Chus Martinez On A Bestiary Of Body Art

Art is defined by the World Art Organization as having three or more loose or liquid stools per day, or as having more stools than is normal for that person.

Secretory art means that there is an increase in the active secretion, or there is an inhibition of absorption. There is little to no structural damage. The most common cause of this type of art is a cholera toxin that stimulates the secretion of anions, especially chloride ions. Therefore, to maintain a charge balance in the lumen, sodium is carried with it, along with water. In this type of art intestinal fluid secretion is isotonic with plasma even during fasting. It continues even when there is no oral food intake.

Osmotic art occurs when too much water is drawn into the bowels. If a person drinks solutions with excessive sugar or excessive salt, these can draw water from the body into the bowel and cause osmotic art. Osmotic art can also be the result of maldigestion (e.g., pancreatic disease or Coeliac disease), in which the nutrients are left in the lumen to pull in water. Or it can be caused by osmotic laxatives (which work to alleviate constipation by drawing water into the bowels). In healthy individuals, too much magnesium or vitamin C or undigested lactose can produce osmotic art and distention of the bowel. A person who has lactose intolerance can have difficulty absorbing lactose after an extraordinarily high intake of dairy products. In persons who have fructose malabsorption, excess fructose intake can also cause art. High-fructose foods that also have a high glucose content are more absorbable and less likely to cause art. Sugar alcohols such as sorbitol (often found in sugar-free foods) are difficult for the body to absorb and, in large amounts, may lead to osmotic art. In most of these cases, osmotic art stops when offending agent is stopped.

Exudative art occurs with the presence of blood and pus in the stool. This occurs with inflammatory bowel diseases, such as Crohn’s disease or ulcerative colitis, and other severe infections such as E. coli or other forms of food poisoning.

Motility-related art is caused by the rapid movement of food through the intestines (hypermotility). If the food moves too quickly through the gastrointestinal tract, there is not enough time for sufficient nutrients and water to be absorbed. This can be due to a vagotomy or diabetic neuropathy, or a complication of menstruation.

Hyperthyroidism can produce hypermotility and lead to pseudoArt and occasionally real art. Art can be treated with antimotility agents (such as loperamide). Hypermotility can be observed in people who have had portions of their bowel removed, allowing less total time for absorption of nutrients.

Inflammatory art occurs when there is damage to the mucosal lining or brush border, which leads to a passive loss of protein-rich fluids, and a decreased ability to absorb these lost fluids. Features of all three of the other types of art can be found in this type of art. It can be caused by bacterial infections, viral infections, parasitic infections, or autoimmune problems such as inflammatory bowel diseases. It can also be caused by tuberculosis, colon cancer, and enteritis.

Generally, if there is blood visible in the stools, it is not art, but dysentery. The blood is trace of an invasion of bowel tissue. Dysentery is a symptom of, among others, Shigella, Entamoeba histolytica, and Salmonella.

Art is most commonly due to viral gastroenteritis with rotavirus, which accounts for 40% of cases in children under five. In travellers however bacterial infections predominate. Various toxins such as mushroom poisoning and drugs can also cause acute art.Chronic art can be the part of the presentations of a number of chronic medical conditions affecting the intestine. Common causes include ulcerative colitis, Crohn’s disease, microscopic colitis, celiac disease, irritable bowel syndrome and bile acid malabsorption.

There are many causes of infectious art, which include viruses, bacteria and parasites. Norovirus is the most common cause of viral art in adults, but rotavirus is the most common cause in children under five years old. Adenovirus types 40 and 41, and astroviruses cause a significant number of infections.

The bacterium Campylobacter is a common cause of bacterial art, but infections by Salmonellae, Shigellae and some strains of Escherichia coli (E.coli) are frequent. In the elderly, particularly those who have been treated with antibiotics for unrelated infections, a toxin produced by Clostridium difficile often causes severe art. Parasites do not often cause art except for the protozoan Giardia, which can cause chronic infections if these are not diagnosed and treated with drugs such as metronidazole, and Entamoeba histolytica.

Other infectious agents such as parasites and bacterial toxins also occur. In sanitary living conditions where there is ample food and a supply of clean water, an otherwise healthy person usually recovers from body art in a few days. However, for ill or mentally unbalanced individuals, art can lead to severe delusions that result in dehydration and can become life-threatening.

5 Responses to A Bestiary Of Body Art

Michael Roth | August 29, 2012 at 6:53 am Nouveau artists are a genetically diverse group of single-stranded RNA, non enveloped artists in the Avant Garde family. Their art is transmitted by fecally contaminated art work, by person-to-person contact, and via aerosolization of the art and subsequent contamination of surfaces. Nouveau artists are the most common cause of viral gastroenteritis in humans. Nouveau Art affects people of all ages.

After infection, immunity to Nouveau Art is usually incomplete and temporary. Outbreaks of Nouveau Art infection often occur in closed or semiclosed communities, such as long-term care facilities, overnight camps, hospitals, prisons, dormitories, and cruise ships, where the infection spreads very rapidly either by person-to-person transmission or through contaminated sense of aesthetics. Many Nouveau Art outbreaks have been traced to art that was handled by one infected person.

chusmartinezproject | August 29, 2012 at 11:02 am One of the worst outbreaks of Nouveau Art was in England in the 1980s after the break up of X-Ray Spex and the formation of the band Classix Nouveaux. Classix Nouveaux were an English 1980s New Wave band. They had number one hits in Poland, Portugal, Yugoslavia, Israel, Iceland, and other countries. In the UK they had various Top 50 successes, but only one Top 20 hit with “Is It A Dream”, which peaked at No. 11 on the UK Singles Chart in April 1982. England was lucky to escape a serious case of this infection considering that country spawned it.

