Thursday, March 15, 2012

GOP candidates: Fix US economy or fail like Europe

ROCHESTER, Mich. (AP) — United in agreement for once, Republican presidential rivals warned forcefully Wednesday night the United States could be doomed to the same sort of financial crisis that is afflicting Europe unless federal deficits are drastically cut and the economy somehow revived.

Though sexual harassment allegations facing Herman Cain have dominated the GOP campaign for more than a week, the debate in economically ailing Michigan focused almost entirely on financial worries and proposed solutions in the U.S.

The candidates generally stuck to practiced speech lines — with a late exception. In the middle of one answer, Texas Gov. Rick Perry found himself unable to …

Italy health minister apologizes for botched birth

Italy's health minister has apologized to a new mother for an operating room fistfight between two doctors that led to her botched delivery.

According to news reports, Laura Salpietro had to have her uterus removed, and her son Antonio suffered heart problems following his birth Thursday in Messina's public hospital.

Hospital officials and Salpietro's husband, Matteo Molonia, say the …

Control and coping for individuals with end stage renal disease on hemodialysis: A position paper

Abstract

The hemodialysis regimen required to treat end stage renal disease (ESRD) can be extremely rigid, requiring individuals to adapt to and cope with multiple acute and chronic stressors. Stressors for individuals on hemodialysis can be treatment-related such as dietary and fluid restrictions and ingesting handfuls of medications, or psychosocial in nature such as alterations in sexual function, changes in self-perception, and fear of death. Coping for individuals with ESRD can be adaptive or maladaptive. Adaptive coping can produce desirable outcomes, such as employment and successful functioning within the family. If coping is maladaptive, however, marital and family …

Wednesday, March 14, 2012

Pop songs, billboards help overcome fear of census after decades of war in Liberia

The deep distrust of government created by years of war is evident in villages like this one, a tough, long drive through the forest from Liberia's capital, where people don't understand why census workers have been chalking numbers on every house, lean-to, hut and shack.

"What do you think they want with my house?" says Monogo Kebeh, 70-year-old woman outside her mud hut here.

The census is an exercise as old as the Roman Empire, but in a country that has not had a one for a quarter century it's anything but ordinary. For more than a year, over 9,000 census-takers have combed the densely forested nation mapping every structure. For three days …

Vonn's Olympics end with slalom mistake, 2 medals

The Vancouver Games were supposed to be Lindsey Vonn's Olympics, and she wanted to finish them skiing, not watching.

So she went to the starting gate for Friday's slalom _ her broken right little finger protected by a plastic brace and encased in a soft crimson mitten instead of a sturdy white glove.

Her back and famously bruised shin were aching and she was well aware she had little chance in an event she has struggled in all season.

Friday was no different. Vonn's right ski slid too wide as she came out of a left-hand turn early in the first of two slalom runs contested through a veil of dense fog and snowflakes. She straddled a gate instead of …

Von Bulow has a backer in Irons

A movie about Claus von Bulow won't reveal whether the Danishsocialite lawyer tried to kill his heiress wife, Sunny, but thathasn't stopped the actor who played von Bulow from sympathizing withhim.

"Acting a part is like a detective story," said British actorJeremy Irons. "You're following clues. I've just got this gutfeeling about many of the things von Bulow did. Finally you work outa hypothesis and all the clues just drop in. And you think: That'sit."

The movie, "Reversal of Fortune," is based on the book by vonBulow's appeal lawyer, Alan Dershowitz.

Von …

APNewsBreak: St. Paul's campers could stay to 2012

LONDON (AP) — A lawyer for protesters camped outside London's St. Paul's Cathedral said Wednesday that authorities have offered to let the tent city stay until next year, as the leader of the world's Anglicans backed a so-called Robin Hood tax on financial transactions as one way to alleviate the global economic crisis.

The loosely organized demonstration against capitalist excess, inspired by New York's Occupy Wall Street movement, has wrong-footed both city and church officials since it began last month, defying pleas to leave and the threat of legal action.

Authorities have suspended legal bids to remove the tents. On Wednesday John Cooper, a lawyer for the protesters, said …

GM Europe chief still hoping for German assistance

The new president of GM Europe said Saturday that he was still hoping for German government financial assistance to restructure Opel, but added that even if Berlin fails to come through it will not mean more layoffs in the country.

Nick Reilly, who was named president of GM Europe on Friday after previously serving as president of GM International Operations, said in a conference call that Adam Opel GmbH was not going to be able to come up with the (EURO)3.3 billion ($4.97 billion) it needs on its own.

"There is a belief out there that GM has sufficient money in the U.S. that it can spend in Europe," Reilly said according to a transcript of the call …

K-O puts blackjack down for the count

After five columns on counting cards in blackjack, no doubt mostreaders are wondering why anybody would bother trying.

As promised last week though, there is an easier way than theHigh-Low count I've been describing. It's not so easy that justanybody can do it, mind you. It still requires keeping a runningcount with a plus-minus system, adjusting bet size in accordance withthe count and making some basic strategy changes. It also stillrequires a large enough bankroll to spread bet sizes - a player whowalks in with a $100 bankroll to make $5 flat bets doesn't benefitfrom this system any more than from the High-Low.

But the K-O count described in Knock-Out Blackjack …

July 4: From fireworks to hot dog eating contests

NEW YORK (AP) — Whether it's with an explosion of colorful fireworks, a hometown parade or just one burger too many, people across the United States will celebrate Independence Day Monday — each in his own way.

Thousands will camp out near the Washington Monument, eagerly the festivities there, while others will throw on a Hawaiian shirt and shorts and head for the still-snowy slopes at resorts from California to Colorado. If you're in Boston, the annual Boston Pops concert is a must. But if you're in Akron, Ohio, the Rib, White & Blue Food Festival is enticing. And then, there are Nevada's casinos. They're promising a pyrotechnics extravaganza that could be a gambler's best …

Thursday's Sports Scoreboard

All Times Eastern
American League
N.Y. Yankees 6, Baltimore 3 F
Detroit 12, Cleveland 6 F
Oakland 9, Boston 8 F
L.A. Angels 5, Kansas City 4 F
Chicago White Sox 4, Texas 3 F
Seattle 4, Minnesota 1 F

A well-traveled trophy Batterings haven't stopped Stanley Cup

Pity poor Stanley Cup, destined to be oohed, aahed and ogled,followed closely by dented, cracked and bent. Not to mention jetlagged. It's true, you always hurt the one you love.

The well-traveled Stanley took a Lear jet from North Dakota toChicago on Saturday afternoon with Dallas Stars goalie - make thatStanley Cup-winning goalie - Eddie Belfour. Considering all he hasendured this summer, Stanley looked mighty fine. Belfour brought himhere after a visit to the University of North Dakota, where Belfourwent to college. Before that, on Friday, they went to Carman,Manitoba, Belfour's hometown.

You could say Belfour has been having fun, but it's more …

Hawkins urges colleges pay debt

Ever since he became involved in college recruiting, when CazzieRussell was the most prized basketball commodity in Illinois, formerCarver basketball coach Larry Hawkins has tried to make sense of thebusiness.

Recruiting is a multi-million dollar business that affects thelives of thousands of people.

There are many interests to be addressed . . . athletes,parents, coaches, colleges, high schools.

The truth is everyone should share the responsibility ofpreparing 18-year-olds to attend college, to obtain a worthwhileeducation that will prepare them to do something productive after theball stops bouncing.

Hawkins, now director of the Institute For Athletics andEducation at the University of Chicago, has been crusading for yearsto inform educators how sports can influence schools. He deals withChicago area high schools. But he thinks colleges are ignoringtheir responsibility.

Says Hawkins:

"In the case of colleges, they say they're giving a basketballstar like (King's) Marcus Liberty a scholarship. No, they're not.What they're doing is hiring some cheap labor and investing in thatlabor. And, if they're fortunate, it'll pay off.

"Liberty is an investment that this college (Illinois) ismaking. And they're betting if they invest in Liberty, they willget back the money they put in plus a good return. And they'reright.

"I'm not arguing with that. It's just that, up to this point,the community hasn't had enough sense to say: `Well, look, if youwant to invest, you'll have to put a little more into the investmentpot.' "

"Nobody can tell Liberty where to go to school, or tell Illinoisit can't ask him to come. But we can make Liberty, his coach,teachers and parents alert that there are other things colleges cando, that he's not just playing basketball, that he's going to be aperson after his basketball career is over.

"Some day he won't play. Will he be prepared to do somethingelse with his life? Or will he have to scuffle around? Thecollege owes him that preparation. But they only owe it to him ifhe understands he has to have it."

Tuesday, March 13, 2012

Miss Piggy's gettin' jiggy with wardrobe

After 35 years in show business, you're bound to rack up a few dresses and develop a signature sense of style.

Actress, singer and best-selling author Miss Piggy throws open her closets to give the rest of us just a glimpse of her glamor with a retrospective on display through Sunday on the seventh floor of Macy's on State Street.

She spoke to us Thursday, ahead of a rumored appearance at tonight's Glamorama at the Chicago Theatre, 175 N. State.

Q. Was it hard to part with the outfits on display?

A. No. I'm getting them back. [Loudly, to a Macy's employee passing by.] I AM GETTING THEM BACK, right? This isn't a charity. Well, Glamorama is for a charity, but I'm not giving away my clothes. I'm just letting them air out a little bit.

