Associate Professor, University of Chicago Pritzker School of Medicine
The judge may also exclude the evidence or strike it from the record and instruct the jury to disregard it herbals side effects proven geriforte syrup 100caps. The Sixth Amendment right to present witnesses does not preclude exclusion of testimony where the defense fails to follow applicable discovery rules herbs during pregnancy order geriforte syrup once a day. Refusal to Discovery 3-121 provide discovery herbals export 100caps geriforte syrup free shipping, or even deliberate attempts to impede discovery by instructing witnesses not to reduce facts to writing herbals medicine geriforte syrup 100 caps with mastercard, may result in a valid contempt citation. Further, a court may exclude the introduction of physical evidence offered by the defendant as a sanction for discovery abuse. The dismissal will not withstand an appeal by the government if the discovery order was invalid or if less severe sanctions, including citing the government attorney for civil contempt, could have been imposed. Early discovery of relevant sentencing guideline information is essential for advising a defendant regarding whether or not to accept a plea offer. Defense counsel should know what adjustments the government will seek and what evidence they have to support these adjustments before advising a client regarding any plea offer. The defendant is therefore required to rebut any government evidence supporting an upward adjustment. Due process would appear to mandate government disclosure of sentencing information to allow the defense to prepare. This ruling supports the right for the defense to be informed of all factors that would rebut aggravating factors or provide mitigating factors at the time of sentencing. These factors include, but are not limited to , the following: (1) (2) (3) whether the defendant has accepted responsibility for his offense; whether the counts of a multi-count indictment should be "grouped"; whether the defendant has provided "substantial assistance" to the authorities; 3-122 Discovery (4) (5) (6) (7) whether the defendant was a minor or minimal participant in the offense activity; whether the victim contributed to provoking the offense behavior; whether the defendant acted under duress or coercion not rising to a complete defense; and whether the defendant suffered from diminished capacity at the time of the offense. The courts appear to be applying the general discovery rules to sentencing hearings under the sentencing guidelines. This request includes, but is not limited to , any rough notes, records, reports, transcripts or other documents in which statements of the defendant or any other discoverable material is contained. Preservation of rough notes is specifically requested, whether or not the government deems them discoverable at this time; (3) Reports of Scientific Tests or Examinations Pursuant to Fed. At a minimum, the government is obligated to disclose the identification and location of any informants or cooperating witnesses, as well as the identity and location of any other percipient witnesses unknown to the defendant. This includes in particular any statements by percipient witnesses; (16) Jencks Act Material the defense requests all material to which defendant is entitled pursuant to the Jencks, 18 U. The defendant specifically requests pretrial production of these statements so that the court may avoid unnecessary recesses and delays for defense counsel to properly use any Jencks statements and prepare for cross-examination; (17) Giglio Information Pursuant to Giglio v. The defendant requests that these files be reviewed by the government attorney for evidence of perjurious conduct or other like dishonesty, or any other material relevant to impeachment, or any information that is exculpatory, pursuant to its duty under U. The chapter is organized in an attempt to follow the issues as they unfold when one is confronted with a Fourth Amendment question. The chapter begins with the scope of the protections and exceptions, afforded by the Fourth Amendment. This section is followed by a discussion of the proper standing needed to raise a Fourth Amendment claim. The chapter then progresses into the issues of Fourth Amendment law as it applies to individuals as well as property. The first half of the chapter deals with the Fourth Amendment as applied to individuals, progressing through the issues involved in seizures, stops, and arrests. The second half of the chapter involves the search of homes and personal property. Whether a particular search meets the reasonableness standard "is judged by balancing its intrusion against its promotion of legitimate governmental interests. In addition, although a search generally requires a search warrant, a warrant is not required to establish the reasonableness of all governmental searches. It made clear that probable cause is not, at least in certain limited circumstances, a prerequisite for warrantless search and seizure activity. A search unsupported by probable cause can be constitutional "when special needs, beyond the normal need for law enforcement, make the warrant and probable-cause requirement impracticable.
