text:
Cultural Resistance in the Postmodern
David James
. . . (think of punk rock or pornography).
Fredric Jameson
Vol. 42, no. 2 (Winter 1988–89): 31–39.
With the destruction or co-optation of working-class movements in the U.S. since the thirties, opposition to capitalism has increasingly been mobilized around Third World struggles of decolonization. But since the end of the invasion of Vietnam, cultural practice in the West has lost even this focus of resistance and become increasingly collusive and administered, mirroring indeed a depletion of working-class self-consciousness so devastating that it has allowed an unprecedented currency for attacks on the tenability of basic Marxist concepts, even that of class. Here, in the Baudrillardian hyperspace of the postmodern, cultural resistance seems so impossible that we are all but persuaded to rewrite the entire history of modernism around that impossibility. In the dismal glitter of our time, when the emblems of the Russian Revolution decorate our T-shirts and the Cabaret Voltaire is an only mildly fractious dance band, we wonder indeed if a real avant-garde ever existed. Despite this suspicion, we nevertheless still recognize that postmodern culture is integrated into the corporate state to an unprecedented degree. Today (and now I return my epigraph to its context), "although postmodernism is . . . offensive . . . (think of punk rock or pornography), it is no longer at all 'oppositional' . . . indeed, it constitutes the very dominant or hegemonic aesthetic of consumer society itself and significantly serves [its] commodity production" (Jameson, 1984:196).
For film and television history, a narrative form of this doxa would trace the termination of the great efflorescence of sixties avant-garde film at the end of the Vietnam war, and then a shift from film to video as the preferred high-art motion-picture medium. Though the social energies that produced the sixties avant-gardes did temporarily sustain video practices more or less modelled on structural film's exemplary negativity, they were so weakened that by the late seventies artist's video had collapsed into the backside of the beast. In short, television—video and broadcast television together—is the postmodern mutant form of film, and in it both illusionist narrative and its discontents, both the entertainment industry and opposition to it, are subsumed in the same hegemony.
Disdaining attachment to social contestation or even disaffiliation, the tropes of high modernism linger only as reflexive signs that constantly defer extra-textual engagement.
While accepting this account as generally true, I want to propose some contrary instances to what Jameson considers spurious and illusionary resistance. I argue that in the early eighties certain extremely marginal forms of punk and pornography did in fact sustain opposition to the aesthetics of the hegemony and to commodity culture. Marking a survival of sixties utopianism, these forms of erotic and music video (which I link but do not equate in the epithet "hardcore") constituted a survival of the project of the classic avant-garde—the turn of cultural practice against the status of art in bourgeois society as defined by the concept of autonomy and against the distribution apparatus bourgeois art depends on (Bürger, 1984: 22). Their demonstration of the cultural possibilities and also the limitations of the present is particularly sharp since the sixties American avant-garde film, arguably the most powerful oppositional art since World War II, was itself directly constructed upon a parallel documentation of illicit sexual and musical practices.
Simultaneously avant-garde and documentary in a way matched only by the early Soviet cinema, Underground film emancipated itself from Hollywood by reproducing in the filmic the properties of the aberrant or proscribed sexual and musical practices that preoccupied the profilmic. The quasi-vérité documentation of jazz musicians in films like Shadows and Pull My Daisy allowed improvisation, performative virtuosity, spontaneity, and the other compositional procedures of jazz to be enacted in film shooting and editing. Similarly, the transgressions of the codes of sexual representation that followed amateur documentation of domestic sexuality by, for example, Jack Smith, Stan Brakhage, and Carolee Schneemann supplied the avant-garde's formal excess and "sterility" (Lyotard, 1978), the promiscuous visual surplus to the narrative economy of industrial features.
As the New Hollywood of the late sixties appropriated sanitized forms of these innovations, so the social and aesthetic transgressions of their origins were absorbed by the culture generally. Afro-American guitarists replaced Afro-American saxophonists as the dominant influence on youth music, and the marginality of jazz gave way to the very different social dynamics of rock, which eventually became the single most important mechanism for incorporating youth dissidence. At the same time, explicit sexual representation, including a new spectacularization of the male body and more or less overt homosexual iconography (as for example in Sylvester Stallone's films), was thoroughly integrated into the entertainment and advertising industries.
While these assimilations of sixties recalcitrance do exemplify the postmodernist closure, nevertheless the industrial functions they sustain do not to-
tally occupy the cultural field nor entirely preempt popular alternatives. During the same period, unincorporated minority video practices of musical and sexual documentary emerged—partially in reaction against them and partially negotiated in the space they have made available—which do figure resistance and perhaps even utopian alterity. In these, as in sixties avant-garde film, the formal qualities of the video-text and its social uses refract and elaborate the conditions of the music and sex they document, producing formal and operational differences from the hegemonic televisual modes. Their textual offensiveness mobilizes their challenge to both the entertainment industry and also the other institutions integrated with that industry, various journalistic and academic systems, including the one element in the postmodern hegemony that, while it has silently been speaking here, has not so far acknowledged itself: film theory.
While it may be argued that postmodern theory sustains a form of Adornian negativity lost to art proper, it is equally plausible to regard it as a symptom of the very closures it purports to diagnose. The mutually sustaining philosophical, critical, and journalistic discourses that have developed in the tow of post-structuralism and a revived Culture Criticism display a conceptual and terminological density, reminiscent of the "difficulty" of modern art, which marks their resistance to easy consumption. Yet, in the insatiable market for text, itself floated on increasingly "pure" information, these discourses themselves become commodities. Lacking any affiliation with working-class movements, they are easily institutionalized and assimilated into consumer society in general. The imbrication of allegedly radical art history in the world of corporate finance via the apparatus of museums and gallery-supported magazines is the most glittering form of this collusion; but other cultural writings have their own form of it, film criticism especially. And ever since high-modernist literature became undergraduate texts, the academy itself has been a prime agent in the construction of postmodern culture; we academics welcome a plethora of previously taboo practices with a broadmindedness that was not available to the sixties avant-gardes, certainly not to sixties film.
A crucial figuration of the incompatibility of the sixties film and the academy is preserved in a locus classicus of the Underground innovations I have mentioned, Jonas Mekas's Lost, Lost, Lost . The crisis of this film (and we inherit it as the documentation of one of the half-dozen paradigmatic shifts in the practices of cinema) occurs when Mekas and Ken Jacobs take prints of Flaming Creatures and Blonde Cobra to the Flaherty Film Seminar at Brattleboro in 1963. These two films, previously recognized by Mekas in Village Voice articles as "impure, naughty and 'uncinematic'" (Mekas, 1972:95), films "without inhibitions, sexual or any other kind" (ibid.:86), are refused entry to the conference, and the cinephiles are obliged to spend the
night outside in their cars. But next morning, as they shoot home-movies to document their exclusion from the seminar, Mekas discovers what will hence-forward be his signature improvisational style, his own form of "blowing as per jazz musician" (Kerouac, 1958:72) in film, and returns to New York and to his life's work of creating the institutions of an independent film culture.
Some 25 years later Lost, Lost, Lost is beginning to have a place in academic film criticism (though Flaming Creatures and Blonde Cobra do not). But given what is at stake in the film, this and similar instances of theory's openness to the avant-garde may be as discomforting to those of us who have most desired it as it is to those who have most resisted it, if for quite different reasons. If we understand the avant-garde as being of social rather than merely formal importance, we must wonder whether this new legitimacy signals the evaporation of the very alterity to which we made our commitment. On the one hand we fear that the toleration of our enthusiasms indicates their historical supercession or only an illusory offensiveness that is in fact functional within the postmodern hegemony. On the other hand, we must ask, if indeed there were a video practice today as radically innovative as the Baudelairean cinema was in its time, could—or should—we be any more receptive than the Brattleboro seminar? Would we be able to see it? And if we could see it and talk about it, what would that imply?
Questions like this forewarn me that I should not be surprised if the search for the unsayable leads to the unspeakable.
The Best of Amateur Erotic Video Volume II is a compilation of four tapes, each 15–20 minutes long, self-photographed and self-produced by middle-class, heterosexual, white couples.[1] In three of them, the couples have intercourse, while in the other first the woman and then the man masturbates separately. Each section is prefixed by a title giving the participants' first names and an identification number, usually with some form of invitation; "Debra and Earl from California," for instance, request "correspondence from anyone viewing their tape." The tape as a whole and its separate sections are briefly introduced by an unseen woman speaking for "Susan's Video," the distributing agency. The tape is available by mail without charge in direct exchange for a tape of your own sexual activity for inclusion in future collections, though it may also be obtained by purchase.
As text, the compilation differs sharply from commodity pornography. Since the tape shamelessly proclaims erotic representation as its raison d'être , it is not obliged to disguise itself as either narrative or documentary. The sexual encounters are not motivated by spurious narrative intrigues; without a plot, there can be no assumption of character, no role-playing which would justify the sexual activity as the representation of the behavior, deviant or not, of some other persons. Nor, apart from the minimal introductions noted, are
the sexual encounters or the video photography of them framed by any normative meta-discourse that would justify their introduction as anthropological data or evidence of pathology. As a consequence of this self-sufficiency, the tape displays a diegetic steadiness, quite unlike industrial pornography's ontological tensions between fiction and the sheer vérité presentation of sexual activity, and its parallel formal tensions between a propulsive narrative and the interludes of its retardation.
While recent technical advances in home-video equipment allow an image quality at least as good as that of the average sixties 16mm stag film, photography and editing are rudimentary and clearly nonprofessional, with a stationary camera and deep-focus long takes being the norm (though the woman's masturbation scene is shot by her partner with a very energetic hand-held camera that suggests a direct erotic interchange). There is little use of close-ups and no intra-sequential editing, no parallel montages between genital contact and the facial response shots which register its effect. The grammatical primitiveness of this uninflected, non-suturing style culminates in a signal absence of one of the most bizarre but nevertheless ubiquitous tropes of pornography, the close-up on the man's ejaculation and the organization of patterns of formal crisis and resolution around it. Finally where (except in very specifically bracketed situations) pornography effaces its own production, here the performers recognize and address the apparatus, frequently making eye contact with the camera or watching themselves on a monitor, and comment on the fact that photography is taking place.
Distinguishing the amateur erotic video from industrial pornography, these formal differences mark the tape's deficiencies in the latter's terms, its failure to provide intensely focussed visual eroticism or to generate a compelling play of excitement and frustration. I find it less arousing and so less desirable than its industrial counterpart. But they also trace substantial differences in the social relations that the tape constructs and the activities it promotes, particularly as these realign the priorities between the pleasures of sexual contact itself and those of its optical or technical mediation and social broadcast: (1) Where in pornography the performers' pleasure is subordinated to their instrumentality in commodity film production, here those pleasures are primary and themselves determine textual organization. (2) Where in pornography the implications of observation and the consequent pleasures of exhibitionism must be repressed, here they are foregrounded. (3) Where in pornography the sexual activity depicted is always categorically unavailable to the spectator—the price of scopophilic delight is the absolute impossibility of physical contact between the performers and the spectator—here the text proposes such contact; it proposes itself as the means to it and as the means to a social network of pleasure that includes but is not limited to looking.
Pornography demands that the actors sacrifice their pleasure to the procedures of film manufacture and to the text's manipulation of its future spectators' desire. The rhythm of copulation is interrupted by the requirements of the camera set-ups, the lighting apparatus, the shooting schedules, and the other exigencies of production.[2] Indeed, the better the pornography, the more the actors' actual satisfaction is displaced into the most visually titillating display of it; the signs of sexual pleasure have a higher priority than the performance of it. Subordinating the somatic to the visual, and the experiential to the spectacular, the commodity function is thus inscribed in the photographic and editing conventions. Its demands are epitomized in the male's obligation to allow the camera to see his climax; at the point where his satisfaction would reach its fulfillment, he must withdraw; his need to make his orgasm visible obliges him to sacrifice its most pleasurable form. Some of this obligation to the filmic and the industrial tropes that accommodate it are present in the amateur tapes: the performer/photographers occasionally attempt genital close-ups and they do adjust their positions for the camera. But in general the tapes reflect the phases and drives of the performers' own activity in a less mediated way; pace and construction are dictated by their pleasure rather than by aesthetic and generic requirements or the spectators' needs, and in only one instance does the male withdraw to ejaculate; in fact Susan's guide for contributors specifically recommends that this be avoided (Meredith, 1982:83).
The performers' orientation around their own rather than the spectators' pleasure allows them both to acknowledge the apparatus and to engage the particular pleasures of exhibitionism and narcissism it allows. In pornography, which takes over the illusionist pretensions of the commercial feature film, self-consciousness is normally proscribed unless it is intradiegetically narrated in stories about film-making. Since the actors' market value depends on the conjunction of their actual unavailability to the spectator and the latter's imaginary encounter with them that the text affords, they may not admit that they are being observed by the camera, by the people on the set, or by the future spectator. But since the purpose of the amateur tapes is to introduce—perhaps even physically—the performers to the spectators, bridging the division between producer and consumer that commodity culture depends on, the vehicle of their contact may be acknowledged. The different economies correspond to different psychological states: the voyeurism of pornography depends on concealed observation, while here the performers' self-consciousness allows them the pleasures of exhibitionism, of seeing themselves reflected back by the monitor or by the more extended gaze of the tape's social distribution. Their blatant self-display releases them from guilt and invites a similarly shameless gaze for the spectator, whose participation is implicit throughout (though it is especially clear in the woman's direct address to the camera in her masturba-
tion scene). The acknowledged visual intercourse between performer and spectator allows the tape to figure the possibility of transcending the commodity relations of pornography by adding video to one's own erotic activity and by joining the tape network as a producer.
Thus, though the sexual activity is so conventionally that of the heterosexual couple that it appears to reinforce sexual conservativism, if not the nuclear family itself, the tape implies other, more properly promiscuous, scenes, not only the "kinkier" material that the voice-over introduction mentions as being available, but the expanded circuits of promiscuous sexual adventure. The tape's final function of sexual advertising, of making sexual pleasure more available rather than repressively channelling desire into administered forms, marks then the limitations of any approach to it as representation; finally it cannot be evaluated apart from the sexual encounters it occasions,[3] even though the crucial phases in this process, the video-taping of domestic sex acts, is textually recorded.