Q. Can you talk about what you'll be wearing tonight?

A. You mean who I'm wearing, right, dearie? Moi is wearing Marc Jacobs. Isn't he lucky?

Q. What's the one item that every female should have in her closet?

A. A Starbucks. It really perks you right up when you're stuck in there trying to decide what to wear. I have two.

Q. Given all the hysteria around the swine flu, are people treating you any differently?

A. People look at moi as a fashion icon first. They see me as a woman first. Wait! How many firsts did I say? Regardless, they see me as a pig last. I am proud to be a pig. Not too many pigs have risen to the level of success I have. Babe the pig was a robot. Just as an aside.

Q. Lady Gaga recently turned heads with a coat fashioned out of stuffed animals that looked like your beloved Kermit. Reaction?

A. That was faux frog. I have the real deal at home. I have no problem with what she wears. She has impeccable fashion sense. She has obviously been inspired by moi.

Q. What would you like to see Kermit wear?

A. Um, I don't know ... PANTS, for starters. A shirt. If he's not going to wear pants, how about a long shirt? A Snuggie? Something!

Q. Who has yet to design for you that you are dying to wear?

A. Vera Wang. A wedding dress, perhaps. [Sighing, and throwing her head back.] One can dream. From my lips to Vera Wang's ears.

Q. Speaking of weddings: Will Kermit ever propose, or are you both OK with him being the Stedman to your Oprah?

A. Ask Kermit why he's never proposed. Seriously! I'll give you his number. Ask him!

Photo: John J. Kim, Sun-Times / Miss Piggy may not have her name on the Chicago Theatre marquee, but she stopped there Thursday on the eve of Glamorama. ;

No reunion for Bulls, Collins

Doug Collins and the Chicago Bulls won't be reuniting. Concerned that a second tenure as the Bulls' coach would spoil their friendship, Collins told chairman Jerry Reinsdorf to look elsewhere during a phone conversation on Friday.

"I called Jerry this afternoon and said, 'Let's move forward and make sure we stay the friends that we have been for 25 years,'" said Collins, who coached Chicago from 1986-89. "It had to be a home run, and both of us had a little angst over it. So we both agreed it wasn't the best to keep going this way."

The Chicago Tribune initially reported Collins was out of the running on its Web site Friday afternoon.

"I didn't know Red Auerbach real well," Reinsdorf said. "But Doug is the brightest basketball mind that I knew. He's brilliant. The man is brilliant."

But he won't be back on the Bulls' sideline.

Reinsdorf acknowledged concerns about bringing back his friend but said the decision to break off talks was more Collins' than his.

"My mother always used to tell me don't be in business with friends and relatives," Reinsdorf said. "We've become so close over the years, I really wasn't sure it was good idea for him. But I was pretty much willing to go along with it, but I just wanted to be sure if this is what he really wanted to do. And so I just said, `Take some time let's think about it.'"

Collins has a 332-287 overall record and was 137-109 with the Bulls when a young Michael Jordan and Scottie Pippen couldn't get past the Detroit Pistons.

Collins had initially indicated he was not interested in returning to the sideline. That changed after the Bulls won the draft lottery, although Reinsdorf said Collins threw his name into the mix because he thought the search "really didn't look that promising."

"So, he called and said I'll coach the team," Reinsdorf said. "So we met and we talked about it."

The sides acknowledged last week having discussions and said there would be more talks once Collins' broadcast duties with TNT ended. That happened when the Los Angeles Lakers eliminated the San Antonio Spurs in the Western Conference finals.

While Reinsdorf and Collins mulled a reunion, Paxson brought in Sacramento assistant Chuck Person and former Minnesota Timberwolves coach Dwane Casey for second interviews. Jazz assistant Tyrone Corbin and Rockets assistant Elston Turner are also in the running, according to the Tribune, while the Chicago Sun-Times reported on its Web site that Phoenix Suns assistant general manager Vinny Del Negro was in town to interview. Casey is the only one with head coaching experience.

After reaching the second round of the playoffs last year, Chicago expected to contend for the Eastern Conference championship. Instead, the Bulls went from 49 wins to 49 losses.

Coach Scott Skiles got fired in December, and the Bulls let interim coach Jim Boylan go at the end of the season.

Chicago was prepared to make Mike D'Antoni an offer last month, only to see him take the New York Knicks job before hearing the Bulls' pitch. Now, another high-profile candidate is out of the running. And a search that just passed the seven-week mark continues.

"We weren't in any rush," Reinsdorf said. "It's important we make the right decision. It hasn't been that long."

___

AP Sports Writers Larry Lage in Detroit and Rick Gano in Chicago contributed to this report.

Nishioka's Japanese team accepts bid from MLB club

TOKYO (AP) — Tsuyoshi Nishioka has moved a step closer to playing Major League Baseball after his Japanese team said it accepted a bid for the 26-year-old infielder.

The Chiba Lotte Marines announced Friday that a team from the U.S. major leagues has bid for the negotiating rights to Nishioka. Lotte was notified of the highest bidder following Wednesday's deadline. The team and the amount of the bid were not disclosed.

Japanese media has reported that the Minnesota Twins and San Francisco Giants are among the teams interested in Nishioka.

The winning bidder has 30 days to work out a deal with Nishioka. If no agreement is reached, the Marines will not receive the fee.

Ryan, Hiller lead Ducks past Stars

DALLAS (AP) — Teemu Selanne keeps passing NHL stars on the career scoring list.

Selanne scored his 611th NHL goal during a third-period power play, breaking a tie with Bobby Hull to assume sole possession of 15th place, and the Anaheim Ducks beat the Dallas Stars 5-2 on Tuesday night.

"I've met (Hull) many times, and I never imagined I'd score more goals than him," said the 40-year-old Selanne, who also had an assist to give him 801 points with the Ducks. "It's unbelievable, when you look back at your career, the numbers. Good things happen when you play long.

"When I read my name in the same story with Bobby Hull or somebody else, it's a big compliment. I'm thankful for all these years."

Selanne bypassed Dino Ciccarelli on the scoring list earlier this season. Next up is Joe Sakic with 625 goals.

Selanne said he was aware of NHL greats when he was a kid learning the game in Finland.

"Automatic, you know those names," Selanne said. "I used to have Guy Lafleur skates."

Bobby Ryan scored twice and Jonas Hiller made 35 saves for the Ducks.

Corey Perry also scored, and enforcer George Parros netted a rare goal as Anaheim wrapped up a 2-2 road trip.

Loui Eriksson and Brian Sutherby scored for the Stars, who have managed only two goals in two games.

Dallas owned one of the NHL's most prolific offenses with 22 goals in its first six games — the team's fastest start since the Stars scored 23 times in six games to open the 1996-97 season. Now the scoring has dried up.

Kari Lehtonen stopped 21 shots for the Stars, who have lost three of four — including the first two of a six-game homestand.

Eriksson's redirect of Mike Ribeiro's pass put Dallas in front at 16:06 of the first period, 15 seconds after Anaheim's Paul Mara went to the penalty box for tripping.

The Stars had been 2 for 25 on the power play in their first seven games, ranking 27th in the league. They finished 1 for 5 with the man advantage against Anaheim.

Penalty killing remains another issue for the Stars. They began the night 29th in the NHL in that category.

"The game came down to special teams," Stars captain Brenden Morrow said. "They had two goals right when penalties expired. We've been on the short end of the special teams battle too many times this year. Those are tough to take. We know what our weaknesses are, penalty kill is one of them. Just when you think you get it done, they tuck one in on you. It's pretty deflating."

Ryan's deflection 28 seconds into the second period tied it at 1, and his one-timer from the left circle gave the Ducks the lead at 10:30.

"It got us started," Ryan said of his first goal. "It's a morale boost. You're sitting around and feeling sorry for yourself, that kind of turns the tide."

Ducks coach Randy Carlyle said Ryan was a difference-maker.

"At times he looked like the best player on the ice," Carlyle said. "He was skating and when he does that, he's a dynamic player."

Parros' breakaway goal at 11:23 stretched Anaheim's advantage to 3-1. It was his 14th career goal in 298 NHL games, and a rare goal from a popular teammate gave the Ducks a lift on the bench.

Sutherby's rebound at 6:10 of the third period pulled Dallas within 3-2. but Selanne's tap-in at 10:11 of the third and Perry's goal at 15:30 gave the Ducks a three-goal pad.

Notes: Anaheim D Cam Fowler (stiff neck) missed his fourth straight game. ... Mara accidentally knocked off Hiller's mask with his stick after the whistle blew during a second-period penalty kill. Hiller wasn't hurt. ... Dallas began a stretch of seven in 10 games against Pacific Division rivals. ... Ducks LW Matt Beleskey was down for a few minutes in the third period after he was knocked into the boards by Stars D Stephane Robidas. Robidas received a 5-minute boarding penalty and was ejected. He will be suspended for the next game after being assessed his second game misconduct over a 41-game span, according to NHL rules. Beleskey underwent tests, and the Ducks said he had full movement of his extremities.

