text:
Zilka Grogan
A chat with Avancera (Dorisburg and Kalawila)
Friends for over a decade, the bond between Alexander Berg and Robin Jonsson is clear from the moment our conversation begins. Yet the two artists – best known by their monikers Dorisburg and Kalawila, and each prolific in their own right as both DJs and producers – have only recently started making music together. Theirs is an artistic collaboration rooted in a very deep friendship, a foundation that allows them to explore imaginative worlds only they can envision.
Until now, Alex and Robin have often shared the DJ booth, but back-to-back only under the guise of Dorisburg and Kalawila. At Patterns of Perception this Friday, June 28, they debut their new joint project Avancera. We recently caught up with them to discuss how working together in the studio has helped each rediscover the playful side of creating music.
How did you guys first meet? Robin: We've known each other now for like 10 years I think, or a bit more.
Alex: Yeah I think so, through a common friend first.
Robin: I went to high school with a guy called Jens, and he and Alex had a band together. I was doing photography at the time and Jens asked if I wanted to take pictures for a record they were releasing in Japan. We spent the whole day outside trying to fly a kite and install a laser in Alex's backyard at his parents' house. That was really fun. Sounds so cool, but not so much to do with music to begin with? Robin: But then after that, we both moved to Berlin together with mutual friends.
Alex: And that was actually 10 years ago now, I think we moved to Berlin 2009. Then we were roommates in this weird apartment, with no furniture and only a drum kit.
Robin: (Laughs) Yeah, and that was like the first time that we went to a few Berlin clubs. We went to Berghain once or twice, obviously got denied a couple of times and went back. Then we both left Berlin after awhile, Alex and his friends were doing the Aniara open air parties (in Gothenburg). I had never been to those kinds of parties – there was no fighting, people didn't get stupid drunk and aggressive. It was just a really nice, awesome vibe. So I asked if I could help out, doing bartending and carrying stuff. At least for me, that's how I got into the techno/house scene.
Alex: That summer we did so many open air parties in Gothenburg, and the summer after that too. It wasn't until a bit later that we started to really inspire each other's musical tastes as well, sharing music and stuff.
Robin: For me, one of the key moments that I remember, was listening to the Cassy Panorama Bar mix. I think that was the first one they did right? We had a couple of listening sessions and I was just amazed that music could be that cool.
It sounds like you started to really influence each other musically at this point? Alex: Yeah, I had been playing for a couple of years by then but when we were roommates for a second time (in Berlin in 2012) we started to really inspire each other musically by listening to mixes and sharing music.
Robin: I feel like that was the point where we started to integrate music into some sort of weird world building. We would build up a sense of humour that revolves around music and visualise it into places. We would listen to a song and be like, 'this sounds exactly like you're at an ATM on Mars' or something that is kind of cross-disciplinary.
Alex: We would always make stories about what we were listening to, and imagine worlds and situations with sound.
Robin: I have never lived in a place like that since and probably will not again. The apartment that we had, had a really cool adventurous spirit. Everything was allowed. For instance, we were going to a festival and we had this pop up tent. We wanted to see how it worked so we put it up in our living room, but then we couldn't get it down again. So we just had it in our living room for the whole summer and that became the hangout spot. It was a really inspiring living situation.
Alex: And very playful.
Robin: After a while these worlds that we were creating were so synchronised that it could be really mundane scenarios but in very exciting places. That would make it very funny and very vivid. And very creative as well? Robin: Yeah, when we started making music together, having that shared imaginative space really helped. We had our different methods for making music separately, but that made it fairly easy to combine the two. We would start with a fictitious scenario and try to make a song that sounds like that scenario, rather than just breaking out two instruments and starting to play. So making music somehow starts off more conceptually for you? Alex: Yeah, every time we made music we had this scenario or image and then we'd try to paint that with sound to explain that idea.
Robin: To give an example, we'd been in Taiwan for a few years in a row for a festival. One year we passed by this really cool deserted factory building that was totally overgrown. You could tell it used to be super high-tech but now nature reclaimed it. So we created this fictitious scenario where say, you wake up in this building and you have no idea how you got there. You have to explore every room. All the tracks would be a different room in that factory. It was about what kind of sounds would fit into that scenario and how you would visually walk through the building, but with sound. At what point did you start actually making music together? Alex: We didn't really make music together until quite recently but we shared ideas. Actually making songs is a more recent thing. Did you collaborate in other ways during this period, outside of music? Robin: Yeah for sure. Almost since we got to know each other we've tried to find ways to work together. For instance, I made a photobook a long time ago and then Alex made the music to go along with it. So you would get the photobook and then you also got a 7-inch vinyl, and Alex made two tracks that you were supposed to listen to as you flipped through the book. It was really cool to have a unique soundtrack for the book.
Alex: I've also released a record on your label, too. And also, I've always been asking Robin about the tracks I've made. It's always been nice to hear his ideas and I really trust his taste, so we've always been sending tracks back and forth and helping each other in that way.
Robin: When you get to know each other this well, you can also read each other quite well. I just know when I ask him for something, even if the feedback is short, I can extrapolate a lot of information from what he says. How much does your process as collaborators rest on your friendship, then? Is it more about the personal connection you share, rather than a purely artistic one? Alex: It's totally that.
Robin: That's definitely what defines it, I think.
Alex: Even though we didn't make music together until recently, I feel like we're now just manifesting a really long friendship and shared ideas into music, which is pretty cool.
Tell us a bit about Avancera then - what made you start this project? Robin: I was releasing a remix by Josef Gaard on my label and we wanted to try and make something that's not typically a dance music track. Alex has made some slow music before but I hadn't really done it before. So we thought it would be fun to start the project by doing something that neither of us knows how to do that well.
Alex: I mean, that's the only track at this point that's released. The other things we have are still unreleased. But with a lot of the tracks that we have, we have been avoiding the standard tempos and doing either much faster or much slower. Just trying different tempos. So is Avancera partially about experimentation too? Alex: I don't think it's so much about experimenting. We are more experimenting with the concepts and ideas, and then we are pretty straight forward when we try to create the music itself. I think our process is not so experimental when it comes to actually making the music, it's more experimental in getting the right ideas and then trying to execute that.
