery revisited. (Why didn't this mark die?)
But in the aftermath of the decision at the TTAB in this case, can we feel any more confident about applying to register a mark that sounds like a surname? I surely don't.
Sweet for one Hershey, bitter for another
Both use similar lettering for the word HERSHEY, which appears in capital letters in the center of both designs, But where the chocolate bar says "milk chocolate," the politician's logo says "state senate."
Don't take THIS name in vain
It's said that imitation is the sincerest form of flattery. But vanity flatters no one. Certainly that's so in an interesting trademark spat that pitted music-loving fans on one hand and a maker of intimate and bedroom apparel on the other.
It's a wonderful (new) life
Companies should not only look to comply with FDA labeling regulations but should also be aware of the broader requirements under the Lanham Act: that is, to not "misrepresent the nature, characteristics, qualities, or geographic origin" of their products or services.
Cancellation win for Bayer AG over FLANAX registration leaves Belmora without relief
Bayer recently moved to cancel Belmora's registration at the Trademark Trial and Appeal Board, arguing that Belmora's use of FLANAX here in the U.S. was a "blatant" attempt to confuse Latin American consumers.
Big Hunk A' Love? Not from the King
The estate of Elvis Presley accused Italian gunmaker Fabbrica d'Armi Pietro Beretta SpA of using the name and likeness of the legendary rock-and-roller and gun enthusiast to sell a new line of Beretta shotgun
Out of bounds? Playing ball with celebrity right of publicity and fair use
Two recent cases show how difficult it is to determine what constitutes commercial use (thus potentially infringing use) and non-commercial use (and thus fair use) of a celebrity's identity.
Now you see it; now you don't (Wait, yes you do!)
The second interesting point about this decision is that in addition to denying Amazing Mazes' application on the basis of its mark being merely descriptive, the Board also denied it on the basis of its mark being deceptively misdescriptive.
Between a rock and a RockScape
Would-be opposers who own arguably descriptive/generic marks might want to think twice before bringing an opposition/cancellation: They might not only lose the opposition/cancellation but their trademark rights as well.
SCOTUS prints clear battle lines for false advertising claims
I think I can speak for my colleagues who are litigators when I say, "Print this in bold, black ink: We'll take clarity over forum-shopping, any day of the week."


text:
Dec. 27, 2010
COLLEGE STATION, Texas - Texas A&M soccer player Rachel Lenz was named to the Soccer America All-Freshman team, the organization recently announced.
The freshman defender from Round Rock, Texas, was named to the first team after starting in 22 of the Aggies' 23 matches. Lenz led the defense in allowing only 296 shots on the season, compared to 468 taken by A&M. She scored her first career goal vs. Virginia Tech (Aug. 27) and netted penalty kicks in shootouts vs. Colorado in the Big 12 Tournament quarterfinal (Nov. 3) and against North Dakota State in the NCAA Tournament first round (Nov. 12).
Lenz adds the award to a list of accolades this season. She was the only freshman named to the All-Big 12 first team, and was also selected to the Big 12 All-Newcomer team.


text:
Kenzaburo FUKUHARA (born in 1973 at Tokyo, Japan)
I moved to Paris in 1996 where I developed my view and approach photographic. After spending 6 years working and doing numerous exhibitions as solo and as group, I returned to Asia in 2002.
My portrait's work has been featured in Asahi Camera and Documentary works about Japan published editorially in major magazines and news paper including Liberation, Le Matin, ELLE, Monocle, COLORS, Chine Plus, WIRED, Figaro, D reppublica della donne, Newsweek, GQ, The Times and more.
With my portrait's works since 1997 I participated some photo-festivals including "Les rencontres d'Arles in 1998 (finalist : Voie OFF) and in 2000.
From 2007 I live and work in Beijing.