Michael Krebber

BERLIN

Michael Krebber

GALERIE DANIEL BUCHHOLZ

Michael Krebber's works - comprising not only painting but also artist's books, arrangements of readymades, and texts - might be identified as symptoms of a diffidence that is interrupted only temporarily, in order to produce material effects, but without allowing for artistic progress. Formats, procedures, and references recur only to continually suspend development. To borrow the terminology of literary scholar Joseph Vogl, one might designate Krebber's stance as a veritable "system of hesitation" that results in a "specific limbo" in which "opposing forces" simultaneously motivate and block one another. This is not indecisiveness, but rather an "active gesture of questioning" that accompanies and reflects on a culture of work and deed in the manner of a "cutthroat opponent."

Krebber's system of hesitation finds its paradigmatic form in tentative painterly markings, as in the case of Miami City Ballet I-III, 2010, three canvases primed decades ago to which the artist applied black enamel paint only when the opening of his eponymous show at the Berlin branch of Galerie Daniel Buchholz was imminent. The paint seems intended to take over the white surfaces, but abruptly stops before any image or even the impression of deliberate activity can arise. Krebber arranged the show counterintuitively, with the largest works in the gallery's smallest rooms and vice versa (such as two modestly scaled works called INT, 2010, sliced-up customized surfboards installed serially, Donald Judd style, incompletely displayed on the floor and wall in the most spacious salon). Consequently, the view of Miami City Ballet IV, 2010, which recalls recent work by Merlin Carpenter, was blocked by 7 Can Be Rented, 2010, a pedestal-like cube-shaped sculpture covered with fabric that, in terms of both materials and pattern, calls to mind works by Krebber's wife, Cosima von Bonin. Nearby, a trio of small canvases leaned stacked against the wall, draped in a brown cloth with yellow polka dots that - as if to unite them somehow with the other two pieces in the room - were also marked with black paint. In the next room, three neon signs (� la Cerith Wyn Evans) were displayed on the floor, still in their open packing cases. Their titles, Die Hundejahre sind vorbei (Broken Neon I-III), 2010, pay tribute to Martin Kippenberger's 1987 group show "Broken Neon," in which Krebber participated. Additionally, the title's declaration that "the dog years are done" would appear to triumphantly announce the irrevocable end of Krebber's deprivation-filled years of apprenticeship (for instance, as an assistant to Markus L�pertz and Kippenberger). But this manifesto of a newfound artistic sovereignty cancels itself out, since the overabundance of references to Krebber's biography proves the artistic figures that both haunt and - despite all the hesitation - facilitate his social context and his own practice to be ineluctable. The beginning of these seemingly never-ending "dog years" is marked by Das Politische Bild (The Political Picture), 1968/2010, painted, no doubt under the influence of J�rg Immendorff, when Krebber was fourteen and had apparently just awoken to militant consciousness; Krebber had torn up the picture, but has now reassembled it. This apparent gesture of reconciliation with his own persona is, however, no less plagued by hesitation than anything else. In the press release, tellingly the most original part of the show, Krebber states for the record that criteria of good or bad art do not matter; it is enough for him to declare himself an artist. He qualifies this, however, by adding that he will "of course endeavor to regulate dosing so as not to drown out the pictures that I list." Hesitation, as Vogl argues, marks an ellipsis "that returns the dramatic action ... to the zero point and revises its constitutive force."

-Andr� Rottmann

Translated from German by Oliver E. Dry fuss.

Don't be sheepish

((PHOTO CAPTION))

Heat Eager to Begin Title Defense

MIAMI - The reminders of last season's greatness are everywhere for the Miami Heat.

There's dozens of new photos lining the redesigned hallway around their locker room, snapshots of players and staff showering each other with champagne after winning the NBA title last June, then of the parade that followed three days later.

More images of the championship trophy are scattered all over the locker room, too - on the carpet, on the door, inside every player's locker.

All the cosmetic changes have a twofold purpose, Heat coach Pat Riley says. Yes, there's something to be said about cherishing those memories. But perhaps more importantly, he thinks this season's team is best served by constantly seeing the prize that they'll spend this season chasing as well.

"We earned a world championship and we're proud as hell of it," Riley said. "We're going to defend it. We're not going to look back with nostalgia about it. That's been won. It's been experienced. It's been enjoyed. And now we're back to work. That's what happens with every championship team. The summer ends."

Riley has been down this road many times before; when the Heat defeated Dallas in last season's NBA finals, it was his seventh championship as a coach, assistant coach and player. And the title was Shaquille O'Neal's fourth, so he, too, understands the rigors of what goes into a championship defense.

But for everyone else on the Heat roster, like first-time champion Dwyane Wade and a dozen other guys who'll be wearing rings for the first time, this season will be a new experience.

"We have the same pieces and we like the feeling that we accomplished last year," O'Neal said. "We know what it takes to get it done and we still have the '15 Strong.'"

That was the catchphrase - or rallying cry - that Riley came up with entering last season's playoffs.

It's not exactly '15 Strong' for Miami these days, not with Derek Anderson leaving to pursue more playing time elsewhere and Shandon Anderson's status for this season still not settled.

But they are the only two players from last season's title-winning club who won't be part of the team when the championship banner is hoisted Tuesday night.

Riley considered making some offseason changes. In the end, though, he just didn't see a glaring need.

"I think this is a hell of a team," Riley said. "I think they're smart, they're versatile, they have talent and they can get better. So I didn't want to disrupt that at all. I have one of these superstitions about taking a team that did something like they did last year, breaking it up, and then all that stuff I was talking about and believe in didn't count."

The Heat are bringing every regular from last season's rotation back this year, an approach that some may find mildly surprising - especially when considering that many Miami veterans like Gary Payton (38) and Alonzo Mourning (who turns 37 in February) are among the oldest players in the league.

Yet they'll both play important roles for this team; Payton will probably start at point guard for the season's first couple weeks while Jason Williams continues recovering from offseason knee surgery, and Mourning is still O'Neal's primary backup - plus remains one of the league's best defenders.

Mourning considered retiring after Miami won the title, then decided it'd be more fun to try winning again.

"I'm still on Cloud Nine and I'll be that way the whole season," Mourning said. "It's going to take somebody to try to knock us off that pedestal we're on right now. We've worked extremely hard to get to that point and after putting all we put into it, preparing for that moment, it's a real special feeling."

And if anyone knocks Miami from this pedestal Mourning speaks of, they'll probably have to find a way to slow Wade.

Entering his fourth year, Wade is coming off a season where he averaged 27.2 points, 6.7 assists and 5.8 rebounds. He was even better in the playoffs, then averaged 34.7 points in the finals against Dallas - dominating the last four games of the series, when the Heat rallied from an 0-2 deficit.

He knows everyone will be gunning for him and the Heat now.

"A lot of teams are going be measuring themselves up to us, whether we're at our best at the beginning of the year or not," Wade said. "On one hand, it's an honor. On the other, it's going to be tough."

The Heat went 52-30 last season, one where they endured injury (O'Neal missed the first quarter of the season with an ankle sprain) and upheaval (Stan Van Gundy resigned in December, clearing a path for Riley to return).

Still, they found a way to play their best basketball at season's end.

And while securing another division title and high playoff seed is important, O'Neal also continues to insist that the regular season means little to him in the grand scheme of things.

"Top four seed, 55, 60 wins, win half our games on the road and be dominant at home, and we'll be fine," O'Neal said. "That's all. We don't need to be 19-0 or 22-2 at the start like some teams will be. That'll happen and it won't mean anything. We'll be fine if we stick to our formula, our championship formula."

When the Heat get healthy, they'll have Williams and Wade in the backcourt, Antoine Walker and Udonis Haslem at forward and O'Neal at center. Off the bench, the primary rotation will likely include Mourning, Payton and James Posey - and together, those were the eight guys playing the majority of postseason minutes.

Will it be good enough?

O'Neal truly thinks so.

"I really can't say what we have to do to get it done," O'Neal said. "However, we know what we have to do to get it done."

25 killed as bus falls into gorge in north India

Police in India say a passenger bus has plunged into a gorge in the mountainous northern parts of the country, killing at least 25 people.

Senior police officer Anand Jain says an additional 40 people were injured in the accident that occurred early Wednesday near Panthal, a town about 30 miles (50 kilometers) north of Jammu, a major city in India's Jammu-Kashmir state.

Jain says the bus plunged 200 feet (60 meters) into the gorge. The injured have been taken to a government hospital.

Monday, March 12, 2012

Britain threatens to sue Iceland to protect savers

Britain added to the financial chaos engulfing Iceland by declaring Wednesday it planned to sue over lost deposits held by thousands of Britons with Icelandic bank accounts.

The news from London even overshadowed an emergency loan Wednesday from Sweden to Iceland's biggest bank.

The promise of legal action by the British government to recover deposits belonging to 300,000 British account holders with the Icesave Internet bank came after its parent, Landsbanki, was placed in receivership.

"We are taking legal action against the Icelandic authorities," Prime Minister Gordon Brown told journalists in London. "We are showing by our action that we stand by people who save."

British savers have deposited millions in accounts through collapsed Landsbanki's Internet operation Icesave, which has suspended withdrawals.

Treasury chief Alistair Darling said the British government would also guarantee all customer deposits at Icesave, even if they were above Britain's standard 50,000 pound ($88,000) protection plan because Iceland was refusing to meet its guarantees.

"The Icelandic government, believe it or not, have told me yesterday they have no intention of honoring their obligations here," Darling told the British Broadcasting Corp.

