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Photo by Kira Perov
I'M STANDING IN A PITCH-BLACK, CAVERNOUS room littered — for the time being — with dark, nebulous forms that must be dismantled packing crates. Taking up most of the facing wall is what appears to be an enormous backlit photographic transparency. Two women in vaguely Middle Eastern or Renaissance dress lie prone before some sort of elaborate box or altar, each lost in her own thoughts. They appear to be in mourning. Is this some kind of grave? Suddenly I detect a slight movement in one of the figures, and it becomes clear that this is actually an extremely slow-motion video. Abruptly, there is a commotion on the surface of the altar-thing, revealing it to be a well. The bleached, naked corpse of a drowned 20-something man miraculously rises straight up, lacy cascades of displaced water undulating to the ground. Slowly the women turn to witness this miraculous rebirth, their faces contorting into dozens of incremental expressions of amazement and bewilderment, joy and grief. Then, when the young man has reached his full height, their arms creep forward to catch his collapsing, still-lifeless body and wrap it in cloth. The screen goes dark for a moment, and the cycle begins again.
The illusion is broken as the crisp silhouette of an installation technician passes across the bottom of the screen, revealing the technology to be rear-projection of a resolution higher than I've ever experienced before. But I've seen enough anyway. Marrying state-of-the-art technology with a razor-sharp awareness of archetypal image-making as practiced by visual artists across the centuries; poised and teetering ambiguously between profoundly disturbing emotional extremes of loss and rejuvenation; hitting exact notes of formal aesthetic strengths, psychological depth and mystical spirituality, this heartbreaking 12-minute film can mean just one thing — Bill Viola has come to the Getty.
Well, not quite yet, actually — at the moment he's stuck on the 405 freeway, and I've got some time to look around and talk to the Getty Research Institute's Charles Salas as well as Getty director emeritus John Walsh, who has returned to curate "Bill Viola: The Passions," the largest group of contemporary artworks by a single artist the Getty has yet exhibited. Passing from the glaring, sunlit travertine expanses of the Getty Center's courtyard to the murky, grottolike enclosure of the half-completed installation in the Exhibitions Pavilion is a lot like entering one of Viola's celebrated video installations — disorienting at first, then, as your eyes begin to adjust, spooky and disconcerting. The overall design of the exhibit, which is composed of 13 works previously unseen in Los Angeles, has a similar dynamic, moving from fairly well-lit rooms with small, contained wall-pieces through progressively darker and larger chambers before reaching an overwhelming, immersive climax. Six Heads, 2000 (Tom Fitzpatrick)
The first thing my eyes alight on is Six Heads, a small video panel — about 3 and a half feet tall and 2 across — fixed flat to the wall, displaying six head shots of the same aging actor going through a highly exaggerated range of emotional expressions. Considering the elaborate staging and technology, the piece has a strangely intimate and ephemeral feel, like a page torn from a Renaissance artist's sketchbook. It's also possessed with a creepy Picture of Dorian Gray vibe, these six little talking heads endlessly enacting their looped emotional contortions behind a plasma screen, without resolution.
The first Getty contemporary exhibit that will tour internationally — to the National Gallery in London, then the Munich State Paintings Collection — "The Passions" has been culled from 20 works created over the last two years, and was inspired by Viola's participation in the 1997-98 Getty Research Institute Scholar Year. The annual residential symposium brings together 25 to 30 professional academics from around the world (with a sprinkling of artists) to focus their individual and collective talents on a specific theme — usually some thorny, divisive aspect of current academic discourse. Emergence, 2002 (Weba Garretson, John Hay, Sarah Steben)
The theme of Viola's year, unsurprisingly, was "Representing the Passions." Says Salas, "I think the most impassioned area of disagreement — and this idea might have something to do with Bill's work — was the fundamental question about whether thinking about emotions is something that unites us or divides us. Do we think about emotions as something that we all share, that can be thought of as almost universal? We all get angry, we all get fearful, we all get joyful. Or do we think of them as essentially socially constructed, and varying from place to place and time to time? And in that case they act as a way of separating us one from another. We understand each other's thoughts — do we understand each other's emotions?"
Viola's work had always bucked the postmodern trend of ironic distancing by incorporating dreamlike images of anguish and human frailty, keeping the verbal content in check, and rooting his work in the compassion-emphasizing mystical traditions of Zen, Sufism and Medieval Christianity. The work's emotional pitch had become only more pronounced after the birth of Viola's son in 1988 and the death of his mother in 1991, when it began to take on a stripped-down, archetypal urgency, emphasizing images of the human body undergoing transformative ordeals by fire and water. In Stations, created for the American Center in Paris in 1994 and exhibited at the Lannan Foundation's now-defunct Los Angeles showcase in 1996, five dim underwater video sequences of floating swimmers of various ages were projected upside down in a blackened gallery filled with burbling aquatic noises. As the viewer moved tentatively into this void, the images appeared right-side up, reflected in polished black funereal granite slabs that lay on the floor beneath each projection. Gradually, each of the swimmers bobbed off backward into the murk, and the screen fell dark, only to be pierced by a burst of light and sound as the figure reappeared, plunging again into the blue-black abyss.
Though curiously soothing and hypnotic, works like Stations and Tiny Deaths — another stygian multiscreen installation trembling at the brink between being and nothingness — had run their course by 1997. Viola was ready for a change. His 1997 LACMA retrospective (organized by David Ross and Peter Sellars for the Whitney) culminated with the 1995 piece The Greeting, based on a 16th-century Mannerist painting. Set in an indeterminate time and space — vaguely urban, possibly contemporary — The Greeting took a single, subtly awkward 45-second social exchange among three women and stretched it into a minutely choreographed 10-minute drama charting evanescent human emotions and social negotiations that normally remain beneath the threshold of awareness. Quintet of the Astonished, 2000 (John Malpede, Weba Garretson, Tom Fitzpatrick, John Fleck, Dan Garrity)
"That's what got me in," says Walsh. "When I saw that piece, I thought, 'This man is capable of finding a way to re-examine older art with much more surprising results than our historians or analysts or critics can produce.' Because what he seemed to do there was to open out these various complexities of relationships so that you can actually look at them."
Originally a scholar in 17th-century Dutch painting, Walsh ran the Getty from 1983 until his retirement in 2000, overseeing the move from the antiquities-stuffed Malibu palazzo to the world-famous castle on the hill; the dramatic expansion of the Getty's role in the L.A. and international art worlds; and the museum's incorporation of contemporary art, an anathema to J. Paul himself. As he walks me through the partially installed Viola exhibit, I ask him if the insinuation of Modernism into what was meant to be a bastion of Old World stodge met with much resistance. Surrender, 2000 (John Fleck)
"I'd like to think that Getty is looking down and smiling, but he's probably pounding at his bronze casket. Still, things change. As to the board or the staff or anybody else, no. This is the most exhilarating thing you can do in a museum. We all feel that much contemporary art — looked at thoughtfully — has a way of changing everything you see, but older art in particular. And artists, sometimes very consciously, lead the way for you, and that's what Viola did. Viola, in midlife, feels himself empty and comes up dry, and decides to give himself a period of study — mainly of older art and older ideas — and discovers whole new subjects and a way to reconnect himself to what he was always making art about in the first place. Which is personal discovery, personal transformation — the big ideas of life, death, transcendence.