Robin: Almost all the songs that we've made, we've made them quite fast. Let's say we would take a long walk before and talk and then we'd have a very clear image in our heads about what it would sound like. When we actually get into the studio and start fiddling with synths or the computer or something, I at least feel that I instantly know what would fit into the song. So in fact, all the songs that we've made have not been so labour intensive.
Is there a particular sound that you're going after here, or are you not restricting yourselves by the sound or the style so much? Robin: We both have a preference of what kinds of sounds we like to listen to. But I think it's also been for me a lot about trying to find sounds that would combine our styles, so that it's not me and Alex trying to make an Alex track, or me and Alex trying to make a Robin track. We have different styles when we play or make music separately, so a lot of it has to do with finding something that's right in between.
Alex: I think we're pretty specific in what we're trying to make. We don't have a huge palette of styles. We're both more interested in zooming into something very specific and direct, rather than zooming out and being more eclectic. Do you agree?
Robin: For sure, there are some artists that we really have a shared admiration for. Someone like Monolake or Shackleton. Those are artists who made, like, 500 songs each that all exist in the exact same universe. That's something we would want to do as well. Even though the specific sounds might be different within the songs, they all take place within the same space. Where does the name Avancera come from? Alex: It's a Swedish word but it came from the French originally. I guess it means to put your position forward, to advance.
Robin: I liked that when you told me about it, you said it sounds like someone was trying to say 'advanced era' but can't really do it. That's what caught my imagination.
Tell me a little bit about how you work together. What is your process like when you start making music together? Robin: Maybe we can pick one of the tracks we recently made and use that as an example. We were doing a remix of Yuka which is coming out pretty soon. She had sent some of the elements and parts, and we thought it would be fun to make a dance track using office supplies. We took like a holepunch, strips of paper, rubber bands, plastic film from the kitchen. One of the instruments is actually me taking our cutlery from the dishwasher, which we recorded with a really good microphone and then fed it into the computer, trying to fiddle around with that and make it an instrument.
Alex: It's basically about using really boring stuff for jamming. We even got some bass sounds out of the rubber bands.
Robin: Yeah, wasn't it the holepunch that we ran through a Buchla synth? Just to see what happens when you take a really boring sound and run it through a machine that makes a really cool sound. It ended up sounding really nice. Where did the concept for this track come from, to work with stationary and to work with boring office supplies? Robin: I think that was just what was around. I remember when we were making the song there was nobody in the building, I think because it was a holiday. So we just left the studio and walked around in this big house, and it was just us there. We were just trying to see what was around.
Alex: It was sort of like, what the abandoned office would sound like when nobody listens to it. You've talked a little bit about finding the middle point between you. Can you define what your differences are, and how you bring those together? Robin: Alex is really talented (laughs). Have you thought about that, Alex?
Alex: What I find more interesting is that we have a tendency to help focus each other's energy. Because we have two spheres of things we like, we tend to focus what we're doing into what's common for both of us, which I think is nice. If I make music by myself, I would easily get distracted from my original idea and destroy the music I'm working on. But I think we help each other to stay on track with what we want to do.
Robin: Alex has been making music for a really long time but I'm doing a lot of photography and I work with radio, so I have a completely different background. I think that makes it fun when we do things together. I would look at a song more of how I would look at a picture, whereas Alex has more of a musical approach. It's kind of cross disciplinary, even though we're making music. Do you find inspiration in the differences between you? Robin: I do for sure. We have this constant flow of stuff that we send to each other, but that doesn't necessarily have to be music. I can send a picture to Alex and he would know what that sounds like.
Alex: Also, a lot of things we share can just be looking at a random clip and noticing that the one minute extra silence between two parts was funny and nobody else will find it funny. I can send it to Robin and I know that he will think it's funny, too.
Robin: Even though our backgrounds are totally different, our imagination is totally in sync. You can apply that to pretty much anything. You can look at a picture and that can make a song. Or you can listen to a song and that becomes a picture in our imaginative world. It's a very special connection to have with someone, where you can just be totally in sync with those things. You must have learnt a lot from each other along the way. Is there one main lesson you've each taken away from collaborating with the other? Alex: For me, a lot of the instruments and methods of making music that we use I have been working with for a very long time, so I know the tools very well. But when I make music with Robin, I feel like it's easier to go back to a playful state where you do it for the first time again somehow. That's one thing I really like.
Robin: I was going to say something kinda similar. It's nice to rediscover that you can still be five years old, even though you're 32 years old. Let's say we're making music and there's a sound that pops up, and then both of us get really excited about that sound, then it feels like I'm five years old again. And I really like that feeling.
Alex: We usually laugh when that happens.
Robin: Yeah exactly. If we tap into something that both of us get really excited about, both of us will spontaneously start laughing because it's just funny that things can just be that awesome. That's a spontaneous reaction. That's when we know that it's really working and we've tapped into something that could become a song. I like that your responses are not so far apart – you both found this playfulness through your collaboration. Robin: Yeah, because a lot of other stuff you have to do, like paying bills and stuff, is really cynical and boring. And this is just a really naive state that I, at least, find to be so refreshing. Your set for Patterns of Perception will be the first time that you perform as Avancera. What can we expect? Robin: We've played together before but as Kalawila and Dorisburg, which I think is different. We want to actively try and create a performance that's different from when we would play as Kalawila and Dorisburg.
Alex: The other times we've played were more back to back, without thinking so much about it. This time it will be more thought out, in terms of what we want to express as a group.
Robin: Before when we played back to back, it would be Alex playing his tracks and me playing my tracks, obviously being inspired by what the other one is playing. But before the gig I wouldn't necessarily be looking for music in the mindset that I'm playing with Alex. This time, I feel that we've both purposely for awhile now been collecting tracks for this specific performance, to do something different.
What sort of music are you looking for when you're digging for Avancera? Robin: Maybe we shouldn't spoil too much, but we definitely have been trying to explore more tempos. When I play by myself or Alex plays by himself, it's not linear but it's still maybe three hours of the same kind of music. Now we want to mix it up and make it more unpredictable.
Catch Avancera at OHM Berlin on Friday, June 28 for Patterns of Perception.
Photo credit: Daniel Nilsson
Introducing Future Patterns: Annual VA series with Minimal Collective
A chat with HOMI
HOMI and VC-118A step up for the Patterns of Perception label
© Patterns of Perception 2022


