|Wilfred R. Bion||Karnac Books||ePub|
I am reminded of the Millais Culpin case: the patient committed suicide after an interview when Culpin told him that analysis was not suitable for him. Culpin was blamed by the coroner and attacked in The Times, which suggested that an end should be put to psycho-analysis.
With this patient it is essential never to forget that one is dealing with a schizophrenic. That is to say that one should never forget that the patient is both murderous and irresponsible, and that ‘common sense’, i.e. the common sense of the society, dictates a particular diagnosis and a particular attitude of individual members of the society to the patient. Resistance to this dictation carries the penalties which the group always threatens to exact from those who resist its dictates. The ‘common sense’ of the patient, however invisible and undetectable it may seem to be, tells him this, for he has common sense though he makes uncommon use of it.
Although the analyst must never cease to be a member of his group, and must be correspondingly sensitive to its dictates and the risks his ignoring of these dictates carries, neither must he ever permit the ‘socialism’ of his orientation to obscure the immediate vivid reality that confronts him in the consulting room. The patient knows this too; he is prepared to play his part in exacting a heavy penalty if the analyst does not behave with the perspicacity that is not only demanded by the work, but also by the patient's determination that the analyst should support, by his conduct in devoting his exclusive attention to the patient—no matter at what cost to himself—the patient's narcissism against his ‘socialism’. (And also be as socially ostracized.)See All Chapters
|Jennifer Niederst Robbins||O'Reilly Media||ePub|
At its core, web accessibility is about building web sites, applications, and pages so that there are as few barriers to use as possible for anyone, regardless of ability and the device used to access the information. Web accessibility goes beyond creating a more usable Web for persons with disabilities, too. Many of the techniques and principles designers apply to make web content more accessible to people with disabilities also improve accessibility for those using slower connections who might have the images off as well as increase interoperability with handhelds.
For sites to be accessible, we have to let go the notion that we know how people use our web sites. We have to understand the nature of the medium in which we work. And, we have to be willing to embrace "universal design" and to use web development techniques and code that support accessibility.
There are four broad categories of disabilities that have an impact on how a person interacts with a web site: vision impairment, mobility impairment , auditory impairment, and cognitive impairments.See All Chapters
|John Ferguson Smart||O'Reilly Media|
Continuous Integration with Hudson
8.1 An Introduction to Hudson
Hudson is a relative newcomer to the Continuous Integration (CI) field. However, despite its relative youth, it is probably worth considering for any new CI projects you might be starting. Hosted by Java.net, Hudson is actively developed and maintained by Kohsuke Kawaguchi, who is working for Sun Microsystems at the time of this writing. This innovative product is widely used within Sun, and is starting to build up a sizeable user base because of its ease of use and slick user interface. It has also recently been adopted by JBoss (see http://hudson.jboss.org/hudson/).
In many regards, Hudson has considerably fewer features then the some of the other
CI tools such as Continuum (see Chapter 5) and CruiseControl (see Chapter 6). It concentrates more on Subversion and CVS-based projects, and provides only a limited number of notification techniques. The product is still somewhat young, and a little immature, but the features it does have are extremely well thought-out, with some being quite innovative. Hudson is also extensible, and a growing collection of plug-ins are available on the Hudson web site.See All Chapters
|Alan B. Eppel||Karnac Books||ePub|
The meaning and significance of the concept of “personality”, as we saw in chapter three, has been the subject of debate for many decades. Within psychiatry two types of personalities are broadly recognized, those that are deemed normal and those that are deemed abnormal. Personality refers to enduring traits and characteristics of an individual that persist throughout his life and are formed early in development.
