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May 26, 1816, in Uruguay, the National Library opens its doors, the first public library in the country
On this day (May 26), 1816, in Uruguay, the National Library opens its doors, the first public library in the country.
On August 4, 1815, the priest Dámaso Antonio Larrañaga (1771, religious, architect, rancher, naturalist and botanist) sent a letter to the Cabildo in which proposed to make up for the lack of teachers and institutions with good books.
This initiative was ratified by José Gervasio Artigas (1754, soldier and statesman from the River Plate) from Purification, in different letters dated August 12 and 28 of the same year.
The Tasks of the National Library are;
1 -To be a reference in research and innovative knowledge about the country's past and culture.
2 -Recover and preserve the existing heritage, raising existing technical levels.
3 -Promote as much as possible extension the digitalization of the materials of its different collections, as a way to democratize access to knowledge for all citizens.
4 -Work in coordination with other public and private cultural and educational organizations.
5 -Promote the reading and research in all ages of readers and encourage the various forms of interaction with knowledge.
6 -Increase the level of use of bibliographic collections in all its sections, with emphasis on Uruguayan content.
As a curiosity to mention that coinciding with the inauguration anniversary of the National Library, every May 26th the National Book Day is celebrated in Uruguay.
-------------------------------------------- -------------------------------------------------- ----
- Good morning
- Hello
- He puts me a double cheeseburger
- a cookbook?
-not
- a book about raising cows?
- a hamburger book?
- no, a hamburger without a book
- we can't sir
- why?
- we can only give you a book that contains a hamburger
- and that's good?
- that's up to taste
- well, give me a book containing a cheeseburger and for my friend a book containing a ham sandwich
- marching!
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La Ciencia de Jaun % d of% B,% Y
Muchas gracias Maryorie
Maryorie Hernández % d of% B,% Y
Los sigo por Instagram, y siempre leo lo que publican y me gusta. No había entrado a leer la página pero me gusto más, así que de ahora en adelante. A leer sus publicaciones.
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Technical problem keeps Soyuz in orbit
The homecoming of the Soyuz spacecraft, which was due to undock from the International Space Station, has been delayed due to technical problems.
A technical glitch reportedly caused some of the Soyuz spacecraft's automated system to register errors. This is the first time this has happened in the Space Station's twelve-year history.
Officials say there is no cause for concern – the undocking will just take place a little later than planned as the space crew is now taking steps to solve the problem.
Russians Aleksandr Skvortsov and Mikhail Kornienko, and American Tracy Caldwell Dyson, were scheduled to undock from the ISS early on Friday and touch down in Kazakhstan at around 11 a.m. local time.
The trio have been in space for more than six months and carried out four space walks as part of the team of Expedition 24.
After they leave, three spacemen will remain on board the ISS, where they will be joined by three others in October.
Rocket fragment hits building in Siberia… or did it?
Supply spacecraft fails to dock with ISS
Space trouble: ISS missing oxygen and toilet
Soyuz capsule lands in Kazakhstan
Russia to make record number of space launches in 2010
The returned ISS expedition goes through rehab

redpajama_set_name: RedPajamaCommonCrawl


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Do you want to learn how to make the perfect pizza crust?
Are you wondering how you are going to prepare one hundred rolls for an upcoming dinner party?
Do you want to prepare a fresh loaf of bread for breakfast in the morning?
If so, you will definitely want to check out the Zojirushi bread makers on the market right now. These products are lightweight, will not take up so much cabinet space, and will produce some of the tastiest bread you have ever had.
There are ten automatic bake settings on the bread, which you can use to determine how light and fluffy, or how firm you want your bread to be. This opens up your recipe options, which means you can create croutons for salad, or can prepare a light French bread that can be used for dinner or sandwiches.
There is also a viewing window on the Zojirushi bread maker, so you can view the progress of your bread baking at each step. If you want to set the timer ahead so that your bread with bake the next day, there is a 13-hour timer feature that you can leave on overnight, so that you will have fresh-baked bread in the morning. You can also choose from two or three hour baking cycles if you want to try out your bread for lunch or dinner. The automatic shut-off also helps to keep your kitchen safe, and saves on electricity.
The Zojirushi bread maker also comes with a demonstration video that you can watch before you start using the machine. Most bread machines come with instructions, but when you are able to see how the machine actually operates, you will feel more comfortable using it, and may even come up with a few recipes of your own. A free recipe book also comes with the bread-making machine, so you will have many options to choose from, whether you want to make bread for breakfast, dinner, or dessert.
The bread bakes in a non-stick pan that is easy to clean after each use. The dual kneading blades also help the bread to bake evenly, and the machine is even strong enough to handle whole-wheat flour.


The course I'm taking right now with OLLI (Osher Lifelong Learning Institute) with the University of Virginia has really given me the support I was looking for to apply the lessons I've learned over the years of my life. Transcendence, Well Being and Positive Aging helps you to maintain a 'transcendent mindset'. This is something that becomes easier and clearer as we get older if we're open to being in the moment and being mindful. We've learned more about ourselves and are more willing to choose the behaviors that lead to our well being instead of being pushed and pulled by others and society's expectations. I'm finding it a refreshing validation of how to set my own healthy boundaries during these years of letting go and simplifying my life in order to meet the inevitable changes that come with aging.
Emergent Mind: Each moment we are constructing our mind, feeding it perceptions, sensations and thoughts which coalesce into beliefs and reality pictures which in turn foster positive or negative feelings.
← Me in the Middle of an Etsy Sale ~ 20% Off!!
Very true. Mindfulness meditation is one step above our regular meditation exercises. It reduces stress. It makes us aware of us, our environment and forces us to think about the welfare of others. The moment we decimate our ego, we are on the road to recovery. After reading your blog I happened to bump into this particular piece – https://ashmayuyoga.com/meditation/what-is-mindfulness-meditation/ , which gave me clear insights into why being mindful is necessary to lead a peaceful life. Hope your readers too will benefit from this article. Thank you very much.
Yes, perception is everything. I have recently discovered that the "stories" I have been telling others and myself, were merely my mind's interpretations of events and not necessarily the truth.
Thank you for this post Mary Lou. I've been focusing on mindfulness a lot lately, and I've recently started attending a Buddhist sangha and love the energy of the service and the people there. I have not studied Buddhism, but I know I immediately feel at peace when I share space with this group.
I have also left the religion of my youth, and find sangha feels the spirituality gap for me. No pressure to become Buddhist. The focus is mindfulness, meditation, and compassion. Everyone is welcome. The motto of the group is Namu Amida Butsu. Come as you are. I've found that to be true.
The course is very interesting Debbie! We all have some great discussions. It's amazing how our mindset can affect our overall well being.
MaryLou, I'm starting my search for next years word of the year and you've given me Transcend as a possible one. I like the idea of the transcendent mindset. I too am working on combining positive aging, healthy habits, and mindfulness into every day living. Visiting from #MLSLT!
That's great Pat! My mother used to call it 'Rise above' and she was a big fan of positive thinking. Ill be looking forward to reading 'word of the year' post.
I love the idea of "Transcendence, Well Being and Positive Aging" Mary Lou – all things we're trying to achieve and any help we get along the way is a bonus. I'm so glad you've found so much inspiration and can share snippets of it with us as you go along.
You're right about 'snippits'. This class covers so much that it's hard to absorb it all. I picked up a book 'Wherever You Go There You Are' by Jon Kabat-Zin (Mindfullness meditation in everyday life).
I'm a slow learner when it comes to mindfulness and meditation and kindness. I just keep trying because it does keep you centered on what's best for you. Have a beautiful week too Sue!
I love this post! Especially the photo with the contrasts between successful and unsuccessful people. Shared on my Facebook page, Embracing Life.
Lovely! Embracing positive aging may take some work and some focus… but it is a lovely way to explore these years of wisdom (hopefully!) and freedom. I truly believe Mindfulness is one of the most important features of daily life.
A lot of the expectations of the 'good life' that society advertises can work against us finding that wisdom and freedom. Mindfulness helps us to be aware of what's best for our own well being. Thanks Agnes!


