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Kuzu Inou【Ondo wo Kaeru Mono】 no Ore ga Musou suru made Chapter 62
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62 A certain spring school festival
「Come, I've brought it!!! How is it!! It's not only a lot, but……all these are the highest grade beansprouts!!」
This man appeared in front of us with a trailer loaded with tons of beansprouts towed by bicycle, and we avoided meeting his gaze.
Dating back to about a week before…
Right after the enrolment, we, the first years of Teihen High School were really busy with events such as the School War and hot spring trip, but the yearly custom's spring school festival, aka 「Spring Fes」 was held at the same time every year, so we were gathered for a class meeting to decide what to do.
And so, we, 1-A, decided to make yakisoba, but when talking about who's making it, this idiot…
「You who can only heat things, you probably can at least heat up an iron plate, right? If you don't use it here, then when are you going to? If you let go of this chance, I think you won't have any place to flourish anymore, you know?」
He started to say that.
When I heard those words, I felt that veins started to show up on forehead, so I started to abuse this beansprout bastard elegantly.
「Then I bet you can just use your useless Talent to produce a lot of ingredients, right?」
I said that kindly and gentlemanly.
As a result, this heap of beansprouts in front of us.
「Too many……can it finish by today?」
I did tell him to produce with all his might, but it seemed that this idiot doesn't know the thing called limits as he continued to cultivate beansprouts the whole night in the garage at his house.
Although it's already late, isn't it much easier and efficient to just cultivate it at school…? Well, I was the one who tell him to cultivate it and bring it here, though.
That's why, there's a slight change to what we are doing. From a 「yakisoba stall」 to a 「healthy yakisoba with extra heap of beansprouts stall」.
Juuuuuuuuuu……
After finishing various preparations with everyone, the yakisoba stall opened without any problems.
Today's school festival is like an event of interacting with the people outside the school, and the main targets are other Talent Schools and the residents around.
An ID check will be performed to every visitor just in case for the sake of confirmation, but it's a rather open event for a Talent school as we are allowing parents and outsiders to enter.
At present, I'm watching the stall.
I heat up the iron plate with my perfect temperature control, and grill the large amount of noodles and beansprouts.
Originally, that beansprout bastard should be helping me, but at the dawn after his sleepless night, he started to say something like 「I can see beansprouts growing in my eyes」, so we let him rest in the classroom.
「What's that…? Yakisoba? I can't see the noodles because of the beansprouts, though」
「Healthy yakisoba? …It's mostly beansprouts, isn't it?」
「The ingredients stock is amazing……what is that white mountain?」
「It does smells good, though…」
Captivated by the curiosity, there are many customers who bought it along the way, and the review of the yakisoba was quite high.
Well, that's no wonder. This yakisoba with large serving of beansprouts looks as if it's a lot, but surprisingly, it can be eaten rather quickly.
And because the noodles are seasoned slightly strong, the water of the beansprouts balances it, making it a taste that you can't get tired of it. This is under the supervision of the wannabe-chef, Yamaoka Jouji. As expected of him. During the discussion of the seasoning, the self-proclaimed gourmet, Umihara Yuu said 「It's impossible to not have back fat!」 and he brought a large amount of the back fats of pig from somewhere, but that unexpectedly took part in the taste.
While insisting it's a yakisoba, the main ingredient is in fact, this beansprouts which are basically free (There's no such thing like that guy's labor compensation), so we can use the inventory abundantly.
Besides, thanks to Ueki's mysterious hard work of 「being obsessed in the water this time」, I feel that this is remarkably better than the usual one sold in the supermarket.
And after the production, he said 「it's bad to expose it to the sun even if it's a little」, so he brought it to the school early in the morning while it's still dark, covered it, and managed the temperature until we came.
……Early in the morning? How did he get through the school gate? Did he break it??
The passion towards the ingredients……you're really going towards the path of a manufacturer.
At any rate, the popularity is superb. The sales is very promising.
「Serizawa-kun, thanks for watching the stall! How's the sales?」
Just like that, when I thought that someone is going to replace me soon as noon approaches.
The person who called me out is the possessor of the Talent, 【Healer】, and also the cheerful existence in the class. Lively-type soothing beautiful girl, Kagura-san.
「Ah, very promising! It's quite popular!」
I report the sales in this one hour briefly for now. At this rate, that heap of beansprouts might get consumed completely.
「You did it on your own? It's almost time to change. We can change with you anytime, you know?」
Akai Tsubasa said that with his hands in his pockets. Because he possess the Talent that can heat up the iron plate just like me, he's in charge of grilling.
「Is that so? Then, I'll entrust it to you」
I said that, and handed the spatula and also the blue and red happi coat to Akai. That's right, these two are the next 「griller」 and 「seller」 pair.
Normally, I would cast an appropriate curse incantation (spell), 『You Normies (EXPLOSION)』, but I don't feel like that now.
「Ah, Serizawa-kun! Did your turn finish?」
Because I have……a mysterious relationship with Kirishima-san which is more than being rivals but less than being lovers.
No, I'm sure that we are already 「lovers」……I consider us so. After all, we did such a thing in the hut at night.
「Ah, Akai came to take over earlier than usual」
「I see……Mizusawa-senpai said that there is something she wants to tell you」
But after that, we went down the hill normally and separated normally. The next morning, we greeted normally, attended the class normally and returned home normally.
In fact, nothing has changed since then. Just as if I'm misunderstanding.
No, I don't think so. But it's not like I confirmed it with her. But what should I do if I confirmed that it was just my misunderstanding…? No, I'm not scared at all. Not at all. Seriously. Not even in the slightest.
No, there might be a little of that, but……i-it's not like I'm rushing it or anything, okay?
It's a bother if you confuse me with those impatient virgins.
That's why, if there's a chance, I thought of trying to ask her, but……
「Mizusawa-senpai? Then, I'll go and see her. She's at the student council room, right?」
「Un, I think she is still there. Then, let's go. I have something to do too. Because Mizusawa-senpai will go out soon, we might need to go there fast」
Missing the chance to confirm it, and it reaches to this point.
……Well, fine. For now, let's just take this feeling as 「rivals」. I don't care about the title of our relationship. Just being able to talk with Kirishima-san like this, is a blessing to me.
In the end, we're in a very mysterious relationship……
She holds my hand with her thin fingers, and pulls me.
This…doesn't it looks like that? Isn't it? It's not like the so-called holding hands like lovers but……shit, if that pervert saw us like this……!
I look around with such feeling while walking, but unexpectedly, no one is paying attention to us.
W-Well, I guess it's nothing strange, huh……? Thinking that, when I was turning my head towards Kirishima-san……
Suddenly, I felt that my eyes met with the expressionless man just like a noh mask.
Teihen High School's 「Spring Fes」 reached until the afternoon peacefully.
When the time approaches 1 o'clock, suddenly, the sound of an explosion can be heard within the school.
Due to the close sound of explosion, people screamed.
When I look at that direction, approximately 30 evil looking men…entered from the destroyed school gate in groups.
7 Responses to Kuzu Inou【Ondo wo Kaeru Mono】 no Ore ga Musou suru made Chapter 62
Stralvan says:
Uh, author-san, this chapter situation changing too sudden and unexpectedly right!?
Nematoda says:
from lightheated story in the beginning of the chapter… then become heavy at the end…
Author is so ruthless…
Cutie Meow says:
TheBuldog says:
Reisama says:
Suddenly fire nation attack
thediabolicalgenius says:
The author really likes the switch from light-hearted fluff to deadly serious. They use it quite a lot. I don't hate that kind of plot device though.