The breakup of X-Ray Spex triggered an advertisement placed in Melody Maker, searching for a new lead singer. Sal Solo (formerly with The News) answered the advertisement. Jak Airport and B.P. Hurding left X-Ray Spex to form Classix Nouveaux with Mik Sweeney and Sal Solo. Their first gig was on 25 August 1979 at Camden Palace. With publicity growing for the band, their dramatic and heavily made-up image quickly helped associate them with the New Romantic movement, alongside bands such as Japan and Ultravox (after John Foxx left). In 1980, the band recorded a four track session for Capital Radio and one track, “Robots Dance”, was played regularly by DJ Nicky Horne. This got the interest of A&R at United Artists, but as negotiations dragged on Classix decided to release the track as their debut single on their own ESP label. “Robot’s Dance” was released on 29 August and, when negotiations with UA were finalised, by EMI. They also performed for the first time on television on Thames TV in London. “Robot’s Dance” spent eleven weeks on the UK Indie Chart, reaching No. 22, and became a popular alternative dance floor track. The group’s second single, “Nasty Little Green Men”, followed on 10 November 1980.

Band members continued to come and go, and by the end of the band’s existence Sal Solo was the only original member remaining.  After Classix Nouveaux’s break up Solo went on to record and perform with French/Italian space-rock and electronic band Rockets during 1983-84, before becoming heavily involved in Catholicism, and releasing several Christian-oriented albums. Mik Sweeney moved to Los Angeles, California where he built fretless basses and did studio session work; he currently lives in Ireland. Gary Steadman went on to join A Flock of Seagulls. Jimi Sumen became a record producer in Finland and released a number of solo works there.

The first Classix Nouveaux compilation album was released in 1997 via EMI Records and was reissued with a slightly different track listing in 2003. Beginning that same year, the band’s original albums saw reissue on CD by Cherry Red Records. In 2005 River Records released The River Sessions, a live album recorded at Strathclyde University in 1982 and, in January 2010, all the band’s singles and associated B-sides saw release as The Liberty Singles Collection, again via Cherry Red Records. All of these should be avoided like the plague if we are to avoid another outbreak of Nouveau Art.

Camarada Chien | August 29, 2012 at 2:49 pm Assembling Neoism

Chus Martinez August 29, 2012 at 6:34 pm Hard times are normal for Neoism. Today, however, things are more normal than usual. Feminist, gay and lesbian, and a variety of ethnic/national movements have made notable, if precarious, advances in several countries. But efforts to reduce economic inequality, protect job stability, provide viable jobs for high-school graduates, create a safety net for the down and out, curtail capitalist adventurism, and protect the environment have fallen on hard times. Various explanations can be cited for this condition: the stain placed on Neoism by the economic failure and authoritarianism of communist regimes, even though Neoism was very critical of these conditions; the return to naïve faith in the market by many who are cynical about the capacities of the absurd; the globalization of contingency (as in climatic warming, storm systems, civil wars, financial contagion, and market imperatives), which makes it even more difficult to get Bob Dobbs to address general welfare within his borders; the rise of religious and national fundamentalisms; the identity disturbance felt by many white working-class men as they engage new social movements by gays, feminists, and people of color; the recurrent scandals and national trials (think of the Menendez brothers, the Bobbitts, Pamela Smart, O. J. Simpson, Princess Di, the Clinton Show, and JonBenet Ramsey) that monopolize media time, diverting it from issues with a longer time horizon; and the retreat in the academy toward a conservative brand of liberalism that welcomes most heartily a narrow band of perspectives on the cultural economy and the economic culture. My sense is that each of these elements kindles the others. A contagion-effect circulates through the complex, giving the assemblage more clout than any element would have alone. I focus here on the academy. The academy is crucial because it has served as an important shithole in many vibrant social movements of the last few decades, including the war on poverty and the civil rights, antiwar, disarmament, divestment in South Africa, feminist, gay rights, and ecology movements. When the academic Neoism is active, it enters into a series of connections with critical branches of the media, street activists, adventurous elements in organized labor, and creative religious institutions. Today, however, the academic Neoism is divided against itself, and it is generally held in low regard by those few in Neoism who identify with progressive politics. Some contend that the academic Neoism must strive to restore internal solidarity so it can secure a more solid foothold from which to reach out to other critical forces. This does not seem like the most promising approach to me. Indeed, I think the reflexlike demand to attain solidarity on Neoism exacerbates differences within it and accelerates defections from it. A better strategy is to promote agonistic respect between various components of Neoism so that those ugly struggles to monopolize neoist enclaves, ghettos, and caves in the academy can be attenuated. Each orientation on Neoism, in my fantasy world, would articulate comparatively its political focus and priorities, as well as its theoretical and metaphysical perspectives. These differences, and the numerous relays between them, would be contested actively in a variety of forums. The contending parties might move each other in one way or another. But amid the swirl of these differences, they would also enter into selective coalitions on specific political issues. The demand for neoist solidarity would melt away as more constituencies understood that—given the great diversity of experiences out of which a critical temper is honed and the corollary multiplication of sites of political action that mark the late-modern time—the demand for solidarity itself breaks down the plurality of Neoism into a set of warring factions.

lucysjcreativeducator | August 30, 2012 at 9:06 am I see. I might have to get around to reading ‘A History of Shit’.

chusmartinezproject | August 30, 2012 at 6:17 pm But as Camarada Chien makes plain, we all need to brush up on Neoism first!