text:
Q: Push values from inputs in certain positions in an array In continuation to Update an array with data from inputs.
Now I must put values into tmpARR array like:
var count = 0;
var tmpARR = ["count++", "text value from text input", "value from input Num 1", "0", "value from input Num 2", "Just some default text"];

The question is: how should I change guardarNumeros() for adding information in an array like:
var tmpARR = ["count++", "text value from text input", "value from input Num 1", "0", "value from input Num 2", "Just some default text"];

Thanks for Pransh Tiwari who was edited my function guardarNumeros().
I was not be able to add snippet with my code because of stackoverflow's rules about too much code in the post so I wrote this phrase, sorry.

var totalInputs;
var myInputs;
var tmpARR = [];
var count = 0,
    types = ['t', 'C' /*, 'Q'*/ ],
    button = document.getElementById('button');

button.addEventListener("click", createInputs, false);

function createInputs() {
  if (!validInput()) {
    return;
  }
  count += 1;
  createInput(count);
}

function createInput(count) {
  totalInputs = document.getElementsByClassName('myInput').length;
  var existingNode = document.getElementsByClassName('myInput')[totalInputs - 1];

  types.forEach(function(type) {
    var newNode = existingNode.cloneNode();
    newNode.value = null;
    newNode.id = type + +count;
    newNode.placeholder = 'Placeholder ' + type;
    newNode.dataset.id = 'id' + count;
    appendNode(newNode);

  })
}

function appendNode(node) {
  document.querySelector('#div').appendChild(node);
}

function validInput() {
  myInputs = document.getElementsByClassName('myInput');
  var valid = true;

  Array.prototype.slice.call(myInputs).forEach(function(input) {

    input.classList.remove('error');
    if (!input.value) {
      input.classList.add('error');
      valid = false;
    }
  });

  return valid;
}

function removeError(event) {
  event.classList.remove('error');
}

function guardarNumeros() {
boxvalue = document.getElementsByClassName('myInput');
i = 0;
while (i < boxvalue.length) {
    if (boxvalue[i].type == "number") {
        if (boxvalue[i+1] && boxvalue[i+1].type == "number") {
            tmp = [boxvalue[i].value, boxvalue[i+1].value]
            tmpArr.push(tmp);
            i+=2;
        }
    } else {
        i++;
    }
}
console.log(tmpArr);
return false;
}
#title {
  font-family: 'Times New Roman', Times, serif;
  font-size: 200%;
}

#step {
  font-size: 15pt;
  clear: both;
}

#step2 {
  font-size: 15pt;
  clear: both;
}

#step3 {
  font-size: 15pt;
  clear: both;
}

summary {
  background: #009688;
  color: #fff;
  padding: 5px;
  margin-bottom: 3px;
  text-align: left;
  cursor: pointer;
  padding: 5px;
  width: 250px;
  /*background-color: #4CAF50;*/
}

summary:hover {
  background: #008999;
}

.displayBlockInline-Flex {
  display: inline-flex;
}

#margin20 {
  margin-left: 20px;
  vertical-align: middle;
}

#container {
  width: auto;
  height: auto;
  margin: 0 auto;
  display: none;
}

a.myButton {
  color: #fff;
  /* цвет текста */
  text-decoration: none;
  /* убирать подчёркивание у ссылок */
  user-select: none;
  /* убирать выделение текста */
  background: rgb(212, 75, 56);
  /* фон кнопки */
  outline: none;
  /* убирать контур в Mozilla */
  text-align: center;
  cursor: pointer;
  width: 150px;
  padding-bottom: 11px;
}

a.myButton:hover {
  background: rgb(232, 95, 76);
}

/* при наведении курсора мышки */

a.myButton:active {
  background: rgb(152, 15, 0);
}

/* при нажатии */

.button1 {
  /*    background-color: #fc0; /* Цвет фона слоя */
  /*    padding: 5px; /* Поля вокруг текста */
  float: left;
  /* Обтекание по правому краю */
  width: 450px;
  /* Ширина слоя */
}

.button2 {
  /*    background-color: #c0c0c0; /* Цвет фона слоя */
  /*    padding: 5px; /* Поля вокруг текста */
  width: 650px;
  /* Ширина слоя */
  float: right;
  /* Обтекание по правому краю */
}

.clear {
  clear: left;
  /* Отмена обтекания */
}

.wrapper {
  width: 1100px;
  margin-left: 20px;
}

/*inputs*/

#div {
  text-align: center;
}

.myInput {
  height: 40px;
  outline: none;
  width: auto;
  border: 1px solid #999;
  border-radius: 4px;
  padding: 5px 10px;
  margin: 5px;
  display: inline-block;
}

.myInput.error {
  border: 1px solid red;
}

#action {
  margin: 10px 0;
  text-align: center;
}

#button {
  width: 190px;
  height: 40px;
  background: #009688;
  color: #fff;
  font-weight: 600;
  font-size: 13px;
  border-radius: 4px;
  border: none;
  /*           text-transform: uppercase;*/
  outline: none;
  cursor: pointer;
}

#button:hover {
  background: #008999;
}

  <input type="text" class="myInput" name="nameAlloy" placeholder="Name">

    <button type="button" id="button">Add more inputs</button>

  <input type="number" onkeypress="removeError(this)" class="myInput" data-id="id0" name="value[]" placeholder="Enter value 1">
  <input type="number" onkeypress="removeError(this)" class="myInput" data-id="id0" name="value[]" placeholder="Enter value 2">

    <input type="submit" id="button" value="Add to array">

upd 1:
Kresimir, I have tryied:
function guardarNumeros() {
    boxvalue = document.getElementsByClassName('myInput');
    i = 0;
    var count = 0;
    while (i < boxvalue.length) {
        if (boxvalue[i].type == "number") {
            if (boxvalue[i+1] && boxvalue[i+1].type == "number") {

                tmp = [boxvalue[i].value, boxvalue[i+1].value]
                tmp = rowsText.splice("Text", "Text", tmp[1], 0, tmp[2], "text");
                rowsText.push(tmp);
                i+=2;
            }
        } else {
            i++;
        }
    }
    console.log(rowsText);
    return false;
}

What I have got:
["1", 0, undefined, "text", Array(6), Array(6), Array(6), Array(6), Array(0)]0: "1"1: 02: undefined3: "text"4: (6) ["1", "X5CrNi18", "0", "55", "0", "Steel"]5: (6) ["2", "X5CrNi18", "100", "55", "0.5", "Steel"]6: (6) ["6", "S355J2Q +Z35", "100", "20", "0.68", "Steel"]7: (6) ["8", "S355J2Q +Z35", "300", "20", "0.3", "Steel"]8: []length: 9__proto__: Array(0)

upd 2:
What I have before insert:
[
["1", "X5CrNi18", "0", "55", "0", "Steel"],
["2", "X5CrNi18", "100", "55", "0.5", "Steel"],
["6", "S355J2Q +Z35", "100", "20", "0.68", "Steel"],
["8", "S355J2Q +Z35", "300", "20", "0.3", "Steel"],
]

What I desire after insert:
     var count = 0;
    [
        ["1", "X5CrNi18", "0", "55", "0", "Steel"],
        ["2", "X5CrNi18", "100", "55", "0.5", "Steel"],
        ["6", "S355J2Q +Z35", "100", "20", "0.68", "Steel"],
        ["8", "S355J2Q +Z35", "300", "20", "0.3", "Steel"],
        ["count++", "text value from text input", "value from input Num 1", "0", "value from input Num 2", "Just some default text"],
        ["count++", "text value from text input", "value from the next input Num 1", "0", "value from the next input Num 2", "Just some default text"]
]

A: From my understanding of the problem this is the solution:
function guardarNumeros() {
    boxvalue = document.getElementsByClassName('myInput');
    i = 0;
    count = 0;
    defaultText = "Steel"
    while (i < boxvalue.length) {
        if (boxvalue[i].type == "number") {
            if (boxvalue[i+1] && boxvalue[i+1].type == "number") {
                textValue = document.getElementById('nameAlloy').value;
                tmp = [count, textValue, boxvalue[i].value, 0, boxvalue[i+1].value, defaultText]
                tmpARR.push(tmp);
                i+=2;
                count++;
            }
        } else {
            i++;
        }
    }
    console.log(tmpARR);
    return false;
}

Also to add the value of text easily, add id to it.
<input type="text" class="myInput" name="nameAlloy" id="nameAlloy" placeholder="Name" >

A: EDIT: I completely misunderstood the question. Here is an update:
Here is a minimalistic version of what I think you're trying to achieve:

document.getElementById("button1").addEventListener("click", () => { button1_clicked(); });
document.getElementById("button2").addEventListener("click", () => { button2_clicked(); });

let inputs = document.querySelectorAll("#container input[type='text']");

const container = document.getElementById("container");

const main_array = [];

function button1_clicked() {
  const temp_array = [];
  for (i of inputs) {
    temp_array.push(i.value);
  }
  main_array.push(temp_array);
  console.log("main_array = ", main_array);
}

function button2_clicked() {
  container.innerHTML += `

<input type="text" value="test">
<input type="text" value="test">`;
  inputs = document.querySelectorAll("#container input[type='text']");
}

<input type="text" value="test1">
<input type="text" value="test2">

<button id="button1">Add to array</button>
<button id="button2">Add more inputs</button>

redpajama_set_name: RedPajamaStackExchange


text:
Q: Add Serializer on Reverse Relationship - Django Rest Framework I have a Cart model and a CartItem model. The CartItem model has a ForeignKey to the Cart model.
Using Django Rest Framework I have a view where the API user can display the Cart, and obviously then I want to include the CartItem in the respone.
I set up my Serializer like this:
class CartSerializer(serializers.ModelSerializer):
    user = UserSerializer(read_only=True)
    cartitem_set = CartItemSerializer(read_only=True)
    class Meta:
        model = Cart
        depth = 1
        fields = (
            'id',
            'user',
            'date_created',
            'voucher',
            'carrier',
            'currency',
            'cartitem_set',
        )

My problem is the second line, cartitem_set = CartItemSerializer(read_only=True).
I get AttributeErrors saying 'RelatedManager' object has no attribute 'product'.  ('product' is a field in the CartItem model. If I exclude product from the CartItemSerializer I just get a new AttributeError with the next field and so on. No matter if I only leave 1 or all fields in the Serializer, I will get a error.
My guess is that for some reason Django REST Framework does not support adding Serializers to reverse relationships like this. Am I wrong? How should I do this?
PS
The reason why I want to use the CartItemSerializer() is because I want to have control of what is displayed in the response.