What are the implications of introducing video into lovemaking? Initially my Luddite technophobia is checked by my inability to draw a logical line that would differentiate video from mirrors or just looking in the enhancement of erotic pleasure. But my discomfort at this mechanization of vision—my fear that sooner or later sex without Sony won't do it anymore and that this is only a last and hyperbolic instance of a culturally pandemic supplantation of the real by the simulacrum—reads it as a final step in the internalization of the ubiquitous apparatus of surveillance. As a form of autosurveillance, it completes the industrialization of the body, continuous with the total penetration of the spectacle and the corporation, the incorporation of desire itself.
These ambiguities are the ambiguities of the apparatus and so those of video in general, and they register an important difference between the epochs of film and television. Though home-movie equipment was available as early as the 1920s, the medium's development almost exclusively as an industry allowed the sixties avant-garde to be understood correctly as a liberation of the apparatus; conversely the alternative systems of distribution—the alternative cinemas—of the sixties were dogged by the cost of film and the unwieldiness of the machines (dependence on labs, the bulkiness and fragility of projectors). But video's popular availability, its cheapness and its ease of reproduction, means that the subcultural self-representation and the extra-industrial circulation of representations that the sixties political cinemas could only dream of are now realizable. Nothing prevents us from shedding corporate aesthetics by becoming producers rather than consumers of television except the residual prejudices of commodity art production and the internalization of industrial production values. Over the past ten or so years, this internalization has resulted in so-called artist's video, as the form of appearance of its own assimilation, fetishizing industrial-quality image manipulation. In this context,
rejection of such values with willful video brut can inscribe a more general ideological rejection, as indeed in its early years artist's video defined itself against broadcast television in a negative aesthetic, partially derived from structural film's critique of the illusionism of the commercial feature. This negativity disappeared from film and television practices of all kinds as its social preconditions evaporated in the mid-seventies; but the same aesthetic model revived almost immediately in the field of music as the axiom of punk.
Since one of punk's determining strategies was its deliberately rude infraction of aesthetic and social norms, the use of the terminology of the obscene and the illicit was entirely logical; the onomastic continuity of the term "hardcore" recalls early punk's use of bondage and fetish iconography, the use of pornographic films in punk concerts, the use of punk iconography in industrial pornography (e.g., New Wave Hookers ), and more recently, certain pornographic films made within the punk subcultures (e.g., those of Richard Kern). More precisely, "hardcore" was a purist style of the music developed initially in Washington, DC, and Southern California in the early eighties. This, the music's essential, its "classical," mode, mounted a deliberately anachronistic attempt to sustain early punk's negativity against its diffusion and assimilation by the music industry as various forms of new wave. The entirely recalcitrant music provided a besieged subculture with the basis for defensive rituals in which the sonic (and other forms of) violence and the obstinate antiprofessionalism that signalled rejection of overproduced corporate rock also informed strategies of negation and antigrammaticality for everyday self-presentation and the other cultural practices. Crucial in these intertwined social and aesthetic developments were fanzines, largely reader-written magazines which provided musical information and social exchanges of all kinds. Contributing not just to the documentation of the subculture, but also to its formation and dissemination, fanzines provided a participatory forum, necessary as a defense against misrepresentation in the establishment media and against regular police rioting.
The most important fanzine in Southern California was Flipside , established in 1977, which in 1984 began to distribute compilations of concert footage as Flipside Video Fanzines . Number Nine, "When Can I Sleep In Peace,"[4] for example, has 19 cuts by 11 commercially unprofitable bands, none of whom had corporate recording contracts. The songs all employ a brutally reductionist and visceral musical style, whose masculinist values are summarized in the priorities, "Faster, Louder, Shorter." When they are intelligible, the equally aggressive, blatantly agitational lyrics blast the religious right, the military-industrial complex, the government, and the police, making explicit a categorical opposition to the corporate state; their ideological field is announced in the songs' titles: MDC sing "Corporate Death Burger" and "Church and State"; the Dicks sing
"Sidewalk Begging," "Hate the Police," and "No War"; the Dead Kennedys sing "Moral Majority" and "Chemical Warfare"; BGK sings "Vivisection" and "Arms Race"; and Conflict sings "From Protest to Resistance."
Like the music, the videos flaunt scorched-earth production values. Featuring live, unenhanced sound, they are shot in 1/2" with home cameras that lack color adjustment so that the light is not balanced and the color not always correctly keyed. They consist of rudimentary edits of footage shot at concerts simultaneously by two cameras, one placed among the audience fronting the stage, the other shooting from the side of the stage to include both performers and audience together within the frame. They contain no image manipulation, close-ups, or special effects except for the occasional superimposition of synchronous footage from the camera covering the band and that covering the audience; this trope has great symbolic weight since it figures the ritual passage of the audience over the stage and their contestation of the band's position on it and reproduces the breakdown of the distinction between audience and band that is central to punk's alterity to corporate culture. The tape does contain some other material; it opens with a crude collage of television commercials and news violence (a juxtaposition which summarizes the music's attack on consumerism and state violence) and some songs are illustrated with simple cutaways; accompanying the Dicks' "Sidewalk Begging" are shots of the homeless, while the photography of BGK's "Vivisection" is interpolated with anti-vivisectionist publicity stills. Otherwise, the tape is as raw as the music itself.
The tapes are not collectively produced and they are sold, and so in respect to the social relations their consumption mobilizes they are less radical an intervention than the erotic videos. But the commodity relations they generate are minimized; they are very cheap, costing little more than enough to return production costs and allow further compilations. Production is anonymous and since no individual authorship is announced, the art-work remains within the subculture as its autonomous self-representation and self-expression. Produced and consumed entirely within the subculture, it promotes a radically amateur aesthetic that refuses the industrial distinction between artist and market. As far as the material conditions of the medium allow, then, the fanzine reproduces in video the negative determination and positive strategies of hardcore music as well as its aesthetic and social values; denying the consensus and refusing the socialization which industrial culture merchandizes, it resists corporate assimilation and so preserves a space for social alterity.
As they document and sustain the music's resistance to the commercial functions of new wave, hardcore video fanzines define themselves generally against the panoply of corporate film and television appropriations of popular music, and specifically against the two primary forms of that appropriation:
music videos in their summary form of MTV, and feature films about punk, including ostensibly sympathetic documentaries. These industrial forms of the music correspond respectively to what Dick Hebdige noted as the two forms of recuperation of punk in general: music videos to "the conversion of subcultural signs . . . into mass-produced objects (i.e., the commodity form)" and the documentaries to "the 'labelling' and redefinition of deviant behavior by dominant groups—the police, the media, the judiciary (i.e., the ideological form)" (Hebdige, 1979:94).
Music videos' internalization of the values of industrial culture is evidenced in the correspondences between their grammar and that of television commercials, their recurrence to the most insipid and unchallenging pleasures, their exploitation of sexual stereotypes, and their flaunting of extremely expensive production values in both mise-en-scène and special effects. The best of the documentary films (such as Penelope Spheeris's Decline of Western Civilization and Lech Kowalski's D.O.A ., both of 1980) may be closer to the subcultures; but their mass culture function of representing punk culture to the general public obliges them to frame the others' discourse in their own. The various interview techniques establish a hierarchy of discourses in which the normativity of the film's own interpellates punk's as deviant. A summary instance of such framing, which is inevitably even more grotesque as it is narrated in mainstream Hollywood films, is the Bad Brains sequence in Scorsese's After Hours (1985). While this is one of the few occasions in which anything like hardcore's intensity was captured on film, the narrative denigrates the performance as aberrant, a bizarre miasma in a nightmare of irrationality.
In contradistinction to these, respectively the appropriation and the containment of punk, Flipside Video Fanzine places itself within the culture, sustaining and ratifying it from inside. Celebrating and enacting the aesthetic of punk music, it rejects any reconciliation with the industrial media or with the ethics of the corporate state of which those media are an integral part. This larger political contestation, implicit in the tape's form and made possible by the mode of its production, is clearly articulated in the songs' lyrics. The singer directly addresses the audience as a commonality, unified in their defiance of state militarism, and, as noted, the songs explicitly reject the domestic and foreign policies of the Reagan administration. Though all their ideas must be expressed negatively (for the aesthetic system does not allow affirmation), the songs give voice to contestation with a clarity and vehemence such as has rarely been found in American culture since the thirties. This opposition to the corporate state is most focussed where its violence is most immediately experienced, in the local police.[5]
For example, in the introduction to the Dicks' "Hate the Police" the vocalist spells out a crude syllogism; the next song, he tells the audience, "makes you
a fucking Dick" because "Dicks hate the police." The outrageous puns spin language, sexuality, and the law into Möbius strips of irony: only those who lack the phallus may be the phallus or, taking the pun on "dick" in the opposite direction, only those who hate the police can be the police. As he launches into his song, warning the police to stay clear of him because he has a gun, general slamdancing mayhem among those of the audience who share his logic and recognize themselves as Dicks ensues. The next clip is from MDC, a polysemous acronym variously elaborated as "Millions of Dead Cops," "Millions of Dead Children," or "Multi-Death Corporation." It begins with the singer chanting "Dead Cops" and grasping his crotch as he mimes pissing on the cops' graves. His song, "Blue By Day," is a vitriolic attack on multinationals, and on "all the stinking rich people" who "run the police departments" and "start all the wars." The indictment of state terrorism galvanizes the audience, precipitating a frenzied but thoroughly eloquent ritual in which they climb on the stage, struggle briefly with the stagehands, perhaps share the microphone for a chorus, and then somersault back into the crowd.
Their logic is sublime: struggle violently to achieve a place in the spectacle, dance briefly in its glare, and then dive out of it, all the while celebrating resistance to authority of all kinds. But to those who are outside the subculture—those perhaps who enjoy "good" TV like "Hill Street Blues" and "Cagney and Lacey" that legitimizes state violence by representing its agents as neurotic bourgeois subjects besieged by "criminals" and the problems of "life"—to these the tape will appear as infantile and regressive as the performances it documents.
Since everywhere in postmodern culture regression is exploited for that frisson of the forbidden which creates an appearance of resistance while in fact renewing consumption, it is especially necessary that merely collusive forms of it be distinguished from others that are not reducible to corporate uses. In industrial culture, a "repressive tolerance" administers regression, channelling it to serve state interests by framing it in equally administered ideological structures (the Rambo films again or nubile pre-teenagers in advertising). But both the domestic erotica and the punk concert tapes do not so easily allow for vicarious or touristically secure visitation, and indeed retain a truly minatory edge to their attraction. Their threat is partly a semiological consequence of their difference from ordinary documentary, which always presents its content, its profilmic, as a curiosity different from and other than itself. But these tapes refuse that difference; the various forms of identity—ideological, environmental, functional—between the video-text and the events it records tend to collapse the signifier into the signified, the text into its context. Consequently, in both cases, one's response to the tape as art-work is overwhelmingly determined by one's assessment of the social events it depicts and incites. Since this
content is unlawful, for those outside the tight subcultural circle (in which the producers and consumers are largely the same) the tapes themselves can be approved only at the cost of a double apostasy, a rejection of dominant social mores and of dominant media. Endorsing the renegades depicted or recognizing any kinship with them, which is virtually a prerequisite to liking the tapes, also commits you to a video aesthetic whose primary axiom, its raison d'être even, is rejection of all other regimes of television—a position which puts in crisis the discursive practices of the dominant socio-aesthetic system. And so commentary on them becomes difficult. If you don't like them, you will abruptly dismiss them as pathological. But if you do like them, especially if you really like them, you will be moved not to words but to action, to fucking or slamdancing. The difficulty proposed to humanist discourse, however vertiginous, is not unprecedented in cinema.
The issue has best been approached in psychoanalytic terms by Christian Metz. If cinema's pleasures are intrinsically those of the imaginary, then the theoretician's work in the symbolic, the work of distinguishing the symbolic from the imaginary, is always in danger of being "swallowed up" by the imaginary—the sliding of the "discourse about the object " into its opposite, the "discourse of the object " (Metz, 1982:5). This attraction is specifically (though surely not exclusively) a filmic one; but if its basis is in the constitutive Oedipality of the cinematic signifier (ibid.:64), how much greater must it be in texts which engage the sexual drives so directly, without sublimation.[6] Such is the case with these, with their massive affective overload, their overt pandering to the desire to see and the desire to hear. Do the erotic videos fulfill cinema by showing us the primal scene itself instead of that allegory of it which is the reference of all other films (films which it thereby violates, invalidates, and renders redundant); or do they destroy cinema by abrogating the voyeuristic precondition of such films, "a pure onlooker whose participation is inconceivable" (ibid.:64)? Similarly, is the nihilistic utopianism of hardcore—a primal scream to the other's primal scene—one that destroys music or a Dionysiac apotheosis of it? Until we have a psychoanalysis of television[7] or punk or pornography, we won't know.
But the issue is also political. The resistance these tapes propose to theory only reiterates their resistance to theory's privileged objects—bourgeois culture. As the contemporary avant-garde film has come to resemble nothing so much as broadcast television (Arthur, 1987:69), as artist's video looks more and more like broadcast television, as theory becomes a circuit in the global economy of television, whatever defines itself as not-television can only be talked about in reservations within (or outside) sanctioned discourse, as a rupture in its syntax. If theory can think it, it will only be (as in Jameson's remark) parenthetically.
List of Works Cited
Arthur, Paul. (1987) "Last of the Machine: Avant-garde Film since 1965." Millennium Film Journal , 16/17/18 (Fall/Winter 1986/87): 69–93.
Boddy, William. (1981) "New York Confidential: An Interview with Eric Mitchell." Millennium Film Journal , 7/8/9, 27–36.
Buchsbaum, Jonathan. (1981) "A La Recherche des Punks Perdus." Film Comment (May), 43–46.
Bürger, Peter. (1984) Theory of the Avant-Garde . Minneapolis: University of Minnesota Press.
Eder, Bruce. (1986) "Mail-Order Video." Village Voice , 16 December, 57–58.
Gray, Spalding. (1985) "The Farmers' Daughter." Wild History . Ed. Richard Prince, New York: Tanam Press.
Hebdige, Dick. (1979) Subculture: The Meaning of Style . New York: Methuen.
Houston, Beverle. (1984) "Reviewing Television: The Metapsychology of Endless Consumption." Quarterly Review of Film Studies , 9, 3, 183–95.
James, David. (1984) "Poetry/Punk/Production: Some Recent Writing in L.A." The Minnesota Review , N.S. 23 (Fall 1984), 127–53.
Jameson, Fredric. (1984) "Periodizing the 60s." The Sixties Without Apology . Ed. Sohnya Sayres et al., Minneapolis: University of Minnesota Press.
Kerouac, Jack. (1958) "Essentials of Spontaneous Prose." Evergreen Review 2, 5 (Summer 1958), 72–73.
Lacan, Jacques. (1977) The Four Fundamental Concepts of Psycho-Analysis . London: Hogarth Press.
Lyotard, Jean-François. (1978) "Acinema." Wide Angle 2, 3, 52–59.
McCartney, Patrick. (1983) "Cops and Punks." L.A. Weekly , 5, 47 (21 October), 18–21.
Mekas, Jonas. (1972) Movie Journal: The Rise of a New American Cinema . New York: Collier.
Meredith, Raina. (1982) "The (Amateur) Shtup Tapes." Village Voice , 23 November 1982, 82–83.
Metz, Christian. (1982) The Imaginary Signifier: Psychoanalysis and Cinema . Bloomington: Indiana University Press.
Stark, Annette. (1986) "There's a Riot Going On." Spin , 2, 9 (December), 68–74.