Personality type is determined by a combination of inborn temperaments, the quality of attachment relationships and later life events. Each personality type is distinguished by an associated combination of defence mechanisms. For example obsessive personality is associated with the defences of intellectualization and reaction formation; projection is one of the defences routinely seen in people with borderline personality.Many of the personality disorders are commonly recognized within our culture and vernacular. We have all heard of narcissistic, obsessive, histrionic and dependent personality types. In the official classification of the American Psychiatric Association, the Diagnostic and Statistical Manual (DSM) 4th edition, each personality disorder has a list of criteria which must be fulfilled in order for a diagnosis to be made. This classification gives the mistaken impression that personality types are in fact unique categories. In reality, nobody is a pure narcissist or pure obsessive. We all possess many of the traits found in the different personality disorder types. In fact, a dimensional view of personality would be more accurate in that all of these individual traits exist in gradations. For example, some people may be more obsessive than others, but most of us probably have some degree of obsessive traits such as conscientiousness and orderliness. Similarly most of us have dependent and narcissistic traits, which vary in degree along a continuum.See All Chapters
|William Brown||Indiana University Press||ePub|
Colleagues, friends, students, and audiences find Menahem Pressler to be such a remarkable human being and such a strong force in music that the natural response is to express their appreciation to him and attempt to put into words the significant impact he has had on their lives. But as his daughter, Edna, notes, “He doesn’t want to take time for tributes. He values getting right to the instruction.” Nevertheless, it seems appropriate to include here some of the many laudatory comments received from the numerous people whose lives Pressler has touched over the course of his unparalleled career.
Pressler’s joyful smile, sparkling eyes, and eager encouragement when I got it right were contagious and danced their way through my week between lessons. From him I learned about imagination and creativity that were almost childlike in approach, full of joy, poignancy, and even spirituality. He was spontaneous and effervescent. His detailed attention and enchantment with color, touch, visual imagery, and emotion opened a new world to me. In studying the Schumann Papillons, I remember the intensity of Pressler’s search for meaning and [the] individual character of each of those delightful pieces and their individual sections. His amazing sense of timing, balance, contrast, and color in the Chopin Andante Spianato and Grand Polonaise invited a rainbow of emotions and technical tools to be explored and transferred in future repertoire.See All Chapters
|Lam Quang Thi||University of North Texas Press|
6 u.s. command & general staff college
THE FINAL LIST OF STUDENTS for the USC&GSC’s 1963 Fall
Course included two lieutenant colonels and three majors. Since I was the most senior officer, I was the de facto group leader.
A few days after we arrived at Fort Leavenworth, we heard the news of the raids on the pagodas in Saigon by armed troops. We learned later that Nhu had ordered his henchman, Col. Le Quang
Tung, commander of the Special Forces, to use his troops camouflaged in paratrooper uniform, to raid the pagodas throughout the country. More than 1,400 monks had been arrested and some of them had been beaten. This brutal act of repression, in my opinion, had sealed the fate of the regime and marked the beginning of its downfall. Washington, as a matter of fact, was stunned by the pagoda raids. President Kennedy, at the urging of the McNamara-Taylor mission in Saigon, authorized the suspension of economic subsidies for South Viet Nam’s commercial imports and a cut-off of financial aid to the Vietnamese Special Forces, which were under the direct control of Nhu. The financial assistance would resume only under the specific condition that the Special Forces be put under the control of the Joint General Staff. The latter, of course, was controlled by the generals who were plotting against the regime.See All Chapters
|James Avery||O'Reilly Media|
NCover in a Nutshell
Many people have asked where NCover is going. Here are some of the features that are currently on the NCover roadmap:
Merging of coverage data from multiple runs of NCover
Code-performance profiling (function timing, etc.)
Branch coverage in addition to statement coverage
Better HTML output, including the source code
NCover is a powerful tool for determining how much of your code is executed during a particular test run. If you run NCover during your unit tests, you can get great feedback on how much of the code your unit tests actually exercise.
Keep in mind that the goal of code-coverage analysis is not to drive to 100 percent code coverage. It’s not always possible to get 100 percent code coverage in your unit tests, and even if your code is 100 percent covered, that doesn’t mean that there are no defects.
Code coverage is best viewed as a health indicator to help you get an understanding of how good a job your unit tests are doing.
The two primary uses of code-coverage analysis are to get an understanding of how much of your code your tests are covering (70–80 percent is a good goal) and to highlight which sections of code are never executed during the test run. Code that is never executed may be a good candidate for refactoring or removal.See All Chapters
|Michelin||Michelin Travel & Lifestyle||ePub|
Luxury $$$$ over $50
Expensive $$$ $30-$50
Moderate $$ $15-$30
Inexpensive $ under $15
Properties are located in Charleston unless otherwise noted.