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Tag: Look Toward The Future But Not So Far As To Miss Today
Virtual Tour of Ken Nwadiogbu's 'Ubuntu' and Fumi Nakamura's 'Look Toward the Future, but Not So Far As To Miss Today'
Enjoy a virtual tour through Ken Nwadiogbu's "Ubuntu" and Fumi Nakamura's "Look Toward the Future, but Not So Far As To Miss Today." Now on view through March 27th, click here to schedule a visit to the gallery.
Please visit the following link to explore our virtual tour: https://players.cupix.com/p/VL87Nzlh
Virtual tour courtesy of Birdman Photo
Posted on March 8, 2021 Author BekkaCategories New Contemporary Art, Thinkspace FamilyTags Fumi Nakamura, Ken Nwadiogbu, Look Toward The Future But Not So Far As To Miss Today, Ubuntu, Virtual TourLeave a comment on Virtual Tour of Ken Nwadiogbu's 'Ubuntu' and Fumi Nakamura's 'Look Toward the Future, but Not So Far As To Miss Today'
Photo Tour of new works from Ken Nwadiogbu and Fumi Nakamura
Thinkspace presents a photo tour through Ken Nwadiogbu's "Ubuntu" and Fumi Nakamura's "Look Toward the Future, but Not So Far As To Miss Today". Now on view through March 27th, click here to schedule a visit to the gallery.
Photos courtesy of Birdman
Posted on March 7, 2021 Author BekkaCategories New Contemporary Art, Thinkspace Calendar, Thinkspace FamilyTags 2021 Program, Fumi Nakamura, Ken Nwadiogbu, Look Toward The Future But Not So Far As To Miss Today, Photo Tour, UbuntuLeave a comment on Photo Tour of new works from Ken Nwadiogbu and Fumi Nakamura
Video Tour of new works from Ken Nwadiogbu and Fumi Nakamura
KEN NWADIOGBU – Ubuntu
FUMI NAKAMURA – Look Toward the Future, but Not So Far As To Miss Today
On view: March 6, 2021 – March 27, 2021 | Schedule your visit here.
EXCERPT FROM KEN NWADIOGBU INTERVIEW
What is the inspiration behind this latest body of work? What themes were you exploring?
These works were created between 2020 to 2021. The question was: what did it feel like to be Nigerian during this time and what do I think we can do to make it better.
I experienced a lot of threatening events around me and could connect it with what was happening around the world. The hatred, the war, division and violence. I got really interested in making direct statements through my works concerning this. This gave rise to UBUNTU, an African philosophy made popular by Late Nelson Mandela. The philosophy of togetherness. "I am because we are". I believe there's a lot of good we can do if we are United.
Full interview here
EXCERPT FROM FUMI NAKAMURA INTERVIEW
I've been learning and trying to incorporate my own culture into my work more. I moved to the United States when I was eleven. I stopped learning Japanese language, culture and history since then, instead, I tried to focus on learning English and American culture to fit in. Growing up in the United States made me question my existence, ethnicity and culturally more, and I was often being asked "which country is home to you?," which troubled me a lot.
Now I am in my mid-thirties, looking back on all the work I made and working through many hours of psychoanalysis, that question no longer troubles me anymore, but it rather made me curious about my own existence, concentrating on being alive and what to look forward to in the future.
Posted on March 6, 2021 March 6, 2021 Author BekkaCategories New Contemporary Art, Thinkspace Calendar, Thinkspace FamilyTags 2021 Program, Fumi Nakamura, Ken Nwadiogbu, Look Toward The Future But Not So Far As To Miss Today, Ubuntu, video tourLeave a comment on Video Tour of new works from Ken Nwadiogbu and Fumi Nakamura
Juxtapoz feature Fumi Nakamura's upcoming exhibition 'Look Toward the Future, But Not So Far As to Miss Today'
Thank you to our friends over at Juxtapoz for featuring Fumi Nakamura's upcoming exhibition 'Look Towards the Future, But Not So Far As to Miss Today', opening Saturday, March 6th. Please visit the Juxtapoz website for the full piece, and schedule your visit to the gallery to see intricate pieces in person here.
Like the Samurai, Nakamura employs a terrible beauty in her gouache, graphite and colored pencil renderings. Furry animals curl up and caress, their pearly whites sprouting into fangs. Blossoms and leaves tickle in sensuous suffocation, while fragile faces confront skeletal ancestors. The Japanese born artist summons an almost ancestral understanding of detail and nuance paying homage to the floral art of ikebana, where line, form and shape are elevated in her colorful works
– Juxpapoz.com / Look Toward the Future, But Not So Far As to Miss Today: Fumi Nakamura @ Thinkspace Projects
Posted on March 6, 2021 Author BekkaCategories New Contemporary Art, Thinkspace Family, Thinkspace PressTags Fumi Nakamura, Juxtapoz, Look Toward The Future But Not So Far As To Miss TodayLeave a comment on Juxtapoz feature Fumi Nakamura's upcoming exhibition 'Look Toward the Future, But Not So Far As to Miss Today'
Inside the studio of Fumi Nakamura as she prepares for 'Look Toward the Future, but Not So Far As To Miss Today'
Inside the studio of Fumi Nakamura while she prepares for 'Look Toward the Future, but Not So Far As To Miss Today'
March 6, 2021 – March 27, 2021
Thinkspace Projects is pleased to present this new solo exhibition from artist Fumi Nakamura. 'Look Towards the Future, But Not So Far As To Miss Today' is a new body of work depicting flora and fauna. Each element is carefully selected to represent elements of life, memory, body and soul. Nakamura pulls from the subconscious, using metaphor and imagery to create striking pieces.
Fumi Nakamura draws inspiration from the Japanese phrase meaning "language of flower." In line with this concept, each flower has different meanings right down to the positioning. Colors play a huge role as well, and each work becomes full of phrases and meanings. One tulip can mean a variety of things from "compassion" to "confession of love" to the "lost love" of a white tulip.
Different from her previous work in which she frequently incorporated negative space, this new series is filled up to the edges. Using custom "coffin" or "container" imagery, Nakamura takes inspiration from the funeral ceremony where we last see and connect with another being physically and reflect on the past together. This collection of works is layered and complex both in visuals and meaning
Video by Birdman
Posted on March 2, 2021 March 3, 2021 Author BekkaCategories New Contemporary Art, Thinkspace Calendar, Thinkspace FamilyTags 2021 Program, Fumi Nakamura, Look Toward The Future But Not So Far As To Miss Today, Studio VisitLeave a comment on Inside the studio of Fumi Nakamura as she prepares for 'Look Toward the Future, but Not So Far As To Miss Today'


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Home Kickstarters of the Week Kickstarter of the Week: Snitch
Kickstarter of the Week: Snitch
Last year, Common Man Games came out with a highly thematic and entering cooperative game called Police Precinct. This game went on to sell out in only a few months and even win a few industry awards. Being no stranger to engaging law enforcement games, the folks at Common Man Games are back with their newest justice-based offering, Snitch. This time, they've ditched the cooperation and it's every player for themselves. At its heart, Snitch is a tile-laying, pick-up, and delivery kind of game. But overall, it uses these mechanics in a way that feels fairly unique.
From the Kickstarter Page:
In most games that use cubes, they stand for things like Iron/stone/wood/etc, but in SNITCH they represent Information! This "Information" comes from Snitches and ends up with the District Attorney. YOU, the detective, need to go get the info (cubes) and then get it to the DA in the most efficient manner possible. Therein lies the challenge. It's fast and furious!
Each player controls their character, which is depicted in the game as a meeple moving about the board, as well as a Detective Tile which indicates the corresponding detective's ability and how they are using it, meaning which info cubes they posses.
Detectives start the game with a Level I Street Cred (front of tile), but for a price of 5 cubes or 16 Status Points they could be flipped over (upgraded) into the Level II Street Cred position (back of tile).
Snitches work in a similar fashion. Meaning that their location is represented on the board (by a Snitch Marker), while players hold the corresponding Snitch Tile which indicates that Snitch's ability and how they are using it, meaning which info cubes they posses (see above). Snitches start out in the inactive position (front), and can be upgraded to be active (back). Throughout the game, Detectives are trying to upgrade their character as well as creating a network of active Snitches.
Overall, I'm pretty excited about Snitch and I really hope they make their funding goal. If you are interested in becoming a backer, a $40 pledge will get you a copy of the game and all stretch goals. Snitch is scheduled to be in backers hands in January of 2015. You have until Friday, May 30th to become a backer, so head over today and check it out.
Euro Game
Tile Laying Game