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Victoria Palace Theatre
Victoria Street, London, SW1E 5EA
Victoria Palace Theatre tickets
Built in 1911 at the height of music hall production, the Victoria Palace has a traditional theatre layout. Like most theatres, the Victoria Palace London has a lavishly decorated interior with marble features and traditional red velvet seating. With 1,550 seats spread over three levels; the Stalls, Dress Circle and Grand Circle, the Victoria Palace is of a moderate to large size and feels relatively vast from the inside. Unlike some other theatres built during the same era, the Victoria Palace does not have any unsightly pillars creating viewing restrictions. Generally speaking the majority of seats in the theatre have a good view of the stage and are appropriately priced dependent on their location. The only seats that should be approached with some caution are seats in row A of the Stalls and Grand Circle, as well as Grand Circle side seats (although these seats are heavily discounted) Between 2016-17, the theatre went under a multi-million pound renovation, which included changing the style and position of the seating. Views are still great across all the seats, although the grand circle is still severely raked with minimal legroom.
Victoria Palace Theatre Stalls Dress Circle Grand Circle
£20 The entirety of rows A and B as well as far side seats (not centre seats) in rows C-E are priced just under £20 Seats in row A and some in row B may have a restricted view of due to the height of the stage above the seating area, although they are significantly less expensive than those a few rows back. The best Stalls seats at this price tend to be in rows C-D around seats 3-8 and 22-27 as these will offer a fairly clear and comfortable view of the stage. None available Side seats, numbers 1-4 and 43-46 in row A along with the entirety of row K (back row) are within the lower part of the price category. The side seats and those in row A will offer side angle views of the show, which could be a tad restricted. Those at the back of the Grand Circle will not have any viewing restrictions but may feel a bit far away from the stage.Seats toward the top of this price category can be found in the entirety of rows A and J as well as in side seats in row B and Grand Circle boxes. Seats in row A and row B may have a restricted view due to the placement of the safety handrail. Boxes may have a slight side angle view, as well as feeling fairly high up. Row J will have a clear view of the stage but may feel quite distant from the action.
£37.50 Cheaper seats within this price category can be found in the far side seats of rows F-H and seats 35-36 in row J. These seats are close enough to the stage for the performance to feel intimate, however they may have slight side angle views. None available in the main seating area, however seats in the alcove's of this level cost just under £50. Other than the seats listed in the above price category, the majority of seats within this level are within the bottom section of this price category. Seats will have a clear, unobstructed view of the stage, however they may feel fairly high up.The best seats in this price category within the level are around the centre of rows D-G.
£57.50 -£75.00 Other than the restricted view seats listed above and the premium seats listed below, the majority of Stalls seats are within this price category. The best seats in this level at this price tend to be Around seats 10-12 and 25-29 in rows G-K as well as seats 11- 26 in row L. These seats surround the premium seats and offer almost the same view. Other than the alcove seats listed above and the premium seats listed below, the majority of the Dress Circle seats are within this price category. seats 12-23 in rows C and D and seats 12-13 and 22-23 in row B are the bets value for money within the section as these seats surround the premium seats and offer similar views. None available
£100 - £250 Premium Seats 13- 24 in rows G-J and seats 17-20 in row K are considered to be premium seats and will have the best view of the stage within the level. Seats 12-23 in row A and seats 14-21 in row B are considered to be premium seats and will offer the best view of the stage within the level. None available

redpajama_set_name: RedPajamaCommonCrawl


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The History of Leggings That Blows Your Mind
Leggings have become more popular throughout the passing decades, and it's easy to understand why. They're not just easy to wear, but they're also snug and eye-catching. That's why this skin-tight clothing staple is rising all over the world.
But did you know that leggings had a long and extensive history? Despite its simple look, it has an intriguing past that can be traced to the 1400s, an era of swords and shields. Interesting, isn't it? And that's just the start.
Leggings have a lot more history behind them that many hardly know about. So let's walk you through each era and take an in-depth look at the history of leggings.
Historical Facts
The leggings' first appearance was in Scotland during the 14th century, and surprisingly, they were mainly worn by men. Initially intended as military garb, leggings were primarily made with leather or chainmail. That is also why leggings had two widely separate, hip-high, and boot-like apparatuses.
In addition, cowboys wore buckskin leggings to protect their pants from tearing during horse rides. Native Americans and Long Hunters also wore leggings for similar purposes. This is why Leggings were a predominantly male fashion, and their primary use was for protection and warmth.
The modern evolution of leggings started in the 1950s when the famed Audrey Hepburn kickstarted the rise of capri pants and her iconic cat-eye sunglasses. Hepburn donned the slim and waist-defining black pants for her 1954 Sabrina, which incited a hot trend among women throughout the decade. Although its stretchy flexibility wasn't as convenient as today's leggings, it was a notable improvement from the popular wide-leg styles in the 1940s.
In 1958, Joseph Shivers invented Lycra (aka spandex), followed by the first Lycra leggings in 1959, which the fashion industry embraced because of its slim and stretchy qualities. These leggings were then paired with the decade's mod shift dresses by designers including Mary Quant and Emilio Pucci working behind the scenes.
Leggings became a full-blown trend in this decade when big celebrities like Olivia Newton-John (with her iconic final costume in Grease), Debbie Harry, and the popular Charlie's Angels TV series stars took the leggings onto the television. They exhibited a Studio 54 aesthetic that was quite distinct from the styles of the past two decades. This iteration closely resembled shiny and colorful high-waisted disco pants.
The uncontainable uprising of the legging craze in the 1970s was carried over into the 1980s when Madonna wore them as one of her concert's wardrobe staples. She would frequently wear them on stage and perform her iconic songs with them. She also featured the leggings in her "Like a Virgin" music video.
The 1800s aerobics craze also fueled the fire when Jane Fonda wore a leotard over leggings, soon becoming her signature look. Apart from that, this decade also popularized the bold and colorful capri-length leggings trend and has become one of the defining looks of the 80s.
However, the trend began to cool down in the '90s. Leggings were out of scene despite the iconic Cindy Crawford Life magazine and jersey-knit versions from Saved by the Bell. That's because baggier pants were the trend for the decade. The biggest takeaway from the decade was probably the now-polarizing stirrup leggings (which returned in 2016).
After silently fading from relevance for a few years, leggings returned with style as the decade's hottest hit. Girls started donning Capri versions of the trend again. With Nicole Richie, the Olsen twins, Paris Hilton, and Lindsay Lohan on board came the revival of leggings. At the end of the decade, full-length liquid leggings mostly replaced pants at this point.
Around 2015, social media stars like Bella Hadid, Kendall Jenner, Hailey Baldwin, and Gigi Hadid reintroduced leggings into women's closets. Whether you like it or not, these athleisure-loving celebrities normalized wearing leggings as pants.
The most popular iterations of the trend this year were high-waisted and streetwear-inspired looks along with leather leggings. Styles that made the fashion wear become a casual get-up. As long as the fashion world keeps embracing comfort with a minimalistic aesthetic, we are not likely to see the centuries-old trend fading.
Now leggings have over 70 different brands, producing a total of 8,574 styles, such as stirrup leggings, footed leggings, and ankle-length or mid-calf length leggings.
Moreover, there are leggings for every scenario now. Do you want to exercise? You have the workout leggings for you. It's made from synthetic performance fabrics like polyester and nylon. Do you want to wear them as pants? There are leggings made from Ponte or faux leather, perfect for the workplace or a casual hangout.
Leggings have become a versatile outfit that everyone can wear now. That's how far it has progressed throughout history, and we're not getting any clues of its stopping anytime soon.
As the influencers who started legging trends continue to further dominate social media platforms, we can even see this clothing line in movies and TV series. It generally appears more in pop culture, and we love it.
The key trend leggings can offer this year is the black leggings. The level of versatility that it provides is on a whole new level. It suits any color of tops and any type of footwear. Furthermore, you can wear it on almost any occasion. It has unmatched versatility in comparison to other leggings right now.
That's all for the history of your favorite leggings. Interesting, isn't it? It is for sure you're pumped up to wear one right now. The good news for you is that FASHIONLINE is emerging as the best leggings distributor in the industry. With more than 15 years of experience, it makes sure to offer the best quality of bulk leggings you can have in the market.
FASHIONLINE has been a solid distributor for various brands now, and it's not stopping anytime soon. Be the trendsetter of the fashion scene with the help of FASHIONLINE. Contact today for the best leggings experience.
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Commonly referred to as an individual's emotional or psychological well-being, mental health is a term that has no one official definition according to the World Health Organization. Most experts believe that mental health is measured by an individual's ability to remain capable and competent, handling normal levels of stress, maintaining happy and healthy relationships and his/her ability to lead an independent life. Another sign of mental health is being able to quickly recover from difficult situations, which may include both physical and emotional.
While individuals who have been diagnosed with a mental illness often require a greater need for mental health promotion, even those who have not been diagnosed still need a certain amount of the same. The truth is that everyone has mental health needs, including those who have no illness. Mental health promotion may be given in the way of encouragement, love, support, understanding, etc.
If an individual believes that he/she is suffering from a mental health illness, a psychiatrist should be consulted for a professional evaluation. In some cases, a regular discussion with a professional may be enough for individuals to overcome their issues and return to a positive mental health status. For others, medication may be required or even hospitalization in extreme cases. With the proper treatment, many individuals who suffer from some type of mental health illness can often live a happy and healthy lifestyle. The first part of overcoming any type of illness is to recognize the problem early, whether that recognition comes directly from the sufferer or from those closest to him/her.
It is important to realize the difference between a positive mental health status and one that may be indicative of an illness. Every life has stressful situations, tears that must be shed and boundaries that must be overcome. However, the best way to measure mental health is by assessing an individual's ability to handle these situations appropriately. There is no one universal symptom or sign of a mental health illness, but is best described as an individual's inability to operate or deal with everyday situations in a healthy and productive manner.
The information in this article is to be used for informational purposes only. It should not be used in place of, or in conjunction with, professional medical advice. Anyone with questions regarding mental health must consult their physician for further information, a diagnosis and/or treatment regimen if one is deemed necessary.
The first most important step you should exactly do is to giggle by yourself and swear to god as you will be happy every-time you try to lose your weight. Most people will be serious with any weight loss methods that it makes negative attitude or emotion at the begining. Be happy is the first step you have to do!
Open your mind to accept to any weight gain reason. Don't give up! Be honest with yourself, when you begin your weight loss. To keep off the weight in the future, you may have to change your lifestyle to stay slim.
Spend your time to learn and understand about weight loss and any methods of how to lose weight. It will help you to find the best way for you easier. Many people who diet believe that if they eat more than their body needs, they gain weight. If they eat less than their body needs, they lose weight. Basically that's true. But, this is one common mistake that they don't really understand there are still have other factors which its be involved as they trying to lose weight, especailly, hidden calories and how much is provided by the food they are eating.
It's most important thing, you should exactly do is to do not skip your meals forever. Remember the metabolism of your body will increasing and working properly by eating. Every-time you do skipping your meals, your body has to slow down the metabolism to attempt to conserve calories during that period. It makes you feel not so good and slicks you into a nightmare completely!
Before you start an exercise or weight loss program, you must to consult your doctor.
Good health achievement is a first point you should focus when you start to lose your weight.
Focus, monitor, and increase your activities to help your weight loss.
Fast walking is the easiest way, best method (can be done anywhere) you should add it into your weight loss program to hasten the burning of excess fat.
Do not stay with your weight loss program alone. Try to find your weight loss partner, friend, or club for motivation.
Learn about nutrition and find out the good healthy recipes, then try to test and grab any recipes that you think they are properly for you. This begins for your good cooking and healthy eating.
Avoid having one or two big meals. Let's get two times of snacks and three mini meals everyday instead of.
Learn how to make your favorite recipes without sugar, fats, and salt.
Instead of salt to taste, do use spices and herbs for your favorite foods.
When you are cooking with fry or stir method, do avoid using oil.
Avoid to adding the yolks into your foods as much as possible you can.
Use non-fat yogurt instead of cream.
Sometime you try to eat low fat mayonnaise but you realize that it's not be good taste for you, let's try to combines 1 teaspoon (or little more… depends on your tastable tongue) of satay sauce or dijon mustard with it. Your dream will come true!
During meals, you should to chew each bite and eat slowly. Slow eating will kill your appetite.
In the morning, let's try to drink hot or warm water to speed up your metabolism and burn calories out.
Try to drink 8 glasses of water per day. It's very important for your health and also helps to loss weight. Please remind that large quantities of water is required for an active metabolism which weight loss need.
Look for a weight loss "buddy," club, or support mates. This will motivate you to stay and enjoy your weight loss program.
Though it's hard at first, try not eating 3 hours or more before bedtime.
Make pasta a fast food choice – preparing a pasta meal or salad will only take 10-12 minutes.
Chilli helps to speed up metabolism – even the milder varieties.
Substitute baking soda, baking powder, MSG and soya sauce in cooking.
Remove fat by dropping ice cubes into the baking tray. Fat will stick to the ice cubes.
Slowly eat and chew each bite during meals as this would decrease one's appetite.
Complete three small meals and two snacks everyday instead of one or two huge meals.
Use chicken stock when stir-frying. This will cut down on hidden fat.