text:
Ultrasound Tech: A Relatively New Medical Occupation
In the past the medical field was associated with the career of being a doctor or a surgeon. Other medical careers such as dentistry, nursing etc were also quite common but nobody talked much about an ultrasound tech despite the important role that they play in the medical field. The medical industry has received a new face after ultrasound technology and has finally been given the attention that it deserves.
It is good to appreciate the role that these important professionals play in the medical industry. As explained at Ultrasoundexchange.com, the use of sonography in the medical field has brought many advancements to modern day medicine. As time goes on, our advances in technology and medicine continue to thrive and this is apparent with the skilled technicians that use sound in medical procedures. It leaves one wondering where we will be in just a few short years.
Paying For Ultrasound Technician Schools With Loans
Studying for a career in ultrasound technology is not an easy task, especially when a student does not have the financial capability to be able to meet all their tuition costs. A lot of people would like to pursue this career because they know it can provide a great living, however the costs out of pocket are not feasible. This has been a growing concern and various ultrasound technician schools and the government had to meet and discuss the way forward.
Thanks to these deliberations, a loan facility was introduced for students who had an interest in ultrasound technology. This was the best news for many people, as it meant that they would now be able to study the career of their dreams under an arrangement that a student could take a tuition loan for the course. They are then able to pay for it later, once they have finished their studies and have begun working.
Strict Requirements For Ultrasound Technicians
The medical career field is usually very strict on entry requirements. This means that all those wishing to pursue a career in the medical field need to have met all the requirements before they are allowed into medical school. The ultrasound technology field by virtue that it falls under the medical field, requires that a student must meet all ultrasound tech requirements before they are allowed to pursue a career in ultrasound technology, which is considered to be a very important career in the field of medicine.
Most doctors usually rely on results that are given by an ultrasound technician to treat some medical cases and this has made the field to be very competitive and only the best qualified get the chance to study this course. Most ultrasound technician schools are quite strict and will usually not admit any student who does not meet the minimum entry requirements for the course.


text:
Closing in 2 seconds...
Registration Fees (In USD) - Fees apply to payments received prior to the indicated deadlines
Members are required to specify their membership association and number on the registration form
Please note the following Visa Information:
A US passport is required for reentry into the US from Canada. For decades all that was required was a US birth certificate and while that changed several years back, those who have not travelled there for some years may be caught off guard. Getting a US passport can take up to 5 or 6 weeks.
To determine which fee type to select (as defined according to the World Bank Country Classification list of countries)
A3 - High income & Upper-middle-income countries A1 + A2 - Low-income & Low-middle-income countries * Including psychologists, nurses and social workers excluding fellows and registrations supported by Industry
Applicants for student- in order to benefit from the special fee, a submission of your status confirmation (approval letter signed by the Head of Department or copy of your status ID) must be uploaded during the online registration.
All participants must submit a completed registration form. Payment or proof of payment should accompany the registration. Please make a photocopy of your registration form for your own files. Registration fees must be paid only in USD ($) Registration fees can be paid by the following methods: (in $)
Important: All bank charges are the responsibility of the participant and must be paid in addition to the registration fees. Please remember to specify the name of the Congress and the participant on the bank transfer document. If payment is made by a company or for more than one person, please make sure all names are indicated. The completed registration form together with the relevant payment must be received by March 16th, 2015, in order to benefit from the reduced registration fee. Thereafter the registration fees will increase as published.
All cancellations must be electronically mailed. Note, in case of cancelation at any stage, Bank transfer admission fee (30 USD) will not be refunded - applicable to Bank Transfer payments only.
Refund of registration fee will be as follows:
Group Registration procedure will be valid for 10 participants and more. To register your group, please contact us
Rue François-Versonnex 7
1207 Geneva, Switzerland
Tel: +41 22 908 0488 Fax: +41 22 906 9140


text:
The Application of Graphic Methods to the Design of Structures: Specially Prepared for the Use of Engineers (Paperback)
|Author: William Wade Fitzherbert Pullen
Learn more about The Application of Graphic Methods to the Design of Structures: Specially Prepared for the Use of Engineers:
Format: Paperback
Publisher: Nabu Press
Sku: 214366056
Publish Date: 2/9/2010
Pages: 338
Age Range: NA
See more in Technology & Engineering
|This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.


