text:
Colombia - Education Institutes Flags (T)
Keywords: education |
Tacurí, Liceo
Técnica Ismael Santofimio Trujillo, Institución Educativa
Técnico Central, Escuela Tecnológica Instituto
Técnico Industrial, Unidad Educativa Municipal Instituto
Teodoro Aya Villaveces, Institución Educativa Municipal Técnica
Teófilo Roberto Potes, Unidad Docente Instituto Comercial
Terra Nueva, Colegio
Tierra de Promisión, Institución Educativa Departamental
Timiza, Colegio Cooperativo de
Tocancipá, Institución Educativa Departamental Técnico Comercial de
Tocancipá, Instituto Técnico Industrial de
Tolimense, Colegio
Tolimense de Formación Técnica Profesional, Instituto (ITFIP)
Tom Adams, Colegio Distrital
Tomás Arturo Sánchez, Institución Educativa
Tomás Cadavid Restrepo, Institución Educativa
Tomás Carrasquilla, Institución Educativa Industrial
Tomás Cipriano Mosquera, Colegio
Toscana, Colegio La (see: La Toscana, Colegio)
Trinidad, Colegio La (see: La Trinidad, Colegio)
Tulio Enrique Tascón, Institución Educativa
Tuluá, Institución Educativa Moderna de
Turbo, Institución Educativa
Turmequé, Institución Técnica Industrial de
Colombia - Education Institutes Flags - Index
Other Institutions:
Triángulo, Colegio el
image by Ivan Sache, 30 March 2009
"Liceo Tacurí" was founded in 1981 at Cali, by ASPAEN ("Asociación para la Enseñenza), the organization set up in Colombia by the Opus Dei movement. The institute is named after a Quechua word meaning "lively"
The flag of the institute, as shown graphically and described on the website of the institute, is horizontally divided blue-white-red.
Blue represents the love for truth.
White represents obedience.
Red represents strength.
Ivan Sache, 30 March 2009
image by Ivan Sache, 20 August 2017
Institución Educativa Técnica Ismael Santofimio Trujillo, initiated in 1982 in borough La Gaviota (Ibagué, Tolima Department) as a satellite of Instituto Técnico Femenino del Jordán, was established on 25 May 1988 by Ordinance No. 496. In November 2002, Decree No. 1,360 merged the institute with Escuela Rodrigo Lara, Escuela San Vicente de Paúl, Centro Nocturno La Gaviota and Escuela Rural de La Pedregosa.
http://www.ismaelsantofimio.edu.co - Institute's website
The flag of I.E.T. Ismael Santofimio Trujillo is horizontally divided green-white-red.
http://www.ismaelsantofimio.edu.co/institucion/informacion/nosotros - Institute's website
Ivan Sache, 20 August 2017
image by Ivan Sache, 27 January 2019
Escuela Tecnológica Instituto Técnico Central (ETITC) originates in Escuela Central de Artes y Oficios de Bogotá, established on the model of the French École des Arts et Métiers by Decree No. 146 issued on 19 March 1904. Destroyed on 19-20 August 1917 by an earthquake, the school was re-founded by Decree No. 721 issued on 4 April 1919, as Instituto Técnico Central (ITC). The new buildings were designed in the 1920-1930s by the architect Benjamín Geric, in partnership with teachers and students of the school.
Decree No. 2,219 issued on 18 December 1931 merged ITC with the Faculty of Engineering of Universidad Nacional. The Lasallian Brothers, who had managed the school since its foundation, left; the teachers and students organized ITC Engineers' Society to maintain teaching and carry on the industrial projects they had initiated.
Between 1932 and 1951, the school successively adopted different names: Escuela de Artes Manuales, Escuela Industrial, and, again, Instituto Técnico Superior. Lack of funds and careless management caused the deterioration of the premises and technical workshops. In 1951, President of the Republic Laureano Gómez (1950-1953) called back the Lasallian Brothers to manage ITC.
ITC was placed in 1981 under the aegis of the Ministry of National Education; it was granted the status of public institute of superior education by Decree No. 758 issued on 26 April 1985. ETITC was eventually established by Resolution No. 7,772 issued on 1 December 2006, which made of it the first official School of Technology in Colombia.
http://www.itc.edu.co, ETITC website
The flag of ETITC is horizontally divided green-white-green.
http://www.itc.edu.co/es/nosotros/simbolos, ETITC website
Ivan Sache, 27 January 2019
"Unidad Educativa Municipal Instituto Técnico Industrial" was founded in Fusagasugá, Department of Cundinamarca, on 27 September 1999 (Decree No. 812), succeeding different schools founded in the municipality since 1936.
The flag of the institute, as shown graphically and described in the "institutional educative project" of the institute, is horizontally divided blue-white-red, with the emblem of the institute in the middle (not shown on the drawing but explicitely mentioned in the text). The flag was designed by the educational community in 1983.
Blue represents the clear working space provided by the institute
White represents tranquility, peace, calm and serenity required to think.
Red represents love, friendship and mutual help among the institute community.
The main elements of the emblem of the institute are described but their arrangement is not shown.
A book represents science, culture, education and development.
An Olympic torch represents strength.
A square, a hammer and an anvil represent the different technical skills taught in the institute.
The emblem is bordered by a red stripe charged with the motto of the institute, "Lealtad, Ciencia y Tecnica" (Loyalty, Science and Technic).
Ivan Sache, 4 February 2009
image by Ivan Sache, 04 December 2014
Institución Educativa Municipal Técnica Teodoro Aya Villaveces is located in Fusagasugá (Cundinamarca Department).
The flag is described in Article 13.1.2 of the institute's Etiquette Guidebook as horizontally divided dark green-white-red. Green is a symbol of the youth. White is a symbol of the juvenile minds of the students. Red is a symbol of joy.
Source: http://convivenciapacificatav.files.wordpress.com/2014/04/manual-de-convivencia-2014.pdf
Ivan Sache, 04 December 2014
image by Ivan Sache, 16 November 2014
Unidad Docente Instituto Comercial Teófilo Roberto Potes (Icoterpo) was established in Buenaventura (Valle Department) by Decree No. 970 of 12 August 1975, originally as a secondary seat of Liceo Feminino del Pacifico.
The flag of Icoterpo is horizontally divided light pink-green. Pink is the colour of commerce and of the values of the institute: responsibility, commitment, creativity, love and respect for God. Green is the symbol of the extended forests of the Pacific region.
Source: http://icoterpo.edu.co/ineterpo/index.php/nosotros/nuestros-simbolos
Photos: http://nuestrainstitucioneducativateofilorob.blogspot.fr
Ivan Sache, 16 November 2014
image by Ivan Sache, 30 July 2018
Colegio Terra Nueva was established on 27 August 1991. Classes started on 1 February 1992 in Guaymaral. In February 1997, the school was transferred to the Potrerillos estate, La Aurora borough, La Calera (Cundinamarca department).
The flag of Colegio Terra Nueva is horizontally divided blue-green. Blue represents the water resources, source of life and knowledge, hope in a better present and future. Blue also recalls the eternal firmament, immense and full of opportunities, like life. Green represents the plant resources characteristic of the country, which we have to preserve and maintain, sowing in Tierra Nueva seeds of love, tolerance and peace.
http://www.colegiotierranueva.edu.co/simbolos-institucionales/#1519142959694-11b91263-9080
Colegio Terra Nueva website
http://www.colegiotierranueva.edu.co/
Ivan Sache, 30 July 2018
image by Ivan Sache, 28 September 2018
Institución Educativa Departamental Tierra de Promisión was established in Neiva (Huila Department) by Decree No. 1,408, adopted on 26 November 2002.
The flag of IED Tierra de Promisión is horizontally divided green-white-green.
https://departamentaltierradepromision.es.tl/Bandera.htm
Ivan Sache, 28 September 2018
Colegio Cooperativo de Timiza is located in Timiza borough, Bogotá.
The flag of Colegio Cooperativo de Timiza is vertically divided blue-white-red (1:2:1) with the school's coat of arms in the center.
http://colegiocooperativodetimiza.edu.co/nuestro-colegio/simbolos-institucionales
The flag of Institución Educativa Departamental Técnico Comercial de Tocancipá (Cundinamarca Department) is diagonally divided blue-white by a red ascending diagonal stripe. In the middle is placed the institute's emblem.
Sources: Institute's website
http://www.iedtecnicocomercialtocancipa.edu.co/nosotros/simbolos/bandera/ - Flag
http://www.iedtecnicocomercialtocancipa.edu.co/nosotros/simbolos/escudo/ - Emblem
"Instituto Técnico Industrial de Tocancipá" was created on 26 February 1997 (Municipal Decree No. 001) in Verganzo, Municipality of Tocancipá, Department of Cundinamarca. Classes started on 18 January 1998. The institute has today for seats, in Verganzo, La Diana, Canavita and Buenos Aires.
The flag of the institute, as shown graphically and described on the website of the institute, is horizontally divided red-gold-grey, with the emblem of the institute in the middle (omitted on the drawing but explicitly mentioned in the text). The flag was adopted on 31 October 2003 (Decree No. 005).
Red represents vital energy and torrent of youth, as well as passion, strength, commitment and permanent sacrifice to learning and life building.
Gold represents the human potential of the educational community, as well as its spiritual, social, artistic, technical and material resources. It is the symbol of power, greatness and admiration.
Grey represents the metals used in industry, as well as the strength, work, tenacity and constancy of all the members of the educational community.
The emblem of the institute was modernized in 2008 by Adrián Eduardo Munar Guarín, Head of the Artistic Education section; the old emblem is shown but nothing is said on its history and designer.
The middle of the emblem is made of a grey disk charged with a white open book and a quill, a caliper rule, a square and a pair of scales, all in grey. This is similar to the old emblem, except that the disk was changed from blue to grey to highlight the technical meaning of the emblem.
A second, concentric white ring is charged with the red letters "TRABAJO" ("work", top) and "PROGRESO" ("progress", bottom), highlighting the commitment to sacrifice of the community.
A third, larger concentric blue ring is charged with the name of the institute, "INSTITUCION EDUCATIVA DEPARTAMENTAL" (white) / "TECNICO INDUSTRIAL" (red) on top, and the name of the place, "TOCANCIPA" (red) on bottom. In the old emblem, all the writings, including the aforementioned motto, were in red letters over a wide white ring. Blue symbolizes knowledge and wisdom.
The outer part of the emblem is made of a grey cogwheel. The wheel has 16 cogs, while it had 24 of them on the old emblem.
The whole emblem is placed on a square vertically divided red-blue (red-white on the drawing).
The size and placement of the emblem on the flag remains a matter of speculation.
"Colegio Tolimense", a Roman Catholic institute, was created in 1934 in Ibagué, Department of Tolima, and recognized on 20 November 1942 by the Ministry of National Education (Decree No. 1485).
The flag of the institute, as shown graphically and described on the website of the institute, is horizontally divided yellow-green. Yellow represents the spiritual resources while green represents hope.
ITFIP (Instituto Tolimense de Formación Técnica Profesional), located in El Espinal, was recognized by the Ministry of National Education on 24 December 1980 (Decree No. 3462).
The flag of ITFIP is shown graphically and described on the ITFIP website.
The flag is divided white-blue according to the ascending diagonal, with the emblem of ITFIP in the middle. Blue represents democratic identity and collective work. White represents honesty, transparency and knowledge. The diagonal division represents action towards an objective.
The emblem of ITFIP is made of a white triangle outlined in green, charged with two dark red and golden yellow overlapping human silhouettes, placed on a circular background in the Colombian national colours (slanted), surrounded by a blue ring charged with the name of the institute in white capital letters, surmounting a blue scroll charged with the ITFIP acronym in white capital letters.
The circular shape represents the emergence of universality as an institutionalization of the intellect for the conservation and spread of knowledge.
The triangle represents the highest level of knowledge, as the merging of the three main aspects of knowledge: teaching, research and extension. Green represents cooperation, solidarity and organization. Yellow and golden yellow represent security, identity and responsibility
Dark red represents union, strength and constancy.
Colegio Distrital Tom Adams is located in the Central borough, part of the municipality municipality of Kennedy (Bogotá).
The flag of the institute is horizontally divided blue-gray with a white triangle placed along the hoist.
http://micolegiotomadams.blogspot.fr/2009/11/historia-de-mi-colegio-debido-una.html - Institute's blog
Institución Educativa Tomás Arturo Sánchez is located in Ipiales (Nariño Department).
The flag of the institute is horizontally divided red-white-blue.
Red is a symbol of freedom.
White is a symbol of peace.
Blue is a symbol of heavens.
Source: http://robinson-erazo.blogspot.fr/2011/11/la-bander-de-la-ie-tomas-arturo-sanchez.html - Robinson Erazo's blog
Institución Educativa Tomás Cadavid Restrepo was established in Bello (Antioquia Department) by Departmental Ordinance No. 15,166 of 30 October 2002, as the merger of Colegio Tomás Cadavid Restrepo (est. as Escuela Tomás Cadavid Restrepo by Departmental Ordinance No. 39 of 20 June 1947; upgraded to Colegio by Departmental Ordinance No. 892 of 26 November 1999) and Escuela San José Obrero (est. by Departmental Ordinance No. 48 of 12 December 1963). The institute is named for its benefactor, Dr. Tomás Cadavid Restrepo, an historian, philologist and Professor at the Antioquia University, who offered in 1963 a modern dentistry equipment, a selected library and a swimming-pool with its water purification system.
The flag of the institute is diagonally divided blue-white per bend, with the institute's emblem in the middle.
http://tomascadavid-informatica.blogspot.fr/p/i-e-tomas-cadavid-restrepo.html - Institute's blog
"Institución Educativa Industrial 'Tomás Carrasquilla' " was founded on 17 August 2007 (Departmental Decree No. 17153) at Santo Domingo, Department of Antioquia, succeeding "Colegio Técnico 'Tomás Carrasquilla' ", founded on 24 February 2000 (Decree No. 034) by the merging of "Colegio 'Tomás Carrasquilla' ", originally founded on 3 September 1927, and "Instituto Técnico Industrial Nacional".
The institute is named after the writer Tomás Carrasquilla (1858-1940), considered as the founder of the Colombian realist school.
The flag of the institute, as shown graphically and described on the institute's website, is horizontally divided green-white-red with a yellow sun in the middle.
The dimensions of the flag are prescribed as 1.50 m x 2.40 m (5:8).
Green represents hope and the love for knowledge, work and the natural environment.
White represents peace, loyalty, sincerity and honesty, which are the values conveyed by the institute's educational community. Red symbolizes love, dignity and generosity.
Ivan Sache, 13 April 2009
image by Ivan Sache, 28 June 2014
Colegio Tomás Cipriano Mosquera was established on 15 July 1988 in Ciudadela Comfrandi, a borough of Cali, as Centro Docente Tomás Cipriano Mosquera, by Dr. José Camilo Mosquera Rivas.
The flag of the institute, inaugurated in 1990, is horizontally divided black-red-white (2:1:1). The institute's anthem says (2nd stanza): "Black, red and white are the colours Of its nice emblem and of its beautiful flag".
Source: http://colegiotcmos.co/index.php?option=com_content&view=article&id=5&Itemid=5
Ivan Sache, 28 June 2014
image by Ivan Sache, 9 July 2014
Institución Educativa Tulio Enrique Tascón was established in 1963 in Buga (Valle del Cauca Department), as Instituto Técnico Comercial Tulio Enrique Tascón. The institute is named for Tulio Enrique Tascón (1888-1954), the lawyer, historian and politician born in Buga. Elected Senator (1919-1923), Tascón presided the Senate in 1920. He served as Governor of the Valle del Cauca Department (1935-1938). Appointed Director of the Free University, Tascón is the author of "Historia del Derecho Constitucional Colombiano", said to have inspired the 1936 land reform.
The flag of the institute is horizontally divided green-white-yellow.
http://politecnico88.blogspot.fr/p/nuestro-colegio.html
Ivan Sache, 9 July 2014
Institución Educativa Moderna de Tuluá was established by Resolution No. 1,845 of 5 September 2002, as the merger of Liceo Moderno (originally, Escuela Normal Central Feminina, established by Decree no. 756 of 28 September 1962) , Escuela Santa Cecilia, Jardín Infantil Gabriela Mistral, Escuela Antonio José de Sucre, Escuela Maria Goretti, Escuela Marino Dávalos Grisales, and Escuela Julio Pedroza (Campo Alegre).
The flag of the institute is shown in the institute's Institutional Educative Project, as white with two vertical blue lines close to the hoist and the institute's emblem at fly.
Source: http://www.iemodernatulua.edu.co/pdf/PEI.pdf - Institute's website
image by Ivan Sache, 19 October 2018
Institución Educativa Turbo was established by Resolution No. 16.033, adopted on 27 November 2002, as the merger of three schools located in Turbo (Antioquia Department): Escuela Sagrado Corazón de Jesús (est. in the 1950s), Colegio Gonzalo Mejía (est. in 1969 as IDEM - Instituto Departamental de Enseñanza Media), and Colegio de Turbo (separated in 1995 from Colegio Gonzalo Mejía).
The flag of IE Turbo is horizontally divided celestial blue-white-emerald green. Blue is a majestic representation of the sea that form the Gulf of Urabá. White, as a neutral color, is a symbol of aspired and achieved peace. Green represents the natural environment.
http://www.ieturbo.edu.co/2014/10/simbolos/
IE Turbo website
Ivan Sache, 19 October 2018
Institución Técnica Industrial de Turmequé (IETIT) was established in Turmequé (Boyacá Department) by Decree No. 103, issued on 6 February 1963, as Escuela Industrial Departamental, to be renamed to Instituto Técnico Industrial de Turmequé by Decree No. 2,416, issued on 30 September 2002, and, eventually, to IETIT by Resolution No. 2,412 issued on 19 October 2004.
The flag of IETIT, designed by Javier Hermógenes Muñoz Veloza, student in Electricity (1997), is diagonally divided red-white-green from lower hoist to upper fly, with the school's coat of arms in the center.
Red represents the human, working and intellectual potential of the educational community.
White represents the potential fostered by technical and technology.
Green represents all the components of the community.
The coat of arms is shaped like a gear wheel, the symbol of industry and work identifying study of Mechanic. The gear wheel represents the prominent force connecting the present and the future. Inside the gear wheel and placed under its protection are represented the other branches of study. The compass, a symbol of national unity (cause, origin and effect), open as a sign of work, represents Technical Drawing. The anvil, as a symbol of force, work and progress, represents Metallurgy. The thunderbolt, as a symbol of power, represents research and technological advances in Electricity. Technology and Information were introduced in 1995; with the agreement of the Board of Directors, the coat of arms was added new elements, a computer, as a symbol of permanent technological progress, and an open book as a symbol of knowledge and intellectual progress.
http://ietit2017.blogspot.com/2017/03/simbolos-institucionales.html, IETIT blog


