text:
Mark Ashbery on 30 Mar 2001 01:03:02 -0000
[Nettime-bold] Jordan Crandall/Larry Rinder/Part1
To: nettime-l@bbs.thing.net
Subject: [Nettime-bold] Jordan Crandall/Larry Rinder/Part1
From: "Mark Ashbery" <mashbery@hotmail.com>
Jordan Crandall and Lawrence Rinder:
Transcript of presentation at The Kitchen, New York
LR:  We're going to divide the program this evening into two parts.  During
the first segment, we're going to show a tape that is a compilation of all
of the tracks from Jordan's serial work Drive.  Jordan will tell you some of
the technical facts and some of the themes that he was engaging.  After a
break for dinner, we'll view his newest work Heatseeking, which will be
shown in its entirety in "BitStreams" at the Whitney Museum, opening on
March 22.
JC:  I'll just begin with a brief overview on Drive.  Drive is a project
that I've worked on from 1998-2000.  It's a seven-part series of videos
(each part is referred to as a "track") that combines cinematic technology
-- mostly 16mm film -- with military-derived tracking, targeting, and
identifying systems.  It combines formats of old and new, network and
analogue, military and civilian, in order to move toward a post-cinematic
language -- and one that has very particular historical and political
resonances.  All of the footage that you see in Drive is original footage,
with the exception of some parts of Track 6, which contains
military-commercial footage, some derived from smart bombs.  I approach the
making of these works much like a filmmaker.
[Tape begins.]  Track 1 deals with movement -- with individual, isolated
bodily movements and urban movements.  It is structured according to
coordinations -- coordinations between various kinds of rates, speeds,
formats.  It relays between the rhythms of the body and the rhythms of the
city.  It has many historical references, such as early experiments in
sequential photography -- the idea of breaking down movement into its
constituent parts in order to analyze those movements, very often as part of
technologies of accounting. Thinking about, for example, Marey, who was a
physiologist -- behind much of that sequential photography was measuring
devices.  Behind all of that photography is the fact of measurement of
different rates of movement -- of looking at ways of harnessing that
movement to production demands.  This kind of research was funded in part by
the military.
The green overlays that you see are the result of running the footage
through a motion tracking system.  I worked with the developer of this
software to gear it for this purpose.  It was originally developed for the
military for use in tracking such things as missiles.   I instead used it
for this filmmaking purpose.  It is very seamlessly integrated into the film
-- it just sort of intertwines itself, often in very subtle ways. Sometimes
you don't even notice that it's there.  But it marks an enormous change in
how the image is constituted.  There is a mechanism of analysis behind it.
It is sweeping through, in a sense, absorbing information.  You can see the
processing rhythms, in conjunction with the film rhythms.  The information
is sorted in a database, so there is a database structure behind it.  The
machine is registering movement, compiling information about movement.  We
will see in Track 2 how this database becomes a kind of speech, the speech
of the machine.
LR:  You mentioned in an article recently that one of the implications of
this kind of tracking technology was to be predictive.  How does that
function here?  Are we seeing that happening [in this sequence]?
JC:  I'm glad you mentioned that because tracking is a type of seeing that
is very much oriented toward predicting.  In the case of military
technology, it is wanting to see what is happening in order to predict what
will happen -- what is moving, how it is moving, and how that movement can
be controlled or intercepted.  It is interesting to think about what
tracking is because it is a process and also part of a new form of
signification.  It is a process of seeing, quantifying, and articulating.
You could see it as part of a new semiotics.   I'm interested in this in
conjunction with film semiotics.
So tracking is scanning, absorbing information, trying to develop
some kind of prediction, in order to intercept or control or modify the
object.  It is oriented toward the proactive.  You see it as work in new
policing strategies, which are very much oriented toward intercepting things
before they occur -- in other words to predict a crime before it will
happen.  It often involves the redlining of areas or the locating of
dangerous circumstances or dangerous individuals who, under certain
circumstances, may be inclined toward criminal behavior.  A politics of
profiling is very important right now, and to see that developing is very
encouraging.
I want to probe into these qualities of tracking and the peculiar
warpage of time that results from it.  It is evoking something that will
happen, or could happen, or should happen, and almost carrying that future
with it as part of its own body.  That involves a kind of shrinkage or
mutation.  It is one important factor that "causes" material change.
LR:  We're looking at Track 2 now, which is very close to Track 1, but here
the database is made overt.  You said it was an invented database -- are you
symbolizing the idea of a database?  Is there a relationship between those
numbers and what is actually happening?
JC:  There is a relationship, but it's not scientific.  It is quantifying
processing speeds, movement rates -- different temporal streams that run
through the film.  But it's done in a poetic way.  It functions in terms of
illustrating those streams, referring to a kind of statistical inclination
-- a statisticalization that is about absorbing data and predicting a
certain orientation.  It's also about the different formats of identity that
may arise.  It's also about trying to bring out the idea of the database as
an organizing principle.  It does influence how this track is organized.
What is really interesting to think about in all this is how the database
operates as a new organizational paradigm for us.  In the context of
cinematic history,  what interests me is how the database paradigm is
displacing or augmenting the narrative paradigm.  Lev Manovich has written
extensively on this.   The database is very much part of the way we see
things.  Its logics are everywhere.  It has becoming a way in which the
public is seen, heard, and made visible.  It's where buying habits and all
kinds of behaviors, down to the tiniest flickers of desire, are becoming
measurable.  It is a format through which we are "seen" almost as a calculus
of manageable functions.
LR:  Now we're viewing Track 3 --
JC:  Those green images are made with a night vision camera made by ITT, the
company that was the largest supplier of night vision technology to the US
military since the Vietnam War.  It allows you to film in complete darkness.
It's interesting because night vision has now become a feature on
consumer-grade video cameras.  It's not as good as the military stuff of
course, but it's an interesting example of the flow from military systems to
consumer systems.  The military way of seeing starts to filter into the way
we're seeing.  It's very much about an organization of a perceptual field, a
particular kind of perspectivization.
LR:  I wanted to ask you about the gesture that the actress is making [in
Track 3] -- this repeated tapping of her breastbone as she is trying to get
someone on the phone.
JC:  She's tapping a number or sequence, tapping a rhythm on and of the
body, caught in a kind of circuit, a loop, and very much oriented within a
technological system.  There is a particular interest I have in the fitting
of the body inside technology, which I talk about in terms of a "vehicle."
It's the fitting of the body within an apparatus of travel, of orientation,
of mobilization, of � rhythmicization.  Is that a word?
LR:  Rhythmicity.
JC:   Yes.  Rhythmicity.  The images I use are all technological metaphors,
in order to speak about technology in ways that we are familiar with.  The
phone, car, a door knob -- simple things.  When you see a telephone system
or a car, you can see the fitting or orienting of the body, a holding of the
body, in order to institute a linkup or a transport from one place to
another.  This holding of the body, this orienting of the body and its
senses, has an attendant dimension of pleasure.  A pleasure of fitting into,
a pleasure of being held by.  Of being controlled by.  It's a particular
kind of molding.  And so at the same time that it is a very invasive and
control-oriented contouring, it's also a very seductive one.  From our point
of view we can take a certain pleasure of the fit.  In this particular
track, the actress has very specific repetitive obsessions, as we see with
the phone.  There is a compulsion to encode, to internalize, a certain
pattern.  To in/habit it a particular way.   I'm interested in that because
it is a way of thinking about how technological systems, visual systems, are
about the instillation of certain habits, routinizations, formats of
behavior -- things in which we "fit in."  Again, often in terms of a kind of
vehicle, a vehicular device.
In this track, I evoke early Hollywood cinematic tropes, shooting
with black and white 16mm film.  I mix that with night vision videography,
with satellite-derived imagery, and footage derived from wireless, hidden
pinhole cameras that the actors wear on their bodies.  In those scenes, the
camera crew completely disappears.  I also use this invented targeting
system -- through computer animations -- which starts to become part of the
way the actress sees.  It becomes imposed on her vision.  You see it here
with the knob on the drawer and the door handle, where that kind of
militarization seeps into how and what she sees, as well as behaves.
LR:  You also speak about how particular angles, specifically the angle from
above, evokes the military view, a kind of vertical gaze.
JC:  Yes.  We are at a point now when we have so many possibilities of
filmic languages, because we have so many different visual systems.  It is
interesting to experiment with new orientations, orientations that can be
politicized.  There is the axis of the aerial view, which can be generally
identified as a military axis, but not necessarily specifically so any more.
But it is a filmic orientation that can be seen in contrast to the
cinematic terrestrial orientation.  I've done some writing on the
development of these two orientations -- of how cinematic languages
developed alongside military languages.  It is interesting to see how the
different orientations derived and how they sort of intercept each other.
They intertwine.  There is also the surveillance angle, a lateral angle
coming down, which we recognize from surveillance camera monitors.  There
are angles that are about how a computer might see us.  Not just as a
webcam, although a webcam has its own particular angles as well, but in
terms of how are seen by a technological system, through the ports of our
own desktops.  On the network, the image-system sees us back.  There are
also new angles derived from these little cameras, these little pinhole
cameras, which transmit images wirelessly to a base station.  They allow you
to place them in many secret locations.  You have the possibility of these
very intimate and highly mobile views.  These are all a part of emerging
film languages.
LR:  If you look at Drive and at Heatseeking, there are such an incredible
variety of film styles it is seems to be a kind of encyclopedic rehearsal of
various modes of both avant-garde and full-on Hollywood cinema moments.  I
wonder if you could talk about some of the specific references that you are
drawing from.  When I look at these, I see everything from Stan Brackhage to
Carl Dreyer to Maya Deren, and so forth.
JC:  Yes -- there's also live-action TV like "Cops," and MTV aesthetics,
along with surrealist work like Cocteau.  The little girl in Track 4 comes
right out of "Blood of a Poet."  There's quite a bit in Drive.  But with
Heatseeking, I'm actually not doing so much referencing.  I think I've
started to internalize it more.
LR:  Something that is really important to these works, which is not
immediately apparent from looking at them [on this single screen], are the
disruptions of the standard cinematic form, as evidenced here at The
Kitchen, with the two projections of Track 4 running on two screens opposite
each other.  Can you talk about other instances of this in the works that we
have seen in Drive so far?
JC:  When I first showed Track 1 of Drive at Sandra Gering Gallery in 1998,
I experimented with video headsets.  You wear them and the project the image
out about 10-20 feet in front of you.  The image hovers in front of you and
moves with you.  The image is semi-transparent so you can see through it.
It's superimposed on the space in front of you.  It was very interesting for
me to think of Drive shown that way because, particularly Tracks 1 and 2, it
is so much about relationships between physical and representational
movements, and technological movements.  It enabled me to draw an
investigation of a space of representation that specifically involved
viewer's movements.  That was just after I had renounced ever using a
computer mouse in an exhibition again.  I found that work could be more
"interactive" without it.  This use of the video headset was the part of my
ongoing interest in looking at mobile imaging systems.
When I first presented Heatseeking at inSITE in San Diego, I used a
handheld device, a PDA.  The videos were streamed to it wirelessly, using a
software developed by Packet Video.  During the time I was working on this
project, I was talking with Qualcomm about developing a new kind of mobile
device.  I was interested in developing the shape of the device, thinking
about how it would fit in the hand.  I did not end up working with them on
this (and our relationship to the corporate world is another discussion).
It is interesting to think about how these new kinds of images are coming
off from the mainframe and snuggling up to us, become personalized and
moving with us, helping to change the way we see and behave, and how they
are contoured against the body in form.  It is interesting to see these
devices as part of a way of augmenting vision, of augmenting perception and
our sense of place, as well as the contours of the body.  We know that this
is happening a lot today with mobile communications -- you can see it with
cell phones, for example, in the context of the history of the telephone and
how that has changed our sense of space.  How it has helped to generate new
kinds of social worlds, new ways of seeing, of placing ourselves, of holding
ourselves.
Working with the miniature, portable device is really a challenge.  It is a
different way of thinking about images and how we relate to them.  It is a
different dynamic of attention.  You're multitasking, flipping between
scales and formats.  It's difficult to hold attention when you're engaged in
so many different types of tasks.  It is difficult to compete in this space.
The logic is more that of advertising, of techniques fractured into small
frames of time.  As artists, can we compete with the world of advertising?
Should we?  We can choose not to compete at all.  We can make a demand on
the viewer.  In any case, it is a time now when this large-scale cinematic
projection format has, in a certain way, run its course, in a culture moving
toward miniaturization, mobility, and dispersals of access.
LR:  Can you address specifically your use of the dual projection screens in
Track 4, as installed here at The Kitchen, and some of the themes of that
piece?
JC:  That piece was shot with an old hand-cranked camera, a surveillance
camera, and a wireless pinhole camera worn on the actor's body.  It is based
on a famous case of Freud's called "A Child is Being Beaten," especially as
used by Jean-Francois Lyotard in developing his concept of the "matrix."
Rosalind Krauss has beautifully described this matrix figure as Lyotard saw
Track 4 of Drive is a way for me to think about this matrix figure.  The
matrix is a formalization of a repetition pattern. It is the cycling of a
beat-system that underlies how we behave, how we hold ourselves, how we see.
In extreme cases, it can form the basis of a psychic or psychosexual
compulsion.  For Lyotard, the matrix is a form that cements together an
occurrence that holds a fascination for us -- a situation in which we become
"caught," a situation into which we "fit" with a certain level of comfort.
It is a network where roles are continually exchanged -- where, for example,
observation flips into participation, seeing flips into being seen, beating
turns into being beaten.  Opposites are exchanged.   With the rise of new
visual systems, I wanted to think about that in relationship to the beat of
changing visual modes, and the various ways in which one is drawn into or
placed within them.  The beat of the spank -- which is also very much a
technological beat, mixed together with it -- marks the contact of hand
against skin but also the flipping of roles and visual systems.  There are
pulses that start to become apparent, such as the pulse of the flickering
light, which is caused by the hand that cranks the camera, the rhythm of the
cranking hand within that (now antiquated) technical system.  The use of the
dual synchronized projections is to allow the precise flipping of roles and
positions across the screens, and to draw the viewer into the space of the
scene, with a certain level of discomfort perhaps.
As I develop further in Heatseeking, the actors start to become conscious of
the visual systems -- they start to become conscious of the cameras.  The
actress in Track 4 looks up at the surveillance camera directly at several
points, the actor looks at the film camera, the little girl has a certain
awareness of being observed. There are all these degrees of
self-consciousness.  There are all these degrees of awareness of the devices
and their orientations.  And there are all these levels of comfort and
displeasure.  It is visible in the details such as the rhythm of the shift
of the eyes.  This is something that I am sure we will want to talk more
about tonight.  With the rise of these systems, which are often seen as very
invasive, we see also new corresponding pleasures, new vectors of ...
desire.
LR:  That's a good place to break, because now we have the vector of ...
hunger.
[break for dinner]
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Lana Del Rey - Lust For Life (2xLP - Gatefold)
The fourth full-length from Lana Del Rey is sincere and sublime, pushing her fascination with pop culture iconography even further while adding a newly personal touch.
"Two things immediately set Lust for Life apart from the rest of Del Rey's catalog. First, that smile, beaming from the belladonna of sadness, posed in front of the same truck from the Born to Die artwork. Even stranger: the tracklist is packed with features for the first time since we've known her. This would be Del Rey's "happy album," fans predicted—or worse, an obligatory pivot into wokeness. As it turns out, Lust for Life isn't outright happy or overtly political (and thank god for that), though Del Rey is re-examining her relationship with Americana. "I'm not going to have the American flag waving while I'm singing 'Born to Die,'" she said recently, of her current tour visuals. "I'd rather have static." Beyond a symbolic "Pardon Our Dust" sign for a nation in turmoil, it's an apt representation of the moment Lust for Life captures—a record of transition, documenting not so much the result of a profound change in worldview as the process of change itself." - Pitchfork
Lust For Life Ft. The Weeknd
White Mustang
Summer Bummer Ft. ASAP Rocky, Playboi Carti
Groupie Love Ft. ASAP Rocky
Coachella - Woodstock In My Mind
God Bless America - And All The Beautiful Women In It
When The World Was At War We Kept Dancing
Beautiful People Beautiful Problems Ft. Stevie Nicks
Tomorrow Never Came Ft. Sean Ono Lennon
More From Vertigo