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China retail Full Year 2021: Wuling (+52.3%), BYD (+98.7%) show explosive growth in market up 6.4%
BYD sales almost double year-on-year in 2021.
Discover 40 years worth of Chinese Historical Data here.
BSCB is the only non-Chinese medium to cover both wholesales (ex-factory shipments) and retail sales data for China so you can get the most complete picture of the largest new car market in the world. Retail sales tend to give a more authentic picture of the market as they roughly correspond to registrations by end-customers and are more difficult to artificially boost by manufacturers with exports which can sometimes be the case for wholesales data. The selection of vehicles included in this update is down -14.2% year-on-year in December to 2,192,251 and up 6.4% over the Full Year 2021 to 20,265,206. Note pickups and medium to heavy commercial vehicles are not included in this dataset, but it includes a more detailed split by model variant (Jetour X70, X70 Coupe, X70 Plus, X70M and X70S for example).
In the brands ranking, Volkswagen (-8.3%) endures the steepest fall in the Top 10 alongside Nissan (-8.3% as well). The German manufacturer fell faster than the market throughout the year and could be suffering from the average quality of its offering. The words "resting on its laurels" come to mind. This could also be the natural fragmentation of a market that is always maturing, with brand leaders holding less and less share. Poor performances by the Tayron (-34.1%), Touran (-32.9%), T-Roc (-32.2%), Golf (-30.7%), Bora (-20.3%), Sagitar (-20.4%) and Teramont X (-20.1%) couldn't be offset by the Tiguan X (+952.5%), Viloran (+48.1%), Tayron X (+38.6%), Passat (+13.4%), Tacqua (+10.2%), Teramont (+9.7%), Phideon (+6%) and Polo (+5.7%) as well as the launches of the ID.3, ID.4 Crozz, ID.4 X, ID.6 Crozz, ID.6 X and Talagon. Toyota (+2.3%) on the other hand manages an uptick and overtakes Honda (-1.6%) to rank #2. The Wildlander (+77.6%), RAV4 (+14.9%), Camry (+11.4%) and Highlander (+7.2%) help the brand up. For its part Honda is penalised by the Crider (-65.6%), Avancier (-32.3%) and Civic (-28.8%) and can't stay in positive despite strong showings by the Life (+3749.7%), Breeze (+31.2%), Elysion (+24.8%), UR-V (+18.9%), Odyssey (+16.6%), XR-V (+15%), Vezel (+13.4%) and Inspire (+12%).
Geely (+3.9%) remains the best-selling Chinese carmaker at home and becomes the largest gainer in the Top 5. Nissan (-8.3%) drops one spot to #5 and is the last manufacturer to clock up more than 1 million sales in 2021. Changan (+13.7%) surges ahead and gains one spot to #6 but it's Wuling (+52.3%) that scores the largest gain near the top of the charts. Below Buick (-6.1%) and Haval (+2.4%), BYD (+98.7%) almost doubles its retail sales year-on-year to return inside the Top 10 at #10. In the luxury race, BMW (+9%) topples Audi (-10%) and Mercedes (-8.1%) to advance to #11. Tesla jumps 124.7% to #19 but was the #1 luxury brand in December with just two models: the Model 3 and Model Y. COS (+102.3%), MG (+55%), Chery (+43.9%), Hongqi (+42.4%), Dongfeng (+30.9%), GAC (+28.4%) and Lynk & Co (+25.8%) all fit within the Top 30 and show the dynamism of Chinese manufacturers in 2021. Jetta (+17.3%) also advances but remains below 175,000 annual units, that's less than the 216,000 units Volkswagen has lost this year. Baojun (-47.9%) implodes from #14 to #26.
Outside the Top 30, a handful of EV start-ups and small carmakers have kept breaking their monthly volume records up until the end of the year: Ora (+147.1%) peaked at 22,729 sales in December, Xpeng (+248.3%) hit a record 16,357 units in December, LI (+173%) was at a record 14,112 sales in December, NIO (+109.2%) hit a record 10,481 units in December, Neta (+474.7%) was at a best-ever 11,415 sales in December, Leap Motor (+626%) broke its monthly record to 8,453 in December and Weltmeister (+100.6%) was at a best-ever 4,316 sales in December. Geometry (+127.7%), Levdeo (+1949.5%), Lingbox (+1609.8%) and Seres (+934%) also show surreal growth below. TANK, now a standalone brand separate from WEY, is the best-selling 2021 brand launch at #44, it distances R (#61), Voyah (#74), Zeekr (#76), HiPhi (#83) and Pocco (#85).
Looking at the models ranking in isolation, there is only one change in the Top 5 vs. the wholesales ranking. The Nissan Sylphy (-7%) repeats at #1 ahead of the VW Lavida (-4.1%) and the Wuling Hongguang Mini EV (+252.7%) ranks #3 instead of #2 above the Lavida in the wholesales charts. The Haval H6 (+3.7%) and Toyota Corolla (-14.2%) round out the Top 5 as they do in wholesales. All remaining Top 10 models are down year-on-year, signalling a further fragmentation of the market model-wise. The Honda CR-V (-7.8%) and Toyota Levin (-8.7%) resist the best whereas the VW Sagitar (-20.4%) and Bora (-20.3%) are hit the hardest. Notice the Geely Emgrand (+31.5%) pushed up 21 spots by the new generation to #17, and the Honda Breeze (+31.2%), Nissan Teana (+37.1%) and Changan CS55 Plus (+29.9%) also very solid. More than 100 new models have appeared in the retail charts this year. The Tesla Model Y sold just 2 units in 2020 and over 160,000 in 2021, virtually making the best-selling 2021 launch. The "pure" best of 2021 is the BYD Qin Plus (#45) ahead of the Changan Benben E-Star (#84), Geely Xingyue L (#133) and GAC Trumpchi Empow (#157).
Previous month: China retail November 2021: Hongguang MINI EV repeats at #1, BYD, Ora, Xpeng, LI break records, sales off -12.6%
Previous year: China retail 2020: Changan (+26.8%), Toyota (+7.6%) headline market down -7.5%
Two years ago: China retail 2019: Honda (+16.6%), BMW (+21.6%) stand out in market holding better than wholesales (-4%)
Full December 2021 Top 124 All-brands and Top 677 All-models below.
Full Year 2021 Top 147 All-brands and Top 1030 All-models vs. Full Year 2020 figures below.
China March 2012: Buick Excelle #1, Honda CR-V breaks record
Buick Excelle * See the Top 253 best-selling models by clicking on the title! *…
All the Chinese cities and regions explored by BSCB since 2013. Over the past 7…
STRATEGY: How can Chinese brands unlock their home market? (Part 5)
The GAC Trumpchi GS5 features in the Hollywood blockbuster 'Transformers - Age of Extinction' *…
previous post: China imports Full Year 2021: Lexus ES and BMW X5 top market down -6.9%
next post: China wholesales January 2022: VW back in positive, Changan, BMW and Hongqi break records in stable market (+0.9%)


This super slow-mo HD video of Dylan Longbottom surfing a killer wave for the BBC is absolutely incredible. This is the first time that super slow-motion HD video has been used to capture a 12-foot barrel, and by watching it you'll appreciate the majesty of the ocean and the artistry of a surfer, even if you've never surfed before.
The super slow-mo HD video of Dylan Longbottom surfing was captured for the BBC series 'South Pacific.' Judging from the screenshots I grabbed above, it looks absolutely unreal. Trust me, you'll want to hit the HD button for this one.


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package com.ivanmagda.popularmovies.view.activity;

import android.content.Intent;
import android.os.Bundle;
import android.support.v7.app.AppCompatActivity;

import com.ivanmagda.popularmovies.Extras;
import com.ivanmagda.popularmovies.R;
import com.ivanmagda.popularmovies.data.model.Movie;
import com.ivanmagda.popularmovies.view.fragment.MovieDetailFragment;

public class MovieDetailActivity extends AppCompatActivity {

    private static final String MOVIE_DETAIL_FRAGMENT_TAG = "movieDetail";

    @Override
    protected void onCreate(Bundle savedInstanceState) {
        super.onCreate(savedInstanceState);
        setContentView(R.layout.activity_movie_detail);

        if (savedInstanceState == null) {
            Intent intent = getIntent();
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redpajama_set_name: RedPajamaGithub