text:
A Wide Range of Accommodations in Maui
Here you'll find listings for a wide variety of accommodations in Maui, as well as Molokai accommodations and properties on other islands. Below, you can review Maui hotel and resort options, condo rentals in Maui, Maui home rentals and villas, Maui bed and breakfasts, cottages and inns. If you're not sure where you would like to stay on Maui, our guide to Maui Regions and Towns will give you an overview.
- You can view properties alphabetically by using the "Sort Properties" tool. Each property has a fully detailed page with a description, photos, video (if available), key amenities, guest reviews, locator map, and current rates.
- You can compare more than one property by clicking the "Compare" button on each property's detail page.
- Once you've made your decision, book your reservation directly with the property of your choice by linking to their web site or using any of the contact methods provided.
The following Maui accommodations will make your visit to the islands memorable in every way!
Maui Hotels/Resorts
With more than 7,000 hotel rooms on the island, there are many options among hotels on Maui, ranging from small, charming boutique hotels to extraordinary luxury resorts... ... view properties
Condo Rentals In Maui
With nearly 6,000 condominium units on the island, there are plenty of choices in Maui condo rentals for your vacation getaway. Offering a comfortable home-away-from-home... ... view properties
Maui Homes & Villas
Think Maui home rentals are too expensive for you to consider? Not so! A Maui villa or home can provide a very affordable travel experience. For friends and families... ... view properties
Maui B&Bs, Cottages and Inns
There are many types of Maui accommodations, something to suit every traveler's personal style, from the simple to the extravagant. Many visitors enjoy the personalized... ... view properties
Molokai Accommodations
Maui's sister island of Molokai presents a breathtaking sight off the shore of West Maui. Just a ferry ride away from the island of Maui, Molokai offers a truly authentic... ... view properties
Other Islands
Looking for Hawaii resorts and hotels on the other islands? Many visitors to Hawaii take the opportunity to visit more than one island. If you've already reserved your... ... view properties


text:
Nicole a born entertainer, says grandma
More News from Nathaniel R. Melican
With a seemingly unlimited source of energy, Stephanie Nicole Ella, the 7-year-old girl hit and killed by celebratory gunfire on New Year's Eve, entertained everyone in her family, according to her grandmother.
"On that fateful day, she was so perky, always smiling and was so energetic," Carmencita Ella, 53, said in an interview with the Inquirer on Thursday. "It's as if she had a boundless source of energy."
That morning, Ella said, Nicole was with her 5-year-old brother, Kenken, and their cousins Icy Mae and MC Ella in their modest bungalow on San Lorenzo Street, Barangay 185, Malaria, Caloocan City.
"She was egging her brother and cousins to dance… She was also helping with the games and contests for the four of them," Ella said.
When the prizes ran out, Nicole, who was active in a born-again church as a "tambourine dancer," led her brother and cousins in nonstop dancing.
"She was so happy, as if she never got tired at all. She danced to the tune of 'Gangnam Style' and sang the songs they danced to in church," Ella said.
When night came Nicole and the three other kids took pictures and videos of themselves outside the house.
Last act of love
And at "media noche," held at 11 p.m.—an hour earlier than the family holds the feast every year—Nicole finished first. Stephanie then did what Ella described as the little girl's last act of love for her.
"She asked me, gently, if we could share her glass of soft drink, as she was already full. I agreed and she then sped off with her cousins, father, mother and uncles and aunties to the street to watch the fireworks," Ella said.
Minutes later, Nicole suddenly dropped to the floor.
"We thought she collapsed because of the smoke from the fireworks," Ella said. "But we saw blood gushing out of a wound in her head so we rushed her to the hospital."
8 cardiac arrests
Nicole died on Wednesday afternoon after eight cardiac arrests.
"I did not go with them to the hospital but when I learned of that last cardiac arrest, I whispered, 'If you're already tired, then I agree.' But it still hurts," Ella said.
Nicole was born a fighter, Ella said.
The girl was born by cesarean section on Sept. 1, 2005. Doctors decided on the procedure because the infant's umbilical cord was wound twice around her neck, a condition that could lead to choking if she would be allowed to be born the normal way.
"That was the reason why, at first, we were wondering why she was seemingly being pulled back to the womb. She could have died there but she hung on," Ella said.
Honor student
Nicole grew up to become a consistent honor student in preschool and in her Grade 1 class at Tala Elementary School in Caloocan.
"Her teachers were fond of her because she was always the first in class to finish her projects. And her teachers would then display her entries in front of the class," Ella said.
"Every time she had an assignment, she would bug her mother to print it after she had finished with it. And her teachers loved her because of her punctuality," Ella added.
The grieving grandmother said she would miss her loving and thoughtful granddaughter, who never failed to make her smile every day.
God does not sleep
"I hope and pray the person who fired that gun will surrender. Look at what happened to the victim of indiscriminate firing," Ella said, pointing to Nicole in the coffin. "I hope that person does not experience our pain now," Ella said.
"That person may not be caught by police, that person may not be punished for what he did, but we know God does not sleep and He will give us justice," Ella said. "I know He has a soft spot for children. I know that."
Get Inquirer updates while on the go, add us on these apps:
Disclaimer: The comments uploaded on this site do not necessarily represent or reflect the views of management and owner of INQUIRER.net. We reserve the right to exclude comments that we deem to be inconsistent with our editorial standards.
To subscribe to the Philippine Daily Inquirer newspaper in the Philippines, call +63 2 896-6000 for Metro Manila and Metro Cebu or email your subscription request here.
Factual errors? Contact the Philippine Daily Inquirer's day desk. Believe this article violates journalistic ethics? Contact the Inquirer's Reader's Advocate. Or write The Readers' Advocate:
c/o Philippine Daily Inquirer Chino Roces Avenue corner Yague and Mascardo Streets, Makati City,Metro Manila, Philippines Or fax nos. +63 2 8974793 to 94