A: Ahmed Hosny was correct in his answer. It required the many parameter to be set to True to work.
So final version of the CartSerializer looked like this:
class CartSerializer(serializers.ModelSerializer):
    cartitem_set = CartItemSerializer(read_only=True, many=True) # many=True is required
    class Meta:
        model = Cart
        depth = 1
        fields = (
            'id',
            'date_created',
            'voucher',
            'carrier',
            'currency',
            'cartitem_set',
        )

A: It's important to define a related name in your models, and to use that related name in the serializer relationship:
class Cart(models.Model):
   name = models.CharField(max_length=500)

class CartItem(models.Model):
   cart = models.ForeignKey(Cart, related_name='cart_items')
   items = models.IntegerField()

Then in your serializer definition you use those exact names:
class CartSerializer(serializers.ModelSerializer):
    cart_items = CartItemSerializer(read_only=True)
    class Meta:
       model = Cart
       fields = ('name', 'cart_items',)

A: It would be wise to share your whole code, that is model and serializers classes. However, perhaps this can help debug your error,

My serializer classes

class CartItemSerializer(serializers.ModelSerializer):
    class Meta:
        model = CartItem
        fields = ('id')

class CartSerializer(serializers.ModelSerializer):

    #take note of the spelling of the defined var
    _cartItems = CartItemSerializer()
    class Meta:
        model = Cart
        fields = ('id','_cartItems')

Now for the Models

class CartItem(models.Model):
    _cartItems = models.ForeignKey(Subject, on_delete=models.PROTECT)
    #Protect Forbids the deletion of the referenced object. To delete it you will have to delete all objects that reference it manually. SQL equivalent: RESTRICT.
class Meta:
    ordering = ('id',)

class Cart(models.Model):
    class Meta:
    ordering = ('id',)

For a detailed overview of relationships in django-rest-framework, please refer their official documentation


text:
Current Columns:
Shutter Angles
Back to One
The Week In Cameras
Notes on Real Life
Persona Project
Industry Beat
Archived Columns:
Blue Velvet Project
Things DPs Don't Talk About
Time and Tempo
Microbudget Conversation
True Crit
Into the Splice
Culture Hacker
Lady Vengeance
Shooting With John
H2N Pick of the Week
This is Where You Work
All Festivals & Events
25 New Faces
thegotham.org
Join The Gotham
View Print Magazines
Filmmaker magazine is a publication of The Gotham.
Back to selection
"We Both Think Beauty Lies in the Imperfection": DP Ante Cheng on Justin Chon's Gook
Gook
by Filmmaker Staff
in Cinematographers, Cinematography, Filmmaking, Interviews
Ante Cheng, Gook, Justin Chon, Sundance Film Festival, Sundance Film Festival 2017
Actor Justin Chon appeared in all five Twilight films and a number of TV shows before making his directorial debut in 2015 with Man Up. His second feature, the provocatively titled Gook, premiered in the NEXT lineup at the 2017 Sundance Film Festival. The film was shot by Ante Cheng, a Los Angeles-based cinematographer from Taipei. Cheng had previously shot shorts and directed commercials and music videos before getting tapped by Chon for Gook. Prior to the film's debut at Sundance, Cheng spoke with Filmmaker about shooting in black and white, his favorite Los Angeles-set films and finding inspiration in the words of cinematographer Harris Savides.
Filmmaker: How and why did you wind up being the cinematographer of your film? What were the factors and attributes that led to your being hired for this job?
Cheng: At the LA Film Festival, Justin Chon saw a short film that I shot, Afuera. He liked the urban lighting and instinctive handheld work. We did another short together that showed him how I feed off actors and captured scenes with moving masters. Then we had a chat about the story and his vision, which was to shoot in 16mm black and white film. I showed him my photographs that I shot on B&W film stock and hand-developed over the years, and they pretty much sealed the deal. This is my first feature in the U.S., and I'm thankful to Justin for trusting me with this opportunity. Also thanks to James Yi (Producer) for the pep talks during our daily drives to set.
Filmmaker: What were your artistic goals on this film, and how did you realize them? How did you want your cinematography to enhance the film's storytelling and treatment of its characters?
Cheng: We designed the film's visual language to fit the characters. Handheld for Justin Chon and Simone Baker, steady frames for David So and Sang Chon, steady shots that progressed to handheld for Curtiss Cook Jr. We also wanted the first time actors to feel comfortable. Simone could roam free and her first take was often the best. On the other hand, David, who has a comedic background, would have a fixed frame to warm up and perform. Justin gave me a lot of creative freedom to trust my aesthetics and instincts, and he would push me when he felt the cinematography was too safe. We both think beauty lies in the imperfection.
In prep, I came across an interview with Harris Savides in New Cinematographers, and I've been working towards his mindset. "I think sometimes it is only when you go further than what you know or what you expect that you get something that's new, exciting and great. It's easy for me to light you and get that perfect exposure. But to get that not perfect exposure takes it to another level. If you underexpose enough it's beautiful, you go too far and you're ruined and if you go too little it looks like a regular movie."
Filmmaker: Were there any specific influences on your cinematography, whether they be other films, or visual art, of photography, or something else?
Cheng: We watched black and white movies shot over the decades; one of our main influences was La Haine (DP Pierre Aïm). We also watched our favorite films shot in LA by the masters – Heat (DP Dante Spinotti), Drive (DP Newton Thomas Sigel), Nightcrawler (DP Robert Elswit) – as well as '90s music videos, street photography and news footage of the riot. Although we did not want to be locked into a certain style, we let the visual references be deep in our minds as we developed our own voice for this film.
Filmmaker: What were the biggest challenges posed by production to those goals?
Cheng: Our shooting style evolved over the course of production, which was an advantage of spending a month to tell a story. Two of the five main characters in the film were first time actors; Justin wanted to keep their performances fresh and genuine, and liked us to roll without rehearsal. For the same reason, he prefers moving masters over traditional coverage. Rooth Tang and Reynolds Barney (editors) were putting together assembly cuts as we went and found out most of the time the first take was the best. Furthermore, Simone Baker (our lead actress, who turned 11 on set) legally could only be on set for limited hours.
The combination of these factors meant that we had to be ready to roll with unknown variables. It certainly created challenges for Elijah Guess (gaffer), who had to light areas where the camera might pan 270 degrees. And for Samuel Kim (1st AC), who had to pull focus when the camera and actors were on the move, without marks and rehearsal. I was operating by feeling the vibe of the actors and going with the flow of the scene. It turned out to be a liberating experience – there were moments on set where I felt I was alive. I felt this is what I like to do, what I can do, what I want to do.
Another bonus of not going into extensive coverage is that the days would end early and we would have delicious dinner in Koreatown.
Filmmaker: What camera did you shoot on? Why did you choose the camera that you did? What lenses did you use?
Cheng: We were planning to shoot on 16mm B&W, but due to our humble budget we shot on our co-producers' (Nam Luong, Lily Vi Pham, Dan Fisher) Red Epic Dragon. We tested a bunch of vintage lenses and loved the rendering of a set of Kowa Prominar Anamorphic Primes from Radiant Images. As principal photography went on, I became familiar with the characteristics of each lens, and stayed on the wider T-stop.
Filmmaker: Describe your approach to lighting.
Cheng: The California sun is the key to the look of the city: we wanted to embrace it, and the use of hard light. The film is set within 24 hours, and half of it takes place around a shoe store. Sharon Roggio and Jena Serbu (production designers) built the set on an empty lot, with large windows facing east. James Yi (producer, AD) figured out the complex logistics of matching script time to shooting time.
We simply staged to the position of the sun for our day exteriors. For day interiors, we were worried about our modest lighting package with the big windows and bright backgrounds. Our biggest light, an Arri M18, served as the key/edge and we underexposed the faces; it ended up great and we kept the underexposed look throughout the film.
The power efficient Mole Richardson LED Fresnels were instrumental for night exteriors. Sometimes we would have a single source and let it fall off into darkness. For night interiors, we used traditional tungsten Fresnels and practicals. A plus side of shooting in black and white was not having to fiddle with gels at all.
Filmmaker: What was the most difficult scene to realize and why? And how did you do it?
Cheng: The climax sequence where the four characters and storylines collide. It included specialty shots that we had one chance at it, and the actors were spread out in different parts of the building. So the scene couldn't be run in its entirety as we were used to. It might look simple on the surface, but it took extensive planning and faith that the audience would be engaged in the story.
In contrast, the long take in the hospital might look complex, but the entire crew was in sync at that point and we got the take earlier than expected. As we were waiting for the dawn to shoot the next scene, the cast and crew took the camera and filmed a impromptu music video while I took a nap in the picture car.
I've learned a great deal from the talented crew throughout the shoot, we left it all on the screen and we're looking forward to the premiere at Sundance.
Filmmaker: Finally, describe the finishing of the film. How much of your look was "baked in" versus realized in the DI?
Cheng: We simply shot it with zero saturation. We were shooting in raw so we could mix the color channels in post. Sebastian Perez-Burchard (colorist) did a excellent job recreating the subtle contrast response of black and white film. We both have the same taste and did not want to go overboard with the power windows – we also had a great time listening to his movie soundtrack collection in the grading sessions.
Camera: Red Epic Dragon
Lenses: Kowa Prominar Anamorphic Primes
Lighting: Natural light, Arri HMIs, Mole Richardson LED Fresnels
Processing: Digital
Color Grading: Tunnel Post
"My Own Sweat Would Drip Onto the Camera": DP Ants Tammik on Smoke Sauna Sisterhood by Filmmaker Staff in Cinematographers, Festivals & Events, Interviews, Sundance Responses
"I Had To Shoot This Film as a One-Person Crew": DP Luke Lorentzen on A Still Small Voice by Filmmaker Staff in Cinematographers, Festivals & Events, Interviews, Sundance Responses
"Find Beauty and Magic in Everyday Life": DP Carolina Costa on Fancy Dance by Filmmaker Staff in Cinematographers, Festivals & Events, Interviews, Sundance Responses
2013 Oscar Nominees Announced By Billy Brennan on Jan 10, 2013
Five Questions with Joshua Tree, 1951: A Portrait of James Dean Writer/Director Matthew Mishory By Carolyn Moloshco on Jan 8, 2013
Donal Mosher and Michael Palmieri on Off Label By Brandon Harris on Aug 12, 2013
A Look at the New Blackmagic Design Cameras By Jamie Stuart on Aug 9, 2013
The Magazine of Independent Film
©2023 Filmmaker Magazine All Rights Reserved A Publication of The Gotham
Site by Vitamin M
© 2023 Filmmaker Magazine. All Rights Reserved. A Publication of The Gotham
cfmrk_cic Used by Cloudflare to route user traffic for this Site.
sparrow_id Installed by Cloudflare. Used to identify individual clients behind a shared IP address and apply security settings on a per-client basis. It does not store any personal identifiable information.
OAGEO Installed by the Revive Ad Server. Used to cache geolocation (session, deleted when closing the browser)
OAID Installed by the Revive Ad Server to distinguish users.

redpajama_set_name: RedPajamaCommonCrawl


Brace yourself. I'm not sure you can handle the beauty of our original 1957 kitchen.
I am all for vintage charm, but this kitchen had none of it. It was dirty (note the bevy of cleaning products in the 3rd photo), lacked cabinet space and everything was mismatched. It was gross.
For reference, that last pic was taken standing in the living room, looking into the kitchen.
We were so cute and thought that we could tear this sucker down and rebuild a kitchen in, like, 6 weeks. WITH NO EXPERIENCE. LOL. Good one, Shufflers.
We were able to completely start from scratch with this space, which included laying down new floors. I knew nothing of kitchen renovation when we started this project but I did know that I wanted a black and white checkered floor in my kitchen. Why? No idea. But I loved the idea, and still love it now.
Who Carter gets his crazy good skillz from...my father-in-law can pretty much do/build anything.
Ta-da! Floor is in and we were able to lay it all down before we installed cabinetry so it goes nice and clean to the edges of the room. So nice.
Let the record show that my only job was to scrub out some grout after it dried and I managed to damage about 4 tiles with that little grout-scrubber thingy. High five.
I think the outcome of this renovation will be great. Hope you'll post some pictures.