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David Lynch: Squeaky Flies in the Mud at Sperone Westwater
David Lynch: Squeaky Flies in the Mud
1 November – 21 December 2019
Sperone Westwater
257 Bowery, New York, NY, 10002
By DANIEL MAIDMAN December, 2019
Certain artists earn themselves this enviable position: that their signature forces us to contemplate an artwork we might otherwise ignore. This is not the same as to say that their signature makes us ascribe quality to artwork which we would otherwise condemn. Rather, their position enables them to make work focusing on such subtle or obscure phenomena that, had their signature not forced us to pause, we might never have noticed what the work had to offer. In a sense, it is only artists who have earned such gravitas of signature who can lead us into the thickets of certain extremely difficult qualities of art.
David Lynch is one such artist. If he says Look, then I, for one, will look. I will linger, and become receptive to meaning, in a way that I would not on seeing an identical work by someone whose insight and creativity I did not so trust. I do not like all of Lynch's paintings, for the same reason I do not like all the work of any creative individual: any truly creative person is half-blind to the meaning of his own work. The things he thinks are important about it, are not what is really important about it.
I'm not in love with the ink paintings he has in his current show at Sperone Westwater. The titles and narrative content of the paintings occupy the same region of numinous menace his films explore. But as paintings I don't think they succeed as the films succeed. In When He Went Home The House Was Different, what is the import of the loose and irregular wash? What is the use of the contrast between the faint lines of the figures and buildings and the comically thick line around the word bubble?
By contrast, the giant, mixed-media paintings (oil paint + x, it looks like, x being all sorts of cloth and teeth and whatnot), are dynamite. Again, Lynch's narratives take place in a zone of psychosexual drama bubbling with threats, perverse desires, and sudden revelations.
Bob Loves Sally Until She is Blue in the Face, 2000, mixed media painting
62 1/4 x 80 1/4 inches
But the expansive scale of the work, and the media from which it is constructed, enable a second, competing narrative to emerge. The surface narratives, the stories that the paintings are a picture of, deploy a motif of missing information, in the service of ambiguity and suggestiveness. But the material stories of the making and physicality of the paintings, is overwhelming in its diversity and density of information. There is more here than we can ever reduce to meaning. There is a kind of hideous multiplication of information.
Detail, Bob Loves Sally Until She is Blue in the Face
I am aware of only one other situation in which we are presented with quite this quality of burgeoning information, and that is organic decay. The living organic system – for instance the human body – is complex, but orderly. The function and structure of each part serves the function and structure of the whole. There is an upper limit to the diversity of the system, because it is fundamentally unified and harmonious - death puts an end to all that. Almost immediately, the existing information system present in the body itself is overlaid with new sources of information: the physical and chemical processes of decay, and the organisms and microorganisms which invade the body. As opposed to the integrated function of the living body, these organic decomposers are at odds with each other and the body, setting off chains of competition and destruction. Of course, there is order in this process, at the ecological level, but the information it lays bare is dense and unpredictable. The living body can only go one way. The dead body can go a thousand ways, many of them at the same time. This state is appropriately called the riot of corruption.
In his paintings, Lynch summons the riot of corruption in a way I have not quite seen in any other painter. Who else is there to consult? Kiefer? Bacon? De Kooning? Twombly? Each has his own aesthetic of materials, but ultimately they are somehow clean. Complex though their work may be, it converges toward order - Lynch's work diverges toward mess. Thus Lynch finds a territory all his own, aligned with the unfathomable complexity and tremendous suggestiveness of the decaying corpse.
This monstrous materiality is only part of Lynch's work. Just as the riot of corruption disfigures, but cannot conceal, the form of the body, so too Lynch's paintings vibrate with the shifting relationship between their comparatively orderly narrative, and their riotous technical narrative.
A logocentric approach to this painting leaves us reading the words alone, and the words tell a disconcerting story. But full engagement with the physical fact of the painting brings us up against that discolored clot of paint beneath the words, and all those irrational variations of color and texture across the entire field. Do they inform the words, the surface narrative? Not in a direct way. But the sum of the surface narrative, and the fact of the painting, and the shifting states of antagonism, collaboration, and indifference between them, does add up to the total effect of the painting. It give it its ultimate sense and meaning. Even if sense and meaning can never be deciphered, the humming, brimming nature of the thing, of alternating ellipsis and overflow, betrays a process for constructing meaning which is latent in all painting, but fully expressed uniquely in Lynch.
This is how a master, who has earned the right to have difficult work studied carefully, takes advantage of that right: he teaches lessons about art and about being which cannot be learned any other way. WM
Daniel Maidman is best known for his vivid depiction of the figure. Maidman's drawings and paintings are included in the permanent collections of the Library of Congress, the New Britain Museum of American Art, the Wausau Museum of Contemporary Art, the Long Beach Museum of Art, the Bozeman Art Museum, and the Marietta Cobb Museum of Art. His work is included in numerous private collections, including those of Brooke Shields, China Miéville, and Jerry Saltz. His art and writing on art have been featured in The Huffington Post, Poets/Artists, ARTnews, Forbes, W, and many others. He has been shown in solo shows in New York City and in group shows across the United States and Europe. In 2021 it will be included in the first digital archive of art stored on the surface of the Moon. His books, Daniel Maidman: Nudes and Theseus: Vincent Desiderio on Art, are available from Griffith Moon Publishing. He works in Brooklyn, New York.
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Poetry Podcast
Nicole Sealey Reads Ellen Bass
With Kevin Young
Photograph by Rachel Eliza Griffiths
Nicole Sealey joins Kevin Young to read and discuss Ellen Bass's poem "Indigo" and her own poem "A Violence." Sealey is the executive director at the Cave Canem Foundation and the author of the poetry collection "Ordinary Beast."
Below is an automated transcript of this podcast episode.
Kevin Young: Hello. You're listening to The New Yorker Poetry Podcast. I'm Kevin Young, poetry editor of The New Yorker magazine and director of the Schomburg Center for Research in Black Culture. On this program, we invite poets to choose a poem from the New Yorker archive to read and discuss along with a poem of their own that's been published in the magazine. My guest today is Nicole Sealey. She's the executive director at Cave Canem Foundation and her poetry collection, "Ordinary Beast," which was a finalist for the PEN Open Book Award, is also a 2018 Hurston/Wright Legacy Award nominee. Welcome, Nicole. Thanks for joining us.
Nicole Sealey: Thanks so much for having me.
Kevin Young: So the poem you selected from the archives is "Indigo," by Ellen Bass. Can you tell us what about this poem in particular caught your eye?
Nicole Sealey: I was just immediately struck by this poem. Not only is it beautiful but it's so surprising throughout. And Ellen Bass's conversational style I was really drawn to. Again the surprise and how while I was reading just many of my expectations were just flipped upside down. It's just a gorgeous, gorgeous poem. I can't really say enough about the beauty of it.
Kevin Young: Let's have a listen. Here's Nicole Sealey reading "Indigo," by Ellen Bass.
[Nicole Sealey reads "Indigo"]
Kevin Young: That was "Indigo," by Ellen Bass, which appeared in the October 6, 2017, issue of the magazine. So I actually didn't know this poem well before you picked it. Did you come on it yourself in the magazine, or just looking over it recently or—?
Nicole Sealey: In the magazine. I saw it in the magazine and I was struck by the surprise of it. I initially thought that the speaker in the poem was being a bit judgy, looking at this dude with these tattoos and then she totally flipped the script—
Kevin Young: Yeah—
Nicole Sealey: And said not, not only is she jealous but she—that's an obsession of hers. She doubled down on her envy.
Kevin Young: Right.
Nicole Sealey: And that was—that was amazing.
Kevin Young: Yeah. And she sort of is desirous that, you know, in this way—
Nicole Sealey: Yes.
Kevin Young: Not just for him physically but for this life of ease, you know, the baby teething on a barbecue bone. I mean, that's a wonderful primal image. And I think that's something, there's something primal about the whole poem. I mean, she's really invested. I love the title, too. The title really takes you to a different place. I think you're expecting either something light and airy or something super political—
Nicole Sealey: Of course.
Kevin Young: And she manages to bridge the two and kind of the politics of life, of living, of being alive.
Nicole Sealey: Yeah.
Kevin Young: You know, I think we're going to get to some of that in your own work. But I wonder how it works here, you know. It seems like there's a lot of shifts for me.
Nicole Sealey: There are a lot of shifts, and she does this often. I actually didn't know Bass before this, and I was looking at her other work and I saw this other poem titled "Relax," and it's kind of the same thing that you were talking about, that just—expectations and how the title might not match up with what's coming after. So "Relax" begins, "Bad things will happen. Your tomatoes will grow a fungus and your cat will get hit by a car." Right? And so she just does—
Kevin Young: I don't mean to laugh. It's like chilling to see someone be so honest or so absurd in their—nihilism, let's call it.
Nicole Sealey: And so I went down a rabbit hole with Ellen Bass and I just started doing a bit of research, preparing for this talk. And I came across this—the first New Yorker podcast was with Philip Levine and he had actually chosen a poem by Bass. It was called "What Did I Love." And, again, it began, "What did I love about killing the chickens."
Nicole Sealey: Right? And so she just flips the whole script—
Kevin Young: Sure.
Nicole Sealey: —on the reader.
Kevin Young: Well, it's very gimlet-eyed, I feel. And then I think there's that moment when she says, "almost seventy years and nothing has killed me."
Nicole Sealey: "Nothing has killed me."
Kevin Young: That's another shift to me, where she's talking about disappointment and various things, and then she's talking about, you know, the moment where she gets pushed on her ass to survive this tree crashing. And there's a kind of switch from looking outward to looking inward and, in a way, back. And I think that shift really is interesting to me in the rest of the poem—"the car I totalled running a stop sign," "I'm alive, and I gave birth to a child," which she sort of held back a little bit.
Nicole Sealey: So not only is she alive, she was able to give birth to life. Right?
Kevin Young: She also says, "So, she didn't get a father who'd sling her onto his shoulders." There's a level of regret, even, in that later part—what do you make of that?
Nicole Sealey: I feel like even in regret there's some bit of being fortunate. She's definitely saying thank you to the gods for this child, who will, if she loses her mind, will kill her. Right? And isn't that love? Like, that's extreme love. Right? So I think it's both regret and, you know, saying, thank you.
Kevin Young: Yeah. Well, there's a level of mercy that she's thinking about at the end of the poem, and something throughout—she's sort of being merciful in the big, kind of, not just thankful but thinking of the mercy that spared her, when it hasn't spared others, or hasn't spared anyone from disappointment. And I think that kind of human connection is—is fascinating. I don't know when it starts, because there's so much about the skin, about the runner's skin—the father—but then also the child, with the almost translucent eyelids, which I think is really a powerful image. And true! But I had never seen it in a poem, which is something that I think poems do, is observe the world and make it new again.
Kevin Young: You know, and I think there's something haunting in that. You probably have passed someone with tattoos, or running, or any of the things that she's observing, but suddenly you realize that's a miracle. You know, there's something about that.
Nicole Sealey: And it's very—everything is just very matter-of-fact. Even the mention of going into Ross and trying on dresses, like, that's a very human, very contemporary moment, right, that most people, at least I, connected with, 'cause I love me some Ross. But it's just—just throughout, it's just so—the whole thing is just very human. And, again, reading about her and her work, she said in an interview, "A good poem changes me as I'm writing it, and a very good poem manages to change the reader, as well." So I was definitely changed while reading it, but I could also, while reading it, see the surprise that she was experiencing while writing it.
Kevin Young: Exactly. I think that there's a kind of transparency and generosity in that, in showing your hand.
Nicole Sealey: Yep.
Kevin Young: Because it's not coy, in a way, which isn't to say it isn't structured and very conscious and thoughtful. It has a kind of plainspokenness— maybe that's another way to put what you said—but it's also interested in mysteries. That's sort of the sweet spot for me, and poets like Lucille Clifton, or, I think, Brooks, in her own way, in a different kind of language, are trying to express much of that, that mix of the plainspokenness—
Nicole Sealey: Definitely.
Kevin Young: —and the kind of magical we don't quite always know.
Nicole Sealey: Yeah. And Phil Levine spoke to that in the podcast, as well. He likened her to poets like William Carlos Williams and Walt Whitman and Elizabeth Bishop and others.
Kevin Young: These are, you know, poets you might want to be compared to.
Nicole Sealey: Exactly.
Kevin Young: One might like that. Well, and I think also there's something, you know, about her writing about women's lives in this poem that I think is really striking to me, that is really powerful.
Nicole Sealey: Yeah. You can definitely see the influence of her teachers—Anne Sexton and her mentor, Dorianne Laux—talking about women's issues. And I also in my research found that she does workshops for children who have been abused sexually, and, so, yeah, these issues are very close to her heart, yet she doesn't play her hand close to her chest—which is, like, how can one do that? Because these issues are so intimate, and that she lays it all on the table is very commendable.
Kevin Young: Well, and I think it's artful. What I like about the end of the poem, too, is this way, that "When's the cutoff? That's what I need to know"—and I still go back and forth between thinking that's the daughter saying "That's what I need to know" and then, sort of, the inner monologue of the speaker saying "That's what I need to know"—I need to know when am I here, and when am I not here, even though I'm still here. How do you read the ending?
Nicole Sealey: You know, I—I didn't know how to read it, because it's not italicized, it's not in quotes, so I—it can go—
Kevin Young: Darn it, you know?
Nicole Sealey: Right? It can go either way. So that's a question I'll have to pose to Ellen Bass.
Kevin Young: Well, and to the reader, as you said—the reader now has inherited this change of the poem. And I think again that's a moment of plainspokenness, but the mystery, that all the poets we've mentioned I think capture well. Let's look at another poem, by someone named Nicole Sealey.
Nicole Sealey: Sure.
Kevin Young: Now in the August 8, 2016, issue, The New Yorker published your poem "A Violence," which you're about to read for us. Is there anything briefly you'd like to say about it beforehand, anything listeners should know going in?
Nicole Sealey: Nothing really going in—where I was, my headspace was such that I had just gotten married and immediately after the wedding folks were asking, "So where are the babies? Where are the babies?"
Kevin Young: As folks sometimes do.
Nicole Sealey: So this is the headspace.
Kevin Young: Yeah.
[Nicole Sealey reads "A Violence"]
Kevin Young: That was "A Violence," by Nicole Sealey. So that poem strikes me, again, as sharing some of the qualities of the Bass poem. It has a frankness to it. It's plainspoken in places. "No, you would hide it. Yes, you would hide it." There's a kind of self-awareness but also a kind of conjuring. As the poem is going along, to me, it seems like it starts to open up more, even as it's sort of closing in on its subject, which is haunting. You know, "Nor does he believe you are his. 'You look just like your mother,' he says, 'who looks just like a fire of suspicious origin.' " And you get that wonderful other voice in there. Tell us about, you know, sort of the many violences in the poem—I mean it's called "A Violence," but I thought of—there are many violences.
Nicole Sealey: Yeah. The violence that the speaker is—has done to herself. The violence that the father of the speaker has done to his daughter. The violence of the world and its expectations of women. The mind, you know, the violence the mind can—can play, can do, can—the mind can harm, as much as anything, as much as fire. So, again, I'm just speaking to the moment—several moments that I was asked right after getting married, "When are the children coming?" And it's, it's a hard question to answer, right, because people assume that the person they're asking can actually have children, and if they can, that they want to. And so—yeah, and it's, it's hard to not smile and say, "Soon come," or, you know, "We don't know." But you do that. We do that.
Kevin Young: So is this poem an inner monologue by the speaker or is it like—because there's this great "you" here—
Kevin Young: You know, there's that kind of external—you know, I love the second person as an "I" or as, you know, "they"—whoever the figure is.
Nicole Sealey: I think I might have unconsciously thought I was too close to this poem. And so I wanted to disconnect as much as I do in real time when I'm asked those questions about children.
Nicole Sealey: Yeah. And this poem was very—it was cool to write, in that it was very surprising; I'd had the first few lines, and it wasn't until "No, you would hide it"—the barren nesting doll came in the picture. And that was just really surprising for me. You know, no surprise for the writer, no surprise for the reader, so I was just very excited when that line came to me and then the rest—the rest followed.
Kevin Young: There's a kind of humor, too. "Had you a maternal bone, you would wrench it from your belly and fling it from your fire escape"—and there's the fire again, right.
Kevin Young: Were you conscious of the humor or, you know—and even what the father says—ugh!—but at the same time, it's, there's a kind of, you know, there's a dark humor, as it were.
Nicole Sealey: I don't think I was conscious of it, but I do think that in life we get the light and the dark simultaneously, and that's back to Ellen's poem—the Ross, you know, going to Ross and trying on dresses—even in these moments of great darkness, there is lightness, there's levity. And I think that the two can exist at once, and because I'm not a person who is always in the dark, some light had to come in.
Kevin Young: Sure. I think for me sometimes when writing, those lighter things will come in and the temptation is to take them out and to make the poem one tone. And, you know, of course the best poems, like "The Blues" or something, have all those different tones. And I admire that in your work. You have that great poem "Object Permanence," which I think has a similar thing—it's not so much humor but a loveliness, where it's kind of a marriage poem, an epithalamium, in some way, and it ends with the lines—you say them better than I can, so—
Nicole Sealey: "O, how we entertain the angels with our brief animation. O, how I'll miss you when we're dead."
Kevin Young: That's—that's a line, right there. I mean, because that's a true statement. But people don't say it in poems, they say, you know, oh, the stars' forever-ness, you know, etc.
Nicole Sealey: Well, thank you, that's a great compliment, thank you.
Kevin Young: I wonder, too, if maybe you can speak, you know, I wanted to talk a little bit, briefly, just about your book, "Ordinary Beast." And tell me how these poems we're talking about, the kind of poles that I'm mentioning, how they fit into the book as a whole.
Nicole Sealey: They fit in because they're part of me. I created them.
Nicole Sealey: So they have—the through line is me, is my voice. But they're all very different, one from the other. Even the poems that are part of series— like the "Legendary" poems, you know—although they're in the series, they're each different, one from the other, because they're essentially in the voice—each is in the voice of a person from "Paris Is Burning." "Paris Is Burning" is a problematic documentary about drag balls in nineteen-eighties Harlem and it features many quote-unquote drag queens, female impersonators, and it just really looks at their art, I think, in a very artful way.
Nicole Sealey: Yeah. You know, obviously, there's a lot to say about that and—
Kevin Young: Do you think, you know, about questions of gender in the book? And, you know, race and—?
Nicole Sealey: I do, I think about everything. I think about gender—gender-gender, and I think about gender roles—"A Violence" speaks to that specifically. I talk about race. I talk about love. I talk about, you know, I have many obsessions and—
Kevin Young: Tell us two we might not know.
Nicole Sealey: Oh, my goodness. Oh, obsessions. That's in the book or just personal obsessions?
Kevin Young: Well, let's see. Let's, let's decide. You know, like—you can't see, everyone, but she's wearing the most beautiful yellow shoes—
Nicole Sealey: Aw, you're so sweet.
Kevin Young: —like—you're very hip. So—
Nicole Sealey: So—fashion is one of my many obsessions.
Kevin Young: Ross.
Nicole Sealey: Ross, yes. I love comedy. I love humor. I love art.
Nicole Sealey: I interned at the Studio Museum back in the day, when I was, like, twenty-something.
Kevin Young: The Studio Museum in Harlem.
Nicole Sealey: In Harlem.
Kevin Young: Our neighbor and friend uptown.
Kevin Young: So, yeah, you bring that to the page. And the cover of the book—tell us what that image is. It's a striking image.
Nicole Sealey: This is an image by the artist Deborah Dancy. And so, I wanted to not only have only blurbs by black women on the book but I also wanted art by a black woman. And, of course, Rachel Eliza Griffiths took my—my photo for the book so I wanted this to be a whole black-women thing.
Kevin Young: This is before "Lemonade," or this is—that's wonderful.
Nicole Sealey: And, Danez is so funny—Danez Smith actually called my blurbers "the En Vogue of blurbers," which is hilarious.
Kevin Young: That's a—well, pretty high compliment.
Nicole Sealey: It is. It is. For both—
Kevin Young: If you know nineties R. & B. the way that I know you might—
Nicole Sealey: —for both groups of women.
Kevin Young: —you must. And—and y'all must, out there.
Nicole Sealey: But this image is—is beautiful in that there's so much confrontation happening. Although one of the figures, the black figure's back is turned to the reader, she's looking directly into the white figurines—
Kevin Young: And these are ceramic figures?
Nicole Sealey: Ceramic figures.
Kevin Young: Yeah. That she really makes and then photographs, or they're found?
Nicole Sealey: They're found. She places them and photographs them.
Kevin Young: Yeah, yeah. There's that quality of, kind of, like, what would happen if all the ceramics in the antique store, you know, got down to business after hours or something—
Nicole Sealey: And came alive? Yeah.
Kevin Young: Yeah, that's wonderful. It's powerful.
Kevin Young: Thank you.
Nicole Sealey: I wonder if you could end with telling us just a little bit about Cave Canem, which you direct, and tell us, you know—its import is so big, certainly in my opinion, and the opinion of others. You—as an organization, tell us what you all have done, how long you been around, and, and, sort of, we all should know that you've shaped the literary landscape. But tell us about it real quick.
Nicole Sealey: Of course. Cave Canem is a literary nonprofit. It was started by Toi Derricotte and Cornelius Eady, in 1996, to remedy the underrepresentation of black poets in the field. And so we have a flagship program. It's the week-long writing retreat that takes place in Greensburg, Pennsylvania. The University of Pittsburgh at Greensburg, wherein thirty-five, thirty-six black poets come through and they write a poem a day and they get to study with both emerging—their cohort—and established—their teachers—established writers in the field. You have taught there.
Kevin Young: I have, I have.
Nicole Sealey: We were so excited to have you. Claudia Rankine—
Kevin Young: Sure, sure.
Nicole Sealey: Yusef Komunyakaa—
Kevin Young: Everyone, pretty much.
Nicole Sealey: Yes. And Robin Coste Lewis was there as a guest poet this past summer. Yeah, that was fun. We also have regional workshops, two of which will be happening in fall, for more emerging poets of color. And we have book prizes, several of them—
Kevin Young: Oh, you do? Really—
Kevin Young: The—the ones that have won—gone on to win—
Nicole Sealey: Exactly. Exactly.
Kevin Young: I mean, I think that's what's fascinating, is, in the prize, I don't know what the record is of people who have gone on to win Pulitzers. I know of two.
Kevin Young: Are there more than that? I mean, certainly there's many more poets who got their start through the Cave Canem Prize who now are essential to—
Kevin Young: —our thinking of American poetry.
Nicole Sealey: So, Natasha Tretheway and Tracy K. Smith—
Nicole Sealey: —both of whom were Cave Canem Poetry Prize winners, went on to win the Pulitzer.
Kevin Young: And be poet laureate.
Nicole Sealey: Exactly. And, you know, other folks. Major Jackson. Rickey Laurentiis.
Kevin Young: We could go down the list.
Nicole Sealey: Natalie Graham. Donika Kelly. You know there's—there's a whole tradition.
Kevin Young: Yeah—she was up for the National Book Award—
Kevin Young: I mean, I think that it's hard to overstate how important Cave Canem has been for broadening the conversation and bringing people to the table— who were already at the table, in a way. But, but, you know, letting them, you know, recognize, in that way that Langston Hughes talks about, you know, "I will sit at the table."
Kevin Young: "And no one"—how does he put it?—"No one will . . . "—you know—"say . . . something to me, then." I'm sorry, Langston, I'm getting you a little bit wrong. But, you know, that sense of the welcome table, I think, is really—
Kevin Young: —important in making sure we understand the many influences, too, that come in the door and also that, you know, are able to look around and see what's new and what's exciting in poetry.
Nicole Sealey: Yeah. And this was just an idea. Like, it was just an idea and it became a thing. It's like a revolution. Thank you, Toi; thank you, Cornelius.
Kevin Young: Yes, yes. Well, thank you so much for being here and talking with us, Nicole.
Nicole Sealey: It was my pleasure.
Kevin Young: "A Violence," by Nicole Sealey, as well as Ellen Bass's poem "Indigo," can be found on NewYorker.com. Ellen Bass's most recent poetry collection is "Like a Beggar." Nicole Sealey's latest book is "Ordinary Beast." Thanks again.
Tag: You may subscribe to this podcast, the fiction podcast, the Writer's Voice podcast, and the Politics and More podcast by searching for The New Yorker in your podcast app. You can hear more poetry read by the authors on NewYorker.com and on the New Yorker app, available from the App Store or from Google Play. The theme music is "The Corner," by Christian Scott aTunde Adjuah, courtesy of Stretch Music and Rope a Dope. The New Yorker Poetry Podcast is produced by Jill du Boff of NewYorker.com, with help from Hannah Aizenman.
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Home › what is › Choosing Pirates of the Caribbean Movies in Order
Choosing Pirates of the Caribbean Movies in Order
The Argument About Pirates of the Caribbean Movies in Order
Occasionally a character is silent through a sizable part of the movie simply to speak at a critical moment. That all big characters are played by the exact same actors for the sequence. Its plot is impeccable, among the best of all the Pirates movies. The story is simply that good, it often doesn't matter who's in it, or how often you tell it.
The movie mixes plenty of modern twists into its setting. Overall, it is a delight from start to finish that entertains both adults and children with staggering ease. It skips to 9 years later for the real start of the film. It is simply too dark to enjoy. It begins to link up the previous films which was refreshing.
The fourth movie is definitely the worst movie of the whole franchise. The movie comprises racial overtones and innuendos which were not as challenged while the film was made as they're now. There are an awful bunch of individuals who have done awful, awful things, and at times, you merely wish to relish a favourite movie without needing to think about that. Overall it's not like it is a terrible movie, it's only a movie that's aiming for different things. The second movie in the instalment is supposed to include plenty of action in and about the united kingdom including scenes at Hogwarts.
What You Need to Know About Pirates of the Caribbean Movies in Order
Not one of the options are especially difficult after you understand how to do it. The issue is just one of the original crew members is missing. You may get both are a component of and find no difference between both. As is evident, the majority of the 66,500 actors working in america are paid modestly. A great guideline is that series have a traditional name and are intentional creations, on the portion of the author or publisher.
A guy is falsely imprisoned, because of a rival. In 1922, there's a guy and his loved ones, and they own a crop field and all the land that accompanies it. A lot of women have a quick glance over themselves to make sure their dresses and accessories are in proper positions or to steer clear of fashion disasters. The couple happens to be two of the absolute most gorgeous men and women in the whole planet. Many celebrity couples have been attempting to shield their secrets from the general public and do anything with wonderful caution. Afterwards, there's a complete group of awful luck, misery, and hauntings from the opposite side.
Nobody else would be the exact same. In lots of ways, the simple fact that the film feels like a protracted episode a part of the issue. None are entirely erroneous. Speaking creates a type of catharsis, solving the mystery for the audience as to whether the character is really likely to do it. When something from the ordinary does occur, it seems even more extraordinary. All types of ideas begin to germinate. Crucially, however, the feeling of fun is back.
There are various schools of thought about the ideal way for selecting a 3D movie. It's exciting to look back over the previous hundred decades and examine the terrific movies that have been produced by some of the most influential production businesses in the world. The strangest part is it is in fact great.
Celebrities are paid much attention from the general public and mass media. News regarding the game was released via two or three email newsletter updates from Disney. There are a lot of videos on YouTube you may look up. Aside from that, it's very good for a watch because it is in the old tradition of Good vs. Evil.
Obviously it's really hard getting all of the talent in one area. When you haven't had the chance to see the movies mentioned previously, rent the DVDs today. The entertainment company is a lucrative industry. Not a poor location to be marooned for the day in the event the provider is appropriate.
If you would like to earn a name for yourself in the area of showbiz, one of the greatest places to do so is the usa. Though divisive may not qualify as the ideal word since most people strongly disliked it. Some say they are one and the exact same and terms that could be used interchangeably. It is difficult to comprehend what its living form would have been like, because it appears to have some type of elephant's trunk that is nevertheless fused to its ribcage.
By Bagus Amin - 8:23 PM - Add Comment