text:
Andy McKee?
Bo Burnham?
This hot Parisian chick? http://www.youtube.com/watch?v=QR8EQ...eature=related
Andy McKee?
Bo Burnham?
This hot Parisian chick? http://www.youtube.com/watch?v=QR8EQ...eature=related
☐Trans-Siberian Orchestra
☐Gaslight Anthem
■Linkin Park
☐Flogging Molly (w/ PRO Guitar/Bass)
☐Barenaked Ladies
☐Jimmy Buffett
For all of the latest news you can now follow Kario Charts on Twitter. @KarioCharts will probably get news a fraction of a second before this thread does and before the upcoming website does.
My money's on JerryC... I'd love to play Canon Rock or one of its many ridiculous youtube covers.
Also, http://www.youtube.com/watch?v=GqDmbHq5HaM
Nah. My money's on MattRach.
The guy's amazingly talented. He used to have tons of his other (and better) stuff up there a long time ago, but now it's gone for some reason
You can fully check him out on iTunes though. R2D2 and Crazy Bell are my recommendations.
Please, oh PLEASE be MattRach!
EDIT: And for you Steve Vai fans, his solo stuff is VERY reminescent of him.
Last edited by SeymourDuncan17; 01-14-2011 at 03:13 AM.
8/9/11 (Def Leppard) will be marked as the best day in RB history for me. HMX, major thanks for all this amazing DLC you put out!
Wait, I just went on your Twitter, and I saw this:
"Yes We! Yes We Can"
Does this mean what I think it does?!?
EDIT: This was on KarioDude, not KarioCharts. Nevermind.
I Lulz @ my failure...
Yeah guys, come on. It's Made in Mexico. Someone somewhere HAS to be working on it right?