"He goes back and looks at how older artists have struggled with all these matters — including profound grief and other powerful emotion. He goes to the galleries, though, and he doesn't see what I'm going to see. I'm going to see how artists solved certain problems with the aid of other artists in the past — based on some givens and the needs of a client — and I'm going to look at a painting and say this represents a certain step in one direction, a certain discovery of something. Bill looks at the same picture — let's call it The Madonna Head and Shoulders With Tears Rolling Down Her Face — and doesn't see a historical advance in the iconography of the Madonna and Child; he sees the expression of an almost incomprehensible grief, and power of a still image to bridge all gaps and connect without words or logic or history. And he will be thinking, 'What freakishly high resolution.'"
IT'S BEEN A LONG JOURNEY FOR VIOLA FROM THE small fringe world of video art in the early 1970s to his current position as one of the most highly regarded artists working in any medium, but his odyssey has always been closely tied to the cutting edge of technology. Born in Queens, New York, in 1951, he was the captain of the "TV squad" in his public school, and by the time he was a junior at Syracuse University was already exhibiting nationally as that newly minted creature, the Video Artist. Syracuse was a flash point for the emerging medium, and Viola helped install one of the first campuswide cable-TV ä systems there, accumulating extensive technical expertise in the process. During the same period, future Whitney/SFMOMA director David Ross occupied the world's first video curatorial position at the campus museum, and hired Viola as a techie. Two years later, Viola was included in the Whitney Biennial.
"That's what happens when you're fortunate enough to be in the right place at the right time and a new thing is changing," says Viola when he finally appears at the Getty. "I was assisting artists right out of school, because I was a tech-head at the time. I was helping established artists do their tapes, and I got a job in Florence, Italy, in a video-art studio that this crazy and wonderful Italian woman set up, and worked with some European artists there. It was more than being an assistant to a painter, where you might stretch canvases and stuff; this was more like engaging with someone collaboratively. That was my grad school."
We're in the very darkest passageway in the exhibition space, the gloom broken only by one of his assistants aimlessly waving a flashlight between us. Filled with workers installing the show, and the whine of power tools, the hall echoes — almost all the new pieces are silent, so there's little soundproofing — and conversation is difficult. We move on to a classic wood-and-leather conference room with remote-controlled window blinds, a 1941 portrait of J. Paul by Armando Dreschler hanging at one end, and much brighter lighting. Though he's made his home in Long Beach for the past 20 years, Viola's skin remains pale — perhaps due to the genetic heritage of his English mother or years spent in video-editing cells. (He has a full eight-hour session booked later.) His round face, wispy goatee and wire-rim spectacles give him the curiously appropriate look of Eastern sage mixed with technology geek, and his manner likewise varies between measured deliberation and synapse-snapping enthusiasm.
Sound has always been a key element of Viola's work. He spent seven years alongside David Tudor in the Composers Inside Electronics collective in the 1970s, and the absence of sound is one of the most surprising features of "The Passions." I ask him about his descent into silence.
"It wasn't a decision I actually spent a lot of time on," he says. "It just intuitively became obvious to me that these works weren't about sound. Once I started moving from the stage of general interest in late-medieval/early-Renaissance panel painting and the passions and emotions, into the technology itself of these new LCD flat panels, I realized that the kind of thing I was after was something that emanates from a human being, from within; whereas in a lot of my earlier work I was always looking in this world — the outer world — for the evidence of things that emanate from within. In this case I was literally at the moment where things were arising and coming out, i.e., external expression, and I felt that sound would be in the way and might become redundant or illustrative. You could look through glass at somebody suffering, and you could have this incredible reaction. It transmits in that way: That's why those paintings work so well. And once I started working with the actors, I realized that someone screaming in silence, for example, is incredibly powerful: It just rings in your brain, and that's probably the loudest scream I've recorded — in that piece Silent Mountain."
The work to which Viola refers consists of two panels, hung side by side in vertical orientation. Chosen to grace most of the Getty's promotional material, including the inevitable lamppost banners, the diptych depicts a man and woman, dressed in nondescript T-shirts, building imperceptibly in synchronized but isolated agony to a crescendo of physical distortion, tracing the wavelike passage of a singular unutterable anguish through two utterly discrete bodies. Separate vessels, same juice. The connection visible only to the voyeur. Many of the pieces in "The Passions" convey a similar sense of unbridgeable isolation.
Walsh expounds on one such piece, The Quintet of the Astonished: "The National Gallery in London did a show of artists responding to works of art in their collection, and Bill, while he was here for the scholar year, had already thought about a piece that used a group of actors in an arrangement that was inspired by a Bosch painting.
"What is remarkable is that the figures were not directed as a group — meaning they were not told that there was something that they were supposed to be reacting to or enacting; instead each actor was given a range of emotions to go through during each take. And they were together, they were in fact pressed right together cheek by jowl, standing shoulder to shoulder, but they weren't acting together. They were making hand gestures and sort of giving comfort to one another, but that wasn't the point — they were each on their own private, separate emotional trajectories."
Pausing to watch the production unfold in its glacial tempo for a few minutes more, Walsh continues: "One nice thing about a show that takes plenty of time in front of each piece is that you also have plenty of time to let a lot of things play out in your head. This sounds dumb obvious, but it is true that there's hardly any just glancing and checking things off. You don't begin to get these pieces without some standing — or sitting — and thinking. And what you think about is hardly analytical — most people tend to go off on very interesting strings of association — whether it's a personal thing, their family, their own emotions or just 'Why is this piece so strange?' I think a lot of people will have the reaction 'It's strange because I'm treating it like a still — it's going a little too slowly for me to see action; what I see is a series of thousands of stills.' And if you're an art historian like me, used to looking at paintings, which really hold still — for centuries — this is a completely unnerving experience. I don't know how to fit this in my movie experience, either. I can sit in a movie theater and see slow motion and take it for what it is — but I always expect things to speed up again."
This disconcerting indeterminacy between filmic narrative and timeless iconic modes is central to the intensity of "The Passions." Most of the videos bear absolutely no clues as to the particularities surrounding the extreme emotional states being portrayed. I ask the artist about this dearth of extraneous detail.
"I felt that I didn't want to get into the story," says Viola. "The first thing you ask is, 'Why are these people doing this? Why are they crying? Why are they screaming?' That's a human response. You want to know what their story is, and I knew early on that I wasn't interested in representing that in the work. In fact, working with the actors, I didn't know a lot of the time what they were doing within the space of their craft, and didn't feel I needed to probe that at all. The traditional paintings of the crying Mary are a perfect example — they're about your story. In the Middle Ages, people would go to the cathedral to go to the special sacred Madonna if they lost a child or loved one, or something happened and they were distressed, and they would literally bring their story to the image, and let that play out that way. So I was interested in that — I don't know what the word would be — empathy maybe? When you leave stuff out, there's this great opening that happens — of creativity, basically. That gap gets filled with creativity."