The traditions of this holiday, full of genuine humanity and kindness, high moral ideals, are being opened and rethought in our times.
Do you know who painted the first Christmas card? And why does Christmas ring bells, and what do the candles symbolize?
The Christmas wreath is of Lutheran origin. It is an evergreen wreath with four candles. The first candle is lit on Sunday four weeks before Christmas as a symbol of light that will come into the world with the birth of Christ. Every next Sunday they light one more candle. On the last Sunday before Christmas, all four candles are lit to illuminate the place where the wreath is located (it may be a church altar or a dining table).
The bell ringing in Christmas time came to us from the winter pagan holidays. When the Earth was cold, it was believed that the sun had died, and the evil spirit was very strong. To drive out the evil spirit, you had to make a lot of noise. Until now, the Christmas tradition has continued to ring bells, singing and screaming at the same time. On Christmas Eve in the churches around the world, there is a bell ringing. But not for the expulsion of evil spirits. Thus, people welcome the coming of Christ. In Scandinavia, the bell ringing means the end of work and the beginning of the holiday, in England - funeral ringing at the funeral of the devil and the greeting of Christ.
A Christmas tree for birds is a Scandinavian tradition. People try to share their joy on the Christmas holiday with other living beings. Directly in Christmas or on the eve of the birds bear seeds or crumbs of bread. It is a sign that the new year will be successful. A holiday on the street adds fun to the holiday in the house.
Light was an important part of the winter pagan holidays. With the help of candles and fires cast out the forces of darkness and cold. Wax candles were distributed to the Romans in the festival of Saturnalia. In Christianity, candles are considered an additional symbol of the significance of Jesus as the Light of the World. In Victorian England traders each year gave their regular customers a candle.
In many countries, Christmas candles mean the victory of light over darkness. Candles on paradise Tree gave birth to all of us, our favorite Christmas tree.
In 1843, the Englishman Horsley drew the first Christmas card. 1000 copies Postcards were sold that year in London.
The publisher Louis Prang popularized Christmas cards in 1875. He spent in America A national contest for the best design of a Christmas card. Improvement Postal system and cheapening of postal items allowed the dispatch of Christmas Postcards to a lot of friends all over the world.
This tradition has many roots. Saint Nicholas is traditionally considered the giver of gifts. In Rome there was a tradition to give gifts to children for the Saturnalia holiday. As a donator gifts can act himself, Jesus, Santa Claus, Befana (Italian Santa Claus female), Christmas gnomes, various saints. According to the old Finnish Traditions, gifts scattered at home invisible man.
Before the advent of the Christmas tree in the mid-nineteenth century, England was so Called "a branch of kisses." It had the shape of a double ring adorned with garlands, Green branches, holly, ivy, apples, pears, lighted candles and mistletoe. If The girl happened to be under this branch, she was allowed to kiss.
It is believed that the first unadorned Christmas trees appeared in Germany in the VIII century. The first mention of spruce is connected with the monk by Saint Boniface. Boniface read to the druids a sermon about Christmas. To convince the idolaters that the oak is not a sacred and inviolable tree, he cut down one of the oaks. When the felled oak fell, he threw all the trees on his way, except the young fir. Boniface presented the survival of spruce As a miracle and exclaimed: "Let this tree be the tree of Christ!".
Later Christmas in Germany was marked by the planting of young firs. In a German source, dated 1561, it is said that Christmas can be no more than one Christmas tree per house.
In the XVII century, the Christmas tree was already a common attribute of Christmas in Germany and the Scandinavian countries. At that time, the Christmas tree was decorated with figures and flowers carved from colored paper, apples, waffles, gilded things, sugar. The tradition of decorating a Christmas tree is connected with a tree of paradise, hung with apples.
The success of the Christmas tree in the Protestant countries was even greater thanks to the legend that Martin Luther himself was the first to invent candles on a Christmas tree. One evening he went home, writing a sermon. The brilliance of the stars shimmering among the firs inspired him with reverence.
To demonstrate this magnificent picture of the family, he put the Christmas tree in the main room, strengthened candles on its branches and lit them.
Its popularity in England Christmas tree owes to the German prince Albert, Queen Victoria's husband.
In the 17th century, German immigrants brought the Christmas tree tradition to America.
The first street Christmas trees with electric garlands appeared in Finland in 1906.
Earlier during the Christmas celebration, one of the main dangers were Christmas candles. Therefore, in the living rooms kept buckets of water in case of fire. The idea to use electric garlands instead of wax candles belongs to the English telephonist Ralph Morris. By that time, the strings of electric bulbs had already been used in telephone switchboards, Morris had just come to mind to hang them on a Christmas tree.
The first Christmas trees were decorated with fresh flowers and fruits. Later, sweets, nuts and other food were added. Then - Christmas candles. Such a load was, of course, too heavy for a tree. German glass blowers began to produce hollow glass Christmas toys to replace fruits and other heavy jewelry.
The first guest is the first person who comes into the house and "lets in" Christmas (in some countries this tradition does not apply to Christmas, but to the New Year). Sometimes such a person is even specially hired to do everything properly, since there is a superstition connected with the first guest. The first guest should keep a spruce twig in his hand. He enters the front door, goes through the house and exits through the back door. He is presented with bread and salt or some small gift as a symbol of hospitality. The first guest must necessarily be a dark-haired man. If the first guest is a woman - it's a bad omen.