text:
BDO Spins Off Consulting Division
by AccountingWeb on printer friendly
BDO Seidman [1] has announced that it will spin off its Business & Technology Solutions consulting practice into a separate company, named Wavebend Solutions, LLC.
The consulting practice was launched by BDO Seidman five years ago, and has exhibited strong and steady growth in the ensuing years.
Spokesmen for BDO indicate that the move will allow the consulting practice to continue its strong growth in today's environment, which has recently been hit with a wave of spin-offs of consulting businesses from traditional accounting firms. All of the Big 5 firms have announced a restructuring, and with BDO's announcement today, the trend has hit the national firms as well.
The new BDO entity, WaveBend, will continue to deliver e-business services to BDO Seidman clients and will continue to partner with BDO International consulting practices to deliver global solutions.


text:
Shop now and get Free Value Shipping on most orders over $49 to the contiguous 48 states, DC and to all U.S. Military APO/FPO/DPO addresses.
We want to ensure that making a return is as easy and hassle-free as possible! If for any reason you decide that your purchase just isn't for you, simply return the item within 30 days of receipt and we'll cover the cost of return shipping. Learn more about our Return Policy.
We know this selection of Propper Patches and Flags can seem somewhat intimidating at first glance. This is why we worked hard to put together this easy to use page! We're also certain that you'll appreciate our selection of high performance hunting gear, designer eyewear and highly advanced scientific equipment. And we're constantly trying to go beyond what is called for, giving you more than just a huge number of possible choices. To be sure we answer all of your questions and carry out your order as smoothly and accurately as possible, we have a dedicated staff of qualified service reps and product specialists at our headquarters to lend you their expertise. Why buy from OpticsPlanet? Because our team has the practical experience and know-how to make sure you will have the correct tools to do the job.
Connect with OpticsPlanet
Become our fan, follow us, & subscribe for the latest updates and deals
Subscribe to our email list
Sign up and receive $5 Off and get exclusive access to promotions, sales
events, pre-order sales & more!
Contact Information
Toll-Free: 800-504-5897
Intl.: 847-513-6201
Fax: 847-919-3003
Email: firstname.lastname@example.com
Hours of Operation
8AM-7PM CST Mon-Fri
9AM-5PM CST Sat
9AM-5PM CST Sun (Email & Chat Only)
Our Guarantees