redpajama_set_name: RedPajamaCommonCrawl


The Northeastern University student chapter of the American Society of Mechanical Engineers (NU-ASME) is an organization that seeks to promote and explore opportunities in engineering. NU-ASME offers students, faculty, alumni, and community members the ability to interact, network with engineering professionals, and provide civil service to the Greater Boston Area. NU-ASME combines scholastic principles with fundamental real-world applications to enhance engineering knowledge and awareness.
Weekly meetings are held Wednesdays from 11:45am-1:00pm in 320 Shillman.
Weekly workshops are held Mondays from 7pm-8pm in 268 Snell Engineering.
ASME's weekly meetings provide an opportunity for students to learn about processes used by various companies through Tech Talk presentations and activities. They are a great opportunity to network and learn about companies' expectations for future co-ops. For more information, sign up for our newsletter on our Contact page.
We are dedicated to providing resources for students to expand upon their skills and share their knowledge with other students. In collaboration with other engineering organizations, we have implemented Monday Night Workshops to teach both technical and non-technical skills that will help students grow and succeed in their field of study. Refer to the schedule for more information and stay updated with our newsletter for future events.
Check out some of the awesome events we're holding below!
The Co-op Mixer provides an opportunity for students seeking their first co-op to speak with upperclassmen in an informal environment about their work experiences. Sophomores are encouraged to ask any questions they may have, discuss the co-op process with their peers, and learn as much as they can. Free Qdoba will be provided!
NU-ASME hosts a SOLIDWORKS certification course every semester that runs one night a week for eight weeks, preparing students for the Certified SOLIDWORKS Associate (CSWA) exam.
The SOLIDWORKS course provides the opportunity to prepare for the CSWA through practice problems, sample exam questions, and more. This semester's course instructors are Geoffrey Lin, Ben Zisner, Samantha Glassner, and Christian Albertelli. For more details, please email asmesolidworks@gmail.com or join our newsletter.
We've compiled a list of helpful resources for Northeastern Engineering students here.


