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Federal Fire Service saves 724 lives, assets worth N1.6trn in 5 months
June 10, 2020 Danlami Nmodu News, Project, Security 0
The Minister of Interior, Rauf Aregbesola says the Federal Fire Service responded to 2,615 fire calls, saved 724 lives and assets worth N1.629 trillion between June and October 2019.
The minister made the disclosure while briefing State House correspondents on the outcome of the fourth virtual meeting of the Federal Executive Council (FEC), presided over by President Muhammadu Buhari, at the State House, Abuja, on Wednesday.
He stated that his ministry presented to the Council its score card in the last one year.
Aregbesola explained that the N1.629 billion figure worth of assets saved was arrived at after professional evaluations of the fire incidents responded to by the fire service across the country.
"The Federal Fire Service responded to 2,615 fire calls, saved 724 lives and assets worth N1.629 trillion between June and October 2019.
"We evaluated this within the operational competence of the fire service to evaluate worth of property so as to put clear information and message of their activities and what they have done.
"In their intervention therefore what this means is that they have prevented destruction of assets worth N1.629 trillion between June and October 2019, while saving 724 lives and responded to 2,215 fire calls.''
The minister disclosed that in the quest to boost personnel morale and ensure higher productivity, the ministry promoted 18,000 paramilitary personnel, describing it as the highest number by any administration.
"The Board of the Agencies has recruited a significant number of officers and men for the Services.''
On the activities of the nation's Correctional Service, the minister said 3,000 high capacity Custodial Centres had been constructed in three geo-political zones in the country.
According to him, the Service has embarked on extensive renovation and rehabilitation of cells, barracks and other structures across the country, while 32 Satellite Custodial Centres previously shut down due to insurgency have been re-opened and rehabilitated.
He said 14 new Satellite Custodial Centres and barracks had also been constructed.
"We reactivated Custodial Farm Centres for large scale agricultural production in piggery, fishing, cattle rearing and poultry in different parts of the country.
"About 25 new tractors and two combined harvesters with the accompanying implements have been procured and distributed to Custodial Farm Centres to enhance productivity.
"Three Custodial Farm Centres have been selected for large scale farming based on comparative advantage. They are Kujama Farm in Kaduna State for maize; Lakushi Farm in Plateau State for rice and Ozalla Farm in Edo State for palm oil,'' Aregbesola said.
He also revealed that the ministry procured ambulances for Custodial Hospitals and renovated hospitals and clinics in various Custodial Centres across the country.
On the implementation of the Border Management Strategy (BMS), the minister said the ministry has completed the installation of MIDAS at all international airports in Nigeria.
"The construction of a world class technology building to manage all Nigeria Immigration Service ICT enhanced systems in Nigeria is nearing completion, while 14 well-equipped Forward Operation Bases (FOB) have been deployed at some entry points of the country.''
Besides, he revealed that his ministry had created a robust social media presence to serve the citizens of Nigeria and provide improved customer experience on all its services.
These social media platforms, according to him, are: an interactive website, LinkedIn, Facebook, Twitter, Instagram and WhatsApp.
In his contribution, the Minister of Police Affairs, Alhaji Maigari Dingyadi, said he presented the score card of his ministry to the Council at the meeting. (NAN)
Tags: #TrackNigeria, Aregbesola, Fire Service, Interior Ministry
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Se7en Randomised
I haven't done one of these in a while, and I remember enjoying writing them, so I thought it would be fun to revisit the Randomised series. You can read more examples here, but the gist of it is that I use a random number generator to select for me some images from a film and use those frames as a prompt for discussion of the film. When I first saw David Fincher's Seven back in 1996, I disliked it quite a lot. It wasn't just that it made me uncomfortable; I was an opinionated, contrarian filmgoer at the best of times, and seeing a packed house for a matinée screening lapping up the lurid details of such a fashionably grim movie wound me up. Dark was the new black. It felt like the film's downbeat tone was all posturing: it wasn't the product of a misanthropic worldview, but the shock tactics of a film-maker eager to buck every available trend of the genre thriller. More to the point, I was sick of serial killer films, fed up of hyperintelligent and meticulous murderers whose preternaturally effective and elaborate schemes, always perfectly executed, seemed more like the manoeuvrings not of believable killers but of self-satisfied screenwriters. The fascination with the process of killing someone was distasteful and dishonest, I believed, resulting in the ultimate ascension of Hannibal Lecter and Dexter to the status of righteous avengers picking off the scum of society (a reactionary fantasy that I still find wholly repellent). I still have some of these reservations, but after subsequent viewings, Seven has, to my mind, matured considerably (as, I hope, have I) into a compulsive and rich work that rewards close scrutiny and transcends any of its modish or exploitative genre-mates. Continue reading →
Posted in Randomised	| Tagged Brad Pitt, David Fincher, Gwyneth Paltrow, John Doe, Morgan Freeman, murder, random, Randomised, Seven, Seven deadly sins	| 5 Replies
Funny Games Funny Games
Posted on 15 October, 2009 by Dan North
[This article, and the slideshow itself, contains spoilers about both versions of Funny Games.]
When Michael Haneke said he was going to remake Funny Games in English shot by shot, you knew he was going to keep his promise, but you might have been surprised at exactly how closely he stuck to his original storyboards. This week I watched them both together, i.e. one on the TV, one on the laptop, and some of the matches between shots in each are quite remarkable. On the one hand, this is a diverting little exercise that proves (as if such proof were necessary) the strict control that Haneke maintains over his mise-en-scene and editing, almost to the point of constricting his actors within rigid frameworks.
That element of control may be part of the point, racking up considerable tension by emphasising not the random terrors of violent assault, but its careful and manipulative deployment by a non-interventionist film-maker. Haneke's portrayal of the escalation of a murderous home invasion is as calm and indefatigable as the young men who carry it out, and this is clearly demonstrated by his ability to stick to the script and produce the same effects in both films. When asked why he decided to repeat every single shot of his 1997 Funny Games for an American remake, Haneke replied:
Because I have nothing to add. I already did the first film for an American audience, for an audience consuming violence. And it only didn't reach that audience because it was in German. And so when I got the offer of the remake I said sure. After all, the subject became only more up to date. I mean, the world is only more violent. I wanted to give myself a certain challenge, I wanted to make it a little bit more demanding for myself. And so, I decided to do it shot-by-shot again.
I've always been uncomfortable with the didactic nature of the film, but I admire its commitment to unsettling its viewer. It's still possible, if so inclined, to enjoy it as another extreme thrill ride (I'm often amazed by the ability of horror fans to shrug off even the most gruelling of movies or to compartmentalise them as compendia of bodily destruction in all its variations), though you can see Haneke trying to thwart such attempts at complacency. Funny Games doesn't play fair – the divisive moment where one of the killers uses a remote control to rewind the film to make it replay in his favour breaks a contract with the spectator that their involvement in the fiction can have an influence on it. We like to believe that because we're on the side of the innocents, the filmmaker will at least reward us with some relief, some catharsis or vengeance, but there is no comfort here: in this place of carefully applied violence, dogs and children die first. Why? Because they're not supposed to, and thus is highlighted the artifice of the conventions that usually govern film violence.
This slideshow makes pairs of shots from the 1997 and 2007 versions. Feel free to scroll through and fastforward, because the full version might take a long time to view. Alternatively, you can see the whole set here:
In putting together a slide show of comparisons of shots from both versions of Funny Games, I was struck by how, in combination, the pair of films show how reliant the film is, in either version, on repeated shots of its own. The recurrence of a golf ball as an object of menace, close-ups of knives, eggs, golf clubs, and the remote control itself – the family use a remote to open and close the gates to their property, and one of the killers uses a remote to resurrect his friend. The gates are shown closing all the way behind the family (the gates in the 2007 version move much more slowly, but the shot carries on nevertheless), completing the symbolic image of the security system that is both a protection and a threat: the family effectively incarcerate themselves as they seek isolation and separation from other people inside their holiday retreat. All of those implements of their leisure and domesticity (sports equipment, kitchen knives, the boat, television) are used against them. Even the codes of polite society are turned into an aggravating weapon – the attackers initially pass off their assault as a failure of manners on the part of a family who refuse to share their space or pay them proper respect.
There are differences between the two versions. Anne's dress and make-up in 1997 mark her out as a little more tight and prim than Naomi Watts' warmer, smilier version, and the colour palette in 2007 is darker, more muted. But when Haneke even goes to the trouble of ensuring that the same subjects are playing on the bloodstained TV (and one of the thugs is seen channel-hopping through footage of hurricane destruction to alight on racing cars in both versions, too), you know that he's serious about each and every component of his work, and that you've already lost this particular game: you have no say in how things are going to turn out. Unless, of course, you switch it off.
Posted in Gallery, Naomi Watts	| Tagged Arno Frisch, cinema, Film, Funny Games, Michael Haneke, murder, Naomi Watts, remake, Tim Roth, torture, violence	| 10 Replies
Kind Hearts and Coronets: The Gentle Art of Murder
[These are some notes for the benefit of anyone approaching the film for the first time. I wrote them for an introduction to a screening of the film for first-year undergraduates. You may find some plot spoilers within; nothing too disastrous to your enjoyment, but you might want to avoid reading further until you've seen the film.]
It's a poised, pristine, perfectly paced comedy of manners full of precise etiquette and immaculate decor. But it's also a film about a serial killer, in which the details of murderous schemes are laid out with no less care than the arrangement of a a drawing room or the delicacy of a gentleman's handwriting. As such, what seems like a prim costume drama is actually an unsettling cynic's charter with a wicked kicker of an ending. Lindsay Anderson found it "emotionally quite frozen", perhaps missing the point that its discomforting chill comes from what it says about society's replacement of feeling with gesture, romantic love with strategic connubiality. Here's the plot synopsis as published by Monthly Film Bulletin in 1949:
Comedy Thriller. Louis Mazzini is the son of an English mother and an Italian father; his mother was the daughter of the 7th Duke of Chalfont, his father an impecunious singer who died at Louis' birth. Because the family refused to allow Louis' mother to be buried in the family vault Louis vows vengeance, and contrives the disappearance of eight of the heirs who stand between him and the dukedom.
The film begins in the prison where Mazzini is awaiting execution. The executioner has come to meet him prior to the ceremony. During chit-chat with one of the guards, he treats the impending killing with the professional nonchalance of one who has roped and broken a fair few necks in his time, but announces that he will soon retire since "after using silken rope, I'll never again be content with hemp" (his jaded fastidiousness can't help but bring to mind England's most famous hangman of the age, Albert Pierrepoint). Kind Hearts sets out its stall right from the start: this will be a chirpy discussion of terrible things, but the casual treatment of death when sanctioned by the state foreshadows the air of entitlement and purposeful diligence with which Mazzini sets about dispatching his victims. The executioner's fuss over the details is an early indicator of the part that will be played by manners, tradition and ceremony in the ensuing (though told in flashback) story. He is about to put Mazzini to death, but still stumbles over the question of how to address the Duke correctly in his final hours.