text:
PEOPLE v. PICKETT
Supreme Court, Appellate Division, First Department, New York.
The PEOPLE of the State of New York, Respondent, v. Earl PICKETT, Defendant-Appellant.
Decided: January 21, 1997
Before WALLACH, J.P., and NARDELLI, TOM, MAZZARELLI and ANDRIAS, JJ. Gregory H. Mansfield, for Respondent. Rosemary Herbert, for Defendant-Appellant.
Judgment, Supreme Court, New York County (Alfred Kleiman, J.), rendered September 20, 1984, convicting defendant, after a nonjury trial, of robbery in the first degree and fraudulent accosting, and sentencing him, as a second violent felony offender, to concurrent prison terms of 7 1/2 to 15 years and 1 year, and order, same court and Justice, entered on or about October 25, 1993, which denied defendant's motion pursuant to CPL 440.10 to vacate the above judgment of conviction, unanimously affirmed.
Defendant's motion to vacate judgment, alleging a failure to produce Rosario material, was properly denied because defendant did not meet his burden of proving by a preponderance of the evidence that the People failed to make the typed complaint available to him at trial (see, People v. Pujols, 194 A.D.2d 505, 599 N.Y.S.2d 568, lv. denied 82 N.Y.2d 724, 602 N.Y.S.2d 822, 622 N.E.2d 323). We find no error in the court's conduct of the hearing, in light of all the circumstances, including defendant's limited offers of proof and his moving papers.
The court appropriately punished a prosecution witness for contempt because of the witness's patently feigned lack of memory, whereupon the witness abandoned that position and thereupon completed his testimony inculpating defendant. The court's actions did not cause any unlawful prejudice to defendant (compare, People v. Stanley, 133 A.D.2d 654, 655, 519 N.Y.S.2d 761, lv. denied, 70 N.Y.2d 938, 524 N.Y.S.2d 689, 519 N.E.2d 635, with People v. Ramos, 63 A.D.2d 1009, 406 N.Y.S.2d 123). The court did nothing to prevent defendant from presenting evidence in his own behalf (cf., People v. Lee, 58 N.Y.2d 773, 775, 459 N.Y.S.2d 19, 445 N.E.2d 195), and did nothing to procure specific testimony favorable to the prosecution. We have considered defendant's remaining arguments and find them to be without merit.
MEMORANDUM DECISION.


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text:
Gators work to bounce back from blowout loss at Florida State
By Edgar Thompson
UF coach Mile White said the Gators' stunning 81-60 collapse at Florida State caught him off guard and gave his team plenty to work on.
Gainesville — UF coach Mike White is not going to overreact to one game, not matter how bad it was.
The key now is how his Gators respond to Tuesday night's 81-60 loss at Florida State, a final score not nearly indicative of the one-sided beating delivered by the Seminoles.
"I was shocked," White said Thursday.
The Gators' collapse certainly was a reality check for a team ranked on the fringe of the preseason top 25.
White is taking the long view. The contest was the first of a 31-game, four-month regular season.
Next up is a visit from Charleston Southern at 7 p.m. Friday.
"I'm as disappointed as anybody that we didn't beat Florida State," White said Thursday. "That said, it's just one game. It's behind us. We better get better today. We've got another game tomorrow. That's the beauty of college basketball.
"Take that how you want to take it but I want to get better today, I want to get better tomorrow, and see where it leads us. We're 0-1."
Even so, flopping at FSU so dramatically during the season opener felt like more than just any loss to the Gators.
"I feel like emotionally, it is kind of hard," senior center Kevarrius Hayes said. "You've been preparing for so long and your first game kind of like tanks like that."
The defeat gave the White and his players plenty to work on.
Florida State's David Nichols, left, and Trent Forrest put pressure on Florida's Kevaughn Allen during the Seminoles' win over the Gators Tuesday night in Tallahassee. (STEVEN CANNON / AP)
The No. 17 Seminoles exposed the Gators' lack of toughness, senior leadership and offensive cohesiveness.
FSU pounced on UF and built a 35-point lead as the Gators gave in.
"When things are not going our way ... we need to find a way out of the funk," Hayes said. "I feel like we really didn't do that and we kind of fell victim to it and it just kind of kept going downhill."
Senior guard KeVaughn Allen, who spent much of last season in a slump, failed to score for the first time in 85 games. Fifth-year senior guard Jalen Hudson, who returned to school after testing the NBA draft waters, shot just 3 of 10 from the field, including 1 of 5 from 3-point range.
The Gators' shot selection and ball movement were suspect much of the night. UF finished 6-of-24 from 3-point range.
Meanwhile, the Gators had just nine assists and 16 turnovers.
The successes and failures of last season's team too often was dictated by whether long-range shots were falling. The tendency resurfaced in Tallahassee.
"Most of our issues throughout the night were offensive," White said. "Not being able to score against a prolific defense and some of it was our own doing. Horrific shot selection, which I'm in charge of.
"It's got to get better."
Hayes called the FSU loss "a wake-up call."
White hopes it sparks something in his team that has been sorely missing for too long.
Following a long bus ride back from Tallahassee and a fitful night of sleep, White met with each of his players individually and then later as a team.
White said his players, to a man, took ownership of the loss. Yet, White would have liked to see a little more emotion from his players.
The lack of competitive fire felt all-too familiar.
"Similar to last year, a lot of the same guys, we've got a really nice group of guys," White said. "They're more ... eager to hear as a staff what we have to say. I get a lot of head nods and eye contact and 'yes sirs,' and our guys go to work. That's the positive and the beauty of this team.
"But, the fire in the belly, the tearing up in the locker room, you know, that alpha dog or those three alpha dogs that are going to go nuts on the team and say this isn't going to happen again. None of that is happening in our locker room."


text:
Charitable organization "Fund family Kolhofer"
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His creativity will live forever: in Khmelnitsky the superfinal of competition of them. Nicholas Brain
His songs are mesmerizing and appealing to every listener. Mykola Mozgovy is a prominent Ukrainian singer, composer and national artist of Ukraine. In addition, Nikolai Petrovich is our countryman, he was born in Volochysk. His creations include Day, My First Love, Land, My Native Land, and more than a dozen songs that have conquered everyone. However, in 2010, the legendary artist's life was cut short. And although the artist is no longer with us, his work continues to live. In particular, in the memory of the singer, the Khmelnytsky Regional Scientific and Methodological Center organized a competition "Play, my music". And here in the Staritsky Theater there was a superfinal.
The talents were evaluated by a competent jury. Immediately after the contestants' performance, they announced the scores to each participant. It is noteworthy that the scores were still quite generous. It is not surprising, because the children performed songs of Nikolai Petrovich with enthusiasm, trembling and understanding. Talking to members of the jury, let's find out, most of them were personally acquainted with Brain. And about the outstanding singer – only warm memories.
The children themselves are very happy to perform songs of Nikolai Petrovich. They say that his creativity is something that will be eternal. They have known themselves from a young age and believe, years will pass, and they will sing these songs and their little ones.
The fight for the championship was fierce: all the participants were quite strong vocalists and the jury had a difficult time, because it was necessary to choose the best of the best! They were awarded with diplomas and cups for participation, were winners in different categories, and the best one received a grand prize of 15 thousand hryvnias. But all this could not happen without benefactors, who are sure that Ukrainian art should be developed and young talents should be supported in every possible way. One of them was the Kolgofer Family Charitable Foundation, which provided valuable gifts for the winners.
It was not the last. The regional competition-festival named after Mykola Mozgovy is over, but the organizers are already planning a tour of the region with all the super finalists. Thus, all Khmelnytsky region will know that our region has many talents and, of course, perpetuates the memory of the famous singer Mykola Mozgovy.
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In Yaroslavka told fortunes and searched for fern
"Kolgofer Family Fund" visited a holiday on the occasion of Day of elderly people protection
Sounds of eternal classics were heard in Khmelnitsky
Benefactors made children happy and saved live
The charitable organization "Kolgofer Family Fund" provided material support to Khmelnytskyi territorial center of social service
Opening of the additional group in the kindergarten of Raykivtsi village
Free legal aid for everyone: professional counseling – even in remote areas
Holiday for the wise: October 1 welcomed the elderly
"Happy Family" through a child eyes
The celebration of the village day in Holovchyntsi
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Regional Competition "Charity Khmelnytskyi-2019": the application has started
Kolhofer Family Foundation took the FIRST place in the National Competition "Charitable Ukraine – 2019"
The Fund brought sweet gifts to children in Sokolivska boarding school for the day of St. Nicholas.
Kolgofer Family Fund gave its congratulations on Easter to children in Sokolivska boarding school
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Congrats to Chen Zhang who won a prize at the SFU Chemistry poster competition!
Welcome to Shireen Jozi and Tiffany Jeen who have started undergraduate thesis projets!
Welcome to Camila Garcia who has joined us for 6 months from Prof. Heloisa Beraldo's group in Brazil as an Emerging Leaders in the Americas Program Scholar!