Last week at Google Cloud Next '17, we recognized 12 partners for their strong customer success and solution innovation over the past year. These partners—our 2016 Global Partner Award winners—exemplify the dedication, expertise, and innovation that our customers count on.
Sales and services partners nurture and support customer transformation and innovation. We recognized four sales and services partners that demonstrate outstanding sales, marketing and technical expertise to help businesses of all sizes transform with Google Cloud.


The evolution of the internet and devices allowing access to it indicate that users trend toward networking and interconnectivity in their daily lives. Museums have started to tread into this territory—that is, crafting, managing, and maintaining an effective internet presence and ancillary content tools—on their own. However, many museums still rely upon the earliest types of education and interpretation tools, such as audio tours and recordings that address content from one collection. Moving beyond a single institution's holdings, a shared database of museum content including photos of artifacts and objects, historic documents, and videos would allow users to examine pieces they enjoy and to find similar works at other locations. A single application providing museum collection capabilities and visitor access would benefit both sides. To support this claim, this thesis first provides a literature review of application use in museums that is supplemented by statistics of visitor use of museum mobile offerings. This historical overview yields a list of needs, interests, and obstacles to such an interconnective model. The third section constitutes the building blocks of such a model: database design, application design, and a web-accessible mirror site which are visualized in the prototyped content. The fourth section hypothesizes the future and expected impact of a shared network topology.


