Angel Hair Research Articles

There is no fusion fascia in the abdomen and extraperitoneal fascia always surrounds the mesentery.

Toldt's fascia has always been described as a fusion fascia formed by two layers of visceral peritoneum when the mesentery attaches to the posterior abdominal wall. However, there is still no consensus about the mesentery and its surrounding fascia based on the current anatomic theories. This study aimed to determine the anatomical structures of the abdomen and provide a correct surgical plane for mesenteric-based surgery. Surgical videos of 121 patients who underwent laparoscopic operations of the digestive tract were reviewed to identify and compare the anatomical structures of the mesentery and associated fascia. Twenty-one postoperative specimens were stained with hematoxylin and eosin to indicate the histological appearance of the mesentery and its surrounding fascia. Furthermore, dynamic models had been established to explain the formation mechanism of the associated histological structures in different regions during the progression of mesenteric attachment. The fasciae surrounding the mesentery, including the submesothelial connective tissue, the subserosal connective tissue, Toldt's fascia, and "angel hair," have the same histological characteristic to extraperitoneal fascia. The general anatomical structure of the abdomen can be divided into three layers (abdominal wall, urogenital system, and digestive system) and two interlayers (transversalis fascia and extraperitoneal fascia). The extraperitoneal fascia surrounds the entire digestive system and is the natural layer separating adjacent structures from each other. Typical histological structures in the regions of posterior attachment include the fascia propria of the mesentery, mesofascial plane, extraperitoneal fascia, retrofascial plane, and anterior renal fascia. The urogenital system is surrounded by similar histological structures. There is no fusion fascia in the abdomen due to retreat of the visceral peritoneum, and all of the fasciae surrounding the mesentery are extraperitoneal fascia. This study demonstrates that the typical histological structures in the regions of attachment and mesofascial plane are the correct anatomic interface for mesenteric-based surgery.

X-ray Tomography Investigation of the Quality of Architected Structures Obtained with Additive Manufacturing Processes

Additive Manufacturing (AM) appears to be the best candidate to manufacture random architected materials, as it offers significant freedom in the design of hollowed parts with complex geometry. However, when these structures are needed with thins walls and struts, AM processes may encounter difficulties in properly manufacturing these structures due to their capability limits. This study proposes to characterize the manufacturing of random architected structures to see firstly their fabricability and the capability of the additive manufacturing processes used, such as vat photopolymerization (Stereolithography process (SLA)), material extrusion (Fused Filament Fabrication process (FFF)) and powder bed fusion (Selective Laser Sintering process (SLS)) through tomographic, dimensional, and mass analysis. Several defects specific to each process were identified. A higher predominance of porosities, lack of printing and excess of material manifests as trapped or partially fused powder for SLS and angel hair for FFF. These defects strongly affect the dimensional and geometric accuracy of the struts and, thus, the final mass of the structure obtained with these two processes. The SLA process makes it possible to print thinner details of random architected structures with better material quality and good dimensional and geometric accuracy, under the conditions and protocol used in this study.