You may keep hearing that the suburbs are dead and businesses are scrambling to relocate downtown, but NAI Hiffman managing director Bob Assoian says the company's annual survey of tenants proves that's just not the case.
97% of the 235 tenants in the buildings covering 38 suburban municipalities in NAI Hiffman's portfolio are happy in their locations. Assoian tells us respondents were interested in urban building amenity packages in their suburban locations.
Tenants reaffirmed the importance of traditional amenities, like cafés, gyms and conference rooms, but also identified amenities like concierge services, bike sharing/storage and food truck programs, often associated with city buildings, as desirable.
Taking these out of their downtown context and installing them in suburban buildings has allowed NAI Hiffman to separate its suburban properties from its competitors' buildings.
The amenity shift is often driven by demographics (increasing Millennial employee bases) and a 24/7 workforce.
NAI Hiffman has had success installing grab-and-go dining (above) that uses an unmanned honor code or barcode system to replace or supplement the standard deli open during normal business hours. It's available round-the-clock and is a great food option for smaller buildings that don't generate enough revenue to support large-scale cafeteria operations.
The daily commute is changing, too; Assoian tells us people are increasingly demanding bike storage space (above), and that charging stations (below) are in higher demand as electric cars have become more affordable.
Each year, NAI Hiffman conducts this survey of its tenants so it can gauge their satisfaction, identify property-specific issues and improve building occupants' experience on behalf of their clients.
Assoian, who helps strategically design the survey, said it continues to prove very valuable, as he and his team look for solutions both at a micro-level and ones that can be implemented universally to enhance their tenants' experience and increase retention rates for their clients.
The firm also uses the survey to tell them how often they should proactively reach out to their tenants.
Want to hear more surprising finds from this year's survey? Last month, we featured NAI Hiffman's REfocus video to investigate whether five common property management assumptions held true.


