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However blood pressure er 2 mg cardura cheap with amex, these same types of statements are discoverable for an organizational defendant. Under the Jencks Act, any recorded statement or report of a government witness must be provided to a defendant, but only after the witness has testified on direct examination in the trial of the case. This decision holds that recorded radio transmissions of Border Patrol agents observing defendant prior to his arrest were not Jencks material because they were equivalent to surveillance notes, as opposed to more complete statements made in preparation for litigation. The dissenting opinion provides a much more rational discussion of the Jencks Act. The majority opinion does allow for the possibility that such recorded statements are discoverable under Rule 16. Any written statement made, signed, adopted, or approved by the witness, any "substantially verbatim" transcription, and any grand jury transcript falls within the Jencks Act. Government reports relating the substance of witness interviews, however, are troublesome. When a government agent interviews a prospective government witness, there are usually rough notes taken and, usually, a report prepared by the interviewing agent. Surveillance notes, likewise, are not considered discoverable under the Jencks Act. However, if the notes contain material that is arguably exculpatory, they should be preserved for a determination by the court of whether they must be disclosed as Brady material. The report of the interviewing agent is discoverable under the Jencks Act after that agent testifies at a motion hearing or on direct examination. Defense counsel should, therefore, move for preservation and disclosure of Jencks material early in the case. The request need not be extremely particular, and a request for "all Jencks material" should be sufficient. The government censored a government report based upon interviews with the witness, excising portions regarding "on-going investigations" in which the witness was involved. The Ninth Circuit reversed the convictions, holding that "[t]here are no exceptions to the Jencks rule. The court cannot force the government to produce Jencks Act statements before the witness testifies.
A discussion of network culture and its political aspects also requires the consid eration of computer games blood pressure solutions cardura 1 mg discount without a prescription, which have emerged as a dominant cultural form and area of artistic practice over the past couple of decades. Flanagan makes three propositions-regarding the examination of dominant values, the notion of goals, and the creation of extreme and unfamiliar kinds of play-to illustrate how games can become a site of investigation for gender, politics, and culture, and how artists can design from a "critical play" perspective. Coming from very different perspectives, the chapters in this section strive to provide a framework for approaching the sociopolitical context of digital art and its history. When it comes to an indepth analysis of the complexities of this relationship, a lot of groundwork remains to be done. Key factors in this endeavor are investigations of arthistorical developments relating to techno logical and participatory art forms and their exhibition histories; as well as continuous assessment of the challenges that digital media art poses to institutions and the art market in terms of presentation, collection, and preservation. He defines the relational aesthetics approach as "a set of artistic practices which take as their theoretical and practical point of departure the whole of human relations and their social context, rather than an independent and private space" (Bourriaud 2006, 163). Obviously, this set of artistic practices also is key to most of new media art in the age of the World Wide Web. One could argue that the participatory, "socially networked" art projects of the 21st century, which have received considerable attention from art institutions, all respond to contemporary culture, which is shaped by networked digital technologies and "social media"-from the World Wide Web to locative media, Facebook, and YouTube-and the changes they have brought about. However, art that uses these technologies as a medium still remains largely absent from major exhibitions in the mainstream artworld. While art institutions and organizations now commonly use digital technologies in their infrastructure-"connecting" and distributing through their web sites, Facebook pages, YouTube channels, and Twitter tours-they still place emphasis on exhibiting more traditional art forms that reference technological culture or adopt its strategies in a nontechnological way. While different in their scope and strategies, the new media arts of the 1960s and 1970s and today faced similar resistances and challenges that led to their separation from the mainstream artworld, respectively. Apart from historical baggage, the reasons for the continuing disconnect between new media art and the mainstream artworld lie in the challenges that the medium poses when it comes to the understanding of its aesthetics; its presentation and reception by audiences; as well as its preservation. Edward Shanken has researched this disconnect for many years, and his contribution to this book proposes that new media art has both tried to situate its practices within the theoretical and exhibition contexts of mainstream contemporary art and, at the same time, has developed its own theoretical language and institutional contexts. Shanken argues that the former attempts remained largely fruitless while the latter became so successful that an autonomous, but also isolated, new media artworld emerged.