"So the more information you withhold from the story," I venture, "the greater the viewer's capacity for identification."
"Yes. And in conventional Hollywood films that does work. The classic thriller is all about holding back, about withholding and then revealing information at key points along the narrative line. And so that obviously heightens involvement. I guess the difference between that and what I do is that . . . I never reveal it." He laughs. "You get to the end and you still don't know."
"What a rip-off! Then it starts over again."
"Right! But I guess what that does — and I'm just thinking of this as I'm saying it — is it makes it clear that the focus is on something else, that the direction, and what's being studied or looked at, is not that. It's not that story, it's not that content that we read about every day in a newspaper, in a novel or in a movie."
"Do you think that your work offers something that is intentionally excluded from mainstream popular culture?"
"Yeah, I think that one of the driving engines of not just filmmaking and media imagery today in the larger culture, but in so many facets of culture is . . . time. You can look at conventional training in film as a study in the economics of time: How do you tell this story in a means that is economical, that propels the story forward, that doesn't sit there, and when the sun goes down you don't turn the camera toward the window and watch it go down for half an hour? That's one of the reasons that Andy Warhol's films were so extraordinary, because he just turned the camera on the Empire State Building for eight hours. It sounds like a gimmicky thing, but if you ever watch that or one of his other films, it's incredibly palpable, and strange. I think that the whole notion, since the development of the mechanical clock in the 14th century, of time being portioned and cut up into identical units day and night, doesn't accurately describe our inner experience. Anyone who's ever been awake at 3 o'clock in the morning and goes through their daily life at 3 o'clock in the afternoon knows damn well that awake at 3 in the morning is not the same as 3 in the afternoon at your job. So that subjective sense of self, of space, of time, has been diminished in the great push that civilizations and societies have had to universalize and quantify experience through the scientific method."
"Why doesn't that diminish your commitment to technology?"
"Well, if you look at how technology is evolving, I think it's very clear right now — and not coincidental — that a lot of recent technological development is centered on America, and what America represents, i.e., individualism. The whole big push in very recent digital technology with computers is about the individualizing of these machines so that you can customize with a gazillion menus and set it up exactly the way you want it, and have these tools reflect and contour to the individual who's using them in the same way that a hammer in the Middle Ages would take on the shape of the hand of the carpenter. So there's this dual thread in technology where through mass production and the industrial revolution it stamps everything out all the same, but on the other hand it's also representing a way that individuals can encounter the world on their own terms. I have a lot of faith that technology is part of our evolutionary process. I think the dilemma of technology is the dilemma of the human being."
Bill Viola(Photo by Larry Hirshowitz)
VIOLA'S TIGHTROPE WALK BETWEEN THE HORNS of that dilemma has become an ever more precise balancing act as he has reduced the spectacular theatricality of his work over the course of "The Passions." But the layout of the show seems to guide the viewer through an inverted version of this stripping-away process, building in tension to the final, cathartic environment. Viola has at one point mentioned Paleolithic cave paintings with an obvious sense of identification, and I couldn't help being reminded of accounts of these ancient installations. You would have to writhe on your belly through dark, narrow fissures for an hour to finally reach their cathedral-like caverns, where the wall paintings would spring to life by flickering torchlight.
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"This is the only sound piece and the only real old-fashioned Bill Viola environment; it's completely dark, with five projections of what you could only call altered scenes — turned upside down and backward — of men hitting the water."
Walsh is explaining Five Angels for the Millennium, the last piece in the exhibit and a work strongly reminiscent of the earlier Stations. "Mostly the figures levitate in some way: Instead of being dragged down by gravity into a watery death, they come exploding out." We move through the space where the gift shop will be installed, back to the lobby and the Six Heads perpetually contorting. "So you start with small silent studies of heads, and you make the circuit seeing increasingly theatrical enactments. Everything is clear and sharp and earthbound and human in the first part, and then you're sort of — out of this world."
Emerging into the light of day from Viola's crepuscular world is like awakening from a dream, and even though the slanting rays of the setting sun give the Getty a melancholic Mediterranean hush, it feels as if the movie has returned to its regular speed. On the drive home I happen to see a billboard for a PalmPilot or something with the catchy ad copy "30 minutes. Doodle or download?" and begin to have some doubts about Viola's optimism re digital technology's capacity to nurture individual creativity. Yet there is a fundamental rejection of authority in Viola's work that rings true, in spite of its reliance on state-of-the-art, corporate-produced electronics and its placement in the ultimate fortress of Western cultural hegemony that petrodollars built. Recalling the individual videos in my mind's eye, I am lulled back into that cyclical, contemplative mode of reality where our sense of categorical emotional isolation isn't quite what it seems, and for a moment — even though I'm creeping along the eastbound 10 at rush hour surrounded by thousands of hermetically contained human beings desperate to compress time — it feels like this is my story.
BILL VIOLA: The Passions | At the J. PAUL GETTY MUSEUM, 1200 Getty Center Drive | January 28 through April 27


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Dear Friend of GATA and Gold:
With the Associated Press report appended here, the German gold audit story has just exploded into the English-language press with some important revelations:
-- The gold vaulted by the German central bank, the Bundesbank, with the Bank of England "has fallen 'below 500 tons' due to recent sales and repatriations. ..." So despite the lack of official announcement, Germany lately has been selling gold from London -- perhaps as part of the secret "strategic activities" grudgingly acknowledged two years ago by the Bundesbank to GATA's friend, the German financial journalist Lars Schall:
The lack of announcement of the sale of the German gold in London suggests that the sale was actually part of a gold swap with another central bank -- like the New York Fed. That is, the powerful implication here is that German gold in London was sold at the behest of the United States and in exchange Germany took title to United States gold vaulted in the United States -- or title to gold supposedly vaulted in the United States. This way the Bundesbank could continue to claim ownership of the same amount of gold without lying, at least not technically.
As for the Federal Reserve and the U.S. Treasury Department, when you rig every market you can't worry so much about lying.
Of course such gold swaps were the target of GATA's federal freedom-of-information lawsuit against the Federal Reserve in U.S. District Court for the District of Columbia, a lawsuit concluded somewhat successfully last year, having pried from the Fed an admission that it has secret gold swap arrangements with foreign banks:
-- The Bundesbank is resisting accountability and has censored part of the auditors' report in the name of protecting secrets of the central banks storing the German gold. But why should there be any secrets about it? Nobody's asking for the combination numbers to the vaults, and the combination wouldn't do anyone any good anyway, as the vaults are guarded. Do these secrets involve gold loans and leases and other legerdemain? That seems to be the case.
-- The campaign to repatriate the German gold has gotten noticed in a big way.
-- The Bundesbank has been officially reprimanded by another German government agency for negligence in its custodianship of the national gold.
-- The Bundesbank won't let German parliament members inspect the German gold vaulted abroad because the central bank vaulting facilities supposedly lack "visiting rooms." And yet one of those vaults, the Federal Reserve Bank of New York, offers the public tours that include "an exclusive visit to the gold vault" -- provided, apparently, that you're not an elected representative of the German people:
GATA has made further informational requests of the Federal Reserve, Treasury Department, and State Department involving their gold records:
Since those agencies have failed to respond, GATA now is entitled to bring more freedom-of-information lawsuits against them. But we can't do that without sufficient financing.