Darling added that savings bank ING Direct UK had agreed to buy more than 3 billion pounds ($5.3 billion) of deposits held by around 180,000 British savers with two other Icelandic-owned banks, Kaupthing Edge and Heritable Bank, which is owned by Landsbanki.

Icelandic Prime Minister Geir H. Haarde, who has complained of a lack of support for the country's financial crisis from other European nations, is due to make a statement on the crisis later Wednesday.

The speed of Iceland's downfall in the week since it announced it was nationalizing Glitnir bank, the country's third largest, caught many by surprise, despite warnings it was the "canary in the coal mine" of the global credit squeeze.

In recent days, Iceland has taken over the country's second-biggest bank, fixed the exchange rate of its plummeting currency, and asked Russia for a 4 billion-euro ($5.47 billion) loan as it scrambled to stop the collapse of its economy.

It has also introduced emergency laws that give the government sweeping new powers to take over companies, limit the authority of boards, and call shareholder meetings.

The Swedish central bank said Wednesday it would grant liquidity assistance to the Swedish arm of Icelandic bank Kaupthing with a loan of up to 5 billion crowns ($702 million) "to safeguard financial stability in Sweden and ensure the smooth functioning of the financial markets."

The intervention of the British and Swedish authorities underscores the effect that a full-blown collapse of Iceland's financial system would have on the rest of Europe, given the heavy investment by Icelandic banks and companies across the continent.

One of Iceland's biggest companies, retailing investment group Baugur, owns or has stakes in dozens of major European retailers _ including enough to make it the largest private company in Britain, where it owns a handful of stores such as the famous toy store Hamley's.

Kaupthing has also invested in European retail groups, and racked up debts of more than $5.25 billion in five years to help fund British deals.

The Icelandic government said Tuesday that it had extended its own $680 million loan to Kaupthing to tide it over.

The government is also due to send a delegation to Moscow this week to negotiate the terms of a loan that it hopes with bolster its depleted foreign exchange reserves.

After watching the currency free-fall for several days, the Central Bank of Iceland stepped in Tuesday to fix the exchange rate of the krona at 175 _ a level equal to 131 krona against the euro.

With the deregulation of its financial market in the mid-1990s and subsequent stock market boom, Iceland had transformed itself from the poor cousin in Europe to one of the region's wealthiest countries.

Icelandic banks and companies made acquisitions across Europe, including the iconic Hamley's toy store and the West Ham soccer team.

Back home, the average family's wealth soared 45 percent in half a decade and gross domestic product rose at around 5 percent a year.

But the new wealth was built on a shaky foundation of foreign debt _ the country's top four banks now hold foreign liabilities in excess of $100 billion, debts that dwarf Iceland's gross domestic product of $14 billion.

Against this tumultuous backdrop, Haarde vowed Tuesday that ordinary Icelanders would not pay the price for this spending spree and that his country will not default on its debt.

"Iceland has never defaulted on sovereign debt and won't," he said.

Some analysts, however, are not convinced by measures such as the fixing of the exchange rate.

"Given the fact that the Icelandic FX (foreign-exchange) reserve is less than $3 billion, the peg does not look very credible, and we do not expect it to be maintained," said Lars Christensen, chief analyst at Danske Bank, in a research report.

Lebanon War 2.1

The failure of diplomacy

The next version of the war follows from deficiencies in the first

"LADIES AND GENTLEMEN, I KNOW THE question on the minds of many people is 'What will be considered a victory in the present confrontation in the Middle East?'", Shimon Peres, Israel's Vice Prime Minister, said in a talk at the Conference of Presidents of Major American Jewish Organizations on July 31.

Mr. Peres gave a five-fold answer. Victory, he said, would be identifiable when Hezbollah permanently vacates Lebanon's southern border; when Israel's kidnapped soldiers are returned; when the rockets cease being launched at Israel; when Hezbollah is prevented from re-arming; and, finally, when Lebanon is freed from the control of Hezbollah.

Judging by that characterization, Israel was not victorious. But neither, we believe, did Israel lose the war.

WHATEVER ERRORS ISRAEL MADE IN THE prosecution of the war effort - and those will certainly be revealed by Israel's own investigation - the failure to attain victory is, in large part, attributable to the achievement of the diplomats.

The ones - like the French - who, keen to stop Israel from being successful on the battlefield, promised to bring tranquility to the region with a new United Nations resolution and a vigorous and enhanced peacekeeping force.

Both, of course, have so far proven not only ineffectual but harmful. Instead of the 30,000 troops to be stationed in southern Lebanon, there is - and likely will remain - the same inept UNIFIL soldiers. Instead of leading the Security Council authorized 15,000-strong force, France is sending some 200 (maybe 400) engineers.

Instead of disarming Hezbollah - a requirement left vague by UN Resolution 1701 - one has a Hezbollah which refuses to disarm and which no one - certainly not the French - is interested in disarming.

While disarming is out of the question, however, re-arming is not. That will continue from the same Syrian and Iranian sources as before.

The hostages have not been returned.

THE RESULT, THEREFORE, IS THAT diplomacy has provided the foundation for a new outbreak of fighting.

As we noted in an editorial in the last issue, Israel has not done well in converting battlefield victories into poltical victories.

This recent Lebanon War is version 2.1 of the 1982 Lebanon War. In that campaign, Israel ousted PLO terrorists from Lebanon but eventually failed to convert that triumph into a political victory.

With the dangerous shadow of Iran's maniacal Ahmadinejad looming over the region, the dangers for Israel remain existential. The defeat of Israel's uncompromising enemies will occur, but doing so has only been made more difficult by the predictably futile effort of do-gooders who wish Israel no good and her enemies no harm.

Hip Hop gets a wake up call

Guest Editorial

Even if you've never tasted Cristal, you probably know what it is. After all, the highend champagne has been mentioned in lyrics by everyone from Ludacris to Jay Z, making it the 8th most referenced brand in music in 2005. With all the attention - and the increased sales such attention generates - you'd think Cristal would embrace hip hop culture, thanking its spokesmen and women, i.e. rappers, for the extra income. Not quite. Frederic Rouzaud, the managing director of Cristal, recently gave The Economist magazine the impression that he was less than happy with hip hop's obsession with his company's product, saying "we can't forbid people from buying it." With all the free endorsements rappers have given Cristal over the years, it's no surprise that Jay Z, platinum selling artist and record executive, took offense to Rouzad's statements. Let's hope others in the game will wake up and become more mindful of the products - and the images they broadcast to the world.

Hip hop music and culture has, both formally and informally, pushed a variety of products over the years. Cadillac, Nike...you name it and an artist has mentioned it in a song. And those lucky corporations profit greatly. After all, hip hop is consumed all over the world and many - including young, white suburbanites - learn everything there is to know about urban culture by listening to the music and watching the videos. If Scan "P. Diddy" Combs says "Pass the Courvoisier," chances are millions will do just that. Until now, mainstream rappers haven't paid much attention to the impact their words have. Sure, Common and others are mindful of the images they project, but they are the exception. With Jay Z calling for a boycott of Cristal, it seems hip hop is poised to move away from the brash materialism that has become its calling card.

In the 1980s, rap music moved from the fringes to the mainstream. As the popularity of groups such as Public Enemy and Boogie Down Productions grew, the music ceased to be just about parties and good times and became highly politicized. With the rise of political rap came the introduction of gangsta rap, which depicted the performer's inner-city reality of violence and drugs. Gangsta rap gave way to the West Coast vs. East Coast drama that dominated the music through much of the 1990s. Fast forward to present day and rap music has many sub-genres: political, gangsta, party and everything in-between. Despite the variety in the music, it seems these multi-billion dollar corporations - the record labels, the beer and shoe companies, etc. - only take an interest in the music that negatively reflects upon urban culture. So, when the big corporations go looking for pitchmen, they tend to stick with the rappers that have "street cred," rappers who, for all their immense talent, are spreading images that are detrimental to the very communities they come from.

Jay Z has street cred. And he has talent. With his Cristal boycott, he is ushering in a new era in hip hop culture: that of conscious consumer. Let's hope more rappers take his lead. They can begin by researching the corporate philosophies of the companies they sing about before they expose the brand to millions of listeners. By knowing just what they're pitching, these artists will be setting a positive example for their many young fans.

[Author Affiliation]

Judge Greg Mathis is national vice president of Rainbow PUSH and a national board member of the Southern Christian Leadership Conference.

Angels beat Dodgers 4-2 in Freeway Series

Juan Rivera hit a two-run homer and the surging Los Angeles Angels defeated the Dodgers 4-2 Saturday night for their ninth win in 11 games.

The Angels improved to 11-3 since losing leading hitter Kendry Morales to a season-ending broken left leg on May 29. They can complete a Freeway Series sweep with a victory in Sunday's finale.

Scott Kazmir (6-5) allowed two runs and three hits in five innings, struck out five and walked four in winning for the fourth time in his last five games.

Brian Fuentes pitched the ninth to earn his ninth save in 12 chances. The Dodgers had the tying run at the plate with two outs, but Russell Martin struck out swinging to end the game.

Dee, Davis celebrate sweet 'Raisin'

An evening with ruby dee and ossie davis

When: 6 tonight

Where: Harold Washington Library Center Auditorium, 400 S. State

Admission: Free

Call: (312) 747-1194

Whenever Ruby Dee and Ossie Davis enter a space, their distinctvoices--hers a breathy mezzo and his a raspy bass--engage anaudience. They command attention with their authoritativeness.