Those final hours of life will be spent penning his memoirs which, despite the pressing deadline, he does with the utmost formality, his desk neatly arranged in an effort to maintain decorum in the most definitively degraded situation. What follows is Mazzini's narration of the events which have apparently led to his incarceration. Over the course of this tale, he will have directly or indirectly caused the deaths of eight members of the D'Ascoyne family, out of whose dukedom he feels himself cheated, and he will also have created for himself a difficult dilemma over two women. Sibella, the original, aloof object of his affections (Joan Greenwood, whose voice suits the film perfectly by coupling an accent of fine breeding with the timbre of filth) is contrasted with Edith (Valerie Hobson), the widow of one of his victims, who represents the wise choice in terms of his will to reinsert himself into the branches of the family tree. He thus has to choose between dull and unchallenging breeding with Edith, or the elicit eroticism of Sibella, between functional or recreational sex. Their juxtaposed images aligns one with society and the law (note the crowds and the policeman behind Edith on the left), the other with exclusion (note the air of funereal isolation around Sibella on the right).
But I shouldn't get ahead of myself. Where did this film come from? The short answer is Ealing Studios, but I'm afraid that there are rarely any short answers on this blog. Even if you're not acquainted with the films themselves, you've probably heard the affection with which Ealing comedies are cited as treasured relics of British culture. It's not true that Ealing made only comedies (see Went the Day Well?, in which a village community repels Nazi invaders, the crime melodrama It Always Rains on Sunday and the self-explanatory Scott of the Antarctic for proof of this), but some of their best and brightest achievements, including Passport to Pimlico, Whisky Galore (both of which came out just months prior to Kind Hearts, an extraordinarily rich creative stretch), The Man in the White Suit, The Ladykillers, are undoubtedly the comic ones, and these comprise the popular image of what Ealing represented. The building which still houses Ealing studios in west London is the oldest studio facility in Britain, having been in use since 1896, but it only became known as Ealing Studios from 1931. In his important study, Charles Barr pretends to invent a classic Ealing comedy plot (actually a synopsis of 1939's Cheer Boys Cheer, produced by Michael Balcon, who took over from theatre producer Basil Dean in 1938 and changed the company's name from the less catchy Associated Talking Pictures to match the name of the studio facility itself):
A big brewery tries to absorb a small competitor, a family firm which is celebrating its 150th anniversary. The offer is gallantly refused, whereupon the boss's son goes incognito from the big firm to infiltrate the small one and sabotage its fortunes. Gradually, he is charmed by the family brewery and by the daughter of the house, saves the company from ruin, and marries into it. Officials and workers unite at the wedding banquet to drink the couple's health in a specially created brew.
From this you might infer that Ealing made films about underdogs battling big business, defending their communities from engulfment by homogenising external forces. Jeffrey Richards has noted how the Ealing approach transformed from films built around individual comic talents such as Will Hay and George Formby, towards ensemble casts depicting tightly packed communities. In Passport to Pimlico, for example, the locals discover documents revealing that Pimlico is legally part of Burgundy, and that they, as an independent dukedom, are not subject to the strictures of postwar rationing. Asserting their separateness, and isolated by the British government, this London district becomes the site of a contest over national borders and identity. As Christine Geraghty has highlighted:
The people of Pimlico become the people of a misplaced bit of Burgundy – foreigners in their own land – so that opposition to the British state is no longer a question of grumbling but is legally demanded. The film's major fantasy is a return to wartime unity, which of course involves an increase in restriction. But this fantasy is predicated on another: that the state can be restored to its wartime role of representing and protecting the people rather than bullying them. Passport to Pimlico mourns the loss of Ealing's wartime myth that the people were the state and offers a reluctant recognition, through its use of fantasy, that this equation can no longer be assumed.
But Richard Dacre has suggested that what we think of as the Ealing house style is actually the individual concern of screenwriter T.E.B. Clarke, the "architect of Ealing's popular image of cosy whimsicality"; the films he wrote "depict a Britain of shopkeepers, friendly spivs, jolly coppers, incompetent but honest bureaucrats, kind-hearted squires, contented old-age pensioners and eccentrics", while the works of Alexander Mackendrick and Robert Hamer (including Kind Hearts) offer "a dark commentary on those values".
Ealing comedies poked fun at the foibles and idiosyncraises of Brits and their institutions, rather flattering them with the attention that comes from noticing their nuances in the first place. It was a gentle attack; Michael Balcon claimed that:
We had great affection for British institutions: the comedies were done with affection, and I don't think we would have thought of tearing down institutions unless we had a blueprint for what we wanted to put in their place […] The comedies were a mild protest, but not protests at anything more sinister than the regimentation of the times.
Kind Hearts and Coronets may be different. It still has a keen eye for body language and a keener ear for verbal stratagems (there is, for instance, a razor sharp Wildean paradox in the line "it is so difficult to make a neat job of killing people with whom one is not on friendly terms", or the moment when he notes, without a whiff of irony, his distaste for bloodsports). Tim Pulleine notes that this is sourer than its precursors and the films that followed it:
Crucially, this is a film that centres on that most English, but generally un-Ealing, preoccupation of class distinction, and although the plot is motivated by revenge for class-based snobbery, the impulse that sustains it is far from a democratic one. Moreover, it is defiantly amoral.
So, when you're wondering who to cheer for, be prepared for a film that gives you no easy target for your sympathies. You might find some of the minor characters endearing, but they're usually made unpleasant or daft in some way. Take for example, the eight characters played by Alec Guinness, all of whom will be bumped off or die of shock or some such. All of them can be seen in this immaculate trick shot:
No, look at the above image again. That's a whole crowd of Alec Guinnesses composited into a single frame. It is that rare thing – a perfect special effect. Aided by great costumes and make-up, Guinness gives each character, however briefly they appear, a virtuoso twist of individuality, but the decision to cast one actor for them all creates a striking line-up of genetic stagnation. Their family is thus a stronghold of genealogical purity, inviting the heroic charge of an underdog outsider. Mazzini will infiltrate this familial fortress with his foreign blood (his father was Italian, his mother (conspicuously not played by Guinness) disowned by the D'Ascoynes for marrying him).
The sense of Mazzini's murders as distressing crimes is lessened by this depiction of the D'Ascoyne family as a privileged superorganism whose parts were merely expendable appendages of a bigger beast. But it might also be a disturbing picture of class warfare – attacking an entrenched aristocracy requires blindness to the individual rights of the persons who comprise it – and the winner does not overturn the system, but merely takes up the same position at its head. Mazzini longs to occupy, not demolish the manor he sees as his birthright. In the earliest scenes of his backstory, the sets are cramped and humble. He has his eye on the open spaces and and high ceilings of Chalfont, gazing repeatedly at a picture of his future home (on the back of which he crosses off the family members as they fall).
His story takes him from small house to enormous house and ends up in the big house (that's "prison" for those who aren't as good at slang as what I is), while the mise-en-scene and visual style of the film obligingly conform to his version of the tale: there are no attempts to aesthetically pass judgement on the evil of it all with foreboding shadows or distorted angles. His narration is in control. As Michael Newton puts it:
Louis is a man without depths. His meaning exists on the surface: of clothes, of manners, of wit. When the mask slips, only anger and inner confusion appear. Behind the apparent politeness is the real confusion of evil: the evil that cannot distinguish one woman from another, or one victim from another. The film brings together a love of the surface (the well-litness of the film is its ironic undermining of film noir – evil is best understood in the light) and the use of the supposedly 'literary' device of the voiceover (actually a cinematic coup). Both are ideal expressions of Louis's shallow, empty evil. The film's love of style, the way in which everything shrinks to a style, is actually the moral meaning of the film. This is what happens, it tells us, when everything becomes just style: murder becomes a comedy; people become things. And in believing that, Louis is us all: the modern flirt; the addict of cool.
Positioning himself close enough to the family to kill them requires Mazzini to assume a range of disguises, all of which he pulls off by feigning the correct codes of conduct for each situation. Rather than etiquette being a gestural manifestation of good character, in Kind Hearts and Coronets it is a mask for malicious intent, wicked innuendo or hypocrisy.
Even when Mazzini's emotional life is probed, it's hard to find him in moments where he doesn't peer out from behind a veneer of respectability. Best evidence of this is to be find in the curiously drawn courtship (which we are led to believe is consummated on a regular basis) with Sibella. It's a strange love affair, he being a mass murderer and she a skittish, changible, permanently pouting and petulant child-woman (did I mention she also has an unfeasibly sexy voice?).
The formation of the romantic couple is usually the driving force of narrative cinema. It's what creates a backdrop of suspense, marks the fulfilment of a conclusion and lets you hope for a better life for your protagonists. But it's hard to really hope these two will get together. She has little interest in him until he holds a dukedom, and his yearning for her is too closely linked to his desire for Chalfont to be wholly admirable. It's not clear whether it is vengeance for the slight on his mother's honour that drives him to serial murder, or his wish to prove his suitability to Sibella. For her part, she seems to find her devious intent out of boredom, or perhaps even to prevent Mazzini from taking up his title without her. She'd destroy him before seeing him succeed on his own.
Like the film itself, I'm stuck for a conclusion to this post. I don't want to give too much away by discussing the ending, except to say that it is perfectly inconclusive, refusing to allow the simple closures that are left just within reach to stamp the film with a definitive attitudinal stance on the crimes of its protagonist. But the film's knives in the heart of heritage cinema and costume drama are there to delight anyone who is just happy to see a mockery of mannerism. I referred earlier to Kind Hearts as a cynic's charter. I think therefore that I'm in agreement with Michael Newton, to whom I hand over the final word:
Kind Hearts is a great work of art, and if art matters then it matters. It is very funny and, in a demonically subtle way, very wise. And for the bitter, the easy self-deprecators, the procrastinators, the snobs, the junkies of possibility, the flirts, the wits, the wastrels, the overly wordy, for all those it is perhaps the perfect movie. It is not a film for the humble or the dull. They are too good to need it. For the rest of us, it is both the disease and the cure.
Charles Barr, Ealing Studios. Cameron & Tayleur, 1977.
Richard Dacre, "Traditions of British Comedy" in Murphy (ed.) The British Cinema Book 2nd edition. British Film Institute 2002.
Ian Green, "Ealing: In the Comedy Frame" in Curran & Porter (eds.) British Cinema History. Weidenfeld & Nicholson, 1983.
Martin Hunt, "New Labour, New Criticism: A Contemporary Re-Assessment of Ealing and The Archers". Quarterly Review of Film and Video 19 (2002), 261-269.
Philip Kemp, Kind Hearts and Coronets: Ealing's Shadow Side.
Michael Newton, Kind Hearts and Coronets. British Film Institute, 2003.
Tim Pulleine, "A Song and Dance at the Local: Thoughts on Ealing" in Murphy (ed.) The British Cinema Book 2nd edition. British Film Institute 2002.
Film director Terence Davies on Dennis Price's voiceover.
Jeffrey Richards, "Basil Dearden at Ealing" in Burton, O'Sullivan & Wells (eds.) Liberal Directions: Basil Dearden and Postwar British Film Culture. Flicks Books, 1997.
Bosley Crowther's review, New York Times, 15th June 1950.
Film Studies for Free has an invaluable collection of links on the subject of Ealing comedies.
Geoffrey Macnab, "The shadow cast by Ealing comedies is no laughing matter." The Independent, 15th July 2011.
Robert Murphy, "Dark Shadows Around Pinewood and Ealing." Film International.
Andrew Gilligan, "The gentle, trusting Britain that lives for ever in an Ealing comedy." The Telegraph, 28th July 2011.
Review and clips at Screenonline.
Emma Simmonds at Little White Lies Cult Film Club, and Paul M. Bradshaw's review.
The locations used in the film.
Matthew Dennison in The Telegraph on the film's 60th anniversary.
Review at Britmovie, extracted from George Perry's Forever Ealing.
History of Ealing Studios at Wicked Lady.
Ealing Studios homepage.
Nigel Watson,"Carry on Ealing."
John Ellis, "Made in Ealing."
Fantastic Voyages, "Dennis Price: Very Nearly a Star."
Interactive Video: Jonathan Ross on Ealing Studios.
Philip French's screen legends: Joan Greenwood.
Joan Greenwood biography at Silver Sirens.
Screenonline's guide to Ealing Studios, and their biography of Robert Hamer.
Review of the radio adaptation of the film.
Neil Clark on Dennis Price.
Alan Paterson's review of the film's Blu-Ray release.
Jennie Kermode's review at Eye for Film.
Review at Rhythm Circus.
Posted in British Film	| Tagged Alec Guinness, Comedy, Dennis Price, Ealing, Ealing comedy, Joan Greenwood, Michael Balcon, murder, Robert Hamer, serial killer, Valerie Hobson	| 11 Replies