text:
Tech Helproom
It's free to register, to post a question or to start / join a discussion
Adware:Win32/Hotbar found on Latest PCA coverdisk
Likes # 0
Posted July 2, 2011 at 10:53PM
When I click on the AUDACITY folder on Files 194 0n the lartest cover disk Microsoft Security Essentials flaghs up :- Adware:Win32/Hotbar a Search reveals that this displays a dynamic toolbar and targeted pop-up ads based on its monitoring of web-browsing activity. Adware:Win32/Hotbar installs a browser toolbar that works in Internet Explorer 6, 7, 8 and Firefox 3.6 and 4.0. The tool is a multi-component adware program designed to monitor user's online browsing behavior to deliver targeted advertising. It also installs other adware components related to Win32/ClickPotato and Win32/ShopperReports. Hotbar also installs graphical skins for Internet Explorer, Outlook, and Outlook Express. It may collect user-related information and may silently download and run updates or other code from its servers.
can you check :)
- Tags:
- win32hotbar
Likes # 0
Posted July 3, 2011 at 9:28AM
Have you contacted the FE yet.
He would give this top priority in getting it fixed.
And if true how do you get in contact with everyone that has bought the magazine.
Likes # 0
Posted July 3, 2011 at 1:13PM
buteman tried but got:- This is an automatically generated Delivery Status Notification.
Delivery to the following recipients failed.
Likes # 0
Posted July 3, 2011 at 1:31PM
He has probably read your thread.But I will try and post him with you information.
Likes # 0
Posted July 3, 2011 at 1:36PM
FE has been informed by mail so no doubt will look into it when available.
Lets hope it is only your cover disc that is infected.
Likes # 0
Posted July 3, 2011 at 2:13PM
Hi Seth what program are you running that picked this problem out.
Was it your Anti-Virus or Anti-Spyware or firewall,If so which one.
Someone else on the helproom mentioning the download of System mechanic but no mention of any Spyware with it.
Oops MSE it was, just wondering if it could have been a false positive.
Not got the disc so cannot try it but no doubt someone will have a try to see if they find any problems.
Likes # 0
Posted July 7, 2011 at 8:54AM
Not sure where this leaves me????? I think it's all saying that I can't install this?????
Likes # 0
Posted July 7, 2011 at 10:14AM
Maybe safer not installing it.
Does it give you the actual keycode for it.
If so maybe download it the company's own website and adding the keycode.
Maybe contact one of the staff from here.link text
Maybe they could send you another disc or whatever or give you advice on how to install it.Not sure which one you would have to contact though.
Likes # 0
Posted July 7, 2011 at 2:31PM
Thanks anyway
Reply to this topic
This thread has been locked.
Check out PC Advisor's other tech forums
Top 5 Most Popular
What is Google Photos? How to back up and share all of your photos for free
Google I/O 2015 keynote as it happened | Video and blog from Google I/O 2015 | Latest on Android M, Google Photos, Android Wear, Google Cardboard and more
Samsung Galaxy S6 review: The best Android phone of 2015. The S6 is Samsung's best-looking Galaxy yet, losing some features but adding so much more
Fitbit Charge HR review: the fitness tracker with an always-on heart-rate monitor
Google Chromecast 2 UK release date, price, specification, new feature rumours: When is Google Chromecast 2 coming out?


text:
Schools in Greenleaf, ID
About Greenleaf Schools
- There are 7 K-12 schools in Greenleaf, ID, including 6 public schools and 1 private schools. Greenleaf public schools belong to five districts, Homedale Joint District, Marsing Joint District, Notus District, Parma District and Wilder District.
- There are 6 Greenleaf elementary schools, 6 Greenleaf middle schools, 7 Greenleaf high schools and 2 Greenleaf preschool schools.
Sponsored Link
Greenleaf School Districts
- Homedale Joint District (6 schools)
- Marsing Joint District (4 schools)
- Notus District (3 schools)
- Parma District (4 schools)
- Wilder District (3 schools)
preschools public schools private schools
Showing 1 - 6 of 6 middle schools
Showing 1 - 6 of 7 high schools
The Education TestRating is a number ranking (1-10) calculated by Education.com that provides an overview of a school's test performance for a given year, by comparing the school's state standardized test results to those of other schools in the same state.
Contact Education.com with questions or feedback about SchoolFinder.
Please note, if you wish to speak to someone at the school, you must contact the school directly.