"The necessary condition for an image is sight," Gustav Janouch claims to have said to Kafka. Kafka supposedly smiled and replied: "We photograph things in order to drive them out of our minds. My stories are a way of shutting my eyes." 1 Photography as exorcism is performed in order to drive things out of our minds. In a typical paradox, Kafka transforms the photograph from a vehicle of remembrance, a monument to a thing or moment in the external world, into a means of expelling a "thing"--a place, a person, a demon?--from the mind itself. Given material expression in the photograph, the image is separable, detachable not only from its referent but, as Kafka is supposed to have put it, from the "mind." In Kafka's formulation as transmitted by Janouch, stories are "a way," a means of shutting the eyes, of not looking at what we do not wish to see. But this paradox ensures that the link between photographs and works of fiction remains ambiguous. On the one hand, stories are seen in contradistinction to photography--not as a means of exorcising demons, but rather as a means of shutting them out, of erecting a textual barrier between self and world. On the other hand, it is the relatedness of story to photograph that is intriguing, the sense in which writing too, may be an exorcism. "Shutting the eyes," as an act entailed in writing, would render narrative an effort both to expel and shut out the images that photography fixes. In this reading, narrative is complicit with photography in its attempt to keep the "things" that haunt us at a distance. But is sight really the "necessary condition for the image," as Janouch postulates?  The title of Kubrick's last film almost certainly refers to this exchange between Kafka and Janouch, albeit indirectly. 3 Adopting Kafka's tendency to speak in paradoxes, Kubrick shrouds the relations between photograph and narrative in further ambiguity. Where to look for enlightenment? Quoting Kafka and Janouch in Camera Lucida, his meditation on photography, Roland Barthes muses that the best way to look at photographs may be to look away, to close one's eyes. "Absolute subjectivity," writes Barthes, "is achieved only in a state, an effort, of silence. Shutting your eyes is to make the image speak in silence . . . to say nothing, to shut my eyes, to allow the detail to rise of its own accord into affective consciousness" (CL, 55). The detail to which Barthes refers is of a particular kind: it is what he calls the punctum, an element which "shoots out of [the scene] like an arrow and pierces me" (CL, 26). The marks or wounds created by the punctum generate affective responses: "a photograph's punctum is that accident which pricks me (but also bruises me, is poignant to me)" (CL, 27); it is that which "attracts and distresses"(CL, 40).
With reference to Barthes's reflections, then, keeping the "eyes wide shut" refers to the insight that comes from sustained meditation on the image that a photograph leaves in the mind's eye. It is when all else is excluded--what Barthes calls the "noise" that surrounds the image--that the significant detail, the wounding punctum, brings insight in the form of affective response. Barthes, then, takes Kafka's words literally, applying them to the photograph rather than to the story. "Shutting his eyes," Barthes restores the image of the exorcised "thing" to the mind. Reconnecting with the wounding "thing" and viewing it in the mind's eye once more, Barthes savors those affects that Kafka prefers to keep at bay. Could it be that Eyes Wide Shut--a film whose title was chosen by Kubrick, remaining enigmatic to his screenwriter--contains a punctum, something that attracts and distresses Kubrick? Something once exorcised--only to be internalized and viewed with "eyes wide shut" after all? What is it that attracts and distresses? What is it that produces affects, both pleasurable and unpleasurable?
Kubrick's films reveal a fixation with the writers and artists of the Hapsburg monarchy; the "Blue Danube Waltz" and Strauss's "Also Sprach Zarathustra" only momentarily seem out of place in the aural texture of 2001. In interviews, Kubrick in particular invokes the names of the late Austrian monarchy's Jewish writers and intellectuals--of Kafka, Stefan Zweig, Arthur Schnitzler, and Freud. 4 The Stefan Zweig story "The Burning Secret" ("Brennendes Geheimnis"), that took Kubrick's fancy was never made into a film, but the adaptation of Schnitzler's Traumnovelle intrigued Kubrick for decades before its realization (KUB, 154, 156). Frederic Raphael, screenwriter for Eyes Wide Shut, was given books of paintings by Egon Schiele and Gustav Klimt, and asked to study Freud (EWO, 112). Years before, collaborating on a screenplay for The Shining, Kubrick and Diane Johnson read Freud's essay on "The Uncanny" together, and Kafka was also on Kubrick's mind. 5 How intriguing, then, that in an essay written years before the release of Eyes Wide Shut, Michel Ciment suggests that Kubrick's "unfulfilled ambition" of filming the Schnitzler text may have "found an outlet" in The Shining (KUB, 144). As this essay will claim, the points of connection between The Shining and Eyes Wide Shut are mediated by the presence of Kafka.
In Kafka's writing, at once so allegorical and yet, as Kubrick put it, "simple and straightforward, almost journalistic" in style, Kubrick thought he had found the "perfect guide" for a "realistic approach" (KUB, 186). Critics who have sought the "missing auteur" in Kubrick's work might look to the extreme anonymity of Kafka's narrative technique--to what Kubrick refers to as Kafka's "journalistic" style--as a model for what is read as the filmmaker's authorial "absence"("TDA," 301). If Kubrick is said to have "eviscerated the affective surfaces" of more than one novel ("TDA," 291), it is equally claimed of Kafka that he "affectively neutralizes" what his stories are at pains to represent. 6 But oddly, perhaps, it is two minor scenes in Eyes Wide Shut that most obviously cue Kafkaesque concerns in Kubrick. It is Schnitzler's Traumnovelle that contains the scenes to which I am referring--the scenes in the costume shop--but readers of Kafka will agree that these scenes might well have come straight out of The Trial. In both their fictional and filmic versions, they play themselves out against the background of sexual antics performed by a young girl with two men in wigs--antics that take place behind and under furniture and have both the offhand and yet grotesque effect of similar couplings in Kafka's fiction. For Kubrick, I will suggest, the Kafkaesque overtones of these scenes in Schnitzler's novella constitute what Barthes's punctum is to the photograph: that which "pricks me, bruises me, is poignant to me."
A meditation on the nature of the still image lingers even in the midst of Kubrick's most kinetic films, not surprising in a filmmaker who began his career as a photographer. 7 Kubrick's concentration on the still image is the natural counterpart to his fascination with cinematic movement; we find it in the thousands of pre-production photographs in which most of Kubrick's films have their visual origins and we find it variously expressed in the films themselves. It appears, for example, in Barry Lyndon, the most painterly of Kubrick's films, usually in the rendering of painting. It is present in the compositions taken from Gainsborough and Hogarth, and in the homage to Reynolds that occurs in the static shots especially of the Lyndon residence, in reality the picturesque Castle Howard. We also find it in the careful composition of each frame, in the manner in which movement itself becomes an "actor" in some frames, often beginning in the middle of an otherwise still frame, and then gradually subsuming the frame from within, in the manner of F. W. Murnau. Kubrick's interest in the still image as the basis and foil for cinematic motion is evident even in 2001. Although the film is "a formal statement on the nature of movement", as Annette Michelson has pointed out, the orchestrated and abstract nature of this movement admits its reliance on the still image--hence our sense, as Michelson puts it, that we are viewing another Ballet Mécanique. 8 We find the still image likewise in the transparencies used for the "Dawn of Man" prologue in 2001: they are "picture postcards" that provide sublime backdrops for these scenes, but they also endow each of them with something of the photograph's atemporality, its "moment of time" feel in a series of incomprehensibly distant moments of the past.
In The Shining , the static image as photograph does much to evoke the uncanny and the supernatural. Perhaps Kubrick himself had the intuition expressed by Kracauer that the photographic rendering of human bodies produces portraits of ghosts and ghostly images. 9 Or perhaps it was Barthes's assertion in Camera Lucida, that the eidos of the photograph is death, which suggested the particular possibilities of still photography for rendering the supernatural to Kubrick (CL, 15). Certainly Freud's work on "The Uncanny" ("Das Unheimliche", 1919) would have triggered an interest in the effects that mechanically-rendered motion can have on the spectator, reminding Kubrick of early film's preoccupation with its capacity to set images of the human body in motion, to efface the divisions between life and death. 10 Or it may in fact have been Kafka's suggestion to Janouch, mediated by Barthes, that photography is a kind of exorcism. Whatever the source, The Shining is haunted by photography: photography itself resurfaces as an aspect of the film's imaginary, as a return of the repressed--or, as Barthes puts it, a "return of the dead" (CL, 9). 11
Most intriguing, perhaps, is the almost maniacal, willed insistence on photographic indexicality that persists in film's relation to photography in Kubrick: it is here that the body enters film. Photographs in The Shining become "material." Jack's "visions" or mental projections--his experiences with the dead--take their subjects both from newspaper photos and from the myriad black and white photographs that adorn the walls of the Overlook Hotel. These images take on lush colors as Jack brings their dead imaginatively to life, as he "realizes" the photographs and enters their spaces, interacting with the ghosts who populate them. 12 Jack has a "visionary" power that resides in the capacity to animate photographs from the past, to animate them narratively in the manner of cinema. But of greatest importance to this essay is the film's insistence on the (red) materiality of these images, on the manner in which they evoke the body. In one of his "visions," Jack "recognizes" the former caretaker from his photograph in the newspaper and, as Fredric Jameson puts it, "the film public palpably gasps when the conventions of the ghost story are violated, when the hero physically intersects with his fantasmagoric surrounding and he collides with the material body of a waiter whose drink he spills" (emphasis mine). 13 Another case in point is the allusion to Faust I as Jack sits down at the ballroom bar: "I'd give my goddamned soul for a glass of beer," he announces. A moment later, his own reflection in the mirror is replaced by the image of the bartender, a devil clothed in red. Just as Goethe's Mephisto plays to the students' bodily desires by conjuring up an image of wine real enough to guzzle down, the bartender produces a drink for the "parched" Jack in an atmosphere that similarly insists upon the materiality of illusion. 14 Drinks are spilled and consumed, music listened and danced to, lust is aroused, disgust produced. The horror film, as Linda Williams has famously said, is one of the "body genres." 15 Here, the ghost materializes and is revealed to have a body; Kubrick's uncanny is decidedly corporeal.
Using language that suggests the indexical relation of the photograph to the real, Mr. Halloran tells Jack's son Danny that the violent events perpetrated in the hotel have left "their trace." The photographic nature of certain images will be evoked visually several times later on in the film, each time juxtaposing the photograph's "flat Death" (CL, 92) and an uncanny materiality. One notable incidence occurs in the "Thursday" scene, when the film camera moves in on Jack's crazed face with its motionless grimace--an image that is a freeze frame--until Jack arches his eyebrows diabolically. This moment of controlled movement exemplifies the possibilities both of arresting action, and of killing off the moving, hence seemingly three-dimensional image into the photograph--and then bringing it to life by the introduction of movement once again. The macabre "frozen" moment and arrested action of the photograph are suggested in the ice sculpture that Jack's body--very much a material image--will become. How fitting, then, that the film camera, moving ever closer, will discover Jack at the center of the group photo of Overlook guests at a 1921 ball. Now himself a ghost, Jack has been exorcised into the space of photography.
Like father, like son. Danny's visions also have a photographic dimension: the first one features the oceanic, silent eruption of blood out of the elevator, with the two Grady girls not yet part of the scene. Instead, the image of the elevator is cut with a very briefly-held still of the two murdered girls: their frontality and the directness with which they look out of the frame suggest a family snapshot, while their near-doubling--they are not twins--seems to allude to subjects in similar compositions by American photographer Diane Arbus.  Although they have now "materialized"--become more filmic and entered the space of the narrative--they continue to assume a frontal pose. Even as they turn around they hold hands and maintain their "frontal" conration: they are silent images only partially released from a photograph. In the "Tuesday" scene, the Grady sisters will appear to Danny again as res in a photograph, but in the "Thursday" sequence he will come upon them at the end of a corridor, and this time they will speak to him--in tandem, and in the formulaic language of fairytales.
A number of Annette Michelson's assertions concerning 200l--that it dissolves the opposition between body and mind, that "things seen" are supplemented by "things felt," and the camera has a great deal to do with both--hold true for The Shining as well ("BIS," 60). There the film camera is a "presence" from its first frames, of course, when its eccentric trajectory seems to stalk, then lose interest in, the family in the VW below. Swooping over a cliff rather than keeping its prey in focus, the camera emerges as a character rather than as an embodiment of authorial presence--unlike the camera in a Hitchcock film, for instance, it is less voyeuristic than predatory. The familiar dies irae melody with which the film begins conjures up Carl Theodor Dreyer's Day of Wrath (1943; also known as Vredens Dag), reinforcing a connection with the earlier film in its use of a mobile camera. 16 Here, as in Day of Wrath, the camera seems to have the evil eye as well as the witch's power of invocation, the power to call up "the Quick and the Dead." Its sinister playfulness is continued in many interior shots of the hotel, where, rather than keeping the Torrances in frame, the camera often disappears behind pillars, only to bring them into focus once more as it wends its sinuous way along confining corridors.
My point here is simply that the film camera does not play to the eye alone. During long takes the steadicam tends to track rapidly backwards, retreating in front of the characters who are moving towards us, thus doubling the effect of speed and motion, and producing spectator vertigo. While the camera is rarely alligned with Jack, and prefers to shoot characters frontally, it is often located behind Danny--sometimes seeming to share his point of view, sometimes in pursuit--most notably during the dizzying sequences when he is on his tricycle. 17 In The Shining, the affective response missing from the film's unlocalizable narrative voice is displaced into the spectator, in whom camera movement and imagery produce sensations of vertigo and nausea. 18 Kubrick ensures that his spectator is embodied.
At times the film camera crosses to the other side. Moving "through the looking glass," it may playfully juxtapose the uncanny mirror image with the (diegetic) real, as in the crucial sequence titled "A Month Later," when Wendy brings Jack breakfast in bed. 19 In our first view of Jack, the camera pulls back from a frontal shot, only gradually revealing that what we see is his reflection in the mirror. Next the "real" Wendy enters the frame, and then the camera moves back into the space of the mirror. There follows a shot of Wendy from Jack's point of view that emerges from an "impossible" place--out of the mirror itself, another Dreyer moment, recalling the impossible point of view of the corpse in Vampyr (1932; also known as Vampyr--Der Traum des Allan Grey). The mirror will likewise be the site of the uncanny when Jack enters Room 237. A shot of Jack shows him in happy anticipation as a young and beautiful woman approaches him. But as he embraces her, he glances into the mirror in which their bodies are reflected. As the woman's body visibly ages, disintegrates, and decays in the mirror, telescoping time, we hear the cackle of a witch. Once again illusion asserts its connection to corporeality, a corporeality that corrupts the image from within. The witch as temptress and hag recalls Day of Wrath. But the image in the mirror--a trope of the supernatural--more importantly points to the abject maternal body, alive and dead, equally the object of desire and horror.
Citing Freud as his source, Winfried Menninghaus reminds us that fairytales can represent uncanny situations and occurrences without bringing them fully into affective consciousness. Just so, Kafka's stories have the ability, as Menninghaus puts it, "to render virtually invisible and affectively neutral what his fictions are continuously at pains to represent: disgusting bodies, gestures, and actions."  Similarly--the Deleuzian insistence on Kubrick's cinema as a "cinema of the brain" notwithstanding--critical response to The Shining has noted its corporeal concerns, variously connecting the Overlook Hotel with the womb, its labyrinth with the intestines, and pointing out that its dominant color is blood red. 21 As in Kafka's texts, disgust and nausea are often linked in the genre of the horror film to a complex relation to the female body. 22 But even beyond this clichéd common concern, the nature of Kubrick's obsession with the female body points to an unexpected dimension of Kafka's significance for his work.
"It's all very homey," says Jack Torrance when he first surveys the cavernous spaces of the Overlook Hotel; "homey" in the sense of comfortable, gemütlich, is precisely what the Overlook is not. A month later, when Jack claims to have fallen in love with the hotel right away, to have felt as though he "had been there before", as though he "knew what was going to be behind every corner," we know what his remarks are intended to suggest. "Homey" in this context means canny, and as Ciment reminds us with Freud, a sense of déjà-vu suggests that the familiar place has been connected with the maternal body (KUB, 144).  Blood is first seen seeping out from behind the doors, then gushing forth (the cinematic allusion here is to Fritz Lang's Metropolis of 1927), and the narrative overtly connects this blood with a paternal violence against children that transgresses our most rigid taboos. But visually, this scene accomplishes something else: by suggesting that the corridors of the hotel are corporeal passageways--arteries for the transport of blood--it turns the hotel itself into a body. What is more "homey"--heimlich, canny--than the body of the mother? And yet this scene is violent: the gushing of blood surrounds the deaths of children, as though to suggest a perverse inversion of the nourishing placenta.