Nationally renowned chef Bob Waggoner holds sway at Charleston Place Hotel, where his cuisine wins raves from diners and food critics alike. In 2006 both his menu and his dining room were revamped to celebrate the restaurant’s 10th anniversary. Light wood floors and creme-colored leather seating amid mahogany-paneled walls set the stage for a meal to remember. Dishes are divided into four categories. “Pure” spotlights simple preparations that stand out for their pristine flavors. The chef’s French training shines in “Lush” dishes that take their cues from classic technique.In the “Cosmopolitan” component, Waggoner plays with textures and temperatures, while the “Southern” portion of the menu shows off regional favorites. The wine list offers both New and Old World varietals among its 1,300 selections.See All Chapters
|Simon J. Knell||Indiana University Press||ePub|
The figure that faces the principal entrance is the most remarkable in this excavation, and has given rise to numberless conjectures and theories. It is a gigantic bust, representing some three-headed being, or three heads of some being to whom the temple may be supposed to be dedicated.
CAPTAIN BASIL HALL,
IN 1933, TED BRANSON AND MAURICE MEHL BELIEVED THE conodont would remain forever silent on the question of its anatomy. But they were wrong. Indeed, at the very moment they took possession of the fossil and turned it into a geological abstraction, new discoveries were being made that threatened to tear their utilitarian dream apart. These discoveries did not do so, however, because Branson and Mehl's bubbling pots of mud and practical science fit perfectly into a country infatuated with oil. Who, by comparison, really cared about the biology of a tiny, obscure creature? Who would willingly sacrifice the fossils’ usefulness for the sake of incorporating this new anatomical information? Carey Croneis, doyen of the new micropaleontology at the University of Chicago, certainly valued this practical turn, but he objected to the willingness of oil company geologists to sacrifice science for the sake of economic gain. He felt that the very integrity of the new science was at stake and called upon the industry to employ “men not only of adequate scholastic attainments but even more important, men of a high type of intellectual potentiality, which is, of course, a very different thing.” His was not a solitary voice, but the economic reality of the new industrial paleontology was never going to be affected by the moralizing of paleontologists in universities and museums. Ted Branson's son, Carl, for example, working for Shell in Texas in the late 1940s, revealed how fundamentally different this utilitarian world was: “It has been five years since I have seen many non-oil seekers; too long…. I'm mostly tied to hunting for grease and get no time for reading or research.”1 As a result, in the United States, two overlapping cultures developed around microfossils. One was committed wholly to the economic project. For it, fossils were no more than abstract tools, and biological concepts, such as evolution, simply devices to be used to distinguish as many unique “species” (or time markers) as possible. The other community also valued the practical benefits of fossils, but it saw the fossils embedded more properly in sciences that sought to understand the past conditions of the earth and life upon it. One group, fed on its greasy diet, soon grew obese in participants, while the other remained small and, since it trained the new oil men and women, could never fully separate itself from the practical science. For many types of fossil this division of labor caused few problems because the fossils themselves were simple objects. The conodont, however, was a biological mystery and it was, as we shall see, about to acquire considerable complexity. This produced an animal with a schizophrenic identity.See All Chapters
|Berkun, Scott||SC Publica||ePub|
|Collections||Rowman & Littlefield Publishers||ePub|
Elizabeth (Elee) Wood, Ph.D.
Associate Professor of Museum Studies, Director, Museum Studies Program, Public Scholar of Museums, Families, and Learning, Indiana University-Purdue University Indianapolis; firstname.lastname@example.org
Graduate Student, Public History Program, Indiana University-Purdue University Indianapolis; email@example.com
Audience Research Associate at the Philadelphia Museum of Art; Laura.Weiss@philamuseum.org
Christian G. Carron
Director of Collections, The Children’s Museum of Indianapolis; ChrisC@childrensmuseum.org
Abstract The Children’s Museum of Indianapolis, founded in 1925, is one of few children’s museums with a substantial collection. The changing needs of family audiences, and the museum’s shift in direction toward a family learning mission, began to raise several questions for the collections and curatorial staff regarding the selection of objects that would hold the greatest potential for use with family audiences. The questions led to the development of the Family Learning Object Rating and Evaluation System (FLORES). This case study describes the development of the rating instrument and strategies the team took to fine-tune its use through input from curators and museum visitor preferences. By drawing on inherent object qualities as well as visitor preferences, museums can find ways to better understand the visitor-object relationship and in turn move toward more intentional selection and inclusion of objects in exhibition planning.See All Chapters
|Joe Kissell||Take Control Books||ePub|
Continuing the theme of just put all my data everywhere is iCloud Photos, which consists of two sub-features. The first is My Photo Stream, which aims to make your most recent photos available, almost immediately, on all your iCloud-compatible devices. Without question, My Photo Stream makes it far more likely that your photos will be where you want them. However, this feature has a number of confusing aspects that I untangle for you in this chapter. The second sub-feature, iCloud Photo Sharing, makes it possible to share photo streams with other peoplealthough shared photo streams follow different rules from My Photo Stream.