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redpajama_set_name: RedPajamaGithub


A deep lot is often matched up with a narrow lot, but it extends deep affording the opportunity to build house plans from our small and narrow lot collection, but this isn't necessarily always the case. A deep lot can be wide as well, so our luxury house plans may be the perfect fit as well. This lot type provides an opportunity for a substantial front yard or plenty of backyard outdoor living space and children's play area. A rear entry garage may also work well with this lot style. Browse our deep lot house plans to get great home ideas for this size lot.
The Topfield Country Ranch Home has 4 bedrooms and 3 full baths.
2062 Sq. Ft., Width 32'-0", Depth 70'-0"
The Parsons Cove Traditional Home has 0 bedroom, 3 full baths and 1 half bath.
3148 Sq. Ft., Width 53'-0", Depth 104'-2"
The Pattyanna Country Home has 0 bedroom, 2 full baths and 1 half bath.
2533 Sq. Ft., Width 31'-4", Depth 72'-8"
The Taregan Craftsman Home has 3 bedrooms, 2 full baths and 1 half bath.
2962 Sq. Ft., Width 68'-0", Depth 90'-0"
2571 Sq. Ft., Width 25'-5", Depth 66'-4"
The Scenic Retreat Vacation Home has 2 bedrooms and 2 full baths.
1098 Sq. Ft., Width 28'-6", Depth 56'-0"
The Bogart Shingle Style Ranch Home has 3 bedrooms and 3 full baths.
1800 Sq. Ft., Width 63'-0", Depth 73'-0"
House Plans and More has a wonderful collection of deep lot house plans. We have easy-to-read blueprints helping a buyer visualize the look of their dream home when built. With a wide variety of home plans for a deep lot, we are sure that you will find the perfect floor plan to fit your needs and lifestyle.


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Clovis tool cache found in Colorado
Patrick Mahaffy was having some a fish pond installed in his front yard when the landscapers digging heard a clink and found 83+ prehistoric stone tools.
Researchers at the University of Colorado-Boulder dated the artifacts to 13,000 years ago when the Clovis people hunter-gatherers roamed the area.
The Clovis culture populated the Americas around the same time as the first people crossed the Bering Land Bridge from Asia, about 13,000 – 13,500 years ago.
The cache is one of only a handful of Clovis-age artifacts uncovered in North America, said Bamforth.
The tools reveal an unexpected level of sophistication, Bamforth said, describing the design as "unnecessarily complicated," artistic and utilitarian at the same time. […]
The cache was buried 18 inches deep and was packed into a hole the size of a large shoe box. The tools were most likely wrapped in a skin that deteriorated over time, Mahaffy said.
"The kind of stone that's present — the kind that flakes to a good sharp edge — isn't widely available in this part of Colorado. It looks like they were storing material because they knew they would need it later," said Bamforth.
Even cooler than that, there are detectable traces of animal blood and protein on the weapons.The Clovis hunters used these tools to kill and/or butcher camels, horses, sheep and bears.
Besides the sheer awesomeness of camels in Colorado, this is noteworthy because it's the first evidence we have of Clovis people eating anything besides woolly mammoths.
Mahaffy will donate almost all of the tools to a museum, but he plans to rebury a few of them where he found them.
"These tools have been associated with these people and this land for 13,000 years," he said. "I would like some of these tools to stay where they belong."
Posted in Ancient, Treasures | 12 Comments »
These hominid feet are made for walking
They're approximately 1.5 million years old and they prove that the ancestral humans to whom they belonged (most likely Homo erectus) walked like we do. Prints Show a Modern Foot in Prehumans.
An international team of scientists, in a report on Friday in the journal Science, said the well-defined prints in an eroding bluff east of Lake Turkana "provided the oldest evidence of an essentially modern humanlike foot anatomy." They said the find also added to evidence that painted a picture of Homo erectus as the prehumans who took long evolutionary strides — figuratively and, now it seems, also literally. […]
Studying the more than a dozen prints, scientists determined that the individuals had heels, insteps and toes almost identical to those in humans, and that they walked with a long stride similar to human locomotion.
That means they could walk and run over long distances much like we do today, something scientists have suspected from examining fossilized Homo erectus skeletons. Since those skeletons were incomplete and no foot bones had been found, the question of how they walked and ran was still an open one.
The footprints discovered in Kenya, researchers said, indicated that the erectus foot functioned much as a human foot does: the heel contacts the ground first; weight transfers along the arch to the ball of the foot; and the push-off is applied by the forefoot. In apes and apparently earlier hominids, this force comes from the midfoot.
These are the first prints found that were made by members of our genus Homo. The only earlier set we have are 3.7 million years ago and were left in what is now Tanzania by Lucy's species, Australopithecus afarensis.
Update: The rat and rabbit go for $20 mil each
The three day Yves Saint Laurent auction is done, and the contested Chinese bronzes have sold to anonymous bidders for 20.3 million dollars apiece.
The precious Qing dynasty fountainheads, looted from the imperial Summer Palace by British and French troops 150 years ago, were snapped up one after the other by anonymous telephone bidders.
China had demanded the statues' return, but the French government said it received no official request from Beijing, and the sale went ahead after a Paris court threw out a Chinese group's last-ditch attempt to have it stopped.
Not only did the court throw out the last-ditch attempt, but it fined The Association for the Protection of Chinese Art in Europe — the Chinese government-sponsored organization which filed the suit — $2000, to be split between Christie's and Pierre Bergé's company.
China is seriously put. out. Even Jackie Chan is in high dudgeon, and you know he will fuck a French dude up.
Official wrath was nothing compared with the anger of Chan, who told reporters in Hong Kong: "They remain looted items, no matter whom they were sold to. It was looting yesterday. It is still looting today."
Chan, who collects and has in several cases donated antiquities, said he was to start filming a movie next year about the search for, and return of, treasures from the palace. "But now we have lost two more pieces. This has made me really angry," he said, adding that the sale was "shameful".
China is going to make Christie's pay, though. They've ordered officials to scrutinize every import and export Christie's tries to make in China from now on, so basically they can kiss their Chinese business goodbye for the time being.
The total haul of the auction was an astonishing $484.5 million, far exceeding estimates. Absurd records were set all over the place, for artists like Matisse, Mondrian, Klee and Brancusi, and for 20th c. furniture. One Art Deco Eileen Gray chair went for $28 million.
To be fair, it is a pretty awesome chair.
Posted in Looting, Social policy, Treasures | 8 Comments »
Mexico hits the jackpot
Miguel Leoff, an American dentist, had the largest private collection of pre-Columbian antiquities, mainly collected between 1940 and 1960 when it was still legal for individuals to purchase and own antiquities in Mexcio.
(Since 1972 all antiquities have been declared property of the state, although pre-existing collections were allowed to remain with the owners as long as they were itemized and declared.)
His widow has now donated that collection in its entirety to the Mexican government.
That's 8100 pieces, from quarter-ton Toltec monoliths of Quetzalcoatl emerging from the jaws of a serpent to tiny clay figurines, donated on the sole condition that they remain together. Needless to say, Mexico had no problem agreeing to the terms.
"It literally took my breath away as I opened case after case to discover these objects in tortoiseshell, jade, serpentine and gold," Xochicalco archeology director Marco Antonio Santos told a press conference.
Experts say it is the most spectacular private collection ever unveiled in Mexico given the number of artifacts, their variety and their general condition. […]
Among the most important pieces are a clay flute in the form of a bird, two Inca pottery pieces from Peru, a figure from Ecuador and a pottery figurine from Guatemala.
[Polemic interlude]You wouldn't know this from reading the AP article because they avoid ugly realities that contradict their "ooh, shiny things!" theme, but this collection is fruit of the poisoned looting tree. One of the stele actually bears the marks of the chainsaw used to sever it from its wall.
Santos lamented this sad fact in the press conference, noting that removed from their original context, they've been stripped of much of their archaeological value and are now reduced to lovely but limited pieces of art.[/Polemic interlude]
Anyway, some pieces need restoration — there is evidence of crude repair attempts using dental materials — but overall the collection is in excellent condition.
They're on display now at the Xochicalco Archaeological Site Museum in Xochicalco, Mexico. Once the collection is fully documented and restored, it is scheduled to go on the road.
Posted in Ancient, Looting, Museums, Treasures | 6 Comments »
Treasures of the Black Death
Catchy title, innit? I can't claim credit, though. It's the name of an exhibit of medieval jewelry at the Wallace Collection in London.
The 14th century jewels come from two hoards — one uncovered in Colmar, France, in 1863, the other in Erfurt, Germany, in 1998 — most likely buried by Jews in fear of their lives during the Black Death when gentiles blamed them for causing the plague.
The entire Jewish population of Colmar was massacred in January 1349, and 1000 Erfurt Jews were slaughtered in one day in March 1349, so probably whoever buried their most precious treasures never had a chance to retrieve them because they were killed during these pogroms, died of plague or were expelled never to return.
Most of the surviving gold and silver treasures from this time are ecclesiastical, since secular gold and silverwork tended to be remade later into more fashionable jewellery or melted down for coinage. But here we can see what fashionable men and women about town were wearing 650 years ago: lumpily gaudy brooches with tiny heraldic lions roaring among boulders of sapphire and garnet; belt fittings with robed figures and serpentine beasts in gothic niches; silver-gilt clasps in the form of fleurs-de-lis, dragons and flowers.
There is also a handy cosmetic set that would have hung from a belt, comprising a little silver flask that may have contained scent, a tiny scoop for ear-cleaning, and attachments for other beauty tools. Some of the symbols could do sentimental service on charm bracelets today: clasping hands, a padlock, a bow poised to shoot love's arrow.
Many of the objects relate to marriage. The star exhibit, from Erfurt, is a gold Jewish wedding ring (pictured [left]), shaped like a hexagonal building – symbolising both the marital home and the Temple of Jerusalem – with gothic arches, gables and a pyramidal roof on which is inscribed mazel tov (good wishes). The same slogan adorns two similar rings, from Colmar and from a hoard found in Weissenfels, Germany. These large and precious pieces were worn only on the day of the wedding ceremony.
The exhibition runs until May 10th and admission is free.
Once the Erfurt hoard returns to Germany it will go permanently on display in what was once the Erfurt synagogue.
Built around 1100 A.D., the Old Synagogue is thought to be the oldest standing synagogue in Europe. Many parts of the building are original, including, notable for its rarity, the roof.
It was used as a warehouse after the 1349 massacre until it became a dance hall in the late 19th c. Nazis partied the night away there, unaware of its history.
Posted in Medieval, Museums, Treasures | 4 Comments »
The Danton found chilling on the seabed
Monday, February 23rd, 2009
The Danton was a 19,000-ton French battleship sunk by German U-boat torpedoes 18 March, 1917. It went down with 296 souls, including the captain, who reputedly stood firm on the bridge as the ship sank. The rest of its 1000-man were rescued by patrol boats and a destroyer in the area.
A consortium surveying the Mediterranean for a gas pipeline between Algeria and Italy has found the wreck southwest of Sardinia, and it's in amazingly good condition considering that it was hit by two torpedoes, spun around a couple of times and gouged a wedge out of the seabed before finally landing where it now stands, upright, gun turrets intact.
"Its condition is extraordinary," said Rob Hawkins, project director with Fugro GeoConsulting Limited.
"After it was hit by the torpedoes, the Danton clearly turned turtle and rotated several times. You can see where it dropped some infrastructure on the way down and then impacted on the seabed.
"You can see where it slid along the seabed before coming to a rest," he told BBC News.
The French government wants the site to be protected, and thankfully the gas folks are moving the planned trajectory of the pipeline so it doesn't disturb the Danton or the area around it.
You can see footage of the wreck taken by the Fugro robots at the BBC link.
The Danton now and then:
Posted in Modern(ish) | No Comments »
Walker Evans' postcard collection
Sunday, February 22nd, 2009
I love postcards. I had a fabulous postcard collection as a kid (currently stashed in my parents' attic somewhere) so I'm fascinated by the 9000 piece postcard collection of pioneer of American photography Walker Evans currently on exhibit at the Met.
Walker Evans is best known for his Depression Era photography, especially of migrant farmers and sharecroppers he made for the Farm Security Administration.
He began collecting these penny cards when he was a boy of 12 in 1915. He kept on collecting for the next 60 years after that, and you can even see the influence of some of these postcards on his early photography.
"On the most simple level, the postcard is this democratic form," said Jeff Rosenheim, the show's curator and an Evans scholar. "It shows in a simple, unvarnished, artless way the generic realities of local life — the small-town Main Street, the local bank, the park."
Rosenheim said Evans would borrow this "straightforward, mostly frontal style" for his own photography, producing "documents that record the scene with an economy of means and with simple respect."
Here's one the postcards in his collection next to one of Evans' own photographs taken 6 years later:
The influence of the postcard on the photographer is impossible to miss.
Besides that, there are just some awesome postcards in the collection. The ones are display are mainly from the first half of the 20th c. They're colorized, not shot using color film, and some of them have a great sense of whimsy and fun about them.
My two favorites:
For more of Walker Evans' photography, see his catalogue on ArtNet.
Posted in Modern(ish), Multimedia, Museums | 5 Comments »
Bergé makes China an offer they can and will refuse
Saturday, February 21st, 2009
Pierre Bergé, Yves St. Laurent's partner of many years and co-owner of the massive $400 million art collection going on the block next week, has made China an offer: I'll give you the bronze rabbit and rat estimated at $25 million for free if you give your people human rights.
"I'm not about to give the Chinese presents, contrary to what they think," said Bergé, a businessman, patron of the arts and longtime rights campaigner.
"I am ready to give these Chinese heads to China if they are ready to recognise human rights," he told French radio.
No word yet on whether the Chinese government has accepted the offer, but it seems more likely that they'll just keep pressing their case in the courts.
A judge is scheduled to rule on whether the pieces can be included in the sale on the actual morning of the sale. Given that the pieces were looted by Lord Elgin's troops 150 years ago, chances that China will get the bronzes back are slim.
This collection is mind-boggling. Christie's even had to split up the catalogue into a different catalogue for each genre because there is just that much treasure.
You can view all the catalogues online. They're in French and the software is a tad unwieldy, but it's still a draw-dropping browse. It's the kind of stuff you'd see at Versailles or Schonbrun or some other absurdly rich locus of power.
Posted in Looting, Modern(ish), Treasures | 2 Comments »
An X-ray 1 billion times brighter than the sun
It's hard to wrap my mind around that figure, but it's apparently not an exaggeration. The Diamond Light Source in Oxfordshire, England, will debut an X-ray machine this fall that utilizes a beam of synchroton light, an intense form of radiation that will allow antiquities to be scanned without harm at a heretofore unthinkable level of detail.
This will allow researchers to see through solid objects and build images on a micron scale, revealing details less than the width of a human hair. […]
British Museum scientists will be among the first to use the beamline known as the Joint Engineering, Environmental and Processing or Jeep.
They will use the beam on a group of mysterious half life-sized Egyptian bronze statues to discover how they were created.
The bronzes are joined somehow — various parts have been put together — but the joints are so dense archaeologists have never been able to pinpoint how it was done. Once JEEP is up and running, the synchroton light will answer that question, as well as a host more questions about its manufacture and restoration history.
How it works reads like something Doc Brown would say:
To create the super-bright light beam, electrons are fired into a straight accelerator where they reach a speed close to that of light. The electrons then pass into a booster ring where they gain up to 3 giga electron volts in energy before being pushed into a storage ring.
Here the electrons pass through specially designed magnets that bend the beams, releasing synchroton light, which filters down the beamline.
The whole process works in a fraction of the time taken by existing methods such as CT scans and standard X-rays.
That means the fascinating and detailed CT scan of a mummy I just posted about a few days ago will look like a crayon stick figure drawing in comparison, and it'll only take a minute to produce details at a micron level.
I cannot wait to see what those statues reveal.
Posted in Ancient, Modern(ish), Multimedia | 4 Comments »
Roman decorative gynecology
Romans weren't big on body shame, that much I knew, but I didn't realize they were quite this sanguine: Ancient Roman Lamp Shows Gynecological Exam.
A group of archaeologists has found in the northern Spanish region of Leon a ceramic lamp dating from the beginning of the 1st century that shows a representation of the gynecological exam performed on a sick woman. […]
The find is of an oil lamp, "an exceptional piece that illustrates the presence of doctors in the city," and – specifically – a military hospital, the expert said.
On the lamp's surface "appears a very slender woman, possibly affected by a serious illness, like cancer, and a doctor who is performing a gynecological exam with a vaginal speculum," Morillo said.
Although there are representations of Roman speculums (specula?) on the record, this is the first one known on a lamp.
The find is in the hands of unnamed private individuals, for some reason that escapes me, but it's expected to wind up in the Leon Provincial Museum shortly. There are no pictures either, just an archaeological drawing.
Assuming the drawing is accurate, the speculum is a little weird-looking, to be honest. It looks like a bellows.