Dear Exile, Good Luck with the squash. We moved to Stinnett, Texas in the late 1980s, for my husband to assume duties as pastor of a church in that small rural community. It was only a short time before we discovered that Stinnett and the surrounding area had its own "Squash Problem". Soon we were told one day to be sure and lock the doors of our vehicles when we went to the post office. Doubting that there was too much around that could be "harmful", we left the doors unlocked.
Within a brief time, we began to be hit fairly regularly by the "whatdoIdowithallthissquash" group who "shared" it with us when we went to the pick up the mail. At first we thought it was from church members, who recognized our cars. We were happy to get their beautiful/delicious Zucchini Squash, but soon began to wonder what to do with it too.
can always be shared at your local post office, dollar store, church, school sporting event, or even on that hospital visit to see the newest grandchild!
That's hilarious! Gives a new meaning to squash-ing someone's enthusiasm!
I'm not quite to the point of secret friend gifting, but close. I have a few people I can "share with" still.
Will let y'all know when grandson #2 gets here.


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EWTN Opens Broadcast Facility on the West Coast
GARDEN GROVE, Calif. (CNS) — A new broadcast facility on the Diocese of Orange's Christ Cathedral campus in Garden Grove is the Eternal Word Television Network's (EWTN) first such facility on the West Coast.
The production studio and control room, located within the Tower of Hope on the campus, will begin broadcasting news, televised Masses and stories of faith to a global audience the network says numbers more than 240 million television households.
"As we transform the Christ Cathedral campus into a dynamic and inspirational center of Catholic worship and outreach, we are blessed to partner with EWTN to share our community's energy and faithful witness with the world," said Bishop Kevin H. Vann of Orange, who dedicated the new facilities on May 13.
"EWTN's partnership will profoundly benefit our church, enabling us to share the love of Christ with millions across the world in multiple languages from the Cathedral campus, here in Orange County," he said in the first interview conducted in the new studio.
Bishop Vann led a prayer service to dedicate EWTN's new broadcast facilities May 13.
EWTN, which has its headquarters in Irondale, Alabama, began construction on its new West Coast facility last year.
Three years ago, the Orange Diocese finalized its purchase of the landmark cathedral and surrounding campus established by the late Rev. Robert Schuller, the famed televangelist who founded it as the Crystal Cathedral and related ministries.
The diocese took possession of the cathedral property in September 2013. It then began an extensive renovation of the 34-acre campus and its seven buildings, upgrading them to meet modern earthquake and energy efficiency standards and to accommodate the large cathedral parish. The diocesan pastoral center, a Catholic school and a worship site called the Arboretum are now located on the site.
Renamed Christ Cathedral, the church building has been undergoing extensive interior renovation to make it suitable for Catholic worship.
The launch of EWTN's West Coast studio "marks a significant moment in the history of the network," said Michael P. Warsaw, chairman of the board and CEO of EWTN Global Catholic Network.
"Our collaboration with the Diocese of Orange will enable EWTN to produce exciting new programming that will bring the people and the stories of faith that make up the church in Southern California to our global audience," he said in a statement.
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text:
"Arab NATO" Still Not Ready for Prime Time
© Paul Laragy
By Gary Grappo
Since when has a religious security alliance ever achieved peace and understanding in this or any other part of the world?
The Trump administration has resurrected the notion of forming an "Arab NATO," the principal missions of which would be to confront a resurgent Iran and to relieve the US of the region's immense security burdens. But are circumstances now any better than those encountered in previous US attempts to form such an alliance?
This idea was first proposed in 1955 in what became known as the Baghdad Pact, which became the Central Treaty Organization (CENTO). Having spearheaded first NATO and then SEATO (the Southeast Asia Treaty Organization), the US sought to expand its efforts to blunt Soviet aggression in the Middle East and Central Asia with formation of another security alliance on Moscow's southern flank.
Its initial members included the UK, Pakistan, Turkey and — ironically given today's circumstances — Iran and Iraq. The US was not a formal member but did sign bilateral security agreements with each of the CENTO members. Following Gamal Abder Nasser's 1956 seizure of the Suez Canal, the subsequent Egypt-Syria Arab union, the 1958 Lebanese conflict and US military intervention, along with the loss of British standing in the region, CENTO began to founder.
In 1959, Iraq withdrew, followed by Iran 20 years later. In light of these events and the absence of the security guarantees of NATO — namely Article 5 that stipulates that an attack against one is an attack against all, and especially the security umbrella the US extended to NATO — CENTO's demise was virtually assured.
Beginning with the administration of George H.W. Bush in 1988 and running through Barak Obama's time in office, the US sought to strengthen what it viewed as key Arab states through bilateral security agreements or understandings as opposed to some overarching, unwieldy regional alliance. The efforts of Presidents Bush, Bill Clinton, George W. Bush and Obama were, like Dwight Eisenhower's in 1955, intended to confront and staunch an "aggressor" regional state, in this case Iran. The Gulf states, as well as Egypt and Jordan, were all recipients of American security largesse, including myriad military training, equipment and weapons sales, logistics support and intelligence cooperation.
In cases such as Egypt and Jordan, the military assistance was complimented by economic assistance. For the most part, this approach of bilateral accords worked more effectively than a comprehensive, one-alliance method.
More That Divides Than Unites
Those US administrations saw many of the inherent flaws of CENTO as well as new challenges that had arisen in the region. None of the recipient states were a democracy and, therefore, shared no predominant political identity. Initial NATO members Turkey and Greece weren't democracies at NATO's founding, but gradually became democratic. Such an evolution in the Middle East does not seem likely at present.
While the US made certain commitments, it was highly unlikely that either an American president or the US Senate would ever provide for what has been the ironclad security guarantee they were willing to extend to NATO. In fact, the establishment of Israel in 1948 and America's increasing ties with the Jewish state ever since made it clear that the US could never offer such a guarantee when the prospect of Arab-Israeli conflict was so real.
Other challenges existed and continue to this day. Internal conflicts among and between the states in the region, including those beyond security, abound. NATO members, especially those of Europe, formed trade and economic ties ultimately ending up with the world's largest and most powerful economic, trade and currency bloc — and democratic, too — the European Union. Such a progression in the Middle East would seem all but impossible today. Even the Gulf Cooperation Council (GCC) — formed in 1981 and perhaps the closest to what might be considered a genuine regional alliance today — has not reached anything approaching EU levels, despite repeated efforts, and now faces centrifugal forces that may be beyond its ability to control.
In addition to the GCC's threatening dissolution, more regional demons lurk. Most of the nations in the region face serious internal challenges, which are being met with varying degrees of success, but in many cases with stepped-up repression. Egypt is the most obvious with terrorist-inspired instability in the Sinai. Major civil wars in Yemen, Syria and Libya show little prospect of peaceful resolution.
The oil-fueled economies of the Gulf are now rethinking their long-term economic plans after the precipitous decline of oil prices in 2014, enormous success of oil producers utilizing advanced hydraulic fracturing, especially the US, and the turn to conservation and increasing use of renewable forms of energy. All the signs are there for an eventual decline of fossil fuels, which is the economic mainstay of the Gulf states.
So what is there to hold these diverse nations together? No shared overarching political ideology (yet), few economic ties, no common currency, no key trading relationships, weak internal security in many of them, uncertain economic futures and rising sectarianism between and within many of the states. Does that sound like the makings of another NATO?
Washington's ostensible motivation for this latest alliance initiative — confronting Iran — could end up aggravating many of these factors, most especially sectarianism. Since when has a religious security alliance ever achieved peace and understanding in this or any other part of the world? In all likelihood, a Sunni alliance will only exacerbate already heated Sunni-Shia tensions.
The proposed alliance would include the Gulf states, Egypt and Jordan. The latter two face enormous economic and internal security challenges and the former seems bent on self-destruction of what has been the region's closest approximation to an alliance, the GCC. Moreover, some GCC members who are characterized by diverse religious populations — like Bahrain, Kuwait and Oman — might balk at joining an alliance that could rile their own citizens. Iraq, not currently envisioned as a member, presents its own set of sectarian challenges to the region, mired as it is in its own sectarian and ethnic divisions between majority Shia and minority Sunni, and majority Arab and minority Kurdish populations.
How would a new and improved Middle East NATO deal with a major Arab state next door that itself presents a potential threat to it, as it's done twice in recent history?
More Lessons from History
There is also the critical ingredient that played a major role in CENTO's expiration — a US security guarantee. Quite bluntly, with America's current pledge to NATO now in some doubt under Donald Trump, is it even remotely conceivable that the US administration, and even less the US Congress, would go along with such a proposal?
The Trump administration will need to stop making comparisons to NATO. It is a one-of-a-kind alliance only possible among nations with shared values, political systems and aspirations. If Washington wishes to blunt what it sees as Iran's encroachment in the Arab world — an unquestionably valid and undeniably disconcerting development considering Tehran's ruling, theocratic dictatorship — it will have to look to some other instrument.
Finally, it is important to recall what ultimately brought down the Soviet Union. First and most important, the USSR's principal undoing was itself and the corrupting rot it set among its former states, starting with Russia. Communism was unworkable, a fact recognized by many citizens long before the Soviet leadership did. Second, it should be remembered that diplomatic efforts, like the Helsinki Accords or Helsinki Final Act of 1975, gave renewed hope to all people behind the Iron Curtain and helped to seal the ultimate victory of freedom and democracy over oppression. NATO certainly played a role throughout the Cold War in securing the democratic nations of Europe, but NATO never faced off against the Soviet Union in battle.
The Trump administration would be well advised to review recent world and American history before embarking down what seems to be a long and ultimately counterproductive path in alliance building in the world's most fraught and conflict-prone region.
Photo Credit: Paul Laragy / Shutterstock.com
CategoriesAmerican News, Arab News, Donald Trump News, Gulf News, International Security, Iran News, Middle East & North Africa, Middle East News, Opinion, Politics, US politics news, World Leaders News, World News TagsEgypt news, Gulf news, Iran news, Jordan news, Middle East politics news, Saudi Arabia news
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You'll love the way your skin feels after this treatment.
Essential oils are plant matter extracts. In plain English, essential oils are the extraction of oils by way of steam distillation or solvent removal from flowers, leafs, barks, or roots of a plant or tree.
Why choose a natural based product?
It is very important that we are aware of what is in the products that we apply to our skin. What we put on our skin is ultimately absorbed into the skin on all cellular levels. This becomes part of the food taken into the body from the outer side. It is extremely important to be conscious of the foods taken in by mouth and by skin.
How do I setup my Spa Oasis for relaxation?
First and foremost, give yourself permission to take the time out for yourself. Make any and everyone aware that you will be unavailable for a certain period of time. This will be YOUR time. Supplies needed: your tub filled with warm water, music or not, flowers (live ones), essential oil of your choice and warm towels.


DNA-based aptamers (2), which are oligonucleotides that can bind to specific proteins, to the polymer backbone.
will impose a change in the backbone conformation of the polymer, leading to a change in its fluorescence.
- Microwave-assisted synthesis of the fluorescent conjugated polymer (1).
- Determine thrombin (4) sensing ability and detection sensitivity of the conjugate.
- Attach a lysozyme-binding aptamer (LBA-NH 2 ) to a polymer with different fluorescent properties.
- Specifically detect either lysozyme or thrombin in a mixture of proteins and sensors.
The studies will be performed in the labs of PCC and ORC.