redpajama_set_name: RedPajamaCommonCrawl


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OECD‑FAO Agricultural Outlook 2016‑2025 Special focus: Sub-Saharan Africa.
OECD Publishing, Paris. July 2016, 137 pages
The OECD-FAO Agricultural Outlook offers 10-year projections of agriculture production trends for cereals, oilseeds, sugar, cotton, meat and dairy products as well as biofuels. It also looks at the challenge of climate change and the strategic priorities for sub-Saharan Africa's rapidly-urbanizing population.
"Agriculture is a key sector for the achievement of many goals in the 2030 Agenda for Sustainable Development, which aims to end poverty and hunger and promote prosperity and people's wellbeing, while protecting the environment. This Outlook outlines how agriculture can actively contribute to the attainment of these goals" (The Agricultural Outlook 2016-2025).
The Agricultural Outlook report is a collaborative effort between the OECD (Organisation for Economic Co-operation and Development) and FAO to provide supply, demand, trade, and price projections for the major agricultural commodities,biofuels and fish over the next decade (2016-2025).
To present an assessment of medium-term prospects of national, regional and global agricultural commodity markets, the Agricultural Outlook brings together the policy and country expertiseof both organizations and input from collaborating member countries.
A special chapter of the report is focused on the prospects and challenges of the agricultural sector in Sub-Saharan Africa.
"While the outlook for agriculture in Sub-Saharan Africa [with more than 950 million people, approximately 13% of the global population] is broadly positive, it could be much improved by more stable policies across the region, by strategic public and privateinvestments, notably in infrastructure, and by suitably adapted research and extension. Such investments could improve access to markets, reduce post-harvest losses, and make needed inputs more widely available" (the Summary of the report).
Access The Agricultural Outlook report chapter-by-chapter:
CHAPTER 1: Overview of the OECD-FAO Agricultural Outlook 2016-2025
CHAPTER 2: Agriculture in Sub-Saharan Africa: Prospects and challenges for the next decade
CHAPTER 3: Commodity snapshots
Commodity chapters (not available in full report)
Oilseeds and Oilseed Products
Dairy and Dairy Products
Extracts:
Sub-Saharan Africa's net imports of food commodities are anticipated to grow over the next decade, although productivity enhancing investments would mitigate this trend. Food import dependency of resource poor regions, such as North Africa and the Middle East, is projected to intensify providing a huge market for any grain exporters in Africa. In SAA countries grain imports will increase 50% in ten years. Comparatively, North Africa will only see a 15% increase.
Due to extremely high population growth, SSA has a very young population. The World Bank predictes that more than half of young Africans will enter agricultural careers, mostly in the format of small family farms. Inovating ways for youth to participate in agriculture has the potential to greatly reduce poverty and hunger. Success for these young African farmers relies on their education of land access and tenure, access to financial services, access to markets, access to green jobs and involvement in policy dialogue. All of this has the potential to make the agricultural sector more attractive to young people, providing an additional push that may be needed for them to enter the sector
FAO believes that the single greatest factor in improve crop outputs over the next decade will be yield improvements. Currently, it's not uncommon to see post-harvest crop losses above 50 percent in the region. In the next decade African farmers will gain new metholodgies and technologies to improve their yields. The opportunity for large fertilizers and machinery companies to penetrate the African market is likely to greatly increase as farmers seek new ways to improve their output.
FAO reports that foreign investment and external financial flows into Africa have quadrupled since 2000. These flows are expected to increase two times further in the next decade. The report finds that while the outlook for agriculture in Sub-Saharan Africa is broadly positive, it could be much improved by improvements in government policies across the region, by an increase in strategic public and private investments (especially in infrastructure) and by suitably adapted research and extension. Such investments could improve access to markets, reduce post-harvest losses, and make much needed inputs more widely available.
A great example of exactly this kind of investment is the new Norwegian funded company Arise. Arise is a cooperation by Norfund, FMO and Rabobank which seeks to invests in financial institutions in SSA to grow their financial services and capability to supply capital to small-holder farmers in Sub-Saharan Africa. The establishment of joint ventures, such as this, will contribute more to the development of banking than just one bank or investment fund on its own.
The new company, to be named Arise, will start with a presence in over 20 countries, USD 660 million in assets and is anticipated to grow to USD 1 billion. Arise will take and manage minority stakes in African FSPs. The key ambition is to build strong and stable FSPs that will serve retail, Small and Medium Enterprises (SMEs), the rural sector, and clients who have not previously had access to financial services.
"Rabobank's activities in investing and building strong financial service providers in emerging economies, especially Sub-Saharan Africa, truly fit our Banking for Food strategy; focused on creating solutions with our clients to feed the world in 2050. It is therefore very important to us to take this approach to a higher level. By joining forces and pooling assets, networks and expertise with Norfund and FMO, two highly experienced development institutions of excellent reputation, we are taking a major step forward."Berry Marttin, Executive Board Member of Rabobank
"Norfund invests in financial institutions to strengthen their ability to supply capital and financial services to SMEs and unbanked people in Sub-Saharan Africa and thereby contribute to economic growth and poverty reduction. The establishment of Arise will contribute to the development of the financial sector in Africa on a scale which is far beyond what Norfund can achieve by itself. By partnering with experienced, like-minded investors such as FMO and Rabobank, will ensure that Arise benefits from excellent banking, technical and managerial expertise." Kjell Roland, CEO at Norfund
"FMO is proud to co-create a unique platform for investing in African banks with Norfund and Rabobank. Arise can leverage the extensive banking knowledge and valuable agri-banking expertise of its founding partners. This partnership will increase the availability of financial services to small and medium enterprises. Above all it will allow the people in Sub-Saharan Africa to empower themselves by getting bank accounts and taking loans and thus building a better life for their families." Nanno Kleiterp, CEO at FMO


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La révélation de tout étant, quel qu'il soit, présuppose qu'un « monde » soit au préalablement ouvert. Le concept de « monde » renvoie  dans la pensée  du philosophe Martin Heidegger à deux notions qui en soutiennent l'unité, à la fois à l'unité d'un horizon de significations (d'où le thème de la « significativité » du monde) et à l'idée de « familiarité ».  Dans Être et Temps, l'idée de Monde est à  rapprocher de l'idée d'éclaircie, ou d' « ouvert » pris au sens platonicien de  et non comme une collection pré-donnée d'étants, qui entrerait accessoirement et ultérieurement dans un champ de vision.

Le concept majeur  du philosophe Martin Heidegger dans son ouvrage titre Être et Temps a été transposé en français par l'expression  « être-au-monde » comme caractère essentiel du . Comprendre l'« être-au-monde », comprendre le  passe donc par l'étude de l'élément structurel « monde ». Ici, le concept de « monde » n'a donc de sens qu'à travers et pour le  comme le souligne Dominique Saatjian, l'interrogation ne doit pas se limiter à une description du monde mais doit dégager ce qui fait qu'un monde est monde et non une simple collection d'objets, à savoir, la « mondéité » par quoi quelque chose pourra être dit de l'essence de l'« être-au-monde ».