You may have noticed that Apple has changed the terminology for its iCloud photo features since they were introduced. If youve been using iCloud for a while, these changes may trip you up, so let me explain. Originally, Photo Stream was the feature that kept your own recent photos in sync. Later Apple added Shared Photo Streams. Now, however, Apple refers to the personal photo syncing capability as My Photo Stream, to the sharing features as iCloud Photo Sharing (in certain contexts, the term Shared Photo Streams still appears), and to the two features collectively as iCloud Photos. In addition, Apple is now emphasizing the shared streams (by whichever name) as the central aspect of iCloud Photos, with My Photo Stream positioned more as an afterthought.See All Chapters
|Torsten Andreas Hoffmann||Rocky Nook-IPS||ePub|
In our contemporary society, which is characterized by suppression, melancholy is often frowned upon. Yet, what would art or the world of photographic images be without the special poetry of melancholy moods?
Although in today’s fun-loving society a melancholic person is seen as a spoilsport, Leonardo da Vinci saw melancholia as a special quality that was an important prerequisite of the artistic personality. However, in former times melancholia was not linked mainly to taking everything seriously; rather, it was defined as an impulse to seek out the depth and true nature of things in a quest to turn away from life’s superficialities. If you carefully read about the lives of numerous composers, writers, or visual artists, you will notice that melancholia characterized their lives. How much would the world lack if it didn’t have Hermann Hesse’s writings, Rainer Maria Rilke’s poems, Van Gogh’s canvases, Caspar David Friedrich’s grand landscapes, Edward Hopper’s urban scenes, Ferde Grofé’s suites, or Rachmaninov’s piano concertos? From this you can discern a fundamental truth: It is the nature of many artists to pour the “unbearable lightness of being” into an art form and to fathom the deep nature of things. Why should photography, as an artistic way of representing the world, not also participate in this expression? And it is especially in photography, as you have seen, that the tendency is to produce pretty, clichéd photos. In reality, viewing a sunset is certainly a fascinating and exhilarating experience, but it’s nearly impossible to avoid creating a clichéd photo of a sunset! A photo will only be really successful if, whenever possible, it does not compare badly with reality.See All Chapters
|Brantley, Peter||O'Reilly Media||ePub|
December 11, 2002
Editors Note: This 2002 essay is an important reference point for TOCs coverage on piracy and free distribution.
The continuing controversy over online file sharing sparks me to offer a few thoughts as an author and publisher. To be sure, I write and publish neither movies nor music, but books. But I think that some of the lessons of my experience still apply.
Lesson 1: Obscurity is a far greater threat to authors and creative artists than piracy.
Let me start with book publishing. More than 100,000 books are published each year, with several million books in print, yet fewer than 10,000 of those new books have any significant sales, and only a hundred thousand or so of all the books in print are carried in even the largest stores. Most books have a few months on the shelves of the major chains, and then wait in the darkness of warehouses from which they will move only to the recycling bin. Authors think that getting a publisher will be the realization of their dreams, but for so many, its just the start of a long disappointment.See All Chapters
|Richard Dallaway||O'Reilly Media||ePub|
Squeryl is an object-relational mapping library. It converts Scala classes into tables, rows, and columns in a relational database, and provides a way to write SQL-like queries that are type-checked by the Scala compiler. The Lift Squeryl Record module integrates Squeryl with Record, meaning your Lift application can use Squeryl to store and fetch data while making use of the features of Record, such as data validation.
The code in this chapter can be found at https://github.com/LiftCookbook/cookbook_squeryl.
You want to configure your Lift application to use Squeryl and Record.
Include the Squeryl-Record dependency in your build, and in Boot.scala, provide a database connection function to
For example, to configure Squeryl with PostgreSQL, modify build.sbt to add two dependencies, one for Squeryl-Record and one for the database driver:
In Boot.scala, we define a connection and register it with Squeryl:
All Squeryl queries need to run in the context of a transaction. One way to provide a transaction is to configure a transaction around all HTTP requests. This is also configured in Boot.scala:See All Chapters