Baltimore, MD - June 27 - Agudath Israel's role as the Jewish representative for all matters relating to medical death investigation in Maryland was recently made official. It has been five years since the start of a critically important and warm relationship with Maryland's Office of the Chief Medical Examiner (OCME). Maryland's Chief Medical Examiner, Dr. David Fowler, has praised his relationship with Rabbi Ariel Sadwin, the OCME's first Liaison/Chaplain, as being vital to both the Jewish community and the state, as it has ensured that countless situations that have arisen have been navigated in the smoothest manner possible. Protocols were drafted and implemented that have resulted in the maximum amount of respect to Jewish families and their laws and customs. This new status will help ensure an even smoother process for interaction and delivery of services which will be of significant benefit to the families who are going through the tragic loss of a loved one.


#  This parses out the speech module macros, and recreates the speech recognition grammar and semantic results, and then updates the SpeechRecognizer with the new grammar, and makes sure that the ObjectEvent is registered.
$builder = New-Object System.Speech.Recognition.GrammarBuilder "$Computer, "
$Script:SpeechModuleComputerName = $Computer ## Update the default if they change it, so they only have to do that once.
#  NOTE: this should almost always be a pre-formatted string, because most things don't render to very speakable text.


text:
Thousands evacuate as Storm Alberto powers toward Florida
Florida Governor Rick Scott, who issued a state of emergency on Saturday in all of the state's 67 counties, said on Sunday that the Florida National Guard had 5,500 guard members ready to be deployed if needed.
By: Reuters | Published: May 28, 2018 8:44:07 am
A view of a partially flooded farm as Subtropical Storm Alberto passes by the west coast of Cuba, in Bahia Honda, Cuba, May 26, 2018. REUTERS/Alexandre Meneghini
Thousands of Florida residents evacuated homes on Sunday as Subtropical Storm Alberto picked up strength as it headed north through the Gulf of Mexico, with forecasters saying it could bring life-threatening inundation to Southern coastal states.
The storm was about 105 miles (165 km) south of Apalachicola, Florida, on the Gulf of Mexico coast as of 8 p.m. EDT (0000 GMT) and was expected to make landfall along the Florida Panhandle on Monday, the U.S. National Hurricane Center said.
Alberto, the first named Atlantic storm of 2018, which spun up days before the formal June 1 start of the hurricane season, was packing maximum sustained winds near 65 miles per hour (105 kph) and was expected to drop as much as 12 inches (30 cm) of rain, slamming an area from Mississippi to western Georgia, the Miami-based hurricane center said.
After that, it will bring powerful winds and heavy rains as it moves into the Tennessee Valley on Tuesday and Wednesday, the hurricane center said. The storm comes during the Memorial Day weekend and was expected to scramble transportation on Monday as many people return from holiday travel.
Isolated tornadoes were possible across the central and northern Florida peninsula on Sunday night, according to the hurricane center, while Alberto was also forecast to bring storm swells of about 2 to 4 feet (60-120 cm) to low-lying areas that were "likely to cause life-threatening surf and rip current conditions."
There were a number of deadly hurricanes in the United States and Caribbean last year that walloped places including Texas, Florida and Puerto Rico, causing hundreds of billions of dollars in damage, massive power outages and devastation to hundreds of thousands of structures.
Franklin County, in the Florida Panhandle, has issued a mandatory evacuation for its barrier islands in the Gulf of Mexico affecting some 4,200 housing units, while Taylor County, to the east, has a voluntary evacuation order in place for its coastal areas.
Florida Governor Rick Scott, who issued a state of emergency on Saturday in all of the state's 67 counties, said on Sunday that the Florida National Guard had 5,500 guard members ready to be deployed if needed. "If evacuations have been ordered in your community, do not ignore them," Scott said on his Twitter feed.
The National Weather Service has issued a flash flood watch for an area stretching from Mississippi to North Carolina that is home to millions of people. Alberto's projected storm track has shifted eastward since Friday, lessening its threat to the active oil production areas in the Gulf of Mexico. Royal Dutch Shell Plc, Exxon Mobil Corp and Chevron Corp have evacuated some personnel from offshore Gulf oil facilities.
A separate storm system on Sunday caused flash flooding in the Baltimore suburb of Ellicott City, Maryland, turning its historic Main Street into a raging river with water reaching past the first floor of buildings and sweeping cars down the road, local news video showed.
Governor Larry Hogan declared a state of emergency for the area rebuilding from a devastating flood about two years ago that killed two people and damaged dozens of buildings.
For all the latest World News, download Indian Express App
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The tale of Barbara Jordan and her non-existent Australian Open crown


text:
GryphonSolo2
Atlantic Cup - June 2020
Globe 40 - June 2021
The Race Around - June 2023
THE YACHT
NEWS/LOGS
Skipper's Logs
Follow GS2:
THE QUEST TO RACE AROUND THE WORLD A SECOND TIME ON A 40FT MONOHULL
GryphonSolo2 News
Wells Fargo Takes Naming Rights of Open-50 Racing Yacht
BOSTON,MA - Wells Fargo announced today that accomplished sailor Joe Harris will be at the helm of the Wells Fargo-American Pioneer in this summer's Transat race from Plymouth, England to Boston, Mass. The Transat is a brutal, 3,000-mile single-handed sailing race across the chilly North Atlantic. Harris will set sail on May 31 and expects to finish the race in mid-June.
"We are proud to sponsor Joe Harris and have him at the helm of the Wells Fargo-American Pioneer," said Douglas Novitch, vice president of Wells Fargo's Real Estate Group. "He has the spirit of an American pioneer - innovation, perseverance and courage - qualities that make him an excellent choice to navigate the Wells Fargo-American Pioneer."
The Wells Fargo companies sponsoring Joe Harris and his Open-50 racing yacht include Wells Fargo Real Estate Group, Wells Fargo Home Mortgage, Eastdil, Financial Risk Management, Wells Capital Management and US Corporate.
"I am honored by the support and enthusiasm that Wells Fargo has chosen to commit," said
Harris. "This is proof that the pioneering spirit of Wells Fargo from 1852 continues to be a priority in everything they do."
About Wells Fargo
The Wells Fargo Real Estate Group represents Wells Fargo on commercial real estate transactions and offers a wide array of commercial real estate loans and treasury management products. All products are originated through loan production offices located throughout the United States.
Wells Fargo Home Mortgage, headquartered in Des Moines, Iowa, is a leading originator and servicer of residential mortgages. A subsidiary of Wells Fargo & Company (NYSE: WFC), Wells Fargo Home Mortgage serves all 50 states through the leading mortgage lending network in the country, with a presence in more than 1,900 mortgage and Wells Fargo bank stores and on the Internet. Combines, its retail and wholesale lending operations provided funding for approximately one of every eight homes financed in the United States in 2003.*
Wells Fargo & Company is a diversified financial services company - providing banking, insurance, wealth management and estate planning, investments, mortgage and consumer finance from 5,900+ stores, the world's leading Internet banking site (wellsfargo.com), and other distribution channels across North America and elsewhere internationally.
About Joe Harris and Gryphon Solo
Joe Harris, 44, is an accomplished businessman and experienced sailor who has set his sites on competing in several professional offshore races including the grand task of 5-Oceans, a solo race around the globe previously known as Around Alone. Joe has founded his Gryphon Solo campaign in 2003 with the assistance of a strong team, which includes Whitbread veteran Brian Hancock, PR pro Wendie Demuth, shore support Brian Harris, solo sailor Brad Van Liew as offshore sailing coach and sponsorship consultant Meaghan Van Liew.
For daily updates and photos during The Transat race, go to www.gryphonsolo.com.
Meaghan Van Liew
+1 843 814 3966 mobile
meaghan@oceanracing.org
GryphonSolo2 Campaign / Joe Harris Ocean Racing
471 Bridge Street, Hamilton, MA 01982
web@gryphonsolo2.com
Web Solutions by Headway
© 2020 GryphonSolo2 Campaign


The festival also comped 3,331 tickets (not including comps for Fringe artists and volunteers), so total tickets distributed added up to 23,470.
Performing artists received $190,153 from the money taken in at the box office. In addition, artists in the Visual Fringe received $3562.96, for a total distributed to artists of $193,715.96.
The festival also took in about $4,000 in various fundraisers, including Fringe Abridged, the Fringe Gala, Tip the Fringe and the Poetry Vending Machine.
Marshall estimated that total attendance this year — at indoor shows, outdoor shows, Kids' Fringe and Visual Fringe — was about 25,000, similar to numbers in the past few years.
This entry was posted in Fringe festivals, Orlando theater, Theater festivals and tagged beth marshall, Fringe, Fringe Festival, Fringe theatre, Orlando Florida, Orlando International Fringe Theater Festival, Theatre, Tickets. Bookmark the permalink.