redpajama_set_name: RedPajamaCommonCrawl


text:
The Fiend: How best to book Bray Wyatt going forward
By David Haughney 2 years ago
With Bray Wyatt's new gimmick making such an impact already across the entire wrestling world, we look at how we'd book The Fiend in WWE.
I think it's safe to say that Bray Wyatt's WWE career has seen some highs and lows over the last few years. But when The Fiend was let in, it's as if every bad booking decision he has faced throughout his career has been made irrelevant.
The Fiend is arguably the best character that WWE has produced in a very long time. Kudos has to be given to Wyatt for successfully reinventing himself and for gaining a ton of momentum so early on.
The Firefly Funhouse did come across as a bit cheesy at first. We originally thought Bray's new character would be a children's TV presenter.
Quite a change considering that the original Bray Wyatt played the role of a sadistic cult leader. But as the Funhouse segments became more and more sinister, The Fiend began to emerge. The story behind it is that Bray was encouraging the audience to 'Let Him In'.
The Fiend is born
It's not just The Fiend that has emerged as a result of the Firefly Funhouse. We've also been introduced to his various puppet pals, all of which give a subtle nod to his past.
We have Mercy the Buzzard, based off of his former catchphrase 'Follow the Buzzards'.
We have 'Abby the Witch' in reference to Bray's 'Sister Abigail' from the Wyatt family.
There's 'Huskins the Pig', a reference to his original NXT character; Husky Harris. And of course, we can't forget 'Ramblin Rabbit', who may not have a direct reference to the previous gimmick but still memorable to see him get killed off numerous times on the Funhouse!
It's these little nods to Bray's old persona that have really made the difference in the development of his character.
The puppets have also been hidden in plain sight throughout various backstage segments on WWE TV. This has created the effect that The Fiend is somewhere watching them from within the shadows. It's the stuff of nightmares!
The cherry on top for his return was his SummerSlam match against Finn Balor.
The entrance alone stole the show! A new death metal cover of his old theme song, a lantern with an effigy of Bray's head around it and references to classic horror movies such as Beetlejuice and 'It' which have been incorporated into his attire and titantron.
His in-ring work has also noticeably changed. The Fiend is a lot more aggressive, hard-hitting and has incorporated new moves such as the Mandible Claw as a finisher.
Sporadic Appearances
Rumour has it that The Fiend will be making sporadic appearances going forward.
This makes a lot of sense as The Fiend has been regarded as a 'special character', so it only makes sense that he be treated as such.
Only save him for the occasional segment or attack on Raw and keep his matches to a minimum. Continuous over-exposure at this stage would only dampen The Fiend's eerie persona over time and the audience would quickly start to lose interest.
It seems as if WWE has learned from their past mistakes with Bray and are now trying to rectify it. They have done an excellent job with the execution of the new character and with this potential new booking pattern, it's clear that they want to take their time with him going forward.
His big return match was a definitive win over Balor. This could potentially lead to a rematch with Finn as the Demon.
Other dream opponents may include guys like Aleister Black, Braun Strowman and maybe even, The Undertaker.
If The Fiend is only going to make sporadic appearances when it comes to in-ring matches and random attacks, it would make sense to have the Firefly Funhouse booked in the same way.
Keep the segments spread out so that there is enough material for long term booking and we get to see more of Bray as the happy presenter as well as the evil monster.
The two sides to his character create an almost Jekyll/Hyde type persona. This is reflective of his in-ring return in which he seemed to be facing an internal struggle between being the Bray of old and The Fiend.
A Potential Stable?
With the Fiend being brought to life through the Firefly Funhouse segments, there's every chance that his puppet pals could evolve into something more sinister too.
They could be represented by superstars who have been under-utilised on the main roster and join The Fiend as part of a new stable. A good example would be the B-Team.
Bo Dallas and Curtis Axel have been MIA for some time now. Why not give them a new booking direction?
Plus with Bo being Wyatt's real life brother, it would add some natural chemistry.
It doesn't need to be anything fancy either; it can be as simple as wearing masks of Mercy, Huskins or Ramblin Rabbit with regular street clothes.
Their faces would be concealed so identities would remain anonymous and it would be a tribute to another classic horror movie, 'Pet Sematary'.
With Fiend appearances likely to be kept to a minimum, having his 'Funhouse' stable do all the attacks going forward would be a good way to remind the audience of his presence.
The one thing they'll need to be careful with is timing and how frequent the attacks will be. They could have one character appear once a week or they could all appear every few weeks.
Either way, it could keep both the audience and superstars in check and keep everyone consistently on edge.
This would also catapult The Fiend into a position where he has a complete psychological advantage over the entire roster, a position that realistically, only the Undertaker has been able to do in the past.
The Fiend's arrival has made an impact not just on WWE TV but to their other outlets too.
Masks of The Fiend and Mercy the Buzzard are now sold as merchandise whilst the WWE 2K20 game has included a Halloween themed add-on which features The Fiend as a playable character.
It's safe to say we are all intrigued to see what happens next.
There's unpredictability, numerous different booking directions and a genuine emotional investment with the character.
WWE appears to have struck gold with Bray Wyatt finally and now's the chance to strike the iron while it is hot. It would be a massive disappointment if they let this go to waste.
Competition between promotions is fierce in 2019 and The Fiend has the potential to be WWE's trump card.
Let Him In.
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1 thought on "The Fiend: How best to book Bray Wyatt going forward"
bestringtoness.com says:
22nd September 2019 at 4:04 am
In this segment, Wyatt showed off his new gear as well as a creepy mask. Ray gave his take about how he would book Wyatt going forward during the latest edition of Busted Open Radio.