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INNOVATION AND EVOLUTION
YOUTH VOICES AND HUMAN IMPACT
COMMUNITIES MOBILIZED
OUR FINANCIALS AND DONORS
George and Tami Cope: Pioneers of the mental health revolution
Long before mental health was a mainstream conversation in Canada, Tami and George Cope were pushing for action — and asking people to talk.
In 2008, when George was named President and CEO of Bell Canada, he strategically and methodically created a movement that is now celebrated as the nation's leading social impact program focused on mental health — Bell Let's Talk. The initiative, which has committed well over $108 million to mental health programs since its inception in 2010, has forever changed the conversation about mental health while helping countless people across Canada access life-changing support.
A passionate advocate of youth mental health, over the years George has championed Kids Help Phone as a significant partner of Bell Let's Talk — the evolution of a long-standing relationship that first began in 1989 when Bell Canada came on board as one of our four founding donors. Together, the two organizations have transformed the landscape of mental healthcare in Canada by raising awareness and leveraging the power of technology to reach ever-greater numbers of young people from coast to coast to coast.
Tami is especially passionate about the possibilities of technology to break down barriers, particularly for youth at-risk. After joining the Board of Directors in 2016, she championed the launch of two critical initiatives that have profoundly advanced our ability to reach even more young people — including many youth at-risk in Canada today: Crisis Text Line powered by Kids Help Phone and the development of Finding Hope, our action plan for supporting First Nations, Inuit and Métis young people.
From the start, George and Tami were immediately drawn to our mission to ensure no young person in Canada is ever alone in their time of need. "We believe that every child deserves the opportunity to be heard and supported in their time of struggle," says Tami.
Kids Help Phone offers a service that is nimble, accessible, compassionate and allows young people to feel safe and protected when reaching out for help.
Today, Tami and George are more dedicated than ever to their mission to ignite ongoing progress for mental healthcare in Canada — and they remain inspired by Kids Help Phone's commitment to meeting the constantly changing needs of young people. "Kids Help Phone's ability to evolve alongside young people in a technology-driven world gives us great confidence in its future as a leading pillar of accessible mental healthcare for everyone in Canada," says George.
"Both personally and through Bell Canada, we are incredibly proud to support Kids Help Phone so that young people will always have somewhere to turn."
Jenifer's story: A moment of crisis, a lifetime of impact
Matthew's story: From personal tragedy to national conversation
Finding Hope: Showing up for Indigenous youth in Canada
Diana's story: How Crisis Responders are showing up for youth
For more information about Kids Help Phone, our services, volunteer opportunities or to make a donation please
Visit: kidshelpphone.ca/get-involved
Email: donorrelations@kidshelpphone.ca
2019 Kids Help Phone Impact Report
Support for young people:
Text CONNECT to 686868
Support for adults:
Text TALK to 741741
Photo contributions: Jenna Mae Photography, Jaredan Smith, Janis Nicolay Photography, JC Nat Photography
© Kids Help Phone


Colorado - A Trekker's paradise !!
I owe an apology for hurting the sentiments of my fellow trekkers by calling 'Capitol' a 'hill' in my previous blog (Last line of http://athmagyaan.blogspot.com/2010/08/knee-boarding-lake-archambault.html).
Colorado - Welcome to the land of mountains. A land where all four directions lead to mountains (I am exaggerating of course !). A land for which 'exquisite' would be an understatement (No exaggeration here !).
All the pre-planning was just about perfect. Our group consisted of networking bonds (Pushkar, Rahul), Vertical thinkers (Ali Sagar Oops Asgar - Chances of seeing him on the ground are bleak, the one who introduced me into skydiving), no-life-without-internet always-online apple geeks(Deepak 'twitter' Iyer), Apple veterans (Thai Wey), expert photographers (Tannu of the Sushi fame - He has just landed in US after a 5 yr stint in Sushi Land) and 2 undergrad classmates of Pushkar.
Luckily, Pushkar was able to arrange stay for us in Boulder at one of his undergrad friend's place.
Now Tannu and myself (later on joined by Ali) had half a day in Boulder before rest of the gang sets foot in Colorado. We went around picturesque Boulder clicking pictures at will.
After this exquisite drive, we head to our camp site where we were to spend the night before we head to starting point of Capitol Peak the next day.
We start the day early and start the drive towards starting point of the hike to Capitol Peak. We halt around one of the lakes for breakfast. And every stop is reason enough for some more photos !!
After a nice breakfast, which we didnt realise was going to be our last meal of the day, we head towards the trailhead of Capitol. We were running late and had to do a good job if were to reach Capitol lake by Sunset.
It has been a long time since i did my last trek (Jivdhan-Naneghat, Maharashtra, India, 2005) and all that showing up. Adding on to this was the carbon monoxide (for your interpretation !) intake which had done significant damage to my stamina. I was lagging behind frequently and somebody had to stay back with me all throughout just to make sure i make it to the end.
But, I did push myself and was able to reach Capitol Lake (the lake just before final summit of Capitol Peak).
It had begun raining by the time we reached capitol lake and dark too as we missed our timelines. Figuring out vacant campsites itself was tough. Our ordeal continued. The rain didnt stop and by the time we had our tents erected, we were wet and cold. My jacket was not holding up water as i would have liked it to.
There was water seeping in through some ends of the tent as a result of us trying to fix it up during rain. Finally, we succeeded in setting up all 3 tents and managed to get in and change clothes which by then had taken in lots of water. None of us were in the mindset to setup cooking stoves and start cooking. We decided to manage the night with just nuts and energy bars. The last meal we had was more than 14 hours ago !!
So here we were at 12000 ft, trying to catch up with some sleep amidst heavy rain and thunder.
After about 4 hours of sleep we get up to a completely overcast sky with slight rain still dampening our hopes of making it to the top. We have some bagels and get started for the summit leaving our main bags behind and carrying only our summit bags. Gatorade powder was added to each of our water containers, later to be filled in at the lake.
At about 430 AM, we head to Capitol lake to fill our water containers. Thai Wey and Rahul were working hard with the water filter to make sure all of us had our containers filled.
Rain was still hitting hard, the sky was overcast with no stars visible even on a no-moon night. The last 2000 ft or so had the famous 'Knife Ridge' which was a narrow rock patch with vertical falls on either sides. That patch is risky and sometimes fatal (as per wiki) even during a regular bright sunny day. The chances of making the final summit in such weather was really bleak.
I was the first one to QUIT.
I dropped out and insisted on going back to the tent and wait till the others return. I was no more enjoying the hike and there was no point in continuing the same way.
If we make a decent pace for the next 1000ft (which was a regular hike), then we could be at the knife ridge for sunrise, if at all we have one. The summit might be possible if the knife ridge is dry and has good visibility. If the weather doesnt clear up, we make the hike back to our tents and then to the trail head.
There were 5 (out of 9) of us who were betting on the odds of weather clearing up and continuing the hike. The rest, 4 of us, decide to go back to the tent, catch up some sleep and wait for the others - This would enable us to be ready for the hike back which again was not an easy task for somebody like me (at this point of time).
So, 5 amongst us continued. 2 more dropped out after an hour or so and 3 (Ali, Thai Wey n Deepak) continued on till the start of the knife ridge. Luckily for them, the weather had cleaned up. In fact, we could see them from our tents through 10X optical zoom cameras.
Now, there was another issue at hand. Ali had a flight later during the day and with the pace at which they were able to make progress on the knife ridge - there was a bright possibility of him missing his flight. Adding on more troubles was my passport, which was with Deepak, who was one amongst the three who were making the attempt to the top!!
The photos they have taken are stunning.. The knife ridge is the highlight of Capitol Peak and we were all disappointed that even those three had to return half way... Since it would take them considerable time to head back, we six (4+2) head back to trail head.
We return rental gear in Aspen and visit Maroon Bells to have a look at one more majestic peak (14000ft+) in Colorado before heading to Denver Airport.
The Deadly bells disclaimer !
All turns out well - All of us are able to reach on time. I get my passport on time (my 'on time' considers immigration at US airports too !!).
We leave Colorado slightly disappointed but really happy that we were atleast lucky to attempt Capitol. We head back with the learning that we need to respect weather and listen to what it says & along with the fact that these enormous peaks are more a test of mental strength rather than physical endurance.
If all goes well, we might land up same time next year for the same hike - Possibly a different result !! That leaves enough time for me to build myself up !!
All Images from Aditya Tannu (http://www.adityatannu.com/) unless otherwise specified.
This was a first for me with regards to getting down to doing something crazy on (not IN) water.
The occasion: Get together at TATA @ one of our colleagues cottage next to the lake.
The lake offers some really great views of the mountains that surround it. Peace... Well, not really - you would always hear some speed boat zooming past. The day begins with swimming in the water (with a life jacket - Still learning. The learning curve concept doesnt seem to be working in this case!! ) for a good hour or so. Just about half an hour after i got into it - there were some thunder storms and they were followed by mild rain. It was lovely lying on the water facing up towards the sky looking at the falling droplets of cold rain water. One of the best experiences i have had in my life.
As the day progresses, the boats are readied up for some adrenaline pump for all those who are upto the challenge. Two boats (owned by colleagues - brought down to the lake for the occasion) do rounds taking 4-5 people into a ride which promises a gear shift in your adrenaline levels.
I do IT and reach the knee board to experience a one-of-a-life time event.
First you are to lie flat on the board and the speed starts dragging you.
This step only for beginners !! - One of the strategies which i adopted for the fall was to plan it 5 secs in advance so that I was able to take a clean jump far from the board - Otherwise, a board hit can cause considerable damage at those speeds.
And I start again - the ending remaining the same in both cases... !!!
The summer in Canada is as great as the winter !!!