Darmok on the Ocean, and: Kailash, When It Rises, and: Exile Dossier

Darmok on the Ocean, and: Kailash, When It Rises, and: Exile Dossier Nicholas Samaras (bio) Darmok on the Ocean My bearded grandfather is a gesture of no life here, says wade into this horizonand keep looking far above salt. My bearded father is this raft who pushes me off the worldand hangs on, breathing. My seaweed father is blue and white froth churning. We paid everything for this refuge.Our bodies white-streaked, adrift with wet clothing in summer. Papou's beard said there is no exileif the world is together. No exile if tan earth connects. Borders are only people manning gates, languageinside out. My mother is this ocean I sputter, stirring in this blue quenching we can't drink. The misplaced horizon:my grandfather's angel hair, my mother's veil, my baby brother with the souls of fish traveling. We aresmall hands. Small lives to arrive. [End Page 85] Kailash, When It Rises The white froth of sea surfkills with its rising. Any water is an oceanif it's deep enough to drown a soul. We were helpless helpers on an island and there were refugee bodies in the blue water—floatinghyphens of inarticulation—their small faces equally blue. We couldn't leave them.We pulled their dead weight by their arms to the pebbled shore—they were that close. We lifted them into our smallest caiques,the lapping tide still rising,the numbers of their bodies still rising. I had to be there, helping and not helping.I held my breathat the wet magnitude. I cradled the dead baby's body from her mother's arms.I held her small body until it dried and turned into wind. [End Page 86] Exile Dossier What country are you from? The country of Other, making us citizens of nowhere, who are everywhere yet never marked on any census, we who are stereotyped, even the best chameleon of us still undefined, shading the map's edges. What languages do you speak? I speak with your own accent. I mimic my way to acceptance. I can say "friend" in ten languages. I say, yes, sir, for the office and the files. I say, hey, man, for the street. What occupations have you held? I was born a very small child. On an emerald island, I was thatched. On Patmos, I was origin in apocalypse. Then, I became the ocean, the rolling sickness of motion, the blue expanse of movement. After that, I became a tradesman of air, transparent, not acknowledged, barely felt except when a cyclone, the stirring into frenzy. What occupations have you held? You don't have enough paper. In Turkey, I translated. In Kosovo, I picked grapes for a living. In communist Knin, I was stoned for walking down the street with a priest. In an unnamed rail station, I rode a train's freight boxcar into Beograd, pressed with fifty other bodies—not missing the irony of that. In a necklace of islands, I became earth who slept on earth. There were other countries after that, connected and disconnected, in which I wandered until I could find sleep or occupation. If you are to be recalled … Recalled? Only remembering frees me. The passages through. The houses that became houses. The arms of my father that became home. If you are to be recalled, who do you have to sponsor you? Who said I want to stay, even after years here? Who said I ever became [End Page 87] you? I only became indistinguishable from you. I only became myself on the inside and, yes, I contain multitudes: countries, states, the succession of sixteen schools in twelve years. The litanies of addresses. I am here for the time being, prisoner until I move again. Ocean, air, earth. Only remembering frees me. Only commemoration understands. [End Page 88] Nicholas Samaras Nicholas Samaras is the author of Hands of the Saddlemaker (Yale University Press) and American Psalm, World Psalm (Ashland Poetry Press). He has lived through ten countries and thirteen states, and writes from a place of permanent exile. Currently, he is completing a new manuscript on exile, displacement, and...

Editorial: Choosing a Research Title

Steven E. Eckert, DDS, MS: Have you found yourself looking at book titles, wondering which ideas would make your career more successful? The list of titles is almost limitless. The more time you spend looking at the list, the more confused you may become. What I have tried to do is to identify common terms and reassemble them in such a way that clarity is derived from chaos. What I have learned in doing this is that there is no one thought process that appears to demonstrate a truly workable solution. Perhaps a solution is to simply see what “sticks” when the collective relevant ideas are tossed at the wall. The challenge in research is: What do you actually test? What ideas are most important, and how does one design, organize, recruit, and perform a research project deriving meaningful outcomes that can be “thrown against the collective wall” of mankind’s knowledge? To use a pasta analogy, do we need a certain minimum number of noodles sticking on the wall to qualify? If we start with 100 pieces of spaghetti and only 50 stick, does this qualify, or does it fall short of the target number of noodles stuck on the wall? What effect size and what clinical difference this makes are all important and highly relevant questions. Well, with numerous efforts at throwing something against the wall, I realized that this effort may have landed me in “hot soup”! So now, I need to ask if there was a fundamental design error in my study. To stay with the analogy, maybe I needed to be testing different shapes of “noodles,” such as fettuccine, angel hair, ziti, fusilli, or others. Do I count, or do I weigh (a matter of measurement)? Should we perform a sample size analysis to ensure that we are using enough? Would the study be best conducted on a pre-manufactured pasta, or should it be fresh? I think you get the point. Who would have thought that this question could be so complex? At the beginning of the day, the study was initiated to ensure that my time would be spent wisely. I did not want to jump off on some sort of tangent, taking me on frivolous pathways. As I look at this list of factors, perhaps ignoring only the question of how we look at book titles to read the most compelling research, all of those were indeed addressing valid research items—well, maybe not dental implant research—and yet I’m wondering if I may have stepped off in the wrong direction. Steven E. Eckert, DDS, MS Editor-in-Chief