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Home Ideas Interviews Must Be The Bourbon: Inclusive Classical Music In Kentucky
Must Be The Bourbon: Inclusive Classical Music In Kentucky
Katelyn Simon
LOWF4th by Scott Utterback. Photo courtesy of musicmakesacity.com
One evening last month, I found myself in a room packed full of ardent new music fans, enthusiastically communing with works by living, mostly female composers. I was in a synagogue in the suburbs of Louisville, Kentucky, and wanted never to leave; having made a case in my last piece for the power of relevance in new music and its untapped potential to engage and inspire audiences, I found myself immersed in a vibrant community where this connection is the rule, not the exception.
I'd flown in from New York for the Louisville Orchestra (LO)'s second annual Festival of American Music, a tableau vivant celebrating the range of musical creativity in our nation today. "It's this giant adventure," LO Music Director Teddy Abrams told me. "I hope people feel like they're in some some kind of caravan…there's an element of danger and of the unknown, because that's where art is supposed to sit." He described the programming process as highly exploratory by necessity. "We are in this enormous space surrounded by untold millions of viewpoints…about how we're supposed to live now amongst each other. And this music in many ways has tried to open up this dialogue."
The author with Teddy Abrams. Photo: K. Simon
I had the pleasure of discussing all this with Abrams in his home, a refurbished antiques shop in Louisville's Nulu district. Here, speakers pipe outdoors the sounds of practice and rehearsals for the enjoyment of the neighborhood; on a given day this could range from classical to klezmer to bluegrass to freewheeling improv. A born collaborator, Abrams weaves an inclination towards art as shared act throughout his work, and exudes the energy of an intensely curious and friendly tornado. That at 29, he's the youngest music director ever to lead a major American orchestra might be the least interesting thing about him.
Story continues below.
The Festival's profile expanded this year. Iconic American artists joined as collaborators, including San Francisco Symphony music director (and Abrams' longtime mentor) Michael Tilson Thomas and pianoman Ben Folds. By design, the two programs I attended featured composers with connections to the Louisville region; by happy coincidence, all but one of them were women. Abrams offered, "this is not about anything but celebrating what the shared element is…female composers don't need a special concert for themselves." He described the issue as a linguistic hangup. "If you say 'composer' nobody thinks Joni Mitchell. I don't want people to think Beethoven first! ….'Composer' should be a fluid, creative idea. Putting on a concert like this isn't simply advocating. It's more of a proof…if you didn't know these composers, get to know them, because their music is powerful."
'Composer' should be a fluid, creative idea.
The concert was fantastic. As a cross-listing with the Music Without Borders series which takes place in non-traditional neighborhood venues, the first night found me looking around a boxy, community-style room, half-crammed with the active buzz of a full orchestra. I entertained a fleeting concern about acoustics, but doubt melted quickly as the musicians embarked upon a sonic description of the region with warmth and sincere expression: the colorful ripples of Noah Sorota's The Bluegrass. The program included works by such established masters as Joan Tower alongside emerging voices like Jessie Montgomery, TJ Cole, and Rachel Orth, and also offered a thoughtful emotional contour–as Abrams described, "both a personal and a national element of what it means to be an American now."
I was particularly struck by Rachel Grimes' piece, three orchestrated movements from her solo piano album Book of Leaves. Soft jazz inflections overlaid with an oboe singing plaintively in a high register grabbed my attention immediately. I relished minimalistic pulses blended with soulful, modal melodies which seemed to emerge as if from forest depths. At the end, a woman behind me proclaimed, matter-of-factly, "Oh my god," and leapt to her feet to applaud. I couldn't have agreed more.
The audience itself was equally captivating. The orchestra premiered an arrangement of Julia Wolfe's Big Beautiful Dark and Scary, the Pulitzer-winning composer's reaction to witnessing the 9/11 attacks in New York. This driving piece fully inhabits each of its titular adjectives, plunging any American back into the fearful confusion of that day. As nauseating uncertainty crystallized into low brass tolls and a wrench of chimes, I surveyed the visually conventional audience for reactions experience has taught me to expect. But they were unflinching. Throughout this work and an entire program of new music, LO listeners leaned straight in, exhibiting a trust and receptiveness I've not seen before in my concert-going life.
"There's this kind of openness to virtually anything…and a lack of preconceptions here," Abrams said. "People are willing to experience something and let the experience be the determiner of what they feel about it." That special connection is Louisvillian tradition; the LO boasts a long, storied history of commissioning new music, and Abrams makes a natural partner to continue the legacy. Of Wolfe's piece, he said, "that's a piece for human beings alive today. There's going to be an immediate emotional relationship with that subject matter, and then with the piece itself–and that's where you start." Music to my ears.
Before the second concert, I caught part of a Compassion Jam (in fact the best way to describe it), a culminating event at the Festival of Faiths happening concurrently downtown. Abrams joined Rachel Grimes, the uncategorizable Jecorey "1200" Arthur, a poet, dancers, and others for a feast of improvised experiences, including a film score and audience-participation jam. This intentional celebration of abundance, I thought, is what compassion looks like. So does art at its best.
"People deserve, first and foremost, to hear everything," Abrams declared. Describing the wealth of cuisines people easily access, he added, "this has got to be considered the great golden age of eating. I'd love it if we could consider it the great golden age of orchestral music, too. There's a thought!" In Louisville, the vision may be close at hand.
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Based in NYC, Katelyn Simon enjoys a multifaceted career as an oboist, writer and arts administrator. Currently, she serves as Director of Strategic Partnerships for Orpheus Chamber Orchestra. Her columns for CFR explore the impact of women in the arts and the intersection of art, life and community.
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The Lemonheads have announced their return with a new album dropping in February 2019.
'Varshons II' is the follow-up to the Boston band's 2009 covers album, 'Varshons'.
The first track off the album is a cover of Yo La Tengo's 'Can't Forget'. Other renditions include songs by The Eagles, John Prine, Lucinda Williams, Nick Cave and The Bad Seeds, among others.
Ryan Adams said in 2012 that he was producing the album for the band and playing drums, but that hasn't materialised.
Frontman Evan Dando recently wrapped up a solo tour of intimate venues in the US, including Brooklyn's Wonders of Natures and Randy Now's man Cave in New Jersey.
Elsewhere, The Lemonheads have had a quiet few years save for sharing an album of unearthed recordings ('Hotel Sessions') and reissues of their first three 'punk' records in 2013.
'Varshons II' is released on February 8, 2019.