text:
Power in Epic Fantasy
What is epic fantasy?
At its root, a lot of the subgenre seems to be about the possession and distribution of power and authority, whether that is power over a family, another person, a business, a religion, a kingdom, an empire or a whole world. The clash of those people with different agendas seeking (or avoiding) power drives many works in the subgenre.
"Fear my mighty warhammer!"
"Not that mighty from this angle, actually. Oh hang on, that wasn't a euphemism?"
In Tolkien's Middle-earth mythos, the clash of power takes place between the not-always-clearly-delineated forces of 'good' and 'evil', driven by the betrayal of the Valar (god) Melkor/Morgoth against Illuvatar, the creator of the universe. This clash results from Melkor's wish to control the development of the world that Illuvatar has created, Arda. That Melkor is a god with immense power over the world is not enough, he must be the ultimate force in the universe and will not rest until he achieves it. As The Silmarillion proceeds, however, Melkor is continuously diminished in power and stature, starting out being able to challenge Illuvatar himself and later being physically injured in single combat with the elven king Fingolfin. He even loses his godly name, becoming the accursed Morgoth as the book and the War of the Jewels proceeds, before losing all of his power when he is cast into the outer darkness. Morgoth's diminishment and defeat allows his protege Sauron to rise to replace him, and in an interesting contrast his power rises from that of an ordinary Maia (angelic or demonic spirit) to that of a demigod many times more powerful than his former peers, such as Gandalf and Saruman.
This leads into the action of The Lord of the Rings, where Sauron's greed for power and authority leads to his own destruction at the hands of the hobbits, beings notably not seeking such status and recognition (though they receive it anyway) in a classic tale of hubris and the mighty being undone by the meek. Where Tolkien falters is with his character of Aragorn, who seeks the throne of Gondor, vacant for over a thousand years, on the basis of his great-great-great-something-grandfather's claim despite Aragorn and his ancestors notably failing to claim the throne in the interim, which could have provided stability to the kingdom and possibly avoided the weakening of Gondor which led to its vulnerable state during the War of the Ring in the first place. The timing of Aragorn's play for the throne seems to be down to dramatic convenience more than anything else. In this regard, Peter Jackson's take that Aragorn (and presumably his ancestors) is reluctant to take the throne due to his fear of the corrupting influence of power ("The same weakness," that Isildur had) actually makes more sense.
Aragorn getting the throne of Gondor in this manner has led to accusations of Tolkien favouring authoritarianism, an accusation which has since been voiced against other fantasy authors working in the same field. Certainly this accusation would have stung Tolkien, whose loathing of Hitler and (especially) Stalin is very well-known. This criticism does expose an inherent problem in epic fantasy, namely that the typical faux-medieval settings of the subgenre tend to echo the real political make-up of that time period, which favoured strong leaders, often inheriting their power from their parents (usually the father) rather than the will of the people.
Ikea are now doing a nice range of dragonbone chairs at very affordable prices.
In this sense epic fantasy tends not to like to challenge the order of the day. Often this is understandable in that worker's revolutions and the enfranchisement of the masses comes from widespread education ("Libraries gave us power,") and employment ("Then work came and made us free,"), which tend to follow industrialisation. Most epic fantasies take place in pre-industrial societies (often centuries prior to industrialisation, assuming a similar development to the real world), so asking why the inhabitants of Osten Ard haven't kicked out both Joshua and Elias and set up the Worker's Revolutionary Front of Rimmersgard is a bit like asking why a popular uprising didn't unseat the Tudors in the 16th Century. The time was not yet ripe. Those secondary world fantasists that do want to engage in this question, such as China Mieville's Bas-Lag books, use an industrialised or steampunk backdrop to explain how the people get to the point of demanding social change.
A steam train in a fantasy novel! What the hell is going on here man? This is new! And weird!
Still, this leaves the problem that there are many books out there where the principle storyline seems to involve one unelected (tyrannical or benign) dictator being replaced with another, sometimes several times through the course of the narrative, usually on the questionable basis that the new king is better than the old one on the basis of just being a nice guy. Garion in Eddings's The Belgariad being a typical example, although Lyam in Feist's Magician also falls into the same category.
Introducing fantasy to 8-year-olds since 1982.
In this sense, Jordan's Wheel of Time is mildly different in that Rand al'Thor isn't that nice a guy as he railroads and bullies the nations of humanity into following him against the Dark One 'for the greater good', developing tyrannical tendencies along the way before being brought back from the edge in The Gathering Storm. This series is also notable for featuring somewhat proto-democratic institutions (such as the Aes Sedai and Whitecloak councils), reflecting the much more widespread nature of education and social developments in the world (the WoT world is more akin to the 17th and 18th centuries, whilst the tech level is somewhat earlier). The series also addresses other types of power and authority in the books, most notably through the controversial character of Elayne Trakand.
Three Aes Sedai trapped in a mid-80s music video. The evil of the Dark One knows no bounds.
Elayne is the heir-apparent to the Lion Throne of Andor when the series opens, but eventually develops the ability to channel the One Power and is taken into the ranks of the Aes Sedai sisterhood. Elayne's mother, Morgase, is corrupted by Rahvin, one of the Forsaken servants of the Dark One, and neglects her duties, plunging the kingdom into corruption and risking civil war. When Morgase disappears, the Andorans expect Elayne to take her place but instead Elayne spends a few more books arsing around looking for a weather-control magical device before deigning to show up and take on her responsibilities (which seem to involve ruling the kingdom, somewhat confusingly, from her bathtub). Understandably, there is more than some resistance to this idea and a brief civil war results before Elayne is victorious and is crowned Queen. What is ridiculous about this storyline is that at no time does Elayne acknowledge the validity of the complaints voiced against her: that she neglected her duties to Andor in favour of those as an Aes Sedai. As such, it is questionable whether she can serve as Queen when her first loyalties are blatantly not to her people or kingdom, but to another institution. Jordan thankfully shows some awareness of this problem (Elayne's coronation is accepted by many of the high lords of Andor as a peace-restoring measure, but many are unhappy with her attitude), which hopefully will be addressed further in Towers of Midnight.
An altogether more comprehensive take on power and authority is undertaken in George R.R. Martin's A Song of Ice and Fire, where it is the primary theme. The Targaryen family has displaced the separate ruling dynasties of the former Seven Kingdoms to forcibly unite the kingdom at gunpoint (well, dragonpoint). When the Targaryens are destroyed and their survivors driven out of the continent, the usurper, Robert Baratheon, claims the throne through a combination of might and a blood-claim dating back several decades. Despite his initial success, the dragonless Robert is unable to hold the kingdom fully together and upon his death it splinters apart, several of the families fighting for control of the whole continent and others taking advantage of the chaos to declare independence for their regions.
"All your thrones are belong to us."
Reflecting the title of the first book, A Game of Thrones, the reader is practically invited to choose a side and argue the validity of that side's cause (as they have done in person and on message boards for almost fifteen years now): do the Starks have the right idea in returning to their region's former independence from before the Targaryen invasion? Does Stannis Baratheon, as both Robert's true heir and the heir to the Targaryen family (his grandfather married King Aegon V's daughter) within Westeros, have the right of it, despite being a harsh and ruthless martinet? Or should we be siding with Daenerys Targaryen, the displaced heir to the Targaryen family line, who is marshalling her forces in the far east in preparation for her triumphant (or not) return?
More interestingly, Martin does address the role of the common people in this conflict. Whilst the People's Soviet of Oldtown hasn't appeared (yet), the smallfolk have unified under the banner of religion (in this case the Faith of the Seven) to try to stop the war and the violence, something the Faith has been more than happy to help them with (of course, because it restores the Faith to a level of power and authority it has not enjoyed in almost three centuries).
"This is my eye and I am judging you! With it! Because that is how I roll!"
The role of religion in epic fantasy is thus something of a way of engineering change in a pre-industrial society, which makes it all the more bemusing that it is so rarely addressed in epic fantasy. There is no religion at all in Robert Jordan's world, it plays a minimal role in Raymond E. Feist's Midkemia and is even barely acknowledged in Middle-earth. It falls to Martin, to R. Scott Bakker's Prince of Nothing trilogy (where a man engineers his own recognition as the messiah to seize ultimate power), to Paul Kearney's Monarchies of God sequence and to Kate Elliott's Crown of Stars series to address the matter of religion and how it promotes or abuses its power in a pre-industrial society.
Returning to the original point, the changing role of power and authority is a primary driving force of epic fantasy, but the genre's typical settings seem to limit how radical those changes can be, mostly resulting in the person in the chair changing but not the corrupting influence of power that led to problems in the first place (though this observation itself is sometimes the point, as in Martin's series). With the increasing popularity of non-medieval settings and steampunk and industrial fantasy settings, there is an opportunity here to see more flexibility and originality when it comes to the role of power and authority in fantasy.
Labels: a song of ice and fire, the belgariad, the wheel of time
The Dude said...
Great post,Adam! And the subtitles for the pictures were hilarious as always.
Despite being an epic fantasy fan for many years now, I've never really enjoyed the medieval settings that are the most used in the subgenre. I've always been more attracted to steampunk or post-apocalyptic scenarios.
franti said...
I understand what you're getting at in how you define religion in epic fantasy, but I think a strong case can be made for the kind of worship - if unorganized - that is reserved for the rebirth of a hero of destiny, like in the Wheel of Time series. While there re no temples of the dragon, the skepticism and opportunistic nature of would-be reborn Dragons argues for a kind of insidious folklore, if not a loosely constructed religion. Certainly, the knowledge of the existence of the Wheel itself seems to suggest a relaxed kind of religion - relaxed because the idea of doubt is hardly a factor, since the metaphysical organizations (Aes Sedai, etc.) have basically proven that the Wheel exists, and all human fate is tied to it.
I think that counts as a religion. Not a religion comparable to the catholic church, but there's definitely a power to Jordan's folklore for the people in his world.
It might make an interesting article to explore that kind of "religion", a religion where the metaphysical properties that inspire so much doubt or faith in the real world are presented as unassailable Truths.
I have been reading your blog for a while now, but this has been your best post to date.
I would seriously like to see an expanded form of your ideas, expressed in a full essay article. You have great material, and I enjoyed the concepts illuminated within the genre from your apt insight.
Interesting, I've never really thought about power in epic fantasy. It's certainly one way of looking at it, though I've always though that epic fantasy was something that covered lots of people and places by having an epic scope.
The topic of religion in (any) fantasy is also interesting, if only because having an atheist in a world where you know the gods exist is really weird (and seems suicidal) Of course, it's also possible to completely ignore religion, even after the writer has used the gods to solve a narrative problem earlier, but now they're too tired or something?
Ech, I'm thinking too much about this, great post Adam, please do more like it!
"if only because having an atheist in a world where you know the gods exist is really weird (and seems suicidal)"
Pratchett has this in his DISCWORLD books (SMALL GODS, IIRC), where an atheist philosopher walks into a pub and asks, in a general fashion, "Do the gods, when you get right down to it, actually exist?" There follows a lightning bolt through the window with a note tied around it saying, "YES."
ChrisM said...
Nice post Adam. You should do an article on magic systems. :)
JD Woodman said...
Great post, but one issue re: Aragorn's line not trying to reclaim the throne prior to the time of the LotR books - I'm pretty sure in the appendices it talks about some ancestor who tried to reclaim the throne after the North Kingdom had faltered and the kings of Gondor had died out, but while the nation and stewards were still strong. They basically told him to kick stones.
There's actually something very realpolitik about Aragorn waiting until a time of great strife in Gondor to make his claim to the empty throne - it probably wouldn't have succeeded any time else.
@Adam Whitehead: I should have known Pratchett would have had something like that, I was actually thinking about a character in Oblivion who, when you talk to her the first words out of her mouth are along the lines of: "The gods don't exist and even if they did I don't care for them" Keep in mind that this is in a world that you (The player) can go and meet gods, so I ended up finding this character really weird and out of place.
Of course now I need to read Small Gods, which I never got around to, (After I've finished all the other books I just borrowed from the library)
dredd i knight said...
Really enjoyed this post.
Interesting points, and well made.
Religion is pretty central to the Malazan world, where the gods find themselves constrained by the beliefs (prejudices, pet hates, obsessions etc.), of their followers, and as such not nearly as free and powerful as their "ascendancy" would suggest. As such I felt that Erikson was commenting on religion in our world where the beliefs of zealots, and fundamentalists (across all religious spectrum's), distort, dilute and constrain the heart of our religion's messages.
Great post Adam.
Increasingly when reading fantasy of any type but certainly Epic fantasy, I often sit back and wonder "why?" Whay is this person reaching for power? Why is this person determined to take the path they are on (or change it)?
Authors like Bakker and Martin answer this very well and it makes their novels that much more interesting, but too often the reader is just presented with "welll we're going to depose the King because that's the story" and no real reason is given.
I also think a major issue in the settings of Epic fantasy is education and how world smart or intelligent many characters appear to be. Too many times I come across a character using a phrase or word or coming up with an idea and I think to myself "well how do they know that? They never went to school they're a fucking pig farmer, how do they know that?".
Anyway, it's a minor gripe but it can really skew a book for me in a not so good way.
Also some spoiler warnings at the start of the post might be useful, especially re ASOIAF.
I must say that this post was really good. i've come to the blogger site from Google reader, just to say this:)
Care to elaborate on it a bit further. This is a fascinating & at the same time, the most overlooked part of 'world-building' in any fantasy book. would love to read more
Another fine post, Adam.
Jennifer Fallon with her Second Sons (http://www.jenniferfallon.com/books.cfm?series=3) trilogy would also be a nice subject for this article.
Lord Nerevar said...
This was really great post.
However, I do have a gripe to make. It is about the concept of dictatorial and hierarchical power structures in the pre-industrial world. You said the majority of epic fantasies display this kind of power structures because of their pre-industrial setting. What about the Greek democracies, Roman senate, Sumerian unkins, the oligarchies of Aborigines and many other tribal societies? It is true that there was a great prevalence of dictators and kings in pre-industrial society, but they became the complete norm after the dark ages, thus medieval times. This means that a specific event in world history caused European societies to cleave to such dictatorial power structures. Unless a similarly cataclysmic event happened in the history of the alternate world that is the setting of some epic fantasy, something that did happen in The Wheel of Time for example, you can't just explain it as the result of a pre-industrial setting. This doesn't mean that pre-industrial setting shouldn't have dictatorial power structures, but it does mean that epic fantasy writers shouldn't decide to have dictatorial power structures just because their setting is pre-industrial.
By the way, I'm also very interested in how religion is shown in epic fantasy and I also think the theme is underused.
Once again, thanks for the great post.
Sorry for double-posting. Didn't think it got through.
Lagomorph Rex said...
This is a really good post.
I find it rather humorous whenever anyone attempts to attach a political ideal to Fantasy.. I've seen lots of people claim it to be a "Fascist" subgenre.. I think it was Norman Spinrad who wrote an Alt-History where Hitler becomes a fantasy writer because he couldn't rule the world...
Personally I don't really attach any importance to it. It's a genre that is chiefly set in pre-industrial settings.. and I would be disappointed if it didn't have pre-industrial government styles.. if anything I find distinctly matriarchal governments like those presented in the Wheel of Time series to stick out all the more simply because they go against the pseudo historical setting..
The fact that it even sticks out to us shows how deeply democratic and egalitarian ideals have rooted themselves in our cultural mindset.
But I'll go so far as to say that, I get my fill of corrupt politicians and cynical real-politik stuff in real life.. I'd just as soon it stayed out of my fantasy books.
daranthered said...
That's an interesting take on epic fantasy. The idea of power and its application as a motivating force is a great way to deconstruct works like Lord of the Rings, or A Song of Ice and Fire.
I also agree with you about Aragorn's motivation in the movie making more sense.
As for one tyrannical ruler being replaced by another, I have to ask; What about predestination? Gods choosing our leaders through elections. Fate providing just the right king at the right time?
While terrifying in real life, these ideas are rather comforting in a vacuum. I think that's one of the appeals to casual readers of fantasy.
In regards to the religion of Wheel of Time, Brandson Sanderson stated at Worldcon 2009 that organized religion is not needed when you could travel to the Blight and see the Dark One's impact for yourself. Do you need religious institutions when you can go directly to the source?
Mieneke van der Salm said...
Super interesting post Adam.
Anonymous above made the point I wanted to raise about religion in the WoT and to an extent the same applies to the Malazan universe. Yes there is organised religion, but the gods can be foiled just as mortals can, which makes the grand role such as faith has in Kate Elliot's Crown of Stars series rather impossible, since that sort of faith seems to require an infallible god or gods.
Roleplaying, the Malazan Book of the Fallen and cl...
The Organ Trail
Next Steven Erikson title confirmed
CAPRICA cancelled
Ravenor Returned by Dan Abnett
Does science fiction need faster-than-light travel...
Authors versus Facebook Update
Ravenor by Dan Abnett
Authors versus Facebook
The Gollancz Party 2010
A Dance With Dragons to (probably) be split in the...
New BATTLESTAR GALACTICA spin-off commissioned
Cover art for THE CRIPPLED GOD
The longest fantasy series
Boneshaker by Cherie Priest
New cover art for Mark Charan Newton's BOOK OF TRA...
Second ULTRAMARINES trailer
Christopher Priest completes new novel
New Michael Moorcock novel out
New GAME OF THRONES promo image
Official new MALAZAN map
Eisenhorn: Hereticus by Dan Abnett
Book updates: Brandon Sanderson & George R.R. Mart...
Eisenhorn: Malleus by Dan Abnett
Eisenhorn: Xenos by Dan Abnett
New Daniel Abraham book covers
Major HOBBIT and SUPERMAN announcements
New Paul Kearney interview
Interesting new WHEEL OF TIME analysis
GAME OF THRONES gets UK airdate
Inferior e-books
Hobbit 'close' to a greenlight
Corvus by Paul Kearney
Hotel attempts to incinerate residents with laser