The auditors' report about the German gold demonstrates that the Western central bank gold price suppression scheme -- part of a vast scheme of rigging all major markets -- can be exposed and defeated by persistent clamor and demands for information. If you haven't already considered helping us financially, please do so now:
CHRIS POWELL, Secretary/Treasurer
Gold Anti-Trust Action Committee Inc.
* * *
Unease about Germany's unchecked gold reserves
By The Associated Press
via Boston Globe
Monday, October 22, 2012
BERLIN -- Germany's central bank has failed to properly oversee the country's massive gold reserves, which have been stored abroad since the Cold War in case of a Soviet invasion, independent auditors say.
The central bank must renegotiate its contracts to gain the right to inspect its gold bars, which are worth tens of billions of dollars and are stored in the United States, Britain, and France, the Federal Auditors Office said in a report to lawmakers obtained by The Associated Press on Monday.
The report says the gold bars "have never been physically checked by the Bundesbank itself or other independent auditors regarding their authenticity or weight." Instead, the Bundesbank relies on a "written confirmations by the storage sites."
Most of Germany's gold reserves -- some 3,400 tons worth an estimated $190 billion at current rates -- have been kept in the vaults of the U.S. Federal Reserve, the Bank of France, and the Bank of England since the postwar days, when Berlin worried about a possible land war with the Soviet bloc.
The auditors maintain that the central bank must be able to at least inspect samples of its gold bars at regular intervals to verify their book value.
The report acknowledges that such inspections might be logistically complicated, but it stresses that "this cannot discharge [the bank] from the necessity to carry out an inventory."
The central bank said in a reaction to the report that was also sent to lawmakers Monday that it sees no reason for a physical inspection of the bars. "There is no doubt about the integrity of the foreign storage sites in this regard," it stated.
The debate on most of the gold reserves being held by foreign authorities has caused some inevitable conspiracy theories questioning their very existence, but several German politicians have also voiced unease.
Philipp Missfelder, a leading lawmaker from Chancellor Angela Merkel's center-right party, has asked the Bundesbank for the right to view the gold bars in Paris and London, but the central bank has denied the request, citing the lack of visitor rooms in those facilities, German daily Bild reported.
Given the growing political unease about the issue and the pressure from auditors, the central bank decided last month to repatriate some 50 tons of gold in each of the three coming years from New York to its headquarters in Frankfurt for "thorough examinations" regarding weight and quality, the report revealed.
An initiative backed by some German economists, industry leaders, and a few lawmakers dubbed "bring home our gold" launched in May has attracted some 10,000 supporters online so far.
But Finance Minister Wolfgang Schaeuble and others maintain that there is no reason to worry.
"I currently have no doubt about the stock and the storage of the gold reserves," said Priska Hinz, the opposition Greens top lawmaker on the budget committee. "I do not doubt the reliability of the foreign central banks," she told the AP.
Several passages of the auditors' report were blacked out in the copy shared with lawmakers, citing the Bundesbank's concerns that they could compromise secrets involving the central banks storing the gold.
The report said that the gold pile in London has fallen "below 500 tons" due to recent sales and repatriations, but it did not specify how much gold was held in the U.S. and in France. German media have widely reported that some 1,500 tons -- almost half of the total reserves -- are stored in New York.
Dear Friend of GATA and Gold:

subset: commoncrawl


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Some of the biggest brick wall-type difficulties I have run into in my fifteen years of genealogical searching are those of children either adopted or informally placed with families.
The first case that I ran into was that of my grandfather's "sister". The family story was that she was adopted by Moses and Lydia Bullard Adamson, my great grandparents. What I found odd, however, was that Moses and
were in their late 60's when they "adopted" Edna. They had already had twelve children. And the Civil War had effectively comprised Moses' ability to earn a living. He was incapacitated both physically and mentally ever since he returned from his War service. He never worked upon his return. Why would this family adopt an infant given these circumstances? Lydia
Edna was born in 1897 and was living with Moses and
and family in the 1900 census. She was listed as age two. Edna lived until 1982 and died at the age of eighty-five. She had married and had one child. (Picture is from 1922 of Edna and her son). Edna was always considered to be one of my grandfather's sisters and the family was very close to her. She even seemed to look and act like the other family members. Lydia
Upon Edna's death, it was found that she had not been adopted formally and her son found some documentation that indicated that her real name had been Edna Norris. This meant nothing to the family and it wasn't until ten years later, when I became interested (a nice work for obsessed) with genealogy that the mystery was possibly resolved. By that time, all of Edna's adopted family had died, leaving no siblings to answer the question of who Edna really was. But almost one hundred years after Edna's birth, I may have found the answer.
What I learned was that Mary Etta Bullard, one of
's first cousins, had been married to Oliver Norris. Mary and Oliver had a daughter, Elmira Norris, born in 1879. My speculation is that Lydia became pregnant, had the baby, and Lydia Bullard Adamson agreed to take the infant in. In the 1900 census, Elmira Norris is listed, as age twenty, with her mother and step-father in the same area as Moses and Elmira . It appears that perhaps Lydia raised her first cousin's granddaughter. Lydia
Two other cases involve people who are (probably) still living and who would be around sixty years old. But people aren't talking. And some of the involved persons are not living. One involves a child given up for adoption; the other appears to be a case of the child not being raised by the mother.
All of these types of cases take extreme patience. In my experience, nothing is ever a secret. There are always people who have information and someday I hope to solve the last two cases that have plagued me!


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The Penn State Hershey University Fitness Center will host two Go Red classes on Feb. 24 in recognition of Heart Month. A Zumba class will be offered at 5 p.m. and a Turbokick class will be offered at 6 p.m. Both classes are open to all UFC members as well as all Medical Center and College of Medicine employees and students. Those who attend either class are encouraged to wear red.
Registration is limited for both classes. Call 717-531-4313 to register.
Last Updated February 20, 2014


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Sigmoidoscopy is a procedure used to view the lower colon and rectum. This test can help find the source of belly pain, rectal bleeding, and changes in bowel habits. Sigmoidoscopy is also used as part of the screening for colorectal cancer. It is done using a sigmoidoscope, a flexible tube with a viewing lens and light.
If you're 50 or over, the American Cancer Society recommends having this test in addition to stool tests, every 5 years to screen for colorectal cancer. Your healthcare provider may also recommend other colon cancer screening methods such as colonoscopy.
Here is how to prepare:
Be sure to tell your healthcare provider about any medicines you take. Also tell your healthcare provider about any health conditions you may have.
Ask your healthcare provider about the risks of the test. These include bleeding and bowel puncture.
Your rectum and colon must be empty for the test, so be sure to follow the diet and bowel prep instructions. Otherwise the test may need to be rescheduled.
Here is what to expect:
The test is done in the healthcare provider's office or in a hospital endoscopy unit. You may wear a gown or a drape over your lower body.
The procedure usually takes 10 to 20 minutes.