Design and Fabrication of a Functionally Gradient SOFC Electrode with Controllable Porous Microstructure

A controllable and gradient porous ceramic structure is desirable for many applications including solid oxide fuel cells (SOFC), ceramic filters or gaseous component separation. There are numerous ways to fabricate porous ceramic structures, including the use of pore formers, particle size control or freeze casting. The process we used was string-coating. Strings with various materials’ coating and coatings on various strings could be a controllable element for assembling a planar or tubular ceramic microstructure. In this research, ceramic microtubes were made using removable templates covered by layers of ceramic materials using sol-gel technology. A low-cost device was designed and built for coating multiple layers of slurry onto templates efficiently. Tested templates included silk (single and triple strands), cotton thread, and angel hair pasta coated with 1, 5, 10, 15, 20, or 25 layers of slurry and then fired with a 5-stage heating cycle up to 1,100°C/1,450°C over a period of 20 hours. Samples were analyzed using a scanning electron microscope (SEM). Average diameters were calculated by measuring 30 diameters from different locations of each tube. The 20× and 25× coatings on the single silk strand, sintered at 1,450°C, resulted in the strongest and most density-uniform microtubes by decreasing the porosity. The single silk strand with 20× coating under 1,450°C firing formed a 25µm diameter hole and an average outer diameter (OD) of 39.90 µm with a standard deviation of 0.97 µm, while the 20× coating under 1,100°C resulted in an average 67.46 µm OD with a standard deviation of 1.14 µm. The 25× coating resulted in a 49.89 µm OD with standard deviation of 0.99 µm when fired up to 1,450°C. The success of this process set a foundation for assembling the individually controllable single microtubes to form ceramic planar or tubular shapes that their microstructure is controllable in terms of composition, pores size, porosity and connectivity.

Design and Fabrication of a Functionally Gradient SOFC Electrode with Controllable Porous Microstructure

A controllable and gradient porous ceramic structure is desirable for many applications including solid oxide fuel cells (SOFC), ceramic filters, or gaseous component separation. The process we used was string-coating. In this research, ceramic microtubes were made using removable templates covered by layers of ceramic materials using sol-gel technology. A low-cost device was designed and built for coating multiple layers of slurry onto templates. Tested templates included silk, cotton thread, and angel hair pasta coated with 1, 5, 10, 15, 20, or 25 layers of slurry and then fired with a 5-stage heating cycle up to 1,100°C/1,450°C over a period of 20 hours. Samples were analyzed using a scanning electron microscope. Average diameters were calculated by measuring 30 diameters from different locations of each tube. The 20× and 25× coatings on the single silk strand, sintered at 1,450°C, resulted in the strongest and most density-uniform microtubes. The single silk strand with 20× coating under 1,450°C firing formed a 25µm diameter hole and an average outer diameter (OD) of 39.90µm with a standard deviation of 0.97µm, while the 20× coating under 1,100°C resulted in an average 67.46µm OD with a standard deviation of 1.14µm. The 25× coating resulted in a 49.89 µm OD with standard deviation of 0.99 µm when fired up to 1,450°C. The success of this process set a foundation for assembling the individually controllable single microtubes to form ceramic planar or tubular shapes with a microstructure that is controllable in terms of composition, pores size, porosity, and connectivity.