There's still time to get your abstracts to "Acting Out: The IV International Flann O'Brien Conference" (Salzburg 17-21 July) by the new, improved CFP Deadline of March 5 2017!
The International Flann O'Brien Society is proud to announce a second and final CFP for Acting Out: The IV International Flann O'Brien Conference, an international conference on the theme of performance, theatricality, and illusion in Flann O'Brien's writing, hosted by the Department of English Studies at Salzburg University, 17-21 July 2017. The second, and final CFP Deadline is 5 March 2017.
In recent years O'Brien's writing has been foregrounded as an integral site for testing the rise of new modernist studies, as it troubles critical commonplaces about modernism itself by virtue of its ephemerality and parochial energies. Recent publications of out-of-print English and Irish-language columns, short stories, non-fiction, dramatic works for the stage, and teleplays for Raidió Teilifís Éireannhave not only made O'Brien's broader canon accessible to a new generation of scholars, but have also highlighted its importance to an understanding of modernism which 'has grown more capacious, turning its attention to previously neglected forms' (Rónán McDonald and Julian Murphet). Germane to these critical projects is the recurring concern with performance, theatricality, and illusion in O'Brien's prose, columns, plays, correspondence, and TV scripts. In establishing his (highly ironised) aesthetic manifesto in At Swim-Two-Birds, the student narrator notes that 'the novel was inferior to the play inasmuch as it lacked the outward accidents of illusion, frequently inducing the reader to be outwitted in a shabby fashion and caused to experience a real concern for the fortunes of illusory characters.' If, as Richard Schechner claims, 'performances mark identities, bend time, reshape and adorn the body, and tell stories', then few writers better demonstrate this shaping influence and potential of the performative and the fake.
This dynamic of O'Brien's work has become all the more visible with the marked rise of creative adaptations of his writing for the stage and beyond. Building on the precedent of pioneering O'Brien performers such as Jimmy O'Dea, David Kelly, and Eamon Morrissey, recent years have seen numerous creative engagements with O'Brien's work for the stage (Blue Raincoat's adaptations of O'Brien's major novels, Arthur Riordan's Improbable Frequency and Slattery's Sago Saga, Ergo Phizmiz's electronic-1920s-Vaudeville adaptation of The Third Policeman, Stephen Rea's musical dramatic reading of same), film (Kurt Palm's In Schwimmen-Zwei-Vögel, Park Films' John Duffy's Brother and The Martyr's Crown) and the visual arts (Ralph Steadman's Flann illustrations, John McCloskey's graphic novel of An Béal Bocht, Micheál Ó Nualláin's paintings, David O'Kane's stunning O'Brien artworks). As well as demonstrating the significant weight O'Brien's writing continues to carry in the present cultural moment, these adaptations emphasise its sustained creative dimensions and dramatic energies. With these issues in mind, the conference aims to address the contours and concealments of performance in Flann O'Brien's work as it relates to issues of identity, genre, pseudonymity, adaptation, and creative reception. Salzburg is the home of numerous internationally renowned and prestigious theatrical institutions and events, providing the perfect setting to this symposium, which will take place at the outset of the 2017 Salzburger Festspiele (Salzburg Music and Drama Festival).
If you would like to propose a paper (not exceeding 20 minutes), or panel (maximum 3 speakers) please submit your title and an abstract of 250 words accompanied by a short biographical sketch to flannsalzburg2017@gmail.com or paul.fagan@sbg.ac.at by 5 March 2017. Given the conference's theme, the organisers also welcome alternative forms of presentation and dialogue, such as roundtables, workshops, debate motions (and debaters), performances, creative responses to Flann O'Brien's writing, etc.
We have secured a number of reduced rate accommodation places for our delegates throughout the week of the conference – make sure to contact us ASAP while availability lasts!