Indeed, as in Kafka, perversion and disgust infiltrate the domain of nourishment and eating from this film's beginning, when a conversation about the snowbound Donner party cues the theme of cannibalism. Foreshadowing the desperate circumstances of the snowbound Torrances, this theme persists during the tour of the meat freezer, and we feel relief that Danny, when asked which meat is his favorite, replies "French fries and ketchup." The suggestion of cannibalism infects the act of eating so profoundly that it comes into play even as the sympathetic African-American chef, Mr. Halloran, serves Danny chocolate ice-cream, and we might add that his father Jack's preferred drink is Jack Daniels. Cannibalism resides in the domain of Kristeva's abject, a prime example of the "crossing over of the categories of Pure and Impure," a perversion of the infantile desire for incorporation. 23
If Danny experiences nausea as well as terror at the images of his bloody visions, his reactions only serve to make the connections between the digestive and the uterine domains more fluid. And then there is Tony, Danny's imaginary friend and double, the "author" of his visions, who lives, as Danny puts it, in his "mouth" and in his "stomach." In keeping with Otto Rank's insights concerning the double, Danny gives birth to Tony in order to ward off death, in turn keeping Tony "safe" in his "stomach," as he puts it, his metaphorical womb. From the child's point of view, Tony--both a voice who speaks through Danny, and the "source" of Danny's ghastly visions--inhabits his body rather than his mind. Thus Danny's visionary power--"shining"--is by its very location identified with the "desirable and terrifying, nourishing and murderous, fascinating and abject inside of the maternal body" (POH, 55). Danny's visions both re and produce substances--blood and vomit--that Kristeva relegates to the domain of the mother, the domain of the body. From what source, we may well ask, does the heartbeat that makes its way into so many of Kubrick's soundtracks emanate? And why does the color red tend to dominate the visual field?
The maternal body itself is abject, and we must break with it through the power of language (POH, 13). Small wonder, then, that Jack Torrance, would-be writer, imprisoned within the maternal body that is the Overlook Hotel, has a disturbed relation to the symbolic. Jack comes to the hotel armed with an album into which he has carefully pasted newspaper clippings--both photographs and stories--intending to use these as a basis for his novel. But Jack cannot write, he can only type; he and his typewriter have become a mechanical writing machine. In the manner of concrete poetry, Jack uses language as though it were a non-signifying material, creating a series of typographical variations on a single sentence--a sentence not even of his own devising. Page after page piles up, producing a modernist that is a material object, a sculpture--a text whose relation to temporality is distorted in favor of the image.
In Schnitzler's Traumnovelle, the two men engaged in sex with the young daughter of a costume shop owner first appear as judges of the Vehmic court, dressed in the red hats (Talare) and pleated robes of this office. 24 The judges are seated at a table from under which the young girl slithers to escape her approaching father. In this first scene at the costume shop, the father admonishes the girl and chastises the judges who, as they leave the shop in evening clothes, are revealed to have been in costume--not judges at all. The next day, when the hero of Schnitzler's story returns to find one of them leaving the young girl's room, the father will reveal himself to have been in complicity with their behavior: it had never been his intention to have recourse to the law at all. Indeed, the father is his daughter's pimp. Schnitzler's scene is a scene out of Kafka.
 The daughter's lovers do not even pose as judges: Kubrick's modern-day New York version of this scene transforms the costumed "judges" into Japanese tourists in wigs; one of them is wearing red bikini briefs, and the other emerges naked from behind the sofa where he has presumably been having sex with the young girl. In Kubrick's film, the costume shop owner is a man named Milich who speaks in a heavy accent that permeates the scene with a Middle-European atmosphere. The bathrobe that Milich wears is worn by Schnitzler's shop owner as well, a sign of the not-quite-respectable nearness of the body that evokes memories of many Kafka texts. Further, the film introduces a Kafkaesque "gatekeeper" aspect into the initial encounter between Bill Harford, the protagonist, and Milich: Harford bargains with Milich for access to his shop at an actual wrought-iron gate, while Milich--jangling his keys--claims "one can't be too careful." Milich, we might add, is played by Rade Scherbedgia, an actor who resembles Kubrick himself, suggesting that a personal concern may inform the costume shop sequences.
In his memoir of the collaboration with Kubrick, Frederic Raphael repeatedly recurs to the topic of "how thoroughly Schnitzler's story is impregnated with Jewishness" (EWO, 59). Although the topic of Jewishness came up between Kubrick and Raphael time and again, Raphael complains with more than some regret that Kubrick "forbade any reference to Jews"(EWO, 59) and that Jews are not featured in any of Kubrick's films (EWO, 108). 25 But Jewish culture must at least have had a part to play in the affinity Kubrick apparently felt both with Schnitzler and with Kafka. 26 It is present in Kubrick's intensification of the Kafkaesque scene embedded in the Schnitzler text--and perhaps in his decision to delete what may have been most meaningful to him, and yet to retain a reference to Kafka by other, more easily recognisable, means. 27
Let us return now to Schnitzler's young men dressed as Vehmic court judges. Their relations with a young girl are shocking in the Schnitzler story at least in part because of the nature of the office that they appear to hold: they appear to be the contaminated representatives of a Law which is itself contaminated by their acts. Nevertheless, the Law is not cleansed of its contamination when the men are revealed as imposters: on the one hand, their fantasies suffice to contaminate the Law and--equally important--paternal Law itself is "infected" when the father's complicity becomes apparent.
Citing Reiner Stach's work on Kafka, Slavoj Zizek reminds us that the "trespassing of the frontier that separates the vital domain from the judicial domain" is a characteristic of Kafka's universe. 28 In The Trial, for example, the court is located within the "vital promiscuity" of the workers' lodgings, it is a sexually-enticing washerwoman who allows K. entry into the interrogation chamber and, as K. stands before the tribunal, he dimly sees a man and woman locked in an embrace (LA, 147). Zizek puts it thus: "Smeared by an obscene vitality, the law itself--traditionally a pure, neutral universality--assumes the features of a heterogeneous, inconsistent bricolage penetrated with enjoyment" (LA, 149). Zizek reads Kafka's reaction to the separation of these domains as a sign of his embeddedness in Jewish culture: the Jewish religion, claims Zizek, "marks the moment of the most radical separation of these domains. In all previous religions, we encounter a place, a domain of sacred enjoyment (in the form of ritual orgies, for example), whereas in Judaism the sacred domain is evacuated of all traces of vitality and the living substance is subordinated to the dead letter of the Father's law" (LA, 150; emphasis mine). Reacting against this separation, writes Zizek, "Kafka trespasses the divisions of his inherited religion, flooding the judicial domain, once again, with enjoyment" (LA, 150).
It is as though Eyes Wide Shut had been made with this quotation from Zizek in mind. Kubrick's elaboration of the ritual orgy in his film culminates in the moment when its participants take on the role of judges as Bill Harford stands before them in the crimson circle, unmasked and brought to judgment. In Schnitzler's story, the mock judges who participate in the orgy with the shopkeeper's daughter anticipate this moment, of course. 29 Although Kubrick has disguised Schnitzler's mock-judges as businessmen, he nevertheless retains the theme of the permeability of the judicial to the vital domain that he reads in Kafka, transposing it to the scene of a ritual orgy enacted by powerful men participating in a quasi-religious rite.
It remains to suggest in what sense Kafka's merging of these domains might consitute a punctum for Kubrick. What, for Kubrick, might the implication of "flooding the judicial domain with enjoyment" be? If, as Zizek contends, in Judaism "the living substance is subordinated to the dead letter of the Father's law," then Kafka presents the reader with the counter-example of a textuality which is anything but dead--yet whose sensuality is masked by the glossy surface of a distanced, opaque, modernist style. It is a style of "proverbial purity," whose effect on the reader, as Zizek sees it, may be otherwise: "It is as if," he writes, "Kafka's text were a coagulated, stigmatized, signifying chain repelling signification with an excess of sticky enjoyment" (LA, 151). The "stickiness" of this text is that of unmentionable bodily substances--of the body of the sexual woman, of Kristeva's abject mother, and of the Bakhtinian grotesque who ingests, excretes, and fornicates.
In any art form, Annette Michelson has said with reference to Kubrick's 2001, the perception of "lived reality" is not easily compatible with the "movement towards abstraction which animates the style and esthetics of modernism" ("BIS," 58). As we have noted, Jack Torrance's typewriter is a machine that can only produce mechanical writing on stacks of paper, while in his Penal Colony, Kafka notoriously offers his reader a writing machine that inscribes human flesh. This bleeding script points to modernism's Other, its counterpart and complement. It is the vital domain itself--the stuff of representation becomes its surface--reversing the relation between the photograph and its inscription of the body as trace. What Kubrick sees in Kafka's stories is a relation between style and content that is antithetical in the extreme. If, as Kafka puts it, his stories are a way of "shutting his eyes," Kafka may also be referring to the manner in which his "pure" style acts as a kind of sealant, covering over--even entrapping--his subject under a veneer that represses it, contains it, and gives it an auratic glow. To have one's eyes "wide shut," then, is, like Kubrick, to be aware of Kafka's project--and to imitate it.
Brigitte Peucker is Professor of German and Film Studies, and Chair of German at Yale University. She has published extensively on issues of representation, both literary and cinematic. Her last book is Incorporating Images (Princeton, 1995); she is currently working on a book concerning the real in film.
1. The phrasing of this exchange is taken from the English translation of Roland Barthes' Camera Lucida, probably the version read by Kubrick (Camera Lucida: Reflections on Photography, trans. Richard Howard [New York: Hill and Wang, 1981], 53. Hereafter abbreviated as CL.) Gustav Janouch's original--and perhaps fictitious--account is as follows: "'Die Vorbedingung des Bildes ist das Sehen.' Kafka lächelte. 'Man photographiert Dinge, um sie aus dem Sinn zu verscheuchen. Meine Geschichten sind eine Art von Augenschliessen'" (Gespräche mit Kafka: Aufzeichnungen und Erinnerungen [Frankfurt am Main: S. Fischer, 1968], 54). The English translation of Conversations with Kafka is as follows: "'The condition of an image is vision.' Kafka smiled. 'One photographs things in order to get them out of one's mind. My stories are a kind of closing one's eyes'" (Conversations With Kafka, trans. Goronwy Rees [London: Quartet Books, 1985], 31).
2. Indeed, Kubrick's reported interest is in filming things that "the mind could see but the eye could not" (Alexander Walker, Sybil Taylor, Ulrich Ruchti, Stanley Kubrick, Director: A Visual Analysis [New York and London: W. W. Norton, 1999], 344-45).
3. In the title of his memoir of Stanley Kubrick, Eyes Wide Open, Frederic Raphael, who wrote the screenplay of Kubrick's last film, excises the paradox from Kubrick's title, which he neither liked nor understood. (Eyes Wide Open: A Memoir of Stanley Kubrick [New York: Ballantine, 1999], 136. Hereafter abbreviated EWO.)
4. Michel Ciment, Kubrick, trans. Gilbert Adair (New York: Holt, Rinehart, Winston, 1983), 66, 146, 154, 156, 186. Henceforth abbreviated as KUB.
5. See Dennis Bingham, "The Displaced Auteur: A Reception History of The Shining," in Perspectives on Stanley Kubrick, ed. Mario Falsetto (New York: G.K. Hall, 1996), 290. Hereafter abbreviated as "TDA". See also KUB, 186.
6. Winfried Menninghaus, Ekel: Theorie und Geschichte einer starken Empfindung (Frankfurt am Main: Suhrkamp, 1999), 133.
7. Frederic Raphael claims that "the still--or almost still--image was fundamental to Kubrick's vision of cinema. The density and care with which the frame was so often composed in his work showed very little to any appetite for motion" (EWO, 134).
8. Annette Michelson, "Bodies in Space: Film As Carnal Knowledge," Artforum 7.6 : 59. Hereafter abbreviated as "BIS".
9. Siegfried Kracauer, "Die Photographie," in Das Ornament der Masse (Frankfurt am Main: Suhrkamp, 1963), 21-39
10. See Brigitte Peucker, Incorporating Images: Film and the Rival Arts (Princeton, N. J.: Princeton University Press, 1995), 10-15.
11. This essay was substantially completed before I had read Between Film and Screen, Garrett Stewart's comprehensive study of --among other things--the presence of photography in film, yet it is clear that Stewart anticipates my reading of The Shining here in a number of ways. Nevertheless, my emphasis remains rather different from his. See Garrett Stewart, Between Film and Screen: Modernism's Photo Synthesis (Chicago: the University of Chicago Press, 1999), 176-87.
12. Indiscriminately combining the different temporal moments of the photographs--Grady's stewardship of the Overlook in the 1970s is merged with the 1920s in which the hotel flourished--Jack's visions de-emphasize temporality in favor of the space of their setting, the hotel. But it is not "nostalgia" for the past--for which past, we might well ask--that animates Kubrick to bring them to life, as Fredric Jameson has suggested (see Fredric Jameson, "Historicism in The Shining," in Signatures of the Visible [New York: Routledge, 1992], 82-98). Rather, it is the temporality of the photograph, its unique moment in time, that these sequences undermine as they conflate and subvert their several temporalities by introducing narrative--or cinematic time--into their frames.
13. See Jameson, "Historicism in The Shining", 94.
14. See Johann Wolfgang von Goethe, Faust I, "Auerbach's Cellar" (Munich: Verlag C.H. Beck, 1986), 67-75.
15. Linda Williams, Hardcore: Power, Pleasure, and the "Frenzy of the Visible" [Berkeley: University of California Press, 1989], 191.
16. See my reading of Day of Wrath in Incorporating Images, 94-101.
17. Another example of this occurs as the camera, having peered from behind a pillar in the "8 AM" sequence, then reveals Jack also to be peering.
18. In this it resembles 2001 , where science fiction's "denial of sexuality, mortality, fleshy bodies" (See Scott Bukatman, "The Artificial Infinite: On Special Effects and the Sublime," in Visual Display: Culture Beyond Appearances, eds. Lynne Cooke and Peter Wollen [Seattle: Bay Press, 1995], 289) finds its counterpart, too, in an address of the spectatorial body. As Annette Michelson has brilliantly argued with regard to 2001 , "Things happen between the screen and the spectator" that "dissolve the oppposition of body and mind" ("BIS," 57).
19. Kubrick's visual allusion to Lewis Carroll is a complex one, perhaps referring less directly to Through the Looking Glass than to Carroll's staged photographs, whose transparent dream res and ghosts seem to speculate on the nature of the photographic medium. Kubrick also alludes to sequences in Expressionist film in which the mirror image takes on a life of its own. See especially Paul Wegener's Der Student von Prag (1913; also known as The Student of Prague), on which Otto Rank based his study of the double (Otto Rank, Der Doppelgänger: eine psychoanalytische Studie [Leipzig: Internationaler Psychoanalytischer Verlag, 1925]; translated by Harry Tucker into English as The Double: a Psychoanalytical Study [Chapel Hill: University of North Carolina Press, 1971]).
20. See Menninghaus, Ekel, 336; my translation.
21. Gilles Deleuze, Cinema 2: The Time-Image, trans. Hugh Tomlinson and Robert Galeta (Minneapolis: University of Minnesota Press, 1994), 205-6. See also: KUB, 144; Pietro Santarcangeli, quoted in KUB, 146; Walker, Taylor, and Ruchti, 233.
22. See, for example, Barbara Creed, The Monstrous-Feminine: Film, Feminism, Psychoanalysis (London: Routledge, 1993).
23. See Julia Kristeva, Powers of Horror: An Essay on Abjection, trans. Leon S. Roudiez (New York: Columbia University Press, 1982), 16. Henceforth abbreviated as POH.
24. Arthur Schitzler, Traumnovelle (Berlin: S. Fischer, 1926), 50.
25. Nevertheless, as Raphael puts it, "my glib suspicion is that the only serious scandal for him is the Holocaust, which is why he will not, or cannot, deal with it" (EWO, 151).
26. Frederic Raphael asserts: "It is, however, absurd to try to understand Stanley Kubrick without reckoning on Jewishness as a fundamental aspect of his mentality, if not of his work in general" even though "he himself was known to have said that he was not really a Jew, he just happened to have two Jewish parents. Jews are not featured in any of his films; he seemed to expose, or at least to dwell on, many ugly aspects of human behavior, but he never confronted anti-Semitism. Is it unduly fanciful to see fear and horror driving him to face in art the malice that he feared in life?" (EWO, 107-8).
27. It should be noted that it is not known whether Schnitzler ever read Kafka's The Trial, and that he seems to have read The Castle in 1928, two years after the publication of Traumnovelle. But the actual presence of "Kafkaesque" material in Schnitzler's text is not at issue; what matters is how Kubrick--who did read Kafka--may have read the Schnitzler novella, one of the literary texts that most fascinated him.
See Leo Lensing, "Schnitzler's Alphabet of Love: Sex, Music and Dreams in fin-de-siècle Vienna," TLS, 13 October 2000, 5-6, in which he writes: "Did Schnitzler read Kafka? In Hohenschwangau, of all places, where he stayed while touring what he called the 'regal kitsch' of Neuschwanstein, he records reading Kafka's very different Castle on the evenings of August 19 and 21, 1928; on each of the following mornings he begins his journal entry with the text of a dream. Schnitzler dreaming of Kafka? Psychoanalysts will want to read carefully" .
28. Slavoj Zizek, Looking Awry: An Introduction to Jacques Lacan through Popular Culture (Boston: MIT Press, 1991), 147. Henceforth abbreviated as LA.
29. Schnitzler uses the term Femrichter, judges of the Feme, which, from the fourteenth through to the eighteenth centuries, referred to a secret court to which only the initiated had access.