text:
GOP Congressional Hopeful Amy Pope Wells: I Voluntarily Gave Up My Nursing License
With reports out that congressional candidate Amy Pope Wells lost her nursing license, the Northeast Florida Republican pushed back this week and offered details on why she let it expire.
Politico Florida reported that Wells had been stripped of her license by the North Carolina Board of Nursing more than a decade ago.
"Republican Pope Wells, who is primarying Rep. Ted Yoho, lost her nursing license in 2006, reports Arek Sarkissian of Politico Florida," Politico Florida noted. "The public North Carolina Board of Nursing database shows that Pope Wells lost her license after American Nursing Services reported that she had falsely represented herself as a registered nurse. Pope Wells, identified as Pope Morton in the board's cease and desist letter, held the title of licensed practical nurse, a credential expired in 1998. 'You do not now have nor have you ever held a North Carolina registered nurse license,' the letter states."
Wells spoke to Florida Daily on Wednesday and insisted her "license was voluntarily inactive since 1998" since she took on an executive position in a company and was no longer working in the field as a nurse. She said she left that company in 2005 and found herself being asked about the license due to a fight over a non-compete agreement and other employment disputes.
"When I go back through it, it's unfortunate," Wells said. "My license was always clean….the board of nursing never took my license away."
Turning to her credentials, Wells said she was a licensed nurse and never claimed to be a registered nurse. She said she went to the North Carolina Board of Nursing to refute the accusation that she claimed she was an RN and was not seeking reinstatement. Wells insisted she was not trying to get reinstated since she had already taken on other duties.
"I'm a nurse by education and was a licensed nurse," she said. "I came before them to clean my name."
Turning her focus towards the campaign, Wells said she "excited" as she continues her bid and promised to run a clean campaign. Pointing to her background owning staffing companies, Well said her experience allows "active, positive engagement" with members of her community and she will stay in constant communication with voters if she is elected. Wells also said her experience with staffing will help her concentrate on jobs and the economy which she called important issues.
"We can do some great things, we really can," she said. "I want people to have a positive engagement with a congressional member."
Wells, who is from Green Cove Springs, launched her bid for the Republican nomination back in April. U.S. Rep. Ted Yoho, R-Fla., currently holds the seat but, when he first ran in 2012, he promised to serve only four terms in Congress and not run for a fifth in 2020.
Wells has ties to the White House, being named to a group helping the United States-Canada Council for the Advancement of Women Entrepreneurs and Business Leaders. According to the new candidate's campaign "in this role, she met with the President, the Vice President, Ivanka Trump and Small Business Administrator Linda McMahon to further opportunities for women business owners and operators."
When she kicked off her campaign, Wells stressed her support of President Donald Trump.
"I am an anti-politician who will bring a fresh perspective, new ideas and a principled approach with me as I seek to represent District 3," said Wells. "I will stand with President Trump as he engages on these important issues and many others to the benefit of the American people and the residents of District 3."
Wells and her husband Craig own Link Staffing and PayDay HR Solutions. In addition to her career in the private sector, she has also served as the chairwoman of the Clay County Chamber of Commerce and chaired the Clay County Sheriff's Office Quality Task Force. Back in 2017, then Gov. Rick Scott named her to the board of the Clay County Development Authority. Last year, Wells cochaired the Women's Coalition in support of Ron DeSantis' gubernatorial campaign.
Yoho's district brings in parts of North Central and Northeast Florida including Clay County and parts of Gainesville. Joe Millado, a former congressional aide, is also running for the Republican nomination.
Kevin Derby can be reached at Kevin.Derby@floridadaily.com.
amy pope wells
clay county chamber of commerce
clay county sheriff's office quality task force
joe millado
link staffing
north carolina board of nursing
payday hr solutions
ted yoho
Previous articleTed Deutch: Iran Poses Challenges But Congress Hasn't Declared War
Next articleTed Yoho: Closing the Gap Between Welfare and Work


Has anyone here heard of the Blossom Cup? I don't see a section for it in the brands. It looks to have almost all the colors that the Meluna cups have.
The Blossom cup is an inexpensive Chinese-made cup that goes by a whole bunch of different names (you can read more about rebranding on the menstrualcups[dot]wordpress blog). I have to admit that I was curious if it was worth $1.45 on AliExpress, so I ordered one large and one small. They arrived today, and while I haven't used either yet, they seem pretty decent -- smooth seams and holes, not too soft and not too firm, pretty colors. I have enough name brand cups that I doubt these are going to see much use, but if you're concerned about what they use for the silicone or the color, you may want to consider a real Meluna. I can post pictures later if you're curious.
I do have a Meluna, I was just wondering if anyone has any experience with the Blossom Cup.


There have been plenty of romantic comedies where one of the parties involved pretends to be something they're not in order to get the object of their affection to fall deeply in love with them. But what we haven't seen is one of those movies set firmly in the world of the LGBTQ community during the summer of 2006 in New York City. And we especially haven't seen one where a high school kid falls for a lesbian girl, who assumes he's a trans boy, and decides to keep up the facade in order to keep the relationship going. That's where the Sundance selected film Adam comes into play.


I wanted to write a technical manual, since this best suited my chosen topic. However, there are quite a few things to consider beyond simply deciding on a specific focus, style and genre. For example, it's important to determine how your book should feel.
Personally, I don't like hardback books because I find them to be heavy and cumbersome. I like to be able to bend a book's spine, fold the pages, highlight bits and make my own notes in the margins. I wanted the reader of my book to be able to do the same if they chose to.
The A4 size of my book is quite unusual, however this size suited the inclusion of training plans, kit lists, photos, charts, etc., that were best displayed by using this format.
My original plan was to write a purely technical book, however once I'd completed an initial draft it turned out to be very dry. In fact, I only really picked up on this after one of the reviewers of my manuscript came back with the comment, "but who are you and what would drive you to run the Marathon des Sables? And why would you attempt it for the second time? If I were a reader, I would want to understand your psychology."
This is what led to the autobiographical aspect of my book, which was incidentally, also the hardest bit to write!
Identifying a clear structure for your book can often feel like quite a challenge, however it is a fundamental part of how the end result will read.
To define how my book would hang together, I used a "story-boarding" technique with post-it notes and mind-maps to flesh out the key chapters. Mind mapping is an immensely powerful technique and one that I've been using for almost 15 years to structure everything from emails to reports. In case you're unfamiliar with this technique, it worth exploring the work of Tony Buzan, who invented the method.
This approach helped me determine how best to successfully combine the technical and narrative elements of my book. I wanted those readers interested in the autobiographical aspect to be able to read this upfront, while those who were runners, looking for the technical advice and guidance could dip in to relevant chapters later on in the book.
I wrote the first chapter of my book last, mostly because it wasn't planned, but also because I knew I'd find it very challenging. Your "voice" as an author is so important. For example, if you're writing a guide, what makes you a credible authority on the topic?
I wanted the reader to feel connected to me and to be able to relate to my story. The fact is that not many people can immediately associate with the extreme aspects of my autobiography, like stand-up comedy, running an ultra-marathon, etc., whereas most of us have experienced insecurity, vulnerability, failure, fear, etc. to varying degrees.
The point is to find your own natural voice - the authenticity that speaks to the reader so that they are drawn into the narrative and compelled to continue reading further because they're on the same journey as you. From the reader's perspective, it's very hard to take on board what someone is telling you without first connecting with the author and/or story they are trying to convey.
For me, the idea of sitting at a laptop and writing a manuscript is depressing. I know some people enjoy the solitude this brings and the opportunity to be alone with their thoughts, however personally I don't like being tied to a device, especially given that I spend all day in front of a screen as a part of my job.
However, what I quickly found was that I love working on my iPhone because it gives me the flexibility to write anywhere and allows me to use tiny pockets of time that really do add up. In this way, I discovered a very innovative way to write my book that worked for me.
Having created the basic structure using the story boarding technique and mind maps, I started using an app called Evernote on my iPhone. This app allowed me to organise all my notes into folders, each representing a chapter of the book. The notes within each folder synced very easily to my Mac, and vice versa, which meant that if I thought of an idea while on the tube, I could jot it down using my iPhone or, if I was on my laptop, I could make my notes from there without any concerns about version control.
Creating a manuscript in this way was very easy because the organisation of the notes functionality in the Evernote app is so intuitive; I could even insert pictures and screen shots directly from my phone. Writing in this way felt less of an effort because I could continue to fit it around my lifestyle, using small pockets of time, in and around my normal schedule. It was easy to navigate between notes because Evernote has a superb search functionality, spanning all notes, notebooks, etc.
Your writing approach should suit your natural work style and if, like me, you don't have the time or even the inclination to sit down and write on a laptop, it shouldn't stop you from authoring a book!
Writing can feel like a solitary activity, but it really doesn't have to be. Once you've decided on the focus and feel of your book, mastered your author's voice, and found the perfect structure and best method of writing, the next thing to do is to identify those people who can help you.
Writing should be a collaborative experience, since the feedback and input of others can help shape and hone your ideas into something that appeals to a wider audience. Perhaps you know someone who has a keen eye for detail. You may also have friends and colleagues with the knowledge to inform your topic. Other people can provide excellent perspective on building a plot or characters. Don't be scared of asking for support. In my experience, people will only ever want to help you improve, rather than criticise your work.
I found the National Novel Writing Month (NaNoWriMo) to be an incredibly useful way of interacting with other writers. The danger with writing a book is that without some sort of timeline, the writing process could potentially go for years. However, in this digital age you don't need to be desk-bound for hours at a time as I have already described. The NaNoWriMo initiative helps encourage the discipline of writing regularly by meeting other writers in coffee shops locally and writing together for set periods of time.
Writing a book is often viewed as a means of expression, however, as these tips indicate, the method you use to write can be a work of art in itself.


text:
Die Leipziger Schnellpressenfabrik stellte in der Stadt Leipzig Schnellpressen her.

Sie ging Anfang des 20. Jahrhunderts aus der Firma "Schmiers, Werner & Stein" (SWS) hervor. SWS fertigte um 1900 Steindruck-Schnellpressen.

Die Leipziger Schnellpressenfabrik arbeitete mit Dr. Otto C. Strecker (Offset-Präparate), mit den Chr. Hoftmann-Steinberg'schen Farbenfabriken (Offsetfarben) sowie mit Krause & Baumann (Offset-Chromopapiere) zusammen.

Im Jahre 1907, nach der Erfindung des Offsetdrucks 1904 in USA durch Ira W. Rubel und Caspar Hermann, wurde in einem Leipziger Ladengeschäft die erste deutsche Bogenoffsetmaschine "Triumph" vorgestellt. Caspar Hermann hatte dazu in der Leipziger Schnellpressenfabrik eine Harris-Bogenrotation umgebaut.

1924 fusionierte die Leipziger Schnellpressenfabrik mit der Dresdner Schnellpressenfabrik zur Dresden-Leipziger Schnellpressenfabrik AG. Es wurden "Schnelllaufende Einfarben- und Zweifarben-Offsetpressen, Schön- und Widerdruck - Offsetpressen, Buchdruckschnellpressen, Zweitourenschnellpressen und Autotiegeldruckpressen" hergestellt.