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text:
The aesthetic dimension toward a critique of Marxist aesthetics 0807015180, 9780807015186
Developing a concept briefly introduced inCounterrevolution and Revolt, Marcuse here addresses the shortcomings of Marxi
English Pages XIII, 88 S. 21 cm [101] Year 1978
Against Postmodernism: A Marxist Critique 9780745606149
It has become an intellectual commonplace to claim that we have entered the era of 'post-modernity'. Three the
Toward the Critique of Violence: A Critical Edition 0804749531, 9780804749534
Marking the centenary of Walter Benjamin's immensely influential essay, "Toward the Critique of Violence,"
The Myth of Capitalism Reborn. A Marxist Critique of Theories of Capitalist Restoration in the USSR
THE MYTH OF CAPITALISM REBORN: A Marxist Critique of Theories of Capitalist Restoration in the USSR by Michael Goldfield
Vygotsky and Marx: Toward a Marxist Psychology 9781138244801, 9781138244818, 9781315276632
This important book fills two interrelated gaps in the field of psychology, first by developing a Marxist orientation to
"Show Us Life": Toward a History and Aesthetics of the Committed Documentary
An absorbing anthology...surveying some of the most exciting and exploratory films and filmmakers involved in the comple
The tragedy of philosophy Kant's critique of judgment and the project of aesthetics 9781438461892, 9781438461908, 1438461909
Preface; Note on Citations; Introduction; Tragedy in contemporary philosophy; The Nietzschean view; The Idealist view; M
Kant's theory of taste: a reading of the Critique of aesthetic judgment 9780521791540, 9780511067228, 0511067224, 0521791545, 9780521795340, 0521795346
This book constitutes one of the most important contributions to recent Kant scholarship. In it, one of the preeminent i
The Tragedy of Philosophy: Kant's critique of judgment and the project of aesthetics 9781438461908
Reframes philosophical understanding of, and engagement with, tragedy. In The Tragedy of Philosophy Andrew Cooper chall
268 1 603KB Read more
A Textbook of Marxist Philosophy
A critique of adjudication
Table of contents :
Cover......Page 1
Title Page......Page 2
Copyright......Page 3
Table of Contents......Page 4
Acknowledgments......Page 6
Preface......Page 8
I......Page 14
II......Page 35
III......Page 53
IV......Page 67
V......Page 75
Conclusion......Page 84
Notes......Page 88
Bibliography......Page 94
Index......Page 96
THE AESTHETII
DlmEDSIOD TOWARD A CRITIQUE OF MARXIST AESTHETICS
HERBERT MARC USE Beacon Press
Originally published in German under the title Die Permanenz der Kunst: Wider eine bestimmte Marxistische Aesthetik
(Munich: Carl Hanser Verlag, copyright© 1977 by Herbert Marcuse) English version translated and revised by Herbert Marcuse and Erica Sherover, copyright© 1978 Beacon Press books are published under the auspices of the Unitarian Universalist Association Published simultaneously in Canada by Fitzhenry & Whiteside Limited, Toronto
All rights reserved Printed in the United States of America 9
Library of Congress Cataloging in Publication Data Marcuse, Herbert, 1896-The aesthetic dimension. Translation of Die Permanenz der Kunst. Bibliography: p. Includes index.
1. Marx, Karl, 1818-1883 - Aesthetics - Addresses, essays, lectures.
1. Title.
B3305.M74M3513
335.4'11
76--9001
Eantents Acknowledgments
AEknawledgments Erica Sherover has given the manuscript a critical reading from the first draft to the final version. She has discussed with me every paragraph, and insisted on improvements . This little book is dedi cated to her: my wife, friend, and collaborator. Intensive discussions with my friends Leo
Lowenthal and Reinhard Lettau have been a great help and a great pleasure. Leo Lowenthal has again proved his reputation as a fierce reader and critic ; Reinhard Lettau has demonstrated that authentic literature-literature as resistance-is still possible today. My stepsons Osha and Michael Neumann gave me stimulating suggestions : Michael by his encouraging comments , Osha in lively conversations about his own work in art. My son Peter, whose work in urban planning led us to common problems , has again been a dear friend and advisor.
I am particularly grateful to Catherine Asmann
who typed about half a dozen versions of this essay-and liked it. My debt to the aesthetic theory of Theodor W. Adorno does not require any specific ac knowledgment.
PrelaEe This essay seeks to contribute to Marxist aesthetics through questioning its predominant orthodoxy. By "orthodoxy" I understand the interpretation of the quality and truth of a work of art in terms of the totality of the prevailing relations of production. Specifically, this interpretation holds that the work of art represents the interests and world outlook of particular social classes in a more or less accurate manner. My critique of this orthodoxy is grounded in M arxist theory inasmuch as it also views art in the context of the prevailing social relations, and ascribes to art a political function and a political potential . But in contrast to orthodox Marxist aesthetics I see the political potential of art in art itself, in the aesthetic form as such . Furthermore, I argue that by virtue of its aesthetic form, art is largely autonomous vis a vis the given social rela tions. In its autonomy art both protests these re lations, and at the same time transcends them . Thereby art subverts the dominant consciousness, the ordinary experience. Some preliminary remarks : although this essay speaks of "art" in general, my discussion is essentially focused on literature, primarily the literature of the eighteenth and nineteenth centuries.
I do not feel qualified to talk about music and the visual arts, though I believe that what holds true for literature, mutatis mutandis, may also apply to these arts. Secondly, in reference to the selection of the works discussed, the objection that I oper ate with a self-validating hypothesis seems justified. I term those works "authentic" or "great" which fulfill aesthetic criteria previously defined as con stitutive of "authentic" or "great" art. In defense, I would say that throughout the long history of art, and in spite of changes in taste, there is a standard which remains constant. This standard not only allows us to distinguish between "high" and "trivial" literature, opera and operetta, comedy
and sla stick, but also between good and bad art within these genres. There is a demonstrable quali tative difference between Shakespeare's comedies and the Restoration Comedy, between Goethe's and Schiller's poems, between B alzac's Comedie
humaine and Zola's Rougon-Macquart. Art can be called revolutionary in several senses . In a narrow sense, art may be revolutionary if it represents a radical change in style and tech nique . Such change may be the achievement of a genuine avant-garde, anticipating or reflecting X
substantial changes in the society at large. Thus,' expressionism and surrealism anticipated the de structiveness of monopoly capitalism, and the emergence of new goals of radical change. But the merely "technical" definition of revolutionary art says nothing about the quality of the work,. nothing about its authenticity and truth. Beyond this, a work of art can be called revolutionary if, by virtue of the aesthetic trans� formation, it represents, in the exemplary fate of individuals, the prevailing unfreedom and the re belling forces, thus breaking through the mystified (and petrified) social reality, and opening the horizon of change (liberation) . In this sense, every authentic work of art would be revolutionary, i.e., subversive of percep tion and understanding, an indictment of the established reality, the appearance of the image of liberation. This would hold true of the classical drama as well as Brecht's plays, of Goethe's Wah l verwandtschaften as well as GUnter Grass's Hunde jahre, of William Blake as well as Rimbaud. The obvious difference in the representation of the subversive potential is due to the difference in social structure with which these works are confronted: the distribution of oppression among xi
the population, the composition and function of the ruling class, the given possibilities of radical change. These historical conditions are present in the work in several ways: explicitly, or as back ground and horizon, and in the language and imagery. But they are the specific historical expres sions and manifestations of the same trans historical substance of art: its own dimension of truth, protest and promise, a dimension constituted by the aesthetic form. Thus, Buchner's Woyzeck, Brecht's plays, but also Kafka's and Beckett's novels and stories are revolutionary by virtue of the form given to the content. Indeed the con tent (the estabHshed reality) appears in these works only as estranged and mediated. The truth of art lies in this: that the world really is as it appears in the work of art. This thesis implies that literature is not revo lutionary because it is written for the working class or for "the revolution." Literature can be called revolutionary in a meaningful sense only with reference to itself, as content having become form. The political potential of art lies only in its own aesthetic dimension. Its relation to praxis is inexorably indirect, mediated, and frustrating. The more immediately political the work of art, the xii
more it reduces the power of estrangement and the radical, transcendent goals of change. In this sense, there may be more subversive potential in the poetry of Baudelaire and Rimbaud thap. in the didactic plays of Brecht.
In a situation where the miserable reality can be changed only through radical political praxis, the concem with aesthetics demands justification. It would be senseless to deny the element of despair inherent in this concern: the retreat into a world of fiction where existing conditions are changed· and overcome only in the realm of the imagination. However, this purely ideological conception of art is being questioned with increasing intensity. It seems that art as art expresses a truth, an ex perience, a necessity which, although not in the domain of radical praxis, are nevertheless essential components of revolution. With this insight, the basic conception of Marxist aesthetics, that is its treatment of art as ideology, and the emphasis on the class character of art, become again the topic of critical reexamination.1 This discussion is directed to the following theses of Marxist aesthetics: 1 . There is a definite connection between art and the material base, between art and the totality of the relations of production. With the change in production relations, art itself is trans formed as part of the superstructure, although, like other ideologies, it can lag behind or anticipate social change. 1
2. There is a definite connection between
art and social class. The only authentic, true, pro gressive art is the art of an ascending class. It expresses the consciousness of this class. 3. Consequently, the political and the aes thetic, the revolutionary content and the artistic quality tend to coincide. 4. The writer has an obligation to articulate and express the interests and needs of the ascending class. (In capitalism, this would be the proletariat.) 5. A declining class or its representatives are unable to produce anything but "decadent" art. 6. Realism (in various senses) is considered as the art form which corresponds most adequately to the social relationships, and thus is the "correct" art form.
Each of these theses implies that the social relations of production must be represented in the literary work-not imposed upon the work externally, but a part of its inner logic and the logic of the material. This aesthetic imperative follows from the base-superstructure conception. In contrast to the 2
rather dialectical formulations of Marx and Engels, the conception has been made into a rigid schema, a schematization that has had devastating conse quences for aesthetics. The schema implies a normative notion of the material base as the true reality and a political devaluation bf nonmaterial forces particularly of the individual consciousness and subconscious and their political function. This function can be either regressive or emanci patory. In both cases, it can become a material force. If historical materialism does not account for this role of subjectivity, it takes on the coloring of vulgar materialism. Ideology becomes mere ideology, in spite of Engels's emphatic qualifications, and a devalua tion of the entire realm of subjectivity takes place, a devaluation not only of the subject as ego cogito, the rational subject, but also of inwardness, emotions, and imagination. The subjectivity of individuals, their own consciousness and uncon scious tends to be dissolved into class con sciousness. Thereby, a major prerequisite of revo lution is minimized, namely, the fact that the need for radical change must be rooted in the subjectivity of individuals themselves, in their in telligence and their passions, their drives and 3
their goals. Marxist theory succumbed to that very reification which it had exposed and combated in society as a whole. Subjectivity became an atom of objectivity; even in its rebellious form it was surrendered to a collective consciousness. The deterministic component of Marxist theory does not lie in its concept of the relationship between social existence and consciousness, but in the reductionistic concept of consciousness which brackets the particular content of individual con sciousness and, with it, the subjective potential for revolution . . This development was furthered by the inter pretation of subjectivity as a "bourgeois" notion. Historically, this is questionable.2 But even in bourgeois society, insistence on the truth and right of inwardness is not really a bourgeois value. With the affirmation of the inwardness of subjectiv ity, the individual steps out of the network of exchange relationships and exchange values, with draws from the reality of bourgeois society, and enters another dimension of existence. Indeed, this escape from reality led to an experience which could (and did) become a powerful force in in validating the actually prevailing bourgeois values, namely, by shifting the locus of the individual's 4
realization from the domain of the performance principle and the profit motive to that of the inner resources of the human being: passion, imagination, conscience. Moreover, withdrawal and retreat were not the last position. Subjectivity strove to break out of its inwardness into the material and intellectual culture. And today, in the totalitarian period, it has become a political value as a counter force against aggressive and exploitative social ization. Liberating subjectivity constitutes itself in the inner history of the individuals-their own history, which is not identical with their social ex istence. It is the particular history of their encoun ters, their passions, joys, and sorrows-experiences which are not necessarily grounded in their class situation, and which are not even comprehensible from this perspective. To be sure, the actual manifestations of their history are determined by their class situation, but this situation is not the ground of t?eir fate-of that which happens to them. Especially in its nonmaterial aspects it ex plQdes the class framework. It is all too easy to relegate love and hate, joy and sorrow, hope and despair to the domain of psychology, thereby re moving them from the concerns of radical praxis. 5
Indeed, in terms of political economy they may not be "forces of production," but for every human being they are decisive, they constitute reality. Even in its most distinguished representatives Marxist aesthetics has shared in the devaluation of subjectivity. Hence the preference for realism as the model of progressive art; the denigration of romanticism as simply reactionary; the denunciation of "decadent" art-in general, the embarrassment when confronted with the task of evaluating the aesthetic qualities of a work in terms other than class ideologies. I shall submit the following thesis: the radical / , qualities of art, that is to say, its indictment of the established reality and its invocation of the beautiful image (schoner Schein ) of liberation are I grounded pn�cis�_the dimensions where art I determination and emancipates S 1 transcendsJ.iSocial \ 'hseiHrom the given universe of aiscourse and \ behavior while preserving its overwhelming pres �ence. Thereby art creates the realm in which the subversion of experience proper to art becomes possible: the world formed by art is recognized as a reality which is suppressed and distorted in the given reality. This experience culminates in ex·
treme situations (of love and death, guilt and failure, but also joy, happiness, and fulfillment) which explode the given reality in the name of a truth normally denied or even unheard. The inner logic of the work of art terminates in the emergence of another reason, another sensibility, which defy the rationality and sensibility incorporated in the dominant social institutions. Under the law of the aesthetic form, the given reality is necessarily sublimated: the immediate content is stylized, the "data" are reshaped and re ordered in accordance with the demands of the art form, which requires that even the representation of death and destruction invoke the need for hope-a need rooted in the new consciousness embodied in the work of art. Aesthetic sublimation·/makes for the affirma tive, reconciling component of art,3 though it is at the same time a vehicle for the critical, negating function of art. The transcendence of immediate reality shatters the reified objectivity of established social relations and opens a new dimension of experience: rebirth of the rebellious subjectivity. Thus, on the basis of aesthetic sublimation, a fie sublimation takes place in the perception of in.:.
dividuals-in their feelings, judgments, thoughts; an invalidation of dominant norms, needs, and values. With all its affirmative-ideological features, art remains a dissenting force. We can tentatively define "aesthetic form" as the result of the transformation of a given con tent (actual or historical, personal or social fact) into a self-contained whole: a poem, play, novel, etc.4 The work is thus "taken out" of the constant process of reality and assumes a signifi cance and truth of its own. The aesthetic transfor mation is achieved through a reshaping of language, perception, and understanding so that they reveal the' essence of reality in its appearance: the re pressed potentialities of man and nature. The work of art thus.....r�re�nts reality while accusing it. 5 The critical function of art, its contribution to the struggle for liberation, resides in the aesthetic form. A work of _l!ILiLa.Jhent.ic J.t or true not by virtue of its content (i.e he "cor:rect" representa tion of social conditions), nor by its "pure" form, but by the content having become form. - True, the aesthetic form removes art from the actuality of the class struggle-from actuality pure and simple. The aesthetic form constitutes the autonomy of art vis a vis "the given." However,
./t
this dissociation does not produce "false con sciousness" or mere illusion but rather a counter consciousness: negation of the realistic-conformist mind. Aesthetic form, autonomy, and truth are inter related. Each is a socio-historical phenomenon, and each transcends the socio-historical arena. While the latter limits the autonomy of art it does so without invalidating the transhistorical truths expressed in the work. The truth of art lies in its power to break the monopoly of established reality \. / :\ (i.e., of those who established it) to define what is real. In this rupture, which is the achievement of the aesthetic form, the fictitious world of art appears as true reality. Art is committed to _!!lat �rception of_!h� ws>rl.�-�!!.i
Report "The aesthetic dimension toward a critique of Marxist aesthetics 0807015180, 9780807015186"