NEW YORK, NY - FEBRUARY 14: (EXCLUSIVE COVERAGE) Singer Trisha Yearwood visits SiriusXM Studios on February 14, 2019 in New York City.
Country superstar Trisha Yearwood has a new album out, and it's one that her fans may not have expected.
Let's Be Frank is a tribute album to the one and only Chairman of the Board, Frank Sinatra. "I went to Capitol (records) every morning and said hello to 55 musicians and we recorded it live. It was amazing," Yearwood told Billboard last month. The album contains Sinatra standards like 'Come Fly With Me', 'Witchcraft', and 'The Lady is a Tramp'.
This week, you can hear Trisha take part in an exclusive SiriusXM Town Hall of Siriusly Sintara. She'll discuss her new album, and take questions from fans about her long music career.
Listen live to SiriusXM Siriusly Sinatra now.


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CHAT WITH SOUBOYY: HIS EXCELLENCY T.P. SEETHARAM ON ART AT HIS RESIDENCE
By: Team SouBoyy, SouBoyy Bureau, Abu Dhabi | Art and LifeStyle
I remember Mayssa inviting me for Art Dubai at Madinat Jumeirah last year which happens under the patronage of Sheikh Mohammed, it was incredible… It reminded me of my college days in Mumbai when I started my career in feature journalism alongside my majors in english literature… I used to write for Deccan Chronicle/The Asian Age and Jehangir Art Gallery, Kala Ghoda was my favourite hang-out place… I would sit at Cafe Samovar for hours sipping cutting chai with vada pav, and talk to various artists for hours… Every artist I have met, I have fallen in love with them and their art, that's how they impact me in my life…I simply love them, I love art and I love artists too…They simply touch my heart with their strokes… They are great people, great conversationalists and beautiful souls… So, when Mini (Menon) invited me for a display of sketches, scribbles and drawings by K.G. Subramanyan at the ambassador's residence, I was excited to witness this in Abu Dhabi… Subramanyan has studied in Shantiniketan, near Kolkata (and I love Shantiniketan)…he is 91 and in 2012, he was awarded the Padma Vibhushan, he is simply legendary… I was welcomed by Mini and Deepa Seetharam, ambassador's wife who played the perfect host by showing us the paintings. I also met Navin Kishore who is one of the founders of Seagulls Books from Kolkata who enlightened me about the legendary artist… It was a great delight to meet someone from my hometown Kolkata at the ambassador's home in Abu Dhabi… We sat down and I had a wonderful chat with Mr. T. P. Seetharam (HE Ambassador of India to the UAE) and he told me, "Sou, we are indeed fortunate to have KG Subramanyam's works adorn our walls, even for a few days…" He introduced me to his daughter Devi (Seetharam) who is a gifted artist herself… She showed me around the house and I was impressed by the paintings on the walls… I like the installations near the pool-side, also her painting of women in abaya…it is just the mirror image of the society here… She also invited me to her upcoming exhibition in Dubai which I look forward to going… We spoke a lot on art as I always appreciate young artists because I feel it is necessary that the youth too should take keen interest in arts and culture… After viewing the drawings we had a wonderful south indian dinner with the ambassador, his wife, Mini, Devi, Navin and other guests. I met ambassador's mother too and she asked about me to which Devi translated the answer in Malayalam. It was one of the best evenings in AUH, I could talk about art for hours with these wonderful crowd and the ambience was excellent…. I met some interesting people there, Mini introduced me to Krishna who is another partner with Collage Communications who presented the show… Amongst others, I met Laura Koot, the managing editor and art director of The National, Shiva Kumar, the features writer from Friday, Lavesh Jagasia, owner of The Fine Art Advisory, and an art lover named Dipak Sakaria who works in ADNOC… Devi introduced me to Tina Ahmed, who is a bengali artist too who has made UAE her home for many decades and her paintings are displayed in various airports including the busy Heathrow Airport… Happy times passes by soon, so when the clock stroke 10, Devi and her mother shook our hands and sent us on our way with our heart full of gratitude 🙂
What I loved the most about the evening?
Apart from the brilliant drawings, I loved the display of the books. The experience was incredible. I have to be there again soon.
Naveen Kishore, Founder & Managing Trustee – The Seagull Foundation for the Arts, Uma Padmanabhan, daughter of artist K.G. Subramanyan, HE T.P. Seetharam, Ambassador of India to the UAE. Lamp being lit by Rajya Sabha member Dr. T.N. Seema.
Gaurav Ghose, Sananda Sahoo with Umaji.
Laura Koot, Managing Editor and Art Director of The National.
Inside the Ambassador's Residence – Sketches, Scribbles, Drawings by K.G. Subramanyan.
Sou and Mr. T.P. Seetharam (His Excellency the Ambassador of India to the UAE) at his residence.
Sou and Naveen Kishore, Founder & Managing Trustee – The Seagull Foundation for the Arts Kolkata.
Sou and Devi (Seetharam), ambassador's daughter who is also an artist.
Sou with Devi and her paintings at the background.
Sou and Mini (Menon), Partner of Collage Communications who presented the art display.
How would you define art? Tell edit.souboyy@gmail.com
Tags : Collage Communications, Deepa Seetharam, Devi Seetharam, Dipak Sakaria, Dr. T.N. Seema, Friday, His Excellency Ambassador of India to the UAE, K.G. Subramanyan, Laura Koot, Lavesh Jagasia, Mini S Menon, N P Krishna Kumar, Shiva Kumar Thekkepat, Sourendra Das, Sourendra Kumar Das, T. P. Seetharam, The Fine Art Advisory, The National, Uma Padmanabhan
← Kayaking the Eastern Mangroves of Abu Dhabi
One Hour →


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Congratulations to our 2019 Graduating Littles
By bbbsMay 16, 2019May 20th, 2019Match Events
Each year, Big Brothers Big Sisters of Tampa Bay celebrates our Littles who are graduating high school with a graduation ceremony
Big Brothers Big Sisters of Tampa Bay has had an exciting time recently celebrating the high school graduation of Littles in our mentoring programs.
On May 1st, Leto High School had 17 students graduate from our School-to-Work program with Nielsen. The event featured the recently inducted mayor of Oldsmar, Eric Seidel, as the keynote speaker. Littles reminisced about the past year in the program, spoke about their experiences with School-to-Work that they will carry into the future, and awards were presented to those with perfect attendance. Nielsen also provided scholarships to two students, Jessica and Jonathan. Special thanks to Publix for donating a cake for the occasion.
View photos from the Leto and Nielsen graduation here.
On May 14th, we hosted our annual Graduation Ceremony for all graduating Littles, their Bigs and family members, at the Tampa Garden Club. Overall, we had 92 graduating seniors this year. Before the ceremony began, guests enjoyed the photo booth donated by Andrejka Photography. The evening started with a welcome from Jennifer Libby, VP of Programs, and Stephen Koch, President and CEO, followed by a delicious dinner catered by Lynn's Catering. Bob Conigliaro from Caspers Company was the keynote speaker and shared some sage words of wisdom for the graduates. Gerry Goldhammer represented the BBBS Tampa Bay Scholarship Fund and presented scholarships to four deserving Littles, Delaney, Damion, Nate and Bennie. The Live for 24 Foundation, who raises funds in remembrance of former Big Melissa Vanderhall, presented their scholarship to Little ZaDerricka. Each graduate was honored and recognized with a certificate and special BBBS Tampa Bay branded pen. The evening closed with a presentation from Dallas Ruffin, who announced our newest program, Big Futures, which will help support Littles beyond graduation to help ensure they succeed and meet their future goals. Everyone enjoyed the cake donated by Winn-Dixie.
View photos from the graduation ceremony here.
On May 15th, Middleton High School had 20 students graduate from our School-to-Work program with Moffit Cancer Center. Moffit provided graduation caps and gowns for the Littles to help make the ceremony feel authentic. The program coordinator at Moffit, LaWanda Courtney, spoke about her heartfelt match story with her Little. We had three graduating Littles speak about their experience in the program and how their relationships with the Bigs and all they have learned will carry with them into their futures. Scholarships provided by Valley National Bank were presented to two Littles, Lydia and Francesca.
View photos from the Middleton and Moffit graduation here.
We are so proud of all our graduating Littles and know that they will all go on to do great things in the future. Congratulations to the graduating class of 2019!