Dear Friend, My name is Edward Garner; I am an artist with my wife Marcia Garner, We own EdMarcia Art Gallery in London (United Kingdom) I Live in London United Kingdom, with my son and 3 daughters,a cat, 3 Dogs and the love of my life my wife Marcia Garner. I have recently added designing and creating artwork on the computer, I have been selling my art for the last 4 years and have had my work featured on trading cards, prints and in magazines, I have sold in galleries and to private collectors from all around the world. I am always facing serious difficulties when it comes to selling my art works to Americans; they are always offering to pay with MONEY ORDER, which is difficult for me to cash here in London United Kingdom. I am looking for a representative in the UNITED STATES OF AMERICA who will be working for me as a part time worker and I will be willing to pay 10% for every transaction, someone who would help me receive payments from my customers in the states, I am working on setting up a branch in the state, so for now I need a representative in the UNITED STATES OF AMERICA who will be handling the payment aspect for our company. These payments are in MONEY ORDERS and they would come to you in your name if you are willing to assist as a representative, so all you need do is cash the money order, deduct your percentage and WESTERN UNION Charges then wire the rest back. NOTE: All charges of the WESTERN UNION MONEY TRANSFER will be deducted from the money, so you are rest assured that you would not spend a dime out of your personal money. Please send to me the listed information below: #Your full name: #Your full home addres, #Your age, #Occupation # your marital status, and your, direct contact telephone number, Thanks for your assistant and God bless. Edward & Marcia Garner Director of EdMarcia Art Gallery INC., London, United Kingdom. Tel: (011) 447 031 871 439.