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Rains improve harvests in Syria but families still struggle to survive
New FAO-WFP report on Syria's food security situation
5 September 2019, Rome - Favourable rains in Syria's agricultural areas, coupled with improved overall security, have boosted harvests compared to last year, but higher food prices are putting more strain on many Syrians, a new United Nations report has found.
Wheat production is estimated at 2.2 million metric tonnes, compared to last year's 29-year low of 1.2 million tonnes, but is still far below the pre-crisis average of 4.1 million tonnes (2002-2011), according to the latest Crop and Food Security Assessment Mission (CFSAM) report, produced jointly by the UN Food and Agriculture Organization (FAO) and the World Food Programme (WFP). The estimated production of barley, at 2 million metric tonnes, is more than five times that of 2018 and more than 150 percent higher than the average production levels achieved prior to the crisis.
However, food prices have been gradually increasing over the past 12 to 14 months largely as a result of increased domestic fuel prices and a continuous depreciation of the Syrian Pound on the informal exchange market.
Food security remains a serious challenge due to continued localized hostilities, new and protracted displacements, increased numbers of recent returnees and the sustained erosion of communities' resilience after almost nine years of conflict.
"Despite the good rains, farmers in rural areas are still facing many challenges including a lack of access to seeds and fertilizers, high transport costs, the presence of unexploded ordnance in some of their fields, and limited marketing opportunities," said FAO Representative in Syria, Mike Robson. "Unless there is increased support for agricultural livelihoods, particularly those of Syria's most vulnerable families, the reliance on food assistance will remain," he said.
"After nine years of crisis, the people of Syria, including those returning to their villages, continue to face great challenges," said Corinne Fleischer, Country Director of WFP in Syria. "Many struggle to feed and educate their children. WFP remains committed to delivering assistance which helps them to survive and eventually to rebuild their lives."
Between June and July 2019, the joint FAO/WFP mission team visited ten of the country's 14 governorates, but was not able to reach Raqqa and Idleb governorates due to insecurity. Based on interviews, surveys, field visits, national data and satellite information, the report provides estimates on crop production for 2019 and assesses the country's overall food security situation.
Families struggling to make ends meet
Around 6.5 million people in Syria are estimated to be food insecure and in need of food and livelihoods support. An additional 2.5 million people are at risk of food insecurity and need livelihoods support to strengthen their resilience.
Lack of employment opportunities and increased fuel and commodity prices limited households' purchasing power, causing more families to adopt negative coping strategies such as consuming less preferred and less expensive food, cutting the number of daily meals or withdrawing children from school in order to work, the report stated. Returnees in Aleppo, Homs and Deir-ez-Zor governorates reported that, in most households, adults went without eggs and dairy products so that their children could eat the micronutrient-rich foods instead.
Farmers' challenges
Some areas received more than double their yearly rainfall average in 2018-19. For example, Tartous, a high-rainfall governorate with a yearly average of about 900 mm of rain, recorded 2 200 mm over the season. The plentiful rains saw increased fruit and vegetable production, the report states, but some of the produce was lost to spoilage because high fuel prices, localized insecurity and a lack of refrigerator trucks hampered access to urban markets.
Field fires, not unusual during harvesting, were more frequent and intense in 2019, with the Government estimating that about 85 000 hectares of crops were burnt. The report states that, while accidental fires are common, there is evidence to suggest that some fires were started maliciously, particularly in areas with active conflict.
Concerns that last year's poor harvest would result in seed shortages were eased by access to a small supply from the national General Organization for Seed Multiplication (GOSM), as well as purchasing on the market, borrowing seeds and using some saved seeds from last year. In a joint FAO/WFP project, 14 450 of the poorest farmers in Hasakeh, Raqqa, Deir-ez-Zor, Aleppo and Hama governorates were supplied with wheat seed, enabling them to cultivate.
Beekeeping, which used to be a prolific traditional industry in the country, has suffered during the crisis and concerns prevail about bee mortality resulting from the misuse of pesticides, and a lack of marketing channels for honey and bee products to guarantee viable livelihoods.
Responding to the crisis
The report concludes with a list of actionable recommendations to overcome the crisis and restore the agricultural sector and livelihoods, covering the short-, medium- and long-terms.
FAO is working with partners to increase agricultural production and restore or create livelihoods to save and sustain vulnerable Syrians' lives. FAO is also working with partners to rehabilitate vital agricultural infrastructure and support services. So far in 2019, FAO has reached 31,000 farming families (186,000 people) across Syria.
Currently, WFP provides food assistance to more than 4 million food-insecure people every month across all 14 governorates in Syria, including conflict-affected areas like the north-west of the country.
As conditions on the ground change, WFP is establishing programmes designed to increase the self-reliance of communities recovering from years of war. WFP uses electronic food vouchers to assist people engaged in livelihood-enabling activities as well as pregnant and nursing women and out-of-school children. The aim is to provide choice and dietary diversity while supporting local traders and small-scale producers.
Despite good rains and larger harvests, food security remains a serious challenge for many Syrian families due to continued conflict, displacements, and the sustained erosion of communities' resilience after almost nine years of conflict.
Syria CFSAM report
Download the latest Syria Crop and Food Security Assessment Mission (CFSAM) report
FAO's work in Syria
WFP's work in Syria
Download photos from WFP Syria
Zoie Jones, FAO/Rome
Mariam Hassanien
FAO/Regional Office Cairo
+202 333 16000 (2777)
Salma Hakki, FAO/Damascus
David Orr, WFP/Rome
Abeer Etefa, WFP/Cairo
Shaza Shekfeh, WFP/Damascus
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The Purification: Use clean and rinsed branded glass.
The Sacrifice: Open the tap in one quick action and let the first drops of beer flow away.
The Liquid Alchemy Begins: Hold the glass just under the tap without touching it at a 45° angle.
The Head: Lower the glass to allow the natural formation of the foam head.
The Removal: Close the tap quickly and move the glass away so beer doesn't drip into the glass.
The Beheading: While the head foams up and overflows the side of the glass, smooth it gently with a head cutter.
The Judgment: The right amount of foam is usually about 2 fingers.
The Cleansing: Clean the bottom and sides of the glass.
The Bestowal: Present the beer on a clean beer coaster with the logo facing the consumer.
Fifteen regional finalists and one wild card will compete in Boston on September 17 for the title of U.S. Draught Master and a spot in the World Draught Master competition in London on October 28. The Orlando winner was Grant Huff, seen here pouring the winning Stella.
I never knew that there is a process like that in beers.