I had an alarm set for 6 am, which would give me enough time to get up, get packed, and continue just under a mile down the Journey's End Trail to get picked up by a shuttle service and taken to Burlington. However, shortly before my alarm went off, I was awoken by the sound of rain. Fortunately, the rain didn't last very long, and it had long since stopped by 6:45, when I began the last bit of hiking of my Long Trail thru-hike.
The remainder of the Journey's End Trail was a gentle downhill. Along the way, I passed by a random privy in the woods; I suspect this was the site of the original Journey's End Camp, before it was dismantled in 2004 and the current one built. About eight-tenths of a mile of hiking with a rather light pack (almost empty of food, and with no water, it was the lightest pack I've had in a long while) brought me to the end of the trail, and another two-tenths of a mile down Journey's End Road brought me to a second parking area.
My driver from Jay Way Jitney arrived at 7:15, right on time. I shouldn't have been surprised that his dog was in the back seat — this was the third time this hike I've shared a car with a dog — but like the other two dogs I've ridden with, he was pretty chill and spent most of the drive lounging around on the back seat.
It was an uneventful drive to the Amtrak station at Essex Junction, and, with my train back to Maryland arriving at 9:45, we got there with plenty of time to spare. I stopped by a convenience store and grabbed something that passed for a breakfast sandwich (since my glacial pace this morning had left me with no time to actually eat breakfast at the shelter).
The weather was amazing during the wait for the train, which arrived on schedule. (Essex Junction was the train's second stop, so it would have been surprising if the train was already late.) Being the "Vermonter", the train made quite a few stops in Vermont (especially), Massachusetts, and Connecticut. Shortly before noon, I got a sandwich on the train for lunch, and only a few hours later, for the first time this hike, the hiker hunger struck — by mid-afternoon, I was hungrier than I had been at any point on the trail. This was pretty surprising, since I'd spent most of the day asleep, sitting in a car, or sitting on the train. I wound up getting dinner early: around 4:30!
The train made it to New York City sometime after 6 pm, and after a 20-minute layover during which most of the train's passengers turned over, we sped off toward Washington DC. Now an express train, we finally picked up speed. Despite being "sold out", the train car I was in never seemed more than half-full, and though I kept the seat next to me relatively open before NYC, afterwards, when it was clear no one would be likely to need the seat, I stretched out across both seats.
The rest of the ride back to Maryland was fairly uneventful, though presumably due to the rain we started to go through, the train gradually slipped behind schedule, and arrived at Union Station in DC about 15 minutes late.
And now, a little more than twenty-six and a half days from when I left to catch a bus to Williamstown, MA, and with another 280 miles of hiking on my belt, I'm back home. Time to relax for a bit, and plan for the next hike!


text:
Parker: Cowboys rematch 'just another game'
Eden Richards
Tue 22 Mar 2016, 02:17 PM
The Brisbane Broncos are set to unveil a new-look backline for this Friday's grand final rematch at Suncorp Stadium.
It is expected that Lachlan Maranta and Greg Eden will start on each wing, with Jordan Kahu and James Roberts starting in the centres. Maranta's return from injury means that the Broncos' wingers and centres will be entirely different from the team that played in the 2015 NRL Grand Final.
The retirement of Justin Hodges, as well as injuries to Jack Reed and Corey Oates, has forced coach Wayne Bennett to rearrange Brisbane's outside backs.
Captain Corey Parker said the experience of Jack Reed would be missed against a potent Cowboys backline, with the 27-year-old needing eye surgery to repair a damaged retina.
"I feel for 'Reedy' to be honest. He's had a terrible run with injuries over his career," Parker said.
"We're going to miss him again due to some soreness around his eye.
"He brings so much experience and makes the other guys around him more comfortable in their positions. In saying that, I'm sure his replacements will do a good job."
The Cowboys delivered Brisbane their first grand final loss in the history of the club in 2015 and that has just added to the already fiery Queensland rivalry.
Parker was quick to play down suggestions this game meant more to Brisbane than other regular season fixtures, despite the history between the two teams.
Crowd numbers suggest otherwise, with over 50,000 fans expected to flock to Suncorp Stadium.
"For us it's just another game in the competition. It's only Round 4 and there are 26 Rounds throughout the year. The two points for us on offer this weekend are just as important as two points in Round 24," Parker said.
"We'll be looking to rectify the performance we dished out last week against Penrith.
"We've all moved on from last year. This year is what we're concentrating on. It's another game in the season.
"It's a big occasion playing at home on Good Friday. There should be a good crowd and a great atmosphere and that's how we're looking at it."
North Queensland are yet to win at Suncorp Stadium under coach Paul Green and their last visit to Brisbane resulted in a 44-22 loss in Round 3 last year.
If the Cowboys are to win they will have to defy history, with the North Queenslanders winless at Lang Park since Round 2, 2012.


Experience a LIVE "1-ON-1" video signing session with Tim Hardaway while he autographs a Replica NBA Basketball for you!
You'll get to personally say hello to Tim and watch him autograph your basketball. After your session, you get your autographed basketball and the recording of your experience to share and remember forever!
Instructions on how to access your LIVE 1-ON-1 Video Signing Session will be sent via email after purchase.


text:
Q: Automating Aggregating Data in Google Sheets I have 100+ rows that are updated daily and as of now I have to update my last column manually. In my last column "Key Results Aggerated" I have to manually copy and paste Key Results into single cells per employee. I spent hours trying to figure out a solution but I am unable to. I have tried using import range function and concatenate function but I am having a hard time automating it since users can always add/remove a new row for "Key Result" at any time of the day. Thanks in advance.
Pic: Raw Data
Pic: Results I am trying to achieve.
Google Spreadsheet Example

A: You may insert this in E1 and protect that row:
={"KEYS";MAP(A2:A,D2:D,LAMBDA(aval,dval,IF(aval="","", TEXTJOIN(CHAR(10),1,dval:INDEX(D:D,ROW(dval)+IFNA(XMATCH("*",INDEX(A:A,ROW(aval)+1):INDEX(A:A, ROWS(D:D))),ROWS(A:A))-1)))))}

Erase previously all the prior formulas in E. Let me know

redpajama_set_name: RedPajamaStackExchange


text:
This Airport's Christmas Tree Was so Offensively Ugly They Had to Take It Down
Many people think Beirut's "garbage tree" is better off in the trash.
Andrea Romano
By Andrea Romano December 15, 2017
Beirut Lebanon Airport Flight Airplane Middle East
Credit: JOSEPH EID/AFP/Getty Images
The world has finally learned to embrace the ugly Christmas sweater, but the fight to accept the ugly Christmas tree is long from over.
While the people of Montreal welcome their city's ugly tree with open arms every year, the people of Beirut, Lebanon were far from pleased with the Christmas tree that was standing in Rafic Hariri International Airport this season.
It wasn't just ugly — it wasn't really a tree. The structure was actually made of metal, fire extinguishers, life vests, and other recycled airplane parts.
The tree was actually commissioned as part of an environmental initiative from Middle East Airlines in order "to raise awareness about environmental protection and to prevent logging and awareness on the recycling process." However, most people traveling through the airport couldn't really get past the idea that they were looking at what was basically a Christmas tree made of garbage.
Many people let their very negative opinions about the tree be heard on social media. Some even said it gave off the smell of rotting garbage. Harsh.
After many complaints, the tree was removed from the airport.
Lebanon is actually famous for its beautiful, Christmas-ready cedar trees. However, the ancient trees are becoming more endangered as the years go by. In the last six years, more than 600,000 trees have been planted throughout the country as part of the Lebanon Reforestation Initiative (LRI), according to Al Bawaba.
As ugly as the "garbage tree" was, maybe it had a point after all.