Quentin Tarantino's love of genre cinema manifests itself in retention and expansion: while he understands that the homaged works were often built to hit a base instinct in their viewer, the respect he extends towards them is part and parcel of his desire to provide more, more, and more, to illustrate that these extreme expressions can and very well should be masks for genuine profundity. His eighth feature, The Hateful Eight, embraces the dime-store whodunit western on its surface without ever stumbling in its path to becoming a major exercise of Tarantino's cinematic, cultural, and historical vocabulary. Moreover, limiting himself and the team of collaborators to a compact (albeit three-hour-long) tale serves as something of a provocation — a continually shifting Rorschach test for how fans and detractors alike measure the value (supposed or assumed) of his oeuvre.
Whereas the writer-director has often liked to begin with a bang, The Hateful Eight asks that audiences settle in. An Ennio Morricone piece — each of which, closer to giallo than Leone, introduce the atmosphere of uncertain-yet-identifiable dread — plays over a deep-red, three-minute-long overture card* and widescreen images (wider and more desolate than any Tarantino's ever crafted) of snow-covered mountains and landscapes. More than an indulgence in the glory of 70mm film — though there is that, too — the compositional plays with depth perception in this whited-out environment (illustrated best by the slow zoom out of a horrifying-looking statue and into barren woods) are yet more on-the-nose signals: this will not end well, but it'll certainly look pretty all the while.
Being a Tarantino picture, The Hateful Eight will have plenty of fun before turning into his bleakest picture by a fair margin. Offering a vision of post-Civil War, pre-industrial America — one in which this black bounty hunter is a bit more accepted, if only because authority can at least recognize that "darkies don't like being called niggers no more" — it's no less damning than Inglourious Basterds or Django Unchained. Whereas those forced an expansion of his canvas — moving between state lines, national borders, and the perspectives of clearly defined sides in historic conflicts — to offer criticism of war, racism, and parasitic capitalism, Eight fits every major theme of his career, at turns expanding upon others, within three locations (a stagecoach, horse stable, a haberdashery) and his smallest cast this side of Reservoir Dogs.
The movie will answer its mystery, and rather forcefully at that, yet the build to this unfurling is more laid-back — more Hawksian, I'd say — than fans may anticipate. Relegating action to a single room and projecting the results in 70mm carries a certain perversity to it, yet this is that rare filmmaking to harmonize uniformly diamond-sharp tenets — the space of and within frames, light, color, edit, sound, score, performance — while avoiding didactic rhythms, as if its narrative was geared towards the images and not vice-versa. Tarantino and now-regular cinematographer Robert Richardson have created a rare western epic that dispenses with is expected imagery before the half-hour mark, instead striving to respect the actor — their movements, their gestures, and the wide swath of expressions their face might convey.
When these grand widescreen compositions — and notwithstanding Tarantino's insistence that we revel in its grandness, evidenced by the compositional emphasis on hats, horses, wagons, and wide spaces surrounding every figure — have been made and the story proper can begin, it does so rather simply. A stagecoach carrying a hangman (Kurt Russell's John Ruth) and his latest acquisition (Jennifer Jason Leigh's Daisy Domergue), to which he's dutifully chained himself, stumbles upon a former Union fighter and current bounty hunter (Samuel L. Jackson's Major Marquis Warren), as well as a former Confederate soldier and supposed new mayor (Walton Goggins' Chris Mannix) of their destination, Red Rock. Being that a hangman lives by his title and criminals & soldiers alike earn reputations through their intensity, there's a shared understanding — sometimes too deep an understanding — among the members. Conversations, arguments, jokes, camaraderie, and punches are all exchanged on a short trip, which halts when a blizzard forces them and the driver (James Parks' O.B. Jackson) take refuge in Minnie's Haberdashery, a business known to the involved parties.
They do not find Minnie, her husband, or any of her loyal employees. On the other side of this store's mysteriously damaged door (an opportunity for one of several recurring gags) is a collection of men who either serve as a thorough collection of the genre's archetypes or, as I suspect is more accurate, a sample representation of the western cinema's waiting room in purgatory. More identifiable by business title and choice of dress than name, this set consists of another hangman (Tim Roth's Oswaldo Mobray); a Mexican (Demián Bichir's Bob); a cow puncher (Michael Madsen's Joe Gage); and a former Confederate general (Bruce Dern's Sanford Smithers).
Tarantino loves to plainly tell viewers what he's doing precisely as he's doing it, only making his affection of wordplay — doubling-back, repetition, playful contradiction, the not-even-half-hearted pretending to believe those you know are lying — and extended shots of conversation close partners with every suspicious scenario and motivation emerging from another. (I defer to another 21st-century western when I say that operations within Minnie's Haberdashery pivots on the notion of "a lie agreed upon.") The great irony behind this simple set-up of violent people locked in a room is that it will continues for so long only because its characters, each built concentrically around the presentations and behaviors of their peers, won't behave as brash or impulsively as their selves should dictate.
Small pockets of interaction become its driving force, and the first half of this picture's 187-minute runtime is an object par excellence in small-scale myth making. These interactions paint the then-current nation and its national consciousness with a deliberate brush: whether it's the common ground on which people stand or the impulse to suss out that which they believe is hidden, there's a conduit for nearly everyone to speak with the other in terms of personalized storytelling, and Tarantino only obliges this further by locking figures into two shots that cut off sight of nearly all else.
Shifts away from what's been observed and toward a new set of dialogue will give little sense that we've missed anything, but are rather being presented events as the order of drama necessitates; as written, composed, performed, and aurally sculpted — this film boasts the best sound design of any Tarantino picture, from the howling wind of the outside blizzard to the clinks of objects to the punch of effects when violence is inflicted — nearly every action boasts of a self-conscious theatricality, even artifice. (I more than once thought that this is the closest he'll ever get to a late Alain Resnais picture, though who knows how much he'll pursue this in later works.) Richardson's trademark stage-like, top-down lighting receives plenty of emphasis — sometimes when the illumination of a given environment has no reason to permit it, such as in the world's most brightly illuminated stagecoach — while a persona's movements are often telegraphed stress the smallness of a space. More than a fun way to build micro and macro exchanges, they double as a testing of the patience audiences must exercise before getting anywhere: wide shots will capture several players in various states of conversation before cutting to close-ups and selecting the new point of focus; a through-the-ceiling shot's implication that some unseen player may be waiting above will be answered hours later by a visual opposite; and the carefully controlled cutting patterns will unite words, images, and figures, oscillating between the sides of a discussion, creating an equal space around and behind performers to emphasize commonalities as much as differences.
Except when a break-of-sorts can be had. Consider the first half's climax, a tense conversation (as if there's anything but throughout the three hours) complemented by the offscreen playing of "Silent Night." This is scripted, like so very many of the writer's scenes, as a back-and-forth exchange that culminates in a violent encounter, and the visual language mostly plays to that through a series of shot-reverse dynamics. Yet the camera, as if distracted by what it's hearing, keeps returning to whoever is on that piano. At this critical moment — perhaps the most critical, as the second half's opening voiceover (provided by Tarantino himself) will, again, plainly tell us — they're photographed from an angle that emphasizes presence more than identity. As a rather insane story and visual are being teed up, precious time is keenly balanced towards the establishing of a scene, the creation of an atmosphere, and integrations — of diegetic sound, oddly angled framing, the particular tactility of objects (e.g. the wood of the piano, the dirt on the keys, the fur on the player's coat), as well as the many ins-and-outs of offscreen narrative developments — moving towards a tremulous whole.
What will prove more contentious is how The Hateful Eight treats its characters, in particular those few who are non-white and / or non-male. Before taking any further steps, it's most important to note that Tarantino is not overtly devoted to anyone of this octet. While there's an evident joy in following the initial set-up, the whys and the whats and the whos of this scenario, and the ratcheting-up — just as there's a relish to be found in the steps that allow this intricate experience to lock into place — the answers to that intrigue are violence, which is hardly a surprise, but violence of a new sort. If the aggression that's being inflicted herein is of a different sort, look no further than the fact that Tarantino's first post-Django feature features the killing of a Confederate general by a black bounty hunter that's neither celebrated nor entirely justified; or think of the Basterds-like infliction on a certain body part that doesn't simply end with a gunshot, but drags, sometimes via slow-motion, into the later stretches. This is not a work of glorification, but humiliation.
There's an explosive quality to that unpleasantness, as if this film had at some point decided that it should take down everything in its sight. With the rearing of an ugly head comes the understanding that audiences have been tricked as much as anyone on the screen. We're repulsed, but what did we expect? Haven't we been invited from almost the first minute to watch this bomb tick down? And how the roiling tension boils over are not simply through verbal and physical lashings, but often (in the latter case more or less exclusively) angled toward the sole black man and the only woman. There are exchanges in which Jackson's Warren is treated respectfully, and they're peppered with nearly as many utterances of the n-word as in all of Django Unchained; and, for having been condemned to death, Leigh's Domergue is almost never treated with a respect greater than the permission to stand on her own two feet without being clubbed to the ground — until she inevitably isn't. What's key here is that she's the first and most considered object of violence.
This movie's affections, such as they are, could be said to lie with these two, if only for the fact that they're the sole players for whom it's willing to stop upon, the sole players in whose perspectives and experiences Tarantino most wishes to anchor the drama. The initial stagecoach sequences make priorities known gently, through subtle moves of the camera, shots featuring both Russell and Leigh repeatedly shift from him and toward her, as if it's incapable of observing anyone else; or roughly, when Domergue is quickly cut to upon being struck and time is taken to emphasize the sound of contact, close-ups of a battered face, her pain-racked screams; and, through the focus upon Warren's means of ingraining himself with white men, with an unapologetic didacticism.
For the many moments where others are given their chance to stand front and center, there's a continual return to this pairing. (And, more than another totem of frayed historical / racial / cultural standings, that object — which will appear at the middle and end points of the story — is conversely an opportunity for Domergue to show her unrepentant honesty and Warren to display his own aggressiveness.) They're the most expansive of the ensemble, those who (in the case of Warren's particularly vulgar flashback sequence) can divert us from the hermetic location or — in the case of Domergue's single-shot, heart-stirring guitar-playing sequence, one of the few marked by a delicacy and one which Ruth concludes by brutishly proclaiming "music time's over!," then smashing the guitar — present excuses to take a respite from the scenario. When a late-game reveal finally pulls back the curtain and we at last have answer to what the narrative's been building toward (or, rather, from), The Hateful Eight crosses these paths to rather agonizingly illustrate that the answer to the divides between opposing American male forces — black or white, Union or Confederate, proud bounty hunter or proud law man — is a contempt for and desire to hurt women.
Tarantino's visual vocabulary often plays as a hodgepodge of lifts from others and personal innovations that neatly correspond to the pacing and temperament of a specific scene. It's here, however, where the lifts and personal innovations are also crossing paths. In essence, the locked-off scenario has created a fun-house-mirror-of-sorts: images, vocal intonations, visual effects, and styles of performance from the oeuvre recur, but in this recurrence their trapped inside a narrative of entropy and among people of great contempt. What was used in films past for intrigue, comedy, or old-fashioned thrills are now perversions of their original selves — more sinister, more evil, either sapped of entertainment value or serving as an entertainment in only the most macabre of manners. I'm particularly inured toward the squirm-inducing grotesquerie of once-amusing squib effects, or a very specific, very critical visual callback to the prologue of Inglourious Basterds, now a precursor to destruction rather than an image of retreat. When Tarantino's oldest collaborators are among the last standing — Roth's performance in particular is something of a meeting spot for the Tarantino canon past and present, or so I think when Oswaldo Mobray is written, dressed, and played as a more didactic, more nefarious version of Dr. King Schultz — we get a reeneactment-of-sorts of Pulp Fiction's climax. But more than a sequence in which one speaks to the other at gunpoint, his character personalizing the scenario with deliberate "you"s and "you're"s, its conclusion makes clear — as if this wasn't in the first place — that Tarantino's lost interest in tales of redemption or miracles.
This confluence of an eyebrow-raising entertainment and grim vision of America past and present will only play to its greatest possible potential if one is willing to accept every step, from Morricone's booming signals of danger to the breadcrumbs (or, in this case, jelly beans) scattered on the floor. As one who bought every step of it, the experience was no less gratifying for its through line than it was discomfiting in the horror of its resolution. As he becomes even wiser an orchestrator of scenarios, characters, and conclusions, Tarantino's work turns more vicious in its time-bomb-like destruction. We're lucky to continue witnessing a major American artist stake new ground.
*A word on the roadshow presentation: this played to myself as an essential way to see the film, and not merely for the 70mm presentation. The Hateful Eight also seems geared toward a theatrical experience for the way it utilizes an intermission as an end of one story and the beginning of another, at one point taking advantage of the effect a 12-minute break will have on the viewer. You'll be seeing a longer film, and there's nothing in the 187-minute cut that I could think to excise.
The Hateful Eight opens exclusively on 70mm on Friday, December 25, and expands wide on December 31.