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Q: Actualizar python en mac Trabajo en un entorno Mac. Tengo instalado python 3.8.3 y quiero cambiar a la más actual, que es la 3.10.7.
Me la he descargado desde la página de Python y he ejecutado el instalador. También he usado en la terminal el comando brew update && brew upgrade python. La terminal responde diciendo Warning: python 3.10.7 already installed, es decir, que reconoce que tengo instalada la versión 3.10.7. Sin embargo, si tecleo python --version la terminal responde diciendo Python 3.8.3.
Conclusión: en el ordenador conviven instaladas las dos versiones, pero usa la 3.8.3. Quiero que use la última, la 3.10.7. Como puedo hacerlo? He estado buscando en Internet, pero no he encontrado una solución que funcione.

redpajama_set_name: RedPajamaStackExchange


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← The Girl and the Spider (2021) ☆☆☆(3/4): When her roommate is moving out
The Girl on a Bulldozer (2021) ☆☆☆(3/4): Who can stop her? →
The Outfit (2022) ☆☆☆1/2(3.5/4): The Cutter of Chicago
To be frank with you, it is not that easy to describe how much I enjoyed "The Outfit", a small but undeniably dexterous thriller film which engaged me much more than expected. Because of many of its pleasures come from how it springs out one surprise after another along its seemingly straightforward narrative, I will try as much as possible for not telling you too much about its story and characters, but I strongly advise you not to read the following paragraphs if you really want to be entertained as much as possible.
At the beginning, the movie, which is set in Chicago, 1956, immerses us into a little but meticulous professional world inhabited by a middle-aged British cutter named Leonard Burling (Mark Rylance). Some years ago, Leonard moved to Chicago for some reason, and he has run a fairly successful shop in one neighborhood of Chicago, and there is a little criminal secret hidden behind his supposedly respectable clothing business. As a matter of fact, he has been associated with a local criminal organization, and his shop has often functioned as a stash house for that criminal organization. All he has to do is focusing on his work without paying attention to those daily criminal transactions inside his shop at all, and he has been quite content with that as long as he does not get involved in that too much.
Nevertheless, Leonard still sees and observes lots of things while he works as usual, and there comes a little discovery which may disrupt his small world. At one night, he accidentally finds out that Mable (Zoey Deutch), a young female clerk who has worked under him for a while, has been in a relationship with someone very close to the boss of that criminal organization, but he is not so surprised at all, and he simply maintains his professional composure in front of Mable as before. After all, this pretty lass has been so eager to get out of Chicago by any means necessary, and he clearly understands that.
However, that little matter is nothing compared to what happens next not long after that. When Leonard is about to end his another mundane working day and then close the shop, two members of that criminal organization suddenly come into the shop for a very urgent matter. One of them is seriously wounded due to gunshot, and Leonard is forced to do an emergency surgery on that wounded guy even though he is not qualified to do that to say the least.
Once he does the surgery as demanded, Leonard is told about what is going on outside. It has been suspected that there is an FBI informer working in that criminal organization, and a certain small object which will reveal the identity of that informer in question was subsequently obtained thanks to a powerful nationwide criminal syndicate, but there is one big problem. That object is wanted by not only that criminal organization but also its rivaling criminal organization, and that is how those two gang members were attacked not long after obtaining that object.
Anyway, things seem to be under control as that object is safely stored in Leonard's shop for now, but, not so surprisingly, the circumstance takes a number of unexpected turns, and Leonard must tread carefully around those dangerous people associated with him. While it is gradually revealed that he holds some cards behind his back, what is being at stake for him and others is increased minute by minute, and it goes without saying that this can be his last night if he is not very careful at any point.
While most of its plot is unfolded mainly within Leonard's shop, the movie never feels stuffy at all as slowly dialing up the level of tension under the confident direction of director/co-writer Graham Moore, who previously won a Best Adapted Screenplay Oscar for "The Imitation Game" (2014). Thanks to production designer Gemma Jackson and costume designers Sophie O'Neill and Zac Posen, the movie is packed with nice details to be appreciated, and cinematographer Dick Pope did a solid job of establishing the good period atmosphere on the screen. The editing by William Goldenberg is precise and succinct as steadily maintaining the narrative pacing of the film, and Alexander Desplat's score adds extra tension to the screen whenever that is necessary.
Above all, the movie is firmly anchored by another superlative performance from Mark Rylance, a British actor who has been quite more prominent since his Oscar-winning breakthrough turn in "Bridge of Spies" (2015). As a stealthy master of understatement, Rylance slowly holds our attention as discreetly doling out nuances to notice, and he is quite compelling even when his character does not seem to signify anything to us. In the other words, this is another excellent work to be added to Rylance's long and illustrious acting career, and that is more than enough for me to forget how much he was woefully wasted in "Don't Look Up" (2021).
In case of several notable performers including Johnny Flynn, Zoey Deutch, Dylan O'Brien, Nikki Amuka-Bird, and Simon Russell Beale, they have each own moment to shine while supporting Rylance as well as required. Beale, who drew my attention for the first time via his solid supporting turn in "The Deep Blue Sea" (2011), effortlessly exudes his character's menace, and Deutch holds her own small place well during her several tricky scenes in the film.
Overall, "The Outfit" is one of the better genre films of this year besides being a commendable feature film debut by its director. Although it is rather modest on the surface, it is one of those well-made thrillers to be admired for mood, storytelling, and performance, and I am willing to revisit it someday just for entertainment.
This entry was posted in Movies and tagged Crime, Crime Organization, Cutter, Thriller. Bookmark the permalink.
1 Response to The Outfit (2022) ☆☆☆1/2(3.5/4): The Cutter of Chicago
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UPtv News
aspireTV News
UP Faith & Family News
Cine Romántico
Cine Romántico News
About UP Entertainment
Last Man Standing Is Coming to UPtv
2022 Last Man Standing
The hit comedy series, starring Tim Allen, joins the network's weeknight lineup this January
ATLANTA – Dec. 15, 2022 – UPtv, the television destination for uplifting entertainment, has licensed all nine seasons of the family comedy series Last Man Standing. The series centers around Tim Allen as Mike Baxter, a happily married father of three daughters, who tries to maintain his manliness in a home surrounded by women. The series will officially join the schedule Jan. 2 and will air Monday – Friday from 8 p.m. to 11 p.m. ET. There will be an all-day marathon on Sunday, Jan.1, from 9 a.m. – 3 p.m. ET.
"We've had our sights set on Last Man Standing for quite some time as it's a fun, uplifting show that fits perfectly with our current line-up of the biggest family series of all time," said Hector Campos, vice president, content strategy and programming at UPtv. "The dynamics around the family relationships are very relatable and one of the reasons we believe this beloved series has such a loyal following. Our viewers know that we are our show's biggest fans and that we love to lean into the fandom with programming events like 'GilMORE the Merrier' and 'Red Hot Reba-thon.' We encourage fans to join us weeknights on UPtv to see how we celebrate Last Man Standing."
In Last Man Standing, Mike Baxter tries to escape all the female drama at home in the warm, manly embrace of his job at the Outdoor Man store, a sporting goods emporium where he is marketing director. He also revels in his Outdoor Man vlog, which he uses as a pulpit for his opinions — which often have nothing to do with the store's merchandise. When he's supposed to be selling mountain bikes or kayaks, he somehow ends up spouting off about the environment, health care, politics or any other topic occupying his mind.
In addition to Allen, the series stars Nancy Travis as Mike's wife, Vanessa Baxter; Amanda Fuller as their oldest daughter, Kristin Baxter; Molly McCook as middle daughter Mandy Baxter-Anderson, Christoph Sanders as Mandy's husband, Kyle Anderson; Jordan Masterson as Kristin's husband, Ryan Vogelson; Jonathan Adams as the Baxters' neighbor and Mike's co-worker, Chuck Larabee; Krista Marie Yu as foreign exchange student Jen; and Hector Elizondo as Mike's longtime business partner and Vanessa's step-father, Ed Alzate.
The series was created by Jack Burditt. Kevin Abbott, Matt Berry, Kevin Hench, Ed Yeager, Tim Allen, Marty Adelstein, Shawn Levy, Becky Clements, Richard Baker, Rick Messina, Pat Bullard, Mike Teverbaugh, Linda Teverbaugh and John Amodeo served as executive producers on season nine.
Last Man Standing was produced by 20th Television, a part of Disney Television Studios. UPtv has licensed the series from The Walt Disney Company.
UP Entertainment, home to UPtv, AspireTV, AspireTV Life, UP Faith & Family and Cine Romántico, is the destination for uplifting entertainment for passionate and diverse audiences across the leading cable, satellite and streaming platforms. UPtv is the trusted network for adults seeking positive programming with relatable stories about relationships, filled with love and laughter, through exclusive premiere movies, box-office hit films and beloved series. AspireTV is the premier network for Black culture and urban lifestyle programming featuring original productions in food, home and fashion. AspireTV Life is the first free ad-supported streaming television (FAST) channel dedicated to sharing the experiences of the multicultural audience through cooking, fashion, travel, design and more. UP Faith & Family is the leading streaming service in uplifting entertainment and includes exclusive access to original productions from the UP Entertainment family of brands. Additionally, UP Entertainment in partnership with PixL Dos, manages and distributes Cine Romántico, a free ad-supported streaming television (FAST) channel featuring the best of Hollywood TV romance movies in Spanish. UP Entertainment's award-winning pro-social initiative, "UPlift Someone," has inspired over 200 million people to uplift others through its social videos and dedicated UPlift Someone Facebook page and website.
Kristina Stafford Kelly
For This Brand
Two Family Drama Series Every Thursday Night on UPtv
2022 Mystic Wild At Heart
UPtv's Most Uplifting Christmas Ever
Blue Bloods Is Joining the UPtv Lineup
2022 Blue Bloods
UPtv Sets Dates For Three Scripted Series
2022 Heartland Mystic The Wedding Planners
UPtv's Easter Season to Feature 100 Hours of Programming
It's a Merry Movie Christmas on UPtv


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I would be grateful if you could advise your Year 5 parents that if they wish to apply to Ashmole Academy for entry in September 2020 under the Musical Aptitude criteria, they need to apply to the school by Friday 17th May 2019.
The first part of the tests will take place in June 2019. Further details and the application form can be found on the school website (please see below link) or alternatively please contact me in the School Office for more information.
Mrs D Coles, Admissions Officer by 6th January 2019.
Following the end of the consultation period the Governors will meet to consider any comments received and finalise the arrangements accordingly.
a) Introducing Children Previously Looked After outside of England as our second oversubscription criterion. This is an advisory recommendation from the DfE to all schools.
b) Only inviting the top ranked 325 in the verbal reasoning test to sit the English and Maths papers. This is not a significant change to the test process as we currently only mark the English and maths papers of the top ranked 325 in the verbal reasoning; but it will mean that children will no longer be sitting tests that aren't going to be marked.
c) Amending the Sixth Form admission requirements for English Language and Maths to a Grade 5.
d) Further clarification of the Musical Aptitude test.