It's those sounds and crisp diction, wrapped around the profoundwords of playwright Lorraine Hansberry, that brought emotion anddepth to Ruth and Walter Lee Younger, the characters they portrayedin "A Raisin in the Sun."

The lifelong social activists lent power and strength to theoriginal Broadway production. Dee starred alongside Sidney Poitier,Claudia McNeil and Diana Sands in its opening performance at theEthel Barrymore Theater in March 1959 and later in the 1961 movie.Davis joined the stage cast in August 1959, replacing Poitier.

For both, the experience more than 40 years ago left an indeliblemark. They will talk about Hansberry, who died in 1965, and theplay's social relevance at 6 tonight at the Harold Washington LibraryCenter Auditorium, 400 S. State.

The presentation is part of the city's weeklong "One Book, OneChicago" critical analysis of the play and its modern-day relevance.Dee's film version will be shown at 6 tonight at the Woodson RegionalLibrary, 9525 S. Halsted; 10 a.m. Saturday at the Sulzer RegionalLibrary, 4455 N. Lincoln; 11 a.m. Saturday at the Harold WashingtonLibrary Center, and 11:30 a.m. Saturday and Sunday at the Music BoxTheater, 3733 N. Southport.

"This is a celebratory look," Davis says via telephone from NewYork. "'A Raisin in the Sun,' like 'Hamlet,' Moby-Dick or 'Death of aSalesman,' is a classic and it speaks eloquently to the humancondition. You keep going back to it because the soul is satisfied.It survives because it continually nourishes the people who come tosee it."

Hansberry's play, about a black South Side family striving for abetter life economically and socially, folds into its lines themes ofracial discrimination, feminism, racial identity and materialism. Theauthor grew up in Chicago and experienced discrimination when she andher family moved to 6140 S. Rhodes, near the University of Chicago.After they were threatened by a white mob, her father won an anti-segregation case based on a technicality. This incident inspired someof the themes in the piece.

Dee recalls vividly the first time she read Hansberry's play. "Iwas so excited I couldn't put it down," she says. "I expressed toLloyd Richards [the director] that I would be happy to do the part ofBeneatha. He said, 'I want you to do Ruth.' My disappointmentovertook me. We were silent for a long time.

"But I wanted to be a part of this play and this young author'sfirst outing on Broadway. Ruth is a difficult character. Ruth, thebackground character, becomes the conductor of the woes andambitions, the disappointments and expectations of the whole family.She is the cornerstone of the whole family. Things were happeningwith Mama. But Ruth was there; she didn't have any ambitions untilthe money came into the family. She was one of the pillars of sanityin the family. She was behind, I say, the ironing board of life,smoothing things out."

Walter Lee, on the other hand, was a complex character who wantedhis place in society and his household. "I was intrigued by[Hansberry's] description of Negro manhood at the time and thestruggle for power between Mama and Walter Lee," Davis says. "Thetitle suggests Walter Lee's dream was motivating him and, if societydidn't give him a place to express that dream, he might explode. ButLorraine gave him minimal ambition--he wanted to own a liquor store.There was this contradiction."

To understand the play's impact is to put it in context with thetimes, the couple says. The first play to break the color barrier onBroadway was 1944's "Anna Lucasta," which depicted common stereotypesabout blacks.

"But here comes a play that was serious," says Davis about "ARaisin in the Sun." "In 1959, there was still an era of segregationand stereotypical representation. But [the play] had a black directorand a black woman as a writer. How exciting and revolutionizing."

Dee notes that largely white audiences filled the production'stheater. "It was a growing-up experience for America," she says. "Ialways feel happy when a play can help white Americans take babysteps forward in human relations."

Ukrainian futurism re-visited

Oleh S. Ilnytzkyj. Ukrainian Futurism, 1914-1930: A Historical and Critical Study. Cambridge, MA: Distributed by the Harvard University Press for the Ukrainian Research Institute, Harvard University, 1997. xviii, 413 pp. Illustrations. Index. $35.00 cloth; $17.00 paper.

In February 1929, the Czech modernist Karel Teige (already familiar to Ukrainian Panfuturists from his theoretical writings on Constructivism published in Nova generatsa) dedicated a special number of his Prague journal ReD (Revue Devetsilu) to F. T. Marinetti's reception. Its cover featured a drawing showing the Italian Futurist leader standing erect on a pedestal with arms outstretched, a manifesto in one hand, as if welcoming to the Italian fold, not just Czech kindred spirits, but Futurists of diverse hues from all over the globe. "Marinetti and World Futurism," the caption read in Czech, French, German and Italian. Given that Teige's attitude to Italian Futurism was by no means always uncritical, it may not be without significance that Marinetti seems to resemble some betogaed senator (or possibly a posturing Mussolini addressing the fascist faithful). Yet although there appears to be a calculated ambivalence to the illustration, the equation of Marinetti with il futurismo mondiale was evidently not in dispute for Teige, any more than it ever had been for Marinetti himself. Indeed, by the late 1920s there can have been few international avant-garde groups and Futurist coteries that Marinetti had not actively sought to proselytise-or in many cases visit-in his role as pan-European Futurism's self-appointed leader. In this respect, Ukrainian Futurism would appear to be unique: a Futurism undiscovered by Futurism's global impresario. Perhaps because of its relatively late appearance and failure to attract Milanese attentions or possibly because in the eyes of many it would be forever condemned to stand in the shadow of Russian Futurism, it has remained the Cinderella among Futurisms until recently.

When Venice's Palazzo Grassi mounted its "Futurismo & Futurismi" exhibition in 1986, the accompanying catalogue proudly declared that Futurism was here being "studied for the first time as an international cultural phenomenon."I However, there is no mention of Ukrainian Futurism, either in the catalogue's illustrative sections representing sixteen national Futurisms or in the concluding "Dictionary of Futurism" (pp. 411-613). Such an omission appears all the more surprising in the light of the dutiful way in which the Venice exhibition followed Marinetti in notionally annexing to Futurist territory almost every other observable piece of avant-garde terrain (from Orphism and Vorticism to Ultraism and Zenithism), not to mention seeking to establish Italian hegemony over virtually any movement which dared to sail under the flag of 'Futurism' or any of its conceptual derivatives. It was as if Marinetti's own ignorance of Ukrainian Futurism still exercised a hold over comparative literary scholarship more than half a century later. Or, bearing in mind the many tensions which the present volume chronicles between Russian and Ukrainian avant-gardes, it is as if Moscow's gradual Gleichschaltung of Ukrainian culture in the 1920s were still leaving its mark. Even Peter Drews's generally comprehensive study of Die slawische Avantgarde und der Westen pays scant attention to Ukrainian Futurism: an appendix presents it as a minor movement that would have been more timely if it had chosen to occur entirely before the First World War. 2 Awareness of the main achievements and the complex history of Ukrainian Futurism can also hardly have been furthered by the cursory treatment the movement received in Vladimir Markov's pioneering account of Russian Futurism. It may have been no more than an unfortunate coincidence that Markov's reference to Ukrainian Futurism follows immediately an anecdotal section on Futurist hoaxes and "examples of futurist imitation in provincial cities" and elicits little more than the "interesting fact" that "despite all the efforts of the Hylaeans, in 1914, futurism for many people meant egofuturism," with Ukrainian Kvero-Futurism being adduced as prima facie evidence of this provincial tendency to lag aesthetically behind the times.3 In other words, Panfuturism's history and prolific experiments in the twenties-the main focus of Oleh S. Ilnytzkyj's Ukrainian Futurism-are not even hinted at in this context. What is more, even the few subsequent correctives to such a picture have often lacked balance. As Ilnytzkyj has demonstrated in another context, even though Nova generatsa, the main organ of Ukrainian Futurism, was "first and foremost a literary journal," the most detailed English-language study of the subject approached its material largely "from the perspective of the non-literary arts, emphasising the role it played in the promotion of modern painting, set design, photography and the new typography.'4