Treats - Boat Angel Donations is An organization that accepts. Dream, residents of AthensGreenland Travel is the largest specialist in Greenland holidays.
The Recurring Dream Houseboat. My dream room essay in. writing on pollution narrative essay traveling igcse sample an unforgettable evening essay home friends or family essay meaning. In the mist there is a boat and it's heading towards me On the deck the lady's holding her hand and I agree I'm falling into fantasy The dream.
What is the meaning. Patriarshy Dom Tours, a Russian - American Cultural Center in Moscow, is operating as a full service travel agency, consistently enlarging the number of services. Radio Girls by Sarah-Jane Stratford The Great War is over, and change is in the air, in this novel that brings to life the exciting days of early British radio…and. this site complies with 18 u. s. c. § 2257, and its regulations. the owners and operators of this website are not the primary producer (as that term is defined in 28 c. Possessive participles. the stem is created from the possessive participle by replacing the a with o, The Evac Optima 5 is the quietest vacuum toilet on the market according.


I have taught high school freshmen my entire teaching career, and one of the things I like to expose them to at the beginning of the year is the process of metacognition: thinking about your thinking. Honestly, I believe the majority of the general population does not practice this valuable habit of checking in with one's thinking. Metacognitive thinking can be re-examining beliefs and values, or evaluating if one is on the right track for the goals they want to achieve. For my young students, I encourage them to use metacognition to contemplate questions such as: what areas of life do I feel successful in? What do I need help with? Am I giving my best effort and attention to different areas in my life? How can I improve and what steps will it take to make that happen?
Just recently I asked my students to engage in a metacognition check in. I want to share some of the their responses, with some comments about where I see them in their educational career. Perhaps you can recognize some of your students in these reflections. This simple exercise provides a valuable place to peek into their thinking to respond to and mentor them.
Most days at the end of class when the bell rings and all the work I didn't do is homework, I always regret it, because I tell myself that I should have done it when I had the chance instead of getting distracted. I could improve by focusing more and not get distracted in my thoughts because when I do, I just stop working.
Thinking about my thinking is like research on myself, observing what I'm thinking and the reason behind it. And, if my thinking is on the wrong path, then I should start thinking how I can control it and bring it to the right path. Right now, I'm thinking more about the STAAR – it's the first time I've taken the star, so I have no idea what they are like.
The struggles are real. I often encourage my students to focus on the areas of information they feel solid on going into an exam, not about the things they think they don't know. That simple tactic can change a negative attitude into one that is more positively focused which can help their performance. But the reality on our campus is that there is a large percentage of English language learners, SPED students, and low socio-economic families. These are huge hurdles for these students to leap over, just to come close to passing these exams. It's no wonder some of them just give up – they just don't have the supports they need to help them be successful.
I believe that I need some work on thinking more clearly and faster. I need to work on thinking to understand my work rather than only trying to finish it. I will start trying to think about my thoughts so I will understand more.
In terms of my thinking, I don't think that my thinking is on track. I have the lowest grade in this class out of all of my classes even though this class is the easiest. I really want to end this year with better grades overall, so I'm going to actually start a new book with everything looking really good and complete. Hopefully, after that I'll be able to increase my grade.
I don't think with my mind a lot. I'm that kind of person that uses their heart too much. I just follow my heart through every situation – it's not a right way to think and I'm aware of that. I try to change that sometimes, but deep down I'm not determined enough since being a feeler instead of a thinker doesn't bother me that much. However, following my heart like that doesn't keep me constant most of the time: one minute I want to do more of something or be someone, the next I'll have a whole new plan.
I, too am a feeler, and can relate to her struggle. But I am also glad that she recognizes the benefits of strengthening her thinking (like I have!) for better balance, consistency and performance.
The last student response gets at the heart and soul of metacognitive thinking. I've had this student for two years, and she is one of those I will miss a lot.
The dictionary defines metacognition as an awareness and understanding of one's own thought processes. I go through the process a lot. I always try to make the best decisions for myself and think often about my actions because I know what's good for me. I know myself better than anyone else and do the things I do for a reason.
Bingo! Ultimately, this is what I want every student to understand – that they are the creators of their life path and have the power to make the best choices for their goals. Not everyone has such clarity about their insight. Using this simple exercise in the classroom from time to time can strengthen the habit of using metacognitive thinking at various times in their life where it could impact their decision making or evaluation of their efforts. Try it out for your self or with your students! Feel the power of metacognitive thinking!
Creating a strong community in the art classroom has been a top priority this year. Sometimes it seems challenging, especially in a 9th & 10th grade high school, when kids clump together in different cliques and feel most comfortable with their friends. This year I have started talking about community from the first week of school, and instead of talking about our art class, I refer to our space as the art studio and invite them to think of themselves as real artists working in this shared space.
Art is a great stress relief. You need things that are colorful around the school to make people feel at home.
It gives a voice for students and provides freedom for expression. It also presents new ideas and stimulates the imagination.
These are just a handful of the wonderful responses I got from my students. I think it's going to be a really great year!


A little edge never hurt anybody!
Sleek and stylish with crossing elastic straps and graters to add a little edge, this microfiber teddy invites you to take a walk on the dark side!
Super adjustable straps and stretchy microfiber fabric help this piece fit wonderfully.


Locals and guests to the City of Rehoboth Beach, Delaware claim our quaint and charming mile long boardwalk as one of the City's best attractions. Flanked by eclectic shops, restaurants, business and family amusements, the boardwalk is one of the reasons Rehoboth Beach was named "The Best Family Beach on the East Coast."
Be the first to add a review to the Rehoboth Boardwalk.


Baylor Scott & White Convenient Care - Oak Cliff, Oak Cliff is a retail clinic inside of Tom Thumb in Dallas and is open today from 8:00am to 8:00pm. They are located at 315 S Hampton Rd and open 7 days per week. Of course it's always best to call in advance to confirm hours of operation before walking in.
Baylor Scott & White Convenient Care - Oak Cliff accepts many major insurance plans and multiple forms of payment, making it easier to get the affordable care you need. It is always a good idea to contact your insurance company before your visit to ensure the Clinic is in network for the service(s) you're seeking.


The item An analysis of the keyboard styles of the six canons, four sketches, and six fugues on B.A.C.H. op. 56, 58, and 60, by Robert Schumann, by John Clayton Lile represents a specific, individual, material embodiment of a distinct intellectual or artistic creation found in Brigham Young University.