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VASSY & UNEDUO Blink
ONEDUO is an electronic music group formed in 2012 by New York natives Mike Scimeca and Steve Georgilis. Fresh off performances at Electric Zoo music festival, and Amsterdam Dance Event, ONEDUO continues to take the dance world by storm with a remix for The Chainsmokers' track "Sick Boy," a number 1 charting Billboard dance record with their remix of Lodato's "Home", and their remix of Bumbasee's "Tooth and Nail" featured on the "Need for Speed: Heat" soundtrack.
Quote: Vassy has an incredibly talented and creative mind and we had an absolute blast working with her in the studio throughout the whole creative process.
Follow ONEDUO
https://www.facebook.com/OneDuoMusic/
https://www.instagram.com/oneduomusic/
https://twitter.com/oneduomusic
VASSY prides herself in staying true to her craft as a singer songwriter throughout the years, and not transitioning to behind the decks as a DJ. Throughout this decade, she's collaborated and released with dance music's biggest Iconic Acts such as Tiesto, Afrojack, David Guetta, to name a few, accumulated over 2 billion streams to her name, performed and headlined major festivals all over the world, and had her writing skills and voice featured on several international TV Campaigns and film trailers including Disney's Oscar winning blockbuster Frozen
Quote: 2020 marks my 10 year anniversary in doing music. It has been an incredible journey and blessing to follow my passion, to leave my beloved Australia and pursue the American Dream…. It has not been the easiest ride but certainly most rewarding as the fans have been supportive, loving and accepting. I cannot thank them enough….expect to hear new music from me this year. Blink which I worked on with OneDue who bring such a young fresh dynamic sound to the production, Im excited to see how the fans react……this release is just the first of many more to follow this year.
Follow VASSY:
https://www.facebook.com/VASSY
https://www.instagram.com/VASSY/
https://twitter.com/VASSY