A Preliminary Study on the Use of Xylit as Filter Material for Domestic Wastewater Treatment

The aim of the study was to verify two morphological forms (“angel hair” and “scraps”) of xylit as a trickling filter material. The study was carried out on two types of polluted media: septic tank effluent (STE) and seminatural greywater (GW). The basic wastewater quality indicators, namely, chemical oxygen demand (COD), biochemical oxygen demand (BOD5), total suspended solids (TSS), ammonium nitrogen (NNH4), and total phosphorus (Ptot) were used as the indicators of treatment efficiency. Filtering columns filled with the investigated material acted as conventional trickling filters at a hydraulic load of 376–472 cm3/d during the preliminary stage, 198–245 cm3/d during stage I, and 184–223 cm3/d during stage II. The removal efficiency of the two morphological forms of xylit did not differ significantly. The average efficiencies of treatment were as follows: for COD, over 70, 80, and 85% for preliminary stage, stage I and stage II, respectively; for BOD5, 77–79% (preliminary stage); for TSS, 42% and 70% during the preliminary stage, and 88, 91, and 65% during stage I; for NNH4, 97–99% for stage I and 36–49% for stage II; for Ptot, 51–54% for stage I and 52–56% for stage II. The study demonstrated that xylit was a material highly effective in wastewater quality indicators removal, even during the initial period of its use.

A theory of angel hair: Analytic prediction of frictional heating of particulates in pneumatic transport

An analytic prediction of the frictional temperature rise of materials in pneumatic transfer systems is developed, with the aim of anticipating from first principles the onset of problematic formation of melt structures such as ‘angel hair’. Specifically, particulates of size d passing at velocity V through a 90° bend of radius R experience a maximum surface temperature rise ΔT = μdV2(Vρ/kcR)0.5, where μ,ρ,k,c are the particle friction coefficient, density, thermal conductivity and heat capacity respectively. Limits of applicability of this idealized (but conservative) model are discussed, and simple corrections for the mitigating effects of pipe texture and gas cooling are discussed. The expression predicts temperature increments of many tens of Kelvin for 5 mm polyethylene granules at speeds of >40 m/s, but only a few K for 1 mm organic grains at 30 m/s in a planned pneumatic sampling system for a planetary exploration mission.

Literary dance: A personal reflection about two dancers in Zagreb in the eighties

Abstract A personal account of one segment of the Zagreb dance scene of the 1980s, on the example of a choreographic collaboration between Blaženka Kovač Carić and Snježana Abramović Milković, iconic dancers from the 1980s Zagreb dance scene, on the pieces Attic (1984) and Angel Hair (1986), produced by Zagreb Dance Company.

Who'll Stomp the Rain?

The year 2015 has been noteworthy for peculiar patterns of precipitation. Perhaps best known is the precipitation situation in California, where its prolonged, conspicuous absence has resulted in widespread drought and imposition of draconian water conservation regulations. In other parts of the world, though, it's what did fall from the sky that was remarkable. In May 2015, the town of Goulbourn, New South Wales, in Australia, experienced the phenomenon known as “spider rain,” whereby “millions of baby spiders appeared to be raining from the sky” (Ting 2015). As Australian naturalist Martyn Robinson explained to his worried compatriots, “spider rain” may result from mass migration of spiderlings via ballooning or by mass dispersal after heavy rains or floods leave spider habitats waterlogged and uninhabitable. Robinson also related that, on some occasions, “you can have entire fields and paddocks and trees festooned with this gossamer or Angel Hair, as some people call it.” ![Graphic][1] As it turns out, “angel hair” events are not unusual in Australia, but they're not always the result of spider rain. Keith Basterfield, a “South Australian retiree,” has spent more than 14 years meticulously documenting “angel hair” events and has turned up records of more than a dozen such events since 1914 (http://bit.ly/1Dx-PZBk). Reading through his Catalogue and Analysis of Australian ‘Angel Hair’ Cases is enlightening but arachnologically disappointing; only six of the 19 or so cases could be definitively attributed to spiders—Grace Plains in 1920; Gundagi in 1964; Adelaide Hills in 1968; Glenelg, Adelaide in 1968, Peterborough in 1968; and Wynn Vale, Adelaide in 1982. There's an interesting … [1]: /embed/inline-graphic-1.gif