Pour Heidegger, le monde s'offre selon trois types distincts , écrit Michel Haar.

Approche du concept de monde

Le monde comme problème

La problématique du « monde », apparaît dès le chapitre 3 d' Être et Temps . Au lendemain de Être et Temps, le cours de 1929-1930, intitulé Les concepts fondamentaux de la métaphysique : Monde-finitude-solitude, fait de la question du monde, , son thème prioritaire  au détriment de la « question de l'être ». Comme le remarque Marlène Zarader dans les enjeux principaux d' Être et Temps, , .

Depuis Être et Temps, jusqu'aux derniers travaux, le concept de « Monde » a connu une mutation importante ; d'abord centré sur le , dont il constitue à cette époque l'horizon transcendantal, il devient, dans la Lettre sur l'humanisme, , écrit Françoise Dastur. Dès lors, le monde ne peut plus être considéré comme une projection du  comme c'était le cas à la lecture d' Être et Temps . On distinguera donc dans une perspective historique : le monde comme horizon transcendantal, le monde comme « éclaircie »  de l'être, le monde comme Uniquadrité.  Cette idée de « monde » va s'avérer tout à fait étrangère à celle plus traditionnelle de « nature ».

Le monde n'est pas la nature
Loin de l'idée triviale de réalité dans laquelle l'homme occuperait une place comme un arbre, tout  possède au sens de l' « être-au-monde », et dans l'esprit de Heidegger, un monde qui lui est propre ; un monde que des expressions courantes de la littérature comme le « monde de Proust » ou le « monde de la rue », « ce n'est pas ton monde », peuvent donner l'idée. Un tel monde se dévoile, non comme une collection de « choses », une totalité, mais comme une tournure d'ensemble, qui possède une « significativité » propre, à travers l'usage et la jouissance, qui font de ce monde là, pour ce  là, un monde qui a un sens.  Heidegger, souligne Hans-Georg Gadamer, a lui-même présenté une esquisse d'une histoire des concepts de « monde », où il a notamment mis en évidence, en le justifiant historiquement, le « sens paulinien et néo-testamentaire » ainsi qu'anthropologique de ce concept au sens où il l'employait lui-même.

Comme le remarque Jean Greisch, après avoir distingué le concept de « Monde », qui ne recoupe pas celui de nature, il reste néanmoins à définir le , que Heidegger appréhende comme :  si bien que la question de l'existence du monde ou de la nature ne se pose plus, car toujours donné comme déjà signifiant pour un . Pour marquer la spécificité de l'« être-au-monde » humain, Heidegger est amené à comparer dans un de ses cours le monde animal et le monde humain. La comparaison entre le mode d'ouverture à son milieu, propre à l'animal, et le mode d'ouverture à l'étant, qui caractérise l'homme, va jouer un rôle important dans l'évolution de la pensée heideggérienne et dans son effort fondamental et progressif pour élucider le concept de monde. C'est dans le cours de 1929/30 intitulé Concepts fondamentaux de la métaphysique : Monde-finitude-solitude que Heidegger étudie, sur la base des travaux du biologiste Jakob von Uexküll, le comportement animal, d'où il ressort, par contraste avec le monde humain, la pauvreté du monde animal.

Rejet de l'approche cartésienne
Être et Temps a consisté à lutter contre l'interprétation erronée du phénomène du monde hérité de la tradition. Il s'agit pour Heidegger de procéder à une véritable « déconstruction » de l'héritage cartésien, de recenser les diverses significations du phénomène du monde et de lutter contre les idéologies dites des « visions ou des conceptions du monde », les  qui dominaient la scène philosophique à cette époque. L'ontologie cartésienne est dominée par la notion de « substance » héritée de la scolastique, qui, à aucun moment, ne s'interroge sur les conditions originaires de donation de ces phénomènes.

Descartes prescrit souverainement au monde (par déduction logique) son être véritable, soit . Le monde, pour Descartes, est une sommation de choses ; il impose par la suite sa distinction « substance pensante/chose corporelle », distinction qui masque le rapport originel d'où provient cette conception traditionnelle et qui selon Heidegger se situe au niveau de l' « être-au... », de « être-au-monde ». Il lui échappe, note Walter Biemel, . Une telle réduction, remarque Dominique Saatjian, . Citation de Martin Heidegger  .

Le concept de Weltanschauung
Dans les années 1920 à 1930 , en Allemagne comme en France, le thème philosophique des « Visions du monde » ou  dominait  la scène intellectuelle. Heidegger s'élève contre la tendance à utiliser ces termes de « vision » ou de « conception du monde » et conteste le bien fondé à considérer un thème comme un synonyme de la philosophie. Edmund Husserl et Martin Heidegger, se sont opposés à cette réduction; .

S'il l'exclut, du domaine de l'ontologie, Heidegger ne réserve pas moins au thème populaire des « Visions du monde », une place dans le cadre de l'« analytique existentiale ». Ni subjectif, ni objectif le monde des « visions du monde » appartient à l'essence du . cité par Jean Greisch.

Le monde comme horizon de compréhension
Les « choses » rencontrées dans la quotidienneté ne sont justement pas d'abord saisies en tant que « choses », mais bien plutôt dans leur un usage, leur utilité, et c'est à travers cet usage que le  prend contact avec elle, la tasse de café comme récipient pour boire, le crayon comme  machin pour écrire, donc comme des espèces d'outils ou de moyens saisis dans un but déterminé. Tout cela n'est possible que si auparavant il y a originairement « rapport au monde » où l'étant est d'abord tout simplement là présent, . L'ensemble des « choses » de ce monde ambiant familier qui constituent l'étant « intra-mondain » se dévoilera à la préoccupation circonspecte comme un « Outil », c'est-à-dire, comme un étant   au sens phénoménologique, et non pas pour lui-même. Devant ce phénomène Heidegger démarre son analyse du monde comme un horizon de compréhension des étants qui s'offrent à partir du «  monde ambiant » quotidien, . Le  se meut librement dans ce monde familier, sans nécessairement en avoir conscience. Sur ce rapport au monde des choses familières qui nous entoure, Heidegger fait la remarque importante pour la suite de ses travaux que ce rapport dépend avant tout de notre disposition, de notre humeur et non d'un acte perceptif ou intuitif (Être et Temps, §29).

La révélation de tout étant, quel qu'il soit, présuppose qu'un monde soit au préalablement ouvert () a toujours déjà eu lieu. Toutefois le monde, n'étant pas un étant mais un  « existential », c'est-à-dire, un mode d'être du , ne peut jamais en tant que tel, être découvert. La traduction littérale de  par ouverture néglige en fait, la nature existentiale du concept, c'est pourquoi Vezin ose utiliser dans sa traduction d'Être et Temps le terme étrange de  « Le Dasein est son ouvertude » dit-il.

C'est parce que le  a une compréhension pré-ontologique, naturelle, immédiate et générale que quelque chose, aussi bien que lui-même, peut lui apparaître. Deux traits sous-tendent cette pré-compréhension, , et la .

L'a-priorité du monde
La révélation de tout étant, quel qu'il soit, « présuppose » qu'un monde soit au préalablement ouvert. Françoise Dastur,écrit : .

Le concept de « monde » renvoie dans la pensée de Heidegger à deux notions qui en soutiennent l'unité, à la fois à l'unité d'un horizon de significations, d'où le thème de la « significativité » du monde, et à l'idée de « familiarité ». En tant qu'éclaircie, cet « ouvert » dans Être et Temps, est à prendre au sens platonicien de  et non comme une collection pré-donnée d'étants, qui entrerait accessoirement et ultérieurement dans un champ de vision.

C'est parce que le  dans la quotidienneté, se tient dans une totalité ouverte de signification à partir de laquelle il se donne à comprendre l'étant intra-mondain, les autres et enfin lui-même, qu'il a une compréhension pré-ontologique, naturelle, immédiate et générale, comportant  familiarité, et significativité, que quelque chose comme un monde, aussi bien d'ailleurs que lui-même, peuvent lui apparaître. .

Les structures et choses du monde

La significativité
Dans Être et Temps c'est à travers le phénomène de l' outil, que Heidegger aborde la question du Monde ; il s'agit de mettre à jour l'armature et les nervures de ce monde phénoménal qui se donne à voir.  Heidegger y distingue, avec la généralisation du principe d'ustensilité, ce qu'il appelle dans la traduction française des « structures de renvois » et des « tournures ».

La « significativité »,  désigne la structure ontologique du monde en tant que tel. Le « monde » se présente, non comme une totalité d'étants mais comme une totalité de « significations » toujours déjà présentes à partir de laquelle tout étant va pouvoir prendre sens. Au quotidien, l'étant, les choses du monde, se donnent au  dans la préoccupation  ou , et non dans la saisie théorique d'un objet de connaissance. L'intentionnalité husserlienne est réinterprétée comme un « se-soucier-de » l'étant, dont l'éventuelle visée d'un objet de connaissance dérivera. Le  utilise l'étant qui se donne à lui comme « outil », , cet outil apparaît au regard de la « préoccupation », regard que Heidegger appelle .

, écrit Alexander Schnell. Le  existe et en ce sens il ne rencontre des objets qu'en tant qu'être préoccupé et attentif. Tout étant, apparaît, non pour lui-même, mais comme renvoyant à un contexte et tout objet devient « outil », une chose utile « en vue de .. » écrit Christian Dubois. Mais de même qu'il n' y a pas d'outil isolé (), il n'y a pas d'outil qui serve à personne. C'est dans l'action entreprise « en vue de… » que l'outil dévoile son être, il est donc dans son essence,  à autre chose qu'à lui-même.