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Molecules Identified That Target Gene Known to Cause FSHD in Study
by Catarina Silva
Research into molecules that appear to target the gene known to cause facioscapulohumeral dystrophy (FSHD) may lead to a treatment able to slow disease progression, a study reports.
The study, "BET bromodomain inhibitors and agonists of the beta-2 adrenergic receptor identified in screens for compounds that inhibit DUX4 expression in FSHD muscle cells," was published in the journal Skeletal Muscle.
In the last decade, research linked the DUX4 gene to FSHD, and the abnormal DUX4 protein it produces that progressively damages skeletal muscles. Drugs targeting the gene's expression might be able to treat patients.
"DUX4 is not normally produced in adult muscle, and it is toxic when inappropriately expressed in FSHD," Francis M. Sverdrup, a research fellow in the department of biochemistry and molecular Biology at Saint Louis University, said in a press release.
The researchers aimed to identify molecules that decrease DUX4 expression. To do this, they screened existing drug libraries and then tested the molecules selected on laboratory-grown FSHD skeletal muscle cells.
"Efforts to find drugs for FSHD have lagged behind other forms of muscular dystrophy, likely due to the genetic complexity of the disease," Sverdrup said. "Now that we know that DUX4 causes the disease, there is a clear molecular target that we can go after. We took advantage of that by setting up these drug screens."
They identified two classes of drugs that turn off DUX4: one inhibits bromodomain and extra-terminal (BET) proteins, while the other turns on beta-2 adrenergic signaling. These "signaling" medicines, beta agonists, are commonly used to treat asthma.
BET proteins have been shown to play a crucial role in regulating gene expression. Currently, there are five active clinical trials (NCT02157636, NCT01949883, NCT02158858, NCT03068351, NCT02419417) focusing on their potential to treat distinct types of cancers.
"It's encouraging that our first two screens yielded molecules that turn off DUX4 and this also provides hope that additional candidates can be identified in larger screens," Sverdrup said.
He is now collaborating with Ultragenyx Pharmaceuticals to possibly develop a FSHD treatment based on this work, the release said.
Tagged BET bromodomain inhibitors, beta agonists, DUX4 gene, FSHD.
Previous: Exonics Secures $40M in Financing for Gene Editing Program to Treat Duchenne
Next:Muscular Dystrophy Association Awards 13 Research Grants Totaling $3.5 Million