Paradoxically, while Ukrainian Futurism has remained a lamentably marginalised avant-garde within the modern scholarly world, the original Futurists were themselves decidedly cosmopolitan in their interests and open to ideas from the West (Ilnytzkyj talks of Nova generatsa's "programmatic internationalism" [p. 118]). This receptivity already came through in Myroslava Mudrak's study, but it is far more extensively documented and analysed, and now primarily from a literary viewpoint, by Ilnytzkyj. Although M. Semenko rejected the word, there was nevertheless a strong nationalist (and often antiSoviet) strain to Ukrainian cultural tendencies during the 1920s; most Ukrainian Futurists were less parochial and more open to stimulus from Western avantgardes than their Russian counterparts. As early as 1913, Lunacharsky published an account of Marinetti's innovative ideas in Kievskaia mysl', and both Semenko and G. Shkurup subsequently did much to relay Western avant-garde developments to their readers. In the heyday of Ukrainian Futurism, crossfertilization occurred between Avanhard-Al'manakh and Nova generatsa and such focuses of the European avant-garde as Moholy-Nagy's Bauhaus, the Cahiers d'arts in Paris, Der Querschnitt and Der Sturm in Berlin, and Stavba in Prague. According to Semenko, the Marinetti of Ukrainian Futurism, "the prototype for Nova generatsa was the [German Expressionist] journal Der Querschnitt, while the paintings and contributions with information on the arts abroad were largely taken from the... Cahiers d'arts." But of course, as Novyi Lef had shown in 1927,6 to turn westwards in this way-even to appropriate the term 'Futurism'-could also involve having to define, or deny, some kind of relationship to Italian Futurism. And in spite of (or possibly even because of) the way in which Russian Futurism largely turned its back on Marinetti and the Italians, it is often assumed that the Ukrainians' use of the word 'Futurism' in various forms (Kvero-Futurism, Panfuturism, ASPANFUT) was, as Ilnytzkyj puts it, a deliberate gesture of "recognition... of Marinetti's movement as the watershed in art history" (p. 335), a suggestion that only a handful of EgoFuturists would have found acceptable. As the Ukrainian Futurists must have been aware, Marinetti's catastrophic visit to Russia in 1914 revealed the widespread strength of anti-Western feeling behind the majority of Russian Futurists' desire to avoid a possible Italian takeover bid. Khlebnikov and Livshits, unmoved by the enthusiastic cult of all things Marinettian largely orchestrated by Shershenevich, cautioned against "placing the noble neck of Asia under the yoke of Europe" (Markov, p. 151). Noting in Polutoraglazyi strelets that "Marinetti regarded his trip to Russia as a boss might a visit to one of his branches," Livshits observed wryly that "this notion had to be rejected," adding that there was, in any case, little that was new in the Italian Futurist programme, moreover "the reasons which had occasioned a movement bearing the same name in both countries were... too diverse to speak of a common programme."7 The consequent predilection among some Russian Futurists for the term budetlianstvo, rather than futurizm, and their tendency to simplify what Livshits referred to as "the competition for Futurist primacy" (p. 208) in terms of a clash between Asiatic and the European cultures were symptomatic of a proneness to cultural isolationism on the part of Russian Futurists. The Ukrainian Panfuturists, on the other hand, were less inclined to play the Asiatic card,8 being anxious to mediate information about, and learn from, Western experiments without either regarding themselves as inferior to, or mere syncretisers of, any Western "ism" (cf. Ilnytzkyj, p. 182). Indeed, this openness to the West, not an easy stance to adopt in the Soviet orbit of the 1920s, can also be interpreted as in some measure a gesture of national autonomy vis-a-vis the USSR's cultural policies. In this it went hand in hand with a predilection for publishing either in Ukrainian or in a cocktail of Western European languages.

"More often than not," Ilnytzkyj complains, "Ukrainian Futurism has been compared rather than studied" (p. 335). That is to say: when it was not being ghettoised or patronised, it was being found less adventurous ordeja lu when set alongside the achievements of either Western European avant-gardes or Russian Futurism. "Blinded by the name, critics saw... little else than what they had already witnessed in a foreign 'source'," the present study argues (ibid.). At the same time, Ukrainian Futurism has often been accused of the further sin of a failure to emulate its Western and Russian models independently enough. Of course, interpretations of Futurism predicated on the influence-model have often been preferred to those assuming a measure of polygenesis, not least because some Futurisms actually made it so obvious that they wanted to be copied; and priorita was, as the Italians were all too aware, very much a matter of groupprestige, if not national honour. In Ukrainian Futurism, Ilnytzkyj successfully avoids the traps of chauvinism and special pleading that have bedevilled so much Futurist scholarship by focusing on resurrecting the facts-facts about the history, the theory and the literary achievements of a complex movement that has sometimes been too easily identified merely with the life and work of Mykhail' Semenko. Ukrainian Futurism, as Ilnytzkyj points out in the study's Conclusion, "has purposely avoided comparative excurses on the premise that one needs to know a subject before it can be productively juxtaposed to others.... [T]he primary task here has been to allow Ukrainian Futurism to define itself" (p. 335)-an eminently sensible principle that is rigorously followed throughout this entire excellent study.

Ilnytzkyj's decision to divide his approach into three sections (historical, theoretical and literary) cannot have been an easy one. Many of the key disputes and more polemical phases of Ukrainian Futurism's history inevitably relate to the programmatic material covered in the volume's subsequent theoretical section. Moreover, because Ukrainian Futurism is less dominated by manifestoes than, say, early Italian Futurism or the work of the Sturmkreis, inserting a section on theory before a detailed consideration of the literary works is less of a necessity than it would have been in other cases. The resultant study consists of three loosely interlocking parts, although inevitably the justification of the first two sections only comes retroactively, above all with the detailed presentation of Ukrainian Futurist poetry. Nevertheless, the relative distribution and length of Ukrainian Futurism's three parts reveals much about the differences between its material and that of its Western European equivalents. That the historical section is more than half as long again as the one on "The Literary Legacy and the Major Practitioners" makes eminent sense, if one bears in mind the complex of historical factors that needed to be chronicled. These include not just the episodes of literary polemics and factional infighting that Renato Poggioli has shown to be the hallmark of virtually all avant-gardes at the time, but also, in the post-Revolutionary phase, Ukrainian culture's diminishing fortunes in the face of the Soviet Union's Russification policy. Consider also the need to demonstrate the vital role played by organization, and organizations,9 within the tactics of cultural positioning-eventually a political matter of life and death for whole movements and their individual members alike (something which in the West would only find an equivalent later in Hitler's campaign against `Degenerate Art')-as well as the need to chart Ukraine's sometimes symbiotic, sometimes turbulent relations with the Soviet Union. Nowhere are these debilitating factors more explicitly in evidence or are shown to have more destructive consequences than in the case of the exchanges between Nova generatsa and Novyi Lef in the period leading up to the time when Semenko would be forced to capitulate to the force majeure of the VUSPP and, after ritual self-criticism, see his movement destroyed and his country Russified, after which he and Shkurup could be duly handed over for the firing squads to do their work.

What emerges from Ilnytzkyj's impressively detailed introductory chronicle-running from Semenko's provocatively 'Futurist' attack on Ukraine's national poet Taras Shevchenko and the founding of Kvero-Futurism through what a chapter calls "The Lean Years" of the War (war never meant "lean years" to the Italian Futurists!) to such milestones as the appearance of Semafor u maibutnie and Katafalk iskusstva in the early twenties to the anni mirabiles of the late twenties, the New Generation and Panfuturist phase-is the picture of a movement, and a leader, skilled in deflecting, if not always neutralizing, powerful opposition, able to ride out the Tsarist cultural clampdown during the Great War and survive the ravages of the Civil War. With the rapid Bolshevization of culture, the Ukrainian Futurists were adroit enough to re-invent themselves as a constructive as well as iconoclastic force, one whose goals still appeared reconcilable with Leninism in a way that those of no Western European Futurism would have been. But then, Futurism is shown in this context to have moved ideologically not only more towards the left, but to have displayed aesthetic concerns strongly indebted to Constructivism and Formalism. So were they still Futurists in any sense but through the movement's chosen name?

In his Conclusion, Ilnytzkyj remarks:

If we take away Italian Futurism's nationalistic and fascist ideology, its glorification of war, its disdain for women and take into account Marinetti's financial fortune and Semenko's lack of one, there emerges a fairly accurate picture of Ukrainian Futurism in at least one of its major aspects. Although there are obvious parallels between the movements (devotion to speed, dynamism, urban life, and technology) it is primarily in the struggle they waged against traditional values and tastes that the two are most alike (p. 337).

Such a one and a half-eyed comparison would seem to be something of a tall order, and the present study's account of the theory produced by Ukrainian Futurism certainly suggests very different approaches and concerns from those of most Western European avant-gardes and serves to highlight a degree of individuality to the movement which those accusing it of derivativeness have been quick to overlook.

"Theory"-Ilnytzkyj also uses the phrase "programmatic musings"-"was a form of propaganda, a vehicle by which the Futurists fashioned their public image" ("The Theory of a Movement," 181). Admittedly, in the early KveroFuturism phase, such image-making did at times superficially resemble the tactics of Italian and Russian Futurism: as, for example, when what Ilnytzkyj calls Semenko's manifesto "Alone" (published in Derzannia in 1914) includes such provocative anti-pass6ist sentiments as "How can I respect Shevchenko, when I see that he is under my feet?" or "I'll suffocate in the atmosphere of your 'sincere' Ukrainian art.... I burn my Kobzar." But despite the furore these calculated affronts created, they were untypical. There is less of the "slap in the face of public taste" and of manifestoes directed at the unconverted than could be found in either Italy or Russia. Ukrainian Futurism seems, rather like German Expressionism, to have worked more through the in-group journal than the manifesto hurled at the petit-bourgeois crowd. And it is clear from the issues surveyed in Ilnytzkyj's analytical resume of its theoretical pronouncements that the movement's thinking operated at a higher level of generality: matters such as the relationship of ideology to facture, or what Walter Benjamin was later to refer to as the Entauratisierung of art, or the systemic "Theory of Cults" meant that, rather than literary theory, the reader was largely being offered, in Ilnytzkyj's words, a "theory of culture" (p. 187). No reason is given for this elevated plane of argumentation (is it some kind of inherited Hegelianism or merely a desire to find a distinctive, quasi-scientific aesthetic?). What is clear is that this kind of cultural rumination is very different from the tone and mind-set of the launching manifestoes of Italian and Russian Futurism, or the subsequent "technical manifestoes" devoted to one sole art-form (even when the movements' agendas ostensibly aimed at the synthesizing of the arts), or the single-minded promotion of a particular innovation, be it collage, calligrammatic effects, the telegraphic idiom, sound-music or zaum.