The healthcare provider does a digital rectal exam to check for anal and rectal problems. The rectum is lubricated and the scope inserted.
You may have a feeling similar to needing to have a bowel movement. You may also feel pressure when air is pumped into the colon This is done so that the healthcare provider can get a better view. It's expected that you will pass gas during the procedure.
Usually you'll discuss the results with your healthcare provider right away, unless you're having other tests.
If biopsies (tissue samples) were taken, you'll want to ask when to contact the for results.
Try to pass all the gas right after the test. Otherwise you may have bloating and cramping.
After the test you can go back to your normal eating and other activities.
Call if you have any of the following after the procedure:
Pain in your belly
Dizziness or weakness
Excessive rectal bleeding. Slight bleeding or spotting is normal, especially if a biopsy was taken.


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8.21 (October 2018)
- Support for Windows 10 version 1803
- Ability to run user session up to 24 hours
- Ability to generate number of session codes up to 1000
8.20 (June 2017)
Support for Windows 10 Anniversary Update and Windows 10 Creators Update.
8.10 (February 2016)
Windows 10 features that WINSelect now allows you to control:
1) Hiding Windows Action Center.
2) Blocking Start Menu items:
– Control Panel
– Settings
– File Explorer
– Lock
– Sign out
– Most used
– Programs and Tiles on right-hand side of Start Menu panel
– Run
– Shut down
– Start Button Context Menu
– Taskbar and Start Menu
– Store Metro App
– Cortana
3) Limiting functionality:
– Uninstall of apps
– Pinning of apps to Taskbar
– Right-click on tiles and customization of Start Screen
8.0 (March 2015)
- Control Windows 8/8.1 Charms – Block the Windows 8 Search, Share, Start, Devices and Settings Charms.
- Control the Windows 8/8.1 Start Screen – The following options are available to control the user experience:
- Disable the Windows 8/8.1 Application Bar
- Disable the Windows 8/8.1 Task Switching Bar
- Disable the right-click on Windows 8/8.1 Start Screen tiles
- Disable the uninstall of Windows 8/8.1 apps.
- Disable the pinning of Windows 8/8.1 apps to the Taskbar
- Prevent customization of the Windows 8/8.1 Start Screen
- Boot to Desktop – Option to always boot to Desktop, instead of the Windows 8/8.1 Start Screen.
- Disable Start Button Context menu – Disable the context menu that appears on right-clicking the Start Button in Windows 8.1.
- Disable Internet Explorer Address Bar – Disable the Address Bar in Internet Explorer 9.X onwards (In Windows 8/8.1, the address bar can be blocked in the desktop version of Internet Explorer only).
7.60 (February 2014)
• Support for Windows 8.1
• Support for Internet Explorer 11
7.50 (May 2013)
• Support for Windows 8.
• Support for Firefox up to version 20
• Support for Internet Explorer up to version 10 (metro Internet Explorer not supported).
• Support for Microsoft Office 2010 and 2013.
• Support for Internet Explorer 9.
• Support for 64-bit Operating Systems.
• Enhanced compatibility with Deep Freeze Enterprise v7.1 and higher:
By providing a seamless integration, IT administrators can now configure and enable WINSelect from the Faronics Core Console without having to Reboot Thawed. This removes steps in the maintenance process and still ensures that workstations can be locked down with WINSelect without altering or disabling the original Deep Freeze configuration.
• Simplified Chinese localization added.
• Support for Windows 7.
• Support for Microsoft Office 2007.
• Support for logon scripts.
• Visual indication of menu recording status.
• Fast enable/disable via system tray icon shortcuts.
• Countdown timer that indicates the remaining user session time.
• Indicator that shows if printing is or is not allowed as well as the number of remaining pages from the printing quota.
• Warning message can be shown a pre-set number of minutes before the user session expires.
• Increased control over user session codes.
• Improved session code generation for increased readability.
• Logoff / Logon is not required while applying WINSelect parameters.
• Installation file is now an EXE and is therefore localized in English, French, German, Japanese, and Spanish.
Version 7.0
First release of WINSelect 7.x.


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Charles Dickens would have appreciated 2007. So would Clint Eastwood.
The year had some of "the best of times" and some of "the worst of times" as well as a fistful of good, bad and ugly.
West Texas cotton farmers are completing harvest of one of the best crops many have ever taken to the gin. Irrigated yields pushing, and in some cases exceeding, four bales per acre are far from rare. And more than a few farmers are making dryland yields averaging better than two bales per acre.
"That will work," said Steve Verett, executive vice president of Plains Cotton Growers Inc.
Verett said grades have been exceptionally good from this crop.
Farmers in Central Texas and throughout the Rolling Plains also reported exceptional yields from the 2007 crop.
Oklahoma cotton made exceptionally good yields. Danny Davis, Elk City, said his crop was one of the best he'd seen in years.
On the flip side, however, much of the South Texas crop suffered from too much moisture from early on through harvest. Some growers said one of the most promising crops they had seen in years deteriorated in the fields in mid to late July as almost daily rains prevented timely harvest.
Wheat producers in the Texas Plains made decent yields. Farmers to the South and into Oklahoma did not fare as well. Central and Northeast Texas wheat producers waited to harvest as some of the best wheat many had seen in years while almost daily rain kept combines out of the fields. Producers were cutting well into July and at least one Northeast Texas grower said he left 1200 acres in the field and had to quit to start cutting corn.
He said the wheat yield was exceptionally good but quality was just as exceptionally bad. His corn crop was good.
Milo producers throughout most of the region made good yields. The exception, again, was South Texas where the same rainy conditions that ruined cotton prospects caught mature milo in the field. Growers scrambled to harvest during any dry spell and turned to four-wheel drive, extra large tires and even tracked vehicles to get the crop out of the field. Yield prospects for much of the area's grain sorghum was excellent but sprouting and high moisture content hurt grades.
Fall weather was near perfect for cotton harvest in West Texas, Oklahoma and Kansas. Dry conditions gave farmers plenty of opportunity to get the crop in.
That dry spell caused problems for fall wheat seeding, however. In late November, Rolling Plains farmers were seeding wheat into dust. Many pastures had begun to want for moisture and little wheat for grazing had survived in West Texas.
Folks made good hay in 2007.
John Fuston, Texas Farm Service Agency state director, said agriculture across the country did well in 2007, with a $79 billion export market, up $11 billion from last year. "We had record sales for grain, oilseeds and cotton. Biofuels also helped improve our markets."
Fuston said Texas production also sows promise. "We'll make more than 7 million bales of cotton, up 20 percent from 2006. We'll harvest 266.9 million bushels of corn, up 52 percent from last year. That's a 144 bushel per acre average yield."
He said milo at 96.6 million hundredweight is a 176 percent increase over 2006. Soybean production is one-third better than in 2006 and wheat, at 3.8 million acres harvested is a 1.4 million acre improvement.
"The year 2007 was a good one for Texas farmers," Fuston said. "It's easy to see that the 2002 farm bill was effective."
Todd Staples, Texas Commissioner of Agriculture said agriculture will contribute more than $100 billion to the state's economy this year. "That's a big economic impact," he said. Staples also spoke at the Texas Commodity Symposium.