Quellen

Ehemaliger Druckmaschinenhersteller
Ehemaliges Unternehmen (Leipzig)

redpajama_set_name: RedPajamaWikipedia


Your clinical supervisor must maintain their licensure throughout the period of clinical supervision and be compliant with the educational requirements. You can verify licensure on the "Verifications" tab on the Board's website, and can view the Board's supervisor registry below which displays licensees who are compliant with the educational requirements. Inclusion on the registry is voluntary, so if your clinical supervisor is not listed, it does not mean they're ineligible to supervise, but it's your responsibility to confirm they're in compliance with the educational requirements.
For clinical supervisors with a certification from a national accrediting body, it is the supervisor's responsibility to meet the ongoing requirements of the accrediting body to maintain the certification. If the national certification is revoked prior to its expiration, clinical supervision hours provided to supervisees after the revocation will not be accepted for licensure purposes.
To view the Board's list of clinical supervisors who have requested to be on the supervisor registry and are in compliance with training requirements, click HERE.
There may be situations where your clinical supervisor does not meet the discipline-specific requirements listed above, or the qualifications listed in A.A.C. R4-6-212, and you need to request an exemption. An exemption may be requested pursuant to A.A.C. R4-6-212.01 at any time during the period of clinical supervision using the form below.
If you are requesting an exemption under A.A.C. R4-6-212.01(1)(c), you may be required to submit an additional exemption request form if it was required under previous Board rules.
Supervisors and supervisees are responsible to ensure documentation of clinical supervision sessions meets the Board's requirements in A.A.C. R4-6-212. A sample clinical supervision session form is provided below as a resource, but is not mandatory. The form was developed through a task force between the Board and the Arizona Department of Health Services.


text:
James Frawley (1936–2019) a fost un actor și regizor american.

James Frawley se mai poate referi și la:

 James Frawley (n. 1988), fotbalist australian
 James Frawley (n. 1994), jucător de tenis australian
  (1867–1926), politician american din New York


text:
<!DOCTYPE html>

  <meta charset="UTF-8">
  <title>Code Coverage for C:\projects\OpenTribes\Core/vendor/symfony/routing</title>
  <meta name="viewport" content="width=device-width, initial-scale=1.0">
  <link href="css/bootstrap.min.css" rel="stylesheet">
  <link href="css/bootstrap-responsive.min.css" rel="stylesheet">
  <link href="css/style.css" rel="stylesheet">

C:\projects\OpenTribes\Core /

vendor /

symfony /

routing

(Dashboard)

Code Coverage

Lines

Functions and Methods

Classes and Traits

      Total

48.78%

60 / 123

28.57%

10 / 35

0.00%

0 / 1

       Symfony

48.78%

60 / 123

28.57%

10 / 35

0.00%

0 / 1

Legend

     Low: 0% to 35%
     Medium: 35% to 70%
     High: 70% to 100%

     Generated by PHP_CodeCoverage 1.2.17 using PHP 5.5.6 and PHPUnit 3.7.34 at Sat Apr 5 13:10:46 CEST 2014.

redpajama_set_name: RedPajamaGithub


text:
Main Page — News — RUSSIA TV&RADIO PROVIDES THE "NEW YEAR'S BLUE LIGHT CONCERT 2018" FOR HOLIDAYS IN ASIA
RUSSIA TV&RADIO PROVIDES THE "NEW YEAR'S BLUE LIGHT CONCERT 2018" FOR HOLIDAYS IN ASIA
TV program "New Year's Blue Light Concert 2018" has been broadcast for the first time on the "Niconico" - the largest website in Japan.
The Concert was shown in the real-time with the air on Russia 1 at the internet platform which has 2.5 million paid subscribers, and 50 million users in Japan.
Chinese Central Television (CCTV) will air as usual the "New Year's Blue Light Concert 2018" in the middle of the celebration of the Chinese New Year in February.
BLUE LIGHT 2016 ON CHINESE TELEVISION
The Russian leading New Year TV program is broadcasted in China annually.
RUSSIA'S BIGGEST NEW YEAR TV PROGRAMME "BLUE LIGHT" ENJOYS HUGE POPULARITY IN CHINA
In the run-up to the New Year holiday, Sovtelexport – the international distributor of content produced by Russia Television and Radio – and CENTRAL COOPERATION INTERNATIONAL CO. LTD have signed an agreement on the rights to broadcast the "Blue Light" musical entertainment show on CCTV (China Central Television), the biggest media holding in China, in 2014 and 2015.


We are excited to announce the GRAND OPENING OF OUR PHYSICAL THERAPY!
Physical therapy is a treatment method for improving movement and functionality that have been compromised by age, disease or injury. Patients recover through the use of restorative exercises that focus on muscle strength, flexibility, soft tissue mobility, balance, postural training, coordination, modalities and overall pain relief. Physical therapy is also designed to prevent reinjury and maximize patient quality of life.
What Kinds Of Conditions Can Physical Therapy Treat?
Physical therapy is used to treat a wide range of injuries and conditions. Patients with orthopedic injury, generalized pain, post-surgical procedures, arthritic conditions, and neurological diseases may benefit from physical therapy.
What Happens During The First Physical Therapy Session?
On your first physical therapy session, the therapist will perform a thorough physical evaluation including an examination, discuss the patient's pathology, develop a treatment program and plan specific to the patient's needs and goals. A customized physical therapy plan typically includes a combination of exercises, manual therapy treatments and minimally invasive techniques.
What Happens During A Typical Physical Therapy Follow-Up Session?
A typical physical therapy follow-up session can differ depending on the needs of each patient. In general, each session will include manual therapy techniques, therapeutic exercises, therapeutic activities, neuromuscular re-education, postural training, functional mobility training and modalities.
Exercises to increase strength, stability, mobility and flexibility that generally progress in both difficulty and intensity during the course of treatment.
Activities that involve the use of functional, dynamic tasks for everyday living to improve range of motion and strength within those parameters (e.g. the ability to sit to stand from a chair via squatting).
Exercises and techniques to improve functional movement, balance, coordination, kinesthetic sense, posture, and proprioception.
Exercises and techniques to improve the alignment of a patients body to an equilibrium/balance of joint position from the head to the feet.
Treatment techniques used to reduce pain such as moist heat, cryotherapy, electrical stimulation and therapeutic ultrasound.
Exercises usually progress in difficulty and intensity during the course of treatment. Each session typically ends with icing or therapeutic massage to help the patient cool down. The patient's progress may be discussed after each session to determine whether changes to treatment are required.
How Long Does A Physical Therapy Program Take To Complete?
The length of a physical therapy program varies depending on the type and severity of the condition being treated, as well as the amount of progress made throughout treatment. Shorter courses of treatment (such as generalized pain) last between 4 to 12 weeks. Longer courses of treatment (post surgical cases) last between 4-6 months.
How Often Are Physical Therapy Sessions Needed?
The frequency of sessions depends on the patient's condition, but two to three sessions per week is considered average.
What Should Be Worn During Physical Therapy?
Patients are encouraged to wear loose-fitting, comfortable clothing that does not restrict movement. For patients with ankle or knee injuries, wearing shorts is recommended.
In most cases, physical therapy is covered by insurance, although a copayment may be required for each session. Please call our office to have your benefits verified.
Should Additional Exercises Be Performed At Home To Help Speed Recovery?
Your physical therapist will create a specific Home Exercise Program including exercises that can safely be performed at home to speed the recovery rate; the therapist provides specific instructions on which, and how often, home exercises can and should be performed. It is always encouraged to ask your therapists any, and all, questions regarding your therapy treatment.


text:
Spectrum News Segment - July 1, 2019
Los Angeles Business Journal Publisher Anna Magzanyan talks to Spectrum News 1 about the Business Journal's June 20 Women's Council and Awards event, which honored outstanding achievements by women who make a difference throughout Los Angeles.
Spectrum News Segment - June 24, 2019
Los Angeles Business Journal Publisher Anna Magzanyan talks to Spectrum News 1 about recording studios in Los Angeles standing the test of time despite musicians increasingly using home technology rather than recording in-studio.
Spectrum News Segment - May 27, 2019
Los Angeles Business Journal Publisher Anna Magzanyan talks to Spectrum News 1 about The Park at Cross Creek development in Malibu and offers highlights from the Business Journal's recent LA500 event in Beverly Hills.
Los Angeles Business Journal Publisher Anna Magzanyan talks to Spectrum News 1 about the LA500, the annual list of 500 most influential people in L.A. business.
Los Angeles Business Journal Publisher Anna Magzanyan talks to Spectrum News 1 about a Santa Monica startup that lets consumers compare prescription drug prices at 70,000 drugstores.
Spectrum News Segment - May 6, 2019
Los Angeles Business Journal Publisher Anna Magzanyan talks to Spectrum News 1 about Tishman Speyer, the New York real estate giant, which is opening a new coworking space in Beverly Hills.
Spectrum News Segment - April 29, 2019
Los Angeles Business Journal Publisher Anna Magzanyan talks to Spectrum News 1 about the surge in hotel construction in L.A., where 11 hotels opened last year and another 45 projects are in the works.
Los Angeles Business Journal Publisher Anna Magzanyan talks to Spectrum News 1 about LA's growing data center market, where companies such as Google and CoreSight Realty have opened new facilities.
Spectrum News Segment - April 8, 2019
Los Angeles Business Journal Publisher Anna Magzanyan talks to Spectrum News 1 about a new renewable energy provider that recently began enrolling businesses across Southern California.
How private equity firms' influence on Hollywood's big talent agencies has led to the current dispute with the Writers Guild.
Spectrum News Segment - March 25, 2019
Building boom in Long Beach, where $5 billion in development is underway.
Everytable, a new fast-food concept that is bringing healthy food to low-income neighborhoods.
New co-working spaces opening in L.A. and an overview of the LABJ's annual Business Hall of Fame feature.
Spectrum News Segment - March 4, 2019
How Universal Music Group found success in subscription music streaming, plus highlights from LABJ's Commercial Real Estate Awards.
Spectrum News Segment - February 25, 2019
The challenges facing Santa Monica toy maker Jakks Pacific and a preview of the LA Business Journal's Commercial Real Estate Awards event.
Moral Fiber, a Boyle Heights-based startup that has developed a process to enable recycling polyester apparel.
Spectrum News Segment - February 4, 2019
Sharing economy and the need for affordable housing is leading some real estate developers to create co-living options for millennials and families.
Spectrum News Segment - January 28, 2019
Google signed a 14-year lease for the renovated Westside Pavilion – a nearly 600,000-square-foot space with room for up to 3,000 employees.
Inglewood's changing landscape as commercial and residential real estate projects begin to take shape in the city.
Spectrum News Segment - December 31, 2018
LABJ's annual Book of Lists issue, profiling founders and executives at Ring, ClassPass, Airbnb and Two Bit Circus.
USC and UCLA are among 83 universities across the country looking for business school deans.
The $14 billion expansion project underway at Los Angeles International Airport.
Local glazier Giroux Glass, maker of high-profile glass projects such as the Grand Canyon Skywalk, as well as coverage of LABJ's Fashion and Beauty Awards.
Spectrum News Segment - December 3, 2018
The burgeoning real estate trend of preleasing and a new company looking to gather viewership data on streaming content.
Spectrum News Segment - November 26, 2018
Publisher Anna Magzanyan talks to Spectrum News 1 about the latest LA Business Journal issue, which includes the Innovation Special Section.
Spectrum News 1 covers headlines from the LA Business Journal, including a Q & A with USC Interim President Wanda Austin.
Spectrum News 1 covers LA Business Journal's Fastest Growing Private Companies event.


text:
If I Could is an album by saxophonist Stanley Turrentine recorded in 1993 and released by the MusicMasters label.