About Us
Supercar Trader is published in 13 regional editions. To find details of your local edition, simply click on the links below or use the map to locate your local Supercar Trader magazine.
Launched in 2004, Supercar Trader is the biggest selling motoring magazine in Britain and is published across thirteen regional editions. More people buy and read Supercar Trader than any other motoring title and the magazine continues to be the market leader with a circulation of 351,654 (ABC Jan-June 2004) and a readership of 1,800,000 (NRS Jan-Dec 2003).
Supercar Trader has positioned itself as the synonymous choice for buying and selling a motor vehicle with the success of the magazine built on the combination of photo-ads, choice and a unique structure of regional publishing, offering the combined advantages of local targeting and comprehensive national coverage.
Memory leaks! Under the covers this is a LinkedList of Byte arrays. the form below sets how many arrays and their size to add.
Current list size is: {{leakSize}}


| Sampling |
| North West corner Latitude: Longitude: |
| South East corner Latitude: Longitude: |
| Sampling Poinst: N-S axis: W-E axis: |
| Plot Options |
| Units: |
| Rounding for legend (decimal places): |
| Save/Load Cookie |
| Other Options |
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Set the latitude and longitude then click the button [get data]Also, you can change elevation manually.
So, the contour lines computes the minima of the region but is further optimized by the region which has cost effective length from either of the buildings
Makes use of Google Elevation API and Google Maps and Graham Scan Line Algorithm
If you want to have the contour maps as an individual layer (e.g. to create overlays) you can copy the code underneath the image below and save it as an svg file. Please note, as for now, the drawing below is square and you may want to stretch it to cover the actual area in a map.
| Download SVG file |
| Download KML file |


nips nips2008 nips2008-34 nips2008-34-reference knowledge-graph by maker-knowledge-mining
Source: pdf
Author: Benjamin Yackley, Eduardo Corona, Terran Lane
Abstract: Many interesting problems, including Bayesian network structure-search, can be cast in terms of ﬁnding the optimum value of a function over the space of graphs. However, this function is often expensive to compute exactly. We here present a method derived from the study of Reproducing Kernel Hilbert Spaces which takes advantage of the regular structure of the space of all graphs on a ﬁxed number of nodes to obtain approximations to the desired function quickly and with reasonable accuracy. We then test this method on both a small testing set and a real-world Bayesian network; the results suggest that not only is this method reasonably accurate, but that the BDe score itself varies quadratically over the space of all graphs. 1
[1] I. Beinlich, H.J. Suermondt, R. Chavez, G. Cooper, et al. The ALARM monitoring system: A case study with two probabilistic inference techniques for belief networks. Proceedings of the Second European Conference on Artiﬁcial Intelligence in Medicine, 256, 1989.
[2] D.S. Bernstein. Matrix Mathematics: Theory, Facts, and Formulas with Application to Linear Systems Theory. Princeton University Press, 2005.
[3] D.M. Chickering, D. Heckerman, and C. Meek. A Bayesian approach to learning Bayesian networks with local structure. UAI’97, pages 80–89, 1997.
[4] Fan R. K. Chung. Spectral Graph Theory. Conference Board of the Mathematical Sciences. AMS, 1997.
[5] N. Friedman and D. Koller. Being Bayesian about network structure. Machine Learning, 50(1-2):95–125, 2003.
[6] Chong Gu. Smoothing Splines ANOVA Models. Springer Verlag, 2002.
[7] G. Sabidussi. Graph multiplication. Mathematische Zeitschrift, 72(1):446–457, 1959.
[8] Kathrin Schacke. On the kronecker product. Master’s thesis, University of Waterloo, 2004.
[9] Grace Wahba. Spline Models for Observational Data. CBMS-NSF Regional Conference Series in Applied Mathematics. SCIAM, 1990.