Kinfonet Quote of the Day: Question: What should one do to get rid of loneliness and fear?
Krishnamurti: First let us discover what we now do, and then we can inquire what we should do. If we are lonely, what do we do? We try to escape from loneliness through companionship, through work, amusement, worship, prayer, all the well known and cunningly well established escapes. Why do we do that? We think that we can cover up loneliness by these escapes, through these releases. Can we ever cover up a thing that is inherently diseased? We may momentarily cover up loneliness, but it continues all the time.
So, where there is escape, there must be the continuance of loneliness. For loneliness there is no substitution. If we can understand this with all our being, completely, if we can understand that there is no possibility of escape from loneliness, from fear, then what happens? Most of you will not be able to answer, because you have never completely faced the problem. You don't know what would happen if all the avenues of escape had been completely blocked up and there were not the least possibility of escape.
I suggest that you experiment with it. When you are lonely, be fully aware and you will see that your mind wants to run away, wants to escape. When the mind is aware that it is escaping and at the same time perceives the absurdity of escape, in that understanding loneliness truly disappears. Please, when you are confronted with a problem and there is no possibility of a way out, then the problem ceases, which does not mean an acceptance of it. Now, you are seeking a remedy for loneliness, a substitution, and therefore the problem is not the significance of loneliness but, what is the remedy for loneliness, what is the best way to escape from it or to cover it up. But when the mind is no longer seeking an escape, then loneliness or fear has a very different significance.