De proche en proche, toute la nature dans son caractère disponible, peut être découverte (selon les exemples de Heidegger, la forêt réserve de bois, la carrière réserve de pierres pour la construction). L'être des ustensiles c'est leur maniabilité ou  au sens large. Et c'est précisément, parce que le maniement n'est pas consécutif à une représentation, mais à une pratique, que la « maniabilité » n'est pas une simple présence  sur laquelle se grefferait une nouvelle propriété selon Emmanuel Levinas. François Vezin (), développe . C'est pourquoi, Jean Greisch peut dire , que la découverte, du, ou des mondes, précèdent celle des choses, dans les tournures et les conjointures qui leur sont propres. Le  quotidien appartient essentiellement à un monde avec lequel il est étroitement relié.

L'expérience vécue renvoie toujours déjà à un monde ambiant écrit Sophie Jan-Arrien . Avec le  s'ouvre un espace de rapports à partir de quoi quelque chose peut seulement prendre sens d'où il ressort que le Monde en ce sens ne fait qu'un avec la « transcendance » de ce même .

Dominique Saatdjian précise dans sa contribution que la relation entre le  et le  monde n'est pas la même que celle exprimée entre sujet et objet ou homme et Nature. Cette relation qui caractérise la façon dont le   est ouvert à l'être, doit s'entendre sur le plan strict de l'« ek-sistence ». Il s'agit pour Heidegger avec le concept de monde de nommer une manière d'être du  , c'est-à-dire de faire de la .

Structures de renvois et signes

De même qu'il n' y a pas d'outil isolé (ou ustensile au sens large), il n'y a pas d'outil qui soit là et qui soit utile à personne (Être et Temps, ). C'est dans l'action entreprise « en vue de… », que l'outil dévoile son être, il est donc en son être « renvoyé » à autre chose qu'à lui-même. Heidegger distingue à ces renvois une triple signification, le renvoi à un autre outil qui appartient fonctionnellement à la même destination (exemple : le bouton à la boutonnière), le renvoi immédiat à cette destination, à ce dont il retourne avec lui (le marteau pour marteler, ajuster, faire un meuble) et de proche en proche à des finalités de plus en plus larges, enfin, but ultime, le renvoi à l'« être qui est au monde » sur le mode de l'affairement et de la préoccupation.

Pour distinguer l'outil de la chose indifférente, simplement là, Heidegger utilise le terme de , que l'on traduit par « disponibilité » ou mieux « maniabilité ». Ce qui est primitivement donné c'est l'étant-disponible, donc une chose  « en tant que… » car le pour-quoi de l'objet commande.

Le bouclage des structures de renvois finalisés implique, par lui-même, en bout de course, la « significativité » ,   du monde environnant. Dominique Pradelle précise les points suivants : le « pourquoi » (le à quoi çà sert) de l'ustensile ne vient pas se greffer sur lui a posteriori, comme un prédicat, mais sa signification singulière appartient d'emblée à l'étant rencontré. Trois traits particuliers nous éloignent encore plus de l'espace mathématisé. L'ustensile échappe à la mesure de la distance, le maniable « à portée de la main » l'est plus ou moins en fonction de sa disponibilité. La notion de « place » ne se réduit pas à ses coordonnées cartésiennes, un ustensile est ou n'est pas à sa place. Enfin la notion de « direction » ne possède de sens que pour la préoccupation pratique.

De proche en proche, toute la nature dans son caractère disponible, peut être découverte (la forêt réserve de bois, la carrière réserve de pierres pour la construction).

Tournures et conjointures

Il n'y a d'« ustensile » que dans la mesure où le domaine du « monde » qui les justifie est déjà compris, « entendu », Être et Temps (§18).  Heidegger en appelle à l'exemple de la moissonneuse batteuse qui ne prend de signification qu'à l'intérieur de la ferme et de l'exploitation agricole. C'est, cet « enchâssement » que Heidegger dénomme Bewandtnis (traduction Martineau : « conjointure dans la traduction Vezin), qui de proche en proche mettent en découvert, le monde. D'autre part dans chaque monde (la ferme, l'atelier, la salle de bains, l'église…), les choses y destinées sont à leur place, c'est ce que traduit le terme de « conjointure ». Tout monde est une entièreté de conjointures dont le point d'attache se trouve dans un « à dessein de quelque chose » dans lequel le  est engagé note François Vezin. C'est pourquoi l'on peut dire  que la découverte, du, ou des mondes, précèdent celle des choses dans les tournures et les conjointures qui leur sont propres. Le  quotidien appartient essentiellement à un monde avec lequel il est étroitement relié.

En conclusion ce monde phénoménologique, qui n'est jamais une sommation d'étants, mais une  structure de renvois, ni objective, ni subjective, mais dont le   constitue l'ultime et unique finalité, reste, le plus souvent, « en retrait », « invisible », car le propre de l'étant maniable est de s'effacer devant sa maniabilité. Il en résulte que dans Être et Temps, la nature est ignorée au seul profit d'un monde uniquement humain, note Françoise Dastur

La découverte du «monde »
Le plus souvent pour le commerce du  dans la quotidienneté le monde comme tel reste inapparent, ce n'est donc qu'accidentellement qu'il peut apparaître avec plus ou moins de force dans des circonstances particulières :
 à la suite d'un mode déficient de la préoccupation (Être et Temps, ).
 à la suite d'un renvoi qui fait signe (Être et Temps, ).
 à la suite d'un effondrement de la familiarité dû à l'ennui ou à l'angoisse

La mondéité du monde
Il s'agit de la question de son essence et de ce qui en fait l'unité. C'est à travers les  du , note Jean Greisch que . On ne peut pas comprendre la relation entre le  et le « monde », qui en est une manière d'être spécifique, à partir de la traditionnelle relation du sujet et de l'objet. Toutefois comme le fait remarquer Joël Balazut, .

Le monde comme ouverture
La révélation de tout étant, quel qu'il soit, présuppose qu'un monde soit au préalablement ouvert. L'ouverture () a toujours déjà eu lieu. Toutefois le monde, n'étant pas un « étant » mais un « existential » (c'est-à-dire, l'effet d'une « entente » du  Dasein), ne peut jamais en tant que tel, être découvert.

L'« Ouvert », qui le présuppose, n'est pas constitué par l'étant, il n'en est pas non plus la représentation, puisque ce n'est qu'à l'intérieur de cet « Ouvert » ou « horizon », qu'il est possible d'instaurer une relation à l'étant, toute relation présuppose l'ouvert. La traduction littérale de  par « ouverture », rate en fait, la nature existentiale du concept, c'est pourquoi Vezin préfère utiliser dans sa traduction d'Être et Temps le terme étrange de « Ouvertude » :  dit-il.

Le concept de « monde » renvoie  dans la pensée  de Heidegger à deux notions qui en soutiennent l'unité, à la fois à l'unité d'un horizon de significations (d'où le thème de la « significativité » du monde et à l'idée de « familiarité ». En tant qu'éclaircie, cet « ouvert » dans Être et Temps, est à prendre au sens platonicien de  et non comme une collection pré-donnée d'étants, qui entrerait accessoirement et ultérieurement dans un champ de vision. Le terme d'« ouvertude » de préférence à « ouverture », proposé par François Vezin tend justement à souligner l'approche du monde en tant que  qui enveloppe le    (voir le Souci).

Heidegger y distinguera comme catégories accordées à la vie du , existentiaux : la disposition, le comprendre et le discours.

Le monde comme préoccupation

À l'époque d' Être et Temps, le monde se dévoile, en premier lieu, au , dans la préoccupation () quotidienne, et non dans une démarche théorique visant un objet pour la connaissance. Ainsi l'intentionnalité husserlienne est réinterprétée comme un « se-soucier-de » l'étant, duquel une connaissance théorique peut uktérieurement dériver. Le  utilise l'étant qui se donne à lui comme « outil » . Cette relation est dominée par la tension « en vue de… », on se saisit d'un étant   () pour réaliser quelque chose.

La préoccupation englobe les activités les plus diverses. Dans l'optique de Être et Temps, la distinction qui importe n'est plus la distinction canonique entre le « pratique » et le « théorique » mais entre la préoccupation qui discerne et le dévoilement théorique de l'étant.

Le  ne commande pas la projection par laquelle il se donne un horizon afin de se rendre possible une action; ceci c'est le rôle de la Disposition  qui comporte toujours, déjà, une .

Parce que  Christoph Jamme note que .

L'assombrissement du monde
Par cette expression d' ou (), ou mieux de « dévastation » (), Heidegger tente de rendre compte du règne du Nihilisme, dernière époque dans l'histoire de la « vérité de l'Être ». Le règne inconditionné de la technique vise à rendre toute « choses » « disponible », ce qui conduit . Heidegger détaille les formes contemporaines et souterraines du Nihilisme dans sa conférence consacrée au « Dépassement de la métaphysique » dans les Essais et Conférences, en les regroupant au nombre de trois : il s'agit de la planification, de l'usure et de l'uniformité.

Michel Haar note que . Michel Haar doute que l'on puisse parler d'un « monde de la technique », car dans le processus d'uniformisation et de calculabilité de tous les rapports, processus qui abolit toute proximité et toute distance, l'homme ne peut plus être situé près ou loin des choses, qu'elles soient familières ou inquiétantes.

Le monde comme éclaircie de l'être
Après Être et Temps le « Monde » prend progressivement une autre signification. Françoise Dastur  rapporte une nouvelle définition qui prend place dans un passage tiré de la Lettre sur l'humanisme où . Dès lors souligne-t-elle  à travers l' être-jeté. Michel Haar de son côté écrit   (c'est-à-dire qu'il reste transcendantal et métaphysique) alors qu'ensuite il sera question de , soit de disposition ou de tonalité fondamentale comme dans le cours sur Les Hymnes de Hölderlin : La Germanie et le Rhin qui vont être à la fois déterminée et déterminante pour une époque (l'esprit d'une époque).

L'identité du monde et du Dasein
Tout l'effort de Heidegger va se tourner vers . Alors que dans Être et Temps, l'ouverture du « là », (« le là de l'« être-le-là » » du   voir Être et Temps), est conçue comme centrée sur le « monde du Soi », l'homme va maintenant  déployer son être de telle sorte qu'il devient le « là » (le lieu) de l'éclaircie de l'Être, . .

C'est à partir de la Lettre sur l'humanisme que Heidegger comprend l' « ek-sistence » non plus comme une projection transcendantale mais, comme une « endurance », le  devient l'ouvert pour l'ouverture de l'être et c'est dorénavant l'Être lui-même qui destine l'être-le-là (voir le Dasein) à son essence. Le  s'inscrit dans une passivité constitutive, passivité à l'écoute de l'être.