The Water's Edge

It seemed to ride in on a dark wave and get washed ashore with the plastic bottles and the seaweed, showing up one night along a rutted stretch of beach in front of a seafood restaurant with a blond wooden deck that overlooked the bay. Ashok, one of the waiters working the deck’s outdoor tables, saw something moving at the water’s edge, not sure what he was seeing but guessing it was a living thing struggling to stay afloat. He took a blind hop onto the hard-packed sand and ran down to the cold frothy surf where he scooped up whatever it was and wrapped it in his black cotton waiter jacket. He started back up the beach with the dog—by then, he could see that it was a dog, a tiny terrier type that seemed to weigh nothing—and went straight into the employees’ break room and laid it on the white chenille couch that was already so soiled and stained it wouldn’t matter if more refuse was dumped on it. The waitress on break, who always liked to know what was going on, had followed him down the hallway and now hovered expectantly in the doorway. The dog was one of those skeletal lapdogs that you don’t ever see out loose. It looked like it had been through a cyclone, a gash over its right eye and a white strip below its right ear, like a skid mark, where the fur had been scraped away. The padding of its paws was bruised reddish-purple. Now and then, it lazily licked at one of its wounds, the ones it could reach, but otherwise it just sat there vibrating with the cold. Particles of sand and odd scraps of ocean detritus, mostly little shards of shell and angel hair wisps of sea moss, still clung to parts of its body. It smelled like garbage. One of the bus boys dragged in a plastic tub from the kitchen, the one normally used to soak the big pans. It was filled partway with warm water. Ashok asked the waitress, whose name was Vita but who liked to be called V, to slowly lower the dog into the tub and hold onto it while he gently soaped up its chest and back and underbelly. The wa-