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Lockdown Challenge
Bringing the magic of science to young kids
Are you a year 12 or 13 student looking for guidance on your STEM career journey? Learn how STEM Connect can help you!
Our school program workshops are aimed at providing the kids with two hours of inquisitive learning. The kids are exposed to a variety of science challenges, which they solve and then figure out the science behind each challenge. We don't believe in only teaching science, but also providing kids with a chance to develop skills such as team work, critical thinking and problem solving.
Our holiday programs are conducted each term holidays, where we take out science learning out of schools and make it more fun and exciting! A one day workshop where kids team up with other kids outside of school and dive into solving a range of science challenges. These are a fun way to teach kids science and let them make some new friends.
Science Box Club
This club is our newly founded initiative where we aim to take our science challenges to the next level. The club allows kids to be part of a community where they are encouraged to be thinkers and problem solvers. The workshops are hosted once a month with a new theme each time and provide kids a chance to meet young, upcoming scientists and engineers!
By the end of 2020 we want 10,000 students reached, as many schools with low resources reached out to as possible, an accessible interactive learning platform for kids and to conduct interactive science workshops throughout the Waikato.
WE WANT
KIDS REACHED
REACHED SO FAR
What is Science Box?
Science box is a project aimed at sparking an interest in science in kids at a young age. Founded by Shalini Guleria in 2018, it is ever expanding and looking for volunteers. Science Box currently focuses it's work in the Waikato region of New Zealand, and hopes to grow this reach to a global level one day.


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← News from Libya October 23RD 20:00
Thousands celebrated in Libyan Liberation Day ?? →
Targeted for ASSASSINATION BY NATO
By Franklin Lamb
During the late evening of 10/20/11 the White House, the Office of the Secretary of State, the US Senate Foreign Relations Committee and the Libyan Embassy in Washington, DC received a faxed communication from an American organized international legal team currently preparing their departure to Libya.
The international lawyers, whose assistance has been arranged through Gadhafi family members and friends, has accepted the obligation to represent Seif al Islam against charges filed by the International Criminal Court on June 26, 2011 and to represent him in any and all legal proceedings that the NTC government may bring against him in Libya.
They have been advised by Gadafi supporters in Libya and neighboring countries that the NTC at the direction of NATO, fully intends to see Seif al Islam killed before he can address the international media and his supporters, following the transfer of his father's leadership authority to Seif on August 29, 2011.
Seif has been planning to announce his candidacy in the planned coming election. Informal polls throughout Libya have shown him garnering close to 70% of the vote if he is allowed to stand for office under the now NATO controlled country.
This observer is a member of the group of international lawyers who seek justice for their client, Seif al Islam.
An excerpt of the communication served in Washington reads:
"We demand that our client, Seif al Islam al Gadhafi be immediately protected should he be arrested and that if injured that he be kept under the continual watch and care by the International Committee of the Red Cross until we are granted personal contact with him and have the opportunity to complete current efforts at arranging interim measures of protection to guarantee his safety.
We insist that our client not be questioned or interrogated by anyone including representatives of the current government of Libyan or by investigators from the ICC until he has had the opportunity for legal consultation and until he recovers from any wounds.
The rights of Seif al Islam must be protected in full compliance with international norms and we call on the United Nations Security Council and International Human Rights Organizations to act immediately to protect our client.
We respectfully request that the International Criminal Court take custody of the remains of Moammar and Mutassim Gadhafi, and conduct forensic examinations preparatory to filing criminal charges against those responsible for these extra-judicial killings.
Information arriving from family members and friends of our client Seif al Islam leaves no doubt that NATO has ordered his killing. His planned and we believe approved assassination is meant to spare NATO the international accountably that awaits them as the World learns from eyewitness accounts and reliable, competent and probative physical and demonstrative evidence compiled over the past six months, exactly what NATO has wrought on Libya and its civilian population.
Shortly we will file with the ICC our formal demand for our clients protection and his transfer to a sanctuary outside of Libya lest he be assassinated as was the fate today of his father, Colonel Moammar al Gadhafi.
We intend to hold the current governments of Libya and the United States as well as NATO fully responsible for the brutal assassination of our client's father and brother Mutassim and for any abuse or harm that is directed at our client, Seif al Islam.
We intend to prove in Court that following the passage of UN Security Resolution by the United Nations Security Council on March 17, 2011, NATO has repeatedly targeted civilian targets with more than 9,000 bombing sorties in Libya as part of its campaign to assassinate the Libyan leader Colonel Gadhafi and his close aides and advisers.
We intend to prove in Court that NATO did repeatedly sanction others to carry out Moammar Gadhafi's assassination and that his killers on October 20, 2011 knew that a large cash award awaited them if they killed Colonel Gadhafi thus silencing him from testifying against NATO officials and current Western leaders who led the eight month destruction of Libya."
The next few days will be a major test for the international community and whether the application of international law will be applied to Libya, NATO and its member states. The outcome will also likely signal whether Libya descends more deeply into civil war involving as many as six African countries who are reportedly organizing troop units to be sent into Libya to help protect civilians from NATO forces who are today assembling to help re-build the country that NATO needlessly and criminally destroyed.
(source: Franklin Lamb for OpinionMaker)
By thomasmantell • Posted in Libya	• Tagged Assassination, ICC, libya, Moammar Gaddafi, Mutassim Gaddafi, NATO, Saif Al Islam, TNC
2 comments on "Targeted for ASSASSINATION BY NATO"
tagpillayg
http://www.facebook.com/usa.ntc?sk=wall………………………..There's still time to save the world. Join or form a NTC in your country and raise the green flag. It's the least one could do.
gerryhiles
I hope that Seif can be kept safe (no pun intended).
I think it to be important to have both actual and symbolic continuity for The Green Resistance of Libya, during the time ahead of ousting NATO and its Quisling Rats.
I don't know if anyone else has put things quite this way, but it gels with me and might with others too.


SALEM, Va. - A Salem bus driver who was taken to the hospital Tuesday after police say he was assaulted is now facing charges, according to the Salem Police Department. And a man who contacted 10 News claiming to be the one who attacked the driver, admitted to it and said he was taking justice into his own hands.
The bus driver, 70-year-old Johnny Couch, was arrested and released on bond Wednesday after police say they received a call from a woman saying Couch assaulted her daughter while at work. 10 News visited what is believed to be Couch's home asking for his side of the story but was met with a door slam by a man behind the door.
Shortly after the school bus attack happened, a man claiming to be the one who boarded Couch's bus contacted the 10 News studios and said he attacked Couch because he claims Couch innapropriately touched his daughter.
Police were unable to comment on that accusation, but they did say the woman who came forward Monday told police it involved her daughter, and the daughter told officers that Couch came to her workplace in the 1500 block of West Main Street, in the vicinity of Spartan Square and approached her outside her workplace while she was on break. The girl claims that Couch motioned for her to come toward him.
After the incident happened in the parking lot, police say the girl went inside and told her mother. Authorities say the girl was not hurt and she did not require any medical attention. The girl's mother told officers that her daughter was under the age of 17 and knew Couch.
The man who contacted the 10 News Studios hung up on a reporter when they tried to reach him Wednesday afternoon following the release of the school bus driver's charges. He has not answered further attempts at contact. Salem officials said Couch began his position in November 2016 and as of the day of his arrest he is no longer employeed as a school bus driver.


RED 2018 - The anniversary fete!
Soca music lovers, its time again to 'Paint the town RED'! CalgarySoca's anniversary celebration returns to Local 522 on Saturday April 21st 2018. Party to the latest and best Soca music alongside Drew Atlas, DJ Majesti, Sherman Hype, and the rest of the CalgarySoca crew. Complimentary Champange, Favours, Cake and more with an advanced ticket.


The Berlin based "family friendly coworking space" came to kulturspace by way of Instagram, having seen our work and the rest was magic! From a warm and sleek website complimented with smart copywrite, to a full video production and photoshoot it was all hands on deck for the new coworking spaces online presence.
Our design team had the luxury of utilizing copywrite, video and photography that was produced by fellow kulturspace creatives. Bringing all of these elements was a walk in the park and the results are stunning. A warm & "uptown" flavour can be experienced throughout. The team built the site on the Squarespace platform which was easily handed over to the client for quick and self updating/maintaining in the future.
The video production aimed at showcasing the high end design and beauty of the space. our video team shot the video in slow mo and luxuriously lingered on the beautiful surfaces and light to really drive home a few key points: light and space. but we also wanted to show real people working in this beautiful co working space - home away from home.
The photoshoot was done in two sessions to really capture the naturalness of the light and also to make sure that one of the absolute key elements - the feeling of actually being at home - was present in the images.


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Q: Internet Explorer infamous ActiveX warning I have an application that uses an Internet Explorer component to navigate to pages.
In my application i block any ActiveX downloads to improve speed. I also disabled all ActiveX options available in Windows' Internet Options.
But even this way i can't avoid an annoying IE's dialog telling ActiveX controls could not be displayed :
One or more ActiveX controls could not be displayed because either:
1) Your current security settings prohibit running ActiveX controls on this page, or
2) You have blocked a publisher of one of the controls.
As a result, the page might not display correctly.

I know ActiveX controls could not be displayed, that's what it want. I just DON'T want to be bothered by this dialog every minute.
This problem happens in all Windows' versions i tested (2003-10). I noticed the problem happens often if my app is NOT in foreground (ie, another app has focus).
How to stop it definitely ? As i said, i already disabled every single ActiveX option in Internet Options > Security settings.

redpajama_set_name: RedPajamaStackExchange