"It's a prosperous time for Texas agriculture but the work's not done. If we stop pushing forward we will fall behind."
He said Texas agriculture stands to take a major role in decreasing the country's dependence on foreign energy. "We need to look at the feed versus food versus fuel dilemma," he said. "We can meet all those needs. We're not dependent on foreign food and we should not be dependent on foreign oil."
He said agriculture would tap into new technology, "as it has always done to do things better."
Staples said a big challenge for agriculture is to "make our urban neighbors understand what agriculture does for them. We have to build alliances. We have to tell our story to people with different interests."
Many Southwest farmers would take a carbon copy of 2007 for next season.


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Rush Limbaugh Injects Race Into Murder Case In New Attack On Civil Rights Leaders
Blog ››› ››› THOMAS BISHOP
Radio host Rush Limbaugh injected race into the story on the murder of an Australian college student in Oklahoma and attacked civil rights leaders for not speaking out, even after the violence was condemned by Rev. Jesse Jackson.
On August 21, three Oklahoma teenagers were charged with the murder of Australian college student Christopher Lane in Duncan, Oklahoma. The three teens who have been identified as two black males and one white male claimed, "We were bored and didn't have anything to do, so we decided to kill somebody."
Despite having no evidence that the crime was racially motivated, Rush Limbaugh called the murder "Trayvon Martin in reverse, only worse," claiming the teenagers "got bored and said, 'Let's go shoot a white guy!'" Limbaugh added that Obama and civil rights leaders "didn't care about Trayvon Martin," they only wanted to "advance their political agenda," but this murder doesn't do that:
After the teenagers were formally charged with murder, civil rights leader Rev. Jesse Jackson wrote on Twitter that he was "Praying for the family of Chris Lane":
After Jackson's tweet, Limbaugh claimed Jackson's statement was only "mildly objecting to something" and added that "whoever tweeted it, I'm not feeling a lot of moral outrage there." Limbaugh concluded that "at least it's not a smiley face."
The right-wing media also used the killing of Trayvon Martin to attack civil rights leaders, accusing them of being "race hustlers" who "make a living off inflaming racial tensions."
UPDATE: Jackson and his organization, the Rainbow PUSH Coalition, released a full statement on the "violent shooting." The August 21 statement spoke of the "black on black violence that disproportionately affects every facet of black life in America" and called on "each of us to a [sic] collectively resist all forms of violence in our society":
The recent incidents of violence in America most notably the murder of Christopher Lee an aspiring student athlete from Australia in Oklahoma and the attack of a student on a school bus in Florida once again calls each of us to a collectively resist all forms of violence in our society. In particular black on black violence that disproportionately affects every facet of black life in America. These horrific episodes that leave all rationally thinking people appalled and others feeling paralyzed cannot be addressed by our silence and or abdicating our personal responsibility. We urge all persons who believe as we do in the King principle of peace all over the globe to rise to the challenge to pursue and promote peace and its principles. We must learn to live together in peace or we will most assuredly die apart in our own neglect.
America's prisons are bursting at their seams and the injustice in our criminal justice system erodes the faith all should have in a democracy so that all believe and trust that it works for all of its citizens. Countless numbers of youth are caught in the vice of violence that leaves an indelible mark on its victims, communities are terrorized, and many live in urban policed militarized zones. This perpetuates an evolving taste of disgust that can only be quenched by our voices and resources used in a concerted effort to enhance and advance crime prevention in our communities. As we remember Dr. King who likewise was victim of gun violence we must all defend the dream of a free and peaceful America.
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« | Main | Individual Responsibility--Posner's Comment »
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If Buckley's legacy has been exaggerated, it is only because he had a disproportionate influence on today's political commentators and enthusiasts.
In addition to sharing Posner's skepticism about the truth-value of any given religion, I totally agree with Posner that William F Buckley's supposed influence is grossly exagerrated. I never met him in person, but to me he came off as a kind of pompous know-it-all, which turned me off as a young adult (I admit I was geek for watching "firing-line" as an adolescent, probably not his target audience). With respect to JS Mill and the convention liberal platitude of "my rights ending where nose begins", this formula is of no avail on solving real-world conflicts which -- as Coase noted in his famous social cost paper -- are "reciprocal in nature". I won't go any further here since that is the subject of a book-length project I am working on. But suffice it say that -- to use an example of my beloved prof guido calabresi -- to protect silence lovers we must impose a harm on noise lovers. So the real question is not so much who harms who, but which harm-producing activity can be modified at least cost
I think we have to remember that, whatever the quality of conservative or libertarian ideas, if you don't have someone to spin them and get rid of leftist intertia (like Buckley), you're gonna have a very hard time getting any ideas across. Coming from Australia, I can say that an intellectual battle (known as the 'history wars') has been waged for over a decade now. Leftists have been driven back to their intellectual caves, but there was only one real leader for the right-wing side: our (recently deposed) Prime Minister John Howard. Public intellectuals work in an environment deprived of quality, evidence or diversity of opinion, and finding someone to challenge the orthodoxy is extremely rare (out of 21 million people our guy had to balance this with his Prime Ministerial responsibilities). So I think that, whether or not he really understood market economics, and whether or not you agree with his opinions, it is sad to see a conservative like Buckley pass away. A conservative or libertarian public intellectual is a very rare and special thing.
My understanding of John Stuart Mill is that he did not believe that "people have a moral entitlement... to engage in any and all conduct that does not create a palpable harm to other people." Mill was a utilitarian, but he explicitly renounces in On Liberty any independent utility for liberty -- his support of the harm principle is based on his views of its relatively beneficent consequences: "Mankind are greater gainers by suffering each other to live as seems good to themselves than by compelling each to live as seems good to the rest."
My understanding of John Stuart Mill is that he did not believe that "people have a moral entitlement... to engage in any and all conduct that does not create a palpable harm to other people." Mill was a utilitarian, but he explicitly renounces in On Liberty any independent utility for liberty -- his support of the harm principle is based on his views of its relatively beneficent consequences: "Mankind are greater gainers by suffering each other to live as seems good to themselves than by compelling each to live as seems good to the rest."
Judge Posner:
Shouldn't " began in the Clinton Administration and expanded in the Reagan .."
read "began in the Carter Administration and expanded in the Reagan … "?
"However, the stagflation of the 1970s exposed the failure of conventional "liberal" (in the welfare-state sense) policies..."
Professor Becker, thank you for your insightful post. I'm curious as to this specific line though...I'm no economist and have very little background in understanding the effect of various policies. Perhaps the economic community has pounded this issue repeatedly and has firm conclusions as to the cause of stagflation in the 1970's. My question is this:
What was the effect of non-socially liberal policies on creating the stagflation, such as the prolonged Vietnam war, and the oil embargo? Was the stagflation totally the result of welfare policies? Does spending on military, war, or costs spread across the board on energy NOT effect the economy from a stagflation standpoint?
If we were to spend our money today on providing an expanded medicare and health care coverage for everyone up to 18 years of age, and not on a war in Iraq, would this have a more detrimental impact leading towards stagflation than our current spending arrangements? Does it depend on the amount of dollars spent? Or are the allocations and subsequent economic calculations set up so that military spending and does not have the detrimental impact?