Reception

AllMusic reviewer Scott Yanow stated "This session from tenor-saxophonist Stanley Turrentine often sounds like a CTI recording from the 1970s ... Turrentine's solos are stronger than the melodies and he generally overcomes the unimaginative use of strings on the ballads. Mr. T. is in fine form and he makes the most of each selection ... Recommended".

Track listing
 "June Bug" (Tommy Turrentine) – 7:46
 "Caravan" (Juan Tizol, Duke Ellington, Irving Mills) – 15:20
 "I Remember Bill" (Don Sebesky) – 6:09
 "The Avenue" (Charles Fambrough) – 3:52
 "Marvin's Song" (Tommy Turrentine) – 6:03
 "Maybe September" (Ray Evans, Percy Faith, Jay Livingston) – 3:30
 "A Luta Continua" (Vincent Evans) – 6:20
 "If I Could" (Pat Metheny) – 4:45

Personnel
Stanley Turrentine – tenor saxophone
Hubert Laws – flute, piccolo
Sir Roland Hanna – piano
Ron Carter – bass
Grady Tate – drums
Gloria Agostini – harp
Steve Kroon – percussion
Matthew Raimondi - concertmaster
Don Sebesky – arranger
Vincent Leroy Evans - kalimba (track 7)

References

1993 albums
Stanley Turrentine albums
MusicMasters Records albums
Albums arranged by Don Sebesky


Athletes will participate in both group and individualized instruction for their primary event/s. The most up-to-date methods of technical instruction available will be utilized. Video will be taken to aid learning and classroom sessions will be implemented. Finally, fun group activities will occur throughout each day to provide the students with a unique setting to create bonds with other athletes around the Midwest.
Location: McKendree University in Lebanon, IL. Athletes who stay overnight will be in the dormitories supervised by our camp counselors 24/7. They will be separated by gender on different floors, and age groups in different rooms.


text:
Independent, Expert Financial Advice, Wherever YOU Are
Driverless trains to be launched in France by 2023
France's national railway operator SNCF is planning to introduce prototypes of driverless mainline trains for passengers and freight by 2023.
This initiative will hopefully allow more trains to run on France's busiest main lines, as well as reduce energy consumption.
"With autonomous trains, all the trains will run in a harmonized way and at the same speed," SNCF chairman Guillaume Pepy said. "The train system will become more fluid."
Even though driverless metro trains are not uncommon around the country, driverless long-distance trains bring about a new set of challenges, according to Pepy.
"Railways are an open system, and the unexpected is the rule," he said, adding that autonomous trains are "clearly the future", but acknowledged that passengers adapting to the change might not happen quickly.
The Guardian reports that SNCF will be partnering up with rolling stock specialists Alstom and Bombardier, who will be heading up consortia for freight and passenger traffic respectively.
Pierre Izard, who runs SNCF's rail technologies division, said that the adoption of driverless trains would happen gradually, eventually leading "to the most extreme of automatisation, when there is no human presence onboard."
France choosing to implement driverless trains is rather innovative, seeing as so far, only Australia, China and Japan have experimented with the concept.
France-Thailand relationship posed to strengthen
How is climate change linked to the economy?
Rent control to be reintroduced in Paris
deVere France S.a.r.l. ("deVere France") does not warrant, either expressly or implied, the accuracy, timeliness, or appropriateness of the information contained on this website. The information contained in this Site is for general guidance on matters of interest only. The application and impact of laws can vary widely based on the specific facts involved and your country of residence. Before making any decision or taking any action, you should consult a deVere France representative. deVere France disclaims any responsibility for content errors, omissions, or infringing material and disclaims any responsibility associated with relying on the information provided on this website. No contractual terms are binding on the Company unless signed by a Director of the Company. This website is limited to the dissemination of general information regarding its financial planning and advisory services to individuals residing in jurisdictions where providing such information is not prohibited by applicable law. The publication of this website on the Internet should not be construed by any third party (including clients and/or prospective clients) as a solicitation to effect or attempt to effect transactions or the rendering of personalised financial planning or advice for compensation over the Internet or other means.
© 2013 - 2019 deVere France S.a.r.l.. All rights reserved.


text:
import * as actionCreators from 'actions'

// Note:
// I'm using actionTypes directly as strings to also check for proper action type declaration

describe('Action helpers::', function(){
  it('idGenHelper creates an unique id if payload does not contain one', function(){
    // returns an id
    expect( actionCreators.idGenHelper('someID')({ stuff: 100 }).someID ).to.be.a('string')
    // does not destroy existing attributes
    expect( actionCreators.idGenHelper('someID')({ stuff: 100 }).stuff ).to.equal(100)
    // uses provided id
    expect( actionCreators.idGenHelper('someID')({ someID: '123', stuff: 100 }) ).to.deep.equal({ someID: '123', stuff: 100 })
  })
})

describe('Actions::', function(){

  let action
  let expected

  // tear down
  afterEach(function(){
    action = undefined
    expected = undefined
  })

  // ------------------------------------------------------------------------------
  // App
  // ------------------------------------------------------------------------------

  describe('appLoadRequest', function(){
    it('returns a APP_LOAD_REQUEST type action', function(){
      action = actionCreators.appLoadRequest()
      expected = { type: 'APP_LOAD_REQUEST', payload: undefined }
      expect(action).to.deep.equal(expected)
    })
  })

  describe('appLoadSuccess', function(){
    it('returns a APP_LOAD_SUCCESS type action', function(){
      action = actionCreators.appLoadSuccess()
      expected = { type: 'APP_LOAD_SUCCESS', payload: undefined }
      expect(action).to.deep.equal(expected)
    })
  })

  describe('appLoadFailure', function(){
    it('returns a APP_LOAD_FAILURE type action', function(){
      action = actionCreators.appLoadFailure({ type: 'some error' })
      expected = { type: 'APP_LOAD_FAILURE', payload: { type: 'some error' } }
      expect(action).to.deep.equal(expected)
    })
  })

  describe('startDrag', function(){
    it('returns a APP_START_DRAG type action', function(){
      action = actionCreators.startDrag({ cardID: 'cid', boardID: 'bid', index: '1'})
      expected = { type: 'APP_START_DRAG', payload: { cardID: 'cid', boardID: 'bid', index: '1'} }
      expect(action).to.deep.equal(expected)
    })
  })

  describe('endDrag', function(){
    it('returns a APP_END_DRAG type action', function(){
      action = actionCreators.endDrag()
      expected = { type: 'APP_END_DRAG', payload: undefined }
      expect(action).to.deep.equal(expected)
    })
  })

  // ------------------------------------------------------------------------------
  // Boards
  // ------------------------------------------------------------------------------

  describe('createBoard', function(){
    it('returns a BOARD_CREATE type action', function(){
      action = actionCreators.createBoard({ boardID: 'bid', id: '123'})
      expected = { type: 'BOARD_CREATE', payload: { boardID: 'bid', id: '123'} }
      expect(action).to.deep.equal(expected)
    })
  })

  describe('deleteBoard', function(){
    it('returns a BOARD_DELETE type action', function(){
      action = actionCreators.deleteBoard({ id: 'BoardID' })
      expected = { type: 'BOARD_DELETE', payload: { id: 'BoardID' } }
      expect(action).to.deep.equal(expected)
    })
  })

  describe('setBoardTitle', function(){
    it('returns a BOARD_SET_TITLE type action', function(){
      action = actionCreators.setBoardTitle({ id: 'BoardID', title: 'new title' })
      expected = { type: 'BOARD_SET_TITLE', payload: { id: 'BoardID', title: 'new title' } }
      expect(action).to.deep.equal(expected)
    })
  })

  // ------------------------------------------------------------------------------
  // Cards
  // ------------------------------------------------------------------------------

  describe('createCard', function(){

    it('Request returns a CARD_CREATE_REQUEST type action', function(){
      action = actionCreators.createCardRequest({ boardID: '123', text: 'hello', cardID: 'abc' })
      expected = { type: 'CARD_CREATE_REQUEST', payload: { boardID: '123', text: 'hello', cardID: 'abc' } }
      expect(action).to.deep.equal(expected)
    })

    it('Success returns a CARD_CREATE_SUCCESS type action', function(){
      action = actionCreators.createCardSuccess({ cardID: '123' })
      expected = { type: 'CARD_CREATE_SUCCESS', payload: { cardID: '123' } }
      expect(action).to.deep.equal(expected)
    })

    it('Failure returns a CARD_CREATE_FAILURE type action', function(){
      action = actionCreators.createCardFailure({ cardID: '123' })
      expected = { type: 'CARD_CREATE_FAILURE', payload: { cardID: '123' } }
      expect(action).to.deep.equal(expected)
    })

  })

  describe('moveCard', function(){

    it('returns a CARD_MOVE_REQUEST type action', function(){
      action = actionCreators.moveCardRequest({ cardID: '123', 'destID:': 'b1', origID: 'b2' })
      expected = { type: 'CARD_MOVE_REQUEST', payload: { cardID: '123', 'destID:': 'b1', origID: 'b2' } }
      expect(action).to.deep.equal(expected)
    })

    it('returns a CARD_MOVE_SUCCESS type action', function(){
      action = actionCreators.moveCardSuccess({ cardID: '123', 'destID:': 'b1', origID: 'b2' })
      expected = { type: 'CARD_MOVE_SUCCESS', payload: { cardID: '123', 'destID:': 'b1', origID: 'b2' } }
      expect(action).to.deep.equal(expected)
    })

    it('returns a CARD_MOVE_FAILURE type action', function(){
      action = actionCreators.moveCardFailure({ cardID: '123', 'destID:': 'b1', origID: 'b2' })
      expected = { type: 'CARD_MOVE_FAILURE', payload: { cardID: '123', 'destID:': 'b1', origID: 'b2' } }
      expect(action).to.deep.equal(expected)
    })

  })

  // Card delete

  describe('deleteCard', function(){

    it('returns a CARD_DELETE_REQUEST type action', function(){
      action = actionCreators.deleteCardRequest({ cardID: '123' })
      expected = { type: 'CARD_DELETE_REQUEST', payload: { cardID: '123' } }
      expect(action).to.deep.equal(expected)
    })

    it('returns a CARD_DELETE_SUCCESS type action', function(){
      action = actionCreators.deleteCardSuccess({ cardID: '123' })
      expected = { type: 'CARD_DELETE_SUCCESS', payload: { cardID: '123' } }
      expect(action).to.deep.equal(expected)
    })

    it('returns a CARD_DELETE_FAILURE type action', function(){
      action = actionCreators.deleteCardFailure({ cardID: '123' })
      expected = { type: 'CARD_DELETE_FAILURE', payload: { cardID: '123' } }
      expect(action).to.deep.equal(expected)
    })