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Alice Crary, Beyond Moral Judgment, Harvard University Press, 2007, 256pp., $39.95 (hbk), ISBN 0674024575.
Many of us professional philosophers are familiar with books and articles that discuss the various moral judgements that people supposedly make every day. We might play around with, and reflect on, declarations and thoughts such as 'He is kind', 'She is wicked', 'Don't do that, it's cruel', and 'The right thing is the fair thing'. Often we take these judgements as our basic resource, probably in all innocence, and move on to develop whatever important thoughts we do. But, on the face of it, although such judgements might be familiar, we might worry that these stock phrases do not exhaust by any means the moral thinking and sentiments of most people. We might imagine that their -- our -- everyday moral judgements and imagination are more sophisticated than that. But, what might these more sophisticated judgments look like? Certainly we might imagine that many thick concepts are employed, as well as thin ones. We might also imagine that we categorize people and other things with judgements that have nuanced clauses. So, not just 'He is kind', but 'He is kind, although he often lacks self-confidence and so his kindness can appear clumsy'. There might well be other such changes and adaptations we can imagine to such thoughts and claims. However, there is an important assumption underlying all of this made, perhaps, by many different types of contemporary theorist. The assumption is that moral judgement and thought are confined simply to those judgements that employ straightforwardly obvious moral concepts such as goodness, kindness, cruelty, and all the rest. Such concepts might be important, certainly, but they might not be the be all and end all. Perhaps our moral life finds expression beyond these overtly moral concepts. And perhaps this shift in our thinking might lead to interesting thoughts regarding some contemporary philosophical debates.
In putting forward her thesis she draws on J. L. Austin, Cora Diamond, John McDowell, and Wittgenstein, amongst others, as well as Jane Austen, Theodor Fontane, E. M. Forster, Henry James, and Tolstoy. In advancing her view, Crary is not content simply to challenge the supposedly widespread assumption from above that moral thought is exhausted by thinking in terms dictated solely by concepts that are obviously moral. She wishes to build to why this is an important question to ask and explore the various assumptions that feed into the view that she casts as both widespread and mistaken.
In what follows I summarize her arguments, which then leads to my critical train of thought.
In rejecting the narrow conception of objectivity, she develops a view about Austin's thoughts on language and draws on the rule-following considerations from Wittgenstein and commentators. In the latter case she emphasizes that Wittgenstein's aim was not -- and our aim following him should not be -- to eschew all talk of objectivity, but rather to rethink what objectivity might be. In doing so we can see that our concepts are essentially integrated into customs and practices that encourage the relevant sensitivities in us. Concepts might still be subject to regularities, but these might be apparent, and be both a source of justification and justifiable, only from within a perspective of people who typically use such things.
We can add, then, that Crary thinks that there is no way of isolating exactly which sensibilities and 'senses of importance' matter morally and which do not. So, some important such sensibilities might be formally expressed using obviously non-moral concepts, but they might still be part of moral thinking in a wider sense, in a sense that she thinks has been forgotten in current philosophy. Whilst her discussions of Austin and Wittgenstein are designed to support her thoughts about objectivity, she looks to literary figures and their writings to support her liberal view of sensibilities and concepts, emphasizing that arguments, as narrowly understood by many philosophers, are not the only way in which moral change can be effected and that moral understanding can be achieved. (There is a particularly good summary and discussion of Gilbert Ryle on Austen on this matter.) She also considers recent work on feminist thought in this regard.
What implications does Crary's view have? She thinks that it is misguided for an individual to understand his or her moral world in terms that are narrowly moral. People go wrong if they try to regulate and understand the whole host of feelings that might arise only with reference to (narrowly categorized) moral concepts conceived to exist prior to such emotions. Not only might this lead to a paucity of moral life in the individual, it might well mean that he or she fails to grow and is not open to changes that can occur when contact is made with others who think and feel differently. It also means that philosophers will be unable to do justice to what it is to be a moral and evaluating being. In particular, moral disagreements and agreements will not be characterized correctly, since philosophers too often limit their contours and imagine that such agreement and disagreement consist only in the extent to which people agree in the application of narrowly conceived moral concepts.
Crary's book is stimulating and worthwhile, particularly as it teases out the implications of this supposed assumption reasonably well. However, I worry about her overall argument. My worry is not so much that what she says is wrong, but that her presentation of it is less than clear-cut, and perhaps she has over-egged her claim. Before I discuss that, I make a quick comment about philosophical style and taste, if only as an advert for potential readers. Much of Crary's aim is to present us with a certain picture of what the moral life is and what we can say about it, and to contrast that with her opponent's picture. There is a lot of 'teasing out' of ideas but, for my tastes, not enough clear labelling of claims with justifications given explicitly and concisely, let alone any 'arguments by numbered propositions'. (Given Crary's philosophical claims about the moral life, one might expect this.) Hence, philosophers looking for clear-cut arguments might feel a little frustrated. Now, I happen to like Crary's picture -- particularly with regards to her claims about objectivity -- and I am certainly not immune to the charms of philosophy that attempts to persuade in the ways that Crary does. But, I confess to some frustration. This lack of clear-cut reasons for key claims feeds into my worrying train of thought.
As mentioned, I am content with her claim about objectivity and happy to move along from it, although others might be less so. But, another key claim disturbs me and leads to a train of questions to which we do not get direct, explicit answers. If we allow a wider conception of objectivity, why should we be forced to accept the liberal view that many different types of emotion and sensitivity affect our moral life aside from those emotions conceived to be narrowly, obviously moral? Why should we think that simply because what counts as a right (or a wrong, or a legitimate, or an interesting, etc.) use of a moral concept can be judged and justified only from inside the practice of evaluating, that therefore all sorts of emotion and sensibility have to be in play? Why not think instead that an 'internalist' picture of evaluative justifications could not be compatible with the thought that there are certain, distinct moral sorts of emotion and sensitivity, and distinct (and many) non-moral ones, and these inform their respective types of concept alone? So, there are two precise worries: (i) An acceptance of the wider conception of objectivity does not entail and probably does not imply Crary's liberal view of emotions and sensitivities; and (ii) we are given no distinct reason for the liberal view anyway. And I say this as one who agrees with Crary's thoughts about moral concepts.
There is an obvious complaint against this sort of challenge, at least as regards (ii). There is no reason in principle to rule out the alternative to Crary's claim. But, we should think about how, in fact, humans live and use their concepts. This is why Crary devotes such a large amount of her book to detailed discussions of various literary works. The moral lives of the characters, and what we readers can glean from them, depend a great deal on emotions, ways of speaking, and so on that are not straightforwardly moral.
But, then we hit the next stage in my worrying train of thought. Throughout this review I have talked of concepts that are 'obviously moral' or 'straightforwardly moral'. Yet, we get little if any sense from Crary of exactly what a moral concept is. Of course, one can imagine examples; I began this review with some. But, then, think again about the judgement I gave with the nuanced clauses. Is 'self-confidence' a moral concept? Is 'clumsiness'? Arguably not the latter, although it can have moral implications, but the former could well be. Why does this matter? Because in many of her discussions of literary works we get a criss-crossing of concepts, with no clear sense of which ones are moral and which ones are not. Take, for example, her quoting of Ryle on Austen. "Elizabeth Bennett combines a dangerous cocksureness in her assessments of people with a proper sense of her own worth. Jane is quite uncocksure. She is too diffident. She does not resent being put upon or even realize that she is being put upon …" (141; originally p. 278 of "Jane Austen and the Moralists", Collected Papers, vol. 1. [Bristol: Thoemmes Press, 1990]). Ryle continues in this vein, as does Crary throughout her book. Is 'dangerous cocksuredness' a moral concept? Is diffidence?
So, there is this criss-crossing of concepts. But, again, why does this failure to distinguish moral from non-moral concepts matter? After all, surely this blurring of the concepts is all to Crary's good since all of these concepts are important parts of our moral lives. Well, that is certainly true. But, in order for her key and oft-given claim -- 'moral judgements which employ obviously, straightforwardly moral concepts do not exhaust our moral thinking and moral life' -- to be judged as true, and interesting, it is necessary for her to set up a demarcation between moral and non-moral concepts in the first place. This distinction is necessary for her claim about the (narrowly) non-moral being part of the (widely conceived) moral life to seem interesting. But this distinction that she often refers to seems to count against, or at least get in the way of, what she really wants to say, namely that the moral life encompasses concepts such as diffidence and dangerous cocksuredness. Dressing up this claim with some distinction between the moral and the non-moral might cause confusion for we might think that there is some internal contradiction. This lack of clarity is compounded by the fact that she often talks of emotions and sensitivities feeding into our use of concepts, but does not go beyond that and spell out clearly the ways in which such emotions might do so. Again, we get literary examples -- which I am all in favour of, I should add -- with a few cases scattered around that might be suggestions of how this can happen. But there is no clear listing or definitive statement, say, of what she means by emotions and sensitivities affecting our concepts. Similarly, we get no detailed treatment of an emotion that might be clearly moral and one that might be clearly non-moral, and how the two might effect moral judgement and moral life.
An extra thought in this vein concerns the opposition. Perhaps I am being too harsh on Crary. Perhaps she feels the need to talk often about the distinction between the moral and the non-moral simply because so many people assume there to be such a distinction and forget about the non-moral when thinking about our moral lives, in the way set out in my summary. In fact, I am sure that this has a lot to do with it. But, then we can raise this question: Is Crary right that most philosophers concentrate exclusively on concepts that are obviously moral, that they think further that this exhausts the moral life, and that she is in some small minority? Again, aside from spelling out in very general terms what an opponent might claim, we get no detailed discussion of the people she has in her sights, at least nothing to the level of detail required for the importance of this claim (to my mind, at least). No contemporary philosopher or type of philosophy is discussed, and no figure from the past. Although I began this review with some stock phrase judgements, we might wonder exactly how often books and articles concentrate exclusively on such judgements. In recent years there has been a great deal of work published on various character traits and emotions and how they affect our concepts, our motivations, and our judgements. Just think of the work on virtue ethics, be it directed on Aristotle or otherwise. Just think of the 'rediscovering' of Kantian moral psychology in the last few decades, and how rich Kant's insights into the moral life are beyond the Groundwork. Just think of the interest shown in the relation between thin and thick concepts. It requires only quick reflection to see that the difference between 'obviously' moral concepts, such as compassion and selfishness, and supposed non-moral concepts such as diffidence or cocksuredness, is small or nonexistent, and some who have written about these concepts have made this point. Of course, there are plenty of writers who concentrate exclusively on moral concepts -- often enhanced with single quotation marks -- such as 'ought', 'duty', 'right', and 'good', and some might fall foul of Crary's worry. But, sometimes the concentration is designed simply to put forward important connections between other moral concepts (the relation between right and ought, say), and the fact that people do not also locate the use of such concepts within a rich social network or moral psychology need not mean they are necessarily falling foul of Crary's thoughts. Similarly, for example, consequentialists might often focus on what sort of thing should be maximized in order for an action to be deemed right. But, when tackled about the problems that a consequentialist mind-set might bring when considering one's relations with friends or family, say, I have often read nice little vignettes from consequentialists where they imagine consequentialist agents thinking through and feeling all sorts of things. Such little episodes seem to me to be in line with the sort of thing that Crary is insisting on, namely that what might count as right or good can be affected by all sorts of emotion and feeling that are not overtly moral. People who might seem to be the opposition are perfectly at home thinking and writing in line with Crary's thoughts.
So, in the absence of a detailed description and discussion of her opponents, the suspicion is that Crary has invented something of a bogey man in order to make her claim seem more interesting. Are there really that many philosophers who think that the moral life is exhausted by moral judgements and concepts narrowly conceived? And this invention is a shame, since, as I have said, her claim seems right. Our moral life does draw on all sorts of emotion and feeling and all sorts of concepts, and her literary illustrations show her claim to be right.
Readers of this review might gather that many of my critical points are of the sort 'I would have done this differently', and that is not such a fatal criticism. Also, I am clearly more optimistic about contemporary philosophy than Crary is, and perhaps I am wrong. Whatever the case, reading Crary's book has forced me to think a little more deeply about moral and non-moral concepts, and that is surely a good thing. I am sure I will be pulling it down from my shelves again before too long.


text:
Superstition and Science, 1450-1750 - Mystics, Sceptics, Truth-Seekers and Charlatans
Author(s): Derek Wilson
'A dazzling chronicle, a bracing challenge to modernity's smug assumptions' - Bryce Christensen, Booklist 'O what a world of profit and delight Of power, of honour and omnipotence Is promised to the studious artisan.' Christopher Marlowe, Dr Faustus Between the Renaissance and the Enlightenment, Europe changed out of all recognition. Particularly transformative was the ardent quest for knowledge and the astounding discoveries and inventions which resulted from it. The movement of blood round the body; the movement of the earth round the sun; the velocity of falling objects (and, indeed, why objects fall) - these and numerous other mysteries had been solved by scholars in earnest pursuit of scientia. This fascinating account of the profound changes undergone by Europe between the Renaissance and the Enlightenment will cover ground including folk religion and its pagan past; Catholicism and its saintly dogma; alchemy, astrology and natural philosophy; Islamic and Jewish traditions; and the discovery of new countries and cultures. By the mid-seventeenth century 'science mania' had set in; the quest for knowledge had become a pursuit of cultured gentlemen. In 1663 The Royal Society of London for Improving Natural Knowledge received its charter. Three years later the French Academy of Sciences was founded. Most other European capitals were not slow to follow suit. In 1725 we encounter the first use of the word 'science' meaning 'a branch of study concerned either with a connected body of demonstrated truths or with observed facts systematically classified'. Yet, it was only nine years since the last witch had been executed in Britain - a reminder that, although the relationship of people to their environment was changing profoundly, deep-rooted fears and attitudes remained strong.
Publisher : Little, Brown Book Group Limited
Imprint : Robinson
Author : Derek Wilson
Dewey classification : 509.40903


text:
Plorec-sur-Arguenon é uma comuna francesa na região administrativa da Bretanha, no departamento Côtes-d'Armor. Estende-se por uma área de 13,51 km².