High school girls in the United States are 56 percent more likely than boys to suffer a concussion in sports that are played by both genders, a recent study says.
Research in recent years says receiving many less severe hits to the head over time may be even more dangerous to the brain than a single concussion.
Millions of concussions occur each year. If you or a loved one suffer a blow to the head, watch for symptoms of a more severe brain injury.
It can be hard to tell if a head injury is serious. If you suspect your child has a concussion, find out what to do. There are 10 red-flag symptoms that should prompt immediate medical attention.


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Q: Unity 2017 and HTC Vive According to the documentation of Unity, I should use Axis1D.SecondaryIndexTrigger to be able to detect if the user pushes the joystick's trigger identified by the number 7 (on the image of the HTC Vive and in the table describing the inputs, both are displayed in the above link).
However, when I type if(Input.GetAxis(Axis1D.SecondaryIndexTrigger)), the compiler says :

error CS0103: The name `Axis1D' does not exist in the current context

Axis1D seems to be necessarily imported or somewhat to be usable.
How could I do this ?

A: For Htc Vive you need to import following SteamVR Plugin from the unity assetstore
For step by step visit  getting started guide here for setting up Htc vive

redpajama_set_name: RedPajamaStackExchange


I have a standing arrangement with a very chatty taxi driver, Ramesh, who picks me up at 9.15 and then again at 6ish when work finishes. Possibly paying a fattish tourist rate but apparently not too bad my spies tell me.
This later morning start is just fantastic for those, like me, who think early mornings are an abomination. So, after my coffee and breakfast it's off to work at a civilised hour. …and when I'm actually at work..it's fun.
I'm helping with the internal systems, reviewing and updating some policies, talking about strategy and planning and have even held a workshop on risk management. Hopefully I am able to help a bit and leave some snippets of information behind which will help in the long run. I feel a little inadequate for the task but my contributions are so gratefully received that, perhaps, I am being a little helpful. It is a dream gig as my friends at Childreach Nepal as so good to work with and have helped me acclimatise and feel part of the furniture (albeit an antique).
The generosity of sharing information and time in their already busy schedules is so much appreciated I do hope I am making a small difference. The benefit for me to be working here seems to be so much more than I can offer them. I have made sure that everyone has an Australian flag on their desk and, as a thank you for having me, I've given a couple of Aboriginal paintings for their office. These have now been framed and are about to get a plaque commemorating the occasion. I'm bearing up under the pressure as best I can. This is fantastic.
Read more about Childreach Nepal.