  })

  describe('editCard', function(){

    it('returns a CARD_EDIT_REQUEST type action', function(){
      action = actionCreators.editCardRequest({ cardID: '123', 'text': 'new text' })
      expected = { type: 'CARD_EDIT_REQUEST', payload: { cardID: '123', text: 'new text' } }
      expect(action).to.deep.equal(expected)
    })

    it('returns a CARD_EDIT_SUCCESS type action', function(){
      action = actionCreators.editCardSuccess({ cardID: '123', 'text': 'new text' })
      expected = { type: 'CARD_EDIT_SUCCESS', payload: { cardID: '123', text: 'new text' } }
      expect(action).to.deep.equal(expected)
    })

    it('returns a CARD_EDIT_FAILURE type action', function(){
      action = actionCreators.editCardFailure({ cardID: '123', 'text': 'new text' })
      expected = { type: 'CARD_EDIT_FAILURE', payload: { cardID: '123', text: 'new text' } }
      expect(action).to.deep.equal(expected)
    })

  })

})


text:
Show Tracker
What you're watching
« Previous Post | Show Tracker Home | Next Post »
'Fringe' recap: Over There
September 24, 2010 | 12:04 am
Welcome back. How was your summer? You look like you've lost weight.
It's been 18 weeks since we last got a new episode of "Fringe." May 20, 2010. I remember because it was also the combination of a padlock on the school in Jacksonville where Walter and William Bell experimented Olivia and her classmates with their drug Cortexiphan. Man, writing this blog is going to turn me into that nerd William Shatner yelled at on that "Saturday Night Live" sketch. Oh well.
"Fringe" is back, and it hit the ground running, clocking in a nine-minute opening. Though look how well they used those nine minutes. We got the kindly psychologist trying to convince our Olivia she is their Olivia (or Bolivia), the diabolical plotting of Walternate, and then Olivia's dramatic escape. So much was happening, I'd barely had the chance to think "Hey, where's the credits?" before they appeared.
I could spend this entire post talking about that opening. How the first scene dished out a major helping of exposition in the rich candy coating of that eerie interview. It reminded me of the classic "How many lights are there?" scene from "Star Trek: The Next Generation." (Bonus point if you can name the actor opposite Patrick Stewart in that scene). Then writing about how incredible John Noble is. Walter vs. Walternate. So different, yet essentially the same man. Can we at least get this guy an Emmy nomination this year?
Then after I wrote that entire post about the opening, I'd have to write a second one about the credit sequence. Just like the Season 2 finale, we got the credits from the alternate universe version of "Fringe." (Nearly as cool as the '80's version)
Here are the words I managed to pick out of the credits:
WORMHOLES
RETROCOGNITION
I can define maybe eight of them. Speciation? Synesthesia? Transhumanism? No clue. Retrocognition? Past thought? Aren't those called memories? It is probably much more complicated. Maybe being aware in the past. Like when you know you're dreaming, only back in time. Who knows?
What follows the credit sequence is part "Collateral" and part "Memento." Olivia searches for a way home with a head full of her doppelganger's memories, hijacking a poor cabbie as her chauffeur. Meanwhile, the alternate Fringe Division searches for her.
I don't know about you, but I loved the episode. I can break down why I loved it, too, in three points.
No. 1 –- Competence. In the first and second season of "Fringe," Olivia has had her moments that made me wonder about her abilities as an FBI agent, but in the premiere, she was kicking butt. Not just physically. She played smart and fast. The alternate Fringe Division kept one step behind her the whole way. Plus Walternate was the mastermind behind it all. Skilled, driven people are always fun to watch.
No. 2 –- Hazy memories. Olivia's struggles with her identity added that extra depth to her running and gunning. Is she Olivia with some of Bolivia's memories or is she Bolivia with some of Olivia's memories? There were times when even I wondered, and I knew.
No. 3 –- Details. So much care is put into the alternate universe. I love it. Every scene has at least one little Easter egg. Finding these minor differences between our universe and theirs becomes like a game. Over there they have the Broadway musical "Dogs" instead of "Cats." They have daily flights to the moon. Some are better than others. I don't think we need to see the Twin Towers anymore to know that we're in another universe, and the fact that their IDs are called Show Me's struck me as odd. It's a cool nickname for ID, but to have "Show Me" printed across the top didn't quite work.
There were other things I wasn't a big fan of as well. I'm still not completely sold on Olivia's love for Peter. It popped up in the Season 2 finale. Bolivia's discomfort after being kissed by Peter felt more real.
If you have any friends who watched "Fringe" in the first season and quit, this would be the time to invite them back. "Fringe" has found its footing. I'd say right around the winter break last year "Fringe" started pumping out strong episodes, and they've only gotten better.
Seems like next week we get to see Bolivia trying to make her way in our world. That sounds like fun.
What I did on my summer vacation: What did everyone watch while "Fringe" took the summer off? I finally worked my way through "Battlestar Galactica," and I'm glad I did. Did anybody besides me watch "The Hard Times of RJ Berger?" It would have been my favorite new summer show if not for "Louie."
Astrid action: The alternate Astrid got a little screen time, running the odds of Olivia's possible actions after escaping. Sad to see that alternate Astrid gets even less to do than our Astrid. Now I have to beg for more screen time for both of them.
Spot the Observer: Once again, I have to rely on the good people over at FringeTelevision.com to help me find baldy. I was certain he made up part of the crowd watching the Opera House get ambered. That seemed exactly like the kind of place the Observer would love to hang out. But no, he was walking around the park where Massive Dynamic should have been. It's not fair. They can't let the Observer sneak by after having a guy ride past on a bike with one big front wheel and one tiny wheel in back. A penny-farthing, according to Wikipedia. That's just cheap.
-- Andrew Hanson
Five things that could help "Fringe" revisited
"Fringe": End of a Chapter
Complete "Fringe" coverage on Show Tracker
PHOTO: Anna Torv, left, as Olivia Dunham and guest star Andre Royo as Henry. Credit: Fox Televison


Chiles en nogada are meat stuffed poblano chiles bathed in nogada, a walnut cream sauce and garnished with pomegranate seeds and parsley.
Blend until smooth but not liquified.
Chop the parsley very finely reserving a few leafs to use as decoration.
Decorate with a 1 or 2 parsley leafs.


KIM Kardashian and Kanye West are allegedly getting married this week.
The reality star and her rapper fiancé were rumoured to be having a lavish wedding extravaganza in Paris next month in front of all their family, friends and celebrity acquaintances, but TMZ are now reporting the couple are going to break with expectations by holding a highly secretive ceremony in the next few days.
Sources told the gossip site the couple already have a marriage license and intend to get hitched before the week is out.
Kim, 33, and Kanye, 36 - who have 10-month-old daughter North West together - are so intent on keeping their nuptials private that they have secured a "confidential" marriage license so no one officially knows.
This marks a big turnaround for 'Keeping Up With The Kardashians' star Kim, who wed basketball player Kris Humphries live on TV in August 2011 following a 90-day engagement.
The star-studded affair took place in Montecito, California, and was filmed for a two-part, four-hour TV special on E! called 'Kim's Fairytale Wedding: A Kardashian Event'.


BeCe Pte Ltd is established in 2009. Our emphasis is on product innovation for customer applications where edge rates are fast, space is limited, reliability demands are high and cost sensitivity is critical.
With Exclusive Licensing from BeCe Corp., we design and manufacture and market BeCe products for the semiconductor test markets worldwide.
All design and manufacturing facilities are located in Singapore, enabling BeCe to serve and support all customers with the right solution at the right Cost and right Speed.
BeCe specialize in making high-density, fine-pitch and high pin count Gigahertz high performance test socket for various packages – LGA, BGA, QFN and other peripheral lead devices, especially in test environment where high frequency, low contact force and low contact resistance requirements are critical.
© Bece Pte Ltd 2019. Page generated in 0.0578 seconds.


Leeann Tweeden deomsonstrating some aerobics moves.
Deborah Khazei, Kathy Derry, Denise Paglia, doing ab exercises on the beach.
Deborha Khazei, Kathy Derry and Denise Paglia doing more ab exercises on the beach.
Denise Paglia demonstrating, by far, the best techniques for hamstring curls.
Densie Paglia leading a shoulder and leg workout with Kathy Derry and Deborah Kahzei.
Deborah Kahzei leading an Aerobics Session, with Leeann Tweeden and Denise Paglia.
Leeann Tweeden, Deborah Khazei and Deinsie Paglia doing aerobics on the beach. Leeann wearing a black string bikini top.
Leeann Tweeden doing Ab exercises. I spliced together all the camera shots of Leeann from one segment. Clips are show first with regular spped and audio and then slowed down with background music added.
Deborah Khazei doing Aerobics on the Beach. Clip runs at regular speed and then repeates in slow motion. Must have been a cold day.
Kathy Derry looking hot and doing bent over Dumbell Bows.
Leeann Tweeden, Denise Paglia, and Deborah Khazei doing V-Ups.
Kathy Derry Demonstrating Hip Abductor and other Leg Exercises.
Leeann Tweeden wrorking out in an Aerobics Session led by Deborah Kahzei with Denise Paglia.
Leeann Tweeden in multiple scenes from the boxing gloves segment. Shown at regular speed and then in slow motion.
Deborah Khazei and Denise Paglia doing a series of exercise for Triceps.
Here is another set of examples of why I love Kiana Tom. I'm sure some of your out there share my opinion.
Denise Paglia doing some dumbell work. Just keep watching Leeann, she looks awesome.
Denise Paglia Doing Lunges. With Deborah Khazei and Kathy Derry.
Another Set of Kiana doing multiple exercises in the same multi-colored Bikini.
Just think of it as a Kiana Super Set. It mathches her own Super Set.
Deborah Khazei, Leeann Tweeden, and Kathy Derry doing Aerobics. This one is over 5 Minutes. So good it didn't really need any editing.
Leann Tweeden Kathy Derry and Denise Paglia stretching.
In this clip Kiana is demonstrating the 2 main reasons why we love her above most others. There are 2 slow motion segments, one in the middle and one at the end.
Another reason why we all Love Kiana Tom. She looks good in grey!
Leeann Tweeden doing upright rows and Side Lateral Raises in a super set, as coached by Denise Paglia.
Kathy Derry, Denise Paglia and Deborah Khazei in their finest work on Fitness Beach.
Kathy Derry in an aerobics segment from fitness beach.
Leann Tweeden doing bent over rows. The last 15 seconds is a slow motion repeat of the last two reps.
Kiana demonstrating her technique for donig pull up exercises. There is slow motion at the end.
Kathy Derry leading an Aerobics session. Clip shown at normal speed and then repeated in slow motion.
Leeann Tweeden, Kathy Derry and Deborah Khazei in the cool down session.
Leeann Tweeden, Denise Paglia, and Kathy Derry doing aerobics with boxing gloves.