Ce dernier « monde là », n'est plus configuré par l'homme, qui lui, est moins encore, ce sujet demeurant en lui-même avant d'avoir une relation au monde ; en tant que « là » de l'Être le  s'il n'est plus configurateur, reste celui qui participe à l'événement du monde.

Déjà  dans  Être et Temps, le monde, n'est plus l'acte d'un sujet « transcendental » mais avant tout l'avènement de l'existence humaine. Progressivement la « mondéité », notamment dans les Apports à la philosophie : De l'avenance, et dans la Lettre sur l'humanisme, va se charger d'un sens verbal actif, le monde va dorénavant .

Le monde est ce en quoi le    se tient. À partir de la conférence de 1935 sur l' De origine de l'œuvre d'art, Heidegger renverse et élargit la perspective, le monde n'est plus le monde ambiant, l'  quotidien, il se définit selon Françoise Dastur .

Toutefois Françoise Dastur. souligne que ce règne du monde  . Ce qu'Heidegger cherche à montrer c'est qu'il n'y a pas deux pôles,  et monde mais un seul « événement ».

L'œuvre d'art comme configuratrice de monde

Dans la conférence sur « l'origine de l'œuvre d'art », le renversement de perspective au profit du monde est particulièrement marqué . C'est maintenant  d'un monde en tant qu'elle est ouverture et aménagement de l'espace où toutes choses prennent leur place.  Au sein de ce monde, le , passif, est « capturé » dans un « ajointement » de renvois, selon l'expression de Françoise Dastur (au milieu des renvois, tournures et conjointures). Ainsi conçu le monde ne sera plus jamais un assemblage de choses existantes ou un simple cadre dans lequel figureraient indifférentes les « choses ».

Il apparaît, que l'éclaircie de l'être ne relève plus exclusivement de l'homme ; l'œuvre d'art, note Hans-Georg Gadamer est aussi un événement de vérité. Selon Heidegger il n'est que de contempler un temple grec, qui semble avoir été arraché au monde des forces élémentaires, pour s'en convaincre ; la terre et le ciel, la pierre et la lumière sont beaucoup plus présents, au sens où ils accèdent au « là » (lieu) de leur essence véritable.

Alors que dans Être et Temps le monde transparaissait fugitivement à même l'outil cassé et le désarroi que ce simple accident provoquait , c'est maintenant l'« œuvre d'art » qui va nous dévoiler un monde et une terre .

L'intimité des choses et du Monde
Après Être et temps, alors que les choses ne sont plus seulement des  ustensiles et le monde un rassemblement d'étants, le rapport entre la chose et le monde se complique remarque Didier Franck. Heidegger nous dit que monde et choses ne sont pas côte à côte mais qu'ils passent l'un à travers l'autre sans qu'il y ait à aucun moment entre eux fusion. .

La quadrité comme loi de l'Être

Au contact de la poésie du poète Hölderlin, et dans une ultime étape, la question d'origine d'Être et Temps, comme question du « sens de l'être », s'est vue débordée, par la question du « Monde » qui se déploiera, à son tour, dans le concept d' « Uniquadrité »,  comme si la « quadrité », l'enlacement des quatre puissances élémentaires, à savoir: , était la « loi primordiale »  de l'Être.  écrit Hadrien France-Lanord.

Les puissances originaires en lutte

Dans son interrogation sur l'être de la « chose », Heidegger s'ingénie à décrire tout un spectacle cosmique caché. La chose n'est pas un simple objet inerte, mais peut, en tant que chose, et du point de vue du , posséder une fonction dans cet ordre métaphysique. Une cruche dans le monde grec, par exemple, n'est pas simplement de la terre mise en forme par un potier mais elle déploie son être dans le versement de ce qui est offert. Ainsi, l'utilité triviale de cette cruche, qui nous vient immédiatement à l'esprit, ne dit pas tout de son être. . L'eau peut être offerte aux hommes comme une offrande aux dieux. . L'ouverture à l'être dépasse l'homme, elle recompose la totalité de l'être.

C'est ce que Heidegger nomme « quadriparti » : . . La simple saisie de la « choséité de la chose » nous ouvre à la totalité de présence de l'être. . Mais - écrit Alain Boutot.
Jusqu'à la publication des Beitrage, le divin et les dieux, n'interviennent que comme médiateurs; il en est encore ainsi dans la Lettre sur l'humanisme.

Dans quelque chose qui pourrait s'assimiler à une invocation, Heidegger, pour dire l'« Être », commence toujours par la Terre avant de l'accoupler au Ciel, puis il nomme ceux qui ont en partage la parole qui dit l'être : les Divins et les Mortels. La chose se manifeste en faisant venir un Monde à l'apparaître. Ce Monde est ce qui fonde l'être de la chose. .

Ce qui est essentiel à noter écrit Hadrien France-Lanord c'est que dans cette pensée l'homme perd sa primauté mais tout aussi bien le Dieu chrétien monothéiste dans la mesure où les divins ne sont pas au-dessus des hommes en tant que créateurs.

La place de l'homme

L'événement du monde n'est toutefois pas indépendant du  auquel il se trouve associé comme Heidegger l'explique dans La Parole d'Anaximandre. Gerard Guest, en introduction de sa conférence consacrée à la Lettre sur l'humanisme, souligne, de son côté, la volonté de Heidegger d'inscrire l'ouverture du  dans l'éclaircie de l'être. Les mortels sont parties prenantes ,  et, en tant que tels, inséparables des trois autres éléments , ils interviennent dans l'« ajointement » des puissances de l'« Être ». Pierre Caye fait du , privé de son rôle de fondement, que lui attribuait l'ancienne métaphysique, une  qui articule, et n'advient elle-même à l'être, que par et dans son opération d'articulation. Ce qui est à  noter c'est que pour lui, loin de dévaloriser la place de l'homme la copule qui articule, la constellation de l'Être, soit des dieux, de la terre et du ciel, lui donne une place sur-éminente.

Avec les Apports à la philosophie : De l'avenance, le   prend définitivement place, comme articulation, dans la constellation du « Quadriparti », , où tous les termes s'entre-appartiennent et qui va constituer la dernière appellation de l'Être.   ( Apports à la philosophie : De l'avenance).

L'homme n'est dorénavant plus compris comme le « fondement-jeté » de l'éclaircie mais comme celui qui se tient en elle, dans l'  (voir Apports à la philosophie : De l'avenance) et qui lui est redevable de son propre être. Tout cet effort de rupture avec la métaphysique de la subjectivité, remarque Michel Haar, aboutit, selon son expression, . Le  des débuts, en ce qui lui reste de l'homme métaphysique, s'efface définitivement devant le qualificatif de « mortel » pour être compris sur un pied d'égalité, dans l'unité du « Quadriparti » : .

Références

Notes

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Bibliographie

Articles connexes
 Monde (philosophie)
 Concept de Chose dans la philosophie de Martin Heidegger

Concept heideggérien
Œuvre de Martin Heidegger
Œuvre de phénoménologie
Œuvre philosophique du XXe siècle

redpajama_set_name: RedPajamaWikipedia


A bicyclist, who lives in Arlington Heights, was struck by a car Wednesday about 5:00 p.m. at the intersection of Heaven's Gate and Miller Road in Crystal Lake.
Kevin R. Young, 28, was traveling east on Miller Road at Heaven's Gate at about 5 p.m. when a Chevy TrailBlazer driven by Jacob Regul hit the bicyclist near the south entrance to Indian Prairie Park near Indian Park Elementary School.
Jacob Regul, 30, of Lake in the Hills, was traveling west on Miller Road and tried to turn left onto Heaven's Gate when he hit Kevin R. Young while he was heading eastbound, according to a release from Crystal Lake police.
Young was transported by Algonquin-Lake in the Hills Fire Rescue firefighter/paramedics to Sherman Hospital with serious injuries.
Crystal Lake police ticketed Regul for driving with a suspended license and failure to yield when turning left.