text:
Kindle Project Interviews Dynasty Handbag (a.k.a Jibz Cameron)
Makers Muse
Topics: Arts
Jibz Cameron a.k.a Dynasty Handbag
Jibz Cameron/Dynasty Handbag is an exorcism of deranged characters and failures born from a patriarchal, consumer-driven society, performed on stage using…
http://www.dynastyhandbag.com
Preparing to go and have lunch with Jibz Cameron, whose alter ego Dynasty Handbag is a 2011 Kindle Project awardee, is a bit like prepping to meet the best friend you've always wanted to have. Not in the Julia Roberts way, but more in the way that I knew that having lunch with Jibz would feel like having lunch with an old friend – one who leaves me less with the familiar sense of nostalgia but with renewed sense of inspiration and jittery excitement I hope to get from a budding professional partnership.
My lunch date is not your average artist. Ok, is there is even such a thing as an average artist? Perhaps it's better to say she's one of the most unique, comical performers we've ever had the chance to encounter. Her work is unabashedly bizarre and deeply funny, with hints of emotional depth that leave you ruminating in your own reflections days after you've experienced her work.
Jibz had me meet her at a place called DINER in Williamsburg, Brooklyn. From the outside it looked like an old barn or shed, and the inside felt like an old boat, the perfect setting for a Canadian girl like me to bask in the glamorous glow of the NY artist. The thing is, Jibz is disarming, grounded and laugh-out-loud hilarious without even a pinch of pretension. Her glamour resides in her earnestness, which makes her delightfully easy to speak with. After we shared a perfectly locavore meal in the DINER/boat we chatted outside in the New York sun about her new work, Eternal Quadrangle, what's next for her, and the movable intricacies of her artistic process.
Eternal Quadrangle premieres at The New Museum in New York City tomorrow, May 18, 2012.
Kindle Project: Ok, tell me about your new piece. It has a great name! Eternal Quadrangle!
Jibz Cameron: Dynasty Handbag goes on a dating game show and the contestants are a disembodied brain, a stray dog, a professional golfer and the grim reaper.
KP: Are they all played by puppets?
JC: No, they're animated creatures and I do all the voices. I ask them all questions and they use the trope of the dating game show where there are exchanges like, "Bachelor number 4: look at bachelor number 2 and tell me, if he were a kind of animal what would he be?" You know, that kind of stuff…but mostly the ideas behind it are about when I get locked into thinking there's a certain way to think or act that's a solution to whatever problem I'm having instead of being really open. I found that when I was going through a lot of stuff last year I kept thinking you need to deal with it in this way which would be the representation of the golfer who is all ambition and focus and success and I don't have any of those desires [giggles]. Or like being really fatalistic–we're all going to die anyways so who gives a shit what happens. Or the dog is self-pity, just wallowing and wallowing. And the brain is just…it's like on speed, it's not on speed…
KP: The brain is where speed was born?
JC: Ya, it wears running shoes. The brain [character] is more trying to figure things out – trying to attack everything, you know all [she makes many funny mumbled sounds]. The whole thing with the dating game is about the relationship with the self. It's very weird that we lock ourselves into small ways of thinking and compartmentalizing. And on a larger scale I think compartmentalizing is really bad news for everything.
KP: Well, it disconnects you from everything you're experiencing when you choose to only experience or view something from one of those little identities.
JC: And it's also just sort of universally kind of fucked up. We want to identify things and label them and make sure we're in control of what they are. And have them be tidy. I guess that's sort of the impetus of how this one [project] came about. I can't tell you the trajectory of where theses ideas were invented.
KP: What's so interesting hearing you talk about it having seen other Dynasty Handbag videos is that you describe it so articulately and with so much emotion and it's so clear. If you were describing this to me without me knowing your work I'd be like, oh yes, I'm about to experience something I can totally relate to and tap into, but the whole visual and the character of Dynasty Handbag is absurd in so many ways!
JC: Ya, it is absurd. I also just like comedy so I try and make things funny.
KP: She's super funny. The first time I saw your videos I was completely entranced and quite uncomfortable all at the same time, which is what I love about it. And then you get to know DH a little more – less uncomfortable and you can kind of find you way in to relate to it. That was my experience of it, but I remember watching it for the first time and I couldn't take my eyes off this thinking you have this magical courage about you to take these understandings of yourself and present them in these entirely comedic, colorful, absurd and unusual ways. That's my experience.
JC: Hmmm, that's cool! That's a pretty good goal I think.
KP: One of the notes I wrote this morning was that you have so much courage [she winces] You know…not in this pedestal queen of Williamsburg way, but it takes a combination of courage and grace to make comedy absurd and meaningful at the same time. It's hard to do.
JC: The comedy part of it makes it accessible. It's a safe place for me to go to explore these things. If I didn't have that padding I don't know if I'd be able to go into it. It makes it accessible for other people too.
KP: What about courage?
JC: Seems a little distant. But, I guess I do work on things in my life that aren't directly related to my art practice that I do feel takes a lot of courage and that informs what I do in my art practice. I don't sit down and think…I'm gonna go really deep today. The stuff just comes and then I realize it's coming because of something I need to look at. Or sometimes the story will tell itself to me after the fact; oh that's why that guy needed to be in this thing – of course?!It also doesn't really matter what it means to anyone else. It's so subjective. It doesn't really matter what I means to anyone else. But if it's sitting with you, fine.
KP: But, you keep making stuff for people to enjoy, interact with and consume in some way.
JC: Yes
KP: So it must mean that people are responding in some way.
JC: Ya, I feel like I get a lot of good response. But, I also feel that I care less and less about that.
KP: What does a good response look like for you?
JC: You know, people throwing money at me. People killing themselves because I can't always respond to them as my fans.
[We both laugh a lot…]
JC: I get really high off performing and when people come up to me after saying "You're so great, so inspiring, I laughed so hard" I love it when people tell me how hard they laughed. That's the best. Or when people tell me they're inspired…For me the thrill is really in the moment. I definitely feel if I can't captivate an audience I feel very bummed out.
KP: Is this performance art?
JC: I guess so.
KP: I lived in Quebec for a long time and Quebec is really obsessed with performance art, which is really funny to me cause it's this label, this term that I never really understood.
JC: I don't get it. When people ask me what I do I usually say I'm a performer cause that's what I do. I also act in other people's work. Ya, it's performance art. One time a show I made was billed as "is this performative comedy or comedic performance?' As a joke…It was a commentary. It is funny but I don't think of myself as a comedian at all. I think of myself as a performer.
KP: Comedy is such a weirdly specific genre.
JC: But it's so much like that thing of compartmentalization. Look at someone like Andy Kaufman who said he wasn't a comedian. And he wasn't. But, he performed not plays, but things in a theatrical setting. All the trappings of it make it really confusing for people. People ask me, 'what kind of plays do you perform in?' And the answer can go all over the place.
KP: I have one more question about the dating game– I was thinking about the dating show idea because maybe I've been on the Internet dating sites once or twice.
JC: Maybe…
KP: Maybe, or maybe not…this interview is not about me! But it is [your piece] about longing. [With Internet dating] you're longing to connect with someone, or fuck someone of whatever it is you're looking for on the Internet. But you have to make yourself fit into a certain box, sometimes quite literally you have to type your shit into these fucking boxes and then try and to attract the right fly to your strip basically.
[We both said, "Eww" and laughed out loud for a few good moments.]
KP: The whole notion completely freaks me out, but there is tremendous pressure in the dating world to make yourself into one thing for one person, and another for another person. I could see myself making four different profiles based on your four different suitors. It really struck me that we're desperate to relate in one way, but we're not one thing. Maybe this is the evident piece of your new work but we need a combination of these four archetypes to be in one person.
JC: Now you're writing my ending that I never got – shit…
KP: Sorry…
JC: It doesn't end neatly. Now you've given me a better ending!!
KP: What the ending?
JC: I can't tell you! Wait…it does kind of end that way. Ok. I'm good. I got it.
I watched her brain work and ramble for a few minutes and couldn't quite follow – but it seemed she was having an important revelation. Thank you Ok Cupid. We finished chatting in the sun and I left the conversation wishing I would be in New York to see the premiere of Eternal Quadrangle and to witness Dynasty Handbag in action would be only further confirmation of her uniqueness. It's a small triumph for Kindle Project to know Jibz and to have the opportunity to collaborate with her. In a world full of absurdity, we can all use more creativity like Jibz's to get us through.
Be sure to look out for Jibz's performance in Stratford, England as Cassandra in the Wooster Group's production of Torilus and Cressida.
www.dynastyhandbag.com