We just completed our 4th expedition to Guadalupe this year and the sharks have been amazing. Unlike in previous years, we are seeing more juvenile females than males this season. There have been over 10 new sharks already and every trip we encounter more new "friends". On each expedition, we encountered over 18 different sharks, swimming along with seals, turtles and dolphins.
As for the regulars, they have been slow to show their faces. So far we have seen "Joker" and "Chugey", who looks amazing by the way. His injuries from a few years ago show fewer and fewer remaining scars.
On our last day of our most recent expedition, Bite Face, another long time regular at Guadalupe Island made an appearance for the first time, but most of the sharks we've seen so far have been more recent additions to our database. Amiria, Freya, Screaming Mimi, Andy, #198 and Micks are among those encountered so far.
Tonight we are heading back to Guadalupe where I hope we'll encounter more of our old friends. This is my 16th season diving with these sharks and I'm more excited to head down there than I was on my first expedition.
I hope to get to introduce you to the amazing great white sharks at Guadalupe Island soon!


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Q: Where do I add a behavior to a single Region? My problem is very simple, but all the options confuse me...
In my MEF/Prism-application, I want to attach a specific behavior to one specific region. The doumentation says, that you can do it that way:
IRegion region = regionManager.Region["Region1"];
region.Behaviors.Add("MyBehavior", new MyRegion());

But where should I put this? Is there some place, this is supposed to be done in a bootstrapper method? Currently, I am adding the behavior like this in the Loaded-event of the shell:
    /// <summary>
    /// Interaction logic for Shell.xaml
    /// </summary>
    [Export(typeof(Shell))]
    public partial class Shell
    {
        [ImportingConstructor]
        public Shell(IRegionManager regionManager, ElementViewInjectionBehavior elementViewInjectionBehavior)
        {
            InitializeComponent();
            Loaded += (sender, args) =>
                          {
                              IRegion region = regionManager.Regions[RegionNames.ElementViewRegion];
                              region.Behaviors.Add("ElementViewInjection", elementViewInjectionBehavior);
                          };
        }
    }

Is this a good solution. I'd rather do it in the bootstrapper, so that it is done in the same place as the other region behavior registrations (ConfigureDefaultRegionBehaviors()).
So, the question: Where is the best place to add the behavior to one single region?

A: I just came up with a slightly improved solution, using a static string collection in the behavior to add the regions to attach the behavior to.
public class ViewModelInjectionBehavior : RegionBehavior, IDisposable
{
    private static List<string> _regionNames;

    public static List<string> Regions
    {
        get { return _regionNames ?? (_regionNames = new List<string>()); }
    }

    protected override void OnAttach()
    {
        if (Regions.Contains(Region.Name)) {...}
    }
}

Then in my bootstrapper, I can define the regions:
    protected override IRegionBehaviorFactory ConfigureDefaultRegionBehaviors()
    {
        var behaviorFactory = base.ConfigureDefaultRegionBehaviors();

        ViewModelInjectionBehavior.Regions.Add(RegionNames.ElementViewRegion);
        behaviorFactory.AddIfMissing("ElementViewInjectionBehavior", typeof(ViewModelInjectionBehavior));

        return behaviorFactory;
    }

At least, the behavior is universally usable now...

A: We had the same issue - in the end we just checked the region name in the region behaviour and acted only if it was that region that we wanted, kind of sucks because you are attaching the behaviour to all regions - but for us it was better than the suggested solution..
An example looks like :
public class TrackViewOpenerBehaviour : IRegionBehavior
{
    public IRegion Region { get; set; }
    public void Attach()
    {
        if (this.Region.Name == ApplicationRegions.WorkspaceRegion
            || this.Region.Name == ApplicationRegions.DialogRegion)
        {
             this.Region.Views.CollectionChanged += (sender, e) =>
             {
                 //Code Here.
             };

        }
    }
 }

I always thought maybe we could create a behaviour that was responsible for attaching other behaviours to specfiic regions for us, then we could register that in the bootstrapper - but never got round to it.


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L'Hazen Brigade Monument est un monument aux morts américain dans le comté de Rutherford, dans le Tennessee. Il est protégé au sein du champ de bataille national de la Stones River.

Liens externes

Monument aux morts
Bataille de la Stones River

redpajama_set_name: RedPajamaWikipedia


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Q: Docker commit and get rid of old images I have to keep committing on running docker containers, with timestamp tags.
This creates new docker images.
Now, I want to get rid of old images from which the container was spawned in the beginning, cause it wont be used anymore.
I can write code to do this using a lot of logic and regex but,
Is there any other graceful way to do this?
How does the docker community do this?

Please let me know if the question does not belong here and belongs somewhere else before downvoting the question.

A: You can clean up unused Docker images at any time using this command:
docker image prune -a

This will remove all Docker images without at least one container associated to them. This includes dangling images:

-a Remove all unused images, not just dangling ones


H.R. 5784 (115th): To designate the facility of the United States Postal Service located at 2650 North Doctor Martin Luther King Jr. Drive in Milwaukee, Wisconsin, shall be known and designated as the "Vel R. Phillips Post Office Building".
The text of the bill below is as of Sep 28, 2018 (Reported by Senate Committee).
To designate the facility of the United States Postal Service located at 2650 North Doctor Martin Luther King Jr. Drive in Milwaukee, Wisconsin, shall be known and designated as the Vel R. Phillips Post Office Building .
The facility of the United States Postal Service located at 2650 North Doctor Martin Luther King Jr. Drive in Milwaukee, Wisconsin, shall be known and designated as the Vel R. Phillips Post Office Building .
Any reference in a law, map, regulation, document, paper, or other record of the United States to the facility referred to in subsection (a) shall be deemed to be a reference to the Vel R. Phillips Post Office Building .


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Nasal spray could protect against all COVID-19 variants for 8 hours: study – New York Post
A new experimental nasal spray could prevent people from getting infected with COVID-19 for up to eight hours, according to a study.
The promising treatment has shown it can block infection from the virus in lab studies with mice, according to researchers at the University of Helsinki in Finland.
"This technology is cheap and highly manufacturable, and the inhibitor works equally well against all variants," study author Kalle Saksela told Gizmodo.
"It works also against the now-extinct SARS virus, so it might well also serve as an emergency measure against possible new coronaviruses."
The spray, developed for immunocompromised and other high-risk people, is made of an antibody-like synthetic protein that recognizes and binds to the spike protein of the coronavirus — temporarily stopping it in its tracks, according to the study.
A new experimental nasal spray treatment could prevent people from getting infected with COVID-19 for up to eight hours, according to a study.
The spray is made of an antibody-like synthetic protein that recognizes and binds to the spike protein of the coronavirus.
BSIP/Universal Images Group via
Researchers found that a small dose of it prevented cells from being infected with all variants of the coronavirus, including Omicron.
They also found that mice given treatment were much less likely to have trouble in their upper respiratory tract and lungs after being exposed to the Beta variant of COVID-19.
But the nasal spray hasn't yet been tested on humans, lab studies are not yet peer-reviewed and more research is needed, the scientists said.
Saksela also warned that the treatment isn't meant to replace vaccines or other drugs.
"Its prophylactic use is meant to protect from SARS-CoV-2 infection," Saksela said. "However, it is not a vaccine, nor meant to be an alternative for vaccines, but rather to complement vaccination for providing additional protection."
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Poland raises cybersecurity terror threat level following attack in Ukraine | TheHill – The Hill
Taiwan to pay for Guatemalan lobbying in U.S., Guatemala says – Reuters Canada
In Greece, unvaccinated people ages 60 and up now face monthly fines – MPR News


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Q: Confidence intervals (ex-ante) for not-least squere forecasting method Assume that we know the model of physical experience (for example - the pendulum is moving forward - then the position $s = vt + b\sin(t)$, where $t$ is time and $v$ and $b$ do not matter).
We have measured some points. We can predict (forecast) next points, but how to measure the confidence interval of predicted ones (ex-ante)? We can not use the least squares method because of the sine part. I can find the method for least squares, but not for the other method of function approximations.


A former barangay captain and incumbent barangay councilor in the village of Anonang, Valencia was arrested in a buy-bust operation on Sunday afternoon.
The suspect identified as Erwin Tagupa, 39, ranked fourth in the Valencia police's drug wacthlist, was spotted by intelligence officers as he was allegedly selling illegal drugs.
Police said that Tagupa sold suspected shabu worth P500 to an undercover cop and was immediately apprehended by Valencia police operatives on standby around the buy-bust area.
The suspect was allegedly caught with three more packets of suspected shabu and drug paraphernalia in his possession.
According to Senior Insp. Ardioleto Cabagnot, chief of the Valencia police station, Tagupa is a newly identified drug suspect.
He is included in the list of drug personalities for Oplan Tokhang but did not surrender to authorities.