Through a close reading of works by Rafael Lozano Hemmer earthsong herbals cost of geriforte syrup, Camille Utterback earthworm herbals discount geriforte syrup 100 caps mastercard, and Scott Snibbe herbals on demand shipping buy geriforte syrup with a mastercard, Stern addresses the mutual emergence of bodies and space herbals for arthritis order geriforte syrup 100 caps mastercard, as well as the ways in which signs and bodies require one another to materialize, and bodies form expressive communities. Balsamo proposes three broad definitions of public interactives: as an art form evoking new perceptions; as devices shaping new technological literacies; and as a form of public communication for the purposes of exchange, education, entertainment, and cultural memory. Her aesthetic exploration focuses on the dynamics of cultural reproduction, the cultural values and experiences that are replicated in the development of public interactives and the ones that are newly created as technologies are developed for commercial purposes. Network Cultures: the Politics of Digital Art the history and aesthetics of digital art obviously cannot be separated from its social and political context. The technological history of digital art is inextricably linked to the militaryindustrial complex and research centers, as well as consumer culture and its associated technologies. From simulation technologies and virtual reality to the Internet (and consequently the World Wide Web), digital technologies were developed and advanced within a military context. By 1969, the infant network was formed by four of the "supercomputers" of the time-at the University of California at Los Angeles, the University of California at Santa Barbara, the Stanford Research Institute, and the University of Utah. He employed an M5 antiaircraft gun director as the basic machinery for his first mechanical, analog computer in the late 1950s. Whitney would later use the more sophisticated M7 to hybridize both machines into a 12foothigh device, which he used for his experiments in motion graphics. Given the deep connections between the digital medium and the militaryindustrial entertainment complex, as well as the multiple ways in which digital technologies are shaping the social fabric of our societies-to a point where political action is named after the social media platform supporting it, as in "Twitter Revolution"-it does not come as a surprise that many digital artworks critically engage with their roots, and digital (art) activism has been an important field of engagement. In his essay on "Shockwaves in the New World Order of Information and Communication," Armin Medosch weaves a comprehensive narrative of political digital art practices as they have changed over time along with advances in technology and developments in the political economy. As Medosch points out, artists/activists early on realized that the form of media itself was political. On the background of the theories of emancipatory media production developed by Hans Magnus Enzensberger and Jean Baudrillard in the 1970s, Medosch explores the forces and concrete modalities of technological and economic change in order to assess how artists unlocked the emancipatory potential of media. The essay examines these developments across a wide geographical range, from Eastern and Central Europe to the United States, Brazil, and India, providing an account of the ways in which digital activist/art practices created shockwaves in the new world order of information and communication. Delineating qualities of digital communication and interactive media, Becker shows how the information society and distribution of wealth have become increasingly reliant on the "intangible materials" of intellectual property and licensing rights. This intangibility in turn is tied to an asymmetric invisibility in which classification and analysis of data are not visible or accessible to society at large and create a noninformation society for the majority. Becker discusses the evolution of both the "creative empire" from the 19th century onwards and the anxieties about representations of reality that technological set ups from the daguerrotype and phantasmagoria to the telegraph have produced. Transnational in terms of its constituents, Nettime was an environment populated by people working at the intersection of digital media art, theory, and activism and largely critical of the dominant media theory at the time. Wark argues that Nettime was a convergence of three things characteristic of any avantgarde-thought, art, and action-and, as the historic avantgardes before it, engaged in critical experiments with forms of organization. He interprets Nettime as an attempt to reject the theory of media that caters to the culture industry and spectacle and engages in the celebration of the type of "creativity" that Becker extensively critiques in his text. Lev Manovich analyzes another important aspect of network culture that evolved along with Web 2. As Manovich points out, data visualization had not been part of the vernacular visual culture before the end of the 1990s, although it already emerged as a strong artistic practice in the 1990s. Using examples he surveys the work of artists who have challenged fundamental principles of the data visualization field by pioneering what Manovich defines as "media visualization," representations using visual media objects such as images and video instead rather than lines and graphs. A discussion of network culture and its political aspects also requires the consid eration of computer games, which have emerged as a dominant cultural form and area of artistic practice over the past couple of decades. Flanagan makes three propositions-regarding the examination of dominant values, the notion of goals, and the creation of extreme and unfamiliar kinds of play-to illustrate how games can become a site of investigation for gender, politics, and culture, and how artists can design from a "critical play" perspective. Coming from very different perspectives, the chapters in this section strive to provide a framework for approaching the sociopolitical context of digital art and its history. When it comes to an indepth analysis of the complexities of this relationship, a lot of groundwork remains to be done. Key factors in this endeavor are investigations of arthistorical developments relating to techno logical and participatory art forms and their exhibition histories; as well as continuous assessment of the challenges that digital media art poses to institutions and the art market in terms of presentation, collection, and preservation.