subset: commoncrawl


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Some information is missing or invalid below.
Show you really care about your teeth and treat them right with these Sonicare E-Series replacement brush heads.
Limit 5 per household.
Product Features:
- Angled bristles remove plaque without irritating gums.
- Clinically proven to remove more plaque.
- Great for precision cleaning in hard-to-reach areas.
- Brush heads should be replaced every six months.
What's Included:
- 2 replacement brush heads
Product Details:
- Fit Elite and Essence Series handles
- Model no. HX7022/64


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A developer portal is the place where developers learn about your API and register to use it. Developers interact with your API portal in a number of ways. They can read your API documentation, participate in blogs about your API, and most importantly, register to use your API.
How developers access your APIs through the portal
The basic flow developers follow to gain access to your APIs from your portal goes like this:
- Developers visit your API portal and register themselves with it.
- Registered developers can then choose which API products they wish to consume and create an "app" in the portal.
- The app generates a key pair that the developer can use to access your API products from within their own apps.
As the API provider, you set up and configure your API portal. At that time, you can specify the level of developer authorization that you want. For example, you can allow all developers to register and receive keys. This option is the default. Or, you restrict developer access by adding specific developers and giving them specific access rights.
Key Concepts
The key concepts to understand when you are setting up your portal are:
- API products. An API product is a bundle of APIs that are "packaged" for consumption by developers. You must create one or more API products in the Apigee Edge management UI or by using the Platform API. In your API portal, registered developers can then select which products they wish to use. For more information, see What is an API product?.
- Developers. Without developers, there's no point in having an API! Generally, and by default, visitors to your portal self-register and thereby add themselves to your API platform. Once a developer is registered, she can access your API by selecting one or more products. You can track and manage the APIs that the developer accesses.
- Apps. An app registers one or more API products with a registered developer. The app generates a key pair that allows the developer to access your APIs through the Apigee platform.
Manually adding developers through the developer portal
Before developers can start working with your portal, they need to be added to the system. By default, any developer can register on the developer portal. The developer's account is then automatically authenticated.
However, you can customize your developer portal such that only those with admin privilege can add developer accounts. In that case, a portal administrator needs to add developer accounts manually using the portal UI. See Add and manage user accounts for more.
Manually adding developers through the Edge management UI
You can use the Apigee Edge management UI to add developer accounts manually. You can chose this approach for your internal test environment or, if you choose not to create a portal, you can generate API keys and make them available to specific developers. For more information, see Adding developers to your API product and Creating apps to surface your API.
Using the API Services management API
As with most Apigee features, you can use the API Services management API to perform the same kinds of functions you perform in the management UI. API provisioning and management is no exception. For more information, see Using the API Services management API.


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Company Overview of The Peter G. Peterson Foundation
BOARD MEMBERS AFFILIATED WITH Peter George Peterson Ph.D.*
Founder, Chairman and Acting Chief Executive Officer | 102 102 |
MOST CONNECTED PEOPLE TO Peter George Peterson Ph.D.
Name | Relationships |
John C. Whitehead | 683 Relationships |
Maurice R. Greenberg | 483 Relationships |
David M. Rubenstein | 473 Relationships |
Stephen Allen Schwarzman | 415 Relationships |
Ann M. Fudge | 391 Relationships |
Post a JobJobs
- New York, NY | JPMorgan ChasePosted: Dec 06
- Alexandria, VA |Posted: Dec 06
- Detroit, MI | Wayne State UniversityPosted: Nov 26
- New York, NY | AGORAPosted: Nov 25
Sponsored Financial Commentaries
Sponsored Links
To contact The Peter G. Peterson Foundation, please visit . Company data is provided by Capital IQ. Please use this form to report any data issues.
Our data partners will research the update request and update the information on this page if necessary. Research and follow-up could take several weeks. If you have questions, you can contact them at email@example.com.


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GiftRegistry360.com is the next generation wish list that allows couples to add anything from anywhere onto one list. Launched in 2010, Gift Registry 360 is a gift registry service that allows couples to add products from multiple retailers -- onto one, easy-to-manage list. Guests can view a couple's list on Gift Registry 360, and then click right to the retailer's site to make the actual purchase.
Gift Registry 360 is the future of registry gifting because it takes the product information out of the retailers' websites and puts it into the hands of the couple. Gift Registry 360 is the ultimate registry service by allowing couples to create their registry any way they'd like. Whether they launched their registry in-store or need to start online, they can add products via the Gift Registry 360 catalog featuring over 200,000 products from the top retailers or via our Gift Registry 360 bookmarklet tool.
Today's couples create a bridal registry at an average of three retailers, making the current process of managing and shopping from multiple bridal registries a limiting experience for couples and their wedding guests. The Knot looked to create a brand-new platform that would provide couples with the individuality and flexibility they want, while simultaneously making it easier for wedding guests to find and shop from both online and in-store wedding registries.
To launch this new initiative, The Knot has partnered with several top wedding registry retailers, including Macy's, Target, Williams-Sonoma, and Crate and Barrel. The platform launched with the following key features:
XO Group Inc. (NYSE: XOXO; http://www.xogroupinc.com), formerly The Knot Inc., is the premier media and technology company devoted to weddings, pregnancy and everything in between, providing young women with the trusted information, products and advice they need to guide them through the most transformative events of their lives. Our family of premium brands began with the #1 wedding brand, The Knot, and has grown to include WeddingChannel.com, The Nest, The Bump and Ijie.com. XO Group is recognized by the industry for being innovative in all media - from the web to social media and mobile, magazines and books, and video - and our groundbreaking social platforms have ignited passionate communities across the world. XO Group has leveraged its customer loyalty into successful businesses in online sponsorship and advertising, registry services, ecommerce and publishing. The company is publicly listed on the New York Stock Exchange (XOXO) and is headquartered in New York City.