Ilnytzkyj's detailed survey of the achievements of Ukrainian Futurist literature has been well conceived to combat various longstanding prejudices: that the movement was virtually synonymous with Semenko (an impression partly attributable to the fact that he was one of the few surviving links between Kvero-futurism and the 1920s, but also a result of his prolific output and organizational talents); that Ukrainian Futurism was an inferior provincial version of Russian Futurism (the present study presents the reader with extensive literary extracts as counter-evidence, and, without being intrusively interpretive or judgmental, highlights the distinctive features of the oeuvres of the leading exponents of visual and more conventional poetry, as well as demonstrating the importance of prose within the Ukrainian context). Chervonyi shliakh's dismissive verdict on Shkurup's work ("It is simple 6patement that is ten years too late," cf. Ilnytzkyj. p. 263), a recurrent charge not only in Shkurup's case, is demonstrably not true of the material surveyed here. In quantitative terms, Semenko inevitably takes pride of place in this account, with attention being drawn to the sheer heterogeneity of his output, his protean relation to questions of genre, the programmatically conceived constant shifting between elements of relative conventionality and innovation and his deliberate juxtaposition of "successful and unsuccessful experiments... achievements as well as failures" (Semenko, quoted in Ilnytzkyj, p. 223). While conceding that this "speaks poorly of him as a consistent, full-blown Futurist" (ibid.), Ilnytzkyj nevertheless reveals the extent to which Semenko's stylistic pluralism, his flaunted eclecticism and unending "attempt to regenerate his poetic self" (p. 234) had their rationale in Futurism's dismissive attitude towards High Art and in a concept of 'experiment' shared by many avant-gardes of the time. (It was certainly never, not even in the dangerous final years, a product of mere political opportunism.) Anyone looking for what Ilnytzkyj calls "consistent, full-blown" Futurism would be better advised to consult the section on the Shkurup of Psykhetozy, with its bold combinations of ideology and novelty, or the prose of Chuzhyi's Vedmid' poliuie za sontsem or the typographical boldness of "Kablepoema za okean" and "Moia mozaika" explored in Ilnytzkyj's excellent survey of "Visual Experiments." But then, one is left wondering whether it is necessarily an unequivocal virtue to be consistently Futurist (by whatever criteria are chosen) or to be more Futurist than one's fellow Futurists, be they Ukrainian, Russian or Western European. In any case, the permissive conception of "Futurism" at the core of Ukrainian Panfuturism-as Semafor u maibutnie had put it in 1922, "The Panfuturist system embraces all `isms,' considering them partial elements of a single organism" (cf. Ilnytzkyj, p. 183)-hardly gives grounds for the creation of a dependable taxonomy or offers an adequate criterion for evaluation merely based on embodiment of the movement's theoretical goals.

Like all scholarship of a high calibre, Ukrainian Futurism leaves the reader with many further questions. This particular reader, with a Germanist string to his comparatist bow, was, for instance, left wondering why Der Querschnitt, a distinctly minor Expressionist journal, should have loomed so large in the Ukrainian Futurists' estimation. And why, given that Ilnytzkyj claims that the Ukrainians "rarely strayed from their faith in the machine, rationalism and science" (p. 338), Les' Kurbas's Berezil' Theater-and also the journal Kermoshould have taken such an interest in Georg Kaiser's Gas, given its blatantly Rousseauistic and Luddite elements and its injection of woolly utopianism. Did they only know Gas and not Gas 2, which ends with a petulant destruction of the entire world with poison gas? Or was it the powerful depiction of alienated workers under capitalism the play's saving grace? And what was the reason behind the visit to Berlin that gave rise to Semenko's poems "Chornyi Berlin," "Alt-Berlin" and "Nimechchyna," and why did these cosmopolitan works not appear in Nova generatsa? And of more general importance: when we are told, in the context of the mid-1920s, that "Nova generatsa carefully tracked the developments in Der Sturm" (339), does this imply that interest in Herwarth Walden's publication extended beyond its early numbers (when Kandinsky, Doblin, Stramm and Walden himself frequented the journal's pages, and it was the showcase of Expressionist painting), or was the Der Sturm which now attracted the Ukrainian Futurists' attention that of the later years, when Walden's conversion to Marxism was allowed to dominate its less adventurous contents?

In his Preface to the present study, Ilnytzkyj points out that "the details of how Ukrainian Futurism intersects with the avant-gardes of Europe and Russia have been left for another work" (p. xvii). It is to be hoped that he will write that work. Ukrainian Futurism shows him to be admirably equipped to do so. He has done for Ukrainian Futurism what thirty years ago Vladimir Markov did for its Russian counterpart.

Wednesday, March 7, 2012

World dignitaries launch anti-nuclear plan

Former world leaders and arms-control negotiators have joined British entrepreneur Sir Richard Branson and Jordan's Queen Noor to launch a project aimed at eliminating the world's nuclear weapons over the next 25 years.

The group wants to reach the impossible-sounding goal by reviving nuclear disarmament efforts that have lagged since the end of the Cold War. It is proposing deep cuts in U.S. and Russian nuclear arsenals, a worldwide verification and enforcement system and phased reduction leading to elimination of all stockpiles.

"We have to set an example," Branson said Tuesday.

The group, called Global Zero, wants to start with U.S.-Russian negotiations to cut back nuclear stockpiles. Then a second phase would bring in countries such as China, Britain and France. Finally, it hopes to attract other countries such as Iran _ which the West fears is seeking nuclear arms. Tehran insists its nuclear program is aimed at generating electricity.

The American-born Queen Noor is the widow of Jordan's King Hussein.

Delegations from the group will go to Moscow for talks with Russian officials Wednesday and to Washington on Thursday.

"For the past 18 years, the issue of nonproliferation was neglected," said Mikhail Margelov, chair of the foreign affairs committee in the Russian upper house of parliament.

"Any step forward would be great" for Russian-U.S. relations, because the current level of partnership is "very low," said Margelov.

Richard Burt, a former U.S. arms negotiator, said the group has no firm commitment from governments yet and acknowledged the challenges it faces.

But he said what not long ago sounded like a "radical, unrealistic idea is ... entering the political mainstream."

U.S. President-elect Barack Obama said in July that, "We will make the goal of eliminating all nuclear weapons a central element in our nuclear policy."

U.N. Secretary-General Ban Ki-moon last month urged new negotiations on eliminating nuclear weapons, and French President Nicolas Sarkozy floated an ambitious European disarmament plan Monday.

There are more than 20,000 nuclear weapons in the world's declared nuclear-armed nations: the U.S., Russia, Britain, France, China, India, Pakistan and North Korea. Israel also is widely believed to possess nuclear weapons.

More than 100 political, military, business, religious and civic leaders have lent their support to the campaign, including former U.S. President Jimmy Carter, former Soviet leader Mikhail Gorbachev and former top officials from India and Pakistan. Planners hope to stage a world summit in January 2010.

Money and mayhem. (chaotic behavior in systems)

THE dismal science is trying to brighten itself up with fashionable ideas from elsewhere. Economists are cautiously importing concepts from the new science of chaos and trying to apply them at home. This sounds an odd thing to do, but chaos is not what it used to be.

By "chaotic" behavior, scientists now mean patterns and events that are apparently random, but which are in fact causally determined (and so are sometimes confusingly called deterministically chaotic"). They are thus predictable, at least in theory. In practice, chaotic events are unpredictable, because they are "non-linear" effects of many causes. This means that minute changes in the causes can lead to surprisingly large changes in the effect. One well-worn example is the weather. The beating of a butterfly's wings could affect the future weather thousands of miles away. But it is clearly impossible to monitor each butterfly (or all the other determining factors), so the distant weather remains a surprise.

Astronomers, biologists and physicists use chaos theory to help explain how planets move, how populations grow and how fluids mix. Some economists now think that some of the things that appear partly random-such as exchange rates-may really be chaotically determined. And some of the things they would like to forecast with certainty-such as a firm's profit-may be forever unpredictable.

Much of the chaotic work in economics consists of constructing hypothetical models that produce chaotic behavior, and then seeing how closely these models fit reality. Consider an example from Dr William Baumol and Dr Jess Benhabib of New York University. Suppose a firm's profit depends on the amount of advertising it does. At first an increase in advertising raises profit. But eventually-when the cost of more advertising surpasses the extra revenue it brings in-this strategy will bring profit down. Thus the relationship between advertising and profit is nonlinear: a small change (such as just a bit more advertising) can have a surprisingly big effect. Finally, suppose the amount spent on advertising next year entirely depends on this year's profit.

Feed in such assumptions and this sort of model can do strange things. If the effect of advertising on profit is small, the firm makes little money the first year, does not advertise much in the second year, makes even less money that year, advertises still less, and so on until it makes no money at all. If the effect of advertising on profits exceeds a certain critical level, the annual profit starts to cycle, moving from, say, $100 to $200, back to $100 and so on. This is known as a two-period cycle. Increase the effect of advertising still more and the cycle will increase from two to four periods (eg, profits move from $100 to 10 to $75 to $25 to $100 and so on). This "period doubling" continues as the effect of advertising on profits is increased, until eventually the cycles become infinitely long and so the level of profit appears to vary randomly.