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On Sunday some of my closest girl friends threw me a little shower for baby number two, in the cutest of venues. Café Julia is a hidden gem in Barnoldswick, Lancashire, and is owned and run by my friend's Mum (Julia, if you hadn't already guessed). The café was perfect for our intimate gathering, and Julia put on an amazing spread of afternoon tea; there was so much she even packaged up all our leftover cakes so we could take them away as they were too good to leave behind!
It was lovely to see the ladies who could make it (the ones who couldn't- you were missed!😘); it's always nice to all get together from time to time as it's increasingly difficult these days when everyone is so busy. The shower was much more low key this second time around; perfect as I didn't want too much fuss, and I was very lucky to get some gorgeous gifts for both myself and baby girl!
I did plan on documenting this pregnancy lots on my blog as I hadn't started it back when I was pregnant with Dexter, and thought it would be nice to look back on and share with any future mamas. Of course that didn't happen though, and I didn't actually share my pregnancy with 'the world' until almost half way through anyway.
Overall I have been pretty lucky with both pregnancies, with no major problems in either, aside from the the usual pains and aches and the odd infection of the old water works. 🙄🙈 The main difference between this pregnancy and the last one is that I am a lot more active this time as I spent the majority of my last one sat at a desk and the majority of this one chasing around after a toddler…so there ain't no need for the gym! (Which is a good job really as I have shamefully done zero 'real' exercise during either pregnancy).
My skin has been a dream in comparison to when carrying Dexter when I don't think I woke up a single day without a new friend gracing my face. My back has only been sore towards the end of this pregnancy whereas last time it started around the 3 month mark when there wasn't even a bump in sight, and it lasted the whole bloody way through.
How far along? 37 weeks +3! 😱 So technically I'm full term now.
Total weight gain? Not 100%…at 34 weeks I had put on just over a stone and a half, but I haven't been weighing myself.
Maternity clothes? 'Maternity Mum Uniform' of jeans, long tops and cosy jumpers have been my biggest saviours; I have one pair of black Topshop jeans with an under bump band which I have practically lived in for both pregnancies. Can't wait to chuck them in the bin once I can fit in to something normal again!
Stretch marks? Didn't get any on the bump last time apart from a big weird one where my teenage belly piercing used to be. I don't know if it's because this is my second shot or because I have been waaay less OCD about moisturising this prego, but the other day I discovered some bump stretchies for the first time! I think I'll just look at them as a souvenir from that time I had an alien living inside me.
Sleep? Not very good right now. Really difficult to get comfy and regular trips to the loo are keeping my eye bags in business.
Miss anything? Wine, gin, rare steak, smelly cheese, scallops, being able to wear more than the same few jumpers and jeans in varying combos.
Best moment this week? Not really specific to this week, but my most precious moments these days are Dexter's love for the bump. He regularly cuddles, strokes, and kisses it whilst saying "baaabaaa…aw-awwww" in the cutest little voice. It makes me melt every single time, and is a memory I will treasure forever.
Symptoms? Sore back and ribs, intermittent pelvic pain, and the odd bout of heartburn (nowhere near as much as last time though).
Movement? Masses of it! I remember loads with Dex but this girl is crazy!
Food cravings? Allll the puddings! Just basically anything sweet like chocolate and ice cream, but that does include fresh fruit too, so that balances it out, right?
Labour signs? Braxton hicks all day every day. A false alarm featuring real (read: painful) contractions, pelvic pressure, nestling baby aka lots of shooting pains in the faloola.
Belly button in or out? Weirdly flat until baby girl moves and pushes it out.
What I'm looking forward to? Having a tiny baby to cuddle again (who is going to feel like a featherweight in comparison to Dex), experiencing the differences (or not) between girls and boys, girly stuff, seeing how Dexter handles his new big bro status, and watching the love and bond in our family grow stronger.
Happy or moody? I like to think a 'healthy' mix of happy and moody 😏 but my hubby may say otherwise. Also I had a major meltdown the other day and sobbed the day away…but thankfully I've been way less teary overall this pregnancy.
Mostly I feel a little more prepared for what is to come (though you can never really be, right?), and a lot more aware of all the love that we are soon going to experience as a family. I'm super excited to see how Dexter takes to his new sister (good and bad I expect), and the whole thing has gone so much more quickly this time round. Having Dex to keep my mind and body occupied has been a great way for this pregnancy to fly by, and I feel a lot more chilled (read: unorganised but not bothered) than I was last time.
Come at us baby girl! We can't wait to meet you.
Next Post How Do I Do Two?


text:
#include "tensorflow/core/util/tensor_bundle/byte_swap.h"

#include "tensorflow/core/lib/core/status.h"

namespace tensorflow {

Status ByteSwapArray(char* array, size_t bytes_per_elem, int array_len) {
  if (bytes_per_elem == 1) {
    // No-op
    return Status::OK();
  } else if (bytes_per_elem == 2) {
    auto array_16 = reinterpret_cast<uint16_t*>(array);
    for (int i = 0; i < array_len; i++) {
      array_16[i] = BYTE_SWAP_16(array_16[i]);
    }
    return Status::OK();
  } else if (bytes_per_elem == 4) {
    auto array_32 = reinterpret_cast<uint32_t*>(array);
    for (int i = 0; i < array_len; i++) {
      array_32[i] = BYTE_SWAP_32(array_32[i]);
    }
    return Status::OK();
  } else if (bytes_per_elem == 8) {
    auto array_64 = reinterpret_cast<uint64_t*>(array);
    for (int i = 0; i < array_len; i++) {
      array_64[i] = BYTE_SWAP_64(array_64[i]);
    }
    return Status::OK();
  } else {
    return errors::Unimplemented("Byte-swapping of ", bytes_per_elem,
                                 "-byte values not supported.");
  }
}

Status ByteSwapTensor(Tensor* t) {
  size_t bytes_per_elem = 0;
  int array_len = t->NumElements();

  switch (t->dtype()) {
    // Types that don't need byte-swapping
    case DT_STRING:
    case DT_QINT8:
    case DT_QUINT8:
    case DT_BOOL:
    case DT_UINT8:
    case DT_INT8:
      return Status::OK();

    // 16-bit types
    case DT_BFLOAT16:
    case DT_HALF:
    case DT_QINT16:
    case DT_QUINT16:
    case DT_UINT16:
    case DT_INT16:
      bytes_per_elem = 2;
      break;

    // 32-bit types
    case DT_FLOAT:
    case DT_INT32:
    case DT_QINT32:
    case DT_UINT32:
      bytes_per_elem = 4;
      break;

    // 64-bit types
    case DT_INT64:
    case DT_DOUBLE:
    case DT_UINT64:
      bytes_per_elem = 8;
      break;

    // Complex types need special handling
    case DT_COMPLEX64:
      bytes_per_elem = 4;
      array_len *= 2;
      break;

    case DT_COMPLEX128:
      bytes_per_elem = 8;
      array_len *= 2;
      break;

    // Types that ought to be supported in the future
    case DT_RESOURCE:
    case DT_VARIANT:
      return errors::Unimplemented(
          "Byte-swapping not yet implemented for tensors with dtype ",
          t->dtype());

    // Byte-swapping shouldn't make sense for other dtypes.
    default:
      return errors::Unimplemented(
          "Byte-swapping not supported for tensors with dtype ", t->dtype());
  }

  char* backing_buffer = const_cast<char*>((t->tensor_data().data()));
  TF_RETURN_IF_ERROR(ByteSwapArray(backing_buffer, bytes_per_elem, array_len));
  return Status::OK();
}

}  // namespace tensorflow

redpajama_set_name: RedPajamaGithub


text:
OJC to Host Region IX Men's Basketball Tournament
The Otero Junior College Men's Basketball team ended the regular season on a strong note and will be hosting the Region IX tournament beginning on Thursday March 8, 2018. The first game for OJC will be at 7:00 p.m. on Thursday March 8, 2018, in McDivitt Center Gym. All games will be played in McDivitt Center Gym.
"This has been a good season for us and we are looking forward to playing in the Region IX tournament," said Brendan O'Connor Otero's men's basketball head coach. "We are excited to host the tournament for the third year in a row now. This is the second time in three years that Otero has hosted the tournament. It's a great accomplishment in the rich tradition of Otero Basketball. This will be a competitive tournament with many great teams in attendance. I'm proud of the way our team has worked throughout the season," stated O'Connor.
"You never know what is going to happen in the tournament as everyone is fighting to keep their season alive. That is what makes March so great. We thank the community and OJC for their continued support. We are lucky to have the best fans in Region IX, and we hope to see them out in full force come Thursday night," added O'Connor.
To view the tournament bracket visit https://www.ojc.edu/athletics/region9athletics.aspx. For more information, contact OJC athletic director, Gary Addington at 719-384-6859.
OJC Men's Basketball will be hosting the Region IX tournament beginning on Thursday March 8, 2018. The first game for OJC's Men's Basketball team will be at 7:00 p.m. on Thursday March 8, 2018, in McDivitt Center Gym. All games will be played in McDivitt Center Gym. View the tournament bracket at https://www.ojc.edu/athletics/region9athletics.aspx.