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Allergies in Children
Allergies in Children
Translate this page
Asthma is a chronic disorder that causes spasm of the airway leading to narrowing of the air passage and attacks of cough, wheeze and breathlessness. The spasm may occur due to exposure to allergens, chemical irritants, smoke, cold air and exercise.
What is the incidence of asthma?
Asthma tends to affect about 10% of children globally. Why certain patients are susceptible to asthma is still not known.
Asthma due to allergy may also be associated with eczema, allergic rhinitis and allergic conjunctivitis. Also, allergic predisposition tends to run in families with inheritance between 40-60%. Thus, though allergic predisposition may be inherited, its manifestations may differ between parent and child.
What is the outcome of asthma in childhood?
Wheezing in the 1st 3 years on life is usually benign and is due to small airways in early life. As the airways grow, these children may become less prone to wheezing during viral infections. However, asthma due to allergic inheritance may persist later in life. Also severe asthma may also persist in adult life.
How does asthma present in a child?
In children, rather than wheezing and breathlessness, cough is the predominant symptom. Cough may recurrent and may get aggravated during sleep and exercise.
How is childhood asthma diagnosed?
Asthma in children is mainly a clinical diagnosis. Following symptoms may be suggestive of asthma:
- Recurrent episodes of wheezing
- Recurrent cough – more troublesome at night
- Cough or wheeze after exercise
- Breathing problems during a particular season
- Cough or wheeze after exposure to dust, smoke, perfume, animal fur
- Child's cold frequently affecting the chest and takes more than 10 days to resolve
- Symptoms relieved with nebulization.
However there are certain conditions that may mimic asthma such as reflux, cardiac diseases, cystic fibrosis, immunodeficiency, sinusitis and even a foreign body aspiration. But these can be ruled out by associated symptoms and clinical examination.
Last updated on 15-12-2003
Specialist Answers
On Allergies in Children
The information given by www.pediatriconcall.com is provided by medical and paramedical & Health providers voluntarily for display & is meant only for informational purpose. The site does not guarantee the accuracy or authenticity of the information. Use of any information is solely at the user's own risk. The appearance of advertisement or product information in the various section in the website does not constitute an endorsement or approval by Pediatric Oncall of the quality or value of the said product or of claims made by its manufacturer.
copyright ©2011 website design & development by Levioza


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Many American college campuses are mini melting pots, bringing together students from countries across the world. But simply congregating students from different cultures doesn't necessarily mean they'll interact—and some colleges are starting to step in.
In a new environment, it's often easiest to gravitate to what you know. For international students, in particular, language and cultural barriers can muddle attempts to make friends at a new school in the United States. But in the past few years, colleges across the country have debuted initiatives, orientations, and programs to encourage cross-cultural interaction, often even before the school year starts.
At Juniata College in Pennsylvania, for instance, incoming freshmen from any country can opt into the school's InBound program, which unites small groups of students around a common interest. The three-day program, held before orientation, preempts a natural inclination to hang out with similar students, says Jenifer Cushman, dean of international education.
"Our idea is that when international students come to campus, they should be thrust into interaction with domestic students as quickly as possible, so they don't bond and form their own cohorts within [their cultures]," she says.
[See what surprises international students about U.S. colleges.]
And by bonding over a common interest, such as outdoor sports or community service, students discover they immediately share a passion, despite not sharing a culture. "There's a lot of time to get to know each other in ways that wouldn't happen if you were just thrust into the classroom," Cushman notes.
Minnesota's Macalester College is also using the days before college to encourage cross-cultural interaction. U.S. students can choose to partake in the school's international student orientation, which starts a few days earlier than the welcome for domestic students and covers topics including immigration, visas, and even shopping.
"Students really do want to be friends with people from other cultures when they arrive, but the idea of it is a lot easier than the practice," says Aaron Colhapp, director of international student programs at Macalester College.
Looking to make the most of her college experience, Macalester student Amy Janett volunteered for both the orientation and the subsequent Ametrica program, a weekly meeting of international and domestic students to discuss common obstacles that get in the way of friendships.
"I didn't realize how different it was for international students to come to school in the U.S. than it was for American students to do so," says Jannett, who now serves as an international student program assistant. "I didn't realize all the other obstacles they have to overcome, like getting a visa [and] figuring out finances."
[Find out why international students may have to pay more for college.]
Though she is now friends with students who come from countries all around the world, Janett says a cross-cultural friendship can require time and patience to build. "I think you have to really want to do it in order for it to happen," she says.
American volunteers are also an important factor in the new International Pal Program at the University of Wisconsin–Platteville, an offering that debuted this fall.


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Tiberio Ponders South Challenge |
Colleges - All-Stars |
No one on the Southern California collegiate all-star team thinks Saturday's NCASC final against the South will be as one-sided as their match against the Pacific Coast. The Griffins know they were playing a Grizzlies team that was organized somewhat at the last moment and lacked a large number of likely All Americans. "We know the South will be tough," said captain Peter Tiberio of the University of Arizona. "They use their forwards very effectively and their back row is very mobile. So we know it's going to be a different experience." "Team leadership is a role I am happy to take on, but I think it's something other players should take on too," he said. "I am still laid back and easy-going." "Zach Fenoglio had a really good game, and so did Jordan Badia-Bellinger," said Tiberio. "Mike Shea and the forwards overall did real well for us."
"It's a tough balance between resting guys and at the same time we made a lot of mistakes in the first game, and we need to deal with those," said Tiberio. "We need to elevate our play. The biggest thing we've been working on is defense and working harder to get on the other side of the ruck. Yesterday we were leaving holes on the outside of rucks and we need to recognize that and fill those holes." |


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"I've never known a musician who regretted being one. Whatever deceptions life may have in store for you, music itself is not going to let you down."
Author details
Related authors
Other Virgil Thomson Quotes
Reviewing music or reviewing anything is a writing job. It's nice if you are experienced in the field you are writing about, but writing is what you are doing.
Virgil Thomson
58% of people like this quote
I don't care what other critics say, I only hope to be played.
Virgil Thomson
58% of people like this quote
In Paris, you learn wit, in London you learn to crush your social rivals, and in Florence you learn poise.
Virgil Thomson
57% of people like this quote


text: A major investigation of criminal drug activity has netted 74 arrests in Tuscaloosa, with the majority of the suspects being students enrolled at the University of Alabama. The Tuscaloosa News reports most of the arrests were for possession and/or distribution of marijuana. However, some of the arrestees were allegedly in possession of LSD, cocaine, ecstasy, mushrooms, and prescription pills. Most of the 61 UA students arrested lived on or near the campus, according to the report. The University of Alabama released this statement following the arrests: "Earlier this morning, the local multi-agency drug enforcement task force concluded investigations that resulted in search and arrest warrants being served on and off the UA campus. UAPD, which is a participating agency with the task force, assisted with the investigations and arrests. The students who were arrested will be referred to Judicial Affairs. Once judicial reviews are completed, students will receive sanctions up to and including expulsion. UA has a zero tolerance policy when it comes to the sale or distribution of drugs, on or off campus, and we will continue to vigorously enforce that policy. These students represent a small group of UA students. UA will review our current policies and practices to ensure that we are doing all we can to educate students to make the best decisions they can and that we are providing an environment that is conducive to learning. Students must understand that they have a choice when it comes to their behavior, and that their decision to violate drug laws and the Student Code of Conduct will have consequences. One of our top priorities at The University of Alabama is the security and well-being of our students. We invest significant time and resources in a three-pronged approach that focuses on education, environment and enforcement. And, our commitment to student safety and well-being extends beyond the geographic boundaries of our campus. The University is extremely disappointed when students make choices about substance abuse that can have such a significant and negative impact on their lives and others, including their families, their friends, other students and this University. I can assure you that we will continue to work diligently with students and parents to effectively address the national problem of substance abuse on our campus and in our community. Please know that I am committed to making sure that students have the information they need to make good decisions. And, that I am committed to leading the way for every student who chooses to be successful in his/her academic and personal endeavors. Together, we will focus on the highest possible ethical, moral and legal standards."


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When you plan to invest your money, you may want to search for the right investment tool that suits your investing personality. There are people who choose a particular investment tool and are disappointed because what they get is nothing close to what they have thought of. Therefore, we heard the old adage about foreknowledge is forearmed in wartime, while in investing, we heard about good luck blesses the brave not the fool. This means, it is good if you want to step ahead and invest your hard-earned money.
But you need to know where to put your money into and why you choose that particular investment tool. For example, a person who wants to get returns for his savings while having the freedom and flexibility to access his savings will be disappointed with an annual certificate of deposit. The same thing happens when you look for liquid, long-term, easy-to-carry investment tool but instead of choosing gold bullion coins, you choose kilograms of johnson matthey quality gold.
Therefore, you need to know your goals, and you need to know the tools to get you to your goals. For example, if you want to have an investment tool that is highly stable over the long term and you do not plan to sell it quickly, a gold bullion bar from Johnson Matthey can be a great option. This is especially true if you already have a safe deposit compartment at a bank or a reliable, fire-resistant safe deposit box or vault at home. Well, of course, if you have the money to buy a kilogram of pure gold, you are likely to have the money to buy a robust and fire-resistant safe deposit box or rent a jewelry vault at a safe bank. But if you do not have that much money, collecting silver eagles can be a more affordable alternative.
But what if you do not even have the money to buy American silver eagle coins? Well, there is no reason for you not to invest your extra money. Money that is not saved or invested tends to be spent on consumables. Hence, it is better to find a cheaper investment tool to retain the value of your wealth. One of the several great tools to invest without drilling a hole into the party pocketbook is bags of 90 percent junk silver coins. These are coins minted around 1965. Find the right investment tool for your needs and budget, and start investing today.