A recent and more sophisticated example of economic chaos was presented in London to the Centre for Economic Policy Research, by Dr Paul de Grauwe and Dr Kris Vansanten of the University of Leuven. They assumed that today's exchange rate will influence tomorrow's, because lots of currency dealers rely on past prices to predict the future. They then argued that exchange rates are also influenced by trade balances, because dealers will sell a country's currency when its trade deficit deteriorates. And the exchange rate itself, by affecting import and export prices, will also influence the trade balance. Finally they assumed that a fall in the exchange rate would at first worsen the trade balance, since import prices rise, but after a while it would improve it, as the volume of imports falls.

The model was fine-tuned until movements of the exchange rate became chaotic. Armed with the behavior of this hypothetical model, the authors concluded that exchange rates can move when there is no economic news, because they are adjusting slowly to events in the past. This makes short-term forecasts difficult. And attempts to forecast exchange rates in the long run must also break down, according to the model. A small change in the model used for forecasting, or in the information put into it, would radically change the predictions. This implies that small changes in government economic policy can have large effects on the exchange rate much later-and not necessarily the intended ones.

Such work shows how chaos could reign in an economy, not that it actually does so. Several economists, including Dr William Brock of the University of Wisconsin, have developed techniques for distinguishing between numbers that look random, but are determined by chaotic equations, and those which truly are random. This should reveal chaos, if it is there.

The commonest way to spot simple chaotic (ie, non-random) numbers uses graphs. With truly random data, the position of economic data-points on a graph should be unrelated. Take the example of the relationship between profit and advertising. Imagine plotting today's profit on the x-axis and next year's profit on the Y-axis. If today's profit is $140, and next year's is $220, you have one coordinate (140, 220). Do the same for all previous profit levels, and if the profits are truly random, there should be no discernible pattern. The co-ordinates should fall all over the graph. But with chaotic numbers a pattern will emerge. In the advertising example, all the co-ordinates will fall on a hill-shaped curve.

In practice, chaotic models might well be more complicated-advertising depends a bit on last year's profit, a bit on that of the year before and so on. So a statistician might plot this year's profit on the x-axis, last year's on the Y-axis, the year before's on the z-axis, (and so on, for as many dimensions as he likes, giving co-ordinates such as 140, 220, 80, 60). If the co-ordinates all fall in a pattern that can be expressed by a series of non-linear equations then deterministic chaos is present. If not, there is pure randomness.

There is a snag: chaos and genuine randomness are likely to go together. This is known as noisy chaos. This means that it is only possibly to say how likely it is that there is chaos, not that it definitely exists. Generally, the more coherent the pattern produced by the co-ordinates, the more likely there is to be chaos, and not just randomness.

So far the application of these techniques to stockmarket returns, variations in GDP and exchange rates has not revealed any significant chaotically deterministic patterns in the data. Indeed, if any obviously deterministic patterns were found, investors could use them to predict prices-and, as soon as they used chaotic models to buy and sell stocks, they would upset any deterministic relationships that their model had discovered.

Although there is so far no hard evidence of economic chaos, reading about it has made economists more open-minded about some things. They are receptive to the idea that small changes can feed on themselves and have large overall effects. And even if the mathematical elegance of chaos theory still eludes them, some of its implications still apply. Traditional models portrayed the economy as essentially stable, only fluctuating around some point of equilibrium because of external, random events. Many newer models are more sophisticated. The economy is seen as inherently variable, sensitive to changes in policy, and hard to control. To non-economists, this will not come as news.

Money and mayhem. (chaotic behavior in systems)

THE dismal science is trying to brighten itself up with fashionable ideas from elsewhere. Economists are cautiously importing concepts from the new science of chaos and trying to apply them at home. This sounds an odd thing to do, but chaos is not what it used to be.

By "chaotic" behavior, scientists now mean patterns and events that are apparently random, but which are in fact causally determined (and so are sometimes confusingly called deterministically chaotic"). They are thus predictable, at least in theory. In practice, chaotic events are unpredictable, because they are "non-linear" effects of many causes. This means that minute changes in the causes can lead to surprisingly large changes in the effect. One well-worn example is the weather. The beating of a butterfly's wings could affect the future weather thousands of miles away. But it is clearly impossible to monitor each butterfly (or all the other determining factors), so the distant weather remains a surprise.

Astronomers, biologists and physicists use chaos theory to help explain how planets move, how populations grow and how fluids mix. Some economists now think that some of the things that appear partly random-such as exchange rates-may really be chaotically determined. And some of the things they would like to forecast with certainty-such as a firm's profit-may be forever unpredictable.

Much of the chaotic work in economics consists of constructing hypothetical models that produce chaotic behavior, and then seeing how closely these models fit reality. Consider an example from Dr William Baumol and Dr Jess Benhabib of New York University. Suppose a firm's profit depends on the amount of advertising it does. At first an increase in advertising raises profit. But eventually-when the cost of more advertising surpasses the extra revenue it brings in-this strategy will bring profit down. Thus the relationship between advertising and profit is nonlinear: a small change (such as just a bit more advertising) can have a surprisingly big effect. Finally, suppose the amount spent on advertising next year entirely depends on this year's profit.

Feed in such assumptions and this sort of model can do strange things. If the effect of advertising on profit is small, the firm makes little money the first year, does not advertise much in the second year, makes even less money that year, advertises still less, and so on until it makes no money at all. If the effect of advertising on profits exceeds a certain critical level, the annual profit starts to cycle, moving from, say, $100 to $200, back to $100 and so on. This is known as a two-period cycle. Increase the effect of advertising still more and the cycle will increase from two to four periods (eg, profits move from $100 to 10 to $75 to $25 to $100 and so on). This "period doubling" continues as the effect of advertising on profits is increased, until eventually the cycles become infinitely long and so the level of profit appears to vary randomly.

A recent and more sophisticated example of economic chaos was presented in London to the Centre for Economic Policy Research, by Dr Paul de Grauwe and Dr Kris Vansanten of the University of Leuven. They assumed that today's exchange rate will influence tomorrow's, because lots of currency dealers rely on past prices to predict the future. They then argued that exchange rates are also influenced by trade balances, because dealers will sell a country's currency when its trade deficit deteriorates. And the exchange rate itself, by affecting import and export prices, will also influence the trade balance. Finally they assumed that a fall in the exchange rate would at first worsen the trade balance, since import prices rise, but after a while it would improve it, as the volume of imports falls.

The model was fine-tuned until movements of the exchange rate became chaotic. Armed with the behavior of this hypothetical model, the authors concluded that exchange rates can move when there is no economic news, because they are adjusting slowly to events in the past. This makes short-term forecasts difficult. And attempts to forecast exchange rates in the long run must also break down, according to the model. A small change in the model used for forecasting, or in the information put into it, would radically change the predictions. This implies that small changes in government economic policy can have large effects on the exchange rate much later-and not necessarily the intended ones.

Such work shows how chaos could reign in an economy, not that it actually does so. Several economists, including Dr William Brock of the University of Wisconsin, have developed techniques for distinguishing between numbers that look random, but are determined by chaotic equations, and those which truly are random. This should reveal chaos, if it is there.

The commonest way to spot simple chaotic (ie, non-random) numbers uses graphs. With truly random data, the position of economic data-points on a graph should be unrelated. Take the example of the relationship between profit and advertising. Imagine plotting today's profit on the x-axis and next year's profit on the Y-axis. If today's profit is $140, and next year's is $220, you have one coordinate (140, 220). Do the same for all previous profit levels, and if the profits are truly random, there should be no discernible pattern. The co-ordinates should fall all over the graph. But with chaotic numbers a pattern will emerge. In the advertising example, all the co-ordinates will fall on a hill-shaped curve.

In practice, chaotic models might well be more complicated-advertising depends a bit on last year's profit, a bit on that of the year before and so on. So a statistician might plot this year's profit on the x-axis, last year's on the Y-axis, the year before's on the z-axis, (and so on, for as many dimensions as he likes, giving co-ordinates such as 140, 220, 80, 60). If the co-ordinates all fall in a pattern that can be expressed by a series of non-linear equations then deterministic chaos is present. If not, there is pure randomness.

There is a snag: chaos and genuine randomness are likely to go together. This is known as noisy chaos. This means that it is only possibly to say how likely it is that there is chaos, not that it definitely exists. Generally, the more coherent the pattern produced by the co-ordinates, the more likely there is to be chaos, and not just randomness.

So far the application of these techniques to stockmarket returns, variations in GDP and exchange rates has not revealed any significant chaotically deterministic patterns in the data. Indeed, if any obviously deterministic patterns were found, investors could use them to predict prices-and, as soon as they used chaotic models to buy and sell stocks, they would upset any deterministic relationships that their model had discovered.

Although there is so far no hard evidence of economic chaos, reading about it has made economists more open-minded about some things. They are receptive to the idea that small changes can feed on themselves and have large overall effects. And even if the mathematical elegance of chaos theory still eludes them, some of its implications still apply. Traditional models portrayed the economy as essentially stable, only fluctuating around some point of equilibrium because of external, random events. Many newer models are more sophisticated. The economy is seen as inherently variable, sensitive to changes in policy, and hard to control. To non-economists, this will not come as news.