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Equity + Justice Fall Series with Team Dynamics, Part II
Pauline Eichten, on behalf of the Beloved Community Staff Team
Every Tuesday night over the course of seven weeks in September and October, some 200 people participated in at least one of a series of workshops led by Team Dynamics. This is part of Unity's work toward realizing our Ends — to create a multicultural spiritual home and space for racial healing and dismantling dominant culture. In last month's newsletter, we shared an overview of the first four workshops. Here we'll offer a brief overview of the last three, as well as some reflections from participants.
The fifth workshop, Social Change + Social Movements, described social movements as a contest of values and ideas. Unity's movement toward an antiracist multicultural spiritual community rises out of three values: intersectionality and complexity of identities; interconnection, not alienation; and interdependence, not extreme individuality. The workshop also introduced the need to lead with a positive vision, a "Wow" statement that expresses the desired outcome that motivates us — or as presenter Alfonso Wenker said, "gives us goose bumps."
Workshop six, Organizing + Action, defined organizing as people casting a vision, building relationships, amassing resources and then using those to effect a transformation. It also identified a feedback loop as critical, asking, "Are we willing to be changed by what we learn? Who are our messages for? Is what we're doing working?"
The final workshop reviewed the tools and content from previous sessions and included a call to accountability. Each participant was asked to consider one area of focus and examine what they might do differently given what they had learned. As in every workshop, there was an opportunity to share with others in a smaller breakout group.
We took the need for feedback to heart, wondering how participants felt about these workshops and what we might learn from them. We sent out a survey to everyone who had registered. Our return rate was about 11%. Using the format modeled by Team Dynamics, we asked people to identify one thing they were grateful for and one commitment they had made.
Expressions of gratitude included:
the opportunity to learn with other church members,
the quality of engagement by participants, and
learning that mistakes are part of growth.
Among the stated commitments were to:
continue learning about my culture and identities,
improve my understanding of the complex issues related to racial justice, and
move from learning to action.
One person wants to become "ever mindful of my white culture, the characteristics … I manifest in social situations, and to 'tame' the manifestations so they don't interfere with relationship building."
We asked workshop participants, did the series help you connect to Unity's work toward racial justice?
Overall, survey respondents reported a greater appreciation and understanding of the work Unity has been doing. As one participant put it, "I knew that Unity's investment in this work was a proper priority. This series helped illuminate 'why' and explain some of the internal work that we need to be doing." Another respondent said framing the Ends as a social movement was "a whole different way to understand both what the goal is and how to get there as a congregation." One participant wanted to hear more about how to apply the ideas presented within the church, building on what currently exists, and looks forward to ongoing conversations.
Next, we asked participants what might be your "next right action"? Responses to this question included:
supporting leadership transition at Unity Church with multicultural and racial justice Ends in mind,
doing volunteer work with organizations led by people of color, and
building relationships across racial and cultural differences.
Participants were also asked, was there something you discovered about yourself during the series?
One participant discovered that, "I don't know very much, but I can get through the discomfort and learn." In the same vein, another person noted "how bereft all my formal education has been, and how, without even knowing it, I allowed my white privilege to protect me from knowing."
Identifying one's conflict style and mode of cultural expression was an "a-ha" moment for some. One direct and expressive communicator learned they were in the minority. Another recognized that their conflict style could be alienating to those with different styles.
These were rich sessions with much to learn and understand about ourselves and how white dominant culture affects our thinking and behavior. Please stay tuned as the Beloved Community Staff Team coordinates next steps in the ongoing work of becoming an antiracist multicultural spiritual community.
*Thanks to Shelley Butler for creating the survey form and the report of responses.
Sacred Sites Tours Foster Healing Between Native and Non-Native Peoples
Erika Sanders, Beloved Community Staff Team
This fall, in worship, programming, and Sacred Sites Tours, Unity Church has sought to better understand the history experienced by indigenous people in Minnesota and how it lives on in the present day. We have been called into a "season of lament" over the deep suffering in those stories. Two brief video messages from the Rev. Jim Bear Jacobs, shared in our October 18 worship service, "Moving at the Speed of Trust," are now available online:
Bdote Stories of First Creation
Wrestling with Stories of Trauma in the Land Beneath Our Feet
If you are interested in joining the continuing conversation about how we stay present to this lament while deepening our congregational commitment to Indigenous justice and reparations, contact Karen Hering at karen@unityunitarian.org.
Imagine stepping into a story. Maybe telling it, maybe listening to it, but definitely being surrounded by the story, in a physical sense, so that it is fully alive to your senses.
This was the experience of two Sacred Sites tours led by Rev. Jim Bear Jacobs, Director of Racial Justice for the MN Council of Churches, for Unity congregants this autumn. We visited three local sites sacred to Dakota people and listened to the stories embedded there. Rev. Jacobs explained that Dakota stories are not linked to a distant time, but to a place. Dakota stories are alive in the present moment, because they live in the physical spaces around us.
As groups stood on a bluff above Bdote, the confluence of the Minnesota and Mississippi Rivers, we heard a genesis story about the origin of the Dakota people. When we visited Fort Snelling State Park at Bdote, the site of the first sacred land stolen from the Dakota and of an internment camp following the Dakota-U.S. War, we heard the voices of the more than 1600 men, women and children who were imprisoned there, sick and starving. At Pilot Knob Hill, once a traditional burial ground before its desecration, we felt the sacred power of land imbued with the essence of honored human spirits. The storytelling experience at each site also included time for silence and contemplation; in these moments, the listener was granted the opportunity to integrate the story into their own freshened understanding of the land on which we live.
Rev. Jacobs tells us that despite—and because of—the trauma experienced by Native people, stories have the power to heal both teller and listener because they "make invisible pain visible," and because with the "sharing and retelling of old traumatic stories, we can create new positive ones."
The stories of the Dakota may sometimes hold terrible pain, but the telling of them may lead to repair, as well. As our congregation works for racial healing and liberation within, among and beyond our walls, these are stories we must hear.
To participate in considering Unity's next steps in beginning this journey, you are invited to join us online, Tuesday, November 17, 7:00-8:30 p.m., for "Indigenous Justice and Reparations Conversation"
Rev. Jim Bear Jacobs created Healing Minnesota Stories in 2011. Learn more about Healing Minnesota Stories on the MN Council of Churches website here: https://www.mnchurches.org/what-we-do/healing-minnesota-stories
The worship service on October 18, 2020, Moving at the Speed of Trust, explores the broken trust between indigenous peoples and white settlers who claimed the land, and includes reflections from Rev. Jacobs shared during the tour. View the service on the Unity Church-Unitarian You Tube Channel here: https://youtu.be/vCzs9T0zUV0
Read or sign up to follow the Healing Minnesota Stories blog by email here: https://healingmnstories.wordpress.com/
Antiracism Literacy Partners: A Next Right Action
Shelley Butler, Beloved Community Communications Team
What does it take to be racially literate and engaged in antiracism in a day-to-day way? Where do we find resources and support in our ongoing learning about systemic racism and the work of dismantling it? The Antiracism Literacy Partners (ALP) program at Unity Church is for anyone looking to answer those questions by delving into a choice of books, podcasts, videos, and more. Participants choose a resource and are then matched up with partners or small groups to discuss that title over the next two months.
Peer-to-peer learning research tells us that we tend to learn more and are more likely to put that learning into practice when discussing, reflecting, and gaining new points of view with a partner or in a group. Also, while we are not able to worship together in the same space, this is another way to connect in a meaningful way.
The program was launched on Wellspring Wednesday, September 2, 2020, but grew out of ideas generated from the "Finding Our Next Right Action" event in June, following the killing of George Floyd. Using UUA Small Group Ministry principles, the ALP team prepared guidelines, a set of covenants, a suggested format for discussions, and a reading/discussion guide for each particular resource. Partners create their own schedules and are responsible to each other to follow through. Each participant promises to listen from the heart, honor diversity of thought, and respect the commitment to their learning partners, among other covenants. The first sets of partners have already expressed appreciation for the program and report that things are going well.
The next opportunity to sign up for Antiracism Learning Partners is on Wednesday, November 18, at 7:00 p.m. Come hear from participants in the first round, find out about the resources from which to choose, and sign up for a partner. Some new resources will be added to the choices and these from the first set of antiracism resources will be offered again:
How to Be an Antiracist by Ibram X. Kendi
So You Want to Talk About Race by Ijeoma Oluo
"The Characteristics of White Supremacy Culture" From Dismantling Racism: A Workbook for Social Change Groups, by Kenneth Jones and Tema Okun
"Seeing White," a podcast series from Scene on Radio
"1619," an audio series by the New York Times
TED Talks on Race, a series of four short videos
Registration is required for Antiracism Learning Partners on Wednesday, November 18, at 7:00 p.m.
BC Story
Earth Justice
Indigenous Justice
Next Right Action
Beloved Community Resources
Next Right Actions
Unity Justice Database
Team Dynamics House of Intersectionality
Anti-Racism Resources in the Unity Libraries Collection
Creative Writers of Color in Unity Libraries
The History of Race Relations and Unity Church, 1850-2005
Beloved Community Staff Team
In 2016, the Beloved Community Staff Team was formed at Unity Church to strengthen and coordinate Unity's anti-racism and multi-cultural work, and to share the stories of this journey with the wider community. We commit to sharing the struggles, the questions, and the collaborations here at Unity and in the wider world of our faith and city. The current members of the team include Rev. KP Hong, Rev. Kathy Hurt, Barbara Hubbard, Drew Danielson, Rev. Shay MacKay, Laura Park, Angela Wilcox, Pauline Eichten, and Erika Sanders.


text:
Nick Trudel, Project Manager/Estimator
North Branch Construction
On average, it takes 22 different subcontractors to build a home: a fact either unknown or undaunting to a young Nick Trudel, who set out years ago with a $5,000 loan, bought some tools, and went to work building his first house not a week later.
Though born into the construction industry, the trades were far from a first career choice for Nick. Like most of his friends, he originally attended college where he dabbled in music, tech, and design, among other pursuits, before returning to work for his family's construction and development firm where he built the skills he would need to start his own business. To this day, the largest house he ever constructed was that first house he built as an independent contractor and a new business owner.
Even outside of his career path, Nick has always been vertically-minded. As an avid climber, he has scaled cliffs in Red Rocks, Yosemite, and the White Mountains, just to name a few. Nick's passion for climbing revolves around consistently working to better himself and trying to beat his personal bests, an effort not unlike the dedication and perseverance he's applied to his career.
Now, Nick is a Project Manager/Estimator at North Branch Construction where he's worked since 2011. When he talks about the construction industry, he talks about comradery, independence, problem-solving, and a sense of accomplishment. At Christmas, his family congregates in a house he built: the literal framework of his family's daily life. Though Nick takes great pride in his work, it is surpassed by his pride in his 2 year old daughter, who loves to sing and read, and who will surely join Nick on climbing adventures once she's old enough.
When asked what advice he has for young workers looking to enter the construction industry, Nick recommends exploring all the different possibilities the trades have to offer. Between mechanical, electrical, carpentry, management, and a multitude of other paths, the construction industry has a lot of potential areas of interest, and exposure to a variety of different skills and trades can serve a construction professional well, even as a specialist. Nick is passionate about teaching his trade to young workers, and above all, Nick recalls that some of his best and happiest moments at work were in construction. He reminisces on being in the field with peers, even those he might not have known that well, because being in the field established a rapport and comradery, and he always had fun regardless of the weather or the workload. Overall, Nick encourages young workers interested in the industry to disregard the old stigmas of construction and not be afraid to get dirty, noting that some of his most memorable moments were made in the dust and mud.