The Dig

The Dig Steve Clay (bio) Granary Books Steve Clay, Publisher. http://www.granarybooks.com. Many of my favorite publishers have reprinted important and under-appreciated books over the years. For example, Dick Higgins at The Something Else Press published facsimile editions of Dada Almanach (1920) edited by Richard Huelsenbeck and New Musical Resources by Henry Cowell, as well as several Gertrude Stein reprints, including The Making of Americans, Geography and Plays, and Lucy Church Amiably. Judicious reprinting, particularly for a small publisher, helps to keep significant cultural information alive while supporting the press’s lineage and identity. Since 1995, I’ve published no fewer than twenty such books, which in retrospect seem to fall into three categories: documentary collections, facsimile editions, and reprints. My first experience recovering and reprinting a lost book occurred in 1995, following my encounter with issue no. 11 of New Wilderness Letter, a little magazine edited by Jerome Rothenberg. No. 11, co-edited by Rothenberg and David Guss and titled The Book, Spiritual Instrument, was published in 1981 and includes contributions by an impressive range of artists, poets, and scholars, including Alison Knowles, Karl Young, Herbert Blau, Dick Higgins, and David Meltzer. Having published my first trade book, Johanna Drucker’s The Century of Artists’ Books, that same year, I felt that The Book, Spiritual Instrument would be an interesting intellectual compliment to Drucker’s work while adding an anthropological, philosophical, if not spiritual perspective to the field of writings about artists’ books. New Wilderness Letter no. 11 proved to be quite elusive in the days before Abebooks.com; despite my searches, I was unable to locate more than one copy. Rather than produce a straight reprint by photographing the original pages, we reset the type, which meant keyboarding the full contents of the book. Becky Cohen’s photographs of poet’s reading from their own books were carefully reproduced in gatefolds as in the original publication. The cover incorporates a photograph by Michael Gibbs, which accompanies his translation of Mallarmé’s essay referenced by the book’s title. When republishing The Book, Spiritual Instrument, the idea of an expanded edition of this seminal work was not far behind, and within a few years, I was working with Jerome Rothenberg to co-edit a sort of sequel, A Book of the Book: Some Works & Projections About the Book & Writing, which was published in 2000. A Secret Location on the Lower East Side by me and Rodney Phillips, The Angel Hair Anthology edited by Anne Waldman and Lewis Warsh, A Book of the Book, Doings: Assorted Performance Pieces 1955–2002 by Jackson Mac Low, and A Purchase in the White Botanica by Piero Heliczer edited by Gerard Malanga and Anselm Hollo are in some sense documentary anthologies that gather together often obscure and out-of-print works and recast them for a new audience, sometimes with the addition of new material, whether an introduction, commentary, or bibliography. For example, Doings (see above) presents a comprehensive collection of Mac Low’s handwritten, drawn, typographic, and musical notations—works composed through non-intentional methods and that operate simultaneously as visual art, literature, and scores for performance. The book includes detailed performance instructions and notes on the procedures of composition, gatefold reproductions of the poet’s original visual scores, as well as a CD of both live and studio archival recordings. We’ve reprinted several works by Joe Brainard, including his classic, I Remember. Full Court Press first gathered and published all of the original installments as a single volume in 1975. Penguin picked up the edition in 1995, and Granary followed, redesigning and reprinting the book in 2001. I Remember is our bestselling title, having gone through six printings and selling over 20,000 copies. Click for larger view View full resolution Granary Books Logo The Vermont Notebook, Joe Brainard’s collaboration with John Ashbery, was first published by Black Sparrow Press in 1975. The Granary Books reprint in 2001 had a new cover while the text pages were photographed and printed from the Black Sparrow edition. In 2012, Granary reprinted Bean Spasms by Ted Berrigan, Ron Padgett and Joe Brainard, which was conceived as a facsimile of the...

The formation of filamentary structures from molten silicates: Peleʼs hair, angel hair, and blown clinker

We conduct an analysis of the concomitant, competing phenomena at play in the formation of long filamentary structures from a stream of hot, very viscous and cohesive liquid as it is blown by a fast, cool air stream. The situation is relevant to a broad class of problems, namely volcanic glass threads or fibers formed when small particles of molten material are thrown into the air and spun out by the wind into long hair-like strands (called Peleʼs hair), to the process of prilling, the manufacture of glass fibers, and the formation of coke in furnaces and combustion chambers.The air stream blowing on the molten material both breaks up the liquid into fragments stabilized by capillarity, and cools the liquid down to solidification. There are, in this problem, four characteristic times. First, a deformation time of the liquid masses, setting the rate at which drops elongate into ligaments. Then, two timescales set the time of capillary breakup of these ligaments, one prevailing on the other depending on the relative weight of inertia on viscous slowing (that point is illustrated by an original experiment). Finally, a solidification time of the ligaments. Thin solid strands will only form when solidification occurs before capillary breakup. We have discovered that this condition is likely to apply when the liquid is strongly viscous, as for clinker in the cement industry, considered here as a generic example. We formulate recommendations to remove (or enhance) the formation of these objects.

Angel Hair Magazine, the Second-Generation New York School, and the Poetics of Sociability