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In place of traditional media pulse pressure of 70 order cardura 4 mg online, declared dead by postmodernism, these artists, she claims, have adopted alternative forms of "technical supports. Such contentions, tenuous at best, limit the interpretation of highly complex works and practices to a single aspect- just as Greenberg did-obscuring the complex layering of ideas, media, and technical supports that converge in them. But it does the same violence to the subtleties of the specific media-and media ecologies-that the artists employ in, and as part of, their work. The artist Krauss singles out as the primary culprit of postmediality is Joseph Kosuth, whose offense appears to be a postDuchampian theory and practice that is not limited to mediumspecific concerns but demands a broader questioning of the nature of art itself, as articulated in his influential threepart essay "Art After Philosophy" (1969). Susan Kozel (artistic direction and concept), Jeannette Ginslov (video, edit, and concept), Wubkje Kuindersma (dance), Camilla Ryd (images and interaction design), Jacek Smolicki (sound), Daniel Spikol (technical production), Oliver Starpov (dance). Dance improvisation and screen dance techniques for video capture and editing are combined with augmented reality. Choreographies are suspended as hidden layers of media, discovered by joining physical space and smart devices. This tension is, in fact, as Artie Vierkant (2010) argues, a central concern of so called postInternet artists (including Oliver Laric, Seth Price, and himself), for whom the artwork "lies equally in the version of the object one would encounter at a gallery or museum, the images and other representations disseminated through the Internet and print publications, bootleg images of the object or its representations, and variations on any of these as edited and recontextualized by any other author. The theories and technologies at the core of the historical development of new media tools, together with the artistic and social practices associated with their application, seem to occupy a hybrid stance, straddling medium specificity and a range of nonspecific tendencies, including intermedia, multimedia, participation, and convergence. On one hand, new media practices and discourses embrace medium specificity, paralleling structural film practices. For example, the early work of Steina and Woody Vasulka explores the intrinsic material qualities of video as an electronic medium, including the relationship between audio and video, feedback, and realtime registration. On the other hand, the foundational principle of digital computing theorized by Alan Turing conceives of the computer as a "universal machine," one that can emulate the specific functions of any other dedicated device. C o n t e m p o r a ry a rt a n d n e w m e d i a 473 Contra Krauss, this affirmation of what might be called "postmedia multiplicity" should be embraced as a strategic questioning of the nature of media in artistic, technological, and social contexts. Along these lines, the curator suggests that, art creates an awareness about production methods and human relationships produced by the technologies of its day. In part this failure can be explained, if not excused, on the basis of the nature of the media and the theoretical commitments of the artists working with them. For example, in some cases it is difficult to justify displaying a work of net art in an art museum or gallery. This position is enabled not just by the explicit use of technological media but by challenging the museum and gallery-or any specific locale-as the privileged site of exhibition and reception.
The q u e stio n of h o w m u c h institutional a p p a r a tu s is re q u ire d to satisfy the definition need not arrhythmia low blood pressure cheap cardura 1 mg online, indeed sh o u ld not, be a n s w e re d by setting som e specific criterion o r precise po in t on a c o n tin u u m. The activities involved can be carried on by varying n u m b e rs of people, a n d with o u t the full-blown institutional a p p a r a tu s o f su c h w ell-equipped w orlds as s u r ro u n d c o n the m p o ra ry s c u lp tu re a n d p ain tin g or sy m p h o n ic m usic a n d g ra n d o pera. W h en w e speak of art w orlds, we usually have in m in d these w ell-equipped ones, but in fact paintings, books, m usic, a n d all sorts of o th e r artistic o bjects a n d p e rfo rm a n c e s can be p ro d u c e d w ithout all the s u p p o rt p erso n n e l these w orlds d e p e n d on: critics, im presarios, fu r nishers of m a terials a n d e q u ip m e n t, providers of space, a n d au diences. At a n extrem e, re m e m b e r, a n y artistic activity can be d o n e by one person, w h o p e rfo rm s all the n e ce ssary activ ities; this is n o t c o m m o n a n d n o t a condition m a n v artists aspire to (though one they so m e tim e s yearn for w h e n they have tro u b le with their fellow participants). Call the first po in t of organization an esoteric w orld a n d the latter o n e exoteric. The n a m e s a n d the cutoff points m a tte r less th a n the recognition th a t they are^ a rb i trary, the reality being a variety of points th a t v a ry along several continua. N either Dickie n o r D anto is very clear as to how m a n y art w orlds there are. Dickie says: the artworld consists of a bundle of systems: theater, painting, literature, music, and so on, each of which furnishes an institutional background for the conferring of status on objects within its domain. No limit can be placed on the number of systems that can be brought under the generic conception of art, and each of the major subsystems contains further subsystems. These features of the artworld provide the elasticity whereby creativity of even the most radical sort can be accommodated. A whole new system comparable to the theater, for example, could be added in one fell swoop. For example, junk sculpture added within sculpture, happenings added within theater. Em pirically, th e su b w o rld s of the various a rt m e d ia m ay be su b d iv id ed into se p a ra the a n d alm ost n o n c o m m u n ic a tin g segm ents. Instead, m e m b e rs of one group develop a u d ie n c e s a n d so u rces of s u p p o rt from sectors of the society th a t w ould not have s u p p o rte d the o th e r a rt w orld seg m en ts with w h ic h they m ig h t com pete.