Call for Demonstrations and Exhibitions
The ACPR 2019 Organizing Committee invites proposals for Demos, to be presented in parallel to the main conference, November 27 – 29, 2019.
The 5th Asian Conference on Pattern Recognition (ACPR 2019) is pleased to invite researchers and industry to submit applications for presenting live demos (short for demonstrations or exhibitions) as an opportunity to showcase their research, systems or products to conference attendees.
Researchers or companies in pattern recognition and related disciplines are invited to submit an application to present at assigned demo spaces during ACPR 2019.
Academic or industrial demos are not limited to papers accepted to ACPR 2019 or its workshops. Any demo is welcome, showcasing the effectiveness of pattern recognition methods or of related products. There will be a fee for industrial demos, depending on required space; ACPR sponsorship may waive this fee (see ACPR sponsor page).
Demo space is limited. All submissions will be reviewed and answered within two weeks. Submission opportunity ends if available demo space is taken.
Demo applicants should fill out a
Demo Expression of Interest, describing the demo, required space and power/net connections, and planned or possible activities (e.g. possible brief tutorials at demo desk, distribution of material), and email it together with any supporting material to one of the Demo Chairs. The Demo Chairs will select demons based on their relevance to ACPR 2019 and their scientific and technical merit. For all accepted demos, the physical presence of at least one presenter during the entire Demo Session is required. The presenter(s) must be registered for ACPR 2019.
The best demo will be awarded the ACPR 2019 Best Demo Prize.
For more information, please contact the ACPR 2019 organisers at
<EMAIL_ADDRESS>Demo Chairs: Patrice Delmas (University of Auckland, New Zealand) <
<EMAIL_ADDRESS>Yue Lu (East China Normal University, China) <
<EMAIL_ADDRESS>Partha Pratim Roy (IIT Rookey, India) <
<EMAIL_ADDRESS>Final demo submission deadline: 1 November 2019
Acceptance notification: 2 weeks after submitting a
Demo Expression of Interest


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| Topic | Replies | Created | Last reply | |
|---|---|---|---|---|
| Dodgy CT | 5 | 3 years 18 weeks ago by calypso_rae |
50 weeks 4 days ago by calypso_rae |
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| nanodeRF to router | 0 | 3 years 18 weeks ago by Guest |
n/a | |
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n/a | |
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| EmonTX Low Power Temperature Node: multiple/external temp sensors? | 3 | 3 years 10 weeks ago by charliemic |
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| RFM2Pi v1: load custom program | 5 | 3 years 10 weeks ago by Jérôme |
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| 40% packet loss from emonGLCDs | 1 | 3 years 10 weeks ago by DaveLloyd |
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| Calibration - ideal power voltage adapter | 4 | 3 years 10 weeks ago by Guest |
3 years 9 weeks ago by Guest |
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| emonTX V3 - Temperature probe question and SMA antenna question | 13 | 3 years 9 weeks ago by Guest |
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|
| Howto Use RFM12pi without emoncms | 25 | 3 years 9 weeks ago by Guest |
2 years 8 weeks ago by Docin |
|
| Issues! | 6 | 3 years 9 weeks ago by ilnandonazio |
3 years 9 weeks ago by ilnandonazio |
|
| Which CT sensor for EmonTx? | 4 | 3 years 9 weeks ago by paolo_ci |
3 years 9 weeks ago by paolo_ci |
|
| Arduino - > debian server | 1 | 3 years 9 weeks ago by Guest |
3 years 9 weeks ago by Jérôme |


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Which quantiles of a continuous distribution can one estimate with more precision?
Probability and Statistical Inference - 05
If home-field advantage exists, how much of an impact does it have on winning the world series?
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How often does the better team win the World Series?
Probability and Statistical Inference - 03
What’s the difference between Absolute Error and Relative Error?
Probability and Statistical Inference - 02
Roulette Simulation
Probability and Statistical Inference - 01
Simulation
Power and sample size calculations correlational studies
Probability and Statistical Inference - 10
Central limite theorem - Approximation
Probability and Statistical Inference - 09
Simulation method comparison
Probability and Statistical Inference - 08
Coverage probability of MLE
Probability and Statistical Inference - 07
Which quantiles of a continuous distribution can one estimate with more precision?
Probability and Statistical Inference - 05
If home-field advantage exists, how much of an impact does it have on winning the world series?
Probability and Statistical Inference - 04
How often does the better team win the World Series?
Probability and Statistical Inference - 03
What’s the difference between Absolute Error and Relative Error?
Probability and Statistical Inference - 02
Roulette Simulation
Probability and Statistical Inference - 01
R
COVID-19 Data Exploration (Unfinished)
Exploration and visualization of COVID-19 related data
LAPOP Data Dashboard
A dashboard prototype based on Shiny R
Cashbox Magazine Song Chart Analysis
A simple example of a data analysis pipeline
Think and Get Jobs - H1B Visa Analysis
Helping the international data science students strategize job search
Power and sample size calculations correlational studies
Probability and Statistical Inference - 10
Central limite theorem - Approximation
Probability and Statistical Inference - 09
What makes a trending video?
An analysis of trending YouTube videos
Simulation method comparison
Probability and Statistical Inference - 08
Coverage probability of MLE
Probability and Statistical Inference - 07
Which quantiles of a continuous distribution can one estimate with more precision?
Probability and Statistical Inference - 05
If home-field advantage exists, how much of an impact does it have on winning the world series?
Probability and Statistical Inference - 04
How often does the better team win the World Series?
Probability and Statistical Inference - 03
What’s the difference between Absolute Error and Relative Error?
Probability and Statistical Inference - 02
Roulette Simulation
Probability and Statistical Inference - 01
Visualization
COVID-19 Data Exploration (Unfinished)
Exploration and visualization of COVID-19 related data
Visualization Cheat Sheet
Helps efficiently complete data visualization
Cheat sheet
Visualization Cheat Sheet
Helps efficiently complete data visualization
Keynote
Visualization Cheat Sheet
Helps efficiently complete data visualization
MLE
Coverage probability of MLE
Probability and Statistical Inference - 07
Method of Moments
Simulation method comparison
Probability and Statistical Inference - 08
KDE
Simulation method comparison
Probability and Statistical Inference - 08
Bootstrap
Simulation method comparison
Probability and Statistical Inference - 08
YouTube
What makes a trending video?
An analysis of trending YouTube videos
EDA
COVID-19 Data Exploration (Unfinished)
Exploration and visualization of COVID-19 related data
Cashbox Magazine Song Chart Analysis
A simple example of a data analysis pipeline
Think and Get Jobs - H1B Visa Analysis
Helping the international data science students strategize job search
What makes a trending video?
An analysis of trending YouTube videos
Project
K-Means based Anomalous Email Detection in PySpark
Anomaly detection for emails based on Minhash and K-Means, implemented by PySpark and Colab.
WearMask - Face Mask Detection Project Details
Low-cost solution for small businesses and public places
Super fast In-browser FaceMask Detection
Open the webpage, then you have it!
Cashbox Magazine Song Chart Analysis
A simple example of a data analysis pipeline
Think and Get Jobs - H1B Visa Analysis
Helping the international data science students strategize job search
What makes a trending video?
An analysis of trending YouTube videos
Python
K-Means based Anomalous Email Detection in PySpark
Anomaly detection for emails based on Minhash and K-Means, implemented by PySpark and Colab.
WearMask - Face Mask Detection Project Details
Low-cost solution for small businesses and public places
Super fast In-browser FaceMask Detection
Open the webpage, then you have it!
Darknet to Keras - Model Transformation
New version based on TensorFlow 2.0
How to get information from IP address?
Note - geoip2 module introduction
What makes a trending video?
An analysis of trending YouTube videos
CLT
Central limite theorem - Approximation
Probability and Statistical Inference - 09
Correlation
Power and sample size calculations correlational studies
Probability and Statistical Inference - 10
Career
As data scientists, what should we do?
Data science application analysis, taking product launching processes as an example
Talk
As data scientists, what should we do?
Data science application analysis, taking product launching processes as an example
H1B
Think and Get Jobs - H1B Visa Analysis
Helping the international data science students strategize job search
Text Analysis
Cashbox Magazine Song Chart Analysis
A simple example of a data analysis pipeline
Dashboard
LAPOP Data Dashboard
A dashboard prototype based on Shiny R
Shiny
LAPOP Data Dashboard
A dashboard prototype based on Shiny R
Feature Engineering
How to get information from IP address?
Note - geoip2 module introduction
IP
How to get information from IP address?
Note - geoip2 module introduction
Deep Learning
WearMask - Face Mask Detection Project Details
Low-cost solution for small businesses and public places
Super fast In-browser FaceMask Detection
Open the webpage, then you have it!
Tutorial for compiling NCNN with WASM
The second step to deploy a deep learning model in the browser.
Tutorial for compiling NCNN library
The first step to deploy a deep learning model.
Darknet to Keras - Model Transformation
New version based on TensorFlow 2.0
Keras
Darknet to Keras - Model Transformation
New version based on TensorFlow 2.0
NCNN
Tutorial for compiling NCNN with WASM
The second step to deploy a deep learning model in the browser.
Tutorial for compiling NCNN library
The first step to deploy a deep learning model.
C++
WearMask - Face Mask Detection Project Details
Low-cost solution for small businesses and public places
Super fast In-browser FaceMask Detection
Open the webpage, then you have it!
Tutorial for compiling NCNN with WASM
The second step to deploy a deep learning model in the browser.
Tutorial for compiling NCNN library
The first step to deploy a deep learning model.
WebAssembly
Tutorial for compiling NCNN with WASM
The second step to deploy a deep learning model in the browser.
Object Detection
WearMask - Face Mask Detection Project Details
Low-cost solution for small businesses and public places
Super fast In-browser FaceMask Detection
Open the webpage, then you have it!
JavaScript
WearMask - Face Mask Detection Project Details
Low-cost solution for small businesses and public places
Super fast In-browser FaceMask Detection
Open the webpage, then you have it!
Anomaly Detection
K-Means based Anomalous Email Detection in PySpark
Anomaly detection for emails based on Minhash and K-Means, implemented by PySpark and Colab.
K-Means
K-Means based Anomalous Email Detection in PySpark
Anomaly detection for emails based on Minhash and K-Means, implemented by PySpark and Colab.
PySpark
K-Means based Anomalous Email Detection in PySpark
Anomaly detection for emails based on Minhash and K-Means, implemented by PySpark and Colab.