Angel Hair Magazine, the Second-Generation New York School, and the Poetics of Sociability Daniel Kane (bio) The Granary Books publication of Angel Hair Sleeps with a Boy in My Head: The Angel Hair Anthology is both cause for celebration and an invitation to assess the significance of the poetry and overall scene associated with those writers representing the so-called second-generation New York school.1 This appraisal is a necessary step for literary and cultural history, as TheAngel Hair Anthology recovers a decades-old avant-garde movement whose influence continues to be felt in New York and national avant-garde circles. Poets associated with the Language writing phenomenon, spoken-word culture, and younger contemporary American innovative writers have all pointed to the poets and poetry scene of the second generation as especially significant. The contributors' notes to the St. Mark's Poetry Project anthology Out of This World are telling in terms of the debts owed to the second-generation scene. Regarding the Poetry Project at St. Mark's Church reading series when Angel Hair editor Anne Waldman was [End Page 331] serving as its director, Charles Bernstein writes that it "provided an important alternative to the low energy, formally inert poetry of official verse culture" (qtd. in Waldman, Out of This World 621). Bernstein and Bruce Andrews went on to publish Bernadette Mayer's celebrated "Experiments" list along with essays on or byMayer, Clark Coolidge, Lorenzo Thomas, and other second-generation affiliated writers in their collaboratively edited The L=A=N=G=U=A=G=E Book. Andrei Codrescu remembers, "Ted Berrigan, who enjoyed my rudimentary English, taught me the poetry of the New World. It was a whole new kind of poetry: alive, anti-academic, bohemian, streetwise, political, open" (630). Amy Gerstler recalls: "Dennis Cooper . . . also introduced me to 'New York School' writers, and St. Mark's Newsletter, and numerous East Coast small-press magazines and anthologies. Those introductions provided me with what felt at the time like a direction"(642). Michael Palmer gave his first reading at St. Mark's and recollects "Berrigan's barking laugh, half challenge, half support, in the background" and "a reading with Charles North and a Sunday 'conversation' with Clark Coolidge and audience about desire, silence, narrative, subversion, loss, subject, Sade, Bataille, Blanchot, Olson, hymns, and fragments"(669). Punk legend Richard Hell credits Anne Waldman with inspiring him to start CUZ magazine, which would go on to publish work by Ron Padgett, René Ricard, and Eileen Myles (646). Showing the influence not just of John Ashbery, Frank O'Hara, James Schuyler, and Kenneth Koch but also of Padgett and Berrigan, David Lehman in his book The Last Avant-Garde demonstrates how second-generation poets inspired younger writers including Paul Violi, Alice Notley (who was married to Berrigan during this period), Tim Dlugos, and Eileen Myles (359-79). Bob Holman, one of the main impresarios of the "spoken word" performance poetry community, has stated: "I remember when Jim Brodey did Howl in five languages at the Poetry Project. They were read simultaneously—unrehearsed, just to do it. The performance dynamic at the church has been nurtured and important and was what allowed me to go down to the Nuyorican Poets Café and start my thing there" (qtd. in Kane 206). In Statutes of Liberty, Geoffrey Ward draws a link between contemporary avant-garde publications [End Page 332] and their predecessors: "Imprints such as Burning Deck, Roof, The Figures or Potes & Poets Press are the intrepid contemporary heirs of Corinth Books, Tibor De Nagy Editions, The Poet's Press, C, Angel Hair Books and other small-scale outfits that published the new American poetry of the 1960s" (179). It is clear in light of these references that we must take a critical look at the writing affiliated with the second-generation New York school in order to understand and historicize the contemporary innovative poetry scene more fully and properly. Many writers associated with the second generation—including Ted Berrigan, Ron Padgett, Bernadette Mayer, Clark Coolidge, and Dick Gallup—certainly deserve to be considered as significant individual poets. TheAngel Hair Anthology nevertheless reminds us that second-generation poetry was in many ways produced...

"Angel Hair" Magazine, the Second-Generation New York School, and the Poetics of Sociability

"Angel Hair" Magazine, the Second-Generation New York School, and the Poetics of Sociability

Impairments and compensation in mouth and limb use in free feeding after unilateral dopamine depletions in a rat analog of human Parkinson's disease