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Q: Android: Unbuffered IO I want to use an Non Blocking IO to read a stream/output from a background process.Can anyone give me an example on how to use the Non Blocking IO on Android?
Thanks for the help.

A: Here is the class I use to download a file from the internet or copy a file within the filesystem and how I use it:
// Download a file to /data/data/your.app/files
new DownloadFile(ctxt, "http://yourfile", ctxt.openFileOutput("destinationfile.ext", Context.MODE_PRIVATE));

// Copy a file from raw resource to the files directory as above
InputStream in = ctxt.getResources().openRawResource(R.raw.myfile);
OutputStream out = ctxt.openFileOutput("filename.ext", Context.MODE_PRIVATE);
final ReadableByteChannel ic = Channels.newChannel(in);
final WritableByteChannel oc = Channels.newChannel(out);
DownloadFile.fastChannelCopy(ic, oc);

There also is the Selector approach, here are some great (Java) tutorials about Selectors, Channels and Threads:

*

*http://jfarcand.wordpress.com/2006/05/30/tricks-and-tips-with-nio-part-i-why-you-must-handle-op_write

*http://jfarcand.wordpress.com/2006/07/06/tricks-and-tips-with-nio-part-ii-why-selectionkey-attach-is-evil/

*http://jfarcand.wordpress.com/2006/07/07/tricks-and-tips-with-nio-part-iii-to-thread-or-not-to-thread/

*http://jfarcand.wordpress.com/2006/07/19/httpweblogs-java-netblog20060719tricks-and-tips-nio-part-iv-meet-selectors/

*http://jfarcand.wordpress.com/2006/09/21/tricks-and-tips-with-nio-part-v-ssl-and-nio-friend-or-foe/

A: background operation can be done in many ways in Android. I suggest you to use AsyncTask:
private class LongOperation extends AsyncTask<String, Void, String> {

 @Override
 protected String doInBackground(String... params) {
  // perform long running operation operation
  return null;
 }

 /* (non-Javadoc)
  * @see android.os.AsyncTask#onPostExecute(java.lang.Object)
  */
 @Override
 protected void onPostExecute(String result) {
  // execution of result of Long time consuming operation
 }

 /* (non-Javadoc)
  * @see android.os.AsyncTask#onPreExecute()
  */
 @Override
 protected void onPreExecute() {
 // Things to be done before execution of long running operation. For example showing ProgessDialog
 }

 /* (non-Javadoc)
  * @see android.os.AsyncTask#onProgressUpdate(Progress[])
  */
 @Override
 protected void onProgressUpdate(Void... values) {
      // Things to be done while execution of long running operation is in progress. For example updating ProgessDialog
  }
}

Then you execute it like this:
public void onClick(View v) {
   new LongOperation().execute("");
}

reference: xoriant.com
In the doInBackground method, you can put your file access stuff.
reference for file access can be found in the android developer site.

redpajama_set_name: RedPajamaStackExchange


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« ACLU claims Rick Scott is not telling some ex-felons they can vote | Main | RPOF thrashes Keith Fitzgerald »
Retailers offer new settlement offer in FPL rate case
The Florida Retail Federation, after publicly rejecting a settlement offered this week by Florida Power & Light, on Friday proposed its own suggestion for the company's $690 million rate case.
The Retail Federation, which represents about 7,000 retailers throughout the state, said the Public Service Commission should delay by six months FPL's rate increase -- thereby assuring most customers lower bills for the first part of next year as lower fuel prices kick in -- but allow the company a partial rate increase beginning in June 2013.
"While FPL would not get the immediate rate increase it had been seeking, the company will continue to enjoy a generous profit and more than enough revenue to continue providing the safe and reliable service we expect," said Rick McAllister, president and CEO of the Florida Retail Federation.
The state consumer advocate, J.R. Kelly, director of the Office of Public Counsel, said he was still reviewing the offer but believed "it will be much better received than what FPL has filed."
FPL Vice President of State Governmental Affairs Mike Sole said the Retail Federation offer provides the company with "zero increase" and an 8.5 percent return on equity and "is nothing more than political theater for public relations purposes."
On Wednesday, FPL filed a proposal to lower its rate case request for next year in return for a plan to allow it three years of automatic rate increases as each of three new power plans goes into operation. The agreement, between FPL and the state's largest commercial power users, military establishments and hospitals, also gave large electricial users a larger credit for agreeing to let their electricity generation be interrupted. Those credits would be offset by charges paid by residential customers.
Kelly and the Retail Federation flatly rejected the offer as bad for consumers, warning it could raise customer bills more than FPL's original rate case proposal.
Sole said the Retail Federation and Office of Public Counsel were invited to join settlement talks months ago "and they declined to do so" and defended the company's proposal as "a fair and balanced solution for all customers."
A key component to the Retail Federation's offer is the proposal to limit FPL's return on equity, the measure of profit it allows to be spent on shareholders, to 9.75 percent or 10 percent, which would reduce the base rate by millions. The company currently is allowed a 10 percent ROE and would raise that to 10.7 percent under the settlement it reached with the large electricity users.
Kelly and the Retail Federation argue that FPL, which operates as a monopoly, also subsidizes the stock value of its parent company, NextEra. They argue that the company's request to retain even more profit for shareholders is excessive.
FPL responds that its customers pay lower-than-average bills, that it makes constant improvements in its fleet of power plants, and should be able to receive the same profit level as comparable utilities in the state. "We're asking to be treated fairly when our performance is compared to the other investor-owned utilities in this state. Nothing more,'' the company states on its web site.
Sole said the retailers' ROE offer of 8.5 percent "would be the lowest for any electric utility in the United States of America."
Here's the Retail Federation news release:
FRF rejects FPL rate increase, offers proposalto hold base rates steady in January
TALLAHASSEE -- The Florida Retail Federation, a trade association representing more than 7,000 businesses, today filed a response with the Florida Public Service Commission to the Florida Power and Light Co. proposal to increase base electric rates. Full technical hearings on the FPL rate increase are scheduled to begin on Monday in Tallahassee. Under the FRF's Offer of Settlement, there would be no base rate increase in January, as FPL had previously proposed. Further, FPL would be allowed to increase base rates when new plants in Cape Canaveral and Riviera come online in mid-2013 and mid-2014.
The Florida Retail Federation's Notice of Offer of Settlement can be downloaded at the http://www.psc.state.fl.us/dockets/cms/docketFilings3.aspx?docket=120015 or by visiting http://www.psc.state.fl.us/dockets/cms/ and entering the docket number 120015.
"Under our proposal, FPL customers will most likely see a decrease in their utility bills next year because of lower prices for the fuel that FPL uses to power its generators. In this difficult economy, allowing those customers to enjoy some relief from constantly increasing bills is the right thing to do," said Rick McAllister, president and CEO of the Florida Retail Federation. "While FPL would not get the immediate rate increase it had been seeking, the company will continue to enjoy a generous profit and more than enough revenue to continue providing the safe and reliable service we expect."
The FRF's Offer of Settlement would allow FPL a return on equity of at least 9.75 percent, and as much as 10 percent if the company signs on to a four-year agreement. FPL this week proposed a settlement for a 10.7 percent return on equity.
Hundreds of individuals, including small business owners and retirees, have appeared before the Public Service Commission to oppose the FPL rate increase in public hearings around Florida.
These businesses and residents, along with the Florida Retail Federation, AARP, and the Office of Public Counsel, continue to advocate for the countless thousands of FPL's customers who were not able to travel from their homes to the public hearings. The Florida Retail Federation is the statewide trade association representing Florida's second largest employment industry. Florida retailers pay more than $49 billion in wages annually, provide one out of every five jobs in the state, and collect and remit more than $20 billion in sales and retail-related taxes for Florida's government each year. For more information, visit the FRF website, and follow FRF on Facebook and Twitter.
Here is Mike Sole's complete statement:
Mike Sole, FPL Vice President of State Governmental Affairs:
"We invited the Florida Retail Federation and Office of Public Counsel to join settlement talks many months ago, and they declined to do so. In fact, it's unfortunate that the Retail Federation said very publicly in January that it was not interested in a settlement. We were disappointed, but we moved forward with a constructive and collaborative agreement with the three other major intervenor groups.
"That agreement represents many months of hard work and give and take by all parties involved, all of whom strongly believe it represents a fair and balanced solution for all customers, who will continue to receive typical bills that are the lowest in the state and well below the national average.
"For the Retail Federation to submit an offer that, among other things, provides for a zero increase is nothing more than political theater for public relations purposes. When you actually do the math, it represents an 8.5 percent ROE offer, which would be the lowest for any electric utility in the United States of America. "We plan to be before the Commission first thing Monday morning prepared to move forward in whatever manner the PSC desires."
Posted by Mary Ellen Klas on Friday, Aug. 17, 2012 at 4:33 PM in Public Service Commission | Permalink


text:
Q: EclipseLink: Reverting the lazy setting on the OneToOne or ManyToOne attribute [type] for the entity class Using EclipseLink 2.5 for JPA. Configured static weaving in Persistence.xml and included steps in Ant build script to run the weaving agent. However when deployed on Weblogic Server, the console shows the following error

Reverting the lazy setting on the OneToOne or ManyToOne attribute
  [type] for the entity class

I have found a few similar question on this but none have resolved the issue.