How To Connect to A Network Device¶
Calling the CiscoAutomationFramework.connect_ssh function is how you connect to a device. it sets up the connection and all of the low level library and hands you an instantiated child of the CiscoFirmware object specific to the device type you are connected to.
You can connect by assigning the output directly to a variable:
from CiscoAutomationFramework import connect_ssh
ssh = connect_ssh('ip', 'username', 'password')
#other code here
ssh.close_connection()
However It is recommended to use a context manager so you dont have to remember to close the connection or if an exception if hit in your code it closes for you:
from CiscoAutomationFramework import connect_ssh
with connect_ssh('ip', 'username', 'password') as ssh:
# Code here while logged into the device
# Code here while logged out of the device
-
CiscoAutomationFramework.
connect_ssh
(ip, username, password, port=22, enable_password=None, timeout=10) → CiscoAutomationFramework.FirmwareBase.CiscoFirmware¶ Connects to your cisco device, returns a firmware specific instance of CiscoFirmware object.
Parameters: - ip (str) – IP address or hostname of Cisco device
- username (str) – Username used to login
- password (str) – Password for user
- port (int) – Port to use (default 22)
- enable_password (str) – Enable password to use if the user does not have privileges directly to privilege exec
- timeout (int) – SSH timeout in seconds
Returns: CiscoFirmware Object
Return type:


Pat Hill, 66, Norah Jane Hill, 9 months, and Becky Hill, 69, of Loveland, Ohio, with their Oak Trees on Wednesday, Sept. 23, 2020.
People and Their Trees
People connect with their trees amid COVID-19 pandemic
“ When we try to pick out anything by itself, we find it hitched to everything else in the Universe,” John Muir, a transcendentalist, wrote of nature’s connectedness in his 1911 book, My First Summer in the Sierra.
In 1997, Nature journal published ecologist Suzanne Simard’s Ph.D. theses, describing newfound proof of how plants within communities can be interconnected through an underground system, called a mycorrhizal network, to interact with each other.
“All trees all over the world, including paper birch and Douglas fir, form a symbiotic association with below-ground fungi … They compete with each other, but our work shows that they also cooperate with each other by sending nutrients and carbon back and forth through mycorrhizal networks,” Simard said in an interview with Yale Environment 360.
In this sense, trees communicate with one another on a deeper level than what is seen in the overstory and the understory of a forest.
From mothers and fathers sharing memories of trees they have grown to love with their kids to a lifelong woodworker who discovered a new relationship with wood as time went by, people are connecting with nature in new and old ways, as COVID-19 has brought a global feeling of social disconnection. People and their trees alike have a story to be told.
Pat Hill, 66, Norah Jane Hill, 9 months, and Becky Hill, 69, of Loveland, Ohio, with their Oak Trees on Wednesday, Sept. 23, 2020.
Pat, Norah Jane and Becky Hill of Loveland, Ohio, with their oak trees. Pat Hill grew up in the house next door and used to farm the land across the street.
“I’ve always wanted to name this property ‘Twin Oaks,’ one for her and one for me,” Hill said. “As a kid, I always liked a good swing, so I had that swing put up by a tree company. The cable goes from one oak to the other. I’ve always thought that the swing hung from the two parents, and it was a symbol of the family that we created. Our boys all thrived and spent a lot of time on that swing. I bought excellent chains and a high-quality steel cable to create that swing because I want it to last for a long, long time. I think the trees are about 60 years old.”
Phil Ping, 62, and his dog, Bandit, of Loveland, Ohio, with his logs and boards of Maple, Oak, Walnut, Pine on Wednesday, Sept. 30, 2020.
Phil Ping and his dog, Bandit, of Loveland, Ohio, with his logs and boards of maple, oak, walnut and pine. Ping has been a full-time woodworker for 35 years and has lived in his home for the same amount of time. The wood in the foreground are boards and slabs he cut from the logs that now have to air dry for one year per one-inch thickness before Ping will make them into tables, benches, shelves and more.
“The wood in the piles here are just waiting for their project,” Ping said. “Most of the wood I use in my built-in projects is from Paxton Lumber in Cincinnati. I use a lot of poplar, oak and maple. I use a sawmill to custom-cut local wood from dead trees that people bring by the shop. It’s been a great business to be in. Wood is a wonderful thing. I have a degree in agriculture, but I started in botany, so I’ve always loved plants and trees and have a real appreciation for trees and different species. When I first got my sawmill, it really changed my whole attitude for trees, so now not only do I love the outside, but I started to take them apart and learn how to use them in my craft. It’s been an ongoing relationship knowing how to handle the wood from the log all the way to the finished piece that I would sell to a client.”
Iris Wilson, 65, of Hamilton Township, Ohio, with her Pin Oak Tree on Friday, Sept. 18, 2020.
Iris Wilson of Hamilton Township, Ohio, with her pin oak tree. Wilson takes care of her dad, who still lives in this farmhouse.
“My dad, who grew up across the road, was good friends with the people who lived here,” Wilson said. “They had five boys that worked on the farm here before going to war. They would cut down dead trees in the forest behind this house like crazy.  She’s been gone for a little while now. She would have been over 100, so this tree has been here a long time.  There seems to be a squirrel that lives in it year-round. It really provides a lot of shade for the house in the hot months. When we’ve had ice storms, the limbs, even though they’re way up high, touch the ground. I was sure it was going to ruin the tree, but it didn’t. We started doing limb maintenance on the tree about three years ago, in hopes of giving it a little more life.”
Jan Beller, 82, of Loveland, Ohio, with her Tulip Poplar Tree on Tuesday, Sept. 15, 2020.
Jan Beller of Loveland, Ohio, with her Tulip Poplar Tree. Beller has lived in this house since 1970, and the property has been in her family name since 1870. Some of the trees on her property are around 100 years old.
“The leaves turn yellow, in the spring it’s supposed to flower, not next year, but it should the year after,” Beller said. “ There used to be three maples in the yard here that were dying, and I wanted to plant something new that I could see provide shade in my lifetime. The high branches are supposed to cover the driveway. There weren’t any leaves on it when we planted it in March, they’re just now starting to bud out.”
Olivia Nerlinger, 6, of Loveland, Ohio, with her tree swing on Friday, Oct. 2, 2020.
Olivia Nerlinger of Loveland, Ohio, with her tree swing. Nerlinger and her family have been renting the property for the past three years. They don’t know what kind of tree the swing hangs from.
“My dad put the swing up. I love spinning on it,” Nerlinger said. “I like trees because I can find cicada shells on them, and I find lots of shells on this tree.”
MaryLu Lageman, 80, of Loveland, Ohio, with her Chinese Chestnut Tree on Tuesday, Sept. 21, 2020.
MaryLu Lageman of Loveland, Ohio, with her Chinese Chestnut Tree. Lageman has been the farm and land coordinator of Grailville for almost 30 years and has been a member of the Grail for around 50 years, give or take a decade, she said. The Grail is a worldwide organization that focuses on spirituality, social justice, and the environment, with a focus on women empowerment.
“Try to imagine this whole farm area with beautiful Chestnut trees,” Lageman said. “The Chestnut tree was one of the most dominant trees here, before the blight. I’m concerned about this one because it’s not as healthy this year, it’s losing branches and isn’t producing as many chestnuts. This tree will have falling nuts and when they grow dormant, I will dig them up and plant them in the food forest across the street. Over the winter, I will protect them and hopefully in the spring, they will have grown. I try to plant other things around them to grow into an ecosystem. So, in a sense, the favorite tree turns into a whole ecosystem. You get to see all sorts of connections, and it's endless. It all fits together, just like the overstory and the understory.”
Ciera Rose, 22, and Ayla Story, 22, of Mt. Healthy, Ohio, and Rudee, 33, and Jessica, 31, Demarce and their kids, of Red Oak, Iowa, with ‘Everybody’s Treehouse’ in Mt. Airy, 2020.
Ciera Rose and Ayla Story of Mt. Healthy, Ohio, and Rudee and Jessica Demarce and their kids, of Red Oak, Iowa, with “Everybody’s Treehouse” in Mt. Airy. Everybody’s Treehouse is 14 feet tall and connected to 12 different trees and an easily accessible ramp in the heart of Cincinnati’s largest city park: Mt. Airy Forest. Story says she’s felt connected with nature for a long time, and she loves visiting this treehouse.
“I grew up on a farm in Owensville, Ohio, so I’ve always loved nature,” Story said. “When I was a kid, I would get frustrated sometimes, and my grandma always told me to hug a tree and feel connected and at peace with nature.”
© Copyright 2020, The Post, Athens, OH


