After all , early in the movie he discards the possibility that playing violent video games and watching violent flicks can cause violence -- because Canadians like , and Japanese positively love , those .	ep
If violent movies and violent videogames cannot cause violence -- then how can newscasts about violence do so ? "	dy
Obviously , media propaganda can incite people to kill .	ep
Moore 's hypothesis ( which apparently comes at least in part from the book " Culture of Fear " by Barry Glassner , also advertised on Moore 's website ) is that the constant bombardment with messages of fear can incite paranoia , which itself can lead to violent acts .	ep
Moore 's hypothesis ( which apparently comes at least in part from the book " Culture of Fear " by Barry Glassner , also advertised on Moore 's website ) is that the constant bombardment with messages of fear can incite paranoia , which itself can lead to violent acts .	ep
It is also a licensed firearms dealer which can perform its own background checks .	dy
This sounds more like a later correction for public relations purposes , but of course nobody questions the bank claims when they can be used against Moore .	dy
This is one valid criticism , but far from the deliberate distortion you make it out to be ; rather , it is an example for how the facts can sometimes be easy to miss with Moore 's fast pace editing .	ep
In the excerpt from said interview , we can see that it is from March .	dy
The claims of deliberate distortion do n't hold up when viewing the whole scene , though -- as " Hanlon 's Razor " states , one should never attribute to malice what can be attributed to incompetence .	dy
From this , you construct an obscure conspiracy of " re-enactment " : " For all we can tell , Moore could have shouted ' Hey ! '	dy
In reality , what Moore describes here is the most vivid example of what can only be called wage slavery I have ever seen , to the detriment of families .	de
A good comparison of international homicide rates can be found on the relatively neutral guncite . com website .	dy
In fact , Moore mentions several counter-examples , and more such counter-examples can indeed be cited .	dy
While this can in part be explained with his age and mental condition , if he is unable to defend the interests of the NRA , he should not be their spokesman .	dy
In this case , Hanlon 's Razor can be applied to Heston -- he is probably not racist , but incompetent .	dy
Unfortunately , as of yet , no robot has managed to fool a human for more than a few seconds , and no robot has been created that can integrate itself into human society .	dy
Returning successful patrollers have an even greater effect on foraging activity : foragers will not leave the nest unless a patroller returns ( Gordon , 2002 ) , and the rate of foraging in a colony can be controlled by rolling glass beads coated with cuticular hydrocarbons extracted from patrollers into the nest ( Gordon & Greene , 2003 ; Greene & Gordon , 2007 ) .	dy
Biomimetic robots have long been a rich source of information for both biologists and robotics engineers , and complex robots that can switch tasks as the situation demands and communicate information about current tasks could be useful for further studies of complex robot behaviors as well as for the obvious practical applications of robot swarms , such as on the battlefield and standard building maintenance .	dy
Using this interpretation , we can map out the local tonics ( tonal centers ) used throughout the movement , as shown in Example 2 .	dy
example 2 : harmonic structure of the first movement In this example , the barlines divide the formal sections of the piece ( Introduction– Exposition– Development­– Recapitulation ) — so we can immediately see that the tonic F is not established until the exposition begins .	dy
Indeed , this set can be seen more as a by-product of stacked perfect fourths than a generative element itself .	ep
We can connect the two by noting that the descending whole step consists of two ascending fourths ; indeed , the structural whole-tone descent is often “ filled in ” with the intervening fourth .	dy
So although there is no thematic relation between the Introduction and the main sections of the movement , within the first 29 measures we can already see structural , harmonic and motivic elements that apply to the movement as a whole .	dy
Rather , we can consider this occurrence of E ♭ as a middleground-level whole-tone descent that foreshadows the structural descent to E ♭ at measure 131 that is represented in Example 2 .	dy
The passage beginning at measure 248 , shown in Example 13 , can be considered to be the “ theme ” of this section , and is a development of the second head motive of the first theme .	ep
As tempting as this interpretation may be , this observation is relegated to the notes section because it constitutes a horrible abuse of terminology—there is only so far that such tonal analogies can go before they begin to hide any true analytical insight behind misused terms .	dy
In fact , the chord progression of the first four measures of Example 19 can be thought of tonally as I- vi- V in F major—while we are reluctant to say that this passage is in major ( the conspicuous A ♭ in measure 490 easily brings doubt to this interpretation ) , we can certainly say that the minor flare of the beginning has been replaced by a major flare here in the recapitulation .	ep
In fact , the chord progression of the first four measures of Example 19 can be thought of tonally as I- vi- V in F major—while we are reluctant to say that this passage is in major ( the conspicuous A ♭ in measure 490 easily brings doubt to this interpretation ) , we can certainly say that the minor flare of the beginning has been replaced by a major flare here in the recapitulation .	dy
While we know from his writings that he often composed with a tonal centers and relationships in mind , and that he regularly applied tonal structures and forms to his compositions , by merely glancing at any one of his pieces we can see that tonality as it is understood in the common practice period is not at work .	dy
But if we apply it to music such as Bartók ’ s that is in the middle area , we can come up with some enlightening and perhaps unexpected results .	dy
It is not disputed that Bartók ’ s music has great expressive power—perhaps now we can understand why .	dy
However , it was clear that , in the words of USWA president Lloyd McBride , “ If you can ’ t make a buck , you get out of the business . ”	dy
J. Philip Richley , a union member and organizer of many attempts to save 5 the mills , has summed it up thus : “ You just can ’ t solve a nation - wide problem in a single city . ”	dy