This essay covers a lot of recent history and territory. My first introduction to Buckley came as a junior high school student who stumbled upon him pontificating on some topic on television at a friends house. My initial response at the time was, man!, this guy uses a lot of polysyllables (big words) and not only that, he talks funny. Some would say "erudite", but I still think he talked funny. Anyway, the desire to play a quick game of pickup baseball at the school yard won the day. Sorry Bill. BTW, a copy of the National Review's rhetoric for writers, "The Art of Persausion", sits close at hand in the bookshelf by my desk. He may have had more of an impact on the Nation's children and education than was thought. Though I still prefer Mencken.
As for the likes of Joe McCarthy, he was Wisconsin's gift to America. At the time he was the driver of the biggest "Bandwagon" in town. I would put him in the same category as P.T.Barnum with his Greatest Show on Earth (unfortunately a lot of people got hurt). In the end though, large numbers of suspected Liberals and Commies, both real and imagined were purged from the government. I'm surprised he didn't go after Eisenhower.
Posner writes:
"Modern conservatism, to the extent that it is a coherent movement, combines free-market economics (to a degree) with political and social conservatism (tough on crime, strong on national defense, friendly to religion, critical of liberal social values, hostile to trial lawyers and judicial activism). It was not a movement created by Buckley, able journalist and polemicist though he was."
If Buckley didnt create this synthesis, he created the magazine, National Review, where it was expounded by Frank Meyer in 1959, and he at least gave it a forum for articulation. This task was ideological, journalistic and political in ways that Posner under-rates, mainly because he doesnt share the enthusiasms of the whole coalition. Pity, because Posner as a free market libertarian owes much of such successful reforms to those political leaders, like Reagan and Gingrich, who did. He admits that indirectly; there is not a majority for free markets; the coalition is a political one, not ideological, which together can be a political majority. Buckley was indespensible to modern conservative movement precisely because he made that improbable union look natural and inevitable through his passion and articulation.
Buckley was one of the great "connectors" (tipping point reference) whose contribution was as much to bring to the fore the genius of others who could play a role in that free-market anti-communist traditional values synthesis. Buckley was not an economist, let alone a great economist like Hayek or Freidman, but he was friends with both, and he gave them avenues for preaching the free-market gospel to the conservative 'base' via "Firing Line". It was through Buckley that I first heard of, read and got to appreciate Hayek; I suspect many more learned of Hayek through Buckley's avenues of popularization than learnt of him in graduate economics seminars.
I could cite other causes, groups, or individuals where Buckley had a part in 'stirring the pot'. His enthusiasms were wide-ranging and his journalistic output prodigious. Perhaps some oped writers who were under Buckley's wing over-estimate his influence, but Posner has managed to do the opposite.
Ha ! Shaum your "questions" are so incisive that I think you are too modest and have a very good idea of the answers; let's see if we agree:
"However, the stagflation of the 1970s exposed the failure of conventional "liberal" (in the welfare-state sense) policies..."
jjj.... This unsupported clinker caught my ear as well.
What was the effect of non-socially liberal policies on creating the stagflation, such as the prolonged Vietnam war, and the oil embargo? Was the stagflation totally the result of welfare policies? Does spending on military, war, or costs spread across the board on energy NOT effect the economy from a stagflation standpoint?
........... hmmmmm you noticed? Then as now the war was bleeding us economically. It's NOT a coincidence that Nixon had to either devalue the dollar or take us off the "gold standard" and let it........ try to float. Well, in terms of oil, gold, silver and R/E it sank. Then, as today, soaring oil prices (or shrivelled dollars? As today?) unleashed cost-push inflation.
Then, as today, our Fed Reserve responded to cost push inflation as if it were demand pull inflation and dramatically tightened money. Tight money and continued inflation, of course, pushed up interest rates; bankers and others like to get a return that's above the rate of inflation.
If we were to spend our money today on providing an expanded medicare and health care coverage for everyone up to 18 years of age, and not on a war in Iraq, would this have a more detrimental impact leading towards stagflation than our current spending arrangements?
jjj.... Look around? The nations NOW spending money on comprehensive health care for all "under the age of 120" are enjoying strengthening currencies and balance sheets that do not include $700 billion in trade deficits. In short? No. But truth IS we are burdened down with spending nearly twice what the civilized nations spend on healthcare plus the hefty costs of the "war".
The US did not learn the lesson when it was presented to us in the early 70's and with "cheap and abundant oil" we've gone on as wastefully as you can see by looking at the mix of "autos" on our highways and use far more oil per unit of GDP than the EU and all other countries, so............... it's fairly predictable that high oil prices will impact the US economy much harder than in the nations that have had energy demand dampening policies in place for decades.
Toss in FLAT and declining wages leaving zipnada for discretionary spending and their you have it; a fine recipe for the dreaded stagflation.
Ha! Congress is discussing what to DO about it. But, instead of having a surplus or even a low national debt that could have been accumulated in the better times, they've little with which to use to spur the economy and tacking pump priming spending onto the already huge debt to be passed on to the next generation is a strong argument against federal spending.
It's all something of a shame as we DO need to spend heavily on the repair of highways and other public infrastructure and these projects gin up job creation at all levels and in many disciplines.
In addition to the list of bridge repairs etc, a recent (Atlantic) article mentions $80 billion per year being lost due to traffic delays. But do we dare to tackle a trillion worth of delayed maintenance with the costs of the senseless warmongering and atop the massive DEBT as interest on the debt IS our fastest growing obligation?
With some 10% of the workforce either unemployed, "out of the work force" or "marginally employed", I'd venture we should get on with it as surely it's better to have even more debt and have the asset of a modern infrastructure than to wallow in stagflation with ten percent of our people enduring the joblessness and low pay that is NOT going to re-fill our Federal coffers.
End the war, invest the money in the US, lead by example, carry a big stick but use it rarely?
Ahh... the battle lines are drawn. Will it be a Conservative Supply-Side solution, or the Liberal Keynesian solution? Perhaps the best solution is to determine which side has the most light poles on its side.
Instead of defining the "best" economic system based on political ideology, perhaps we ought too return and study the analyses of Freidrich List in the "National System" or Henry Carey's in "The Harmony of Interests, Agricultural, Manufacturing, and Commercial".
It is doubtful much viable change will happen. It's much more fun to drive up and down the streets in the bandwagon drumming up support and taking control of the light poles.
Just more dominant ideas of the dominant class.
The Soviet Union failed therefore Hayek was correct about self-regulating markets?
Meanwhile, markets have failed again. And only Government interventionism will once more save them.
I know Buckley did not support civil rights legislation but is that so disreputable as Posner and Becker imply? I read once an old piece published in NR about race and civil rights and it more or less endorsed the white supremacy line, which is what I think Posner and Becker mean to associate to Buckley himself.
I have not, however, ever seen anything Buckley he himself wrote along these lines. Maybe it's out there. Could somebody provide a link or quotation? Lots of people opposed civil rights legislation for sound and principled reasons, so I'm assuming Becker and Posner have described his views on civil rights as "repugnant" and "disreputable" because they have something more concrete in mind.