Such scenarios would consider activities beyond the planning areas to include other onshore resources heart attack untreated 2 mg cardura cheap overnight delivery, especially unconventional resources that may affect development decisions as well as infrastructure siting. Geological Context 35 Although our understanding of the Arctic system has advanced, there remain data and knowledge gaps for a number of components in the system. The opportunity exists to leverage existing research infrastructure and future research activities to better characterize this system and lead to scientific advances in a number of disciplines. Arctic Research Program, and subsequently amended this recommendation to include basic earth science research needs (U. Finding: Although our understanding of the Arctic as a system has advanced, there remain data and knowledge gaps for a number of components in the system. There is a continuing need to facilitate the collection, integration, and sharing of multiscale, multidisciplinary datasets, and using these data to develop comprehensive, holistic approaches to building resource development and impact scenarios to inform planning. Recommendation: Opportunities for enhanced international cooperation and collaboration. In particular, the Beaufort Sea- Mackenzie Delta (Canada) is an area with significant energy resource potential, and enhanced cooperation is important for baseline studies of resources, status, and trends, and developing overall models of development scenarios, potential impacts, and to address emerging science issues. There exists the opportunity to identify these activities under the theme Resource Assessment and Earth Science in the U. In conjunction with these activities, there is a need for better integration of relevant information into a digital environment that can facilitate open and derivative analyses. There also is significant potential for collaborative work with academia and the international community, especially with planned marine cruises that include seismic and solid-earth geophysical data collection, and sample collection, including coring. Arctic Monitoring and Assessment Programme, 2007, Arctic oil and gas 2007: Oslo, Norway, 57 p. Energy Information Administration, Office of Integrated Analysis and Forecasting, 18 p.
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Hernando, 22 years: The 1994 Crime Bill also addresses sentencing in a variety of ways, many of which are mentioned in this article. The validity of this argument is derived from the fact that while, by definition, the buyer-seller relationship requires two actors, it is not, in and of itself, a conspiracy, because there is no joint objective. According to the Commentary, the Commission is willing to rely on the infrequent occurrence of these situations and the ability of the courts to impose an adequate sentence through departing as opposed to creating "a more complicated mathematical formula. We thus aim to develop a model that meets both of our requirements at the same time.
Nemrok, 31 years: Circulation, thermohaline structure, and cross-shelf transport in the Alaskan Beaufort Sea. A memorandum supporting a compensation claim less than the statutory maximum may be required by local rule, standing order, or the presiding judicial officer. Endometritis does not predict reproductive morbidity after pelvic inflammatory disease. This fact is underlined by the many types of investigations that have been developed over the years.
Rasul, 34 years: While a particular argument or defense may be persuasive either to counsel or those well versed in the law, jurors may be unmoved by the very same argument. H o w d o m u s e u m s a n d o th e r storage institutions decide w h a t goes into th e ir collections a n d w h a t does not m erit such care W h a t can re a so n a b ly be c o n sid ere d a n n o y in g e n o u g h to co n stitu the a legal n u isan ce To make the system work you rleed to interpret the program yourself: a long way from the baroque community of revelers, the user is closed within the loneliness of his own inner torment.
Peratur, 38 years: Affirmative Defenses in Federal Court 11-515 Defense counsel should draw upon state court rulings and the limited inroads in federal court, including those involving downward departures under the sentencing guidelines for imperfect duress, to justify introduction of evidence on the battered woman syndrome. Their small size allows those projects to avoid reification, thereby breaking through the transmitterreceiver schema Baudrillard had criticized (as discussed above). Ted Turner tried to make older movies more palatable to contemporary audiences by colorizing them or editing smoking scenes out of classic cartoons (Collins 1989). Yet the existence of computational aesthetics is not exclusively tied to a particular past, present, or future technology.
Sulfock, 51 years: A real-life preliminary observational study in a pediatric population Multidisciplinary Respiratory Medicine 7 August 2015 Zanolla, L. The collection of detailed, high-resolution aeromagnetic and gravity data spanning the entire North Slope and the integration of these data with existing regional seismic information is regarded as one of the key challenges for future geophysical work on the Alaska North Slope (Saltus and others, 2006). Understanding the nature of the shadowgraph and interpreting the information contained within it requires a knowledge of: · the radiographic shadows · the three-dimensional anatomical tissues · the limitations imposed by a two-dimensional picture and superimposition. A mediaarchaeological approach represented a search for reference points and continuities, but its goal not to discover "permanent values.