Comunas de Côtes-d'Armor

redpajama_set_name: RedPajamaWikipedia


text:
DuPont (DD) Stock Tumbling on Planned Dow Merger
DuPont (DD) stock is falling after the company announced its plan to merge with Dow Chemical (DOW).
Amanda Schiavo
Dec 11, 2015 8:48 AM EST
NEW YORK (TheStreet) -- Shares of DuPont (DD) - Get DuPont de Nemours, Inc. Report are slumping by 5.53% to $70.43 in pre-market trading Friday morning after the chemical company and peer Dow Chemical (DOW) announced that they have agreed to merge in an all-stock deal valued at $130 billion.
Dow Chemical stock is also falling this morning, lower by 2.99% to $53.26 in pre-market trading.
The two chemical giants will form a combined company known as DowDuPont and are planning to eventually split that company into three publicly traded entities.
"This is an extraordinary opportunity to deliver long-term, sustainable shareholder value through the combination of two highly complementary global leaders and the creation of three strong, focused, industry-leading businesses," DuPont CEO Edward D. Breen said in a statement announcing the deal.
"Each of these businesses will be able to allocate capital more effectively, apply its powerful innovation more productively, and extend its value-added products and solutions to more customers worldwide," Breen continued.
The spinoff is expected to occur "as soon as feasible," which is anticipated to be around 18 to 24 months after the merger closes.
The closing is anticipated to take place in the second half of next year.
Separately, TheStreet Ratings objectively rated this stock according to its "risk-adjusted" total return prospect over a 12-month investment horizon. Not based on the news in any given day, the rating may differ from Jim Cramer's view or that of this articles's author. TheStreet Ratings has this to say about the recommendation:
We rate DU PONT (E I) DE NEMOURS as a Buy with a ratings score of B-. This is driven by several positive factors, which we believe should have a greater impact than any weaknesses, and should give investors a better performance opportunity than most stocks we cover. The company's strengths can be seen in multiple areas, such as its largely solid financial position with reasonable debt levels by most measures, notable return on equity, expanding profit margins and reasonable valuation levels. We feel its strengths outweigh the fact that the company has had sub par growth in net income.
Highlights from the analysis by TheStreet Ratings Team goes as follows:
The debt-to-equity ratio is somewhat low, currently at 0.90, and is less than that of the industry average, implying that there has been a relatively successful effort in the management of debt levels. Along with the favorable debt-to-equity ratio, the company maintains an adequate quick ratio of 1.24, which illustrates the ability to avoid short-term cash problems.
Current return on equity exceeded its ROE from the same quarter one year prior. This is a clear sign of strength within the company. In comparison to other companies in the Chemicals industry and the overall market on the basis of return on equity, DU PONT (E I) DE NEMOURS has underperformed in comparison with the industry average, but has greatly exceeded that of the S&P 500.
38.33% is the gross profit margin for DU PONT (E I) DE NEMOURS which we consider to be strong. Regardless of DD's high profit margin, it has managed to decrease from the same period last year. Despite the mixed results of the gross profit margin, the net profit margin of 4.79% trails the industry average.
Regardless of the drop in revenue, the company managed to outperform against the industry average of 18.5%. Since the same quarter one year prior, revenues fell by 17.5%. Weakness in the company's revenue seems to have hurt the bottom line, decreasing earnings per share.
You can view the full analysis from the report here: DD


Work Integrated Learning Placement (WILP) opportunities are an important component of employee engagement and skills development in a variety of Higher Education (HE) learning and teaching environments. This procedure and its associated documents are necessary to clearly define the University's (FedUni) overarching approach in the delivery and monitoring of WILP programs.
This procedure relates to all students undertaking WILP requirements as part of their HE study program and encompasses any arrangement where students undertake learning in a workplace outside of the university. WILP requirements include, clinical placement, professional experience, internships and industry placement undertaken as a requirement of a program and/or course of study.
Work Integrated Learning Placement (WILP) An assessable component of a program, designed to provide students with the opportunity, and the means, to apply skills and knowledge obtained through the study of their qualification in a supervised and authentic environment.
Structured Work-based Learning (SWL) On-the-job training during which a student is expected to master a set of skills or competencies, related to a course accredited by Tertiary Education Quality and Standards Agency (TEQSA).
Work Integrated Learning Placement Agreement (WIL Placement Agreement) A written agreement between FedUni and an appropriate employer and a student. It includes work observation and other forms of workplace learning. This also includes Clinical Placement, Professional Experience and Industry Placement.
Placement provider (PP) Workplace providing work integrated learning practical placement learning environment to FedUni student.
Placement Provider Supervisor (PPS) The key contact person employed by the Placement Provider organisation who will act or organise appropriate supervision for the University student during the WILP arrangement.
Work Integrated Learning / Practical Placement Mentor (WILP Mentor) An external staff member purposely employed by the University, to act as a facilitator between the FedUni WILP Coordinator, the Placement Provider Supervisor and the student in the WILP arrangement.
WILP Uni-Administrative Officer (FedUni-Administrative Officer) A Federation University Australia staff member who is responsible for the coordination of students in WILP arrangements within a FedUni approved program or course and specifically in that discipline and/or school. This may be a designated Program coordinator or Placement coordinator.
WILP Uni-Coordinator (FedUni-Coordinator) A Federation University Australia academic staff member who is responsible for the academic progress and assessment of students in WILP arrangements particular to a FedUni approved program or course and specifically in that discipline and/or school. This may be a designated Placement Coordinator / Course Coordinator / Program coordinator.
The following steps must be completed in order to comply with this procedure.
Course Finder information must make reference to any program or discipline specific inherent requirements including the need for students to undergo Police and/or Working With Children Checks.
The Program Structure and Course Description(s) must include compulsory WILP hours as part of the qualification requirements.
Liaise with Occupational Health and Safety Unit.
If Placement Provider is an accredited body and/or regularly undergoes independent accreditation then a pre-placement risk assessment is not necessary. A copy of the accreditation should be obtained and kept in Placement Provider register.
5. Identify required insurance policies. Confirm that FedUni has the required policies and that they are current. Head of School / Program Coordinator / FedUni Coordinator Contact Finance.
6. Ensuring students receive Occupational Health and Safety training prior to commencement of placement. Head of School / FedUni Coordinator Included as part of student induction process for WIL placements by Placement Provider and uploaded electronically on the University Approved student placement system.
discuss the information that will be provided to the host employer about the student's disability and who should provide it.
If the Placement Provider wishes to use an alternative format of agreement to the Single Placement Agreement or Organisation Placement Agreement templates, a request for legal services will need to be sought from the Legal Office to prepare an overarching placement agreement.
Start and finish times should be verified by Placement provider supervisor. The University must hold a copy of attendance record for audit purposes. For international students refer to: Monitoring Course Progression Procedure.
The agreement should take the form of the Single Agreement, or separate Student Agreement and Organisation Agreement. For overseas placements the Overseas Agreement should be used.
In the case of Placement Providers providing ongoing, placements for multiple disciplines and students across the University an overarching agreement should be in place.
Copies of any agreements, contracts, risk assessment or accreditation documents must be uploaded electronically on the University Approved student placement system to allow access to this information by all staff involved in arranging WIL placements.
Students are responsible for obtaining and paying for the cost of the Police Check and/or the Working with Children Check and immunisation checks or other program, discipline or placement specific inherent requirements.
Students must upload all evidence of agreements, required forms and checks to the University Approved student placement system.
The University will check to ensure that the student has obtained the necessary clearance and is under no obligation to provide a WIL placement to a student who has not completed the required agreements, forms or not obtained a Police Check and/or Working with Children Check immunisation checks or other program or discipline specific inherent requirements by the date specified.
Within 24 hours, the placement provider is required to notify the University of any incident resulting in injury to the student whilst on placement.
Upon notification of the injury of a student whilst on placement, the FedUni Coordinator and/or Manager, Risk, Health and Safety will, where applicable, liaise with the placement provider.
1. Monitoring student progress on WIL placement according to Program / Course requirements.
Refer to any Program / Course specific guidelines.
Record any student contact or discussions regarding placement electronically on the University Approved student placement system to allow access to this information by all staff responsible for monitoring student progress.
2. Undertaking tasks associated with course learning outcomes and assessments as required.
Assessment is the responsibility of the University. Ensure that any assessment undertaken during WIL placement is assessed by a University assessor. Placement supervisors must not assess students on behalf of the University unless they have the required qualifications.
Record the results of assessments and learning outcomes completed on placement. Copies must be filed either electronically on the University Approved student placement system or in hardcopy centrally within the School to allow access to this information by all staff responsible for monitoring student progress.
In consultation with Legal Office and Risk Health and Safety.
Inform Dean of School of potential interstate or international placements prior to placement commencing.
Placement Provider is required by contract to notify university of non-attendance of international students.
Where such non-attendance is notified the Head of School/Program Coordinator must be informed.
Federation University Australia Academic Board has responsibility of the WILP Procedure. The specific responsibilities are identified in the action sections of this procedure.


This thread is about the ucsvm add-in that estimates stochastic volatility in mean model with time varying parameters.
The add-in computes average IRF for response variable, conditional on being in the upper or lower regime. The identification is recursive. So order of variables is matter.
The sample size is very short. Try to reduce the lag number. For example reduce the lag to 2.


A. You are correct on the church's teaching. Although the Vatican in 1963 lifted the ban on cremation, the church specifies that cremated remains are to be treated with the same reverence as the body of a deceased person. This means that the cremains are to be placed in a worthy vessel and, following the religious services, to be buried or entombed in consecrated ground.
A. Surprisingly, church law on disposing of blessed objects is not very specific. Number 1171 of the Code of Canon Law simply says that "sacred objects, which are designated for divine worship by dedication or blessing, are to be treated reverently" and are not to be used in inappropriate or profane ways.
Church custom over the years has extended that reverence to all articles blessed for devotion, even if not used in a liturgical context. The general practice when disposing of blessed articles such as rosaries, statues or medals has been to burn them or to bury them. However, if an article has been substantially damaged and can no longer be used for the religious purpose intended, it is commonly thought to have lost its blessing.
Since your ring was blessed as a sign of the lasting love between you and your first wife, I would argue that it no longer serves its original religious purpose. (The priest at a wedding ceremony prays that "these rings be a symbol of true faith in each other and always remind them of their love.") My view is that you are free to do what you want with the ring — perhaps donate it to a charity.