Rats depleted unilaterally of dopamine (DA) with the neurotoxin 6-hydroxydopamine (6-OHDA) have contralateral sensorimotor deficits. These include pronounced impairments in using the contralateral limbs (bad limbs) for skilled movements in tests of reaching and bar pressing. There has been no systematic examination of the changes that take place in movements of spontaneous food handling. This was the purpose of the present study. Rats were filmed as they picked up and ate pieces of angel hair pasta (Capelli d'Angelo), a food item that challenges the rats to use delicate and bilaterally coordinated limb and paw movements. Control rats picked up the food with their incisors, transferred it to their paws, and manipulated it using a variety of bilaterally coordinated limb and paw movements. The DA-depleted rats were impaired in both their mouth and paw movements. They seemed unable to use their teeth to grasp the food and so used their tongue. They did not use the bad side of their mouth to chew and relied upon the good side of their mouth. The bad paw was impaired in grasping the food, grasped only with a whole paw grip, did not make manipulatory movements, and did not open to release the food or open to regain support once the food was eaten. Although the rats improved over a 30-day recovery period, much of the improvement was due to compensatory adjustments. That unilateral DA-depletion results in profound contralateral impairments of the mouth and limb with improvements due mainly to compensatory adjustments confirms a role for dopaminergic systems in motor control. Additionally, the behavioral tests described here could provide important adjuncts for assessing therapies in this animal analog of human Parkinson's disease.

Tetrahydroaminoacridine and Phencyclidine Intoxication

To the Editor.— During the past year the press and television have reported an alarming increase in drug abuse due to the intake of phencyclidine (PCP, angel hair, peace pill) because of its relatively easy manufacture and availability. The symptoms from phencyclidine intoxication can consist of excessive vocalization (including screaming, crying, and irrational speech), severe excitation, delirium, hallucinations, and paranoia. We have found that intravenous tetrahydroaminoacridine hydrochloride (THA) is effective in attenuating many of these responses in the animal model. 1,2 Unfortunately, the National Institute of Drug Abuse has not found our grant applications meritorious enough to merit funding, and we have not been able to continue with our investigative efforts. In light of the spread of phencyclidine use in the drug scene, we believe it is important to mention to interested physicians that THA can be obtained for human use under an Investigational New Drug Application as prescribed by

The Young Creative Writer in the Classroom

MY REMIARKS TODAY will center upon the activity of writing in the classroommore specifically what gets termed writing. don't like the term, but at least it identifies the area. Mostly I'm concerned with the young people who might be performing this activity, the young or potential Creative Writers. Three questions: How do you recognize them? Do you really want them? What do you do with them? When was approached to speak, was told that a general theme of these meetings was to be something like Building Bridges. Thus, suppose, was to take the role of an engineer blueprinting the bridge from untrained to trained creativity, a kind of mental Oakland-Bav bridge. It's a neat idea . . . in any sense of that word. And there are people attempting Newtonian models which will simulate creative activity, thus making it infinitely replicable. But am not one of those people. In fact, if find out where one of these people lives, will break into that person's house with great stealth in the dark of night and bust up his or her model. Which means will be arrested . . . jailed. So that can sit down in my cell and write about the whole experience-in the manner of these days. Now these references to criminal or asocial behavior, even though they might seem so, are not glib. Creativity is a lovely word: musical, shining. It has a nimbus around it. It has angel hair. We all want it. I just wish were creative. How many times have heard that. You're so lucky to be creative. Nobody's against Heavens no-heresy! Stuff the class room full of it! Let it spill out the door into the corridor. Hey, Joe. Bring me some more creativity. Unfortunately, perhaps, think we have to ultimately recognize that as a popular and fairly naive view. It's the view arrived at on the heels of having just seen Michelangelo's David or having just heard Beethoven's Erocia, or having just read Frost's Stopping by Woods. Get these people! Bring them into our classroom! Yes! Instruct, apprentice others like them! But it's a view which neglects not only artists of all darker works, but the shadowed and disjunctive daily lives behind the makers of even these works above. On innumerable occasions Lesley Frost would have gladly given you her father for your classroom. And, once having him, even Monday through Friday, have little doubt but that most of you would think again. make reference to disruptive living and behavior. For disruptive could sub-