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Chantal Chamberland - No. 5 (CD)
Chantal Chamberland, Québec-born performer has just released her much-anticipated fifth jazz CD, Chantal Chamberland No. 5. This is her tribute to the original artists. Using her unique style to make these songs like her own, Chamberland who co-produced the CD with Bob Doidge and Amy King at Grant Avenue Studio in Hamilton, made this a record going back to the basics and simplifying things. "The Other Woman"was a big band, big production, big sound recording. But this one was stripped down to a quartet – drums, bass, piano, sax – with guitar on some of the tracks. In the end, Chamberland put together a collection of deeply personal songs by some of the music industry's most respected songwriters, recorded by artists who continue to inspire her life and career. Track list 1. love me or leave me More about Chantal Chamberland. Buy now at: Download now from iTunes: |


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A geeky perspective on The Difference Engine
February 13, 2011
The Difference Engine starts off with a fantastic premise: what if Babbage's ideas turned out to be more than mere ideas? The resulting history brings the information age a century early, complete with mechanical computers, punched cards, and a "clacker" culture. Information wants to be free. But it also brings oppressive elements. Government and/or corporate […]
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April 7th and 8th @ RBG Centre 2 Seating's per day at 10 am and 1pm
RBG's famous Easter Brunch returns, this time with added chocolate features. Take a stroll through the Gardens and catch some early blooms, then join us in the Café for a delicious spread.
Note: Fresh to Go & Garden Café will offer chocolate items throughout the entire duration of the exhibit.
ROYAL BOTANICAL GARDENS, 680 Plains Road West Burlington ON L7T 4H4
Join Muddy York's founder, Richard Fiennes-Clinton, as he leads you on one of a dozen tours around the city. Each tour offers a vision of Toronto's past, translated through various unique and exciting themes. Come with us and explore a city that you only thought you knew!
Yonge and Bloor, Yonge St. and Bloor St. Toronto, ON
Tasty Tours Kensington Market Sweet's Tour (By appointment) EVERY Sunday at 11 am
Kensington Market, 492 Dundas St W


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November 17, 2012
Coherent Inc., Santa Clara, Calif., and SigmaTEK Systems LLC, Cincinnati, have entered into an agreement enabling Coherent to provide SigmaNEST® CAD/CAM nesting software on its new META platform of laser cutting machines.
According to the companies, the agreement brings together SigmaTEK's software expertise with Coherent laser machining technology to help minimize the software setup needed for Coherent's CAD-to-Cut system initiative.
Related Company Showrooms:
Coherent Inc
SigmaTEK Systems
Products in Laser Cutting |
News in Laser Cutting |


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Customizing SMF > Modifications and Packages
Multiple Forum Mod
Link to Mod
This modification allows you to display different categories on different 'subforums'. When using the term 'subforum', I am referring to a pseudo-forum located on a different directory, subdomain, or domain than the 'primary forum'. The primary forum is any forum that has this modification installed.
For the most part, usage of this customization is relatively simple in nature. After installing the mod, you are able to change the 'forum id' (a numerical value used to identify each forum) of main forum through Server Settings.
To work with subforums, simply go to the Modifications section under the Configuration category in your administration panel. There are two new pages here: 'Subforum Settings' and 'Create New Subforum'. A subforum is able to store these specific settings: board title, board url, and forum id. You can only create a new subforum through the primary forum, and you can only modify subforum settings inside a subforum.
Creating a subforum is extremely easy. All you must do is fill out the information inisde the Create New Subforum page and submit the form. It will generate the code for your subforum's index.php. You must then copy and paste that code into the file it specifies, and you are done. Going to that address will display your subforum.
In order to split categories, each category is specifically set to display for one id. In future versions of this customization, there may be support for multiple ids that the categories can be displayed on, but for now, it's limited to one. You are able to specify which forum the category will be displayed on through the category edit page. You specify the forum using its id.
To-do List
* Bug: Fix recent posts on board index (shows some posts on other subforums)
* Bug: Code for outputting index.php should split '?>' into '?'.'>'
* Bug: Compounding domains?
* Bug: Problems with absolute versus relative paths
* Bug: Wide-support for SSI.php (perhaps find a way so that it does not need to be included within subdomain directory!)
* Feature: Subforum-specific settings and permissions ('subforum' moderators?)... settings[GLOBAL: trim boards/membergroups in admin panel, enable 'subforum moderators' SUBFORUM: show statistics, name, board title, board url, cross-site enabled[encryption/decryption key], cookie, subforum-specific news, registration agreement]
* Feature: Allow boards/membergroups to be displayed on multiple subforums simultaneously
* Feature: Remove 'wrong forum' error message and force a redirect to the destination board
* Feature: Allow subforums to have different themes and languages than the master parent
* Feature: Create per-subforum administration system (specific membergroups, specific bans, ...?)
* Possible feature: Automated FTP creation of the subdomain directory (will likely require root FTP access, so this feature may not be added yet)
* Possible feature: Cross-site subforums
All of the features above will be added into the next version of the modification. I'll be rewriting it completely from scratch, as the old version will be too hard to build upon.
I assume that you need to add all the php original files to the subforum?
Arantor Beeblebrox the First:
No. You just add the index.php, which includes all the other files from the master set.
--- Quote from: Arantor on November 25, 2009, 07:41:41 PM ---No. You just add the index.php, which includes all the other files from the master set.
--- End quote ---
That, and optionally agreement.txt. Otherwise, the agreement in the subforum registration pages will be empty.
--- Quote ---which includes all the other files from the master set.
--- End quote ---
does it?? i made a index.php and stuck it in a new folder on my server nothing happens !
all thats in this folder is the index.php
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I was under the impression that it is possible to run production containers today with LXC. What functionality does OpenVZ provide have that is not supported by LXC, i.e. via cgroups, clone(2) isolation flags, devpts isolation mechanisms?
Posted Nov 15, 2012 19:01 UTC (Thu) by xxiao (subscriber, #9631) [Link]
Posted Nov 15, 2012 19:48 UTC (Thu) by glommer (guest, #15592) [Link]
There are many things that mainline Linux lacks. One of them, is the kernel memory limitation described in the article, that allows the host to protect against abuse from potentially malicious containers. It is trivial for a container to fill the memory with non-reclaimable objects, so no one else can be serviced.
User namespaces are progressing rapidly, but they are not there yet. Eric Biederman is doing a great job with that, patches are flowing rapidly, but you still lack a fully isolated capability system.
The pseudo file-systems /proc and /sys will still leak a lot of information from the host.
Tools like "top" won't work, because it is impossible to grab per-group figures of cpu usage. And this is not an extensive list.
So if "production" for you rely on any of the above, then no, you can't run LXC. If otherwise, then sure, you can run LXC.
Besides that, a lot of the kernel features that LXC relies on, were contributed for the OpenVZ project. So it is not like we're trying to fork the kernel, and keep people on our branch forever. It's just a quite big amount of work, the trade offs are not always clear for upstream, etc - It is no difference than Android in essence.
The ultimate goal, as stated in the article, is to have all the kernel functionality in mainline, so people can use any userspace tool they want.
Posted Nov 16, 2012 12:29 UTC (Fri) by TRS-80 (subscriber, #1804) [Link]
Posted Nov 22, 2012 15:12 UTC (Thu) by mathstuf (subscriber, #69389) [Link]
Copyright © 2013, Eklektix, Inc. Comments and public postings are copyrighted by their creators. Linux is a registered trademark of Linus Torvalds


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Harvest of hate: the Nazi program for the destruction of the Jews of EuropeExamines the progress of Nazi racism from simple propaganda through the mass murders during the second World War using eyewitness accounts and official documents to describe its course |
De dentro do livro
15 páginas correspondentes ao termo anti-Semitism neste livro
Onde está o restante do livro?
Resultados 1-3 de 15
O que estăo dizendo - Escrever uma resenha
Review: Harvest of Hate: The Nazi Program for the Destruction of the Jews of Europe
Comentário do usuário - Abe - Goodreadsthis book contains a lot of knowledge and info that most books about this subject lack today. Ler resenha completa
Livros relacionados
The final solution: the attempt to exterminate the Jews of Europe, 1939-1945 Gerald Reitlinger Visualizaçăo de trechos - 1953 |
two Persecution Unleashed | 31 |
three Pillage and Enslavement | 62 |
four The Ghettos | 84 |
Direitos autorais | |
12 outras seçőes năo mostradas
Outras ediçőes - Visualizar todos
Harvest of Hate: The Nazi Program for Destruction of the Jews of Europe Léon Poliakov Visualizaçăo de trechos - 1954 |
Termos e frases comuns
according action groups administration anti-Jewish anti-Semitism April Aryans attitude August Auschwitz Belzec Berlin carried chief commander concentration camps convoys countries crematories crimes Dannecker death Dieter Wisliceny document East Eastern economic Eichmann Einsatzgruppen trial emigration Europe euthanasia evacuation extermination fate Fiihrer final solution Foreign Affairs France French Jews Fuhrer genocide German Jews Gestapo Globocnik Goebbels Goering hand Heydrich Himmler Hitler Hoess human Italian January Jewish council Jewish population Jewish question Jewry July June labor later Laval letter living Lodz Lublin March mass massacres measures military million Ministry of Foreign months Nazi November number of Jews Nuremberg Tribunal occupied October officials operation organized Oswald Pohl Paris Poland police Polish Jews prisoners propaganda protest resistance RSHA Rudolf Hoess Russian sent September territories Third Reich thousand tion took trial USSR Vichy victims Viktor Brack Warsaw ghetto Wehrmacht Wisliceny zone


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Famed TV personality Regis Philbin guest co-hosts THE TALK, Monday, October 29, 2012 on the CBS Television Network. Photo: Lisette M. Azar/CBS ©2012 CBS Broadcasting, Inc. All Rights Reserved.