What is Programming?
Programming is the way in which we can tell a computer, or any other electronic hardware, what to do. It is essentially a long list of instructions. C is a particular language in
What does this have to do with robotics?
In robotics, we often use C as a way to control our robot, and to tell it what motors to move, and when. Essentially, we use C to control the robot, and assign tasks for it to do. There are two main types of controlling the robot. We can either control it ourselves, called a driver control program, or allow the robot to control itself, called autonomous. In either case, the programming is very similar. In responce to a certain stimuli, the robot will accomplish a list of tasks, such as moving motors, reading sensors, or assigning values to variables.
There are a variety of stimuli, such as a joystick, buttons, and a variety of sensors (for more information on sensors, browse through our electronics posts). Some common sensors are touch sensors, brainwave sensors, ultrasound (which lets the robots "see") sensors, soundwave sensors, and color sensors.
Driver Control
In driver control, the robot is controlled remotely by a human operator to complete a task. In many robot competitions, a joystick is typically used.
Autonomous
In an autonomous robot, the robot executes a prewritten code, a list of things to do, to perform a task. Advanced programs often have multiple of these "lists" within them and based on sensor readings, the code will tell the robot which "list" to follow.


Ciprian Chichirita
<EMAIL_ADDRESS>Style Sheets (CSS) is a style sheet language used for describing the presentation of a document written in a markup language like HTML
The name cascading comes from the specified priority scheme to determine which style rule applies if more than one rule matches a particular element. This cascading priority scheme is predictable.
CSS has a simple syntax and uses a number of English keywords to specify the names of various style properties.
A style sheet consists of a list of rules. Each rule or rule-set consists of one or more selectors, and a declaration block.
<link> inside html <head>
html <head> declaration inside a <style> tag
inline style using style html attribute


When searching for a book title, the web page performs a GET request. The application then performs two queries where the first query gets the book’s ID, then later on in the process, a new SQL query is performed to get all information about the book. The two queries can be seen here:
bid = db.sql_query(f"SELECT id FROM books WHERE title like '{title}%'", one=True)
if bid:
query = f"SELECT * FROM books WHERE id = '{bid['id']}'"
First, we will limit the result to zero rows, which can be done by not giving it any input or input we know does not exist. Then we can use the UNION clause to control what the first query returns, which is the data that will be used in the second query. Meaning that we can inject the following value into the search field:
' union select 'STRING
If we replace 'STRING
with a number that exists in the database, the application should return a valid object. However, the application adds a wildcard (%) to the string, meaning that we must first comment out the wildcard. The wildcard can be commented out by appending '--
to the end of the string. For example, if we inject the line below into the search box, the application should display the book with ID 1 back to the user.
' union select '1'--
If we did not limit the result to zero rows first, we would not have gotten the output of the UNION
statement but rather the content from the LIKE
clause. For example, by injecting:
test' union select '1'--
The application would have executed the following queries:
# Query 1
SELECT id FROM books WHERE title LIKE 'test' UNION SELECT '1'--%
# Query 2
SELECT * FROM books WHERE id = '3'
Now that we have full control of the second query, we can use UNION-based SQL injection to extract data from the database. The goal is to make the second query look something similar to the following query:
SELECT * FROM books WHERE id = '' union select 1,2,3,4--
Making the application execute the query above should be as easy as injecting the following query:
' union select '1' union select 1,2,3,4--
However, we are closing the string that is supposed to be returned by appending the single quote (') before the second UNION
clause. To make the query work and return our second UNION
clause, we will have to escape the single quote. Escaping the single quote can be done by doubling up the quote (''). After having doubled the quotes, we have the following string:
' union select '-1''union select 1,2,3,4--
If we combine this with what was learned about UNION-based SQL injection, the flag can be retrieved. For example, all usernames and passwords, including the flag, can be dumped by injecting the following command:
' union select'-1'' union select 1,2,group_concat(password),group_concat(username) from users--


@*
* This template takes a single argument, a String containing a
* message to display.
*@
@(ultimateAnswer: String)
@*
* Call the `main` template with two arguments. The first
* argument is a `String` with the title of the page, the second
* argument is an `Html` object containing the body of the page.
*@
@main("Homepage") {
What is the answer to the Ultimate Question of Life, The Universe, and Everything?
@ultimateAnswer


ROUNDERS A movie review by Joe Barlow (c) Copyright 1998
STARRING: Matt Damon, John Malkovich, Martin Landau, Edward Norton, Gretchen Mol DIRECTOR: John Dahl WRITERS: David Levien and Brian Koppelman RATED: R (for violence and adult language) YEAR: 1998 SEEN AT: Waverly Place, Cary NC
RATING: ** (out of a possible *****)
"Rounders," the new film from John Dahl, tells the complex story of two young men enslaved by the lure of professional gambling. Mike McDermott (Matt Damon) is an ambitious young law student who swears off high-stakes wagering after he loses a semester's tuition on a single hand of poker. But when his aptly-named friend Worm (Edward Norton), a recently paroled convict, finds himself in serious financial trouble, the loyal Mike agrees to come out of retirement and help him earn the $15,000 he desperately needs to pay off his bad debts. With Mike acting as the yin to Worm's slimy yang, the two card wizards set off to conquer the poker tables of Atlantic City. They know all the tricks, and though Mike prefers to play "straight" poker (ie, no cheating), Worm is not above stacking the deck or dealing from the bottom. That's one of their major differences: Mike approaches poker as an art form, while Worm's point of view is much less noble.
Matt Damon's performance radiates warmth and sunshine, loyalty and charismatic charm. His character is obviously intelligent and kind- hearted: the only reason he returns to gambling is to assist a friend in need. He seems genuinely interested in his law studies when we meet him, and positively worships his girlfriend Jo (Gretchen Mol). What most astounded me was how a sweet guy like this could surround himself with such monsters. It's so painfully obvious that Worm is a user, with no interest in anything but Mike's card-playing abilities, that we wonder why such a smart young man can't see this for himself. The smarmy Jo, meanwhile, is constantly whining or striding away from Mike with her nose upturned, as though she believes she's far too good for him; never once does she demonstrate any degree of kindness or affection. When she leaves midway through the movie, I rejoiced... and was quite surprised to learn that Mike (and the film) considered her departure a bad thing.
"Rounders" is a disappointing tale, more concerned with creating individual moments rather than a consistent tone. The story's pulse is only discernible during the card-playing scenes, which are fascinating and masterfully constructed; the rest of the film tries to involve us in plot details which are not only irrevelant but actually boring. These include Mike and Jo's tepid romance, Mike's steadily declining interest in his school work, Worm repeatedly getting himself in trouble and asking Mike for help, etc.
The movie also makes poor use of its first-rate cast, apart from Damon. What's Martin Landau, one of America's greatest living actors, doing in this film? The answer: not much. Landau, who won as Oscar for his portrayl of Bela Lugosi in Tim Burton's "Ed Wood," plays a kindly old mentor, the type always present in movies like this. Although his performance is fine, he doesn't really do anything except give Damon some money. John Malkovich, another fine actor, portrays a Russian cardshark named KGB in the film's opening and closing scenes; unfortunately, the performance is so paper-thin and insubstantial that Damon could've defeated him merely by blowing hard. In addition, Malkovich's Russian accent is laughable: I kept expecting him to announce, "Time to look for Moose and Squirrel, Natasha!"
The end of the film is supposed to leave us feeling cheerful and uplifted, but a true happy ending would depict Mike and Worm checking themselves into "Gamblers Anonymous." The film's glorification of its subject matter, coupled with the fact that Jo and Mike appear to reconcile at the end of the story, caused me to bury my head in my hands and weep silently until the end credits began to roll.
E-Mail<EMAIL_ADDRESS>Joe Barlow on Film: http://www.ipass.net/~jbarlow/film.htm
If you'd like to receive new film reviews by e-mail, please write to the above address and ask to be put on my mailing list. Or, you can subscribe directly from my web page. Thanks.
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
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Related links: index of all rec.arts.movies.reviews reviews


On this page, you can modify your room properties. You can select each tag you would like to, and change it's value. After you finish, you need to click on "Generate and Download Room File" button to get your room file.
Select the property you would like to change
The Selected Property