I used to be a weekly reader and occasional commenter on this blog. I really enjoyed how most of the time Becker and Posner would respond to their commenters each week. Why did they decide to stop with that interactive approach? Besides this minor gripe, the blog remains excellent.
Neil, I've lived through several eras in which each medicine might be prescribed. In the mid-60's with a roaring economy employing ALL of our productive assets it seemed wise to incent "supply side" investment to spur the building of additional capacity. Even then, it's not a clear case as with ALL working with about as much overtime as anyone would want; who would build the additional capacity no matter what federal incentives were available?
In recent years, we've NO capacity problems and where they MIGHT pop up either a new immigrant, and H1B Visa or offshoring the whole project solves the problem. Thus, "supply side" (trickle down) is fruitless as what is needed is more consumer demand for the surplus goods of the global economy. I GUESS, even Bernanke and Congress have finally gotten the message and are planning to knock down token amounts of ripe fruit in hopes of spurring demand.
Better, of course, for both demand, as well as more accurately deploying productive assets would have been wages of median and below rising in concert with the rising tide of productivity increases. Balance and timing is everything in dance, music and running an economy.
In the grand scheme of things, I wonder if Judge Posner would even be sitting on the Seventh Circuit (as opposed to being a full-time law professor) were it not for WFB, Jr.
Jack, The "trickle down" is a misnomer, it's more like "trickle out". As for that increased amount of money in the system, either through the Fed. Reserve or a tax give back by Congress, It's going to leave the country through either increased oil costs or foreign products that dominate the market place. In the end it will just leave the Nation a little poorer and less able to cope economically.
Have you heard, the U.S. can no longer produce enough small arms ammunition to supply it's forces in Iraq or Afganistan and has had to let a 300 million dollar contract out to Korea to produce it? That's probably got Hamilton rolling over in his grave.
Correction for my previous post...I mistakenly thought this was Prof. Becker's entry.
Jack, I think we are in agreement, but you have a much clearer idea of what is going on. Nice post.
Posner is caricaturing Buckley. For instance, he claims that Buckley supported a "bellicose, even militaristic" opposition to the Soviet Union, but that is a gross oversimplification. Buckley certainly did not support a preempitve strike on our adversary--as Posner implies--but wanted the United States to take a more assertive approach in the Cold War.
"Apart from his libertarian streak, Buckley's policy positions were not, for the most part, sound," Posner tells us. And he goes on to sight Buckley's support for Joe McCarthy 50 years ago. But Posner seems unaware that Buckley renounced McCarthy, saying many times that the man "did more harm than good." Again, Buckley's position here was much subtler than Posner sees. Buckley thought that the cause of ridding the government of the likes of Alger Hiss and Julius and Ethel Rosenburg was a noble one, but that McCarthy pursued that cause with an unforgivable recklesness, in part due to alcoholism.
Really, Judge Posner should know more about the people he chooses to criticize. Gary Becker's post was much more insightful and much fairer to the man. Buckley was not scholar on a par with Friedman or Hayek, but like them he did a great deal to persuade other intellectuals that socialism was a serious threat to our liberty and resulted only in the degradation of man.
"sight" should read "cite", of course, in my post above.
Without Buckley, there would have been no Goldwater candidacy. Without Goldwater, there would have been no Reagan. Without Reagan, it's possible Jimmy Carter would have been re-elected. I won't continue the line of thought, as I think Buckley's value is now established.
rwe--Posner has made a habit of this. Remember when Milton Friedman died? Posner confessed that he hadn't read much of Friedman's work, and then launched into a largely critical discussion of the great man.
The more I read the obituaries Posner writes, the angrier I get.
Neil and Shaun, thanks and good point Neil that efforts to spur are less effective due to the leakage to nations that make our stuff, supply our oil, and increasingly, supply us with LNG.
I think the US multiplier effect was about 4 and in Alaska I think we figure about 2 because it so much goes to goods that are shipped in and the money leaves the state. Still, so far, our trade deficits are less than 7% of GDP so perhaps our leaky boat can still make another crossing. It is high time though for us to either increase our means or ........... learn to live within our means. Even after the stock market rally, today the buck made a new low against the Euro.
Neil and Shaun, thanks and good point Neil that efforts to spur are less effective due to the leakage to nations that make our stuff, supply our oil, and increasingly, supply us with LNG.
I think the US multiplier effect was about 4 and in Alaska I think we figure about 2 because it so much goes to goods that are shipped in and the money leaves the state. Still, so far, our trade deficits are less than 7% of GDP so perhaps our leaky boat can still make another crossing. It is high time though for us to either increase our means or ........... learn to live within our means. Even after the stock market rally, today the buck made a new low against the Euro.
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VP Marketing & Strategy Senior VP Global Sales


text:
Physical Sciences
Research Highlights
December 2006
Discovering the Details of Dissolution
New combination of technologies gives insights into one of the most fundamental chemical reactions
Researchers at PNNL brought together a combination of theoretical and experimental approaches to determine the number, relative positions and motions of the liquid molecules surrounding ions.
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Results: Ions in a liquid are like celebrities at a movie opening; surrounded by fans who jostle each other to get as close as the velvet ropes around the red carpet will allow. So it is with ions in water or other liquids. Researchers at Pacific Northwest National Laboratory brought together an unusual combination of theoretical and experimental approaches to determine the number, relative positions and motions of the liquid molecules surrounding the ions. This work is an initial step in developing fundamental principles that explain how ions move in complex systems.
Why it matters: While table salt dissolving in water or another solvent to form positive and negative ions may seem to be the province of elementary school science classes, the knowledge of the structure formed by the ion and the first layer of solvent molecules that surround it has broad applications, from understanding how pollutants move in the soil to how neurotransmitters work in the brain.
Further, the researchers hope other scientists can apply the novel combination of approaches developed through their work to other molecular studies. This broad applicability is why their paper was selected to grace the cover of the Journal of Physical Chemistry, Part B.
Methods: By combining two techniques that are not commonly used together, the team created simulations, or short video clips, that show the location of the ions and the water molecules. The first technique, known as Extended X-Ray Absorption Fine Structure spectroscopy, uses X-rays to probe the relative positions of atoms in a solution. The second technique uses advanced calculations and molecular modeling to simulate the structure and motion of relevant systems. Then, the team showed the accuracy of the molecular modeling by comparison to the x-ray spectroscopic measurement.
What's next: The researchers hope to continue exploring the relationship between ions and liquids.
Collaborators: The team collaborated with researchers at the Advanced Photon Source at Argonne National Laboratory.
Funding agency: The U.S. Department of Energy Basic Energy Sciences, Chemical Sciences Division, funded this research at PNNL and Argonne National Laboratory's Advanced Photon Source.
Citation: Dang, LX, GK Schenter, VA Glezakou, and JL Fulton. 2006. "Molecular simulation analysis and x-ray absorption measurement of Ca2+, K+ and Cl- ions in solution." Journal of Physical Chemistry Part B 110(47):23644.