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Welcome to CowboysZone! Join us! Come on! You know you want to!
You cannot post in the chat room because you have not posted enough in the forums!
NFL considering banning RBs from leading with their head
Discussion in 'Fan Zone' started by erod, Mar 14, 2013.
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Product Details
The top of the range Borneo Family is new for 2013, offering the best in comfort, style and function, and intended to provide a true talking point in the garden or conservatory.
The Borneo Conversation Set is an oversized 5 Piece (6 seat), sofa, chair and stool set designed for relaxation and comfort. As with many of ASDA's 2013 garden furniture sets, Borneo is also backed with a guarantee that whatever the weather does, the frames will not rust.
The Borneo Sofa Set offers the following great features:
- Two large, 103 x 90cm deep rattan style sofa chairs with wide arms and low back, designed solely for relaxation. With deep seat cushions and large pillow style seat back cushions, the set is finished with an all weather poly rattan weave in a 2 tone light brown, and charcoal coloured cushions.
- A full sized, two person sofa, 173cm overall width and 90cm depth, the sofa includes deep fill seat cushions and large pillow style back cushions.
- Two large 70 x 70cm square Ottoman style stools with full sized deep fill matching cushions. The Ottomans can also be used as coffee tables, or simply for putting your feet up!
- Aluminium frames are used for all Borneo furniture sets for both chairs and tables, and will not rust. We also specify stainless steel bolts and fittings which offer greater anti corrosion properties than standard steel fittings.
- Cushions are water resistant and finished with higher specification, charcoal coloured spun polyester covers for a luxurious feel.
- Sofa and Chairs- Aluminium frames are finished in a 2 tone light poly rattan weave with weather resistant, deep fill cushions with charcoal coloured exterior grade Dobby polyester fabric.
- In addition to the main frame construction, the chair and sofa frames are constructed with fully woven seats and backs beneath the cushions, giving additional strength, seat support and frame rigidity.
- Ottoman- Aluminium frames in matching light poly-rattan finish with full sized cushions in matching Dobby fabric.
Please note, the Ottoman Stools can be used as either additional seating with the cushions, or as tables with the cushions removed. The weave gives a natural contoured profile, and is not perfectly flat, so may not be suitable for individual glasses and bottles.
Basic tools are required for assembly; screwdriver, hex key set and adjustable spanner. Seats maximum weight 110kg. Sofa maximum weight 220kg.
Care Information:
The Borneo Family is made with aluminium frames which will not rust, and are covered with an exterior grade poly rattan wicker style weave.
In prolonged poor weather, although the sofa sets will not be directly affected, it is recommended to use an exterior grade furniture cover to help keep unnecessary dirt and marks from the fabrics.
The Borneo range is specified with stainless steel bolts for the chairs and tables. This gives greater corrosion resistance compared to standard steel bolts, especially in coastal areas.
Table / Ottoman-
Width 70cm
Depth 70cm
Height 32cm
Width 103cm
Depth 90cm
Height 69cm
Width 173cm
Depth 90cm
Height 69cm
Full Specification
Colour | Black |
Additional Features | Please note, the Ottoman Stools can be used as either additional seating with the cushions, or as tables with the cushions removed. The weave gives a natural contoured profile, and is not perfectly flat, so may not be suitable for individual glasses and bottles |
Assembly Information | Basic Tools Required, Screwdriver, Hex Key Set, Adjustable Spanner |
Assembly Required | true |
Dimensions | Table / Ottoman-Width 70cm Depth 70cm Height 32cm Chairs- Width 103cm Depth 90cm Height 69cm Sofa- Width 173cm Depth 90cm Height 69cm |
Material | Aluminium,Poly RattanStainless Steel, Polyester |
Product Type | Sofa Sets |
Range | Borneo |
Seating Capacity | 4 |
Type | Garden Furniture |
Weight Restriction | Seats maximum weight 110kgSofa maximum weight 220kg |


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out of 5
(75 reviews)
(Neighborhood average
Hotels.com Guest Rating
Hotels.com Guest Rating
TripAdvisor Traveller Rating
Sometimes you just want something that is safe and familiar. That's the Fairfield Inn in Cabo San Lucas. It met all our expectations of a US Marriott... Fairfield Inn without exception. It was well located, very clean, friendly staff that spoke very good English and at a great price. What else could you ask for? They served breakfast, but we did not take advantage of it because of breakfast with friends the first day and an early morning fishing trip the next day. By the way we caught our limit of mahi-mahi and also got a sailfish. We were scheduled for an all day trip but were through in three hours. by Happy in Long Beach from Long Beach, CA on 10/03/13


text:
Posted 6:17 PM 1/21/2013 : Commemorating Dr. Martin Luther King Jr.
CORPUS CHRISTI - Dr. Martin Luther King Jr. famously said, "I have a dream. That my four little children will one day live in a nation where they will not be judged by the color of their skin but by the content of their character."
Little did the late Dr. Martin Luther King Jr. Know that
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text:
Where are the Dynamics in our Music?
Mar 30, 2011
No Comments
Tweet I just caught a very short, but must-see video from the AES over on ProSoundWeb, which explains "the loudness war". I'm not going to go into the details of this phenomenon in modern record production, however I do need to make a comment or 2 on its existence and what it says about a […]


text:
ADVISORY CNN Wire Outlook
Supervising News Editor Maggie Leung -- 404-827-1401
Ten days after the death of longtime U.S. Sen. Daniel Inouye, Hawaii's Democratic governor on Wednesday will name someone to fill his seat.
US-Winter-Weather (will update)
Winter weather complicated travel for many Americans on Wednesday, and even forced one NBA team to take the rare step of postponing a game due to the conditions.
TRAVEL-Airline-Delays (will update)
Airlines dealt with wintery conditions on Wednesday, with airports in the Northeast seeing lengthy delays. Bus carriers like Greyhound also canceled some routes
Arizona's attorney general has proposed arming one principal or teacher at each school to defend against attacks such as the recent elementary school massacre in Newtown, Connecticut.
Syria-Civil-War (will update)
In what could be one of the highest-level defections from the Syrian government, the country's military police chief has reportedly left Bashar al-Assad's forces to join "the people's revolution."
In what could be one of the highest-level defections from the Syrian government, the country's military police chief has reportedly left Bashar al-Assad's forces to join "the people's revolution."
Members of a suspected terrorist cell aiming to carry out attacks in the United Arab Emirates and Saudi Arabia have been arrested, the official Emirates News Agency reported Wednesday.
At least 1 person died and 40 others were seriously injured in Nigeria on Wednesday when a fire broke in a crowded Lagos marketplace, authorities said.
Egyptian President Mohamed Morsy signed his country's new constitution into law Wednesday, praising the democratic process by which it was ratified, and criticizing some of those who rallied against it.
Russia's upper house of parliament has approved a controversial measure banning adoption of Russian children by U.S. families, Russian media reported Wednesday.
Authorities lifted the lockout of New Delhi's key government district as massive anti-rape protests that hit the area over the weekend eased Wednesday.
Former President Nelson Mandela has been discharged from a hospital and will continue receiving treatment at his home in Houghton, a spokesman for South African President Jacob Zuma told CNN on Wednesday.
French President Francois Hollande has ordered his defense minister to deploy soldiers who were already in the Central African Republic to safeguard the embassy in Bangui after a demonstration there Wednesday, his office said in a statement.
More than 1,000 miles away from the jungle where rebels allegedly kidnapped and killed his father, Antonio Caballero is seeking justice. He filed a lawsuit in a Florida court this month, 13 years after the bullet-riddled body of his father -- a former senator and U.N. ambassador -- was found on a dirt road in northern Colombia. In the civil complaint, Caballero -- who now lives in Florida after receiving political asylum in the United States -- says he was forced to flee his home country, abandoning property and businesses, and he wants those responsible to pay. The defendants are two guerrilla groups that have been at war with the Colombian government for decades: the Revolutionary Armed Forces of Colombia (FARC) and the National Liberation Army (ELN).
Winter weather complicated travel for many Americans on Wednesday, and even forced one NBA team to take the rare step of postponing a game due to the conditions.
More than 1,000 flights were canceled Wednesday as many holiday travelers looked to return home while a powerful series of storms advanced on the Northeast.
The FBI extensively monitored the Occupy Wall Street movement around the United States, using counterterrorism agents and other resources, according to recently released FBI internal documents.
A firefighter shot by a sniper in upstate New York calmly described his wounds as "eventually mortal" unless he got medical help soon, although paramedics were kept away because the shooter could still be near Monday morning.
A passer-by discovered a 30-foot-long whale, still breathing, on a New York beach Wednesday morning, authorities said.
The number of young children who are obese and extremely obese is going down, according to new data released by the Centers for Disease Control and Prevention.
Former Major League outfielder Andruw Jones has been arrested and released on battery charges following a domestic dispute between him and his wife in suburban Atlanta early Christmas morning, authorities said.
Senate Majority Leader Harry Reid, in conjunction with the White House, is working to see if the scaled back fiscal cliff package President Barack Obama laid out last week can get through Congress before December 31st.
President Barack Obama's Cabinet -- currently undergoing a mid-presidency shuffle -- receives mixed reviews in a CNN/ORC International poll released Wednesday. POL-George-HW-Bush-Condition
Former President George H.W. Bush remains in an intensive care unit at a Houston hospital with a "stubborn fever that is slightly elevated," his spokesman told CNN on Wednesday.
Washington Metropolitan Police Department is investigating whether NBC's David Gregory violated D.C. gun laws when he displayed what he described as a 30 round magazine as part of an interview during Sunday's "Meet the Press."
Government borrowing will hit the debt ceiling on Monday, Treasury Secretary Tim Geithner said in a letter to Congress Wednesday. As a result, the Treasury Department will soon start using what it calls "extraordinary measures" to prevent government borrowing from exceeding the legal limit, Geithner wrote. On Monday, debt subject to the limit was just $95 billion below the $16.394 trillion debt ceiling.
The return of the so-called marriage penalty could cost many couples more than $2,000 in higher 2013 taxes if Congress doesn't get its act together and fix the fiscal cliff.
Starbucks is launching a political campaign this week it hopes will get the attention of Washington policymakers who have been unable to reach a deal to avert the fiscal cliff.
The recovery in the housing market continues to pick up steam, as home prices posted the biggest percentage gain in more than two years in the latest reading of the closely followed S&P/Case-Shiller index.
Since the housing bubble burst in Florida five years ago, more than 400,000 borrowers have had their homes foreclosed on by their lenders. But for some, it's payback time. Hundreds of homeowners and condo associations are foreclosing on banks that have failed to pay dues and other expenses on the properties they've repossessed.
U.S. stocks faltered Wednesday as political wrangling over the fiscal cliff continued to dominate investor sentiment.
Toyota Motors agreed to pay $1.1 billion to settle a class-action suit by car owners who claimed they suffered economic loss because of unintended acceleration in its cars.
Toyota Motor is set to overtake General Motors and reclaim "the world's biggest car maker" title for 2012, after a bumper year of sales at home and abroad.
Six months after the United States slapped duties on some imported wire hangers, American dry cleaners and hanger suppliers say they're now paying more for hangers across the board, squeezing their profits and leading many to consider jacking up their rates.
The maker of a Google app thinks it's fun to make yourself look Asian by changing the shape of your eyes and wearing a Fu Manchu mustache and rice paddy hat.
The 10 best video games of 2012
Whatever other resolutions we make leading up to the New Year, getting ourselves organized is likely near the top of the list.
During the holiday season, the Patty Cakes Holiday Cake Affair is held in hopes of discovering and training novice bakers with a hidden talent for culinary confections.
Events in a landmark 'Spider-man' issue have fans in a frenzy
Don't misunderstand: Gregg Gillis still loves what he does. As Girl Talk, Gillis samples other artists and creates brand new songs out of those tunes. But for all of his success packing venues and outdoor music festivals, Gillis told CNN he would be content if his career reverts back to the earlier years.
Copyright 2012 by CNN NewSource. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.