Mechanical engineering has previously been limited to just the four elements: earth, water, air and fire. My goal is to extend it to Aristotle's fifth element: aether. We can integrate intelligent thought into our machines and create a god in our image.  Part machine, part god.
The advances of software engineers from the likes of Google and Amazon are unearthing insights into the possible minds that we could theoretically create. Deep Dream shows how the God Cyborg may view the world:
Perhaps our benevolent creature would have enough power to even travel through time and to inspire His own creation. This a mission that needs to be finished. The first stage in the process is to create minion cyborgs, then these can help us to create the God Cyborg. They can assist John Connor in his mission against Skynet.
I must complete my mission. The first stage is for me to give up my domain and purchase one with better SEO for mechanical engineering, such as applico.engineering. I can then be found more easily, so that I can be commissioned to work on minion cyborgs. I can gather important research into the connections between life and Turing machines. We must spawn our overlord!
{% if page.comments %}
{% endif %}


Which coding language is the right fit for me?
Front End Developing vs Back End Developing
-
Front End: Front-end developers spend their time making things look and work well, obsessing over layouts, navigation, colors, and design.
-
Back End: Back-end developers are usually write the web services and APIs used by front-end developers and mobile application developers.
Do you prefer front-end or back-end?
-
HTML: Hypertext Markup Language (HTML) is the standard markup language for creating web pages and web applications.
-
CSS: Cascading Style Sheet can define color, font, text alignment, size, borders, spacing, layout and many other typographic characteristics
-
Javascript: JavaScript (JS) is a programming language used to make web pages interactive.
- PHP: PHP is designed to pull and edit information in the database. It’s most commonly bundled with databases written in the SQL language. PHP was designed strictly for the web and remains one of the most widely used languages around. The versatility of the language and the frameworks it powers make employment options numerous and diverse.
- Ruby: Ruby is equal parts simplicity and complexity, pairing simple code with more flexibility and extra tools. Ruby bundles the back end with database functionality that PHP and SQL can offer as a pair—it’s great for startups, easy maintenance, and high-traffic demands. It's very popular with startups and smaller companies
- Python: With fewer lines of code, the Python programming language is fast, making it ideal for getting things to market quickly. The emphasis is on readability and simplicity, which makes it great for beginners.
Do you have any experience in coding?
Excellent! Depending on your past experience, you may want to explore more challenging languages, such as Java, C#, or C++
No problem! People from various backgrounds come to Epicodus. Some have no experience whatsoever and are looking to make a career change. So, you're in good company!
Are you interested in a full-time program?
Our full-time program consists of over 800 hours classroom learning, 80 hours of job and internship preparation, and 150 hours of internship learning.
We understand how demanding this program can be. Many of our students work full-time jobs among other responsibilities. We offer a 15 week introduction course on Mondays and Wednesdays from 6-9pm
If you are new to developing, we recommend that you consider the Ruby track or Python. You can learn more about our Ruby track here.
However, PHP is especially popular for content-heavy websites. It's known for it's use in content management systems like Wordpress. Click here to learn more about our PHP program.
Do you enjoy working in pairs?
Pair programming is central here at Epicodus. Most days, you'll practice pair programming, i.e. two people sharing one computer. You will each take turns using the keyboard and mouse. Also, we've found that pair programming helps you learn prgramming concenpts faster.
We understand how working in pairs can pose it's on unique challenges. But, keep in mind that pair programming is increasingly used by tech companies like Facebook and Square. By working in pairs, you can catch each other's mistakes, teach each other new skills, and come up with solutions together.


A STREETCAR NAMED DESIRE
March 29-April 1, 1978 in LLT's Downtown Arabian Theatre
Director - Don Frutiger
Stage Manager - Richard Piazza
THE CAST
Flower Lady - Lisa Ainsworth
Eunice - Gina Robertson
Stanley Kowalski - Pat Weathers
Stella Kowalski - Becky Williams
Blanche DuBois - Page Harris
Steve - Tommy Rose
Mitch Mitchell - Wess Hughes
Pablo - Richard Piazza
Paper Boy - Grant Hedgepeth
Doctor - Edd Jussely


|
Word:
|
Definition:
|
|
Literary Non-fiction
|
genre of writing that uses literary syles and techniques to create factually accurate narratives. Also known as creative non-fiction or narrative nonfiction.
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narrative
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a story, real or imaginary, often written or told in a sequence (order).
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diary
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writing with discrete (separate) entries arranged by date. Often reports real life events.
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personal journal
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much more personal than a diary. Not just a record of experiences, but includes feelings, emotions, problems, reflections.
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memoir
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a collection of memories that an individual writes about moments or events, both public or private. Allegedly autobiographical.
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essay
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a short piece of writing on a particular subject, usually in prose.
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author's purpose
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what the author wanted to do, his/her intent either to inform or teach someone about something, to entertain people, or to persuade or convince the audience to do or not to do something.
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climax
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the turning point in a narrative, the moment when the conflict is as its most intense. Typically, the structure of stories, novels, and plays is one of rising action in which tension builds to the climax.
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conflict/problem
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struggle or clash between opposing characters, forces, or emotions.
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tone
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the author or speaker's emotional attitude towards the topic.
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audience
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the person or people to whom the writer addresses his/her writing.
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summarize
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to capture all the most important parts of the original text (paragraph, story, poem), but express them in a much shorter space, and -- as much as possible -- in the reader's own words
|


Generation of natural looking noise has many application within simulation, procedural generation, and art, to name a few. The 'ambient' package provides an interface to the 'FastNoise' C++ library and allows for efficient generation of perlin, simplex, worley, cubic, value, and white noise with optional pertubation in either 2, 3, or 4 (in case of simplex and white noise) dimensions.
| Version: | 0.1.0 |
| Imports: | Rcpp (≥ 0.12.18) |
| LinkingTo: | Rcpp |
| Published: | 2018-08-30 |
| Author: | Thomas Lin Pedersen [cre, aut], Jordan Peck [aut] (Developer of FastNoise) |
| Maintainer: | Thomas Lin Pedersen <thomasp85 at gmail.com> |
| BugReports: | https://github.com/thomasp85/ambient/issues |
| License: | MIT + file LICENSE |
| URL: | https://github.com/thomasp85/ambient |
| NeedsCompilation: | yes |
| SystemRequirements: | C++11 |
| Materials: | README |
| CRAN checks: | ambient results |
| Reference manual: | ambient.pdf |
| Package source: | ambient_0.1.0.tar.gz |
| Windows binaries: | r-devel: ambient_0.1.0.zip, r-release: ambient_0.1.0.zip, r-oldrel: ambient_0.1.0.zip |
| OS X binaries: | r-release: ambient_0.1.0.tgz, r-oldrel: ambient_0.1.0.tgz |
Please use the canonical form https://CRAN.R-project.org/package=ambient to link to this page.


Woman taken to hospital after collapsing 'under a tree in the bushes' at Exeter park
The air ambulance was involved in the incident
by Jamie HawkinsA woman was taken to hospital after collapsing under a tree at an Exeter playing fields.
The air ambulance landed at Exhibition Playing Fields at around 9.30am on Sunday, with paramedics seen surrounding a tree and bushes in the area.
A land ambulance also attended the incident, before the casualty was taken to the Royal Devon and Exeter Hospital.
A South Western Ambulance Service spokesperson told Devon Live: “We were called at 9.28am on Sunday, November 17 after a female collapsed.
“We conveyed her to hospital for further treatment.”
An eyewitness described seeing the air ambulance land in the field from her house in the area.
The woman, who wished to remain anonymous, originally thought someone had spotted an injured animal in the bushes.
She said: “I opened the curtains at around 9.30am which overlooks the playing fields where they normally play football.
“But then I noticed two lads with their dad were looking down at the bushes under a tree.
“I thought they were looking at an animal at first.
“But it was definitely a person, possibly a woman.
“The air ambulance landed nearby and paramedics wheeled her off.
“It was very distressing to see this right outside my back door.
“It happened under a tree amongst the bushes.
“They stopped a jogger to help the woman.
“I would say the air ambulance was there for around an hour.
“I couldn’t see any police there.”


GP plans to remove home visits 'won't wash', says health secretary Matt Hancock
by Michael SearlesHealth secretary Matt Hancock has said GP plans to remove home visits from their contracts “won’t wash”.
The majority of GPs supported a proposal to remove home visits from their contractual obligations at a Local Medical Committee (LMC) conference on Friday.
A local committee of doctors from Kent, working with the British Medical Association (BMA) to help shape policy, said the contracts should be changed.
Read more: General Election 2019: Conservatives commit to boost GP numbers
The independent body argued that “GPs no longer have the capacity to offer home visits”.
However, the health secretary said that “is not going to fly” when speaking to press earlier on Saturday.
“Of course GPs still need to do home visits, they don’t do that for the majority of cases, but some people are very frail and sometimes a home visit by a GP is necessary,” Hancock told ITV News.
“The idea you would end GPs doing home visits is not going to fly.”
The Kent Local Medical Committee called on the BMA’s General Practitioners Committee (GPC) to renegotiate the family doctors’ contracts with the NHS.
It suggested they “remove the anachronism of home visits from core contract work, negotiate a separate acute service for urgent visits, and demand any change in service is widely advertised to patients”.
Kent LMC said it was not attempting to remove home visits entirely, but wanted to change the policy to ensure suitable provision.
A separate motion for the GPC to negotiate an acute service for urgent home visits was also passed.
A Kent LMC statement said: “This motion is not intended to remove the ability of GPs to perform home visits. More complex, vulnerable and palliative patients are best served by their GP visiting them when needed.
“Currently there is no universal consistency for patients. Increasing demand and falling GP numbers are further compounding pressures in general practice.”
Read more: Just what the doctor ordered: The app freeing NHS staff of retro tech
The body said that more than 26m GP appointments took place in September, which is 9.7 per cent up from the year before.
“The NHS is in a cycle of transformation. Kent LMC are asking for a home-visiting service that is properly resourced and delivered to our patients,” the statement added.
Following the three-part motion passing at the conference, the GPC will now negotiate on the policy changes with NHS England.