text:
ESRF: Bringing the World to Grenoble
Authored by Mustaffa Said
UIIN – Lehigh University Iacocca Scholars Mustaffa Said and Reesha Patel have recently had the opportunity to visit the European Synchrotron Research Facility (ESRF) located in Grenoble, France and observe the work in the premises first hand. In an afternoon interview, Gary Admans, a Business Development Engineer at the ESRF has shared with our scholars his insights into the success factors and the vision of the institution for the future.
As we move towards the future, the impact of technology is exponentially growing. Technology is contributing to breaking down traditional borders and encouraging collaboration across the globe. With integration comes a need for collaboration to produce the best results in every industry. The sprawling city of Grenoble, France, tucked into the foot of the French Alps, is leading this effort by bringing the world together to spark creativity and innovation.
More than a regional innovation hub
Not only is Grenoble known as the Capital of the Alps but it is also becoming an international hub for innovation and research. There are various actors in on making that happen and one of these important players is the ESRF. The ESRF, otherwise known as the European Synchrotron, is a world-class facility bringing together researchers from around the world to carry out the most advanced experiments with brilliant x-rays. What started as a facility serving 11 European Countries has expanded to 22 worldwide countries, encouraging international development and collaboration. The main objectives of the ESRF was originally to serve the European community using X-rays. It has local participation from The French Alternative Energies and Atomic Energy Commission (CEA), who have expertise in microelectronics and nanotechnology. The ESRF and the CEA are encompassed by the GIANT innovation campus which itself is expanding internationally and brings in students, researchers, and practitioners from around the world, who may also carry out research at the ESRF, thus increasing its notoriety in the world.
Value of partnerships
The ESRF has a huge focus on worldwide partnerships as it is a necessary component of its success. While GIANT has received massive support from the French state for it to develop as an innovation campus. A recent example is that the French government selected Grenoble Alpes University for a new institute for Artificial Intelligence (AI), and will invest 18.5 million euros per year over 4 years. The ESRF will benefit from the increased local development of expertise in AI because it needs staff trained in this area for applications in X-ray data collection and analysis. Local collaboration within GIANT strengthens the ESRF's experience and capabilities in areas overlapping with the CEA, such as microelectronics, battery materials and nanotechnologies. Overall gaining increased international recognition for the facility.
English is the language of the business world and it is becoming increasingly necessary to successfully collaborate with actors around Europe, let alone, the entire world. According to Gary Admans, Business Development Engineer at ESRF, the GIANT area is becoming international ahead of the rest of France. Its University (UGA), Engineering School (G-INP) and Business School (GEM) are all becoming international through teaching partnerships and student exchanges, and are gaining in world rankings.
Proposals for experiments at the ESRF are selected by external committees and selection is based on scientific merit. The facility is significantly over subscribed and only about 40% of proposals are selected. A challenge for the ESRF is to serve each of its member countries proportionately to the countries share of the institute. A system of fair return is applied so that experiments from all partners are selected, with a few experiments prioritized for countries that have underused their quotas.
Collaboration in the global sphere
In the past 20 years, the ESRF has seen considerable growth in the number of users and in its involvement across the globe. While their goal is to gain more recognition, produce more outputs that leave impact, and increase the number of users, they are not in it for competition. There is an emphasis on collaboration over competition. There are two other large synchrotrons around the world, APS located in the United States and SPring-8 in Japan. Representatives from these three facilities meet every 18 months to discuss advances in accelerators, define strategies for the future and to seek ideas where they can collaborate.
The ESRF aims to bring knowledge and creativity from around the world to Grenoble. They also strive to stay up to date with current technology and prepare for the unknown future. Their commitment to technological advancement shows in various ways. Right now the facility is closed to users while a new X-ray source, the synchrotron storage ring, is being installed. Following this upgrade, the ESRF will be the brightest source of hard X-rays in the world. The facility will open again for users in August 2020. The upgrade with will shape the advancement of technology for the upcoming years, making many existing techniques much faster and also permitting completely new experiments for its user. While the shutdown may be a loss for users in the short term, this is a sacrifice the ESRF was prepared to make in order to come back stronger than ever. The ESRF is a prime example of an organization promoting international cooperation. From its involvement with academic research in its partner nations to its involvement with companies from around the world for business innovation, ESRF brings the world to Grenoble to help create a thriving collaborative environment.
ESRFGIANT Science ParkGrenoble
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text:
module ImageOutput where
import           Codec.Picture
import           Codec.Picture.Types

createPngGreyscale :: (Int,Int) -> (Int -> Int -> Pixel8) -> IO()
createPngGreyscale size pixelRenderer= writePng "out_grey.png" $ uncurry (generateImage pixelRenderer) size

createPngColor :: (Int,Int) -> (Int -> Int -> PixelRGB8) -> IO()
createPngColor = createPngColorWithFileName "out_color.png"

createPngColorWithFileName :: String -> (Int,Int) -> (Int -> Int -> PixelRGB8) -> IO()
createPngColorWithFileName filename size pixelRenderer = writePng ("./out/" ++ filename) $ uncurry (generateImage pixelRenderer) size

createImage :: Pixel a => (Int,Int) -> (Int -> Int -> a) -> Image a
createImage size pixelRenderer = uncurry (generateImage pixelRenderer) size

createGifColor :: [Image PixelRGB8]-> IO ()
createGifColor = createGifColorWithFileName "out_color.gif"

createGifColorWithFileName :: String -> [Image PixelRGB8]-> IO ()
createGifColorWithFileName filename frames = a
    where Right a = writeGifAnimation ("./out/" ++ filename) 10 LoopingForever frames

redpajama_set_name: RedPajamaGithub


Not lost, as in I can't find them, lost as they are a lost cause and finally had to make a trip to the wastebasket.
But dang – these were among my favorite pairs of socks – which is probably why they wore out. I'm hard on socks – the minute I walk in the door at night I kick off my shoes and pad around in my socks. The added friction against the carpets likely makes them wear out faster but that's the way it goes. I did look back to see when I finished these socks — early January 2012. So nearly six years of wear – I certainly can't complaint about that, especially since the yarn was 100% with no nylon in it.
Of course now this means I need to dig out the Nine to Five pattern and make a replacement pair since I so love the cabley look on the legs. That pattern is definitely in my top five favorite sock patterns.
On the blocking mats today is my 4th Quarter KAL project for the Eat.Sleep.Knit yarnathon. Once it's dried, I just need to figure out buttons.
It will go in my gifting pile since it says it's supposed to be a 3T-4T size. I now am a Great Aunt to two little girls but they are both too small for this – although next spring it may fit one of them. Kids knits are so fun to do. And this type of lace is one of my favorites to knit because I can easily read my stitches and tell what's next without having to read the pattern line for line.


How to Setup OpenVPN on LibreELEC "Kodi"
Connect to your LibreELEC over SSH, using Putty. That requires that you enable SSH in LibreELEC (Programs > LibreELEC settings > Services > Enable SSH).
Select network.openvpn.zip, it will automatilcally install.
Then again do the same for service.vpn.manager-2.0.1.zip.
Set Protocol filter to UDP if not already set.
And then select your default VPN server, which will be used for auto-connect if you choose to set it up.
When you click on the profile it will automatically try to connect to that specific VPN server.
There are some more setting to set up on VPN Monitor tab.


Yes, you are seeing that correctly. Let me just tell you about the past few days. Don't get excited. I woke up over the weekend finally having sort of wrapped my head around the fact that we failed this cycle...that we would be facing another god knows how many more months or years of struggle...that we would be out thousands and thousands of dollars MORE....that we were back to square one...etc. But I had a few pregnancy tests leftover and decided to take one just for the hell of it. I was absolutely SHOCKED when a line appeared. I thought NO way. So I used another. There it was again. Then a digital. "PREGNANT." OMFG. This was unreal. I woke up a very grumpy husband and made him look at the tests before his eyes were fully adjusted to the 15 lights I turned on, but he could see it too! We were SO excited, but we still knew to be cautious. Later that day I took more tests, and the lines got darker. Amazing. Maybe this could really be it.
Cue the spotting. And the cramping. And the headache. I knew at that moment it was all over. My tests the next morning were considerably lighter, and the spotting continued. I had a beta which came back at a whopping 31. And by whopping I clearly mean craptastic. This is a VERY bad, VERY low number. Considering I had gotten a positive digital test over 24 hours prior to that, my level should have been much higher. I know it has already dropped.
This morning I took another couple of tests which were again even fainter, and the spotting has picked up. So I ate half a box of Samoas and cried a lot. Again.
I just don't know how to move forward. I feel like I just want to die.I don't ever want to see anyone or talk to anyone or go anywhere or do anything ever again. This is too much for my little soul to take. This has ruined me, and I will never be the same. I will never be happy again. I will never trust or believe in anything again. I will never have hope or optimism ever again. I just want to be alone in a bubble where god can't hurt me anymore.


Though they both don the name 'Cafe', there is nothing at either 'Rick's American Cafe' or 'Touchdown Cafe' that has anything to do with food. They are labelled by Ann Arbor's 25+ age group as the Kid's bars, where college coeds go to swill cheap beer, dance to a decent hip-hop and top 40 set, and solidify their chance to get laid somewhere between the playing of Bon Jovi's Livin' on a Prayer and Kenny Rodger's The Gambler. The locals often avoid these two places, aside from the occasional alumnus rehashing the past, or the unavoidable dirty old man looking to get just enough mental material to make himself feel young again. Astonishingly enough, I think I find myself falling somewhere in the middle of those two types of people, and yet I am far from what would be known as a frequenter of Rick's or Touchdown's... or perhaps I'm just in denial.
Somehow, some way, though we promise ourselves time and again that THIS will be the last time we go there, we inevitably find ourselves there again, usually after midnight, and almost always already drunk enough that we should have just gone straight home. This weekend, we made our way to BOTH Rick's and Touchdown's, a practice that is normally reserved for homecoming and/or football weekends. But we had just cause. Emmanuel and Rochelle, friends of times past, tied-the-knot on campus on Saturday, bringing with them friends from their Texas lives as well as their Michigan lives. By early Friday evening, we had all meshed into a giant group that clicked as if we had known each other forever.
The usual suspects were also on hand, people known better here on UMTailgate.com by their nicknames than their real names. Crazy, Trouble, Kissest, and Resmer made it out both evenings, and help capped off the weekend with a reflective barbeque on Sunday, reminicing of houseboat trips past and sharing stories from falling out teeth to run-ins with the Manchester police.
A solid weekend of old friends and new friends striving to realize that our inhibitions are alcohol soluble. We take our daily lives, add vodka and shake vigorously, creating scandal cocktails for everyone. Screw it...who wants a shot?
Congratulations to Manny and Rochelle, and thanks to everyone for coming out. Ann Arbor and I enjoyed having you...see you in the Windy with Lisa and Cindy. There should be 27 candles on my cake.