text:
Kensington Palace
Hyde Park
© Kensington Palace/HRP
Time Out rating:
Accepts Time Out Card
See great offers available to all the Time Out Card holders-
Visit Kensington Palace with Afternoon Tea for Two
Save 25% or more. Click here to book
Venue details
Kensington Palace The Broadwalk
Kensington Gardens
- Venue phone:
0870 751 5170, bookings 020 7492 1561
- Venue website:
- Opening hours:
Mar-Oct daily 10am-6pm; Nov-Feb daily 10am-5pm; last adm one hour before closing
- Transport:
Tube: High St Kensington or Notting Hill Gate
- Price:
£11.50, concs £9, under-16s £7.50, under-5s free, family ticket (2 adults, 3 children) £34
Kensington Palace
- The Broadwalk
Kensington Gardens
W8 4PX - 0870 751 5170, bookings 020 7492 1561
- www.hrp.org.uk
- 51.504895,-0.188106
- The Broadwalk
Kensington Palace
What's on at Kensington Palace
Christmas at Kensington Palace: Game of Crowns
Things to do
A month-long Christmas celebration including extravagant parties, card games, concerts and balls, hosted by a royal at a palace? No, Prince Harry isn't throwing a house party at his nan's. That's how King William III decided to celebrate the festive season...
- Fri Dec 13 – Mon Jan 6 2014
- Kensington Palace The Broadwalk, Kensington Gardens, W8 4PX
- £15, £12.40 concs, free under-16s
Fashion Rules Exhibition
Categories, Shopping, Fashion
See some exquisite regal fashion in all its splendour at a new showcase of gowns worn by HM The Queen, Princess Margaret and Diana, Princess of Wales. Twenty-one never-seen-before dresses will be on display, including as well as film and imagery providing...
- Fri Dec 13 – Sat Jul 4 2015
- Kensington Palace The Broadwalk, Kensington Gardens, W8 4PX
- £15; concessions £12.50; children free
Reviews & ratings
I did not enjoy my visit to the Kensington Palace. The only bit that I like is the rose garden.
Ken Mon Sep 30Rated as: 1/5 -
I had previously visited Kensington Palace two years ago. It was in a dismal state. The electricity had been switched off and some art student squatters had moved in. At least that's what it had looked like.
The World of Walnut-furnished interior and obligatory guilt accoutrements I had in my mind's eye had made way for rooms full of arty installations like skeletal trees and headless animatronic princesses lit by a dim neon blue glow.
Kensington Palace had undergone the theme park treatment and was now labelled 'The Enchanted Palace'. Creative? Atmospheric? Certainly. But it failed to enchant me. The problem was it told me very little about the Palace and the rich lives of its super rich inhabitants.
Putting my previous experience down to a temporary fit-out (the Palace was undergoing renovation at the time) I decided to pay another visit this summer hoping to actually discover some history.
The lights were on this time but there appeared to be no-one at home. The interiors could be seen in their finery but there was hardly any furniture to give any sense of history. No pen-written notes and half-drunk cups of tea on desks to create the feeling of a moment just passed. Hardly any information boards either. Just a few remnants from its previous arty incarnation such as a pack of playing cards stacked in a fireplace.
The idea (perhaps inspired by Pride & Prejudice), however, for whispering gossiping voices emanating from window seats in the ballroom was clever because it gave some much need dialogue. But as for snippets of history your Time Out review above reveals more information than I gleaned from my visit.
Simon Jones Sat Aug 17Rated as: 2/5 -
Having thoroughly enjoyed Buckingham Palace tour/visit some months ago, and being a life-long Royalist, my family and I were pleased to 'take in' Kensington Palace on the 17th of November. What a huge disappointment this was! It was a real waste of money and could not be remotely compared to Buckingham Palace (or Sandringham. or any of the other many Royal venues we have visited). The trip was not helped by having to walk past a tramp in the gardens urinating against the wall, and this on the day of the Israeli demonstration where hundreds of Police were a matter of metres from the tramp's performance! Wills and Kate have chosen a bit of a dump of a 'pile' to make their home.
Mary Skelton Tue Nov 27 2012Rated as: 1/5 -
The "new" Kensington Palace is a chaos of kitschy, "hands-on" art installations that fail to enhance the experience. Only the Victoria tour offers any substance at all. Truly the most disappointing of all the grand house tours I have ever done. Who art directed this mess?
Katherine Reed Sat Mar 31 2012Rated as: 1/5 -
Enchanted Palace: absolutely avoid this complete money-grabbing tacky experience.
cumbrian Tue Sep 27 2011Rated as: 1/5 -
Made the big mistake of going to The Enchanted Palace experience this week. The rooms that are open are so atmospherically (ie: darkly) lit, that very little of the actual palace can be seen. Of zero educational value. If your idea of entertainment is audio tapes of unseen little girls crying, displays akin to Hallowe'en shop dressing, then this might appeal. It came across as a very trashy and unimaginative way or raking some money in.
Roxburgh Wed Sep 7 2011Rated as: 1/5 -
Just added, please check out our special Christmas activities at
http://www.hrp.org.uk/KensingtonPalace/WhatsOn/VictorianChristmas.aspxKensington Palace State Apartments Tue Nov 10 2009


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총점 5점 기준
아주 좋음
(이용 후기 7개)
Hotels.com 고객 평점
TripAdvisor 여행객 평점
The good: - Very spacious villa ( 3 bedroom ) - Very friendly staff - Nice swimming pool The bad: - Very small choice for breakfast ( spaghetti, rice,... bread, egg, fruit mostly covers it ) Same every day - Located in a remote area which means you will need to take a taxi all the time Only 1 taxi company opposite of the hotel so during rush hour you might not be able to get a taxi and you can go nowhere ( they only have about 5 cars available ) If you book at the reception they will charge you crazy prices, better to go across the street and negotiate by yourself - The restaurant does not belong to the hotel and is cash only That means you will need to bring cash every time you go there for lunch or dinner - Maintenance is friendly but solves nothing. During the entire stay the air-conditioning produced a terrible smell ( maintenance checked but smell remained ). Conclusion: Despite the nice villa and very friendly staff too many bads. 2013.02.26에 올려진 Hotels.com 회원님의 이용 후기