In this sense herbals supplements generic geriforte syrup 100 caps line, to compute became to manage discrete quantities herbals and supplements discount 100caps geriforte syrup free shipping, and to do so by following abstract and finite inferen tial rules with universal applicability herbals ltd cheap geriforte syrup 100caps. Today the axiomatic nature of computing subsists in and thrives on its many formal isms herbalshopcompanynet order geriforte syrup 100 caps line. The axiomatic method is central to symbolic notation and procedural execution: for every calculating process, whether a basic operation or a more convoluted function, the computational system engages, and then reiteratively reengages again, with the general problem of determining consequences from a handful of validly symbolized premises. Instead, they need to take up the challenge of thinking and creat ing an aesthetics of computation that takes into account, if not limiting itself to , the inferential and rulebased character of computational systems, while remaining aware of the ways in which computation borrows methods from mathematics and logics. Of course, contemporary computers are "metamedia" (Manovich 2013) capable of accomplish ing much more than merely "crunching" numbers. The very idea of number has continuously changed over time, stretching and con voluting to encompass new categories and attributes, and has become something different again in its encounter with the medium specificity of computation: a means of establishing relations among abstractive methods, formal systems, and concrete tasks that are governed in turn by the operation of numbers. Although this recursion to some degree existed before in techniques such as the calculus, it is fundamentally different in computation in terms of the quantity and density of operations. As a unit of measurement, num bers are used, for instance, to portion pixels, megahertz, and registers in memory. As a mathematical entity, numbers are the objects of the many types of counting that computers carry out: counting of amounts, of sequential steps, of variables, of inputs, 290 m. As an incommensurable quantity, numbers approximate the risk of infinite loops within recursive functions. As a digital representation, they mirror electronic binary states into binary digits. As a symbol, numbers are elements of codes and scripts, and cement the possibility of encryption, while also being means of organ izing, prioritizing, and enacting such qualities and behaviors. In mathematical logic there are undecid able propositions; in computability theory there exist problems that cannot be solved via purely mechanical procedures. The formal notion of computation itself is founded upon the discovery that some programs will not halt and some functions will not be calculated. Amongst the most troubling consequences of these limitations is the comprehension that while computing machines do indeed process many tasks, they do not process just anything. Technocultural agendas proposing an allembracing and allsolving computational rationality are thus faulty at their very outset. Errors, bugs, and glitches might be more or less probable, depending on the specific case. Yet they are always logically possible, as is a formalist misapprehension of a situation or a condition. Limitations, just as with the previously discussed principle of universality, are established at the con ceptual level of the computing machine: they are intrinsic to the axiomatic character of computational formalization. Given the necessary provisions, the formal deductions of computational systems nevertheless have been turned into systems of unprecedented instrumental power. To the cultural theorist, the philosopher, and the artist, such mismatches and ambiguities surrounding promises of delivery and potentials for machine breakdown or misrecognition offer an equally finely textured occasion for speculation and are also one of the qualities of computation gamed in the exercise of power. Speeds Art stages different relations to time: for instance, in the way a dance slows, speeds, accentuates, draws attention to the miniscule or raises it to the level of the cosmic. A relation to , modulation, and creation of time and timings characterizes a work and articulates its mode of being in the world. Computational aesthetics enters into relation with such articulation by intervening in time in certain ways. The intensity of computational speed is characteristically emphasized as being core to its novelty and to its worldmaking capacities. When the audience is supposed to pay attention to a rapidly unfolding complex process in the film the Matrix (1999), for instance, the scene is rendered to film in great slowness, as if to suggest that-in order to yield something comprehensible to the human sensorium-what passes in less than a moment in computational terms must necessarily be drawn out over minutes. Computational speed is thus about experiential intensity as much as it is c o m p u tat i o n a l a e s the t i c s 291 about strict measure; yet it is also about the mobile threshold of the capacities of computing itself of structuring its own modes of existence. The speed of calculation of a computer was, from the very outset, in monstrous disproportion to the capacities of humans, just as machine weaving had been to the movements of earlier generations of handweavers. This scale of disproportion is fluid, and forms a complex set of texturing of expression that manifests in anything from interaction times in musical instrumentation to mediaarchaeological concerns regarding speed of execution or bandwidth in the conservation of aesthetic objects. This issue connects to a subsequent characteristic of speed within computational aesthetics: namely, its constructivist nature.
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