A: You may wish to checkout to have pre-woven classes using static weaving  :  https://wiki.eclipse.org/EclipseLink/UserGuide/JPA/Advanced_JPA_Development/Performance/Weaving/Static_Weaving


Reference Entry. Subjects: Music. 66 words.
Reference Entry. Subjects: Music. 511 words.
Reference Entry. Subjects: Music. 28 words.
London concert hall built next to the premises of the Bechstein firm in 1901 and renamed the Wigmore Hall in 1917. See London(i), §VI, 2.
Reference Entry. Subjects: Music. 600 words.
Reference Entry. Subjects: Art; Biographical Studies. 118 words.
Born 1884, in Solothurn; died 1936, in Munich.
Reference Entry. Subjects: Art; Biographical Studies. 45 words.
Born 1 July 1843, in Meiningen.
Reference Entry. Subjects: Children's Literature Studies. 329 words.
Reference Entry. Subjects: Music. 53 words.
Reference Entry. Subjects: Music. 402 words.
Reference Entry. Subjects: Children's Literature Studies. 66 words.
Reference Entry. Subjects: Mythology and Folklore. 1012 words.
Reference Entry. Subjects: Music. 113 words.
Reference Entry. Subjects: Mythology and Folklore. 1000 words.


Opinion: What took the big security software companies so long? Spyware detection belongs with all the other malware scanning.
So Roger Thompson thinks that spyware is the next great menace to computer users? Not surprising since hes been in the business of fighting spyware for a while, much longer than most of the security software establishment.
Thompson was vice president of product development at PestPatrol when CA bought that company just a few months ago. Just a week before he wrote about the urgency of the problem for eWEEK, and I had talked to him about it long before that.
/zimages/6/28571.gifRead Thompsons guest commentary "We Must Beat Spyware."
CA is ahead of the curve here, but its been obvious for a while that it made no sense for anti-spyware to exist as an application separate from other malware scanning systems, either on the client or at the perimeter. Once we accept it as just another type of malware it becomes obvious that the established companies should be offering it, and from there that they should be buying the anti-spyware companies.
And a wacky market it is. Sure, there are respectable companies like PestPatrol and Webroot, but there are a hundred disreputable ones selling useless or stolen code, sometimes even acting as adware distribution vehicles. An excellent site to follow for this phenomenon is Spyware Warriors Rogue/Suspect Anti-Spyware page. I especially recommend the footnotes to the product reports.
Take a look at the names of these products. Theres no end to the variations you can come up with for SpyThis and AdThat, and the marketing all sounds the same too. And it gets worse: As PC Magazine has found in its reviews (such as this one), these products, even the good ones, dont always do a good job. Thats because theres so much of it and it is often spread through sleazy commercial products.
I once asked someone at Symantec why their threat tracking systems dont track adware and spyware, and I got a weary look and a "How should we do it?" Its a really hard problem.
All these problems—the difficulty, the confusion over a hundred competitors, the rogue products—are all reasons why protection against spyware needs to be sold by well-known brands, not one-man fly-by-nights.
A little clarification is needed here, and indeed it should be standard language in any spyware article: What we casually call "spyware" encompasses a number of categories of malware, only some of which are actual spyware. Keyloggers, for example, are a real problem, but I suspect this is the sort of threat that the anti-virus companies do handle well. What most people run into more often is adware, usually surreptitiously installed, that pops up windows with ads.
Smaller companies are trying to bring spyware protection to the enterprise. Look at Webroots and Blue Coats products for example. If the McAfees and Trends and Symantecs dont come up with real products for this, and for consumers, theyre doing us all a disservice, because Roger Thompson is right. The problem is for real.


text:
Extra £2.5m for electric vehicle chargepoints
Aug 21, 2019 RepostAt Home, Away From Home, Charging, Electric Cars, News, Reviews and Comment
The Government has allocated an additional £2.5 million to fund more than 1,000 new chargepoints on residential streets.
Announcing the additional cash today (Monday, August 12), transport secretary Grant Shapps says the funding will support the on-street residential chargepoint scheme, launched in 2017, which aims to help people access charging infrastructure near their homes when they don't have off-street parking.
It will go towards helping local authorities to install these chargepoints, which can be built into existing structures like lamp-posts.
The scheme aims to encourage even more people to choose an electric vehicle (EV) by making it easier to charge their cars near home and has already seen 16 local authorities say they will install 1,200 chargepoints this year.
The Transport Secretary is now doubling funding for the scheme to meet demand and accelerate the take-up of electric vehicles as the UK moves towards net zero emissions by 2050 and further improve air quality.
Shapps said: "It's fantastic that there are now more than 20,000 publicly accessible chargepoints and double the number of electric vehicle chargepoints than petrol stations, but we want to do much more.
"It's vital that electric vehicle drivers feel confident about the availability of chargepoints near their homes, and that charging an electric car is seen as easy as plugging in a smartphone.
"That's why we are now doubling the funding available for local authorities to continue building the infrastructure we need to super-charge the zero emission revolution – right across the country."
The allocation of funding for on-street residential chargepoints is part of the £1.5 billion investment underpinned by the Road to Zero Strategy.
Read more: FleetNews


Windows Key + C – Shows up the Charms bar. The charms bar is basically a "settings" type bar that gives you different options depending on which program you have open. Also, it lets you share something or perform a quick search.
Windows Key + R – Brings up the Run dialog box.
Windows Key + Z - This will bring up the app bar in a full-screen Metro app so you can execute commands.
Windows Key + E – Opens Windows Explorer.


text:
Theiapolis > Cinema > Titles > R... > Ra... > Ram... >
Rambo III1988
| Forum | Gallery | Quotes
Released on May 25 of 1988 in the USA, "Rambo III" (also known as "Rambo 3", "Rambo: First Blood Part III") is an Action/Adventure/Drama/Thriller film written by Sylvester Stallone . Sylvester Stallone and Richard Crenna are starring, alongside Marc de Jonge, Kurtwood Smith, Sasson Gabai and Doudi Shoua.
God would have mercy John Rambo won't!
When was "Rambo III" released:
Rambo III was initally released in the United States on Wednesday, May 25, 1988. Also released on this day was The Tale of Ruby Rose (dir. Roger Scholes). This was thirty-one (31) years ago.
It has been released on Friday, August 26, 1988 in the United Kingdom; Wednesday, October 26, 1988 in France; Thursday, July 14, 1988 in Germany and on Wednesday, June 22, 1988 in Australia.
What is the casting of "Rambo III":
At the casting of Rambo III we find Sylvester Stallone, previously seen in Over the Top (1987) and Rocky IV (1985); Richard Crenna (Rambo: First Blood Part II (1985), The Flamingo Kid (1984)); Marc de Jonge (Empire of the Sun (1987), Mon curé chez les nudistes (1982)) [ more... ]
Sasson Gabai and Joseph Shiloach can also be seen in Not Without My Daughter, released in 1991.
Sylvester Stallone and Randy Raney can also be seen in Over the Top, released in 1987.
Sasson Gabai and Joseph Shiloach can also be seen in The Ambassador, released in 1984.
What is the Storyline of "Rambo III":
Colonel Sam Trautman returns to Thailand to once again enlist the help of Vietnam veteran John J. Rambo. After witnessing Rambo win a stick fighting match, Trautman visits Rambo at a Buddhist temple under construction and asks Rambo to join him on a resupply mission for mujahideen rebels in Afghanistan. Despite showing him photos of civilians suffering under Soviet military intervention, Rambo refuses and Trautman proceeds with the mission. Soviet forces ambush Trautman's convoy, capture him, and send him [...]
God would have mercy John Rambo won't! "Rambo III" (1988), a film by Peter MacDonald
no reply yet - Directed by Peter MacDonald, and written by Sheldon Lettich, David Morrell, and Sylvester Stallone, «Rambo III» (also known as "Rambo...
Rambo III ➤ Message Board
Marc de Jonge
Kurtwood Smith
Sasson Gabai
Doudi Shoua
Rambo III ➤ Cast
Richard Crenna as "Trautman"
Sylvester Stallone as "Rambo"
Sylvester Stallone ("Rambo") and Richard Crenna ("Trautman")
Photos of Sylvester Stallone from "Rambo III" (1988), a film by Peter MacDonald
1 message - Released in the USA on May 25 of 1988, «Rambo III» (also known as "Rambo 3", "Rambo: First Blood Part III") is an...
She's To Die For: "Return of the Living Dead III" (1993), a film by Brian Yuzna
1 message - «Return of the Living Dead III» is a film directed by Brian Yuzna, and written by John Penney, released on October 29 of 1993 in the USA ,...
"Back to the Future Part III" (1990), a film by Robert Zemeckis
1 message - Directed by Robert Zemeckis, and written by Bob Gale and Robert Zemeckis, «Back to the Future Part III» (also known as "Ritorno al...
Photos of Téa Leoni from "Jurassic Park III" (2001), a film by Joe Johnston
1 message - Released in the USA on July 16 of 2001, «Jurassic Park III» (also known as "Extinction: Jurassic Park 3, The", "Jurassic...
( 1985 )Rambo: First Blood Part II
Starring: R. Crenna, C. Napier, S. Berkoff, J. Nickson-Soul...
( 2008 )Rambo
( 2008 )Goal! III
Directed by: A. Morahan, starring J. Feild, L. Gregory, K. Becker, A. Friel...
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